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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..94ccd54 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #52181 (https://www.gutenberg.org/ebooks/52181) diff --git a/old/52181-0.txt b/old/52181-0.txt deleted file mode 100644 index 9bba608..0000000 --- a/old/52181-0.txt +++ /dev/null @@ -1,10853 +0,0 @@ -The Project Gutenberg EBook of Hogarth's Works: Volume 3 (of 3), by -John Ireland and John Nichols - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Hogarth's Works: Volume 3 (of 3) - With life and anecdotal descriptions of his pictures - -Author: John Ireland - John Nichols - -Release Date: May 29, 2016 [EBook #52181] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK HOGARTH'S WORKS: VOLUME 3 (OF 3) *** - - - - -Produced by Chris Curnow, John Campbell and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - TRANSCRIBER'S NOTE - - Italic text is denoted by _underscores_. - - A superscript is denoted by ^; for example M^R, y^e. - - Obvious typographical errors and punctuation errors have been - corrected after careful comparison with other occurrences within - the text and consultation of external sources. - - Footnotes have been moved to the end of the book text. Some Footnotes - are very long. - - More detail can be found at the end of the book. - - - - - HOGARTH'S WORKS: - - WITH - - _LIFE AND ANECDOTAL DESCRIPTIONS OF HIS PICTURES._ - - - THIRD SERIES. - - - - -[Illustration: _HOGARTH'S DEDICATION, WRITTEN FOR A HISTORY OF THE -ARTS, &c., WHICH HE INTENDED PUBLISHING AS A SUPPLEMENT TO THE -ANALYSIS OF BEAUTY. COPIED FROM HIS MANUSCRIPT IN THE POSSESSION OF -JOHN IRELAND._] - - The no Dedication - - Not Dedicated to any Prince in Christendom - for fear it might be thought an - Idle piece of Arrogance. - - Not Dedicated to any man of quality - for fear it might be thought too assuming. - - Not Dedicated to any learned body - of Man, as either of the universityes, or the - Royal Society, for fear it might be thought - an uncommon piece of Vanity. - - Nor Dedicated to any one particular Friend - for fear of offending another. - - Therefore Dedicated to nobody. - But if for once we may suppose - Nobody to be every body, as Every body - is often said to be nobody, then is this work - Dedicated to every body. - - by their most humble - and devoted W: Hogarth. - - - - - HOGARTH'S WORKS: - - WITH - - _LIFE AND ANECDOTAL DESCRIPTIONS OF HIS PICTURES_. - - BY - - JOHN IRELAND AND JOHN NICHOLS, F.S.A. - - [Illustration: (The Dolphin Candlestick)] - - _THE WHOLE OF THE PLATES REDUCED IN EXACT - FAC-SIMILE OF THE ORIGINALS._ - - Third Series. - - London: - - CHATTO AND WINDUS, PUBLISHERS. - (_SUCCESSORS TO JOHN CAMDEN HOTTEN._) - - - - -LIST OF PLATES - -DESCRIBED IN THE THIRD SERIES. - - - PAGE - - FAC-SIMILE AUTOGRAPH--"THE NO DEDICATION," _Frontispiece to - face Title._ - - DOLPHIN CANDLESTICK, _Title Page._ - - Do. (described), 123 - - KENT'S ALTAR-PIECE, 24 - - THE RAPE OF THE LOCK, 26 - - ARMS OF THE DUCHESS OF KENDAL, 28 - - FRONTISPIECE TO ARTISTS' CATALOGUE, 78 - - TAIL-PIECE TO Do., 78 - - THE VASE, 114 - - Do. (described), 112 - - HINTS FOR A NEW CAPITAL, 114 - - ROUND AND SQUARE HEADS, 114 - - Do. (described), 116 - - HERCULES, HENRY VIII., AND A FRENCH DANCING-MASTER, 114 - - Do. (described), 119 - - CHARLES I., HENRIETTA MARIA, ITALIAN JUPITER, ETC., 124 - - THE DANCE, 124 - - FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE, 132 - - TASTE IN HIGH LIFE, 180 - - FARINELLI, CUZZONI, AND SENESINO, 184 - - A WOMAN SWEARING HER CHILD TO A GRAVE CITIZEN, 188 - - THE FOUNDLINGS, 192 - - CAPTAIN THOMAS CORAM, 192 - - FRONTISPIECE TO TERRÆ FILIUS, 194 - - THE SEPULCHRE, 194 - - THE POLITICIAN, 198 - - THE MATCHMAKER, 200 - - THE MAN OF TASTE, 202 - - HENRY FIELDING, 206 - - SIMON LORD LOVAT, 210 - - NINE PLATES FOR DON QUIXOTE: - - PLATE I. The First Sally in Quest of Adventure, 220 - - PLATE II. The Innkeeper, 220 - - PLATE III. The Funeral of Chrysostom, 222 - - PLATE IV. The Innkeeper's Wife and Daughter administering - Chirurgical Assistance to the poor Knight of - La Mancha, 222 - - PLATE V. Don Quixote seizes the Barber's Basin for - Mambrino's Helmet, 224 - - PLATE VI. Don Quixote releases the Galley Slaves, 224 - - PLATE VII. First Interview of Don Quixote with the - Knight of the Rock, 226 - - PLATE VIII. The Curate and Barber disguising themselves - to convey Don Quixote home, 226 - - PLATE IX. Sancho's Feast, 228 - - HEIDEGGER IN A RAGE, 230 - - LARGE MASQUERADE TICKET, 230 - - THE SOUTH SEA BUBBLE, 238 - - THE LOTTERY, 238 - - MASQUERADES AND OPERAS--BURLINGTON GATE, 238 - - BEGGARS' OPERA BURLESQUED, 242 - - TWELVE PLATES OF BUTLER'S HUDIBRAS, 242 - - JUST VIEW OF THE BRITISH STAGE, 246 - - EXAMINATION OF BAMBRIDGE, 246 - - HENRY VIII. AND ANNA BULLEYN, 248 - - CROWNS, MITRES, MACES, ETC., 246 - - Do. (described), 249 - - THE ROYAL MASQUERADE, 252 - - RICH'S TRIUMPHANT ENTRY, 254 - - MR. RANBY'S HOUSE AT CHISWICK, 254 - - Do. (described), 262 - - HYMEN AND CUPID, 254 - - Do. (described), 263 - - THE POOL OF BETHESDA, 256 - - THE GOOD SAMARITAN, 256 - - MARTIN FOLKES, Esq., 260 - - BISHOP HOADLEY, 262 - - FALSE PERSPECTIVE, 264 - - INHABITANTS OF THE MOON, 264 - - RECEIPT FOR PRINT OF MARCH TO FINCHLEY, 264 - - THE FARMER'S RETURN, 266 - - GRAVITY, 266 - - FRONTISPIECES TO TRISTRAM SHANDY, 266 - - FOUR HEADS FROM THE CARTOONS, 268 - - THE SHRIMP-GIRL, 268 - - LORD HOLLAND, 268 - - EARL OF CHARLEMONT, 268 - - THE HOUSE OF COMMONS, 270 - - DEBATES ON PALMISTRY, 270 - - THE STAYMAKER, 270 - - CHARITY IN THE CELLAR, 270 - - SIX TICKETS, 272 - - -[Illustration: (end of section floral icon)] - - - - -ADVERTISEMENT. - - -The manuscripts from which the principal parts of this volume are -compiled were written by the late Mr. Hogarth; had he lived a -little longer, he would have methodized and published them.[1] On -his decease, they devolved to his widow, who kept them sacred and -entire[2] until her death, when they became the property of her -relation and executrix, Mrs. Lewis, of Chiswick, by whose kindness -and friendship they are now in my possession. - -This is the fair and honest pedigree of the Papers, which may be thus -divided:-- - -I. Hogarth's life, comprehending his course of study, correspondence, -political quarrels, etc. - -II. A manuscript volume, containing the autographs of the -subscribers to his "Elections," and intended print of "Sigismunda;" -and letters to and from Lord Grosvenor relative to that picture. - -III. The manuscript of the _Analysis of Beauty_, corrected by the -author, with the original sketches, and many remarks omitted in the -printed copy. - -IV. A supplement to the _Analysis_, never published; comprising a -succinct history of the arts in his own time, his account of the -institution of the Royal Academy, etc. - -V. Sundry memoranda relative to the subject of his satire in several -of his prints. - -These manuscripts being written in a careless hand, generally on -loose pieces of paper, and not paged, my first endeavour was to -find the connection, separate the subjects, and place each in its -proper class. This, in such a mass of papers, I found no very easy -task; especially as the author, when dissatisfied with his first -expression, has frequently varied the form of the same sentence -two or three times: in such instances I have selected that which I -thought best constructed. Every paper has been attentively examined, -and is to the best of my judgment arranged as the author intended. -I have incorporated Hogarth's account of the Arts, Academy, etc., -with his narrative of his own life; and to keep distinct the various -subjects on which he treats, divided the whole into chapters. Where -from negligence or haste he has omitted a word, I have supplied it -with that which the context leads me to believe he would have used. -Where the sentences have been very long, I have occasionally broken -them into shorter paragraphs, and sometimes tried to render the style -more perspicuous, by the retrenchment of redundant expressions; but -in every case the sense of the author is faithfully adhered to. - -As he has usually given the progress of his life, opinions, etc. in -the first person, I have adopted the same rule; and to distinguish my -own remarks from Hogarth's narrative, the beginning of each sentence -written by him is marked with inverted commas. His correspondence is -regulated by the dates of the letters; and the copies from sketches -in the MS. _Analysis_ are placed in the chapter which contains -Hogarth's account of that publication. - -In the papers which relate to the subject of his satire in some of -his prints, he appears to have projected more than his life allowed -him to perform; the few remarks which he made are inserted in the -Appendix. - -Prints are in general designed to illustrate books, but the -Editor's part of this volume is written to illustrate Prints. He is -apprehensive that the whole will stand in need of much indulgence, -but certain that the errors, whatever they may be, do not originate -in a want of diligence. To his thanks for the flattering reception of -the first Edition, and rapid sale of the first and second Editions -of the two preceding volumes, he has only to add his reasons for -bringing forward this third. When they were published, he had -neither seen the MSS., nor ever heard that Hogarth had written -anything for the press, except the _Analysis of Beauty_. When he -some time after obtained the papers, he considered them as a very -valuable acquisition, and was vain enough to think that by arranging -them he could compile a volume which would gratify the admirers of -Hogarth; and in the hope that the life, opinions, criticisms, and -correspondence of this great and original genius will excite and -gratify curiosity, he respectfully submits the following pages to the -candour and indulgence of the public. - - J. I. - - -[Illustration: (end of section floral icon)] - - - - -HOGARTH. - - - - -INTRODUCTION. - - -Mr. Walpole (in p. 160 of his _Anecdotes_) gravely declares that -Hogarth had but slender merit as a painter, and in colouring proved -no greater a master. By the six pictures of "Marriage à la Mode," -both these declarations are answered and refuted. - -Mr. Nichols (in p. 449 of his _Anecdotes_), at the same time that -he kindly acknowledges "Hogarth's hand was faithful to character," -roundly asserts that as an engraver his merits are inconsiderable; -that he wants clearness; that his strokes sometimes look as if -fortuitously disposed, and sometimes thwart each other in almost -every possible direction. He adds, "that what the artist wanted in -skill, he strove to make up in labour; but the result of it was a -universal haze and indistinctness, that, by excluding force and -transparency, rendered several of his larger plates less captivating -than they would have been had he entrusted the sole execution of -them to either Ravenet or Sullivan." This is very severe; but is -it true? If the "Harlot's" and "Rake's Progress," the "Enraged -Musician," "Strolling Actresses," "Medley," and many other prints -produced by his own graver, are attentively examined, I think the -strokes will not be found to be fortuitously disposed: every touch -tells, and gives that expression which the artist intended. As to -his striving to make up for his want of skill by labour, I believe -him to have been a prodigy of industry, but do not discover the -result that is suggested by Mr. Nichols. We may possibly annex -different ideas to the words. Johnson describes a universal _haze_ -as a fog, a mist; and _indistinctness_ he defines to be confusion, -uncertainty, obscurity,--faults which were never attributed to -William Hogarth. Neither have I before heard it said that his prints -want force: energy is in general their leading characteristic. As to -transparency, if Mr. Nichols means that they have not that gauzy, -glittering tone which marks many of our modern productions, I humbly -conceive the artist did not desire such distinction; neither did he -wish his works to be classed with such _pretty performances_: he was -superior to the tricks of art, rejected all unnecessary flourish, and -aimed at convincing the mind rather than dazzling the eye. - -The two most difficult things in painting are character and drawing; -and they are least understood by the crowd, who are invariably -attracted by colour and glare. But for my own part, so far am I from -thinking his style unsuitable to his subject, that I cannot conceive -any manner in which his prints could be engraved that would be -equal to his own. I prefer it to the most laboured copies of those -miniature masters who, by fine finishing, fritter away all force. - -Thus much may suffice for Mr. Nichols, from whom I am sorry to -differ, as I owe him thanks for much useful information; but with the -next critic upon the list it is dangerous to disagree. - -For the talents of Mr. James Barry, Professor of Painting to the -Royal Academy, I have the highest respect; his pictures in the -Adelphi are an honour to the artist, and to the nation. In the sixth, -representing the state of final retribution, he gives Hogarth a -seat in Elysium; but in p. 162 of his description of the picture, -etc. (published for Cadell), he has drawn this great artist in so -motley a garb as leaves the reader in some doubt whether censure or -praise predominates, and confers on poor Hogarth a sort of degrading -immortality. - -The Professor begins by admitting that "Hogarth's merit entitles -him to an honourable place amongst the artists in Elysium, and that -his little compositions 'tell' their own story with more facility -than is often found in the elevated and more noble inventions of -Raphael;" yet adds, "it must be honestly confessed that in what is -called knowledge of the figure, foreigners have justly observed -Hogarth is often so raw and unformed as hardly to deserve the name of -an artist." Though he is often thus raw and unformed, yet Mr. Barry -acknowledges that "this capital defect is not often perceivable, as -examples of the naked and of elevated nature but rarely occur in his -subjects, which are for the most part filled with characters that in -their nature tend to deformity." Sometimes, I admit; but surely not -for the most part. "Besides, his figures are small, and the junctures -and other difficulties of drawing that might occur in their limbs -are artfully concealed with their clothes, rags, etc." Mr. Barry -surely does not mean that Hogarth needed any artifice to conceal -an ignorance of anatomy, because Mr. Barry knows that many of his -works prove a perfect knowledge of the figure. The Professor thus -continues:-- - -"What would atone for all his defects, even if they were twice -told, is his admirable fund of invention, ever inexhaustible in its -resources; and his satire, which is always sharp and pertinent, and -often highly moral, was (except in a few instances, where he weakly -and meanly suffered his integrity to give way to his envy) seldom or -never employed in a dishonest or unmanly way." A few instances! I do -not believe it possible to point out one. Seldom or never! Why is -the Professor so parsimonious in his praise? He might safely have -said never. It has been the fashion to call Hogarth an envious man; I -cannot conjecture why. The critic surely does not mean to insinuate -that there was any violation of integrity in Hogarth's retaliating -the pictured shapes upon Wilkes and Churchill, or that he envied the -character of the late worthy Chamberlain of the city of London! - -Mr. Barry goes on: "Few have attempted to rival him in his moral -walk. The line of art pursued by my very ingenious predecessor and -brother Academician, Mr. Penny, is quite distinct from that of -Hogarth, and is of a much more delicate and superior relish; he -attempts the heart, and reaches it, whilst Hogarth's general aim -is only to shake the sides." Whoever will turn over a portfolio of -Hogarth's prints, will find that his satire had sometimes a higher -aim. "In other respects no comparison can be thought of,"--in good -truth, it cannot,--"as Mr. Penny has all that knowledge of the figure -and academical skill which the other wanted." Can Mr. Barry conceive -it possible that posterity will think Mr. Penny's line of art of a -superior relish to that of Hogarth! Mr. Penny's academical skill I -do not contest; but to say that Hogarth wanted all that knowledge of -the figure, etc., is rather too much. I know that imperfections may -be pointed out in some of his works, but they had their origin in -carelessness rather than ignorance. - -Mr. Barry concludes by remarking, that "perhaps it may be reasonably -doubted whether the being much conversant with Hogarth's method of -exposing meanness, deformity, and vice, in many of his works, is not -rather a dangerous, or at least a worthless pursuit; which, if it -does not find a false relish, and a love of, and search after, satire -and buffoonery in the spectator, is at least not unlikely to give him -one." - -That the Professor of Painting, after acknowledging Hogarth's satire -was highly moral, should be apprehensive that contemplating such of -his works as expose meanness, deformity, and vice, is dangerous, I -cannot comprehend! - -Considering their genius, general good tendency, and boundless -variety, it would have been more candid to have viewed them through -the medium of his beauties, than thus have distorted his faults, and -reluctantly admitted his merits; but to such criticism his own works -supply a short answer. - -An instance of this occurred in 1762, when the author of the _North -Briton_, among some other malign remarks, inserted the following -paragraph:--"I have for some time observed Hogarth's setting sun: he -has long been very dim, and almost shorn of his beams." A few weeks -after the appearance of this candid critique, Hogarth published his -"Medley," which, considered in the first and second state, has more -mind, and is marked with deeper satire, than all his other works! - -By fastidious connoisseurs it has been said that his scenes are -sometimes low and vulgar; but he carried into every subject the -energy of genius, and marked every countenance with the emotions of -the soul. He had powers more than equal to ascending into a higher -region, though, as he might have lost in utility what he gained in -dignity, this adherence to terrestrial objects is not much to be -regretted. Had he wandered in heathen mythology, and chosen to people -his canvas with demigods instead of the "Harlot's Progress," we might -have had the "Loves of Venus and Adonis;" and in the place of the -"Stages of Cruelty," the "Labours of Hercules." - -To enumerate the little critics that stepped forth with the _kind_ -intention of unpluming this "eagle tow'ring in his pride of place," -would be waste of ink; had they succeeded to their wish, not a -feather would have been left in his wing. As an artist, he might have -soared superior to their efforts; but when he commenced author, they -found him within their reach, and renewed their attack with redoubled -acrimony. - -Mr. Wilkes, in the _North Briton_ above quoted, calls him the -supposed author of the _Analysis_. By some he was said to have -borrowed a part of the work, and by others to have stolen the whole; -nay, I have more than once been seriously assured that every line -was written by his friends. To this I can now reply in a style -similar to that of the peripatetic, who, being told by a philosopher -that there was no such thing as motion, gravely rose from his seat -and walked across the room. I can produce the original manuscript, -with the red chalk corrections by his own hand.[3] This supplement to -that work, Hogarth wrote to vindicate himself from these and similar -aspersions. In explaining his motives, he is led into stating his -professional opinions; and in that part which relates to the Royal -Academy, predicts that, on the plan they set out, the institution -could never be of material use to the Arts. For one who is neither -artist, associate, nor academician, to assert that Hogarth's prophecy -is fulfilled, might be deemed too assuming. But, with little more -claim to connoisseurship than I derive from a long and unreserved -intimacy with some of the first painters of this country, I am led -to fear that the wish their late President expressed in his first -discourse is not likely to be speedily realized. He hopes that "the -present age may vie in Arts with that of Leo the Tenth; and that 'the -dignity of the dying Art' (to make use of an expression of Pliny) may -be revived under the reign of George the Third." - -This discourse was read in 1769; yet (let it not be told in Gath, nor -whispered in the streets of Askelon), when in 1797 the students of -the Royal Academy produced their drawings for the silver medal, not -one of them was found worthy of the prize; and what (considering the -recent discovery of the Venetian secret) was still more strange, all -the pictures sent by the candidates for the prize of painting were -rejected, and voted out of the room! This circumstance the Professor -of Painting has recorded in his letter to the Dilettanti Society, and -candidly admits that the fault does not lie with the students, but is -in the Institution! - -If it should be thought that Hogarth, in the course of his narration, -seems too tremblingly alive, and sometimes offended where offence -was not meant, let it be recollected that he must have felt superior -to men whom the public preferred. To rank him with Kent, Jervas, -Highmore, Hudson, Hayman, or any of that school of mannerists who -figured in the different periods of his life, is classing a giant -among pigmies. His works will bear the relative test of times when -the Arts may be higher than they were then or are now; and I am -fully conscious that this Memoir must derive its principal interest -from the celebrity of the artist, who, like Louis de Camoëns, was a -distinguished actor in the scenes he describes. - - - - -ANECDOTES OF AN ARTIST, - -_WHO HELD, AS 'TWERE, THE MIRROR UP TO NATURE_. - - -CONTAINING MANY CIRCUMSTANCES RELATIVE TO HIS LIFE, AND OPINIONS OF -THE ARTS, ARTISTS, ETC. OF THE TIMES IN WHICH HE LIVED; AND SUNDRY -MEMORANDA RELATIVE TO HIS PRINTS. - - -_Compiled from his Original Manuscripts, in the possession of_ - -JOHN IRELAND. - - - - -CHAPTER I. - - HOGARTH'S OWN ACCOUNT OF HIS BIRTH AND EARLY EDUCATION. REASONS - FOR HIS BEING APPRENTICED TO A SILVER-PLATE ENGRAVER; WITH - WHICH EMPLOYMENT BECOMING DISGUSTED, HE COMMENCES AN ENGRAVER - ON COPPER. METHOD OF STUDY. THE FATE OF THE FIRST PRINT HE - PUBLISHED, ETC. - - - "As many sets of my works have been lately sent to foreign - countries, and others sold to persons who, from their ignorance - of the particular circumstances at which I aimed, have mistaken - their meaning and tendency, I have been told that a short - account of such parts as are obscure, or have been most liable - to misconstruction, in those prints that are not noticed in Mr. - Rouquet's book,[4] would be highly acceptable. - - "I am further told, that the public have sometimes expressed a - curiosity to know what were the motives by which the author was - induced to make choice of subjects so different from those of - other painters, and what were his modes of study in a walk which - had not been trode by any other man. These reasons will, I hope, - be deemed a sufficient apology for my attempting the following - brief history; in which must necessarily be introduced my opinion - of the present state of the arts, and conduct of contemporary - artists, and a vindication of myself and my productions from the - aspersions which they have so liberally bestowed upon each. - - "With respect to my life,--to begin sufficiently early,--I was - born in the city of London, on the 10th day of November 1697, and - baptized the 28th of the same month. My father's pen, like that - of many other authors, did not enable him to do more than put me - in a way of shifting for myself. As I had naturally a good eye - and a fondness for drawing, shows of all sorts gave me uncommon - pleasure when an infant; and mimicry, common to all children, was - remarkable in me. An early access to a neighbouring painter drew - my attention from play, and I was at every possible opportunity - employed in making drawings. I picked up an acquaintance of - the same turn, and soon learnt to draw the alphabet with great - correctness. My exercises when at school were more remarkable - for the ornaments which adorned them, than for the exercise - itself.[5] In the former I soon found that blockheads with - better memories could much surpass me, but for the latter I was - particularly distinguished. - - "Besides the natural turn I had for drawing rather than learning - languages, I had before my eyes the precarious situation of men - of classical education. I saw the difficulties under which my - father laboured, and the many inconveniences he endured from his - dependence being chiefly on his pen, and the cruel treatment - he met with from booksellers and printers, particularly in - the affair of a _Latin Dictionary_,[6] the compiling of which - had been a work of some years. It was deposited in confidence - in the hands of a certain printer; and during the time it was - left, letters of approbation were received from the greatest - scholars in England, Scotland, and Ireland. But these flattering - testimonies from his acquaintance (who, as appears from their - letters which I have still by me, were of the first class) - produced no profit to the author.[7] It was therefore very - conformable to my own wishes that I was taken from school and - served a long apprenticeship to a silver-plate engraver. - - "I soon found this business in every respect too limited. The - paintings of St. Paul's Cathedral and Greenwich Hospital,[8] - which were at that time going on, ran in my head, and I - determined that silver-plate engraving should be followed no - longer than necessity obliged me to it. Engraving on copper - was, at twenty years of age, my utmost ambition. To attain this - it was necessary that I should learn to draw objects something - like nature instead of the monsters of heraldry; and the common - methods of study were much too tedious for one who loved his - pleasure and came so late to it, for the time necessary to - learn in the usual mode would leave me none to spare for the - ordinary enjoyments of life. This led me to considering whether - a shorter road than that usually travelled was not to be found. - The early part of my life had been employed in a business rather - detrimental than advantageous to those branches of the art which - I wished to pursue, and have since professed. I had learned by - practice to copy with tolerable exactness in the usual way, but - it occurred to me that there were many disadvantages attending - this method of study, as having faulty originals, etc.; and even - when the pictures or prints to be imitated were by the best - masters, it was little more than pouring water out of one vessel - into another. Drawing in an academy, though it should be after - the life, will not make the student an artist; for as the eye - is often taken from the original to draw a bit at a time, it is - possible he may know no more of what he has been copying when his - work is finished than he did before it was begun. - - "There may be, and I believe are, some who, like the engrossers - of deeds, copy every line without remembering a word; and if - the deed should be in law Latin or old French, probably without - understanding a word of their original,--happy is it for them, - for to retain would be indeed dreadful. - - "A dull transcriber who, in copying Milton's _Paradise Lost_, - hath not omitted a line, has almost as much right to be compared - to Milton as an exact copier of a fine picture by Rubens hath to - be compared to Rubens. In both cases the hand is employed about - minute parts, but the mind scarcely ever embraces the whole. - Besides this, there is an essential difference between the man - who transcribes the deed and he who copies the figure; for - though what is written may be line for line the same with the - original, it is not probable that this will often be the case - with the copied figure: frequently far from it. Yet the performer - will be much more likely to retain a recollection of his own - imperfect work than of the original from which he took it. - - "More reasons, not necessary to enumerate, struck me as strong - objections to this practice, and led me to wish that I could - find the shorter path; fix forms and characters in my mind, and, - instead of copying the lines, try to read the language, and, if - possible, find the grammar of the art, by bringing into one focus - the various observations I had made, and then trying by my power - on the canvas how far my plan enabled me to combine and apply - them to practice. - - "For this purpose I considered what various ways, and to what - different purposes, the memory might be applied, and fell - upon one which I found most suitable to my situation and idle - disposition. - - "Laying it down first as an axiom, that he who could by any means - acquire and retain in his memory perfect ideas of the subjects - he meant to draw, would have as clear a knowledge of the figure - as a man who can write freely hath of the twenty-four letters - of the alphabet and their infinite combinations (each of these - being composed of lines), and would consequently be an accurate - designer. - - "This I thought my only chance for eminence, as I found that - the beauty and delicacy of the stroke in engraving was not to - be learnt without much practice, and demanded a larger portion - of patience than I felt myself disposed to exercise. Added to - this, I saw little probability of acquiring the full command of - the graver in a sufficient degree to distinguish myself in that - walk; nor was I, at twenty years of age, much disposed to enter - on so barren and unprofitable a study as that of merely making - fine lines. I thought it still more unlikely, that by pursuing - the common method and copying old drawings, I could ever attain - the power of making new designs, which was my first and greatest - ambition. I therefore endeavoured to habituate myself to the - exercise of a sort of technical memory; and by repeating in my - own mind the parts of which objects were composed, I could by - degrees combine and put them down with my pencil. Thus, with - all the drawbacks which resulted from the circumstances I have - mentioned, I had one material advantage over my competitors, - viz. the early habit I thus acquired of retaining in my mind's - eye, without coldly copying it on the spot, whatever I intended - to imitate.[9] Sometimes, but too seldom, I took the life for - correcting the parts I had not perfectly enough remembered, and - then I transferred them to my compositions. - - "My pleasures and my studies thus going hand in hand, the most - striking objects that presented themselves, either comic or - tragic, made the strongest impression on my mind; but had not I - sedulously practised what I had thus acquired, I should very soon - have lost the power of performing it. - - "Instead of burdening the memory with musty rules, or tiring - the eyes with copying dry and damaged pictures, I have ever - found studying from nature the shortest and safest way of - attaining knowledge in my art.[10] By adopting this method I - found a redundancy of matter continually occurring. A choice - of composition was the next thing to be considered, and my - constitutional idleness[11] naturally led me to the use of such - materials as I had previously collected; and to this I was - further induced by thinking that, if properly combined, they - might be made the most useful to society, in painting, although - similar subjects had often failed in writing and preaching. - - "To return to my narrative: the instant I became master of my own - time, I determined to qualify myself for engraving on copper. In - this I readily got employment; and frontispieces to books, such - as prints to _Hudibras_, in twelves, etc., soon brought me into - the way. But the tribe of booksellers remained as my father had - left them when he died about five years before this time,[12] - which was of an illness occasioned partly by the treatment he met - with from this set of people, and partly by disappointment from - great men's promises; so that I doubly felt this usage, which put - me upon publishing on my own account. But here again I had to - encounter a monopoly of printsellers equally mean and destructive - to the ingenious; for the first plate I published, called the - 'Taste of the Town,' in which the reigning follies were lashed, - had no sooner begun to take a run, than I found copies of it in - the print-shops, vending at half price, while the original prints - were returned to me again; and I was thus obliged to sell the - plate for whatever these pirates pleased to give me, as there was - no place of sale but at their shops. - - "Owing to this and other circumstances, by engraving, until I was - near thirty, I could do little more than maintain myself; but - even then I was a punctual paymaster." - -The print here alluded to, I apprehend to be that now entitled the -"Small Masquerade Ticket," or "Burlington Gate," published in 1724, -in which the follies of the town are very severely satirized by the -representation of multitudes, properly habited, crowding to the -masquerade,[13] opera, pantomime of _Doctor Faustus_, etc., while -the works of our greatest dramatic writers are trundled through the -streets in a wheel-barrow, and cried as waste paper for shops. - -As a further illustration of the taste of the times, the artist -has given a view of Burlington Gate, with a figure, I believe, -intended to represent the then fashionable artist, William Kent, on -the summit, brandishing his palette and pencils, and placed in a -more elevated situation than either Michael Angelo or Raphael, who, -seated beneath, become the two supporters to this favourite of Lord -Burlington. - -To this popular artist, architect, and improver of gardens, Hogarth -seems to have had an early dislike, founded in some degree on his -being, as he really was, a most contemptible painter; and probably -heightened by his ranking higher, with those who led the fashion of -the day, than that very superior artist, Sir James Thornhill. - -Hogarth the year following published his - - -COPY OF KENT'S ALTAR-PIECE,[14] - -[Illustration: KENT'S ALTAR-PIECE] - -which, combined with the inscription engraved beneath, is a very -bitter satire on the painter; though it must be acknowledged that the -original, which has been for many years in the vestry-room of St. -Clement Danes, amply justifies the ridicule. - -This picture produced a small tract, with the following title:-- - -"A letter from a parishioner of St. Clement Danes, to Edmund -(Gibson), Lord Bishop of London, occasioned by his Lordship's causing -the picture over the altar to be taken down, with some observations -on the use and abuse of church paintings in general, and of that -picture in particular." - -In this tract, after some compliments to the prelate, the writer -works himself into a violent rage at the introduction of this -piece of popish foppery, and asks some questions which in a degree -elucidate part of the inscription under Hogarth's copy:-- - -"To what end or purpose was it put there, but to affront our -most gracious sovereign, by placing at our very altar the known -resemblance of a person who is the wife of his utter enemy, and -pensioner to the whore of Babylon? - -"When I say the known resemblance, I speak not only according to my -own knowledge, but appeal to all mankind who have seen the Princess -Sobieski, or any picture or resemblance of her, if the picture of -that angel in the white garment and blue mantle, which is there -supposed to be beating time to the music, is not directly a great -likeness of that princess. - -"Whether it was done by chance or on purpose, I shall not determine; -but be it which it will, it has given great offence, and your -Lordship has acted the part of a wise and good prelate to order -its removal." - -It was probably during the time of Hogarth's apprenticeship that he -engraved the annexed print, entitled - - -THE RAPE OF THE LOCK. - -[Illustration: THE RAPE OF THE LOCK.] - -I by no means think, as Mr. Nichols asserts, that this is one of -the poorest of Hogarth's performances; for though slight, and -not intended to be impressed on paper, the air of the figures is -easy, and the faces, especially those of Sir Plume and the heroine -of the story, extremely characteristic. It is said to have been -engraven on the lid of a snuff-box for some gentleman characterized -in Pope's admirable mock-heroic poem, probably Lord Petre, who is -here represented as holding the lock of hair in his left hand. Sir -Plume,--the round-faced and insignificant Sir Plume,-- - - "Of amber snuff-box justly vain, - And the nice conduct of a clouded cane;" - -for Sir George Brown, who was the only one of the party that took -the thing serious. He was angry that the poet should make him talk -nothing but nonsense; and, in truth (as Mr. Warburton adds), one -could not well blame him. - -As this little story was intended to be viewed on gold, the figures -in the copy are not reversed, but left as they were originally -engraven on the box; from which I believe there are only three -impressions extant, one of which was sold by Greenwood at Mr. -Gulston's sale, on the 7th of February 1786, for £33. - -The following account of the persons for whom Hogarth painted several -of his early pictures is copied from his own handwriting, and may -sometimes be useful in tracing the pedigree of a portrait. - -By this list, it appears that the two pictures of "Before and -After" were painted for a Mr. Thomson; but as it is not probable -that Hogarth delineated this subject twice, I think that these two -pictures were the property of the late Lord Besborough. They were -sold on his Lordship's demise, in February 1801, at Christie's rooms. - - - "_Account taken, January 1, 1731, of all the pictures that remain - unfinished.--Half payment received._ - - A family piece, consisting of four figures, for Mr. Rich, 1728. - An assembly of twenty-five figures, for Lord Castlemain, August - 28, 1729. - Family of four figures; Mr. Wood, 1728. - A conversation of six figures; Mr. Cock, Nov. 1728. - A family of five figures; Mr. Jones, March 1730. - The Committee of the House of Commons, for Sir Archibald Grant, - Nov. 5, 1729. - The Beggar's Opera; ditto. - Single figure; Mr. Kirkham, April 18, 1730. - Family of nine; Mr. Vernon, Feb. 27, 1730. - Another of two; Mr. Cooper. - Another of five; Duke of Montague. - Two little pictures; ditto. - Single figure; Sir Robert Pye, Nov. 18, 1730. - Two little pictures, called "Before and After," for Mr. Thomson, - Dec. 7, 1730. - A head, for Mr. Sarmond, Jan. 12, 1730-31. - Pictures bespoke for the present year 1731." - -With this his memorandum ends; and I regret that he has not recorded -the prices he received for the pictures. Mr. Nichols conjectures -that they were originally very low; he is most probably right with -respect to those that were painted in the early part of Hogarth's -life. But let it be recollected that for the portrait of Garrick in -Richard III. he received two hundred pounds, which, as the artist -himself remarks, was a more liberal remuneration than had been paid -to any contemporary painter. When my late friend Mr. Gainsborough -began to paint portraits at Bath (at a period when much higher prices -were paid), his general rule was five guineas for a three-quarters -portrait. - -Below is inserted a copy from one of Hogarth's early engravings, -the arms of the Duchess of Kendal, mistress to George I., probably -done on a piece of plate at the time he was Gamble's apprentice. The -original, of the same size, is in the Editor's possession. It is -drawn in a correct and spirited style; and considering the age of the -artist, and the purpose for which it was engraven, not demanding much -attention or exertion, gave some promise of the excellence which he -afterwards attained. - -In this point of view, to an admirer of Hogarth it becomes in some -degree interesting, which will, I hope, plead my apology for the -insertion of this solitary specimen of his boyish heraldry. On no -other ground should so insignificant a production as a coat of arms -have found a place in this volume. - -[Illustration: THE KENDAL ARMS.] - - - - -CHAPTER II. - - MARRIES. PAINTS SMALL CONVERSATIONS, WHICH SUBJECTS HE QUITS - FOR FAMILIAR PRINTS. ATTEMPTS HISTORY; BUT FINDING IT IS NOT - ENCOURAGED IN ENGLAND, RETURNS TO ENGRAVING FROM HIS OWN DESIGNS. - OCCASIONALLY TAKES PORTRAITS LARGE AS LIFE, FOR WHICH HE INCURS - MUCH ABUSE. TO PROVE HIS POWERS AND VINDICATE HIS FAME, PAINTS - THE ADMIRABLE PORTRAIT OF CAPTAIN CORAM, AND PRESENTS IT TO THE - FOUNDLING HOSPITAL. - - - "I then married, and commenced painter of small conversation - pieces, from twelve to fifteen inches high. This having novelty, - succeeded for a few years. But though it gave somewhat more - scope to the fancy, was still but a less kind of drudgery; and - as I could not bring myself to act like some of my brethren, and - make it a sort of a manufactory to be carried on by the help - of background and drapery painters, it was not sufficiently - profitable to pay the expenses my family required. I therefore - turned my thoughts to a still more novel mode, viz. painting and - engraving modern moral subjects, a field not broken up in any - country or any age. - - "The reasons which induced me to adopt this mode of designing - were, that I thought both writers and painters had, in the - historical style, totally overlooked that intermediate species of - subjects which may be placed between the sublime and grotesque; - I therefore wished to compose pictures on canvas, similar to - representations on the stage, and further hope that they will be - tried by the same test, and criticised by the same criterion. Let - it be observed, that I mean to speak only of those scenes where - the human species are actors, and these I think have not often - been delineated in a way of which they are worthy and capable. - - "In these compositions, those subjects that will both entertain - and improve the mind bid fair to be of the greatest public - utility, and must therefore be entitled to rank in the highest - class. If the execution is difficult (though that is but a - secondary merit), the author has a claim to a higher degree - of praise. If this be admitted, comedy in painting as well as - writing ought to be allotted the first place, as most capable - of all these perfections, though the sublime, as it is called, - has been opposed to it. Ocular demonstration will carry more - conviction to the mind of a sensible man, than all he would find - in a thousand volumes; and this has been attempted in the prints - I have composed. Let the decision be left to every unprejudiced - eye; let the figures in either pictures or prints be considered - as players dressed either for the sublime,--for genteel - comedy,[15] or farce,--for high or low life. I have endeavoured - to treat my subjects as a dramatic writer: my picture is my - stage, and men and women my players, who by means of certain - actions and gestures are to exhibit a dumb show. - - "Before I had done anything of much consequence in this walk, - I entertained some hopes of succeeding in what the puffers in - books call the great style of history painting; so that without - having had a stroke of this grand business before, I quitted - small portraits and familiar conversations, and with a smile - at my own temerity, commenced history painter, and on a great - staircase at St. Bartholomew's Hospital painted two Scripture - stories (the 'Pool of Bethesda' and the 'Good Samaritan'), with - figures seven feet high. These I presented to the charity,[16] - and thought they might serve as a specimen to show that were - there an inclination in England for encouraging historical - pictures, such a first essay might prove the painting them more - easily attainable than is generally imagined. But as religion, - the great promoter of this style in other countries, rejected it - in England, I was unwilling to sink into a portrait manufacturer; - and, still ambitious of being singular, dropped all expectations - of advantage from that source, and returned to the pursuit of - my former dealings with the public at large. This I found was - most likely to answer my purpose, provided I could strike the - passions, and by small sums from many, by the sale of prints - which I could engrave from my own pictures, thus secure my - property to myself. - - "In pursuing my studies, I made all possible use of the - technical memory which I have before described, by observing and - endeavouring to retain in my mind lineally such objects as best - suited my purpose; so that be where I would, while my eyes were - open, I was at my studies, and acquiring something useful to my - profession. By this means, whatever I saw, whether a remarkable - incident or a trifling subject, became more truly a picture - than one that was drawn by a camera-obscura. And thus the most - striking objects, whether of beauty or deformity, were by habit - the most easily impressed and retained in my imagination. A - redundancy of matter being by this means acquired, it is natural - to suppose I introduced it into my works on every occasion that I - could. - - "By this idle way of proceeding I grew so profane as to admire - nature beyond the first productions of art, and acknowledged I - saw, or fancied, delicacies in the life so far surpassing the - utmost efforts of imitation, that when I drew the comparison - in my mind, I could not help uttering blasphemous expressions - against the divinity even of Raphael Urbino, Correggio, - and Michael Angelo. For this, though my brethren have most - unmercifully abused me, I hope to be forgiven. I confess to have - frequently said, that I thought the style of painting which I had - adopted, admitting that _my_ powers were not equal to doing it - justice, might one time or other come into better hands, and be - made more entertaining and more useful than the eternal blazonry - and tedious repetition of hackneyed, beaten subjects, either from - the Scriptures or the old ridiculous stories of heathen gods; as - neither the religion of one or the other requires promoting among - Protestants, as it formerly did in Greece, and at a later period - in Rome.[17] - - "For these and other heretical opinions, as I have before - observed, I was deemed vain, and accused of enviously attempting - what I was unable to execute. - - "The chief things that have brought much obloquy on me are: - First, the attempting portrait-painting; Secondly, writing - the _Analysis of Beauty_; Thirdly, painting the picture of - 'Sigismunda;' and, Fourthly, publishing the first print of 'The - Times.' - - "In the ensuing pages it shall be my endeavour to vindicate - myself from these aspersions, and each of the subjects taken in - the order they occurred shall be occasionally interspersed with - some thoughts by the way on the state of the arts, institution of - a Royal Academy, Society of Arts, etc., as being remotely, if not - immediately, connected with my own pursuits. - - "Though small whole lengths and prints of familiar conversations - were my principal pursuit, yet by those who were partial to - me I was sometimes employed to paint portraits as large as - life, and for this I was most barbarously abused. My opponents - acknowledged, that in the particular branches to which I had - devoted my attention I had some little merit; but as neither - history nor portrait were my province, nothing but what they were - pleased to term extreme vanity could induce me to attempt either - one or the other; for it would be interfering in that branch of - which I had no knowledge, and in which I had therefore no concern. - - "At this I was rather piqued, and, as well as I could, defended - my conduct and explained my motives. Some part of this defence - it will be necessary to repeat; and it will also be proper to - recollect, that after having had my plates pirated in almost - all sizes, I, in 1735, applied to Parliament for redress, and - obtained it in so liberal a manner as hath not only answered - my own purpose, but made prints a considerable article in the - commerce of this country; there being now more business of this - kind done here than in Paris, or anywhere else, and as well. - - "The dealers in pictures and prints found their craft in danger - by what they called a new-fangled innovation. Their trade of - living and getting fortunes by the ingenuity of the industrious - has, I know, suffered much by my interference; and if the - detection of this band of public cheats and oppressors of the - rising artists be a crime, I confess myself most guilty. - - "To put this matter in a fair point of view, it will be necessary - to state the situation of the arts and artists at this period. - In doing which, I shall probably differ from every other author, - as I think the books hitherto written on the subject have had a - tendency to confirm prejudice and error, rather than diffuse - information and truth. My notions of painting differ not only - from those who have formed their opinions from books, but from - those who have taken them upon trust. - - "I am therefore under the necessity of submitting to the public - what may possibly be deemed peculiar opinions, but without - the least hope of bringing over either men whose interests - are concerned, or who implicitly rely upon the authority of a - tribe of picture dealers and puny judges that delight in the - marvellous, and determine to admire what they do not understand; - but I have hope of succeeding a little with such as dare to think - for themselves, and can believe their own eyes. - - "As introductory to the subject, let us begin with considering - that branch of the art which is termed _still life_--a species of - painting which ought to be held in the lowest estimation. - - "Whatever is or can be perfectly fixed, from the plainest to the - most complicated object, from a bottle and glass to a statue - of the human figure, may be denominated _still life_. Ship and - landscape painting ought unquestionably to come into the same - class; for if copied exactly as they chance to appear, the - painters have no occasion of judgment; yet with those who do not - consider the few talents necessary, even this tribe sometimes - pass for very capital artists. - - "'Well painted, and finely pencilled!' are phrases perpetually - repeated by coach and sign painters. Merely well painted or - pencilled is chiefly the effect of much practice; and we - frequently see that those who are in these particulars very - excellent cannot advance a step further. - - "As to portrait-painting, the chief branch of the art by which - a painter can procure himself a tolerable livelihood, and the - only one by which a lover of money can get a fortune; a man - of very moderate talents may have great success in it, as the - artifice and address of a mercer is infinitely more useful than - the abilities of a painter. By the manner in which the present - race of professors in England conduct it, that also becomes - _still life_ as much as any of the preceding. Admitting that the - artist has no further view than merely copying the figure, this - must be admitted to its full extent; for the sitter ought to be - still as a statue, and no one will dispute a statue being as much - _still life_ as fruit, flowers, a gallipot, or a broken earthen - pan. It must, indeed, be acknowledged they do not seem ashamed - of the title, for their figures are frequently so executed as to - be _as still as a post_. Posture and drapery, as it is called, - is usually supplied by a journeyman, who puts a coat, etc. on a - wooden figure like a jointed doll, which they call a layman, and - copies it in every fold as it chances to come; and all this is - done at so easy a rate, as enables the principal to get more - money in a week than a man of the first professional talents can - in three months. If they have a sufficient quantity of silks, - satins, and velvets to dress their layman, they may thus carry on - a very profitable manufactory without a ray of genius. There is - a living instance well known to the connoisseurs in this town, - of one of the best copiers of pictures, particularly those by - Rubens, who is almost an idiot.[18] Mere correctness, therefore, - if in still life, from an apple or a rose, to the face,--nay, - even the whole figure, if you take it merely as it presents - itself,--requires only an exact eye and an adroit hand. Their - pattern is before them, and much practice with little study is - usually sufficient to bring them into high vogue. By perpetual - attention to this branch only, one should imagine they would - attain a certain stroke--quite the reverse; for though the whole - business lies in an oval of four inches long, which they have - before them, they are obliged to repeat and alter the eyes, - mouth, and nose, three or four times before they can make it what - they think right. The little praise due to their productions - ought, in most cases, to be given to the drapery-man, whose pay - is only one part in ten, while the other nine, as well as all - the reputation, is engrossed by the master phiz-monger for a - proportion which he may complete in five or six hours; and even - this, little as it is, gives him so much importance in his own - eyes, that he assumes a consequential air, sets his arms akimbo, - and, strutting among the historical artists, cries, 'How we - apples swim!' - - "For men who drudge in this mechanical part merely for gain, to - commence dealers in pictures is natural. In this, also, great - advantage may accrue from the labour and ingenuity of others. - They stand in the catalogue of painters; and having little - to study in their own way, become great connoisseurs, not in - the points where real perfection lies, for there they must be - deficient, as their ideas have been confined to the oval; but - their great inquiry is, how the old masters stand in the public - estimation, that they may regulate their prices accordingly, - both in buying and selling. You may know these painter-dealers - by their constant attendance at auctions. They collect under - pretence of a love for the arts, but sell, knowing the reputation - they have stamped on the commodity they have once purchased, in - the opinion of the ignorant admirer of pictures, drawings, and - prints, which, thus warranted, almost invariably produce them - treble their original purchase money, and treble their real - worth. Unsanctioned by their authority,[19] and unascertained - by tradition, the best preserved and highest finished picture - (though it should have been painted by Raphael) will not, at - a public auction, produce five shillings; while a despicable, - damaged, and repaired old canvas, sanctioned by their praise, - shall be purchased at any price, and find a place in the noblest - collections. All this is very well understood by the dealers, - who, on every occasion where their own interest is concerned, - are wondrously loquacious in adoring the mysterious beauties! - spirited touches! brilliant colours! and the Lord knows what, of - these ancient worn-out wonders! But whoever should dare to hint - that (admitting them to be originally painted by Raphael) there - is little left to admire in them, would be instantly stigmatized - as vilifying the great masters, and, to invalidate his judgment, - accused of envy and self-conceit. By these misrepresentations, - if he has an independent fortune, he only suffers the odium; but - if a young man, without any other property than his talents, - presumes boldly to give an opinion, he may be undone by his - temerity; for the whole herd will unite and try to hunt him down. - - "Such is the situation of the arts and artists at this - time. Credulity,--an implicit confidence in the opinions of - others,--and not daring to think for themselves, leads the whole - town into error, and thus they become the prey of ignorant and - designing knaves. - - "With respect to portrait-painting, whatever talents a professor - may have, if he is not in fashion, and cannot afford to hire - a drapery-man, he will not do; but if he is in vogue, and can - employ a journeyman and place a layman in the garret of his - manufactory, his fortune is made, and, as his two coadjutors are - kept in the background, his own fame is established. - - "If a painter comes from abroad, his being an exotic will be - much in his favour; and if he has address enough to persuade the - public that he had brought a new discovered mode of colouring, - and paints his faces all red, all blue, or all purple, he has - nothing to do but to hire one of these painted tailors as an - assistant, for without him the manufactory cannot go on, and my - life for his success. - - "Vanloo,[20] a French portrait-painter, being told that the - English were to be cajoled by any one who had a sufficient - portion of assurance, came to this country, set his trumpeters to - work, and by the assistance of puffing monopolized all the people - of fashion in the kingdom. Down went at once *,--*,--*,--*,--*,-- - etc. etc. etc.,[21] painters who before his arrival were highly - fashionable and eminent, but by this foreign interloper were - driven into the greatest distress and poverty. - - "By this inundation of folly and fuss, I must confess I was much - disgusted, and determined to try if by any means I could stem the - torrent, and 'by opposing end it.' I laughed at the pretensions - of these quacks in colouring, ridiculed their productions as - feeble and contemptible, and asserted that it required neither - taste nor talents to excel their most popular performances. - This interference excited much enmity, because, as my opponents - told me, my studies were in another way. You talk, added they, - with ineffable contempt of portrait-painting; if it is so easy a - task, why do not you convince the world by painting a portrait - yourself? Provoked at this language, I one day at the Academy - in St. Martin's Lane put the following question: Supposing any - man at this time were to paint a portrait as well as Vandyke, - would it be seen or acknowledged, and could the artist enjoy the - benefit or acquire the reputation due to his performance? - - "They asked me in reply if I could paint one as well? and I - frankly answered, 'I believed I could.'[22] My query as to the - credit I should obtain if I did, was replied to by Mr. Ramsay, - and confirmed by the president and about twenty members present: - 'Our opinions must be consulted, and we will never allow it.' - Piqued at this cavalier treatment, I resolved to try my own - powers; and if I did what I attempted, determined to affirm - that _I had done it_. In this decided manner I had a habit of - speaking; and if I only did myself justice, to have adopted half - words would have been affectation. Vanity, as I understand it, - consists in affirming you have done that which you have not - done, not in frankly asserting what you are convinced is truth. - - "A watchmaker may say, 'The watch which I have made for you is - as good as Quare, or Tompion, or any other man could have made.' - If it really is so, he is neither called vain nor branded with - infamy, but deemed an honest and fair man for being as good - as his word. Why should not the same privilege be allowed to - a painter? The modern artist, though he will not warrant his - works as the watchmaker, has the impudence to demand twice as - much money for painting them as was charged by those whom he - acknowledges his superiors in the art. - - "Of the mighty talents said to be requisite for portrait-painting - I had not the most exalted opinion, and thought that, if I - chose to practise in this branch, I could at least equal my - contemporaries, for whose glittering productions I really had not - much reverence. In answer to this there are who will say with - Peachum in the play, 'All professions be-rogue one another;' but - let it be taken into the account that men with the same pursuits - are naturally rivals, and when put in competition with each - other must necessarily be so,--what racer ever wished that his - opponent might outrun him? what boxer ever chose to be beat in - pure complaisance to his antagonist? The artist who pretends to - be pleased and gratified when he sees himself excelled by his - competitor must have lost all reverence for truth, or be totally - dead to that spirit which I believe to be one great source - of excellence in all human attempts; and if he is so polite - and civil as to confess superiority in one he knows to be his - inferior, he must be either a fool or an hypocrite, perhaps both. - If he has temper enough to be silent, it is surely sufficient; - but this I have seldom seen, even amongst the most complaisant - and liberal of the faculty. - - "Those who will honestly speak their feelings must confess that - all this is natural to man. One of the highest gratifications of - superiority arises from the pleasure which attends instructing - men who do not know so much as ourselves; but when they verge - on being rivals, the pleasure in a degree ceases. Hence the - story of Rubens advising Vandyke to paint horses and faces, to - prevent, as it is said, his being put in competition with himself - in history-painting. Had either of these great artists lived in - England at this time, they would have found men of very moderate - parts--mere face painters--who, if they chanced to be in vogue, - might with ease get a thousand a year, when they with all their - talents would scarcely have found employment. - - "To return to my dispute with Mr. Ramsay on the abilities - necessary for portrait-painting: as I found the performances - of professors in this branch of the art were held in such - estimation, I determined to have a brush at it. I had - occasionally painted portraits; but as they required constant - practice to take a likeness with facility, and the life must not - be rigidly followed, my portraitures met with a fate somewhat - similar to those of Rembrandt. By some they were said to be - nature itself, by others declared most execrable; so that time - only can decide whether I was the best or the worst face painter - of my day, for a medium was never so much as suggested. - - "The portrait which I painted with most pleasure, 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.[23] To this - I refer Mr. _Rams-eye_[24] and his quick-sighted and impartial - coadjutors." - - -CAPTAIN THOMAS 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 an -hundred pounds a year,[25] 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 late Frederick -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. - -Hogarth thus resumes his narrative:-- - - "For the portrait of Mr. Garrick in Richard III. I was paid two - hundred pounds[26] (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 phiz-mongers 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,[27] 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.[28] - 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 an higher honour, -from its being neither lightly nor indiscriminately given. The -following letter from the facetious Mr. George Faulkner notices the -estimation in which the author of _The Battle of the Books_ held the -painter of "The Battle of the Pictures:"-- - - -_To Mr. William Hogarth, at his house in Leicester Fields, London._ - - "SIR,--I was favoured with a letter from Mr. Delany, who tells me - that you are going to publish three prints.[29] Your reputation - here is sufficiently known to recommend anything of yours, and I - shall be glad to serve you. The duty on prints is ten per cent. - in Ireland. You may send me fifty sets, provided you will take - back what I cannot sell. I desire no other profit than what you - allow in London to those who sell them again. I have often the - favour of drinking your health with Doctor Swift, who is a great - admirer of yours, and hath made mention of you in his poems with - great honour,[30] and desired me to thank you for your kind - present, and to accept of his service.--I am, Sir, your most - obedient and most humble servant, - - "GEORGE FAULKNER. - - "DUBLIN, _Nov. 15, 1740_." - -Hogarth about this time painted the portrait of Dr. Benjamin Hoadley, -Bishop of Winchester, which, though rather French, is in a grand -style. Concerning it, Dr. John Hoadley wrote the following whimsical -epistle to the artist:-- - - -_To Mr. Wm. Hogarth._ - - "DEAR BILLY.--You were so kind as to say you would touch up - the Doctor if I would send it to town. Lo! it is here. I am at - Alresford for a day or two, to shear my flock and to feed 'em - (money, you know, is the sinews of war); and having this morning - taken down all my pictures, in order to have my room painted, - I thought I might as well pack up Dr. Benjamin, and send him - packing to London. My love to him, and desire him, when his wife - says he looks charmingly, to drive immediately to Leicester - Fields (Square I mean, I beg your pardon), and sit an hour or - two, or three, in your painting-room. Do not set it by and forget - it now,--don't you. My humble service waits upon Mrs. Hogarth, - and all good wishes upon your honour; and I am, dear Sir, your - obliged and affectionate - - "J. HOADLEY." - - -[Illustration: (end of section floral icon)] - - - - -CHAPTER III. - - OF ACADEMIES. HOGARTH'S OPINION OF THAT NOW DENOMINATED ROYAL; - AND OF THE SOCIETY FOR THE ENCOURAGEMENT OF ARTS, MANUFACTURES, - AND COMMERCE, GIVING PREMIUMS FOR PICTURES AND DRAWINGS. - - -Among Hogarth's loose papers I found the rough draft of a -letter (addressed but not directed) to a nobleman, declaring -his disapprobation of a scheme by which certain projectors were -endeavouring to establish a Royal Academy, and stating that he had -a plan which would be much more useful. I do not know that he ever -sent the epistle, or admitting he did, that it was honoured with an -answer. But as I think it probable he had given the subject some -consideration, with the hope of bringing his project to bear, and -that in the following pages relative to the Royal Academy he has -stated what he meant to have said to the Peer, I have inserted it:-- - - "MY LORD,--Mr. Martin has informed me that when some of my - thoughts relative to the establishment of a public academy are - put into writing, you will peruse them. I have made a rough - sketch, but to fit it for inspection will require much time, - which it will be needless to take till I have your Lordship's - opinion on two or three leading points on which the whole will - turn, and which I cannot with propriety commit to paper. A verbal - statement of them will not take up more than half an hour; and - if, when known, they are not concurred in, I will not take up - your Lordship's time by arguing on their propriety. But I am - vain enough to think, that though I must say strong, and perhaps - startling things, with regard to myself and others, I can prove - every position which I shall advance. - - "I have reason to believe that another project is in hand: this - the author will naturally defend in opposition to mine, but it - shall not create controversy; for being now upwards of sixty - years of age, and in a very poor state of health, I would rather - lose a favourite point than break a night's rest. - - "Mr. Ramsey, if I judge right, is no stranger to the plan I - allude to, and I know his opinion differs from mine, and am - firmly persuaded his interest will induce him to support it.--I - am, my Lord, etc., - - "W. H." - - "Much has been said about the immense benefit likely to result - from the establishment of an academy in this country; but as I - do not see it in the same light with many of my contemporaries, - I shall take the freedom of making my objections to the plan on - which they propose forming it; and as a sort of preliminary to - the subject, state some slight particulars concerning the fate of - former attempts at similar establishments. - - "The first place of this sort was in Queen Street, about sixty - years ago; it was begun by some gentlemen-painters of the first - rank, who in their general forms imitated the plan of that in - France, but conducted their business with far less fuss and - solemnity; yet the little that there was, in a very short time - became the object of ridicule. Jealousies arose, parties were - formed, and the president and all his adherents found themselves - comically represented as marching in ridiculous procession round - the walls of the room. The first proprietors soon put a padlock - on the door; the rest, by their right as subscribers, did the - same, and thus ended this academy. - - "Sir James Thornhill, at the head of one of these parties, - then set up another in a room he built at the back of his own - house,--now next the playhouse,--and furnished tickets gratis - to all that required admission; but so few would lay themselves - under such an obligation, that this also soon sunk into - insignificance. Mr. Vanderbank headed the rebellious party, and - converted an old Presbyterian meeting-house into an academy, - with the addition of a woman figure, to make it the more inviting - to subscribers. This lasted a few years; but the treasurer - sinking the subscription money, the lamp, stove, etc. were seized - for rent, and that also dropped. - - "Sir James dying, I became possessed of his neglected apparatus; - and thinking that an academy conducted on proper and moderate - principles had some use, proposed that a number of artists should - enter into a subscription for the hire of a place large enough to - admit thirty or forty people to draw after a naked figure. This - was soon agreed to, and a room taken in St. Martin's Lane. To - serve the society, I lent them the furniture which had belonged - to Sir James Thornhill's academy; and as I attributed the failure - of that and Mr. Vanderbank's to the leading members assuming - a superiority which their fellow-students could not brook, I - proposed that every member should contribute an equal sum to the - establishment, and have an equal right to vote in every question - relative to the society. As to electing presidents, directors, - professors, etc., I considered it as a ridiculous imitation of - the foolish parade of the French Academy, by the establishment of - which Louis XIV. got a large portion of fame and flattery on very - easy terms. But I could never learn that the arts were benefited, - or that members acquired any other advantages than what arose - to a few leaders from their paltry salaries, not more I am - told than £50 a year; which, as must always be the case, were - engrossed by those who had most influence, without any regard - to their relative merit.[31] As a proof of the little benefit - the arts derived from this Royal Academy, Voltaire asserts that, - after its establishment, no one work of genius appeared in the - country: the whole band, adds the same lively and sensible - writer, became mannerists and imitators.[32] It may be said in - answer to this, that all painting is but imitation. Granted; - but if we go no further than copying what has been done before, - without entering into the spirit, causes, and effects, what are - we doing? If we vary from our original, we fall off from it, and - it ceases to be a copy; and if we strictly adhere to it, we can - have no hopes of getting beyond it; for 'if two men ride on a - horse, one of them must be behind.' - - "To return to our own academy. By the regulations I have - mentioned of a general equality, etc., it has now subsisted near - thirty years, and is, to every useful purpose, equal to that in - France, or any other; but this does not satisfy. The members, - finding his present Majesty's partiality to the arts, met at the - Turk's Head in Gerard Street, Soho, laid out the public money in - advertisements to call all sorts of artists together, and have - resolved to draw up and present a ridiculous address to King, - Lords, and Commons to do for them what they have (as well as - it can be) done for themselves. Thus to pester the three great - estates of the empire, about twenty or thirty students, drawing - after a man or a horse, appears, as it must be acknowledged, - foolish enough; but the real motive is, that a few bustling - characters, who have access to people of rank, think they can - thus get a superiority over their brethren, be appointed to - places, and have salaries as in France, for telling a lad when an - arm or a leg is too long or too short. - - "Not approving of this plan, I opposed it; and having refused - to assign to the society the property which I had before lent - them, I am accused of acrimony, ill-nature, and spleen, and held - forth as an enemy to the arts and artists. How far their mighty - project will succeed, I neither know nor care; certain I am it - deserves to be laughed at, and laughed at it has been.[33] The - business rests in the breast of Majesty, and the simple question - now is, whether he will do what Sir James Thornhill did before - him, _i.e._ establish an academy with the little addition of a - royal name, and salaries for those professors who can make most - interest and obtain the greatest patronage. As his Majesty's - beneficence to the arts will unquestionably induce him to do that - which he thinks most likely to promote them, would it not be more - useful if he were to furnish his own gallery with one picture by - each of the most eminent painters among his own subjects? This - might possibly set an example to a few of the opulent nobility; - but even then it is to be feared that there never can be a - market in this country, for the great number of works which, by - encouraging parents to place their children in this line, it - would probably cause to be painted. The world is already glutted - with these commodities, which do not perish fast enough to want - such a supply. - - "In answer to this and other objections which I have sometimes - made to those who display so much zeal for increasing learners, - and crowding the profession, I am asked if I consider what the - arts were in Greece, what immense benefits accrued to the city - of Rome from the possession of their works, and what advantages - the people of France derive from the encouragement given by - their Royal Academy? It is added, why cannot we have one on the - same principles? That we may not be led away by sounds without - meaning, let us take a cursory view of these things separately, - and in the same order that they occurred. - - "The height to which the arts were carried in Greece was owing - to a variety of causes, concerning some of which we can now - only form conjectures. They made a part of their system of - government, and were connected with their modes of worship. Their - temples were crowded with deities of their own manufacture, and - in places of public resort were depicted such actions of their - fellow-citizens as deserved commemoration; which, being displayed - in a language legible to all, incited the spectator to emulate - the virtues they represented. The artists who could perform such - wonders were held in an estimation of which we can hardly form an - idea; and could we ascertain the rewards they received, I think - it would be found that they were most liberally paid for their - works, and might therefore devote much more time than we can - afford to rendering them perfect. - - "With all this, even there, the arts had but a slow rise; and - when they had attained their highest state of perfection, the - Romans (having previously plundered and butchered their own - neighbours) attacked and conquered the Greeks, and robbed them - also of their portable treasures, particularly their statues - and pictures.[34] To sculpture and painting, war is a most - destructive enemy; the rage of conquest, civil broils, and - intestine quarrels, necessarily put a stop to the exercise of - the imitative arts, which lay in a dormant state until they - were revived by the introduction of a new religion; this, in - the magnificent style it was there brought forward, called upon - sculpture and painting for their auxiliary aid. The admirable - specimens that during the perturbed period above alluded to - had been hidden in the earth, were now restored to light, - eagerly sought for, and in some cases appropriated to purposes - diametrically opposite to their pagan origin.[35] Even those that - were mutilated were held in the most enthusiastic admiration. - The 'Torso,' and many other inimitable specimens, prove that - their admiration was just. The contemplation of such works would - naturally produce imitators, who in time rivalled, but never - could equal, their originals. These remains of ancient grandeur - being thus added to their new productions, and both interwoven, - forming a sort of ornamental fringe to their gaudy religion, Rome - became a kind of puppet-show to the rest of Europe; and, whatever - it might be to their visitors, was certainly very advantageous - to themselves. The arts are much indebted to Popery, and that - religion owes much of its universality to the arts. - - "France, ever aping the magnificence of other nations, has in its - turn assumed a foppish kind of splendour sufficient to dazzle - the eyes of neighbouring states, and draw vast sums of money - from this country. We cannot vie with these Italian and Gallic - theatres of art, and to enter into competition with them is - ridiculous; we are a commercial people, and can purchase their - curiosities ready made, as in fact we do, and thereby prevent - their thriving in our native clime. If I may be permitted to - compare great things with small, this nation labours under - similar disadvantage to the playhouse in Goodman's Fields, which, - though it might injure, could never rival the two established - theatres, so much more properly situated, in any degree material - to itself. - - "In Holland, selfishness is the ruling passion; in England, - vanity is united with it. Portrait-painting therefore ever - has, and ever will succeed better in this country than in any - other.[36] The demand will be as constant as new faces arise; and - with this we must be contented, for it will be vain to attempt - to force what can never be accomplished, or at least can never - be accomplished by such institutions as Royal Academies on the - system now in agitation. Upon the whole, it must be acknowledged - that the artists and the age are fitted for each other. If - hereafter the times alter, the arts, like water, will find their - level. - - "Among other causes that militate against either painting or - sculpture succeeding in this nation, we must place our religion; - which, inculcating unadorned simplicity, does not require--nay, - absolutely forbids--images for worship, or pictures to excite - enthusiasm. Paintings are considered as pieces of furniture, - and Europe is already overstocked with the works of other ages. - These, with copies countless as the sands on the sea-shore, - are bartered to and fro, and quite sufficient for the demands - of the curious, who naturally prefer scarce, expensive, and - far-fetched productions to those which they might have on low - terms at home. Who can be expected to give forty guineas for a - modern landscape, though in ever so superior a style, when he - can purchase one which, for little more than double the sum, - shall be sanctioned by a sounding name, and warranted original - by a solemn-faced connoisseur? This considered, can it excite - wonder that the arts have not taken such deep root in this soil - as in places where the people cultivate them from a kind of - religious necessity, and where proficients have so much more - profit in the pursuit? Whether it is to our honour or disgrace, - I will not presume to say, but the fact is indisputable, that - the public encourage trade and mechanics rather than painting - and sculpture. Is it then reasonable to think that the artist, - who, to attain essential excellence in his profession, should - have the talents of a Shakspeare, a Milton, or a Swift, will - follow this tedious and laborious study merely for fame, when his - next-door neighbour, perhaps a porter-brewer or an haberdasher of - smallwares, can without any genius accumulate an enormous fortune - in a few years, become a lord mayor or a member of Parliament, - and purchase a title for his heir? Surely no; for as very few - painters get even moderately rich, it is not reasonable to expect - that they should waste their lives in cultivating the higher - branch of the art until their country becomes more alive to its - importance, and better disposed to reward their labours. - - "These are the true causes that have retarded our progress; and - for this shall a nation, which has in all ages abounded in men - of sound understanding and the brightest parts, be branded with - incapacity by a set of pedantic dreamers, who seem to imagine - that the degrees of genius are to be measured like the degrees on - a globe, determine a man's powers from the latitude in which he - was born, and think that a painter, like certain tender plants, - can only thrive in a hothouse? Gross as are these absurdities, - there will always be a band of profound blockheads ready to adopt - and circulate them, if it were only upon the authority of the - great names by which they are sanctioned.[37] - - "To return to our Royal Academy. I am told that one of their - leading objects will be sending young men abroad to study the - antique statues, etc. Such kind of studies may sometimes improve - an exalted genius, but they will not create it; and whatever has - been the cause, this same travelling to Italy has, in several - instances that I have seen, seduced the student from nature, and - led him to paint marble figures,--in which he has availed himself - of the great works of antiquity, as a coward does when he puts - on the armour of an Alexander; for with similar pretensions and - similar vanity, the painter supposes he shall be adored as a - second Raphael Urbino. - - "The fact is, that everything necessary for the student in - sculpture or painting may at this time be procured in London. - Of the 'Venus' and the 'Gladiator' we have small casts; and - even the 'Torso,' by which Michael Angelo asserted he learned - all he knew of the art, has been copied in a reduced size, and - the cast, by which the principle may be clearly seen, is sold - for a few shillings. These small casts, if quite correct, are - full as useful to the student as the originals; the parts are - easier comprehended, they are more portable to place in different - lights, and of an even colour, while the old Parian marbles are - apt to shine, dazzle, and confound the eye. If this be doubted, - let a plaster figure be smoked and oiled, and the true dimensions - of the muscles can be no more distinguished than those of a sooty - chimney-sweeper. - - "After all, though the best statues are unquestionably in parts - superlatively fine, and superior to nature, yet they have - invariably a something that is inferior. - - "As to pictures, there are enough in England to seduce us from - studying nature, which every man ought to do if he aims at any - higher rank than being an imitator of the works of others; and to - such servile spirits I will offer no advice. - - "In one word, I think that young men by studying in Italy have - seldom learnt much more than the names of the painters; though - sometimes they have attained the amazing power of distinguishing - styles,[38] and knowing by the hue of the picture the hard name - of the artist,--a power which, highly as they pride themselves - upon it, is little more than knowing one handwriting from - another. For this they gain great credit, and are supposed - vast proficients because they have travelled. They are gravely - attended to by people of rank, with whom they claim acquaintance, - and talk of the antique in a cant phraseology made up of half - or whole Italian, to the great surprise of their hearers, who - become gulls in order to pass for connoisseurs,--wonder with a - foolish face of praise, and bestow unqualified admiration on the - marvellous bad copies of marvellous bad originals which they have - brought home as trophies, and triumphantly display to prove their - discernment and taste. - - "Neither England nor Italy ever produced a more contemptible - dauber than the late Mr. Kent; and yet he gained the prize at - Rome, in England had the first people for his patrons, and, to - crown the whole, was appointed Painter to the King. But in this - country such men meet with the greatest encouragement, and - soonest work their way into noblemen's houses and palaces.[39] - - "To conclude, I think that this ostentatious establishment - can answer no one valuable purpose to the arts, nor be of the - least use to any individual, except those who are to be elected - professors and receive salaries for the _kind superintendence_ - they will exercise over such of their brethren as have not so - much interest as themselves.[40] - - "Many of the objections which I have to the institution of - this Royal Academy apply with equal force to the project of - the Society for the encouragement of Arts, Manufactures, and - Commerce, for distributing premiums for drawings and pictures; - subjects of which they are totally ignorant, and in which they - can do no possible service to the community. - - "It is extremely natural for noblemen, or young people of - fortune who have travelled and seen fine pictures and statues, - to be planet-struck with a desire of being celebrated in books, - like those great men of whom they have read in the lives of - the painters, etc.; for it must be recollected that the popes, - princes, and cardinals who patronized these painters, have been - celebrated as creators of the men who created those great works: - - 'Shar'd all their honours, and partook their fame.' - - "The 'Dilettanti' had all this in prospect when they offered - to establish a drawing-school, etc. at their own expense; for - here they expected to be paramount. But when those painters who - projected the scheme presumed to bear a part in the direction of - the school, the 'Dilettanti' kept their money, and rejected them - with scorn,--the whole castle fell to the ground, and has been no - more heard of.[41] - - "This society of castle-builders have a similar idea. They wish - first to persuade the world that no genius can deserve notice - without being first cultivated under their direction, and will - ultimately neither foster nor encourage any artist that has not - been brought up by themselves. - - "The sounding title of a society for the encouragement of arts, - manufactures, and commerce, with two or three people of rank - at their head, attracted a multitude of subscribers. Men when - repeatedly applied to were unwilling to refuse two guineas a - year; people of leisure, tired of public amusements, found - themselves entertained with formal speeches from men who had - still more pleasure in displaying their talents for oratory. - Artificers of all descriptions were invited, and those who were - not bidden strained every nerve to become members, and appear - upon the printed list as promoters of the fine arts. By this - means they were consulted in their several professions, and happy - was he who could assume courage enough to speak, though ever so - little to the purpose. - - "The intention of this great society is unquestionably laudable; - their success in subscriptions astonishing. How far their - performances have been equal to their promises, it is not my - business to inquire; but as, while I had the honour of being a - member, my opinion was frequently asked on some points relating - to my own profession, I venture to lay it before the reader with - the same frankness that I then gave it. - - "When the society was in its infancy they gave premiums for - children's drawings, and for this--'Let children lisp their - praise.'[42] It was asserted that we should thus improve our own - manufactures, and gravely asked by these _professed_ encouragers - of the commerce of their country, if the French children being - instructed in drawing did not enable that people to give a - better air to all the articles they fabricated. I answered - positively, NO; and added, that thus trumpeting their praise was - a degradation of our own country, and giving to our rivals a - character which they had no right to. Were this point debated, - French superiority would be supported by fashionable ladies, - travelled gentlemen, and picture-dealers. In opposition to - them, would be those who are capable of judging for themselves, - the few that are not led away by popular prejudices, and the - first artists in the kingdom. These, I am conscious, would be - a minority, but composed of men that ought to have weight, and - whose opinion and advice should have been taken before the plan - was put in execution. - - "Of the immense improvement that is to take place in our - manufactures from boys of almost every profession being taught to - draw, I form no very sanguine expectations. - - "To attain the power of imitating the forms of letters with - freedom and precision in all their due proportions and various - elegant turns, as Snell has given them, requires as much - skill as to copy different forms of columns and cornices in - architecture, and might with some show of propriety be said to - demand a knowledge of design; yet common sense and experience - convince us that the proper place for acquiring a fine hand is - a writing-school. As measuring is but measuring, I do not think - that a tailor would make a suit of clothes fit better from - having been employed twice seven years in taking the dimensions - of all the bits of antiquity that remain in Greece.[43] How - absurd would it be to see periwig-makers and shoemakers' boys - learning the art of drawing, that they might give grace to a - peruke or a slipper! If the study of Claude's landscapes would - benefit the carver of a picture-frame, or the contemplation - of a finely-painted saucepan by Teniers or Bassan would be an - improvement to a tinman, it would be highly proper for this - society to encourage them in the practice of the arts. But as - this is not the case, giving lads of all ranks a little knowledge - of everything is almost as absurd as it would be to instruct - shopkeepers in oratory, that they may be thus enabled to talk - people into buying their goods, because oratory is necessary at - the bar and in the pulpit. As to giving premiums to those that - design flowers, etc. for silks and linens, let it be recollected - that these artisans copy the objects they introduce from - nature,--a much surer guide than all the childish and ridiculous - absurdities of temples, dragons, pagodas, and other fantastic - fripperies which have been imported from China. - - "As from all these causes (and many more might be added) it - appears that a smattering in the arts can be of little use except - to those who make painting their sole pursuit, why should we - tempt such multitudes to embark in a profession by which they - never can be supported? For historical pictures there never can - be a demand:[44] our churches reject them; the nobility prefer - foreign productions; and the generality of our apartments are too - small to contain them. A certain number of portrait-painters, if - they can get patronized by people of rank, may find employment; - but the majority even of these must either shift how they can - amongst their acquaintance, or live by travelling from town to - town like gipsies. Yet, as many will be allured by flattering - appearances, and form vague hopes of success, some of the - candidates must be unsuccessful; and men will be rendered - miserable who might have lived comfortably enough by almost any - manufactory, and will wish that they had been taught to make - a shoe, rather than thus devoted to the polite arts.[45] When - I once stated something like this to the society, a member - _humanely_ remarked, that the poorer we kept the artists, the - cheaper we might purchase their works." - -These two societies, of whose projects and practice Hogarth seems to -have entertained very similar opinions, became for a short time so -far connected, that where one held their meetings the other exhibited -their pictures. The donations in painting which Hogarth and several -other artists had made to the Foundling Hospital had much engaged the -public attention; and the painters finding the effects they produced, -determined to try the fate of an exhibition of their work; in -consequence of which, on the 27th of February 1760, Mr. Hayman, then -chairman of the committee of artists, wrote a letter to the society -for encouragement of arts, requesting permission for the painters -to exhibit at their great room opposite Beaufort Buildings in the -Strand; and in the following May they accordingly made their first -Exhibition. This proved very attractive; and, from the money paid for -admission, they were soon enabled to relieve not only the indigent of -their own body, but also aliens; and to establish themselves into a -regular institution by the name of "A Society of Artists, associated -for the relief of the distressed and decayed of their own body, their -widows, and children." For these humane purposes they agreed to form -a fund. As far as this plan went it had Hogarth's approbation; and -for their Exhibition Catalogue of 1761 he made two designs, which -were engraved by Mr. Charles Grignion, and of which the following are -copies:-- - - -FRONTISPIECE - -TO THE CATALOGUE OF THE ARTISTS' EXHIBITION, 1761. - -"Et spes et ratio studiorum in Cæsare tantum."[46]--JUV. - -[Illustration: FRONTISPIECE TO ARTISTS' CATALOGUE] - -Erected in the cleft of a rock, we have here a building intended -for a reservoir of water; and by the bust of his present Majesty -being placed in a niche of an arch, which is lined with a shell and -surmounted by a crown, we must suppose it a royal reservoir. The -mouth of a mask of the British lion is made the water-spout for -conveying a stream into a garden-pot, which a figure of Britannia -holds in her right hand, and, with her spear in the left, is employed -in sprinkling three young trees, the trunks of which are entwined -together, and inscribed, "Painting, Sculpture, Architecture." These -promising saplings are planted upon a gentle declivity. Painting is -on the highest ground, and Sculpture on the lowest. It is worthy -of remark that the fructifying stream which issues from the -watering-pot falls short of the surface on which is planted the -tree inscribed Painting, and goes beyond the root of that termed -Sculpture; so that Architecture, which is much the loftiest and -most healthy tree, will have the principal benefit of the water. -If the tree of Painting is attentively inspected, it will be found -stunted in its growth, withered at the top, and blest with only one -flourishing branch, which, if viewed with an eye to what the artist -has previously written, seems intended for portrait-painting. The -tree which is the symbol for Sculpture appears to bend and withdraw -itself from the reservoir;[47] one branch from the centre of the -trunk is probably funereal, and intended to intimate sepulchral -monuments. The top, being out of sight, is left to the imagination. - -Those who wish to inquire how far this allegorical and sylvan symbol -has proved prophetic of the unequal encouragement now given to the -different branches of the arts, may go to Somerset House, contemplate -the building, pay their shilling, and walk through the rooms of the -Royal Academy during the time of their annual exhibition! - - -TAIL-PIECE - -TO THE ARTISTS' CATALOGUE. - -"Esse quid hoc dicam? vivis quod fama negatur!"[48]--MART. - -[Illustration: TAILPIECE TO ARTISTS' CATALOGUE] - -As a contrast to Britannia nurturing the trees that are introduced -in the last print, a travelling monkey in full dress is in this -industriously watering three withered and sapless stems of what -might once have been flowering shrubs, and are inscribed "Exotics." -These wretched remnants of things which were, are carefully placed -in labelled flower-pots: on the first is written, "_Obiit_ 1502;" on -the second, "_Obiit_ 1600;" and on the third, "_Obiit_ 1606." Still -adhering to the hieroglyphics in his frontispiece, Hogarth introduces -these three dwarfish importations of decayed nature to indicate the -state of those old and damaged pictures which are venerated merely -for their antiquity, and exalted above all modern productions, from -the name of a great master, rather than any intrinsic merit. To -heighten the ridicule, he has given his monkey a magnifying glass -that will draw forth hidden beauties, which to common optics are -invisible. - -So great was the demand for the catalogues with the illustrative -prints of Hogarth, that the two first done were soon worn down, and -Mr. Grignion was employed to engrave others from the same drawings. -Beneath those that were first made there are no mottoes; and the word -_obiit_ is written _obit_. This was perhaps a mistake of either the -painter or writing engraver, though I think it barely possible that -the former might mean to pun on the connoisseurs being bubbled by -dealers in old pictures--O! BIT. - -The opinion Hogarth has, in the preceding pages, given of the -taste and judgment of the public in his own day may at first sight -seem rather harsh, but was in a degree justified by the scandalous -inattention with which the town received his six inimitable pictures -of "Marriage à la Mode;" they were, on the 6th of June 1750, sold -by a kind of auction to Mr. Lane of Hillingdon for one hundred and -twenty guineas! Being in Carlo Maratt frames that cost the artist -four guineas each, his real remuneration for painting this admirable -series was but a few shillings more than one hundred pounds.[49] Such -are the rewards of genius. Low as this sum was, a Mr. Perry, being -eleven months afterwards erroneously informed that still less had -been the highest sum offered, and that they were not sold, wrote the -following letter with an increased bidding. This gentleman's name is -inserted in Hogarth's subscription book as a subscriber for four sets -of "The Elections," with this remarkable memorandum:--"_4th April -1754._--The whole eight guineas paid at the time of subscribing." -Out of near six hundred names, I find only two (viz. Henry Raper, -Esq., and Mr. Perry) who paid more than half the money in the first -subscription. - - -_To Mr. Hogarth._ - - "DEAR SIR,--I was this day informed by a friend of mine in the - city that seventy-five pounds only was bid for your pictures of - 'Marriage à la Mode;' and this I hope will excuse my bidding you - so small a sum as one hundred and twenty pounds for them; so much - are they worth of my money; with a promise never to sell them - to any picture-trader or connoisseur-monger so long as you or I - shall live. - - "If in this foolish and grossly-imposed on generation there - should not be found one man wiser than myself, I must insist on - having this bidding deposited in your cabinet.--I am, dear Sir, - your most obedient servant, - - CAR. PERRY. - - "_May 15, 1751._" - - -[Illustration: (end of section floral icon)] - - - - -CHAPTER IV. - - THE MOTIVES BY WHICH HOGARTH WAS INDUCED TO PUBLISH HIS ANALYSIS - OF BEAUTY; THE ABUSE IT DREW UPON HIM, AND HIS VINDICATION OF - HIMSELF AND THE VOLUME. HE IS ELECTED A MEMBER OF THE IMPERIAL - ACADEMY AT AUGSBURG, AND APPOINTED SERJEANT PAINTER TO THE KING. - - -Hogarth finding his prints were become sufficiently numerous to form -a handsome volume, in the year 1745[50] engraved his own portrait -as a frontispiece. In one corner of the plate he introduced a -painter's palette, on which was a waving line inscribed "The Line of -Beauty." This created much curious speculation, and, as he himself -expresses it, "The bait soon took, and no Egyptian hieroglyphic ever -amused more than it did for a time. Painters and sculptors came -to me to know the meaning of it, being as much puzzled with it as -other people, till it came to have some explanation; then, indeed, -but not till then, some found it out to be an old acquaintance of -theirs,[51] though the account they could give of its properties -was very near as satisfactory as that which a day-labourer, who -constantly uses the lever, could give of that machine as a mechanical -power." "They knew it as Falstaff did Prince Henry--by instinct!" - -This crooked line drew upon him a numerous band of opponents, and -involved him in so many disputes, that he at length determined to -write a book, explain his system, and silence his adversaries. -When his intentions were known, those who acknowledged his claim -to superiority as an artist were apprehensive that, by thus -wandering out of his sphere and commencing author, he would lessen -his reputation. Those who ridiculed his system presumed that he -would thus overturn it; and the few who envied and hated the man, -rejoiced in sure and certain hope that he would write himself into -disgrace. All this he laughed at, and in the following little epigram -whimsically enough describes his own feelings:-- - - "What! a book, and by Hogarth! then twenty to ten, - All he's gained by the pencil he'll lose by the pen. - Perhaps it may be so; howe'er, miss or hit, - He will publish,--here goes,--it's double or quit." - -Notwithstanding this pleasantry preceding the publication, he -frankly acknowledges that the uncharitable spirit with which he was -in consequence assailed, and the squabbles it drew him into with -those of his own profession, and the dabblers in the arts, gave him -greater uneasiness than was balanced by its general success. Thus -does he express himself:-- - - "My preface and introduction to the _Analysis_ contain a general - explanation of the circumstances which led me to commence - author; but this has not deterred my opponents from loading me - with much gross and, I think, unmerited obloquy; it therefore - becomes necessary that I should try to defend myself from their - aspersions. - - "Among many other high crimes and misdemeanours of which I am - accused, it is asserted that I have abused the great masters. - This is so far from being just, that when the truth is fairly - stated it may possibly appear that the professional reputation - of these luminaries of the arts is more injured by the wild - and enthusiastic admiration of those who denominate themselves - their fast friends, than by men who are falsely classed as their - enemies. - - "Let us put a case: suppose a brilliant landscape had been so - finely painted by a first-rate artist, that the trees, water, - sky, etc. were boldly though tenderly relieved from each other, - and the eye of the spectator might, as it were, travel into - the scenery; and suppose this landscape, by the heat of the - sun, the ravages of time, or the still more fatal ravages of - picture-cleaners, was shorn of its beams and deprived of all its - original brightness; let me ask whether the man who will affirm - that this almost obliterated, unharmonious, spotty, patchwork - piece of antiquity is in the state that it first came out of the - artist's hands, does not abuse the painter?[52] and whether he - who asserts that though it might once have been bright and clear - it is now faded, does not thus place the defects to the proper - account, and consequently defend him? - - "So far from attempting to lower the ancients, I have always - thought, and it is universally admitted, that they knew some - fundamental principles in nature which enabled them to produce - works that have been the admiration of succeeding ages; but I - have not allowed this merit to those leaden-headed imitators, - who, having no consciousness of either symmetry or propriety, - have attempted to mend nature, and in their truly ideal figures - gave similar proportions to a Mercury and a Hercules. - - "This, and many other opinions which I have ventured to advance, - has roused a nest of hornets from whose stings I would wish to - guard myself, as I am conscious that they will try to condemn - all my works by my own rules. To disappoint these insects I - have, in my explanatory prints, done the Antinous, Venus, etc. - in a slighter style than the other figures, to show that they - are introduced as mere references to the originals; and I will - not now attempt to paint my Goddess of Beauty.[53] Who can - tell how long the artist was employed in giving such exquisite - grace to the Grecian Venus? he might perhaps think that a - single super-excellent statue would confer immortality, and was - sufficient for a whole life. Can any one expect to see equal - perfection in that which is done in little, and in a short space - of time? - - "With respect to beauty, though men felt its effects, yet - both artists and others appeared to me to be totally ignorant - of its principles, and contented themselves with bestowing - undistinguishing praise, and giving us cold and servile copies - of the fine models of antiquity, without making any inquiry - into the system by which they were produced. The few who wished - to learn the principles found themselves so bewildered and - confounded by the vague and contradictory opinions which they - had heard and read concerning beauty and grace, that they began - to suspect the whole to be an illusion, and that neither one nor - the other existed except in fancy and imagination. This should - excite less surprise, from its having sometimes happened in a - matter of an infinitely higher and more important nature; and - were it politically right, it is possible that a small octavo - might be written, which would start as many folios of theological - controversy as would fill Westminster Hall, though the whole put - together might be mere lumber, and of no more use than waste - paper. But this by the by. To return into my own path, and resume - the reasons that induced me to tread it in a new character. In - doing this, it will be proper to give a succinct statement of the - strange way in which this subject has been treated by preceding - writers. - - "The first attempts that were made to fix true ideas of taste - upon a surer basis, were by natural philosophers, who, in their - amplified contemplations on the universal beauty displayed in - the harmony and order of nature, very soon lost themselves; an - event that, from the way in which they set out, was inevitable: - for, if I may be permitted to adopt an allegorical figure, it - necessarily led them into the wide road of Order and Regularity, - which they unexpectedly found crossed and intersected by many - other paths that led into the Labyrinths of Variety; where, not - having passed through the Province of Painting, they became - confused, and could never find their way. To explaining the - order and usefulness of nature they might be equal; but of her - sportiveness and fancy they were totally ignorant. To extricate - themselves from these difficulties, they ascended the Mound of - Moral Beauty, contiguous to the open field of Divinity, where, - rambling and ranging at large, they lost all remembrance of their - former pursuit. - - "These gentlemen having failed, it was next suggested that the - deeply read and travelled man was the only person fully qualified - to undertake the task of analyzing beauty. But here let it be - observed, that a few things well seen, and thoroughly understood, - are more likely to furnish proper materials for this purpose than - the cursory view of all that can be met with in a hasty journey - through Europe. - - "Nature is simple, plain, and true in all her works; and those - who strictly adhere to her laws, and closely attend to her - appearances in their infinite varieties, are guarded against - any prejudiced bias from truth; while those who have seen many - things that they cannot well understand, and read many books - which they do not fully comprehend, notwithstanding all their - pompous parade of knowledge, are apt to wander about it and about - it, perpetually perplexing themselves and their readers with the - various opinions of other men. - - "The knowledge necessary for writing a work on the arts, differs - as much from that acquired by the simple traveller, as the art of - simpling doth from the science of botany. Taking the grand tour - to see and pick up curiosities, which the travellers are taught - nicely to distinguish from each other by certain cramp marks and - hard names, may, with no great impropriety, be termed 'going a - simpling;' but with this special difference, that your 'field - simpler' never picks up a nettle for a marsh-mallow,--a mistake - which your 'tour simpler' is very liable to. - - "As to those painters who have written treatises on painting, - they were in general too much taken up with giving rules for - the operative part of the art to enter into physiological - disquisitions on the nature of the objects. With respect to - myself, I thought I was sufficiently grounded in the principles - of my profession to throw some new lights on the subject; and - though the pen was to me a new instrument, yet, as the mechanic - at his loom may possibly give as satisfactory an account of the - materials and composition of the rich brocade he weaves as the - smooth-tongued mercer surrounded with all his parade of showy - silks, I trusted that I might make myself tolerably understood - by those who would take the trouble of examining my book and - prints together; for as one who makes use of signs and gestures - to convey his meaning in a language of which he has little - knowledge, I have occasionally had recourse to my pencil. For - this I have been assailed by every profligate scribbler in town, - and told that though 'words are man's province,' they are not my - province; and that though I have put my name to the _Analysis of - Beauty_, yet (as I acknowledge having received some assistance - from two or three friends) I am only the _supposed_ author. By - those of my own profession I am treated with still more severity; - pestered with caricature drawings, and hung up in effigy in - prints; accused of vanity, ignorance, and envy; called a mean and - contemptible dauber; represented in the strangest employments, - and pictured in the strangest shapes,--sometimes under the - hieroglyphical semblance of a satyr, and at others under the - still more ingenious one of an ass.[54] - - "Not satisfied with this, finding that they could not overturn my - system, they endeavoured to wound the peace of my family. This - was a cruelty hardly to be forgiven: to say that such malicious - attacks and caricatures did not discompose me, would be untrue, - for to be held up to public ridicule would discompose any man; - but I must at the same time add that they did not much distress - me. I knew that those who venture to oppose received opinions - must in return have public abuse: so that, feeling I had no right - to exemption from the common tribute, and conscious that my book - had been generally well received, I consoled myself with the - trite observation that every success or advantage in this world - must be attended by some sort of a reverse; and that though the - worst writers and worst painters have traduced me, by the best - I have had more than justice done me. The partiality with which - the world has received my works, and the patronage and friendship - with which some of the best characters in it have honoured the - author, ought to excite my warmest gratitude, and demands my - best thanks. It enables me to despise this cloud of insects; for - happily, though their buzzing may tease, their stings are not - mortal." - -That these hard blows of his adversaries were felt, and felt keenly, -appears from the whole tenor of his language; but his mortifications -were in a degree balanced. The annexed letter, from a man of -Warburton's literary fame, was a flattering testimony to his talents, -though a gentleman to whom I read it observed, that the Doctor might -be as much actuated by a fear of his satire as admiration of his -abilities. It enclosed a £10 bank note. By his friend Rouquet he was -informed that his book was eagerly expected in Paris, and told in -a note from the Vice-Chancellor of Cambridge, that it would have a -place in the University library:-- - - -_For Mr. Hogarth._ - - "DEAR SIR,--I was pleased to find by the public papers that you - have determined to give us your original and masterly thoughts on - the great principles of your profession. - - "You ow[55] this to your country, for you are both an honour to - your profession and a shame to that worthless crew professing - vertu[55] and connoisseurship, to whom all that grovel in the - splendid poverty of wealth and taste are the miserable bubbles. - - "I beg you would give me leave to contribute my mite towards this - work, and permit the enclosed to entitle me to a subscription for - two copies. - - "I am, dear Sir (with a true sense of your superior talents), - your very affectionate humble servant, - - "W. WARBURTON. - - "P. P., _March 28, 1752_." - - -_To Mr. Hogarth._ - - "DEAR SIR,--I expected to have been in England about this time, - but find myself disappointed by the tediousness of the progress - of what I have begun; and business coming in very smartly, I - believe I shall stay here some months longer than I proposed - at first, therefore shall indulge myself with the pleasure of - writing these till I enjoy that of your conversation. I have a - thousand observations to impart to you when we meet--some that - will please you, some that you will think inaccurate, but all - such as will not allow us time to yawn when we see one another. - First, I hope you are in perfect health, and the next news I - want to hear is, when your book is to be published. I have raised - some expectations about it amongst artists and virtuosi here, and - hope to have the first that shall come over, that I may boast - of your friendship, by being the first usher of a performance - which I am sure will make many people wish they were acquainted - with you. The humbug virtu is much more out of fashion here than - in England. Free-thinking, upon that and other topics, is, if - possible, more prevalent here than amongst you. Old paintings and - old stories fare much alike. A dark picture is become a damned - picture, as the soul of the dealer; and, consequently, modern - performances are much encouraged,--and mine amongst them,--for I - have met with a reception much beyond what I expected, or they - deserved. This circumstance has made Paris more agreeable to me - than it would have been without it. I pass my time in it very - swiftly, perpetually employed in a great variety of unavoidable - business. The days succeed one another with great rapidity. - Nevertheless, I think I don't enjoy so good a health as in - England, though I was often ill there; but the hurry I have been - in this six months, which cannot be described, may be the reason - of it. I am afflicted with a continual headache, which I have - not been subject to this five-and-twenty years, and which, if it - should not abate, will occasion my return before business will - well admit. I suppose you have before this time some spring - days at Ivy Hall. I shall have no country air this year, but am - going to lodge in the most open part of the town, which I hope - will do instead, that is, upon the Quay de Conti, next to College - Mazarine, where I shall be in three weeks ready to receive the - answer that I beg you will favour me with.--I am, Sir, your - humble servant, - - "ROUQUET. - - "PARIS, _March 22, 1753_." - - -_To Mr. Hogarth, in Leicester Fields._ - - "CAMBRIDGE, _Nov. 28, 1753_. - - "SIR,--I return you thanks for your book, which came to my hand - last night, and for which I will find a place in the University - library. I have read it over with pleasure, and have no doubt but - that many others will do the same, as there can be no one here to - whom Mr. Hogarth's name will not be an inducement to inquire into - anything that comes from his hand.--I am, Sir, your most obedient - humble servant, - - "P. YONGE." - -Hogarth presented another copy to the Royal Society; and by several -of his books that were sent abroad, he found that, however captiously -the work had been treated by some of his own countrymen, it had -its admirers on the Continent. From Mr. Reiffsten of Cassel, in -consequence of this publication, he received a letter couched in most -complimentary terms, inviting him to become a counsellor and member -of the Imperial Academy at Augsburg,--an invitation which, by his -reply, he appears to have accepted. - -An Italian translation of his _Analysis_ was published at Leghorn, -dedicated, "All' illustrissime Signora Diana Molineux Dama Inglese." -It had been previously done into German by Mr. Mylins, a new edition -of whose translation is thus pompously announced by Mr. C. F. Vok, in -a written paper I found among Hogarth's manuscripts:-- - - -_Advertisement for a New Edition of Mr. Hogarth's "Analysis of -Beauty."_ - - "If ever a work met with great applause and deserved still more, - it was certainly Mr. Hogarth's _Analysis of Beauty_. The literary - journals and newspapers have amply and handsomely noticed it. The - author made the beauty of forms, which was the object of his art, - at the same time the subject of his philosophical meditations, - and fell at last upon a system which was meant to ascertain in - some degree the various conceptions of mankind concerning the - agreeable, and to banish from the learned as well as the vulgar - the absurd proverb, that men neither can nor ought to dispute - about Taste. 'Tis therefore to him we are indebted if the word - beautiful, to which people daily fix a thousand different ideas, - becomes for the future as much an object of reflection as it - has hitherto been of sensation. Yet this work does not contain - empty and fruitless speculations, which, when they are not of - practical use, justly merit the name of whim and chimera; but its - utility is equally extensive with its subject, viz. the beauty - of forms, and all arts and sciences that have a relation to it - will borrow new light from the performance. The philosopher, the - naturalist, the antiquarian, the orator (both in the pulpit and - on the stage), the painter, the statuary, the dancing-master, - must consider it as a book essentially necessary to them; and not - only to them, but also to those persons who are vain of being - thought connoisseurs, yet often form such contradictory and - inadequate judgment of what relates to the imitation of natural - beauty, that they but too plainly betray their want of fixed and - determinate ideas. One may venture to affirm that the utility of - Mr. Hogarth's system will soon extend itself into the empire of - fashion; for even there, where nothing reigned but occasional - caprice, now something of certainty may take its place by the - assistance of this theory. - - "Mr. Mylins when in England translated it into German, under the - author's inspection; his translation was printed in London, and - contains only twenty-two sheets in quarto, and the two prints, - yet was it sold for five dollars." - -Mr. Vok proposes taking subscriptions of one dollar for his edition, -which is not to be sold under two dollars to non-subscribers. He -further promises to annex a short description of Mr. Hogarth's -prints, translated from the French, and engages that the work shall -be ready in six weeks from the time of his proposals, which he dates -from Berlin, 1st July 1754. - - -_Mr. Reiffsten's Letter to Mr. Hogarth._ - - "SIR,--An universal reputation, and undisputed title to - superiority, cannot but draw upon you the importunities of those - who are ambitious of an acquaintance with men of genius. Ever - since my first perusing the _Analysis of Beauty_, in which the - author is no less to be admired than the artist, I have been - on the watch for a favourable opportunity of contributing my - share, though ever so small, to the thanks of the public. In that - ingenious and elaborate composition you are allowed by all men - of taste to have dispelled the mist and cleared the difficulties - that had previously attended a problem in painting, of exquisite - nicety and the greatest moment. The most eminent masters and - most sagacious theorists had travelled in the dark, or wandered - through mazes in a fruitless search after beauty. To you alone it - was reserved to unravel her windings, reveal her charms to open - view, and fix her hidden though genuine excellence. - - "At length, sir, the opportunity I had so long coveted seems - to offer itself, of course. It is owing to the erection of an - Imperial Academy at Augsburg, for the study and improvement - of arts and letters. I am commissioned as a deputy from the - whole body to interpret their sentiments, and to inform you - how highly they value and respect your uncommon talents and - capacity. Proud of the acquisition of one no less distinguished - in the republic of letters than in the commonwealth of arts, - they earnestly desire you would accept the diploma of counsellor - and honorary member of their Academy. It is ready to be drawn - up, and will not fail being despatched so soon as they are sure - of your approbation; which, 'tis hoped, will not be refused by - one who has deserved so well of all lovers of taste and genius. - But before you take this step it is but natural you should ask - in what consists the Academy of which you are solicited to - become a member, and whose existence, probably enough, is not so - much as suspected in England. To obviate so proper an inquiry, - suffer me, sir, to acquaint you in a few words with its origin, - constitution, and design. - - "About three or four years since, some artists of Augsburg formed - themselves into a society, in order to promote and encourage the - imitative arts, especially painting and engraving. They applied - to the Emperor for protection, which was graciously granted. - Soon after they published, at their own expense, a few select - pieces; but finding that the polite arts cannot be brought to - perfection without the help of literature, and that to excel an - artist must be something of a scholar himself, or be assisted - by men of learning, they associated those to their body by whom - they might be furnished with instructions in writing upon the two - above-mentioned branches, and a correspondence both within the - empire and abroad properly carried on. Having thus far met with - success, they began to extend their views, and endeavoured to - fix an institution for teaching methodically the art of drawing - or designing--an establishment much wanted here in Germany. This - scheme being laid before the Imperial Court, the society obtained - an ample charter and considerable privileges. It was incorporated - under the denomination of 'an Academy of Arts and Letters,' and - the Emperor was pleased to illustrate it with his own name. He - conferred the honour of knighthood upon the president, and the - title of imperial counsellor on the director, empowering the - members to choose those officers themselves; and, moreover, - to appoint counsellors and professors to direct the teaching - publicly the learned languages and the liberal arts, with several - other concessions concerning the printing and publishing of their - works. - - "To crown their hopes, a common stock was still wanting for the - supply of unavoidable expenses, such as salaries to masters - and teachers, charges of the press, etc. On this account they - had recourse to a tontine,--a kind of lottery, consisting of - annuities for life,--which has met with tolerable success, - and will produce a capital sufficient to defray all necessary - disbursements. But till this end be compassed, the Academy - confines itself to the publishing (by means of artist members) - plates engraved after the original paintings of the best masters; - and by the help of such members as are men of letters, a - journal or periodical pamphlet, consisting of memoirs or essays - concerning those arts whose foundation is laid in designing. The - first part, by way of specimen, is to come out before the close - of this year, and it will be regularly continued every month in - the next. - - "The chief materials are to be compiled by members settled at - Rome, Paris, Dresden, Stuttgard, Copenhagen, Cassel, etc. - - "How happy should we think ourselves, sir, if, not only suffering - your name to be joined in our lists to those of Mengs, Lelio, - Meilens, De Marcii, Wille Schmid, Preissler, etc., you would, - like those artists, assist us with your pen, and give us a sketch - of the present improved state of the imitative arts in Great - Britain! What can be conceived more conducive to form and refine - our taste, elevate our ideas, and kindle our emulation, than to - be informed by yourself, with your manner of operating in those - unparalleled originals, whose striking beauties and glowing - expressions we closely study in the printed copies; and to be - favoured at least with some hints of those pieces we still expect - from your warm and masterly pencil? - - "But I have too much reason to apprehend that, for a first - letter, this will appear tedious; a favourable answer I shall - look upon as a permission to explain myself more at large. In - hopes of receiving it, I remain, with the highest esteem and - regard, Sir, etc. etc. etc. - - "I. F. REIFFSTEN. - - "CASSEL, _March 25th, 1757_. - - "My address is, Governor of the Payes." - - -_Mr. Hogarth's Answer._ - - "SIR,--On the receipt of your polite letter, dated Cassel, March - 25th, I was most agreeably surprised, nor could I help being much - elated, at finding the very handsome invitation therein given to - me to become a member of so worthy and respectable a corporation - as the Imperial Society of Augsburg; on which account let me - request it as a favour that you will be so good as to pay my - proper compliments to the gentlemen belonging to it, and at the - same time assure them that I with eagerness accept the honour - they are pleased to confer upon me, and that they may depend - upon my best endeavours to merit their good opinion, by strictly - obeying to the utmost of my power such commands as they may think - fit to honour me with, tending to the advancement of the laudable - design they wisely began, and have since so successfully carried - on. - - "With respect to the kind opinion you are pleased to entertain - of me and my performances, I sincerely return you thanks. And - believe me, Sir, the above valuable mark of distinction, which - must always tend greatly to my reputation, is still the more - grateful to me, as it may occasionally be the means of my - corresponding with you,--a happiness much to be coveted by, Sir, - etc. etc., - - "WM. HOGARTH. - - "LONDON, _April 18, 1757_. - - "A Monsieur Reiffsten." - -In addition to the high and sounding title of Counsellor and Honorary -Member of the Imperial Academy at Augsburg, conferred upon Hogarth -in the German diploma, he was, on the 6th of June 1757, still -further dignified by being appointed Serjeant Painter to the King -of Great Britain, and entered on the duties of his office on the -16th of the following July. On the demise of George the Second, his -post necessarily became vacant; his present Majesty's warrant for -reinstating him is in my possession. I have annexed a copy, which -shows that the salary was ten pounds per annum, payable quarterly. -In one of his manuscripts I find the following memorandum of the -interest by which he obtained the place, and its annual profits:-- - - "Having, just after my brother's death, obtained, by means of my - friend Mr. Manning and the Duke of Devonshire, which might not have - exceeded one hundred a year to me for trouble and attendance; but by - two portraits at more than eighty pounds each, the last occasioned - by his present Majesty's accession, and some other things, it has - for these last five years been, one way or other, worth two hundred - pounds per annum." - -Who these portraits were, or for whom they were painted, I know not. -By his manner of expressing himself, I should suppose that they were -royal, and, as is customary, presented to some of the ambassadors, in -which case they were probably sent to the Continent. - - "GEORGE R. - - "Whereas the King, our late royal grandfather, of glorious and - happy memory, by his letters patent, under his Great Seal of - Great Britain, and bearing date the sixth day of June, in the - thirtieth year of his reign, did grant unto William Hogarth, - Esq., the office of Serjeant Painter of all his said late - Majesty's works, as well belonging to his royal palaces or houses - as to his great wardrobe, or otherwise to hold the said office to - the said William Hogarth during his said late Majesty's pleasure: - And by the force of a statute made in the sixth year of the reign - of Queen Anne, the said William Hogarth did continue in the said - office for the space of six months, computed next after the - demise of his said late Majesty, and he the said William Hogarth - still continues therein, by or under our royal proclamation, in - such behalf issued: AND WHEREAS our gracious intentions are to - re-grant the said office to the said William Hogarth, our will - and pleasure is, that you forthwith prepare a Bill for our royal - signature, to pass our Great Seal of Great Britain, to revoke - and determine the said recited letters patent of our said late - royal grandfather, and to remove and discharge the said William - Hogarth from the office whereunto he was thereby appointed; and - to contain our grant unto our trusty and well-beloved, the said - William Hogarth, of the office of Serjeant Painter of all our - works, as well belonging to all our royal palaces or houses as to - our great wardrobe, or otherwise, to hold and exercise and enjoy - the said office to the said William Hogarth, during our pleasure - by himself, or his sufficient deputy or deputies, together with - the yearly fee or salary of ten pounds, payable at the receipt of - our Exchequer, out of any of our revenues there applicable to the - uses of our civil government, unto the said William Hogarth, for - the exercise and execution of the said office, and to commence - from the time to which he was last paid thereupon, by virtue of - or under the letters patent before recited, and to be computed - payable and paid from such the commencement thereof by the day, - or for the quarter, as the case may require, to and for the then - next ensuing usual quarterly day of payment in the year; and from - thenceforth quarterly, at the four most usual quarterly days - of payment in the year, by even and equal portions during his - continuance in the said office; and together with all other fees, - liveries, profits, commodities, and advantages to the said office - belonging, or in any wise appertaining, and in as full, ample, - and beneficial manner and form to all intents and purposes as he - the said William Hogarth held, exercised, and enjoyed, or might - have held, exercised, and enjoyed in the said office, by virtue - of or under the said recited letters patent of our said royal - grandfather; and you are to insert in the said Bill all such apt - clauses, directions, authorities, and powers as were contained in - the said former grant of the said office, and such others as you - shall think necessary for our service, and for making our grant - hereby intended to the said William Hogarth most firm, valid, and - effectual; and for so doing this shall be your warrant. - - "Given at our Court at St. James's, the 30th day of October 1761, - in the second year of our reign. - - "By his Majesty's command, - - "HOLLES NEWCASTLE. - "NORTH. - "JAMES OSWALD. - - "_To our Attorney or Solicitor General._ - - "William Hogarth, Esq., Serjeant Painter of his - Majesty's Works.--Office renewed." - -The following oracular prediction I found among his papers, in the -handwriting of his friend Townley:-- - - -"_From an old Greek Fragment._ - -"There was an ancient oracle delivered at Delphos which says that -the source of beauty should never again be rightly discovered -till a person should arise whose name was perfectly included in -the name of Pythagoras; which person should again restore the -ancient principle on which all beauty is founded. - - "Πυθάγορας PYTHAGORAS. - "Ὄγαρϑ HOGARTH." - - -THE VASE. - -"Is man no more than this? consider him well."--SHAKSPEARE. - -[Illustration: THE VASE.] - -As Dr. Townley, in the foregoing mythological fragment, chooses to -suppose that in the Greek particles which compounded the name of -Pythagoras were to be found the letters H O G A R T H; Hogarth, -with a whimsicality somewhat similar, sported an opinion that the -first man who made a well-formed vase took another man for his -model. In page 78 of his _Analysis_, he remarks "that the exact -cross of two equal lines cutting each other in the middle, as fig. -69, would confine the figure of a man drawn conformably to them, to -the disagreeable character of his being as broad as he is long. And -the two lines crossing each other, to make the height and breadth of -a figure, will want variety a contrary way, by one line being very -short in proportion to the other, and are therefore also incapable of -producing a figure of tolerable variety. To prove this, it will be -very easy for the reader to make the experiment by drawing a figure -or two (though ever so imperfectly), confined within these limits. - -"There is a medium between these, proper for every character, which -the eye will easily and accurately determine. - -"Thus, if the lines, fig. 70, were to be the measure of the extreme -length or breadth, set out either for the figure of a man or a vase, -the eye soon sees the longest of these is not quite sufficiently so -in proportion to the other for a genteel man, and yet it would make a -vase too taper to be elegant; no rule or compasses would decide this -matter either so quickly or so precisely as a good eye." - -I apprehend that Hogarth intended to have introduced this vase into -the second print of his _Analysis_, but found he had not room; for, -on the same piece of paper with the drawing, he thus continues the -subject: - -"We cannot wonder that many writers should have imagined that the -different orders of architecture have been taken from the human -form, since both are governed by the same principles of _fitness_, -_strength_, and _beauty_.[56] The general opinion that the -Corinthian capital was taken from a basket and dock leaves, may be -supported on the same grounds." - -This leads him to one of his favourite ideas, a new order of -architecture. - - -HINTS FOR A NEW CAPITAL. - -[Illustration: DESIGNS FOR CAPITALS.] - -Three of the examples are selected from the most grotesque and -ridiculous objects; the other two from flowers; and the Bohemian -feathers seem slight essays to prove what he frequently advanced, -that though he considered the ancient orders with reverence, yet -being the productions of men, men might without heresy venture to -vary from them. He remarks: "That churches, palaces, prisons, common -houses, and summer houses might be built more in distinct characters -than they are, by contriving orders suitable to each; whereas, were -a modern architect to build a palace in Lapland or the West Indies, -Palladio must be his guide, nor would he dare to stir a step without -his book." - - "This architects peremptorily assert is the only rule, nor dare they - deviate from the established orders. Should you press them hard for - a reason, they will tell you no man has yet been able to equal what - has been already done; which though I admit, yet have I ventured - to assert, and now repeat, that the most beautiful order in the - architecture of the ancients will perfectly agree with the rules of - composition laid down in the _Analysis_, and that new orders, adapted - to various purposes, may be still invented. I cannot help thinking it - is possible that a man who understood drawing, though he had never - seen a column, might, by applying the straight and waving line, and - correcting simplicity by variety, produce one with equal beauty to - any of them. - - "In architecture, after FITNESS hath been strictly and geometrically - complied with, all the additional members or parts may, by attention - to the proper rules of composition, be continually varied and yet - be pleasing. For example, if the capitals composed of the confined - shapes of hats and wigs can be rendered tolerable, what might not - be done by selecting the elegant varieties which are displayed in - feathers, flowers, shells, etc.?"[57] - - -ROUND AND SQUARE HEADS. - -[Illustration: SQUARE & ROUND HEADS.] - -The five heads in the annexed plate are copied from sketches in -my possession, and all of them seem to have been intended for the -illustration of his _Analysis_, in which he remarks, that "the -particular expressions of a face or movement of a feature which -becomes one person shall be disagreeable in another, just as such -expressions or turns happen to fall in with the lines of beauty or -the reverse; for this reason there are pretty frowns and disagreeable -smiles: the lines that form a pleasing smile about the corners of -the mouth have gentle windings, as fig. 1,[58] but lose their beauty -in the full laugh; the expression of excessive laughter, oftener -than any other, gives a sensible face a silly or disagreeable look, -as it is apt to form regular plain lines about the mouth (like a -parenthesis), which sometimes appear like crying." - - "In what we call plain lines there is this constant and remarkable - effect, that as they are more or less conspicuous in any kind of - character or expression in the face, they bring along with them - certain degrees of a foolish or a ridiculous aspect. The inimitable - Butler knew this, and describes the beard of Hudibras, fig. 2: - - 'In cut and dye so like a tile, - A sudden view it would beguile.' - - "To set this in an _outréd_ light, see fig. 4,[59] a face almost as - square as a die; and fig. 5, as truly round as a globe. The effect of - the latter is rather ridiculous than ugly. Sir Plume's empty look, - described in the 'Rape of the Lock,' would not be near so vacant - without the idea of roundness: - - 'With round unthinking face.' - - "The dialogue between Cleopatra and the Messenger, relative to the - person of Octavia, proves that Shakspeare, who seems to have seen - through all nature, saw this in the same light."[60] - -To No. 3 he thus alludes in his _Analysis_, p. 128, but has not -engraved it in his explanatory plate, though it would certainly have -been a better example than his old man's head, fig. 98:-- - -"Human nature can hardly be represented more debased than in the -character of the Silenus, where the bulging line runs through all -the features of the face, as well as the other parts of this swinish -body; whereas, in the satyr of the wood, though the ancients have -joined the brute with the man, we still see preserved an elegant -display of serpentine lines that renders it graceful." His manuscript -continues:-- - - "The fine airs and graceful turns and windings of such a head were - produced by adhering to this line; and it was this Mr. Pope conceived - of Raphael and Guido in his epistle to Mr. Jarvis, the king's - painter, or he meant nothing: - - 'Each heavenly piece unwearied we compare, - Match Raphael's grace with thy loved Guido's air, - Carracci's strength, Correggio's softer line, - Paulo's free stroke,' etc. - - "We must not seek for examples in any of the works Mr. Pope - recommends, for whatever was painted by his friends had his - unqualified praise.[61] He would have said the same of Mr. Kent. - Poets are the fountains of flattery, as kings are the fountains of - honour. The former can with as much ease make one man an inspired - painter, as the latter can create another right honourable, without - either of the parties producing their credentials."[62] - - -HERCULES, HENRY VIII., AND A FRENCH DANCING-MASTER. - -[Illustration: HERCULES, HENRY 8^{TH} & A FRENCH DANCING MASTER.] - -In Hogarth's manuscript of the _Analysis_, facing the chapter on -Fitness, I found a red-chalk sketch of these three figures, which -(with slight variations) he has introduced in his illustrative -prints. They are copied as an example of the manner in which he -sketched his first thoughts: they seem placed together to contrast -the easy and natural turn of the Hercules with the stiff and -artificial attitudes assumed by the other two figures, in both of -which uniformity is the leading principle. Relative to this, Hogarth, -in p. 20 of the _Analysis_, puts the following query:-- - - "If uniform objects were agreeable, why is there such care taken to - contrast and vary all the limbs of a statue? Were the eye pleased - with uniformity, the picture of Henry VIII. would be preferable - to the finely contrasted figures of Guido and Correggio; and the - Antinous' easy sway must submit to the stiff and straight figure of - the dancing-master. - - "The 'Hercules' by Glycon (fig. 1) hath all its parts finely fitted - for purposes of the utmost strength that the texture of the human - form will bear. The back, breast, and shoulders have huge bones, - and muscles adequate to the supposed active strength of its upper - parts; but as less strength was required for the lower parts, the - judicious sculptor, contrary to all modern rule of enlarging every - part in proportion, lessened the size of the muscles gradually down - towards the feet, and for the same reason made the neck larger in - circumference than any part of the head; otherwise the figure would - have been burdened with an unnecessary weight, which would have been - a drawback from his strength, and, in consequence of that, from his - characteristic beauty. These seeming faults, which show the superior - anatomical knowledge as well as judgment of the ancients, are not to - be found in the leaden imitations near Hyde Park." - -The bluff and boisterous Henry VIII. is described in the same volume -as forming a complete X with his legs and arms; and the pert and prim -dancing-master is so accomplished a person, that were he to see his -scholar in the easy and gracefully-turned attitude of the Antinous, -he would cry shame! tell him he looked as crooked as a ram's horn, -and bid him hold up his head, as he himself did. This figure is said -to be intended for Essex the dancing-master. - -The very different position in which these three strongly contrasted -characters place their legs and feet is worthy of observation. - - -CHARLES I., ITALIAN JUPITER, ETC. - -[Illustration: I. CHARLES I. II. HENRIETTA MARIA. III. GROTESQUE -ORNAMENT. IV. ITALIAN JUPITER.] - -These figures, as well as the preceding, are copied from sketches in -the MS. of the _Analysis_; the Italian Jove, grasping a thunderbolt, -is intended for Monsieur Desnoyer dancing in a grand ballet. A -reduced copy of the figure is in the first plate to the _Analysis_, -placed as a companion to Quin in the character of Brutus; and it must -be acknowledged that the English actor, in a wig which Gorgon's self -might own, is as fair a representative of a Roman general as the -dancer is of a deity. - -The figures 1 and 2 are from Vandyke's portraits of Charles I. -and Henrietta Maria. The former is copied from one of that great -painter's portraits, and almost wholly made up of straight lines; the -latter, though drawn with an easy and elegant air, Hogarth considers -as not composed on the principle of the waving line, which he says -Vandyke seems never to have thought of. Thus does he characterize -that artist in the page that faced the sketches:-- - - "Rubens knew the waving line, but his contours are rather - overcharged. Vandyke, his scholar, perhaps for fear of running into - what he might think gross in his master's manner, imitated nature - just as it chanced to present itself; and having an exact eye, - produced portraits which abound with delicacy and simplicity; but - when nature flagged he was tame, not knowing that principle which - might have raised his ideas. His best works are, however, marked with - grace." - -No. 3 is intended to represent one of those clumsy, grotesque -ornaments with which our cathedrals abound, where a winged figure, -perched in the niche of an arch behind a shield, seems intended as -a guardian angel to the dust of the deceased hero, whose armorial -bearing is sometimes displayed in the front. - -The last engraving which I have taken from the manuscript of the -_Analysis_, makes an easy and elegant form; and I have ventured to -introduce it in the title-page to this volume. The original drawing -is on the same leaf with two sketches of an ill-shaped candlestick -and torch thistle (Nos. 40 and 42), in the first plate to the -_Analysis_. I think it may be denominated "The Dolphin Candlestick," -as it is composed of dolphins and snakes, so twisted as to combine -his favourite serpentine line, and crowned with the iris and lily. -In his MS., after remarking that "our furniture and utensils are -generally as tasteless and inelegant as straight and unvaried -lines can make them,"--and producing as examples the ill-shaped -candlesticks, etc., which are engraved in his first plate,--he -concludes by observing, "It is said in vindication of such forms, -that they are adhered to for the sake of simplicity; but this might -be preserved, and yet some portion of beauty introduced, did they -combine their little variations by the proper rules." - - "Let the 'Dolphin Candlestick,' composed of serpentine lines varying - with each other, be compared with No. 40, plate I, which is made - up of plain unvaried parts, and it will show, in a much clearer - view than can be expressed by words, the necessity of variety to - constitute beauty. - - "Nature gives us a few examples of tasteless forms in the torch - thistle, and some other ill-shaped exotics to be found in - green-houses, which form a striking contrast to such flowers as - the Chalcedonian iris and lily, whose enchanting beauty proceeds - from their variety--these two flowers united form a nozzle to the - candlestick above alluded to." - -Notwithstanding Hogarth's perpetual reference to the line of grace -and analysis of the line of beauty, he has been generally said to -be totally incapable of imparting either one or the other to his -figures. Mr. Nichols, in his _Anecdotes_, insists on his notorious -deficiency in what is styled "the graceful," and in page 48 quotes -Mr. Garrick's opinion to corroborate his own. The writer of the -_North Briton_, No. 17, boldly asserts that he never caught a single -idea of beauty, grace, or elegance. Mr. Walpole, who is generally -candid and liberal in his praise, declares him totally devoid of -the principle, and, quoting the first plate of his _Analysis_ as an -example, concludes the sentence by remarking, that "the two figures -of a young lord and lady, which are added as samples of grace," are -strikingly stiff and affected. I do not know that the artist intended -them to be otherwise; he has not referred to them as models in his -book, and, it is but fair to think, meant them as leading figures, -less _outré_ in their forms, but nearly as affected in their graces, -as the other dancers. His object seems to be, exemplifying grace by -what it is not rather than by what it is. Whatever were his motives -for thus amplifying awkwardness in the Wandsworth assembly,[63] the -annexed design, which may be considered as its contrast, he has -either composed on a different principle, or, by a most happy and -singular accident, grouped some very easy and elegant forms with much -taste. - - -THE DANCE - -[Illustration: THE DANCE.] - -Was designed and engraved in the year 1723 for the first volume of -De la Mottraye's _Travels_. In p. 159, this tedious writer tells us, -in some very ill-arranged sentences, that the Greek women in the -isle of Scio, where the scene is laid, have a striking pre-eminence -over those of any other island in the Archipelago for beauty as well -as gaiety, and, some say, likewise for complaisance. They verify -the proverb, "Merry as a Greek," dance every Sunday or holiday in -the open air, and in ring, as represented in the print; and on such -occasions wine is not spared.[64] He describes fig. 1 as a chief -woman of Smyrna, and fig. 7 as her daughter; fig. 4 as a Greek woman -of Constantinople, and fig. 3 as a country girl of Scio, in a habit -peculiar to that place. - -From these slender materials the artist made his design in a style -which proves (notwithstanding the total deficiency of taste alleged -by his biographers), that at this early period of his life he had the -power of delineating figures with some portion of grace. - -It may possibly be asked, why examples of this do not more frequently -occur in his other works? To which I can only answer, that his -scenes were almost invariably laid in his own country, where he -painted objects as he saw them; and whatever grace the Grecian habit -might give to the beauties of Scio, the Germanic garb, in which the -beauties of Britain then disguised themselves, - - "Chastely conceal'd each charm from every eye." - -Mr. Benjamin Wilson the painter, in the letter that follows, puts a -query concerning a disputed point in perspective, which was adopted -by Hogarth, in support of his friend Kirby, who, in the epistle that -succeeds it, after returning his acknowledgments for the drawing -that Sullivan engraved for his book, requests the author of the -_Analysis_ to give him some supplementary support in his doctrine -of parallel columns, etc., for the volume he was then printing on -perspective. This Hogarth did not then comply with; but when Mr. -Highmore, a short time afterwards, attacked the system and its -author in the preface of a pamphlet, Hogarth, in support of both, -and to ridicule the erroneous principles of his opponent, wrote -Kirby some whimsical strictures, which have been already published -in the _Graphic Illustrations_. As they are immediately connected -with the letter which is subjoined, I have inserted them in a note, -and added such extracts from Highmore's and Kirby's prefaces as may -elucidate the subject in debate, and enable the reader to draw his -own conclusions:-- - - -_To Wm. Hogarth, Esq., Chiswick._ - - "DEAR SIR,--When you come to town, I shall be very glad to show - you further advantages which I have gathered from your excellent - _Analysis_. I assure you I think myself greatly indebted to - you, and know of no method to repay you, but to acknowledge - it as I improve, that the world may have one instance of your - invariable principles being true. An odd appearance was mentioned - to me lately, which it seems is a fact. A parallelogram, viewed - obliquely at a given distance, forms a different representation - when seen through a telescope than it does when viewed with the - naked eye. In the one case the remote end of the parallelogram - appears larger than the near end, whilst in the other case it - appears smaller than the near end. - - "_Q._ Do your disputants (in relation to the columns) suppose - a given point? If so, they will not regard the eye as you do. - Excuse haste.--I am, Sir, etc., - - "B. WILSON." - - -_For Mr. Hogarth._ - - "IPSWICH, _May 3d, 1753_. - - "DEAR SIR,--Ever since I received the favour of your drawing, I - have been in expectation of having my Preface printed, but have - been continually disappointed, which was the reason of my not - returning you my most hearty thanks for the above favour long - before this time, and therefore I hope your goodness will excuse - it. - - "The design which you have favoured me with is the best that - can be thought of for its intended purpose, as it tends to - recommend the study of perspective by exposing the mistakes of - those artists who are ignorant of it in such a striking manner - as is peculiar to the genius of Mr. Hogarth. I intend to have - it engraved by Mr. Sullivan, and shall send it to him as soon - as I know how to direct to him, unless any other person is more - agreeable to you for that purpose. - - "I have enclosed my Preface for your inspection, and one page - of the work itself as a specimen of the paper and letter, and - shall be glad if they please you. My intention in the three last - paragraphs[65] will be obvious at first sight, and I hope you - will not think them unnecessary. - - "But, good sir, give me leave to ask you (for you have given - me much assurance by your friendship, and particularly by your - promise), have you thought any more of what we have so often - discoursed upon in relation to parallel columns, etc.? I am more - and more convinced of the justness of your reasoning upon that - subject, and shall think myself prodigiously honoured if you - annex something of that kind to my work; for then I shall have - you both in my front and rear, and shall not be afraid even of - the d--l himself when I am so guarded. If the little witlings - despise the study of perspective, I'll give 'em a thrust with - my frontispiece which they cannot parry; and if there be any - that are too tenacious of mathematical rules, I'll give them - a cross-buttock with the 'Dissertations,' and crush them into - as ill-shaped figures as those they would draw by adhering too - strictly to the rules of perspective. - - "I have nothing more to add but my humble thanks for all your - favours; and I shall be glad to know if you intend doing anything - as you proposed. And am, with compliments to Lady Thornhill, Mrs. - Hogarth, etc., your most obliged and obedient humble servant, - - "JOS. KIRBY. - - "_P.S._--I cannot fix the time when my work will be published, - but it is printing with the utmost expedition." - -For another of Mr. Kirby's publications Hogarth designed a -frontispiece, which was engraved by Mr. Woollet, and is prefixed -to "_The Perspective of Architecture_, deduced from the principles -of Doctor Brook Taylor, begun by order of his present Majesty when -Prince of Wales." I have annexed a copy. - - -FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE. - -[Illustration: FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE.] - -It is thus explained by Mr. Malton in the appendix to his _Treatise -on Perspective_:-- - -"Here is a curious frontispiece, designed by Mr. Hogarth, but not -in the same ludicrous style as the former (_i.e._ the frontispiece -to Kirby's _Perspective_): it were to be wished that he had -explained its meaning; for, being symbolical, the meaning of it is -not so obvious as the other (that on false perspective). To me it -conveys the idea which Milton so poetically describes of the angel -Uriel gliding down to Paradise on a sunbeam; but the young gentleman -has dropped off before he had arrived at his journey's end, with -Palladio's book of architecture on his knees. A ray of light from the -sun, rising over a distant mountain, is directed to a scroll on the -ground on which are two or three scraps of perspective, over which, -supported by a large block of stone, is the upper part of a sceptre -broke off; the shaft, very obliquely and absurdly inclined, somewhat -resembling the Roman fasces, and girt above with the Prince of Wales' -coronet as an astragal, through which the fasces rise and swell -into a crown adorned with embroidered stars; this is the principal -object, but most vilely drawn. The ray passes through a round temple -at a considerable distance, which is also falsely represented, the -curves being, for the distance, too round, and consequently the -diminution of the columns is too great. It appears to pass over a -piece of water: on this side the ground is fertile and luxuriant -with vegetation, abounding with trees and shrubs; on the other side -it is rocky and barren. What is indicated by this seems to be, that -where the arts are encouraged by the rays of royal favour, they will -thrive and flourish; but where they are neglected, and do not find -encouragement, they will droop and languish."[66] - -On the ray from the sun rising over a distant mountain, etc., -so facetiously treated by Mr. Malton, some light is thrown in a -manuscript chapter of the _Analysis_, where Hogarth, describing -painters' colours, remarks that-- - - "Sir Isaac Newton's theory of light and colours, though excellent in - itself, is an inquiry of so different a nature from ours, that were - we to take this great philosopher as our guide, he would not assist - but mislead us, as he did Dr. Brook Taylor, the ingenious author - of the best book on perspective that ever was written. The Doctor - printed an appendix to this work, which he entitled, _A New Theory - for Mixing Colours_, taken from Sir Isaac Newton's optics; but his - project, though ingenious in speculation, is altogether impracticable - in painting." - -This observation Hogarth follows by the annexed remarks on those -visionaries who had puzzled the doctrine of colours with minute -and unnecessary divisions, and adopted a strange notion that these -divisions were governed by the same laws as music:-- - - "Both Albert Durer and Lomazzo, who wrote on painting, had this - conceit; and so much was Père Castle, a French theoretical doctor, - impressed with the idea, that with infinite pains and trouble he - contrived a harpsichord to play _harmonious composition of colours_! - On this he wrote a book, and built a system in which prism colours - were his notes; these the keys of his instrument were to produce - at pleasure. But surely he could not have been drawn into such an - absurdity without having first persuaded himself that colours and - sounds were of the same nature, and that the like disposition of - them both would answer the same purpose, _i.e._ that a jig in notes - would be a jig in colours.[67] I should not be much surprised if - some native of that nation of _taste_ contrived an instrument for - cookery on a similar plan.[68] This would without doubt be adopted in - England, where it must unquestionably have great encouragement. How - pleasant would it be to mark Monsieur de Quisiney at his harpsichord, - composing a grand festino for the entertainment of foreign ministers; - and would the inventor compose a banquet for an installation, or a - feast for a Lord Mayor's day, it would ensure him the hearts of both - courtiers and citizens. What delight would it afford to a certain - eminent composer to see his two favourite sciences thus united![69] - - "The fact is, that though compositions of music and colours may - illustrate each other in their principles, they very essentially - differ in their effects. The notes on a scale in music will range - similar to the colours in a rainbow, or to those separated by the - prism, but their operations are precisely opposite. - - "For example, let all the keys of an harpsichord be pressed down - at one stroke, and the ear will be offended with harsh, jarring, - and confused sounds; but if you run your fingers along them in - succession, it produces a sort of harmony. In colours it is directly - the reverse; for though the varied hues of the rainbow strike the - eye agreeably at first sight, yet were flickering colours to follow - each other in quick succession, the optic nerve would suffer pain in - proportion as the tints were more or less vivid, and played in quick - or slow time." - -These observations are followed by some hints on easy deportment, -and succeeded by the following desultory thoughts, which in his -manuscript Hogarth entitles "A Supplementary Chapter on Dress:"-- - - "Dress is so copious a topic, that it would afford sufficient - matter for a large volume. The amazing force and folly of fashion - is placed in a most ridiculous point of view in an old book - called the _Artificial Changeling_, where the author not only - describes the uncouth, wild, and extravagant mode of clothing - the body in different ages and countries, but also states many - detestable and barbarous customs of whole nations, who mould and - torture the human frame to destroy its original form. Some of - the customs that he enumerates are, I believe, still practised, - particularly in China, where the feet of the females are bandaged - to prevent their growing; and among the Hottentots, where, to - improve their children's faces, they break the gristles of - their noses. Such is the force of habit, that the eye is soon - reconciled, and these horrid disproportions and deformities are - considered as beauties. - - "In this country, fancy and the love of change, to which we may - sometimes add public and private interest, have generally given - the lead to fashion; nor is it to be objected to,--sumptuary - laws are not consonant to the spirit of a free people. In dress - nothing need be restrained except the folly (I had almost said - wickedness) of changing the form or colour of nature.[70] - - "As to the fashion of men's dresses, if they are not rendered - inconvenient, it is of little consequence: the tailors may - contrive them as they will.[71] But for the sex to whom nature - has been so bountiful to disguise their enchanting forms, and - sacrifice ease, elegance, and grace on the shrine of fashion, is - defying symmetry and thwarting nature, which, in their capricious - variations, they should sometimes suffer to take fancy by the - hand. The principles laid down for sculpture, etc., will apply - to dress; and fitness, propriety, and convenience being first - established, it should be rendered pleasing. Attention to a few - plain and simple rules would be conducive to its being made so. - - "For a degree of uniformity there is a necessity, as without it - our habits would be neither commodious nor comfortable; but when - uniformity can be corrected by taste, or rendered less obtrusive - by slight variations, the appearance will be more graceful and - becoming. Thus, feathers, jewels, and flowers should usually be - worn on one side of the head. - - "Painters describe this disposition of ornament, etc. by the word - picturesque, and have contrived what they call a fancy dress. - This is wholly at their own disposal, and they profess to combine - in it all the principles of beauty. But, unhappily, should their - figures walk across the room, these fantastic garments would drop - from their shoulders. Were they contrived with a little attention - to common sense, they might have their uses. Such a succedaneum - would not only keep their works out of the reach of ill-natured - critics, by covering false anatomy, etc., but give an artist - such latitude for light and shadow as might enable him to shine - in the grand historical style; though in painting the manners - of the present day, where dress forms a part of the character, - he might be totally at a loss. On the same ground that I think - it more difficult to delineate scenes built on real life than - to display such as originate in fiction, I believe it an easier - task to write tragedy than comedy: I mean true comedy, not a - Dutch droll. Dress is in some cases an index to the mind, and - characters in improper habits would destroy the illusion at the - best performed play. - - "Simplicity, little as it is attended to, is the most attractive - principle of beauty. By this I mean that the habit should not be - divided into too many parts, like an old-fashioned furbelowed and - flounced petticoat: this preposterous mode confounds the eye, and - gives an idea of rags and tatters. The plain unadorned dress of a - country girl is often more engaging than the richest court habit, - in which beauty is frequently obscured, overwhelmed, and buried - by gaudy and heavy ornaments that totally destroy the effect they - are intended to produce. Yet here, as in composition, simplicity - must be corrected by intricacy, to prevent its degenerating into - meanness. Parts of every dress should be loose, and at liberty to - play into folds, some of which will move with the figure; nay, it - sometimes produces grace to contrive things to rest in winding - forms, as is demonstrated by the figure of a sphinx. - - "Quantity, as I have before remarked, adds dignity; robes of - state are always made large and full; the long sweeping trains of - queens have a majestic effect. To attain this, the ladies endure - great fatigue, and encumber themselves with an enormous hoop - petticoat, as much as they would by carrying a pair of panniers - on their hips. While they preserve the figure of the pyramid, - this produces some degree of dignity, but excess renders it - ridiculous. - - "The horse-grenadier, mounted, caparisoned with his sword and - other accoutrements, gives a good example of the noble effect of - quantity, so combined as to come within pyramidal lines. What - a contrast would it produce, to see the little jockey fitted, - trimmed, and pared down for a race, riding by the side of him!" - -Hogarth concludes with a remark, which intimates that he had -originally intended to have inserted the preceding chapter in his -_Analysis_, but altered his plan and reserved it for his intended -Supplement:-- - - "The even and uniform colour of the hair, by encompassing the - face as a frame doth a picture, contrasts with harmonious - colour its variegated and enclosed composition, and adds more - or less beauty thereto, according to the manner it is disposed. - This graceful ornament may, with some propriety, be called the - head-dress, and comes under that class; but as dress in general - is a matter of no small importance to a great part of the world, - it deserves to be treated more copiously than this volume will - admit of. It shall therefore be deferred till a more convenient - opportunity offers, when the Supplement shall be published." - - -[Illustration: (end of section floral icon)] - - - - -CHAPTER V. - - HOGARTH'S INDUCEMENT TO PAINTING THE PICTURE OF SIGISMUNDA. HIS - CORRESPONDENCE WITH LORD GROSVENOR ON THIS SUBJECT, CONTRASTED - BY TWO LETTERS FROM LORD CHARLEMONT, FOR WHOM HE HAD PREVIOUSLY - PAINTED AN INTERESTING SCENE. ORIGIN OF THE QUARREL WITH WILKES - AND CHURCHILL, WHICH GAVE RISE TO THE PRINT OF THE BEAR, ETC.; - AND THE ARTIST'S DEATH. - - -The particulars relative to the picture of "Sigismunda," Hogarth -has himself inserted in his subscription-book, on the leaves of -which he has pasted his correspondence with Lord Charlemont and Lord -Grosvenor, and a proof print of MacArdell's copy from Correggio's -picture. In a little blue memorandum book he resumes the subject, and -concludes with a narrative of his quarrel with Wilkes and Churchill, -which ends with the word _Finis_. - -In these and some other loose papers, after having stated the -professional injury which he had sustained from his opponents -asserting, and the public believing, that he could not paint -portraits, he continues:-- - - "Being thus driven out of the only profitable branch of - my profession, I at first thought of attaching myself to - history-painting; but in this there was no employment, for - in forty years I had only two orders of any consequence for - historical pictures. This was rather mortifying; and being, by - the profits of my former productions and the office of serjeant - painter, tolerably easy in my circumstances, and thoroughly sick - of the idle quackery of criticism, I determined to quit the - pencil for the graver. In this humble walk I had one advantage; - the perpetual fluctuations in the manners of the times enabled - me to introduce new characters, which being drawn from the - passing day, had a chance of more originality and less insipidity - than those which are repeated again, and again, and again from - old stories. Added to this, the prints which I had previously - engraved were now become a voluminous work, and circulated not - only through England, but over Europe. These being secured to - me by an Act which I had previously got passed, were a kind of - an estate; and as they wore, I could repair and re-touch them, - so that in some particulars they became better than when first - engraved.[72] - - "While I was making arrangements to confine myself entirely - to my graver, an amiable nobleman (Lord Charlemont) requested - that, before I bade a final adieu to the pencil, I would paint - him one picture; the subject to be my own choice, and the - reward--whatever I demanded. The story I pitched upon was a young - and virtuous married lady, who, by playing at cards with an - officer, loses her money, watch, and jewels; the moment when he - offers them back in return for her honour, and she is wavering at - his suit, was my point of time.[73] - - "The picture was highly approved of, and the payment was noble; - but the manner in which it was made, by a note enclosed in one of - the following letters, was to me infinitely more gratifying than - treble the sum:-- - - - _From Lord Charlemont to Mr. Hogarth._ - - "MOUNT STREET, _19th Aug. 1759_. - - "DEAR SIR,--I have been so excessively busied with ten thousand - troublesome affairs, that I have not been able to wait upon you - according to my promise, nor even to find time to sit for my - picture. As I am obliged to set out for Ireland to-morrow, we - must defer that till my return, which will be in the latter end - of January, or in the beginning of February at furthest. I am - still your debtor, more so indeed than I ever shall be able to - pay; and did intend to have sent you before my departure what - trifling recompense my abilities permit me to make you. But the - truth is, having wrong calculated my expenses, I find myself - unable for the present even to attempt paying you. However, if - you be in any present need of money, let me know it, and as - soon as I get to Ireland I will send you, not the price of your - picture, for that is inestimable, but as much as I can afford to - give for it.--Sir, I am, with the most sincere wishes for your - health and happiness, your most obedient humble servant, - - CHARLEMONT. - - - _To Mr. Hogarth._ - - "DUBLIN, _29th January 1760_. - - "DEAR SIR,--Enclosed I send you a note upon Nesbitt for one - hundred pounds; and considering the name of the author, and the - surprising merit of your performance, I am really much ashamed to - offer such a trifle in recompense for the pains you have taken, - and the pleasure your picture has afforded me. I beg you would - think that I by no means attempt to pay you according to your - merit, but according to my own abilities. Were I to pay your - deserts, I fear I should leave myself poor indeed. Imagine that - you have made me a present of the picture, for literally as such - I take it, and that I have begged your acceptance of the enclosed - trifle. As this is really the case, with how much reason do I - subscribe myself, Your most obliged humble servant, - - CHARLEMONT. - - - "This elevating circumstance had its contrast, and brought on a - train of most dissatisfactory circumstances, which by happening - at a time when I thought myself, as it were, landed, and secure - from tugging any longer at the oar, were rendered doubly - distressing. - - "A gentleman (now a nobleman) seeing this picture, pressed me - with much vehemence to paint another for him upon the same terms. - To this I reluctantly assented; and as I had been frequently - flattered for my power of giving expression, I thought the figure - of Sigismunda weeping over the heart of her lover would enable me - to display it. Impressed with this idea, I fixed upon this very - difficult subject. My object was dramatic, and my aim to draw - tears from the spectator,--an effect I have often witnessed at a - tragedy; and it therefore struck me that it was worth trying if - a painter could not produce the same effect, and touch the heart - through the eye, as the player does through the ear.[74] Thus far - I have been gratified: I have more than once seen the tear of - sympathy trickle down the cheek of a female while she has been - contemplating the picture. - - "As four hundred pounds had a short time before been bid for a - picture of 'Sigismunda,' painted by a French master, but falsely - ascribed to Correggio, four hundred pounds was the price at which - I rated this.[75] - - "By any other of my pursuits I could have got twice the sum - in the time I devoted to it; nor was it more than half what a - fashionable face-painter would have gained in the same period. - Upon these grounds I put it at this sum; see the letter, and - see the answer. It ended by my keeping the picture in my - painting-room, and his Lordship keeping his money in his pocket. - Had it been Charlemont!" - -This transaction having given rise to many ridiculous falsehoods, the -following unvarnished tale will set the whole in its true light:-- - - - "_January 1764._ - - "The picture of 'Sigismunda' was painted at the earnest request - of Sir Richard Grosvenor (now Lord Grosvenor) in the year 1759, - at a time when Mr. Hogarth had fully determined to leave off - painting, partly on account of ease and retirement, but more - particularly because he had found by thirty years' experience - that his pictures--except in an instance or two, mentioned in the - note[76]--had not produced him one quarter of the profit that - arose from his engravings. However, the flattering compliments, - as well as generous offers, made him by the above gentleman - (who was immensely rich), prevailed upon the unwary artist to - undertake this difficult subject, which being seen and fully - approved of by his Lordship whilst in hand, was, after much time, - and the utmost efforts, finished. _But how!_ the painter's death - (as usual) can only positively determine. The price required for - it was therefore not on account of its value as a picture, but - proportioned to the value of the time it took in painting. - - "This nobleman in the interim fell into the clutches of the - dealers in old pictures; the treatment a man who painted new ones - was to expect where these gentry once get a footing[77] so much - alarmed the artist, that he thought it best to set his Lordship - at full liberty to take or reject the picture by writing the - following letter, and putting him in mind of the agreement which - was made when the work was undertaken:-- - - _Mr. Hogarth's Letter to Sir Richard Grosvenor._ - - "SIR,--I have done all I can to the picture of 'Sigismunda.' You - may remember you was pleased to say you would give me what price - I should think fit to set upon any subject I would paint for you; - and at the time that you made this generous offer, I in return - made it my request that you would use no ceremony in refusing the - picture when done, if you should not be thoroughly satisfied with - it. This you promised should be as I pleased, which I now entreat - you will comply with, without the least hesitation, if you think - four hundred too much money for it.[78] One more favour I have to - beg, which is, that you will determine on this matter as soon as - you can conveniently, that I may resolve whether I shall go about - another picture for Mr. Hoare the banker, on the same conditions, - or stop here.--I am, etc. - - "_June 13, 1757._ - - - _Sir Richard Grosvenor to Mr. Hogarth._ - - "SIR,--I should sooner have answered yours of the 13th instant, - but have been mostly out of town. I understand by it that you - have a commission from Mr. Hoare for a picture. If he should have - taken a fancy to the 'Sigismunda,' I have no sort of objection - to your letting him have it; for I really think the performance - so striking and inimitable, that the constantly having it before - one's eyes would be too often occasioning melancholy ideas to - arise in one's mind, which a curtain's being drawn before it - would not diminish in the least.--I am, Sir, your most obedient - servant, - - RICHARD GROSVENOR. - - "GROSVENOR SQUARE, - _Sunday morning, June 17_. - - - _Mr. Hogarth's Reply._ - - "SIR RICHARD,--As your obliging answer to my letter in regard to - the picture of 'Sigismunda' did not seem to be quite positive, I - beg leave to conclude you intend to comply with my request if I - do not hear from you within a week.--I am, etc. - - W. H. - - - "His Lordship not thinking fit to take any further notice of - the affair, here it must have ended; but things having been - represented in favour of his Lordship, and much to Mr. Hogarth's - dishonour, the foregoing plain tale is therefore submitted to - such as may at any time think it worth while to see _the whole - truth_ in what has been so publicly talked of." - -To vindicate his fame, Hogarth at one time determined to have the -picture engraved, and Mr. Ravenet undertaking it, "a subscription for -the print was begun March 2d, 1761;[79] but, some time afterwards, -finding that Mr. Ravenet was under articles not to work for any one -except Mr. Boydell for three years then to come, the subscription -was put a stop to, and the money returned to the subscribers, there -being no other engraver at leisure capable of doing it as it should -be done." - - "_January 2, 1764._ - - "All efforts to this time to get the picture finely engraved - proving in vain, Mr. Hogarth humbly hopes his best endeavours to - engrave it himself will be acceptable to his friends." - - -CORREGGIO'S SIGISMUNDA. - - "Mute, solemn sorrow, free from female noise." - --DRYDEN'S _Sigismunda_. - -On the comparative merit of the two pictures of "Sigismunda" -there have been various opinions. By the foregoing narrative it -appears that Hogarth never paid so much attention to any preceding -production; but in works of imagination success is not always -proportionate to labour, and his performance might not be equal to -his exertions. Be that as it may, this was the criterion by which -he estimated its worth; and by the political disputes in which he -was afterwards engaged with Wilkes and Churchill, this estimation -was turned against himself. His opponents discovered his parental -partiality for "Sigismunda;" and to wound the artist in his most -vulnerable part, they mangled her without mercy. - -Mr. Walpole's critique did not appear until after Hogarth's death; -but when he gravely states Hogarth's performance to be more -ridiculous than anything the artist had ever ridiculed, it ceases -to be criticism. The best reply to so extravagant an assertion, -is the original picture now in the possession of Messrs. Boydell, -which, though not well coloured, and rather French, is marked with -mind, and would probably have been better had it not been so often -altered on the suggestions of different critical friends. Mr. -Walpole contrasts it with that painted by Correggio (or Furino), on -which, at the expense of the poor English artist, he bestows most -extravagant and unqualified praise; asserting that it is impossible -"to see the picture, or read Dryden's inimitable tale, and not feel -that the same spirit animated both poet and painter." That the -reader may form his own opinion by comparison, I have annexed a -copy from MacArdell's admirable print; and as both sides ought to -be heard, I have subjoined the following remarks from the _Monthly -Register of Literature_, vol. ii., in which is a critique (possibly -written by Mr. Joshua Kirby), as extravagant in the abuse of this -picture as Mr. Walpole is in its praise. It is here stated that -these observations were written for private use by a professional -man whose name is well known as the author of a treatise on painting -and perspective; it begins with some remarks on Miss Edwards' sale -in 1746, and concludes with several strictures on Sir Luke Schaub's -in April 1756: "Sir Luke's pictures (only 178) sold for £7784! a -lucky collection for his heir, but unlucky for Sir Luke's reputation -as a judge of painting." After several severe remarks on some of the -preceding lots, the writer observes of "No. 59,--'Sigismunda Weeping -over the Heart of Tancred,' called a Correggio,--that this picture -is an undoubted copy; nothing in the character of Sigismunda but -sorrow to recommend it. The painter might take it from his cook-maid, -there being nothing elegant or delicate in her appearance. The -virtuosi ran it up to £400; but Sir Thomas Sebright, at the desire -of the proprietor, bought it in for £404, 5s. He soon discovered his -mistake, for in reality it was worth no more than ten guineas." - -Though I cannot consent to view this picture through the medium -of Mr. Walpole's overcharged panegyric, which gives to the artist -a power that is not in the art, and seems heightened for the pure -purpose of sinking Hogarth by the contrast; yet I by no means meet -this indiscriminate and unfounded censure. It is many years since I -saw the picture in the Duke of Newcastle's collection, and I then -thought it sublimely conceived and finely coloured. MacArdell's print -gives a faithful representation of the character, and the annexed -head is a correct copy. - -Hogarth still bearing in mind this transaction, in which he thought -himself very ill-used, continues his narrative, and concludes with -a recital of the circumstances which occasioned his quarrel with Mr. -Wilkes, etc.; this much hurt his feelings, and in the progress of it -I have ever thought he was unjustly and most inhumanly treated:-- - - "As the most violent and virulent abuse thrown on 'Sigismunda' - was from a set of miscreants, with whom I am proud of having - been ever at war, I mean the expounders of the mysteries of - old pictures, I have been sometimes told they were beneath my - notice. This is true of them individually; but as they have - access to people of rank, who seem as happy in being cheated - as these merchants are in cheating them, they have a power of - doing much mischief to a modern artist. However mean the vendor - of poisons, the mineral is destructive; to me its operation was - troublesome enough. Ill-nature spread so fast, that now was the - time for every little dog in the profession to bark, and revive - the old spleen which appeared at the time of the _Analysis_.[80] - The anxiety that attends endeavouring to recollect ideas long - dormant, and the misfortunes which clung to this transaction, - coming at a time when nature demands quiet, and something besides - exercise to cheer it, added to my long sedentary life, brought - on an illness which continued twelve months. But when I got well - enough to ride on horseback I soon recovered. This being at a - period when war abroad and contention at home engrossed every - one's mind, prints were thrown into the background; and the - stagnation rendered it necessary that I should do some timed - thing, to recover my lost time and stop a gap in my income. This - drew forth my print of 'The Times,' a subject which tended to - the restoration of peace and unanimity, and put the opposers - of these humane objects in a light which gave great offence to - those who were trying to foment destruction in the minds of the - populace. One of the most notorious among them, till now rather - my friend and flatterer, attacked me in a _North Briton_, in so - infamous and malign a style, that he himself, when pushed even by - his best friends, was driven to so poor an excuse as to say, 'he - was drunk when he wrote it.' Being at that time very weak, and in - a kind of slow fever, it could not but seize on a feeling mind. - My philosophical friends advise me to laugh at the nonsense of - party writing--who would mind it?--but I cannot rest myself: - - 'Who steals my gold steals trash; 'tis something, nothing; - 'Twas mine, 'tis his, and has been slave to thousands: - But he that filches from me my good name, - Robs me of that which not enriches him, - And makes me poor indeed.' - - "Such being my feelings, my great object was to return the - compliment, and turn it to some advantage. - - "This renowned patriot's portrait drawn, like as I could as to - features, and marked with some indications of his mind, fully - answered my purpose. The ridiculous was apparent to every eye. - A Brutus! a saviour of his country with such an aspect! was so - arrant a farce, that, though it gave rise to much laughter in the - lookers-on, galled both him and his adherents to the bone. This - was proved by the papers being every day crammed with invectives - against the artist, till the town grew absolutely sick of thus - seeing me always at full length. - - "Churchill, Wilkes' toad-eater, put the _North Briton_ into - verse in an epistle to Hogarth; but as the abuse was precisely - the same, except a little poetical heightening, which goes for - nothing, it made no impression, but perhaps in some measure - effaced or weakened the black strokes of the _North Briton_. - However, having an old plate by me, with some parts ready, such - as the background and a dog, I began to consider how I could turn - so much work laid aside to some account; so patched up a print - of Master Churchill in the character of a Bear. The pleasure and - pecuniary advantage which I derived from these two engravings, - together with occasionally riding on horseback, restored me to as - much health as can be expected at my time of life. - - "Thus have I gone through the principal circumstances of a life - which, till lately, passed pretty much to my own satisfaction, - and, I hope, in no respect injurious to any other man. This I - can safely assert, I have invariably endeavoured to make those - about me tolerably happy, and my greatest enemy cannot say I - ever did an intentional injury; though, without ostentation, I - could produce many instances of men that have been essentially - benefited by me. What may follow, God knows.--FINIS." - -Such is the candid and dispassionate appeal which this unequalled -artist and excellent man makes to his contemporaries and to posterity. - -In October 1764, he died of an aneurism at his house in Leicester -Fields. His remains were removed to his family vault at Chiswick. The -epitaph by Dr. Johnson, and that written by Mr. Garrick and inscribed -on his monument, are in the first volume of _Hogarth Illustrated_. - -In the _Public Ledger_ of November 19, 1764, his friend Doctor -Townley paid the following tribute to his talents and virtues:-- - - "_TO THE MEMORY OF WILLIAM HOGARTH, WHO WAS SUCH AM ACCURATE - OBSERVER OF MANKIND THAT NO CHARACTER ESCAPED HIM, AND SO HAPPY - IN EXPRESSING HIS CONCEPTIONS BY THE STRENGTH OF HIS PENCIL, - THAT, AS HIS OWN TIMES NEVER PRODUCED A RIVAL, POSTERITY WILL - SCARCE EVER SEE AN EQUAL TO HIM. HIS THOUGHTS WERE SO CONSTANTLY - EMPLOYED IN THE CAUSE OF TRUTH AND VIRTUE, THAT HE MAY BE JUSTLY - RANKED AMONGST THE BEST MORAL AUTHORS. WHILST HE FAITHFULLY - FOLLOWED NATURE THROUGH ALL HER VARIETIES, AND EXPOSED WITH - INIMITABLE SKILL THE INFINITE FOLLIES AND VICES OF THE WORLD, - HE WAS HIMSELF AN EXAMPLE OF MANY VIRTUES; AND WHEN, WITH - UNIVERSAL ADMIRATION AND APPLAUSE, HE HAD REPROVED, INSTRUCTED, - AND DELIGHTED THE AGE WHEREIN HE LIVED, HE RESIGNED THE UNCOMMON - GIFTS WHICH HE POSSESSED, AND PAID THE GREAT DEBT HE OWED TO - NATURE, OCT. 27, 1764._" - - - - -DESCRIPTION OF THE PRINTS, ETC. - - -With talents equally honourable to himself, his country, and the -age in which he lived, Hogarth did not leave his widow possessed of -much more than arose from the sale of his prints. But during the -twenty-five years which she survived him, she had the higher and more -exalted gratification of finding that his reputation increased, and -his fame acquired stability by time. - -In the year 1780, the late Horace Lord Orford published his -_Anecdotes_, in which he has introduced Hogarth's catalogue and -character. The volume printed at Strawberry Hill, he (with the -preceding part of the work) presented to Mrs. Hogarth. The books were -accompanied with the following handsome apology for his strictures on -the genius of her husband:[81]-- - - -_To Mrs. Hogarth._ - - "BERKELEY SQUARE, _October 4, 1780_. - - "Mr. Walpole begs Mrs. Hogarth's acceptance of the volume that - accompanies this letter, and hopes she will be content with - his endeavours to do justice to the genius of Mr. Hogarth. If - there are some passages less agreeable to her than the rest, - Mr. Walpole will regard her disapprobation only as marks of - the goodness of her heart, and proofs of her affection to her - husband's memory; but she will, he is sure, be so candid as to - allow for the duty an historian owes to the public and himself, - which obliges him to say what he thinks, and which when he - obeys, his praise is corroborated by his censure. The first - page of his Preface will more fully make his apology;[82] and - his just admiration of Mr. Hogarth, Mr. W. flatters himself, - will, notwithstanding his impartiality, still rank him in Mrs. - Hogarth's mind as one of her husband's most zealous and sincere - friends." - -In nine years after the receipt of this letter, Mrs. Hogarth died, -bequeathing her property to her relation, Mrs. Mary Lewis of -Chiswick, by whose kindness and friendship I am in possession of -the manuscripts which form the basis of the foregoing sheets, the -following most singular and curious print of "Enthusiasm Delineated," -etc. etc. etc. - - -ENTHUSIASM DELINEATED, - -CONTRASTED WITH THE PRINT ENTITLED - -A MEDLEY; - -TO WHICH HOGARTH AFTERWARDS ALTERED THE PLATE.[83] - -"Idolatry is not only an accounting and worshipping that for God -which is not God, but it is also a worshipping the true God in a way -unsuitable to His nature, and particularly by the mediation of images -and corporeal resemblances."--SOUTH. - -Such was the opinion of Dr. South, and such the opinion of Hogarth, -when he designed this very extraordinary print, the intention of -which is to give "a lineal representation of the strange effects -resulting from literal and low conceptions of sacred beings, as -also of the idolatrous tendency of pictures in churches, and prints -in religious books," etc. To exemplify this, he has parodied the -productions of several eminent masters, whose works, having been -generally painted under the direction of cardinals, popes, etc., are -chiefly on religious subjects; and by the artists absurdly attempting -to represent what are not properly objects of sight, that which they -intended to be sublime is rendered in the highest degree ridiculous. -To burlesque the idolatrous symbols with which they have peopled -their canvas, place the popish doctrine of transubstantiation[84] in -its true point of view, unmask hypocrisy, and check the progress of -those enthusiastic delusions which Bishop Lavington properly terms -"Religion run Mad,"[85] are the author's leading objects. - -To effect these purposes, he has delineated what we may fairly -denominate a powerful preacher, who from his countenance, and what -is hinted at in the scale of vociferation at his left hand, seems -treating his congregation with _a bull roar_. He may be considered -as either a Methodistical Papist or a Popish Methodist, for his -shaven crown intimates that he is a Jesuit; and the harlequin's -jacket underneath his gown denotes the versatility of his religious -professions. This Proteus of the pulpit poises a puppet in each hand; -that in the left represents the devil grasping a gridiron; in his -right he holds the triple figure with the triangular emblem, by which -Raphael and some other painters have profanely presumed to personify -the Deity.[86] - -Exemplifying sacred mysteries by these absurd theorems is surely open -to the severest satire; and to heighten his ridicule, the artist has, -by adding three legs to the triangle, rendered it a complete trivet, -and given to his jesuitical and theatrical declaimer (who, as his -text intimates, "speaks as a fool") a pointed antithesis,--"If you -do not believe in this trivet, you shall broil on that gridiron." -Dangling on pegs around the pulpit, and to be exhibited as there -shall be occasion, are six other puppets, copied from the absurd -misrepresentations which some of the old masters have made of Adam -and Eve, Peter and Paul, Moses and Aaron. Adam and Eve are a little -caricatured, but evidently intended to hint at the dry designs of -Albert Durer. Adam, though naked, has the air of a first-rate -coxcomb. Eve, encircled with a zone of fig leaves, has neither -grace in her step nor dignity in her gesture. Peter, displaying his -ponderous key, and pulling off Paul's black periwig, is copied from -Rembrandt, and to him referred in Hogarth's inscription. Paul, with a -beard of Hudibrastic cut and dye, being low of stature, is elevated -by high-heeled shoes, and armed with two swords: that in his hand, -massy as the weapon wielded by John a Gaunt; the other, which, like -the dagger of Hudibras, might serve as its page, tucked to his side. - -Moses and Aaron, one bearing the tables and the other an incense -pot, are retreating to the other side. The Jewish lawgiver's having -made many ordinances concerning food, may be hinted at by his being -crowned with a porridge pot; the two feet may serve for horns. The -bells on the hem of Aaron's garments are sufficiently obvious, and, -as saith Master Thomas Goodwin, in his _Civil and Ecclesiastical -Rites_--"By the bells are typed the sound of his doctrine." - -The nobleman in a pew beneath, unquestionably refers to some known -character; but for whom it is meant I am unable to determine. He may -either be a peer who was at that time very constant in his attendance -at the Tabernacle, or a wolf who has found his way into the fold, -and is prowling among the lambs of the flock. His face presents the -index of a mind in which hypocrisy is united with another passion, -and is in an eminent degree characteristic. The holy fervour[87] of -the female, who, seduced by the tender touches of an earthly lover, -lets her celestial model fall to the ground, is equally remarkable. -A ragged figure[88] in the same pew, dropping his tears into a -bottle, we know, by his rueful countenance, his handcuffs, and the -letter T marked on his cheek, to be a repentant thief. A tattered and -coal-black proselyte at the foot of the reading-desk, inspired with -the epidemical enthusiasm of the place, is embracing the idolatrous -image of her adoration, which in colour is similar to herself. - -As sculptors and painters have thought fit to denominate a child's -head, with duck wings, "Cherubin;"[89] Hogarth, to one of these -infantine fancies, has whimsically enough added a pair of duck's -feet. The well-fed figure in the desk may perhaps be meant as an -overcharged portrait of Whitfield. The fainting female in the corner -of the print was intended for Mrs. Douglas of the Piazza, who, after -a most licentious life, became a rigid devotee, and was Sam. Foote's -original for Mother Cole. The Jew, with an insect between his nails, -has a fine air of head. On the book open before him is a print of -"Abraham offering up Isaac."[90] - -The figures in the background it is not necessary to enumerate: -they are sighing, weeping, groaning! The four most obtrusive convey -a severe satire on transubstantiation. A Turk looking through the -window, is evidently laughing at their absurdities, and thanking -Mahomet that he has been early initiated in the Koran. A dog, with -"Whitfield" on his collar, seated upon a hassock, and howling in -concert with the preacher, is admirably designed. - -The figure of a pigeon impressed on the Methodist's brain, is -intended to intimate that if the Holy Spirit gets into the head -instead of the heart, it will create that confusion of intellect -described in the mental thermometer which rises out of it, and which -is crowned by a dove on the point of a triangle. - -Thus did this great artist express his "First Thought," but -afterwards erased, or essentially altered every figure except -two, and _on the same piece of copper_: we find his variations so -multifarious as to render it nearly a new print, which he entitled - - -CREDULITY, SUPERSTITION, AND FANATICISM. - -A MEDLEY. - -The preacher and the devil, except in a few shadows added to a -handkerchief, are left as in the first state, and these are the -only figures that are so left; from them and the background it is -positively ascertained that the first and second engravings are on -the same copperplate. Raphael's strange symbol of the Deity the -artist has struck out, and in the place of it inserted a witch upon a -broomstick; instead of the puppets representing Adam and Eve, Peter -and Paul, Moses and Aaron, we have Mrs. Veale's ghost, Julius Cæsar's -apparition, and the shade of Sir George Villiers. - -The nobleman, and lady dropping her deified image in the pew beneath -the pulpit, are discarded, and a pair of vulgar and uninteresting -characters put in their room. The handcuffed felon is obliterated, -and his place supplied by two figures, one weeping, the other asleep. -The ragged woman hugging a model is altered to the boy of Bilson; and -on the hassock, where was the howling dog, is a shoeblack's basket, -with Whitfield's _Journal_ placed upon King James's _Demonology_. -The characters of cherubin and seraph are changed; and though the -duck's wings are left, the legs are lopped off. In the place of -the corpulent and consequential clerk, the artist has inserted a -meagre and moon-eyed monster, with wings that either grow out of his -shoulders, or appertain to a foul fiend planted behind him and acting -as his prompter. Mother Douglas is beaten out of the copper, and in -her room Hogarth has introduced Mrs. Tofts and her rabbits, one of -the popular impositions of his own day. The smelling-bottle applied -to recover Mrs. Douglas from fainting, is with Mrs. Tofts very -properly changed to a dram glass. The Jew is altered, and altered -for the worse: the print of "Abraham and Isaac," in a book before -him, is obliterated, and a knife inscribed "bloody," and laid upon -an altar, supplies its place. In the characters of the common people -of the congregation there are several variations; the models which -some of them held in their arms are totally changed. The pigeon in -the Methodist's brain is discarded; in the place of the inscription -in the top division of the thermometer he has inserted the Cock -Lane ghost; and instead of the glory, which in the "First Thought" -crowned the whole, we have the Tedworth Drummer, a tale which, had -it not given the subject for Addison's comedy, would have been long -since forgotten. On the scale of vociferation and the chandelier, the -names of W--d and Romaine are only to be found in the present state -of the plate; in the scale of the thermometer there are numerous -alterations. In "The Medley," the artist has made an addition, -and placed Wesley's _Sermons_ and Glanville's book _On Witches_ -as supporters to the Methodist's brain. To do this, and introduce -the rabbits on the foreground, he has brought his work so near the -bottom of his plate as not to leave room for a title, which, with the -quotation from St. John, "Believe not every spirit," etc., is, in the -present state of the plate, engraven on another piece of copper. - -Many little variations besides those I have noted will appear by a -comparison of the two designs; one is worthy of particular attention. -In the print of "Enthusiasm Delineated," the inscriptions on the -thermometer, etc., are evidently from the burin of Hogarth; in -the print of "The Medley," every inscription, even those which in -each impression contain the same words, are the work of a writing -engraver, from which I am inclined to believe, that in the first -state the artist never trusted the plate out of his own hands. - -With respect to the comparative merit of the two prints, I think -of the "First Thought" what Mr. Walpole in his _Anecdotes_ asserts -of the "Second," that "for useful and deep satire, it is the most -sublime of all his works." It forms one great whole; and the skill -with which he has appropriated the absurd symbols of painters, -and combined the idolatrous emblems of Popery with the mummery of -modern enthusiasts, presents a trait of his genius hitherto unknown; -displays the powers of his mind on subjects new to his pencil, and -shows an extent of information and depth of thought that is not to be -found in any of his other works. - -In "The Medley" the artist has changed his ground, attacked follies -of another description, and in the place of Enthusiasm introduced -Credulity, Superstition, and Fanaticism. In his management of them -he has shown much genius, and by his transition from one object to -another, and the many metamorphoses of his characters, displayed a -power of assimilating, aptness of appropriating, and versatility -of pencil hardly to be paralleled, and proved that his invention -was inexhaustible. With all this, it must be acknowledged that -some of the local credulities which he has there depicted were of -so temporary and trifling a nature, that even now they are hardly -recollected by any other circumstances than having been introduced in -this print. - -Ten or twelve figures engraved on the background are not in the -"First Thought:" two of them, viz. a crazed convert terrified by a -lay preacher, are admirably descriptive; but as to the residue of -this half-price audience, met together to be miserable, they add to -the number without much increasing the force, destroy the pyramid, -and hurt the general effect;--if they are intended to stand on the -floor, they are too high; if on benches, too low. The effect of this -print is further injured by the alteration of the clerk. In the -first state, his ample breadth of face and black periwig render him -a leading character, and give him the rank of principal figure. The -thin-visaged, hungry harpy in "The Medley" has no importance, neither -is there any principal figure in that print. A little cherub Mercury, -crowned with a postilion's cap, and bearing in his mouth a letter -directed to St. Moneytrap, is an afterthought, and only to be found -in the second impression. - -If I am asked what were the artist's inducements for making so -many alterations, I can account for it in no other way than by -supposing some friend suggested that the satire would be mistaken, -and that there might be those who would suppose his arrows were -aimed at religion, though every shaft is pointed at the preposterous -masquerade habit in which it has been frequently disguised. - -Considering the time that must have been employed in beating out the -old figures, the trouble of polishing the copper, etc., it seems -rather extraordinary that he should not have wholly discarded his -plate of the "First Thought," and taken another piece of copper for -the second. It is probable that the alterations were made by degrees, -and before the author was fully satisfied with his design, became -much more numerous than he had at first intended.[91] - - -TASTE IN HIGH LIFE - -IN THE YEAR 1742. - -[Illustration: TASTE IN HIGH LIFE.] - -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_ dinner: cocks' combs, ducks' tongues, -rabbits' ears, fricasey of snails, _grande d'œuts beurre_.[92] - -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, and queue wig, etc. On the dexter side is another picture -representing Monsieur Desnoyer, operatically habited, dancing in -a grand ballet, and surrounded by butterflies, etc., inscribed -"Insects," and evidently of the same genus with this deity of dance. -On the sinister is a drawing, denominated "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 confin'd, - Or a pagod in some little corner enshrin'd." - -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 print is copied was made by the connivance -of one of her servants.[93] Be that as it may, his ridicule on -the absurdities of fashion,--on the folly of collecting old -china,--cookery,--card-playing, etc., is pointed, and highly wrought. - -At the sale of Miss Edwards' effects at Kensington, the original -picture was purchased by the father of Mr. Birch, surgeon, of Essex -Street, Strand. - - -FARINELLI, CUZZONI, AND SENESINO, - -IN THE CHARACTERS OF - -PTOLEMY, CLEOPATRA, AND JULIUS CÆSAR. - - "To banish nature and to vary art, - To fix the ear but never reach the heart, - To mangle sense and dress up meagre sound, - While the same tasteless unison goes round; - And still the point of excellence to place - In execution, cadence, and grimace; - To ravish with unnatural sounds the ear, - While beaux applaud and belles with rapture hear,[94] - The song we raise." - -[Illustration: FARINELLI, CUZZONI, & SENESINO.] - -This dignified heroine and the two heroes--of a class-- - - "By their smooth chins and simple simper known," - -are here the representatives of "the majesty of Egypt, a morsel for -a monarch," and "the foremost man of all this world;"[95] they were -the three principal performers in Handel's opera of _Ptolomeo_, -performed in the year 1728. There have been some suspicions of -its not being Hogarth's design, and from the characters more than -bordering on caricature, etc., I once inclined to that opinion; but -from the general spirit of the satire, and the same figures being -introduced in nearly the same attitudes in the first print Hogarth -ever published (see p. 22), there is little doubt of its being his -production. - -The position (for it can hardly be called an attitude) in which the -painter has placed Farinelli, is fully warranted by the writer -of a pamphlet, entitled _Reflections on Theatrical Expression in -Tragedy, etc._, published in 1755. These _Reflections_ are admirably -contrasted by the exaggerated compliment with which the author of the -_Divine Legation_ honours the divine Senesino. The two quotations -follow:-- - -"I shall therefore, in my further remarks on this article, go -back to the old Italian theatre, when Farinelli drew everybody to -the Haymarket. What a pipe! what modulation! what ecstasy to the -ear!--but, heavens! what clumsiness! what stupidity! what offence to -the eye! Reader, if of the city, thou mayst probably have seen in -the fields of Islington or Mile-End, or if thou art in the environs -of St. James's, thou must have observed in the park, with what ease -and agility a cow, heavy with calf, has rose up at the command of -the milkwoman's foot. Thus from the mossy bank sprung up the divine -Farinelli. Then with long strides, advancing a few paces, his left -hand settled upon his hip in a beautiful bend, like that of an -old-fashioned caudle-cup, his right hand remained immoveable across -his manly breast till numbness called its partner to supply its -place, when it relieved itself in the position of the other handle to -the caudle-cup, etc."--_Reflections, etc._ - -With respect to the other genius of Italian song, Mr. Nichols very -justly observes that his dignity must have been wonderful, or the -following passage in Dr. Warburton's _Inquiry into the Causes of -Prodigies and Miracles_ (printed in 1727) affords a most notorious -example of the bathos:-- - -"Observe," says he (p. 60), "Sir Walter Raleigh's great manner of -ending the first part of the _History of the World_: 'By this, which -we have already set down, is seen the beginning and end of the three -first monarchies of the world, whereof the founders and erectors -thought that they never could have ended; that of Rome, which made -the fourth, was also at this time almost at the highest. We have -left it flourishing in the middle of the field, have rooted up or -cut down all that kept it from the eyes and admiration of the world; -but after some continuance it shall begin to lose the beauty it had, -the storms of ambition shall beat the great boughs and branches one -against another, her leaves shall fall off, her limbs wither, and a -rabble of barbarous nations enter the field and cut her down.' What -strength of colouring! what grace, what nobleness of expression! with -what a majesty does he close his immortal labour! It puts one in -mind of the so much admired exit of the late famed Italian singer!" -(Senesino.[96]) What a climax! - - -A WOMAN SWEARING HER CHILD TO A GRAVE CITIZEN. - - "Here Justice triumphs in his elbow chair, - And makes his market of the trading fair; - His office shelves with parish laws are grac'd, - But spelling-books and guides between 'em plac'd.[97] - Here pregnant madam screens the real sire, - And falsely swears her bastard child for hire - Upon a rich old leecher, who denies - The fact, and vows the naughty hussif lies. - His wife enrag'd, exclaims against her spouse, - And swears she'll be reveng'd upon his brows; - The jade, the justice, and churchward'ns agree, - And force him to provide security." - -[Illustration: WOMAN SWEARING A CHILD.] - -These curious rhymes, engraven under the original print, in a degree -describe the plot of the play, and the characters of the performers -in this religious ceremony; for as such does Picart class a copy -which he has introduced in the fourth volume of his work,[98] -accompanied with the following explanation:-- - -"Many other customs might find a place here, and delight the -readers by their comical singularity, but we dare not crowd -in too great a number of those trifles, as not being properly -religious ceremonies; which therefore, till approved of by the -church, or by the governor of it, prescribed by ecclesiastical -laws or formularies, we shall omit, except two or three of the -most remarkable. The first is what the description here annexed -calls the breeding woman's oath,--a custom not to be met with -in other countries,--which is so fantastical, or rather unjust, -that it would be a prejudice to the laws of England if we were -to judge of their equity by that practice. Suppose any of these -girls, which may be called amphibious (being neither wives nor -virgins), is found to be with child. She does not, or will not, -pretend to know the father of this child. In order to free -herself from the trouble of maintaining it when born, she looks -out for some rich man, upon whom she intends to father it. -Generally they say she pitches upon some good citizen, though she -does not know him, or maybe has never seen him. Then she goes -before a Justice of the Peace, summons the pretended father to -appear before him, and in his presence swears upon the Bible, -which the clerk holds to her, that she owns and declares that -such a one whom she has summoned to appear is the father of the -child. How far the equivocal expressions and restrictions of -that oath may excuse her from perjury, let a good casuist be the -judge. However, the man thus named and sworn to by this formality -of law is obliged to pay an arbitrary fine, and to agree upon -a sum of money for the maintenance of the child."--Picart's -_Religious Ceremonies_, p. 83. - -The original picture from which this print was engraven was one of -Hogarth's early productions, and is in the possession of the Rev. -Mr. Whalley, at Ecton, Northamptonshire. In the disposition of the -figures, etc., it has a more than accidental resemblance to a picture -by Heemskirk, which was in the possession of Mr. Watson, surgeon, -Rathbone Place, where all the male figures are monkeys; all the -females, cats; and which in the year 1772 was engraved in mezzotinto -by Dickinson, and entitled "The Village Magistrate." - -A small copy from Hogarth's print is introduced as the headpiece -to a tale printed in Banks' _Works_, vol. i. p. 248, entitled "The -Substitute Father." - - -THE FOUNDLINGS. - - "No mother's care - Shielded our infant innocence with prayer; - No father's guardian hand our youth maintain'd, - Call'd forth our virtues, and from vice restrain'd; - But strangers,--pitying strangers,--hear our cry, - And with parental care each want supply." - -[Illustration: THE FOUNDLINGS.] - -The last print represented what Mr. Picart chose to call a religious -ceremony,--in this we have a scene which may properly be so -denominated; for surely rescuing deserted, unoffending, and helpless -innocence from destruction, providing an asylum for childhood, -initiating youth in habits of industry, and rendering those whose -parents were unable to protect them useful members of society, is a -religious as well as a political institution. - - "Cold on Canadian hills or Minden's[99] plain, - Perhaps the mother mourn'd her soldier slain, - Bent o'er her babe, her eye dissolv'd in dew, - The big drop mingling with the milk it drew; - Gave the sad presage of his future years, - The child of misery, baptiz'd in tears." - -Hogarth, by presenting some of his works to the Foundling Hospital, -was in fact an early benefactor to the charity. He made the annexed -design for the use of this institution; it was engraved by F. -Morellon la Cave, as the headpiece to a power of attorney from the -trustees of the charity to those gentlemen who were appointed to -receive subscriptions towards the building, etc. - -[Illustration: CAPTAIN THOMAS CORAM.] - -The artist has made his old friend Captain Coram a principal figure; -and as this excellent and venerable man was in fact the founder of -the charity, it is with great propriety he is introduced. Before -him the beadle of the Hospital carries an infant, whose mother, -having dropped a dagger with which she might have been momentarily -tempted to destroy her child, kneels at his feet; while he, with that -benevolence with which his countenance was so eminently marked, bids -her be comforted, for her babe will be nursed and protected. - -On the dexter side of the print is a new-born infant, left close to a -stream of water, which runs under the arch of a bridge. Near a gate, -on a little eminence in the pathway above, a woman leaves another -child to the casual care of the next person who passes by. In the -distance is a village with a church. - -In the other corner are three boys coming out of a door with the -king's arms over it; as emblems of their future employments, one of -them poises a plummet, a second holds a trowel, and a third, whose -mother is fondly pressing him to her bosom, has in his hand a -card for combing wool. The next group, headed by a lad elevating a -mathematical instrument, are in sailors' jacket and trousers; those -on their right hand, one of whom has a rake, are in the uniform of -the school. - -The attributes of the three little girls in the foreground--a -spinning-wheel, sampler, and broom--indicate female industry and -ingenuity. - -It must be admitted that the scene here represented is a painter's -anticipation, for the charter was not granted until October 1739, and -this design was made only three years afterwards; but the manner in -which the charity has been since conducted has realized the scene. - - -FRONTISPIECE TO TERRÆ FILIUS. - -[Illustration: TERRÆ FILIUS.] - -The work to which this is a frontispiece was written by Nicholas -Amhurst, author of the _Craftsman_, and published in the year 1726. -The leading object of this writer is to satirize the Tory principles -of the University of Oxford; but as the book does not abound in -subjects for the pencil, Hogarth has selected a scene described -in No. 33, published 8th May 1721, which contains "Advice to all -gentlemen schoolboys, etc., who are designed for the University of -Oxford." In the part which forms the subject for this print, the -writer thus cautions them:-- - -"Have a particular regard how you speak of those gaudy things which -flutter about Oxford in prodigious numbers in summer time, called -'Toasts;' take care how you reflect on their parentage, their -condition, their virtue, or their beauty,--ever remembering that - - 'Hell has no fury like a woman scorn'd;' - -especially when they have spiritual bravoes on their side, to revenge -their cause on every audacious contemner of Venus and her altars. - -"Not long ago a bitter lampoon was published on the most celebrated -of these petticoat professors. As soon as it came out the town was -in an uproar, and a very severe sentence was passed upon the author -of this anonymous libel, to discover whom no pains were spared. All -the disgusted ill-natured fellows in the University were, one after -another, suspected upon this occasion. At last, I know not how, it -was peremptorily fixed upon one, whether justly or not I cannot say; -but the parties offended resolved to make an example of somebody for -such an enormous crime, and one of them (more enraged than the rest) -was heard to declare, 'that right or wrong, that impudent scoundrel -(mentioning his name) should be expelled by G--; and that she had -interest enough with the President and Senior Fellows of his -College to get his business done.' Accordingly, within a year after -this, he was (almost unanimously) expelled from his fellowship, in -the presence of some of the persons injured, who came thither to see -the execution. - - 'Felix quam faciunt aliena pericula cautum' - -was the thesis pitched upon by the excluding doctors for the -under-graduates to moralize upon, in a public exercise upon this -occasion; and as it is a very wholesome maxim, I leave it, my little -lads, to your serious meditation." - -To the figures introduced in this print the original artist has given -a spirit worthy of Callot; and the copy hereto annexed has been -thought correct and animated. - - -THE SEPULCHRE. - -[Illustration: THE SEPULCHRE.] - -It has been frequently and truly remarked, that in either historical -or serious subjects Hogarth did not excel; but to prove that even in -this walk he was considerably above mediocrity, and that the reader -may be enabled to judge for himself, I have selected the annexed -print, which forms one compartment of the altar-piece to St. Mary -Redcliffe's, Bristol, for the painting of which he received five -hundred pounds. - -The centre division, which is much the largest, represents the -Ascension. The rays emanating from the ascending Deity, and beaming -through the interstices of the surrounding clouds, are tenderly and -brilliantly touched. In the foreground, St. Thomas on one knee, with -his hands clasped together, is eagerly looking up with an expression -of wonder and astonishment. On the other side is St. Peter, in a -reclining posture. Near the centre, St. John, with a group made up of -the other Apostles, attentively listening to the two men in white, -who appeared on this occasion. The background is on one side closed -with tremendous rocks; on the other, under the skirts of low-hung -clouds in the distance, appears part of the magnificent city of -Jerusalem, illuminated by a flash of lightning, which, darting from a -darkened sky, casts a livid gloom over the whole. - -The compartment on the right hand represents the rolling of the stone -and sealing the sepulchre in the presence of the high priest; the -exertion displayed in this is happily contrasted by the tenderness -and elegant softness displayed in the companion picture here copied, -where the Marys approach the empty sepulchre. The angel, speaking and -pointing up to heaven with an expression which explains itself--to -singular beauty, sweetness, and benevolence, unites great elevation -of character, and the native dignity of a superior being. - -The foregoing remarks, with some little variations, are extracted -from an article in the _Critical Review_ for June 1756, which, being -written while the artist was living, were possibly seen and approved -by himself. - -The writer concludes by remarking, that the purchasing such a picture -for their church does great honour to the opulent city for which it -was painted, and is the likeliest means to raise a British School of -Artists; though it would be a just subject of public regret if Mr. -Hogarth should abandon a branch of painting in which he stands alone, -unrivalled and inimitable, to pursue another in which so many have -already excelled. - -From the "Sealing the Sepulchre" and this print there are two large -mezzotintos by J. Jenner. The centre compartment has not been -engraved. - - -THE POLITICIAN. - - A politician should (as I have read) - Be furnished in the first place with a head! - -[Illustration: THE POLITICIAN.] - -One of our old writers gives it as his opinion, that "there are -only two subjects which are worthy the study 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 portrayed; 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,[100]--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 as now (1803), 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 1775. - - -THE MATCHMAKER. - - "Wanted immediately--A HUSBAND." - --_Vide the daily papers._ - -[Illustration: THE MATCH MAKER.] - -The two agreeable persons here introduced formed part of a group in -an unfinished picture painted by Hogarth. They were some years since -engraved on two copperplates; but as I thought that was placing -still further apart the hands of those twain whom the holy service -of matrimony was soon to unite, I have here brought them into one, -and in this we are presented with the bride and that useful agent of -Hymen, denominated a Matchmaker. We see nothing of the bridegroom -but his hand and arm; from which, the countenance of the lady, and -the character of the go-between, we may fairly infer he is young, -and regret that the artist did not complete the trio, and place him -as a contrast to the antiquated virgin with whom he is to be united. -By the beauty spots on her face, she wishes to conceal the ravages -of time; and from her laced lappets, cuffs, robings, and brocaded -silk, we may suppose she is rich. As to the share which the venerable -person who provides her with a husband is to have for his reward--it -depends upon the bargain. I have been told that in this masquerade -matrimony, the master of the ceremonies, or lord of the bedchamber -(which the reader pleases), is paid by both the contracting parties. - -Some of my readers may possibly imagine that the tribe of -Matchmakers, like the race of wolves, is extinct in England; but this -is so far from being the case, that there is now in the neighbourhood -of Piccadilly a regular office,[101] where any gentleman or -gentlewoman, first paying a stipulated sum for entrance money, may -disclose their virtuous wishes, and be provided with partners for -life,--or as long as they can agree. - - -THE MAN OF TASTE. - -[Illustration: THE MAN OF TASTE.] - -The circumstance on which this print is built is thus described by -Dr. Johnson:-- - -"Mr. Pope published in 1731 a poem called _False Taste_, in which he -very particularly and severely criticises the house, the furniture, -the gardens, and the entertainments of Timon, a man of great wealth -and little taste. By Timon he was universally supposed, and by the -Earl of Burlington, to whom the poem is addressed, was privately -said, to mean the Duke of Chandos, a man perhaps too much delighted -with pomp and show, but of a temper kind and beneficent, and who had -consequently the voice of the public in his favour. A violent outcry -was therefore raised against the ingratitude and treachery of Pope, -who was said to have been indebted to the patronage of Chandos for -a present of a thousand pounds, and who gained the opportunity of -insulting him by the kindness of his invitation. The receipt of the -thousand pounds Pope publicly denied; but from the reproach which the -attack on a character so amiable brought upon him, he tried all means -of escaping. The name of Cleland was employed in an apology[102] by -which no man was satisfied; and he was at last reduced to shelter -his temerity behind dissimulation, and endeavoured to make that -disbelieved which he never had confidence openly to deny. He wrote -an exculpatory letter to the Duke, which was answered with great -magnanimity by a man who accepted his excuse without believing -his professions. He said, that to have ridiculed his taste or his -buildings had been an indifferent action in another man, but that in -Pope, after the reciprocal kindness that had been exchanged between -them, it had been less easily excused."--Johnson's _Life of Pope_. - -Soon after the publication of the poem alluded to, Hogarth made this -design, which presents a view of Burlington Gate. On the front, as a -crooked compliment to the noble proprietor, he has inscribed the word -"Taste;" and as a standing proof of the projector being entitled to -the appellation, placed a statue of his grand favourite William Kent -triumphantly brandishing his palette and pencils on the summit, -with two reclining figures representing Raphael and Michael Angelo -for his supporters.[103] Standing on a scaffold board beneath them, -Mr. Pope, in the character of a plasterer, is whitewashing the front, -and whirling his brush with a spirit that produces a shower of liquid -pearl which dismays and defiles the passengers beneath; the principal -of these, intended for the Duke of Chandos, holds his hat over his -head to shelter himself in his retreat. The torrent is not confined -to his Grace's person, but lavishly scattered over his carriage -and attendants, among whom is a blackamoor in the way of being -whitewashed. The clergyman, whom I believe intended for the duke's -chaplain,[104] is escaping round the carriage. - -An old military character, who as well as the chaplain is got out of -the poet's vortex, is rubbing off the stains which he has previously -contracted. - -Climbing a ladder reared against the scaffold, we have Lord -Burlington doing the office of a labourer, and arrayed in a tie-wig, -with a pair of compasses[106] suspended to the riband of his order, -and carrying to his little active workman a hand-hawk, on which is -a portion of what I am told the bricklayers call "fine stuff," to -mix up more whitening for beautifying the front of his own gate, -and defiling the garments of every passenger. This, it must be -acknowledged, our poetical plasterer performs with distinguished -dexterity: he at the same time covers the corrosions in the front, -dashes a plenteous shower on those that come near it, and so kicks -the bottom of a pail which hangs to his short ladder, that a copious -stream flows on the head of a gentleman beneath. - -This double distribution of flattery and satire is amply exemplified -in the Epistle to Lord Burlington; where the poet, by contrasting the -feeble and imperfect efforts of those he abuses with the superior and -superlative genius of the peer,[107] elevates the powers of his own -patron, and sinks those of all his competitors. - -The print from which this is copied was prefixed to a pamphlet, -entitled _A Miscellany of Taste_, by Mr. Pope, etc., containing his -epistles, with notes, etc. There are two other engravings from the -same design, one larger and one smaller than the print annexed. In -the former of these, Mr. Pope has a tie-wig on.[109] - - -HENRY FIELDING. - -[Illustration: HENRY FIELDING.] - -This admirable writer was born at Sharpham Park, in Somersetshire, -near Glastonbury, April 22, 1707. His father, Edmund Fielding, served -in the wars under the Duke of Marlborough, and arrived at the rank -of lieutenant-general at the latter end of George I. or beginning of -George II. He was grandson to an Earl of Denbigh, and nearly related -to the Duke of Kingston, and many other noble families. His mother -was the daughter of Judge Gould, the grandfather of Sir Henry Gould, -one of the Barons of the Exchequer. - -Henry received the first rudiments of his education from the Rev. Mr. -Oliver, to whom we may judge he was not under very considerable -obligations, from the humorous and striking portrait given of him -afterwards, under the name of Parson Trulliber, in _Joseph Andrews_. -From Mr. Oliver's care he was removed to Eton school, where he had -the advantage of being early known to many of the first people in -the kingdom,--namely, Lord Lyttelton, Mr. Fox, Mr. Pitt, Sir Charles -Hanbury Williams, and the late Mr. Winnington. - -At this great seminary of education he gave distinguished proofs of -strong and peculiar powers; and when he left the place, was said to -be uncommonly versed in the Greek authors, and an early master of the -Latin classics: for both which he retained a strong predilection in -all the subsequent periods of his life. Thus accomplished, he went -from Eton to Leyden, and there continued to show an eager thirst for -knowledge, and to study the civilians with unwearied assiduity for -two years; when, remittances failing, he was obliged to return to -London, not then quite twenty years old. - -The comedy called _Don Quixote in England_, was planned at Leyden, -and completed on his return to London; where, from some cause or -other, he was induced to bring it on the stage before it was properly -wrought up, so that by this first essay he gained no dramatic -reputation. Nor were his other productions for the playhouse much -more popular; for though he wrote eight comedies and fifteen farces, -they have not generally proved what are termed stock plays;[110] and -yet from several of them, particularly _Pasquin_, succeeding and -successful writers for the stage have borrowed some of their best -speeches. - -He died at Lisbon, to which place he went for the recovery of his -health, in the year 1754, aged 47. - -Of his talents, he has left memorials that will never die while the -English nation retains a taste for genuine and Cervantic humour: his -features posterity would have only known by description, had not -his friend Hogarth, to whom he had often promised to sit, made this -drawing; for, singular as it may seem, though this admirable writer -lived on intimate terms with the best artists of the day, no portrait -of him was ever painted. - -Many strange stories have been told of the manner in which the -drawing was made, such as, the hint being taken from a shade which a -lady cut with scissors; of Mr. Garrick having put on a suit of his -old friend's clothes, and making up his features and assuming his -attitude for the painter to copy, etc. etc. These are trifling tales -to please children, and echoed from one to another, because the -multitude love the marvellous. - -The simple fact is, that the painter of the "Distressed Poet," and -the author of _Tom Jones_, having talents of a similar texture, lived -in habits of strict intimacy; and Hogarth being told, after his -friend's death, that a portrait was wanted as a frontispiece to his -works, sketched this from memory. - -The drawing was engraved by Mr. Basire, and is said, by those who -knew the original, to be a faithful resemblance. This print is copied -from a proof I had from Mrs. Lewis, and taken before the ornaments -were inserted.[111] - - -SIMON LORD LOVAT. - -[Illustration: SIMON, LORD LOVAT.] - -Simon Lord Lovat was born in the year 1667; his father was the -twenty-second person who had enjoyed the title of Lovat in lineal -descent. His mother was Dame Sybilla Macleod, daughter of the Chief -of the clan of the Macleods, so famous for its unalterable loyalty to -its princes. - -Buchanan relates a marvellous story of the family at the battle of -Loch Lochlie, 1544. In this battle Lord Lovat, his four brothers, his -three sons, and the whole clan of the Frazers, were cut to pieces; -but if we are to believe this tale, the clan was afterwards restored -by a kind of miracle. The passage is curious:-- - -"About this time, by the instigation, as it is thought, of the Earl -of Huntly, a battle was fought in which almost the whole clan of -the Frazers was exterminated. There was an old quarrel between the -Frazers and the Macdonalds, which had been rendered illustrious by -the many bloody engagements to which it had given birth. Huntly, in -the meantime, was deeply irritated that the Frazers alone, among so -many neighbouring clans, should reject his protection. He had just -collected the neighbouring islanders, and made an incursion upon the -estates of the Earl of Argyll; and while every other clan had exerted -its whole force in his favour, there was scarcely an individual -in the whole clan of Frazer that had not ranged himself under the -enemy's standard. For this time, however, the feud was composed -without an engagement; and the forces of each party having disbanded -themselves, returned to the respective clans. The Macdonalds -meantime, instructed by the Earl of Huntly, collected their whole -force, and, having taken their enemy by surprise, engaged in a -most obstinate battle. The unfortunate clan, overpowered by the -greatest inequality of numbers, were killed to a man. Thus a family -the most numerous, and who had often deserved well of the Scottish -weal, had wholly perished, unless, as it seems just to believe, the -Divine Providence had not interfered in their favour. Of the heads -of the clan, eighty persons had left their wives pregnant at home, -and each of them in her turn was delivered of a male child, who all -attained safe to man's estate."--_Buchanan_, lib. xv. p. 532. Pity -but they had been twins! - -Thus much may suffice for the character of his progenitors; as to -his own,[112] he wrote a narrative in French stating his conduct, -connections, treatment at the Court of St. Germains, etc. These -memoirs,[113] which are brought no further than the year 1715, were -translated and printed several years ago; but, for some political -or family reasons, not published until 1797. They contain many -curious particulars of his life, much of which, both then and in -every subsequent period, had great need of an apology. On his -tergiversation in the rebellion of 1745, Sir William Young, one of -the managers appointed for conducting the prosecution, makes the -following observations:--"Your Lordships have already done national -justice on some of the principal traitors who appeared in open arms -against his Majesty by the ordinary course of law; but this noble -Lord, who in the whole course of his life has boasted of his superior -cunning in wickedness, and his ability to commit frequent treasons -with impunity, vainly imagined that he might possibly be a traitor -in private, and rebel only in his heart, by sending his son and his -followers to join the Pretender, and remaining at home himself, to -endeavour to deceive his Majesty's faithful subjects; hoping _he_ -might be rewarded for his son's services if successful, or his _son_ -alone be the sufferer for _his_ offences if the undertaking failed. -Diabolical cunning! Atrocious impiety!"--_State Trials_, vol. iv. p. -627. - -These are hard and heavy accusations; but the fact is, that whoever -becomes the biographical advocate of Lord Lovat will find it useful -to adopt the plan recommended to the writer who wished to draw -a _fair character_ of that _all-accomplished statesman_, William -Pulteney, Earl of Bath: - - "Leave a blank here and there, in each page, - To enrol the fair deeds of his youth! - When you mention the acts of his age, - Leave a blank for his honour and truth." - -Notwithstanding all this, his conduct previous to execution was -manly and spirited. When advised by his friends to throw himself at -his Majesty's feet and petition for mercy, he absolutely refused, -said that he was old and infirm, and his life not worth asking. When -informed that an engine was to be made for his execution like that -called "the Maiden," provided long since for state criminals in -Scotland, he commended the contrivance, observing that, as his neck -was short, the executioner would be puzzled to find it out with his -axe; and if such a machine were used, it would get the name of "Lord -Lovat's Maiden."[114] - -When he was brought from Scotland to be tried in London, Hogarth -having previously known him, went to meet him at St. Albans for the -purpose of taking his portrait, and at the "White Hart" in that town -found the hoary peer under the hands of his barber. The old nobleman -rose to salute him (according to the Scotch and French fashion) with -so much eagerness, that he left a large portion of the lather from -his beard on the face of his old friend. - -He is drawn in the attitude of enumerating by his fingers the rebel -forces, "Such a general had so many men," etc.; and I am informed -the portrait is in air, character, and feature, a most faithful -resemblance of the original. - - -NINE PRINTS FOR DON QUIXOTE. - -The first of these prints is copied from a plate in Jarvis' quarto -translation of this inimitable work; it has neither painter nor -engraver's name, but carries indisputable marks of the pencil and -burin of Hogarth. The second is from an unfinished print in my -possession, which I think by the same artist. The six which follow -were designed for Lord Carteret's Spanish edition, published in the -year 1738; but as they are etched in a bold and masterly style, I -suppose the noble peer did not think they were pretty enough to -embellish his volume, and therefore laid them aside for Vandergucht's -engravings from Vanderbank's designs. Hogarth's six plates remaining -in the hands of Mr. Tonson, his Lordship's publisher, were at his -death bought by Mr. Dodsley, from whom they were purchased by -Messrs. Boydell, in whose possession they now remain. While in -Dodsley's hands, references to the chapters and corresponding pages -in Jarvis' translation were engraved under each. - -The last scene, representing "Sancho's Feast," is copied from an -incomparable print engraved at an early period of Hogarth's life, -and published by Overton and Hoole, price one shilling. The subject -of this is exactly consonant to Hogarth's genius, and was probably -selected by the artist to show how happily he could enter into the -spirit of a writer whose turn of mind seems so congenial to his own. -Had Cervantes been an Englishman, I think he would have contemplated -our national follies through the same medium that they were seen by -Hogarth, and probably selected similar scenes as subjects for his -satire. He lived in an age and country where one gigantic folly - - "In proud pre-eminence stalk'd through the land!" - -He touched the phantom with his pen, and it vanished; but as folly -is in some cases the parent of virtue, may not chivalry and romance, -ridiculous as they are in the eye of reason, give birth to an ardour -of spirit which aggrandizes and elevates a nation? To a sedate and -saturnine people, a spice of absurdity may have its use, were it only -to give motion to those virtues which without it might stagnate. -Divested of that frenzy, which at the same time that it ruffles -and impairs their reason, awakes and rouses their spirits, a whole -nation, like a man-of-war becalmed, may be undulated by ineffectual -motion, until they drop into a sort of mental stupor, unmarked by -any other distinctions than those that arise from stately indolence, -haughty solemnity, and supercilious dignity. - -I will not presume to say that Spain is exactly in this situation; -but if it were, other causes may have contributed to the change. -If such are to be the consequences of a nation's becoming wise, a -tincture of folly is rather to be desired than dreaded. - -As to the hero of this admirable tale, the Knight of the Sorrowful -Countenance, who has been the cause of more laughter than either the -Knights of Arthur's Round Table, or any other knights ancient or -modern, how can we sufficiently admire him! A paragon of patience -and perseverance, unconquerable fortitude and proud honour, who in -his lucid intervals reasoned like a philosopher, and was invariably -actuated by the most exalted motives; deemed himself bound to defend -the weak against the strong, chastise indolence, redress injuries, -and free those who were in bonds! That this ardent, heroic, and -dignified character, with motives so pure, an heart so excellent, and -virtues that elevate, adorn, and irradiate human nature, should be -led by an enthusiasm which fevered his imagination into absurdities -that expose him to derision, and, like Samson, brought forth to -make sport for the multitude, is mortifying to humanity; and I must -confess, that with me, the laugh which the author's irresistible -humour invariably excites is accompanied by a pitying sigh for the -hero of this history, who is, after all, so superlatively happy in -his ideal importance, that there is a degree of cruelty in destroying -the illusion. The adage, "You think you are _happy_ because you are -_wise_; I think I am _wise_ because I am _happy_," is not easily -confuted.[115] - -But this admirable romance carries me further than I intended. I was -led into it by considering the comparative merit of Cervantes and -Hogarth, in doing which, it is proper to observe that the motley -follies of England (diametrically opposite to those of Spain) are -changeable as an April day. Our English moralist (for surely he is -worthy of the title) transferred them to his canvas or copper, and -exposed them by pointed ridicule. - -But his satiric histories had a higher and still more useful -direction. They were calculated to encourage industry, and promote -humanity in the lower orders of society, by exhibiting the baneful -consequences of idleness and cruelty; and to check the ostentatious -follies of those in a higher rank, by pointing out the happiness -attendant on the practice of virtue, and the consequent misery of -dissipation, sensuality, and vice. - -I hope the warmest admirers of Cervantes will not be offended if -I venture to assert that these were objects of more national and -individual importance than was the extirpation of knight-errantry. - -Both these great men may be considered as universal classics; for -while Cervantes delights the learned and the illiterate in his -own country, and is translated and eagerly read in France, Italy, -Germany, and England, while the artists of all these nations emulate -each other in delineating the scenes he has described, and every age -and rank peruse _Don Quixote_ with pleasure,--the fame of Hogarth -is not bounded by the shores of Albion, but takes as wide a circuit -through Europe, and his pictured stories are contemplated with -admiration by men of every clime.[116] - -Could their congenial spirits witness the tribute posterity pay to -their talents, how would they be gratified! Large as is their portion -of fame, they were little favoured by fortune. Hogarth, after a -long life of persevering industry, died comparatively poor. As to -the maimed hero of Spain, when the learned Don Gregorio Mayans y -Siscar, at the request of Lord Carteret, collected materials for his -life, he could neither learn where he was born nor where he died. -Sevilla, Madrid, Esquivias, Toledo, Lucena, and Alcazor de San Juan, -contended for the honour of his birth, whom living they had suffered -to languish in a prison. - -He was born in Alcala de Henares, in the year 1547, and died at -Madrid, April 23, 1616, on the same nominal day with Shakspeare; so -that Spain and England lost their two great luminaries at the same -period, nor have succeeding centuries produced a successor worthy of -ascending either of their vacant thrones. - -From the similarity of their genius, it was reasonable to expect -that Hogarth would excel in delineating the scenes described by -Cervantes; and though our great painter of nature succeeded better -in subjects drawn from the rich storehouse of his own mind than in -those described by others, yet in the portraits of the knight, and -knight companions, he has adhered very closely to their leading -characteristics, which are thus depicted by Cervantes:-- - -"The age of our gentleman bordered upon fifty years; he was of a -robust constitution, spare-bodied, of a meagre visage, and a very -keen sportsman. - -"Rozinanté was so long and lank, so thin and lean, so like one -labouring with an incurable consumption, as did clearly show with -what propriety his master so entitled him. Sancho Panza, or Canzas, -was so called, because he had a great belly, a short stature, and -thick legs."[117] - -To attempt a description of the nine following prints in any other -words than those of Cervantes, would be absurd and vain; to suppose -that the greatest part of my readers had not perused _Don Quixote_, -would be an insult on their taste. I will therefore take it for -granted that the following scenes are in their recollection. The few -that have not read this admirable romance have a pleasure to come; -as an inducement to their embracing it, I will insert little more -than a reference to the page in Shelton, whose quaint old English -has perhaps more serious Cervantic humour than either Jarvis' or -Smollett's modern translations. My edition is that of 1675. - - -PLATE I. - -THE FIRST SALLY IN QUEST OF ADVENTURES. - -[Illustration: DON QUIXOTE PLATE I.] - -The original from which this plate is copied is in Jarvis' quarto -translation, without either painter's or engraver's name; but the -style of the etching, and air of the figures, indisputably -determine the artist. It represents our heroic candidate for fame, -before he had received the honour of knighthood, at the door of an -inn, which he considered as a castle; the host holding his horse's -bridle, and two young female travellers looking with astonishment -at his figure. In the distance is a swineherd blowing his horn, -which our adventurer mistakes for a trumpet sounded by a dwarf on -the battlements, to announce his approaching the portico of the -castle.--_Vide Shelton_, p. 3. - - -PLATE II. - -THE INNKEEPER. - -[Illustration: DON QUIXOTE PLATE II.] - -The original of this print is in my possession, and was designed -to represent the innkeeper conferring the order of knighthood on -Don Quixote, but for some cause, not now known, never finished. The -artist probably intended that it should form a part of the series -begun for Lord Carteret, but the other six being discarded, never -completed his design; though a slight outline of the Don kneeling to -receive his new honours is discernible in the corner of the print. -Mine host, though a large man, is a less portly personage than the -author describes. This print is not in any of the catalogues of -Hogarth's works, but the style leaves little doubt of the artist. - -In the plate from Vanderbank, in Jarvis' quarto, representing the -whole scene, the innkeeper has a more than accidental resemblance to -this figure. - - -PLATE III. - -THE FUNERAL OF CHRYSOSTOM. - -[Illustration: DON QUIXOTE PLATE III.] - -The stern attention which our Don gives to the Shepherdess Marcella, -who is vindicating herself to those that surround the corpse, well -expresses his determination to defend her cause, and protect her -from insult. The shepherd in a similar attitude to the soldier in -Vandyke's "Belisarius," and Sancho blubbering with his finger in his -eye, are well-imagined; but the figure of Marcella is affected and -stiff, and the shepherd on her right hand has more city pertness than -rural simplicity. - -Vanderbank has taken this scene for one of the prints in Jarvis' -translation, and by placing Marcella where she ought to be, on -the summit of the rock, rendered his design more picturesque than -Hogarth's.--_Vide Shelton_, p. 10. - - -PLATE IV. - -THE INNKEEPER'S WIFE AND DAUGHTER ADMINISTERING CHIRURGICAL -ASSISTANCE TO THE POOR KNIGHT OF LA MANCHA. - -[Illustration: DON QUIXOTE PLATE IV.] - -Don Quixote's adventure with the Yanguessian carriers having -terminated in his being most bountifully beaten, he is here -represented in the hay-loft of a very sorry inn, attended by the -hostess and her daughter, Maritornes, and his faithful squire; the -two former administering comfort to his sufferings, the third holding -a candle; and the last, with a most rueful countenance, bewailing -his own unfortunate participation in the buffetings of his lord and -master. - -The picture which Cervantes draws of Maritornes, Hogarth has well -transferred to the copper. Thus is she portrayed:-- - -"From head to heel she was not seven palms[118] high, and burdened -with shoulders that forced her to look down more than she wished. -Added to this, she was broad-faced, flat-pated, saddle-nosed, blind -of one eye, and could scarcely see out of the other." - -The hostess could not have been better marked by the pencil of -Teniers; the owl perched over her head should not be overlooked. -That, as well as the rope hung to a beam, cracked walls, etc. etc., -added to the miserable figure of the knight reclined on his hard -pallet, display variety of wretchedness. I do not recollect to have -seen a print in which the light is more judiciously distributed; in -this and every other particular, I think it much superior to the same -scene designed by Vanderbank in Jarvis' quarto translation.--_Vide -Shelton_, p. 29. - - -PLATE V. - -DON QUIXOTE SEIZES THE BARBER'S BASIN FOR MAMBRINO'S HELMET. - -[Illustration: DON QUIXOTE PLATE V.] - -In this print the face and figure of the fierce knight is spirited; -the terror and astonishment of the discomfited barber well expressed, -and the triumphant shout of Sancho in the distance admirably -characteristic. Notwithstanding this, I think that Vanderbank's -design for Jarvis, where the squire is brought into the foreground, -contemplating the glittering prize, is a better chosen point of time. -To Sancho he has given a mixture of cunning and simplicity which I -have seldom seen so happily displayed; and taken as a whole, it is -perhaps a superior plate to Hogarth's.--_Vide Shelton_, p. 42. - - -PLATE VI. - -DON QUIXOTE RELEASES THE GALLEY SLAVES. - -[Illustration: DON QUIXOTE PLATE VI.] - -The moment taken in this busy scene is when our valorous knight, -after having unhorsed one of the guards, is engaged with the other; -while Sancho, willing to bear his part in the adventure, helps to -extricate Gines de Passamonte from his bonds. - -In this, as in some other of Hogarth's designs, the artist not -having taken the trouble of reversing his drawing, the figures are -left-handed. The character of Sancho, and two or three of the slaves, -is admirable. - -I think the whole design much superior to Vanderbank's in Jarvis' -translation, where the scene is chosen after the discomfiture of -the Guards; for to two or three of the thieves Vanderbank has given -the countenances of apostles. His whole print is tame, feeble, and -spiritless.--_Vide Shelton_, p. 47. - - -PLATE VII. - -THE FIRST INTERVIEW OF THE VALOROUS KNIGHT OF LA MANCHA WITH THE -UNFORTUNATE KNIGHT OF THE ROCK. - -[Illustration: DON QUIXOTE PLATE VII.] - -This interview, which took place in the mountains of Sierra Morena, -Cervantes thus describes:-- - -"Cardenio approached with a grave pace, and in a hoarse voice saluted -them with great courtesy. Don Quixote returned his greeting with no -less complaisance, and pressed him strongly in his arms, as if they -had been long acquainted. The Knight of the Rock, after he had been -thus embraced, retreated a few steps, and, laying his hand on the -Don's shoulder, perused his face with such earnestness, as though he -were desirous of recollecting if he had ever seen him before, and no -less admired Don Quixote's strange figure than himself was admired by -our heroic knight-errant." - -This is the point of time which Hogarth has chosen; and the wild -eye of Cardenio, the placid benevolence of Don Quixote, and the -shrewdness of the goatherd, are well opposed. From the air, -attitude, and action of Sancho, I should have imagined the period to -be after he had been mauled by the madman, did not the two knights so -strongly determine it to be before. - -In Vanderbank's design of the same subject (_vide_ Jarvis' quarto), -the figure of Sancho is tolerable, but the Don is vapid and -ill-drawn; and Cardenio's head, like that of Medusa, looks as if it -were encircled with snakes.--_Vide Shelton_, p. 51. - - -PLATE VIII. - -THE CURATE AND BARBER DISGUISING THEMSELVES TO CONVEY DON QUIXOTE -HOME. - -[Illustration: DON QUIXOTE PLATE VIII.] - -Don Quixote's old neighbours, the curate and barber, being desirous -of checking his wandering disposition, are here disguising themselves -for an interview, in which they hoped to bring him home, where -they trusted he might again live as an old Christian ought to do. -In pursuance of this plan, the barber procured an ample beard made -from the tail of a pied ox; and the curate assumed the habit of a -distressed virgin, and framed a tale of having been wronged by a -naughty knight, to punish whom the Don was to be entreated to follow -wherever this afflicted fair one should lead. - -The dressing-room for this masquerade is the kitchen of an inn; -out of the door, astride on a bench, inhaling copious draughts from a -leathern bottle, Sancho gives some life to a little landscape in the -distance.--_Vide Shelton_, p. 60. - - -PLATE IX. - -SANCHO'S FEAST. - -"Sancho's dread doctor and his wand were there." - -[Illustration: DON QUIXOTE PLATE IX.] - -Though Don Quixote is the ostensible hero of this admirable history, -I have sometimes thought that Sancho was the author's favourite -character. He is here represented as Governor of Barataria, and -seated in the spacious hall of a sumptuous palace, surrounded with -all the pompous parade of high rank, and encircled by numerous -attendants.[119] A band of musicians in an adjoining gallery strike -up a symphony to gratify his ear, and a table is spread with every -dainty to feast his eye and fret his soul; for however magnificent -the appendages of this mock monarch, the instant he attempts to taste -the solid comforts of government, the loaves and fishes evade his -grasp, are touched by the black rod, and vanish! - - "In plenty starving, tantaliz'd in state," - -he curses the gaudy unsubstantial pageant, vows vengeance on the -Doctor, and swears that he will offer up both him and every physical -impostor in the island as a sacrifice to his injured and insulted -appetite. - -Hogarth has here caught the true spirit of the author, and given to -this scene the genuine humour of Cervantes. The rising choler of our -Governor is admirably contrasted by the assumed gravity of Doctor -Pedro Rezio. The starch and serious solemnity of a straight-haired -student who officiates as chaplain, is well opposed by the broad -grin of a curl-pated blackamoor. The suppressed laughter of a man -who holds a napkin to his mouth forms a good antithesis to the open -chuckle of a fat cook. Sancho's two pages bear a strong resemblance -to the little punch-maker in the Election Feast, and though well -conceived, might have had more variety; they present a front and back -view of the same figure. To two females on the Viceroy's right hand -there may be a similar objection. - -The original print was designed and engraved at a very early period -of Hogarth's life. As it was finished with more neatness than any of -the eight which he afterwards etched for the same work, the copy is -attempted in a similar style. - -In the drawing, Sancho was originally portrayed with a full face; but -Hogarth, judiciously thinking a profile would be preferable, fixed a -bit of paper over his first thought, and altered it to the state -in which it is here engraved. - -The design that Vanderbank made from the same scene is cold and -uninteresting; in another by Hayman, prefixed to Smollett's coarse -translation, Sancho is fat enough for Falstaff, and the Doctor -looks like a fellow dressed up to play the part of a conjuror in a -puppet-show.--_Vide Shelton_, p. 221. - - -HEIDEGGER IN A RAGE. - -[Illustration: HEIDEGGER IN A RAGE.] - -The spirited sketch from which this is copied has been thought the -work of P. Mercier; but some of my subscribers thinking it bore a -strong resemblance to Hogarth, I at their request submitted it to -public opinion. It arose from the following circumstance:-- - -The late Duke of Montagu invited Heidegger to a tavern, where he was -made drunk, and fell asleep; in that situation a mould of his face -was taken, from which was made a mask; and the Duke provided a man -of the same stature to appear in a similar dress, and wear it to -personate Heidegger on the night of the next masquerade, when George -the Second (who was apprised of the plot) was to be present. On his -Majesty's entrance, Heidegger, as was usual, bade the music play "God -save the King;" but no sooner was his back turned, than the impostor, -assuming his voice and manner, ordered them to play "Charley over -the Water." On this Heidegger raged, stamped, swore, and commanded -"God save the King." The instant he retired, the impostor returned -and ordered them to resume "Charley." The musicians thought their -master drunk, but durst not disobey. The scene now became truly -comic. Shame! shame! resounded from all parts of the theatre. -Heidegger offered to discharge his band, when the impostor advanced -and cried out in a plaintive tone, Sire, the whole fault lies with -that devil in my likeness. This was too much: poor Heidegger turned -round, grew pale, but could not speak. The Duke, seeing it take so -serious a turn, ordered the fellow to unmask. Heidegger retired in -great wrath, seated himself in an arm-chair, furiously commanded his -attendants to extinguish the lights, and swore he would never again -superintend the masquerade, unless the mask was defaced and the mould -broken in his presence. For this purpose the man on his knee has a -mallet stuck in his girdle. - - -THE LARGE MASQUERADE TICKET. - -[Illustration: MASQUERADE TICKET.] - -As the first print which Hogarth published on his own account, -usually denominated "The Small Masquerade Ticket," represents a large -company eagerly pressing to the door of a masquerade, we have here -the interior of the room crowded with a countless multitude of -grotesque characters, celebrating the orgies of the place, which, in -the following references engraved under the original print, are thus -described:-- - -"_A_, a sacrifice to Priapus. _B_, a pair of Lecherometors, showing -y^e company's inclinations as they approach 'em. Invented for the use -of ladys and gentlemen by y^e ingenious Mr. H----r" (Heidegger). - -This titular divinity of the gardens being thus considered as the -god of their idolatry, his Term is entitled to the first notice. -The arched niche in which it is placed is terminated by a goat's -head, ornamented with a pair of branching antlers, and decorated -with festooned curtains. Beneath is an altar, the base of which is -relieved with rams' heads and flowers; and three pair of stags' horns -are fixed to the top. - -As a companion to it, the united statues of a Venus and Cupid, both -of them masked, are placed on the opposite side of the print. Cupid, -who is a very well-drawn and spirited little figure, "has bent his -bow to shoot at random," and Venus seems contemplating the rise and -fall of the mercury in one of those instruments which the reference -informs us is to show the inclinations of all that approach it. The -niche in which these divinities are placed is not only decorated with -curtains, but crowned with cooing doves. An altar beneath has on it -three or four bleeding hearts, which, being close to the blaze, are -in the way of being broiled. On the base are queue-wigs, bag-wigs, -etc. - -This may suffice for the presiding deities of the diversion; the head -of their high priest, the renowned Heidegger, master of the mysteries -and manager in chief, is placed on the front of a large dial, fixed -lozenge-fashion at the top of the print, and I believe intended to -vibrate with the pendulum, the ball of which hangs beneath, and is -labelled "Nonsense." On the minute finger is written "Impertinence," -and on the hour hand, "Wit:" which seems to intimate nonsense every -second, impertinence every minute, and wit once an hour! The time is -half-past one--the witching hour of night; 1727, the date of the year -this print was published, is on the corners of the clock. - -Recumbent on the upper line of this print, and resting against the -sides of the dial, the artist has placed our British lion and unicorn -renverse (such, I think, is the term in heraldry), lying on their -backs, and each of them playing with its own tail; the lion sinister, -and the unicorn dexter. The supporters of our regal arms being thus -ludicrously introduced, may perhaps allude to the encouragement -George the Second gave to Heidegger, who at that period might be said -to - - "Teach kings to fiddle, and make senates dance;" - -and who, by thus kindly superintending the pleasures of our nobles, -gained an income of £5000 a year, and, as he frequently boasted, laid -out the whole in this country. - -Beneath is a framed picture of a Bacchanalian scene; and on each -side, shelves with pyramids of jellies, sweetmeats, etc., inscribed -"Provocatives." On two labels placed before them is written, "Supper -below." - -A pair of instruments, somewhat similar to the mental thermometer in -"The Medley," are fixed on each side: on that next to Venus and Cupid -is written, "cool, warm, dry, changeable, hot, moist, fixt;" on the -other, "expectation, hope, hot desire, extreme hot, moist, sudden -cold." - -The motley crew who make up the crowd it is not easy to describe, for -every one present assumes a false character. - - "Here tottering old age essays to prance - With feeble feet, and joins th' imperfect dance; - There, supercilious youth assumes the air - And reverend mien which hoary sages wear. - 'Tis thus, like Proteus, Folly joys to range, - Her name to vary, and her shape to change." - -Here are priests of all persuasions--Brahmins, friars, drones, monks, -and monkeys not a few. - -A figure of Time with his scythe, eagerly pressing towards the -altar with rams' heads, is arrested in his course by a sort of -slaughterman, with a mask, shaven crown, and short apron, who -violently grasps his wing with one hand, and with the other lifts up -a hatchet, which with fatal force he aims at his head. For sanctuary, -this feeble figure lays hold of one of the horns of the altar, but -is frustrated in his attempt to reach the steps by a bishop, who, -with his sacrificing knife, coolly stabs him to the heart; while -a monkey, in the habit of a chorister, holds a basin to catch the -blood, the fumes from which he snuffs up with ineffable delight. This -I apprehend to be a metaphorical view of a prelate _killing Time_ at -a masquerade. - -Next to this group is a Mother Shipton, hooking on the arms of a -clown; and near them a harlequin endeavouring to draw the attention -of a graceful columbine from a turban'd Turk, who attempts to seduce -her from her party-coloured gallant. A female, with the mask of -a monkey's head, salutes a nun in a black veil; and while an old -Capuchin, with the face of an ape, whispers soft things to a young -girl, a fellow somewhat like Tiddy-doll draws up her head-dress to a -point, like a fool's cap. A man in the right-hand corner, solicitous -to give a glass of wine to one of the sisterhood, lifts up her veil -for the purpose of her drinking it.[120] - - - - -ADDENDA. - - - - -ADDENDA. - - -AN EMBLEMATIC PRINT ON THE SOUTH SEA. - -[Illustration: THE SOUTH SEA BUBBLE.] - -The two prints here given are selected as two of the earliest avowed -productions of Hogarth. The allegory in both is somewhat obscure; -but the figures are in the manner of Callot, and in a spirited and -masterly style. They were both published in 1721, and are a proof -that at this early period the admirable vein of satire which he -possessed was directed against the vices and follies of the age. - -In the first of them we see (to use an expression of Mr. Walpole) -"the Devil cutting Fortune into collops," to gratify the avaricious -hopes of the adventurers in the South Sea Bubble; and persons -ascending the ladder to ride upon wooden horses; alluding to the -desperate game which was played by the South Sea Directors in England -in the year 1720, to the utter destruction of many opulent families. -The little figure with his hand in the pocket of a fat personage -was supposed by Mr. Steevens to have been intended for Pope, who -profited by the South Sea scheme; and the fat man to be meant for -Gay, who was a loser in that iniquitous project. Mr. John Law, a -native of Edinburgh, was the projector of this bubble; and was also -author of the famous Mississippi scheme in France, by which he ruined -thousands. To escape popular vengeance he fled to Venice, where he -died in poverty in 1729. - - -THE LOTTERY. - -[Illustration: THE LOTTERY.] - -Under the print of "The Lottery," the artist has given a full -description of his own ideas, which otherwise, at this distance of -time, it would have been difficult to elucidate. - - -MASQUERADES AND OPERAS--BURLINGTON GATE. - -[Illustration: MASQUERADES & OPERAS, BURLINGTON GATE.] - -This satirical performance of Hogarth, which is commonly called "The -Small Masquerade Ticket," is supposed to have been 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 -George the Second at his palace at Kensington; and the leader of the -figures hurrying to a masquerade, crowned with a cap and bells, and -a garter round his right leg, has been said to be intended for that -monarch, who was very partial to those nocturnal amusements, -and bestowed a thousand pounds towards their support. The purse with -a label "£1000," which the satyr holds immediately before him, gives -some probability to the supposition. - -The kneeling figure on the show-cloth, pouring gold at the feet of -Cuzzoni the Italian singer (who is drawing the money towards her -with a rake), represents the Earl of Peterborough; and on the label -is written, "Pray accept £8000." Mr. Heidegger, the regulator of the -masquerade, is also exhibited at a window, with the letter H under -him. Of the three figures in the centre of the plate, the middle one -is Lord Burlington, a nobleman of considerable taste in painting and -architecture. On one side of him is Mr. Campbell the architect; on -the other, some artist now unknown. On a board is a display of the -words, "Long Room: Fawkes' dexterity of hand." On the opposite corner -is the figure of Harlequin, pointing to a label, on which is written, -"Dr. Faustus is here." This was a pantomime performed to crowded -houses throughout two seasons. - -In this print all the figures have a strong resemblance to those of -Callot; and the follies of the town are very severely satirized by -the representation of multitudes, properly habited, crowding to the -masquerade, opera, and pantomime; whilst the works of our greatest -dramatic writers are trundled through the streets in a wheel-barrow, -and cried as waste paper for shops; among these may be distinguished -Shakspeare, Ben Jonson, Dryden, Congreve, Otway, Farquhar, and -Addison. In the first copy of this print, instead of Ben Jonson's -name on a label, we have "Pasquin, N^o XI." This was a periodical -paper published in 1722-3; and the number specified is particularly -severe on operas, etc. - -As a further illustration of the taste of the times, the artist has -given a view of Burlington Gate, with a figure, I believe, intended -to represent the then fashionable artist William Kent, on the summit, -brandishing his palette and pencils, and placed in a more elevated -situation than either Michael Angelo or Raphael, who, seated beneath, -become the two supporters to this favourite of Lord Burlington. - -Some verses (and those not always the same) engraved on a separate -piece of copper are found under the first impressions. For example, -under the earliest impressions of 1724: - - "Could now dumb Faustus, to reform the age, - Conjure up Shakspeare's or Ben Jonson's Ghost, - They'd blush for shame, to see the English stage - Debauch'd by fool'ries, at so great a cost. - - "What would their manes say, should they behold - Monsters and masquerades, where useful plays - Adorn'd the fruitful theatre of old, - And rival wits contended for the bays?" - -Under another impression: - - "Long has the stage productive been - Of offsprings it could brag on, - But never till this age was seen - A windmill and a dragon. - - "O Congreve! lay thy pen aside, - Shakspeare, thy works disown, - Since monsters grim, and nought beside, - Can please this senseless town." - -I have been the more particular in describing this plate, as it -appears to have been the first which Hogarth published on his own -account, and respecting which he pathetically says: "I had to -encounter a monopoly of printsellers, equally mean and destructive to -the ingenious; for the first plate I published, called 'The Taste of -the Town,' in which the reigning follies were lashed, had no sooner -begun to take a run, than I found copies of it in the print-shops -vending at half price, while the original prints were returned to me -again; and I was thus obliged to sell the plate for whatever these -pirates pleased to give me, as there was no place of sale but their -shops. Owing to this and other circumstances, by engraving, until I -was near thirty, I could do little more than maintain myself; but -even then I was a punctual paymaster." - - -BEGGARS' OPERA BURLESQUED. - -[Illustration: BEGGARS' OPERA BURLESQUED.] - -This plate seems at once to represent the exhibition of _The Beggars' -Opera_, and the rehearsal of an Italian one. In the former, all the -characters are drawn with the heads of different animals: as Polly -with a cat's; Lucy with a sow's; Macheath with that of an ass; -Lockit, and Mr. and Mrs. Peachum, with those of an ox, a dog, and -an owl. In the latter, several noblemen appear conducting the chief -female singer forward on the stage; and perhaps are offering her -money, or protection from a figure that is rushing towards her with a -drawn sword. - -Harmony, flying in the air, turns her back on the English playhouse, -and hastens towards the rival theatre. Musicians stand in front of -the former, playing on the Jew's harp, the salt-box, the bladder -and string, bagpipes, etc. On one side are people of distinction, -some of whom kneel, as if making an offer to Polly, or paying their -adorations to her. To these are opposed a butcher, etc., expressing -similar applause. Apollo and one of the muses are fast asleep -beneath the stage. A man is indelicately seated under a wall hung -with ballads, and showing his contempt of such compositions by the -use he makes of them. A sign of the star, a gibbet, and some other -circumstances less intelligible, appear in the background. - - -TWELVE PRINTS OF HUDIBRAS. - -[Illustration: FRONTISPIECE TO HUDIBRAS PLATE I.] - -[Illustration: HUDIBRAS, PLATE II.] - -[Illustration: HUDIBRAS, PLATE III.] - -[Illustration: HUDIBRAS, PLATE IV.] - -[Illustration: HUDIBRAS, PLATE V.] - -[Illustration: HUDIBRAS, PLATE VI.] - -[Illustration: HUDIBRAS, PLATE VII.] - -[Illustration: HUDIBRAS, PLATE VIII.] - -[Illustration: HUDIBRAS, PLATE IX.] - -[Illustration: HUDIBRAS, PLATE X.] - -[Illustration: HUDIBRAS, PLATE XI.] - -[Illustration: HUDIBRAS, PLATE XII.] - -This well-imagined series of plates was designed by Hogarth, and -engraved by himself, for the matchless poem of Butler. Each plate is -illustrated by an appropriate quotation from the facetious satirist; -and as our ingenious artist formed his designs from an attentive -perusal of the poem, his engravings, and the extracts selected under -each of them, reciprocally explain each other. "His 'Hudibras,'" says -Mr. Walpole, "was the first of his works that marked him as a man -above the common; yet," adds the critic, somewhat too fastidiously, -"what made him then noticed now surprises us, to find so little -humour in an undertaking so congenial to his talents." - -The original title ran thus: "Twelve excellent and most diverting -Prints, taken from the celebrated Poem of Hudibras, wrote by Samuel -Butler; exposing the villany and hypocrisy of the times. Invented -and engraved on twelve copperplates by William Hogarth; and are -humbly dedicated to William Ware, Esq., of Great Houghton, in -Northamptonshire, and Mr. Allan Ramsay, of Edinburgh." - - "What excellence can brass or marble claim? - These papers better do secure thy fame; - Thy verse all monuments does far surpass, - No mausoleum's like thy 'Hudibras.'" - -Allan Ramsay subscribed for thirty sets, and the number of -subscribers amounted to one hundred and ninety-two. The original -plates were afterwards purchased by Mr. Philip Overton. They -subsequently passed into the hands of the late Mr. Robert Sayer; and -it is certain that Hogarth often lamented the having parted with his -property in them without ever having had an opportunity to improve -them. - -In the first of these plates is a portrait inscribed, "Mr. Samuel -Butler, born 1612, Author of Hudibras, died 1680." The basso-relievo -of the pedestal represents Butler's Genius in a car, lashing round -Mount Parnassus, in the persons of Hudibras and Ralpho, Rebellion, -Hypocrisy, and Ignorance, the reigning vices and follies of the time. -In the scene of the Committee (Plate IX.), one of the members has his -gloves on his head. "I am told," says Mr. Steevens, "this whimsical -custom once prevailed among our sanctified fraternity; but it is in -vain, I suppose, to ask the reason why." This doubt, however, has -since produced from a respectable divine an intimation that he has -frequently heard his father, who died some years ago at an advanced -age, notice the custom of placing the gloves on the head at church as -not uncommon in cold weather. - -In the earliest impressions of Plate XI., the words "Down with the -Rumps" are not inserted on the scroll. - - -JUST VIEW OF THE BRITISH STAGE. - -[Illustration: JUST VIEW OF THE BRITISH STAGE.] - -Mr. Walpole, in his _Catalogue_, thus describes this plate: "Booth, -Wilkes, and Cibber, contriving a Pantomime; a Satire on Farces." - -Though the inscription engraved under it is sufficiently explanatory, -it may be added that Mr. Devoto was scene-painter either to Drury -Lane or Lincoln's-Inn Fields, and also to Goodman's Fields Theatre; -that the ropes mentioned in the inscription are no other than -halters, suspended over the heads of the three managers; and that -the labels issuing from their respective mouths convey the following -characteristic words. The airy Wilkes, who dangles the effigies of -Punch, exclaims, "Poor R--ch! faith, I _pitty_ him." The Laureate -Cibber, who is amusing himself with playing with harlequin, invokes -the muse painted on the ceiling: "Assist, ye sacred Nine!" And the -solemn Booth, letting down the figure of Jack Hall into the _forica_, -is most tragically exclaiming, with an oath, "Ha! this will do." At -the same instant Ben Jonson's ghost is rising through the stage, -and insulting a pantomime statue fallen from its base. Over the -figure of Hall is suspended a parcel of waste paper, consisting of -leaves torn from _The Way of the World_, _Hamlet_, _Macbeth_, and -_Julius Cæsar_. A fiddler is seen hanging by a cord in the air, and -performing, with a scroll before him, which proclaims, "Music for -the What" [meaning perhaps the "What d'ye call it"] entertainment. -A pamphlet on the table exhibits a print of Jack Sheppard in -confinement. A dragon is also preparing to fly; a dog thrusts his -head out of the kennel; a flask acquires motion by machinery, etc. -The countenances of Tragedy and Comedy, on each side of the stage, -are concealed by the bills for _Harlequin Dr. Faustus_, _Harlequin -Shepherd_, _etc._ - -_Vivetur ingenio_ is the motto over the curtain. - - -EXAMINATION OF BAMBRIDGE. - -[Illustration: BAMBRIDGE ON TRIAL FOR MURDER.] - -This very fine picture, Hogarth himself tells us, was painted in 1729 -for Sir Archibald Grant of Monymusk, Bart., at that time Knight of -the Shire for Aberdeen, and one of the Committee represented in the -painting,--many of whom attended daily, and some of them twice a day. - -That every other figure in this print is a genuine portrait, there -cannot be the least doubt, though at this distant period it is not -possible to identify the particular persons; they are all, however, -to be found in the following list of the names of the Committee:-- - - James Oglethorpe, Esq., Chairman. - - { Finch. - The Right Hon. { Morpeth. - the Lords { Inchequin. - { Percival. - { Limerick. - - Sir Robert Sutton. - Sir Robert Clifton. - Sir Abraham Elton. - Sir Edward Knatchbull. - Sir Humphrey Herries. - Hon. James Bertie. - Sir Gregory Page. - Sir Archibald Grant. - Sir James Thomhill. - Gyles Earle, Esq. - General Wade. - Humphrey Parsons, Esq. - Hon. Robert Byng. - Edward Houghton, Esq. - (Judge-Advocate.) - Captain Vernon. - Charles Selwyn, Esq. - Velters Cornwall, Esq. - Thomas Scawen, Esq. - Francis Child, Esq. - William Hucks, Esq. - Stampe Brooksbank, Esq. - Charles Withers, Esq. - John La Roche, Esq. - Mr. Thomas Martin. - -"The scene," says Mr. Walpole, "is the Committee. On the table are -the instruments of torture. A prisoner in rags, half-starved, appears -before them; the poor man has a good countenance, that adds to the -interest. On the other hand is the inhuman gaoler. It is the very -figure that Salvator Rosa would have drawn for Iago in the moment -of detection. Villany, fear, and conscience are mixed in yellow and -livid on his countenance; his lips are contracted by tremor, his face -advances as eager to lie, his legs step back as thinking to make his -escape; one hand is thrust precipitately into his bosom, the fingers -of the other are catching uncertainly at his button-holes. If this -was a portrait, it is the most striking that ever was drawn; if it -was not, it is still finer." - -This Committee was first appointed, Feb. 25, 1728-9, to examine into -the state of the gaols within the kingdom; and the persons here -represented under examination were--Thomas Bambridge, then Warden of -the Fleet Prison, and John Huggins, his predecessor in that office. -Both were declared "notoriously guilty of great breaches of trust, -extortions, cruelties, and other high crimes and misdemeanours." -It was the unanimous resolution of the Committee, "That Thomas -Bambridge, the acting Warden of the Prison of the Fleet, hath -wilfully permitted several debtors to the Crown in great sums of -money, as well as debtors to divers of his Majesty's subjects, to -escape; hath been guilty of the most notorious breaches of his trust, -great extortions, and the highest crimes and misdemeanours in the -execution of his said office; and hath arbitrarily and unlawfully -loaded with irons, put into dungeons, and destroyed, prisoners for -debt under his charge, treating them in the most barbarous and cruel -manner, in high violation and contempt of the laws of this kingdom." -Bambridge was in consequence disqualified by Act of Parliament; and -he cut his throat twenty years after. - -It was also resolved, "That John Huggins, Esq., late Warden of the -Prison of the Fleet, did, during the time of his wardenship, wilfully -permit several considerable debtors in his custody to escape; and -was notoriously guilty of great breaches of his trust, extortions, -cruelties, and other high crimes and misdemeanours, in the execution -of the said office;" and he was for some time committed to Newgate, -but afterwards lived in credit to the age of ninety. - - -KING HENRY VIII. AND ANNA BULLEYN. - -[Illustration: HENRY THE EIGHTH & ANNE BOLEYNE.] - -This plate, copied from a painting in the portico of the old great -room in Vauxhall Gardens, has very idly been imagined to contain -the portraits of Frederick Prince of Wales, and the beautiful but -unfortunate Lady Vane; but the stature and faces both of the lady and -Henry are totally unlike their supposed originals. - - -CROWNS, MITRES, MACES, ETC. - -[Illustration: CROWNS, MITRES, MACES &^c.] - -This plate forms so important a feature in the annals of Hogarth, -that it requires his own elucidation:-- - - "After having had my plates pirated in almost all sizes, I - applied to Parliament for redress, and obtained it in so liberal - a manner, as hath not only answered my own purpose, but made - prints a considerable article in the commerce of this country, - there being now more business of that kind done here than at - Paris, or anywhere else, and as well." - -The statute, which took place June 24, 1735, was drawn up by our -artist's friend Mr. Huggins, who took for his model the eighth -of Queen Anne in favour of literary property. But it was not so -accurately executed as entirely to remedy the evil; for, in a cause -founded on it, which came before Lord Hardwicke in Chancery, that -excellent lawyer determined that no assignee, claiming under an -assignment from the original inventor, could take any benefit by it. - -Hogarth, immediately after the passing of the Act, published this -print with the following inscription:-- - - "In humble and grateful acknowledgment - of the grace and goodness of the LEGISLATURE, - manifested in the ACT OF PARLIAMENT for the Encouragement - of the Arts of Designing, Engraving, etc., - obtained by the Endeavours, and almost at the sole Expense, - of the Designer of this Print in the Year 1735; - by which, - not only the Professors of those Arts were rescued - from the Tyranny, Frauds, and Piracies - of Monopolizing Dealers, - and legally entitled to the Fruits of their own Labours; - but Genius and Industry were also prompted - by the most noble and generous Inducements to exert themselves. - Emulation was excited; - Ornamental Compositions were better understood; - and every Manufacture, where Fancy has any concern, - was gradually raised to a pitch of Perfection before unknown; - insomuch, that those of GREAT BRITAIN - are at present the most elegant - and the most in Esteem of any in EUROPE." - -The royal Crown at the top is darting its rays on mitres, coronets, -the Chancellor's great seal, the Speaker's hat, etc. etc.; and on -a scroll is written, "An Act for the Encouragement of the Arts of -Designing, Engraving, and Etching, by vesting the properties thereof -in the inventors and engravers, during the time therein mentioned." - -The plate was afterwards used as a receipt for the subscriptions to -his four prints of "The Election." - -In 1767, three years after Hogarth's death, his widow stated, in -a petition to the House of Commons, "that she was informed that a -Bill was depending in the House to amend an Act made in the eighth -year of the reign of his late Majesty, for the encouragement of the -arts of designing, engraving, and etching: that her late husband was -the inventor, engraver, and publisher of various designs--moral, -humorous, and historical; the sole property whereof was vested in -him by the said Act for the term of fourteen years; that her chief -support arose from the sale of her late husband's works; that, -since his decease, many persons had copied, printed, and published -several of those works, and still continued to do so; and that the -sale of those spurious copies, both at home and for exportation, had -already been a great prejudice to the petitioner, and, unless timely -prevented, would deprive her of her chief support and dependence; and -praying that provision might be made for vesting in her the property -of her said husband's works." The petition was thought reasonable; -and a clause was added to the Bill for "vesting in, and securing to, -Jane Hogarth, widow, the property in certain prints." - - -THE ROYAL MASQUERADE. - -[Illustration: ROYAL MASQUERADE, SOMERSET HOUSE.] - -This very interesting scene, which may be dated early in 1755, is -thus anticipated by Mr. Walpole, in a letter to Mr. Richard Bentley, -Dec. 24, 1754:--"The Russian ambassador is to give a masquerade for -the birth of the little great prince (the Czar, Paul I.). The King -lends him Somerset House: he wanted to borrow the palace over against -me, and sent to ask it of the cardinal-nephew (Henry Earl of Lincoln, -nephew to the Duke of Newcastle, to whose title he succeeded), who -replied, 'Not for half Russia!'" - -The print abounds with real portraits of personages of the first -distinction, of whom several may be identified by the following -extract from the _Gentleman's Magazine_, vol. xxv. p. 89:--"_Feb. -6._--The Russian ambassador gave a most magnificent ball at -Somerset House. His Majesty came a little after eight, dressed in -a black domino, tie-wig, and gold-laced hat. Her Royal Highness -the Princess of Wales was in a blue and silver robe, and her head -greatly ornamented with jewels. The Prince of Wales was in a pink -and silver dress. Prince Edward in a pink satin waistcoat, with a -belt adorned with diamonds. Princess Augusta in a rich gold stuff. -The Duke (of Cumberland) was in a Turkish dress, with a large bunch -of diamonds in his turban. A noble lady shone in the habit of a -nymph, embroidered over with stars studded with brilliants to the -amount of £100,000. In short, the dresses of the whole assembly were -the richest that could possibly be devised upon such an occasion; -and the whole entertainment, particularly the desert, was the most -elegant that expense could furnish. Few exhibitions of this kind have -equalled it,--none excelled it. The number of persons were above a -thousand." - -The original painting formed part of the fine collection of the late -Roger Palmer, Esq., on whose death it devolved, with the rest of a -very ample property, to his only sister, Elizabeth, wife of the brave -and benevolent Captain Joseph Budworth, who assumed the name and arms -of Palmer. - - -RICH'S TRIUMPHANT ENTRY. - -[Illustration: RICH'S TRIUMPHANT ENTRY.] - -This plate represents the removal of Rich, and his scenery, authors, -actors, etc., from Lincoln's-Inn Fields to the new house. The scene -is the area of Covent Garden, across which, leading toward the door -of the theatre, is a long procession, consisting of a cart loaded -with thunder and lightning, performers, etc.; and at the head of -them Mr. Rich (invested with the skin of the famous dog in _Perseus -and Andromeda_) riding with his mistress in a chariot driven by -harlequin, and drawn by satyrs. - -Some indifferent verses, which accompanied the original publication, -allude to Walker and Hall, the original Macheath and Lockit, and -conclude thus: - - "To the Piazza let us turn our eyes, - See Johnny Gay on Porter's shoulders rise, - Whilst a bright Man of Taste his works despise." - - "Another author wheels his work with care, - In hopes to get a market at this fair, - For such a day he sees not every year." - -By the "Man of Taste," Mr. Pope was apparently designed. He is -represented in his tie-wig, at a dark corner of the Piazza, amusing -himself (not very delicately) with the _Beggars' Opera_. The letter -P is over his head; his little sword is significantly placed, and -the peculiarity of his figure is well preserved. The reason why our -artist has assigned such an employment to him, we can only guess. -It seems, indeed, from Dr. Johnson's _Life of Gay_, that Pope did -not think the _Beggars' Opera_ would succeed. Swift, however, was -of the same opinion; and yet the former supported the piece on -the first night of exhibition, and the latter defended it in his -_Intelligencer_ against the attacks of Dr. Herring, then Preacher -to the Society of Lincoln's-Inn, and afterwards Archbishop of -Canterbury. Hogarth might be wanton in his satire, might have -founded it on an idle report, or might have sacrificed truth to the -prejudice of Sir James Thornhill, whose quarrel on another occasion -he is supposed to have taken up, when he ridiculed the translator of -_Homer_, in a view of "The Gate of Burlington House." - - -THE POOL OF BETHESDA, AND THE GOOD SAMARITAN. - -[Illustration: THE POOL OF BETHESDA.] - -[Illustration: THE GOOD SAMARITAN.] - -These magnificent prints are placed among the early productions of -Hogarth, as the paintings from which they are copied were completed -in 1737; and in 1748 a small copy of the "Pool of Bethesda" was -engraved by Ravenet, as a frontispiece to Stackhouse's Family Bible. - -Mr. Walpole observes, that "the burlesque turn of our artist's mind -mixed itself with his most serious compositions; and that, in the -'Pool of Bethesda,' a servant of a rich ulcerated lady beats back -a poor man (perhaps woman) who sought the same celestial remedy." -To this I may add, that the figure of the priest, in the "Good -Samaritan," is supremely comic, and rather resembles some purse-proud -burgomaster, than the character it was designed to represent. - -In the "Pool of Bethesda" is introduced, as I was assured by Dr. -Ducarel, a faithful portrait of Nell Robinson, a celebrated -courtezan, at whose shrine both Hogarth and the Doctor had in early -life occasionally paid their _devoirs_. - -On the subject of these two very fine prints, it will not only be -candid, but amusing and instructive, to transcribe Hogarth's own -unvarnished remarks:-- - - "As I could not bring myself to act like some of my brethren, - and make the painting of small conversation pieces a sort of - manufactory to be carried on by the help of background and - drapery painters, it was not sufficiently profitable to pay the - expenses my family required. I therefore turned my thoughts to - a still more novel trade, the painting and engraving modern - moral subjects, a field not broken up in any country or any age. - The reasons which induced me to adopt this mode of designing - were, that I thought both writers and painters had, in the - historical style, totally overlooked that intermediate species of - subjects, which may be placed between the sublime and grotesque. - I therefore wished to compose pictures on canvas, similar to - representations on the stage; and further hope that they will be - tried by the same test, and criticised by the same criterion. - Let it be observed, that I mean to speak only of those scenes - where the human species are actors; and these, I think, have - not often been delineated in a way of which they are worthy and - capable. In these compositions, those subjects that will both - entertain and improve the mind bid fair to be of the greatest - public utility, and must therefore be entitled to rank in the - highest class. If the execution is difficult (though that is but - a secondary merit), the author has a claim to a higher degree - of praise. If this be admitted, comedy, in painting as well as - writing, ought to be allotted the first place, as most capable - of all these perfections, though the sublime, as it is called, - has been opposed to it. Ocular demonstration will carry more - conviction to the mind of a sensible man than all he would find - in a thousand volumes; and this has been attempted in the prints - I have composed. Let the decision be left to every unprejudiced - eye; let the figures in either pictures or prints be considered - as players, dressed either for the sublime--for genteel comedy, - or farce--for high or low life. I have endeavoured to treat - my subjects as a dramatic writer; my picture is my stage, and - men and women my players, who, by means of certain actions and - gestures, are to exhibit a dumb show. - - "Before I had done anything of much consequence in this walk, - I entertained some hopes of succeeding in what the puffers in - books call the great style of history-painting; so that, without - having had a stroke of this grand business before, I quitted - small portraits and familiar conversations, and, with a smile - at my own temerity, commenced history-painter; and on a great - staircase at St. Bartholomew's Hospital, painted two Scripture - stories, 'The Pool of Bethesda' and 'The Good Samaritan,' with - figures seven feet high. These I presented to the charity; and - thought they might serve as a specimen, to show that, were there - an inclination in England for encouraging historical pictures, - such a first essay might prove the painting them more easily - attainable than is generally imagined. But as religion, the - great promoter of this style in other countries, rejected it in - England, I was unwilling to sink into a portrait-manufacturer; - and, still ambitious of being singular, dropped all expectations - of advantage from that source, and returned to the pursuit of - my former dealings with the public at large. This I found was - most likely to answer my purpose, provided I could strike the - passions, and, by small sums from many, by the sale of prints - which I could engrave from my own pictures, thus secure my - property to myself." - -While these pictures were in progress, it was announced that "among -the governors of St. Bartholomew's Hospital was lately chosen Mr. -William Hogarth, the celebrated painter, who, we are told, designs -to paint the staircase of the said hospital, and thereby become a -benefactor to it by giving his labours gratis." And a newspaper of -July 14, 1737, says, "Yesterday the scaffolding was taken down from -before the picture of 'The Good Samaritan,' which is esteemed a very -curious piece." - -Hogarth paid his friend Lambert for painting the landscape in -this picture; and to the imaginary merits of his coadjutor, the -_Analysis_, p. 26, thus bears testimony: "The sky always gradates -one way or other, and the rising or setting sun exhibits it in great -perfection; the imitating of which was Claude de Lorraine's peculiar -excellence, and it is now Mr. Lambert's." - -Both pictures, which appear of an oblong square in the engravings, -in the originals are surrounded with scroll-work which cuts off the -corners of them, etc. All these ornaments, together with compartments -carved at the bottom, were the work of Mr. Richards. These the late -Mr. Alderman Boydell caused to be engraved on separate plates, and -appended to those above them, on which sufficient space had not -been left. Hogarth requested that these paintings might never be -varnished. They appear, therefore, to disadvantage, the decorations -about them having, within these few years past, been highly glazed. - -"The Pool of Bethesda" has suffered much from the sun; and "The Good -Samaritan," when cleaned about the year 1780, was pressed so hard -against the straining frame, that several creases were made in the -canvas. - - -MARTIN FOLKES, ESQ. - -[Illustration: MARTIN FOLKES ESQ^{RE}] - -This elegant scholar was a mathematician and antiquary of much -celebrity in the philosophical annals of literature. In 1713, at the -early age of 24, he was elected a Fellow of the Royal Society, and -in 1741 was elected President. Mr. Folkes was also an early Member -of the Society of Antiquaries, having been elected in 1719-20; and -his communications to both societies were numerous and valuable. His -knowledge in ancient and modern coins was very extensive; and the -most important work he produced, was _The History of the English Gold -and Silver Coin, from the Conquest to his own time_. - -Algernon, the famous Duke of Somerset, who had been many years -President of the Society of Antiquaries, dying February 9, 1749-50, -Mr. Folkes, who was then one of the Vice-Presidents, was immediately -chosen to succeed his Grace; and was continued President by the -Charter of Incorporation of that Society, November 2, 1751. But he -was soon disabled from presiding in person either in that or the -Royal Society, being seized, on the 26th of September the same year, -with a palsy, which deprived him of the use of his left side. On the -30th of November 1753, he resigned the Presidentship of the Royal -Society; but continued President of the Society of Antiquaries -till his death. After having languished nearly three years, a second -attack of his disorder, on the 25th of June 1754, put an end to his -life on the 28th of that month. - -The original portrait is preserved in the meeting-room of the Royal -Society. - - -BISHOP HOADLEY. - -[Illustration: BISHOP HOADLEY.] - -This portrait is in grand style, though rather in the French manner. -The painting, and the plate engraved from it by Baron, were carefully -preserved in the Bishop's family. - -Dr. Benjamin Hoadley, a prelate of considerable eminence, was born -November 4, 1676; educated at Catharine Hall, Cambridge; elected -Lecturer of St. Mildred, Poultry, 1701; Rector of St. Peter-le-Poor -in 1704, and of Streatham in 1710; King's Chaplain, February 16, -1715-16; Bishop of Bangor, March 18 following; translated to Hereford -in 1721, to Salisbury in 1723, and in 1734 to Winchester, which he -held nearly twenty-seven years, till on April 17, 1761, at his house -at Chelsea, in the same calm he had enjoyed amidst all the storms -that blew around him, he died, full of years and honours, beloved and -regretted by all good men, in the 85th year of his age. Few writers -of eminence have been so frequently or so illiberally traduced; yet -fewer still have had the felicity of living till a nation became -their converts, and of knowing "that sons have blushed their fathers -were their foes." His useful labours, which will ever be esteemed by -all lovers of the natural, civil, and religious rights of Englishmen, -were collected in 1773, in three folio volumes. - -The Bishop had two sons: Benjamin Hoadley, M.D., F.R.S., Physician -to Frederick Prince of Wales, and to George the Second; of high rank -in his profession; and well known by many valuable writings, more -especially by his comedy of _The Suspicious Husband_. He died, in his -father's lifetime, in 1757. The other son, the Rev. Dr. John Hoadley, -Chancellor of Winchester, was also a most amiable man, and an elegant -poet. He was the editor of his father's collected works, introduced -by a well-digested biographical memoir. He died March 10, 1776; and -with him the name of Hoadley became extinct. His relict, who long -survived him, possessed several original paintings by Hogarth, which -were afterwards the property of the late Mr. Archdeacon D'Oyley. - - -MR. RANBY'S HOUSE AT CHISWICK. - -[Illustration: M^R RANBY'S HOUSE AT CHISWICK.] - -This view, etched by Hogarth in 1748 without any inscription, was -first published by his widow in 1781. - - -HYMEN AND CUPID. - -[Illustration: HYMEN & CUPID.] - -This neat plate was engraved as a ticket for the masque of _Alfred_, -performed in 1748, at Cliveden House, before the Prince and Princess -of Wales, on the Princess Augusta's birthday. It was afterwards -intended as a receipt for "Sigismunda." - - -FALSE PERSPECTIVE. - -[Illustration: FALSE PERSPECTIVE.] - -Early in 1753, Hogarth presented to his friend Mr. Joshua Kirby -this whimsical satirical design; which arose from the mistakes of -Sir Edward Walpole, who was learning to draw without being taught -perspective: an anecdote recorded by Mr. Steevens, on Sir Edward's -own authority. - -To point out in a strong light the errors which would be likely to -happen from the want of acquaintance with those principles, Hogarth's -design was produced. - -A traveller is represented on an eminence, lighting his pipe from -a candle presented to him by a woman from a chamber-window at -the distance of at least a mile. We are also astonished at the -representation near it, of a crow seated on the spray of a tree, -without incommoding by its weight the tender sprouts issuing from -its branches; and our astonishment increases when we recollect that -this tree, if weighed in the balance with the bird, would hardly -be found to preponderate. The tree on which the feathered animal -is so securely stationed is, however, of a much greater height and -magnitude than those which are nearer, and which gradually diminish -as they approach the foreground. The sheep, taking example from the -trees, are very large at a distance, but regularly become minute by -their proximity, the nearest being almost invisible. Both ends of the -church, the top, and the whole extent of one side of it, are clearly -seen. To take the view which Hogarth has represented, we must, at -the same time, be above, at each end, and in front of that parochial -erection; but he has not been so complaisant as to favour us with the -sight of the road on the bridge, which the vessel seems determined to -sail over, while the waggon and horses appear floating on the other -side. A fellow in a boat, nearly under the bridge, is attempting to -shoot a swan on the other side of it; though, as he is situated, -he cannot possibly have a view of the object whose destruction he -pretends to be aiming at. The waggon and horses, which are supposed -to be on the bridge, are more distant than the tree which grows on -the further side. - -Many other absurdities are visible in this curious perspective view, -which are too obvious to escape observation: such as the signpost -extending to a house at the distance of half a mile, and -the remote row of trees concealing part of the nearer sign of the -half-moon; the angler's line interfering with another belonging to -his patient brother, though at a considerable distance from each -other; and the tops and bottoms of the barrels being equally visible. - -The favour of this communication was gratefully acknowledged by -Kirby, who in 1754 prefixed it to Dr. Brook Taylor's _Method of -Perspective made easy both in Theory and Practice_, with a dedication -to Hogarth, who subsequently furnished him with a serious design for -the plate which is described at page 132. - - -THE FARMER'S RETURN. - -[Illustration: THE FARMER'S RETURN.] - -The little drama by Mr. Garrick, in which this exquisite frontispiece -first appeared, was thus prefaced: "The following interlude was -prepared for the stage, merely with a view of assisting Mrs. -Pritchard at her benefit; and the desire of serving so good an -actress is a better excuse for its defects than the few days in -which it was written and represented. Notwithstanding the favourable -reception it has met with, the author would not have printed it, had -not his friend Mr. Hogarth flattered him most agreeably, by thinking -the farmer and his family not unworthy of a sketch of his pencil. -To him, therefore, this trifle, which he has so much honoured, is -inscribed, as a faint testimony of the sincere esteem which the -writer bears him, both as a man and an artist." - -The original drawing was given to Mr. Garrick, and was in the -possession of his widow during her life. - -The receipt for "The March to Finchley," which accompanies this -plate, has been already described. - - -[Illustration: INHABITANTS OF THE MOON.] - -[Illustration: - - _Rec'd._ _of_ _7^s 6^d being the whole_ - _Payment for a Print Representing a March to Finchly in the Year 1746 - which I promise to deliver when finished on sight hereof._ - - _N.B. Each Print will be half a Guinea after the Subscription is - over._] - -[Illustration: A. _absolute Gravity._ B. Conatus _against absolute -Gravity._ C. _partial Gravity._ D. _comparative Gravity._ E. -_horizontal, or good sense._ F. _Wit._ G. _comparative Levity, or -Coxcomb._ H. _partial Levity, or pert Fool._ I. _absolute Levity, or -stark Fool._] - - -TRISTRAM SHANDY. - -[Illustration: FRONTISPIECES TO TRISTRAM SHANDY.] - -For this popular work of his friend Lawrence Sterne, Hogarth -furnished two frontispieces; one in 1759, for the second volume; the -other in 1761, for the fourth. - -The first of these is taken from the chapter in which Corporal Trim -is represented reading a sermon to Tristram's father, Uncle Toby, and -Dr. Slop, the latter of whom is fallen asleep, and who was intended -for Dr. John Burton, a physician of great eminence at York, well -known as an able and industrious antiquary, and also as a sturdy -Jacobite. - -The second frontispiece represents the christening, so humorously -described in the fourteenth chapter of the fourth volume of _Tristram -Shandy_. - - -FOUR HEADS FROM THE CARTOONS. - -[Illustration: HEADS FROM RAFFAELLE'S CARTOONS.] - -These heads were copied from the cartoons at Hampton Court; and -Mr. Walpole, speaking of Sir James Thornhill's attention to these -celebrated pictures, has the following remark: "He made copious -studies of the heads, hands, and feet, and intended to publish an -exact account of the whole for the use of students; but his work -never appeared." - -As this plate was found among others engraved by Hogarth, it might -probably have been one of his early performances. His widow, in 1781, -directed a few impressions to be taken from it; which were sold in -Leicester Square. - - -THE SHRIMP-GIRL. - -[Illustration: THE SHRIMP GIRL.] - -In this portrait from the life, first published in 1782, from the -original sketch in oil, are united the talents of Hogarth and -Bartolozzi; but the plate, which is executed in the dotted manner -then so much in fashion, should have been etched, or engraved, like -those excellent performances by Bartolozzi after the drawings of -Guercino; as spirit, rather than delicacy, is the characteristic of -our artist's shrimp-girl. - - -LORD HOLLAND. - -[Illustration: THE RIGHT HON. HENRY FOX. LORD HOLLAND.] - -This is a serious portrait, from a drawing by Hogarth in 1757, of -that celebrated nobleman, whom he afterwards introduced in the second -plate of "The Times," as the powerful antagonist of Lord Bute. - -The public life of this great statesman is too well known to need -recital here. Let it suffice to say, that in 1756 he resigned the -office of Secretary at War to Mr. Pitt; and in the following year -was appointed Paymaster of the Forces, which he retained until the -commencement of the reign of King George III. May 6, 1762, his lady -was created Baroness Holland; and April 16, 1763, he himself was -advanced to a peerage, by the title of Baron Holland of Foxley, -Wilts. In the latter part of his life he amused himself by building, -at a vast expense, a fantastic villa at Kingsgate, and died July 1, -1774, in his 69th year. - - -EARL OF CHARLEMONT. - -[Illustration: THE RIGHT HON. JAMES CAULFIELD. EARL OF CHARLEMOUNT.] - -James Caulfield, son of James Viscount Charlemont, was born August -18, 1728; succeeded to his hereditary honours, April 21, 1734; and in -December 1782, was raised to an earldom. He was F.R.S., F.S.A., and -LL.D.; and died August 4, 1799, aged 70. - - -THE HOUSE OF COMMONS. - -[Illustration: THE HOUSE OF COMMONS.] - -This fine print exhibits an inside view of the House of Commons, from -an original painting taken in 1726 or 1727, and now in the possession -of the Earl of Onslow. - -The prominent portraits are those of the Right Hon. Arthur Onslow, -the then Speaker; Sir Robert Walpole, the Prime Minister; Sidney -Godolphin, Esq., Father of the House; Colonel Onslow; Sir James -Thornhill; Sir Joseph Jekyll; Edward Stables, Esq., Clerk of the -House; Mr. Askew, Clerk-Assistant, and several others in the -background. - - -DEBATES ON PALMISTRY. - -[Illustration: DEBATES ON PALMISTRY.] - -The figures employed in the study of palmistry seem to have been -designed for physicians and surgeons of an hospital, who are debating -on the most commodious method of receiving a fee, inattentive to -the complaints of a lame female who solicits assistance. A spectre, -resembling the royal Dane, comes out behind, perhaps to intimate -that physic and poison will occasionally produce similar effects. A -glass-case containing skeletons is open; a crocodile hangs overhead; -and an owl, emblematic of this sapient consistory, is perched on a -high stand. - -Mr. Steevens conjectured that this might have been a repented effort -of hasty spleen against the officers of St. Bartholomew's, who -might not have treated some recommendation of a patient from our -artist with all the respect and attention to which he thought it was -entitled: but this is mere supposition. - - -THE STAYMAKER. - -[Illustration: THE STAY MAKER.] - -The humour in this print is not very striking. The male staymaker -seems to be taking professional liberties with a female in the -very room where her husband sits, who is playing with one of his -children presented to him by a nurse, perhaps with a view to -call off his attention from what is going forward. The hag shows -her pretended love for the infant by the mode in which she is -kissing him. A maidservant holds a looking-glass for the lady, and -peeps significantly at the operator from behind it. A boy with a -cockade on, and a little sword by his side, appears to observe the -familiarities already mentioned, and is strutting up fiercely towards -the staymaker, while a girl is spilling some liquor in his hat. - - -CHARITY IN THE CELLAR. - -[Illustration: CHARITY IN THE CELLAR.] - -The original picture from which this print was engraved, was -painted for the late Lord Boyne. It represents a convivial -party assembled in a cellar over a hogshead of claret, who, it is -said, resolved not to separate till they had drunk all the wine -it contained. Whether such a circumstance really gave rise to the -picture or not, it is unnecessary to inquire. It is too well known -that the habit of drinking to excess, among all classes of society, -existed at the time of Hogarth to such a degree as to draw the -particular attention of this distinguished painter to it; and it is -not perhaps too much to say, that the most distinguished preachers, -or most able moral writers, have not done more to drive this odious -and degrading vice from society than has been effected by the -valuable pencil of Hogarth. The individuals here represented were -members of a society well known by the name of the "Hell-fire Club." -In the centre is the portrait of Sir Philip Hoby, seated on the cask. -Behind him, with his hand held up, is that of Mr. De Grey, and below -him is the portrait of Lord J. Cavendish, who has drawn a spigot -from the cask to let the wine flow into a bowl. Opposite to him Lord -Sandwich is represented kneeling down to draw in the intoxicating -draught; and behind him (extended on a form) is also Lord Galway. -The grouping of the four centre figures is an ingenious imitation -of a statue of Charity which is seen in the cellar. The position of -the bottles brings the comparison still nearer, and is one of those -little incidents for which Hogarth was so particularly distinguished -from all other painters, in omitting nothing that might carry out his -intention and make himself understood. - -The devotedness of this group to the object for which they are -assembled is extremely well portrayed. The positions of the figures -are easy, and the principle of observing the pyramidal form (so often -insisted upon as necessary to beauty in the grouping of figures) -is here strikingly exemplified. It is impossible to show a more -unconquerable love for the intoxicating draught than is expressed in -the portrait of Lord Galway. Unable to stand, he has placed himself -on his back in such a manner that the liquor from the cask above him -is flowing into his mouth; and he has perhaps been represented by -Hogarth as thus persevering in the fatal habit, in order to show the -excess to which it was then carried, and is a forcible point in the -painter's composition. - -The picture is now in the possession of the present Lord Boyne, and -the print from it, which we have added to our present edition, is not -to be found in any other of the collected works of Hogarth. - - -SIX TICKETS. - -[Illustration: SIX TICKETS.] - -The several designs collected in this plate require no particular -description. They are given as specimens of the facility with -which Hogarth descended to minor subjects, at the same time -embellishing them with strokes of his peculiar vein of pleasantry -and humour; and each of them sufficiently evinces the purpose it was -intended to recommend. - -1. For the Mock Doctor. 2. For Pasquin. 3. For the Beggars' Opera. 4. -For Joe Miller. 5. Thomas Figg, the noted prize-fighter. 6. The Ram -Inn at Cirencester. - - -[Illustration: (end of section floral icon)] - - - - -NOTES. - - -The following hints are offered principally with a view to assist in -identifying such characters in Hogarth's prints as are unnoticed, -or but slightly described, in the preceding volumes. A key to the -whole (for many of the figures not yet recognised were undoubtedly -meant by the artist as portraits) would, to the other merits of these -inimitable compositions, add the important one of making them an -assemblage of the similitudes of the leading remarkables of his day. - - -SOUTHWARK FAIR. - -VOL. I. P. 162. - -Although Hogarth, from a fear of creating himself enemies, disclaimed -individual portrait in his compositions, particularly of characters -in the higher walks of life, he was evidently not so scrupulous -in indulging his satire when representing more familiar scenes; -and accordingly his "Harlot's Progress," "Four Times of the Day," -"Industry and Idleness," "March to Finchley," etc., are found to be -less peopled with ideal personages than the "Marriage à la Mode," -and some others. "Southwark Fair" was an annual assemblage of -remarkables, whose follies and peculiarities he could hold up to the -derision of the public without the danger of retaliation; and he has -availed himself of the opportunity by bringing together a number of -persons then well known on the town, and placing them in the most -ludicrous situations. - -This Fair, the humours of which an ingenious author truly observes, -"will never be forgotten while Hogarth's inimitable print of it -exists," was anciently called "Our Lady Fair," and lasted fourteen -days. Like most others in the kingdom, it was originally established -for the purposes of trade; but having become in process of time a -mere scene of low riot and debauchery, its duration was shortened to -three days; and it was at length totally abolished as a nuisance to -the neighbourhood, and an encouragement to vice and dissipation. It -was held at the top of Blackman Street, on the open space opposite -the walls of the King's Bench prison, and began yearly a fortnight -after Bartholomew Tide. - -The following characters in this print have been identified, in -addition to others before noticed: Middle group.--The person whom -the bailiffs are arresting, and who is supposed to have been playing -(not Alexander the Great, but the part of Paris) in the _Siege of -Troy_ (announced for representation on one of the neighbouring -show-cloths), was intended for Walker, afterwards the famous Macheath -in the _Beggars' Opera_, whose portrait it exactly resembles. It is -introduced in this place with strict propriety, as we learn that -Walker kept a great theatrical booth in Southwark Fair, as did -Penkethman. "He also acted," says one of his biographers, "in the -same way at Bartholomew Fair, where Booth saw him playing the part -of Paris in the _Siege of Troy_."[121] The painter probably placed -him in the ridiculous situation we see him, on account of his known -extravagancy and consequent embarrassments, which often procured him -a visit from the bailiffs. - -Figg, the prize-fighter, who in another part of the print is making -his triumphal entry on a blind horse, and brandishing his sword in -defiance, was a native of Thame in Oxfordshire, and attained so high -a celebrity as a master of the "noble science of defence," that we -find him praised in the _Tatler_, _Guardian_, _Craftsman_, and almost -all the periodical works of the time. The mezzotinto portrait of -him by Faber represents him exactly as here--with a bald head and -open collar. His own school was in Oxford Road, but he was probably -accustomed to exhibit his skill at fairs, or he may be introduced -here merely as a well-known character. The Bear Garden, a famous -place for prize-fighting, anciently stood in this neighbourhood, and -had then been but recently demolished. The manner of the combatants -at this place, parading the streets previous to their encounters, -as described by a French traveller in 1672, and the way in which -Figg is represented, strictly agree. "Commonly," says he, "when any -fencing-masters belonging to the Bear Garden are desirous of showing -their courage and their great skill, they issue mutual challenges; -and before they engage, parade the town on horseback, with drums and -trumpets sounding, to inform the public there is a challenge between -two brave masters of the science of defence, and that the battle will -be fought on such a day." Figg's public challenges were the very acme -of bombast. This extraordinary character died in the year 1734. - -Miller, the tall man, whose effigies are exhibited on a show-cloth, -was a native of Saxony, and probably came into England in the reign -of George I. This gigantic personage was eight feet high, the -stature, within a few inches, of the late O'Brien. He died in 1734, -aged 60. Boitard engraved a portrait of him the year before his death. - -The two jugglers in senatorial wigs, who are displaying their magic -wonders with cups and balls, etc., seem to have been intended -likewise for two real characters (Fawkes and Neve), the Breslaw and -Katterfelto of their day. Fawkes is most certainly introduced in -the print of "Burlington Gate," where, on a board, the "Long Room" -is announced, and "Fawkes' dexterity of hand." Portraits of these -worthies still exist, and bear a sufficient resemblance to identify -them with their representatives in the plate. Neve in a wood print -prefixed to his "_Merry Companion_, teaching tricks in legerdemain;" -and Fawkes in a large sheet print by Sutton Nichols, where he stands -in the midst of his performances. Fawkes was no indifferent wit. When -Breslaw, a more modern performer of the same kind, was at Canterbury, -the former requested permission to display his cunning a little -longer, promising Mr. Mayor that if he was indulged with permission, -he would give such a night (naming a particular one) for the benefit -of the poor. The benevolent magistrate acceded to the proposition, -and he had a crowded house. Hearing nothing about the money collected -on the specified evening, the Mayor waited on the man of trick, -and in a delicate way expressed his surprise. "Mr. Mayor, I have -distributed the money myself." Still more surprised, "Pray, Sir, to -whom?" "To my own company; none can be poorer." "This is a trick." -"We live, Sir, by tricks." - - -MARRIAGE A LA MODE. - -VOL. II. P. 28. - -PLATE III.--The Procuress at the Quack's in this print is said to be -designed for the once celebrated Betty Careless, and the remark is -countenanced by the initials "B. C." on her bosom. This woman, by -a very natural transition, from being one of the most fashionable -of the Cyprian corps, became lady abbess of a brothel; and, after -frequent arrests and imprisonments, was buried from the poorhouse of -St. Paul's, Covent Garden, April 22, 1752. Fielding, in his _Amelia_, -says: "It is impossible to conceive a greater appearance of modesty, -innocence, and simplicity, than what nature had displayed in the -countenance of that girl,"--meaning her whom he in another place -calls "the inimitable Betsy Careless." - -_Ib._ Plate IV.--A card on the floor in this print is inscribed: - - "Count Basset desire to no how Lade Squander sleep last nite?" - -A fashionable foreign adventurer, of the name of Count Basset, occurs -as one of the characters in the _Provoked Husband, or a Journey to -London_, which might have suggested the hint for this name. But, -query, whether a real person? or the artist might have meant to -satirize the game of Basset. - -_N.B._--The set of prints of "Marriage à la Mode" is said to have -furnished the idea for the comedy of the _Clandestine Marriage_. - - -HARLOT'S PROGRESS. - -VOL. I. Pp. 102-114. - -PLATE II.--The commentators on Hogarth do not seem to have assigned -a satisfactory reason for the particular subjects of the two -paintings which ornament the Harlot's apartment in this plate, viz. -"David dancing before the Ark," and "Jonah sitting under a Gourd." -One supposes them merely intended to convey a ridicule on the old -masters, or placed here to satirize the impropriety of adorning rooms -with inappropriate subjects. Another, as stories selected at random, -but having a reference to the nation of the Harlot's Jew keeper. But -as Hogarth's incidents have all a meaning, a better reason must be -sought for. They undoubtedly conceal a moral applicable to the two -principal figures in the print. David's known breach of chastity in -the affair of Uriah's wife, and "uncovering himself" when dancing -before the ark, "in the eyes of the handmaids of his servants, as one -of the vain fellows shamelessly uncovereth himself," which his wife -charges him with on that occasion, evidently typify the backsliding -Jew; while Jonah sitting under the shelter of his gourd, which sprang -up in the night, and which the worm destroyed in the morning, as -ingeniously points out the girl's upstart grandeur, and the frail -nature of her protection, which even now a worm (her infidelity to -her keeper) is rapidly undermining. - -Plate V.--Dr. Misaubin, or Mizenbank as Trusler calls him (the -lean doctor in this print), was a notorious foreign quack of the -day, whose ignorant consequence Fielding thus laughably exposes in -one of his introductory chapters in _Tom Jones_:--"The learned Dr. -Misaubin used to say, that the proper direction to him was, 'To Dr. -Misaubin, in the world,' intimating that there were few people in it -to whom his great reputation was not known. And, perhaps, upon a nice -examination into the matter, we shall find that this circumstance -bears no inconsiderable part among the many blessings of human -grandeur." - -Watteau painted the portrait of this Esculapius, from which a print -was engraved by Pond. The likeness strikingly resembles Hogarth's -representation, and is inscribed "Prenez des pillules." The -similitude of his opponent Dr. Rock, though not authenticated in -the same manner, is, from the testimony of those who recollect him, -equally correct. - -This "great man" is said to have been originally a porter; for which -his strong, squat figure excellently adapted him. An anecdote, in -some degree confirmed, is told of him, that passing one day by the -end of Fleet Market, with his gold-laced hat and cane, a brother -porter, who knew his origin, and was resting his load near the spot, -said, "Dr. Rock, you once carried a knot as well as myself." "Yes; -and had I been as great a dunce as you," replied the pill merchant, -"I should have carried a knot still." - - -RAKE'S PROGRESS. - -VOL. I. Pp. 132-154. - -PLATE III.--_Tavern Scene._--In the second state of this plate, -Pontac's head is introduced in the place of a mutilated Cæsar. Pontac -was a celebrated purveyor at this time. In the "Hind and Panther" -transversed, Pontac's eating-house is mentioned with epicurean -honours: - - "When at Pontac's he may regale himself." - -It was chiefly frequented as a chop-house, but every other luxury -might be had there. - -Plate VIII.--The maniac chained to the floor of his cell in this -print is noticed by Mr. Ireland as being a copy from one of Cibber's -figures over the gate of Bedlam. He might have added, that the person -of the Rake himself, whose expression of madness Mr. Mortimer so -much admired, is, as to features, a copy of the companion figure -over the same gate. This plagiarism, if it may be so called, was to -the credit of Hogarth's taste; for with all his own amazing powers -of expression, he could scarcely have hoped to equal such inimitable -representations. Time, and an injudicious attempt, some years since, -at restoration, have wofully injured these masterpieces of Cibber's -chisel. - -It may be observed of this print (the inside of Bedlam), in addition -to what has been before said, that the scene portrayed is not only -a most faithful representation of those doleful regions, but that -most of the persons are certainly intended as real portraits. One -at least may, with every appearance of probability, be added to the -list of names of those already identified--the man sitting by the -figure inscribed "Charming Betty Careless," who is supposed to have -gone mad for love. Such a person was actually confined there for that -malady some years previous, whose history so exactly corresponds with -Hogarth's representation, and whom he must have remembered, that it -can scarcely be doubted but he had him in his eye. The portrait of -the person alluded to is thus described in a modern biographical -work: "William Ellis. Printed and sold by Sutton Nichols, in -Aldersgate Street, Æt. 45, 1709." Sitting on the rails of Moorfields. -Printed with his life and character written by himself, etc. This -poor maniac lost his reason through love for his Betty, who seems to -have been a real character. Ellis is represented with a chaplet of -laurel on his right, and a Cupid drawing his bow on the left. Under -the chaplet is inscribed-- - - "Tell her I burn with noble vestal fire, - Tell her she's all I wish or can desire." - -And under the Cupid, amongst others, these lines: - - "My years of minority I spent at school; - But love--that sweet passion--my reason would rule; - And yielding obedience to its potent sway, - The charming dear Betty my heart stole away. - Deny'd her enjoyment, at last I grew mad, - And nothing but Betty, dear Betty, I cry'd: - Such charms has that phœnix, she shall be my bride. - But Bedlam became my sad portion and lot, - By loving a fair one that knew of it not." - -The eight paintings of "The Rake's Progress," which had been -originally purchased of Hogarth by Francis Beckford, Esq., for £88, -4s., were, at the sale of William Beckford, Esq. of Fonthill, in -18--, sold by the elder Mr. Christie for the sum of 850 guineas. The -buyer was Colonel Fullarton, M.P. - - -IDLE AND INDUSTRIOUS APPRENTICE. - -VOL. I. P. 284. - -PLATE VIII.--Speaking of the disposition of a crowd in a picture, -Mr. Gilpin says:--"I do not recollect having seen a crowd better -managed than Hogarth has managed one in the last print of his 'Idle -'Prentice.' In combining the multifarious company which attends the -spectacle of an execution, he hath exemplified all the observations I -have made. I have not the print before me, but I have often admired -it in this light; nor do I recollect observing anything offensive -in it, which is rare in the management of such a multitude of -figures."--_Observation on the Wye_, p. 123. - - -THE TIMES. - -VOL. II. P. 180. - -The wild Indian painted on a show-cloth, with the inscription -underneath, "Alive from America," is meant as a satire on Alderman -Beckford, for whose recent uncourtly speech to Majesty (see the -_Guildhall Statue_) the painter has represented him as a savage. - - -FOUR TIMES OF THE DAY. - -VOL. I. Pp. 222-226. - -PLATE II.--_Noon._--The boy who has had the misfortune to break -the baked pudding, a commentator on Hogarth asserts was the late -Mr. Henderson the player, who often sportively assured his friends -that he stood to Hogarth for the sketch when he was with Fournier -the drawing-master. But this is impossible, as the prints in the -receipt are promised to be delivered by Lady-day 1738, several years -before Henderson was born. A correspondent has assured us that he -has repeatedly heard his grandfather, an individual unknown to the -public, refer to that figure in the print as a portrait of himself, -asserting that he had just such an accident when a boy on the very -spot, and was at that period remarkable for such a head of hair -(which was of a very light colour) as is shown in the print. - -_But query._--With more certainty we may venture to suggest, that the -idea of the woman throwing the shoulder of mutton out of the window -is borrowed from the old song: - - "Now John he was no great eater, and Joan she was no great glutton, - So the better to pamper their stomachs, they bought them a - shoulder of mutton: - But Joan in an angry mood took the shoulder of mutton in hand, - And out of the window she threw it,--poor John, he was at a stand," - etc. - -Plate III.--_Evening._--The scene of this picture is laid at -Islington, near Sadlers Wells, which was then a famous place for -tea-drinking, and the antitype for low dissipation of the late -"Dog and Duck." The view represents it correctly previous to its -being rebuilt in its present form, and exactly similar to a small -copperplate delineation of it over an old song, called "A Song -in praise of Sadlers Wells," in which its various amusements are -described. The adjoining alehouse window, in which we behold a group -enveloped in their own smoke, is the "Sir Hugh Middleton's Head," -a sign still remaining. A celebrated knot of drinkers and smokers -actually met at this place about the period alluded to, at the head -of which was old Rosamond, the proprietor of the Wells; and it is not -improbable but that Hogarth might have known and meant to satirize -this fraternity. The portraits of these gentlemen are still preserved -in a large painting at the very same public-house, under the name of -the "Sadlers Wells Club." - - -ENRAGED MUSICIAN. - -VOL. I. P. 206. - -Cervetto, well known by the name of "Nosee," has been generally -supposed to be intended by the character of the musician; but -there are others who apply it to Dr. Arne; for though not a strict -likeness of that great composer, the figure and face bear so near a -resemblance (and he was extremely remarkable) as fully to authorize -the application. The known irritability of the Doctor in musical -business might not have been the only cause of Hogarth's placing him -in this ludicrous situation; his habits of intrigue, and singularly -plain person, made him so fair an object for caricature, that one of -his portraits, printed with a song of his composing, has ironically -written under it, "Beauty and Virtue." This song, with the portrait, -was eagerly purchased up, and is now very scarce. Some years since -Mr. Colman got up a little interlude at the Haymarket Theatre from -the idea of this print, called "Ut Pictura Poesis, or the Enraged -Musician," when the character of the musician was purposely given to -a performer who was thought in figure and face to resemble Dr. Arne. - - -SIGISMUNDA. - -VOL. I. P. 75. - -This celebrated picture, which, at the time of first publishing the -preceding volumes, was in the possession of Messrs. Boydell & Co., -but has since been in other hands, was advertised to be sold by -auction, with other effects, by Mr. Jacques, May 12, 1812, on the -premises, Great James Street, Bedford Row, and was to be seen by -applying for tickets for that purpose to the auctioneer. - - -THE BEGGARS' OPERA. - -VOL. II. P. 292. - -In addition to the value of this print as a collection of portraits, -it may be observed that it contains the only known representation of -the inside of the Lincoln's-Inn Fields Theatre. This playhouse was -opened under the management of Betterton, with the comedy of _Love -for Love_, which had a very considerable run. The _Beggars' Opera_, -however, was of still superior attraction, and it carried all before -it. After continuing open with various success for several seasons, -the Lincoln's-Inn Fields playhouse finally closed, on the removal of -the company to the new theatre in Covent Garden, and the building -(the exterior of which is still entire) is now occupied as Spode's -pottery warehouse. - - -SLEEPY CONGREGATION. - -VOL. I. P. 192. - -The clergyman preaching is supposed to represent Dr. Desaguliers. But -why Hogarth has assigned him this post of honour, does not appear. -This gentleman was the son of a French Protestant clergyman; was -educated at Cambridge, and held the donative of Whitchurch, in -Middlesex. He was the first lecturer on experimental philosophy in -the capital, and published his lectures in two vols. 4to. He died -at his lodgings at the Bedford Coffeehouse, Covent Garden, Feb. 29, -1744, and was buried, March 26, at the Savoy. He is spoken of as a -man of considerable talents, but possibly might have had a peculiarly -inanimate mode of delivering his sermons, which occasioned Hogarth's -satire. The original painting from which this print was engraved -was lately in the possession of the late John Follett, Esq., of the -Temple, London. It differs in some little particulars from the print. - - -[Illustration: (end of section floral icon)] - - - - -CHRONOLOGICAL LIST - -OF - -HOGARTH'S WORKS, - -WITH THE VARIATIONS, ETC. - - -1720. - -1. W. Hogarth, engraver, with two figures and two Cupids, "April y^e -20. 1720." I have seen a print on which was written, in Hogarth's -hand, "Near the Black Bull, Long Lane." Of this card there is a -modern copy. - - -1721. - -1. An Emblematic Print on the South Sea; W. Hogarth, _inv. et -sc._ Sold by Mrs. Chilcot in Westminster Hall, and B. Caldwell, -printseller, in Newgate Street. _Second state_--Printed for Bowles. -_Third state_--Without any publisher's name. Some wretched stanzas -are engraved beneath the print. - -2. The Lottery; W. Hogarth, _inv. et sculp._ Sold by Chilcot and -Caldwell, price 1s. _Second state_--Printed for Chilcot. _Third -state_--For Sympson. And in a _fourth_--For Bowles--"price 1s." is -erased. An explanation with references is engraved beneath. - -The allegory of both these prints is obscure, but the figures are in -the manner of Callot, and in a spirited and masterly style. - - -1723. - -Eighteen plates to Aubry de la Mottraye's _Travels_. Hogarth's name -on fourteen of them. As these prints have such references as are -hardly intelligible, and as Mr. Nichols' numbers and mine do not -exactly agree, I have given a slight hint of the subject of each. - -5. Vas mirabile ex integro Smaragdo, Genoæ, etc. - -Tom. i. No. 9.--Tiara Patriarchalis Græca. - -Tom. i. No. 10.--A Lady and Black in a Bath. No name legible. - -Tom. i. No. 11.--Dance of Elegant Female Figures. _Vide_ p. 125. - -No. 15.--A Procession. - -Tom. i. No. 17.--A Group of Figures in Turbans. - -Tom. i. No. 18.--A Scene in the Seraglio. - -Tom. ii. No. 3.--Park of the Artillery. - -Tom. ii. No. 5.--"Bender."--Portrait of Charles XII. - -Tom. ii. No. 8.--Head of Charles XII., etc. - -Tom. ii. No. 9, Plate I.--Fodina Argentea Sahlensis. - -Tom. ii. No. 9, Plate I.--Ditto. - -Tom. ii. No. 11.--Fodina Terrea Danmorensis. - -Tom. ii. No. 14.--A Lapland Hut, with Reindeer, etc. - -To this catalogue, I think we may add No. 13, Tom. i., and Tom. i. -No. 16, as well as the figures at the comers of Tom. ii. No. 26 A, -and those in Tom. ii. C, of which there is a modern copy under the -name of The Five Muscovites. - - -1724. - -1. Seven small prints to the new _Metamorphosis of Lucius Apuleius of -Medaura_; printed for Sam. Briscoe, 12mo, 2 vols.; one of the plates -without Hogarth's name. The hints for these figures are taken from -the prints in a translation, 2 vols. octavo, printed for the same -bookseller in 1708. A most contemptible modern imposition sometimes -appears under the title of _An Eighth Apuleius_. - -2. Masquerades and Operas--Burlington Gate; W. Hogarth, _inv. et -sculp._ _Vide_ p. 22. In the early impressions, the name of Pasquin, -No. 11, is inserted as a label on a book in a wheel-barrow, where -we have now Ben Jonson. Eight lines engraved on a separate piece of -copper are sometimes found under the first impression: they begin-- - - "Could now dumb Faustus, to reform the age," etc. - -Beneath them is, "price 1s." To the second impression-- - - "O how refined, how elegant we're grown!" etc. - -The print is sometimes found without any lines. In this Hogarth's -name is inserted within the frame of the plate. To the copy there are -also eight lines, beginning-- - - "Long has the stage productive been," etc. - - -1725. - -1. Five Small Prints for the translation of _Cassandra_, in 5 vols. -duodecimo; W. Hogarth, _inv. et sculp._ - -2. Fifteen Headpieces for the _Roman Military Punishments_, by John -Beaver, Esq., engraved in the style of Callot. - -The Plate to chap. xvii., "Pay stopped wholly or in part," etc., -differs from that sold with the set. At the bottom of the former, -in the book we read, "W. Hogarth, _invent. sculpt._;" the latter -has, "W. Hogarth, _invent. et fec._" The former has a range of tents -behind the pay-table. These are omitted in the latter, which likewise -exhibits an additional soldier, attendant on measuring out the corn, -etc. - -A little figure of a Roman General in the title-page may possibly be -by Hogarth, though his name is not to it. - -3. A Copy from Kent's Altar-Piece, _vide_ p. 23. This was usually -printed on blue paper. In the original the word "_wings_" is -terminated with a long _ſ_. In a modern copy this error is corrected. - -4. A Scene in Handel's opera of _Ptolomeo_. _Vide_ p. 184. There is a -copy of the same size. - -5. Booth, Wilkes, and Cibber, contriving a Pantomime. - - -1726. - -1. Frontispiece to _Terræ-filius_. _Vide_ p. 193. - -2. Twenty-six Figures on two large sheets; engraved for a _Compendium -of Military Discipline_, by J. Blackwell. No engraver's name. - -3. Twelve Prints for _Hudibras_--the large set. In Plate II (the -earliest impressions) the words, "Down with the Rumps," are not -inserted on the scroll. "Printed and sold by P. Overton, near St. -Dunstan's Church, in Fleet Street, and J. Cooper, in James Street, -Covent Garden." - -Now printed for Sayer, Fleet Street. - -A Print representing Hudibras and Sidrophel, and taken off in -colours, was in 1782 engraved by T. Gaugain. - -3. Seventeen Small Prints for _Hudibras_, with Butler's head. -The portrait is evidently copied from White's mezzotinto of John -Baptist Monnoyer. The same designs on a large scale, with some -slight variations, were engraved by J. Mynde for Grey's edition of -_Hudibras_, published in 1724. Hogarth has evidently taken the hints -for his figures, grouping, etc., from a small edition of this poem -published in 1710. - -Copies are inserted in Townley's translation of _Hudibras_ into -French, published in 1757. - -Many of them were copied by Ross, with violent alterations, for Dr. -Nashe's splendid edition of _Hudibras_, published in 1795. - -4. Cunicularii, or the Wise Men of Godliman in Consultation. A -burlesque on the Believers in Mrs. Tofts, the rabbit-breeder. - - -1727. - -1. Music introduced to Apollo by Minerva; Hogarth, _fecit_. -Frontispiece to some book of music, or ticket for a concert. - -2. Large Masquerade Ticket. _Vide_ Frontispiece and p. 230. In the -earliest impressions, the word "Provocatives" has instead of V the -open vowel U. It was afterwards amended, but the mark remains. - -3. Frontispiece to _Leveridge's Songs_; no engraver's name. Mr. -Molteno informs me he has seen an impression of this, with the sky -partly erased, and a player's ticket engraved in the place. The -title-page to this work is, I believe, also by Hogarth. - - -1728. - -1. Head of Hesiod, from the bust at Wilton; for Cook's translation. - -Rich's Glory, or his Triumphant Entry into Covent Garden. W. H. E^t -SULP. Contemptible! - -Of this there is a modern copy. - -3. The Beggars' Opera. The title over the print in letters -disproportionably large. - -4. The same; the lines under it engraved in a different manner. "Sold -at the print shop in the Strand," etc. - -5. A copy of the same, under the title of "The Opera House, or the -Italian Eunuchs' Glory," etc. - - -1729. - -1. Henry Eighth and Anne Bullen; with lines by Allan Ramsay, -beginning-- - - "Here struts old pious Harry, once the Great." - -2. The same plate without any verses. - -There is a coarse copy, I think engraved on pewter. - -The original picture was painted for the portico at Vauxhall. - -3. Frontispiece to Miller's _Comedy of the Humours of Oxford_; -engraved by Vandergucht. - - -1730. - -1. Two Prints for _Perseus and Andromeda_. - -2. Gulliver presented to the Queen of Babilary; engraved by -Vandergucht. Frontispiece to Lockman's translation of _John -Gulliver's Travels_. A wretched design. - - -1731. - -1. Frontispiece to Molière's _L'Avare_. - -2. To _Le Cocu Imaginaire_; prefixed to Molière's Plays in French and -English. - -3. Frontispiece to Fielding's _Tom Thumb_; engraved by Vandergucht. -Grotesque, and good. - -4. Frontispiece to Mitchell's _Opera of the Highland Fair_; engraved -by Vandergucht. - - -1732. - -1. Sarah Malcolm, executed March 7th, 1732, etc.; W. Hogarth (_ad -vivum_), _pinxit et sculpsit_. - -2. An engraved copy of ditto. - -3. Ditto mezzotinto. - -4. Part graven and part mezzotinto. - -5. Another copy, with the addition of a clergyman holding a ring. - -6. A wooden cut in the _Gentleman's Magazine_ for March 1733. - -7. A small copy from a small whole length, in the possession of -Josiah Boydell, Esq. - -The first, Hogarth _sculpsit_, is very scarce. - -8. The Man of Taste. Pope with a tie-wig on. - -9. The same in a smaller size; Pope in a cap. Prefixed to a pamphlet -entitled "_A Miscellany of Taste_, by Mr. Pope, etc." _Vide_ p. 201. - -10. The same, in a still smaller size, coarsely engraved. - - -1733. - -1. The Laughing Audience. Subscription-ticket to the Rake's Progress, -and Southwark Fair, which were originally delivered to subscribers at -a guinea and a half. - -The receipt was afterwards cut off. Of this print there is a coarse -copy. - -2. Southwark Fair. The show-cloth, representing the Stage Mutiny, is -copied from an etching by John Laguerre. The paint-pot and brushes, -which Hogarth has added to the figure with a cudgel in his hand, has -been said to allude to John Ellis the painter; is it not quite as -probable that it alludes to Jack Laguerre? - -3. Judith and Holofernes. Engraved by Vandergucht. Frontispiece to -the Oratorio of Judith, by William Huggins, Esq. - -4. Boys Peeping at Nature. Subscription-ticket to the Harlot's -Progress. The receipt was afterwards erased, and the following -receipt, very neatly engraved, supplied its place: - -"Received ----, 1737, half a guinea, being the first payment for -five large prints--one representing a Strolling Company of Actresses -dressing themselves in a barn; and the other four--Morning, Noon, -Evening, and Night; which I promise to deliver on Lady-day next, on -receiving half a guinea more." - -"_N.B._--They will be twenty-five shillings after the subscription is -over." - -A modern copy of this receipt in aquatinta was published in 1781. - -2. Another print on the same subject, with considerable variations, -designed as a receipt for Moses brought to Pharaoh's Daughter, and -St. Paul before Felix, for which he afterwards substituted the -burlesque Paul. - -In one of Hogarth's MSS., introductory to his intended description -of his prints, I find the following notices of the pictures of the -Harlot's and Rake's Progresses: - -"Mr. Rouquet's account of my prints finishes with a description -of the March to Finchley. The picture was disposed of by lottery -(the only way a living painter has any chance of being paid for his -time) for three hundred pounds; by the like means most of my former -pictures were sold. Those of the Harlot's and Rake's Progress have, -it seems, been since destroyed by fire,[122] with many other fine -pictures, at the country house of the gentleman who bought them.[123] -It is reported, and very remarkable if true, that a most magnificent -clock-work organ, being left exposed to the conflagration, was heard -in the midst of the flames to play several pleasing airs." - - -1733 and 1734. - -The Harlot's Progress, in six plates. - -Plate 1. _Second state_--Feet to the old woman. Shadow thrown by one -house upon another. London added to the letter the parson is reading. -Cross put in the centre of the margin, as indeed it is to the second -state of the five that follow. - -Plate 2. The shadows on the black boy's drapery, etc. are so sudden -that he looks like a magpie. I have a copy of this print, of the same -size, and well engraved; the situation of the figures reversed, with -the strange variations of a shepherd and shepherdess, in the two -pictures that were of Jonah and David, in the original. - -Plate 3. A sort of sugar dish placed near the punch-bowl, in the -first state, is in the second changed to a bottle. In a set of -wretched copies, possibly made from the original pictures, and -exhibited at Christie's in the year 1792, the woman dangling a watch -is painted without stockings. - -Plate 4. _Second state_--Damages in the ceiling stopped up: shadow -added on the wall close to the hoop petticoat: the dog much blacker. -In a print in my possession, the cross is inserted before any of -these variations were made. - -Plate 5. _Second state_--Dr. Rock's name inscribed on the paper: cap -of the woman near the dying figure lowered. - -Plate 6. The mask on the bottle inscribed "Nants," has a most -ludicrous appearance. The shadows, especially that on the forehead -of the girl near the clergyman, are much heightened in the _second -state_. - -2. Rehearsal of the Oratorio of Judith. - -Ticket for a Modern Midnight Conversation. The singers of the -different parts of bass, tenor, and treble, may be easily -distinguished; and it is worthy of remark, that the notes before them -are in the same key with the performers' voices. The receipt was -afterwards cut off the plate. - -3. A Midnight Modern Conversation. - -_Second state_--The right hand and skirt of a man fallen on the -ground stronger shadowed, and the lines over a vessel in the corner -intersected. - - -1735. - -1. The Rake's Progress, in eight plates. - -Plate 1. _First state_--A book "Mem^{dum} 1721, May 3d. My son Tom -came from Oxford. 4th, dined at the French Ordinary. 5th of June, put -off my bad shilling." _Second state_--The book erased to insert the -cover of a Bible as the sole of a shoe. The girl's face altered for -the worse. Woollen-draper's shop-bill omitted. - -Plate 2. _First state_--"Prosperity with Horlots smile." _Second -state_--Altered to Harlots. - -Plate 3. _First state_--Dated June y^e 24th, 1735. _Second -state_--June 25th, and a laced hat put on the head of the girl -sitting next to the Rake. Pontac's head introduced in the place of a -mutilated Cæsar. - -Plate 4. _Second state_--Shoeblack stealing the cane, erased, and -his place supplied by a group of gambling boys. This design is -unquestionably much improved by the alterations. - -Plate 5. _Second state_--The right foot of the bridegroom, which gave -a tottering awkwardness to the figure, omitted. The maidservant's -face altered. The hand of the figure looking out of the gallery -blackened. In this print the artist has introduced a portrait of his -favourite dog Trump. - -Plate 6. _Second state_--Rays round the candle stronger. - -In the original sketch, the principal figure was not, as now, upon -his knees, but seated. - -Plate 7. In the very earliest impressions, Plate 7 is not inserted in -the margin. - -Plate 8. _Second state_--Head of the woman with a fan altered, and -affectedly turning away from the mad monarch. A halfpenny, with a -figure of Britannia, 1763, fixed against the wall, to intimate what -the artist thought the state of the nation. "Retouch'd by the author, -1763." - -It should seem that the man sitting by the figure inscribed -"Charming Betty Careless," went mad for love. Dr. Monro, I am told, -asserts that not more than one or two men have become mad from love -in the course of a hundred years. Shakspeare has not, as I recollect, -drawn one _man_ mad from that cause. I find by Hogarth's memorandum -that the original pictures were sold to Francis Beckford, Esq., for -£184, 16s. - - -1736. - -1. Two prints of Before and After. See p. 26. - -2. The Sleeping Congregation. - -_First state_--"Dieu et mon droit," under the king's arms, not -inserted: the angel has a pipe in his mouth. _Second state_--The -above motto added, the angel's pipe effaced, and the lines of the -triangle doubled. _Third state_--Inscribed on the side of the print: -"Retouched and improved, April 21, 1762, by the author." - -3. The Distressed Poet. - -_First state_--Pope thrashing Curl, and four lines from the _Dunciad_ -inscribed under the print. _Second state_--In the place of Pope, -etc., view of the gold mines of Peru; and the four lines from the -_Dunciad_ erased. This has been conjectured to be a portrait of -Lewis Theobald, and in 1794 a copy of the head with his name annexed -to it was published for Richardson. The original picture is in the -collection of Lord Grosvenor. - -4. Right Honourable Frances Lady Byron. - -Whole-length mezzotinto by Faber. The best impressions are usually in -brown ink. The plate was afterwards cut down to a half-length. - -5. Arms of the Undertakers' Company. - -The three figures at top are Dr. Ward, Chevalier Taylor, and Mrs. -Mapp, the bone-setter; though it has been said, that the figure -supposed to be Mrs. Mapp was intended for Sir Hans Sloane. _First -state_--"One compleat Docter," etc. _Second state_--The spelling -corrected. - - -1737. - -1. The Lecture, "Datur vacuum." In the early impressions, the words -"datur vacuum" are not printed. Hogarth sometimes wrote them in with -a pen. - -Æneas in a Storm. - - -1738. - -1. The four parts of the Day. - -Morning. The sky singularly muddy to express snow. The figure of the -shivering boy was, in 1739, copied by F. Sykes, and is strangely -enough christened by collectors, The Half-starved Boy. - -Noon. In the _second state_--Shadows heightened. - -Evening. In early impressions the man's hands are printed in blue, -and the woman's face and neck in red; but they have been sometimes -so stamped in later impressions, where the rail-post is crossed with -intersecting lines, and the clearness of the water much injured. - -In Hogarth's first design (engraved by Baron), the little girl with -the fan was omitted; but the artist thinking his delineation would -be improved by it, afterwards inserted it with his own burin. I have -seen three impressions in this state; one of them, then thought to be -unique, was purchased at Greenwood's Rooms, at Mr. Gulston's sale, by -Mr. Thane, for the late Mr. G. Stevens, at the price of £47. - -Night. The Salisbury flying coach has been thought to be a burlesque -on a late noble peer, who delighted in driving his own horses. - -I find by Hogarth's memorandum, that Sir William Heathcote purchased -the picture of Morning for twenty guineas, and that of Night for £27, -6s. Noon was sold for £38, 17s., and Evening for £39, 18s., to the -Duke of Ancaster. - -2. Strolling Actresses dressing in a Barn. - -_Second state_--The woman holding a cat has her coiffure lowered, -and the female greasing her hair with a candle is divested of her -feathers. Head of the sable goddess Night blacker, and her hair more -woolly. Damages in the roof of the barn repaired; all the shallows -darker. - -By an account in one of Hogarth's books, the original picture was -first sold to Francis Beckford, Esq., for £27, 6s. By him, though at -so low a price, returned! and afterwards sold for the same sum to Mr. -Wood of Littleton, in whose possession it still remains. - - -1739. - -1. The Foundlings. - -Engraved by Morrellon la Cave. _Vide_ p. 191. - - -1741. - -The Enraged Musician. - -Mr. Cricket has an impression, taken before the man blowing a horn, -cats, steeple, play-bill, or drag were introduced. In this very -curious, and I believe unique print, the dustman is without a nose, -the chimney-sweeper has a grenadier's cap on, and a doll is placed -under the trap, composed of bricks, etc. - -In the early impressions, the horse's head is white; in its present -state, black: and the dog, drag, hatchet, etc. considerably darker -than when first engraved. - - -1742. - -1. Martin Folks, Esq., half-length; W. Hogarth, _pinxit et sculpsit_. -In early impressions, the name of W. Hogarth, etc. is not inserted. - -2. The same, in mezzotinto, engraved by Faber. The original picture -from which both these prints are taken is in the meeting-room of the -Royal Society, Somerset Place. - -3. The Charmers of the Age. A sketch, no name. Of this there is a -spirited modern copy. - -4. Taste in High Life. _Vide_ p. 186. - - -1743. - -1. Benjamin Hoadley, Bishop of Winchester; engraved by Baron. - -A small oval from the same picture was, in 1759, engraved by Sherlock. - -2. Captain Thomas Coram; a three-quarters mezzotinto; admirably -engraved by M'Ardell. - -3. Coarsely copied in the _London Magazine_. - -A copy of the full-length picture in the Foundling Hospital was, in -1797, engraved by Nutter, and published by Mr. Cribb of Holborn. -_Vide_ p. 47. - -5. Characters and Caricaturas; subscription-ticket to Marriage à la -Mode. "For a further explanation of the difference betwixt Character -and Caricatura, see y^e Preface to _Jo^h Andrews_." - -"Received April ----, of ----, half a guinea, being the first payment -for six prints called Marriage à la Mode, which I promise to deliver -when finished, on receiving half a guinea more. - -"_N.B._--The price will be one guinea and an half after the time of -subscribing." - -On this print Hogarth makes the following remark:-- - -"Being perpetually plagued, from the mistakes made among the -illiterate, by the similitude in the sound of the words _character_ -and _caricatura_, I, ten years ago, endeavoured to explain the -distinction by the above print; and as I was then publishing Marriage -à la Mode, wherein were characters of high life, I introduced -the great number of faces there delineated (none of which are -exaggerated), varied at random, to prevent, if possible, personal -application when the prints should come out. - - 'We neither this nor that Sir Fopling call, - He's knight o' th' shire, and represents you all.' - -This, however, did not prevent a likeness being found for each head, -for a general character will always bear some resemblance to a -particular one." - - -1745. - -1. Marriage à la Mode, in six plates. - -Plate 1. The coronet impressed on the dog in the print is not in the -picture. I have this series of prints in the state they were left by -the original engravers, and all of them, though delicately engraved, -are in some degree spotty. In the _second state_ of Plate 1, there -are evident marks of the burin of Hogarth in the faces of the Citizen -and Peer; and each of the characters, especially the latter, is -improved. The French portrait he has designedly thrown more out -of harmony than it was at first; the fringe to the canopy over -the nobleman is much darker; a shadow thrown on the building seen -out of the window, and on the light parts of the two dogs. _Third -state_--All the shadows blacker. Engraved by G. Scotin. Guido's -Judith, which forms the subject of one of the pictures, Hogarth -copied from a print engraved by Dupuis. - -Plate 2. _First state_--A lock of hair on the forehead of the lady, -generally inserted with Indian ink, but sometimes left without. -_Second state_--Lock of hair engraved, and shadows on the carpet, -etc. stronger. Engraved by B. Baron. - -Plate 3. In the original picture, an alembic under the table is seen -through the cloth. In the _second state_ of the print, the character -of the nobleman's face is altered; the bow under his chin is -broader, and the shadows on the sole of his right shoe considerably -strengthened. Girl's cloak and woman's apron darker than at first. -_Third state_--I discover no alterations, except the shadows being -darkened. Engraved by B. Baron. - -Plate 4. One of the newspapers of March 1798, in a critique upon the -opera, remarked, that "in playing upon the pianoforte, the celebrated -Dusek displayed _a brilliancy of finger_ which no eulogium could -do justice to!" This is lofty language, and might be very properly -applied to the figure of Carestini in this print, for that mountain -of mummy displays a glittering ring upon every finger of his left -hand. His face, as well as that of the Countess, is in the third -impression essentially altered; the curtains, frames, etc. are also -of a much darker hue. Engraved by S. Ravenet. - -Plate 5. _Second state_--All the lights, figures on the tapestry, -etc., are kept down, and the whole print brought to a more still and -sombre hue. Woman's eye, eyebrow, and neck strengthened: nostril -made wider. Counsellor's leg and thigh intersected with black lines, -instead of the delicate marks and dots first inserted. _Third -state_--Bears evident marks of a coarser burin than that of Ravenet. -Engraved by R. F. Ravenet.[124] - -Mr. Nichols states that this background was engraved by Ravenet's -wife; but I am informed by Mr. Charles Grignion, who at that period -knew the family intimately, that she could not engrave. That, -concerning the background of this print, Ravenet had a violent -quarrel with Hogarth; who, thinking the figures in the tapestry, etc. -too obtrusive, obliged him to bring them to a lower tone (without any -additional remuneration), a process that must have taken him up a -length of time, which no man but an engraver can form an idea of. - -Plate 6. With a slight alteration, the crying old woman would be very -like one of the laughing old women in the Laughing Audience. _Second -state_--The whole of the print rendered less brilliant, but more in -harmony. Drapery of the dying woman improved. _Third state_--The -shadows of this, as of the other five, were rendered still stronger -by the last alterations, made a short time before Hogarth's death. - -Of the original pictures, now in Mr. Angerstein's collection, I have -already spoken. If considered in the various relations of invention, -composition, drawing, colouring, character, and moral tendency, I do -not think it will be easy to point out any series of six pictures, -painted by any artist of either ancient or modern times, from which -they will not bear away the palm. - -Among Mr. Lane's papers was found a written description of Marriage à -la Mode, which the family believe to be Hogarth's explanation, either -copied from his own handwriting, or given verbally to Mr. Lane at -the time he purchased the pictures. This was copied and inserted in -the second edition of _Hogarth Illustrated_, and may be had gratis by -any of the purchasers of the first. - -Messrs. Boydell have employed Mr. Earlom to engrave the whole series, -in the same size as the original pictures. - -2. A small portrait of Archbishop Herring, surrounded with a trophy, -placed as a headpiece to the printed speech addressed to the Clergy -of York, September 24th, 1745. William Hogarth, _pinx._; C. Mosely, -_sculp._ - -3. The same head was afterwards cut off the plate, and printed -without the speech. - -A larger portrait was in the year 1750 engraved by Baron. - -4. The Battle of the Pictures. Ticket to admit persons to bid for his -works at an auction. - -5. Mask and Palette. Subscription-ticket to Garrick in Richard III. A -copy from this was published in 1781. - - -1746. - -1. Simon Lord Lovat. _Vide_ p. 209. - -The second impressions are marked "price 1s." - -Of this there have been several copies; I have one of the head in a -watch paper. - -Lavater has introduced this print in his _Essays on Physiognomy_. - -2. Mr. Garrick in the character of Richard III. - -Engraved by Wm. Hogarth and C. Grignion. - -Mr. Charles Grignion (whose professional talents have for more than -half a century been an honour to the arts) informed me that Hogarth -etched the head and hand, but finding the head too large, he erased -it and etched it a second time, when seeing it wrong placed upon the -shoulders, he again rubbed it out, and replaced it as it now stands, -remarking--"I never was right until I had been wrong." - -3. Subscription-ticket to the March to Finchley, which was originally -published at 7s. 6d. - -Among a stand of various weapons, bagpipes, etc., the artist has -introduced a pair of scissors cutting out the Arms of Scotland. - - -1747. - -1. The Stage Coach, or Country Inn Yard. In the very earliest -impressions, a flag behind the wheel of the coach is without an -inscription. In the second, "No Old Baby;" which words, in the -present state of the plate, are done away, and the flag obliterated. - -2. Industry and Idleness, in twelve plates, designed and engraved by -Wm. Hogarth. - -Plate 1. In the very early impressions, Plate 1 is not inserted. -_Second state_--Shadows strengthened. - -Plate 2. _Second state_--Shadows on the organ, etc. deeper. - -Plate 3. _Second state_--Lines stronger. - -Plate 4. _Second state_--Lines strengthened. The cat in this print is -vilely drawn. - -Plate 5. Tender lines in the offing worn out, broader lines in the -faces. Lavater has introduced a small outline of this print in his -_Essays on Physiognomy_. - -Plate 6. _First state_--Goodchild and West, instead of West and -Goodchild, to which the sign was afterwards altered. - -Plate 7. _Second state_--Darker shadows behind the broken cup, and -bottles on the chimney-piece, etc. - -Plate 8. _Second state_--Shadows strengthened. The head of the fat -Citizen in a tie-wig has been copied in a larger size by Bartolozzi. -The scene is laid in Fishmonger's Hall, where the effigies of -Sir William Walworth still remain, with the following quaint and -memorable inscription beneath:-- - - "Brave Walworth, knight, Lord Maior, that slew - Rebellious Tyler in his alarms; - The king therefore did give in lieu, - The dagger to the city arms." - -Plate 9. _Second state_--Character of the woman taking a bribe -altered; the whole print more black. - -Plate 10. _Second state_--Shadows heightened. - -Plate 11. _Second state_--Shadows in the parson's face, pigeon, etc., -stronger. - -Plate 12. _Second state_--Coachman's coat darker, and a stripe of -lace down the arm obliterated. The mass of figures that surround the -coach made much darker. In the original they come too forward, but -the characters are now hurt by the intersecting lines. - -Of these twelve plates there are tolerably correct copies of the same -size. - -The following memoranda relative to this series, which I found among -Hogarth's papers, seems addressed to some one whom he intended to -continue Rouquet's descriptions:-- - -"The effects of Idleness and Industry, exemplified in the conduct -of two fellow-'prentices. These twelve prints were calculated for -the instruction of young people; and everything addressed to them -is fully described in words as well as figures. Yet to foreigners a -translation of the mottoes,[125] the intention of the story, and some -little description of each print, may be necessary. To this may be -added, a slight account of our customs--as boys being usually bound -for seven years, etc. - -"Considering the persons they were intended to serve, I have -endeavoured to render them intelligible, and cheap as possible.[126] -Fine engraving is not necessary for such subjects, if what is -infinitely more material, viz. character and expression, is properly -preserved. Suppose the whole story were made into a kind of tale, -describing in episode the nature of a night-cellar, a marrow-bone -concert, a Lord Mayor's show, etc. - -"These prints I have found sell much more rapidly at Christmas than -at any other season." - -3. Jacobus Gibbs Architectus; W. Hogarth, _delin._; J. M'Ardell, -_fecit_. Partly mezzotinto, partly graved. No date. - -4. Ditto, engraved by Baron. - -5. Ditto, by ditto. - -6. Another copy, with the addition of "Architectus, A.M. and F.R.S.," -was published 1750. Of the last print I have an impression where the -background is completed, but nothing more of the head than the bare -outline. This is a curiosity somewhat similar to a picture without a -horse by Wouvermans. - -Besides these, there is a small profile of Gibbs in a circle, which I -do not think Hogarth's,--at least it is uncertain. - -7. Arms of the Foundling Hospital, printed on the tops of the -indenture. - -8. The same in a smaller size, employed as a vignette to _Psalms, -Hymns, and Anthems_, and also to an account of the institution of the -hospital, etc. - -Of the original pen-and-ink drawing there is a modern copy. - -9. A Wooden Cut--headpiece to the _Jacobites' Journal_; a newspaper -set up and supported by Henry Fielding. This print (of which there -is a modern copy in aquatinta) was prefixed to six or seven of the -earliest papers, and then set aside. Mine is dated "2d January 1747. -No. 5." - - -1748. - -1. View of Mr. Ranby's House at Chiswick; etched by Hogarth, without -any inscription. Afterwards "published for Jane Hogarth," etc., 1st -May 1781. - -2. Hymen and Cupid; two figures, with the view of a magnificent villa -in the distance. No inscription. This was engraved as a ticket for -the _Masque of Alfred_, performed at Cliveden House before the Prince -and Princess of Wales on the Princess Augusta's birthday. It was -afterwards intended to be used as a receipt to the Sigismunda; on the -earliest impressions, "£2, 2s." is usually _written_. - - -1749. - -The Gate of Calais; engraved by C. Mosely. The original picture is in -the possession of the Earl of Charlemont. - -Of this print Hogarth thus writes:--"After the March to Finchley, -the next print I engraved was the Roast Beef of Old England,[127] -which took its rise from a visit I paid to France the preceding year. -The first time an Englishman goes from Dover to Calais, he must be -struck with the different face of things at so little a distance. A -farcical pomp of war, pompous parade of religion, and much bustle -with very little business. To sum up all, poverty, slavery, and -innate insolence, covered with an affectation of politeness, give you -even here a true picture of the manners of the whole nation. Nor are -the priests less opposite to those of Dover than the two shores. The -friars are dirty, sleek, and solemn; the soldiery are lean, ragged, -and tawdry; and as to the fishwomen, their faces are absolute leather. - -"As I was sauntering about and observing them, near the gate -which, it seems, was built by the English when the place was in -our possession, I remarked some appearance of the arms of England -on the front. By this and idle curiosity I was prompted to make a -sketch of it, which being observed, I was taken into custody; but not -attempting to cancel any of my sketches or memorandums, which were -found to be merely those of a painter for his private use, without -any relation to fortification, it was not thought necessary to send -me back to Paris.[128] I was only closely confined to my own lodgings -till the wind changed for England, where I no sooner arrived than I -set about the picture; made the gate my background; and in one corner -introduced my own portrait,[129] which has generally been thought a -correct likeness, with the soldier's hand upon my shoulder. By the -fat friar who stops the lean cook that is sinking under the weight of -a vast sirloin of beef, and two of the military bearing off a great -kettle of _soup maigre_, I meant to display to my own countrymen the -striking difference between the food, priests, soldiers, etc. of two -nations so contiguous, that in a clear day one coast may be seen from -the other. The melancholy and miserable Highlander, browsing on his -scanty fare, consisting of a bit of bread and an onion, is intended -for one of the many that fled from this country after the rebellion -in 1745." - -2. Portrait of John Palmer, Esq.; W. Hogarth, _pinx._; B. Baron, -_sculp._ A small head inserted under a view of the church of Ecton, -Northamptonshire. - -3. Head of Hogarth in a cap, with a pug dog, and a palette with the -line of beauty, etc.; inscribed "Gulielmus Hogarth _se ipse pinxit et -sculpsit_, 1749." - -The same portrait in mezzotinto. - -(The engraving was copied from a picture now in the collection of J. -J. Angerstein, Esq., from which another copy, engraved by Benjamin -Smith, was in 1795 published by Messrs. Boydell. In this the three -books are lettered _Shakspeare_, _Swift_, _Milton's Paradise Lost_, -and the line on the palette inscribed, "The Line of Beauty and -Grace.") - -In the year 1763 Hogarth erased his own head from the plate, and in -its place inserted "The Bruiser, C. Churchill (once the Rev^d.!), in -the character of a Russian Hercules, regaling himself after having -killed the monster Caricatura, that so sorely galled his _virtuous_ -friend the heaven-born Wilkes." - -_First state_--Three of the upper knots on the club are left white -(white lies), and a line inscribed "the line of Beauty," drawn on -the palette. _Second state_--The knots shaded, and a political print -introduced on the palette. - -_Third state_--The letters "N. B.," and the word "Infamous" -inscribed on the club; and "Dragon of Wantley" added at the end of -"I warrant ye." "Price 1s. 6d." instead of "1s." - -In the year 1758 Hogarth published a full-length of his own portrait, -painting the Comic Muse; inscribed "W. Hogarth, serjeant painter to -his Majesty,"--"Engraved by W. Hogarth." This being a mistake of the -writing engraver, the painter altered it to "the face engraved by -W. Hogarth." _Third impression_--"The face engraved by W. Hogarth" -omitted. _Fourth state_--"Serjeant painter," etc. scratched over with -the graver. _Present state_--The face retouched. Comedy also has -the face and mask marked with black; and on the pillar is written, -"Comedy, 1764." No other inscription beneath the print but "W. -Hogarth, 1764." - -The original small whole-length picture from which it is copied was -sold by Greenwood after Mrs. Hogarth's death. The companion portrait -of Mrs. Hogarth is in the possession of Mrs. Lewis of Chiswick. - -A portrait of Hogarth was in 1781 engraved in mezzotinto by Charles -Townley from a picture painted by Weltdon, and finished by Hogarth, -now in the possession of James Townley, Esq. A portrait, copied from -that in the Gate of Calais, I have seen prefixed to a dull pamphlet, -published in 1781, entitled _A Dissertation on Mr. Hogarth's six -Prints lately published, viz. Gin Lane, Beer Street, and the Four -Stages of Cruelty_. I have a small engraving of his head, I believe -done for the _Universal Magazine_, in which he looks like a village -schoolmaster. An etching of his head by S. Ireland was prefixed to -a catalogue of Hogarth's works, sold by Christie, in May 1797. Two -small portraits have been engraved for watch-papers. A head in the -dotted style has been engraved for Mr. Jeffrey, Pall Mall, but is not -published. - - -1750. - -The March to Finchley; engraved by Luke Sullivan. Dedicated to the -King of Prusia: thus was the word spelt in the prints delivered to -the subscribers. A few early impressions were dated 30th December -1750; but the 30th being that year on a Sunday, it was altered to the -31st. A print in the collection of Dr. Ford is inscribed "Printed and -published by W^m. Hogarth," instead of " Printed for W^m. Hogarth, -and published," etc. In the etching, of which very few were struck -off, the woman to whom an officer presents a letter on the point of -a pike, turns her head the contrary way to what she does in the print. - -_Second impression_--The spelling of Prussia corrected; bunch of -grapes at the Adam and Eve enlarged; catching lights given to the -laced hats in the group beneath it; belt added to the Duke of -Cumberland's portrait. _Third state_--"Retouched and improved by W^m. -Hogarth; and republished June 12th, 1761." - -I have an early impression of this print in which the dedication -to the King of Prussia does not appear, and it might pass for a -proof. On inquiry I find that, upon one of Hogarth's fastidious -friends objecting to its being dedicated to a foreign potentate, he -replied, "If you disapprove of it, _you_ shall have one without any -dedication;" and took off a few impressions, covering the dedication -with fan paper. - -Sullivan was so eccentric a character, that while he was employed in -engraving this print, Hogarth held out every possible inducement to -his remaining at his house in Leicester Square night and day; for if -once Luke quitted it, he was not visible for a month. It has been -said, but I know not on what authority, that for engraving it he was -paid only one hundred pounds. - -In the original picture, which is in the Foundling Hospital, the old -man to whom a Frenchman is giving a letter has a plaid waistcoat. - - -1751. - -1. Beer Street. In the _first state_--The blacksmith is lifting up a -Frenchman; in the _second_--The Frenchman is properly discarded, and -a shoulder of mutton supplies his place. - -2. Gin Lane. I have been told that in a print in the collection of -Lord Exeter there are numerous though trifling variations; but I -never saw it.[130] - -Of their intentions, Hogarth gives the following account:--"When -these two prints were designed and engraved, the dreadful -consequences of gin-drinking appeared in every street. In Gin Lane, -every circumstance of its horrid effects is brought to view _in -terrorem_. Idleness, poverty, misery, and distress, which drives even -to madness and death, are the only objects that are to be seen; and -not a house in tolerable condition but the pawnbroker's and gin-shop. - -"Beer Street, its companion, was given as a contrast, where that -invigorating liquor is recommended in order to drive the other out of -vogue. Here all is joyous and thriving: industry and jollity go hand -in hand. In this happy place the pawnbroker's is the only house going -to ruin; and even the small quantity of porter that he can procure is -taken in at the wicket, for fear of further distress." - -3. The Four Stages of Cruelty-- - -Plate 1. Shadows strengthened. - -Plate 2. Shadows heightened. - -Plate 3. The whole print somewhat darker. - -Plate 4. This, and the five last-mentioned prints, were, on common -paper, marked "price 1s.;" on superior paper, "1s. 6d." The stamp by -which the artist marked the "6d." was cut by himself on a halfpenny, -now in my possession. Of Plates 3 and 4 there are wooden cuts, which -were engraved under Hogarth's inspection. - -The motives by which Hogarth was induced to make the designs, he thus -describes:-- - -"The leading points in these as well as the two preceding prints, -were made as obvious as possible, in the hope that their tendency -might be seen by men of the lowest rank. Neither minute accuracy -of design nor fine engraving were deemed necessary, as the latter -would render them too expensive for the persons to whom they were -intended to be useful; and the fact is, that the passions may be -more forcibly expressed by a strong, bold stroke, than by the most -delicate engraving. To expressing them as I felt them, I have paid -the utmost attention; and as they were addressed to hard hearts, have -rather preferred leaving them hard, and giving the effect, by a quick -touch, to rendering them languid and feeble by fine strokes and soft -engraving, which require more care and practice than can often be -attained, except by a man of a very quiet turn of mind. Masson, who -gave two strokes to every particular hair that he engraved, merited -great admiration; but at such admiration I never aspired, neither was -I capable of obtaining it if I had. - -"The prints were engraved with the hope of, in some degree, -correcting that barbarous treatment of animals, the very sight of -which renders the streets of our metropolis so distressing to every -feeling mind. If they have had this effect, and check the progress of -cruelty, I am more proud of having been the author than I should be -of having painted Raphael's Cartoons. - -"The French, among their other mistakes respecting our tragedies, -etc., assert that such scenes could not be represented except by a -barbarous people. Whatever may be our _national character_, I trust -that our _national conduct_ will be an unanswerable refutation."[131] - -4. Paul before Felix; "designed and scratched in the true Dutch taste -by W^m. Hogarth." Under the second impression, "designed and etched -in the ridiculous manner of Rembrandt by W^m. Hogarth." The drowsy -angel was (I have been told) intended as a portrait of Luke Sullivan. -The advocate is said to be designed for Dr. King. See Worlidge's -_View of Lord Westmoreland's Installation_. - -_Second state_--A little devil sawing off the leg of the apostle's -stool. - -This very whimsical print was originally given as a receipt to the -Pharaoh's Daughter and the serious Paul before Felix, and sealed -with a palette and pencils, engraven on a small ring which Hogarth -usually wore, and which Mrs. Lewis has since presented to me. The -early proofs are usually stained with bister. Hogarth always gave the -print to such of his friends as wished for it; but finding demands -too frequent, cut the engraved receipt from the copper, and sold it -at 5s. From this print in its first state he took a few reverses. - - -1752. - -1. Paul before Felix. - -"And as he reasoned of righteousness, temperance, and judgment to -come, Felix trembled." - -"Engraved by W^m. Hogarth, from his original painting in -Lincoln's-Inn Hall, and published as the Act directs, Feb. 5, 1752." - -2. The same subject, with fewer figures, and those reversed on -the plate. This, though not good, is, in arrangement, design, -and engraving, much superior to the preceding. The same text and -inscription, "from his original painting," etc., is continued, though -that first mentioned is the copy from the picture in Lincoln's-Inn -Hall. - -"Published Feb. 5, 1752. Engraved by Luke Sullivan." - -In the _second state_--A quotation from Dr. Warton's _Essay on -the Genius and Writings of Pope_ was inserted in one corner of -the margin; but the critique which it contained being founded in -a mistake, which the Doctor in the second edition very liberally -retracted, Hogarth, in some of the succeeding impressions, covered -the quotation with paper when the print was taken off, and afterwards -entirely effaced it from the copper. - -In the present state of the plate, the date of publication and name -of the engraver are taken out. - -3. Moses brought to Pharaoh's Daughter. - -"From the original painting in the Foundling Hospital; engraved by -Will^m. Hogarth and Luke Sullivan." - -"Published Feb. 5, 1752, according to Act of Parliament; W. Hogarth, -_pinxt._" - -The _second state_ has the same quotation from Dr. Warton as the -preceding print, and for the same cause it was afterwards effaced -from the copper. - -Third impression; "W. Hogarth, _pinxt._, and published according -to," etc., effaced, and its place supplied by "published as the Act -directs, Feb. 5, 1752." - -Columbus breaking the Egg. Ticket to the _Analysis_. "Rec^d. Nov^r. -30, 1752, of Nath^l. Garland, Esq., five shillings, being the first -payment for a short tract in quarto, called the _Analysis of Beauty_, -wherein forms are considered in a new light," etc. - - -1753. - -The receipt cut off and inscribed, "designed and etched by W^m. -Hogarth, Dec^r. 1, 1753." - -2. Analysis of Beauty, two plates. - -Plate 1. In an impression in the possession of Mr. Baker, "ET TU -BRUTE" is engraved on the pedestal on which Quin stands in the -character of Brutus. - -In the _second state_, though this inscription is erased, on close -inspection some of the letters are still visible. - -Plate 2. _First state_--A vacant chair under the figure of Henry -VIII. The principal figure is said to be a portrait of the Duke of -Kingston. - -_Second state_--Altered to a portrait of his present Majesty: the -position of the right hand, etc. changed; the riband to the necklace -of the principal female figure lengthened, and a sleeping figure put -in the vacant chair. In the _present state_--The necklace riband is -made still longer. - -3. Frontispiece to Kilby's _Perspective_; engraved by Sullivan. - - -1754. - -ELECTION ENTERTAINMENTS, ETC. - -Hogarth's subscription-book, with the names of all, and autographs -of most of the subscribers, is in my possession; and by this it -appears that the subscription to the first print of an Election -Entertainment, or to the complete set, commenced 28th March -1754. From this time to the 31st of May in the same year, there -were 461 subscribers to the first print, and 127 to the complete -set. The leading names on the list are the Prince of Wales, the -Princess-Dowager of Wales, and Prince Edward; but the first person -that has any money annexed to his signature is the Right Hon. Henry -Fox, afterwards Lord Holland. - -The subscription for the remaining three prints was opened 24th -Feb. 1755, and closed 28th August 1756. To this there were only 165 -subscribers, so that there were 296 names to the first print who did -not continue to subscribe to the other three. - -As a receipt to these prints, he gave the following engraving, with -emblematical devices of Crowns, Mitres, etc., published in the year -1736, as a headpiece to an inscription expressing his gratitude to -the Legislature for passing the Act to protect prints from piracy, -etc.:-- - - -_Crowns, Mitres, Maces, etc._ - -"Received 4th May 1754, of Mr. King, 5s., being the first payment for -a print representing an Election Entertainment, which I promise to -deliver when finished on the receipt of five shillings and sixpence -more. Wm. Hogarth." - -"_N.B._--The price will be raised when the subscription is over." - -_Second state_--Receipt for one guinea, being the first payment for -the four prints. In this, the receipt for 5s. appears to have been -covered with paper while the impressions were taken off, and that for -a guinea, engraved on another piece of copper, stamped beneath. - -_Third state_--Receipt for 15s., being the first payment "for three -prints representing the polling," etc. - - -FOUR PRINTS OF AN ELECTION. - -Plate 1. An Election Entertainment. - -It has been said that Hogarth attempted to finish this plate -without taking a single proof from it, to examine the effect as he -proceeded in his work. Be that as it may, the _little_ alterations -are more numerous than in any of his other prints; and that in the -inscription, stating the _whole_ to be engraved by Hogarth, being so -often inserted and repeatedly effaced, I am unable to account for. - -_First state_--"Painted, and the whole engraved by W^m. Hogarth," -"Published 24th Feb. 1755," and "Inscribed to the Right Honourable -Henry Fox, etc. etc. etc." - -Seven cut lemons on a piece of paper close to the punch-tub; four -hats in the corner; "For our Country," on the riband in the striped -cap of the butcher pouring out gin. A salt-cellar and a bit of bread -near the fork upon the table. - -_Second state_--The two words, "the whole," in the inscription, -scratched over with black lines; the drapery, stockings, etc. on -the table before Richard Slim made much darker; the hand of the fat -old woman, close to the candidate, removed from under her apron, -and hanging down by her side, by which the shoulder, elbow, etc. -are thrown out of drawing; her countenance less clear, and a single -tooth, very conspicuous in the first impression, is here removed. -Shadow on the top of the wainscot in the left corner effaced. -Half a casement near the painting of a landscape changed to a -window-shutter; the king's head, frame, and background behind it, -lighter; the salt-cellar and bit of bread removed from the table; -lemons taken out, and the tub, pail, and foreground below them much -lighter; the boy's napkin darker. The butcher's cap, in which was -"For our Country," has now "PRO PATRIA," and is not striped; the -open-back chair in which he was seated in the _first state_, is here -filled up to a cushion back. The words, "sure votes" and "doubtful," -in the attorney's book, are re-engraved. Both leaves are shadowed, -and the centre line from top to bottom, which in the _first state_ -was with the "sure votes," is here transferred to the "doubtful." -Two pearly drops are trickling from the parson's forehead. Four -windows are added to a house seen out of the open casement; a pair -of scissors suspended to the Methodist tailor's apron-string, and the -pen, stuck under the wig of the fellow who offers him a bribe, which -in the _first state_ was with the feather outwards, is now properly -altered to the quill outwards. There are several other little -variations in the shadows which seem generally intended to bring the -print into harmony; and I think have their effect, for it is more -still, and in better keeping than in the _first state_. - -_Third state_--The cross strokes of the graver on the words "the -whole," in the inscription, nearly burnished out. One hat added in -the corner, and another placed on the bench near the scabbard and -gloves. The face, knot, etc. of the little girl near the candidate -darkened; and the hair of the fellow smoking him much shadowed, and -rendered less woolly. Character of face of the boy pouring punch -altered, and hair made much darker. - -_Fourth state_--The words "the whole" again inserted; the W is -different, and engraving not so good as in the _first state_: the -shadow on the top of the wainscot, close to the landscape, again -restored. A strong shadow on the lower part of the round table in the -corner burnished down. - -_Fifth_, which is the _present state_--The words "the whole" again -completely effaced by black lines. The masses somewhat stronger, and -the shadows on the round table in the corner, especially on the edge, -made darker. - -I have this print in all the states here described, and believe that -the third and fourth are very uncommon. - -On the butcher with "PRO PATRIA" in his cap, and his wounded -companion, Hogarth makes the following remark:-- - -"These two patriots, who, let what party will prevail, can be no -gainers, yet spend their time, which is _their_ fortune, for what -they suppose right, and for a glass of gin lose their blood, and -sometimes their lives, in support of _the cause_, are, as far -as I can see, entitled to an equal portion of fame with many of -the emblazoned heroes of ancient Rome; but such is the effect of -prejudice, that though the picture of an antique wrestler is admired -as a grand character, we necessarily annex an idea of vulgarity to -the portrait of a modern boxer. An old blacksmith in his tattered -garb is a coarse and low being; strip him naked, tie his leathern -apron round his loins, chisel out his figure in freestone or marble, -precisely as it appears--he becomes elevated, and may pass for a -philosopher, or a Deity." - -Plate 2. Canvassing for Votes. - -"Engraved by C. Grignion, published 20th February 1757," and -inscribed to Sir Charles Hanbury Williams. - -In this admirable print I discover no variations, except that the -lion's teeth are, in the _second impression_, removed; and the lines -throughout having been re-entered, are somewhat darker than in the -_first state_. - -Plate 3. The Polling. - -"Engraved by Hogarth and Le Cave, published 20th February 1758," and -inscribed to the Hon. Sir Ed. Walpole. - -In an etching (touched in the shadows by Hogarth) which I have of -this plate, the blind voter going up the steps has not any bandage -over his eyes. The cockade of the sick figure just before him is -not of sufficient length for the words "true blue" now inserted, -and probably an afterthought. The fellow before him with a pipe in -his mouth, in the print is without a nose, but in the etching has a -very large one; while the man to whom this old smoker is presenting -tobacco, and who in the print has so speculative and carbuncled a -proboscis, has, in the etching, scarcely any nose at all. The book -in the pocket of Dr. Shebeare is so much intersected as not to admit -of the inscription, afterwards added, of ("the 6th letter to the"), -without the strokes being burnished out. - -_Second impression_--"Milicia Bill," awkwardly inscribed on the -maimed voter's skirt, intended to appear as a paper hanging out of -his pocket. - -Plate 4. Chairing the Members. - -"Engraved by W. Hogarth and F. Aviline; published 1st January 1758," -and inscribed to the Hon. George Hay, one of the Lords Commissioners -of the Admiralty. - -_Second impression_--The word INDINTUR (indenture) written on the -scroll hanging out of the attorney's window. - - -1756. - -1. France and England, in two plates, "designed and etched by -Hogarth," and published March 8, 1756. - -In the very early impressions of these prints, the titles France and -England are not inserted. - - -1758. - -The Bench, "designed and engraved by W. Hogarth," and published 4th -September 1758. - -This plate, in its _first state_, exhibits the inside of the Court -of Common Pleas, the king's arms at top. Portraits of the following -judges are beneath it:--Hon. William Noel; Sir John Willes, Lord -Chief Justice; Hon. Mr. Justice, afterwards Earl Bathurst; Sir Edward -Clive. - -Over the print is written "Character;" under it, "Of the different -meanings of the words Character, Caricatura, and _Outré_, in painting -and drawing." This is followed by a long explanatory inscription -engraved on another piece of copper. The original picture, which -is somewhat different from the print, was once the property of Sir -George Hay, and is now in the possession of Mr. Edwards. - -_Present state_ of the plate--The word Character is effaced, and the -king's arms discarded, and its place supplied by eight caricatured -heads, on which the artist worked the day before he died. Below the -inscription is inserted-- - -"The unfinished group of heads in the upper part of this print was -added by the author in October 1764, and was intended as a further -illustration of what is here said concerning character, caricatura, -and _outré_. He worked upon it the day before his death, which -happened the 26th of that month." - -The mistakes which Hogarth's friends frequently made in the meaning -of the words character, caricatura, etc., seem to have dwelt much on -his mind. In one of his MSS. he has given the following thoughts on -the subject:-- - -"I have ever considered the knowledge of character, either high or -low, to be the most sublime part of the art of painting or sculpture, -and caricatura as the lowest--indeed, as much so as the wild attempts -of children when they first try to draw: yet so it is, that the two -words, from being similar in sound, are often confounded. When I -was once at the house of a foreign face-painter, and looking over -a legion of his portraits, Monsieur, with a low bow, told me that -he infinitely admired my caricatures! I returned his _congé_, and -assured him that I equally admired his. - -"I have often thought that much of this confusion might be done away, -by recurring to the three branches of the drama, and considering the -difference between comedy, tragedy, and farce. Dramatic dialogue, -which represents nature as it really is, though neither in the most -elevated nor yet the most familiar style, may fairly be denominated -comedy: for every incident introduced might have thus happened; every -syllable have been thus spoken, and so acted in common life. Tragedy -is made up of more extraordinary events. The language is in a degree -inflated, and the action and emphasis heightened. The performer -swells his voice, and assumes a consequence in his gait; even his -habit is full and ample, to keep it on a par with his deportment. -Every feature of his character is so much above common nature, that -were people off the stage to act, speak, and dress in a similar -style, they would be thought fit for Bedlam. Yet with all this, if -the player does not o'erstep the proper bounds, and, by attempting -too much, become swoln, it is not caricatura, but elevated character. -I will go further, and admit, that with the drama of Shakspeare, and -action of Garrick, it may be a nobler species of entertainment than -comedy. - -"As to farce, where it is exaggerated, and _outré_, I have no -objection to its being called caricature, for such is the proper -title." - - -1759. - -1. The Cockpit. "Designed and engraved by Wm. Hogarth," and published -November 5, 1759. - -2. Frontispiece to _Tristram Shandy_, vol. 2; engraved by S. Ravenet. - -3. Another copy, by the same engraver, in which a hat and cloak are -introduced, and the faces of his father and uncle Toby much inferior -to the former plate. A print for the 4th volume, representing the -christening, was published in 1761. "F. Ravanet, _sculp._"--for thus -is the name here written. A print of the same size was engraved -from the same design by J. Ryland. The original drawings are in the -possession of Mrs. Nicol. - - -1760. - -1. Frontispiece to Brook Taylor's _Perspective of Architecture_. "W. -Hogarth, 1760; W. Woollet, _sculp._" _Vide_ p. 132. - -2. Mr. Huggins, a small circular plate. Hogarth, _pinx._; Major, -_sculp._ Engraved for a translation of _Dante_, of which a specimen -only was published. - - -1761. - -1. Frontispiece to the catalogue of pictures exhibited at Spring -Gardens; engraved by Grignion. _Vide_ p. 77. - -2. Another print from this design, by the same engraver. - -3. Tail-piece to the catalogue. The word _obiit_ spelt _obit_. _Vide_ -p. 79. In a second plate this error is corrected. - -4. Hogarth's Gate of Calais; and Relapse, or Virtue in Danger, and -three portraits, were in this exhibition. - -5. Time Smoking a Picture. Subscription-ticket to Sigismunda. I have -seen an impression of this print without the name "Crates" in the -inscription. - -6. "The Five Orders of Periwigs, as they were worn at the late -coronation, measured architectonically." - -_Second impression_--The spelling in the word "advertisement" -corrected, by an _e_ inserted on the neck of the Duchess of -Northumberland. This is a pointed ridicule on Stewart's _Antiquities -of Athens_, in which the measurements of all the members of the Greek -architecture are given with minute accuracy. Hogarth's opinion of his -labours may be gathered from the following fragment, which he wrote -concerning this print:-- - -"There is no great difficulty in measuring the length, breadth, or -height of any figures, where the parts are made up of plain lines. It -requires no more skill to take the dimensions of a pillar or cornice, -than to measure a square box; and yet the man who does the latter -is neglected, and he who accomplishes the former is considered as -a miracle of genius; but I suppose he receives his honours for the -distance he has travelled to do his business." - -7. Frontispiece to the _Farmer's Return from London_; engraved by J. -Basire. Of this plate there is an admirable copy with the same name, -and a vile imitation without any name. - -Enthusiasm Delineated. - -A reduced copy and description of this very singular print, which was -the first thought for the Medley, is in p. 169. A copy of the same -size was published by the editor of this volume in 1796. - - -1762. - -1. Credulity, Superstition, and Fanaticism: A Medley. "Designed and -engraved by Wm. Hogarth," and published March 15, 1762. _Vide_ p. 175. - -2. The Times, Plate 1; "designed and engraved by W. Hogarth," and -published Sept. 7, 1762. In the _first impression_--A figure of -Henry VIII. is exalted on stilts, and blowing up the flames; in -the _second_--The monarch is erased, and Mr. Pitt, afterwards Lord -Chatham, introduced in his place. - -The Times, Plate 2, was engraved soon after, but withheld from the -public until Mrs. Hogarth's death, when the plate was purchased by -Messrs. Boydell, and published May 29, 1790. Part of the sky is left -unfinished. - -3. T. Morell, S. T. P. S. S. A.; "W. Hogarth, _delin._;" "James -Basire, _sculp._" Some impressions are without either the inscription -of "Thesaurus" or "_Ætat. 60._" - -A correct copy has the same painter and engraver's name. - -4. Henry Fielding, _Ætatis 48_; "W. Hogarth, _delin._;" "James -Basire, _sculp._" A few impressions were taken off before the frame -and ornaments were inserted. The copy in p. 206 is taken from one of -them in my possession. - - -1763. - -1. "John Wilkes, Esq., drawn from the life, and etched in aquafortis -by William Hogarth. Price 1s." - -4. The Weighing House. Frontispiece to Clubbe's _Physiognomy_; W. -Hogarth, _del._; Luke Sullivan, _sculp._ - -Another copy, without either painter or engraver's name, which the -late W. Ryland told me was engraved by him, and the heads afterwards -touched upon by Hogarth. Prefixed to Clubbe's works, in two vols. - -A small copy was engraved for an octavo edition of the same pamphlet. - - -1764. - -The Bathos. "Designed and engraved by Wm. Hogarth," and published -March 3, 1764. - - -1767. - -Satan, Sin, and Death: Milton's _Paradise Lost_, B. 2. Engraved by -C. Townley, and intended to have been published April 15, 1767; but -when a few impressions were taken off, the plate was destroyed. One -of the copies of this strange and incomprehensible print is in the -possession of Mr. Bellamy, Charlotte Row. - -A print of a smaller size, with some variations, has been since -engraved by Ogbourne, and I have seen one of a larger size, of a -similar description, without any name. - -The Good Samaritan. Engraved by Ravenet and Delatre, and published -Feb. 24, 1772, by J. Boydell. Hogarth's first sketch is in the -possession of Mr. Bellamy. - -The Pool of Bethesda. Engraved by Ravenet and Picot as a companion -to the preceding print. These engravings were copied from the -pictures in St. Bartholomew's Hospital. A small copy of the latter -was, in 1748, engraved by Ravenet for S. Austen, as a frontispiece to -Stackhouse's _Bible_. - - -1775. - -The Politician; etched by J. K. Sherwin, and published by Jane -Hogarth, 1774, Oct. 31. _Vide_ p. 197. In the early impressions the -figure "5" and 31st October, are usually inserted with a pen. - - -1781. - -1. A small and slight etching, conjectured to be Solsull, a maker of -punches for engravers. "S. J. _fecu._, 1781." - -2. Four Heads from the Cartoons at Hampton Court; an early etching by -Hogarth, published by Mrs. Hogarth, May 14, 1781. - -The Matchmaker. _Vide_ p. 199. - - -1782. - -1. The Staymaker. - -2. Debates in Palmistry. - -3. Portrait of Henry Fox, Lord Holland. - -4. Portrait of James Caulfield, Earl of Charlemont. - -The four last articles are slightly etched by Joseph Haynes, from -very bald and unfinished sketches by Hogarth. The plates are in the -possession of Mr. Jeffrey, Pall Mall. - -5. The Shrimp Girl. Engraved in the dotted style by Bartolozzi. -Had this unrivalled artist etched this print in the manner he did -Guercino's drawings, he would have transferred the true spirit of the -original. As it is, we have Hogarth translated into Italian. - -It was published by Mrs. Hogarth in 1782, by subscription, with the -five following prints engraved by Livesay. - -6 and 7. Portraits of Gabriel Hunt and Benjamin Read. - -8, 9, and 10. Three plates from sketches by Hogarth, designed for the -monument and epitaph of George Taylor. - -11. Nine prints for Hogarth's _Tour_, from drawings by Scott, etc., -engraved by Livesay, accompanied with nine pages of letterpress. - -12. Hogarth's Crest. A spiral shell painted on his carriage, and -since his death copied by Livesay. - -13. Eta Beta Py. Prefixed to the title of the second edition of Mr. -Nichols' _Anecdotes_. - -14. An Old Parson's Head, most admirably marked; engraved in the -dotted style. - - -1785. - -The four which follow were etched by S. Ireland. - -1. Orator Henley Christening a Child. From an unfinished sketch by -Hogarth. - -2. A Small Landscape. - -3. Head of a Female Moor. - -4. Head of Diana. - -The Portrait of a Young Girl, from a picture in the possession of -Mrs. Hogarth, was about this time very delicately engraved by Martha -Knight, Brompton. - - -1790. - -1. The Beggars' Opera. Engraved by Blake, and published by Messrs. -Boydell, from a picture in the collection of the Duke of Leeds. - -2. Sealing the Sepulchre: from the Altar-piece in St. Mary -Redcliffe's, Bristol; engraved in a large mezzotinto by J. Jenner. - -3. The Sepulchre; engraved from the same altar-piece as a companion, -with the title of The Resurrection. _Vide_ p. 195. - - -1792. - -1. The Indian Emperor, or Conquest of Mexico; from the original -picture in the collection of Lord Holland; engraved by R. Dodd, and -published by Messrs. Boydell. - -2. Sigismunda. Engraved by Benj. Smith, and published by Messrs. -Boydell, who possess the original picture, from which there was an -etching by Basire in Hogarth's lifetime; and from the sketch a print -in mezzotinto was a few years since engraved by Dunkarton. - - -PRINTS OF UNCERTAIN DATE. - -Some of the following prints are insignificant enough, others are -curious, but all derive their principal value from being the work of -Hogarth. I have noted the prices at which a few of them sold, and -think it probable that No. 30 produced more money at Mr. Gulston's -sale than the artist received for engraving the twenty-nine preceding -prints:-- - - -_Coats of Arms._ - -1. A Gryffon with a Flag. A crest. - -2. Lord Aylmer's Coat of Arms. A copy sold for £7, 10s. in Mr. -Gulston's sale. - -3. Lord Radnor's Coat of Arms. - -4. A large Coat of Arms, with Terms of the Four Seasons. - -5. A Coat of Arms, with two Slaves as trophies. - -6. Another with two Boys as Terms. - -7. Foreign Coat of Arms; supporters, a Savage and Angel. - -8. The Duchess of Kendal's Arms. _Vide_ p. 28. A copy sold in Mr. -Gulston's sale for £4. - -9. Another, for a silver tea-table, larger, but not so neatly -engraved. Sold in the same sale for £6. - -10. Another. - -11. With a male shield, probably a mistake of the engraver's. - -12. A Coat of Arms, engraved on a silver tea-table. - -13. The same ornaments left, and Sir Gregory Page's arms inserted in -their place. At Sir Gregory's sale, the table was purchased by Mr. -Morrison, who, after taking off twenty-five impressions, melted the -plate. - -14. The Chudleigh Arms. Motto: _Aut vincam, aut peribo_. - -15. Arms of Gore, engraved on a silver waiter. - -16. Arms of John Holland, herald painter; a book plate. In the second -impressions the lion is of a smaller size, and eight _fleur-de-lis_ -instead of the seven originally inserted. - -17. Arms of George Lambart. Said to have been a book-plate for -Lambert the painter. If it was so, it is passing strange that the -name should be thus spelt. - - -_Shop-bills._ - -18. A large Angel, holding a palm in his left hand: a shop-bill -for Ellis Gamble, at the Golden Angel, Cranbourn Street, Leicester -Fields, has sold for £7, 7s. - -19. A contracted copy of the above. - -20. Another, somewhat different, in the collection of Mr. Walpole. - -21. A Turk's Head: a shop-bill for John Barker, goldsmith, Lombard -Street. - -Of the head there is a modern copy. - -22. A shop-bill for Mrs. Holt, at the Italian Warehouse in the -Strand; with the Duke of Tuscany's and the Florence arms; and views -of Naples, Venice, Genoa, and Leghorn at the four corners. A copy -sold in Mr. Gulston's sale for £6, 6s. - -23. Shop-bill, for his sisters, Mary and Ann Hogarth, at the King's -Arms, joining to the Little Britain gate. People in a shop, etc., has -sold for £8, 8s. - - -_Tickets, etc._ - -24. A Ticket for the benefit of Spiller the player. - -25. A Ticket for the benefit of Millward. - -26. Ticket for a burial. Sold in Gulston's sale for £5, 7s. 6d. - -27. A Ticket for the school at Tiverton, Devonshire. - -28. The Great Seal of England. - -29. Impression from a tankard belonging to a club of artists, who, -as I have been told, met at the sign of a Shepherd and his Flock, -Clare Market. This design is in a good taste. On the dexter side, -as a supporter, a man making a drawing; and on the sinister, a man -modelling a figure. In the centre is a Shepherd and his Flock, etc. A -copy sold in Mr. Gulston's sale for £10. - - -_Miscellaneous._ - -30. A small oval print of the Rape of the Lock, engraved on a -snuff-box. _Vide_ p. 25. Sold, Feb. 7, 1786, at Mr. Gulston's sale -for £33. - -31. An Emblematic Print, representing Agriculture, etc. - -32. A Hieroglyphic Print, representing Royalty, Episcopacy, and Law, -composed of emblematic attributes, etc., abounds in wit and satire. -Of this there is a good copy by Samuel Ireland. - -33. Two small prints for books 1st and 3d of Milton's _Paradise -Lost_. W. Hogarth, _inv. et sculp._ These two prints were in Mr. -Gulston's sale sold for sixteen guineas; but the original plate -of that for book 3d has been lately discovered, and is now in the -possession of Mr. Vincent. - -34. A Woman swearing a Child to a grave Citizen. W. Hogarth, _pinx._; -J. Sympson, jun., _fecit_. _Vide_ p. 188. Another copy is in Picart's -_Religious Ceremonies_. - -35. Orator Henley Christening a Child. John Sympson, jun., _fecit_. -The impressions are usually taken off in green. A copy of this also -is in Picart's _Religious Ceremonies_. - -36. The Mystery of Masonry brought to light by the Gormagons. -Hogarth, _inv. et sculp._ - -The second impression published for Sayer. - -37. The Political Glyster, "Nahtanoi Tfiws" (Swift's name spelt -backwards), engraved on one corner, and on the other, Dr. O'Garth, -_sculp._ It was originally inscribed, "the punishment inflicted on -Samuel Gulliver," etc.; but when the plate came into the hands of Mr. -Sayer, he added the present retrograde and ridiculous inscription. - -38. Six small prints, engraved for an early edition of King's -_Pantheon_. - - -NINE PRINTS FOR "DON QUIXOTE." - -39. Plate 1.--Is inserted without either painter or engraver's name, -is in Jarvis' quarto translation. _Vide_ p. 220. - -40. Plate 2.--Was probably engraved for Lord Carteret's _Don -Quixote_, but not introduced; one figure only being finished, and the -plate cut. _Vide_ p. 221. - -41. Plate 3.--Engraved for the same work, but never inserted. _Vide_ -p. 222. - -42. Plate 4.--Had the same fate. _Vide_ p. 222. - -43. Plate 5.--Was equally unfortunate. _Vide_ p. 224. - -44. Plate 6.--Not approved. _Vide_ p. 224. - -45. Plate 7.--Not inserted. _Vide_ p. 225. - -46. Plate 8.--Not introduced; but with the other five came into -the hands of Mr. Dodsley, who sold a few of the first impressions, -and afterwards inserted references corresponding with Jarvis' -translation. _Vide_ p. 226. - -47. Plate 9.--Sancho's Feast. _Vide_ p. 227. - -48. The Master of the Vineyard, engraved for Horneck's _Happy -Ascetic_. - -49. Gustavus, Lord Viscount Boyne, etc. Whole-length mezzotinto, -engraved in Ireland. W. Hogarth, _pinx._; Ford, _fecit_. The original -picture is in the possession of Mr. Bellamy. A copy of the print sold -in Gulston's sale for £2, 13s. - -50. Mr. Pine (the mezzotinto engraver), in the manner of Rembrandt, -both his hands resting upon a cane. Printed for George Pulley, etc. - -51. Another head of Mr. Pine; mezzotinto by M'Ardell. I am much -inclined to think that this is an alteration of the Plate No. 50. Be -that as it may, it is in every respect superior. Repaired copies, -with the inscription erased, are sometimes sold as Proofs. - -52. Daniel Lock, Esq., F.S.A., mezzotinto. W. Hogarth, _pinx._; J. -M'Ardell, _fecit_. Price 1s. 6d. - -53. Ticket for the London Hospital, with Richmond Arms. - -54. The same, larger, without the Arms, by Grignion. - -55. Another, with a view of the London Hospital. - -56. The London Infirmary for charitably relieving sick and diseased -manufacturers, seamen, etc. A blank certificate for pupils in surgery -and anatomy. - -57. A Witch on a Broomstick. Frontispiece to a pamphlet written by -Dr. Gregory Sharpe, but never published, inscribed Front-is-piss. - -58. The Discovery, or a Black Woman in Bed. - -A copy from Hogarth's Piquet, or Virtue in Danger, has been engraved -by Cheesman, and will be shortly published. The portraits of five -gentlemen who met to drink a hogshead of claret, which they finished -before they separated; of a nobleman and gentleman fighting with a -watchman; and an etching, copied from a small picture on the back of -a copperplate, have been some years advertised. - -A portrait of Sir Alexander Schomberg, engraved by Townley from a -portrait by Hogarth. - -A work, consisting of copies, the same size as the original prints, -and modestly entitled "_Hogarth Restored_," is now publishing in -numbers. The twelve originals of Industry and Idleness, Hogarth -published at twelve shillings. In this Restoration, the twelve copies -amount to thirty! - -_An Illustration of Hogarth_, in the German language, by J. C. -Lichtenberg, with reduced copies from the prints, by J. Ripenhausen, -has been published at Gottingen, in numbers at 15s. each. The same -plates are used for a work, also publishing at Gottingen, on a -similar plan, with the illustrations in French. - -Many of the following articles, and others not worth enumeration, -imputed trash and libel not his own, have been foisted into -auctioneers' catalogues, sold for large sums, warranted originals, and - - -ASCRIBED TO HOGARTH. - -1. Coat of Arms, from a large silver tea-table. Under the Arms are a -Shepherd and his Flock. - -2. Shop-bill for Peter de la Fontaine. - -3. The Oratory. Orator Henley on a scaffold. - -4. A Ticket for H. Fielding. Scene Pasquin. - -5. A Ticket for H. Fielding. Scene the Mock Doctor. - -6. A Ticket for James Figg the prize-fighter. - -7. A Ticket for the benefit of Joe Miller. - -8. The Gin-drinkers. - -9. Jack in Office; a Ticket-porter, etc. - -10. The complicated Richardson. Nauseous! - -11. Pug the Painter. Sometimes ascribed to Hogarth. - -12. St. Mary's Chapel, 12 at Night. Probably Vandergucht's. Sold as -Hogarth's in Gulston's sale for £3, 4s. - -13. Farinelli, Cuzzoni, and Heidegger: said to be designed by the -Countess of Burlington, and etched by Goupy. - -14. Frontispiece to eight views in Richmond gardens. - -15. Frontispiece to Love in a Hollow Tree. - -16. Ten prints to Butler's posthumous works; published in 1730. The -same designs were published in 2 vols. twelves, in 1717. Some of them -are much like Hogarth. - -17. Samuel Butler, author of _Hudibras_. Coarsely engraved in an oval. - -18. Thomas Pellet, M.D., President of the College of Physicians. W. -Hogarth, _pinx._; C. Hall, _sculp._ - -19. William Bullock, the comedian. W. Hogarth, _pinx._; C. Hall, -_sculp._ - -20. A scene of a pantomime entertainment lately exhibited, designed -by a Knight of Malta. Satire on the royal incorporated artists. - -An etched outline of a larger size, with some additions, was -afterwards published, and inscribed No. 2. - -21. The Calves' Head Club. I think, designed and engraved by -Vandergucht. - -22. Rape of the Smock. A palpable imposition. - -23. Lovat's Ghost on Pilgrimage. A mezzotinto copy was published May -1, 1788. - -24. Four small prints of Lord Lovat's Trial, etc. - -25. A dotted print of Jenny Cameron. - -26. Two figures, designed for Lord Melcombe and Lord Winchelsea. -Hogarth, _inv._; F. B. (F. Bartolozzi), _sculp._; designed by Lord -Townshend. - -27. North and South of Great Britain. W. Hogarth, _del._; F. B. -(Bartolozzi), _sculp._ Really designed by Sandby. - -28. Inside of an Opera House, scene a prison, sold as Hogarth's at -Gulston's sale, March 1, 1786, for £2, 4s. - -29. The Scotch Congregation. - -30. The Search Night. J. Fielding, _sculp._ Two cards were afterwards -engraved from the same design. - -31. Hogarth's cypher, with his name under it. A plate for books. - -32. A living Dog is better than a dead Lion; or, the Vanity of Human -Glory: a design for the monument of General Wolfe, 1760. - -33. The Five Muscovites. Copied from De la Mottraye's _Travels_. - -A full-length print of a Savoyard Girl has been lately engraved from -a picture painted by Hogarth. - - -PRINTS PUBLISHED TO RIDICULE THE "ANALYSIS," "TIMES," ETC. - -1. "A New _Dunciad_; done with a view of fixing the fluctuating ideas -of taste," etc. - -2. A Mountebank demonstrating to his admiring audience that -crookedness is most beautiful. - -3. The Author run mad. - -4. An Author sinking under the weight of his _Analysis_. - -5. "The Analyst," etc. etc. "in his own Taste." A vile, nauseous, and -vulgar print. - -6. Pugg's Graces, etched from his original daubing. - -7. The Temple of Ephesus in Flames, etc.; inscribed "A self-conceited -Dauber," etc., and extremely well etched. - -8. "Burlesque sur le Burlesque," with a French inscription: a large -print. - -9. "The second edition," with an English inscription, and some slight -variations. - -10. Burlesque of the Burlesque Paul; magic lantern, etc. - -11. The Painter's March from Finchley. "Dedicated to the King of the -Gypsies, as an encourager of Art, etc." - -12. The Butifyer, a touch upon the Times, Plate 1. - -13. The Times, Plate 2. - -14. The Times, Plate 1, 1762. Hogarth's head, with the body of an -ass, at the top of a ballad. - -15. The Raree Show, a political contrast to the Times. - -16. The Boot and the Blockhead. - -17. The Vision, or M----n--st--l Monster. - -18. John Bull's House in Flames. - -19. The Bruiser Triumphant, with a curtain inscribed, "A Harlot -blubbering over a Bullock's Heart." - -20. Tit for Tat. - -21. The Bear and Pugg: a small print. - -22. The Snarling Cur chastised. - -23. The Hungry Tribe of Scribblers and Etchers. - -24. The Grand Triumvirate, or Champions of Liberty; with three -foolish acrostics of Wilkes, Bute, and Hogarth. - - -I had nearly forgotten two curiosities, which, though received in all -the catalogues, and unquestionably genuine, can hardly be classed as -prints. One is entitled Hogarth's Cottage, engraved for Mr. Camfield, -a surgeon, on a breeches button the size of a half-crown, from -Hogarth's design, of which an etched copy by S. Ireland was published -March 1, 1786. The other, being impressions taken from nine quadrille -fish, was published in 1792, with the title of-- - -Pisces, one of the signs of the Zodiac. - -To enter into the spirit of the last article, the reader must be -informed that Hogarth never played at cards; and that while his wife -and a party of friends were so employed, he occasionally took the -quadrille fish, and cut upon them scales, fins, heads, etc., so as -to give them some degree of character. Three of these little aquatic -curiosities which remained in the possession of Mrs. Lewis, she -presented to me, and I have ventured to insert them as - - -A TAIL-PIECE. - -[Illustration] - - - - -FOOTNOTES: - -[1] The Dedication, of which I have prefixed a fac-simile, was -written for that work. - -[2] I am authorized to say that during her life Mrs. Hogarth never -parted with any of his papers, except a loose leaf or some such -trifle, which in one or two instances she gave to such as wished to -possess a little specimen of Hogarth's handwriting. - -[3] The printed sheets were occasionally corrected by his friend -Townley, etc. The Editor will have great pleasure in showing the MSS. -to any gentleman who will do him the honour of inspecting them. - -[4] Rouquet's book was written in French, and describes the -"Harlot's" and "Rake's Progress," "Marriage à la Mode," and "March to -Finchley." - -[5] When I wrote the two former volumes of _Hogarth Illustrated_, -I had not seen the MSS. which I now lay before the reader, nor -did I know that there were any such papers. His own declaration -corroborates the following conjecture relative to his early bias -to the arts:--"Young Hogarth had an early predilection for the -arts, and his future acquirements give us a right to suppose he -must have studied the curious sculptures which adorned his father's -spelling-books, though he neglected the letterpress; and when he -ought to have been storing his memory with the eight parts of -speech, was examining the allegorical apple-tree which decorates the -grammar."--_Hogarth Illustrated_, vol. i. p. 27. - -[6] The dictionary here alluded to, Mrs. Lewis of Chiswick presented -to the Editor of this volume. It is a thick quarto, containing an -early edition of Littleton's _Dictionary_, and also Robertson's -_Phrases_, with numerous corrections to each, and about 400 pages -of manuscript close written. On the marginal leaf is inscripted in -Hogarth's handwriting, "The manuscript part of this dictionary was -the work of Mr. Richard Hogarth." Another volume of this work is in -the possession of J. Bindley, Esq., of the Stamp Office. - -[7] Hogarth's father came to the metropolis in company with Dr. -Gibson, the late Bishop of London's brother, and was employed as -corrector of the press, which in those days was not considered as a -mean employment. - -[8] By Sir James Thornhill, afterwards his father-in-law. - -[9] Though averse, as he himself expresses it, to coldly copying on -the spot any objects that struck him, it was usual with him when -he saw a singular character, either in the street or elsewhere, to -pencil the leading features and prominent markings upon his nail, -and when he came home, to copy the sketch on paper, and afterwards -introduce it in a print. Several of these sketches I have seen, and -in them may be traced the first thoughts for many of the characters -which he afterwards introduced in his works. - -[10] As this was the doctrine I preached as well as practised, an -arch brother of the pencil once gave it this turn, that the only way -to draw well, was not to draw at all; and, on the same principle, he -supposed that if I wrote an essay on the art of swimming, I should -prohibit my pupil from going into the water until he had learnt. - -[11] If Hogarth calls himself idle, who shall dare to denominate -himself industrious? - -[12] _Hudibras_ was published in 1726, so that his father probably -died about the year 1721, leaving two daughters, Mary and Anne, -besides his son William, who, on the leaf of an old memorandum book -in my possession, after mentioning the time of his own birth and -baptism, thus continues: - - "Mary Hogarth was born November 10th, 1699. - Ann Hogarth, two years after in the same month. - Taken from the Register at Great St. Bartholomew's." - -[13] The leader of the figures hurrying to a masquerade, crowned -with a cap and bells, and a garter round his right leg, has been -supposed to be intended for George II., who was very partial to these -nocturnal amusements, and is said to have bestowed a thousand pounds -towards their support. The purse with the label £1000, which the -satyr holds immediately before him, gives some probability to the -supposition. The kneeling figure on the show-cloth, pouring gold at -the feet of Cuzzoni, the Italian singer (with the label, "Pray accept -£8000"), has been said to be designed for Lord Peterborough. - -[14] As this print, to heighten the burlesque, was almost invariably -impressed on blue paper, I have stamped the annexed copy on the same -colour. - -[15] It has been truly observed that comedy exhibits the character of -a species,--farce of an individual. Of the class in which Hogarth has -a right to be placed, there can be little doubt: he wrote comedies -with a pencil. - -[16] For these pictures he was elected a governor of the hospital. -On the top of the staircase, beneath the cornice, is the following -inscription: "The historical paintings of this staircase were painted -and given by Mr. William Hogarth, and the ornamental paintings at his -expense, A.D. 1736." - -[17] The Reformed religion is, in almost all its branches, rather a -drawback than an assistance to art. Thus are its effects described by -Mr. Barry: "Where religion is affirmative and extended, it gives a -loose and enthusiasm to the fancy, which throws a spirit into the air -and manners, and stamps a diversity, life, quickness, sensibility, -and expressive significance over everything they do. In another place -it is more negative and contracted: being formed in direct opposition -to the first, its measures were regulated accordingly; much pains -were taken to root out and to remove everything that might give -wing to imagination, and so to regulate the outward man by a torpid -inanimate composure, gravity, and indifference, that it may attend -to nothing but mere acts of necessity, everything else being reputed -idle and vain. They have had as few words as buttons, the tongue -spoke almost without moving the lips, and the circumstances of a -murder were related with as little emotion as an ordinary mercantile -transaction."--_Barry on the Arts_, p. 214. - -[18] Hogarth may possibly allude to Ranelagh Barret, who, I learn -from Mr. Walpole, was thus employed; and, being countenanced by -Sir Robert Walpole, copied several of his collection, and others for -the Duke of Devonshire and Dr. Mead. He was indefatigable,--executed -a vast number of works,--succeeded greatly in copying Rubens, and -died in 1768. His pictures were sold by auction in the December of -that year. - -[19] In part of this violent philippic Hogarth may possibly glance -at the late President of the Royal Academy, whom, it has been said, -but I think unjustly, he envied. In Sir Joshua's very early pictures -there is not much to envy; they gave little promise of the taste and -talents which blaze in his later works. - -[20] Vanloo came to England with his son in the year 1737.--Walpole's -_Anecdotes_. - -[21] I am not sufficiently versed in the palette biography of the -day to know who are the painters that these stars, etc. etc. etc. -allude to. Abbé le Blanc, in his letter to the Abbé du Bos on the -state of painting and sculpture in England, notices the whole body -in the following _very flattering_ terms: "The portrait painters are -at this day more numerous and worse in London than ever they have -been. Since Mr. Vanloo came hither, they strive in vain to run him -down; for nobody is painted but by him. I have been to see the most -noted of them; at some distance one might easily mistake a dozen of -their portraits for twelve copies of the same original. Some have the -head turned to the left, others to the right; and this is the most -sensible difference to be observed between them. Moreover, excepting -the face, you find in all the same neck, the same arms, the same -flesh, the same attitude; and to say all, you observe no more life -than design in those pretended portraits. Properly speaking, they are -not painters; they know how to lay colours on the canvas, but they -know not how to animate it. Nature exists in vain for them; they see -her not, or if they see her, they have not the art of expressing her." - -[22] Sir Francis Bacon somewhere remarks, that in the flight of Fame -she will make but slow progress without some feathers of ostentation. - -[23] The rival portraits here alluded to are: George the Second, -patron of the foundation, by Shackleton; Lord Dartmouth, one of the -vice-presidents, by Mr. Reynolds (afterwards Sir Joshua); Taylor -White, treasurer of the Hospital, in crayons, by Coates; Mr. Milner -and Mr. Jackson, by Hudson; Dr. Mead, by Ramsay; Mr. Emmerson, by -Highmore; and Francis Fauquier, Esq., by Wilson. - -To say that it is superior to these is but slight praise; independent -of this relative superiority, it will not be easy to point out a -better painted portrait. The head, which is marked with uncommon -benevolence, was in 1739 engraved in mezzotinto by M'Ardell. - -[24] Thus does Hogarth pun upon the name of Mr. Ramsay, who he seems -to think peered too closely into his prints, though he acknowledges -that, in a book entitled _The Investigator_, Ramsay has treated him -with more candour than any of his other opponents. - -[25] Upon the death of Coram this pension was continued to poor old -Leveridge, for whose volume of songs Hogarth had, in 1727, engraved -a title-page and frontispiece, and who at the age of ninety had -scarcely any other prospect than that of a parish subsistence. - -[26] How very inferior was this to the portrait of Coram! But the -genuine benevolence and simplicity which beams in the countenance -of the friend and protector of helpless infancy is not calculated -to strike the million so forcibly as the dramatic perturbation of a -guilty tyrant. In this, as in some other cases, the purchaser seems -to have paid for the player rather than the picture. It was painted -for the late Mr. Duncombe, of Duncombe Park, Yorkshire. - -[27] By both the artists and connoisseurs of his own day he was -accused of having stolen the ideas contained in his "Essay" from -Lomazzo. Several prints which were published in support of this -opinion will be noticed. - -[28] The fable here alluded to is entitled, _A Painter who pleased -everybody and nobody_: - - "So very like a painter drew, - That every eye the picture knew.-- - His honest pencil touch'd with truth, - And mark'd the date of age and youth;" - -But see the consequence: - - "In dusty piles his pictures lay, - For no one sent the second pay." - -Finding the result of truth so unpropitious to his fame and fortune, -he changed his practice: - - "Two bustos fraught with every grace, - A Venus, and Apollo's, face - He placed in view;--resolved to please, - Whoever sat, he drew from these." - -This succeeded to a tittle: - - "Through all the town his art they prais'd, - His custom grew, his price was rais'd." - -[29] The "Distressed Poet," "Enraged Musician," and a companion print -on painting which, though advertised, was never published, are the -three here alluded to. - -[30] In his description of the Legion Club, after portraying many of -the characters with most pointed severity, Swift thus exclaims: - - "How I want thee, humorous Hogarth! - Thou, I hear, a pleasant rogue art! - Were but you and I acquainted, - Every monster should be painted. - You should try your graving tools - On this odious group of fools; - Draw the beasts as I describe them; - Form their features while I gibe them; - Draw them like, for I assure ye, - You will need no _caricatura_. - Draw them so that we may trace - All the soul in every face." - -[31] The designer of a print which was published in 1753, and -intended to burlesque some of the figures in the _Analysis of -Beauty_, seems to have believed that Hogarth intended to have -published his objections to the establishment of the academy. The -print is entitled "Pugg's Graces," and the artist is represented with -the legs of a satyr, and painting "Moses before Pharaoh's Daughter." -One of his hoofs rests on three books, the lowest of which is -labelled _Analysis of Beauty_. A little lower in the print is an open -volume, on one page of which is written, _Reasons against a Public -Academy_, 1753; and on the other, _No Salary_. - -[32] Louis XIV. founded an academy for the French at Rome; but -Poussin and Le Sueur, painters who have done the most credit to -France, were prior to the establishment. - -[33] The late Sir Robert Strange seems to have entertained an opinion -somewhat similar:--"Academies, under proper regulations, are no doubt -the best nurseries of the fine arts. But when the establishment of -the Royal Academy at London is impartially examined, it will not, I -am afraid, reflect that credit we wish upon the annals of its royal -founder."--Strange's _Inquiry_, p. 61. - -[34] "Of the estimation in which they were held, and the taste with -which they were contemplated by the Romans, we may form some judgment -by a general assuring a soldier, to whom he gave in charge a statue -which was the work of Praxiteles, that if he broke it, he should get -another as good made in its place." - -[35] Transmigrations of heathen deities into apostles, etc., have -been too frequent to need particular enumeration. - -[36] Sir Godfrey Kneller knew this, and made the most of his labours. -He used to say, in his own vindication, that historical painting only -revived the memory of the dead, who could give no testimony of their -gratitude; but when he painted the living, he gained what enabled him -to live from their bounty. - -[37] The president Montesquieu, the Abbés Winckelmann, Du Bos, and Le -Blanc, have gravely asserted, that from the coldness of our climate, -and other causes equally curious, we can never succeed in anything -that requires genius. - -[38] "Their mode of judging subjects them to continual imposition; -for what is called manner is easily copied by the lowest performer: -he only fails in beauty, delicacy, and spirit!" - -[39] One specimen of Mr. Kent's talents in painting is in page 39. -Mr. Walpole's description of some of his other pictures, and the -history of his patronage, amply illustrate Hogarth's opinion of the -artist's abilities in that branch. - -[40] How far the present situation of the Royal Academy and the arts -has fulfilled or contradicted this opinion, I will not presume to -determine. - -[41] Mr. Strange, in his _Inquiry into the Rise and Establishment -of the Royal Academy of Arts of London_, places the causes of this -disagreement in a point of view somewhat different from Mr. Hogarth's -narrative; but in their account of the consequences the narrators -precisely agree:-- - -"A society, composed of a number of the most respectable persons in -this country, commonly known by the name of the 'Dilettanti,' made -the first step towards an establishment of this nature. That society -having accumulated a considerable fund, and being really promoters -of the fine arts, generously offered to appropriate it to support a -public academy. - -"General Gray, a gentleman distinguished by his public spirit and -fine taste, was deputed by that society to treat with the artists. -I was present at their meeting. On the part of our intended -benefactors, I observed that generosity and benevolence which are -peculiar to true greatness; but on the part of the majority of the -leading artists, I was sorry to remark motives, apparently limited -to their own views and ambition to govern, diametrically opposite to -the liberality with which we were treated. After various conferences, -the 'Dilettanti' finding that they were to be allowed no share in the -government of the academy, or in the appropriating their own fund, -the negotiation ended."--Strange's _Inquiry_, p. 62. - -[42] This society was first projected by Mr. William Shipley, who -was very active in his endeavours to establish it. Their original -proposal was, to "give premiums for the revival and advancement of -those arts and sciences which are at a low ebb amongst us; as poetry, -painting, tapestry, architecture, etc." The plan, in the latter end -of the year 1753, was laid before Dr. Hales and Mr. Baker, by whom -it was introduced to Lord Romney and Lord Folkestone, who warmly -patronized the institution. - -In March 1754, they met at Rathmell's Coffeehouse, Henrietta Street, -Covent Garden. Their first premium for the best drawing by boys and -girls under fourteen years of age was £15; but as the subscribers -were then too few in number to raise the proposed sum, the two -above-named noblemen made good a considerable deficiency. They next -met at the Circulating Library, in Crane Court, Fleet Street, and -on the 10th of January 1755 at Peele's Coffeehouse, where the first -premium of £5 for the best drawing by boys under the age of fourteen -was adjudged to Mr. Richard Cosway. - -[43] "Swift's Laputa tailor made all his clothes by mathematical -rules, and there was no objection to them,--except that they never -fitted those for whom they were made." - -[44] Little did Hogarth imagine that a man lived in his own time, -who, by a great commercial enterprise, should awaken the spirit of -the nation to historical and poetical paintings from the drama of -Shakspeare. This drama has been a school for the representation -of all the passions, and opened to the artist a new mine of rich -materials for displaying the mirror of life in the colours of nature. -The Shakspeare Gallery has been followed by undertakings of a similar -description, and, all united, have afforded a patronage to the arts -which had been vainly sought for among the nobility, and given to -such painters as had the power, a fair opportunity of confuting the -visionary assertion, that it was not possible for an Englishman to -paint a good historical picture. - -[45] How far Hogarth's prediction has been fulfilled, by the -repentance of some painters who may have been thus dragged into the -temple of taste, those painters only can determine. - -[46] The hope of the arts is in the patronage of the sovereign. - -[47] A great personage once remarked that sculpture was too cold and -chilling for this climate. - -[48] What shall we say of these, if fame is denied to the living? - -[49] On Mr. Lane's death they became the property of his nephew, -Colonel Cawthorn; and on the 5th of February 1797, were sold by -auction at Christie's room, and purchased by Mr. Angerstein for one -thousand guineas. - -It has frequently been the fate of painters, as well as poets, to -have their works disregarded until the authors were out of the -hearing of praise or censure. Young, in his _Love of Fame_, speaking -of the value which a writer's death gave to his productions, neatly -enough concludes with an allusion to Tonson the bookseller: - - "This truth sagacious Tonson knew full well, - And starv'd his authors that their works might sell." - -[50] Such is the date both in his MS. and the preface to the -_Analysis_, though under the print he has engraven, "_Se ipse pinxit -et sculpsit_, 1749." It is probable that in the first instance he -meant to speak of the painting it was taken from, which is now in the -possession of Mr. Angerstein. - -[51] To this he evidently alludes in giving the well-known story of -Columbus breaking the egg as a subscription-receipt to his _Analysis -of Beauty_. - -[52] Sir Joshua Reynolds, whose lectures are, generally speaking, -the best rules conveyed in the best language, in his discourse, read -December 11th, 1769, acknowledges "that old pictures celebrated for -their colouring are often so changed by dirt and varnish, that we -ought not to wonder if they do not appear equal to their reputation -in the eyes of unexperienced painters or young students." But he -asserts "that an artist whose judgment is matured by long observation -considers rather what the picture once was than what it is at -present. He has acquired a power by habit of seeing the brilliancy of -tints through the cloud by which it is obscured." - -Don Quixote, through the cloud of dirt and deformity which obscured -a vulgar country wench, discovered the brilliant beauties of that -peerless princess, the Lady Dulcinea del Toboso! Such is the power of -enchantment. - -[53] I do not know what Hogarth here alludes to; perhaps to some -figure that he had threatened to paint as an exemplification of his -system. - -[54] In this notice of the writers by whom he was attacked, he -particularly alludes to the _North Briton_, No. 17. As to the crooked -compliments paid him by his brethren in art, they were numerous -indeed. - -Among his papers I found a tolerably spirited drawing in pen -and ink, entitled "A Christmas Gambol from Leicester Square to -Westminster Hall," representing the artist with ass's ears, -stripped, and tied to a cart's tail, and an old fellow with a long -wig and cat-o'-nine-tails in his hand, lashing his naked back, and -exclaiming, "You'll write books, will ye!" A barber's block, fixed -on a straight pole, is stuck at the head of the cart, and labelled, -"Perpendicular and beautiful blockhead." The horse is led by a vulgar -drayman, whose locks being so dishevelled as to form a kind of glory, -are inscribed, "Lines of beauty." Over the head of the painter is -this motto: "'Twere better a millstone had been tied about thy neck, -and (THOU) cast into the sea." - -The following specimen of polite satire and curious orthography -crowns the whole:-- - -"_N.B._--Speedily will be published, an apology, in quarto, called -_Beauty's Defiance to Charicature_; with a very extraordinary -frontispiece, a just portraiture (printed on fool's-cap paper), and -descriptive of the punishment that ought to be inflicted on him that -dare give false and unnatural descriptions of beauty, or charicature -great personages; it being an illegal as well as a mean practice; -at the same time flying in the face of all regular bred gentlemen -painters, sculptures, architects--in fine--arts and sciences." - -Numerous prints were published in ridicule of his system and himself. - -In a set of engravings, entitled "The New Dunciad, done with a view -of fixing the fluctuating ideas of taste, dedicated to his friend -Beauty's Analyzer," I find several prints with mottoes, which, in -most vile and vulgar phrase, ridiculed both author and book. Some of -them are not destitute of humour; but all would ere now have been -consigned to oblivion, had not they been occasionally collected as -relatives to Hogarth. One of them is entitled "Pugg's Graces, etched -from his ORIGINAL daubing." - -In this the artist is represented at his easel, with _Lomazzo_ in -his pocket, and with a satyr's feet (one of which rests on some -copies of his _Analysis_), and painting the picture of "Pharaoh's -Daughter." He is accompanied by a fat and a lean connoisseur; the -former shows evident marks of admiration, but the latter holds the -_Analysis_ in his left hand, and appears rather puzzled. A figure -in the background, who, to show that he is a judge, is arrayed in -a gown, a band, and ample periwig, shows evident marks of disgust. -Three naked and most filthy female figures, one of them fat as was -Bright of Malden, and another tall and thin as a splinter of the -Monument, are intended to represent "Pugg's graceless Graces." One of -these _beauties_ rests her foot on a box inscribed, "For the March -presented to the Foundling Hospital, with a gilded frame for the -admiration of the public." The other is seated on a chest of drawers, -on which are written under the word FOLLY, "Bid for by Pugg's -friends, £50, £100, £120." This most pointed piece of wit evidently -alludes to the auction of "Marriage à la Mode," which has been -already noticed. On the upper part of the print is a head, entitled -"A modern cherubin," with a bag-wig on, and a stick bent into a -waving line in his mouth, a satyr holding a medallion, on which is a -head with a cap and bells, and many other curious allusions to the -serpentine line. On the floor are a pair of stays, a pair of boots, -a pair of candlesticks, etc. etc., allusive to the prints to the -_Analysis_. Beneath is a grotesque figure of a devil, with a little -incubus, masks, etc., holding in his hand a piece of paper, which -seems a leaf of the book, and is inscribed, "To be continued." - -A. C. _Invt. et Sculp._--Published according to Act of Parliament, -1753-4. - -On the back of this delicate satire is printed the following -address:-- - - - "TO THE PUBLIC. - - "I propose to publish by subscription an _Analysis of the Sun_, - in which I will show the constituent parts of which it is - composed, and of which it ought to have been composed. - - "I will compute exactly its magnitude and quantity of matter, - both as it is, and as it ought to have been constructed. - - "As to the supposed motion of the sun or earth, I shall prove - that Ptolemy and Copernicus were neither of them right in any - part of their conjectures; and that consequently Kepler, Des - Cartes, Cassini, Leibnitz, and Sir Isaac Newton are absolutely - wrong. - - "I will likewise refute that vulgar error, that the sun, with - respect to our earth, is the cause of light and heat; and I will - show how they are caused. - - "I will prove that the figure of our earth is an inverted ∽. And - lastly, I will demonstrate that their systems show nothing of my - line of beauty. - - "This work will be printed on a new invented fool's-cap paper, at - half a guinea to subscribers; but to those who do not subscribe, - it will be fifteen shillings. - - "Subscriptions will be taken in by the etcher of this plate, and - at my house, at the sign of the Harlot's Head in Leicester Fields. - - "_N.B._--It will be in vain for astronomers, foreign or domestic, - to crowd my house for information in their art; I grant them - leave to subscribe, which is all the favour they are to expect - from me. - - "W. H." - -In a well-etched print which, on a monumental stone placed in the -corner, the engraver has chosen to denominate "A self-conceited -arrogant dauber, grovelling in vain to undermine the ever-sacred -temple of the best painters, sculptors, architects, etc., in -imitation of the impious Herostratus, who with sacrilegious flame -destroyed the temple of Diana to perpetuate his name to posterity." - -We have here a very rich and well-imagined column, the base -ornamented with historical bas-relief; and between a serpent, -which is spirally twisted round a circular pillar, are portraits -of painters, sculptors, etc. At the bottom of this, on his knees, -and still with satyr's legs and feet, and a pen stuck in his hat, -the artist has represented Hogarth; who, attended by a well-dressed -connoisseur in the character of his torch-bearer, accompanied by -his favourite dog, and armed with his palette knife, is grubbing up -whatever he can find under it. No. 3, the inscription informs us, is -"A satyr ready to lash the scribbler away;" and by the same authority -we learn that No. 4 are "Geese," which being placed close to this -emulator of the fame of Erostratus, "greedily swallows whatever he -can rake up with his palette knife," etc. etc. etc. The print is -enriched with cypress trees, capitals, well-formed vases, and superb -edifices; the whole (for it is a night scene) is lighted up by the -temple of Diana in flames. Beneath it is the waving line in a small -triangle, and the following verses:-- - - "The vile Ephesian, to obtain - A name--a temple fires; - Observe, friend H--g--th, 'twas in vain, - He had not his desires. - You might with reason, sure, expect - Your fate would be the same; - Men first thy labours will neglect, - Next quite forget thy name." - -One nauseous delineation is entitled, "The Artist in his own Taste;" -and another, "The Author run mad." In one he is represented as "A -mountebank, demonstrating to his admiring audience that crookedness -is most beautiful;" and in another of a larger size, entitled "The -Burlesquer Burlesqued," depicted with satyr's legs, painting what the -designer calls "A history piece, suitable to the painter's capacity, -from a Dutch manuscript." This history piece is a copy of the Dutch -delineation of Abraham sacrificing Isaac, by pointing a blunderbuss -at his head, with an angel hovering over the figures, etc. The lives -of Rembrandt, Rubens, Vandyke, and other eminent painters, are -ingeniously imagined to be torn in pieces to make a window-blind for -the author of the _Analysis of Beauty_; which book, with allusions to -it, are displayed in different parts of the print, and in a storied -border at the bottom it appears to be selling for waste paper. - -Of this engraving, the satire of which is principally levelled at the -burlesque "Paul before Felix," there are two editions; the first, for -the more extensive circulation of Hogarth's fame, and the benefit of -such foreigners as do not understand English, has an explanation in -French. - -[55] The Doctor's orthography is adhered to. - -[56] Mr. Emlyn, of Windsor, who in 1782 published _A Proposition -for a New Order in Architecture_, thus divides them: "The Doric was -composed on the system of manly figure and strength, of robust and -Herculean proportions; the Ionic, on the model of the easy, delicate, -and simple graces of female beauty, to which the Corinthian on a -similar design adapted a system of more artificial and complicated -elegance." - -[57] Among Hogarth's papers I found the following notice, in which he -evidently glances at Athenian Stuart:-- - -"Now in hand, and will be published in about two months' time, a -short addenda or supplement to the _Analysis of Beauty_, wherein, by -the doctrine of varying lines, it will plainly be shown that a man -who had never seen or heard of Roman architecture might, by adhering -to these lines, produce new and original forms. - -"The number of pompous and expensive books of architecture which have -been lately published, consist of little more than examples of the -variations that were made among the ancients; and nice and useless -disputes about which were the most elegant, without assigning any -other reason for their choice than the authority of the columns they -have measured, which gives them no other merit than that of mere -pattern drawers." - -[58] This quotation is from p. 130, and refers to two heads in the -second plate, Nos. 108 and 9, one of which has a slight tendency to a -smile, and the other has a broad grin. The head here copied, in point -of character, comes between them. - -[59] This is copied from the MS. of the _Analysis_, where he had made -the drawings of the "Round and Square Heads," which he evidently -intended to have introduced in his plate. - -[60] "_Cleop._ Bear'st thou her face in mind? - Is't long or round? - - "_Mess._ Round even to faultiness. - - "_Cleop._ For the most part, they are foolish that are so." - -[61] This truth is amply verified in the epistle above quoted: - - "Oh, lasting as thy colours may they shine, - Free as thy stroke, yet faultless as thy line! - New graces yearly like thy works display, - Soft without weakness, without glaring gay; - Led by some rule that guides but not constrains, - And finish'd more through happiness than pains." - -In what light can we consider the character painted by the bard when -we compare it with the pictures painted by the artist? It has been -truly said, that "the poet has enshrined the feeble talents of the -painter in the lucid amber of his glowing lines." - -The conclusion of his epitaph on Sir Godfrey Kneller affords another -notable example:-- - - "Living, great Nature fear'd he might outvie - Her works; and dying, fears herself may die." - -[62] Were the head of the "Satyr of the Wood" (No. 3) close shaved, -and dignified with a clerical periwig, it would bear a strong -resemblance to Sir Joshua Reynolds' portrait of the author of -_Tristram Shandy_. - -[63] Which he is said to have caricatured in this plate. - -[64] "Sing--we will drink nothing but Lipari wine."--_Rehearsal._ - -[65] The last paragraph in his preface, p. 10, begins as follows:-- - -"That perspective is an essential requisite to a good painter, is -attested by all our most eminent artists, and confirmed by almost -every author who has wrote upon painting. Nay, the very term -'painting' implies perspective; for to draw a good picture is to -draw the representation of nature as it appears to the eye; and to -draw the perspective representation of any object, is to draw the -representation of that object as it appears to the eye. Therefore the -terms 'painting' and 'perspective' seem to be synonymous, though I -know there is a critical difference between the words. I would not -be understood to mean that a person is always to follow the rigid -rules of perspective, for there are some cases in which it may be -necessary to deviate from them; but then he must do it with modesty, -and for some good reason, as we have shown in the course of this -work. Nor would I be thought to desire the artist to make use of -scale or compasses upon all occasions, and to draw out every line -and point to a mathematical exactness, as the design of this work is -quite the reverse: it is to teach the general rules of perspective, -and to enforce the practice of it by easy and almost self-evident -principles; to assist the judgment and to direct the hand, and not to -perplex either by unnecessary lines or dry theorems." - -The publication of this drew forth Mr. Highmore, who, in the preface -of a pamphlet with the following title, now become very scarce, gave -his decided opposition to the system:-- - -"A Critical Examination of those two Paintings on the ceiling of -Whitehall, in which Architecture is introduced, so far as relates to -the Perspective, together with the discussion of a question which has -been the subject of debate among painters. Written many years since, -but now first published, by J. Highmore. Printed for Nourse, 1754." - -The question Mr. Highmore professes to discuss is by himself stated -as follows, viz.:-- - -"Whether a range of columns, standing on a line parallel to the -picture, ought to be painted according to the strict rules of -perspective; that is, whether those columns, in proportion as they -recede from the centre of the picture, should be drawn broader than -that directly opposite to the eye, as the rules require; or whether -(because they really in nature appear less, in proportion as they are -more distant) they ought not to be made less, or at most, equal to -each other in the picture?... - -"Mr. Kirby says, p. 70 of his first part: 'Since the fallacies of -vision are so many and great, etc., it seems reasonable not to comply -with the strict rules of mathematical perspective, in some particular -cases (as in this before us), but to draw the representations of -objects as they appear to the eye,' etc. But I would ask, How? By -guess, or by some rule? And if by any, by what rule are they to -be drawn contrary to, or different from, the strict mathematical -perspective rules?" - -In reply to these and many other strictures contained in the preface, -Hogarth wrote some remarks to Mr. Kirby, in which he asks, "Whether -an oval or egg can be the true representation of a sphere or ball? -or whether buildings should be drawn by any such rule as would make -them appear tumbling down, and be allowed to be truly represented, -because the designer of them is able to show how a spectator may, in -half an hour's time, be placed at such a point as would make them all -appear upright? as by a like trick or contrivance the oval may be -foreshortened so as to appear a circle." - -He further asks, "Would a carpenter allow fourteen inches to be the -true representation of a foot-rule, since in no situation whatever -can the eye possibly see it so?" - -Again: "Did ever any history-painter widen or distort his figures as -they are removed from the centre of his picture? Or would he draw a -file of musqueteers in that manner, when the last man in the rank -would be broader than high? Why would he then serve a poor column or -pedestal thus, when, poor dumb things, they cannot help themselves? -And are all objects exempt from the rules of perspective except -buildings? Did Highmore ever so much as dream of an intervening plane -when he had been drawing a family piece with four or five people -in a row, so as to distort the bodies and forms of those who had -the misfortune to be placed nearest to the side of the frame? And -what satisfaction would it be to his customers to tell them they -were only disposed by the true rules of perspective, and might be -seen in their proper shape again if they would give themselves the -trouble of looking through a pin hole at a certain distance, which, -by learning perspective, they might be able to find in half an -hour's time; or, to save themselves that trouble, they might get a -painter to lug them about till their eye was brought to the proper -point. He then observes, that he would not have the intervening plane -wholly rejected, but that it should be laid aside when it begins -to do mischief, or is of no use; for it is no doubt as necessary -to painters of architecture as scaffolding is to builders; but, -like the latter, is always to be taken away when the work comes -to be finished; and every defect that either may have occasioned -must be corrected by the eye, which is capable to judge of the most -complicated objects, perspectively true, where the dry mathematics -of the art are left far behind as incapable of lending the least -assistance. - -"These things our mathematicians are strangers to,--therefore, in my -opinion, have rated them too high. Dr. Swift thought mere Philos a -ridiculous sort of people, as appears by a song of his on two very -remarkable ones--Whiston and Ditton. I forget it particularly, but it -was about the longitude being mist on by Whiston, and not better hit -on by Ditton: sing Whiston, etc. etc. Ditton has wrote a good book on -speculative perspective." - -Hogarth then alludes to Highmore's critique on Rubens' ceiling at -Whitehall, and asks, "What is it but what almost every child knows, -even without the knowledge of perspective? viz. that parallel lines -always meet in a point, and that he has with penetration discovered. -Oh, wonderful discovery! that Rubens, unskilfully, has kept them -parallel in his column, to embellish which he has tacked two fibs: -one, that the error was owing to the drawing them as they would -appear to the eye; the other, that the historical figures are truly -in perspective; whereas King James, the principal, has a head widened -or distorted, though it goes off from the eye almost as much as he -would have the side columns, which are the subjects of controversy." - -[66] Though Mr. Malton's description is built on fancy as much as Mr. -Hogarth's design, it must be acknowledged that some of his criticism -is just. With respect to the column, nothing either elevated or -grand has yet been produced by violently deviating from the first -models. Mr. Emlyn, in the year 1782, published a proposition for a -sixth order, which in some points resembles Hogarth's. The plan of -_his_ column is to represent the particular character of our English -chivalry in its most illustrious order--the order of the Garter: it -is to be composed of the single trunks of trees; his capitals are -to be copied from the plumage of the knights' caps, with the Ionic -volutes interwoven and bound together in the front, with the star -of the order between them. The fluting of the trunk is cabled, and -the cables hollow and filled with the English arrow, the feathered -end rising out of each of them. The ornament of the frieze over the -columns is a plume of three ostrich feathers, etc. etc. etc. - -Sir Joshua Reynolds, in his discourse delivered December 10, 1776, -gives the following strong reasons against any new order succeeding:-- - -"Though it is from the prejudice we have in favour of the ancients, -who have taught us architecture, that we had adopted likewise their -ornaments; and though we are satisfied that neither nature nor reason -are the foundation of those beauties which we imagine we see in that -art; yet if any one, persuaded of this truth, should therefore invent -new orders of equal beauty, which we will suppose to be possible, -yet they would not please; nor ought he to complain, since the old -has that great advantage of having custom and prejudice on its side. -In this case we leave what has every prejudice in its favour, to -take that which will have no advantage over what we have left, but -novelty, which soon destroys itself, and at any rate is but a weak -antagonist against custom." - -[67] "On our own stage we have seen dances in which the ingenious -composer thought he represented the four seasons, the four elements, -and the five senses. These jigs conveyed about as much meaning as -dancing odes or dancing sermons." - -[68] Mr. Rouquet, enamel painter to the King of France, in his -book on _The Present State of the Arts in England_, printed for -Nourse in 1755, after enumerating chasing, engraving, painting, -sculpture, architecture, etc., as arts that are practised in England, -concludes with a chapter on the Art of Cookery, which he thus gravely -introduces:-- - -"There is an art, the only one that can justly pretend to unite -pleasure with absolute utility; but this art, born in servitude, to -which it is still condemned, notwithstanding its extreme importance, -is reckoned ignoble, for which reason some perhaps will be surprised -at seeing me give it a place in this work; I mean the art of -preparing aliments." - -[69] This is a palpable hit at Handel. In a caricatured portrait, -entitled "The Charming Brute," this great composer is delineated -sitting on a hogshead with the profile of a boar, a bill of fare, and -other emblems of voluptuousness scattered round him. Published March -21, 1754. Motto on a scroll, "I am myself alone," and under the print -these lines:-- - - "The figure's odd, yet who would think, - Within this tomb of meat and drink - There dwells the soul of soft desires, - And all that harmony inspires? - Can contrast such as this be found - Upon the globe's extensive round? - There can! yon hogshead is his seat, - His sole diversion is to eat." - -When Handel had once a large party to dinner, the cloth being -removed, he introduced plain port. Having drank four or five glasses -with his guests, he suddenly started up--exclaimed--"I have a -thought!" and stalked out of the room, to which after a short absence -he returned. Having drank a few more glasses he uttered the same -sentence--again retreated, and again returned. It was naturally -supposed that he wished to commit to paper some idea that struck him -at the moment, and passed over; but, when in less than an hour he a -third time started--growled out--"I have a thought!" and a third time -left the company, one of the gentlemen privately followed, and traced -him into another apartment, where, on looking through the keyhole, he -saw this great master of music kneel down to a hamper of champagne, -that he might more conveniently reach out a flask, which having -nearly finished, he returned to his friends! - -[70] In Hogarth's time the forms of nature were tortured and -disguised by stiff stays: the ladies of the present day are not -guilty of _this_ error. As to _the bloom of Circassia_, the less that -is said about it the better. - -[71] However unimportant Hogarth thought the cut of a coat, certain -adepts in the art, about two years since, published a half-guinea -book, on the scientific acquisitions necessary to make a perfect -tailor! - -"This day is published, price 10s. 6d., _The Tailor's Complete -Guide, or a Comprehensive Analysis of Beauty and Elegance of Dress_; -containing rules for cutting out garments of every kind, and fitting -any person with the greatest accuracy and precision. Also plain -directions how to avoid the errors of the trade in misfitting, and -pointing out the method of rectifying what may be done amiss; to -which is added a description to cut out and make the patent plastic -habits and clothes without the usual seams, now in the highest -estimation with the nobility and gentry, according to the patent -granted by his Majesty; the whole concerted and devised by a society -of adepts in the profession. - -*** "This work was undertaken solely for the benefit of the trade, -to instruct the rising generation, and perfectly to complete them in -the art and science of cutting out clothes. The copperplates consist -of each separated part, which will on the first view convince the -uninformed mind that with a little attention he may be a complete -tailor." - -[72] Hogarth might conceive that, by rendering the habits of his -early figures more conformable to the fashion of the times, when they -were altered he improved them. Collectors are of a different opinion, -though it must be acknowledged that, in Plate IV. of "The Rake's -Progress," the humour is much heightened by introducing a group of -vulgar minor gamblers in the place of the shoeblack. - -[73] The picture was exhibited at Spring Gardens in the year 1761, -with the title of "Piquet, or Virtue in Danger," and is still in the -collection of the nobleman for whom it was painted. - -It may fairly be considered as a moral lesson against gaming. The -clock denotes five in the morning. The lady has lost her money, -jewels, a miniature of her husband, and the half of a £500 bank note, -which, by a letter lying on the floor, she appears to have recently -received from him. In fine, all is lost except her honour; and in -this dangerous moment she is represented perplexed, agitated, and -irresolute. A print of it has lately been finely engraved by Mr. -Cheesman. - -[74] In the little memorandum book from which I extracted this, -Hogarth has inserted the following note (without the translation) -from _Horace_. I do not produce it as a proof that he was a Latin -scholar, but suppose that the lines were pointed out by some literary -friend, and he thus applied them:-- - - "Segnius irritant animos dimissa per aures, - Quam quæ sunt oculis commissa fidelibus." - - "What we hear, - With weaker passion will affect the ear, - Than when the faithful eye beholds the part." - --FRANCIS. - -[75] The artist requested his widow would not sell it during her -lifetime for less than £500. She abided by his injunction. Since her -death it was put up to auction at Greenwood's rooms, and purchased by -Messrs. Boydell: it is in their possession now. - -I some years since saw a picture of "Lucretia," by Domenichino, in -the collection of Mr. Welbore Ellis Agar, which in air, attitude, and -expression, bore a strong resemblance to Hogarth's "Sigismunda." - -[76] "The Altar-piece to St. Mary Redcliffe's, Bristol," for which he -received five hundred pounds, and the "Paul before Felix," painted -for Lincoln's-Inn Hall. - -[77] That this picture was much abused is certain, but it is -equally certain that the painter had occasionally some consolatory -compliments. Robert Lloyd, in one of his fables, asserts that -"Sigismunda" - - "Shall urge a bold and proper claim - To level half the ancient fame." - -A writer in the _Public Advertiser_, March 7, 1761, honours it with -the following stanzas:-- - - -"_Upon seeing the picture of 'Sigismunda,' painted by Hogarth._ - - "Antiquity, be dumb! no longer boast - Arts yet unrivall'd or invention lost: - From Greece, whose taste was fashion'd into law, - From far-fam'd Greece, one instance let us draw. - Atrides' grief Timanthes strove to paint, - But found his art was foil'd, his colours faint: - A veil conceal'd the inexpressive face, - And what was want of power was call'd 'a grace.' - In Sigismund the mind no want supplies, - The painter trusts his genius to your eyes; - Passion's warm tints beneath his pencil glow, - And from the canvas starts the living woe. - At length be just--throw prejudice aside; - The modern shows--what the Greek could but hide. - Then from the ancient take the palm away, - And crown the greatest Artist of his day." - --HOWARD. - -[78] _N.B._--At Sir Luke Schaub's sale, Sir Richard Grosvenor bid -four hundred pounds for a less picture, said to be a "Correggio," but -really painted by an obscure French artist. - -[79] It appears by the subscription-book that it closed March 26. -During this time there were fifty subscribers at half a guinea each; -the receipts were given on the print of "Time Smoking a Picture." The -first name is that of Dr. Garnier, for two prints; the last, who also -subscribes for two prints, is Mr. Thomas Hollis. This gentleman would -not receive back the guinea he had paid, and it was given to a public -charity. Among the names are the late Philip Thicknesse, Dr. Hunter, -Samuel Curteis of Wapping, and David Garrick; against each of the -subscriptions is marked, "Money returned." - -Under the direction of Hogarth, Mr. Basire made an etching from -"Sigismunda," but it was never finished. A drawing in oil was made -from it by Mr. Edwards, and it was a few years since engraved in -mezzotinto by Dunkerton. Mr. Ridley engraved it for Messrs. Boydell, -and a reduced copy is in the first volume of _Hogarth Illustrated_. - -[80] The chosen band who then directed the storm, having dragged poor -"Sigismunda" into their political vortex, the cannibal caricaturists -of the day tore her in pieces as a carcase for the hounds, and rioted -over her mangled remains. - -One of these political slaughtermen, in a print entitled "The Bruiser -Triumphant," describes Sigismunda in the character of a harlot -blubbering over a bullock's heart. In another, elegantly inscribed -"Tit for Tat," Hogarth is represented painting Wilkes' portrait, and -a bloated and filthy figure displayed in the background baptized -Sigismunda. Many other wretched and contemptible squibs were hurled -about on the same occasion. Besides this public abuse, some of the -anonymous versifiers of the day, who were not yet important enough -to figure in a newspaper or flutter in a magazine, condescended to -notice his political errors, and for the gratification of the artist -transmitted their effusions to Leicester Fields. - -The following stanzas I found among his other papers, addressed - - "_To the Author of the Times._ - - "Why, Billy, in the vale of life, - Show so much rancour, spleen, and strife? - Why, Billy, at a statesman's whistle, - Drag dirty loads and feed on thistle? - Did any of the long-ear'd tribe - E'er swallow half so mean a bribe? - Pray have you no sinister end, - Thus to abuse the nation's friend? - His country's and his monarch's glory, - Who prais'd no man as Whig or Tory. - His country is his dearest mother, - And every honest man his brother. - Not so your patron can appear, - He buys up scrip, and stops the arrear; - His practice still, in every station, - To serve himself and starve the nation. - Then, Billy, in the vale of life, - Desist from all this noise and strife; - For though the hint perhaps is bold, - I tell thee thou art growing old. - Read coolly, o'er thy evening glass, - Toledo's bishop in _Gil Blas_." - -Christening the author of the _North Briton_ "his country's and his -monarch's glory," leads us to suspect that the ingenious gentleman -who fabricated the above rhymes had some little portion of party -prejudice. The Quaker who wrote the annexed letter and epigram, -which, as well as the verses that follow, were amongst Hogarth's -manuscripts, was moved by a very different spirit:-- - - "_Of the eighth month, the 20th day, 1763._ - - "FRIEND HOGARTH,--I am one of those people, by a sort of - disrespectful appellation, called Quakers; for we strive to - abound in the milk of human kindness, and prefer the dove to - the serpent. I know thee not but by thy works and fame as an - ingenious artist in thine own way. I have seen thy compositions - and handy works, and think them not only ingenious, but moral, - and even more than dramatic, perfectly epic; so that I think thou - deservest the character of _the Epic painter_, which I hereby - bestow upon thee, and by which thou shalt be distinguished in - future generations; for if I do not much mistake the matter, - thy name will be had in honour when thine adversaries shall - have perished,--I would have said, and shall stink,--but _that_ - they do already. I have hereby sent thee an epigram, such as my - spirit dictated to me. I fear it hath too much in it of the gall - of bitterness. But I will tell thee, friend Hogarth, I am a man - of some small property and authority, having cattle under me; - and when the brutes are poisoned, I cure them with wormwood. Let - not thy noble spirit that is in thee be diverted from its true - and masterly turn of exposing licentiousness, vice, hypocrisy, - faction, and apostasy.--Thine in all brotherly and good wishes, - - "EPHRAIM KNOX." - -AN EPIGRAM. - -_To the Rev. Charles Churchill, Esquire, etc._ - - "Thou boast'st, vain Churchill, with thy gray goose quill, - Thou'st kill'd, or surely wilt poor Hogarth kill. - Alas! he (with the world) will only smile - At self-importance in a frippery style. - 'Churchill, stand forth!'--I call thee not my friend;-- - The sober dictates of my lines attend. - "Wast thou, like Hogarth, _in thine own way good_, - Thou in the reading-desk might'st yet have stood; - Though poor,--perhaps a reputable curate,-- - Sad! that thy stubborn heart is yet obdurate. - Without fair hope of pension or of place, - To make a shipwreck of _divinest grace_!" - --EPHRAIM KNOX. - - -_To Mr. Hogarth._ - - "BRIGHTHELMSTONE, _July 9, 1763_. - -"SIR,--You see the effects of the salt waters here; they incline -us to scribble by way of amusement. I have sent you the following -stanzas, which you may print or do what you please with:-- - -_To the Rev. C. Churchill._ - -"Non ut pictura poesis." - - "Dear Churchill, what ill-fated hour - Has put thee into Hogarth's power? - This railing shows how much you're hurt, - While Hogarth nothing meant but sport; - Transmitting unto future times - What might not live in Churchill's rhymes,-- - The perfect hero, poet, sage! - The pride, the wonder of the age! - That form,--which eating Peers admired,-- - Which heaven-born liberty inspir'd! - Which keeps our ministers in awe, - And is from justice screen'd by law! - "The sad resource to which you're driven, - Appears by your appeal to heaven: - A place ne'er thought on once before,-- - Withdraw th' appeal and give it o'er. - You must proceed by different ways; - _Your_ only court's the Common Pleas. - "Horace was wrong when once he said, - Hogarth and he were of a trade. - No varying verse, howe'er divine, - Can match with Raphael's stronger line. - The pencil, like contracted light, - Strikes with superior force the sight. - "Churchill, be wise: in time retire, - While Hogarth yet suspends his fire; - There's something in thee like a spell, - Though we can't love,--we wish thee well. - You ne'er can wish to purchase shame, - By driving on a losing game: - His feeble hand, though you despise it, - Will make you tremble, should he rise it: - Already has his fancy hit on - A frontispiece for the _North Briton_; - Where in full view the virtuous pair - Shall thus their various merits share. - "Thy rose and Bible thrown aside, - And the long cassock's tatter'd pride; - His liberal hand shall in their stead - Place nettles circling round thy head, - Entwin'd with thistles fully blown, - To wear these honours _all thy own_! - "Next, round thy friend, and all in taste, - See every social _virtue_ plac'd; - Fair Truth and modest Candour joined,-- - Those softer emblems of the mind; - Faction expiring by his pen, - And Loyalty restor'd again; - Whilst he regards not this or that, - Secure of T---- and of P----. - "The piece thus finish'd for our view, - The lines correct, the likeness true, - Hogarth, ensur'd of future fame, - Shall consecrate to Churchill's name." - -[81] I think the reader will agree with me, that such assertions as -the following demanded an apology:-- - -"His (Hogarth's) works are his history. As a painter he had but -slender merit; in colouring he proved no greater a master: his force -lay in expression, not in tints and chiaroscuro."--_Anecdotes of -Painting_, vol. iv. p. 160. - -How was it possible for Mr. Walpole to have written the foregoing -lines after having seen the pictures of "Marriage à la Mode"? - -[82] The last volume was not published till October 9, 1780, though -printed in 1771.--_Advertisement_ to vol. iv. - -[83] The reader is referred to Vol. II. Plate 70, where the picture -is given in its perfected state. - -[84] Archbishop Tillotson remarks in one of his sermons, that _Hocus -Pocus_ is derived from _Hoc est Corpus_. - -[85] "This new dispensation (Methodism) is a composition of -enthusiasm, superstition, and imposture. When the blood and spirits -run high, inflaming the brain and imagination, it is most properly -enthusiasm, which is religion run mad. When low and dejected, causing -groundless terrors, or the placing the great duty of man in little -observances, it is superstition, which is religion scared out of its -senses. When any fraudulent dealings are made use of, and any wrong -projects carried on under the mask of piety, it is imposture, and may -be termed religion turned hypocrite."--Lavington's _Enthusiasm of -Methodists and Papists Compared_, vol. i. p. 79. - -[86] Mahomet being once asked, What is this Alla, whom thou declarest -unto the people? with much more exalted and sublime ideas, replied, -"It is he who derives being from himself; from whom all others derive -their being; and to whom there is no likeness in the whole extent of -space." - -[87] Bishop Lavington, after quoting many of the legends of St. -Catherine and St. Teresa, and the journals of modern Methodists, -which in a very similar style describe their divine love, concludes -as follows:-- - -"'Tis true indeed, as the legendaries own, that St. Catherine was -slandered as a fond and light woman, and St. Teresa kept such bad -company, that most persons concluded celestial visions were not -compatible with her kind of life; but all this may be reconciled; -for these excesses of the spiritual and carnal affections are nearer -allied than is generally thought, arising from the same irregular -emotions of the blood and animal spirits; and the patient is hurried -on either way, according to the nature of the object; and I am much -mistaken, and so is history too, if some of the warmest and most -enthusiastic pretenders to the love of God have not entertained -the same violence of passion (not quite so spiritual) for their -neighbours."--Lavington's _Enthusiasm of Papists and Methodists -Compared_, vol. i. p. 57. - -[88] Let it not be supposed that because the female mendicant and her -handcuffed neighbour are half naked, they are in any degree ashamed. -"Among the Papists there are religious orders who profess to prefer -food, bed, and raiment of the vilest sort for their greater spiritual -proficiency; and St. Philip Nerius was such a lover of poverty, that -he frequently besought Almighty God to bring him to such a state as -to stand in need of a penny, and find nobody that would give him -one."--Lavington's _Enthusiasm_, etc. - -[89] What renders this still more curious is, that the word signifies -"oxen." - -[90] When this circumstance was once mentioned to Dr. Rundle, as a -striking instance of Abraham's obedience, the Doctor in reply said, -that however it might be generally understood,--if he had been -a Justice of Peace in Abraham's parish, he would have committed -him till he found sufficient bail for his good behaviour. Some -good-natured friend repeated this speech to Queen Caroline, and it -retarded Rundle's promotion for many years. - -[91] Of the plate in its first state there are only two impressions, -both of them in the possession of the Editor, who has published a -correct copy of the same size, which may be had from him or from -Messrs. Boydell. - -On the margin of these two prints Hogarth has inserted slight -pen-and-ink sketches of "A Monk as a Windmill," "the Hopper of a -Mill," etc. These are copied in the annexed plate of reference, and -in a degree elucidated by the following passage in Burnet's _Travels -through Switzerland_, etc., p. 232:-- - -"Over a popish altar at Worms is a picture one would think invented -to ridicule transubstantiation. There is a windmill, and the Virgin -throws Christ into the hopper, and he comes out at the eye of the -mill all in wafers, which some priest takes up to give to the people. -This is so coarse an emblem, that one would think it was too gross -even for Laplanders; but a man that can swallow transubstantiation -will digest this likewise." - -Of painters presuming to explain the Trinity by a triangle, Hogarth -and Swift thought alike: - -"If God should please to reveal unto us this great mystery of the -Trinity, or some other mysteries in our holy religion, we should not -be able to understand them unless He would bestow on us some new -faculties of the mind."--SWIFT. - -[92] - - "For eating and drinking _we_ know the best rules, - Our fathers and mothers were blockheads and fools; - 'Tis dress, cards, and dancing, alone should engage - This highly enlighten'd and delicate age." - -[93] Since the publication of the first edition of this volume, a -print of a larger size has been copied from the picture by Mr. T. -Philips. - -[94] These raptures were expensive. The lavish profusion which our -people of rank then displayed in their presents to this band of -quavering exotics is scarcely credible. The _Daily Advertiser_ gives -a list of some of the contributors, and states Farinelli's share -at more than £2000 a year; to which if we add his salary £1500 and -casual presents, his annual income must have been more than four -thousand pounds! - -[95] See Shakspeare's _Julius Cæsar_ and _Antony and Cleopatra_. - -[96] Of this gentleman there is a tolerably good mezzotinto print, -engraved by Kirkall from a picture by Goupy, with the following -curious inscription from the Italian:-- - - "Renown'd Sienna gave him birth and name, - Kind Heaven his voice, and harmony his fame. - While here the great and fair their tribute bring, - The deaf may wonder whence his merits spring, - But all think Fortune just that hear him sing." - -There is a portrait of Carlo Broschi Detto Farinelli, Amiconi pinxit. -C. Grignion sculp. small circle. - -[97] _Art of Spelling, The Complete Justice, etc._ This austere -magistrate has been said to be intended for Sir Thomas De Veil, who -raised himself from the rank of a common soldier to a station in -which he made a considerable figure; but De Veil wrote French and -English, and was both intelligent and active. - -[98] _Religious Ceremonies of all Nations_, published at Amsterdam in -1735. He entitles this print, "_Le Serment de la Fille qui se trouve -enceinte_." On the same page he has introduced a copy from Sympson's -print of orator Henley christening a child, and calls it "_Le Baptême -Domestique_." - -[99] The gates of this charity were for several years open to the -orphans of those who fell in the battles of their country. A great -number of the children who became orphans by the battle of Minden -were admitted into this Hospital. - -[100] When Schalcken once painted a portrait of King William, he -requested his Majesty to hold the candle; this the monarch did till -the tallow ran down upon his fingers. To justify this piece of -ill-breeding, the painter drew his own portrait in the same situation. - -[101] The conductors of this office have printed proposals, stating -their terms, etc.; but the business is sometimes transacted by -individuals, through the medium of the public prints. The following -advertisements are copied from the daily papers:-- - - MATRIMONY. - - "A gentleman of honour and property having in his disposal at - present a young lady of good family, with a fortune of sixty - thousand pounds on her marrying with his approbation, would be - very happy to treat with a man of fortune and family, who may - think it worth his while to give the advertiser a gratuity of - five thousand pounds. Direct, etc." - - MATRIMONY. - - "A gentleman who hath filled two succeeding seats in Parliament, - is near sixty years of age, lives in great splendour and - hospitality, and from whom a considerable estate must pass if he - dies without issue, hath no objection to marry any single lady, - provided the party be of genteel birth, polite manners, and five, - six, seven, or eight months advanced in her pregnancy. Address to - ---- Brecknock, Esq., etc."--_Pub. Adv., April 16, 1776._ - -[102] The apology here alluded to was made in a letter to the author -of the _Beggars' Opera_, dated December 16, 1731, and ushered into -the world as written by a Mr. Cleland, who had a few years before -sent a letter to the publisher of the _Dunciad_, explaining the -author's motives for writing the poem, and subjoining a list of the -books in which he had been abused, etc. This Pope printed; and this, -as well as the letter to Mr. Gay, it was universally believed was -written by Pope. In a note to the letter to Gay, printed in the same -volume with the _Dunciad_, the poet, after giving Mr. Cleland a very -high character for diligence, punctuality, etc., concludes: "and yet -for all this, the public will not allow him to be the author of this -letter." - -[103] Hogarth has introduced these three figures in rather a better -style, in his print of "The Small Masquerade Ticket, or Burlington -Gate." - -[104] Mr. Pope has honoured this dignified divine with a slight -stroke in the Epistle to Lord Burlington, and note on the lines-- - - "To rest, the cushion and soft Dean invite, - Who never mentions hell to ears polite."[105] - -[105] "A reverend Dean, preaching at Court, threatened the sinner -with punishment in a place he thought it not decent to name in so -polite an assembly."--P. - -[106] To this architectural ornament he has an unquestionable right. -His Lordship (besides other buildings) designed the Dormitory at -Westminster School, the Assembly Room at York, Lord Harrington's at -Petersham, and General Wade's in Cork Street. The latter, though -ill-contrived and inconvenient, had so beautiful a front, that Lord -Chesterfield said, "As the General could not live in it at his ease, -he had better take a house over against it, and look at it." - -[107] - - "Yet shall (my Lord) your just, your noble rules, - Fill half the land with imitating fools, - Who random drawings from your sheets shall take, - And of one beauty many blunders make." - -His Lordship was then publishing copies from the designs of Palladio -and Inigo Jones. - -The elegant but ill-natured stanzas which allude to the Duke of -Chandos, beginning, "At Timon's villa let us pass a day," everybody -knows. The delicately turned compliments to Lord Burlington display -the poet's art; his precepts on ornamental gardening prove his taste -and judgment. I cannot resist the temptation of recalling six or -eight lines to the reader's recollection, were it only to subjoin Dr. -Warburton's curious note, which admirably illustrates the remark that - - "A perfect judge will read each work of wit - With the same spirit that its author writ:"-- - - "Consult the Genius of the place in all;[108] - That tells the waters or to rise or fall; - Or helps the ambitious hill the heavens to scale, - Or scoops in circling theatre the vale; - Calls in the country, catches opening glades, - Joins willing woods, and varies shades from shades. - Now breaks or now directs th' intending lines, - Paints as you plant, and as you work designs." - -[108] THE NOTE! - -"First, the Genius of the place 'tells the waters,' or only simply -gives directions: then he 'helps the ambitious hill,' or is a -fellow-labourer: then again, he 'scoops the circling theatre,' or -works alone, or in chief. Afterwards, rising fast in our idea of -dignity, he 'calls in the country,' alluding to the orders of princes -in their progress, when accustomed to display all their state and -magnificence. His character then grows sacred, 'he joins willing -woods,' a metaphor taken from one of the offices of the priesthood, -till at length he becomes a divinity, and creates, and presides over -the whole."--Warburton's edit. of _Pope_, 1752, vol. iii. p. 285. - -Would the reader wish a better specimen of the Bishop's taste! - -[109] An artist in the year 1762 stole Hogarth's thunder, and aimed -the bolt at the head of him who had forged it. In a print entitled -"The Butifyer, or a Touch upon the Times," he is represented in -the character of a shoeblack, blackening a great jack-boot, and -bespattering the surrounding crowd. - -Beneath is inscribed, "With what judgment ye judge, shall ye be -judged."--Matt. chap. vii. ver. 2; and, - -"In justice to Mr. Hogarth, the engraver of this plate declares -to the public he took the hint of 'The Butifyer' from a print of -Mr. Pope whitewashing Lord Burlington's gate, and at the same time -bespattering the rest of the nobility." - -[110] Fielding and Hogarth had in some respects similar powers and -similar want of success in things for which they seemed peculiarly -gifted. Admirable as was the dialogue of the comic characters in -Fielding's novels, he was unable to give them stage effect; and -though Hogarth saw nature in all her varieties, and gave to every -face the index of their mind, he rarely succeeded in historical -pictures. - -[111] This etching is so nearly a fac-simile of the original, that -when it was brought home Hogarth mistook it for his own drawing, -which, considering of no value, he threw into the fire, whence it was -snatched by Mrs. Lewis, though not before the paper was scorched. - -Hogarth made a very whimsical design for Fielding's tragedy of -tragedies, _Tom Thumb the Great_. It was engraved by Vandergucht, and -is prefixed to the play published by Lowndes, etc. - -[112] Mr. King, in his _Observations on Ancient Castles_, observes -that "Lord Lovat was one of the last chieftains that preserved the -rude manners and barbarous authority of the early feudal ages. He -resided in a house which would be esteemed but an indifferent one for -a very private plain country gentleman in England, as it had properly -only four rooms on a floor, and those not large. Here, however, he -kept a sort of court, and several public tables, and a numerous body -of retainers always attending. His own constant residence, and the -place where he always received company, even at dinner, was the very -same room where he lodged; and his lady's sole apartment was her -bedroom; and the only provision for the lodging of the servants and -retainers was a quantity of straw, which they spread every night on -the floors of the lower rooms, where the whole inferior part of the -family, consisting of a very great number of persons, took up their -abode!"--_Archæologia_, vol. iv. - -[113] By a book on the table, inscribed _Memoirs_, Hogarth seems to -allude to the manuscript. - -[114] In the name by which the old peer supposed the Maiden was to be -distinguished in a future age, he was mistaken. The Guillotine is an -improvement of the Maiden; so that, though France has been the first -to bring it into universal practice, Scotland is entitled to the -whole honour of the invention. - -[115] The mad peer in Pope's imitation of Horace was not very -grateful to the d--d doctor: - - "Who, from a patriot of distinguished note, - Blister'd and bled him to a single vote." - -[116] A complete set of reduced copies from his prints are now -publishing at Gottingen, with illustrations in the German and French -languages. - -[117] Jarvis and Smollett have strangely translated it -"spindle-shanked," which by no means accords with the rest of his -figure. - -[118] Jarvis oddly enough translates it seven feet. - -[119] Let it not be said in objection that many of the attendants are -idle lookers on, and most of them laughing at their governor; for I -am told a similar practice has sometimes prevailed in more regular -governments. - -[120] The original and scarce print from which this was copied, I owe -to the kindness of Sir James Lake, Bart., who did me the honour of -presenting it to me. - -[121] Noble's _Contin. to Grang._, B. iii. p. 418. - -[122] In this circumstance the artist must have been misinformed. At -the fire he mentions, five of the Harlot's Progress were burnt; the -sixth is now in the possession of Lord Charlemont. The eight of the -Rake's Progress were not destroyed. - -[123] Francis Beckford, Esq., to whom I find, by one of Hogarth's -memorandums, they were sold for £88, 4s. - -[124] The R must have been a mistake of the writing-engraver. -Ravenet's christened names were Simon Francis. - -[125] The mottoes were selected by the Reverend Arnold King. - -[126] The twelve prints were originally published at 12s. - -[127] So does he express himself in the MS., though the Roast Beef -was published March 6, 1749, and the March, December 31, 1750. - -[128] It has been said that Hogarth never went farther into France -than Calais; this proves he had reached Paris. - -[129] This was afterwards copied for a watch-paper. - -[130] About eight years after the publication of these prints, when -there was an Act in contemplation relative to the distilleries, -Hogarth received the following anonymous letter:-- - - "_December 12, 1759._ - - "SIR,--When genius is made subservient to public good, it does - honour to the possessor, as it is expressive of gratitude to - his Creator, by exerting itself to further the happiness of His - creatures. The poignancy and delicacy of your ridicule has been - productive of more reformation than more elaborate pieces would - have effected. On the apprehension of opening the distillery, - methinks I hear all good men cry, Fire!--it is therefore the - duty of every citizen to try to extinguish it. Rub up, then, Gin - Lane and Beer Street, that you may have the honour and advantage - of bringing the two first engines to the fire; and work them - manfully at each corner of the building; and instead of the - paltry reward of thirty shillings allowed by Act of Parliament, - receive the glorious satisfaction of having extinguished those - fierce flames which threaten a general conflagration to human - nature, by pouring liquid fire into the veins of the now - brave Britons, whose robust fabrics will soon fall in when - these dreadful flames have consumed the inside timbers and - supporters.--I am, Sir, yours, etc., - - "AN ENGLISHMAN." - -[131] Humanity and tenderness of mind were the leading -characteristics of my most valued and most regretted friend Mortimer: -he would not have trod on a worm; yet in painting subjects from which -the common eye would revolt, he had the greatest delight. - - - - - TRANSCRIBER'S NOTE - - Italic text is denoted by _underscores_. - - A superscript is denoted by ^; for example M^R, y^e. - - Obvious typographical errors and punctuation errors have been - corrected after careful comparison with other occurrences within - the text and consultation of external sources. - - Footnotes have been moved to the end of the book text. Some Footnotes - are very long. - - One occurrence of the 3-star asterism symbol is denoted by ***. - - One occurrence of the old long-form s is denoted by ſ. - - Footnotes [105] and [108] are referenced from the prior Footnotes - [104] and [107], and not from the text itself. - - Footnote [55] is referenced by two anchors in the same paragraph. - - For consistency and to follow the intent of the publisher, the Plate - illustrations have been moved to the beginning of the section - describing them. In most cases this was only one or two paragraphs - earlier than the original book layout. - - Quotations of Hogarth himself, and all letters, have been indented - in the main text (but not the Addenda, Notes, or Footnotes). All - other quotations have not. The original text was not completely - consistent in its use of vertical whitespace to end letters and - Hogarth quotations. - - Three illustrations listed in the 'List of Plates' have no description - in the text, and have been placed after 'The Farmer's Return' section. - The three are: - 'Inhabitants of the Moon' - 'Receipt for Print of March to Finchley' - 'Gravity'. - - The item numbering in the 'Chronological List' at the end of the book - is sometimes inconsistent or incorrect. This has been left unchanged. - - Except for those changes noted below, all misspellings in the text, - and inconsistent or archaic usage, have been retained. For example, - face-painter, face painter; Boleyne, Bulleyn; dissatisfactory; - confuting; unascertained; personate. - - Pg vii, 'MARTIN FOULKES, ESQ.' replaced by 'MARTIN FOLKES, ESQ.'. - Pg 38 Footnote [18], 'countenanced by by Sir' replaced by 'countenanced - by Sir'. - Pg 102, 'acquintance with men' replaced by 'acquaintance with men'. - Pg 107, 'A Monsieur Monsieur Reiffsten' replaced by 'A Monsieur - Reiffsten'. - Pg 170 Footnote [85], 'Enthasiasm of Methodists' replaced by 'Enthusiasm - of Methodists'. - Pg 233, 'jellies, sweatmeats' replaced by 'jellies, sweetmeats'. - Pg 289, 'Grostesque, and good' replaced by 'Grotesque, and good'. - Pg 292, 'June y_{e} ' [subscript] replaced by 'June y^e ' [superscript]. - Pg 302, 'Churchil (once' replaced by 'Churchill (once'. - Pg 314, '_Vide_ 175' replaced by '_Vide_ p. 175'. - Pg 316, '_Vide_ 199' replaced by '_Vide_ p. 199'. - Pg 320, 'mezzottinto by' replaced by 'mezzotinto by'. - - - - - - -End of the Project Gutenberg EBook of Hogarth's Works: Volume 3 (of 3), by -John Ireland and John Nichols - -*** END OF THIS PROJECT GUTENBERG EBOOK HOGARTH'S WORKS: VOLUME 3 (OF 3) *** - -***** This file should be named 52181-0.txt or 52181-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/1/8/52181/ - -Produced by Chris Curnow, John Campbell and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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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display: block;} -} - - </style> - </head> - -<body> - - -<pre> - -The Project Gutenberg EBook of Hogarth's Works: Volume 3 (of 3), by -John Ireland and John Nichols - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Hogarth's Works: Volume 3 (of 3) - With life and anecdotal descriptions of his pictures - -Author: John Ireland - John Nichols - -Release Date: May 29, 2016 [EBook #52181] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK HOGARTH'S WORKS: VOLUME 3 (OF 3) *** - - - - -Produced by Chris Curnow, John Campbell and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div class="transnote"> -<p><strong>TRANSCRIBER'S NOTE</strong></p> - -<p>Obvious typographical errors and punctuation errors have been -corrected after careful comparison with other occurrences within -the text and consultation of external sources.</p> - -<p>Footnotes have been moved to the end of the book text. Some Footnotes are very long.</p> - -<p>One occurrence of the 3-star asterism symbol is denoted by ⁂. On -some handheld devices it may display as a space.</p> - -<p>The first two volumes of this work can be found in Project Gutenberg at<br /> -www.gutenberg.org/ebooks/51821 and<br /> -www.gutenberg.org/ebooks/51978<br /> -There are several linked references to specific sections of those books from this volume.</p> - -<p class="customcover">The cover was created by the transcriber and is placed -in the public domain.</p> - -<p>More detail can be found at the <a href="#TN">end of the book</a>.</p> -</div> - - -<hr class="chap pg-brk" /> - -<p class="p6" /> -<h1>HOGARTH'S WORKS:<br /> - -<span class="xs">WITH</span><br /> - -<span class="medium"><em>LIFE AND ANECDOTAL DESCRIPTIONS OF HIS PICTURES.</em></span><br /> - -<span class="xl">—</span><span class="small">◆</span><span class="xl">—</span><br /> - -<span class="medium">THIRD SERIES.</span></h1> -<p class="p4" /> - - -<hr class="chap pg-brk" /> - -<p class="p2" /> -<div class="figcenter"> -<a name="FP" id="FP"></a> -<img src="images/i_frontis.jpg" width="500" alt="" /> -<div class="caption"> -<em>HOGARTH'S DEDICATION, WRITTEN FOR A HISTORY OF THE ARTS, &c., WHICH HE INTENDED -PUBLISHING AS A SUPPLEMENT TO THE ANALYSIS OF BEAUTY. COPIED FROM -HIS MANUSCRIPT IN THE POSSESSION OF JOHN IRELAND.</em></div> -</div> - -<p class="pfs120"> - -The no Dedication<br /> -<br /> -Not Dedicated to any Prince in Christendom<br /> -for fear it might be thought an<br /> -Idle piece of Arrogance.<br /> -<br /> -Not Dedicated to any man of quality<br /> -for fear it might be thought too assuming.<br /> -<br /> -Not Dedicated to any learned body<br /> -of Man, as either of the universityes, or the<br /> -Royal Society, for fear it might be thought<br /> -an uncommon piece of Vanity.<br /> -<br /> -Nor Dedicated to any one particular Friend<br /> -for fear of offending another.<br /> -<br /> -Therefore Dedicated to nobody.<br /> -But if for once we may suppose<br /> -Nobody to be every body, as Every body<br /> -is often said to be nobody, then is this work<br /> -Dedicated to every body.<br /> -</p> - -<p class="large right"><span class="padr8">by their most humble</span><br /> -<span class="padr4">and devoted W: Hogarth.</span></p> - - - - -<hr class="chap pg-brk" /> - -<div> -<p class="pfs180 lsp"> -HOGARTH'S WORKS:</p> -<br /> -<p class="pfs70">WITH</p> -<br /> -<p class="pfs120"><em>LIFE AND ANECDOTAL DESCRIPTIONS OF HIS PICTURES</em>.</p> -<br /> -<p class="pfs80">BY</p> -<br /> -<p class="pfs100"><span class="smcap">JOHN IRELAND and JOHN NICHOLS, F.S.A.</span></p> - -<div class="figcenter"><br /> -<a name="DOL" id="DOL"></a> -<img src="images/i_title.jpg" alt="" /><br /> -</div> - -<p class="pfs90"><em>THE WHOLE OF THE PLATES REDUCED IN EXACT<br /> -FAC-SIMILE OF THE ORIGINALS.</em></p> -<br /> -<p class="pfs100 lsp">Third Series.</p> -<br /> -<p class="pfs100 antiqua lsp">London:</p> -<p class="pfs120">CHATTO AND WINDUS, PUBLISHERS.</p> -<p class="pfs70">(<em>SUCCESSORS TO JOHN CAMDEN HOTTEN.</em>)</p> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> - -<div><a name="LOI" id="LOI"></a></div> -<h2><span class="large">LIST OF PLATES</span></h2> - -<p class="pfs100 lsp">DESCRIBED IN THE THIRD SERIES.</p> - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<div class="center fs90 smcap"> -<table border="0" cellpadding="4" cellspacing="4" width="95%" summary="List of Plates"> -<tr><td class="tdl"></td><td class="tdr xs">PAGE</td></tr> -<tr><td class="tdl">Fac-simile Autograph—"The No Dedication,"</td><td class="tdr fvnormal wd20"><em><a href="#FP">Frontispiece</a> to</em></td></tr> -<tr><td class="tdl"></td><td class="tdr fvnormal"><em>face Title. </em></td></tr> -<tr><td class="tdl">Dolphin Candlestick,</td><td class="tdr fvnormal"><em><a href="#DOL">Title Page</a>.</em></td></tr> -<tr><td class="tdl"><span class="pad4">Do.</span><span class="pad4 fvnormal">(described),</span></td><td class="tdr"><a href="#Page_123">123</a></td></tr> -<tr><td class="tdl">Kent's Altar-Piece,</td><td class="tdr"><a href="#KEN">24</a></td></tr> -<tr><td class="tdl">The Rape of the Lock,</td><td class="tdr"><a href="#RAP">26</a></td></tr> -<tr><td class="tdl">Arms of the Duchess of Kendal,</td><td class="tdr"><a href="#ARM">28</a></td></tr> -<tr><td class="tdl">Frontispiece to Artists' Catalogue,</td><td class="tdr"><a href="#FPA">78</a></td></tr> -<tr><td class="tdl">Tail-Piece to <span class="pad4">Do.,</span></td><td class="tdr"><a href="#TPA">78</a></td></tr> -<tr><td class="tdl">The Vase,</td><td class="tdr"><a href="#VAS">114</a></td></tr> -<tr><td class="tdl"><span class="pad2">Do.</span><span class="pad2 fvnormal">(described),</span></td><td class="tdr"><a href="#Page_112">112</a></td></tr> -<tr><td class="tdl">Hints for a New Capital,</td><td class="tdr"><a href="#CAP">114</a></td></tr> -<tr><td class="tdl">Round and Square Heads,</td><td class="tdr"><a href="#HEA">114</a></td></tr> -<tr><td class="tdl"><span class="pad5">Do.</span><span class="pad5 fvnormal">(described),</span></td><td class="tdr"><a href="#Page_116">116</a></td></tr> -<tr><td class="tdl">Hercules, Henry viii., and a French Dancing-Master,</td><td class="tdr"><a href="#HER">114</a></td></tr> -<tr><td class="tdl"><span class="pad8">Do.</span><span class="pad8 fvnormal">(described),</span></td><td class="tdr"><a href="#Page_119">119</a></td></tr> -<tr><td class="tdl">Charles i., Henrietta Maria, Italian Jupiter, etc.,</td><td class="tdr"><a href="#CHA">124</a></td></tr> -<tr><td class="tdl"><span class="pagenum fvnormal"><a name="Page_vi" id="Page_vi">[vi]</a></span> - The Dance,</td><td class="tdr"><a href="#DAN">124</a></td></tr> -<tr><td class="tdl">Frontispiece to the Perspective of Architecture,</td><td class="tdr"><a href="#FPP">132</a></td></tr> -<tr><td class="tdl">Taste in High Life,</td><td class="tdr"><a href="#TAS">180</a></td></tr> -<tr><td class="tdl">Farinelli, Cuzzoni, and Senesino,</td><td class="tdr"><a href="#FAR">184</a></td></tr> -<tr><td class="tdl">A Woman swearing her Child to a grave Citizen,</td><td class="tdr"><a href="#WOM">188</a></td></tr> -<tr><td class="tdl">The Foundlings,</td><td class="tdr"><a href="#FOU">192</a></td></tr> -<tr><td class="tdl">Captain Thomas Coram,</td><td class="tdr"><a href="#COR">192</a></td></tr> -<tr><td class="tdl">Frontispiece to Terræ Filius,</td><td class="tdr"><a href="#FPT">194</a></td></tr> -<tr><td class="tdl">The Sepulchre,</td><td class="tdr"><a href="#SEP">194</a></td></tr> -<tr><td class="tdl">The Politician,</td><td class="tdr"><a href="#POL">198</a></td></tr> -<tr><td class="tdl">The Matchmaker,</td><td class="tdr"><a href="#MAT">200</a></td></tr> -<tr><td class="tdl">The Man of Taste,</td><td class="tdr"><a href="#MAN">202</a></td></tr> -<tr><td class="tdl">Henry Fielding,</td><td class="tdr"><a href="#FIE">206</a></td></tr> -<tr><td class="tdl">Simon Lord Lovat,</td><td class="tdr"><a href="#LOV">210</a></td></tr> -<tr><td class="tdl">Nine Plates for Don Quixote:</td></tr> -<tr><td class="tdl pad4">Plate I. The First Sally in Quest of Adventure,</td><td class="tdr"><a href="#DQ_I">220</a></td></tr> -<tr><td class="tdl pad4">Plate II. The Innkeeper,</td><td class="tdr"><a href="#DQ_II">220</a></td></tr> -<tr><td class="tdl pad4">Plate III. The Funeral of Chrysostom,</td><td class="tdr"><a href="#DQ_III">222</a></td></tr> -<tr><td class="tdl pad4">Plate IV. The Innkeeper's Wife and Daughter administering - Chirurgical Assistance to the poor Knight of La Mancha,</td><td class="tdr"><a href="#DQ_IV">222</a></td></tr> -<tr><td class="tdl pad4">Plate V. Don Quixote seizes the Barber's Basin for Mambrino's Helmet,</td><td class="tdr"><a href="#DQ_V">224</a></td></tr> -<tr><td class="tdl pad4">Plate VI. Don Quixote releases the Galley Slaves,</td><td class="tdr"><a href="#DQ_VI">224</a></td></tr> -<tr><td class="tdl pad4">Plate VII. First Interview of Don Quixote with the Knight of the Rock,</td><td class="tdr"><a href="#DQ_VII">226</a></td></tr> -<tr><td class="tdl pad4">Plate VIII. The Curate and Barber disguising themselves to convey Don Quixote home,</td><td class="tdr"><a href="#DQ_VIII">226</a></td></tr> -<tr><td class="tdl pad4">Plate IX. Sancho's Feast,</td><td class="tdr"><a href="#DQ_IX">228</a></td></tr> -<tr><td class="tdl"><span class="pagenum fvnormal"><a name="Page_vii" id="Page_vii">[vii]</a></span> - Heidegger in a Rage,</td><td class="tdr"><a href="#HEI">230</a></td></tr> -<tr><td class="tdl">Large Masquerade Ticket,</td><td class="tdr"><a href="#MAS">230</a></td></tr> -<tr><td class="tdl">The South Sea Bubble,</td><td class="tdr"><a href="#SOU">238</a></td></tr> -<tr><td class="tdl">The Lottery,</td><td class="tdr"><a href="#LOT">238</a></td></tr> -<tr><td class="tdl">Masquerades and Operas—Burlington Gate,</td><td class="tdr"><a href="#BUR">238</a></td></tr> -<tr><td class="tdl">Beggars' Opera Burlesqued,</td><td class="tdr"><a href="#BEG">242</a></td></tr> -<tr><td class="tdl">Twelve Plates of Butler's Hudibras,</td><td class="tdr"><a href="#HUD">242</a></td></tr> -<tr><td class="tdl">Just View of the British Stage,</td><td class="tdr"><a href="#JUS">246</a></td></tr> -<tr><td class="tdl">Examination of Bambridge,</td><td class="tdr"><a href="#BAM">246</a></td></tr> -<tr><td class="tdl">Henry viii. and Anna Bulleyn,</td><td class="tdr"><a href="#HEN">248</a></td></tr> -<tr><td class="tdl">Crowns, Mitres, Maces, etc.,</td><td class="tdr"><a href="#CRO">246</a></td></tr> -<tr><td class="tdl"><span class="pad4">Do.</span><span class="pad4 fvnormal">(described),</span></td><td class="tdr"><a href="#CRO">249</a></td></tr> -<tr><td class="tdl">The Royal Masquerade,</td><td class="tdr"><a href="#ROY">252</a></td></tr> -<tr><td class="tdl">Rich's Triumphant Entry,</td><td class="tdr"><a href="#RIC">254</a></td></tr> -<tr><td class="tdl">Mr. Ranby's House at Chiswick,</td><td class="tdr"><a href="#RAN">254</a></td></tr> -<tr><td class="tdl"><span class="pad4">Do.</span><span class="pad4 fvnormal">(described),</span></td><td class="tdr"><a href="#Page_262">262</a></td></tr> -<tr><td class="tdl">Hymen and Cupid,</td><td class="tdr"><a href="#HYM">254</a></td></tr> -<tr><td class="tdl"><span class="pad2">Do.</span><span class="pad2 fvnormal">(described),</span></td><td class="tdr"><a href="#Page_263">263</a></td></tr> -<tr><td class="tdl">The Pool of Bethesda,</td><td class="tdr"><a href="#POO">256</a></td></tr> -<tr><td class="tdl">The Good Samaritan,</td><td class="tdr"><a href="#GOO">256</a></td></tr> -<tr><td class="tdl"><ins class="corr" title="Transcriber's Note—Original text: 'Martin Foulkes, Esq.'">Martin Folkes, Esq.</ins>,</td><td class="tdr"><a href="#FOL">260</a></td></tr> -<tr><td class="tdl">Bishop Hoadley,</td><td class="tdr"><a href="#HOA">262</a></td></tr> -<tr><td class="tdl">False Perspective,</td><td class="tdr"><a href="#FAL">264</a></td></tr> -<tr><td class="tdl">Inhabitants of the Moon,</td><td class="tdr"><a href="#INH">264</a></td></tr> -<tr><td class="tdl">Receipt for Print of March to Finchley,</td><td class="tdr"><a href="#REC">264</a></td></tr> -<tr><td class="tdl">The Farmer's Return,</td><td class="tdr"><a href="#RET">266</a></td></tr> -<tr><td class="tdl"><span class="pagenum fvnormal"><a name="Page_viii" id="Page_viii">[viii]</a></span> - Gravity,</td><td class="tdr"><a href="#GRA">266</a></td></tr> -<tr><td class="tdl">Frontispieces to Tristram Shandy,</td><td class="tdr"><a href="#FPS">266</a></td></tr> -<tr><td class="tdl">Four Heads from the Cartoons,</td><td class="tdr"><a href="#RAF">268</a></td></tr> -<tr><td class="tdl">The Shrimp-Girl,</td><td class="tdr"><a href="#SHR">268</a></td></tr> -<tr><td class="tdl">Lord Holland,</td><td class="tdr"><a href="#FOX">268</a></td></tr> -<tr><td class="tdl">Earl of Charlemont,</td><td class="tdr"><a href="#CAU">268</a></td></tr> -<tr><td class="tdl">The House of Commons,</td><td class="tdr"><a href="#HOU">270</a></td></tr> -<tr><td class="tdl">Debates on Palmistry,</td><td class="tdr"><a href="#DEB">270</a></td></tr> -<tr><td class="tdl">The Staymaker,</td><td class="tdr"><a href="#STA">270</a></td></tr> -<tr><td class="tdl">Charity in the Cellar,</td><td class="tdr"><a href="#CEL">270</a></td></tr> -<tr><td class="tdl">Six Tickets,</td><td class="tdr"><a href="#SIX">272</a></td></tr> -</table></div> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_viii.jpg" width="100" alt="(end of section floral icon)" /> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span></p> -<p class="p4" /> - -<h2 class="xl">ADVERTISEMENT.</h2> - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<div> -<img class="drop-cap" src="images/dc_xi.jpg" alt="" /> -</div> - -<p class="drop-capx">The manuscripts from which the principal -parts of this volume are compiled were -written by the late Mr. Hogarth; had he -lived a little longer, he would have methodized and -published them.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> On his decease, they devolved to -his widow, who kept them sacred and entire<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> until -her death, when they became the property of her -relation and executrix, Mrs. Lewis, of Chiswick, by -whose kindness and friendship they are now in my -possession.</p> - -<p>This is the fair and honest pedigree of the Papers, -which may be thus divided:—</p> - -<p>I. Hogarth's life, comprehending his course of -study, correspondence, political quarrels, etc.</p> - -<p><span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span></p> - -<p>II. A manuscript volume, containing the autographs -of the subscribers to his "Elections," and -intended print of "Sigismunda;" and letters to and -from Lord Grosvenor relative to that picture.</p> - -<p>III. The manuscript of the <cite>Analysis of Beauty</cite>, -corrected by the author, with the original sketches, -and many remarks omitted in the printed copy.</p> - -<p>IV. A supplement to the <cite>Analysis</cite>, never published; -comprising a succinct history of the arts in -his own time, his account of the institution of the -Royal Academy, etc.</p> - -<p>V. Sundry memoranda relative to the subject of -his satire in several of his prints.</p> - -<p>These manuscripts being written in a careless -hand, generally on loose pieces of paper, and not -paged, my first endeavour was to find the connection, -separate the subjects, and place each in its proper -class. This, in such a mass of papers, I found no -very easy task; especially as the author, when dissatisfied -with his first expression, has frequently -varied the form of the same sentence two or three -times: in such instances I have selected that which -I thought best constructed. Every paper has been -attentively examined, and is to the best of my -judgment arranged as the author intended. I have -incorporated Hogarth's account of the Arts, Academy, -etc., with his narrative of his own life; and to keep -distinct the various subjects on which he treats,<span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span> -divided the whole into chapters. Where from negligence -or haste he has omitted a word, I have supplied -it with that which the context leads me to believe he -would have used. Where the sentences have been -very long, I have occasionally broken them into -shorter paragraphs, and sometimes tried to render -the style more perspicuous, by the retrenchment of -redundant expressions; but in every case the sense -of the author is faithfully adhered to.</p> - -<p>As he has usually given the progress of his life, -opinions, etc. in the first person, I have adopted the -same rule; and to distinguish my own remarks from -Hogarth's narrative, the beginning of each sentence -written by him is marked with inverted commas. -His correspondence is regulated by the dates of the -letters; and the copies from sketches in the <span class="fs80">MS.</span> -<cite>Analysis</cite> are placed in the chapter which contains -Hogarth's account of that publication.</p> - -<p>In the papers which relate to the subject of his -satire in some of his prints, he appears to have projected -more than his life allowed him to perform; -the few remarks which he made are inserted in the -Appendix.</p> - -<p>Prints are in general designed to illustrate books, -but the Editor's part of this volume is written to -illustrate Prints. He is apprehensive that the whole -will stand in need of much indulgence, but certain -that the errors, whatever they may be, do not<span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span> -originate in a want of diligence. To his thanks for -the flattering reception of the first Edition, and rapid -sale of the first and second Editions of the two -preceding volumes, he has only to add his reasons -for bringing forward this third. When they were -published, he had neither seen the <span class="fs80">MSS.</span>, nor ever -heard that Hogarth had written anything for the -press, except the <cite>Analysis of Beauty</cite>. When he -some time after obtained the papers, he considered -them as a very valuable acquisition, and was vain -enough to think that by arranging them he could -compile a volume which would gratify the admirers -of Hogarth; and in the hope that the life, opinions, -criticisms, and correspondence of this great and -original genius will excite and gratify curiosity, he -respectfully submits the following pages to the -candour and indulgence of the public.</p> - -<p class="right">J. I.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_xii.jpg" width="100" alt="(end of section floral icon)" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> - -<h2 class="lsp">HOGARTH.</h2> - - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<h3>INTRODUCTION.</h3> - -<div> -<img class="drop-cap" src="images/dc_001.jpg" alt="" /> -</div> - -<p class="drop-capy">Mr. Walpole (in p. 160 of his <cite>Anecdotes</cite>) -gravely declares that Hogarth had but -slender merit as a painter, and in colouring -proved no greater a master. By the six pictures -of "Marriage à la Mode," both these declarations are -answered and refuted.</p> - -<p>Mr. Nichols (in p. 449 of his <cite>Anecdotes</cite>), at the -same time that he kindly acknowledges "Hogarth's -hand was faithful to character," roundly asserts that -as an engraver his merits are inconsiderable; that he -wants clearness; that his strokes sometimes look as -if fortuitously disposed, and sometimes thwart each -other in almost every possible direction. He adds, -"that what the artist wanted in skill, he strove to -make up in labour; but the result of it was a universal -haze and indistinctness, that, by excluding -force and transparency, rendered several of his larger -plates less captivating than they would have been -had he entrusted the sole execution of them to either<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span> -Ravenet or Sullivan." This is very severe; but is it -true? If the "Harlot's" and "Rake's Progress," -the "Enraged Musician," "Strolling Actresses," -"Medley," and many other prints produced by his -own graver, are attentively examined, I think the -strokes will not be found to be fortuitously disposed: -every touch tells, and gives that expression which the -artist intended. As to his striving to make up for -his want of skill by labour, I believe him to have -been a prodigy of industry, but do not discover the -result that is suggested by Mr. Nichols. We may -possibly annex different ideas to the words. Johnson -describes a universal <em>haze</em> as a fog, a mist; and <em>indistinctness</em> -he defines to be confusion, uncertainty, -obscurity,—faults which were never attributed to -William Hogarth. Neither have I before heard it -said that his prints want force: energy is in general -their leading characteristic. As to transparency, if -Mr. Nichols means that they have not that gauzy, -glittering tone which marks many of our modern -productions, I humbly conceive the artist did not -desire such distinction; neither did he wish his works -to be classed with such <em>pretty performances</em>: he was -superior to the tricks of art, rejected all unnecessary -flourish, and aimed at convincing the mind rather -than dazzling the eye.</p> - -<p>The two most difficult things in painting are -character and drawing; and they are least under<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>stood -by the crowd, who are invariably attracted by -colour and glare. But for my own part, so far am I -from thinking his style unsuitable to his subject, that -I cannot conceive any manner in which his prints -could be engraved that would be equal to his own. -I prefer it to the most laboured copies of those -miniature masters who, by fine finishing, fritter away -all force.</p> - -<p>Thus much may suffice for Mr. Nichols, from -whom I am sorry to differ, as I owe him thanks for -much useful information; but with the next critic -upon the list it is dangerous to disagree.</p> - -<p>For the talents of Mr. James Barry, Professor of -Painting to the Royal Academy, I have the highest -respect; his pictures in the Adelphi are an honour -to the artist, and to the nation. In the sixth, -representing the state of final retribution, he gives -Hogarth a seat in Elysium; but in p. 162 of his -description of the picture, etc. (published for Cadell), -he has drawn this great artist in so motley a garb as -leaves the reader in some doubt whether censure or -praise predominates, and confers on poor Hogarth a -sort of degrading immortality.</p> - -<p>The Professor begins by admitting that "Hogarth's -merit entitles him to an honourable place amongst -the artists in Elysium, and that his little compositions -'tell' their own story with more facility than -is often found in the elevated and more noble inven<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>tions -of Raphael;" yet adds, "it must be honestly -confessed that in what is called knowledge of the -figure, foreigners have justly observed Hogarth is -often so raw and unformed as hardly to deserve the -name of an artist." Though he is often thus raw -and unformed, yet Mr. Barry acknowledges that -"this capital defect is not often perceivable, as -examples of the naked and of elevated nature but -rarely occur in his subjects, which are for the most -part filled with characters that in their nature tend -to deformity." Sometimes, I admit; but surely not -for the most part. "Besides, his figures are small, -and the junctures and other difficulties of drawing -that might occur in their limbs are artfully concealed -with their clothes, rags, etc." Mr. Barry surely does -not mean that Hogarth needed any artifice to conceal -an ignorance of anatomy, because Mr. Barry knows -that many of his works prove a perfect knowledge -of the figure. The Professor thus continues:—</p> - -<p>"What would atone for all his defects, even if they -were twice told, is his admirable fund of invention, -ever inexhaustible in its resources; and his satire, -which is always sharp and pertinent, and often highly -moral, was (except in a few instances, where he -weakly and meanly suffered his integrity to give -way to his envy) seldom or never employed in a -dishonest or unmanly way." A few instances! I do -not believe it possible to point out one. Seldom or<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> -never! Why is the Professor so parsimonious in his -praise? He might safely have said never. It has -been the fashion to call Hogarth an envious man; -I cannot conjecture why. The critic surely does not -mean to insinuate that there was any violation of -integrity in Hogarth's retaliating the pictured shapes -upon Wilkes and Churchill, or that he envied the -character of the late worthy Chamberlain of the city -of London!</p> - -<p>Mr. Barry goes on: "Few have attempted to rival -him in his moral walk. The line of art pursued by -my very ingenious predecessor and brother Academician, -Mr. Penny, is quite distinct from that of -Hogarth, and is of a much more delicate and -superior relish; he attempts the heart, and reaches -it, whilst Hogarth's general aim is only to shake -the sides." Whoever will turn over a portfolio of -Hogarth's prints, will find that his satire had sometimes -a higher aim. "In other respects no comparison -can be thought of,"—in good truth, it cannot,—"as -Mr. Penny has all that knowledge of the figure and -academical skill which the other wanted." Can Mr. -Barry conceive it possible that posterity will think -Mr. Penny's line of art of a superior relish to that of -Hogarth! Mr. Penny's academical skill I do not -contest; but to say that Hogarth wanted all that -knowledge of the figure, etc., is rather too much. I -know that imperfections may be pointed out in some<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> -of his works, but they had their origin in carelessness -rather than ignorance.</p> - -<p>Mr. Barry concludes by remarking, that "perhaps -it may be reasonably doubted whether the being -much conversant with Hogarth's method of exposing -meanness, deformity, and vice, in many of his works, -is not rather a dangerous, or at least a worthless pursuit; -which, if it does not find a false relish, and a -love of, and search after, satire and buffoonery in the -spectator, is at least not unlikely to give him one."</p> - -<p>That the Professor of Painting, after acknowledging -Hogarth's satire was highly moral, should be apprehensive -that contemplating such of his works as expose -meanness, deformity, and vice, is dangerous, I -cannot comprehend!</p> - -<p>Considering their genius, general good tendency, -and boundless variety, it would have been more candid -to have viewed them through the medium of his -beauties, than thus have distorted his faults, and reluctantly -admitted his merits; but to such criticism -his own works supply a short answer.</p> - -<p>An instance of this occurred in 1762, when the -author of the <cite>North Briton</cite>, among some other malign -remarks, inserted the following paragraph:—"I have -for some time observed Hogarth's setting sun: he has -long been very dim, and almost shorn of his beams." -A few weeks after the appearance of this candid -critique, Hogarth published his "Medley," which,<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> -considered in the first and second state, has more -mind, and is marked with deeper satire, than all his -other works!</p> - -<p>By fastidious connoisseurs it has been said that his -scenes are sometimes low and vulgar; but he carried -into every subject the energy of genius, and marked -every countenance with the emotions of the soul. -He had powers more than equal to ascending into a -higher region, though, as he might have lost in utility -what he gained in dignity, this adherence to terrestrial -objects is not much to be regretted. Had he wandered -in heathen mythology, and chosen to people -his canvas with demigods instead of the "Harlot's -Progress," we might have had the "Loves of Venus -and Adonis;" and in the place of the "Stages of -Cruelty," the "Labours of Hercules."</p> - -<p>To enumerate the little critics that stepped forth -with the <em>kind</em> intention of unpluming this "eagle -tow'ring in his pride of place," would be waste of ink; -had they succeeded to their wish, not a feather would -have been left in his wing. As an artist, he might -have soared superior to their efforts; but when he -commenced author, they found him within their reach, -and renewed their attack with redoubled acrimony.</p> - -<p>Mr. Wilkes, in the <cite>North Briton</cite> above quoted, calls -him the supposed author of the <cite>Analysis</cite>. By some -he was said to have borrowed a part of the work, and -by others to have stolen the whole; nay, I have more<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -than once been seriously assured that every line was -written by his friends. To this I can now reply in a -style similar to that of the peripatetic, who, being told -by a philosopher that there was no such thing as -motion, gravely rose from his seat and walked across -the room. I can produce the original manuscript, -with the red chalk corrections by his own hand.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> -This supplement to that work, Hogarth wrote to vindicate -himself from these and similar aspersions. In -explaining his motives, he is led into stating his professional -opinions; and in that part which relates to -the Royal Academy, predicts that, on the plan they -set out, the institution could never be of material use -to the Arts. For one who is neither artist, associate, -nor academician, to assert that Hogarth's prophecy is -fulfilled, might be deemed too assuming. But, with -little more claim to connoisseurship than I derive from -a long and unreserved intimacy with some of the first -painters of this country, I am led to fear that the wish -their late President expressed in his first discourse is -not likely to be speedily realized. He hopes that -"the present age may vie in Arts with that of Leo the -Tenth; and that 'the dignity of the dying Art' (to -make use of an expression of Pliny) may be revived -under the reign of George the Third."</p> -<p><span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span></p> -<p>This discourse was read in 1769; yet (let it not be -told in Gath, nor whispered in the streets of Askelon), -when in 1797 the students of the Royal Academy -produced their drawings for the silver medal, not one -of them was found worthy of the prize; and what -(considering the recent discovery of the Venetian -secret) was still more strange, all the pictures sent by -the candidates for the prize of painting were rejected, -and voted out of the room! This circumstance the -Professor of Painting has recorded in his letter to -the Dilettanti Society, and candidly admits that the -fault does not lie with the students, but is in the -Institution!</p> - -<p>If it should be thought that Hogarth, in the course -of his narration, seems too tremblingly alive, and -sometimes offended where offence was not meant, let -it be recollected that he must have felt superior to -men whom the public preferred. To rank him with -Kent, Jervas, Highmore, Hudson, Hayman, or any of -that school of mannerists who figured in the different -periods of his life, is classing a giant among pigmies. -His works will bear the relative test of times when -the Arts may be higher than they were then or are -now; and I am fully conscious that this Memoir -must derive its principal interest from the celebrity of -the artist, who, like Louis de Camoëns, was a distinguished -actor in the scenes he describes.</p> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span><br /> - <span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span></p> - -<p class="p6" /> -<p class="pfs150">ANECDOTES OF AN ARTIST,</p> - -<p class="p2 pfs100"><em>WHO HELD, AS 'TWERE, THE MIRROR UP TO NATURE</em>.</p> - -<hr class="tb" /> - -<p class="pfs90 lht2">CONTAINING MANY CIRCUMSTANCES RELATIVE TO -HIS LIFE, AND OPINIONS OF THE ARTS, ARTISTS, ETC. OF THE -TIMES IN WHICH HE LIVED; AND SUNDRY MEMORANDA -RELATIVE TO HIS PRINTS.</p> - -<hr class="tb" /> - -<p class="pfs100"><em>Compiled from his Original Manuscripts, in the possession of</em></p> - -<p class="pfs135">JOHN IRELAND.</p> -<p class="p4" /> - - -<hr class="chap pg-brk" /> - -<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span><br /> - <span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p> - - <div class="chapter"></div> -<h3>CHAPTER I.</h3> - -<p class="p2 negin2 fs80 lht">HOGARTH'S OWN ACCOUNT OF HIS BIRTH AND EARLY EDUCATION. -REASONS FOR HIS BEING APPRENTICED TO A SILVER-PLATE -ENGRAVER; WITH WHICH EMPLOYMENT BECOMING DISGUSTED, -HE COMMENCES AN ENGRAVER ON COPPER. METHOD OF STUDY. -THE FATE OF THE FIRST PRINT HE PUBLISHED, ETC.</p> - -<div> -<img class="drop-cap" src="images/dc_013.jpg" alt="" /> -</div> - -<div class="blockquot"> - -<p class="drop-capx">"As many sets of my works have been lately -sent to foreign countries, and others sold -to persons who, from their ignorance of -the particular circumstances at which I aimed, have -mistaken their meaning and tendency, I have been -told that a short account of such parts as are obscure, -or have been most liable to misconstruction, in those -prints that are not noticed in Mr. Rouquet's book,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> -would be highly acceptable.</p> - -<p>"I am further told, that the public have sometimes -expressed a curiosity to know what were the motives -by which the author was induced to make choice of -subjects so different from those of other painters, and -what were his modes of study in a walk which had -not been trode by any other man. These reasons<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -will, I hope, be deemed a sufficient apology for my -attempting the following brief history; in which must -necessarily be introduced my opinion of the present -state of the arts, and conduct of contemporary artists, -and a vindication of myself and my productions -from the aspersions which they have so liberally -bestowed upon each.</p> - -<p>"With respect to my life,—to begin sufficiently -early,—I was born in the city of London, on the -10th day of November 1697, and baptized the 28th -of the same month. My father's pen, like that of -many other authors, did not enable him to do more -than put me in a way of shifting for myself. As I -had naturally a good eye and a fondness for drawing, -shows of all sorts gave me uncommon pleasure when -an infant; and mimicry, common to all children, -was remarkable in me. An early access to a neighbouring -painter drew my attention from play, and I -was at every possible opportunity employed in -making drawings. I picked up an acquaintance of -the same turn, and soon learnt to draw the alphabet -with great correctness. My exercises when at school -were more remarkable for the ornaments which -adorned them, than for the exercise itself.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> In the -former I soon found that blockheads with better<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -memories could much surpass me, but for the latter -I was particularly distinguished.</p> - -<p>"Besides the natural turn I had for drawing rather -than learning languages, I had before my eyes the -precarious situation of men of classical education. I -saw the difficulties under which my father laboured, -and the many inconveniences he endured from his -dependence being chiefly on his pen, and the cruel -treatment he met with from booksellers and printers, -particularly in the affair of a <em>Latin Dictionary</em>,<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> the -compiling of which had been a work of some years. -It was deposited in confidence in the hands of a -certain printer; and during the time it was left, -letters of approbation were received from the greatest -scholars in England, Scotland, and Ireland. But -these flattering testimonies from his acquaintance<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -(who, as appears from their letters which I have still -by me, were of the first class) produced no profit to -the author.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> It was therefore very conformable to my -own wishes that I was taken from school and served -a long apprenticeship to a silver-plate engraver.</p> - -<p>"I soon found this business in every respect too -limited. The paintings of St. Paul's Cathedral and -Greenwich Hospital,<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> which were at that time going -on, ran in my head, and I determined that silver-plate -engraving should be followed no longer than -necessity obliged me to it. Engraving on copper -was, at twenty years of age, my utmost ambition. -To attain this it was necessary that I should learn -to draw objects something like nature instead of the -monsters of heraldry; and the common methods of -study were much too tedious for one who loved his -pleasure and came so late to it, for the time necessary -to learn in the usual mode would leave me none to -spare for the ordinary enjoyments of life. This led -me to considering whether a shorter road than that -usually travelled was not to be found. The early -part of my life had been employed in a business -rather detrimental than advantageous to those -branches of the art which I wished to pursue, and -<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>have since professed. I had learned by practice to -copy with tolerable exactness in the usual way, but -it occurred to me that there were many disadvantages -attending this method of study, as having -faulty originals, etc.; and even when the pictures or -prints to be imitated were by the best masters, it -was little more than pouring water out of one vessel -into another. Drawing in an academy, though it -should be after the life, will not make the student -an artist; for as the eye is often taken from the -original to draw a bit at a time, it is possible he -may know no more of what he has been copying -when his work is finished than he did before it was -begun.</p> - -<p>"There may be, and I believe are, some who, like -the engrossers of deeds, copy every line without -remembering a word; and if the deed should be in -law Latin or old French, probably without understanding -a word of their original,—happy is it for -them, for to retain would be indeed dreadful.</p> - -<p>"A dull transcriber who, in copying Milton's -<cite>Paradise Lost</cite>, hath not omitted a line, has almost -as much right to be compared to Milton as an exact -copier of a fine picture by Rubens hath to be compared -to Rubens. In both cases the hand is employed -about minute parts, but the mind scarcely -ever embraces the whole. Besides this, there is an -essential difference between the man who transcribes<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -the deed and he who copies the figure; for though -what is written may be line for line the same with -the original, it is not probable that this will often be -the case with the copied figure: frequently far from -it. Yet the performer will be much more likely to -retain a recollection of his own imperfect work than -of the original from which he took it.</p> - -<p>"More reasons, not necessary to enumerate, struck -me as strong objections to this practice, and led me -to wish that I could find the shorter path; fix forms -and characters in my mind, and, instead of copying -the lines, try to read the language, and, if possible, -find the grammar of the art, by bringing into one -focus the various observations I had made, and then -trying by my power on the canvas how far my plan -enabled me to combine and apply them to practice.</p> - -<p>"For this purpose I considered what various ways, -and to what different purposes, the memory might be -applied, and fell upon one which I found most suitable -to my situation and idle disposition.</p> - -<p>"Laying it down first as an axiom, that he who -could by any means acquire and retain in his memory -perfect ideas of the subjects he meant to draw, would -have as clear a knowledge of the figure as a man -who can write freely hath of the twenty-four letters -of the alphabet and their infinite combinations (each -of these being composed of lines), and would consequently -be an accurate designer.</p> - -<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span></p> - -<p>"This I thought my only chance for eminence, as -I found that the beauty and delicacy of the stroke in -engraving was not to be learnt without much practice, -and demanded a larger portion of patience than -I felt myself disposed to exercise. Added to this, I -saw little probability of acquiring the full command -of the graver in a sufficient degree to distinguish -myself in that walk; nor was I, at twenty years of -age, much disposed to enter on so barren and unprofitable -a study as that of merely making fine -lines. I thought it still more unlikely, that by pursuing -the common method and copying old drawings, -I could ever attain the power of making new designs, -which was my first and greatest ambition. I therefore -endeavoured to habituate myself to the exercise -of a sort of technical memory; and by repeating in -my own mind the parts of which objects were composed, -I could by degrees combine and put them -down with my pencil. Thus, with all the drawbacks -which resulted from the circumstances I have mentioned, -I had one material advantage over my competitors, -viz. the early habit I thus acquired of -retaining in my mind's eye, without coldly copying -it on the spot, whatever I intended to imitate.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a><span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -Sometimes, but too seldom, I took the life for -correcting the parts I had not perfectly enough -remembered, and then I transferred them to my -compositions.</p> - -<p>"My pleasures and my studies thus going hand -in hand, the most striking objects that presented -themselves, either comic or tragic, made the strongest -impression on my mind; but had not I sedulously -practised what I had thus acquired, I should very -soon have lost the power of performing it.</p> - -<p>"Instead of burdening the memory with musty -rules, or tiring the eyes with copying dry and -damaged pictures, I have ever found studying from -nature the shortest and safest way of attaining knowledge -in my art.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> By adopting this method I found -a redundancy of matter continually occurring. A -choice of composition was the next thing to be considered, -and my constitutional idleness<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> naturally -led me to the use of such materials as I had previously -collected; and to this I was further induced -<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>by thinking that, if properly combined, they might -be made the most useful to society, in painting, -although similar subjects had often failed in writing -and preaching.</p> - -<p>"To return to my narrative: the instant I became -master of my own time, I determined to qualify -myself for engraving on copper. In this I readily -got employment; and frontispieces to books, such as -prints to <cite>Hudibras</cite>, in twelves, etc., soon brought me -into the way. But the tribe of booksellers remained -as my father had left them when he died about five -years before this time,<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> which was of an illness occasioned -partly by the treatment he met with from this -set of people, and partly by disappointment from -great men's promises; so that I doubly felt this -usage, which put me upon publishing on my own -account. But here again I had to encounter a monopoly -of printsellers equally mean and destructive to -the ingenious; for the first plate I published, called -the 'Taste of the Town,' in which the reigning -follies were lashed, had no sooner begun to take a<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -run, than I found copies of it in the print-shops, -vending at half price, while the original prints were -returned to me again; and I was thus obliged to -sell the plate for whatever these pirates pleased to -give me, as there was no place of sale but at their -shops.</p> - -<p>"Owing to this and other circumstances, by engraving, -until I was near thirty, I could do little -more than maintain myself; but even then I was a -punctual paymaster."</p></div> - -<p>The print here alluded to, I apprehend to be that -now entitled the "Small Masquerade Ticket," or -"Burlington Gate," published in 1724, in which the -follies of the town are very severely satirized by -the representation of multitudes, properly habited, -crowding to the masquerade,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> opera, pantomime -of <cite>Doctor Faustus</cite>, etc., while the works of our -greatest dramatic writers are trundled through the -streets in a wheel-barrow, and cried as waste paper -for shops.</p> -<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> -<p>As a further illustration of the taste of the times, -the artist has given a view of Burlington Gate, with -a figure, I believe, intended to represent the then -fashionable artist, William Kent, on the summit, -brandishing his palette and pencils, and placed in a -more elevated situation than either Michael Angelo -or Raphael, who, seated beneath, become the two -supporters to this favourite of Lord Burlington.</p> - -<p>To this popular artist, architect, and improver of -gardens, Hogarth seems to have had an early dislike, -founded in some degree on his being, as he really -was, a most contemptible painter; and probably -heightened by his ranking higher, with those who led -the fashion of the day, than that very superior artist, -Sir James Thornhill.</p> - -<p>Hogarth the year following published his</p> - -<p class="p2" /> -<h4>COPY OF KENT'S ALTAR-PIECE,<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></h4> - -<div class="figcenter"> -<a name="KEN" id="KEN"></a> -<img src="images/i_024_fp.jpg" width="450" alt="" /> -<div class="caption"> -KENT'S ALTAR-PIECE</div> -</div> - -<p class="noindent">which, combined with the inscription engraved beneath, -is a very bitter satire on the painter; though -it must be acknowledged that the original, which -has been for many years in the vestry-room of -St. Clement Danes, amply justifies the ridicule.</p> -<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p> -<p>This picture produced a small tract, with the -following title:—</p> - -<p>"A letter from a parishioner of St. Clement -Danes, to Edmund (Gibson), Lord Bishop of London, -occasioned by his Lordship's causing the picture over -the altar to be taken down, with some observations -on the use and abuse of church paintings in general, -and of that picture in particular."</p> - -<p>In this tract, after some compliments to the prelate, -the writer works himself into a violent rage at -the introduction of this piece of popish foppery, and -asks some questions which in a degree elucidate part -of the inscription under Hogarth's copy:—</p> - -<p>"To what end or purpose was it put there, but to -affront our most gracious sovereign, by placing at our -very altar the known resemblance of a person who -is the wife of his utter enemy, and pensioner to the -whore of Babylon?</p> - -<p>"When I say the known resemblance, I speak not -only according to my own knowledge, but appeal to -all mankind who have seen the Princess Sobieski, or -any picture or resemblance of her, if the picture of -that angel in the white garment and blue mantle, -which is there supposed to be beating time to the -music, is not directly a great likeness of that princess.</p> - -<p>"Whether it was done by chance or on purpose, I -shall not determine; but be it which it will, it has -given great offence, and your Lordship has acted -<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>the part of a wise and good prelate to order its -removal."</p> - -<p>It was probably during the time of Hogarth's -apprenticeship that he engraved the annexed print, -entitled</p> - - -<p class="p2" /> -<h4>THE RAPE OF THE LOCK.</h4> - -<div class="figcenter"> -<a name="RAP" id="RAP"></a> -<img src="images/i_026_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE RAPE OF THE LOCK.</div> -</div> - -<p>I by no means think, as Mr. Nichols asserts, that -this is one of the poorest of Hogarth's performances; -for though slight, and not intended to be impressed -on paper, the air of the figures is easy, and the faces, -especially those of Sir Plume and the heroine of the -story, extremely characteristic. It is said to have -been engraven on the lid of a snuff-box for some -gentleman characterized in Pope's admirable mock-heroic -poem, probably Lord Petre, who is here -represented as holding the lock of hair in his left -hand. Sir Plume,—the round-faced and insignificant -Sir Plume,—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"Of amber snuff-box justly vain,</p> -<p class="verse">And the nice conduct of a clouded cane;"</p> -</div></div> - -<p class="noindent">for Sir George Brown, who was the only one of the -party that took the thing serious. He was angry -that the poet should make him talk nothing but -nonsense; and, in truth (as Mr. Warburton adds), -one could not well blame him.</p> - -<p>As this little story was intended to be viewed on<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -gold, the figures in the copy are not reversed, but -left as they were originally engraven on the box; -from which I believe there are only three impressions -extant, one of which was sold by Greenwood at -Mr. Gulston's sale, on the 7th of February 1786, for -£33.</p> - -<p>The following account of the persons for whom -Hogarth painted several of his early pictures is -copied from his own handwriting, and may sometimes -be useful in tracing the pedigree of a portrait.</p> - -<p>By this list, it appears that the two pictures of -"Before and After" were painted for a Mr. Thomson; -but as it is not probable that Hogarth delineated this -subject twice, I think that these two pictures were -the property of the late Lord Besborough. They -were sold on his Lordship's demise, in February 1801, -at Christie's rooms.</p> - - -<div class="blockquot"> - -<p class="center">"<em>Account taken, January 1, 1731, of all the pictures -that remain unfinished.—Half payment received.</em></p> - -<p class="negin2">A family piece, consisting of four figures, for Mr. Rich, 1728.</p> -<p class="negin2">An assembly of twenty-five figures, for Lord Castlemain, August 28, 1729.</p> -<p class="negin2">Family of four figures; Mr. Wood, 1728.</p> -<p class="negin2">A conversation of six figures; Mr. Cock, Nov. 1728.</p> -<p class="negin2">A family of five figures; Mr. Jones, March 1730.</p> -<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -<p class="negin2">The Committee of the House of Commons, for Sir Archibald Grant, Nov. 5, 1729.</p> -<p class="negin2">The Beggar's Opera; ditto.</p> -<p class="negin2">Single figure; Mr. Kirkham, April 18, 1730.</p> -<p class="negin2">Family of nine; Mr. Vernon, Feb. 27, 1730.</p> -<p class="negin2">Another of two; Mr. Cooper.</p> -<p class="negin2">Another of five; Duke of Montague.</p> -<p class="negin2">Two little pictures; ditto.</p> -<p class="negin2">Single figure; Sir Robert Pye, Nov. 18, 1730.</p> -<p class="negin2">Two little pictures, called "Before and After," for Mr. Thomson, Dec. 7, 1730.</p> -<p class="negin2">A head, for Mr. Sarmond, Jan. 12, 1730-31.</p> -<p class="negin2">Pictures bespoke for the present year 1731."</p> -</div> - -<p>With this his memorandum ends; and I regret -that he has not recorded the prices he received for -the pictures. Mr. Nichols conjectures that they -were originally very low; he is most probably right -with respect to those that were painted in the early -part of Hogarth's life. But let it be recollected that -for the portrait of Garrick in Richard <span class="fs80">III.</span> he received -two hundred pounds, which, as the artist himself -remarks, was a more liberal remuneration than had -been paid to any contemporary painter. When my -late friend Mr. Gainsborough began to paint portraits -at Bath (at a period when much higher prices -were paid), his general rule was five guineas for a -three-quarters portrait.</p> - -<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p> - -<p>Below is inserted a copy from one of Hogarth's -early engravings, the arms of the Duchess of Kendal, -mistress to George <span class="fs80">I.</span>, probably done on a piece of -plate at the time he was Gamble's apprentice. The -original, of the same size, is in the Editor's possession. -It is drawn in a correct and spirited style; and considering -the age of the artist, and the purpose for -which it was engraven, not demanding much attention -or exertion, gave some promise of the excellence -which he afterwards attained.</p> - -<p>In this point of view, to an admirer of Hogarth it -becomes in some degree interesting, which will, I -hope, plead my apology for the insertion of this -solitary specimen of his boyish heraldry. On no -other ground should so insignificant a production as -a coat of arms have found a place in this volume.</p> - -<div class="figcenter"> -<a name="ARM" id="ARM"></a> -<img src="images/i_028.jpg" width="250" alt="" /> -<div class="caption"> -THE KENDAL ARMS.</div> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p> - - <div class="chapter"></div> -<h3>CHAPTER II.</h3> - -<p class="p2 negin2 fs80 lht">MARRIES. PAINTS SMALL CONVERSATIONS, WHICH SUBJECTS HE -QUITS FOR FAMILIAR PRINTS. ATTEMPTS HISTORY; BUT FINDING -IT IS NOT ENCOURAGED IN ENGLAND, RETURNS TO -ENGRAVING FROM HIS OWN DESIGNS. OCCASIONALLY TAKES -PORTRAITS LARGE AS LIFE, FOR WHICH HE INCURS MUCH -ABUSE. TO PROVE HIS POWERS AND VINDICATE HIS FAME, -PAINTS THE ADMIRABLE PORTRAIT OF CAPTAIN CORAM, AND -PRESENTS IT TO THE FOUNDLING HOSPITAL.</p> - -<div> -<img class="drop-cap" src="images/dc_029.jpg" alt="" /> -</div> - -<div class="blockquot"> - -<p class="drop-capx">"I then married, and commenced painter of -small conversation pieces, from twelve to -fifteen inches high. This having novelty, -succeeded for a few years. But though it gave -somewhat more scope to the fancy, was still but a -less kind of drudgery; and as I could not bring -myself to act like some of my brethren, and make it -a sort of a manufactory to be carried on by the help -of background and drapery painters, it was not -sufficiently profitable to pay the expenses my family -required. I therefore turned my thoughts to a still -more novel mode, viz. painting and engraving modern -moral subjects, a field not broken up in any country -or any age.</p> - -<p>"The reasons which induced me to adopt this mode<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> -of designing were, that I thought both writers and -painters had, in the historical style, totally overlooked -that intermediate species of subjects which may be -placed between the sublime and grotesque; I therefore -wished to compose pictures on canvas, similar to -representations on the stage, and further hope that -they will be tried by the same test, and criticised by -the same criterion. Let it be observed, that I mean -to speak only of those scenes where the human species -are actors, and these I think have not often been -delineated in a way of which they are worthy and -capable.</p> - -<p>"In these compositions, those subjects that will -both entertain and improve the mind bid fair to be -of the greatest public utility, and must therefore be -entitled to rank in the highest class. If the execution -is difficult (though that is but a secondary merit), the -author has a claim to a higher degree of praise. If this -be admitted, comedy in painting as well as writing -ought to be allotted the first place, as most capable -of all these perfections, though the sublime, as it is -called, has been opposed to it. Ocular demonstration -will carry more conviction to the mind of a sensible -man, than all he would find in a thousand volumes; -and this has been attempted in the prints I have composed. -Let the decision be left to every unprejudiced -eye; let the figures in either pictures or prints be -considered as players dressed either for the sublime,—for<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> -genteel comedy,<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> or farce,—for high or low life. I -have endeavoured to treat my subjects as a dramatic -writer: my picture is my stage, and men and women -my players, who by means of certain actions and -gestures are to exhibit a dumb show.</p> - -<p>"Before I had done anything of much consequence -in this walk, I entertained some hopes of succeeding -in what the puffers in books call the great style of -history painting; so that without having had a stroke -of this grand business before, I quitted small portraits -and familiar conversations, and with a smile at my -own temerity, commenced history painter, and on a -great staircase at St. Bartholomew's Hospital painted -two Scripture stories (the 'Pool of Bethesda' and -the 'Good Samaritan'), with figures seven feet high. -These I presented to the charity,<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> and thought they -might serve as a specimen to show that were there -an inclination in England for encouraging historical -pictures, such a first essay might prove the painting -them more easily attainable than is generally imagined. -But as religion, the great promoter of this -<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>style in other countries, rejected it in England, I was -unwilling to sink into a portrait manufacturer; and, -still ambitious of being singular, dropped all expectations -of advantage from that source, and returned to -the pursuit of my former dealings with the public at -large. This I found was most likely to answer my -purpose, provided I could strike the passions, and by -small sums from many, by the sale of prints which I -could engrave from my own pictures, thus secure my -property to myself.</p> - -<p>"In pursuing my studies, I made all possible use of -the technical memory which I have before described, -by observing and endeavouring to retain in my mind -lineally such objects as best suited my purpose; so -that be where I would, while my eyes were open, I -was at my studies, and acquiring something useful -to my profession. By this means, whatever I saw, -whether a remarkable incident or a trifling subject, -became more truly a picture than one that was drawn -by a camera-obscura. And thus the most striking -objects, whether of beauty or deformity, were by -habit the most easily impressed and retained in my -imagination. A redundancy of matter being by this -means acquired, it is natural to suppose I introduced -it into my works on every occasion that I could.</p> - -<p>"By this idle way of proceeding I grew so profane -as to admire nature beyond the first productions of -art, and acknowledged I saw, or fancied, delicacies in<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span> -the life so far surpassing the utmost efforts of imitation, -that when I drew the comparison in my mind, -I could not help uttering blasphemous expressions -against the divinity even of Raphael Urbino, Correggio, -and Michael Angelo. For this, though my -brethren have most unmercifully abused me, I hope -to be forgiven. I confess to have frequently said, that -I thought the style of painting which I had adopted, -admitting that <em>my</em> powers were not equal to doing it -justice, might one time or other come into better -hands, and be made more entertaining and more useful -than the eternal blazonry and tedious repetition -of hackneyed, beaten subjects, either from the Scriptures -or the old ridiculous stories of heathen gods; -as neither the religion of one or the other requires -promoting among Protestants, as it formerly did in -Greece, and at a later period in Rome.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p> - -<p>"For these and other heretical opinions, as I have -before observed, I was deemed vain, and accused of -enviously attempting what I was unable to execute.</p> - -<p>"The chief things that have brought much obloquy<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -on me are: First, the attempting portrait-painting; -Secondly, writing the <cite>Analysis of Beauty</cite>; Thirdly, -painting the picture of 'Sigismunda;' and, Fourthly, -publishing the first print of 'The Times.'</p> - -<p>"In the ensuing pages it shall be my endeavour to -vindicate myself from these aspersions, and each of -the subjects taken in the order they occurred shall be -occasionally interspersed with some thoughts by the -way on the state of the arts, institution of a Royal -Academy, Society of Arts, etc., as being remotely, if -not immediately, connected with my own pursuits.</p> - -<p>"Though small whole lengths and prints of familiar -conversations were my principal pursuit, yet by those -who were partial to me I was sometimes employed to -paint portraits as large as life, and for this I was most -barbarously abused. My opponents acknowledged, -that in the particular branches to which I had devoted -my attention I had some little merit; but as neither -history nor portrait were my province, nothing but -what they were pleased to term extreme vanity could -induce me to attempt either one or the other; for it<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> -would be interfering in that branch of which I had -no knowledge, and in which I had therefore no -concern.</p> - -<p>"At this I was rather piqued, and, as well as I -could, defended my conduct and explained my motives. -Some part of this defence it will be necessary -to repeat; and it will also be proper to recollect, -that after having had my plates pirated in almost all -sizes, I, in 1735, applied to Parliament for redress, -and obtained it in so liberal a manner as hath not -only answered my own purpose, but made prints a -considerable article in the commerce of this country; -there being now more business of this kind done here -than in Paris, or anywhere else, and as well.</p> - -<p>"The dealers in pictures and prints found their -craft in danger by what they called a new-fangled -innovation. Their trade of living and getting fortunes -by the ingenuity of the industrious has, I -know, suffered much by my interference; and if the -detection of this band of public cheats and oppressors -of the rising artists be a crime, I confess myself most -guilty.</p> - -<p>"To put this matter in a fair point of view, it will -be necessary to state the situation of the arts and -artists at this period. In doing which, I shall probably -differ from every other author, as I think the -books hitherto written on the subject have had a -tendency to confirm prejudice and error, rather than<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -diffuse information and truth. My notions of painting -differ not only from those who have formed their -opinions from books, but from those who have taken -them upon trust.</p> - -<p>"I am therefore under the necessity of submitting -to the public what may possibly be deemed peculiar -opinions, but without the least hope of bringing over -either men whose interests are concerned, or who -implicitly rely upon the authority of a tribe of picture -dealers and puny judges that delight in the -marvellous, and determine to admire what they do -not understand; but I have hope of succeeding a -little with such as dare to think for themselves, and -can believe their own eyes.</p> - -<p>"As introductory to the subject, let us begin with -considering that branch of the art which is termed -<em>still life</em>—a species of painting which ought to be -held in the lowest estimation.</p> - -<p>"Whatever is or can be perfectly fixed, from the -plainest to the most complicated object, from a bottle -and glass to a statue of the human figure, may be -denominated <em>still life</em>. Ship and landscape painting -ought unquestionably to come into the same class; -for if copied exactly as they chance to appear, the -painters have no occasion of judgment; yet with -those who do not consider the few talents necessary, -even this tribe sometimes pass for very capital -artists.</p> - -<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span></p> - -<p>"'Well painted, and finely pencilled!' are phrases -perpetually repeated by coach and sign painters. -Merely well painted or pencilled is chiefly the effect -of much practice; and we frequently see that those -who are in these particulars very excellent cannot -advance a step further.</p> - -<p>"As to portrait-painting, the chief branch of the -art by which a painter can procure himself a tolerable -livelihood, and the only one by which a lover of -money can get a fortune; a man of very moderate -talents may have great success in it, as the artifice -and address of a mercer is infinitely more useful -than the abilities of a painter. By the manner in -which the present race of professors in England conduct -it, that also becomes <em>still life</em> as much as any -of the preceding. Admitting that the artist has no -further view than merely copying the figure, this -must be admitted to its full extent; for the sitter -ought to be still as a statue, and no one will dispute -a statue being as much <em>still life</em> as fruit, flowers, a -gallipot, or a broken earthen pan. It must, indeed, -be acknowledged they do not seem ashamed of the -title, for their figures are frequently so executed as -to be <em>as still as a post</em>. Posture and drapery, as it -is called, is usually supplied by a journeyman, who -puts a coat, etc. on a wooden figure like a jointed -doll, which they call a layman, and copies it in every -fold as it chances to come; and all this is done at<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -so easy a rate, as enables the principal to get more -money in a week than a man of the first professional -talents can in three months. If they have a sufficient -quantity of silks, satins, and velvets to dress their -layman, they may thus carry on a very profitable -manufactory without a ray of genius. There is a -living instance well known to the connoisseurs in -this town, of one of the best copiers of pictures, -particularly those by Rubens, who is almost an -idiot.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> Mere correctness, therefore, if in still life, -from an apple or a rose, to the face,—nay, even the -whole figure, if you take it merely as it presents -itself,—requires only an exact eye and an adroit hand. -Their pattern is before them, and much practice -with little study is usually sufficient to bring them -into high vogue. By perpetual attention to this -branch only, one should imagine they would attain -a certain stroke—quite the reverse; for though the -whole business lies in an oval of four inches long, -which they have before them, they are obliged to -repeat and alter the eyes, mouth, and nose, three or -four times before they can make it what they think<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -right. The little praise due to their productions -ought, in most cases, to be given to the drapery-man, -whose pay is only one part in ten, while the -other nine, as well as all the reputation, is engrossed -by the master phiz-monger for a proportion which -he may complete in five or six hours; and even this, -little as it is, gives him so much importance in his -own eyes, that he assumes a consequential air, sets -his arms akimbo, and, strutting among the historical -artists, cries, 'How we apples swim!'</p> - -<p>"For men who drudge in this mechanical part -merely for gain, to commence dealers in pictures is -natural. In this, also, great advantage may accrue -from the labour and ingenuity of others. They -stand in the catalogue of painters; and having little -to study in their own way, become great connoisseurs, -not in the points where real perfection lies, for there -they must be deficient, as their ideas have been confined -to the oval; but their great inquiry is, how the -old masters stand in the public estimation, that they -may regulate their prices accordingly, both in buying -and selling. You may know these painter-dealers -by their constant attendance at auctions. They -collect under pretence of a love for the arts, but -sell, knowing the reputation they have stamped on -the commodity they have once purchased, in the -opinion of the ignorant admirer of pictures, drawings, -and prints, which, thus warranted, almost in<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>variably -produce them treble their original purchase -money, and treble their real worth. Unsanctioned -by their authority,<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> and unascertained by tradition, -the best preserved and highest finished picture -(though it should have been painted by Raphael) -will not, at a public auction, produce five shillings; -while a despicable, damaged, and repaired old canvas, -sanctioned by their praise, shall be purchased -at any price, and find a place in the noblest collections. -All this is very well understood by the -dealers, who, on every occasion where their own -interest is concerned, are wondrously loquacious in -adoring the mysterious beauties! spirited touches! -brilliant colours! and the Lord knows what, of these -ancient worn-out wonders! But whoever should dare -to hint that (admitting them to be originally painted -by Raphael) there is little left to admire in them, -would be instantly stigmatized as vilifying the great -masters, and, to invalidate his judgment, accused of -envy and self-conceit. By these misrepresentations, -if he has an independent fortune, he only suffers the -odium; but if a young man, without any other property -than his talents, presumes boldly to give an -opinion, he may be undone by his temerity; for<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -the whole herd will unite and try to hunt him -down.</p> - -<p>"Such is the situation of the arts and artists at -this time. Credulity,—an implicit confidence in the -opinions of others,—and not daring to think for -themselves, leads the whole town into error, and thus -they become the prey of ignorant and designing -knaves.</p> - -<p>"With respect to portrait-painting, whatever -talents a professor may have, if he is not in fashion, -and cannot afford to hire a drapery-man, he will -not do; but if he is in vogue, and can employ a -journeyman and place a layman in the garret of his -manufactory, his fortune is made, and, as his two -coadjutors are kept in the background, his own fame -is established.</p> - -<p>"If a painter comes from abroad, his being an -exotic will be much in his favour; and if he has -address enough to persuade the public that he had -brought a new discovered mode of colouring, and -paints his faces all red, all blue, or all purple, he has -nothing to do but to hire one of these painted tailors -as an assistant, for without him the manufactory -cannot go on, and my life for his success.</p> - -<p>"Vanloo,<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> a French portrait-painter, being told -that the English were to be cajoled by any one who<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -had a sufficient portion of assurance, came to this -country, set his trumpeters to work, and by the -assistance of puffing monopolized all the people of -fashion in the kingdom. Down went at once *,—*,—*,—*,—*,— -etc. etc. etc.,<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> painters who before -his arrival were highly fashionable and eminent, -but by this foreign interloper were driven into the -greatest distress and poverty.</p> - -<p>"By this inundation of folly and fuss, I must -confess I was much disgusted, and determined to -try if by any means I could stem the torrent, and -'by opposing end it.' I laughed at the pretensions -of these quacks in colouring, ridiculed their productions -as feeble and contemptible, and asserted that it -required neither taste nor talents to excel their most<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -popular performances. This interference excited -much enmity, because, as my opponents told me, -my studies were in another way. You talk, added -they, with ineffable contempt of portrait-painting; if -it is so easy a task, why do not you convince the -world by painting a portrait yourself? Provoked at -this language, I one day at the Academy in St. -Martin's Lane put the following question: Supposing -any man at this time were to paint a portrait as well -as Vandyke, would it be seen or acknowledged, and -could the artist enjoy the benefit or acquire the -reputation due to his performance?</p> - -<p>"They asked me in reply if I could paint one as -well? and I frankly answered, 'I believed I could.'<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> -My query as to the credit I should obtain if I did, -was replied to by Mr. Ramsay, and confirmed by the -president and about twenty members present: 'Our -opinions must be consulted, and we will never allow -it.' Piqued at this cavalier treatment, I resolved to -try my own powers; and if I did what I attempted, -determined to affirm that <em>I had done it</em>. In this -decided manner I had a habit of speaking; and if I -only did myself justice, to have adopted half words -would have been affectation. Vanity, as I understand -it, consists in affirming you have done that<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> -which you have not done, not in frankly asserting -what you are convinced is truth.</p> - -<p>"A watchmaker may say, 'The watch which I have -made for you is as good as Quare, or Tompion, or -any other man could have made.' If it really is so, -he is neither called vain nor branded with infamy, -but deemed an honest and fair man for being as good -as his word. Why should not the same privilege be -allowed to a painter? The modern artist, though he -will not warrant his works as the watchmaker, has -the impudence to demand twice as much money for -painting them as was charged by those whom he -acknowledges his superiors in the art.</p> - -<p>"Of the mighty talents said to be requisite for -portrait-painting I had not the most exalted opinion, -and thought that, if I chose to practise in this branch, -I could at least equal my contemporaries, for whose -glittering productions I really had not much reverence. -In answer to this there are who will say with -Peachum in the play, 'All professions be-rogue one -another;' but let it be taken into the account that -men with the same pursuits are naturally rivals, -and when put in competition with each other must -necessarily be so,—what racer ever wished that his -opponent might outrun him? what boxer ever chose -to be beat in pure complaisance to his antagonist? -The artist who pretends to be pleased and gratified -when he sees himself excelled by his competitor<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> -must have lost all reverence for truth, or be totally -dead to that spirit which I believe to be one great -source of excellence in all human attempts; and if -he is so polite and civil as to confess superiority in -one he knows to be his inferior, he must be either a -fool or an hypocrite, perhaps both. If he has temper -enough to be silent, it is surely sufficient; but this -I have seldom seen, even amongst the most complaisant -and liberal of the faculty.</p> - -<p>"Those who will honestly speak their feelings must -confess that all this is natural to man. One of the -highest gratifications of superiority arises from the -pleasure which attends instructing men who do not -know so much as ourselves; but when they verge on -being rivals, the pleasure in a degree ceases. Hence -the story of Rubens advising Vandyke to paint horses -and faces, to prevent, as it is said, his being put in -competition with himself in history-painting. Had -either of these great artists lived in England at this -time, they would have found men of very moderate -parts—mere face painters—who, if they chanced to -be in vogue, might with ease get a thousand a year, -when they with all their talents would scarcely have -found employment.</p> - -<p>"To return to my dispute with Mr. Ramsay on the -abilities necessary for portrait-painting: as I found -the performances of professors in this branch of the -art were held in such estimation, I determined to<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> -have a brush at it. I had occasionally painted -portraits; but as they required constant practice to -take a likeness with facility, and the life must not be -rigidly followed, my portraitures met with a fate -somewhat similar to those of Rembrandt. By some -they were said to be nature itself, by others declared -most execrable; so that time only can decide whether -I was the best or the worst face painter of my day, -for a medium was never so much as suggested.</p> - -<p>"The portrait which I painted with most pleasure, -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.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> To this I refer Mr. <em>Rams-eye</em><a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> and -his quick-sighted and impartial coadjutors."</p></div> - -<p><span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span></p> -<p class="p2" /> -<h4>CAPTAIN THOMAS CORAM</h4> - -<p class="noindent">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,<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> -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 an hundred -pounds a year,<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> 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 late Frederick 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>Hogarth thus resumes his narrative:—</p> -<p><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p> -<div class="blockquot"> - -<p>"For the portrait of Mr. Garrick in Richard <span class="fs80">III.</span> -I was paid two hundred pounds<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> (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 phiz-mongers -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,<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> 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 -<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>in this branch must adopt the mode recommended -in one of Gay's fables, and make divinities of all who -sit to him.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> 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></div> - -<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 an higher honour, from -its being neither lightly nor indiscriminately given.<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -The following letter from the facetious Mr. George -Faulkner notices the estimation in which the author -of <cite>The Battle of the Books</cite> held the painter of "The -Battle of the Pictures:"—</p> - - -<p class="center"><em>To Mr. William Hogarth, at his house in Leicester -Fields, London.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Sir</span>,—I was favoured with a letter from Mr. -Delany, who tells me that you are going to publish -three prints.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> Your reputation here is sufficiently -known to recommend anything of yours, and I shall -be glad to serve you. The duty on prints is ten per -cent. in Ireland. You may send me fifty sets, provided -you will take back what I cannot sell. I desire -no other profit than what you allow in London to -those who sell them again. I have often the favour -of drinking your health with Doctor Swift, who is -a great admirer of yours, and hath made mention of -you in his poems with great honour,<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> and desired me -<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>to thank you for your kind present, and to accept -of his service.—I am, Sir, your most obedient and -most humble servant,</p> - -<p class="right">"<span class="smcap">George Faulkner</span>.</p> - -<p class="small"> -"<span class="smcap">Dublin</span>, <em>Nov. 15, 1740</em>."</p> -</div> - -<p>Hogarth about this time painted the portrait of -Dr. Benjamin Hoadley, Bishop of Winchester, which, -though rather French, is in a grand style. Concerning -it, Dr. John Hoadley wrote the following whimsical -epistle to the artist:—</p> - - -<p class="center"><em>To Mr. Wm. Hogarth.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Dear Billy.</span>—You were so kind as to say you -would touch up the Doctor if I would send it to -town. Lo! it is here. I am at Alresford for a day -or two, to shear my flock and to feed 'em (money, you -know, is the sinews of war); and having this morning -taken down all my pictures, in order to have my -room painted, I thought I might as well pack up -Dr. Benjamin, and send him packing to London. -My love to him, and desire him, when his wife says -he looks charmingly, to drive immediately to Leicester<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> -Fields (Square I mean, I beg your pardon), and -sit an hour or two, or three, in your painting-room. -Do not set it by and forget it now,—don't you. My -humble service waits upon Mrs. Hogarth, and all -good wishes upon your honour; and I am, dear Sir, -your obliged and affectionate</p> - -<p class="right"> -"<span class="smcap">J. Hoadley</span>."</p> -</div> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_053.jpg" width="100" alt="(end of section floral icon)" /> -</div> - - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p> - - <div class="chapter"></div> -<h3>CHAPTER III.</h3> - -<p class="p2 negin2 fs80 lht">OF ACADEMIES. HOGARTH'S OPINION OF THAT NOW DENOMINATED -ROYAL; AND OF THE SOCIETY FOR THE ENCOURAGEMENT OF -ARTS, MANUFACTURES, AND COMMERCE, GIVING PREMIUMS FOR -PICTURES AND DRAWINGS.</p> - -<div> -<img class="drop-cap" src="images/dc_054.jpg" alt="" /> -</div> - -<p class="drop-capx">Among Hogarth's loose papers I found the -rough draft of a letter (addressed but -not directed) to a nobleman, declaring his -disapprobation of a scheme by which certain projectors -were endeavouring to establish a Royal -Academy, and stating that he had a plan which -would be much more useful. I do not know that he -ever sent the epistle, or admitting he did, that it was -honoured with an answer. But as I think it probable -he had given the subject some consideration, with the -hope of bringing his project to bear, and that in the -following pages relative to the Royal Academy he -has stated what he meant to have said to the Peer, I -have inserted it:—</p> - -<div class="blockquot"> - -<p>"<span class="smcap">My Lord</span>,—Mr. Martin has informed me that -when some of my thoughts relative to the establish<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>ment -of a public academy are put into writing, you -will peruse them. I have made a rough sketch, but -to fit it for inspection will require much time, which it -will be needless to take till I have your Lordship's -opinion on two or three leading points on which the -whole will turn, and which I cannot with propriety -commit to paper. A verbal statement of them will -not take up more than half an hour; and if, when -known, they are not concurred in, I will not take up -your Lordship's time by arguing on their propriety. -But I am vain enough to think, that though I must -say strong, and perhaps startling things, with regard -to myself and others, I can prove every position -which I shall advance.</p> - -<p>"I have reason to believe that another project is -in hand: this the author will naturally defend in opposition -to mine, but it shall not create controversy; -for being now upwards of sixty years of age, and in -a very poor state of health, I would rather lose a -favourite point than break a night's rest.</p> - -<p>"Mr. Ramsey, if I judge right, is no stranger to -the plan I allude to, and I know his opinion differs -from mine, and am firmly persuaded his interest will -induce him to support it.—I am, my Lord, etc.,</p> - -<p class="right">"W. H."</p> -</div> - -<div class="blockquot"> - -<p>"Much has been said about the immense benefit -likely to result from the establishment of an academy<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> -in this country; but as I do not see it in the same -light with many of my contemporaries, I shall take -the freedom of making my objections to the plan on -which they propose forming it; and as a sort of preliminary -to the subject, state some slight particulars -concerning the fate of former attempts at similar -establishments.</p> - -<p>"The first place of this sort was in Queen Street, -about sixty years ago; it was begun by some gentlemen-painters -of the first rank, who in their general -forms imitated the plan of that in France, but conducted -their business with far less fuss and solemnity; -yet the little that there was, in a very short time became -the object of ridicule. Jealousies arose, parties -were formed, and the president and all his adherents -found themselves comically represented as marching -in ridiculous procession round the walls of the room. -The first proprietors soon put a padlock on the door; -the rest, by their right as subscribers, did the same, -and thus ended this academy.</p> - -<p>"Sir James Thornhill, at the head of one of these -parties, then set up another in a room he built at the -back of his own house,—now next the playhouse,—and -furnished tickets gratis to all that required admission; -but so few would lay themselves under such -an obligation, that this also soon sunk into insignificance. -Mr. Vanderbank headed the rebellious -party, and converted an old Presbyterian meeting-house<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> -into an academy, with the addition of a woman -figure, to make it the more inviting to subscribers. -This lasted a few years; but the treasurer sinking the -subscription money, the lamp, stove, etc. were seized -for rent, and that also dropped.</p> - -<p>"Sir James dying, I became possessed of his -neglected apparatus; and thinking that an academy -conducted on proper and moderate principles had -some use, proposed that a number of artists should -enter into a subscription for the hire of a place large -enough to admit thirty or forty people to draw after -a naked figure. This was soon agreed to, and a room -taken in St. Martin's Lane. To serve the society, I -lent them the furniture which had belonged to Sir -James Thornhill's academy; and as I attributed the -failure of that and Mr. Vanderbank's to the leading -members assuming a superiority which their fellow-students -could not brook, I proposed that every -member should contribute an equal sum to the -establishment, and have an equal right to vote in -every question relative to the society. As to electing -presidents, directors, professors, etc., I considered it -as a ridiculous imitation of the foolish parade of the -French Academy, by the establishment of which -Louis <span class="fs80">XIV.</span> got a large portion of fame and flattery -on very easy terms. But I could never learn that the -arts were benefited, or that members acquired any -other advantages than what arose to a few leaders<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> -from their paltry salaries, not more I am told than -£50 a year; which, as must always be the case, were -engrossed by those who had most influence, without -any regard to their relative merit.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> As a proof of -the little benefit the arts derived from this Royal -Academy, Voltaire asserts that, after its establishment, -no one work of genius appeared in the -country: the whole band, adds the same lively and -sensible writer, became mannerists and imitators.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> It -may be said in answer to this, that all painting is but -imitation. Granted; but if we go no further than -copying what has been done before, without entering -into the spirit, causes, and effects, what are we doing? -If we vary from our original, we fall off from it, and -it ceases to be a copy; and if we strictly adhere to -it, we can have no hopes of getting beyond it; for -'if two men ride on a horse, one of them must be -behind.'</p> - -<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> - -<p>"To return to our own academy. By the regulations -I have mentioned of a general equality, etc., it -has now subsisted near thirty years, and is, to every -useful purpose, equal to that in France, or any other; -but this does not satisfy. The members, finding his -present Majesty's partiality to the arts, met at the -Turk's Head in Gerard Street, Soho, laid out the -public money in advertisements to call all sorts of -artists together, and have resolved to draw up and -present a ridiculous address to King, Lords, and -Commons to do for them what they have (as well as -it can be) done for themselves. Thus to pester the -three great estates of the empire, about twenty or -thirty students, drawing after a man or a horse, -appears, as it must be acknowledged, foolish enough; -but the real motive is, that a few bustling characters, -who have access to people of rank, think they can -thus get a superiority over their brethren, be appointed -to places, and have salaries as in France, -for telling a lad when an arm or a leg is too long -or too short.</p> - -<p>"Not approving of this plan, I opposed it; and -having refused to assign to the society the property -which I had before lent them, I am accused of acrimony, -ill-nature, and spleen, and held forth as an -enemy to the arts and artists. How far their mighty -project will succeed, I neither know nor care; certain -I am it deserves to be laughed at, and laughed at it<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> -has been.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> The business rests in the breast of -Majesty, and the simple question now is, whether -he will do what Sir James Thornhill did before him, -<em>i.e.</em> establish an academy with the little addition of -a royal name, and salaries for those professors who -can make most interest and obtain the greatest -patronage. As his Majesty's beneficence to the arts -will unquestionably induce him to do that which he -thinks most likely to promote them, would it not -be more useful if he were to furnish his own gallery -with one picture by each of the most eminent -painters among his own subjects? This might possibly -set an example to a few of the opulent nobility; -but even then it is to be feared that there never can -be a market in this country, for the great number of -works which, by encouraging parents to place their -children in this line, it would probably cause to be -painted. The world is already glutted with these -commodities, which do not perish fast enough to -want such a supply.</p> - -<p>"In answer to this and other objections which I -have sometimes made to those who display so much -zeal for increasing learners, and crowding the profession,<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> -I am asked if I consider what the arts were -in Greece, what immense benefits accrued to the city -of Rome from the possession of their works, and what -advantages the people of France derive from the -encouragement given by their Royal Academy? It -is added, why cannot we have one on the same principles? -That we may not be led away by sounds -without meaning, let us take a cursory view of these -things separately, and in the same order that they -occurred.</p> - -<p>"The height to which the arts were carried in -Greece was owing to a variety of causes, concerning -some of which we can now only form conjectures. -They made a part of their system of government, -and were connected with their modes of worship. -Their temples were crowded with deities of their -own manufacture, and in places of public resort -were depicted such actions of their fellow-citizens as -deserved commemoration; which, being displayed in -a language legible to all, incited the spectator to -emulate the virtues they represented. The artists -who could perform such wonders were held in an -estimation of which we can hardly form an idea; -and could we ascertain the rewards they received, -I think it would be found that they were most -liberally paid for their works, and might therefore -devote much more time than we can afford to rendering -them perfect.</p> - -<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p> - -<p>"With all this, even there, the arts had but a slow -rise; and when they had attained their highest state -of perfection, the Romans (having previously plundered -and butchered their own neighbours) attacked -and conquered the Greeks, and robbed them also of -their portable treasures, particularly their statues -and pictures.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> To sculpture and painting, war is a -most destructive enemy; the rage of conquest, civil -broils, and intestine quarrels, necessarily put a stop -to the exercise of the imitative arts, which lay in a -dormant state until they were revived by the introduction -of a new religion; this, in the magnificent -style it was there brought forward, called upon sculpture -and painting for their auxiliary aid. The admirable -specimens that during the perturbed period -above alluded to had been hidden in the earth, were -now restored to light, eagerly sought for, and in some -cases appropriated to purposes diametrically opposite -to their pagan origin.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> Even those that were mutilated -were held in the most enthusiastic admiration. -The 'Torso,' and many other inimitable specimens, -prove that their admiration was just. The contemplation -<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>of such works would naturally produce imitators, -who in time rivalled, but never could equal, -their originals. These remains of ancient grandeur -being thus added to their new productions, and both -interwoven, forming a sort of ornamental fringe to -their gaudy religion, Rome became a kind of puppet-show -to the rest of Europe; and, whatever it might -be to their visitors, was certainly very advantageous -to themselves. The arts are much indebted to -Popery, and that religion owes much of its universality -to the arts.</p> - -<p>"France, ever aping the magnificence of other -nations, has in its turn assumed a foppish kind of -splendour sufficient to dazzle the eyes of neighbouring -states, and draw vast sums of money from this -country. We cannot vie with these Italian and -Gallic theatres of art, and to enter into competition -with them is ridiculous; we are a commercial people, -and can purchase their curiosities ready made, as in -fact we do, and thereby prevent their thriving in -our native clime. If I may be permitted to compare -great things with small, this nation labours under -similar disadvantage to the playhouse in Goodman's -Fields, which, though it might injure, could never -rival the two established theatres, so much more -properly situated, in any degree material to itself.</p> - -<p>"In Holland, selfishness is the ruling passion; in -England, vanity is united with it. Portrait-painting<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> -therefore ever has, and ever will succeed better in -this country than in any other.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> The demand will -be as constant as new faces arise; and with this we -must be contented, for it will be vain to attempt to -force what can never be accomplished, or at least can -never be accomplished by such institutions as Royal -Academies on the system now in agitation. Upon -the whole, it must be acknowledged that the artists -and the age are fitted for each other. If hereafter -the times alter, the arts, like water, will find their -level.</p> - -<p>"Among other causes that militate against either -painting or sculpture succeeding in this nation, we -must place our religion; which, inculcating unadorned -simplicity, does not require—nay, absolutely -forbids—images for worship, or pictures to excite -enthusiasm. Paintings are considered as pieces of -furniture, and Europe is already overstocked with -the works of other ages. These, with copies countless -as the sands on the sea-shore, are bartered to -and fro, and quite sufficient for the demands of the -curious, who naturally prefer scarce, expensive, and -far-fetched productions to those which they might -have on low terms at home. Who can be expected<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> -to give forty guineas for a modern landscape, though -in ever so superior a style, when he can purchase -one which, for little more than double the sum, shall -be sanctioned by a sounding name, and warranted -original by a solemn-faced connoisseur? This considered, -can it excite wonder that the arts have not -taken such deep root in this soil as in places where -the people cultivate them from a kind of religious -necessity, and where proficients have so much more -profit in the pursuit? Whether it is to our honour or -disgrace, I will not presume to say, but the fact is -indisputable, that the public encourage trade and -mechanics rather than painting and sculpture. Is it -then reasonable to think that the artist, who, to attain -essential excellence in his profession, should have the -talents of a Shakspeare, a Milton, or a Swift, will -follow this tedious and laborious study merely for -fame, when his next-door neighbour, perhaps a porter-brewer -or an haberdasher of smallwares, can without -any genius accumulate an enormous fortune in a few -years, become a lord mayor or a member of Parliament, -and purchase a title for his heir? Surely no; -for as very few painters get even moderately rich, it -is not reasonable to expect that they should waste -their lives in cultivating the higher branch of the -art until their country becomes more alive to its -importance, and better disposed to reward their -labours.</p> - -<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p> - -<p>"These are the true causes that have retarded our -progress; and for this shall a nation, which has in all -ages abounded in men of sound understanding and -the brightest parts, be branded with incapacity by a -set of pedantic dreamers, who seem to imagine that -the degrees of genius are to be measured like the -degrees on a globe, determine a man's powers from -the latitude in which he was born, and think that a -painter, like certain tender plants, can only thrive in -a hothouse? Gross as are these absurdities, there -will always be a band of profound blockheads ready -to adopt and circulate them, if it were only upon the -authority of the great names by which they are -sanctioned.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a></p> - -<p>"To return to our Royal Academy. I am told -that one of their leading objects will be sending -young men abroad to study the antique statues, etc. -Such kind of studies may sometimes improve an -exalted genius, but they will not create it; and whatever -has been the cause, this same travelling to Italy -has, in several instances that I have seen, seduced the -student from nature, and led him to paint marble -figures,—in which he has availed himself of the great -works of antiquity, as a coward does when he puts -on the armour of an Alexander; for with similar<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> -pretensions and similar vanity, the painter supposes -he shall be adored as a second Raphael Urbino.</p> - -<p>"The fact is, that everything necessary for the -student in sculpture or painting may at this time -be procured in London. Of the 'Venus' and the -'Gladiator' we have small casts; and even the -'Torso,' by which Michael Angelo asserted he -learned all he knew of the art, has been copied in -a reduced size, and the cast, by which the principle -may be clearly seen, is sold for a few shillings. -These small casts, if quite correct, are full as useful -to the student as the originals; the parts are easier -comprehended, they are more portable to place in -different lights, and of an even colour, while the old -Parian marbles are apt to shine, dazzle, and confound -the eye. If this be doubted, let a plaster figure be -smoked and oiled, and the true dimensions of the -muscles can be no more distinguished than those of -a sooty chimney-sweeper.</p> - -<p>"After all, though the best statues are unquestionably -in parts superlatively fine, and superior to -nature, yet they have invariably a something that is -inferior.</p> - -<p>"As to pictures, there are enough in England to -seduce us from studying nature, which every man -ought to do if he aims at any higher rank than being -an imitator of the works of others; and to such -servile spirits I will offer no advice.</p> - -<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p> - -<p>"In one word, I think that young men by studying -in Italy have seldom learnt much more than the -names of the painters; though sometimes they have -attained the amazing power of distinguishing styles,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> -and knowing by the hue of the picture the hard name -of the artist,—a power which, highly as they pride -themselves upon it, is little more than knowing one -handwriting from another. For this they gain great -credit, and are supposed vast proficients because they -have travelled. They are gravely attended to by -people of rank, with whom they claim acquaintance, -and talk of the antique in a cant phraseology made -up of half or whole Italian, to the great surprise of -their hearers, who become gulls in order to pass for -connoisseurs,—wonder with a foolish face of praise, -and bestow unqualified admiration on the marvellous -bad copies of marvellous bad originals which they -have brought home as trophies, and triumphantly -display to prove their discernment and taste.</p> - -<p>"Neither England nor Italy ever produced a more -contemptible dauber than the late Mr. Kent; and -yet he gained the prize at Rome, in England had the -first people for his patrons, and, to crown the whole, -was appointed Painter to the King. But in this -country such men meet with the greatest encouragement,<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> -and soonest work their way into noblemen's -houses and palaces.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></p> - -<p>"To conclude, I think that this ostentatious establishment -can answer no one valuable purpose to the -arts, nor be of the least use to any individual, except -those who are to be elected professors and receive -salaries for the <em>kind superintendence</em> they will exercise -over such of their brethren as have not so much -interest as themselves.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></p> - -<p>"Many of the objections which I have to the -institution of this Royal Academy apply with equal -force to the project of the Society for the encouragement -of Arts, Manufactures, and Commerce, for -distributing premiums for drawings and pictures; subjects -of which they are totally ignorant, and in which -they can do no possible service to the community.</p> - -<p>"It is extremely natural for noblemen, or young -people of fortune who have travelled and seen fine -pictures and statues, to be planet-struck with a desire -of being celebrated in books, like those great men of -whom they have read in the lives of the painters, etc.; -for it must be recollected that the popes, princes, and -cardinals who patronized these painters, have been -<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>celebrated as creators of the men who created those -great works:</p> - -<p class="center small">'Shar'd all their honours, and partook their fame.'</p> - -<p>"The 'Dilettanti' had all this in prospect when -they offered to establish a drawing-school, etc. at -their own expense; for here they expected to be -paramount. But when those painters who projected -the scheme presumed to bear a part in the direction -of the school, the 'Dilettanti' kept their money, and -rejected them with scorn,—the whole castle fell to -the ground, and has been no more heard of.<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a></p> -<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> -<p>"This society of castle-builders have a similar idea. -They wish first to persuade the world that no genius -can deserve notice without being first cultivated -under their direction, and will ultimately neither -foster nor encourage any artist that has not been -brought up by themselves.</p> - -<p>"The sounding title of a society for the encouragement -of arts, manufactures, and commerce, with two -or three people of rank at their head, attracted a -multitude of subscribers. Men when repeatedly -applied to were unwilling to refuse two guineas a -year; people of leisure, tired of public amusements, -found themselves entertained with formal speeches -from men who had still more pleasure in displaying -their talents for oratory. Artificers of all descriptions -were invited, and those who were not bidden strained -every nerve to become members, and appear upon -the printed list as promoters of the fine arts. By -this means they were consulted in their several -professions, and happy was he who could assume -courage enough to speak, though ever so little to the -purpose.</p> - -<p>"The intention of this great society is unquestionably -laudable; their success in subscriptions -astonishing. How far their performances have been -equal to their promises, it is not my business to -inquire; but as, while I had the honour of being a -member, my opinion was frequently asked on some<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> -points relating to my own profession, I venture to -lay it before the reader with the same frankness that -I then gave it.</p> - -<p>"When the society was in its infancy they gave -premiums for children's drawings, and for this—'Let -children lisp their praise.'<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> It was asserted that -we should thus improve our own manufactures, and -gravely asked by these <em>professed</em> encouragers of the -commerce of their country, if the French children -being instructed in drawing did not enable that -people to give a better air to all the articles they -fabricated. I answered positively, <span class="fs80">NO</span>; and added, -that thus trumpeting their praise was a degradation -of our own country, and giving to our rivals a character -which they had no right to. Were this point<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> -debated, French superiority would be supported by -fashionable ladies, travelled gentlemen, and picture-dealers. -In opposition to them, would be those who -are capable of judging for themselves, the few that -are not led away by popular prejudices, and the first -artists in the kingdom. These, I am conscious, -would be a minority, but composed of men that -ought to have weight, and whose opinion and advice -should have been taken before the plan was put in -execution.</p> - -<p>"Of the immense improvement that is to take -place in our manufactures from boys of almost every -profession being taught to draw, I form no very -sanguine expectations.</p> - -<p>"To attain the power of imitating the forms of -letters with freedom and precision in all their due -proportions and various elegant turns, as Snell has -given them, requires as much skill as to copy different -forms of columns and cornices in architecture, and -might with some show of propriety be said to -demand a knowledge of design; yet common sense -and experience convince us that the proper place -for acquiring a fine hand is a writing-school. As -measuring is but measuring, I do not think that a -tailor would make a suit of clothes fit better from -having been employed twice seven years in taking -the dimensions of all the bits of antiquity that remain<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> -in Greece.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> How absurd would it be to see periwig-makers -and shoemakers' boys learning the art of -drawing, that they might give grace to a peruke or a -slipper! If the study of Claude's landscapes would -benefit the carver of a picture-frame, or the contemplation -of a finely-painted saucepan by Teniers -or Bassan would be an improvement to a tinman, it -would be highly proper for this society to encourage -them in the practice of the arts. But as this is not -the case, giving lads of all ranks a little knowledge -of everything is almost as absurd as it would be to -instruct shopkeepers in oratory, that they may be -thus enabled to talk people into buying their goods, -because oratory is necessary at the bar and in the -pulpit. As to giving premiums to those that design -flowers, etc. for silks and linens, let it be recollected -that these artisans copy the objects they introduce -from nature,—a much surer guide than all the -childish and ridiculous absurdities of temples, dragons, -pagodas, and other fantastic fripperies which have -been imported from China.</p> - -<p>"As from all these causes (and many more might -be added) it appears that a smattering in the arts -can be of little use except to those who make painting -their sole pursuit, why should we tempt such<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> -multitudes to embark in a profession by which they -never can be supported? For historical pictures -there never can be a demand:<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> our churches reject -them; the nobility prefer foreign productions; and -the generality of our apartments are too small to -contain them. A certain number of portrait-painters, -if they can get patronized by people of rank, may -find employment; but the majority even of these -must either shift how they can amongst their -acquaintance, or live by travelling from town to -town like gipsies. Yet, as many will be allured by -flattering appearances, and form vague hopes of -success, some of the candidates must be unsuccessful; -and men will be rendered miserable who might have -lived comfortably enough by almost any manufactory, -and will wish that they had been taught to -make a shoe, rather than thus devoted to the polite -arts.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> When I once stated something like this to -<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>the society, a member <em>humanely</em> remarked, that the -poorer we kept the artists, the cheaper we might -purchase their works."</p></div> - -<p>These two societies, of whose projects and practice -Hogarth seems to have entertained very similar -opinions, became for a short time so far connected, -that where one held their meetings the other exhibited -their pictures. The donations in painting -which Hogarth and several other artists had made -to the Foundling Hospital had much engaged the -public attention; and the painters finding the effects -they produced, determined to try the fate of an -exhibition of their work; in consequence of which, -on the 27th of February 1760, Mr. Hayman, then -chairman of the committee of artists, wrote a letter -to the society for encouragement of arts, requesting -permission for the painters to exhibit at their -great room opposite Beaufort Buildings in the Strand; -and in the following May they accordingly made -their first Exhibition. This proved very attractive; -and, from the money paid for admission, they were -soon enabled to relieve not only the indigent of their -own body, but also aliens; and to establish themselves -into a regular institution by the name of "A -Society of Artists, associated for the relief of the -distressed and decayed of their own body, their -widows, and children." For these humane purposes<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span> -they agreed to form a fund. As far as this plan -went it had Hogarth's approbation; and for their -Exhibition Catalogue of 1761 he made two designs, -which were engraved by Mr. Charles Grignion, and -of which the following are copies:—</p> - - -<p class="p2" /> -<h4>FRONTISPIECE<br /> - -<span class="xs">TO THE CATALOGUE OF THE ARTISTS' EXHIBITION, 1761.</span></h4> - -<p class="center small">"<span lang="la" xml:lang="la">Et spes et ratio studiorum in Cæsare tantum.</span>"<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a>—<span class="smcap">Juv.</span></p> - -<p class="p2" /> -<div class="figcenter"> -<a name="FPA" id="FPA"></a> -<img src="images/i_078a_fp.jpg" width="500" alt="" /> -<div class="caption"> -FRONTISPIECE TO ARTISTS' CATALOGUE</div> -</div> - -<p class="noindent">Erected in the cleft of a rock, we have here a -building intended for a reservoir of water; and by -the bust of his present Majesty being placed in a -niche of an arch, which is lined with a shell and surmounted -by a crown, we must suppose it a royal -reservoir. The mouth of a mask of the British lion -is made the water-spout for conveying a stream into -a garden-pot, which a figure of Britannia holds in -her right hand, and, with her spear in the left, is -employed in sprinkling three young trees, the trunks -of which are entwined together, and inscribed, "Painting, -Sculpture, Architecture." These promising saplings -are planted upon a gentle declivity. Painting -is on the highest ground, and Sculpture on the -lowest. It is worthy of remark that the fructifying<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> -stream which issues from the watering-pot falls short -of the surface on which is planted the tree inscribed -Painting, and goes beyond the root of that termed -Sculpture; so that Architecture, which is much the -loftiest and most healthy tree, will have the principal -benefit of the water. If the tree of Painting is attentively -inspected, it will be found stunted in its -growth, withered at the top, and blest with only one -flourishing branch, which, if viewed with an eye to -what the artist has previously written, seems intended -for portrait-painting. The tree which is the symbol -for Sculpture appears to bend and withdraw itself -from the reservoir;<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> one branch from the centre of -the trunk is probably funereal, and intended to intimate -sepulchral monuments. The top, being out of -sight, is left to the imagination.</p> - -<p>Those who wish to inquire how far this allegorical -and sylvan symbol has proved prophetic of the -unequal encouragement now given to the different -branches of the arts, may go to Somerset House, -contemplate the building, pay their shilling, and -walk through the rooms of the Royal Academy -during the time of their annual exhibition!</p> - - -<p><span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span></p> -<p class="p2" /> - -<h4>TAIL-PIECE<br /> - -<span class="center xs">TO THE ARTISTS' CATALOGUE.</span></h4> - -<p class="center small">"Esse quid hoc dicam? vivis quod fama negatur!"<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a>—<span class="smcap">Mart.</span></p> - -<p class="p2" /> -<div class="figcenter"> -<a name="TPA" id="TPA"></a> -<img src="images/i_078b_fp.jpg" width="500" alt="" /> -<div class="caption"> -TAILPIECE TO ARTISTS' CATALOGUE</div> -</div> - -<p class="noindent">As a contrast to Britannia nurturing the trees that -are introduced in the last print, a travelling monkey -in full dress is in this industriously watering three -withered and sapless stems of what might once have -been flowering shrubs, and are inscribed "Exotics." -These wretched remnants of things which were, are -carefully placed in labelled flower-pots: on the first -is written, "<em>Obiit</em> 1502;" on the second, "<em>Obiit</em> 1600;" -and on the third, "<em>Obiit</em> 1606." Still adhering to -the hieroglyphics in his frontispiece, Hogarth introduces -these three dwarfish importations of decayed -nature to indicate the state of those old and damaged -pictures which are venerated merely for their antiquity, -and exalted above all modern productions, -from the name of a great master, rather than any -intrinsic merit. To heighten the ridicule, he has -given his monkey a magnifying glass that will draw -forth hidden beauties, which to common optics are -invisible.</p> - -<p>So great was the demand for the catalogues with<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> -the illustrative prints of Hogarth, that the two first -done were soon worn down, and Mr. Grignion was -employed to engrave others from the same drawings. -Beneath those that were first made there are no -mottoes; and the word <em>obiit</em> is written <em>obit</em>. This -was perhaps a mistake of either the painter or writing -engraver, though I think it barely possible that -the former might mean to pun on the connoisseurs -being bubbled by dealers in old pictures—O! <span class="fs80">BIT.</span></p> - -<p>The opinion Hogarth has, in the preceding pages, -given of the taste and judgment of the public in his -own day may at first sight seem rather harsh, but -was in a degree justified by the scandalous inattention -with which the town received his six inimitable -pictures of "Marriage à la Mode;" they were, on the -6th of June 1750, sold by a kind of auction to Mr. Lane -of Hillingdon for one hundred and twenty guineas! -Being in Carlo Maratt frames that cost the artist -four guineas each, his real remuneration for painting -this admirable series was but a few shillings more -than one hundred pounds.<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> Such are the rewards of -genius. Low as this sum was, a Mr. Perry, being -eleven months afterwards erroneously informed that<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span> -still less had been the highest sum offered, and that -they were not sold, wrote the following letter with -an increased bidding. This gentleman's name is -inserted in Hogarth's subscription book as a subscriber -for four sets of "The Elections," with this -remarkable memorandum:—"<em>4th April 1754.</em>—The -whole eight guineas paid at the time of subscribing." -Out of near six hundred names, I find only two -(viz. Henry Raper, Esq., and Mr. Perry) who paid -more than half the money in the first subscription.</p> - - -<p class="center"><em>To Mr. Hogarth.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Dear Sir</span>,—I was this day informed by a friend -of mine in the city that seventy-five pounds only -was bid for your pictures of 'Marriage à la Mode;' -and this I hope will excuse my bidding you so small -a sum as one hundred and twenty pounds for them; -so much are they worth of my money; with a promise -never to sell them to any picture-trader or -connoisseur-monger so long as you or I shall -live.</p> - -<p>"If in this foolish and grossly-imposed on genera<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>tion -there should not be found one man wiser than -myself, I must insist on having this bidding deposited -in your cabinet.—I am, dear Sir, your most -obedient servant,</p> - -<p class="right"><span class="smcap">Car. Perry.</span></p> - -<p class="small">"<em>May 15, 1751.</em>"</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_082.jpg" width="100" alt="(end of section floral icon)" /> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p> - - <div class="chapter"></div> -<h3>CHAPTER IV.</h3> - -<p class="p2 negin2 fs80 lht">THE MOTIVES BY WHICH HOGARTH WAS INDUCED TO PUBLISH HIS -ANALYSIS OF BEAUTY; THE ABUSE IT DREW UPON HIM, AND -HIS VINDICATION OF HIMSELF AND THE VOLUME. HE IS -ELECTED A MEMBER OF THE IMPERIAL ACADEMY AT AUGSBURG, -AND APPOINTED SERJEANT PAINTER TO THE KING.</p> - -<div> -<img class="drop-cap" src="images/dc_083.jpg" alt="" /> -</div> - -<p class="drop-capx">Hogarth finding his prints were become -sufficiently numerous to form a handsome -volume, in the year 1745<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> engraved his -own portrait as a frontispiece. In one corner of the -plate he introduced a painter's palette, on which was -a waving line inscribed "The Line of Beauty." This -created much curious speculation, and, as he himself -expresses it, "The bait soon took, and no Egyptian -hieroglyphic ever amused more than it did for a -time. Painters and sculptors came to me to know -the meaning of it, being as much puzzled with it as -other people, till it came to have some explanation; -then, indeed, but not till then, some found it out to<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span> -be an old acquaintance of theirs,<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> though the account -they could give of its properties was very near as -satisfactory as that which a day-labourer, who constantly -uses the lever, could give of that machine as -a mechanical power." "They knew it as Falstaff did -Prince Henry—by instinct!"</p> - -<p>This crooked line drew upon him a numerous band -of opponents, and involved him in so many disputes, -that he at length determined to write a book, explain -his system, and silence his adversaries. When his -intentions were known, those who acknowledged his -claim to superiority as an artist were apprehensive -that, by thus wandering out of his sphere and commencing -author, he would lessen his reputation. -Those who ridiculed his system presumed that he -would thus overturn it; and the few who envied and -hated the man, rejoiced in sure and certain hope -that he would write himself into disgrace. All this -he laughed at, and in the following little epigram -whimsically enough describes his own feelings:—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"What! a book, and by Hogarth! then twenty to ten,</p> -<p class="verse">All he's gained by the pencil he'll lose by the pen.</p> -<p class="verse">Perhaps it may be so; howe'er, miss or hit,</p> -<p class="verse">He will publish,—here goes,—it's double or quit."</p> -</div></div> - -<p>Notwithstanding this pleasantry preceding the<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> -publication, he frankly acknowledges that the uncharitable -spirit with which he was in consequence -assailed, and the squabbles it drew him into with -those of his own profession, and the dabblers in the -arts, gave him greater uneasiness than was balanced -by its general success. Thus does he express himself:—</p> - -<div class="blockquot"> - -<p>"My preface and introduction to the <cite>Analysis</cite> -contain a general explanation of the circumstances -which led me to commence author; but this has not -deterred my opponents from loading me with much -gross and, I think, unmerited obloquy; it therefore -becomes necessary that I should try to defend myself -from their aspersions.</p> - -<p>"Among many other high crimes and misdemeanours -of which I am accused, it is asserted that -I have abused the great masters. This is so far -from being just, that when the truth is fairly stated -it may possibly appear that the professional reputation -of these luminaries of the arts is more injured -by the wild and enthusiastic admiration of those who -denominate themselves their fast friends, than by -men who are falsely classed as their enemies.</p> - -<p>"Let us put a case: suppose a brilliant landscape -had been so finely painted by a first-rate artist, that -the trees, water, sky, etc. were boldly though tenderly -relieved from each other, and the eye of the -spectator might, as it were, travel into the scenery;<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> -and suppose this landscape, by the heat of the sun, -the ravages of time, or the still more fatal ravages -of picture-cleaners, was shorn of its beams and deprived -of all its original brightness; let me ask -whether the man who will affirm that this almost -obliterated, unharmonious, spotty, patchwork piece -of antiquity is in the state that it first came out of -the artist's hands, does not abuse the painter?<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> and -whether he who asserts that though it might once -have been bright and clear it is now faded, does not -thus place the defects to the proper account, and -consequently defend him?</p> - -<p>"So far from attempting to lower the ancients, I -have always thought, and it is universally admitted, -that they knew some fundamental principles in nature -which enabled them to produce works that have been -the admiration of succeeding ages; but I have not -allowed this merit to those leaden-headed imitators,<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -who, having no consciousness of either symmetry or -propriety, have attempted to mend nature, and in -their truly ideal figures gave similar proportions to a -Mercury and a Hercules.</p> - -<p>"This, and many other opinions which I have -ventured to advance, has roused a nest of hornets -from whose stings I would wish to guard myself, as -I am conscious that they will try to condemn all my -works by my own rules. To disappoint these insects -I have, in my explanatory prints, done the Antinous, -Venus, etc. in a slighter style than the other figures, -to show that they are introduced as mere references -to the originals; and I will not now attempt to paint -my Goddess of Beauty.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> Who can tell how long -the artist was employed in giving such exquisite -grace to the Grecian Venus? he might perhaps think -that a single super-excellent statue would confer -immortality, and was sufficient for a whole life. Can -any one expect to see equal perfection in that which -is done in little, and in a short space of time?</p> - -<p>"With respect to beauty, though men felt its -effects, yet both artists and others appeared to me -to be totally ignorant of its principles, and contented -themselves with bestowing undistinguishing praise, -and giving us cold and servile copies of the fine<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> -models of antiquity, without making any inquiry into -the system by which they were produced. The few -who wished to learn the principles found themselves -so bewildered and confounded by the vague and contradictory -opinions which they had heard and read -concerning beauty and grace, that they began to -suspect the whole to be an illusion, and that neither -one nor the other existed except in fancy and imagination. -This should excite less surprise, from its -having sometimes happened in a matter of an infinitely -higher and more important nature; and were -it politically right, it is possible that a small octavo -might be written, which would start as many folios -of theological controversy as would fill Westminster -Hall, though the whole put together might be mere -lumber, and of no more use than waste paper. But -this by the by. To return into my own path, and -resume the reasons that induced me to tread it in a -new character. In doing this, it will be proper to -give a succinct statement of the strange way in which -this subject has been treated by preceding writers.</p> - -<p>"The first attempts that were made to fix true -ideas of taste upon a surer basis, were by natural -philosophers, who, in their amplified contemplations -on the universal beauty displayed in the harmony -and order of nature, very soon lost themselves; an -event that, from the way in which they set out, was -inevitable: for, if I may be permitted to adopt an<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> -allegorical figure, it necessarily led them into the -wide road of Order and Regularity, which they -unexpectedly found crossed and intersected by many -other paths that led into the Labyrinths of Variety; -where, not having passed through the Province of -Painting, they became confused, and could never find -their way. To explaining the order and usefulness -of nature they might be equal; but of her sportiveness -and fancy they were totally ignorant. To -extricate themselves from these difficulties, they -ascended the Mound of Moral Beauty, contiguous -to the open field of Divinity, where, rambling and -ranging at large, they lost all remembrance of their -former pursuit.</p> - -<p>"These gentlemen having failed, it was next suggested -that the deeply read and travelled man was -the only person fully qualified to undertake the task -of analyzing beauty. But here let it be observed, -that a few things well seen, and thoroughly understood, -are more likely to furnish proper materials for -this purpose than the cursory view of all that can be -met with in a hasty journey through Europe.</p> - -<p>"Nature is simple, plain, and true in all her works; -and those who strictly adhere to her laws, and closely -attend to her appearances in their infinite varieties, -are guarded against any prejudiced bias from truth; -while those who have seen many things that they -cannot well understand, and read many books which<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> -they do not fully comprehend, notwithstanding all -their pompous parade of knowledge, are apt to -wander about it and about it, perpetually perplexing -themselves and their readers with the various opinions -of other men.</p> - -<p>"The knowledge necessary for writing a work on -the arts, differs as much from that acquired by the -simple traveller, as the art of simpling doth from the -science of botany. Taking the grand tour to see and -pick up curiosities, which the travellers are taught -nicely to distinguish from each other by certain -cramp marks and hard names, may, with no great -impropriety, be termed 'going a simpling;' but with -this special difference, that your 'field simpler' never -picks up a nettle for a marsh-mallow,—a mistake -which your 'tour simpler' is very liable to.</p> - -<p>"As to those painters who have written treatises -on painting, they were in general too much taken up -with giving rules for the operative part of the art to -enter into physiological disquisitions on the nature of -the objects. With respect to myself, I thought I was -sufficiently grounded in the principles of my profession -to throw some new lights on the subject; and -though the pen was to me a new instrument, yet, as -the mechanic at his loom may possibly give as satisfactory -an account of the materials and composition -of the rich brocade he weaves as the smooth-tongued -mercer surrounded with all his parade of showy<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span> -silks, I trusted that I might make myself tolerably -understood by those who would take the trouble of -examining my book and prints together; for as one -who makes use of signs and gestures to convey his -meaning in a language of which he has little knowledge, -I have occasionally had recourse to my pencil. -For this I have been assailed by every profligate -scribbler in town, and told that though 'words are -man's province,' they are not my province; and that -though I have put my name to the <cite>Analysis of -Beauty</cite>, yet (as I acknowledge having received some -assistance from two or three friends) I am only the -<em>supposed</em> author. By those of my own profession I -am treated with still more severity; pestered with -caricature drawings, and hung up in effigy in prints; -accused of vanity, ignorance, and envy; called a -mean and contemptible dauber; represented in the -strangest employments, and pictured in the strangest -shapes,—sometimes under the hieroglyphical semblance -of a satyr, and at others under the still more -ingenious one of an ass.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></p> -<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -<p>"Not satisfied with this, finding that they could -not overturn my system, they endeavoured to wound -the peace of my family. This was a cruelty hardly -to be forgiven: to say that such malicious attacks<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span> -and caricatures did not discompose me, would be -untrue, for to be held up to public ridicule would -discompose any man; but I must at the same time -add that they did not much distress me. I knew<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> -that those who venture to oppose received opinions -must in return have public abuse: so that, feeling I -had no right to exemption from the common tribute, -and conscious that my book had been generally well<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> -received, I consoled myself with the trite observation -that every success or advantage in this world must be -attended by some sort of a reverse; and that though -the worst writers and worst painters have traduced<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> -me, by the best I have had more than justice done -me. The partiality with which the world has received -my works, and the patronage and friendship with -which some of the best characters in it have honoured -the author, ought to excite my warmest gratitude, -and demands my best thanks. It enables me to despise -this cloud of insects; for happily, though their -buzzing may tease, their stings are not mortal."</p></div> - -<p>That these hard blows of his adversaries were felt, -and felt keenly, appears from the whole tenor of his -language; but his mortifications were in a degree -balanced. The annexed letter, from a man of Warburton's -literary fame, was a flattering testimony to -his talents, though a gentleman to whom I read it -observed, that the Doctor might be as much actuated -by a fear of his satire as admiration of his abilities. -It enclosed a £10 bank note. By his friend Rouquet -he was informed that his book was eagerly expected -in Paris, and told in a note from the Vice-Chancellor -of Cambridge, that it would have a place in the University -library:—</p> - - -<p class="center"><em>For Mr. Hogarth.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Dear Sir</span>,—I was pleased to find by the public -papers that you have determined to give us your -original and masterly thoughts on the great principles -of your profession.</p> - -<p><span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span></p> - -<p>"You ow<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> this to your country, for you are both an -honour to your profession and a shame to that worthless -crew professing vertu<a name="FNanchor_55a_55a" id="FNanchor_55a_55a"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> and connoisseurship, to -whom all that grovel in the splendid poverty of -wealth and taste are the miserable bubbles.</p> - -<p>"I beg you would give me leave to contribute my -mite towards this work, and permit the enclosed to -entitle me to a subscription for two copies.</p> - -<p>"I am, dear Sir (with a true sense of your superior -talents), your very affectionate humble servant,</p> - -<p class="right">"<span class="smcap">W. Warburton</span>.</p> - -<p class="small">"P. P., <em>March 28, 1752</em>."</p> -</div> - - -<p class="center"><em>To Mr. Hogarth.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Dear Sir</span>,—I expected to have been in England -about this time, but find myself disappointed by the -tediousness of the progress of what I have begun; -and business coming in very smartly, I believe I shall -stay here some months longer than I proposed at -first, therefore shall indulge myself with the pleasure -of writing these till I enjoy that of your conversation. -I have a thousand observations to impart to you -when we meet—some that will please you, some that -you will think inaccurate, but all such as will not -allow us time to yawn when we see one another. -First, I hope you are in perfect health, and the next<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span> -news I want to hear is, when your book is to be published. -I have raised some expectations about it -amongst artists and virtuosi here, and hope to have -the first that shall come over, that I may boast of -your friendship, by being the first usher of a performance -which I am sure will make many people -wish they were acquainted with you. The humbug -virtu is much more out of fashion here than in England. -Free-thinking, upon that and other topics, is, -if possible, more prevalent here than amongst you. -Old paintings and old stories fare much alike. A -dark picture is become a damned picture, as the -soul of the dealer; and, consequently, modern performances -are much encouraged,—and mine amongst -them,—for I have met with a reception much beyond -what I expected, or they deserved. This circumstance -has made Paris more agreeable to me than it -would have been without it. I pass my time in it -very swiftly, perpetually employed in a great variety -of unavoidable business. The days succeed one another -with great rapidity. Nevertheless, I think I -don't enjoy so good a health as in England, though I -was often ill there; but the hurry I have been in this -six months, which cannot be described, may be the -reason of it. I am afflicted with a continual headache, -which I have not been subject to this five-and-twenty -years, and which, if it should not abate, will occasion -my return before business will well admit. I suppose<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> -you have before this time some spring days at Ivy -Hall. I shall have no country air this year, but am -going to lodge in the most open part of the town, -which I hope will do instead, that is, upon the Quay -de Conti, next to College Mazarine, where I shall be -in three weeks ready to receive the answer that I beg -you will favour me with.—I am, Sir, your humble -servant,</p> - -<p class="right">"<span class="smcap">Rouquet</span>.</p> - -<p class="small">"<span class="smcap">Paris</span>, <em>March 22, 1753</em>."</p> -</div> - - -<p class="center"><em>To Mr. Hogarth, in Leicester Fields.</em></p> - -<div class="blockquot"> - -<p class="right small">"<span class="smcap">Cambridge</span>, <em>Nov. 28, 1753</em>.</p> - -<p>"<span class="smcap">Sir</span>,—I return you thanks for your book, which -came to my hand last night, and for which I will find -a place in the University library. I have read it over -with pleasure, and have no doubt but that many -others will do the same, as there can be no one here -to whom Mr. Hogarth's name will not be an inducement -to inquire into anything that comes from his -hand.—I am, Sir, your most obedient humble servant,</p> - -<p class="right">"<span class="smcap">P. Yonge</span>."</p> -</div> - -<p>Hogarth presented another copy to the Royal -Society; and by several of his books that were sent -abroad, he found that, however captiously the work -had been treated by some of his own countrymen, it<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span> -had its admirers on the Continent. From Mr. Reiffsten -of Cassel, in consequence of this publication, he -received a letter couched in most complimentary -terms, inviting him to become a counsellor and member -of the Imperial Academy at Augsburg,—an -invitation which, by his reply, he appears to have -accepted.</p> - -<p>An Italian translation of his <cite>Analysis</cite> was published -at Leghorn, dedicated, "<span lang="it" xml:lang="it">All' illustrissime Signora -Diana Molineux Dama Inglese.</span>" It had been previously -done into German by Mr. Mylins, a new -edition of whose translation is thus pompously announced -by Mr. C. F. Vok, in a written paper I found -among Hogarth's manuscripts:—</p> - - -<p class="p1 center"><em>Advertisement for a New Edition of Mr. Hogarth's -"Analysis of Beauty."</em></p> - -<div class="blockquot"> - -<p>"If ever a work met with great applause and deserved -still more, it was certainly Mr. Hogarth's -<cite>Analysis of Beauty</cite>. The literary journals and newspapers -have amply and handsomely noticed it. The -author made the beauty of forms, which was the -object of his art, at the same time the subject of his -philosophical meditations, and fell at last upon a -system which was meant to ascertain in some degree -the various conceptions of mankind concerning the -agreeable, and to banish from the learned as well as<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span> -the vulgar the absurd proverb, that men neither can -nor ought to dispute about Taste. 'Tis therefore to -him we are indebted if the word beautiful, to which -people daily fix a thousand different ideas, becomes -for the future as much an object of reflection as it -has hitherto been of sensation. Yet this work does -not contain empty and fruitless speculations, which, -when they are not of practical use, justly merit the -name of whim and chimera; but its utility is equally -extensive with its subject, viz. the beauty of forms, -and all arts and sciences that have a relation to it will -borrow new light from the performance. The philosopher, -the naturalist, the antiquarian, the orator -(both in the pulpit and on the stage), the painter, -the statuary, the dancing-master, must consider it as -a book essentially necessary to them; and not only to -them, but also to those persons who are vain of being -thought connoisseurs, yet often form such contradictory -and inadequate judgment of what relates to -the imitation of natural beauty, that they but too -plainly betray their want of fixed and determinate -ideas. One may venture to affirm that the utility of -Mr. Hogarth's system will soon extend itself into the -empire of fashion; for even there, where nothing -reigned but occasional caprice, now something of -certainty may take its place by the assistance of this -theory.</p> - -<p>"Mr. Mylins when in England translated it into<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span> -German, under the author's inspection; his translation -was printed in London, and contains only -twenty-two sheets in quarto, and the two prints, yet -was it sold for five dollars."</p></div> - -<p>Mr. Vok proposes taking subscriptions of one dollar -for his edition, which is not to be sold under two -dollars to non-subscribers. He further promises to -annex a short description of Mr. Hogarth's prints, -translated from the French, and engages that the -work shall be ready in six weeks from the time of -his proposals, which he dates from Berlin, 1st July -1754.</p> - - -<p class="p1 center"><em>Mr. Reiffsten's Letter to Mr. Hogarth.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Sir</span>,—An universal reputation, and undisputed title -to superiority, cannot but draw upon you the importunities -of those who are ambitious of an <ins class="corr" title="Transcriber's Note—Original text: 'acquintance with men'">acquaintance -with men</ins> of genius. Ever since my first perusing -the <cite>Analysis of Beauty</cite>, in which the author is no less -to be admired than the artist, I have been on the -watch for a favourable opportunity of contributing -my share, though ever so small, to the thanks of the -public. In that ingenious and elaborate composition -you are allowed by all men of taste to have dispelled -the mist and cleared the difficulties that had previously -attended a problem in painting, of exquisite<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> -nicety and the greatest moment. The most eminent -masters and most sagacious theorists had travelled in -the dark, or wandered through mazes in a fruitless -search after beauty. To you alone it was reserved to -unravel her windings, reveal her charms to open view, -and fix her hidden though genuine excellence.</p> - -<p>"At length, sir, the opportunity I had so long -coveted seems to offer itself, of course. It is owing -to the erection of an Imperial Academy at Augsburg, -for the study and improvement of arts and letters. I -am commissioned as a deputy from the whole body -to interpret their sentiments, and to inform you how -highly they value and respect your uncommon talents -and capacity. Proud of the acquisition of one no less -distinguished in the republic of letters than in the -commonwealth of arts, they earnestly desire you -would accept the diploma of counsellor and honorary -member of their Academy. It is ready to be drawn -up, and will not fail being despatched so soon as they -are sure of your approbation; which, 'tis hoped, will -not be refused by one who has deserved so well of all -lovers of taste and genius. But before you take this -step it is but natural you should ask in what consists -the Academy of which you are solicited to become -a member, and whose existence, probably enough, is -not so much as suspected in England. To obviate so -proper an inquiry, suffer me, sir, to acquaint you in a -few words with its origin, constitution, and design.</p> - -<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p> - -<p>"About three or four years since, some artists of -Augsburg formed themselves into a society, in order -to promote and encourage the imitative arts, especially -painting and engraving. They applied to the -Emperor for protection, which was graciously granted. -Soon after they published, at their own expense, a few -select pieces; but finding that the polite arts cannot -be brought to perfection without the help of literature, -and that to excel an artist must be something of a -scholar himself, or be assisted by men of learning, -they associated those to their body by whom they -might be furnished with instructions in writing upon -the two above-mentioned branches, and a correspondence -both within the empire and abroad properly -carried on. Having thus far met with success, they -began to extend their views, and endeavoured to fix -an institution for teaching methodically the art of -drawing or designing—an establishment much wanted -here in Germany. This scheme being laid before -the Imperial Court, the society obtained an ample -charter and considerable privileges. It was incorporated -under the denomination of 'an Academy of -Arts and Letters,' and the Emperor was pleased to -illustrate it with his own name. He conferred the -honour of knighthood upon the president, and the -title of imperial counsellor on the director, empowering -the members to choose those officers themselves; -and, moreover, to appoint counsellors and professors<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span> -to direct the teaching publicly the learned languages -and the liberal arts, with several other concessions -concerning the printing and publishing of their works.</p> - -<p>"To crown their hopes, a common stock was still -wanting for the supply of unavoidable expenses, such -as salaries to masters and teachers, charges of the -press, etc. On this account they had recourse to a -tontine,—a kind of lottery, consisting of annuities for -life,—which has met with tolerable success, and will -produce a capital sufficient to defray all necessary -disbursements. But till this end be compassed, the -Academy confines itself to the publishing (by means -of artist members) plates engraved after the original -paintings of the best masters; and by the help of -such members as are men of letters, a journal or periodical -pamphlet, consisting of memoirs or essays -concerning those arts whose foundation is laid in -designing. The first part, by way of specimen, is to -come out before the close of this year, and it will be -regularly continued every month in the next.</p> - -<p>"The chief materials are to be compiled by -members settled at Rome, Paris, Dresden, Stuttgard, -Copenhagen, Cassel, etc.</p> - -<p>"How happy should we think ourselves, sir, if, not -only suffering your name to be joined in our lists to -those of Mengs, Lelio, Meilens, De Marcii, Wille -Schmid, Preissler, etc., you would, like those artists, -assist us with your pen, and give us a sketch of the<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span> -present improved state of the imitative arts in Great -Britain! What can be conceived more conducive -to form and refine our taste, elevate our ideas, and -kindle our emulation, than to be informed by yourself, -with your manner of operating in those unparalleled -originals, whose striking beauties and glowing -expressions we closely study in the printed copies; -and to be favoured at least with some hints of those -pieces we still expect from your warm and masterly -pencil?</p> - -<p>"But I have too much reason to apprehend that, -for a first letter, this will appear tedious; a favourable -answer I shall look upon as a permission to explain -myself more at large. In hopes of receiving it, I -remain, with the highest esteem and regard, Sir, etc. -etc. etc.</p> - -<p class="right">"<span class="smcap">I. F. Reiffsten.</span></p> - -<p class="small">"<span class="smcap">Cassel</span>, <em>March 25th, 1757</em>.</p> - -<p>"My address is, Governor of the Payes."</p> -</div> - - -<p class="p1 center"><em>Mr. Hogarth's Answer.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Sir</span>,—On the receipt of your polite letter, dated -Cassel, March 25th, I was most agreeably surprised, -nor could I help being much elated, at finding the very -handsome invitation therein given to me to become a -member of so worthy and respectable a corporation<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span> -as the Imperial Society of Augsburg; on which -account let me request it as a favour that you will -be so good as to pay my proper compliments to the -gentlemen belonging to it, and at the same time -assure them that I with eagerness accept the honour -they are pleased to confer upon me, and that they -may depend upon my best endeavours to merit their -good opinion, by strictly obeying to the utmost of -my power such commands as they may think fit to -honour me with, tending to the advancement of the -laudable design they wisely began, and have since so -successfully carried on.</p> - -<p>"With respect to the kind opinion you are pleased -to entertain of me and my performances, I sincerely -return you thanks. And believe me, Sir, the above -valuable mark of distinction, which must always tend -greatly to my reputation, is still the more grateful -to me, as it may occasionally be the means of my -corresponding with you,—a happiness much to be -coveted by, Sir, etc. etc.,</p> - -<p class="right">"<span class="smcap">Wm. Hogarth</span>.</p> - -<p class="small">"<span class="smcap">London</span>, <em>April 18, 1757</em>.</p> - -<p>"<ins class="corr" title="Transcriber's Note—Original text: 'A Monsieur Monsieur Reiffsten'">A Monsieur Reiffsten</ins>."</p> -</div> - -<p>In addition to the high and sounding title of -Counsellor and Honorary Member of the Imperial -Academy at Augsburg, conferred upon Hogarth in<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> -the German diploma, he was, on the 6th of June -1757, still further dignified by being appointed -Serjeant Painter to the King of Great Britain, and -entered on the duties of his office on the 16th of the -following July. On the demise of George the Second, -his post necessarily became vacant; his present Majesty's -warrant for reinstating him is in my possession. -I have annexed a copy, which shows that the salary -was ten pounds per annum, payable quarterly. In one -of his manuscripts I find the following memorandum -of the interest by which he obtained the place, and -its annual profits:—</p> - -<div class="blockquot"> - -<p>"Having, just after my brother's death, obtained, -by means of my friend Mr. Manning and the Duke -of Devonshire, which might not have exceeded one -hundred a year to me for trouble and attendance; -but by two portraits at more than eighty pounds -each, the last occasioned by his present Majesty's -accession, and some other things, it has for these -last five years been, one way or other, worth two -hundred pounds per annum."</p> -</div> - -<p>Who these portraits were, or for whom they were -painted, I know not. By his manner of expressing -himself, I should suppose that they were royal, and, -as is customary, presented to some of the ambassadors, -in which case they were probably sent to the -Continent.</p> - -<p><span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></p> - -<div class="blockquot"> - -<p class="p1 pad2">"<span class="smcap">George R.</span></p> - -<p>"Whereas the King, our late royal grandfather, of -glorious and happy memory, by his letters patent, -under his Great Seal of Great Britain, and bearing -date the sixth day of June, in the thirtieth year of -his reign, did grant unto William Hogarth, Esq., the -office of Serjeant Painter of all his said late Majesty's -works, as well belonging to his royal palaces or -houses as to his great wardrobe, or otherwise to hold -the said office to the said William Hogarth during -his said late Majesty's pleasure: And by the force of -a statute made in the sixth year of the reign of Queen -Anne, the said William Hogarth did continue in the -said office for the space of six months, computed -next after the demise of his said late Majesty, and -he the said William Hogarth still continues therein, -by or under our royal proclamation, in such behalf -issued: <span class="smcap">And whereas</span> our gracious intentions are -to re-grant the said office to the said William -Hogarth, our will and pleasure is, that you forthwith -prepare a Bill for our royal signature, to pass -our Great Seal of Great Britain, to revoke and determine -the said recited letters patent of our said -late royal grandfather, and to remove and discharge -the said William Hogarth from the office whereunto -he was thereby appointed; and to contain our grant -unto our trusty and well-beloved, the said William<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span> -Hogarth, of the office of Serjeant Painter of all our -works, as well belonging to all our royal palaces or -houses as to our great wardrobe, or otherwise, to -hold and exercise and enjoy the said office to the -said William Hogarth, during our pleasure by himself, -or his sufficient deputy or deputies, together -with the yearly fee or salary of ten pounds, payable -at the receipt of our Exchequer, out of any of our -revenues there applicable to the uses of our civil -government, unto the said William Hogarth, for the -exercise and execution of the said office, and to -commence from the time to which he was last paid -thereupon, by virtue of or under the letters patent -before recited, and to be computed payable and paid -from such the commencement thereof by the day, -or for the quarter, as the case may require, to and -for the then next ensuing usual quarterly day of payment -in the year; and from thenceforth quarterly, -at the four most usual quarterly days of payment in -the year, by even and equal portions during his continuance -in the said office; and together with all -other fees, liveries, profits, commodities, and advantages -to the said office belonging, or in any wise -appertaining, and in as full, ample, and beneficial -manner and form to all intents and purposes as he -the said William Hogarth held, exercised, and enjoyed, -or might have held, exercised, and enjoyed in -the said office, by virtue of or under the said recited<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span> -letters patent of our said royal grandfather; and -you are to insert in the said Bill all such apt clauses, -directions, authorities, and powers as were contained -in the said former grant of the said office, and such -others as you shall think necessary for our service, -and for making our grant hereby intended to the -said William Hogarth most firm, valid, and effectual; -and for so doing this shall be your warrant.</p> - -<p>"Given at our Court at St. James's, the 30th day -of October 1761, in the second year of our reign.</p> - -<p class="pad4"> -"By his Majesty's command,<br /> -<span class="smcap pad6">"Holles Newcastle</span>.<br /> -<span class="smcap pad6">"North.</span><br /> -<span class="smcap pad6">"James Oswald.</span><br /> -</p> - -<p class="center">"<em>To our Attorney or Solicitor General.</em></p> - -<p class="center">"William Hogarth, Esq., Serjeant Painter of his -Majesty's Works.—Office renewed."</p> -</div> - -<p>The following oracular prediction I found among -his papers, in the handwriting of his friend Townley:—</p> - - -<p class="center">"<em>From an old Greek Fragment.</em></p> - -<p>"There was an ancient oracle delivered at Delphos -which says that the source of beauty should never -again be rightly discovered till a person should arise<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span> -whose name was perfectly included in the name of -Pythagoras; which person should again restore the -ancient principle on which all beauty is founded.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary="Names"> -<tr><td class="tdl pad10"><span title="Pythagoras">" Πυθάγορας</span></td><td class="tdl smcap">Pythagoras.</td></tr> -<tr><td class="tdl pad10"><span title="Ogarth">" Ὄγαρϑ</span></td><td class="tdl smcap">Hogarth."</td></tr> -</table></div> - - -<p class="p2" /> -<h4>THE VASE.</h4> - -<p class="center small">"Is man no more than this? consider him well."—<span class="smcap">Shakspeare.</span></p> - -<p class="p2" /> -<div class="figcenter"> -<a name="VAS" id="VAS"></a> -<img src="images/i_114a_fp.jpg" width="200" alt="" /> -<div class="caption"> -THE VASE.</div> -</div> - -<p class="noindent">As Dr. Townley, in the foregoing mythological -fragment, chooses to suppose that in the Greek -particles which compounded the name of Pythagoras -were to be found the letters <span class="lsp2 smcap">Hogarth</span>; Hogarth, -with a whimsicality somewhat similar, sported an -opinion that the first man who made a well-formed -vase took another man for his model. In page 78 -of his <cite>Analysis</cite>, he remarks "that the exact cross of -two equal lines cutting each other in the middle, as -fig. 69, would confine the figure of a man drawn conformably -to them, to the disagreeable character of -his being as broad as he is long. And the two lines -crossing each other, to make the height and breadth -of a figure, will want variety a contrary way, by one -line being very short in proportion to the other, and -are therefore also incapable of producing a figure of -tolerable variety. To prove this, it will be very easy<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span> -for the reader to make the experiment by drawing a -figure or two (though ever so imperfectly), confined -within these limits.</p> - -<p>"There is a medium between these, proper for every -character, which the eye will easily and accurately -determine.</p> - -<p>"Thus, if the lines, fig. 70, were to be the measure -of the extreme length or breadth, set out either for -the figure of a man or a vase, the eye soon sees the -longest of these is not quite sufficiently so in proportion -to the other for a genteel man, and yet it -would make a vase too taper to be elegant; no rule -or compasses would decide this matter either so -quickly or so precisely as a good eye."</p> - -<p>I apprehend that Hogarth intended to have introduced -this vase into the second print of his <cite>Analysis</cite>, -but found he had not room; for, on the same piece of -paper with the drawing, he thus continues the subject:</p> - -<p>"We cannot wonder that many writers should have -imagined that the different orders of architecture have -been taken from the human form, since both are -governed by the same principles of <em>fitness</em>, <em>strength</em>, -and <em>beauty</em>.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> The general opinion that the Corinthian<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span> -capital was taken from a basket and dock leaves, may -be supported on the same grounds."</p> - -<p>This leads him to one of his favourite ideas, a new -order of architecture.</p> - - -<p class="p2" /> -<h4>HINTS FOR A NEW CAPITAL.</h4> - -<div class="figcenter"> -<a name="CAP" id="CAP"></a> -<img src="images/i_114d_fp.jpg" width="350" alt="" /> -<div class="caption"> -DESIGNS FOR CAPITALS.</div> -</div> - -<p class="noindent">Three of the examples are selected from the most -grotesque and ridiculous objects; the other two from -flowers; and the Bohemian feathers seem slight essays -to prove what he frequently advanced, that though he -considered the ancient orders with reverence, yet being -the productions of men, men might without heresy -venture to vary from them. He remarks: "That -churches, palaces, prisons, common houses, and summer -houses might be built more in distinct characters -than they are, by contriving orders suitable to each; -whereas, were a modern architect to build a palace -in Lapland or the West Indies, Palladio must be his -guide, nor would he dare to stir a step without his -book."</p> - -<div class="blockquot"> - -<p>"This architects peremptorily assert is the only -rule, nor dare they deviate from the established orders. -Should you press them hard for a reason, they will -tell you no man has yet been able to equal what has -been already done; which though I admit, yet have -I ventured to assert, and now repeat, that the most -<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>beautiful order in the architecture of the ancients -will perfectly agree with the rules of composition laid -down in the <cite>Analysis</cite>, and that new orders, adapted -to various purposes, may be still invented. I cannot -help thinking it is possible that a man who understood -drawing, though he had never seen a column, -might, by applying the straight and waving line, and -correcting simplicity by variety, produce one with -equal beauty to any of them.</p> - -<p>"In architecture, after <span class="fs80">FITNESS</span> hath been strictly -and geometrically complied with, all the additional -members or parts may, by attention to the proper -rules of composition, be continually varied and yet be -pleasing. For example, if the capitals composed of -the confined shapes of hats and wigs can be rendered -tolerable, what might not be done by selecting the -elegant varieties which are displayed in feathers, -flowers, shells, etc.?"<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></p> -</div> - - -<p><span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span></p> - -<p class="p2" /> -<h4>ROUND AND SQUARE HEADS.</h4> - -<div class="figcenter"> -<a name="HEA" id="HEA"></a> -<img src="images/i_114c_fp.jpg" width="350" alt="" /> -<div class="caption"> -SQUARE & ROUND HEADS.</div> -</div> - -<p class="noindent">The five heads in the annexed plate are copied from -sketches in my possession, and all of them seem to -have been intended for the illustration of his <cite>Analysis</cite>, -in which he remarks, that "the particular expressions -of a face or movement of a feature which becomes one -person shall be disagreeable in another, just as such -expressions or turns happen to fall in with the lines of -beauty or the reverse; for this reason there are pretty -frowns and disagreeable smiles: the lines that form a -pleasing smile about the corners of the mouth have -gentle windings, as fig. 1,<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> but lose their beauty in -the full laugh; the expression of excessive laughter, -oftener than any other, gives a sensible face a silly or -disagreeable look, as it is apt to form regular plain -lines about the mouth (like a parenthesis), which -sometimes appear like crying."</p> - -<div class="blockquot"> - -<p>"In what we call plain lines there is this constant -and remarkable effect, that as they are more or less -conspicuous in any kind of character or expression in -the face, they bring along with them certain degrees<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span> -of a foolish or a ridiculous aspect. The inimitable -Butler knew this, and describes the beard of Hudibras, -fig. 2:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseqx">'In cut and dye so like a tile,</p> -<p class="verse">A sudden view it would beguile.'</p> -</div></div> - -<p>"To set this in an <i lang="fr" xml:lang="fr">outréd</i> light, see fig. 4,<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> a face -almost as square as a die; and fig. 5, as truly round -as a globe. The effect of the latter is rather ridiculous -than ugly. Sir Plume's empty look, described in the -'Rape of the Lock,' would not be near so vacant -without the idea of roundness:</p> - -<p class="center small">'With round unthinking face.'</p> - -<p>"The dialogue between Cleopatra and the Messenger, -relative to the person of Octavia, proves that -Shakspeare, who seems to have seen through all -nature, saw this in the same light."<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></p> -</div> - -<p>To No. 3 he thus alludes in his <cite>Analysis</cite>, p. 128, -but has not engraved it in his explanatory plate, -though it would certainly have been a better example -than his old man's head, fig. 98:—</p> - -<div class="blockquot"> - -<p>"Human nature can hardly be represented more -<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>debased than in the character of the Silenus, where -the bulging line runs through all the features of the -face, as well as the other parts of this swinish body; -whereas, in the satyr of the wood, though the ancients -have joined the brute with the man, we still see preserved -an elegant display of serpentine lines that -renders it graceful." His manuscript continues:—</p> - -<p>"The fine airs and graceful turns and windings of -such a head were produced by adhering to this line; -and it was this Mr. Pope conceived of Raphael and -Guido in his epistle to Mr. Jarvis, the king's painter, -or he meant nothing:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseqx">'Each heavenly piece unwearied we compare,</p> -<p class="verse">Match Raphael's grace with thy loved Guido's air,</p> -<p class="verse">Carracci's strength, Correggio's softer line,</p> -<p class="verse">Paulo's free stroke,' etc.</p> -</div></div> - -<p>"We must not seek for examples in any of the -works Mr. Pope recommends, for whatever was -painted by his friends had his unqualified praise.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> -He would have said the same of Mr. Kent. Poets -are the fountains of flattery, as kings are the fountains<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span> -of honour. The former can with as much ease -make one man an inspired painter, as the latter can -create another right honourable, without either of -the parties producing their credentials."<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a></p> -</div> - - -<p class="p2" /> -<h4>HERCULES, HENRY VIII., AND A FRENCH DANCING-MASTER.</h4> - -<div class="figcenter"> -<a name="HER" id="HER"></a> -<img src="images/i_114b_fp.jpg" width="650" alt="" /> -<div class="caption"> -HERCULES, HENRY 8<sup>TH</sup> & A FRENCH DANCING MASTER.</div> -</div> - -<p class="noindent">In Hogarth's manuscript of the <cite>Analysis</cite>, facing the -chapter on Fitness, I found a red-chalk sketch of -these three figures, which (with slight variations) he -has introduced in his illustrative prints. They are -copied as an example of the manner in which he -sketched his first thoughts: they seem placed together -to contrast the easy and natural turn of the -Hercules with the stiff and artificial attitudes assumed -by the other two figures, in both of which uniformity -is the leading principle. Relative to this, Hogarth, -in p. 20 of the <cite>Analysis</cite>, puts the following query:—</p> - -<div class="blockquot"> - -<p>"If uniform objects were agreeable, why is there<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span> -such care taken to contrast and vary all the limbs of -a statue? Were the eye pleased with uniformity, the -picture of Henry <span class="smcap">VIII.</span> would be preferable to the -finely contrasted figures of Guido and Correggio; -and the Antinous' easy sway must submit to the stiff -and straight figure of the dancing-master.</p> - -<p>"The 'Hercules' by Glycon (fig. 1) hath all -its parts finely fitted for purposes of the utmost -strength that the texture of the human form will -bear. The back, breast, and shoulders have huge -bones, and muscles adequate to the supposed active -strength of its upper parts; but as less strength was -required for the lower parts, the judicious sculptor, -contrary to all modern rule of enlarging every part in -proportion, lessened the size of the muscles gradually -down towards the feet, and for the same reason made -the neck larger in circumference than any part of the -head; otherwise the figure would have been burdened -with an unnecessary weight, which would have been -a drawback from his strength, and, in consequence of -that, from his characteristic beauty. These seeming -faults, which show the superior anatomical knowledge -as well as judgment of the ancients, are not to -be found in the leaden imitations near Hyde Park."</p> -</div> - -<p>The bluff and boisterous Henry <span class="smcap">VIII.</span> is described -in the same volume as forming a complete <span class="large">X</span> with his -legs and arms; and the pert and prim dancing-master -is so accomplished a person, that were he to<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span> -see his scholar in the easy and gracefully-turned -attitude of the Antinous, he would cry shame! tell -him he looked as crooked as a ram's horn, and bid -him hold up his head, as he himself did. This figure -is said to be intended for Essex the dancing-master.</p> - -<p>The very different position in which these three -strongly contrasted characters place their legs and -feet is worthy of observation.</p> - - -<p class="p2" /> -<h4>CHARLES I., ITALIAN JUPITER, ETC.</h4> - -<div class="figcenter"> -<a name="CHA" id="CHA"></a> -<img src="images/i_124b_fp.jpg" width="550" alt="" /> -<div class="caption"> -I. CHARLES I. II. HENRIETTA MARIA. III. GROTESQUE ORNAMENT. -IV. ITALIAN JUPITER.</div> -</div> - -<p class="noindent">These figures, as well as the preceding, are copied -from sketches in the <span class="fs80">MS.</span> of the <cite>Analysis</cite>; the Italian -Jove, grasping a thunderbolt, is intended for Monsieur -Desnoyer dancing in a grand ballet. A reduced copy -of the figure is in the first plate to the <cite>Analysis</cite>, -placed as a companion to Quin in the character of -Brutus; and it must be acknowledged that the -English actor, in a wig which Gorgon's self might -own, is as fair a representative of a Roman general as -the dancer is of a deity.</p> - -<p>The figures 1 and 2 are from Vandyke's portraits -of Charles <span class="fs80">I.</span> and Henrietta Maria. The former -is copied from one of that great painter's portraits, -and almost wholly made up of straight lines; the -latter, though drawn with an easy and elegant air, -Hogarth considers as not composed on the principle<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span> -of the waving line, which he says Vandyke seems -never to have thought of. Thus does he characterize -that artist in the page that faced the sketches:—</p> - -<div class="blockquot"> - -<p>"Rubens knew the waving line, but his contours -are rather overcharged. Vandyke, his scholar, perhaps -for fear of running into what he might think -gross in his master's manner, imitated nature just as -it chanced to present itself; and having an exact eye, -produced portraits which abound with delicacy and -simplicity; but when nature flagged he was tame, not -knowing that principle which might have raised his -ideas. His best works are, however, marked with -grace."</p> -</div> - -<p>No. 3 is intended to represent one of those clumsy, -grotesque ornaments with which our cathedrals -abound, where a winged figure, perched in the niche -of an arch behind a shield, seems intended as a -guardian angel to the dust of the deceased hero, -whose armorial bearing is sometimes displayed in -the front.</p> - -<p>The last engraving which I have taken from the -manuscript of the <cite>Analysis</cite>, makes an easy and -elegant form; and I have ventured to introduce it in -the <a href="#DOL">title-page</a> to this volume. The original drawing -is on the same leaf with two sketches of an ill-shaped -candlestick and torch thistle (Nos. 40 and 42), in the -first plate to the <cite>Analysis</cite>. I think it may be denominated -"The Dolphin Candlestick," as it is com<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span>posed -of dolphins and snakes, so twisted as to -combine his favourite serpentine line, and crowned -with the iris and lily. In his <span class="fs80">MS.</span>, after remarking -that "our furniture and utensils are generally as -tasteless and inelegant as straight and unvaried lines -can make them,"—and producing as examples the ill-shaped -candlesticks, etc., which are engraved in his -first plate,—he concludes by observing, "It is said in -vindication of such forms, that they are adhered to -for the sake of simplicity; but this might be preserved, -and yet some portion of beauty introduced, -did they combine their little variations by the proper -rules."</p> - -<div class="blockquot"> - -<p>"Let the 'Dolphin Candlestick,' composed of serpentine -lines varying with each other, be compared -with No. 40, plate <span class="fs80">I</span>, which is made up of plain unvaried -parts, and it will show, in a much clearer view -than can be expressed by words, the necessity of -variety to constitute beauty.</p> - -<p>"Nature gives us a few examples of tasteless forms -in the torch thistle, and some other ill-shaped exotics -to be found in green-houses, which form a striking -contrast to such flowers as the Chalcedonian iris and -lily, whose enchanting beauty proceeds from their -variety—these two flowers united form a nozzle to -the candlestick above alluded to."</p> -</div> - -<p>Notwithstanding Hogarth's perpetual reference to -the line of grace and analysis of the line of beauty,<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span> -he has been generally said to be totally incapable of -imparting either one or the other to his figures. Mr. -Nichols, in his <cite>Anecdotes</cite>, insists on his notorious -deficiency in what is styled "the graceful," and in -page 48 quotes Mr. Garrick's opinion to corroborate -his own. The writer of the <cite>North Briton</cite>, No. 17, -boldly asserts that he never caught a single idea of -beauty, grace, or elegance. Mr. Walpole, who is -generally candid and liberal in his praise, declares -him totally devoid of the principle, and, quoting the -first plate of his <cite>Analysis</cite> as an example, concludes -the sentence by remarking, that "the two figures of -a young lord and lady, which are added as samples -of grace," are strikingly stiff and affected. I do not -know that the artist intended them to be otherwise; -he has not referred to them as models in his book, -and, it is but fair to think, meant them as leading -figures, less <i lang="fr" xml:lang="fr">outré</i> in their forms, but nearly as affected -in their graces, as the other dancers. His object -seems to be, exemplifying grace by what it is not -rather than by what it is. Whatever were his motives -for thus amplifying awkwardness in the Wandsworth -assembly,<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> the annexed design, which may be -considered as its contrast, he has either composed -on a different principle, or, by a most happy and -singular accident, grouped some very easy and elegant -forms with much taste.</p> - - -<p><span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span></p> - -<p class="p2" /> -<h4>THE DANCE</h4> - -<div class="figcenter"> -<a name="DAN" id="DAN"></a> -<img src="images/i_124a_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE DANCE.</div> -</div> - -<p class="noindent">Was designed and engraved in the year 1723 for the -first volume of De la Mottraye's <cite>Travels</cite>. In p. 159, -this tedious writer tells us, in some very ill-arranged -sentences, that the Greek women in the isle of Scio, -where the scene is laid, have a striking pre-eminence -over those of any other island in the Archipelago -for beauty as well as gaiety, and, some say, likewise -for complaisance. They verify the proverb, "Merry -as a Greek," dance every Sunday or holiday in the -open air, and in ring, as represented in the print; -and on such occasions wine is not spared.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> He describes -fig. 1 as a chief woman of Smyrna, and fig. 7 -as her daughter; fig. 4 as a Greek woman of Constantinople, -and fig. 3 as a country girl of Scio, in a -habit peculiar to that place.</p> - -<p>From these slender materials the artist made his -design in a style which proves (notwithstanding the -total deficiency of taste alleged by his biographers), -that at this early period of his life he had the power -of delineating figures with some portion of grace.</p> - -<p>It may possibly be asked, why examples of this -do not more frequently occur in his other works? -To which I can only answer, that his scenes were -almost invariably laid in his own country, where he<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span> -painted objects as he saw them; and whatever grace -the Grecian habit might give to the beauties of Scio, -the Germanic garb, in which the beauties of Britain -then disguised themselves,</p> - -<p class="center small">"Chastely conceal'd each charm from every eye."</p> - -<p>Mr. Benjamin Wilson the painter, in the letter that -follows, puts a query concerning a disputed point in -perspective, which was adopted by Hogarth, in support -of his friend Kirby, who, in the epistle that -succeeds it, after returning his acknowledgments for -the drawing that Sullivan engraved for his book, -requests the author of the <cite>Analysis</cite> to give him some -supplementary support in his doctrine of parallel -columns, etc., for the volume he was then printing -on perspective. This Hogarth did not then comply -with; but when Mr. Highmore, a short time afterwards, -attacked the system and its author in the -preface of a pamphlet, Hogarth, in support of both, -and to ridicule the erroneous principles of his opponent, -wrote Kirby some whimsical strictures, which -have been already published in the <cite>Graphic Illustrations</cite>. -As they are immediately connected with the -letter which is subjoined, I have inserted them in a -note, and added such extracts from Highmore's and -Kirby's prefaces as may elucidate the subject in -debate, and enable the reader to draw his own conclusions:—</p> - - -<p><span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p> - -<p class="center"><em>To Wm. Hogarth, Esq., Chiswick.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Dear Sir</span>,—When you come to town, I shall -be very glad to show you further advantages which -I have gathered from your excellent <cite>Analysis</cite>. I -assure you I think myself greatly indebted to you, -and know of no method to repay you, but to acknowledge -it as I improve, that the world may have one -instance of your invariable principles being true. An -odd appearance was mentioned to me lately, which -it seems is a fact. A parallelogram, viewed obliquely -at a given distance, forms a different representation -when seen through a telescope than it does when -viewed with the naked eye. In the one case the -remote end of the parallelogram appears larger than -the near end, whilst in the other case it appears -smaller than the near end.</p> - -<p>"<em>Q.</em> Do your disputants (in relation to the columns) -suppose a given point? If so, they will not regard the -eye as you do. Excuse haste.—I am, Sir, etc.,</p> - -<p class="right">"<span class="smcap">B. Wilson</span>."</p></div> - - -<p class="center"><em>For Mr. Hogarth.</em></p> - -<p class="right small">"<span class="smcap">Ipswich</span>, <em>May 3d, 1753</em>.<br /></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Dear Sir</span>,—Ever since I received the favour of -your drawing, I have been in expectation of having<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span> -my Preface printed, but have been continually disappointed, -which was the reason of my not returning -you my most hearty thanks for the above favour -long before this time, and therefore I hope your -goodness will excuse it.</p> - -<p>"The design which you have favoured me with -is the best that can be thought of for its intended -purpose, as it tends to recommend the study of perspective -by exposing the mistakes of those artists -who are ignorant of it in such a striking manner as -is peculiar to the genius of Mr. Hogarth. I intend -to have it engraved by Mr. Sullivan, and shall send -it to him as soon as I know how to direct to him, -unless any other person is more agreeable to you for -that purpose.</p> - -<p>"I have enclosed my Preface for your inspection, -and one page of the work itself as a specimen of the -paper and letter, and shall be glad if they please -you. My intention in the three last paragraphs<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> will -be obvious at first sight, and I hope you will not -think them unnecessary.</p> -<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span> -<p>"But, good sir, give me leave to ask you (for you -have given me much assurance by your friendship, -and particularly by your promise), have you thought -any more of what we have so often discoursed upon -in relation to parallel columns, etc.? I am more and -more convinced of the justness of your reasoning<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span> -upon that subject, and shall think myself prodigiously -honoured if you annex something of that kind to my -work; for then I shall have you both in my front and -rear, and shall not be afraid even of the d—l himself -when I am so guarded. If the little witlings despise -the study of perspective, I'll give 'em a thrust with my<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span> -frontispiece which they cannot parry; and if there be -any that are too tenacious of mathematical rules, I'll -give them a cross-buttock with the 'Dissertations,' -and crush them into as ill-shaped figures as those -they would draw by adhering too strictly to the rules -of perspective.</p> - -<p><span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span></p> - -<p>"I have nothing more to add but my humble -thanks for all your favours; and I shall be glad to -know if you intend doing anything as you proposed. -And am, with compliments to Lady Thornhill, Mrs. -Hogarth, etc., your most obliged and obedient humble -servant,</p> - -<p class="right">"<span class="smcap">Jos. Kirby</span>.</p> - -<p>"<em>P.S.</em>—I cannot fix the time when my work will -be published, but it is printing with the utmost expedition."</p> -</div> - -<p>For another of Mr. Kirby's publications Hogarth -designed a frontispiece, which was engraved by Mr. -Woollet, and is prefixed to "<cite>The Perspective of Architecture</cite>, -deduced from the principles of Doctor Brook -Taylor, begun by order of his present Majesty when -Prince of Wales." I have annexed a copy.</p> - - -<p class="p2" /> -<h4>FRONTISPIECE TO THE PERSPECTIVE OF -ARCHITECTURE.</h4> - -<div class="figcenter"> -<a name="FPP" id="FPP"></a> -<img src="images/i_132_fp.jpg" width="650" alt="" /> -<div class="caption"> -FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE.</div> -</div> - -<p class="noindent">It is thus explained by Mr. Malton in the appendix -to his <cite>Treatise on Perspective</cite>:—</p> - -<p>"Here is a curious frontispiece, designed by Mr. -Hogarth, but not in the same ludicrous style as the -former (<em>i.e.</em> the frontispiece to Kirby's <cite>Perspective</cite>): it -<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>were to be wished that he had explained its meaning; -for, being symbolical, the meaning of it is not so -obvious as the other (that on false perspective). To -me it conveys the idea which Milton so poetically describes -of the angel Uriel gliding down to Paradise on -a sunbeam; but the young gentleman has dropped -off before he had arrived at his journey's end, with -Palladio's book of architecture on his knees. A ray -of light from the sun, rising over a distant mountain, -is directed to a scroll on the ground on which -are two or three scraps of perspective, over which, -supported by a large block of stone, is the upper part -of a sceptre broke off; the shaft, very obliquely and -absurdly inclined, somewhat resembling the Roman -fasces, and girt above with the Prince of Wales' -coronet as an astragal, through which the fasces rise -and swell into a crown adorned with embroidered -stars; this is the principal object, but most vilely -drawn. The ray passes through a round temple at -a considerable distance, which is also falsely represented, -the curves being, for the distance, too round, -and consequently the diminution of the columns is -too great. It appears to pass over a piece of water: -on this side the ground is fertile and luxuriant with -vegetation, abounding with trees and shrubs; on the -other side it is rocky and barren. What is indicated -by this seems to be, that where the arts are encouraged -by the rays of royal favour, they will thrive and<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span> -flourish; but where they are neglected, and do not -find encouragement, they will droop and languish."<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a></p> - -<p>On the ray from the sun rising over a distant -mountain, etc., so facetiously treated by Mr. Malton, -some light is thrown in a manuscript chapter of the -<cite>Analysis</cite>, where Hogarth, describing painters' colours, -remarks that—</p> - -<p><span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span></p> - -<div class="blockquot"> - -<p>"Sir Isaac Newton's theory of light and colours, -though excellent in itself, is an inquiry of so different -a nature from ours, that were we to take this great -philosopher as our guide, he would not assist but -mislead us, as he did Dr. Brook Taylor, the ingenious -author of the best book on perspective that ever was -written. The Doctor printed an appendix to this -work, which he entitled, <cite>A New Theory for Mixing -Colours</cite>, taken from Sir Isaac Newton's optics; but -his project, though ingenious in speculation, is altogether -impracticable in painting."</p> -</div> - -<p>This observation Hogarth follows by the annexed -remarks on those visionaries who had puzzled the -doctrine of colours with minute and unnecessary -divisions, and adopted a strange notion that these -divisions were governed by the same laws as music:—</p> - -<div class="blockquot"> - -<p>"Both Albert Durer and Lomazzo, who wrote on -painting, had this conceit; and so much was Père -Castle, a French theoretical doctor, impressed with -the idea, that with infinite pains and trouble he contrived -a harpsichord to play <em>harmonious composition -of colours</em>! On this he wrote a book, and built a -system in which prism colours were his notes; these -the keys of his instrument were to produce at pleasure. -But surely he could not have been drawn into such an -absurdity without having first persuaded himself that -colours and sounds were of the same nature, and that -the like disposition of them both would answer the<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span> -same purpose, <em>i.e.</em> that a jig in notes would be a jig -in colours.<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> I should not be much surprised if some -native of that nation of <em>taste</em> contrived an instrument -for cookery on a similar plan.<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> This would without -doubt be adopted in England, where it must unquestionably -have great encouragement. How pleasant -would it be to mark Monsieur de Quisiney at his -harpsichord, composing a grand festino for the entertainment -of foreign ministers; and would the inventor -compose a banquet for an installation, or a feast for -a Lord Mayor's day, it would ensure him the hearts -of both courtiers and citizens. What delight would it -afford to a certain eminent composer to see his two -favourite sciences thus united!<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a></p> - -<p><span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span></p> - -<p>"The fact is, that though compositions of music -and colours may illustrate each other in their principles, -they very essentially differ in their effects. -The notes on a scale in music will range similar to -the colours in a rainbow, or to those separated by the -prism, but their operations are precisely opposite.</p> - -<p>"For example, let all the keys of an harpsichord -be pressed down at one stroke, and the ear will be -offended with harsh, jarring, and confused sounds; -but if you run your fingers along them in succession, -it produces a sort of harmony. In colours it is<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span> -directly the reverse; for though the varied hues of the -rainbow strike the eye agreeably at first sight, yet -were flickering colours to follow each other in quick -succession, the optic nerve would suffer pain in proportion -as the tints were more or less vivid, and -played in quick or slow time."</p> -</div> - -<p>These observations are followed by some hints on -easy deportment, and succeeded by the following -desultory thoughts, which in his manuscript Hogarth -entitles "A Supplementary Chapter on Dress:"—</p> - -<div class="blockquot"> - -<p>"Dress is so copious a topic, that it would afford -sufficient matter for a large volume. The amazing -force and folly of fashion is placed in a most -ridiculous point of view in an old book called the -<cite>Artificial Changeling</cite>, where the author not only -describes the uncouth, wild, and extravagant mode -of clothing the body in different ages and countries, -but also states many detestable and barbarous customs -of whole nations, who mould and torture the -human frame to destroy its original form. Some of -the customs that he enumerates are, I believe, still -practised, particularly in China, where the feet of the -females are bandaged to prevent their growing; and -among the Hottentots, where, to improve their children's -faces, they break the gristles of their noses. -Such is the force of habit, that the eye is soon reconciled, -and these horrid disproportions and deformities -are considered as beauties.</p> - -<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p> - -<p>"In this country, fancy and the love of change, to -which we may sometimes add public and private -interest, have generally given the lead to fashion; -nor is it to be objected to,—sumptuary laws are not -consonant to the spirit of a free people. In dress -nothing need be restrained except the folly (I had -almost said wickedness) of changing the form or -colour of nature.<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a></p> - -<p>"As to the fashion of men's dresses, if they are not -rendered inconvenient, it is of little consequence: the -tailors may contrive them as they will.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> But for the -sex to whom nature has been so bountiful to disguise -<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>their enchanting forms, and sacrifice ease, elegance, -and grace on the shrine of fashion, is defying -symmetry and thwarting nature, which, in their -capricious variations, they should sometimes suffer to -take fancy by the hand. The principles laid down -for sculpture, etc., will apply to dress; and fitness, -propriety, and convenience being first established, it -should be rendered pleasing. Attention to a few -plain and simple rules would be conducive to its -being made so.</p> - -<p>"For a degree of uniformity there is a necessity, -as without it our habits would be neither commodious -nor comfortable; but when uniformity can be corrected -by taste, or rendered less obtrusive by slight -variations, the appearance will be more graceful and -becoming. Thus, feathers, jewels, and flowers should -usually be worn on one side of the head.</p> - -<p>"Painters describe this disposition of ornament, etc. -by the word picturesque, and have contrived what -they call a fancy dress. This is wholly at their own -disposal, and they profess to combine in it all the -principles of beauty. But, unhappily, should their -figures walk across the room, these fantastic garments -would drop from their shoulders. Were they contrived -with a little attention to common sense, they -might have their uses. Such a succedaneum would -not only keep their works out of the reach of ill-natured -critics, by covering false anatomy, etc., but<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span> -give an artist such latitude for light and shadow as -might enable him to shine in the grand historical -style; though in painting the manners of the present -day, where dress forms a part of the character, he -might be totally at a loss. On the same ground that -I think it more difficult to delineate scenes built on -real life than to display such as originate in fiction, -I believe it an easier task to write tragedy than -comedy: I mean true comedy, not a Dutch droll. -Dress is in some cases an index to the mind, and -characters in improper habits would destroy the -illusion at the best performed play.</p> - -<p>"Simplicity, little as it is attended to, is the most -attractive principle of beauty. By this I mean that -the habit should not be divided into too many parts, -like an old-fashioned furbelowed and flounced petticoat: -this preposterous mode confounds the eye, and -gives an idea of rags and tatters. The plain unadorned -dress of a country girl is often more engaging -than the richest court habit, in which beauty -is frequently obscured, overwhelmed, and buried by -gaudy and heavy ornaments that totally destroy the -effect they are intended to produce. Yet here, as in -composition, simplicity must be corrected by intricacy, -to prevent its degenerating into meanness. -Parts of every dress should be loose, and at liberty to -play into folds, some of which will move with the -figure; nay, it sometimes produces grace to contrive<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span> -things to rest in winding forms, as is demonstrated by -the figure of a sphinx.</p> - -<p>"Quantity, as I have before remarked, adds -dignity; robes of state are always made large and -full; the long sweeping trains of queens have a -majestic effect. To attain this, the ladies endure -great fatigue, and encumber themselves with an -enormous hoop petticoat, as much as they would by -carrying a pair of panniers on their hips. While -they preserve the figure of the pyramid, this produces -some degree of dignity, but excess renders it ridiculous.</p> - -<p>"The horse-grenadier, mounted, caparisoned with -his sword and other accoutrements, gives a good -example of the noble effect of quantity, so combined -as to come within pyramidal lines. What a contrast -would it produce, to see the little jockey fitted, -trimmed, and pared down for a race, riding by the -side of him!"</p></div> -</div> - -<p>Hogarth concludes with a remark, which intimates -that he had originally intended to have inserted the -preceding chapter in his <cite>Analysis</cite>, but altered his -plan and reserved it for his intended Supplement:—</p> - -<div class="blockquot"> - -<p>"The even and uniform colour of the hair, by -encompassing the face as a frame doth a picture, -contrasts with harmonious colour its variegated and -enclosed composition, and adds more or less beauty -thereto, according to the manner it is disposed. This<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span> -graceful ornament may, with some propriety, be -called the head-dress, and comes under that class; -but as dress in general is a matter of no small importance -to a great part of the world, it deserves to -be treated more copiously than this volume will admit -of. It shall therefore be deferred till a more convenient -opportunity offers, when the Supplement -shall be published."</p> -</div> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_143.jpg" width="100" alt="(end of section floral icon)" /> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span></p> - - <div class="chapter"></div> -<h3>CHAPTER V.</h3> - -<p class="p2 negin2 fs80 lht">HOGARTH'S INDUCEMENT TO PAINTING THE PICTURE OF SIGISMUNDA. -HIS CORRESPONDENCE WITH LORD GROSVENOR ON -THIS SUBJECT, CONTRASTED BY TWO LETTERS FROM LORD -CHARLEMONT, FOR WHOM HE HAD PREVIOUSLY PAINTED AN -INTERESTING SCENE. ORIGIN OF THE QUARREL WITH WILKES -AND CHURCHILL, WHICH GAVE RISE TO THE PRINT OF THE -BEAR, ETC.; AND THE ARTIST'S DEATH.</p> - -<div> -<img class="drop-cap" src="images/dc_144.jpg" alt="" /> -</div> - -<p class="drop-capx">The particulars relative to the picture of -"Sigismunda," Hogarth has himself inserted -in his subscription-book, on the leaves of -which he has pasted his correspondence with Lord -Charlemont and Lord Grosvenor, and a proof print -of MacArdell's copy from Correggio's picture. In a -little blue memorandum book he resumes the subject, -and concludes with a narrative of his quarrel with -Wilkes and Churchill, which ends with the word <i lang="fr" xml:lang="fr">Finis</i>.</p> - -<p>In these and some other loose papers, after having -stated the professional injury which he had sustained -from his opponents asserting, and the public -believing, that he could not paint portraits, he continues:—</p> - -<div class="blockquot"> - -<p>"Being thus driven out of the only profitable -branch of my profession, I at first thought of attach<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>ing -myself to history-painting; but in this there was -no employment, for in forty years I had only two -orders of any consequence for historical pictures. -This was rather mortifying; and being, by the profits -of my former productions and the office of serjeant -painter, tolerably easy in my circumstances, and -thoroughly sick of the idle quackery of criticism, I -determined to quit the pencil for the graver. In this -humble walk I had one advantage; the perpetual -fluctuations in the manners of the times enabled me -to introduce new characters, which being drawn from -the passing day, had a chance of more originality and -less insipidity than those which are repeated again, -and again, and again from old stories. Added to -this, the prints which I had previously engraved were -now become a voluminous work, and circulated not -only through England, but over Europe. These -being secured to me by an Act which I had previously -got passed, were a kind of an estate; and as -they wore, I could repair and re-touch them, so that -in some particulars they became better than when -first engraved.<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a></p> - -<p>"While I was making arrangements to confine<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span> -myself entirely to my graver, an amiable nobleman -(Lord Charlemont) requested that, before I bade a -final adieu to the pencil, I would paint him one -picture; the subject to be my own choice, and the -reward—whatever I demanded. The story I pitched -upon was a young and virtuous married lady, who, -by playing at cards with an officer, loses her money, -watch, and jewels; the moment when he offers them -back in return for her honour, and she is wavering at -his suit, was my point of time.<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a></p> - -<p>"The picture was highly approved of, and the -payment was noble; but the manner in which it was -made, by a note enclosed in one of the following -letters, was to me infinitely more gratifying than -treble the sum:—</p> -</div> - - -<p class="center"><em>From Lord Charlemont to Mr. Hogarth.</em></p> - -<p class="right small">"<span class="smcap">Mount Street</span>, <em>19th Aug. 1759</em>.</p> - -<div class="blockquot"> - -<p>"<span class="smcap">Dear Sir</span>,—I have been so excessively busied -with ten thousand troublesome affairs, that I have -not been able to wait upon you according to my -promise, nor even to find time to sit for my picture.<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span> -As I am obliged to set out for Ireland to-morrow, we -must defer that till my return, which will be in the -latter end of January, or in the beginning of February -at furthest. I am still your debtor, more so indeed -than I ever shall be able to pay; and did intend to -have sent you before my departure what trifling -recompense my abilities permit me to make you. -But the truth is, having wrong calculated my expenses, -I find myself unable for the present even to -attempt paying you. However, if you be in any -present need of money, let me know it, and as soon -as I get to Ireland I will send you, not the price of -your picture, for that is inestimable, but as much as -I can afford to give for it.—Sir, I am, with the most -sincere wishes for your health and happiness, your -most obedient humble servant,</p> - -<p class="right"><span class="smcap">Charlemont</span>.</p> -</div> - - -<p class="center"><em>To Mr. Hogarth.</em></p> - -<p class="right small">"<span class="smcap">Dublin</span>, <em>29th January 1760</em>.</p> - -<div class="blockquot"> - -<p>"<span class="smcap">Dear Sir</span>,—Enclosed I send you a note upon -Nesbitt for one hundred pounds; and considering the<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span> -name of the author, and the surprising merit of your -performance, I am really much ashamed to offer such -a trifle in recompense for the pains you have taken, -and the pleasure your picture has afforded me. I -beg you would think that I by no means attempt to -pay you according to your merit, but according to -my own abilities. Were I to pay your deserts, I fear -I should leave myself poor indeed. Imagine that -you have made me a present of the picture, for -literally as such I take it, and that I have begged -your acceptance of the enclosed trifle. As this is -really the case, with how much reason do I subscribe -myself, Your most obliged humble servant,</p> - -<p class="right"><span class="smcap">Charlemont</span>.</p> -</div> - -<div class="blockquot"> - -<p>"This elevating circumstance had its contrast, and -brought on a train of most dissatisfactory circumstances, -which by happening at a time when I thought -myself, as it were, landed, and secure from tugging -any longer at the oar, were rendered doubly distressing.</p> - -<p>"A gentleman (now a nobleman) seeing this picture, -pressed me with much vehemence to paint -another for him upon the same terms. To this I -reluctantly assented; and as I had been frequently -flattered for my power of giving expression, I thought -the figure of Sigismunda weeping over the heart of -her lover would enable me to display it. Impressed<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span> -with this idea, I fixed upon this very difficult subject. -My object was dramatic, and my aim to draw tears -from the spectator,—an effect I have often witnessed -at a tragedy; and it therefore struck me that it was -worth trying if a painter could not produce the same -effect, and touch the heart through the eye, as the -player does through the ear.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> Thus far I have been -gratified: I have more than once seen the tear of -sympathy trickle down the cheek of a female while -she has been contemplating the picture.</p> - -<p>"As four hundred pounds had a short time before -been bid for a picture of 'Sigismunda,' painted by a -French master, but falsely ascribed to Correggio, four -hundred pounds was the price at which I rated this.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a></p> - -<p>"By any other of my pursuits I could have got -<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>twice the sum in the time I devoted to it; nor was -it more than half what a fashionable face-painter -would have gained in the same period. Upon these -grounds I put it at this sum; see the letter, and see -the answer. It ended by my keeping the picture in -my painting-room, and his Lordship keeping his -money in his pocket. Had it been Charlemont!"</p> -</div> - -<p>This transaction having given rise to many ridiculous -falsehoods, the following unvarnished tale will -set the whole in its true light:—</p> - - -<p class="p1 right small">"<em>January 1764.</em></p> - -<div class="blockquot"> - -<p>"The picture of 'Sigismunda' was painted at the -earnest request of Sir Richard Grosvenor (now Lord -Grosvenor) in the year 1759, at a time when Mr. -Hogarth had fully determined to leave off painting, -partly on account of ease and retirement, but more -particularly because he had found by thirty years' -experience that his pictures—except in an instance -or two, mentioned in the note<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a>—had not produced -him one quarter of the profit that arose from his -engravings. However, the flattering compliments, -as well as generous offers, made him by the above -gentleman (who was immensely rich), prevailed upon -the unwary artist to undertake this difficult subject,<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span> -which being seen and fully approved of by his Lordship -whilst in hand, was, after much time, and the -utmost efforts, finished. <em>But how!</em> the painter's -death (as usual) can only positively determine. The -price required for it was therefore not on account of -its value as a picture, but proportioned to the value -of the time it took in painting.</p> - -<p>"This nobleman in the interim fell into the clutches -of the dealers in old pictures; the treatment a man -who painted new ones was to expect where these -gentry once get a footing<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a> so much alarmed the<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> -artist, that he thought it best to set his Lordship at -full liberty to take or reject the picture by writing -the following letter, and putting him in mind of the -agreement which was made when the work was -undertaken:—</p> -</div> - -<p class="center"><em>Mr. Hogarth's Letter to Sir Richard Grosvenor.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Sir</span>,—I have done all I can to the picture of -'Sigismunda.' You may remember you was pleased -to say you would give me what price I should think -fit to set upon any subject I would paint for you; -and at the time that you made this generous offer, -I in return made it my request that you would use -no ceremony in refusing the picture when done, if -you should not be thoroughly satisfied with it. This -you promised should be as I pleased, which I now -entreat you will comply with, without the least hesitation, -if you think four hundred too much money -for it.<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> One more favour I have to beg, which is, -that you will determine on this matter as soon as you -can conveniently, that I may resolve whether I shall -go about another picture for Mr. Hoare the banker, -on the same conditions, or stop here.—I am, etc.</p> - -<p class="small">"<em>June 13, 1757.</em></p> -</div> - -<p><span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span></p> - -<p class="center"><em>Sir Richard Grosvenor to Mr. Hogarth.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Sir</span>,—I should sooner have answered yours of the -13th instant, but have been mostly out of town. I -understand by it that you have a commission from -Mr. Hoare for a picture. If he should have taken a -fancy to the 'Sigismunda,' I have no sort of objection -to your letting him have it; for I really think -the performance so striking and inimitable, that the -constantly having it before one's eyes would be too -often occasioning melancholy ideas to arise in one's -mind, which a curtain's being drawn before it would -not diminish in the least.—I am, Sir, your most -obedient servant,</p> - -<p class="right"><span class="smcap">Richard Grosvenor</span>.</p> - -<p class="small pad1">"<span class="smcap">Grosvenor Square</span>,<br /> -<em>Sunday morning, June 17</em>.</p> -</div> - - -<p class="center"><em>Mr. Hogarth's Reply.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Sir Richard</span>,—As your obliging answer to my -letter in regard to the picture of 'Sigismunda' did -not seem to be quite positive, I beg leave to conclude -you intend to comply with my request if I -do not hear from you within a week.—I am, etc.</p> - -<p class="right">W. H.</p> -</div> - -<p><span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span></p> - -<div class="blockquot"> - -<p>"His Lordship not thinking fit to take any further -notice of the affair, here it must have ended; but -things having been represented in favour of his Lordship, -and much to Mr. Hogarth's dishonour, the foregoing -plain tale is therefore submitted to such as -may at any time think it worth while to see <em>the whole -truth</em> in what has been so publicly talked of."</p> -</div> - -<p>To vindicate his fame, Hogarth at one time determined -to have the picture engraved, and Mr. -Ravenet undertaking it, "a subscription for the print -was begun March 2d, 1761;<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> but, some time afterwards, -finding that Mr. Ravenet was under articles -not to work for any one except Mr. Boydell for -three years then to come, the subscription was put -a stop to, and the money returned to the subscribers, -there being no other engraver at leisure capable of -doing it as it should be done."</p> - -<p><span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span></p> - -<p class="right small">"<em>January 2, 1764.</em></p> - -<div class="blockquot"> - -<p>"All efforts to this time to get the picture finely -engraved proving in vain, Mr. Hogarth humbly hopes -his best endeavours to engrave it himself will be -acceptable to his friends."</p> -</div> - - -<p class="p2" /> -<h4>CORREGGIO'S SIGISMUNDA.</h4> -<p class="p1" /> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"Mute, solemn sorrow, free from female noise."</p> -<p class="verse"><span class="pad10">—<span class="smcap">Dryden's</span> <em>Sigismunda</em>.</span></p> -</div></div> - -<p class="noindent">On the comparative merit of the two pictures of -"Sigismunda" there have been various opinions. By -the foregoing narrative it appears that Hogarth never -paid so much attention to any preceding production; -but in works of imagination success is not always -proportionate to labour, and his performance might -not be equal to his exertions. Be that as it may, this -was the criterion by which he estimated its worth; -and by the political disputes in which he was afterwards -engaged with Wilkes and Churchill, this estimation -was turned against himself. His opponents -discovered his parental partiality for "Sigismunda;" -and to wound the artist in his most vulnerable part, -they mangled her without mercy.</p> - -<p>Mr. Walpole's critique did not appear until after -Hogarth's death; but when he gravely states Hogarth's<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span> -performance to be more ridiculous than anything the -artist had ever ridiculed, it ceases to be criticism. -The best reply to so extravagant an assertion, is -the original picture now in the possession of Messrs. -Boydell, which, though not well coloured, and rather -French, is marked with mind, and would probably -have been better had it not been so often altered -on the suggestions of different critical friends. Mr. -Walpole contrasts it with that painted by Correggio -(or Furino), on which, at the expense of the poor -English artist, he bestows most extravagant and unqualified -praise; asserting that it is impossible "to -see the picture, or read Dryden's inimitable tale, and -not feel that the same spirit animated both poet and -painter." That the reader may form his own opinion -by comparison, I have annexed a copy from MacArdell's -admirable print; and as both sides ought to -be heard, I have subjoined the following remarks -from the <cite>Monthly Register of Literature</cite>, vol. ii., in -which is a critique (possibly written by Mr. Joshua -Kirby), as extravagant in the abuse of this picture as -Mr. Walpole is in its praise. It is here stated that -these observations were written for private use by a -professional man whose name is well known as the -author of a treatise on painting and perspective; it -begins with some remarks on Miss Edwards' sale in -1746, and concludes with several strictures on Sir -Luke Schaub's in April 1756: "Sir Luke's pictures<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span> -(only 178) sold for £7784! a lucky collection for his -heir, but unlucky for Sir Luke's reputation as a judge -of painting." After several severe remarks on some -of the preceding lots, the writer observes of "No. 59,—'Sigismunda -Weeping over the Heart of Tancred,' -called a Correggio,—that this picture is an undoubted -copy; nothing in the character of Sigismunda but -sorrow to recommend it. The painter might take it -from his cook-maid, there being nothing elegant or -delicate in her appearance. The virtuosi ran it up -to £400; but Sir Thomas Sebright, at the desire of -the proprietor, bought it in for £404, 5s. He soon -discovered his mistake, for in reality it was worth -no more than ten guineas."</p> - -<p>Though I cannot consent to view this picture -through the medium of Mr. Walpole's overcharged -panegyric, which gives to the artist a power that is -not in the art, and seems heightened for the pure -purpose of sinking Hogarth by the contrast; yet I -by no means meet this indiscriminate and unfounded -censure. It is many years since I saw the picture -in the Duke of Newcastle's collection, and I then -thought it sublimely conceived and finely coloured. -MacArdell's print gives a faithful representation of -the character, and the annexed head is a correct -copy.</p> - -<p>Hogarth still bearing in mind this transaction, in -which he thought himself very ill-used, continues his<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span> -narrative, and concludes with a recital of the circumstances -which occasioned his quarrel with Mr. Wilkes, -etc.; this much hurt his feelings, and in the progress -of it I have ever thought he was unjustly and most -inhumanly treated:—</p> - -<div class="blockquot"> - -<p>"As the most violent and virulent abuse thrown -on 'Sigismunda' was from a set of miscreants, with -whom I am proud of having been ever at war, I mean -the expounders of the mysteries of old pictures, I -have been sometimes told they were beneath my -notice. This is true of them individually; but as -they have access to people of rank, who seem as -happy in being cheated as these merchants are in -cheating them, they have a power of doing much -mischief to a modern artist. However mean the -vendor of poisons, the mineral is destructive; to me -its operation was troublesome enough. Ill-nature -spread so fast, that now was the time for every little -dog in the profession to bark, and revive the old -spleen which appeared at the time of the <cite>Analysis</cite>.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a> -The anxiety that attends endeavouring to recollect<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span> -ideas long dormant, and the misfortunes which clung -to this transaction, coming at a time when nature -demands quiet, and something besides exercise to -cheer it, added to my long sedentary life, brought -on an illness which continued twelve months. But -when I got well enough to ride on horseback I soon<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span> -recovered. This being at a period when war abroad -and contention at home engrossed every one's mind, -prints were thrown into the background; and the -stagnation rendered it necessary that I should do -some timed thing, to recover my lost time and stop -a gap in my income. This drew forth my print of<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span> -'The Times,' a subject which tended to the restoration -of peace and unanimity, and put the opposers -of these humane objects in a light which gave great -offence to those who were trying to foment destruction -in the minds of the populace. One of the most -notorious among them, till now rather my friend<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span> -and flatterer, attacked me in a <cite>North Briton</cite>, in so -infamous and malign a style, that he himself, when -pushed even by his best friends, was driven to so -poor an excuse as to say, 'he was drunk when he -wrote it.' Being at that time very weak, and in a -kind of slow fever, it could not but seize on a feeling<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span> -mind. My philosophical friends advise me to laugh -at the nonsense of party writing—who would mind -it?—but I cannot rest myself:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseqx">'Who steals my gold steals trash; 'tis something, nothing;</p> -<p class="verse">'Twas mine, 'tis his, and has been slave to thousands:</p> -<p class="verse">But he that filches from me my good name,</p> -<p class="verse">Robs me of that which not enriches him,</p> -<p class="verse">And makes me poor indeed.'</p> -</div></div> - -<p>"Such being my feelings, my great object was to -return the compliment, and turn it to some advantage.</p> - -<p>"This renowned patriot's portrait drawn, like as I -could as to features, and marked with some indications -of his mind, fully answered my purpose. The -ridiculous was apparent to every eye. A Brutus! -a saviour of his country with such an aspect! was so -arrant a farce, that, though it gave rise to much -laughter in the lookers-on, galled both him and his -adherents to the bone. This was proved by the -papers being every day crammed with invectives -against the artist, till the town grew absolutely sick -of thus seeing me always at full length.</p> - -<p>"Churchill, Wilkes' toad-eater, put the <cite>North -Briton</cite> into verse in an epistle to Hogarth; but as -the abuse was precisely the same, except a little -poetical heightening, which goes for nothing, it made -no impression, but perhaps in some measure effaced -or weakened the black strokes of the <cite>North Briton</cite>. -However, having an old plate by me, with some parts<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span> -ready, such as the background and a dog, I began to -consider how I could turn so much work laid aside -to some account; so patched up a print of Master -Churchill in the character of a Bear. The pleasure -and pecuniary advantage which I derived from these -two engravings, together with occasionally riding on -horseback, restored me to as much health as can be -expected at my time of life.</p> - -<p>"Thus have I gone through the principal circumstances -of a life which, till lately, passed pretty much -to my own satisfaction, and, I hope, in no respect -injurious to any other man. This I can safely assert, -I have invariably endeavoured to make those about -me tolerably happy, and my greatest enemy cannot -say I ever did an intentional injury; though, without -ostentation, I could produce many instances of men -that have been essentially benefited by me. What -may follow, God knows.—<span class="smcap">Finis.</span>"</p></div> - -<p>Such is the candid and dispassionate appeal which -this unequalled artist and excellent man makes to -his contemporaries and to posterity.</p> - -<p>In October 1764, he died of an aneurism at his -house in Leicester Fields. His remains were removed -to his family vault at Chiswick. The epitaph -by Dr. Johnson, and that written by Mr. Garrick and -inscribed on his monument, are in the <a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm">first volume</a> of -<cite>Hogarth Illustrated</cite>.</p> - -<p><span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span></p> - -<p>In the <cite>Public Ledger</cite> of November 19, 1764, his -friend Doctor Townley paid the following tribute to -his talents and virtues:—</p> - -<div class="blockquot fs90 lht"> - -<p>"<em>TO THE MEMORY OF WILLIAM HOGARTH, -WHO WAS SUCH AM ACCURATE OBSERVER OF -MANKIND THAT NO CHARACTER ESCAPED -HIM, AND SO HAPPY IN EXPRESSING HIS -CONCEPTIONS BY THE STRENGTH OF HIS -PENCIL, THAT, AS HIS OWN TIMES NEVER -PRODUCED A RIVAL, POSTERITY WILL SCARCE -EVER SEE AN EQUAL TO HIM. HIS THOUGHTS -WERE SO CONSTANTLY EMPLOYED IN THE -CAUSE OF TRUTH AND VIRTUE, THAT HE -MAY BE JUSTLY RANKED AMONGST THE -BEST MORAL AUTHORS. WHILST HE FAITHFULLY -FOLLOWED NATURE THROUGH ALL -HER VARIETIES, AND EXPOSED WITH INIMITABLE -SKILL THE INFINITE FOLLIES AND -VICES OF THE WORLD, HE WAS HIMSELF AN -EXAMPLE OF MANY VIRTUES; AND WHEN, -WITH UNIVERSAL ADMIRATION AND APPLAUSE, -HE HAD REPROVED, INSTRUCTED, -AND DELIGHTED THE AGE WHEREIN HE -LIVED, HE RESIGNED THE UNCOMMON GIFTS -WHICH HE POSSESSED, AND PAID THE GREAT -DEBT HE OWED TO NATURE, OCT. 27, 1764.</em>"</p></div> - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span><br /> - <span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span></p> - -<h2 class="xl">DESCRIPTION OF THE PRINTS, <span class="smcap">Etc.</span></h2> - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<div> -<img class="drop-cap" src="images/dc_167.jpg" alt="" /> -</div> - -<p class="drop-capy">With talents equally honourable to himself, -his country, and the age in which he lived, -Hogarth did not leave his widow possessed -of much more than arose from the sale of his -prints. But during the twenty-five years which she -survived him, she had the higher and more exalted -gratification of finding that his reputation increased, -and his fame acquired stability by time.</p> - -<p>In the year 1780, the late Horace Lord Orford -published his <cite>Anecdotes</cite>, in which he has introduced -Hogarth's catalogue and character. The volume -printed at Strawberry Hill, he (with the preceding -part of the work) presented to Mrs. Hogarth. The -books were accompanied with the following handsome -apology for his strictures on the genius of her -husband:<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a>—</p> - -<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p> - -<p class="p1 center"><em>To Mrs. Hogarth.</em></p> - -<div class="blockquot"> - -<p class="right small">"<span class="smcap">Berkeley Square</span>, <em>October 4, 1780</em>.</p> - -<p>"Mr. Walpole begs Mrs. Hogarth's acceptance of -the volume that accompanies this letter, and hopes -she will be content with his endeavours to do justice -to the genius of Mr. Hogarth. If there are some -passages less agreeable to her than the rest, Mr. -Walpole will regard her disapprobation only as -marks of the goodness of her heart, and proofs of her -affection to her husband's memory; but she will, -he is sure, be so candid as to allow for the duty -an historian owes to the public and himself, which -obliges him to say what he thinks, and which when -he obeys, his praise is corroborated by his censure. -The first page of his Preface will more fully make his -apology;<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> and his just admiration of Mr. Hogarth, -Mr. W. flatters himself, will, notwithstanding his impartiality, -still rank him in Mrs. Hogarth's mind as -one of her husband's most zealous and sincere -friends."</p> -</div> - -<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p> - -<p>In nine years after the receipt of this letter, Mrs. -Hogarth died, bequeathing her property to her relation, -Mrs. Mary Lewis of Chiswick, by whose kindness -and friendship I am in possession of the manuscripts -which form the basis of the foregoing sheets, the -following most singular and curious print of "Enthusiasm -Delineated," etc. etc. etc.</p> - - -<p class="p2" /> -<h4>ENTHUSIASM DELINEATED,</h4> - -<p class="p1 pfs70">CONTRASTED WITH THE PRINT ENTITLED</p> - -<p class="p1 pfs90">A MEDLEY;</p> - -<p class="p1 pfs70">TO WHICH HOGARTH AFTERWARDS ALTERED THE PLATE.<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a></p> - -<p class="small">"Idolatry is not only an accounting and worshipping that for God -which is not God, but it is also a worshipping the true God in a way -unsuitable to His nature, and particularly by the mediation of images -and corporeal resemblances."—<span class="smcap">South.</span></p> - -<p class="p1 noindent">Such was the opinion of Dr. South, and such the -opinion of Hogarth, when he designed this very -extraordinary print, the intention of which is to give -"a lineal representation of the strange effects resulting -from literal and low conceptions of sacred beings, -as also of the idolatrous tendency of pictures in -churches, and prints in religious books," etc. To -exemplify this, he has parodied the productions of<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span> -several eminent masters, whose works, having been -generally painted under the direction of cardinals, -popes, etc., are chiefly on religious subjects; and by -the artists absurdly attempting to represent what -are not properly objects of sight, that which they -intended to be sublime is rendered in the highest -degree ridiculous. To burlesque the idolatrous symbols -with which they have peopled their canvas, -place the popish doctrine of transubstantiation<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> in -its true point of view, unmask hypocrisy, and check -the progress of those enthusiastic delusions which -Bishop Lavington properly terms "Religion run -Mad,"<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> are the author's leading objects.</p> - -<p>To effect these purposes, he has delineated what -we may fairly denominate a powerful preacher, who -from his countenance, and what is hinted at in the -scale of vociferation at his left hand, seems treating -his congregation with <em>a bull roar</em>. He may be considered -as either a Methodistical Papist or a Popish -<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>Methodist, for his shaven crown intimates that he is -a Jesuit; and the harlequin's jacket underneath his -gown denotes the versatility of his religious professions. -This Proteus of the pulpit poises a puppet -in each hand; that in the left represents the devil -grasping a gridiron; in his right he holds the triple -figure with the triangular emblem, by which Raphael -and some other painters have profanely presumed to -personify the Deity.<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a></p> - -<p>Exemplifying sacred mysteries by these absurd -theorems is surely open to the severest satire; and -to heighten his ridicule, the artist has, by adding -three legs to the triangle, rendered it a complete -trivet, and given to his jesuitical and theatrical declaimer -(who, as his text intimates, "speaks as a -fool") a pointed antithesis,—"If you do not believe -in this trivet, you shall broil on that gridiron." -Dangling on pegs around the pulpit, and to be exhibited -as there shall be occasion, are six other puppets, -copied from the absurd misrepresentations which -some of the old masters have made of Adam and -Eve, Peter and Paul, Moses and Aaron. Adam and -Eve are a little caricatured, but evidently intended -to hint at the dry designs of Albert Durer. Adam,<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span> -though naked, has the air of a first-rate coxcomb. -Eve, encircled with a zone of fig leaves, has neither -grace in her step nor dignity in her gesture. Peter, -displaying his ponderous key, and pulling off Paul's -black periwig, is copied from Rembrandt, and to him -referred in Hogarth's inscription. Paul, with a beard -of Hudibrastic cut and dye, being low of stature, is -elevated by high-heeled shoes, and armed with two -swords: that in his hand, massy as the weapon -wielded by John a Gaunt; the other, which, like the -dagger of Hudibras, might serve as its page, tucked -to his side.</p> - -<p>Moses and Aaron, one bearing the tables and the -other an incense pot, are retreating to the other side. -The Jewish lawgiver's having made many ordinances -concerning food, may be hinted at by his being -crowned with a porridge pot; the two feet may -serve for horns. The bells on the hem of Aaron's -garments are sufficiently obvious, and, as saith Master -Thomas Goodwin, in his <cite>Civil and Ecclesiastical -Rites</cite>—"By the bells are typed the sound of his -doctrine."</p> - -<p>The nobleman in a pew beneath, unquestionably -refers to some known character; but for whom it is -meant I am unable to determine. He may either -be a peer who was at that time very constant in -his attendance at the Tabernacle, or a wolf who has -found his way into the fold, and is prowling among<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span> -the lambs of the flock. His face presents the index -of a mind in which hypocrisy is united with another -passion, and is in an eminent degree characteristic. -The holy fervour<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> of the female, who, seduced by the -tender touches of an earthly lover, lets her celestial -model fall to the ground, is equally remarkable. A -ragged figure<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> in the same pew, dropping his tears -into a bottle, we know, by his rueful countenance, his -handcuffs, and the letter T marked on his cheek, to -be a repentant thief. A tattered and coal-black -proselyte at the foot of the reading-desk, inspired -<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>with the epidemical enthusiasm of the place, is embracing -the idolatrous image of her adoration, which -in colour is similar to herself.</p> - -<p>As sculptors and painters have thought fit to denominate -a child's head, with duck wings, "Cherubin;"<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> -Hogarth, to one of these infantine fancies, has -whimsically enough added a pair of duck's feet. The -well-fed figure in the desk may perhaps be meant -as an overcharged portrait of Whitfield. The fainting -female in the corner of the print was intended -for Mrs. Douglas of the Piazza, who, after a most -licentious life, became a rigid devotee, and was Sam. -Foote's original for Mother Cole. The Jew, with an -insect between his nails, has a fine air of head. On -the book open before him is a print of "Abraham -offering up Isaac."<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a></p> - -<p>The figures in the background it is not necessary -to enumerate: they are sighing, weeping, groaning! -The four most obtrusive convey a severe satire on -transubstantiation. A Turk looking through the -window, is evidently laughing at their absurdities, -<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>and thanking Mahomet that he has been early -initiated in the Koran. A dog, with "Whitfield" -on his collar, seated upon a hassock, and howling in -concert with the preacher, is admirably designed.</p> - -<p>The figure of a pigeon impressed on the Methodist's -brain, is intended to intimate that if the Holy -Spirit gets into the head instead of the heart, it will -create that confusion of intellect described in the -mental thermometer which rises out of it, and which -is crowned by a dove on the point of a triangle.</p> - -<p>Thus did this great artist express his "First -Thought," but afterwards erased, or essentially altered -every figure except two, and <em>on the same piece of -copper</em>: we find his variations so multifarious as to -render it nearly a new print, which he entitled</p> - - -<p class="p2" /> -<h4>CREDULITY, SUPERSTITION, AND FANATICISM.</h4> - -<p class="pfs70">A MEDLEY.</p> - -<p class="p1 noindent">The preacher and the devil, except in a few -shadows added to a handkerchief, are left as in the -first state, and these are the only figures that are so -left; from them and the background it is positively -ascertained that the first and second engravings are -on the same copperplate. Raphael's strange symbol -of the Deity the artist has struck out, and in the -place of it inserted a witch upon a broomstick; in<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span>stead -of the puppets representing Adam and Eve, -Peter and Paul, Moses and Aaron, we have Mrs. -Veale's ghost, Julius Cæsar's apparition, and the -shade of Sir George Villiers.</p> - -<p>The nobleman, and lady dropping her deified -image in the pew beneath the pulpit, are discarded, -and a pair of vulgar and uninteresting characters put -in their room. The handcuffed felon is obliterated, -and his place supplied by two figures, one weeping, -the other asleep. The ragged woman hugging a -model is altered to the boy of Bilson; and on the -hassock, where was the howling dog, is a shoeblack's -basket, with Whitfield's <cite>Journal</cite> placed upon King -James's <cite>Demonology</cite>. The characters of cherubin and -seraph are changed; and though the duck's wings are -left, the legs are lopped off. In the place of the corpulent -and consequential clerk, the artist has inserted -a meagre and moon-eyed monster, with wings that -either grow out of his shoulders, or appertain to a -foul fiend planted behind him and acting as his -prompter. Mother Douglas is beaten out of the -copper, and in her room Hogarth has introduced Mrs. -Tofts and her rabbits, one of the popular impositions -of his own day. The smelling-bottle applied to recover -Mrs. Douglas from fainting, is with Mrs. Tofts -very properly changed to a dram glass. The Jew is -altered, and altered for the worse: the print of -"Abraham and Isaac," in a book before him, is<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span> -obliterated, and a knife inscribed "bloody," and laid -upon an altar, supplies its place. In the characters -of the common people of the congregation there are -several variations; the models which some of them -held in their arms are totally changed. The pigeon -in the Methodist's brain is discarded; in the place of -the inscription in the top division of the thermometer -he has inserted the Cock Lane ghost; and instead of -the glory, which in the "First Thought" crowned the -whole, we have the Tedworth Drummer, a tale which, -had it not given the subject for Addison's comedy, -would have been long since forgotten. On the scale -of vociferation and the chandelier, the names of -W—d and Romaine are only to be found in the -present state of the plate; in the scale of the -thermometer there are numerous alterations. In -"The Medley," the artist has made an addition, and -placed Wesley's <cite>Sermons</cite> and Glanville's book <cite>On -Witches</cite> as supporters to the Methodist's brain. To -do this, and introduce the rabbits on the foreground, -he has brought his work so near the bottom of his -plate as not to leave room for a title, which, with the -quotation from St. John, "Believe not every spirit," -etc., is, in the present state of the plate, engraven on -another piece of copper.</p> - -<p>Many little variations besides those I have noted -will appear by a comparison of the two designs; one -is worthy of particular attention. In the print of<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span> -"Enthusiasm Delineated," the inscriptions on the -thermometer, etc., are evidently from the burin of -Hogarth; in the print of "The Medley," every inscription, -even those which in each impression contain -the same words, are the work of a writing engraver, -from which I am inclined to believe, that in the first -state the artist never trusted the plate out of his own -hands.</p> - -<p>With respect to the comparative merit of the two -prints, I think of the "First Thought" what Mr. -Walpole in his <cite>Anecdotes</cite> asserts of the "Second," -that "for useful and deep satire, it is the most sublime -of all his works." It forms one great whole; -and the skill with which he has appropriated the absurd -symbols of painters, and combined the idolatrous -emblems of Popery with the mummery of modern -enthusiasts, presents a trait of his genius hitherto -unknown; displays the powers of his mind on subjects -new to his pencil, and shows an extent of information -and depth of thought that is not to be found -in any of his other works.</p> - -<p>In "The Medley" the artist has changed his -ground, attacked follies of another description, and in -the place of Enthusiasm introduced Credulity, Superstition, -and Fanaticism. In his management of them -he has shown much genius, and by his transition from -one object to another, and the many metamorphoses -of his characters, displayed a power of assimilating,<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span> -aptness of appropriating, and versatility of pencil -hardly to be paralleled, and proved that his invention -was inexhaustible. With all this, it must be acknowledged -that some of the local credulities which he has -there depicted were of so temporary and trifling a -nature, that even now they are hardly recollected by -any other circumstances than having been introduced -in this print.</p> - -<p>Ten or twelve figures engraved on the background -are not in the "First Thought:" two of them, viz. a -crazed convert terrified by a lay preacher, are admirably -descriptive; but as to the residue of this half-price -audience, met together to be miserable, they add -to the number without much increasing the force, -destroy the pyramid, and hurt the general effect;—if -they are intended to stand on the floor, they are too -high; if on benches, too low. The effect of this -print is further injured by the alteration of the clerk. -In the first state, his ample breadth of face and black -periwig render him a leading character, and give him -the rank of principal figure. The thin-visaged, -hungry harpy in "The Medley" has no importance, -neither is there any principal figure in that print. A -little cherub Mercury, crowned with a postilion's cap, -and bearing in his mouth a letter directed to St. -Moneytrap, is an afterthought, and only to be found -in the second impression.</p> - -<p>If I am asked what were the artist's inducements<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span> -for making so many alterations, I can account for it -in no other way than by supposing some friend suggested -that the satire would be mistaken, and that -there might be those who would suppose his arrows -were aimed at religion, though every shaft is pointed -at the preposterous masquerade habit in which it has -been frequently disguised.</p> - -<p>Considering the time that must have been employed -in beating out the old figures, the trouble of -polishing the copper, etc., it seems rather extraordinary -that he should not have wholly discarded -his plate of the "First Thought," and taken another -piece of copper for the second. It is probable that -the alterations were made by degrees, and before the -author was fully satisfied with his design, became -much more numerous than he had at first intended.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a></p> - - -<p class="p2" /> -<h4>TASTE IN HIGH LIFE</h4> - -<p class="p1 pfs70">IN THE YEAR 1742.</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="TAS" id="TAS"></a> -<img src="images/i_180_fp.jpg" width="650" alt="" /> -<div class="caption"> -TASTE IN HIGH LIFE.</div> -</div> - -<p class="noindent">The picture from which this print was copied, -Hogarth painted by the order of Miss Edwards, a -<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>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> - -<p><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Each varied colour of the brightest hue,</p> -<p class="verse">The green, the red, the yellow, and the blue,</p> -<p class="verse">In every part their dazzled eyes behold,</p> -<p class="verse">Here streak'd with silver—there enrich'd with gold."</p> -</div></div> - -<p class="noindent">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 -<i lang="fr" xml:lang="fr">chapeau</i>, and shoes, give him the air of</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse8">"An old and finish'd fop,</p> -<p class="verse">All cork at heel, and feather all at top."</p> -</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 <i lang="fr" xml:lang="fr">petite</i> 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.</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 lang="fr" xml:lang="fr">pour</i><span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span> -dinner: cocks' combs, ducks' tongues, rabbits' ears, -fricasey of snails, <i lang="fr" xml:lang="fr">grande d'œuts beurre</i>.<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a></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, and queue wig, etc. -On the dexter side is another picture representing -Monsieur Desnoyer, operatically habited, dancing in -a grand ballet, and surrounded by butterflies, etc., -inscribed "Insects," and evidently of the same genus -with this deity of dance. On the sinister is a drawing, -denominated "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><span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span></p> -<p>The fire-screen is adorned with a drawing of a -lady in a sedan chair—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"To conceive how she looks, you must call to your mind</p> -<p class="verse">The lady you've seen in a lobster confin'd,</p> -<p class="verse">Or a pagod in some little corner enshrin'd."</p> -</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 print is copied was made by the -connivance of one of her servants.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> Be that as it -may, his ridicule on the absurdities of fashion,—on -the folly of collecting old china,—cookery,—card-playing, -etc., is pointed, and highly wrought.</p> - -<p>At the sale of Miss Edwards' effects at Kensington, -the original picture was purchased by the father of -Mr. Birch, surgeon, of Essex Street, Strand.</p> - - -<p class="p2" /> -<h4>FARINELLI, CUZZONI, AND SENESINO,</h4> - -<p class="p1 pfs70">IN THE CHARACTERS OF</p> - -<p class="p1 pfs80">PTOLEMY, CLEOPATRA, AND JULIUS CÆSAR.</p> - -<p class="p1" /> -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"To banish nature and to vary art,</p> -<p class="verse">To fix the ear but never reach the heart,</p> -<p class="verse">To mangle sense and dress up meagre sound,</p> -<p class="verse">While the same tasteless unison goes round;</p> -<p class="verse">And still the point of excellence to place</p><span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span> -<p class="verse">In execution, cadence, and grimace;</p> -<p class="verse">To ravish with unnatural sounds the ear,</p> -<p class="verse">While beaux applaud and belles with rapture hear,<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a></p> -<p class="verse">The song we raise."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="FAR" id="FAR"></a> -<img src="images/i_184_fp.jpg" width="650" alt="" /> -<div class="caption"> -FARINELLI, CUZZONI, & SENESINO.</div> -</div> - -<p class="noindent">This dignified heroine and the two heroes—of a -class—</p> - -<p class="center small">"By their smooth chins and simple simper known,"</p> - -<p class="noindent">are here the representatives of "the majesty of Egypt, -a morsel for a monarch," and "the foremost man of -all this world;"<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a> they were the three principal performers -in Handel's opera of <cite>Ptolomeo</cite>, performed in -the year 1728. There have been some suspicions of -its not being Hogarth's design, and from the characters -more than bordering on caricature, etc., I -once inclined to that opinion; but from the general -spirit of the satire, and the same figures being introduced -in nearly the same attitudes in the first print -Hogarth ever published (<a href="#Page_22">see p. 22</a>), there is little -doubt of its being his production.</p> - -<p>The position (for it can hardly be called an attitude) -in which the painter has placed Farinelli, is fully warranted -<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span>by the writer of a pamphlet, entitled <cite>Reflections -on Theatrical Expression in Tragedy, etc.</cite>, -published in 1755. These <cite>Reflections</cite> are admirably -contrasted by the exaggerated compliment with -which the author of the <cite>Divine Legation</cite> honours -the divine Senesino. The two quotations follow:—</p> - -<p>"I shall therefore, in my further remarks on this -article, go back to the old Italian theatre, when -Farinelli drew everybody to the Haymarket. What -a pipe! what modulation! what ecstasy to the ear!—but, -heavens! what clumsiness! what stupidity! -what offence to the eye! Reader, if of the city, thou -mayst probably have seen in the fields of Islington -or Mile-End, or if thou art in the environs of St. -James's, thou must have observed in the park, with -what ease and agility a cow, heavy with calf, has rose -up at the command of the milkwoman's foot. Thus -from the mossy bank sprung up the divine Farinelli. -Then with long strides, advancing a few paces, his -left hand settled upon his hip in a beautiful bend, -like that of an old-fashioned caudle-cup, his right -hand remained immoveable across his manly breast -till numbness called its partner to supply its place, -when it relieved itself in the position of the other -handle to the caudle-cup, etc."—<cite>Reflections, etc.</cite></p> - -<p>With respect to the other genius of Italian song, -Mr. Nichols very justly observes that his dignity -must have been wonderful, or the following passage<span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span> -in Dr. Warburton's <cite>Inquiry into the Causes of Prodigies -and Miracles</cite> (printed in 1727) affords a most -notorious example of the bathos:—</p> - -<p>"Observe," says he (p. 60), "Sir Walter Raleigh's -great manner of ending the first part of the <cite>History -of the World</cite>: 'By this, which we have already set -down, is seen the beginning and end of the three first -monarchies of the world, whereof the founders and -erectors thought that they never could have ended; -that of Rome, which made the fourth, was also at -this time almost at the highest. We have left it -flourishing in the middle of the field, have rooted -up or cut down all that kept it from the eyes and -admiration of the world; but after some continuance -it shall begin to lose the beauty it had, the storms of -ambition shall beat the great boughs and branches -one against another, her leaves shall fall off, her -limbs wither, and a rabble of barbarous nations enter -the field and cut her down.' What strength of -colouring! what grace, what nobleness of expression! -with what a majesty does he close his immortal -labour! It puts one in mind of the so much -admired exit of the late famed Italian singer!" -(Senesino.<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a>) What a climax!</p> - -<p><span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span></p> - - -<p class="p2" /> -<h4>A WOMAN SWEARING HER CHILD TO -A GRAVE CITIZEN.</h4> - -<p class="p1" /> -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Here Justice triumphs in his elbow chair,</p> -<p class="verse">And makes his market of the trading fair;</p> -<p class="verse">His office shelves with parish laws are grac'd,</p> -<p class="verse">But spelling-books and guides between 'em plac'd.<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a></p> -<p class="verse">Here pregnant madam screens the real sire,</p> -<p class="verse">And falsely swears her bastard child for hire</p> -<p class="verse">Upon a rich old leecher, who denies</p> -<p class="verse">The fact, and vows the naughty hussif lies.</p> -<p class="verse">His wife enrag'd, exclaims against her spouse,</p> -<p class="verse">And swears she'll be reveng'd upon his brows;</p> -<p class="verse">The jade, the justice, and churchward'ns agree,</p> -<p class="verse">And force him to provide security."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="WOM" id="WOM"></a> -<img src="images/i_188_fp.jpg" width="650" alt="" /> -<div class="caption"> -WOMAN SWEARING A CHILD.</div> -</div> - -<p class="noindent">These curious rhymes, engraven under the original -print, in a degree describe the plot of the play, and -the characters of the performers in this religious -ceremony; for as such does Picart class a copy which -he has introduced in the fourth volume of his work,<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a> -accompanied with the following explanation:—</p> - -<p>"Many other customs might find a place here, and -<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span>delight the readers by their comical singularity, but we -dare not crowd in too great a number of those trifles, -as not being properly religious ceremonies; which -therefore, till approved of by the church, or by the -governor of it, prescribed by ecclesiastical laws or -formularies, we shall omit, except two or three of the -most remarkable. The first is what the description -here annexed calls the breeding woman's oath,—a -custom not to be met with in other countries,—which -is so fantastical, or rather unjust, that it would be a -prejudice to the laws of England if we were to judge -of their equity by that practice. Suppose any of -these girls, which may be called amphibious (being -neither wives nor virgins), is found to be with child. -She does not, or will not, pretend to know the father -of this child. In order to free herself from the -trouble of maintaining it when born, she looks out -for some rich man, upon whom she intends to father -it. Generally they say she pitches upon some good -citizen, though she does not know him, or maybe -has never seen him. Then she goes before a Justice -of the Peace, summons the pretended father to -appear before him, and in his presence swears upon -the Bible, which the clerk holds to her, that she<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span> -owns and declares that such a one whom she has -summoned to appear is the father of the child. How -far the equivocal expressions and restrictions of that -oath may excuse her from perjury, let a good casuist -be the judge. However, the man thus named and -sworn to by this formality of law is obliged to pay -an arbitrary fine, and to agree upon a sum of money -for the maintenance of the child."—Picart's <cite>Religious -Ceremonies</cite>, p. 83.</p> - -<p>The original picture from which this print was -engraven was one of Hogarth's early productions, -and is in the possession of the Rev. Mr. Whalley, at -Ecton, Northamptonshire. In the disposition of the -figures, etc., it has a more than accidental resemblance -to a picture by Heemskirk, which was in the -possession of Mr. Watson, surgeon, Rathbone Place, -where all the male figures are monkeys; all the -females, cats; and which in the year 1772 was engraved -in mezzotinto by Dickinson, and entitled -"The Village Magistrate."</p> - -<p>A small copy from Hogarth's print is introduced -as the headpiece to a tale printed in Banks' <cite>Works</cite>, -vol. i. p. 248, entitled "The Substitute Father."</p> - -<p><span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span></p> - - -<p class="p2" /> -<h4>THE FOUNDLINGS.</h4> - -<p class="p1" /> -<div class="poetry-container"><div class="poetry"> -<p class="verse8">"No mother's care</p> -<p class="verse">Shielded our infant innocence with prayer;</p> -<p class="verse">No father's guardian hand our youth maintain'd,</p> -<p class="verse">Call'd forth our virtues, and from vice restrain'd;</p> -<p class="verse">But strangers,—pitying strangers,—hear our cry,</p> -<p class="verse">And with parental care each want supply."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="FOU" id="FOU"></a> -<img src="images/i_192a_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE FOUNDLINGS.</div> -</div> - -<p class="noindent">The last print represented what Mr. Picart chose to -call a religious ceremony,—in this we have a scene -which may properly be so denominated; for surely -rescuing deserted, unoffending, and helpless innocence -from destruction, providing an asylum for childhood, -initiating youth in habits of industry, and rendering -those whose parents were unable to protect them -useful members of society, is a religious as well as a -political institution.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Cold on Canadian hills or Minden's<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a> plain,</p> -<p class="verse">Perhaps the mother mourn'd her soldier slain,</p> -<p class="verse">Bent o'er her babe, her eye dissolv'd in dew,</p> -<p class="verse">The big drop mingling with the milk it drew;</p> -<p class="verse">Gave the sad presage of his future years,</p> -<p class="verse">The child of misery, baptiz'd in tears."</p> -</div></div> - -<p>Hogarth, by presenting some of his works to the -Foundling Hospital, was in fact an early benefactor<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span> -to the charity. He made the annexed design for -the use of this institution; it was engraved by F. -Morellon la Cave, as the headpiece to a power of -attorney from the trustees of the charity to those -gentlemen who were appointed to receive subscriptions -towards the building, etc.</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="COR" id="COR"></a> -<img src="images/i_192b_fp.jpg" width="450" alt="" /> -<div class="caption"> -CAPTAIN THOMAS CORAM.</div> -</div> - -<p>The artist has made his old friend Captain Coram -a principal figure; and as this excellent and venerable -man was in fact the founder of the charity, it is -with great propriety he is introduced. Before him -the beadle of the Hospital carries an infant, whose -mother, having dropped a dagger with which she -might have been momentarily tempted to destroy -her child, kneels at his feet; while he, with that -benevolence with which his countenance was so -eminently marked, bids her be comforted, for her -babe will be nursed and protected.</p> - -<p>On the dexter side of the print is a new-born -infant, left close to a stream of water, which runs -under the arch of a bridge. Near a gate, on a little -eminence in the pathway above, a woman leaves -another child to the casual care of the next person -who passes by. In the distance is a village with a -church.</p> - -<p>In the other corner are three boys coming out of a -door with the king's arms over it; as emblems of -their future employments, one of them poises a -plummet, a second holds a trowel, and a third, whose -<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span>mother is fondly pressing him to her bosom, has in -his hand a card for combing wool. The next group, -headed by a lad elevating a mathematical instrument, -are in sailors' jacket and trousers; those on their -right hand, one of whom has a rake, are in the uniform -of the school.</p> - -<p>The attributes of the three little girls in the foreground—a -spinning-wheel, sampler, and broom—indicate -female industry and ingenuity.</p> - -<p>It must be admitted that the scene here represented -is a painter's anticipation, for the charter was -not granted until October 1739, and this design was -made only three years afterwards; but the manner -in which the charity has been since conducted has -realized the scene.</p> - - -<p class="p2" /> -<h4>FRONTISPIECE TO TERRÆ FILIUS.</h4> - -<div class="figcenter"> -<a name="FPT" id="FPT"></a> -<img src="images/i_194a_fp.jpg" width="400" alt="" /> -<div class="caption"> -TERRÆ FILIUS.</div> -</div> - -<p class="noindent">The work to which this is a frontispiece was written -by Nicholas Amhurst, author of the <cite>Craftsman</cite>, and -published in the year 1726. The leading object of -this writer is to satirize the Tory principles of the -University of Oxford; but as the book does not -abound in subjects for the pencil, Hogarth has -selected a scene described in No. 33, published 8th -May 1721, which contains "Advice to all gentlemen -schoolboys, etc., who are designed for the University<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span> -of Oxford." In the part which forms the subject for -this print, the writer thus cautions them:—</p> - -<p>"Have a particular regard how you speak of those -gaudy things which flutter about Oxford in prodigious -numbers in summer time, called 'Toasts;' -take care how you reflect on their parentage, their -condition, their virtue, or their beauty,—ever remembering -that</p> - -<p class="center small">'Hell has no fury like a woman scorn'd;'</p> - -<p class="noindent">especially when they have spiritual bravoes on their -side, to revenge their cause on every audacious contemner -of Venus and her altars.</p> - -<p>"Not long ago a bitter lampoon was published on -the most celebrated of these petticoat professors. As -soon as it came out the town was in an uproar, and a -very severe sentence was passed upon the author of -this anonymous libel, to discover whom no pains were -spared. All the disgusted ill-natured fellows in the -University were, one after another, suspected upon -this occasion. At last, I know not how, it was -peremptorily fixed upon one, whether justly or not I -cannot say; but the parties offended resolved to -make an example of somebody for such an enormous -crime, and one of them (more enraged than the rest) -was heard to declare, 'that right or wrong, that impudent -scoundrel (mentioning his name) should be -expelled by G—; and that she had interest enough -<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>with the President and Senior Fellows of his College -to get his business done.' Accordingly, within a year -after this, he was (almost unanimously) expelled from -his fellowship, in the presence of some of the persons -injured, who came thither to see the execution.</p> - -<p class="center small">'Felix quam faciunt aliena pericula cautum'</p> - -<p class="noindent">was the thesis pitched upon by the excluding doctors -for the under-graduates to moralize upon, in a public -exercise upon this occasion; and as it is a very wholesome -maxim, I leave it, my little lads, to your serious -meditation."</p> - -<p>To the figures introduced in this print the original -artist has given a spirit worthy of Callot; and the -copy hereto annexed has been thought correct and -animated.</p> - - -<p class="p2" /> -<h4>THE SEPULCHRE.</h4> - -<div class="figcenter"> -<a name="SEP" id="SEP"></a> -<img src="images/i_194b_fp.jpg" width="500" alt="" /> -<div class="caption"> -THE SEPULCHRE.</div> -</div> - -<p class="noindent">It has been frequently and truly remarked, that in -either historical or serious subjects Hogarth did not -excel; but to prove that even in this walk he was -considerably above mediocrity, and that the reader -may be enabled to judge for himself, I have selected -the annexed print, which forms one compartment of -the altar-piece to St. Mary Redcliffe's, Bristol, for the -painting of which he received five hundred pounds.</p> - -<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p> - -<p>The centre division, which is much the largest, represents -the Ascension. The rays emanating from -the ascending Deity, and beaming through the interstices -of the surrounding clouds, are tenderly and -brilliantly touched. In the foreground, St. Thomas -on one knee, with his hands clasped together, is -eagerly looking up with an expression of wonder and -astonishment. On the other side is St. Peter, in a -reclining posture. Near the centre, St. John, with a -group made up of the other Apostles, attentively -listening to the two men in white, who appeared on -this occasion. The background is on one side closed -with tremendous rocks; on the other, under the skirts -of low-hung clouds in the distance, appears part of -the magnificent city of Jerusalem, illuminated by a -flash of lightning, which, darting from a darkened -sky, casts a livid gloom over the whole.</p> - -<p>The compartment on the right hand represents the -rolling of the stone and sealing the sepulchre in the -presence of the high priest; the exertion displayed -in this is happily contrasted by the tenderness and -elegant softness displayed in the companion picture -here copied, where the Marys approach the empty -sepulchre. The angel, speaking and pointing up to -heaven with an expression which explains itself—to -singular beauty, sweetness, and benevolence, -unites great elevation of character, and the native -dignity of a superior being.</p> - -<p><span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span></p> - -<p>The foregoing remarks, with some little variations, -are extracted from an article in the <cite>Critical Review</cite> -for June 1756, which, being written while the artist -was living, were possibly seen and approved by himself.</p> - -<p>The writer concludes by remarking, that the purchasing -such a picture for their church does great -honour to the opulent city for which it was painted, -and is the likeliest means to raise a British School of -Artists; though it would be a just subject of public -regret if Mr. Hogarth should abandon a branch of -painting in which he stands alone, unrivalled and -inimitable, to pursue another in which so many have -already excelled.</p> - -<p>From the "Sealing the Sepulchre" and this print -there are two large mezzotintos by J. Jenner. The -centre compartment has not been engraved.</p> - - -<p class="p2" /> -<h4>THE POLITICIAN.</h4> - -<p class="p1" /> -<div class="poetry-container"><div class="poetry"> -<p class="verse">A politician should (as I have read)</p> -<p class="verse">Be furnished in the first place with a head!</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="POL" id="POL"></a> -<img src="images/i_198_fp.jpg" width="525" alt="" /> -<div class="caption"> -THE POLITICIAN.</div> -</div> - -<p class="noindent">One of our old writers gives it as his opinion, that -"there are only two subjects which are worthy the -study of a wise man, <em>i.e.</em> religion and politics." For -the first, it does not come under inquiry in this print; -but certain it is, that too sedulously studying the<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span> -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 portrayed; 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,<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a>—holding a candle in his right hand, and -eagerly inspecting the <cite>Gazetteer</cite> 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> - -<p class="center small">"Threatens destruction to his three-tail'd wig."</p> - -<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 as now (1803), to preserve their -religion and liberty from foreign invasion, but to -defend their own pockets from <em>domestic collectors</em>.</p> - -<p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span></p> - -<p>The original sketch Hogarth presented to his friend -Forrest; it was etched by Sherwin, and published -1775.</p> - - -<p class="p2" /> -<h4>THE MATCHMAKER.</h4> - -<p class="center small"> -"Wanted immediately—<span class="smcap">A Husband</span>."<br /> -<span class="pad6">—<em>Vide the daily papers.</em></span></p> - -<p class="p2" /> -<div class="figcenter"> -<a name="MAT" id="MAT"></a> -<img src="images/i_200_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE MATCH MAKER.</div> -</div> - -<p class="noindent">The two agreeable persons here introduced formed -part of a group in an unfinished picture painted by -Hogarth. They were some years since engraved on -two copperplates; but as I thought that was placing -still further apart the hands of those twain whom the -holy service of matrimony was soon to unite, I have -here brought them into one, and in this we are presented -with the bride and that useful agent of Hymen, -denominated a Matchmaker. We see nothing of the -bridegroom but his hand and arm; from which, the -countenance of the lady, and the character of the go-between, -we may fairly infer he is young, and regret -that the artist did not complete the trio, and place -him as a contrast to the antiquated virgin with whom -he is to be united. By the beauty spots on her -face, she wishes to conceal the ravages of time; and -from her laced lappets, cuffs, robings, and brocaded -silk, we may suppose she is rich. As to the share -which the venerable person who provides her with<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span> -a husband is to have for his reward—it depends upon -the bargain. I have been told that in this masquerade -matrimony, the master of the ceremonies, or lord of -the bedchamber (which the reader pleases), is paid by -both the contracting parties.</p> - -<p>Some of my readers may possibly imagine that -the tribe of Matchmakers, like the race of wolves, is -extinct in England; but this is so far from being -the case, that there is now in the neighbourhood of -Piccadilly a regular office,<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a> where any gentleman -or gentlewoman, first paying a stipulated sum for -entrance money, may disclose their virtuous wishes, -<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span>and be provided with partners for life,—or as long as -they can agree.</p> - - -<p class="p2" /> -<h4>THE MAN OF TASTE.</h4> - -<div class="figcenter"> -<a name="MAN" id="MAN"></a> -<img src="images/i_202_fp.jpg" width="500" alt="" /> -<div class="caption"> -THE MAN OF TASTE.</div> -</div> - -<p class="noindent">The circumstance on which this print is built is thus -described by Dr. Johnson:—</p> - -<p>"Mr. Pope published in 1731 a poem called <em>False -Taste</em>, in which he very particularly and severely -criticises the house, the furniture, the gardens, and -the entertainments of Timon, a man of great wealth -and little taste. By Timon he was universally supposed, -and by the Earl of Burlington, to whom the -poem is addressed, was privately said, to mean the -Duke of Chandos, a man perhaps too much delighted -with pomp and show, but of a temper kind and -beneficent, and who had consequently the voice of -the public in his favour. A violent outcry was therefore -raised against the ingratitude and treachery of -Pope, who was said to have been indebted to the -patronage of Chandos for a present of a thousand -pounds, and who gained the opportunity of insulting -him by the kindness of his invitation. The receipt of -the thousand pounds Pope publicly denied; but from -the reproach which the attack on a character so -amiable brought upon him, he tried all means of -escaping. The name of Cleland was employed in<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span> -an apology<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a> by which no man was satisfied; and he -was at last reduced to shelter his temerity behind -dissimulation, and endeavoured to make that disbelieved -which he never had confidence openly to -deny. He wrote an exculpatory letter to the Duke, -which was answered with great magnanimity by a -man who accepted his excuse without believing his -professions. He said, that to have ridiculed his taste -or his buildings had been an indifferent action in -another man, but that in Pope, after the reciprocal -kindness that had been exchanged between them, it -had been less easily excused."—Johnson's <cite>Life of -Pope</cite>.</p> - -<p>Soon after the publication of the poem alluded to, -Hogarth made this design, which presents a view of -Burlington Gate. On the front, as a crooked compliment -to the noble proprietor, he has inscribed the -word "Taste;" and as a standing proof of the projector -being entitled to the appellation, placed a -statue of his grand favourite William Kent triumphantly -<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>brandishing his palette and pencils on the -summit, with two reclining figures representing -Raphael and Michael Angelo for his supporters.<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> -Standing on a scaffold board beneath them, Mr. -Pope, in the character of a plasterer, is whitewashing -the front, and whirling his brush with a spirit that -produces a shower of liquid pearl which dismays and -defiles the passengers beneath; the principal of these, -intended for the Duke of Chandos, holds his hat over -his head to shelter himself in his retreat. The torrent -is not confined to his Grace's person, but lavishly -scattered over his carriage and attendants, among -whom is a blackamoor in the way of being whitewashed. -The clergyman, whom I believe intended for -the duke's chaplain,<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a> is escaping round the carriage.</p> - -<p>An old military character, who as well as the chaplain -is got out of the poet's vortex, is rubbing off the -stains which he has previously contracted.</p> - -<p>Climbing a ladder reared against the scaffold, we -have Lord Burlington doing the office of a labourer, -<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span>and arrayed in a tie-wig, with a pair of compasses<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a> -suspended to the riband of his order, and carrying to -his little active workman a hand-hawk, on which is -a portion of what I am told the bricklayers call "fine -stuff," to mix up more whitening for beautifying the -front of his own gate, and defiling the garments of -every passenger. This, it must be acknowledged, -our poetical plasterer performs with distinguished -dexterity: he at the same time covers the corrosions -in the front, dashes a plenteous shower on those that -come near it, and so kicks the bottom of a pail which -hangs to his short ladder, that a copious stream flows -on the head of a gentleman beneath.</p> - -<p>This double distribution of flattery and satire is -amply exemplified in the Epistle to Lord Burlington; -where the poet, by contrasting the feeble and imperfect -efforts of those he abuses with the superior and -superlative genius of the peer,<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a> elevates the powers -<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>of his own patron, and sinks those of all his competitors.</p> - -<p>The print from which this is copied was prefixed -to a pamphlet, entitled <cite>A Miscellany of Taste</cite>, by Mr. -Pope, etc., containing his epistles, with notes, etc. -There are two other engravings from the same<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span> -design, one larger and one smaller than the print -annexed. In the former of these, Mr. Pope has a -tie-wig on.<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a></p> - - -<p class="p2" /> -<h4>HENRY FIELDING.</h4> - -<div class="figcenter"> -<a name="FIE" id="FIE"></a> -<img src="images/i_206_fp.jpg" width="650" alt="" /> -<div class="caption"> -HENRY FIELDING.</div> -</div> - -<p class="noindent">This admirable writer was born at Sharpham Park, -in Somersetshire, near Glastonbury, April 22, 1707. -His father, Edmund Fielding, served in the wars -under the Duke of Marlborough, and arrived at the -rank of lieutenant-general at the latter end of George -<span class="fs80">I.</span> or beginning of George <span class="fs80">II.</span> He was grandson to -an Earl of Denbigh, and nearly related to the Duke -of Kingston, and many other noble families. His -mother was the daughter of Judge Gould, the grandfather -of Sir Henry Gould, one of the Barons of the -Exchequer.</p> - -<p>Henry received the first rudiments of his education -from the Rev. Mr. Oliver, to whom we may judge he -<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span>was not under very considerable obligations, from the -humorous and striking portrait given of him afterwards, -under the name of Parson Trulliber, in <cite>Joseph -Andrews</cite>. From Mr. Oliver's care he was removed -to Eton school, where he had the advantage of being -early known to many of the first people in the kingdom,—namely, -Lord Lyttelton, Mr. Fox, Mr. Pitt, -Sir Charles Hanbury Williams, and the late Mr. -Winnington.</p> - -<p>At this great seminary of education he gave distinguished -proofs of strong and peculiar powers; and -when he left the place, was said to be uncommonly -versed in the Greek authors, and an early master of -the Latin classics: for both which he retained a -strong predilection in all the subsequent periods of -his life. Thus accomplished, he went from Eton to -Leyden, and there continued to show an eager thirst -for knowledge, and to study the civilians with unwearied -assiduity for two years; when, remittances -failing, he was obliged to return to London, not then -quite twenty years old.</p> - -<p>The comedy called <cite>Don Quixote in England</cite>, -was planned at Leyden, and completed on his return -to London; where, from some cause or other, he -was induced to bring it on the stage before it was -properly wrought up, so that by this first essay he -gained no dramatic reputation. Nor were his other -productions for the playhouse much more popular;<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span> -for though he wrote eight comedies and fifteen farces, -they have not generally proved what are termed -stock plays;<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a> and yet from several of them, particularly -<em>Pasquin</em>, succeeding and successful writers for -the stage have borrowed some of their best speeches.</p> - -<p>He died at Lisbon, to which place he went for the -recovery of his health, in the year 1754, aged 47.</p> - -<p>Of his talents, he has left memorials that will -never die while the English nation retains a taste for -genuine and Cervantic humour: his features posterity -would have only known by description, had not his -friend Hogarth, to whom he had often promised to -sit, made this drawing; for, singular as it may seem, -though this admirable writer lived on intimate terms -with the best artists of the day, no portrait of him -was ever painted.</p> - -<p>Many strange stories have been told of the manner -in which the drawing was made, such as, the hint -being taken from a shade which a lady cut with -scissors; of Mr. Garrick having put on a suit of his -old friend's clothes, and making up his features and -assuming his attitude for the painter to copy, etc. etc. -These are trifling tales to please children, and echoed<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span> -from one to another, because the multitude love the -marvellous.</p> - -<p>The simple fact is, that the painter of the "Distressed -Poet," and the author of <cite>Tom Jones</cite>, having -talents of a similar texture, lived in habits of strict -intimacy; and Hogarth being told, after his friend's -death, that a portrait was wanted as a frontispiece to -his works, sketched this from memory.</p> - -<p>The drawing was engraved by Mr. Basire, and is -said, by those who knew the original, to be a faithful -resemblance. This print is copied from a proof I -had from Mrs. Lewis, and taken before the ornaments -were inserted.<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a></p> - - -<p class="p2" /> -<h4>SIMON LORD LOVAT.</h4> - -<div class="figcenter"> -<a name="LOV" id="LOV"></a> -<img src="images/i_210_fp.jpg" width="450" alt="" /> -<div class="caption"> -SIMON, LORD LOVAT.</div> -</div> - -<p class="noindent">Simon Lord Lovat was born in the year 1667; -his father was the twenty-second person who had -enjoyed the title of Lovat in lineal descent. His -mother was Dame Sybilla Macleod, daughter of the -Chief of the clan of the Macleods, so famous for its -unalterable loyalty to its princes.</p> -<p><span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span></p> -<p>Buchanan relates a marvellous story of the family -at the battle of Loch Lochlie, 1544. In this battle -Lord Lovat, his four brothers, his three sons, and the -whole clan of the Frazers, were cut to pieces; but -if we are to believe this tale, the clan was afterwards -restored by a kind of miracle. The passage is -curious:—</p> - -<p>"About this time, by the instigation, as it is -thought, of the Earl of Huntly, a battle was fought -in which almost the whole clan of the Frazers was -exterminated. There was an old quarrel between -the Frazers and the Macdonalds, which had been -rendered illustrious by the many bloody engagements -to which it had given birth. Huntly, in the -meantime, was deeply irritated that the Frazers alone, -among so many neighbouring clans, should reject his -protection. He had just collected the neighbouring -islanders, and made an incursion upon the estates of -the Earl of Argyll; and while every other clan had -exerted its whole force in his favour, there was -scarcely an individual in the whole clan of Frazer -that had not ranged himself under the enemy's -standard. For this time, however, the feud was composed -without an engagement; and the forces of -each party having disbanded themselves, returned to -the respective clans. The Macdonalds meantime, instructed -by the Earl of Huntly, collected their whole -force, and, having taken their enemy by surprise, -<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span>engaged in a most obstinate battle. The unfortunate -clan, overpowered by the greatest inequality of numbers, -were killed to a man. Thus a family the most -numerous, and who had often deserved well of the -Scottish weal, had wholly perished, unless, as it -seems just to believe, the Divine Providence had not -interfered in their favour. Of the heads of the clan, -eighty persons had left their wives pregnant at home, -and each of them in her turn was delivered of a male -child, who all attained safe to man's estate."—<cite>Buchanan</cite>, -lib. xv. p. 532. Pity but they had been twins!</p> - -<p>Thus much may suffice for the character of his -progenitors; as to his own,<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a> he wrote a narrative in -French stating his conduct, connections, treatment at -the Court of St. Germains, etc. These memoirs,<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a> -<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>which are brought no further than the year 1715, -were translated and printed several years ago; but, for -some political or family reasons, not published until -1797. They contain many curious particulars of his -life, much of which, both then and in every subsequent -period, had great need of an apology. On his -tergiversation in the rebellion of 1745, Sir William -Young, one of the managers appointed for conducting -the prosecution, makes the following observations:—"Your -Lordships have already done -national justice on some of the principal traitors -who appeared in open arms against his Majesty by -the ordinary course of law; but this noble Lord, who -in the whole course of his life has boasted of his -superior cunning in wickedness, and his ability to commit -frequent treasons with impunity, vainly imagined -that he might possibly be a traitor in private, and -rebel only in his heart, by sending his son and his -followers to join the Pretender, and remaining at -home himself, to endeavour to deceive his Majesty's -faithful subjects; hoping <em>he</em> might be rewarded for -his son's services if successful, or his <em>son</em> alone be -the sufferer for <em>his</em> offences if the undertaking failed. -Diabolical cunning! Atrocious impiety!"—<cite>State -Trials</cite>, vol. iv. p. 627.</p> - -<p>These are hard and heavy accusations; but the -fact is, that whoever becomes the biographical advocate -of Lord Lovat will find it useful to adopt the<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span> -plan recommended to the writer who wished to draw -a <em>fair character</em> of that <em>all-accomplished statesman</em>, -William Pulteney, Earl of Bath:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Leave a blank here and there, in each page,</p> -<p class="verse4">To enrol the fair deeds of his youth!</p> -<p class="verse">When you mention the acts of his age,</p> -<p class="verse4">Leave a blank for his honour and truth."</p> -</div></div> - -<p>Notwithstanding all this, his conduct previous to -execution was manly and spirited. When advised -by his friends to throw himself at his Majesty's feet -and petition for mercy, he absolutely refused, said -that he was old and infirm, and his life not worth -asking. When informed that an engine was to be -made for his execution like that called "the Maiden," -provided long since for state criminals in Scotland, -he commended the contrivance, observing that, as -his neck was short, the executioner would be puzzled -to find it out with his axe; and if such a machine -were used, it would get the name of "Lord Lovat's -Maiden."<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a></p> - -<p>When he was brought from Scotland to be tried in -London, Hogarth having previously known him, went -to meet him at St. Albans for the purpose of taking -his portrait, and at the "White Hart" in that town<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span> -found the hoary peer under the hands of his barber. -The old nobleman rose to salute him (according to -the Scotch and French fashion) with so much eagerness, -that he left a large portion of the lather from -his beard on the face of his old friend.</p> - -<p>He is drawn in the attitude of enumerating by his -fingers the rebel forces, "Such a general had so many -men," etc.; and I am informed the portrait is in air, -character, and feature, a most faithful resemblance of -the original.</p> - - -<p class="p2" /> -<h4>NINE PRINTS FOR DON QUIXOTE.</h4> - -<p>The first of these prints is copied from a plate in -Jarvis' quarto translation of this inimitable work; -it has neither painter nor engraver's name, but carries -indisputable marks of the pencil and burin of -Hogarth. The second is from an unfinished print in -my possession, which I think by the same artist. The -six which follow were designed for Lord Carteret's -Spanish edition, published in the year 1738; but as -they are etched in a bold and masterly style, I suppose -the noble peer did not think they were pretty -enough to embellish his volume, and therefore laid -them aside for Vandergucht's engravings from Vanderbank's -designs. Hogarth's six plates remaining -in the hands of Mr. Tonson, his Lordship's publisher, -were at his death bought by Mr. Dodsley, from<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span> -whom they were purchased by Messrs. Boydell, in -whose possession they now remain. While in Dodsley's -hands, references to the chapters and corresponding -pages in Jarvis' translation were engraved -under each.</p> - -<p>The last scene, representing "Sancho's Feast," is -copied from an incomparable print engraved at an -early period of Hogarth's life, and published by -Overton and Hoole, price one shilling. The subject -of this is exactly consonant to Hogarth's genius, and -was probably selected by the artist to show how -happily he could enter into the spirit of a writer -whose turn of mind seems so congenial to his own. -Had Cervantes been an Englishman, I think he would -have contemplated our national follies through the -same medium that they were seen by Hogarth, and -probably selected similar scenes as subjects for his -satire. He lived in an age and country where one -gigantic folly</p> - -<p class="center small">"In proud pre-eminence stalk'd through the land!"</p> - -<p>He touched the phantom with his pen, and it -vanished; but as folly is in some cases the parent of -virtue, may not chivalry and romance, ridiculous as -they are in the eye of reason, give birth to an ardour -of spirit which aggrandizes and elevates a nation? -To a sedate and saturnine people, a spice of absurdity -may have its use, were it only to give motion to those<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span> -virtues which without it might stagnate. Divested -of that frenzy, which at the same time that it ruffles -and impairs their reason, awakes and rouses their -spirits, a whole nation, like a man-of-war becalmed, -may be undulated by ineffectual motion, until they -drop into a sort of mental stupor, unmarked by any -other distinctions than those that arise from stately -indolence, haughty solemnity, and supercilious dignity.</p> - -<p>I will not presume to say that Spain is exactly in -this situation; but if it were, other causes may have -contributed to the change. If such are to be the -consequences of a nation's becoming wise, a tincture -of folly is rather to be desired than dreaded.</p> - -<p>As to the hero of this admirable tale, the Knight -of the Sorrowful Countenance, who has been the -cause of more laughter than either the Knights of -Arthur's Round Table, or any other knights ancient -or modern, how can we sufficiently admire him! A -paragon of patience and perseverance, unconquerable -fortitude and proud honour, who in his lucid -intervals reasoned like a philosopher, and was invariably -actuated by the most exalted motives; -deemed himself bound to defend the weak against -the strong, chastise indolence, redress injuries, and -free those who were in bonds! That this ardent, -heroic, and dignified character, with motives so pure, -an heart so excellent, and virtues that elevate, adorn,<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span> -and irradiate human nature, should be led by an -enthusiasm which fevered his imagination into absurdities -that expose him to derision, and, like Samson, -brought forth to make sport for the multitude, is -mortifying to humanity; and I must confess, that -with me, the laugh which the author's irresistible -humour invariably excites is accompanied by a pitying -sigh for the hero of this history, who is, after all, -so superlatively happy in his ideal importance, that -there is a degree of cruelty in destroying the illusion. -The adage, "You think you are <em>happy</em> because you -are <em>wise</em>; I think I am <em>wise</em> because I am <em>happy</em>," is -not easily confuted.<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a></p> - -<p>But this admirable romance carries me further than -I intended. I was led into it by considering the -comparative merit of Cervantes and Hogarth, in -doing which, it is proper to observe that the motley -follies of England (diametrically opposite to those of -Spain) are changeable as an April day. Our English -moralist (for surely he is worthy of the title) transferred -them to his canvas or copper, and exposed -them by pointed ridicule.</p> - -<p>But his satiric histories had a higher and still more -useful direction. They were calculated to encourage -industry, and promote humanity in the lower orders of<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span> -society, by exhibiting the baneful consequences of -idleness and cruelty; and to check the ostentatious -follies of those in a higher rank, by pointing out the -happiness attendant on the practice of virtue, and the -consequent misery of dissipation, sensuality, and vice.</p> - -<p>I hope the warmest admirers of Cervantes will not -be offended if I venture to assert that these were -objects of more national and individual importance -than was the extirpation of knight-errantry.</p> - -<p>Both these great men may be considered as universal -classics; for while Cervantes delights the -learned and the illiterate in his own country, and is -translated and eagerly read in France, Italy, Germany, -and England, while the artists of all these -nations emulate each other in delineating the scenes -he has described, and every age and rank peruse <cite>Don -Quixote</cite> with pleasure,—the fame of Hogarth is not -bounded by the shores of Albion, but takes as wide -a circuit through Europe, and his pictured stories are -contemplated with admiration by men of every -clime.<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a></p> - -<p>Could their congenial spirits witness the tribute -posterity pay to their talents, how would they be -gratified! Large as is their portion of fame, they were -little favoured by fortune. Hogarth, after a long life<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span> -of persevering industry, died comparatively poor. -As to the maimed hero of Spain, when the learned -Don Gregorio Mayans y Siscar, at the request of -Lord Carteret, collected materials for his life, he -could neither learn where he was born nor where he -died. Sevilla, Madrid, Esquivias, Toledo, Lucena, -and Alcazor de San Juan, contended for the honour -of his birth, whom living they had suffered to languish -in a prison.</p> - -<p>He was born in Alcala de Henares, in the year -1547, and died at Madrid, April 23, 1616, on the same -nominal day with Shakspeare; so that Spain and -England lost their two great luminaries at the same -period, nor have succeeding centuries produced a successor -worthy of ascending either of their vacant -thrones.</p> - -<p>From the similarity of their genius, it was reasonable -to expect that Hogarth would excel in delineating -the scenes described by Cervantes; and though our -great painter of nature succeeded better in subjects -drawn from the rich storehouse of his own mind than -in those described by others, yet in the portraits of -the knight, and knight companions, he has adhered -very closely to their leading characteristics, which are -thus depicted by Cervantes:—</p> - -<p>"The age of our gentleman bordered upon fifty -years; he was of a robust constitution, spare-bodied, -of a meagre visage, and a very keen sportsman.</p> - -<p><span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span></p> - -<p>"Rozinanté was so long and lank, so thin and lean, -so like one labouring with an incurable consumption, -as did clearly show with what propriety his master -so entitled him. Sancho Panza, or Canzas, was so -called, because he had a great belly, a short stature, -and thick legs."<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a></p> - -<p>To attempt a description of the nine following -prints in any other words than those of Cervantes, -would be absurd and vain; to suppose that the -greatest part of my readers had not perused <cite>Don -Quixote</cite>, would be an insult on their taste. I will -therefore take it for granted that the following scenes -are in their recollection. The few that have not read -this admirable romance have a pleasure to come; as -an inducement to their embracing it, I will insert -little more than a reference to the page in Shelton, -whose quaint old English has perhaps more serious -Cervantic humour than either Jarvis' or Smollett's -modern translations. My edition is that of 1675.</p> - - -<p class="p2" /> -<h4>PLATE I.<br /> - -<span class="xs">THE FIRST SALLY IN QUEST OF ADVENTURES.</span></h4> - -<p class="p1" /> -<div class="figcenter"> -<a name="DQ_I" id="DQ_I"></a> -<img src="images/i_220a_fp.jpg" width="500" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE I.</div> -</div> - -<p class="noindent">The original from which this plate is copied is in -Jarvis' quarto translation, without either painter's or -engraver's name; but the style of the etching, and air -<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span>of the figures, indisputably determine the artist. It -represents our heroic candidate for fame, before he -had received the honour of knighthood, at the door -of an inn, which he considered as a castle; the host -holding his horse's bridle, and two young female -travellers looking with astonishment at his figure. -In the distance is a swineherd blowing his horn, -which our adventurer mistakes for a trumpet sounded -by a dwarf on the battlements, to announce his -approaching the portico of the castle.—<cite>Vide Shelton</cite>, -p. 3.</p> - - -<p class="p2" /> -<h4>PLATE II.<br /> - -<span class="xs">THE INNKEEPER.</span></h4> - -<p class="p1" /> -<div class="figcenter"> -<a name="DQ_II" id="DQ_II"></a> -<img src="images/i_220b_fp.jpg" width="375" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE II.</div> -</div> - -<p class="noindent">The original of this print is in my possession, and -was designed to represent the innkeeper conferring -the order of knighthood on Don Quixote, but for -some cause, not now known, never finished. The -artist probably intended that it should form a part of -the series begun for Lord Carteret, but the other six -being discarded, never completed his design; though -a slight outline of the Don kneeling to receive his -new honours is discernible in the corner of the print. -Mine host, though a large man, is a less portly -personage than the author describes. This print is -not in any of the catalogues of Hogarth's works, but -the style leaves little doubt of the artist.</p> - -<p>In the plate from Vanderbank, in Jarvis' quarto,<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span> -representing the whole scene, the innkeeper has a -more than accidental resemblance to this figure.</p> - - -<p class="p2" /> -<h4>PLATE III.<br /> - -<span class="xs">THE FUNERAL OF CHRYSOSTOM.</span></h4> - -<p class="p1" /> -<div class="figcenter"> -<a name="DQ_III" id="DQ_III"></a> -<img src="images/i_222a_fp.jpg" width="500" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE III.</div> -</div> - -<p class="noindent">The stern attention which our Don gives to the -Shepherdess Marcella, who is vindicating herself to -those that surround the corpse, well expresses his -determination to defend her cause, and protect her -from insult. The shepherd in a similar attitude to -the soldier in Vandyke's "Belisarius," and Sancho -blubbering with his finger in his eye, are well-imagined; -but the figure of Marcella is affected and -stiff, and the shepherd on her right hand has more -city pertness than rural simplicity.</p> - -<p>Vanderbank has taken this scene for one of the -prints in Jarvis' translation, and by placing Marcella -where she ought to be, on the summit of the rock, -rendered his design more picturesque than Hogarth's.—<cite>Vide -Shelton</cite>, p. 10.</p> - - -<p class="p2" /> -<h4>PLATE IV.<br /> - -<span class="xs">THE INNKEEPER'S WIFE AND DAUGHTER ADMINISTERING CHIRURGICAL -ASSISTANCE TO THE POOR KNIGHT OF LA MANCHA.</span></h4> - -<p class="p1" /> -<div class="figcenter"> -<a name="DQ_IV" id="DQ_IV"></a> -<img src="images/i_222b_fp.jpg" width="500" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE IV.</div> -</div> - -<p class="noindent">Don Quixote's adventure with the Yanguessian -carriers having terminated in his being most bountifully -<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span>beaten, he is here represented in the hay-loft of -a very sorry inn, attended by the hostess and her -daughter, Maritornes, and his faithful squire; the -two former administering comfort to his sufferings, -the third holding a candle; and the last, with a most -rueful countenance, bewailing his own unfortunate -participation in the buffetings of his lord and master.</p> - -<p>The picture which Cervantes draws of Maritornes, -Hogarth has well transferred to the copper. Thus is -she portrayed:—</p> - -<p>"From head to heel she was not seven palms<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> -high, and burdened with shoulders that forced her -to look down more than she wished. Added to this, -she was broad-faced, flat-pated, saddle-nosed, blind of -one eye, and could scarcely see out of the other."</p> - -<p>The hostess could not have been better marked by -the pencil of Teniers; the owl perched over her head -should not be overlooked. That, as well as the rope -hung to a beam, cracked walls, etc. etc., added to the -miserable figure of the knight reclined on his hard -pallet, display variety of wretchedness. I do not -recollect to have seen a print in which the light is -more judiciously distributed; in this and every other -particular, I think it much superior to the same scene -designed by Vanderbank in Jarvis' quarto translation.—<cite>Vide -Shelton</cite>, p. 29.</p> - -<p><span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span></p> - - -<p class="p2" /> -<h4>PLATE V.<br /> - -<span class="xs">DON QUIXOTE SEIZES THE BARBER'S BASIN FOR MAMBRINO'S HELMET.</span></h4> - -<p class="p1" /> -<div class="figcenter"> -<a name="DQ_V" id="DQ_V"></a> -<img src="images/i_224a_fp.jpg" width="500" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE V.</div> -</div> - -<p class="noindent">In this print the face and figure of the fierce knight -is spirited; the terror and astonishment of the discomfited -barber well expressed, and the triumphant -shout of Sancho in the distance admirably characteristic. -Notwithstanding this, I think that Vanderbank's -design for Jarvis, where the squire is brought -into the foreground, contemplating the glittering -prize, is a better chosen point of time. To Sancho -he has given a mixture of cunning and simplicity -which I have seldom seen so happily displayed; and -taken as a whole, it is perhaps a superior plate to -Hogarth's.—<cite>Vide Shelton</cite>, p. 42.</p> - - -<p class="p2" /> -<h4>PLATE VI.<br /> - -<span class="xs">DON QUIXOTE RELEASES THE GALLEY SLAVES.</span></h4> - -<p class="p1" /> -<div class="figcenter"> -<a name="DQ_VI" id="DQ_VI"></a> -<img src="images/i_224b_fp.jpg" width="500" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE VI.</div> -</div> - -<p class="noindent">The moment taken in this busy scene is when our -valorous knight, after having unhorsed one of the -guards, is engaged with the other; while Sancho, -willing to bear his part in the adventure, helps to -extricate Gines de Passamonte from his bonds.</p> - -<p>In this, as in some other of Hogarth's designs, the -artist not having taken the trouble of reversing his -drawing, the figures are left-handed. The character -of Sancho, and two or three of the slaves, is admirable.</p> -<p><span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span></p> -<p>I think the whole design much superior to Vanderbank's -in Jarvis' translation, where the scene is -chosen after the discomfiture of the Guards; for to -two or three of the thieves Vanderbank has given the -countenances of apostles. His whole print is tame, -feeble, and spiritless.—<cite>Vide Shelton</cite>, p. 47.</p> - - -<p class="p2" /> -<h4>PLATE VII.<br /> - -<span class="xs">THE FIRST INTERVIEW OF THE VALOROUS KNIGHT OF LA MANCHA -WITH THE UNFORTUNATE KNIGHT OF THE ROCK.</span></h4> - -<p class="p1" /> -<div class="figcenter"> -<a name="DQ_VII" id="DQ_VII"></a> -<img src="images/i_226a_fp.jpg" width="500" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE VII.</div> -</div> - -<p class="noindent">This interview, which took place in the mountains -of Sierra Morena, Cervantes thus describes:—</p> - -<p>"Cardenio approached with a grave pace, and in a -hoarse voice saluted them with great courtesy. Don -Quixote returned his greeting with no less complaisance, -and pressed him strongly in his arms, as -if they had been long acquainted. The Knight of -the Rock, after he had been thus embraced, retreated -a few steps, and, laying his hand on the Don's -shoulder, perused his face with such earnestness, -as though he were desirous of recollecting if he had -ever seen him before, and no less admired Don -Quixote's strange figure than himself was admired -by our heroic knight-errant."</p> - -<p>This is the point of time which Hogarth has -chosen; and the wild eye of Cardenio, the placid -benevolence of Don Quixote, and the shrewdness<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span> -of the goatherd, are well opposed. From the air, -attitude, and action of Sancho, I should have -imagined the period to be after he had been mauled -by the madman, did not the two knights so strongly -determine it to be before.</p> - -<p>In Vanderbank's design of the same subject (<em>vide</em> -Jarvis' quarto), the figure of Sancho is tolerable, but -the Don is vapid and ill-drawn; and Cardenio's head, -like that of Medusa, looks as if it were encircled -with snakes.—<cite>Vide Shelton</cite>, p. 51.</p> - - -<p class="p2" /> -<h4>PLATE VIII.<br /> - -<span class="xs">THE CURATE AND BARBER DISGUISING THEMSELVES TO CONVEY -DON QUIXOTE HOME.</span></h4> - -<p class="p1" /> -<div class="figcenter"> -<a name="DQ_VIII" id="DQ_VIII"></a> -<img src="images/i_226b_fp.jpg" width="500" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE VIII.</div> -</div> - -<p class="noindent">Don Quixote's old neighbours, the curate and -barber, being desirous of checking his wandering -disposition, are here disguising themselves for an interview, -in which they hoped to bring him home, where -they trusted he might again live as an old Christian -ought to do. In pursuance of this plan, the barber -procured an ample beard made from the tail of a -pied ox; and the curate assumed the habit of a distressed -virgin, and framed a tale of having been -wronged by a naughty knight, to punish whom the -Don was to be entreated to follow wherever this -afflicted fair one should lead.</p> - -<p>The dressing-room for this masquerade is the -<span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span>kitchen of an inn; out of the door, astride on a -bench, inhaling copious draughts from a leathern -bottle, Sancho gives some life to a little landscape -in the distance.—<cite>Vide Shelton</cite>, p. 60.</p> - - -<p class="p2" /> -<h4>PLATE IX.<br /> - -<span class="xs">SANCHO'S FEAST.</span></h4> - -<p class="center small">"Sancho's dread doctor and his wand were there."</p> - -<div class="figcenter"> -<a name="DQ_IX" id="DQ_IX"></a> -<img src="images/i_228_fp.jpg" width="650" alt="" /> -<div class="caption"> -DON QUIXOTE PLATE IX.</div> -</div> - -<p class="noindent">Though Don Quixote is the ostensible hero of this -admirable history, I have sometimes thought that -Sancho was the author's favourite character. He -is here represented as Governor of Barataria, and -seated in the spacious hall of a sumptuous palace, -surrounded with all the pompous parade of high -rank, and encircled by numerous attendants.<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> A -band of musicians in an adjoining gallery strike up -a symphony to gratify his ear, and a table is spread -with every dainty to feast his eye and fret his soul; -for however magnificent the appendages of this mock -monarch, the instant he attempts to taste the solid -comforts of government, the loaves and fishes evade -his grasp, are touched by the black rod, and vanish!</p> - -<p class="center small">"In plenty starving, tantaliz'd in state,"</p> - -<p class="noindent">he curses the gaudy unsubstantial pageant, vows<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span> -vengeance on the Doctor, and swears that he will -offer up both him and every physical impostor in -the island as a sacrifice to his injured and insulted -appetite.</p> - -<p>Hogarth has here caught the true spirit of the -author, and given to this scene the genuine humour -of Cervantes. The rising choler of our Governor is -admirably contrasted by the assumed gravity of -Doctor Pedro Rezio. The starch and serious solemnity -of a straight-haired student who officiates as chaplain, -is well opposed by the broad grin of a curl-pated -blackamoor. The suppressed laughter of a man who -holds a napkin to his mouth forms a good antithesis -to the open chuckle of a fat cook. Sancho's two -pages bear a strong resemblance to the little punch-maker -in the Election Feast, and though well conceived, -might have had more variety; they present -a front and back view of the same figure. To two -females on the Viceroy's right hand there may be a -similar objection.</p> - -<p>The original print was designed and engraved at -a very early period of Hogarth's life. As it was -finished with more neatness than any of the eight -which he afterwards etched for the same work, the -copy is attempted in a similar style.</p> - -<p>In the drawing, Sancho was originally portrayed -with a full face; but Hogarth, judiciously thinking -a profile would be preferable, fixed a bit of paper -<span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span>over his first thought, and altered it to the state in -which it is here engraved.</p> - -<p>The design that Vanderbank made from the same -scene is cold and uninteresting; in another by -Hayman, prefixed to Smollett's coarse translation, -Sancho is fat enough for Falstaff, and the Doctor -looks like a fellow dressed up to play the part of a -conjuror in a puppet-show.—<cite>Vide Shelton</cite>, p. 221.</p> - - -<p class="p2" /> -<h4>HEIDEGGER IN A RAGE.</h4> - -<div class="figcenter"> -<a name="HEI" id="HEI"></a> -<img src="images/i_230a_fp.jpg" width="650" alt="" /> -<div class="caption"> -HEIDEGGER IN A RAGE.</div> -</div> - -<p class="noindent">The spirited sketch from which this is copied has -been thought the work of P. Mercier; but some of -my subscribers thinking it bore a strong resemblance -to Hogarth, I at their request submitted it to public -opinion. It arose from the following circumstance:—</p> - -<p>The late Duke of Montagu invited Heidegger to -a tavern, where he was made drunk, and fell asleep; -in that situation a mould of his face was taken, from -which was made a mask; and the Duke provided a -man of the same stature to appear in a similar dress, -and wear it to personate Heidegger on the night of -the next masquerade, when George the Second (who -was apprised of the plot) was to be present. On his -Majesty's entrance, Heidegger, as was usual, bade the -music play "God save the King;" but no sooner -was his back turned, than the impostor, assuming his -voice and manner, ordered them to play "Charley<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span> -over the Water." On this Heidegger raged, stamped, -swore, and commanded "God save the King." The -instant he retired, the impostor returned and ordered -them to resume "Charley." The musicians thought -their master drunk, but durst not disobey. The -scene now became truly comic. Shame! shame! -resounded from all parts of the theatre. Heidegger -offered to discharge his band, when the impostor -advanced and cried out in a plaintive tone, Sire, the -whole fault lies with that devil in my likeness. This -was too much: poor Heidegger turned round, grew -pale, but could not speak. The Duke, seeing it take -so serious a turn, ordered the fellow to unmask. -Heidegger retired in great wrath, seated himself in -an arm-chair, furiously commanded his attendants -to extinguish the lights, and swore he would never -again superintend the masquerade, unless the mask -was defaced and the mould broken in his presence. -For this purpose the man on his knee has a mallet -stuck in his girdle.</p> - - -<p class="p2" /> -<h4>THE LARGE MASQUERADE TICKET.</h4> - -<div class="figcenter"> -<a name="MAS" id="MAS"></a> -<img src="images/i_230b_fp.jpg" width="650" alt="" /> -<div class="caption"> -MASQUERADE TICKET.</div> -</div> - -<p class="noindent">As the first print which Hogarth published on his -own account, usually denominated "The Small Masquerade -Ticket," represents a large company eagerly -pressing to the door of a masquerade, we have here -the interior of the room crowded with a countless -<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span>multitude of grotesque characters, celebrating the -orgies of the place, which, in the following references -engraved under the original print, are thus described:—</p> - -<p>"<em>A</em>, a sacrifice to Priapus. <em>B</em>, a pair of Lecherometors, -showing y<sup>e</sup> company's inclinations as they approach -'em. Invented for the use of ladys and gentlemen -by y<sup>e</sup> ingenious Mr. H——r" (Heidegger).</p> - -<p>This titular divinity of the gardens being thus considered -as the god of their idolatry, his Term is -entitled to the first notice. The arched niche in -which it is placed is terminated by a goat's head, -ornamented with a pair of branching antlers, and -decorated with festooned curtains. Beneath is an -altar, the base of which is relieved with rams' heads -and flowers; and three pair of stags' horns are fixed -to the top.</p> - -<p>As a companion to it, the united statues of a Venus -and Cupid, both of them masked, are placed on the -opposite side of the print. Cupid, who is a very -well-drawn and spirited little figure, "has bent his -bow to shoot at random," and Venus seems contemplating -the rise and fall of the mercury in one of -those instruments which the reference informs us is to -show the inclinations of all that approach it. The -niche in which these divinities are placed is not only -decorated with curtains, but crowned with cooing -doves. An altar beneath has on it three or four<span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span> -bleeding hearts, which, being close to the blaze, are in -the way of being broiled. On the base are queue-wigs, -bag-wigs, etc.</p> - -<p>This may suffice for the presiding deities of the -diversion; the head of their high priest, the renowned -Heidegger, master of the mysteries and manager in -chief, is placed on the front of a large dial, fixed -lozenge-fashion at the top of the print, and I believe -intended to vibrate with the pendulum, the ball of -which hangs beneath, and is labelled "Nonsense." -On the minute finger is written "Impertinence," and -on the hour hand, "Wit:" which seems to intimate -nonsense every second, impertinence every minute, -and wit once an hour! The time is half-past one—the -witching hour of night; 1727, the date of -the year this print was published, is on the corners of -the clock.</p> - -<p>Recumbent on the upper line of this print, and -resting against the sides of the dial, the artist has -placed our British lion and unicorn renverse (such, I -think, is the term in heraldry), lying on their backs, -and each of them playing with its own tail; the lion -sinister, and the unicorn dexter. The supporters of -our regal arms being thus ludicrously introduced, -may perhaps allude to the encouragement George the -Second gave to Heidegger, who at that period might -be said to</p> - -<p class="center small">"Teach kings to fiddle, and make senates dance;"</p> - -<p><span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span></p> - -<p class="noindent">and who, by thus kindly superintending the pleasures -of our nobles, gained an income of £5000 a year, and, -as he frequently boasted, laid out the whole in this -country.</p> - -<p>Beneath is a framed picture of a Bacchanalian -scene; and on each side, shelves with pyramids of -<ins class="corr" title="Transcriber's Note—Original text: 'jellies, sweatmeats'">jellies, sweetmeats</ins>, etc., inscribed "Provocatives." On -two labels placed before them is written, "Supper -below."</p> - -<p>A pair of instruments, somewhat similar to the -mental thermometer in "The Medley," are fixed on -each side: on that next to Venus and Cupid is -written, "cool, warm, dry, changeable, hot, moist, -fixt;" on the other, "expectation, hope, hot desire, -extreme hot, moist, sudden cold."</p> - -<p>The motley crew who make up the crowd it is not -easy to describe, for every one present assumes a -false character.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Here tottering old age essays to prance</p> -<p class="verse">With feeble feet, and joins th' imperfect dance;</p> -<p class="verse">There, supercilious youth assumes the air</p> -<p class="verse">And reverend mien which hoary sages wear.</p> -<p class="verse">'Tis thus, like Proteus, Folly joys to range,</p> -<p class="verse">Her name to vary, and her shape to change."</p> -</div></div> - -<p>Here are priests of all persuasions—Brahmins, -friars, drones, monks, and monkeys not a few.</p> - -<p>A figure of Time with his scythe, eagerly pressing -towards the altar with rams' heads, is arrested in his -course by a sort of slaughterman, with a mask, shaven<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span> -crown, and short apron, who violently grasps his wing -with one hand, and with the other lifts up a hatchet, -which with fatal force he aims at his head. For -sanctuary, this feeble figure lays hold of one of the -horns of the altar, but is frustrated in his attempt to -reach the steps by a bishop, who, with his sacrificing -knife, coolly stabs him to the heart; while a monkey, -in the habit of a chorister, holds a basin to catch the -blood, the fumes from which he snuffs up with ineffable -delight. This I apprehend to be a metaphorical -view of a prelate <em>killing Time</em> at a masquerade.</p> - -<p>Next to this group is a Mother Shipton, hooking -on the arms of a clown; and near them a harlequin -endeavouring to draw the attention of a graceful -columbine from a turban'd Turk, who attempts to -seduce her from her party-coloured gallant. A -female, with the mask of a monkey's head, salutes a -nun in a black veil; and while an old Capuchin, with -the face of an ape, whispers soft things to a young -girl, a fellow somewhat like Tiddy-doll draws up her -head-dress to a point, like a fool's cap. A man in the -right-hand corner, solicitous to give a glass of wine to -one of the sisterhood, lifts up her veil for the purpose -of her drinking it.<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a></p> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span><br /> - <span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span></p> -<p class="p4" /> - -<p class="pfs180">ADDENDA.</p> -<p class="p6" /> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span></p> -<p class="p4" /> - -<h2 class="xl">ADDENDA.</h2> - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<h4>AN EMBLEMATIC PRINT ON THE SOUTH SEA.</h4> - -<div class="figcenter"> -<a name="SOU" id="SOU"></a> -<img src="images/i_238a_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE SOUTH SEA BUBBLE.</div> -</div> - -<div> -<img class="drop-cap" src="images/dc_237.jpg" alt="" /> -</div> - -<p class="drop-capx">The two prints here given are selected as -two of the earliest avowed productions of -Hogarth. The allegory in both is somewhat -obscure; but the figures are in the manner of -Callot, and in a spirited and masterly style. They -were both published in 1721, and are a proof that -at this early period the admirable vein of satire -which he possessed was directed against the vices -and follies of the age.</p> - -<p>In the first of them we see (to use an expression -of Mr. Walpole) "the Devil cutting Fortune into -collops," to gratify the avaricious hopes of the adventurers -in the South Sea Bubble; and persons ascending -the ladder to ride upon wooden horses; alluding -to the desperate game which was played by the -South Sea Directors in England in the year 1720, -to the utter destruction of many opulent families. -The little figure with his hand in the pocket of a -fat personage was supposed by Mr. Steevens to have<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span> -been intended for Pope, who profited by the South -Sea scheme; and the fat man to be meant for Gay, -who was a loser in that iniquitous project. Mr. John -Law, a native of Edinburgh, was the projector of this -bubble; and was also author of the famous Mississippi -scheme in France, by which he ruined thousands. -To escape popular vengeance he fled to Venice, where -he died in poverty in 1729.</p> - - -<p class="p2" /> -<h4>THE LOTTERY.</h4> - -<div class="figcenter"> -<a name="LOT" id="LOT"></a> -<img src="images/i_238b_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE LOTTERY.</div> -</div> - -<p class="noindent">Under the print of "The Lottery," the artist has -given a full description of his own ideas, which otherwise, -at this distance of time, it would have been -difficult to elucidate.</p> - - -<p class="p2" /> -<h4>MASQUERADES AND OPERAS—BURLINGTON GATE.</h4> - -<div class="figcenter"> -<a name="BUR" id="BUR"></a> -<img src="images/i_238c_fp.jpg" width="650" alt="" /> -<div class="caption"> -MASQUERADES & OPERAS, BURLINGTON GATE.</div> -</div> - -<p class="noindent">This satirical performance of Hogarth, which is commonly -called "The Small Masquerade Ticket," is -supposed to have been 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 George the Second at his -palace at Kensington; and the leader of the figures -hurrying to a masquerade, crowned with a cap and -bells, and a garter round his right leg, has been said -to be intended for that monarch, who was very -<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>partial to those nocturnal amusements, and bestowed -a thousand pounds towards their support. The -purse with a label "£1000," which the satyr holds -immediately before him, gives some probability to -the supposition.</p> - -<p>The kneeling figure on the show-cloth, pouring -gold at the feet of Cuzzoni the Italian singer (who -is drawing the money towards her with a rake), -represents the Earl of Peterborough; and on the -label is written, "Pray accept £8000." Mr. Heidegger, -the regulator of the masquerade, is also -exhibited at a window, with the letter H under him. -Of the three figures in the centre of the plate, the -middle one is Lord Burlington, a nobleman of considerable -taste in painting and architecture. On one -side of him is Mr. Campbell the architect; on the -other, some artist now unknown. On a board is a -display of the words, "Long Room: Fawkes' dexterity -of hand." On the opposite corner is the -figure of Harlequin, pointing to a label, on which is -written, "Dr. Faustus is here." This was a pantomime -performed to crowded houses throughout two -seasons.</p> - -<p>In this print all the figures have a strong resemblance -to those of Callot; and the follies of the town -are very severely satirized by the representation of -multitudes, properly habited, crowding to the masquerade, -opera, and pantomime; whilst the works of<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span> -our greatest dramatic writers are trundled through -the streets in a wheel-barrow, and cried as waste -paper for shops; among these may be distinguished -Shakspeare, Ben Jonson, Dryden, Congreve, Otway, -Farquhar, and Addison. In the first copy of this -print, instead of Ben Jonson's name on a label, we -have "Pasquin, N<sup>o</sup> XI." This was a periodical -paper published in 1722-3; and the number specified -is particularly severe on operas, etc.</p> - -<p>As a further illustration of the taste of the times, -the artist has given a view of Burlington Gate, with -a figure, I believe, intended to represent the then -fashionable artist William Kent, on the summit, -brandishing his palette and pencils, and placed in a -more elevated situation than either Michael Angelo -or Raphael, who, seated beneath, become the two -supporters to this favourite of Lord Burlington.</p> - -<p>Some verses (and those not always the same) engraved -on a separate piece of copper are found under -the first impressions. For example, under the earliest -impressions of 1724:</p> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"Could now dumb Faustus, to reform the age,</p> -<p class="verse4">Conjure up Shakspeare's or Ben Jonson's Ghost,</p> -<p class="verse">They'd blush for shame, to see the English stage</p> -<p class="verse4">Debauch'd by fool'ries, at so great a cost.</p> -</div> -<div class="stanza"> -<p class="verseq">"What would their manes say, should they behold</p> -<p class="verse4">Monsters and masquerades, where useful plays</p> -<p class="verse">Adorn'd the fruitful theatre of old,</p> -<p class="verse4">And rival wits contended for the bays?"</p> -</div></div></div> - -<p><span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span></p> - -<p class="noindent">Under another impression:</p> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"Long has the stage productive been</p> -<p class="verse4">Of offsprings it could brag on,</p> -<p class="verse">But never till this age was seen</p> -<p class="verse4">A windmill and a dragon.</p> -</div> -<div class="stanza"> -<p class="verseq">"O Congreve! lay thy pen aside,</p> -<p class="verse4">Shakspeare, thy works disown,</p> -<p class="verse">Since monsters grim, and nought beside,</p> -<p class="verse4">Can please this senseless town."</p> -</div></div></div> - -<p>I have been the more particular in describing this -plate, as it appears to have been the first which -Hogarth published on his own account, and respecting -which he pathetically says: "I had to encounter -a monopoly of printsellers, equally mean and destructive -to the ingenious; for the first plate I published, -called 'The Taste of the Town,' in which -the reigning follies were lashed, had no sooner begun -to take a run, than I found copies of it in the print-shops -vending at half price, while the original prints -were returned to me again; and I was thus obliged -to sell the plate for whatever these pirates pleased to -give me, as there was no place of sale but their shops. -Owing to this and other circumstances, by engraving, -until I was near thirty, I could do little more than -maintain myself; but even then I was a punctual -paymaster."</p> - -<p><span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span></p> - - -<p class="p2" /> -<h4>BEGGARS' OPERA BURLESQUED.</h4> - -<div class="figcenter"> -<a name="BEG" id="BEG"></a> -<img src="images/i_238d_fp.jpg" width="650" alt="" /> -<div class="caption"> -BEGGARS' OPERA BURLESQUED.</div> -</div> - -<p class="noindent">This plate seems at once to represent the exhibition -of <cite>The Beggars' Opera</cite>, and the rehearsal of an -Italian one. In the former, all the characters are -drawn with the heads of different animals: as Polly -with a cat's; Lucy with a sow's; Macheath with that -of an ass; Lockit, and Mr. and Mrs. Peachum, with -those of an ox, a dog, and an owl. In the latter, -several noblemen appear conducting the chief female -singer forward on the stage; and perhaps are offering -her money, or protection from a figure that is rushing -towards her with a drawn sword.</p> - -<p>Harmony, flying in the air, turns her back on the -English playhouse, and hastens towards the rival -theatre. Musicians stand in front of the former, -playing on the Jew's harp, the salt-box, the bladder -and string, bagpipes, etc. On one side are people of -distinction, some of whom kneel, as if making an -offer to Polly, or paying their adorations to her. To -these are opposed a butcher, etc., expressing similar -applause. Apollo and one of the muses are fast -asleep beneath the stage. A man is indelicately -seated under a wall hung with ballads, and showing -his contempt of such compositions by the use he -makes of them. A sign of the star, a gibbet, and -some other circumstances less intelligible, appear in -the background.</p> - - -<p class="p2" /> -<h4>TWELVE PRINTS OF HUDIBRAS.</h4> - -<p class="p2" /> -<div class="figcenter"> -<a name="HUD" id="HUD"></a> -<img src="images/i_242a_fp.jpg" width="650" alt="" /> -<div class="caption"> -FRONTISPIECE TO HUDIBRAS PLATE I.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242b_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE II.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242c_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE III.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242d_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE IV.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242e_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE V.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242f_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE VI.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242g_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE VII.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242h_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE VIII.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242i_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE IX.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242j_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE X.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242k_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE XI.</div> -</div> - -<div class="figcenter"> -<img src="images/i_242l_fp.jpg" width="650" alt="" /> -<div class="caption"> -HUDIBRAS, PLATE XII.</div> -</div> - -<p><span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span></p> - -<p class="noindent">This well-imagined series of plates was designed by -Hogarth, and engraved by himself, for the matchless -poem of Butler. Each plate is illustrated by an -appropriate quotation from the facetious satirist; -and as our ingenious artist formed his designs from -an attentive perusal of the poem, his engravings, and -the extracts selected under each of them, reciprocally -explain each other. "His 'Hudibras,'" says Mr. -Walpole, "was the first of his works that marked -him as a man above the common; yet," adds the -critic, somewhat too fastidiously, "what made him -then noticed now surprises us, to find so little humour -in an undertaking so congenial to his talents."</p> - -<p>The original title ran thus: "Twelve excellent -and most diverting Prints, taken from the celebrated -Poem of Hudibras, wrote by Samuel Butler; exposing -the villany and hypocrisy of the times. Invented -and engraved on twelve copperplates by William -Hogarth; and are humbly dedicated to William -Ware, Esq., of Great Houghton, in Northamptonshire, -and Mr. Allan Ramsay, of Edinburgh."</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"What excellence can brass or marble claim?</p> -<p class="verse">These papers better do secure thy fame;</p> -<p class="verse">Thy verse all monuments does far surpass,</p> -<p class="verse">No mausoleum's like thy 'Hudibras.'"</p> -</div></div> - -<p>Allan Ramsay subscribed for thirty sets, and the<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span> -number of subscribers amounted to one hundred and -ninety-two. The original plates were afterwards -purchased by Mr. Philip Overton. They subsequently -passed into the hands of the late Mr. Robert -Sayer; and it is certain that Hogarth often lamented -the having parted with his property in them without -ever having had an opportunity to improve them.</p> - -<p>In the first of these plates is a portrait inscribed, -"Mr. Samuel Butler, born 1612, Author of Hudibras, -died 1680." The basso-relievo of the pedestal represents -Butler's Genius in a car, lashing round Mount -Parnassus, in the persons of Hudibras and Ralpho, -Rebellion, Hypocrisy, and Ignorance, the reigning -vices and follies of the time. In the scene of the -Committee (Plate IX.), one of the members has his -gloves on his head. "I am told," says Mr. Steevens, -"this whimsical custom once prevailed among our -sanctified fraternity; but it is in vain, I suppose, to -ask the reason why." This doubt, however, has -since produced from a respectable divine an intimation -that he has frequently heard his father, who died -some years ago at an advanced age, notice the custom -of placing the gloves on the head at church as -not uncommon in cold weather.</p> - -<p>In the earliest impressions of Plate XI., the words -"Down with the Rumps" are not inserted on the -scroll.</p> - -<p><span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span></p> - - -<p class="p2" /> -<h4>JUST VIEW OF THE BRITISH STAGE.</h4> - -<div class="figcenter"> -<a name="JUS" id="JUS"></a> -<img src="images/i_246b_fp.jpg" width="650" alt="" /> -<div class="caption"> -JUST VIEW OF THE BRITISH STAGE.</div> -</div> - -<p class="noindent">Mr. Walpole, in his <cite>Catalogue</cite>, thus describes this -plate: "Booth, Wilkes, and Cibber, contriving a -Pantomime; a Satire on Farces."</p> - -<p>Though the inscription engraved under it is sufficiently -explanatory, it may be added that Mr. Devoto -was scene-painter either to Drury Lane or Lincoln's-Inn -Fields, and also to Goodman's Fields Theatre; -that the ropes mentioned in the inscription are no -other than halters, suspended over the heads of the -three managers; and that the labels issuing from -their respective mouths convey the following characteristic -words. The airy Wilkes, who dangles the -effigies of Punch, exclaims, "Poor R—ch! faith, I -<em>pitty</em> him." The Laureate Cibber, who is amusing -himself with playing with harlequin, invokes the -muse painted on the ceiling: "Assist, ye sacred -Nine!" And the solemn Booth, letting down the -figure of Jack Hall into the <em>forica</em>, is most tragically -exclaiming, with an oath, "Ha! this will do." -At the same instant Ben Jonson's ghost is rising -through the stage, and insulting a pantomime statue -fallen from its base. Over the figure of Hall is suspended -a parcel of waste paper, consisting of leaves -torn from <cite>The Way of the World</cite>, <cite>Hamlet</cite>, <cite>Macbeth</cite>,<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span> -and <cite>Julius Cæsar</cite>. A fiddler is seen hanging by a -cord in the air, and performing, with a scroll before -him, which proclaims, "Music for the What" [meaning -perhaps the "What d'ye call it"] entertainment. -A pamphlet on the table exhibits a print of Jack -Sheppard in confinement. A dragon is also preparing -to fly; a dog thrusts his head out of the kennel; -a flask acquires motion by machinery, etc. The -countenances of Tragedy and Comedy, on each side -of the stage, are concealed by the bills for <cite>Harlequin -Dr. Faustus</cite>, <cite>Harlequin Shepherd</cite>, <em>etc.</em></p> - -<p><i lang="la" xml:lang="la">Vivetur ingenio</i> is the motto over the curtain.</p> - - -<p class="p2" /> -<h4>EXAMINATION OF BAMBRIDGE.</h4> - -<div class="figcenter"> -<a name="BAM" id="BAM"></a> -<img src="images/i_246c_fp.jpg" width="650" alt="" /> -<div class="caption"> -BAMBRIDGE ON TRIAL FOR MURDER.</div> -</div> - -<p class="noindent">This very fine picture, Hogarth himself tells us, was -painted in 1729 for Sir Archibald Grant of Monymusk, -Bart., at that time Knight of the Shire for -Aberdeen, and one of the Committee represented in -the painting,—many of whom attended daily, and -some of them twice a day.</p> - -<p>That every other figure in this print is a genuine -portrait, there cannot be the least doubt, though -at this distant period it is not possible to identify -the particular persons; they are all, however, to be -found in the following list of the names of the -Committee:—</p> - -<p><span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span></p> - -<div class="center fs90"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary="Committee Names"> -<tr><td class="tdc" colspan="3">James Oglethorpe, Esq., Chairman.</td></tr> -<tr><td></td></tr> -<tr><td class="tdlx" rowspan="6">The Right Hon.<br />the Lords</td></tr> -<tr><td class="tdl">{ Finch.</td><td class="tdly">General Wade.</td></tr> -<tr><td class="tdl">{ Morpeth.</td><td class="tdly">Humphrey Parsons, Esq.</td></tr> -<tr><td class="tdl">{ Inchequin.</td><td class="tdly">Hon. Robert Byng.</td></tr> -<tr><td class="tdl">{ Percival.</td><td class="tdly">Edward Houghton, Esq.</td></tr> -<tr><td class="tdl">{ Limerick.</td><td class="tdly pad3">(Judge-Advocate.)</td></tr> -<tr><td class="tdl" colspan="2">Sir Robert Sutton.</td><td class="tdly">Captain Vernon.</td></tr> -<tr><td class="tdl" colspan="2">Sir Robert Clifton.</td><td class="tdly">Charles Selwyn, Esq.</td></tr> -<tr><td class="tdl" colspan="2">Sir Abraham Elton.</td><td class="tdly">Velters Cornwall, Esq.</td></tr> -<tr><td class="tdl" colspan="2">Sir Edward Knatchbull.</td><td class="tdly">Thomas Scawen, Esq.</td></tr> -<tr><td class="tdl" colspan="2">Sir Humphrey Herries.</td><td class="tdly">Francis Child, Esq.</td></tr> -<tr><td class="tdl" colspan="2">Hon. James Bertie.</td><td class="tdly">William Hucks, Esq.</td></tr> -<tr><td class="tdl" colspan="2">Sir Gregory Page.</td><td class="tdly">Stampe Brooksbank, Esq.</td></tr> -<tr><td class="tdl" colspan="2">Sir Archibald Grant.</td><td class="tdly">Charles Withers, Esq.</td></tr> -<tr><td class="tdl" colspan="2">Sir James Thomhill.</td><td class="tdly">John La Roche, Esq.</td></tr> -<tr><td class="tdl" colspan="2">Gyles Earle, Esq.</td><td class="tdly">Mr. Thomas Martin.</td></tr> -</table></div> - -<p class="p1" /> -<p>"The scene," says Mr. Walpole, "is the Committee. -On the table are the instruments of torture. A -prisoner in rags, half-starved, appears before them; -the poor man has a good countenance, that adds to -the interest. On the other hand is the inhuman -gaoler. It is the very figure that Salvator Rosa -would have drawn for Iago in the moment of detection. -Villany, fear, and conscience are mixed in -yellow and livid on his countenance; his lips are -contracted by tremor, his face advances as eager to -lie, his legs step back as thinking to make his escape; -one hand is thrust precipitately into his bosom, the -fingers of the other are catching uncertainly at his -button-holes. If this was a portrait, it is the most -striking that ever was drawn; if it was not, it is -still finer."</p> - -<p><span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span></p> - -<p>This Committee was first appointed, Feb. 25, -1728-9, to examine into the state of the gaols within -the kingdom; and the persons here represented -under examination were—Thomas Bambridge, then -Warden of the Fleet Prison, and John Huggins, his -predecessor in that office. Both were declared "notoriously -guilty of great breaches of trust, extortions, -cruelties, and other high crimes and misdemeanours." -It was the unanimous resolution of the Committee, -"That Thomas Bambridge, the acting Warden of -the Prison of the Fleet, hath wilfully permitted -several debtors to the Crown in great sums of money, -as well as debtors to divers of his Majesty's subjects, -to escape; hath been guilty of the most notorious -breaches of his trust, great extortions, and the highest -crimes and misdemeanours in the execution of his -said office; and hath arbitrarily and unlawfully -loaded with irons, put into dungeons, and destroyed, -prisoners for debt under his charge, treating them in -the most barbarous and cruel manner, in high violation -and contempt of the laws of this kingdom." -Bambridge was in consequence disqualified by Act -of Parliament; and he cut his throat twenty years -after.</p> - -<p>It was also resolved, "That John Huggins, Esq., -late Warden of the Prison of the Fleet, did, during -the time of his wardenship, wilfully permit several -considerable debtors in his custody to escape; and -<span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span>was notoriously guilty of great breaches of his -trust, extortions, cruelties, and other high crimes and -misdemeanours, in the execution of the said office;" -and he was for some time committed to Newgate, -but afterwards lived in credit to the age of ninety.</p> - - -<p class="p2" /> -<h4>KING HENRY VIII. AND ANNA BULLEYN.</h4> - -<div class="figcenter"> -<a name="HEN" id="HEN"></a> -<img src="images/i_248_fp.jpg" width="525" alt="" /> -<div class="caption"> -HENRY THE EIGHTH & ANNE BOLEYNE.</div> -</div> - -<p class="noindent">This plate, copied from a painting in the portico of -the old great room in Vauxhall Gardens, has very -idly been imagined to contain the portraits of -Frederick Prince of Wales, and the beautiful but -unfortunate Lady Vane; but the stature and faces -both of the lady and Henry are totally unlike their -supposed originals.</p> - - -<p class="p2" /> -<h4>CROWNS, MITRES, MACES, ETC.</h4> - -<div class="figcenter"> -<a name="CRO" id="CRO"></a> -<img src="images/i_246a_fp.jpg" width="650" alt="" /> -<div class="caption"> -CROWNS, MITRES, MACES &<sup>c</sup>.</div> -</div> - -<p class="noindent">This plate forms so important a feature in the -annals of Hogarth, that it requires his own elucidation:—</p> - -<div class="blockquot"> - -<p>"After having had my plates pirated in almost all -sizes, I applied to Parliament for redress, and obtained -it in so liberal a manner, as hath not only -answered my own purpose, but made prints a considerable -article in the commerce of this country, -there being now more business of that kind done -here than at Paris, or anywhere else, and as well."</p> - -<p><span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p></div> - -<p>The statute, which took place June 24, 1735, was -drawn up by our artist's friend Mr. Huggins, who took -for his model the eighth of Queen Anne in favour of -literary property. But it was not so accurately executed -as entirely to remedy the evil; for, in a cause -founded on it, which came before Lord Hardwicke -in Chancery, that excellent lawyer determined that -no assignee, claiming under an assignment from the -original inventor, could take any benefit by it.</p> - -<p>Hogarth, immediately after the passing of the Act, -published this print with the following inscription:—</p> - -<p class="pfs90"> -"In humble and grateful acknowledgment<br /> -of the grace and goodness of the <span class="smcap">Legislature</span>,<br /> -manifested in the <span class="smcap">Act of Parliament</span> for the Encouragement<br /> -of the Arts of Designing, Engraving, etc.,<br /> -obtained by the Endeavours, and almost at the sole Expense,<br /> -of the Designer of this Print in the Year 1735;<br /> -by which,<br /> -not only the Professors of those Arts were rescued<br /> -from the Tyranny, Frauds, and Piracies<br /> -of Monopolizing Dealers,<br /> -and legally entitled to the Fruits of their own Labours;<br /> -but Genius and Industry were also prompted<br /> -by the most noble and generous Inducements to exert themselves.<br /> -Emulation was excited;<br /> -Ornamental Compositions were better understood;<br /> -and every Manufacture, where Fancy has any concern,<br /> -was gradually raised to a pitch of Perfection before unknown;<br /> -insomuch, that those of <span class="smcap">Great Britain</span><br /> -are at present the most elegant<br /> -and the most in Esteem of any in <span class="smcap">Europe</span>."<br /> -</p> - -<p>The royal Crown at the top is darting its rays -on mitres, coronets, the Chancellor's great seal, the<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span> -Speaker's hat, etc. etc.; and on a scroll is written, -"An Act for the Encouragement of the Arts of -Designing, Engraving, and Etching, by vesting the -properties thereof in the inventors and engravers, -during the time therein mentioned."</p> - -<p>The plate was afterwards used as a receipt for the -subscriptions to his four prints of "The Election."</p> - -<p>In 1767, three years after Hogarth's death, his -widow stated, in a petition to the House of Commons, -"that she was informed that a Bill was -depending in the House to amend an Act made in -the eighth year of the reign of his late Majesty, for -the encouragement of the arts of designing, engraving, -and etching: that her late husband was the -inventor, engraver, and publisher of various designs—moral, -humorous, and historical; the sole property -whereof was vested in him by the said Act for the -term of fourteen years; that her chief support arose -from the sale of her late husband's works; that, since -his decease, many persons had copied, printed, and -published several of those works, and still continued -to do so; and that the sale of those spurious copies, -both at home and for exportation, had already been -a great prejudice to the petitioner, and, unless timely -prevented, would deprive her of her chief support -and dependence; and praying that provision might -be made for vesting in her the property of her said -husband's works." The petition was thought reason<span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span>able; -and a clause was added to the Bill for "vesting -in, and securing to, Jane Hogarth, widow, the property -in certain prints."</p> - - -<p class="p2" /> -<h4>THE ROYAL MASQUERADE.</h4> - -<div class="figcenter"> -<a name="ROY" id="ROY"></a> -<img src="images/i_252_fp.jpg" width="650" alt="" /> -<div class="caption"> -ROYAL MASQUERADE, SOMERSET HOUSE.</div> -</div> - -<p class="noindent">This very interesting scene, which may be dated -early in 1755, is thus anticipated by Mr. Walpole, in -a letter to Mr. Richard Bentley, Dec. 24, 1754:—"The -Russian ambassador is to give a masquerade -for the birth of the little great prince (the Czar, -Paul I.). The King lends him Somerset House: he -wanted to borrow the palace over against me, and -sent to ask it of the cardinal-nephew (Henry Earl of -Lincoln, nephew to the Duke of Newcastle, to whose -title he succeeded), who replied, 'Not for half -Russia!'"</p> - -<p>The print abounds with real portraits of personages -of the first distinction, of whom several may be identified -by the following extract from the <cite>Gentleman's -Magazine</cite>, vol. xxv. p. 89:—"<em>Feb. 6.</em>—The Russian -ambassador gave a most magnificent ball at Somerset -House. His Majesty came a little after eight, dressed -in a black domino, tie-wig, and gold-laced hat. Her -Royal Highness the Princess of Wales was in a blue -and silver robe, and her head greatly ornamented -with jewels. The Prince of Wales was in a pink and -silver dress. Prince Edward in a pink satin waistcoat, -<span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span>with a belt adorned with diamonds. Princess -Augusta in a rich gold stuff. The Duke (of Cumberland) -was in a Turkish dress, with a large bunch -of diamonds in his turban. A noble lady shone in -the habit of a nymph, embroidered over with stars -studded with brilliants to the amount of £100,000. -In short, the dresses of the whole assembly were the -richest that could possibly be devised upon such an -occasion; and the whole entertainment, particularly -the desert, was the most elegant that expense could -furnish. Few exhibitions of this kind have equalled -it,—none excelled it. The number of persons were -above a thousand."</p> - -<p>The original painting formed part of the fine collection -of the late Roger Palmer, Esq., on whose -death it devolved, with the rest of a very ample property, -to his only sister, Elizabeth, wife of the brave -and benevolent Captain Joseph Budworth, who assumed -the name and arms of Palmer.</p> - - -<p class="p2" /> -<h4>RICH'S TRIUMPHANT ENTRY.</h4> - -<div class="figcenter"> -<a name="RIC" id="RIC"></a> -<img src="images/i_254c_fp.jpg" width="650" alt="" /> -<div class="caption"> -RICH'S TRIUMPHANT ENTRY.</div> -</div> - -<p class="noindent">This plate represents the removal of Rich, and his -scenery, authors, actors, etc., from Lincoln's-Inn -Fields to the new house. The scene is the area of -Covent Garden, across which, leading toward the -door of the theatre, is a long procession, consisting -of a cart loaded with thunder and lightning, per<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span>formers, -etc.; and at the head of them Mr. Rich -(invested with the skin of the famous dog in <cite>Perseus -and Andromeda</cite>) riding with his mistress in a chariot -driven by harlequin, and drawn by satyrs.</p> - -<p>Some indifferent verses, which accompanied the -original publication, allude to Walker and Hall, the -original Macheath and Lockit, and conclude thus:</p> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"To the Piazza let us turn our eyes,</p> -<p class="verse">See Johnny Gay on Porter's shoulders rise,</p> -<p class="verse">Whilst a bright Man of Taste his works despise."</p> -</div> -<div class="stanza"> -<p class="verseq">"Another author wheels his work with care,</p> -<p class="verse">In hopes to get a market at this fair,</p> -<p class="verse">For such a day he sees not every year."</p> -</div></div></div> - -<p>By the "Man of Taste," Mr. Pope was apparently -designed. He is represented in his tie-wig, at a dark -corner of the Piazza, amusing himself (not very delicately) -with the <cite>Beggars' Opera</cite>. The letter P is -over his head; his little sword is significantly placed, -and the peculiarity of his figure is well preserved. -The reason why our artist has assigned such an -employment to him, we can only guess. It seems, -indeed, from Dr. Johnson's <cite>Life of Gay</cite>, that Pope -did not think the <cite>Beggars' Opera</cite> would succeed. -Swift, however, was of the same opinion; and yet -the former supported the piece on the first night of -exhibition, and the latter defended it in his <cite>Intelligencer</cite> -against the attacks of Dr. Herring, then -Preacher to the Society of Lincoln's-Inn, and afterwards -<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span>Archbishop of Canterbury. Hogarth might -be wanton in his satire, might have founded it on an -idle report, or might have sacrificed truth to the -prejudice of Sir James Thornhill, whose quarrel on -another occasion he is supposed to have taken up, -when he ridiculed the translator of <cite>Homer</cite>, in a view -of "The Gate of Burlington House."</p> - - -<p class="p2" /> -<h4>THE POOL OF BETHESDA, AND THE GOOD SAMARITAN.</h4> - -<div class="figcenter"> -<a name="POO" id="POO"></a> -<img src="images/i_256a_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE POOL OF BETHESDA.</div> -</div> - -<div class="figcenter"> -<a name="GOO" id="GOO"></a> -<img src="images/i_256b_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE GOOD SAMARITAN.</div> -</div> - -<p class="noindent">These magnificent prints are placed among the early -productions of Hogarth, as the paintings from which -they are copied were completed in 1737; and in -1748 a small copy of the "Pool of Bethesda" was -engraved by Ravenet, as a frontispiece to Stackhouse's -Family Bible.</p> - -<p>Mr. Walpole observes, that "the burlesque turn of -our artist's mind mixed itself with his most serious -compositions; and that, in the 'Pool of Bethesda,' a -servant of a rich ulcerated lady beats back a poor -man (perhaps woman) who sought the same celestial -remedy." To this I may add, that the figure of the -priest, in the "Good Samaritan," is supremely comic, -and rather resembles some purse-proud burgomaster, -than the character it was designed to represent.</p> - -<p>In the "Pool of Bethesda" is introduced, as I was -assured by Dr. Ducarel, a faithful portrait of Nell<span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span> -Robinson, a celebrated courtezan, at whose shrine -both Hogarth and the Doctor had in early life -occasionally paid their <i lang="fr" xml:lang="fr">devoirs</i>.</p> - -<p>On the subject of these two very fine prints, it will -not only be candid, but amusing and instructive, to -transcribe Hogarth's own unvarnished remarks:—</p> - -<div class="blockquot"> - -<p>"As I could not bring myself to act like some of -my brethren, and make the painting of small conversation -pieces a sort of manufactory to be carried -on by the help of background and drapery painters, -it was not sufficiently profitable to pay the expenses -my family required. I therefore turned my thoughts -to a still more novel trade, the painting and engraving -modern moral subjects, a field not broken up in -any country or any age. The reasons which induced -me to adopt this mode of designing were, that I -thought both writers and painters had, in the historical -style, totally overlooked that intermediate species -of subjects, which may be placed between the sublime -and grotesque. I therefore wished to compose pictures -on canvas, similar to representations on the -stage; and further hope that they will be tried by -the same test, and criticised by the same criterion. -Let it be observed, that I mean to speak only of -those scenes where the human species are actors; -and these, I think, have not often been delineated in -a way of which they are worthy and capable. In -these compositions, those subjects that will both -<span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span>entertain and improve the mind bid fair to be of the -greatest public utility, and must therefore be entitled -to rank in the highest class. If the execution is -difficult (though that is but a secondary merit), the -author has a claim to a higher degree of praise. If -this be admitted, comedy, in painting as well as -writing, ought to be allotted the first place, as most -capable of all these perfections, though the sublime, -as it is called, has been opposed to it. Ocular demonstration -will carry more conviction to the mind of -a sensible man than all he would find in a thousand -volumes; and this has been attempted in the prints -I have composed. Let the decision be left to every -unprejudiced eye; let the figures in either pictures or -prints be considered as players, dressed either for the -sublime—for genteel comedy, or farce—for high or -low life. I have endeavoured to treat my subjects -as a dramatic writer; my picture is my stage, and -men and women my players, who, by means of certain -actions and gestures, are to exhibit a dumb show.</p> - -<p>"Before I had done anything of much consequence -in this walk, I entertained some hopes of succeeding -in what the puffers in books call the great style of -history-painting; so that, without having had a stroke -of this grand business before, I quitted small portraits -and familiar conversations, and, with a smile at -my own temerity, commenced history-painter; and -on a great staircase at St. Bartholomew's Hospital,<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span> -painted two Scripture stories, 'The Pool of Bethesda' -and 'The Good Samaritan,' with figures seven feet -high. These I presented to the charity; and thought -they might serve as a specimen, to show that, were -there an inclination in England for encouraging historical -pictures, such a first essay might prove the -painting them more easily attainable than is generally -imagined. But as religion, the great promoter of this -style in other countries, rejected it in England, I was -unwilling to sink into a portrait-manufacturer; and, -still ambitious of being singular, dropped all expectations -of advantage from that source, and returned -to the pursuit of my former dealings with the public -at large. This I found was most likely to answer -my purpose, provided I could strike the passions, -and, by small sums from many, by the sale of prints -which I could engrave from my own pictures, thus -secure my property to myself."</p></div> - -<p>While these pictures were in progress, it was -announced that "among the governors of St. Bartholomew's -Hospital was lately chosen Mr. William -Hogarth, the celebrated painter, who, we are told, -designs to paint the staircase of the said hospital, -and thereby become a benefactor to it by giving his -labours gratis." And a newspaper of July 14, 1737, -says, "Yesterday the scaffolding was taken down -from before the picture of 'The Good Samaritan,' -which is esteemed a very curious piece."</p> - -<p><span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span></p> - -<p>Hogarth paid his friend Lambert for painting the -landscape in this picture; and to the imaginary -merits of his coadjutor, the <cite>Analysis</cite>, p. 26, thus bears -testimony: "The sky always gradates one way or -other, and the rising or setting sun exhibits it in -great perfection; the imitating of which was Claude -de Lorraine's peculiar excellence, and it is now Mr. -Lambert's."</p> - -<p>Both pictures, which appear of an oblong square -in the engravings, in the originals are surrounded -with scroll-work which cuts off the corners of them, -etc. All these ornaments, together with compartments -carved at the bottom, were the work of Mr. -Richards. These the late Mr. Alderman Boydell -caused to be engraved on separate plates, and appended -to those above them, on which sufficient -space had not been left. Hogarth requested that -these paintings might never be varnished. They -appear, therefore, to disadvantage, the decorations -about them having, within these few years past, been -highly glazed.</p> - -<p>"The Pool of Bethesda" has suffered much from -the sun; and "The Good Samaritan," when cleaned -about the year 1780, was pressed so hard against the -straining frame, that several creases were made in -the canvas.</p> - -<p><span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span></p> - - -<p class="p2" /> -<h4>MARTIN FOLKES, ESQ.</h4> - -<div class="figcenter"> -<a name="FOL" id="FOL"></a> -<img src="images/i_260_fp.jpg" width="525" alt="" /> -<div class="caption"> -MARTIN FOLKES ESQ<sup>RE</sup></div> -</div> - -<p class="noindent">This elegant scholar was a mathematician and antiquary -of much celebrity in the philosophical annals -of literature. In 1713, at the early age of 24, he was -elected a Fellow of the Royal Society, and in 1741 -was elected President. Mr. Folkes was also an early -Member of the Society of Antiquaries, having been -elected in 1719-20; and his communications to both -societies were numerous and valuable. His knowledge -in ancient and modern coins was very extensive; -and the most important work he produced, was -<cite>The History of the English Gold and Silver Coin, -from the Conquest to his own time</cite>.</p> - -<p>Algernon, the famous Duke of Somerset, who had -been many years President of the Society of Antiquaries, -dying February 9, 1749-50, Mr. Folkes, who -was then one of the Vice-Presidents, was immediately -chosen to succeed his Grace; and was continued -President by the Charter of Incorporation of that -Society, November 2, 1751. But he was soon disabled -from presiding in person either in that or the -Royal Society, being seized, on the 26th of September -the same year, with a palsy, which deprived him of -the use of his left side. On the 30th of November -1753, he resigned the Presidentship of the Royal -Society; but continued President of the Society of -<span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span>Antiquaries till his death. After having languished -nearly three years, a second attack of his disorder, on -the 25th of June 1754, put an end to his life on the -28th of that month.</p> - -<p>The original portrait is preserved in the meeting-room -of the Royal Society.</p> - - -<p class="p2" /> -<h4>BISHOP HOADLEY.</h4> - -<div class="figcenter"> -<a name="HOA" id="HOA"></a> -<img src="images/i_262_fp.jpg" width="500" alt="" /> -<div class="caption"> -BISHOP HOADLEY.</div> -</div> - -<p class="noindent">This portrait is in grand style, though rather in the -French manner. The painting, and the plate engraved -from it by Baron, were carefully preserved in -the Bishop's family.</p> - -<p>Dr. Benjamin Hoadley, a prelate of considerable -eminence, was born November 4, 1676; educated at -Catharine Hall, Cambridge; elected Lecturer of St. -Mildred, Poultry, 1701; Rector of St. Peter-le-Poor -in 1704, and of Streatham in 1710; King's Chaplain, -February 16, 1715-16; Bishop of Bangor, March 18 -following; translated to Hereford in 1721, to Salisbury -in 1723, and in 1734 to Winchester, which he -held nearly twenty-seven years, till on April 17, 1761, -at his house at Chelsea, in the same calm he had -enjoyed amidst all the storms that blew around him, -he died, full of years and honours, beloved and regretted -by all good men, in the 85th year of his age. -Few writers of eminence have been so frequently or -so illiberally traduced; yet fewer still have had the<span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span> -felicity of living till a nation became their converts, -and of knowing "that sons have blushed their fathers -were their foes." His useful labours, which will ever -be esteemed by all lovers of the natural, civil, and -religious rights of Englishmen, were collected in 1773, -in three folio volumes.</p> - -<p>The Bishop had two sons: Benjamin Hoadley, -M.D., F.R.S., Physician to Frederick Prince of Wales, -and to George the Second; of high rank in his profession; -and well known by many valuable writings, -more especially by his comedy of <cite>The Suspicious -Husband</cite>. He died, in his father's lifetime, in 1757. -The other son, the Rev. Dr. John Hoadley, Chancellor -of Winchester, was also a most amiable man, and -an elegant poet. He was the editor of his father's -collected works, introduced by a well-digested biographical -memoir. He died March 10, 1776; and -with him the name of Hoadley became extinct. His -relict, who long survived him, possessed several -original paintings by Hogarth, which were afterwards -the property of the late Mr. Archdeacon D'Oyley.</p> - - -<p class="p2" /> -<h4>MR. RANBY'S HOUSE AT CHISWICK.</h4> - -<div class="figcenter"> -<a name="RAN" id="RAN"></a> -<img src="images/i_254a_fp.jpg" width="650" alt="" /> -<div class="caption"> -M<sup>R</sup> RANBY'S HOUSE AT CHISWICK.</div> -</div> - -<p class="noindent">This view, etched by Hogarth in 1748 without any -inscription, was first published by his widow in 1781.</p> -<p><span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span></p> - - -<p class="p2" /> -<h4>HYMEN AND CUPID.</h4> - -<div class="figcenter"> -<a name="HYM" id="HYM"></a> -<img src="images/i_254b_fp.jpg" width="650" alt="" /> -<div class="caption"> -HYMEN & CUPID.</div> -</div> - -<p class="noindent">This neat plate was engraved as a ticket for the -masque of <cite>Alfred</cite>, performed in 1748, at Cliveden -House, before the Prince and Princess of Wales, on -the Princess Augusta's birthday. It was afterwards -intended as a receipt for "Sigismunda."</p> - - -<p class="p2" /> -<h4>FALSE PERSPECTIVE.</h4> - -<div class="figcenter"> -<a name="FAL" id="FAL"></a> -<img src="images/i_264a_fp.jpg" width="550" alt="" /> -<div class="caption"> -FALSE PERSPECTIVE.</div> -</div> - -<p class="noindent">Early in 1753, Hogarth presented to his friend Mr. -Joshua Kirby this whimsical satirical design; which -arose from the mistakes of Sir Edward Walpole, who -was learning to draw without being taught perspective: -an anecdote recorded by Mr. Steevens, on Sir -Edward's own authority.</p> - -<p>To point out in a strong light the errors which -would be likely to happen from the want of acquaintance -with those principles, Hogarth's design -was produced.</p> - -<p>A traveller is represented on an eminence, lighting -his pipe from a candle presented to him by a woman -from a chamber-window at the distance of at least a -mile. We are also astonished at the representation -near it, of a crow seated on the spray of a tree, without -incommoding by its weight the tender sprouts -issuing from its branches; and our astonishment<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span> -increases when we recollect that this tree, if weighed -in the balance with the bird, would hardly be found -to preponderate. The tree on which the feathered -animal is so securely stationed is, however, of a much -greater height and magnitude than those which are -nearer, and which gradually diminish as they approach -the foreground. The sheep, taking example from -the trees, are very large at a distance, but regularly -become minute by their proximity, the nearest being -almost invisible. Both ends of the church, the top, -and the whole extent of one side of it, are clearly -seen. To take the view which Hogarth has represented, -we must, at the same time, be above, at each -end, and in front of that parochial erection; but he -has not been so complaisant as to favour us with the -sight of the road on the bridge, which the vessel -seems determined to sail over, while the waggon and -horses appear floating on the other side. A fellow -in a boat, nearly under the bridge, is attempting to -shoot a swan on the other side of it; though, as he is -situated, he cannot possibly have a view of the object -whose destruction he pretends to be aiming at. The -waggon and horses, which are supposed to be on the -bridge, are more distant than the tree which grows on -the further side.</p> - -<p>Many other absurdities are visible in this curious -perspective view, which are too obvious to escape -observation: such as the signpost extending to a -<span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span>house at the distance of half a mile, and the remote -row of trees concealing part of the nearer sign of the -half-moon; the angler's line interfering with another -belonging to his patient brother, though at a considerable -distance from each other; and the tops and -bottoms of the barrels being equally visible.</p> - -<p>The favour of this communication was gratefully -acknowledged by Kirby, who in 1754 prefixed it to -Dr. Brook Taylor's <cite>Method of Perspective made easy -both in Theory and Practice</cite>, with a dedication to -Hogarth, who subsequently furnished him with a -serious design for the plate which is described at -<a href="#FPP">page 132.</a></p> - - -<p class="p2" /> -<h4>THE FARMER'S RETURN.</h4> - -<div class="figcenter"> -<a name="RET" id="RET"></a> -<img src="images/i_266b_fp.jpg" width="550" alt="" /> -<div class="caption"> -THE FARMER'S RETURN.</div> -</div> - -<p class="noindent">The little drama by Mr. Garrick, in which this exquisite -frontispiece first appeared, was thus prefaced: -"The following interlude was prepared for the stage, -merely with a view of assisting Mrs. Pritchard at her -benefit; and the desire of serving so good an actress -is a better excuse for its defects than the few days in -which it was written and represented. Notwithstanding -the favourable reception it has met with, the -author would not have printed it, had not his friend -Mr. Hogarth flattered him most agreeably, by thinking -the farmer and his family not unworthy of a -sketch of his pencil. To him, therefore, this trifle,<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span> -which he has so much honoured, is inscribed, as a -faint testimony of the sincere esteem which the writer -bears him, both as a man and an artist."</p> - -<p>The original drawing was given to Mr. Garrick, -and was in the possession of his widow during her -life.</p> - -<p>The receipt for "The March to Finchley," which -accompanies this plate, has been already described.</p> - - -<p class="p2" /> -<div class="figcenter"> -<a name="INH" id="INH"></a> -<img src="images/i_264b_fp.jpg" width="650" alt="" /> -<div class="caption"> -INHABITANTS OF THE MOON.</div> -</div> - -<div class="figcenter"> -<a name="REC" id="REC"></a> -<img src="images/i_266a_fp.jpg" width="650" alt="" /> -<div class="caption"> - -<p><em>Rec'd.</em> <span class="pad6"><em>of</em></span> <em><span class="pad6">7<sup>s</sup> 6<sup>d</sup></span> being the whole -Payment for a Print Representing a March to Finchly in the Year -1746 which I promise to deliver when finished on sight hereof.</em></p> - -<p><em><span class="fs80">N.B.</span> Each Print will be half a Guinea after the Subscription is over.</em> -</p></div> -</div> - -<div class="figcenter"> -<a name="GRA" id="GRA"></a> -<img src="images/i_266c_fp.jpg" width="650" alt="" /> -<div class="caption"> -A. <em>absolute Gravity.</em> B. Conatus <em>against absolute Gravity.</em> -C. <em>partial Gravity.</em> D. <em>comparative Gravity.</em> E. <em>horizontal, or good sense.</em> -F. <em>Wit.</em> G. <em>comparative Levity, or Coxcomb.</em> H. <em>partial Levity, or pert Fool.</em> -I. <em>absolute Levity, or stark Fool.</em></div> -</div> - - -<p class="p2" /> -<h4>TRISTRAM SHANDY.</h4> - -<div class="figcenter"> -<a name="FPS" id="FPS"></a> -<img src="images/i_266d_fp.jpg" width="650" alt="" /> -<div class="caption"> -FRONTISPIECES TO TRISTRAM SHANDY.</div> -</div> - -<p class="noindent">For this popular work of his friend Lawrence Sterne, -Hogarth furnished two frontispieces; one in 1759, -for the second volume; the other in 1761, for the -fourth.</p> - -<p>The first of these is taken from the chapter in -which Corporal Trim is represented reading a sermon -to Tristram's father, Uncle Toby, and Dr. Slop, the -latter of whom is fallen asleep, and who was intended -for Dr. John Burton, a physician of great eminence at -York, well known as an able and industrious antiquary, -and also as a sturdy Jacobite.</p> - -<p>The second frontispiece represents the christening, -so humorously described in the fourteenth chapter -of the fourth volume of <cite>Tristram Shandy</cite>.</p> - -<p><span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span></p> - - -<p class="p2" /> -<h4>FOUR HEADS FROM THE CARTOONS.</h4> - -<div class="figcenter"> -<a name="RAF" id="RAF"></a> -<img src="images/i_268a_fp.jpg" width="650" alt="" /> -<div class="caption"> -HEADS FROM RAFFAELLE'S CARTOONS.</div> -</div> - -<p class="noindent">These heads were copied from the cartoons at -Hampton Court; and Mr. Walpole, speaking of Sir -James Thornhill's attention to these celebrated pictures, -has the following remark: "He made copious -studies of the heads, hands, and feet, and intended to -publish an exact account of the whole for the use of -students; but his work never appeared."</p> - -<p>As this plate was found among others engraved by -Hogarth, it might probably have been one of his -early performances. His widow, in 1781, directed -a few impressions to be taken from it; which were -sold in Leicester Square.</p> - - -<p class="p2" /> -<h4>THE SHRIMP-GIRL.</h4> - -<div class="figcenter"> -<a name="SHR" id="SHR"></a> -<img src="images/i_268b_fp.jpg" width="525" alt="" /> -<div class="caption"> -THE SHRIMP GIRL.</div> -</div> - -<p class="noindent">In this portrait from the life, first published in 1782, -from the original sketch in oil, are united the talents -of Hogarth and Bartolozzi; but the plate, which is -executed in the dotted manner then so much in -fashion, should have been etched, or engraved, like -those excellent performances by Bartolozzi after the -drawings of Guercino; as spirit, rather than delicacy, -is the characteristic of our artist's shrimp-girl.</p> - -<p><span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span></p> - - -<p class="p2" /> -<h4>LORD HOLLAND.</h4> - -<div class="figcenter"> -<a name="FOX" id="FOX"></a> -<img src="images/i_268c_fp.jpg" width="525" alt="" /> -<div class="caption"> -THE RIGHT HON. HENRY FOX. LORD HOLLAND.</div> -</div> - -<p class="noindent">This is a serious portrait, from a drawing by Hogarth -in 1757, of that celebrated nobleman, whom he -afterwards introduced in the second plate of "The -Times," as the powerful antagonist of Lord Bute.</p> - -<p>The public life of this great statesman is too well -known to need recital here. Let it suffice to say, -that in 1756 he resigned the office of Secretary at -War to Mr. Pitt; and in the following year was -appointed Paymaster of the Forces, which he retained -until the commencement of the reign of King George -III. May 6, 1762, his lady was created Baroness -Holland; and April 16, 1763, he himself was advanced -to a peerage, by the title of Baron Holland -of Foxley, Wilts. In the latter part of his life he -amused himself by building, at a vast expense, a -fantastic villa at Kingsgate, and died July 1, 1774, -in his 69th year.</p> - - -<p class="p2" /> -<h4>EARL OF CHARLEMONT.</h4> - -<div class="figcenter"> -<a name="CAU" id="CAU"></a> -<img src="images/i_268d_fp.jpg" width="550" alt="" /> -<div class="caption"> -THE RIGHT HON. JAMES CAULFIELD. EARL OF CHARLEMOUNT.</div> -</div> - -<p class="noindent">James Caulfield, son of James Viscount Charlemont, -was born August 18, 1728; succeeded to his -hereditary honours, April 21, 1734; and in December -1782, was raised to an earldom. He was F.R.S., -F.S.A., and LL.D.; and died August 4, 1799, aged 70.</p> - -<p><span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span></p> - - -<p class="p2" /> -<h4>THE HOUSE OF COMMONS.</h4> - -<div class="figcenter"> -<a name="HOU" id="HOU"></a> -<img src="images/i_270a_fp.jpg" width="550" alt="" /> -<div class="caption"> -THE HOUSE OF COMMONS.</div> -</div> - -<p class="noindent">This fine print exhibits an inside view of the House -of Commons, from an original painting taken in 1726 -or 1727, and now in the possession of the Earl of -Onslow.</p> - -<p>The prominent portraits are those of the Right -Hon. Arthur Onslow, the then Speaker; Sir Robert -Walpole, the Prime Minister; Sidney Godolphin, -Esq., Father of the House; Colonel Onslow; Sir -James Thornhill; Sir Joseph Jekyll; Edward Stables, -Esq., Clerk of the House; Mr. Askew, Clerk-Assistant, -and several others in the background.</p> - - -<p class="p2" /> -<h4>DEBATES ON PALMISTRY.</h4> - -<div class="figcenter"> -<a name="DEB" id="DEB"></a> -<img src="images/i_270b_fp.jpg" width="650" alt="" /> -<div class="caption"> -DEBATES ON PALMISTRY.</div> -</div> - -<p class="noindent">The figures employed in the study of palmistry seem -to have been designed for physicians and surgeons of -an hospital, who are debating on the most commodious -method of receiving a fee, inattentive to the -complaints of a lame female who solicits assistance. -A spectre, resembling the royal Dane, comes out -behind, perhaps to intimate that physic and poison -will occasionally produce similar effects. A glass-case -containing skeletons is open; a crocodile hangs -overhead; and an owl, emblematic of this sapient -consistory, is perched on a high stand.</p> - -<p><span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span></p> - -<p>Mr. Steevens conjectured that this might have been -a repented effort of hasty spleen against the officers -of St. Bartholomew's, who might not have treated -some recommendation of a patient from our artist -with all the respect and attention to which he thought -it was entitled: but this is mere supposition.</p> - - -<p class="p2" /> -<h4>THE STAYMAKER.</h4> - -<div class="figcenter"> -<a name="STA" id="STA"></a> -<img src="images/i_270c_fp.jpg" width="650" alt="" /> -<div class="caption"> -THE STAY MAKER.</div> -</div> - -<p class="noindent">The humour in this print is not very striking. The -male staymaker seems to be taking professional -liberties with a female in the very room where her -husband sits, who is playing with one of his children -presented to him by a nurse, perhaps with a view to -call off his attention from what is going forward. -The hag shows her pretended love for the infant by -the mode in which she is kissing him. A maidservant -holds a looking-glass for the lady, and peeps -significantly at the operator from behind it. A boy -with a cockade on, and a little sword by his side, -appears to observe the familiarities already mentioned, -and is strutting up fiercely towards the staymaker, -while a girl is spilling some liquor in his hat.</p> - - -<p class="p2" /> -<h4>CHARITY IN THE CELLAR.</h4> - -<div class="figcenter"> -<a name="CEL" id="CEL"></a> -<img src="images/i_270d_fp.jpg" width="650" alt="" /> -<div class="caption"> -CHARITY IN THE CELLAR.</div> -</div> - -<p class="noindent">The original picture from which this print was engraved, -was painted for the late Lord Boyne. It -<span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span>represents a convivial party assembled in a cellar -over a hogshead of claret, who, it is said, resolved -not to separate till they had drunk all the wine it -contained. Whether such a circumstance really gave -rise to the picture or not, it is unnecessary to inquire. -It is too well known that the habit of drinking to -excess, among all classes of society, existed at the -time of Hogarth to such a degree as to draw the -particular attention of this distinguished painter to -it; and it is not perhaps too much to say, that the -most distinguished preachers, or most able moral -writers, have not done more to drive this odious and -degrading vice from society than has been effected -by the valuable pencil of Hogarth. The individuals -here represented were members of a society well -known by the name of the "Hell-fire Club." In the -centre is the portrait of Sir Philip Hoby, seated on -the cask. Behind him, with his hand held up, is that -of Mr. De Grey, and below him is the portrait of -Lord J. Cavendish, who has drawn a spigot from the -cask to let the wine flow into a bowl. Opposite to -him Lord Sandwich is represented kneeling down to -draw in the intoxicating draught; and behind him -(extended on a form) is also Lord Galway. The -grouping of the four centre figures is an ingenious -imitation of a statue of Charity which is seen in the -cellar. The position of the bottles brings the comparison -still nearer, and is one of those little incidents<span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span> -for which Hogarth was so particularly distinguished -from all other painters, in omitting nothing that -might carry out his intention and make himself -understood.</p> - -<p>The devotedness of this group to the object for -which they are assembled is extremely well portrayed. -The positions of the figures are easy, and -the principle of observing the pyramidal form (so -often insisted upon as necessary to beauty in the -grouping of figures) is here strikingly exemplified. -It is impossible to show a more unconquerable love -for the intoxicating draught than is expressed in the -portrait of Lord Galway. Unable to stand, he has -placed himself on his back in such a manner that the -liquor from the cask above him is flowing into his -mouth; and he has perhaps been represented by -Hogarth as thus persevering in the fatal habit, in -order to show the excess to which it was then carried, -and is a forcible point in the painter's composition.</p> - -<p>The picture is now in the possession of the present -Lord Boyne, and the print from it, which we have -added to our present edition, is not to be found in -any other of the collected works of Hogarth.</p> - - -<p class="p2" /> -<h4>SIX TICKETS.</h4> - -<div class="figcenter"> -<a name="SIX" id="SIX"></a> -<img src="images/i_272_fp.jpg" width="450" alt="" /> -<div class="caption"> -SIX TICKETS.</div> -</div> - -<p class="noindent">The several designs collected in this plate require -no particular description. They are given as specimens -<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span>of the facility with which Hogarth descended -to minor subjects, at the same time embellishing -them with strokes of his peculiar vein of pleasantry -and humour; and each of them sufficiently evinces -the purpose it was intended to recommend.</p> - -<p>1. For the Mock Doctor. 2. For Pasquin. 3. For -the Beggars' Opera. 4. For Joe Miller. 5. Thomas -Figg, the noted prize-fighter. 6. The Ram Inn at -Cirencester.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_273.jpg" width="100" alt="(end of section floral icon)" /> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span><br /> - <span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span></p> - -<h2 class="xl lsp">NOTES.</h2> - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<div> -<img class="drop-cap" src="images/dc_275.jpg" alt="" /> -</div> - -<div class="fs90"> - -<p class="drop-capx">The following hints are offered principally with a view to -assist in identifying such characters in Hogarth's prints as -are unnoticed, or but slightly described, in the preceding -volumes. A key to the whole (for many of the figures -not yet recognised were undoubtedly meant by the artist -as portraits) would, to the other merits of these inimitable compositions, -add the important one of making them an assemblage of the similitudes -of the leading remarkables of his day.</p> -</div> - - -<p class="p2" /> -<h4>SOUTHWARK FAIR.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_162"><span class="smcap">Vol. i.</span> P. 162.</a></p> - -<div class="fs90"> - -<p class="noindent">Although Hogarth, from a fear of creating himself enemies, disclaimed -individual portrait in his compositions, particularly of characters in the -higher walks of life, he was evidently not so scrupulous in indulging his -satire when representing more familiar scenes; and accordingly his -"Harlot's Progress," "Four Times of the Day," "Industry and Idleness," -"March to Finchley," etc., are found to be less peopled with -ideal personages than the "Marriage à la Mode," and some others. -"Southwark Fair" was an annual assemblage of remarkables, whose -follies and peculiarities he could hold up to the derision of the public -without the danger of retaliation; and he has availed himself of the -opportunity by bringing together a number of persons then well known -on the town, and placing them in the most ludicrous situations.</p> - -<p>This Fair, the humours of which an ingenious author truly observes, -"will never be forgotten while Hogarth's inimitable print of it exists," -was anciently called "Our Lady Fair," and lasted fourteen days.<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span> -Like most others in the kingdom, it was originally established for the -purposes of trade; but having become in process of time a mere scene -of low riot and debauchery, its duration was shortened to three days; -and it was at length totally abolished as a nuisance to the neighbourhood, -and an encouragement to vice and dissipation. It was held at the top -of Blackman Street, on the open space opposite the walls of the King's -Bench prison, and began yearly a fortnight after Bartholomew Tide.</p> - -<p>The following characters in this print have been identified, in addition -to others before noticed: Middle group.—The person whom the bailiffs -are arresting, and who is supposed to have been playing (not Alexander -the Great, but the part of Paris) in the <cite>Siege of Troy</cite> (announced for -representation on one of the neighbouring show-cloths), was intended -for Walker, afterwards the famous Macheath in the <cite>Beggars' Opera</cite>, -whose portrait it exactly resembles. It is introduced in this place with -strict propriety, as we learn that Walker kept a great theatrical booth -in Southwark Fair, as did Penkethman. "He also acted," says one -of his biographers, "in the same way at Bartholomew Fair, where -Booth saw him playing the part of Paris in the <cite>Siege of Troy</cite>."<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> The -painter probably placed him in the ridiculous situation we see him, on -account of his known extravagancy and consequent embarrassments, -which often procured him a visit from the bailiffs.</p> - -<p>Figg, the prize-fighter, who in another part of the print is making -his triumphal entry on a blind horse, and brandishing his sword in -defiance, was a native of Thame in Oxfordshire, and attained so high a -celebrity as a master of the "noble science of defence," that we find -him praised in the <cite>Tatler</cite>, <cite>Guardian</cite>, <cite>Craftsman</cite>, and almost all the -periodical works of the time. The mezzotinto portrait of him by Faber -represents him exactly as here—with a bald head and open collar. His -own school was in Oxford Road, but he was probably accustomed to -exhibit his skill at fairs, or he may be introduced here merely as a well-known -character. The Bear Garden, a famous place for prize-fighting, -anciently stood in this neighbourhood, and had then been but recently -demolished. The manner of the combatants at this place, parading -the streets previous to their encounters, as described by a French -traveller in 1672, and the way in which Figg is represented, strictly -agree. "Commonly," says he, "when any fencing-masters belonging -to the Bear Garden are desirous of showing their courage and their -great skill, they issue mutual challenges; and before they engage, -parade the town on horseback, with drums and trumpets sounding, to<span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span> -inform the public there is a challenge between two brave masters of the -science of defence, and that the battle will be fought on such a day." -Figg's public challenges were the very acme of bombast. This extraordinary -character died in the year 1734.</p> - -<p>Miller, the tall man, whose effigies are exhibited on a show-cloth, -was a native of Saxony, and probably came into England in the reign -of George <span class="fs80">I.</span> This gigantic personage was eight feet high, the stature, -within a few inches, of the late O'Brien. He died in 1734, aged 60. -Boitard engraved a portrait of him the year before his death.</p> - -<p>The two jugglers in senatorial wigs, who are displaying their magic -wonders with cups and balls, etc., seem to have been intended likewise -for two real characters (Fawkes and Neve), the Breslaw and Katterfelto -of their day. Fawkes is most certainly introduced in the print of -"Burlington Gate," where, on a board, the "Long Room" is announced, -and "Fawkes' dexterity of hand." Portraits of these -worthies still exist, and bear a sufficient resemblance to identify them -with their representatives in the plate. Neve in a wood print prefixed -to his "<cite>Merry Companion</cite>, teaching tricks in legerdemain;" and Fawkes -in a large sheet print by Sutton Nichols, where he stands in the midst -of his performances. Fawkes was no indifferent wit. When Breslaw, -a more modern performer of the same kind, was at Canterbury, the -former requested permission to display his cunning a little longer, -promising Mr. Mayor that if he was indulged with permission, he -would give such a night (naming a particular one) for the benefit of -the poor. The benevolent magistrate acceded to the proposition, -and he had a crowded house. Hearing nothing about the money collected -on the specified evening, the Mayor waited on the man of trick, -and in a delicate way expressed his surprise. "Mr. Mayor, I have -distributed the money myself." Still more surprised, "Pray, Sir, to -whom?" "To my own company; none can be poorer." "This is -a trick." "We live, Sir, by tricks."</p> -</div> - - -<p class="p2" /> -<h4>MARRIAGE A LA MODE.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51978/51978-h/51978-h.htm#Page_28"><span class="smcap">Vol. ii.</span> P. 28.</a></p> - -<div class="fs90"> - -<p class="noindent"><span class="smcap">Plate III.</span>—The Procuress at the Quack's in this print is said to be -designed for the once celebrated Betty Careless, and the remark is -countenanced by the initials "B. C." on her bosom. This woman, by -a very natural transition, from being one of the most fashionable of the<span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span> -Cyprian corps, became lady abbess of a brothel; and, after frequent -arrests and imprisonments, was buried from the poorhouse of St. Paul's, -Covent Garden, April 22, 1752. Fielding, in his <cite>Amelia</cite>, says: "It -is impossible to conceive a greater appearance of modesty, innocence, -and simplicity, than what nature had displayed in the countenance of -that girl,"—meaning her whom he in another place calls "the inimitable -Betsy Careless."</p> - -<p><em>Ib.</em> Plate IV.—A card on the floor in this print is inscribed:</p> - -<p class="center small">"Count Basset desire to no how Lade Squander sleep last nite?"</p> - -<p>A fashionable foreign adventurer, of the name of Count Basset, -occurs as one of the characters in the <cite>Provoked Husband, or a Journey -to London</cite>, which might have suggested the hint for this name. But, -query, whether a real person? or the artist might have meant to satirize -the game of Basset.</p> - -<p><em>N.B.</em>—The set of prints of "Marriage à la Mode" is said to have -furnished the idea for the comedy of the <cite>Clandestine Marriage</cite>.</p> -</div> - - -<p class="p2" /> -<h4>HARLOT'S PROGRESS.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_102"><span class="smcap">Vol. i.</span> Pp. 102-114.</a></p> - -<div class="fs90"> - -<p class="noindent"><span class="smcap">Plate II.</span>—The commentators on Hogarth do not seem to have -assigned a satisfactory reason for the particular subjects of the two -paintings which ornament the Harlot's apartment in this plate, viz. -"David dancing before the Ark," and "Jonah sitting under a Gourd." -One supposes them merely intended to convey a ridicule on the old -masters, or placed here to satirize the impropriety of adorning rooms -with inappropriate subjects. Another, as stories selected at random, -but having a reference to the nation of the Harlot's Jew keeper. But -as Hogarth's incidents have all a meaning, a better reason must be -sought for. They undoubtedly conceal a moral applicable to the two -principal figures in the print. David's known breach of chastity in the -affair of Uriah's wife, and "uncovering himself" when dancing before -the ark, "in the eyes of the handmaids of his servants, as one of the -vain fellows shamelessly uncovereth himself," which his wife charges -him with on that occasion, evidently typify the backsliding Jew; while -Jonah sitting under the shelter of his gourd, which sprang up in the -night, and which the worm destroyed in the morning, as ingeniously -points out the girl's upstart grandeur, and the frail nature of her pro<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span>tection, -which even now a worm (her infidelity to her keeper) is rapidly -undermining.</p> - -<p>Plate V.—Dr. Misaubin, or Mizenbank as Trusler calls him (the -lean doctor in this print), was a notorious foreign quack of the day, -whose ignorant consequence Fielding thus laughably exposes in one of -his introductory chapters in <cite>Tom Jones</cite>:—"The learned Dr. Misaubin -used to say, that the proper direction to him was, 'To Dr. Misaubin, -in the world,' intimating that there were few people in it to whom his -great reputation was not known. And, perhaps, upon a nice examination -into the matter, we shall find that this circumstance bears no inconsiderable -part among the many blessings of human grandeur."</p> - -<p>Watteau painted the portrait of this Esculapius, from which a print -was engraved by Pond. The likeness strikingly resembles Hogarth's -representation, and is inscribed "<span lang="fr" xml:lang="fr">Prenez des pillules</span>." The similitude -of his opponent Dr. Rock, though not authenticated in the same manner, -is, from the testimony of those who recollect him, equally correct.</p> - -<p>This "great man" is said to have been originally a porter; for which -his strong, squat figure excellently adapted him. An anecdote, in some -degree confirmed, is told of him, that passing one day by the end of -Fleet Market, with his gold-laced hat and cane, a brother porter, who -knew his origin, and was resting his load near the spot, said, "Dr. -Rock, you once carried a knot as well as myself." "Yes; and had I -been as great a dunce as you," replied the pill merchant, "I should -have carried a knot still."</p> -</div> - - -<p class="p2" /> -<h4>RAKE'S PROGRESS.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_132"><span class="smcap">Vol. i.</span> Pp. 132-154.</a></p> - -<div class="fs90"> - -<p class="noindent"><span class="smcap">Plate III.</span>—<cite>Tavern Scene.</cite>—In the second state of this plate, Pontac's -head is introduced in the place of a mutilated Cæsar. Pontac -was a celebrated purveyor at this time. In the "Hind and Panther" -transversed, Pontac's eating-house is mentioned with epicurean honours:</p> - -<p class="center small">"When at Pontac's he may regale himself."</p> - -<p class="noindent">It was chiefly frequented as a chop-house, but every other luxury might -be had there.</p> - -<p>Plate VIII.—The maniac chained to the floor of his cell in this print -is noticed by Mr. Ireland as being a copy from one of Cibber's figures -over the gate of Bedlam. He might have added, that the person of the<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span> -Rake himself, whose expression of madness Mr. Mortimer so much -admired, is, as to features, a copy of the companion figure over the -same gate. This plagiarism, if it may be so called, was to the credit -of Hogarth's taste; for with all his own amazing powers of expression, -he could scarcely have hoped to equal such inimitable representations. -Time, and an injudicious attempt, some years since, at restoration, have -wofully injured these masterpieces of Cibber's chisel.</p> - -<p>It may be observed of this print (the inside of Bedlam), in addition -to what has been before said, that the scene portrayed is not only a most -faithful representation of those doleful regions, but that most of the -persons are certainly intended as real portraits. One at least may, with -every appearance of probability, be added to the list of names of those -already identified—the man sitting by the figure inscribed "Charming -Betty Careless," who is supposed to have gone mad for love. Such a -person was actually confined there for that malady some years previous, -whose history so exactly corresponds with Hogarth's representation, -and whom he must have remembered, that it can scarcely be doubted -but he had him in his eye. The portrait of the person alluded to is -thus described in a modern biographical work: "William Ellis. -Printed and sold by Sutton Nichols, in Aldersgate Street, Æt. 45, -1709." Sitting on the rails of Moorfields. Printed with his life and -character written by himself, etc. This poor maniac lost his reason -through love for his Betty, who seems to have been a real character. -Ellis is represented with a chaplet of laurel on his right, and a Cupid -drawing his bow on the left. Under the chaplet is inscribed—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Tell her I burn with noble vestal fire,</p> -<p class="verse">Tell her she's all I wish or can desire."</p> -</div></div> - -<p class="noindent">And under the Cupid, amongst others, these lines:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"My years of minority I spent at school;</p> -<p class="verse">But love—that sweet passion—my reason would rule;</p> -<p class="verse">And yielding obedience to its potent sway,</p> -<p class="verse">The charming dear Betty my heart stole away.</p> -<p class="verse">Deny'd her enjoyment, at last I grew mad,</p> -<p class="verse">And nothing but Betty, dear Betty, I cry'd:</p> -<p class="verse">Such charms has that phœnix, she shall be my bride.</p> -<p class="verse">But Bedlam became my sad portion and lot,</p> -<p class="verse">By loving a fair one that knew of it not."</p> -</div></div> - -<p>The eight paintings of "The Rake's Progress," which had been -originally purchased of Hogarth by Francis Beckford, Esq., for -£88, 4s., were, at the sale of William Beckford, Esq. of Fonthill, in<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span> -18—, sold by the elder Mr. Christie for the sum of 850 guineas. The -buyer was Colonel Fullarton, M.P.</p> -</div> - - -<p class="p2" /> -<h4>IDLE AND INDUSTRIOUS APPRENTICE.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_284"><span class="smcap">Vol. i.</span> P. 284.</a></p> - -<div class="fs90"> - -<p class="noindent"><span class="smcap">Plate VIII.</span>—Speaking of the disposition of a crowd in a picture, Mr. -Gilpin says:—"I do not recollect having seen a crowd better managed -than Hogarth has managed one in the last print of his 'Idle 'Prentice.' -In combining the multifarious company which attends the spectacle of -an execution, he hath exemplified all the observations I have made. I -have not the print before me, but I have often admired it in this light; -nor do I recollect observing anything offensive in it, which is rare in the -management of such a multitude of figures."—<cite>Observation on the Wye</cite>, -p. 123.</p> -</div> - - -<p class="p2" /> -<h4>THE TIMES.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51978/51978-h/51978-h.htm#Page_180"><span class="smcap">Vol. ii.</span> P. 180.</a></p> - -<div class="fs90"> - -<p class="noindent">The wild Indian painted on a show-cloth, with the inscription underneath, -"Alive from America," is meant as a satire on Alderman -Beckford, for whose recent uncourtly speech to Majesty (see the <cite>Guildhall -Statue</cite>) the painter has represented him as a savage.</p> -</div> - - -<p class="p2" /> -<h4>FOUR TIMES OF THE DAY.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_222"><span class="smcap">Vol. i.</span> Pp. 222-226.</a></p> - -<div class="fs90"> - -<p class="noindent"><span class="smcap">Plate II.</span>—<em>Noon.</em>—The boy who has had the misfortune to break the -baked pudding, a commentator on Hogarth asserts was the late Mr. -Henderson the player, who often sportively assured his friends that he -stood to Hogarth for the sketch when he was with Fournier the drawing-master. -But this is impossible, as the prints in the receipt are -promised to be delivered by Lady-day 1738, several years before -Henderson was born. A correspondent has assured us that he has -repeatedly heard his grandfather, an individual unknown to the public, -refer to that figure in the print as a portrait of himself, asserting that -he had just such an accident when a boy on the very spot, and was at<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span> -that period remarkable for such a head of hair (which was of a very -light colour) as is shown in the print.</p> - -<p><em>But query.</em>—With more certainty we may venture to suggest, that the -idea of the woman throwing the shoulder of mutton out of the window -is borrowed from the old song:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Now John he was no great eater, and Joan she was no great glutton,</p> -<p class="verse">So the better to pamper their stomachs, they bought them a shoulder of mutton:</p> -<p class="verse">But Joan in an angry mood took the shoulder of mutton in hand,</p> -<p class="verse">And out of the window she threw it,—poor John, he was at a stand," etc.</p> -</div></div> - -<p>Plate III.—<em>Evening.</em>—The scene of this picture is laid at Islington, -near Sadlers Wells, which was then a famous place for tea-drinking, -and the antitype for low dissipation of the late "Dog and Duck." -The view represents it correctly previous to its being rebuilt in its present -form, and exactly similar to a small copperplate delineation of it -over an old song, called "A Song in praise of Sadlers Wells," in which -its various amusements are described. The adjoining alehouse window, -in which we behold a group enveloped in their own smoke, is the "Sir -Hugh Middleton's Head," a sign still remaining. A celebrated knot -of drinkers and smokers actually met at this place about the period -alluded to, at the head of which was old Rosamond, the proprietor of -the Wells; and it is not improbable but that Hogarth might have -known and meant to satirize this fraternity. The portraits of these -gentlemen are still preserved in a large painting at the very same public-house, -under the name of the "Sadlers Wells Club."</p> -</div> - - -<p class="p2" /> -<h4>ENRAGED MUSICIAN.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_206"><span class="smcap">Vol. i.</span> P. 206.</a></p> - -<div class="fs90"> - -<p class="noindent">Cervetto, well known by the name of "Nosee," has been generally -supposed to be intended by the character of the musician; but there are -others who apply it to Dr. Arne; for though not a strict likeness of -that great composer, the figure and face bear so near a resemblance -(and he was extremely remarkable) as fully to authorize the application. -The known irritability of the Doctor in musical business might not -have been the only cause of Hogarth's placing him in this ludicrous -situation; his habits of intrigue, and singularly plain person, made him -so fair an object for caricature, that one of his portraits, printed with a -song of his composing, has ironically written under it, "Beauty and<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span> -Virtue." This song, with the portrait, was eagerly purchased up, and -is now very scarce. Some years since Mr. Colman got up a little interlude -at the Haymarket Theatre from the idea of this print, called "Ut -Pictura Poesis, or the Enraged Musician," when the character of the -musician was purposely given to a performer who was thought in figure -and face to resemble Dr. Arne.</p> -</div> - - -<p class="p2" /> -<h4>SIGISMUNDA.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_75"><span class="smcap">Vol. i.</span> P. 75.</a></p> - -<div class="fs90"> - -<p class="noindent">This celebrated picture, which, at the time of first publishing the preceding -volumes, was in the possession of Messrs. Boydell & Co., but -has since been in other hands, was advertised to be sold by auction, -with other effects, by Mr. Jacques, May 12, 1812, on the premises, -Great James Street, Bedford Row, and was to be seen by applying for -tickets for that purpose to the auctioneer.</p> -</div> - - -<p class="p2" /> -<h4>THE BEGGARS' OPERA.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51978/51978-h/51978-h.htm#Page_292"><span class="smcap">Vol. ii.</span> P. 292.</a></p> - -<div class="fs90"> - -<p class="noindent">In addition to the value of this print as a collection of portraits, it may -be observed that it contains the only known representation of the inside -of the Lincoln's-Inn Fields Theatre. This playhouse was opened under -the management of Betterton, with the comedy of <cite>Love for Love</cite>, which -had a very considerable run. The <cite>Beggars' Opera</cite>, however, was of still -superior attraction, and it carried all before it. After continuing open -with various success for several seasons, the Lincoln's-Inn Fields playhouse -finally closed, on the removal of the company to the new theatre -in Covent Garden, and the building (the exterior of which is still entire) -is now occupied as Spode's pottery warehouse.</p> -</div> - - -<p class="p2" /> -<h4>SLEEPY CONGREGATION.</h4> - -<p class="pfs90"><a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_192"><span class="smcap">Vol. i.</span> P. 192.</a></p> - -<div class="fs90"> - -<p class="noindent">The clergyman preaching is supposed to represent Dr. Desaguliers. -But why Hogarth has assigned him this post of honour, does not appear. -This gentleman was the son of a French Protestant clergyman;<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span> -was educated at Cambridge, and held the donative of Whitchurch, in -Middlesex. He was the first lecturer on experimental philosophy in -the capital, and published his lectures in two vols. 4to. He died at his -lodgings at the Bedford Coffeehouse, Covent Garden, Feb. 29, 1744, -and was buried, March 26, at the Savoy. He is spoken of as a man of -considerable talents, but possibly might have had a peculiarly inanimate -mode of delivering his sermons, which occasioned Hogarth's satire. -The original painting from which this print was engraved was lately in -the possession of the late John Follett, Esq., of the Temple, London. -It differs in some little particulars from the print.</p> - -</div> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_284.jpg" width="100" alt="(end of section floral icon)" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span></p> - -<div><a name="CHRON" id="CHRON"></a></div> -<h2 class="xl">CHRONOLOGICAL LIST</h2> - -<p class="pfs70">OF</p> - -<p class="pfs150 lsp2">HOGARTH'S WORKS,</p> - -<p class="p1 pfs100">WITH THE VARIATIONS, <span class="smcap">Etc.</span></p> - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<div class="fs90"> - -<p class="p1 pfs120">1720.</p> - -<p>1. W. Hogarth, engraver, with two figures and two Cupids, -"April y<sup>e</sup> 20. 1720." I have seen a print on which was written, in -Hogarth's hand, "Near the Black Bull, Long Lane." Of this card -there is a modern copy.</p> - - -<p class="p1 pfs120">1721.</p> - -<p>1. An Emblematic Print on the South Sea; W. Hogarth, <i lang="la" xml:lang="la">inv. et sc.</i> -Sold by Mrs. Chilcot in Westminster Hall, and B. Caldwell, printseller, -in Newgate Street. <em>Second state</em>—Printed for Bowles. <em>Third -state</em>—Without any publisher's name. Some wretched stanzas are -engraved beneath the print.</p> - -<p>2. The Lottery; W. Hogarth, <i lang="la" xml:lang="la">inv. et sculp.</i> Sold by Chilcot and -Caldwell, price 1s. <em>Second state</em>—Printed for Chilcot. <em>Third state</em>—For -Sympson. And in a <em>fourth</em>—For Bowles—"price 1s." is erased. -An explanation with references is engraved beneath.</p> - -<p>The allegory of both these prints is obscure, but the figures are in -the manner of Callot, and in a spirited and masterly style.</p> - - -<p class="p1 pfs120">1723.</p> - -<p>Eighteen plates to Aubry de la Mottraye's <cite>Travels</cite>. Hogarth's name -on fourteen of them. As these prints have such references as are<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span> -hardly intelligible, and as Mr. Nichols' numbers and mine do not -exactly agree, I have given a slight hint of the subject of each.</p> - -<p>5. <span lang="la" xml:lang="la">Vas mirabile ex integro Smaragdo, Genoæ, etc.</span></p> - -<p>Tom. i. No. 9.—Tiara Patriarchalis Græca.</p> - -<p>Tom. i. No. 10.—A Lady and Black in a Bath. No name legible.</p> - -<p>Tom. i. No. 11.—Dance of Elegant Female Figures. <a href="#DAN"><em>Vide</em> p. 125.</a></p> - -<p>No. 15.—A Procession.</p> - -<p>Tom. i. No. 17.—A Group of Figures in Turbans.</p> - -<p>Tom. i. No. 18.—A Scene in the Seraglio.</p> - -<p>Tom. ii. No. 3.—Park of the Artillery.</p> - -<p>Tom. ii. No. 5.—"Bender."—Portrait of Charles XII.</p> - -<p>Tom. ii. No. 8.—Head of Charles XII., etc.</p> - -<p>Tom. ii. No. 9, Plate <span class="fs80">I</span>.—Fodina Argentea Sahlensis.</p> - -<p>Tom. ii. No. 9, Plate <span class="fs80">I</span>.—Ditto.</p> - -<p>Tom. ii. No. 11.—Fodina Terrea Danmorensis.</p> - -<p>Tom. ii. No. 14.—A Lapland Hut, with Reindeer, etc.</p> - -<p>To this catalogue, I think we may add No. 13, Tom. i., and Tom. i. -No. 16, as well as the figures at the comers of Tom. ii. No. 26 <span class="fs80">A</span>, -and those in Tom. ii. <span class="fs80">C</span>, of which there is a modern copy under the -name of The Five Muscovites.</p> - - -<p class="p1 pfs120">1724.</p> - -<p>1. Seven small prints to the new <cite>Metamorphosis of Lucius Apuleius -of Medaura</cite>; printed for Sam. Briscoe, 12mo, 2 vols.; one of the -plates without Hogarth's name. The hints for these figures are taken -from the prints in a translation, 2 vols. octavo, printed for the same -bookseller in 1708. A most contemptible modern imposition sometimes -appears under the title of <cite>An Eighth Apuleius</cite>.</p> - -<p>2. Masquerades and Operas—Burlington Gate; W. Hogarth, <i lang="la" xml:lang="la">inv. -et sculp.</i> <a href="#Page_22"><em>Vide</em> p. 22.</a> In the early impressions, the name of Pasquin, -No. 11, is inserted as a label on a book in a wheel-barrow, where we -have now Ben Jonson. Eight lines engraved on a separate piece of -copper are sometimes found under the first impression: they begin—</p> - -<p class="center small">"Could now dumb Faustus, to reform the age," etc.</p> - -<p class="noindent">Beneath them is, "price 1s." To the second impression—</p> - -<p class="center small">"O how refined, how elegant we're grown!" etc.</p> - -<p class="noindent">The print is sometimes found without any lines. In this Hogarth's<span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span> -name is inserted within the frame of the plate. To the copy there are -also eight lines, beginning—</p> - -<p class="center small">"Long has the stage productive been," etc.</p> - - -<p class="p1 pfs120">1725.</p> - -<p>1. Five Small Prints for the translation of <cite>Cassandra</cite>, in 5 vols. -duodecimo; W. Hogarth, <i lang="la" xml:lang="la">inv. et sculp.</i></p> - -<p>2. Fifteen Headpieces for the <cite>Roman Military Punishments</cite>, by -John Beaver, Esq., engraved in the style of Callot.</p> - -<p>The Plate to chap. xvii., "Pay stopped wholly or in part," etc., -differs from that sold with the set. At the bottom of the former, in -the book we read, "W. Hogarth, <i lang="la" xml:lang="la">invent. sculpt.</i>;" the latter has, -"W. Hogarth, <i lang="la" xml:lang="la">invent. et fec.</i>" The former has a range of tents behind -the pay-table. These are omitted in the latter, which likewise -exhibits an additional soldier, attendant on measuring out the corn, -etc.</p> - -<p>A little figure of a Roman General in the title-page may possibly be -by Hogarth, though his name is not to it.</p> - -<p>3. A Copy from Kent's Altar-Piece, <a href="#KEN"><em>vide</em> p. 23.</a> This was usually -printed on blue paper. In the original the word "<em>wings</em>" is terminated -with a long <span class="large"><em>ſ</em></span>. In a modern copy this error is corrected.</p> - -<p>4. A Scene in Handel's opera of <cite>Ptolomeo</cite>. <em>Vide</em> p. 184. There is -a copy of the same size.</p> - -<p>5. Booth, Wilkes, and Cibber, contriving a Pantomime.</p> - - -<p class="p1 pfs120">1726.</p> - -<p>1. Frontispiece to <cite lang="la" xml:lang="la">Terræ-filius</cite>. <a href="#FPT"><em>Vide</em> p. 193.</a></p> - -<p>2. Twenty-six Figures on two large sheets; engraved for a <cite>Compendium -of Military Discipline</cite>, by J. Blackwell. No engraver's -name.</p> - -<p>3. Twelve Prints for <cite>Hudibras</cite>—the large set. In Plate <span class="fs80">II</span> (the -earliest impressions) the words, "Down with the Rumps," are not -inserted on the scroll. "Printed and sold by P. Overton, near St. -Dunstan's Church, in Fleet Street, and J. Cooper, in James Street, -Covent Garden."</p> - -<p>Now printed for Sayer, Fleet Street.</p> - -<p>A Print representing Hudibras and Sidrophel, and taken off in -colours, was in 1782 engraved by T. Gaugain.</p> - -<p><span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span></p> - -<p>3. Seventeen Small Prints for <cite>Hudibras</cite>, with Butler's head. The -portrait is evidently copied from White's mezzotinto of John Baptist -Monnoyer. The same designs on a large scale, with some slight -variations, were engraved by J. Mynde for Grey's edition of <cite>Hudibras</cite>, -published in 1724. Hogarth has evidently taken the hints for -his figures, grouping, etc., from a small edition of this poem published -in 1710.</p> - -<p>Copies are inserted in Townley's translation of <cite>Hudibras</cite> into French, -published in 1757.</p> - -<p>Many of them were copied by Ross, with violent alterations, for -Dr. Nashe's splendid edition of <cite>Hudibras</cite>, published in 1795.</p> - -<p>4. Cunicularii, or the Wise Men of Godliman in Consultation. A -burlesque on the Believers in Mrs. Tofts, the rabbit-breeder.</p> - - -<p class="p1 pfs120">1727.</p> - -<p>1. Music introduced to Apollo by Minerva; Hogarth, <i lang="la" xml:lang="la">fecit</i>. -Frontispiece to some book of music, or ticket for a concert.</p> - -<p>2. Large Masquerade Ticket. <em>Vide</em> Frontispiece and <a href="#MAS">p. 230.</a> In -the earliest impressions, the word "Provocatives" has instead of <span class="fs80">V</span> the -open vowel <span class="fs80">U</span>. It was afterwards amended, but the mark remains.</p> - -<p>3. Frontispiece to <cite>Leveridge's Songs</cite>; no engraver's name. Mr. -Molteno informs me he has seen an impression of this, with the sky -partly erased, and a player's ticket engraved in the place. The title-page -to this work is, I believe, also by Hogarth.</p> - - -<p class="p1 pfs120">1728.</p> - -<p>1. Head of Hesiod, from the bust at Wilton; for Cook's translation.</p> - -<p>Rich's Glory, or his Triumphant Entry into Covent Garden. <span class="fs80">W. H. -E<sup>t</sup> SULP.</span> Contemptible!</p> - -<p>Of this there is a modern copy.</p> - -<p>3. The Beggars' Opera. The title over the print in letters disproportionably -large.</p> - -<p>4. The same; the lines under it engraved in a different manner. -"Sold at the print shop in the Strand," etc.</p> - -<p>5. A copy of the same, under the title of "The Opera House, or -the Italian Eunuchs' Glory," etc.</p> - -<p><span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span></p> - - -<p class="p1 pfs120">1729.</p> - -<p>1. Henry Eighth and Anne Bullen; with lines by Allan Ramsay, -beginning—</p> - -<p class="center small">"Here struts old pious Harry, once the Great."</p> - -<p>2. The same plate without any verses.</p> - -<p>There is a coarse copy, I think engraved on pewter.</p> - -<p>The original picture was painted for the portico at Vauxhall.</p> - -<p>3. Frontispiece to Miller's <cite>Comedy of the Humours of Oxford</cite>; -engraved by Vandergucht.</p> - - -<p class="p1 pfs120">1730.</p> - -<p>1. Two Prints for <cite>Perseus and Andromeda</cite>.</p> - -<p>2. Gulliver presented to the Queen of Babilary; engraved by Vandergucht. -Frontispiece to Lockman's translation of <cite>John Gulliver's -Travels</cite>. A wretched design.</p> - - -<p class="p1 pfs120">1731.</p> - -<p>1. Frontispiece to Molière's <cite lang="fr" xml:lang="fr">L'Avare</cite>.</p> - -<p>2. To <cite lang="fr" xml:lang="fr">Le Cocu Imaginaire</cite>; prefixed to Molière's Plays in French -and English.</p> - -<p>3. Frontispiece to Fielding's <cite>Tom Thumb</cite>; engraved by Vandergucht. -<ins class="corr" title="Transcriber's Note—Original text: 'Grostesque, and good'">Grotesque, and good</ins>.</p> - -<p>4. Frontispiece to Mitchell's <cite>Opera of the Highland Fair</cite>; engraved -by Vandergucht.</p> - - -<p class="p1 pfs120">1732.</p> - -<p>1. Sarah Malcolm, executed March 7th, 1732, etc.; W. Hogarth -(<i lang="la" xml:lang="la">ad vivum</i>), <i lang="la" xml:lang="la">pinxit et sculpsit</i>.</p> - -<p>2. An engraved copy of ditto.</p> - -<p>3. Ditto mezzotinto.</p> - -<p>4. Part graven and part mezzotinto.</p> - -<p>5. Another copy, with the addition of a clergyman holding a ring.</p> - -<p>6. A wooden cut in the <cite>Gentleman's Magazine</cite> for March 1733.</p> - -<p>7. A small copy from a small whole length, in the possession of -Josiah Boydell, Esq.</p> - -<p>The first, Hogarth <i lang="la" xml:lang="la">sculpsit</i>, is very scarce.</p> - -<p>8. The Man of Taste. Pope with a tie-wig on.</p> - -<p>9. The same in a smaller size; Pope in a cap. Prefixed to a<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span> -pamphlet entitled "<cite>A Miscellany of Taste</cite>, by Mr. Pope, etc." <a href="#MAN"><em>Vide</em> -p. 201.</a></p> - -<p>10. The same, in a still smaller size, coarsely engraved.</p> - - -<p class="p1 pfs120">1733.</p> - -<p>1. The Laughing Audience. Subscription-ticket to the Rake's -Progress, and Southwark Fair, which were originally delivered to subscribers -at a guinea and a half.</p> - -<p>The receipt was afterwards cut off. Of this print there is a coarse -copy.</p> - -<p>2. Southwark Fair. The show-cloth, representing the Stage Mutiny, -is copied from an etching by John Laguerre. The paint-pot and -brushes, which Hogarth has added to the figure with a cudgel in -his hand, has been said to allude to John Ellis the painter; is it not -quite as probable that it alludes to Jack Laguerre?</p> - -<p>3. Judith and Holofernes. Engraved by Vandergucht. Frontispiece -to the Oratorio of Judith, by William Huggins, Esq.</p> - -<p>4. Boys Peeping at Nature. Subscription-ticket to the Harlot's -Progress. The receipt was afterwards erased, and the following receipt, -very neatly engraved, supplied its place:</p> - -<p>"Received ——, 1737, half a guinea, being the first payment for five -large prints—one representing a Strolling Company of Actresses dressing -themselves in a barn; and the other four—Morning, Noon, Evening, -and Night; which I promise to deliver on Lady-day next, on receiving -half a guinea more."</p> - -<p>"<em>N.B.</em>—They will be twenty-five shillings after the subscription -is over."</p> - -<p>A modern copy of this receipt in aquatinta was published in 1781.</p> - -<p>2. Another print on the same subject, with considerable variations, -designed as a receipt for Moses brought to Pharaoh's Daughter, and -St. Paul before Felix, for which he afterwards substituted the burlesque -Paul.</p> - -<p>In one of Hogarth's <span class="fs80">MSS.</span>, introductory to his intended description of -his prints, I find the following notices of the pictures of the Harlot's -and Rake's Progresses:</p> - -<p>"Mr. Rouquet's account of my prints finishes with a description of -the March to Finchley. The picture was disposed of by lottery (the -only way a living painter has any chance of being paid for his time) -for three hundred pounds; by the like means most of my former<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span> -pictures were sold. Those of the Harlot's and Rake's Progress have, -it seems, been since destroyed by fire,<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> with many other fine pictures, -at the country house of the gentleman who bought them.<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a> It is reported, -and very remarkable if true, that a most magnificent clock-work -organ, being left exposed to the conflagration, was heard in the midst -of the flames to play several pleasing airs."</p> - - -<p class="p1 pfs120">1733 and 1734.</p> - -<p>The Harlot's Progress, in six plates.</p> - -<p>Plate 1. <em>Second state</em>—Feet to the old woman. Shadow thrown by -one house upon another. London added to the letter the parson is -reading. Cross put in the centre of the margin, as indeed it is to the -second state of the five that follow.</p> - -<p>Plate 2. The shadows on the black boy's drapery, etc. are so -sudden that he looks like a magpie. I have a copy of this print, of -the same size, and well engraved; the situation of the figures reversed, -with the strange variations of a shepherd and shepherdess, in the two -pictures that were of Jonah and David, in the original.</p> - -<p>Plate 3. A sort of sugar dish placed near the punch-bowl, in the -first state, is in the second changed to a bottle. In a set of wretched -copies, possibly made from the original pictures, and exhibited at -Christie's in the year 1792, the woman dangling a watch is painted -without stockings.</p> - -<p>Plate 4. <em>Second state</em>—Damages in the ceiling stopped up: shadow -added on the wall close to the hoop petticoat: the dog much blacker. -In a print in my possession, the cross is inserted before any of these -variations were made.</p> - -<p>Plate 5. <em>Second state</em>—Dr. Rock's name inscribed on the paper: -cap of the woman near the dying figure lowered.</p> - -<p>Plate 6. The mask on the bottle inscribed "Nants," has a most -ludicrous appearance. The shadows, especially that on the forehead of -the girl near the clergyman, are much heightened in the <em>second state</em>.</p> - -<p>2. Rehearsal of the Oratorio of Judith.</p> - -<p>Ticket for a Modern Midnight Conversation. The singers of the -<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span>different parts of bass, tenor, and treble, may be easily distinguished; -and it is worthy of remark, that the notes before them are in the same -key with the performers' voices. The receipt was afterwards cut off -the plate.</p> - -<p>3. A Midnight Modern Conversation.</p> - -<p><em>Second state</em>—The right hand and skirt of a man fallen on the -ground stronger shadowed, and the lines over a vessel in the corner -intersected.</p> - - -<p class="p1 pfs120">1735.</p> - -<p>1. The Rake's Progress, in eight plates.</p> - -<p>Plate 1. <em>First state</em>—A book "Mem<sup>dum</sup> 1721, May 3d. My son -Tom came from Oxford. 4th, dined at the French Ordinary. 5th of -June, put off my bad shilling." <em>Second state</em>—The book erased to -insert the cover of a Bible as the sole of a shoe. The girl's face altered -for the worse. Woollen-draper's shop-bill omitted.</p> - -<p>Plate 2. <em>First state</em>—"Prosperity with Horlots smile." <em>Second -state</em>—Altered to Harlots.</p> - -<p>Plate 3. <em>First state</em>—Dated <ins class="corr" title="Transcriber's Note—Original text: 'June ye [e subscript]'">June y<sup>e</sup></ins> 24th, 1735. <em>Second state</em>—June -25th, and a laced hat put on the head of the girl sitting next to the -Rake. Pontac's head introduced in the place of a mutilated Cæsar.</p> - -<p>Plate 4. <em>Second state</em>—Shoeblack stealing the cane, erased, and his -place supplied by a group of gambling boys. This design is unquestionably -much improved by the alterations.</p> - -<p>Plate 5. <em>Second state</em>—The right foot of the bridegroom, which -gave a tottering awkwardness to the figure, omitted. The maidservant's -face altered. The hand of the figure looking out of the gallery -blackened. In this print the artist has introduced a portrait of his -favourite dog Trump.</p> - -<p>Plate 6. <em>Second state</em>—Rays round the candle stronger.</p> - -<p>In the original sketch, the principal figure was not, as now, upon his -knees, but seated.</p> - -<p>Plate 7. In the very earliest impressions, Plate 7 is not inserted in -the margin.</p> - -<p>Plate 8. <em>Second state</em>—Head of the woman with a fan altered, -and affectedly turning away from the mad monarch. A halfpenny, -with a figure of Britannia, 1763, fixed against the wall, to intimate -what the artist thought the state of the nation. "Retouch'd by the -author, 1763."</p> - -<p>It should seem that the man sitting by the figure inscribed "Charm<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>ing -Betty Careless," went mad for love. Dr. Monro, I am told, asserts -that not more than one or two men have become mad from love in the -course of a hundred years. Shakspeare has not, as I recollect, drawn -one <em>man</em> mad from that cause. I find by Hogarth's memorandum -that the original pictures were sold to Francis Beckford, Esq., for -£184, 16s.</p> - - -<p class="p1 pfs120">1736.</p> - -<p>1. Two prints of Before and After. <a href="#Page_26">See p. 26.</a></p> - -<p>2. The Sleeping Congregation.</p> - -<p><em>First state</em>—"<span lang="fr" xml:lang="fr">Dieu et mon droit</span>," under the king's arms, not inserted: -the angel has a pipe in his mouth. <em>Second state</em>—The above -motto added, the angel's pipe effaced, and the lines of the triangle -doubled. <em>Third state</em>—Inscribed on the side of the print: "Retouched -and improved, April 21, 1762, by the author."</p> - -<p>3. The Distressed Poet.</p> - -<p><em>First state</em>—Pope thrashing Curl, and four lines from the <cite>Dunciad</cite> -inscribed under the print. <em>Second state</em>—In the place of Pope, etc., -view of the gold mines of Peru; and the four lines from the <cite>Dunciad</cite> -erased. This has been conjectured to be a portrait of Lewis Theobald, -and in 1794 a copy of the head with his name annexed to it was -published for Richardson. The original picture is in the collection of -Lord Grosvenor.</p> - -<p>4. Right Honourable Frances Lady Byron.</p> - -<p>Whole-length mezzotinto by Faber. The best impressions are -usually in brown ink. The plate was afterwards cut down to a half-length.</p> - -<p>5. Arms of the Undertakers' Company.</p> - -<p>The three figures at top are Dr. Ward, Chevalier Taylor, and Mrs. -Mapp, the bone-setter; though it has been said, that the figure supposed -to be Mrs. Mapp was intended for Sir Hans Sloane. <em>First state</em>—"One -compleat Docter," etc. <em>Second state</em>—The spelling corrected.</p> - - -<p class="p1 pfs120">1737.</p> - -<p>1. The Lecture, "Datur vacuum." In the early impressions, the -words "datur vacuum" are not printed. Hogarth sometimes wrote -them in with a pen.</p> - -<p>Æneas in a Storm.</p> - -<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p> - - -<p class="p1 pfs120">1738.</p> - -<p>1. The four parts of the Day.</p> - -<p>Morning. The sky singularly muddy to express snow. The figure -of the shivering boy was, in 1739, copied by F. Sykes, and is strangely -enough christened by collectors, The Half-starved Boy.</p> - -<p>Noon. In the <em>second state</em>—Shadows heightened.</p> - -<p>Evening. In early impressions the man's hands are printed in blue, -and the woman's face and neck in red; but they have been sometimes -so stamped in later impressions, where the rail-post is crossed -with intersecting lines, and the clearness of the water much injured.</p> - -<p>In Hogarth's first design (engraved by Baron), the little girl with the -fan was omitted; but the artist thinking his delineation would be -improved by it, afterwards inserted it with his own burin. I have -seen three impressions in this state; one of them, then thought to be -unique, was purchased at Greenwood's Rooms, at Mr. Gulston's sale, -by Mr. Thane, for the late Mr. G. Stevens, at the price of £47.</p> - -<p>Night. The Salisbury flying coach has been thought to be a burlesque -on a late noble peer, who delighted in driving his own horses.</p> - -<p>I find by Hogarth's memorandum, that Sir William Heathcote purchased -the picture of Morning for twenty guineas, and that of Night -for £27, 6s. Noon was sold for £38, 17s., and Evening for £39, 18s., -to the Duke of Ancaster.</p> - -<p>2. Strolling Actresses dressing in a Barn.</p> - -<p><em>Second state</em>—The woman holding a cat has her coiffure lowered, -and the female greasing her hair with a candle is divested of her -feathers. Head of the sable goddess Night blacker, and her hair -more woolly. Damages in the roof of the barn repaired; all the -shallows darker.</p> - -<p>By an account in one of Hogarth's books, the original picture was -first sold to Francis Beckford, Esq., for £27, 6s. By him, though at -so low a price, returned! and afterwards sold for the same sum to Mr. -Wood of Littleton, in whose possession it still remains.</p> - - -<p class="p1 pfs120">1739.</p> - -<p>1. The Foundlings.</p> - -<p>Engraved by Morrellon la Cave. <a href="#FOU"><em>Vide</em> p. 191.</a></p> - - -<p class="p1 pfs120">1741.</p> - -<p>The Enraged Musician.</p> - -<p><span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span></p> - -<p>Mr. Cricket has an impression, taken before the man blowing a -horn, cats, steeple, play-bill, or drag were introduced. In this very -curious, and I believe unique print, the dustman is without a nose, the -chimney-sweeper has a grenadier's cap on, and a doll is placed under -the trap, composed of bricks, etc.</p> - -<p>In the early impressions, the horse's head is white; in its present -state, black: and the dog, drag, hatchet, etc. considerably darker -than when first engraved.</p> - - -<p class="p1 pfs120">1742.</p> - -<p>1. Martin Folks, Esq., half-length; W. Hogarth, <i lang="la" xml:lang="la">pinxit et sculpsit</i>. -In early impressions, the name of W. Hogarth, etc. is not inserted.</p> - -<p>2. The same, in mezzotinto, engraved by Faber. The original -picture from which both these prints are taken is in the meeting-room -of the Royal Society, Somerset Place.</p> - -<p>3. The Charmers of the Age. A sketch, no name. -Of this there is a spirited modern copy.</p> - -<p>4. Taste in High Life. <a href="#TAS"><em>Vide</em> p. 186.</a></p> - - -<p class="p1 pfs120">1743.</p> - -<p>1. Benjamin Hoadley, Bishop of Winchester; engraved by Baron.</p> - -<p>A small oval from the same picture was, in 1759, engraved by -Sherlock.</p> - -<p>2. Captain Thomas Coram; a three-quarters mezzotinto; admirably -engraved by M'Ardell.</p> - -<p>3. Coarsely copied in the <cite>London Magazine</cite>.</p> - -<p>A copy of the full-length picture in the Foundling Hospital was, in -1797, engraved by Nutter, and published by Mr. Cribb of Holborn. -<a href="#Page_47"><em>Vide</em> p. 47.</a></p> - -<p>5. Characters and Caricaturas; subscription-ticket to Marriage à la -Mode. "For a further explanation of the difference betwixt Character -and Caricatura, see y<sup>e</sup> Preface to <cite>Jo<sup>h</sup> Andrews</cite>."</p> - -<p>"Received April ——, of ——, half a guinea, being the first payment -for six prints called Marriage à la Mode, which I promise to -deliver when finished, on receiving half a guinea more.</p> - -<p>"<em>N.B.</em>—The price will be one guinea and an half after the time of -subscribing."</p> - -<p>On this print Hogarth makes the following remark:—</p> - -<p>"Being perpetually plagued, from the mistakes made among the<span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span> -illiterate, by the similitude in the sound of the words <em>character</em> and -<i lang="la" xml:lang="la">caricatura</i>, I, ten years ago, endeavoured to explain the distinction by -the above print; and as I was then publishing Marriage à la Mode, -wherein were characters of high life, I introduced the great number -of faces there delineated (none of which are exaggerated), varied at -random, to prevent, if possible, personal application when the prints -should come out.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseqx">'We neither this nor that Sir Fopling call,</p> -<p class="verse">He's knight o' th' shire, and represents you all.'</p> -</div></div> - -<p class="noindent">This, however, did not prevent a likeness being found for each head, for -a general character will always bear some resemblance to a particular -one."</p> - - -<p class="p1 pfs120">1745.</p> - -<p>1. Marriage à la Mode, in six plates.</p> - -<p>Plate 1. The coronet impressed on the dog in the print is not in -the picture. I have this series of prints in the state they were left by -the original engravers, and all of them, though delicately engraved, are -in some degree spotty. In the <em>second state</em> of Plate 1, there are evident -marks of the burin of Hogarth in the faces of the Citizen and Peer; -and each of the characters, especially the latter, is improved. The -French portrait he has designedly thrown more out of harmony than -it was at first; the fringe to the canopy over the nobleman is much -darker; a shadow thrown on the building seen out of the window, and -on the light parts of the two dogs. <em>Third state</em>—All the shadows -blacker. Engraved by G. Scotin. Guido's Judith, which forms the -subject of one of the pictures, Hogarth copied from a print engraved -by Dupuis.</p> - -<p>Plate 2. <em>First state</em>—A lock of hair on the forehead of the lady, -generally inserted with Indian ink, but sometimes left without. <em>Second -state</em>—Lock of hair engraved, and shadows on the carpet, etc. stronger. -Engraved by B. Baron.</p> - -<p>Plate 3. In the original picture, an alembic under the table is seen -through the cloth. In the <em>second state</em> of the print, the character of -the nobleman's face is altered; the bow under his chin is broader, and -the shadows on the sole of his right shoe considerably strengthened. -Girl's cloak and woman's apron darker than at first. <em>Third state</em>—I -discover no alterations, except the shadows being darkened. Engraved -by B. Baron.</p> - -<p>Plate 4. One of the newspapers of March 1798, in a critique upon<span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span> -the opera, remarked, that "in playing upon the pianoforte, the celebrated -Dusek displayed <em>a brilliancy of finger</em> which no eulogium could -do justice to!" This is lofty language, and might be very properly -applied to the figure of Carestini in this print, for that mountain of -mummy displays a glittering ring upon every finger of his left hand. -His face, as well as that of the Countess, is in the third impression -essentially altered; the curtains, frames, etc. are also of a much darker -hue. Engraved by S. Ravenet.</p> - -<p>Plate 5. <em>Second state</em>—All the lights, figures on the tapestry, -etc., are kept down, and the whole print brought to a more still and -sombre hue. Woman's eye, eyebrow, and neck strengthened: nostril -made wider. Counsellor's leg and thigh intersected with black lines, -instead of the delicate marks and dots first inserted. <em>Third state</em>—Bears -evident marks of a coarser burin than that of Ravenet. Engraved -by R. F. Ravenet.<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a></p> - -<p>Mr. Nichols states that this background was engraved by Ravenet's -wife; but I am informed by Mr. Charles Grignion, who at that period -knew the family intimately, that she could not engrave. That, concerning -the background of this print, Ravenet had a violent quarrel -with Hogarth; who, thinking the figures in the tapestry, etc. too obtrusive, -obliged him to bring them to a lower tone (without any additional -remuneration), a process that must have taken him up a length of time, -which no man but an engraver can form an idea of.</p> - -<p>Plate 6. With a slight alteration, the crying old woman would be -very like one of the laughing old women in the Laughing Audience. -<em>Second state</em>—The whole of the print rendered less brilliant, but more -in harmony. Drapery of the dying woman improved. <em>Third state</em>—The -shadows of this, as of the other five, were rendered still stronger -by the last alterations, made a short time before Hogarth's death.</p> - -<p>Of the original pictures, now in Mr. Angerstein's collection, I have -already spoken. If considered in the various relations of invention, -composition, drawing, colouring, character, and moral tendency, I do -not think it will be easy to point out any series of six pictures, painted -by any artist of either ancient or modern times, from which they will -not bear away the palm.</p> - -<p>Among Mr. Lane's papers was found a written description of -Marriage à la Mode, which the family believe to be Hogarth's explanation, -either copied from his own handwriting, or given verbally to Mr.<span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span> -Lane at the time he purchased the pictures. This was copied and -inserted in the second edition of <cite>Hogarth Illustrated</cite>, and may be had -gratis by any of the purchasers of the first.</p> - -<p>Messrs. Boydell have employed Mr. Earlom to engrave the whole -series, in the same size as the original pictures.</p> - -<p>2. A small portrait of Archbishop Herring, surrounded with a -trophy, placed as a headpiece to the printed speech addressed to the -Clergy of York, September 24th, 1745. William Hogarth, <i lang="la" xml:lang="la">pinx.</i>; -C. Mosely, <i lang="la" xml:lang="la">sculp.</i></p> - -<p>3. The same head was afterwards cut off the plate, and printed without -the speech.</p> - -<p>A larger portrait was in the year 1750 engraved by Baron.</p> - -<p>4. The Battle of the Pictures. Ticket to admit persons to bid for -his works at an auction.</p> - -<p>5. Mask and Palette. Subscription-ticket to Garrick in Richard <span class="fs80">III.</span> -A copy from this was published in 1781.</p> - - -<p class="p1 pfs120">1746.</p> - -<p>1. Simon Lord Lovat. <a href="#LOV"><em>Vide</em> p. 209.</a></p> - -<p>The second impressions are marked "price 1s."</p> - -<p>Of this there have been several copies; I have one of the head in a -watch paper.</p> - -<p>Lavater has introduced this print in his <cite>Essays on Physiognomy</cite>.</p> - -<p>2. Mr. Garrick in the character of Richard <span class="fs80">III.</span></p> - -<p>Engraved by Wm. Hogarth and C. Grignion.</p> - -<p>Mr. Charles Grignion (whose professional talents have for more than -half a century been an honour to the arts) informed me that Hogarth -etched the head and hand, but finding the head too large, he erased it -and etched it a second time, when seeing it wrong placed upon the -shoulders, he again rubbed it out, and replaced it as it now stands, -remarking—"I never was right until I had been wrong."</p> - -<p>3. Subscription-ticket to the March to Finchley, which was originally -published at 7s. 6d.</p> - -<p>Among a stand of various weapons, bagpipes, etc., the artist has -introduced a pair of scissors cutting out the Arms of Scotland.</p> - - -<p class="p1 pfs120">1747.</p> - -<p>1. The Stage Coach, or Country Inn Yard. In the very earliest<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span> -impressions, a flag behind the wheel of the coach is without an inscription. -In the second, "No Old Baby;" which words, in the present -state of the plate, are done away, and the flag obliterated.</p> - -<p>2. Industry and Idleness, in twelve plates, designed and engraved by -Wm. Hogarth.</p> - -<p>Plate 1. In the very early impressions, Plate 1 is not inserted. -<em>Second state</em>—Shadows strengthened.</p> - -<p>Plate 2. <em>Second state</em>—Shadows on the organ, etc. deeper.</p> - -<p>Plate 3. <em>Second state</em>—Lines stronger.</p> - -<p>Plate 4. <em>Second state</em>—Lines strengthened. The cat in this print is -vilely drawn.</p> - -<p>Plate 5. Tender lines in the offing worn out, broader lines in the -faces. Lavater has introduced a small outline of this print in his -<cite>Essays on Physiognomy</cite>.</p> - -<p>Plate 6. <em>First state</em>—Goodchild and West, instead of West and -Goodchild, to which the sign was afterwards altered.</p> - -<p>Plate 7. <em>Second state</em>—Darker shadows behind the broken cup, and -bottles on the chimney-piece, etc.</p> - -<p>Plate 8. <em>Second state</em>—Shadows strengthened. The head of the -fat Citizen in a tie-wig has been copied in a larger size by Bartolozzi. -The scene is laid in Fishmonger's Hall, where the effigies of Sir -William Walworth still remain, with the following quaint and memorable -inscription beneath:—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Brave Walworth, knight, Lord Maior, that slew</p> -<p class="verse4">Rebellious Tyler in his alarms;</p> -<p class="verse">The king therefore did give in lieu,</p> -<p class="verse4">The dagger to the city arms."</p> -</div></div> - -<p>Plate 9. <em>Second state</em>—Character of the woman taking a bribe -altered; the whole print more black.</p> - -<p>Plate 10. <em>Second state</em>—Shadows heightened.</p> - -<p>Plate 11. <em>Second state</em>—Shadows in the parson's face, pigeon, etc., -stronger.</p> - -<p>Plate 12. <em>Second state</em>—Coachman's coat darker, and a stripe of lace -down the arm obliterated. The mass of figures that surround the -coach made much darker. In the original they come too forward, but -the characters are now hurt by the intersecting lines.</p> - -<p>Of these twelve plates there are tolerably correct copies of the same -size.</p> - -<p>The following memoranda relative to this series, which I found among<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span> -Hogarth's papers, seems addressed to some one whom he intended to -continue Rouquet's descriptions:—</p> - -<p>"The effects of Idleness and Industry, exemplified in the conduct of -two fellow-'prentices. These twelve prints were calculated for the -instruction of young people; and everything addressed to them is fully -described in words as well as figures. Yet to foreigners a translation -of the mottoes,<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a> the intention of the story, and some little description -of each print, may be necessary. To this may be added, a slight -account of our customs—as boys being usually bound for seven -years, etc.</p> - -<p>"Considering the persons they were intended to serve, I have endeavoured -to render them intelligible, and cheap as possible.<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a> Fine -engraving is not necessary for such subjects, if what is infinitely more -material, viz. character and expression, is properly preserved. Suppose -the whole story were made into a kind of tale, describing in -episode the nature of a night-cellar, a marrow-bone concert, a Lord -Mayor's show, etc.</p> - -<p>"These prints I have found sell much more rapidly at Christmas -than at any other season."</p> - -<p>3. Jacobus Gibbs Architectus; W. Hogarth, <i lang="la" xml:lang="la">delin.</i>; J. M'Ardell, -<i lang="la" xml:lang="la">fecit</i>. Partly mezzotinto, partly graved. No date.</p> - -<p>4. Ditto, engraved by Baron.</p> - -<p>5. Ditto, by ditto.</p> - -<p>6. Another copy, with the addition of "Architectus, A.M. and -F.R.S.," was published 1750. Of the last print I have an impression -where the background is completed, but nothing more of the head -than the bare outline. This is a curiosity somewhat similar to a -picture without a horse by Wouvermans.</p> - -<p>Besides these, there is a small profile of Gibbs in a circle, which I -do not think Hogarth's,—at least it is uncertain.</p> - -<p>7. Arms of the Foundling Hospital, printed on the tops of the -indenture.</p> - -<p>8. The same in a smaller size, employed as a vignette to <cite>Psalms, -Hymns, and Anthems</cite>, and also to an account of the institution of the -hospital, etc.</p> - -<p>Of the original pen-and-ink drawing there is a modern copy.</p> - -<p>9. A Wooden Cut—headpiece to the <cite>Jacobites' Journal</cite>; a newspaper -set up and supported by Henry Fielding. This print (of which -<span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span>there is a modern copy in aquatinta) was prefixed to six or seven of -the earliest papers, and then set aside. Mine is dated "2d January -1747. No. 5."</p> - - -<p class="p1 pfs120">1748.</p> - -<p>1. View of Mr. Ranby's House at Chiswick; etched by Hogarth, -without any inscription. Afterwards "published for Jane Hogarth," -etc., 1st May 1781.</p> - -<p>2. Hymen and Cupid; two figures, with the view of a magnificent -villa in the distance. No inscription. This was engraved as a -ticket for the <cite>Masque of Alfred</cite>, performed at Cliveden House before -the Prince and Princess of Wales on the Princess Augusta's birthday. -It was afterwards intended to be used as a receipt to the Sigismunda; -on the earliest impressions, "£2, 2s." is usually <em>written</em>.</p> - - -<p class="p1 pfs120">1749.</p> - -<p>The Gate of Calais; engraved by C. Mosely. The original picture -is in the possession of the Earl of Charlemont.</p> - -<p>Of this print Hogarth thus writes:—"After the March to Finchley, -the next print I engraved was the Roast Beef of Old England,<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a> which -took its rise from a visit I paid to France the preceding year. The -first time an Englishman goes from Dover to Calais, he must be struck -with the different face of things at so little a distance. A farcical -pomp of war, pompous parade of religion, and much bustle with very -little business. To sum up all, poverty, slavery, and innate insolence, -covered with an affectation of politeness, give you even here a true -picture of the manners of the whole nation. Nor are the priests less -opposite to those of Dover than the two shores. The friars are dirty, -sleek, and solemn; the soldiery are lean, ragged, and tawdry; and as -to the fishwomen, their faces are absolute leather.</p> - -<p>"As I was sauntering about and observing them, near the gate -which, it seems, was built by the English when the place was in our -possession, I remarked some appearance of the arms of England on -the front. By this and idle curiosity I was prompted to make a sketch -of it, which being observed, I was taken into custody; but not attempting -to cancel any of my sketches or memorandums, which were -found to be merely those of a painter for his private use, without any<span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span> -relation to fortification, it was not thought necessary to send me back -to Paris.<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a> I was only closely confined to my own lodgings till the -wind changed for England, where I no sooner arrived than I set about -the picture; made the gate my background; and in one corner introduced -my own portrait,<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a> which has generally been thought a correct -likeness, with the soldier's hand upon my shoulder. By the fat friar -who stops the lean cook that is sinking under the weight of a vast -sirloin of beef, and two of the military bearing off a great kettle of -<i lang="fr" xml:lang="fr">soup maigre</i>, I meant to display to my own countrymen the striking -difference between the food, priests, soldiers, etc. of two nations so -contiguous, that in a clear day one coast may be seen from the other. -The melancholy and miserable Highlander, browsing on his scanty -fare, consisting of a bit of bread and an onion, is intended for one of -the many that fled from this country after the rebellion in 1745."</p> - -<p>2. Portrait of John Palmer, Esq.; W. Hogarth, <i lang="la" xml:lang="la">pinx.</i>; B. Baron, -<i lang="la" xml:lang="la">sculp.</i> A small head inserted under a view of the church of Ecton, -Northamptonshire.</p> - -<p>3. Head of Hogarth in a cap, with a pug dog, and a palette with -the line of beauty, etc.; inscribed "Gulielmus Hogarth <i lang="la" xml:lang="la">se ipse pinxit -et sculpsit</i>, 1749."</p> - -<p>The same portrait in mezzotinto.</p> - -<p>(The engraving was copied from a picture now in the collection of -J. J. Angerstein, Esq., from which another copy, engraved by -Benjamin Smith, was in 1795 published by Messrs. Boydell. In this -the three books are lettered <em>Shakspeare</em>, <em>Swift</em>, <em>Milton's Paradise Lost</em>, -and the line on the palette inscribed, "The Line of Beauty and -Grace.")</p> - -<p>In the year 1763 Hogarth erased his own head from the plate, and -in its place inserted "The Bruiser, C. <ins class="corr" title="Transcriber's Note—Original text: 'Churchil (once'">Churchill (once</ins> the Rev<sup>d</sup>.!), in -the character of a Russian Hercules, regaling himself after having -killed the monster Caricatura, that so sorely galled his <em>virtuous</em> friend -the heaven-born Wilkes."</p> - -<p><em>First state</em>—Three of the upper knots on the club are left white -(white lies), and a line inscribed "the line of Beauty," drawn on the -palette. <em>Second state</em>—The knots shaded, and a political print introduced -on the palette.</p> - -<p><em>Third state</em>—The letters "N. B.," and the word "Infamous" -<span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span>inscribed on the club; and "Dragon of Wantley" added at the end -of "I warrant ye." "Price 1s. 6d." instead of "1s."</p> - -<p>In the year 1758 Hogarth published a full-length of his own -portrait, painting the Comic Muse; inscribed "W. Hogarth, serjeant -painter to his Majesty,"—"Engraved by W. Hogarth." This being a -mistake of the writing engraver, the painter altered it to "the face -engraved by W. Hogarth." <em>Third impression</em>—"The face engraved -by W. Hogarth" omitted. <em>Fourth state</em>—"Serjeant painter," etc. -scratched over with the graver. <em>Present state</em>—The face retouched. -Comedy also has the face and mask marked with black; and on the -pillar is written, "Comedy, 1764." No other inscription beneath the -print but "W. Hogarth, 1764."</p> - -<p>The original small whole-length picture from which it is copied was -sold by Greenwood after Mrs. Hogarth's death. The companion -portrait of Mrs. Hogarth is in the possession of Mrs. Lewis of -Chiswick.</p> - -<p>A portrait of Hogarth was in 1781 engraved in mezzotinto by -Charles Townley from a picture painted by Weltdon, and finished by -Hogarth, now in the possession of James Townley, Esq. A portrait, -copied from that in the Gate of Calais, I have seen prefixed to a dull -pamphlet, published in 1781, entitled <cite>A Dissertation on Mr. Hogarth's -six Prints lately published, viz. Gin Lane, Beer Street, and the -Four Stages of Cruelty</cite>. I have a small engraving of his head, I -believe done for the <cite>Universal Magazine</cite>, in which he looks like a -village schoolmaster. An etching of his head by S. Ireland was prefixed -to a catalogue of Hogarth's works, sold by Christie, in May 1797. -Two small portraits have been engraved for watch-papers. A head in -the dotted style has been engraved for Mr. Jeffrey, Pall Mall, but is -not published.</p> - - -<p class="p1 pfs120">1750.</p> - -<p>The March to Finchley; engraved by Luke Sullivan. Dedicated -to the King of Prusia: thus was the word spelt in the prints delivered -to the subscribers. A few early impressions were dated 30th -December 1750; but the 30th being that year on a Sunday, it was -altered to the 31st. A print in the collection of Dr. Ford is inscribed -"Printed and published by W<sup>m</sup>. Hogarth," instead of " Printed for -W<sup>m</sup>. Hogarth, and published," etc. In the etching, of which very -few were struck off, the woman to whom an officer presents a letter on<span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span> -the point of a pike, turns her head the contrary way to what she does -in the print.</p> - -<p><em>Second impression</em>—The spelling of Prussia corrected; bunch of -grapes at the Adam and Eve enlarged; catching lights given to the -laced hats in the group beneath it; belt added to the Duke of Cumberland's -portrait. <em>Third state</em>—"Retouched and improved by -W<sup>m</sup>. Hogarth; and republished June 12th, 1761."</p> - -<p>I have an early impression of this print in which the dedication to -the King of Prussia does not appear, and it might pass for a proof. -On inquiry I find that, upon one of Hogarth's fastidious friends objecting -to its being dedicated to a foreign potentate, he replied, "If you -disapprove of it, <em>you</em> shall have one without any dedication;" and took -off a few impressions, covering the dedication with fan paper.</p> - -<p>Sullivan was so eccentric a character, that while he was employed in -engraving this print, Hogarth held out every possible inducement to his -remaining at his house in Leicester Square night and day; for if once -Luke quitted it, he was not visible for a month. It has been said, but -I know not on what authority, that for engraving it he was paid only -one hundred pounds.</p> - -<p>In the original picture, which is in the Foundling Hospital, the old -man to whom a Frenchman is giving a letter has a plaid waistcoat.</p> - - -<p class="p1 pfs120">1751.</p> - -<p>1. Beer Street. In the <em>first state</em>—The blacksmith is lifting up a -Frenchman; in the <em>second</em>—The Frenchman is properly discarded, and -a shoulder of mutton supplies his place.</p> - -<p>2. Gin Lane. I have been told that in a print in the collection -of Lord Exeter there are numerous though trifling variations; but I -never saw it.<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a></p> - -<p>Of their intentions, Hogarth gives the following account:—"When -these two prints were designed and engraved, the dreadful consequences<span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span> -of gin-drinking appeared in every street. In Gin Lane, every -circumstance of its horrid effects is brought to view <i lang="la" xml:lang="la">in terrorem</i>. Idleness, -poverty, misery, and distress, which drives even to madness and -death, are the only objects that are to be seen; and not a house in -tolerable condition but the pawnbroker's and gin-shop.</p> - -<p>"Beer Street, its companion, was given as a contrast, where that -invigorating liquor is recommended in order to drive the other out of -vogue. Here all is joyous and thriving: industry and jollity go hand -in hand. In this happy place the pawnbroker's is the only house going -to ruin; and even the small quantity of porter that he can procure is -taken in at the wicket, for fear of further distress."</p> - -<p>3. The Four Stages of Cruelty—</p> - -<p>Plate 1. Shadows strengthened.</p> - -<p>Plate 2. Shadows heightened.</p> - -<p>Plate 3. The whole print somewhat darker.</p> - -<p>Plate 4. This, and the five last-mentioned prints, were, on common -paper, marked "price 1s.;" on superior paper, "1s. 6d." The -stamp by which the artist marked the "6d." was cut by himself on a -halfpenny, now in my possession. Of Plates 3 and 4 there are -wooden cuts, which were engraved under Hogarth's inspection.</p> - -<p>The motives by which Hogarth was induced to make the designs, he -thus describes:—</p> - -<p>"The leading points in these as well as the two preceding prints, -were made as obvious as possible, in the hope that their tendency -might be seen by men of the lowest rank. Neither minute accuracy -of design nor fine engraving were deemed necessary, as the latter would -render them too expensive for the persons to whom they were intended -to be useful; and the fact is, that the passions may be more forcibly -expressed by a strong, bold stroke, than by the most delicate engraving. -To expressing them as I felt them, I have paid the utmost attention; -and as they were addressed to hard hearts, have rather preferred leaving -them hard, and giving the effect, by a quick touch, to rendering them<span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span> -languid and feeble by fine strokes and soft engraving, which require -more care and practice than can often be attained, except by a man of -a very quiet turn of mind. Masson, who gave two strokes to every -particular hair that he engraved, merited great admiration; but at such -admiration I never aspired, neither was I capable of obtaining it if -I had.</p> - -<p>"The prints were engraved with the hope of, in some degree, correcting -that barbarous treatment of animals, the very sight of which -renders the streets of our metropolis so distressing to every feeling -mind. If they have had this effect, and check the progress of cruelty, -I am more proud of having been the author than I should be of -having painted Raphael's Cartoons.</p> - -<p>"The French, among their other mistakes respecting our tragedies, -etc., assert that such scenes could not be represented except by a -barbarous people. Whatever may be our <em>national character</em>, I trust -that our <em>national conduct</em> will be an unanswerable refutation."<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a></p> - -<p>4. Paul before Felix; "designed and scratched in the true Dutch -taste by W<sup>m</sup>. Hogarth." Under the second impression, "designed -and etched in the ridiculous manner of Rembrandt by W<sup>m</sup>. Hogarth." -The drowsy angel was (I have been told) intended as a portrait of Luke -Sullivan. The advocate is said to be designed for Dr. King. See -Worlidge's <cite>View of Lord Westmoreland's Installation</cite>.</p> - -<p><em>Second state</em>—A little devil sawing off the leg of the apostle's stool.</p> - -<p>This very whimsical print was originally given as a receipt to the -Pharaoh's Daughter and the serious Paul before Felix, and sealed with -a palette and pencils, engraven on a small ring which Hogarth usually -wore, and which Mrs. Lewis has since presented to me. The early -proofs are usually stained with bister. Hogarth always gave the print -to such of his friends as wished for it; but finding demands too frequent, -cut the engraved receipt from the copper, and sold it at 5s. -From this print in its first state he took a few reverses.</p> - - -<p class="p1 pfs120">1752.</p> - -<p>1. Paul before Felix.</p> - -<p>"And as he reasoned of righteousness, temperance, and judgment -to come, Felix trembled."</p> -<p><span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span></p> -<p>"Engraved by W<sup>m</sup>. Hogarth, from his original painting in Lincoln's-Inn -Hall, and published as the Act directs, Feb. 5, 1752."</p> - -<p>2. The same subject, with fewer figures, and those reversed on the -plate. This, though not good, is, in arrangement, design, and engraving, -much superior to the preceding. The same text and inscription, -"from his original painting," etc., is continued, though that first -mentioned is the copy from the picture in Lincoln's-Inn Hall.</p> - -<p>"Published Feb. 5, 1752. Engraved by Luke Sullivan."</p> - -<p>In the <em>second state</em>—A quotation from Dr. Warton's <cite>Essay on the -Genius and Writings of Pope</cite> was inserted in one corner of the margin; -but the critique which it contained being founded in a mistake, which -the Doctor in the second edition very liberally retracted, Hogarth, in -some of the succeeding impressions, covered the quotation with paper -when the print was taken off, and afterwards entirely effaced it from -the copper.</p> - -<p>In the present state of the plate, the date of publication and name -of the engraver are taken out.</p> - -<p>3. Moses brought to Pharaoh's Daughter.</p> - -<p>"From the original painting in the Foundling Hospital; engraved -by Will<sup>m</sup>. Hogarth and Luke Sullivan."</p> - -<p>"Published Feb. 5, 1752, according to Act of Parliament; W. -Hogarth, <i lang="la" xml:lang="la">pinxt.</i>"</p> - -<p>The <em>second state</em> has the same quotation from Dr. Warton as the -preceding print, and for the same cause it was afterwards effaced from -the copper.</p> - -<p>Third impression; "W. Hogarth, <i lang="la" xml:lang="la">pinxt.</i>, and published according -to," etc., effaced, and its place supplied by "published as the Act -directs, Feb. 5, 1752."</p> - -<p>Columbus breaking the Egg. Ticket to the <cite>Analysis</cite>. "Rec<sup>d</sup>. -Nov<sup>r</sup>. 30, 1752, of Nath<sup>l</sup>. Garland, Esq., five shillings, being the first -payment for a short tract in quarto, called the <cite>Analysis of Beauty</cite>, -wherein forms are considered in a new light," etc.</p> - - -<p class="p1 pfs120">1753.</p> - -<p>The receipt cut off and inscribed, "designed and etched by -W<sup>m</sup>. Hogarth, Dec<sup>r</sup>. 1, 1753."</p> - -<p>2. Analysis of Beauty, two plates.</p> - -<p>Plate 1. In an impression in the possession of Mr. Baker, "<span class="fs80">ET TU -BRUTE</span>" is engraved on the pedestal on which Quin stands in the character -of Brutus.</p> - -<p><span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span></p> - -<p>In the <em>second state</em>, though this inscription is erased, on close inspection -some of the letters are still visible.</p> - -<p>Plate 2. <em>First state</em>—A vacant chair under the figure of Henry <span class="fs80">VIII.</span> -The principal figure is said to be a portrait of the Duke of Kingston.</p> - -<p><em>Second state</em>—Altered to a portrait of his present Majesty: the -position of the right hand, etc. changed; the riband to the necklace -of the principal female figure lengthened, and a sleeping figure put in -the vacant chair. In the <em>present state</em>—The necklace riband is made -still longer.</p> - -<p>3. Frontispiece to Kilby's <cite>Perspective</cite>; engraved by Sullivan.</p> - - -<p class="p1 pfs120">1754.</p> - -<p class="pfs120"><span class="smcap">Election Entertainments, etc.</span></p> - -<p>Hogarth's subscription-book, with the names of all, and autographs -of most of the subscribers, is in my possession; and by this it appears -that the subscription to the first print of an Election Entertainment, or -to the complete set, commenced 28th March 1754. From this time to -the 31st of May in the same year, there were 461 subscribers to the -first print, and 127 to the complete set. The leading names on the list -are the Prince of Wales, the Princess-Dowager of Wales, and Prince -Edward; but the first person that has any money annexed to his -signature is the Right Hon. Henry Fox, afterwards Lord Holland.</p> - -<p>The subscription for the remaining three prints was opened 24th -Feb. 1755, and closed 28th August 1756. To this there were only -165 subscribers, so that there were 296 names to the first print who did -not continue to subscribe to the other three.</p> - -<p>As a receipt to these prints, he gave the following engraving, with -emblematical devices of Crowns, Mitres, etc., published in the year -1736, as a headpiece to an inscription expressing his gratitude to the -Legislature for passing the Act to protect prints from piracy, etc.:—</p> - - -<p class="p1 pfs100"><em>Crowns, Mitres, Maces, etc.</em></p> - -<p>"Received 4th May 1754, of Mr. King, 5s., being the first payment -for a print representing an Election Entertainment, which I promise to -deliver when finished on the receipt of five shillings and sixpence more. -Wm. Hogarth."</p> - -<p>"<em>N.B.</em>—The price will be raised when the subscription is over."</p> - -<p><em>Second state</em>—Receipt for one guinea, being the first payment for -the four prints. In this, the receipt for 5s. appears to have been<span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span> -covered with paper while the impressions were taken off, and that for -a guinea, engraved on another piece of copper, stamped beneath.</p> - -<p><em>Third state</em>—Receipt for 15s., being the first payment "for three -prints representing the polling," etc.</p> - - -<p class="p1 pfs120"><span class="smcap">Four Prints of an Election.</span></p> - -<p>Plate 1. An Election Entertainment.</p> - -<p>It has been said that Hogarth attempted to finish this plate without -taking a single proof from it, to examine the effect as he proceeded in -his work. Be that as it may, the <em>little</em> alterations are more numerous -than in any of his other prints; and that in the inscription, stating the -<em>whole</em> to be engraved by Hogarth, being so often inserted and repeatedly -effaced, I am unable to account for.</p> - -<p><em>First state</em>—"Painted, and the whole engraved by W<sup>m</sup>. Hogarth," -"Published 24th Feb. 1755," and "Inscribed to the Right Honourable -Henry Fox, etc. etc. etc."</p> - -<p>Seven cut lemons on a piece of paper close to the punch-tub; four -hats in the corner; "For our Country," on the riband in the striped -cap of the butcher pouring out gin. A salt-cellar and a bit of bread -near the fork upon the table.</p> - -<p><em>Second state</em>—The two words, "the whole," in the inscription, -scratched over with black lines; the drapery, stockings, etc. on the -table before Richard Slim made much darker; the hand of the fat old -woman, close to the candidate, removed from under her apron, and -hanging down by her side, by which the shoulder, elbow, etc. are thrown -out of drawing; her countenance less clear, and a single tooth, very -conspicuous in the first impression, is here removed. Shadow on the -top of the wainscot in the left corner effaced. Half a casement near -the painting of a landscape changed to a window-shutter; the king's -head, frame, and background behind it, lighter; the salt-cellar and bit -of bread removed from the table; lemons taken out, and the tub, pail, -and foreground below them much lighter; the boy's napkin darker. -The butcher's cap, in which was "For our Country," has now "<span class="fs80">PRO -PATRIA</span>," and is not striped; the open-back chair in which he was seated -in the <em>first state</em>, is here filled up to a cushion back. The words, -"sure votes" and "doubtful," in the attorney's book, are re-engraved. -Both leaves are shadowed, and the centre line from top to bottom, -which in the <em>first state</em> was with the "sure votes," is here transferred -to the "doubtful." Two pearly drops are trickling from the parson's -forehead. Four windows are added to a house seen out of the open<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span> -casement; a pair of scissors suspended to the Methodist tailor's apron-string, -and the pen, stuck under the wig of the fellow who offers him a -bribe, which in the <em>first state</em> was with the feather outwards, is now -properly altered to the quill outwards. There are several other little -variations in the shadows which seem generally intended to bring the -print into harmony; and I think have their effect, for it is more still, -and in better keeping than in the <em>first state</em>.</p> - -<p><em>Third state</em>—The cross strokes of the graver on the words "the -whole," in the inscription, nearly burnished out. One hat added in -the corner, and another placed on the bench near the scabbard and -gloves. The face, knot, etc. of the little girl near the candidate -darkened; and the hair of the fellow smoking him much shadowed, -and rendered less woolly. Character of face of the boy pouring punch -altered, and hair made much darker.</p> - -<p><em>Fourth state</em>—The words "the whole" again inserted; the W is -different, and engraving not so good as in the <em>first state</em>: the shadow -on the top of the wainscot, close to the landscape, again restored. A -strong shadow on the lower part of the round table in the corner -burnished down.</p> - -<p><em>Fifth</em>, which is the <em>present state</em>—The words "the whole" again -completely effaced by black lines. The masses somewhat stronger, and -the shadows on the round table in the corner, especially on the edge, -made darker.</p> - -<p>I have this print in all the states here described, and believe that the -third and fourth are very uncommon.</p> - -<p>On the butcher with "<span class="fs80">PRO PATRIA</span>" in his cap, and his wounded -companion, Hogarth makes the following remark:—</p> - -<p>"These two patriots, who, let what party will prevail, can be no -gainers, yet spend their time, which is <em>their</em> fortune, for what they suppose -right, and for a glass of gin lose their blood, and sometimes their -lives, in support of <em>the cause</em>, are, as far as I can see, entitled to an -equal portion of fame with many of the emblazoned heroes of ancient -Rome; but such is the effect of prejudice, that though the picture of an -antique wrestler is admired as a grand character, we necessarily annex -an idea of vulgarity to the portrait of a modern boxer. An old blacksmith -in his tattered garb is a coarse and low being; strip him naked, -tie his leathern apron round his loins, chisel out his figure in freestone -or marble, precisely as it appears—he becomes elevated, and may pass -for a philosopher, or a Deity."</p> - -<p>Plate 2. Canvassing for Votes.</p> - -<p><span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span></p> - -<p>"Engraved by C. Grignion, published 20th February 1757," and -inscribed to Sir Charles Hanbury Williams.</p> - -<p>In this admirable print I discover no variations, except that the lion's -teeth are, in the <em>second impression</em>, removed; and the lines throughout -having been re-entered, are somewhat darker than in the <em>first state</em>.</p> - -<p>Plate 3. The Polling.</p> - -<p>"Engraved by Hogarth and Le Cave, published 20th February -1758," and inscribed to the Hon. Sir Ed. Walpole.</p> - -<p>In an etching (touched in the shadows by Hogarth) which I have of -this plate, the blind voter going up the steps has not any bandage over -his eyes. The cockade of the sick figure just before him is not of -sufficient length for the words "true blue" now inserted, and probably -an afterthought. The fellow before him with a pipe in his mouth, in -the print is without a nose, but in the etching has a very large one; -while the man to whom this old smoker is presenting tobacco, and who -in the print has so speculative and carbuncled a proboscis, has, in the -etching, scarcely any nose at all. The book in the pocket of Dr. -Shebeare is so much intersected as not to admit of the inscription, afterwards -added, of ("the 6th letter to the"), without the strokes being -burnished out.</p> - -<p><em>Second impression</em>—"Milicia Bill," awkwardly inscribed on the -maimed voter's skirt, intended to appear as a paper hanging out of his -pocket.</p> - -<p>Plate 4. Chairing the Members.</p> - -<p>"Engraved by W. Hogarth and F. Aviline; published 1st January -1758," and inscribed to the Hon. George Hay, one of the Lords Commissioners -of the Admiralty.</p> - -<p><em>Second impression</em>—The word <span class="fs80">INDINTUR</span> (indenture) written on the -scroll hanging out of the attorney's window.</p> - - -<p class="p1 pfs120">1756.</p> - -<p>1. France and England, in two plates, "designed and etched by -Hogarth," and published March 8, 1756.</p> - -<p>In the very early impressions of these prints, the titles France and -England are not inserted.</p> - - -<p class="p1 pfs120">1758.</p> - -<p>The Bench, "designed and engraved by W. Hogarth," and published -4th September 1758.</p> - -<p><span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span></p> - -<p>This plate, in its <em>first state</em>, exhibits the inside of the Court of Common -Pleas, the king's arms at top. Portraits of the following judges -are beneath it:—Hon. William Noel; Sir John Willes, Lord Chief -Justice; Hon. Mr. Justice, afterwards Earl Bathurst; Sir Edward -Clive.</p> - -<p>Over the print is written "Character;" under it, "Of the different -meanings of the words Character, Caricatura, and <i lang="fr" xml:lang="fr">Outré</i>, in painting -and drawing." This is followed by a long explanatory inscription -engraved on another piece of copper. The original picture, which is -somewhat different from the print, was once the property of Sir George -Hay, and is now in the possession of Mr. Edwards.</p> - -<p><em>Present state</em> of the plate—The word Character is effaced, and the -king's arms discarded, and its place supplied by eight caricatured -heads, on which the artist worked the day before he died. Below the -inscription is inserted—</p> - -<p>"The unfinished group of heads in the upper part of this print -was added by the author in October 1764, and was intended as a further -illustration of what is here said concerning character, caricatura, and -<i lang="fr" xml:lang="fr">outré</i>. He worked upon it the day before his death, which happened -the 26th of that month."</p> - -<p>The mistakes which Hogarth's friends frequently made in the meaning -of the words character, caricatura, etc., seem to have dwelt much -on his mind. In one of his <span class="fs80">MSS.</span> he has given the following thoughts -on the subject:—</p> - -<p>"I have ever considered the knowledge of character, either high or -low, to be the most sublime part of the art of painting or sculpture, -and caricatura as the lowest—indeed, as much so as the wild attempts -of children when they first try to draw: yet so it is, that the two -words, from being similar in sound, are often confounded. When I -was once at the house of a foreign face-painter, and looking over a -legion of his portraits, Monsieur, with a low bow, told me that he infinitely -admired my caricatures! I returned his <i lang="fr" xml:lang="fr">congé</i>, and assured -him that I equally admired his.</p> - -<p>"I have often thought that much of this confusion might be done -away, by recurring to the three branches of the drama, and considering -the difference between comedy, tragedy, and farce. Dramatic dialogue, -which represents nature as it really is, though neither in the most -elevated nor yet the most familiar style, may fairly be denominated -comedy: for every incident introduced might have thus happened; -every syllable have been thus spoken, and so acted in common life.<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span> -Tragedy is made up of more extraordinary events. The language is in -a degree inflated, and the action and emphasis heightened. The performer -swells his voice, and assumes a consequence in his gait; even -his habit is full and ample, to keep it on a par with his deportment. -Every feature of his character is so much above common nature, that -were people off the stage to act, speak, and dress in a similar style, -they would be thought fit for Bedlam. Yet with all this, if the player -does not o'erstep the proper bounds, and, by attempting too much, -become swoln, it is not caricatura, but elevated character. I will go -further, and admit, that with the drama of Shakspeare, and action of -Garrick, it may be a nobler species of entertainment than comedy.</p> - -<p>"As to farce, where it is exaggerated, and <i lang="fr" xml:lang="fr">outré</i>, I have no objection -to its being called caricature, for such is the proper title."</p> - - -<p class="p1 pfs120">1759.</p> - -<p>1. The Cockpit. "Designed and engraved by Wm. Hogarth," and -published November 5, 1759.</p> - -<p>2. Frontispiece to <cite>Tristram Shandy</cite>, vol. 2; engraved by S. Ravenet.</p> - -<p>3. Another copy, by the same engraver, in which a hat and cloak are -introduced, and the faces of his father and uncle Toby much inferior -to the former plate. A print for the 4th volume, representing the -christening, was published in 1761. "F. Ravanet, <i lang="la" xml:lang="la">sculp.</i>"—for thus is -the name here written. A print of the same size was engraved from -the same design by J. Ryland. The original drawings are in the possession -of Mrs. Nicol.</p> - - -<p class="p1 pfs120">1760.</p> - -<p>1. Frontispiece to Brook Taylor's <cite>Perspective of Architecture</cite>. "W. -Hogarth, 1760; W. Woollet, <i lang="la" xml:lang="la">sculp.</i>" <a href="#FPP"><em>Vide</em> p. 132.</a></p> - -<p>2. Mr. Huggins, a small circular plate. Hogarth, <i lang="la" xml:lang="la">pinx.</i>; Major, -<i lang="la" xml:lang="la">sculp.</i> Engraved for a translation of <cite>Dante</cite>, of which a specimen only -was published.</p> - - -<p class="p1 pfs120">1761.</p> - -<p>1. Frontispiece to the catalogue of pictures exhibited at Spring -Gardens; engraved by Grignion. <a href="#FPA"><em>Vide</em> p. 77.</a></p> - -<p>2. Another print from this design, by the same engraver.</p> - -<p>3. Tail-piece to the catalogue. The word <em>obiit</em> spelt <em>obit</em>. <a href="#TPA"><em>Vide</em> -p. 79.</a> In a second plate this error is corrected.</p> - -<p><span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span></p> - -<p>4. Hogarth's Gate of Calais; and Relapse, or Virtue in Danger, and -three portraits, were in this exhibition.</p> - -<p>5. Time Smoking a Picture. Subscription-ticket to Sigismunda. -I have seen an impression of this print without the name "Crates" in -the inscription.</p> - -<p>6. "The Five Orders of Periwigs, as they were worn at the late -coronation, measured architectonically."</p> - -<p><em>Second impression</em>—The spelling in the word "advertisement" -corrected, by an <em>e</em> inserted on the neck of the Duchess of Northumberland. -This is a pointed ridicule on Stewart's <cite>Antiquities of Athens</cite>, in -which the measurements of all the members of the Greek architecture -are given with minute accuracy. Hogarth's opinion of his labours may -be gathered from the following fragment, which he wrote concerning -this print:—</p> - -<p>"There is no great difficulty in measuring the length, breadth, or -height of any figures, where the parts are made up of plain lines. It -requires no more skill to take the dimensions of a pillar or cornice, -than to measure a square box; and yet the man who does the latter is -neglected, and he who accomplishes the former is considered as a -miracle of genius; but I suppose he receives his honours for the distance -he has travelled to do his business."</p> - -<p>7. Frontispiece to the <cite>Farmer's Return from London</cite>; engraved by -J. Basire. Of this plate there is an admirable copy with the same -name, and a vile imitation without any name.</p> - -<p>Enthusiasm Delineated.</p> - -<p>A reduced copy and description of this very singular print, which -was the first thought for the Medley, is in <a href="#Page_169">p. 169.</a> A copy of the same -size was published by the editor of this volume in 1796.</p> - - -<p class="p1 pfs120">1762.</p> - -<p>1. Credulity, Superstition, and Fanaticism: A Medley. "Designed -and engraved by Wm. Hogarth," and published March 15, 1762. -<a href="#Page_175"><ins class="corr" title="Transcriber's Note—Original text: 'Vide 175'"><em>Vide</em> p. 175.</ins></a></p> - -<p>2. The Times, Plate 1; "designed and engraved by W. Hogarth," -and published Sept. 7, 1762. In the <em>first impression</em>—A figure of -Henry <span class="fs80">VIII.</span> is exalted on stilts, and blowing up the flames; in the -<em>second</em>—The monarch is erased, and Mr. Pitt, afterwards Lord Chatham, -introduced in his place.</p> - -<p>The Times, Plate 2, was engraved soon after, but withheld from -the public until Mrs. Hogarth's death, when the plate was purchased<span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span> -by Messrs. Boydell, and published May 29, 1790. Part of the sky is -left unfinished.</p> - -<p>3. T. Morell, <span class="fs80">S. T. P. S. S. A.</span>; "W. Hogarth, <i lang="la" xml:lang="la">delin.</i>;" "James -Basire, <i lang="la" xml:lang="la">sculp.</i>" Some impressions are without either the inscription -of "Thesaurus" or "<i lang="la" xml:lang="la">Ætat. 60.</i>"</p> - -<p>A correct copy has the same painter and engraver's name.</p> - -<p>4. Henry Fielding, <i lang="la" xml:lang="la">Ætatis 48</i>; "W. Hogarth, <i lang="la" xml:lang="la">delin.</i>;" "James -Basire, <i lang="la" xml:lang="la">sculp.</i>" A few impressions were taken off before the frame and -ornaments were inserted. The copy in <a href="#FIE">p. 206</a> is taken from one of -them in my possession.</p> - - -<p class="p1 pfs120">1763.</p> - -<p>1. "John Wilkes, Esq., drawn from the life, and etched in aquafortis -by William Hogarth. Price 1s."</p> - -<p>4. The Weighing House. Frontispiece to Clubbe's <cite>Physiognomy</cite>; -W. Hogarth, <i lang="la" xml:lang="la">del.</i>; Luke Sullivan, <i lang="la" xml:lang="la">sculp.</i></p> - -<p>Another copy, without either painter or engraver's name, which the -late W. Ryland told me was engraved by him, and the heads afterwards -touched upon by Hogarth. Prefixed to Clubbe's works, in two vols.</p> - -<p>A small copy was engraved for an octavo edition of the same -pamphlet.</p> - - -<p class="p1 pfs120">1764.</p> - -<p>The Bathos. "Designed and engraved by Wm. Hogarth," and -published March 3, 1764.</p> - - -<p class="p1 pfs120">1767.</p> - -<p>Satan, Sin, and Death: Milton's <cite>Paradise Lost</cite>, B. 2. Engraved by -C. Townley, and intended to have been published April 15, 1767; but -when a few impressions were taken off, the plate was destroyed. One -of the copies of this strange and incomprehensible print is in the possession -of Mr. Bellamy, Charlotte Row.</p> - -<p>A print of a smaller size, with some variations, has been since -engraved by Ogbourne, and I have seen one of a larger size, of a -similar description, without any name.</p> - -<p>The Good Samaritan. Engraved by Ravenet and Delatre, and -published Feb. 24, 1772, by J. Boydell. Hogarth's first sketch is in -the possession of Mr. Bellamy.</p> - -<p>The Pool of Bethesda. Engraved by Ravenet and Picot as a companion -to the preceding print. These engravings were copied from the<span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span> -pictures in St. Bartholomew's Hospital. A small copy of the latter -was, in 1748, engraved by Ravenet for S. Austen, as a frontispiece to -Stackhouse's <cite>Bible</cite>.</p> - - -<p class="p1 pfs120">1775.</p> - -<p>The Politician; etched by J. K. Sherwin, and published by Jane -Hogarth, 1774, Oct. 31. <a href="#POL"><em>Vide</em> p. 197.</a> In the early impressions the -figure "5" and 31st October, are usually inserted with a pen.</p> - - -<p class="p1 pfs120">1781.</p> - -<p>1. A small and slight etching, conjectured to be Solsull, a maker of -punches for engravers. "S. J. <i lang="la" xml:lang="la">fecu.</i>, 1781."</p> - -<p>2. Four Heads from the Cartoons at Hampton Court; an early etching -by Hogarth, published by Mrs. Hogarth, May 14, 1781.</p> - -<p>The Matchmaker. <a href="#MAT"><ins class="corr" title="Transcriber's Note—Original text: 'Vide 199'"><em>Vide</em> p. 199.</ins></a></p> - - -<p class="p1 pfs120">1782.</p> - -<p>1. The Staymaker.</p> - -<p>2. Debates in Palmistry.</p> - -<p>3. Portrait of Henry Fox, Lord Holland.</p> - -<p>4. Portrait of James Caulfield, Earl of Charlemont.</p> - -<p>The four last articles are slightly etched by Joseph Haynes, from -very bald and unfinished sketches by Hogarth. The plates are in the -possession of Mr. Jeffrey, Pall Mall.</p> - -<p>5. The Shrimp Girl. Engraved in the dotted style by Bartolozzi. -Had this unrivalled artist etched this print in the manner he did -Guercino's drawings, he would have transferred the true spirit of the -original. As it is, we have Hogarth translated into Italian.</p> - -<p>It was published by Mrs. Hogarth in 1782, by subscription, with the -five following prints engraved by Livesay.</p> - -<p>6 and 7. Portraits of Gabriel Hunt and Benjamin Read.</p> - -<p>8, 9, and 10. Three plates from sketches by Hogarth, designed for -the monument and epitaph of George Taylor.</p> - -<p>11. Nine prints for Hogarth's <cite>Tour</cite>, from drawings by Scott, etc., -engraved by Livesay, accompanied with nine pages of letterpress.</p> - -<p>12. Hogarth's Crest. A spiral shell painted on his carriage, and -since his death copied by Livesay.</p> - -<p>13. Eta Beta Py. Prefixed to the title of the second edition of Mr. -Nichols' <cite>Anecdotes</cite>.</p> - -<p><span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span></p> - -<p>14. An Old Parson's Head, most admirably marked; engraved in -the dotted style.</p> - - -<p class="p1 pfs120">1785.</p> - -<p>The four which follow were etched by S. Ireland.</p> - -<p>1. Orator Henley Christening a Child. From an unfinished sketch -by Hogarth.</p> - -<p>2. A Small Landscape.</p> - -<p>3. Head of a Female Moor.</p> - -<p>4. Head of Diana.</p> - -<p>The Portrait of a Young Girl, from a picture in the possession of -Mrs. Hogarth, was about this time very delicately engraved by Martha -Knight, Brompton.</p> - - -<p class="p1 pfs120">1790.</p> - -<p>1. The Beggars' Opera. Engraved by Blake, and published by -Messrs. Boydell, from a picture in the collection of the Duke of Leeds.</p> - -<p>2. Sealing the Sepulchre: from the Altar-piece in St. Mary Redcliffe's, -Bristol; engraved in a large mezzotinto by J. Jenner.</p> - -<p>3. The Sepulchre; engraved from the same altar-piece as a companion, -with the title of The Resurrection. <a href="#SEP"><em>Vide</em> p. 195.</a></p> - - -<p class="p1 pfs120">1792.</p> - -<p>1. The Indian Emperor, or Conquest of Mexico; from the original -picture in the collection of Lord Holland; engraved by R. Dodd, -and published by Messrs. Boydell.</p> - -<p>2. Sigismunda. Engraved by Benj. Smith, and published by -Messrs. Boydell, who possess the original picture, from which there -was an etching by Basire in Hogarth's lifetime; and from the sketch a -print in mezzotinto was a few years since engraved by Dunkarton.</p> - - -<p class="p1 pfs120"><span class="smcap">Prints of Uncertain Date.</span></p> - -<p>Some of the following prints are insignificant enough, others are -curious, but all derive their principal value from being the work of -Hogarth. I have noted the prices at which a few of them sold, and -think it probable that No. 30 produced more money at Mr. Gulston's -sale than the artist received for engraving the twenty-nine preceding -prints:—</p> - -<p><span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span></p> - - -<p class="p1 pfs100"><em>Coats of Arms.</em></p> - -<p>1. A Gryffon with a Flag. A crest.</p> - -<p>2. Lord Aylmer's Coat of Arms. A copy sold for £7, 10s. in Mr. -Gulston's sale.</p> - -<p>3. Lord Radnor's Coat of Arms.</p> - -<p>4. A large Coat of Arms, with Terms of the Four Seasons.</p> - -<p>5. A Coat of Arms, with two Slaves as trophies.</p> - -<p>6. Another with two Boys as Terms.</p> - -<p>7. Foreign Coat of Arms; supporters, a Savage and Angel.</p> - -<p>8. The Duchess of Kendal's Arms. <a href="#ARM"><em>Vide</em> p. 28.</a> A copy sold in -Mr. Gulston's sale for £4.</p> - -<p>9. Another, for a silver tea-table, larger, but not so neatly engraved. -Sold in the same sale for £6.</p> - -<p>10. Another.</p> - -<p>11. With a male shield, probably a mistake of the engraver's.</p> - -<p>12. A Coat of Arms, engraved on a silver tea-table.</p> - -<p>13. The same ornaments left, and Sir Gregory Page's arms inserted -in their place. At Sir Gregory's sale, the table was purchased by Mr. -Morrison, who, after taking off twenty-five impressions, melted the plate.</p> - -<p>14. The Chudleigh Arms. Motto: <i lang="la" xml:lang="la">Aut vincam, aut peribo</i>.</p> - -<p>15. Arms of Gore, engraved on a silver waiter.</p> - -<p>16. Arms of John Holland, herald painter; a book plate. In the -second impressions the lion is of a smaller size, and eight <i lang="fr" xml:lang="fr">fleur-de-lis</i> -instead of the seven originally inserted.</p> - -<p>17. Arms of George Lambart. Said to have been a book-plate for -Lambert the painter. If it was so, it is passing strange that the name -should be thus spelt.</p> - - -<p class="p1 pfs100"><em>Shop-bills.</em></p> - -<p>18. A large Angel, holding a palm in his left hand: a shop-bill for -Ellis Gamble, at the Golden Angel, Cranbourn Street, Leicester Fields, -has sold for £7, 7s.</p> - -<p>19. A contracted copy of the above.</p> - -<p>20. Another, somewhat different, in the collection of Mr. Walpole.</p> - -<p>21. A Turk's Head: a shop-bill for John Barker, goldsmith, Lombard -Street.</p> - -<p>Of the head there is a modern copy.</p> - -<p>22. A shop-bill for Mrs. Holt, at the Italian Warehouse in the -Strand; with the Duke of Tuscany's and the Florence arms; and -views of Naples, Venice, Genoa, and Leghorn at the four corners. -A copy sold in Mr. Gulston's sale for £6, 6s.</p> - -<p><span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span></p> - -<p>23. Shop-bill, for his sisters, Mary and Ann Hogarth, at the King's -Arms, joining to the Little Britain gate. People in a shop, etc., has -sold for £8, 8s.</p> - - -<p class="p1 pfs100"><em>Tickets, etc.</em></p> - -<p>24. A Ticket for the benefit of Spiller the player.</p> - -<p>25. A Ticket for the benefit of Millward.</p> - -<p>26. Ticket for a burial. Sold in Gulston's sale for £5, 7s. 6d.</p> - -<p>27. A Ticket for the school at Tiverton, Devonshire.</p> - -<p>28. The Great Seal of England.</p> - -<p>29. Impression from a tankard belonging to a club of artists, who, as -I have been told, met at the sign of a Shepherd and his Flock, Clare -Market. This design is in a good taste. On the dexter side, as a supporter, -a man making a drawing; and on the sinister, a man modelling -a figure. In the centre is a Shepherd and his Flock, etc. A copy sold -in Mr. Gulston's sale for £10.</p> - - -<p class="p1 pfs100"><em>Miscellaneous.</em></p> - -<p>30. A small oval print of the Rape of the Lock, engraved on a -snuff-box. <a href="#RAP"><em>Vide</em> p. 25.</a> Sold, Feb. 7, 1786, at Mr. Gulston's sale for -£33.</p> - -<p>31. An Emblematic Print, representing Agriculture, etc.</p> - -<p>32. A Hieroglyphic Print, representing Royalty, Episcopacy, and -Law, composed of emblematic attributes, etc., abounds in wit and -satire. Of this there is a good copy by Samuel Ireland.</p> - -<p>33. Two small prints for books 1st and 3d of Milton's <cite>Paradise Lost</cite>. -W. Hogarth, <i lang="la" xml:lang="la">inv. et sculp.</i> These two prints were in Mr. Gulston's -sale sold for sixteen guineas; but the original plate of that for book -3d has been lately discovered, and is now in the possession of Mr. -Vincent.</p> - -<p>34. A Woman swearing a Child to a grave Citizen. W. Hogarth, -<i lang="la" xml:lang="la">pinx.</i>; J. Sympson, jun., <i lang="la" xml:lang="la">fecit</i>. <a href="#WOM"><em>Vide</em> p. 188.</a> Another copy is in -Picart's <cite>Religious Ceremonies</cite>.</p> - -<p>35. Orator Henley Christening a Child. John Sympson, jun., <i lang="la" xml:lang="la">fecit</i>. -The impressions are usually taken off in green. A copy of this also is -in Picart's <cite>Religious Ceremonies</cite>.</p> - -<p>36. The Mystery of Masonry brought to light by the Gormagons. -Hogarth, <i lang="la" xml:lang="la">inv. et sculp.</i></p> - -<p>The second impression published for Sayer.</p> - -<p>37. The Political Glyster, "Nahtanoi Tfiws" (Swift's name spelt -backwards), engraved on one corner, and on the other, Dr. O'Garth,<span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span> -<i lang="la" xml:lang="la">sculp.</i> It was originally inscribed, "the punishment inflicted on -Samuel Gulliver," etc.; but when the plate came into the hands of -Mr. Sayer, he added the present retrograde and ridiculous inscription.</p> - -<p>38. Six small prints, engraved for an early edition of King's <cite>Pantheon</cite>.</p> - - -<p class="p1 pfs120"><span class="smcap">Nine Prints for "Don Quixote."</span></p> - -<p>39. Plate 1.—Is inserted without either painter or engraver's name, -is in Jarvis' quarto translation. <a href="#DQ_I"><em>Vide</em> p. 220.</a></p> - -<p>40. Plate 2.—Was probably engraved for Lord Carteret's <cite>Don -Quixote</cite>, but not introduced; one figure only being finished, and the -plate cut. <a href="#DQ_II"><em>Vide</em> p. 221.</a></p> - -<p>41. Plate 3.—Engraved for the same work, but never inserted. -<a href="#DQ_III"><em>Vide</em> p. 222.</a></p> - -<p>42. Plate 4.—Had the same fate. <a href="#DQ_IV"><em>Vide</em> p. 222.</a></p> - -<p>43. Plate 5.—Was equally unfortunate. <a href="#DQ_V"><em>Vide</em> p. 224.</a></p> - -<p>44. Plate 6.—Not approved. <a href="#DQ_VI"><em>Vide</em> p. 224.</a></p> - -<p>45. Plate 7.—Not inserted. <a href="#DQ_VII"><em>Vide</em> p. 225.</a></p> - -<p>46. Plate 8.—Not introduced; but with the other five came into -the hands of Mr. Dodsley, who sold a few of the first impressions, -and afterwards inserted references corresponding with Jarvis' translation. -<a href="#DQ_VIII"><em>Vide</em> p. 226.</a></p> - -<p>47. Plate 9.—Sancho's Feast. <a href="#DQ_IX"><em>Vide</em> p. 227.</a></p> - -<p>48. The Master of the Vineyard, engraved for Horneck's <cite>Happy -Ascetic</cite>.</p> - -<p>49. Gustavus, Lord Viscount Boyne, etc. Whole-length mezzotinto, -engraved in Ireland. W. Hogarth, <i lang="la" xml:lang="la">pinx.</i>; Ford, <i lang="la" xml:lang="la">fecit</i>. The original -picture is in the possession of Mr. Bellamy. A copy of the print sold -in Gulston's sale for £2, 13s.</p> - -<p>50. Mr. Pine (the mezzotinto engraver), in the manner of Rembrandt, -both his hands resting upon a cane. Printed for George Pulley, etc.</p> - -<p>51. Another head of Mr. Pine; <ins class="corr" title="Transcriber's Note—Original text: 'mezzottinto by'">mezzotinto by</ins> M'Ardell. I am -much inclined to think that this is an alteration of the Plate No. 50. -Be that as it may, it is in every respect superior. Repaired copies, -with the inscription erased, are sometimes sold as Proofs.</p> - -<p>52. Daniel Lock, Esq., F.S.A., mezzotinto. W. Hogarth, <i lang="la" xml:lang="la">pinx.</i>; -J. M'Ardell, <i lang="la" xml:lang="la">fecit</i>. Price 1s. 6d.</p> - -<p>53. Ticket for the London Hospital, with Richmond Arms.</p> - -<p>54. The same, larger, without the Arms, by Grignion.</p> - -<p>55. Another, with a view of the London Hospital.</p> - -<p>56. The London Infirmary for charitably relieving sick and diseased<span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span> -manufacturers, seamen, etc. A blank certificate for pupils in surgery -and anatomy.</p> - -<p>57. A Witch on a Broomstick. Frontispiece to a pamphlet written -by Dr. Gregory Sharpe, but never published, inscribed Front-is-piss.</p> - -<p>58. The Discovery, or a Black Woman in Bed.</p> - -<p>A copy from Hogarth's Piquet, or Virtue in Danger, has been engraved -by Cheesman, and will be shortly published. The portraits -of five gentlemen who met to drink a hogshead of claret, which they -finished before they separated; of a nobleman and gentleman fighting -with a watchman; and an etching, copied from a small picture on the -back of a copperplate, have been some years advertised.</p> - -<p>A portrait of Sir Alexander Schomberg, engraved by Townley from -a portrait by Hogarth.</p> - -<p>A work, consisting of copies, the same size as the original prints, and -modestly entitled "<cite>Hogarth Restored</cite>," is now publishing in numbers. -The twelve originals of Industry and Idleness, Hogarth published at -twelve shillings. In this Restoration, the twelve copies amount to -thirty!</p> - -<p><cite>An Illustration of Hogarth</cite>, in the German language, by J. C. -Lichtenberg, with reduced copies from the prints, by J. Ripenhausen, -has been published at Gottingen, in numbers at 15s. each. The same -plates are used for a work, also publishing at Gottingen, on a similar -plan, with the illustrations in French.</p> - -<p>Many of the following articles, and others not worth enumeration, -imputed trash and libel not his own, have been foisted into auctioneers' -catalogues, sold for large sums, warranted originals, and</p> - - -<p class="p1 pfs120"><span class="smcap">Ascribed to Hogarth.</span></p> - -<p>1. Coat of Arms, from a large silver tea-table. Under the Arms -are a Shepherd and his Flock.</p> - -<p>2. Shop-bill for Peter de la Fontaine.</p> - -<p>3. The Oratory. Orator Henley on a scaffold.</p> - -<p>4. A Ticket for H. Fielding. Scene Pasquin.</p> - -<p>5. A Ticket for H. Fielding. Scene the Mock Doctor.</p> - -<p>6. A Ticket for James Figg the prize-fighter.</p> - -<p>7. A Ticket for the benefit of Joe Miller.</p> - -<p>8. The Gin-drinkers.</p> - -<p>9. Jack in Office; a Ticket-porter, etc.</p> - -<p>10. The complicated Richardson. Nauseous!</p> - -<p><span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span></p> - -<p>11. Pug the Painter. Sometimes ascribed to Hogarth.</p> - -<p>12. St. Mary's Chapel, 12 at Night. Probably Vandergucht's. -Sold as Hogarth's in Gulston's sale for £3, 4s.</p> - -<p>13. Farinelli, Cuzzoni, and Heidegger: said to be designed by the -Countess of Burlington, and etched by Goupy.</p> - -<p>14. Frontispiece to eight views in Richmond gardens.</p> - -<p>15. Frontispiece to Love in a Hollow Tree.</p> - -<p>16. Ten prints to Butler's posthumous works; published in 1730. -The same designs were published in 2 vols. twelves, in 1717. Some of -them are much like Hogarth.</p> - -<p>17. Samuel Butler, author of <cite>Hudibras</cite>. Coarsely engraved in an -oval.</p> - -<p>18. Thomas Pellet, M.D., President of the College of Physicians. -W. Hogarth, <i lang="la" xml:lang="la">pinx.</i>; C. Hall, <i lang="la" xml:lang="la">sculp.</i></p> - -<p>19. William Bullock, the comedian. W. Hogarth, <i lang="la" xml:lang="la">pinx.</i>; C. Hall, -<i lang="la" xml:lang="la">sculp.</i></p> - -<p>20. A scene of a pantomime entertainment lately exhibited, designed -by a Knight of Malta. Satire on the royal incorporated artists.</p> - -<p>An etched outline of a larger size, with some additions, was afterwards -published, and inscribed No. 2.</p> - -<p>21. The Calves' Head Club. I think, designed and engraved by -Vandergucht.</p> - -<p>22. Rape of the Smock. A palpable imposition.</p> - -<p>23. Lovat's Ghost on Pilgrimage. A mezzotinto copy was published -May 1, 1788.</p> - -<p>24. Four small prints of Lord Lovat's Trial, etc.</p> - -<p>25. A dotted print of Jenny Cameron.</p> - -<p>26. Two figures, designed for Lord Melcombe and Lord Winchelsea. -Hogarth, <i lang="la" xml:lang="la">inv.</i>; F. B. (F. Bartolozzi), <i lang="la" xml:lang="la">sculp.</i>; designed by Lord -Townshend.</p> - -<p>27. North and South of Great Britain. W. Hogarth, <i lang="la" xml:lang="la">del.</i>; F. B. -(Bartolozzi), <i lang="la" xml:lang="la">sculp.</i> Really designed by Sandby.</p> - -<p>28. Inside of an Opera House, scene a prison, sold as Hogarth's at -Gulston's sale, March 1, 1786, for £2, 4s.</p> - -<p>29. The Scotch Congregation.</p> - -<p>30. The Search Night. J. Fielding, <i lang="la" xml:lang="la">sculp.</i> Two cards were afterwards -engraved from the same design.</p> - -<p>31. Hogarth's cypher, with his name under it. A plate for books.</p> - -<p>32. A living Dog is better than a dead Lion; or, the Vanity of -Human Glory: a design for the monument of General Wolfe, 1760.</p> - -<p><span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span></p> - -<p>33. The Five Muscovites. Copied from De la Mottraye's <cite>Travels</cite>.</p> - -<p>A full-length print of a Savoyard Girl has been lately engraved from -a picture painted by Hogarth.</p> - - -<p class="p1 pfs120"><span class="smcap">Prints Published to Ridicule the "Analysis," "Times," etc.</span></p> - -<p>1. "A New <cite>Dunciad</cite>; done with a view of fixing the fluctuating -ideas of taste," etc.</p> - -<p>2. A Mountebank demonstrating to his admiring audience that -crookedness is most beautiful.</p> - -<p>3. The Author run mad.</p> - -<p>4. An Author sinking under the weight of his <cite>Analysis</cite>.</p> - -<p>5. "The Analyst," etc. etc. "in his own Taste." A vile, nauseous, -and vulgar print.</p> - -<p>6. Pugg's Graces, etched from his original daubing.</p> - -<p>7. The Temple of Ephesus in Flames, etc.; inscribed "A self-conceited -Dauber," etc., and extremely well etched.</p> - -<p>8. "<span lang="fr" xml:lang="fr">Burlesque sur le Burlesque</span>," with a French inscription: a large -print.</p> - -<p>9. "The second edition," with an English inscription, and some -slight variations.</p> - -<p>10. Burlesque of the Burlesque Paul; magic lantern, etc.</p> - -<p>11. The Painter's March from Finchley. "Dedicated to the King -of the Gypsies, as an encourager of Art, etc."</p> - -<p>12. The Butifyer, a touch upon the Times, Plate 1.</p> - -<p>13. The Times, Plate 2.</p> - -<p>14. The Times, Plate 1, 1762. Hogarth's head, with the body of an -ass, at the top of a ballad.</p> - -<p>15. The Raree Show, a political contrast to the Times.</p> - -<p>16. The Boot and the Blockhead.</p> - -<p>17. The Vision, or M——n—st—l Monster.</p> - -<p>18. John Bull's House in Flames.</p> - -<p>19. The Bruiser Triumphant, with a curtain inscribed, "A Harlot -blubbering over a Bullock's Heart."</p> - -<p>20. Tit for Tat.</p> - -<p>21. The Bear and Pugg: a small print.</p> - -<p>22. The Snarling Cur chastised.</p> - -<p>23. The Hungry Tribe of Scribblers and Etchers.</p> - -<p>24. The Grand Triumvirate, or Champions of Liberty; with three -foolish acrostics of Wilkes, Bute, and Hogarth.</p> - -<p><span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span></p> - -<p>I had nearly forgotten two curiosities, which, though received in all -the catalogues, and unquestionably genuine, can hardly be classed as -prints. One is entitled Hogarth's Cottage, engraved for Mr. Camfield, -a surgeon, on a breeches button the size of a half-crown, from Hogarth's -design, of which an etched copy by S. Ireland was published March 1, -1786. The other, being impressions taken from nine quadrille fish, was -published in 1792, with the title of—</p> - -<p>Pisces, one of the signs of the Zodiac.</p> - -<p>To enter into the spirit of the last article, the reader must be informed -that Hogarth never played at cards; and that while his wife and a -party of friends were so employed, he occasionally took the quadrille -fish, and cut upon them scales, fins, heads, etc., so as to give them -some degree of character. Three of these little aquatic curiosities which -remained in the possession of Mrs. Lewis, she presented to me, and I -have ventured to insert them as</p> - -</div> - -<p class="p2 pfs120"><span class="smcap">A Tail-piece.</span></p> - -<div class="figcenter"> -<a name="TAI" id="TAI"></a> -<img src="images/i_324.jpg" width="500" alt="" /> -</div> - - - - -<div class="footnotes"> -<h2>FOOTNOTES:</h2> - -<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 Dedication, of which I have prefixed a fac-simile, was written -for that work.</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> I am authorized to say that during her life Mrs. Hogarth never -parted with any of his papers, except a loose leaf or some such trifle, -which in one or two instances she gave to such as wished to possess a -little specimen of Hogarth's handwriting.</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> The printed sheets were occasionally corrected by his friend Townley, -etc. The Editor will have great pleasure in showing the <span class="fs80">MSS.</span> to -any gentleman who will do him the honour of inspecting them.</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> Rouquet's book was written in French, and describes the "Harlot's" -and "Rake's Progress," "Marriage à la Mode," and "March -to Finchley."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> When I wrote the <a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm">two former</a> <a href="http://www.gutenberg.org/files/51978/51978-h/51978-h.htm">volumes</a> of <cite>Hogarth Illustrated</cite>, I -had not seen the <span class="fs80">MSS.</span> which I now lay before the reader, nor did I -know that there were any such papers. His own declaration corroborates -the following conjecture relative to his early bias to the arts:—"Young -Hogarth had an early predilection for the arts, and his future -acquirements give us a right to suppose he must have studied the -curious sculptures which adorned his father's spelling-books, though -he neglected the letterpress; and when he ought to have been storing -his memory with the eight parts of speech, was examining the allegorical -apple-tree which decorates the grammar."—<cite>Hogarth Illustrated</cite>, -<a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm#Page_27">vol. i. p. 27.</a></p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> The dictionary here alluded to, Mrs. Lewis of Chiswick presented -to the Editor of this volume. It is a thick quarto, containing an early -edition of Littleton's <cite>Dictionary</cite>, and also Robertson's <cite>Phrases</cite>, with -numerous corrections to each, and about 400 pages of manuscript close -written. On the marginal leaf is inscripted in Hogarth's handwriting, -"The manuscript part of this dictionary was the work of Mr. Richard -Hogarth." Another volume of this work is in the possession of J. -Bindley, Esq., of the Stamp Office.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Hogarth's father came to the metropolis in company with Dr. -Gibson, the late Bishop of London's brother, and was employed as -corrector of the press, which in those days was not considered as a -mean employment.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> By Sir James Thornhill, afterwards his father-in-law.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Though averse, as he himself expresses it, to coldly copying on the -spot any objects that struck him, it was usual with him when he saw -a singular character, either in the street or elsewhere, to pencil the -leading features and prominent markings upon his nail, and when he -came home, to copy the sketch on paper, and afterwards introduce it -in a print. Several of these sketches I have seen, and in them may be -traced the first thoughts for many of the characters which he afterwards -introduced in his works.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> As this was the doctrine I preached as well as practised, an arch -brother of the pencil once gave it this turn, that the only way to draw -well, was not to draw at all; and, on the same principle, he supposed -that if I wrote an essay on the art of swimming, I should prohibit my -pupil from going into the water until he had learnt.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> If Hogarth calls himself idle, who shall dare to denominate himself -industrious?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> <cite>Hudibras</cite> was published in 1726, so that his father probably died -about the year 1721, leaving two daughters, Mary and Anne, besides -his son William, who, on the leaf of an old memorandum book in my -possession, after mentioning the time of his own birth and baptism, -thus continues:</p> - -<p class="pad4"> -"Mary Hogarth was born November 10th, 1699.<br /> -<span class="pad1"> Ann Hogarth, two years after in the same month.</span><br /> -<span class="pad1"> Taken from the Register at Great St. Bartholomew's."</span></p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> The leader of the figures hurrying to a masquerade, crowned with -a cap and bells, and a garter round his right leg, has been supposed to -be intended for George II., who was very partial to these nocturnal -amusements, and is said to have bestowed a thousand pounds towards -their support. The purse with the label £1000, which the satyr holds -immediately before him, gives some probability to the supposition. -The kneeling figure on the show-cloth, pouring gold at the feet of -Cuzzoni, the Italian singer (with the label, "Pray accept £8000"), has -been said to be designed for Lord Peterborough.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> As this print, to heighten the burlesque, was almost invariably -impressed on blue paper, I have stamped the annexed copy on the -same colour.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> It has been truly observed that comedy exhibits the character of a -species,—farce of an individual. Of the class in which Hogarth has a -right to be placed, there can be little doubt: he wrote comedies with a -pencil.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> For these pictures he was elected a governor of the hospital. On -the top of the staircase, beneath the cornice, is the following inscription: -"The historical paintings of this staircase were painted and -given by Mr. William Hogarth, and the ornamental paintings at his -expense, <span class="fs80">A.D.</span> 1736."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> The Reformed religion is, in almost all its branches, rather a drawback -than an assistance to art. Thus are its effects described by Mr. -Barry: "Where religion is affirmative and extended, it gives a loose -and enthusiasm to the fancy, which throws a spirit into the air and -manners, and stamps a diversity, life, quickness, sensibility, and expressive -significance over everything they do. In another place it is -more negative and contracted: being formed in direct opposition to the -first, its measures were regulated accordingly; much pains were taken -to root out and to remove everything that might give wing to imagination, -and so to regulate the outward man by a torpid inanimate composure, -gravity, and indifference, that it may attend to nothing but -mere acts of necessity, everything else being reputed idle and vain. -They have had as few words as buttons, the tongue spoke almost without -moving the lips, and the circumstances of a murder were related -with as little emotion as an ordinary mercantile transaction."—<cite>Barry -on the Arts</cite>, p. 214.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Hogarth may possibly allude to Ranelagh Barret, who, I learn -from Mr. Walpole, was thus employed; and, being <ins class="corr" title="Transcriber's Note—Original text: 'countenanced by by Sir'">countenanced by -Sir</ins> Robert Walpole, copied several of his collection, and others -for the Duke of Devonshire and Dr. Mead. He was indefatigable,—executed -a vast number of works,—succeeded greatly in copying -Rubens, and died in 1768. His pictures were sold by auction in the -December of that year.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> In part of this violent philippic Hogarth may possibly glance -at the late President of the Royal Academy, whom, it has been said, -but I think unjustly, he envied. In Sir Joshua's very early pictures -there is not much to envy; they gave little promise of the taste and -talents which blaze in his later works.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Vanloo came to England with his son in the year 1737.—Walpole's -<cite>Anecdotes</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> I am not sufficiently versed in the palette biography of the day to -know who are the painters that these stars, etc. etc. etc. allude to. -Abbé le Blanc, in his letter to the Abbé du Bos on the state of painting -and sculpture in England, notices the whole body in the following <em>very -flattering</em> terms: "The portrait painters are at this day more numerous -and worse in London than ever they have been. Since Mr. Vanloo -came hither, they strive in vain to run him down; for nobody is -painted but by him. I have been to see the most noted of them; at -some distance one might easily mistake a dozen of their portraits for -twelve copies of the same original. Some have the head turned to the -left, others to the right; and this is the most sensible difference to be -observed between them. Moreover, excepting the face, you find in all -the same neck, the same arms, the same flesh, the same attitude; and -to say all, you observe no more life than design in those pretended -portraits. Properly speaking, they are not painters; they know how -to lay colours on the canvas, but they know not how to animate it. -Nature exists in vain for them; they see her not, or if they see her, -they have not the art of expressing her."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Sir Francis Bacon somewhere remarks, that in the flight of -Fame she will make but slow progress without some feathers of -ostentation.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> The rival portraits here alluded to are: George the Second, patron -of the foundation, by Shackleton; Lord Dartmouth, one of the vice-presidents, -by Mr. Reynolds (afterwards Sir Joshua); Taylor White, -treasurer of the Hospital, in crayons, by Coates; Mr. Milner and -Mr. Jackson, by Hudson; Dr. Mead, by Ramsay; Mr. Emmerson, -by Highmore; and Francis Fauquier, Esq., by Wilson. -</p> -<p> -To say that it is superior to these is but slight praise; independent -of this relative superiority, it will not be easy to point out a better -painted portrait. The head, which is marked with uncommon benevolence, -was in 1739 engraved in mezzotinto by M'Ardell.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Thus does Hogarth pun upon the name of Mr. Ramsay, who he -seems to think peered too closely into his prints, though he acknowledges -that, in a book entitled <cite>The Investigator</cite>, Ramsay has treated -him with more candour than any of his other opponents.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Upon the death of Coram this pension was continued to poor old -Leveridge, for whose volume of songs Hogarth had, in 1727, engraved -a title-page and frontispiece, and who at the age of ninety had scarcely -any other prospect than that of a parish subsistence.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> How very inferior was this to the portrait of Coram! But the -genuine benevolence and simplicity which beams in the countenance -of the friend and protector of helpless infancy is not calculated to -strike the million so forcibly as the dramatic perturbation of a guilty -tyrant. In this, as in some other cases, the purchaser seems to have -paid for the player rather than the picture. It was painted for the late -Mr. Duncombe, of Duncombe Park, Yorkshire.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> By both the artists and connoisseurs of his own day he was -accused of having stolen the ideas contained in his "Essay" from -Lomazzo. Several prints which were published in support of this -opinion will be noticed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> The fable here alluded to is entitled, <em>A Painter who pleased everybody -and nobody</em>: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"So very like a painter drew,</p> -<p class="verse">That every eye the picture knew.—</p> -<p class="verse">His honest pencil touch'd with truth,</p> -<p class="verse">And mark'd the date of age and youth;"</p> -</div></div> - -<p class="noindent">But see the consequence:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"In dusty piles his pictures lay,</p> -<p class="verse">For no one sent the second pay."</p> -</div></div> - -<p class="noindent">Finding the result of truth so unpropitious to his fame and fortune, -he changed his practice:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Two bustos fraught with every grace,</p> -<p class="verse">A Venus, and Apollo's, face</p> -<p class="verse">He placed in view;—resolved to please,</p> -<p class="verse">Whoever sat, he drew from these."</p> -</div></div> - -<p class="noindent">This succeeded to a tittle:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Through all the town his art they prais'd,</p> -<p class="verse">His custom grew, his price was rais'd."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> The "Distressed Poet," "Enraged Musician," and a companion -print on painting which, though advertised, was never published, are -the three here alluded to.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> In his description of the Legion Club, after portraying many of -the characters with most pointed severity, Swift thus exclaims: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"How I want thee, humorous Hogarth!</p> -<p class="verse">Thou, I hear, a pleasant rogue art!</p> -<p class="verse">Were but you and I acquainted,</p> -<p class="verse">Every monster should be painted.</p> -<p class="verse">You should try your graving tools</p> -<p class="verse">On this odious group of fools;</p> -<p class="verse">Draw the beasts as I describe them;</p> -<p class="verse">Form their features while I gibe them;</p> -<p class="verse">Draw them like, for I assure ye,</p> -<p class="verse">You will need no <i lang="la" xml:lang="la">caricatura</i>.</p> -<p class="verse">Draw them so that we may trace</p> -<p class="verse">All the soul in every face."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> The designer of a print which was published in 1753, and intended -to burlesque some of the figures in the <cite>Analysis of Beauty</cite>, -seems to have believed that Hogarth intended to have published his -objections to the establishment of the academy. The print is entitled -"Pugg's Graces," and the artist is represented with the legs of a satyr, -and painting "Moses before Pharaoh's Daughter." One of his hoofs -rests on three books, the lowest of which is labelled <cite>Analysis of Beauty</cite>. -A little lower in the print is an open volume, on one page of which is -written, <em>Reasons against a Public Academy</em>, 1753; and on the other, <em>No -Salary</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Louis <span class="fs80">XIV.</span> founded an academy for the French at Rome; but -Poussin and Le Sueur, painters who have done the most credit to -France, were prior to the establishment.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> The late Sir Robert Strange seems to have entertained an opinion -somewhat similar:—"Academies, under proper regulations, are no -doubt the best nurseries of the fine arts. But when the establishment -of the Royal Academy at London is impartially examined, it will not, -I am afraid, reflect that credit we wish upon the annals of its royal -founder."—Strange's <cite>Inquiry</cite>, p. 61.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> "Of the estimation in which they were held, and the taste with -which they were contemplated by the Romans, we may form some -judgment by a general assuring a soldier, to whom he gave in charge -a statue which was the work of Praxiteles, that if he broke it, he -should get another as good made in its place."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> Transmigrations of heathen deities into apostles, etc., have been -too frequent to need particular enumeration.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> Sir Godfrey Kneller knew this, and made the most of his labours. -He used to say, in his own vindication, that historical painting only -revived the memory of the dead, who could give no testimony of their -gratitude; but when he painted the living, he gained what enabled him -to live from their bounty.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> The president Montesquieu, the Abbés Winckelmann, Du Bos, -and Le Blanc, have gravely asserted, that from the coldness of our -climate, and other causes equally curious, we can never succeed in -anything that requires genius.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> "Their mode of judging subjects them to continual imposition; -for what is called manner is easily copied by the lowest performer: he -only fails in beauty, delicacy, and spirit!"</p></div> - -<div class="footnote"> - -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> One specimen of Mr. Kent's talents in painting is in page 39. -Mr. Walpole's description of some of his other pictures, and the history -of his patronage, amply illustrate Hogarth's opinion of the artist's -abilities in that branch.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> How far the present situation of the Royal Academy and the arts -has fulfilled or contradicted this opinion, I will not presume to determine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> Mr. Strange, in his <cite>Inquiry into the Rise and Establishment of the -Royal Academy of Arts of London</cite>, places the causes of this disagreement -in a point of view somewhat different from Mr. Hogarth's narrative; -but in their account of the consequences the narrators precisely -agree:— -</p> -<p> -"A society, composed of a number of the most respectable persons -in this country, commonly known by the name of the 'Dilettanti,' -made the first step towards an establishment of this nature. That -society having accumulated a considerable fund, and being really promoters -of the fine arts, generously offered to appropriate it to support -a public academy. -</p> -<p> -"General Gray, a gentleman distinguished by his public spirit and -fine taste, was deputed by that society to treat with the artists. I was -present at their meeting. On the part of our intended benefactors, I -observed that generosity and benevolence which are peculiar to true -greatness; but on the part of the majority of the leading artists, I was -sorry to remark motives, apparently limited to their own views and -ambition to govern, diametrically opposite to the liberality with which -we were treated. After various conferences, the 'Dilettanti' finding -that they were to be allowed no share in the government of the -academy, or in the appropriating their own fund, the negotiation -ended."—Strange's <cite>Inquiry</cite>, p. 62.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> This society was first projected by Mr. William Shipley, who was -very active in his endeavours to establish it. Their original proposal -was, to "give premiums for the revival and advancement of those arts -and sciences which are at a low ebb amongst us; as poetry, painting, -tapestry, architecture, etc." The plan, in the latter end of the year -1753, was laid before Dr. Hales and Mr. Baker, by whom it was -introduced to Lord Romney and Lord Folkestone, who warmly -patronized the institution. -</p> -<p> -In March 1754, they met at Rathmell's Coffeehouse, Henrietta -Street, Covent Garden. Their first premium for the best drawing by -boys and girls under fourteen years of age was £15; but as the subscribers -were then too few in number to raise the proposed sum, the -two above-named noblemen made good a considerable deficiency. -They next met at the Circulating Library, in Crane Court, Fleet Street, -and on the 10th of January 1755 at Peele's Coffeehouse, where the -first premium of £5 for the best drawing by boys under the age of -fourteen was adjudged to Mr. Richard Cosway.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> "Swift's Laputa tailor made all his clothes by mathematical rules, -and there was no objection to them,—except that they never fitted -those for whom they were made."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> Little did Hogarth imagine that a man lived in his own time, who, -by a great commercial enterprise, should awaken the spirit of the -nation to historical and poetical paintings from the drama of Shakspeare. -This drama has been a school for the representation of all the -passions, and opened to the artist a new mine of rich materials for -displaying the mirror of life in the colours of nature. The Shakspeare -Gallery has been followed by undertakings of a similar description, -and, all united, have afforded a patronage to the arts which had been -vainly sought for among the nobility, and given to such painters as had -the power, a fair opportunity of confuting the visionary assertion, that -it was not possible for an Englishman to paint a good historical picture.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> How far Hogarth's prediction has been fulfilled, by the repentance -of some painters who may have been thus dragged into the temple of -taste, those painters only can determine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> The hope of the arts is in the patronage of the sovereign.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> A great personage once remarked that sculpture was too cold and -chilling for this climate.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> What shall we say of these, if fame is denied to the living?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> On Mr. Lane's death they became the property of his nephew, -Colonel Cawthorn; and on the 5th of February 1797, were sold by -auction at Christie's room, and purchased by Mr. Angerstein for one -thousand guineas. -</p> -<p> -It has frequently been the fate of painters, as well as poets, to have -their works disregarded until the authors were out of the hearing of -praise or censure. Young, in his <cite>Love of Fame</cite>, speaking of the value -which a writer's death gave to his productions, neatly enough concludes -with an allusion to Tonson the bookseller: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"This truth sagacious Tonson knew full well,</p> -<p class="verse">And starv'd his authors that their works might sell."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> Such is the date both in his <span class="fs80">MS.</span> and the preface to the <cite>Analysis</cite>, -though under the print he has engraven, "<i lang="la" xml:lang="la">Se ipse pinxit et sculpsit</i>, -1749." It is probable that in the first instance he meant to speak of -the painting it was taken from, which is now in the possession of -Mr. Angerstein.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> To this he evidently alludes in giving the well-known story of -Columbus breaking the egg as a subscription-receipt to his <cite>Analysis -of Beauty</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> Sir Joshua Reynolds, whose lectures are, generally speaking, the -best rules conveyed in the best language, in his discourse, read December -11th, 1769, acknowledges "that old pictures celebrated for their -colouring are often so changed by dirt and varnish, that we ought not -to wonder if they do not appear equal to their reputation in the eyes -of unexperienced painters or young students." But he asserts "that -an artist whose judgment is matured by long observation considers -rather what the picture once was than what it is at present. He has -acquired a power by habit of seeing the brilliancy of tints through the -cloud by which it is obscured." -</p> -<p> -Don Quixote, through the cloud of dirt and deformity which obscured -a vulgar country wench, discovered the brilliant beauties of -that peerless princess, the Lady Dulcinea del Toboso! Such is the -power of enchantment.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> I do not know what Hogarth here alludes to; perhaps to some -figure that he had threatened to paint as an exemplification of his -system.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> In this notice of the writers by whom he was attacked, he particularly -alludes to the <cite>North Briton</cite>, No. 17. As to the crooked -compliments paid him by his brethren in art, they were numerous -indeed. -</p> -<p> -Among his papers I found a tolerably spirited drawing in pen and -ink, entitled "A Christmas Gambol from Leicester Square to Westminster -Hall," representing the artist with ass's ears, stripped, and -tied to a cart's tail, and an old fellow with a long wig and cat-o'-nine-tails -in his hand, lashing his naked back, and exclaiming, "You'll -write books, will ye!" A barber's block, fixed on a straight pole, is -stuck at the head of the cart, and labelled, "Perpendicular and beautiful -blockhead." The horse is led by a vulgar drayman, whose locks -being so dishevelled as to form a kind of glory, are inscribed, "Lines -of beauty." Over the head of the painter is this motto: "'Twere -better a millstone had been tied about thy neck, and (<span class="fs80">THOU</span>) cast into -the sea." -</p> -<p> -The following specimen of polite satire and curious orthography -crowns the whole:— -</p> -<p> -"<em>N.B.</em>—Speedily will be published, an apology, in quarto, called -<cite>Beauty's Defiance to Charicature</cite>; with a very extraordinary frontispiece, -a just portraiture (printed on fool's-cap paper), and descriptive -of the punishment that ought to be inflicted on him that dare give -false and unnatural descriptions of beauty, or charicature great personages; -it being an illegal as well as a mean practice; at the same time -flying in the face of all regular bred gentlemen painters, sculptures, -architects—in fine—arts and sciences." -</p> -<p> -Numerous prints were published in ridicule of his system and -himself. -</p> -<p> -In a set of engravings, entitled "The New Dunciad, done with a -view of fixing the fluctuating ideas of taste, dedicated to his friend -Beauty's Analyzer," I find several prints with mottoes, which, in most -vile and vulgar phrase, ridiculed both author and book. Some of them -are not destitute of humour; but all would ere now have been consigned -to oblivion, had not they been occasionally collected as relatives -to Hogarth. One of them is entitled "Pugg's Graces, etched from -his <span class="fs80">ORIGINAL</span> daubing." -</p> -<p> -In this the artist is represented at his easel, with <cite>Lomazzo</cite> in his -pocket, and with a satyr's feet (one of which rests on some copies of -his <cite>Analysis</cite>), and painting the picture of "Pharaoh's Daughter." He -is accompanied by a fat and a lean connoisseur; the former shows -evident marks of admiration, but the latter holds the <cite>Analysis</cite> in his -left hand, and appears rather puzzled. A figure in the background, -who, to show that he is a judge, is arrayed in a gown, a band, and -ample periwig, shows evident marks of disgust. Three naked and -most filthy female figures, one of them fat as was Bright of Malden, -and another tall and thin as a splinter of the Monument, are intended -to represent "Pugg's graceless Graces." One of these <em>beauties</em> rests -her foot on a box inscribed, "For the March presented to the -Foundling Hospital, with a gilded frame for the admiration of the -public." The other is seated on a chest of drawers, on which are -written under the word <span class="fs80">FOLLY</span>, "Bid for by Pugg's friends, £50, -£100, £120." This most pointed piece of wit evidently alludes to -the auction of "Marriage à la Mode," which has been already noticed. -On the upper part of the print is a head, entitled "A modern cherubin," -with a bag-wig on, and a stick bent into a waving line in his mouth, -a satyr holding a medallion, on which is a head with a cap and bells, -and many other curious allusions to the serpentine line. On the floor -are a pair of stays, a pair of boots, a pair of candlesticks, etc. etc., -allusive to the prints to the <cite>Analysis</cite>. Beneath is a grotesque figure of -a devil, with a little incubus, masks, etc., holding in his hand a piece -of paper, which seems a leaf of the book, and is inscribed, "To be -continued." -</p> -<p> -A. C. <i lang="la" xml:lang="la">Invt. et Sculp.</i>—Published according to Act of Parliament, -1753-4. -</p> -<p> -On the back of this delicate satire is printed the following -address:— -</p> - -<div class="blockquot"> - -<p class="p2 pfs90">"TO THE PUBLIC.</p> - -<p> -"I propose to publish by subscription an <cite>Analysis of the Sun</cite>, in -which I will show the constituent parts of which it is composed, and of -which it ought to have been composed. -</p> -<p> -"I will compute exactly its magnitude and quantity of matter, both -as it is, and as it ought to have been constructed. -</p> -<p> -"As to the supposed motion of the sun or earth, I shall prove that -Ptolemy and Copernicus were neither of them right in any part of their -conjectures; and that consequently Kepler, Des Cartes, Cassini, Leibnitz, -and Sir Isaac Newton are absolutely wrong. -</p> -<p> -"I will likewise refute that vulgar error, that the sun, with respect -to our earth, is the cause of light and heat; and I will show how they -are caused. -</p> -<p> -"I will prove that the figure of our earth is an inverted <img src="images/inv-s.jpg" width="20" alt="" />. And -lastly, I will demonstrate that their systems show nothing of my line -of beauty. -</p> -<p> -"This work will be printed on a new invented fool's-cap paper, at -half a guinea to subscribers; but to those who do not subscribe, it will -be fifteen shillings. -</p> -<p> -"Subscriptions will be taken in by the etcher of this plate, and at -my house, at the sign of the Harlot's Head in Leicester Fields. -</p> -<p> -"<em>N.B.</em>—It will be in vain for astronomers, foreign or domestic, to -crowd my house for information in their art; I grant them leave to -subscribe, which is all the favour they are to expect from me. -</p> - -<p class="right">"W. H."</p></div> - -<p> -In a well-etched print which, on a monumental stone placed in the -corner, the engraver has chosen to denominate "A self-conceited -arrogant dauber, grovelling in vain to undermine the ever-sacred temple -of the best painters, sculptors, architects, etc., in imitation of the -impious Herostratus, who with sacrilegious flame destroyed the temple -of Diana to perpetuate his name to posterity." -</p> -<p> -We have here a very rich and well-imagined column, the base ornamented -with historical bas-relief; and between a serpent, which is -spirally twisted round a circular pillar, are portraits of painters, sculptors, -etc. At the bottom of this, on his knees, and still with satyr's -legs and feet, and a pen stuck in his hat, the artist has represented -Hogarth; who, attended by a well-dressed connoisseur in the character -of his torch-bearer, accompanied by his favourite dog, and armed with -his palette knife, is grubbing up whatever he can find under it. No. 3, -the inscription informs us, is "A satyr ready to lash the scribbler -away;" and by the same authority we learn that No. 4 are "Geese," -which being placed close to this emulator of the fame of Erostratus, -"greedily swallows whatever he can rake up with his palette knife," etc. -etc. etc. The print is enriched with cypress trees, capitals, well-formed -vases, and superb edifices; the whole (for it is a night scene) is lighted -up by the temple of Diana in flames. Beneath it is the waving line in -a small triangle, and the following verses:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"The vile Ephesian, to obtain</p> -<p class="verse4">A name—a temple fires;</p> -<p class="verse">Observe, friend H—g—th, 'twas in vain,</p> -<p class="verse4">He had not his desires.</p> -<p class="verse">You might with reason, sure, expect</p> -<p class="verse4">Your fate would be the same;</p> -<p class="verse">Men first thy labours will neglect,</p> -<p class="verse4">Next quite forget thy name."</p> -</div></div> - -<p> -One nauseous delineation is entitled, "The Artist in his own Taste;" -and another, "The Author run mad." In one he is represented as -"A mountebank, demonstrating to his admiring audience that crookedness -is most beautiful;" and in another of a larger size, entitled "The -Burlesquer Burlesqued," depicted with satyr's legs, painting what the -designer calls "A history piece, suitable to the painter's capacity, from -a Dutch manuscript." This history piece is a copy of the Dutch -delineation of Abraham sacrificing Isaac, by pointing a blunderbuss at -his head, with an angel hovering over the figures, etc. The lives of -Rembrandt, Rubens, Vandyke, and other eminent painters, are ingeniously -imagined to be torn in pieces to make a window-blind for the -author of the <cite>Analysis of Beauty</cite>; which book, with allusions to it, are -displayed in different parts of the print, and in a storied border at the -bottom it appears to be selling for waste paper. -</p> -<p> -Of this engraving, the satire of which is principally levelled at the -burlesque "Paul before Felix," there are two editions; the first, for -the more extensive circulation of Hogarth's fame, and the benefit of -such foreigners as do not understand English, has an explanation in -French.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> The Doctor's orthography is adhered to.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Mr. Emlyn, of Windsor, who in 1782 published <cite>A Proposition for -a New Order in Architecture</cite>, thus divides them: "The Doric was -composed on the system of manly figure and strength, of robust and -Herculean proportions; the Ionic, on the model of the easy, delicate, -and simple graces of female beauty, to which the Corinthian on a similar -design adapted a system of more artificial and complicated elegance."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Among Hogarth's papers I found the following notice, in which he -evidently glances at Athenian Stuart:— -</p> -<p> -"Now in hand, and will be published in about two months' time, a -short addenda or supplement to the <cite>Analysis of Beauty</cite>, wherein, by -the doctrine of varying lines, it will plainly be shown that a man who -had never seen or heard of Roman architecture might, by adhering to -these lines, produce new and original forms. -</p> -<p> -"The number of pompous and expensive books of architecture which -have been lately published, consist of little more than examples of the -variations that were made among the ancients; and nice and useless -disputes about which were the most elegant, without assigning any -other reason for their choice than the authority of the columns they have -measured, which gives them no other merit than that of mere pattern -drawers."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> This quotation is from p. 130, and refers to two heads in the second -plate, Nos. 108 and 9, one of which has a slight tendency to a smile, -and the other has a broad grin. The head here copied, in point of -character, comes between them.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> This is copied from the <span class="fs80">MS.</span> of the <cite>Analysis</cite>, where he had made -the drawings of the "Round and Square Heads," which he evidently -intended to have introduced in his plate.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> -"<em>Cleop.</em> Bear'st thou her face in mind?<br /> -Is't long or round?</p> - -<p>"<em>Mess.</em> Round even to faultiness.</p> - -<p>"<em>Cleop.</em> For the most part, they are foolish that are so."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> This truth is amply verified in the epistle above quoted: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Oh, lasting as thy colours may they shine,</p> -<p class="verse">Free as thy stroke, yet faultless as thy line!</p> -<p class="verse">New graces yearly like thy works display,</p> -<p class="verse">Soft without weakness, without glaring gay;</p> -<p class="verse">Led by some rule that guides but not constrains,</p> -<p class="verse">And finish'd more through happiness than pains."</p> -</div></div> - -<p> -In what light can we consider the character painted by the bard -when we compare it with the pictures painted by the artist? It has -been truly said, that "the poet has enshrined the feeble talents of the -painter in the lucid amber of his glowing lines." -</p> -<p> -The conclusion of his epitaph on Sir Godfrey Kneller affords another -notable example:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Living, great Nature fear'd he might outvie</p> -<p class="verse">Her works; and dying, fears herself may die."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> Were the head of the "Satyr of the Wood" (No. 3) close shaved, -and dignified with a clerical periwig, it would bear a strong resemblance -to Sir Joshua Reynolds' portrait of the author of <cite>Tristram Shandy</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> Which he is said to have caricatured in this plate.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> -</p> -<p> -"Sing—we will drink nothing but Lipari wine."—<cite>Rehearsal.</cite><br /> -</p></div> - -<div class="footnote"> - -<p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> The last paragraph in his preface, p. 10, begins as follows:— -</p> -<p> -"That perspective is an essential requisite to a good painter, is -attested by all our most eminent artists, and confirmed by almost every -author who has wrote upon painting. Nay, the very term 'painting' -implies perspective; for to draw a good picture is to draw the representation -of nature as it appears to the eye; and to draw the perspective -representation of any object, is to draw the representation of that -object as it appears to the eye. Therefore the terms 'painting' and -'perspective' seem to be synonymous, though I know there is a critical -difference between the words. I would not be understood to mean -that a person is always to follow the rigid rules of perspective, for -there are some cases in which it may be necessary to deviate from them; -but then he must do it with modesty, and for some good reason, as we -have shown in the course of this work. Nor would I be thought to -desire the artist to make use of scale or compasses upon all occasions, -and to draw out every line and point to a mathematical exactness, as -the design of this work is quite the reverse: it is to teach the general -rules of perspective, and to enforce the practice of it by easy and -almost self-evident principles; to assist the judgment and to direct the -hand, and not to perplex either by unnecessary lines or dry theorems." -</p> -<p> -The publication of this drew forth Mr. Highmore, who, in the preface -of a pamphlet with the following title, now become very scarce, -gave his decided opposition to the system:— -</p> -<p> -"A Critical Examination of those two Paintings on the ceiling of -Whitehall, in which Architecture is introduced, so far as relates to the -Perspective, together with the discussion of a question which has been -the subject of debate among painters. Written many years since, but -now first published, by J. Highmore. Printed for Nourse, 1754." -</p> -<p> -The question Mr. Highmore professes to discuss is by himself stated -as follows, viz.:— -</p> -<p> -"Whether a range of columns, standing on a line parallel to the -picture, ought to be painted according to the strict rules of perspective; -that is, whether those columns, in proportion as they recede -from the centre of the picture, should be drawn broader than that -directly opposite to the eye, as the rules require; or whether (because -they really in nature appear less, in proportion as they are more -distant) they ought not to be made less, or at most, equal to each -other in the picture?... -</p> -<p> -"Mr. Kirby says, p. 70 of his first part: 'Since the fallacies of vision -are so many and great, etc., it seems reasonable not to comply with -the strict rules of mathematical perspective, in some particular cases -(as in this before us), but to draw the representations of objects as -they appear to the eye,' etc. But I would ask, How? By guess, or -by some rule? And if by any, by what rule are they to be drawn -contrary to, or different from, the strict mathematical perspective -rules?" -</p> -<p> -In reply to these and many other strictures contained in the preface, -Hogarth wrote some remarks to Mr. Kirby, in which he asks, -"Whether an oval or egg can be the true representation of a sphere -or ball? or whether buildings should be drawn by any such rule as -would make them appear tumbling down, and be allowed to be truly -represented, because the designer of them is able to show how a -spectator may, in half an hour's time, be placed at such a point as -would make them all appear upright? as by a like trick or contrivance -the oval may be foreshortened so as to appear a circle." -</p> -<p> -He further asks, "Would a carpenter allow fourteen inches to be -the true representation of a foot-rule, since in no situation whatever -can the eye possibly see it so?" -</p> -<p> -Again: "Did ever any history-painter widen or distort his figures -as they are removed from the centre of his picture? Or would he -draw a file of musqueteers in that manner, when the last man in the -rank would be broader than high? Why would he then serve a poor -column or pedestal thus, when, poor dumb things, they cannot help -themselves? And are all objects exempt from the rules of perspective -except buildings? Did Highmore ever so much as dream of an intervening -plane when he had been drawing a family piece with four or -five people in a row, so as to distort the bodies and forms of those who -had the misfortune to be placed nearest to the side of the frame? -And what satisfaction would it be to his customers to tell them they -were only disposed by the true rules of perspective, and might be -seen in their proper shape again if they would give themselves the -trouble of looking through a pin hole at a certain distance, which, by -learning perspective, they might be able to find in half an hour's time; -or, to save themselves that trouble, they might get a painter to lug -them about till their eye was brought to the proper point. He then -observes, that he would not have the intervening plane wholly rejected, -but that it should be laid aside when it begins to do mischief, or is of -no use; for it is no doubt as necessary to painters of architecture as -scaffolding is to builders; but, like the latter, is always to be taken -away when the work comes to be finished; and every defect that -either may have occasioned must be corrected by the eye, which is -capable to judge of the most complicated objects, perspectively true, -where the dry mathematics of the art are left far behind as incapable -of lending the least assistance. -</p> -<p> -"These things our mathematicians are strangers to,—therefore, in -my opinion, have rated them too high. Dr. Swift thought mere -Philos a ridiculous sort of people, as appears by a song of his on two -very remarkable ones—Whiston and Ditton. I forget it particularly, -but it was about the longitude being mist on by Whiston, and not -better hit on by Ditton: sing Whiston, etc. etc. Ditton has wrote a -good book on speculative perspective." -</p> -<p> -Hogarth then alludes to Highmore's critique on Rubens' ceiling at -Whitehall, and asks, "What is it but what almost every child knows, -even without the knowledge of perspective? viz. that parallel lines -always meet in a point, and that he has with penetration discovered. -Oh, wonderful discovery! that Rubens, unskilfully, has kept them -parallel in his column, to embellish which he has tacked two fibs: one, -that the error was owing to the drawing them as they would appear to -the eye; the other, that the historical figures are truly in perspective; -whereas King James, the principal, has a head widened or distorted, -though it goes off from the eye almost as much as he would have the -side columns, which are the subjects of controversy."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Though Mr. Malton's description is built on fancy as much as Mr. -Hogarth's design, it must be acknowledged that some of his criticism is -just. With respect to the column, nothing either elevated or grand has -yet been produced by violently deviating from the first models. Mr. -Emlyn, in the year 1782, published a proposition for a sixth order, -which in some points resembles Hogarth's. The plan of <em>his</em> column -is to represent the particular character of our English chivalry in its -most illustrious order—the order of the Garter: it is to be composed of -the single trunks of trees; his capitals are to be copied from the plumage -of the knights' caps, with the Ionic volutes interwoven and bound -together in the front, with the star of the order between them. The -fluting of the trunk is cabled, and the cables hollow and filled with the -English arrow, the feathered end rising out of each of them. The -ornament of the frieze over the columns is a plume of three ostrich -feathers, etc. etc. etc. -</p> -<p> -Sir Joshua Reynolds, in his discourse delivered December 10, 1776, -gives the following strong reasons against any new order succeeding:— -</p> -<p> -"Though it is from the prejudice we have in favour of the ancients, -who have taught us architecture, that we had adopted likewise their -ornaments; and though we are satisfied that neither nature nor reason -are the foundation of those beauties which we imagine we see in that -art; yet if any one, persuaded of this truth, should therefore invent -new orders of equal beauty, which we will suppose to be possible, yet -they would not please; nor ought he to complain, since the old has that -great advantage of having custom and prejudice on its side. In this -case we leave what has every prejudice in its favour, to take that which -will have no advantage over what we have left, but novelty, which -soon destroys itself, and at any rate is but a weak antagonist against -custom."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> "On our own stage we have seen dances in which the ingenious -composer thought he represented the four seasons, the four elements, -and the five senses. These jigs conveyed about as much meaning as -dancing odes or dancing sermons."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> Mr. Rouquet, enamel painter to the King of France, in his book -on <cite>The Present State of the Arts in England</cite>, printed for Nourse in -1755, after enumerating chasing, engraving, painting, sculpture, architecture, -etc., as arts that are practised in England, concludes with a -chapter on the Art of Cookery, which he thus gravely introduces:— -</p> -<p> -"There is an art, the only one that can justly pretend to unite -pleasure with absolute utility; but this art, born in servitude, to which -it is still condemned, notwithstanding its extreme importance, is -reckoned ignoble, for which reason some perhaps will be surprised -at seeing me give it a place in this work; I mean the art of preparing -aliments."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> This is a palpable hit at Handel. In a caricatured portrait, entitled -"The Charming Brute," this great composer is delineated sitting on a -hogshead with the profile of a boar, a bill of fare, and other emblems -of voluptuousness scattered round him. Published March 21, 1754. -Motto on a scroll, "I am myself alone," and under the print these -lines:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"The figure's odd, yet who would think,</p> -<p class="verse">Within this tomb of meat and drink</p> -<p class="verse">There dwells the soul of soft desires,</p> -<p class="verse">And all that harmony inspires?</p> -<p class="verse">Can contrast such as this be found</p> -<p class="verse">Upon the globe's extensive round?</p> -<p class="verse">There can! yon hogshead is his seat,</p> -<p class="verse">His sole diversion is to eat."</p> -</div></div> - -<p> -When Handel had once a large party to dinner, the cloth being removed, -he introduced plain port. Having drank four or five glasses -with his guests, he suddenly started up—exclaimed—"I have a -thought!" and stalked out of the room, to which after a short -absence he returned. Having drank a few more glasses he uttered -the same sentence—again retreated, and again returned. It was naturally -supposed that he wished to commit to paper some idea that struck -him at the moment, and passed over; but, when in less than an hour -he a third time started—growled out—"I have a thought!" and a -third time left the company, one of the gentlemen privately followed, -and traced him into another apartment, where, on looking through the -keyhole, he saw this great master of music kneel down to a hamper of -champagne, that he might more conveniently reach out a flask, which -having nearly finished, he returned to his friends!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> In Hogarth's time the forms of nature were tortured and disguised -by stiff stays: the ladies of the present day are not guilty of <em>this</em> error. -As to <em>the bloom of Circassia</em>, the less that is said about it the better.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> However unimportant Hogarth thought the cut of a coat, certain -adepts in the art, about two years since, published a half-guinea book, -on the scientific acquisitions necessary to make a perfect tailor! -</p> -<p> -"This day is published, price 10s. 6d., <cite>The Tailor's Complete Guide, -or a Comprehensive Analysis of Beauty and Elegance of Dress</cite>; containing -rules for cutting out garments of every kind, and fitting any person -with the greatest accuracy and precision. Also plain directions -how to avoid the errors of the trade in misfitting, and pointing out the -method of rectifying what may be done amiss; to which is added a -description to cut out and make the patent plastic habits and clothes -without the usual seams, now in the highest estimation with the nobility -and gentry, according to the patent granted by his Majesty; the whole -concerted and devised by a society of adepts in the profession. -</p> -<p> -⁂ "This work was undertaken solely for the benefit of the trade, -to instruct the rising generation, and perfectly to complete them in the -art and science of cutting out clothes. The copperplates consist of -each separated part, which will on the first view convince the uninformed -mind that with a little attention he may be a complete -tailor."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> Hogarth might conceive that, by rendering the habits of his early -figures more conformable to the fashion of the times, when they were -altered he improved them. Collectors are of a different opinion, -though it must be acknowledged that, in Plate <span class="fs80">IV.</span> of "The Rake's -Progress," the humour is much heightened by introducing a group of -vulgar minor gamblers in the place of the shoeblack.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> The picture was exhibited at Spring Gardens in the year 1761, -with the title of "Piquet, or Virtue in Danger," and is still in the -collection of the nobleman for whom it was painted. -</p> -<p> -It may fairly be considered as a moral lesson against gaming. The -clock denotes five in the morning. The lady has lost her money, -jewels, a miniature of her husband, and the half of a £500 bank note, -which, by a letter lying on the floor, she appears to have recently -received from him. In fine, all is lost except her honour; and in this -dangerous moment she is represented perplexed, agitated, and irresolute. -A print of it has lately been finely engraved by Mr. Cheesman.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> In the little memorandum book from which I extracted this, -Hogarth has inserted the following note (without the translation) from -<cite>Horace</cite>. I do not produce it as a proof that he was a Latin scholar, -but suppose that the lines were pointed out by some literary friend, and -he thus applied them:— -</p> - -<div class="poetry-container"><div class="poetry" lang="la" xml:lang="la"> -<p class="verseq">"Segnius irritant animos dimissa per aures,</p> -<p class="verse">Quam quæ sunt oculis commissa fidelibus."</p> -</div></div> - -<p class="p1" /> -<div class="poetry-container"><div class="poetry"> -<p class="verse10">"What we hear,</p> -<p class="verse">With weaker passion will affect the ear,</p> -<p class="verse">Than when the faithful eye beholds the part."</p> -<p class="verse16">—<span class="smcap">Francis.</span></p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> The artist requested his widow would not sell it during her lifetime -for less than £500. She abided by his injunction. Since her -death it was put up to auction at Greenwood's rooms, and purchased -by Messrs. Boydell: it is in their possession now. -</p> -<p> -I some years since saw a picture of "Lucretia," by Domenichino, in -the collection of Mr. Welbore Ellis Agar, which in air, attitude, and -expression, bore a strong resemblance to Hogarth's "Sigismunda."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> "The Altar-piece to St. Mary Redcliffe's, Bristol," for which he -received five hundred pounds, and the "Paul before Felix," painted -for Lincoln's-Inn Hall.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> That this picture was much abused is certain, but it is equally certain -that the painter had occasionally some consolatory compliments. -Robert Lloyd, in one of his fables, asserts that "Sigismunda" -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Shall urge a bold and proper claim</p> -<p class="verse">To level half the ancient fame."</p> -</div></div> - -<p class="noindent"> -A writer in the <cite>Public Advertiser</cite>, March 7, 1761, honours it with the -following stanzas:— -</p> - -<p class="center"> -"<em>Upon seeing the picture of 'Sigismunda,' painted by Hogarth.</em> -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Antiquity, be dumb! no longer boast</p> -<p class="verse">Arts yet unrivall'd or invention lost:</p> -<p class="verse">From Greece, whose taste was fashion'd into law,</p> -<p class="verse">From far-fam'd Greece, one instance let us draw.</p> -<p class="verse">Atrides' grief Timanthes strove to paint,</p> -<p class="verse">But found his art was foil'd, his colours faint:</p> -<p class="verse">A veil conceal'd the inexpressive face,</p> -<p class="verse">And what was want of power was call'd 'a grace.'</p> -<p class="verse">In Sigismund the mind no want supplies,</p> -<p class="verse">The painter trusts his genius to your eyes;</p> -<p class="verse">Passion's warm tints beneath his pencil glow,</p> -<p class="verse">And from the canvas starts the living woe.</p> -<p class="verse">At length be just—throw prejudice aside;</p> -<p class="verse">The modern shows—what the Greek could but hide.</p> -<p class="verse">Then from the ancient take the palm away,</p> -<p class="verse">And crown the greatest Artist of his day."</p> -<p class="verse16">—<span class="smcap">Howard.</span></p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> <em>N.B.</em>—At Sir Luke Schaub's sale, Sir Richard Grosvenor bid -four hundred pounds for a less picture, said to be a "Correggio," but -really painted by an obscure French artist.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> It appears by the subscription-book that it closed March 26. -During this time there were fifty subscribers at half a guinea each; the -receipts were given on the print of "Time Smoking a Picture." The -first name is that of Dr. Garnier, for two prints; the last, who also -subscribes for two prints, is Mr. Thomas Hollis. This gentleman -would not receive back the guinea he had paid, and it was given to a -public charity. Among the names are the late Philip Thicknesse, -Dr. Hunter, Samuel Curteis of Wapping, and David Garrick; against -each of the subscriptions is marked, "Money returned." -</p> -<p> -Under the direction of Hogarth, Mr. Basire made an etching from -"Sigismunda," but it was never finished. A drawing in oil was -made from it by Mr. Edwards, and it was a few years since engraved -in mezzotinto by Dunkerton. Mr. Ridley engraved it for Messrs. -Boydell, and a reduced copy is in the <a href="http://www.gutenberg.org/files/51821/51821-h/51821-h.htm">first volume</a> of <cite>Hogarth Illustrated</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> The chosen band who then directed the storm, having dragged -poor "Sigismunda" into their political vortex, the cannibal caricaturists -of the day tore her in pieces as a carcase for the hounds, and -rioted over her mangled remains. -</p> -<p> -One of these political slaughtermen, in a print entitled "The Bruiser -Triumphant," describes Sigismunda in the character of a harlot -blubbering over a bullock's heart. In another, elegantly inscribed -"Tit for Tat," Hogarth is represented painting Wilkes' portrait, -and a bloated and filthy figure displayed in the background baptized -Sigismunda. Many other wretched and contemptible squibs were -hurled about on the same occasion. Besides this public abuse, some -of the anonymous versifiers of the day, who were not yet important -enough to figure in a newspaper or flutter in a magazine, condescended -to notice his political errors, and for the gratification of the artist -transmitted their effusions to Leicester Fields. -</p> -<p> -The following stanzas I found among his other papers, addressed -</p> - -<p class="center">"<em>To the Author of the Times.</em></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Why, Billy, in the vale of life,</p> -<p class="verse">Show so much rancour, spleen, and strife?</p> -<p class="verse">Why, Billy, at a statesman's whistle,</p> -<p class="verse">Drag dirty loads and feed on thistle?</p> -<p class="verse">Did any of the long-ear'd tribe</p> -<p class="verse">E'er swallow half so mean a bribe?</p> -<p class="verse">Pray have you no sinister end,</p> -<p class="verse">Thus to abuse the nation's friend?</p> -<p class="verse">His country's and his monarch's glory,</p> -<p class="verse">Who prais'd no man as Whig or Tory.</p> -<p class="verse">His country is his dearest mother,</p> -<p class="verse">And every honest man his brother.</p> -<p class="verse">Not so your patron can appear,</p> -<p class="verse">He buys up scrip, and stops the arrear;</p> -<p class="verse">His practice still, in every station,</p> -<p class="verse">To serve himself and starve the nation.</p> -<p class="verse">Then, Billy, in the vale of life,</p> -<p class="verse">Desist from all this noise and strife;</p> -<p class="verse">For though the hint perhaps is bold,</p> -<p class="verse">I tell thee thou art growing old.</p> -<p class="verse">Read coolly, o'er thy evening glass,</p> -<p class="verse">Toledo's bishop in <cite>Gil Blas</cite>."</p> -</div></div> - -<p> -Christening the author of the <cite>North Briton</cite> "his country's and his -monarch's glory," leads us to suspect that the ingenious gentleman who -fabricated the above rhymes had some little portion of party prejudice. -The Quaker who wrote the annexed letter and epigram, which, as well -as the verses that follow, were amongst Hogarth's manuscripts, was -moved by a very different spirit:— -</p> - -<p class="right">"<em>Of the eighth month, the 20th day, 1763.</em></p> - -<div class="blockquot"> - -<p>"<span class="smcap">Friend Hogarth</span>,—I am one of those people, by a sort of disrespectful -appellation, called Quakers; for we strive to abound in the -milk of human kindness, and prefer the dove to the serpent. I know -thee not but by thy works and fame as an ingenious artist in thine own -way. I have seen thy compositions and handy works, and think them -not only ingenious, but moral, and even more than dramatic, perfectly -epic; so that I think thou deservest the character of <em>the Epic painter</em>, -which I hereby bestow upon thee, and by which thou shalt be distinguished -in future generations; for if I do not much mistake the -matter, thy name will be had in honour when thine adversaries shall -have perished,—I would have said, and shall stink,—but <em>that</em> they do -already. I have hereby sent thee an epigram, such as my spirit -dictated to me. I fear it hath too much in it of the gall of bitterness. -But I will tell thee, friend Hogarth, I am a man of some small property -and authority, having cattle under me; and when the brutes are -poisoned, I cure them with wormwood. Let not thy noble spirit that -is in thee be diverted from its true and masterly turn of exposing -licentiousness, vice, hypocrisy, faction, and apostasy.—Thine in all -brotherly and good wishes, -</p> - -<p class="right">"<span class="smcap">Ephraim Knox</span>."</p></div> - -<p class="center"><span class="smcap">An Epigram.</span></p> - -<p class="center"><em>To the Rev. Charles Churchill, Esquire, etc.</em></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse4">"Thou boast'st, vain Churchill, with thy gray goose quill,</p> -<p class="verse">Thou'st kill'd, or surely wilt poor Hogarth kill.</p> -<p class="verse">Alas! he (with the world) will only smile</p> -<p class="verse">At self-importance in a frippery style.</p> -<p class="verse">'Churchill, stand forth!'—I call thee not my friend;—</p> -<p class="verse">The sober dictates of my lines attend.</p> -<p class="verse4">"Wast thou, like Hogarth, <em>in thine own way good</em>,</p> -<p class="verse">Thou in the reading-desk might'st yet have stood;</p> -<p class="verse">Though poor,—perhaps a reputable curate,—</p> -<p class="verse">Sad! that thy stubborn heart is yet obdurate.</p> -<p class="verse">Without fair hope of pension or of place,</p> -<p class="verse">To make a shipwreck of <em>divinest grace</em>!"</p> -<p class="verse16">—<span class="smcap">Ephraim Knox.</span></p> -</div></div> - -<p class="p1 center"><em>To Mr. Hogarth.</em></p> - -<p class="right">"<span class="smcap">Brighthelmstone</span>, <em>July 9, 1763</em>.</p> - -<p> -"<span class="smcap">Sir</span>,—You see the effects of the salt waters here; they incline us to -scribble by way of amusement. I have sent you the following stanzas, -which you may print or do what you please with:— -</p> - -<p class="p1 center"><em>To the Rev. C. Churchill.</em></p> -<p class="center">"<span lang="la" xml:lang="la">Non ut pictura poesis.</span>"</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse4">"Dear Churchill, what ill-fated hour</p> -<p class="verse">Has put thee into Hogarth's power?</p> -<p class="verse">This railing shows how much you're hurt,</p> -<p class="verse">While Hogarth nothing meant but sport;</p> -<p class="verse">Transmitting unto future times</p> -<p class="verse">What might not live in Churchill's rhymes,—</p> -<p class="verse">The perfect hero, poet, sage!</p> -<p class="verse">The pride, the wonder of the age!</p> -<p class="verse">That form,—which eating Peers admired,—</p> -<p class="verse">Which heaven-born liberty inspir'd!</p> -<p class="verse">Which keeps our ministers in awe,</p> -<p class="verse">And is from justice screen'd by law!</p> -<p class="verse4">"The sad resource to which you're driven,</p> -<p class="verse">Appears by your appeal to heaven:</p> -<p class="verse">A place ne'er thought on once before,—</p> -<p class="verse">Withdraw th' appeal and give it o'er.</p> -<p class="verse">You must proceed by different ways;</p> -<p class="verse"><em>Your</em> only court's the Common Pleas.</p> -<p class="verse4">"Horace was wrong when once he said,</p> -<p class="verse">Hogarth and he were of a trade.</p> -<p class="verse">No varying verse, howe'er divine,</p> -<p class="verse">Can match with Raphael's stronger line.</p> -<p class="verse">The pencil, like contracted light,</p> -<p class="verse">Strikes with superior force the sight.</p> -<p class="verse4">"Churchill, be wise: in time retire,</p> -<p class="verse">While Hogarth yet suspends his fire;</p> -<p class="verse">There's something in thee like a spell,</p> -<p class="verse">Though we can't love,—we wish thee well.</p> -<p class="verse">You ne'er can wish to purchase shame,</p> -<p class="verse">By driving on a losing game:</p> -<p class="verse">His feeble hand, though you despise it,</p> -<p class="verse">Will make you tremble, should he rise it:</p> -<p class="verse">Already has his fancy hit on</p> -<p class="verse">A frontispiece for the <cite>North Briton</cite>;</p> -<p class="verse">Where in full view the virtuous pair</p> -<p class="verse">Shall thus their various merits share.</p> -<p class="verse4">"Thy rose and Bible thrown aside,</p> -<p class="verse">And the long cassock's tatter'd pride;</p> -<p class="verse">His liberal hand shall in their stead</p> -<p class="verse">Place nettles circling round thy head,</p> -<p class="verse">Entwin'd with thistles fully blown,</p> -<p class="verse">To wear these honours <em>all thy own</em>!</p> -<p class="verse4">"Next, round thy friend, and all in taste,</p> -<p class="verse">See every social <em>virtue</em> plac'd;</p> -<p class="verse">Fair Truth and modest Candour joined,—</p> -<p class="verse">Those softer emblems of the mind;</p> -<p class="verse">Faction expiring by his pen,</p> -<p class="verse">And Loyalty restor'd again;</p> -<p class="verse">Whilst he regards not this or that,</p> -<p class="verse">Secure of T—— and of P——.</p> -<p class="verse4">"The piece thus finish'd for our view,</p> -<p class="verse">The lines correct, the likeness true,</p> -<p class="verse">Hogarth, ensur'd of future fame,</p> -<p class="verse">Shall consecrate to Churchill's name."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> I think the reader will agree with me, that such assertions as the -following demanded an apology:— -</p> -<p> -"His (Hogarth's) works are his history. As a painter he had but -slender merit; in colouring he proved no greater a master: his force -lay in expression, not in tints and chiaroscuro."—<cite>Anecdotes of Painting</cite>, -vol. iv. p. 160. -</p> -<p> -How was it possible for Mr. Walpole to have written the foregoing -lines after having seen the pictures of "Marriage à la Mode"?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> The last volume was not published till October 9, 1780, though -printed in 1771.—<cite>Advertisement</cite> to vol. iv.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> The reader is referred to <a href="http://www.gutenberg.org/files/51978/51978-h/51978-h.htm">Vol. II.</a> Plate 70, where the picture is -given in its perfected state.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> Archbishop Tillotson remarks in one of his sermons, that <em>Hocus -Pocus</em> is derived from <i lang="la" xml:lang="la">Hoc est Corpus</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> "This new dispensation (Methodism) is a composition of enthusiasm, -superstition, and imposture. When the blood and spirits -run high, inflaming the brain and imagination, it is most properly -enthusiasm, which is religion run mad. When low and dejected, -causing groundless terrors, or the placing the great duty of man in -little observances, it is superstition, which is religion scared out of its -senses. When any fraudulent dealings are made use of, and any -wrong projects carried on under the mask of piety, it is imposture, and -may be termed religion turned hypocrite."—Lavington's <cite><ins class="corr" title="Transcriber's Note—Original text: 'Enthasiasm of Methodists'">Enthusiasm of -Methodists</ins> and Papists Compared</cite>, vol. i. p. 79.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> Mahomet being once asked, What is this Alla, whom thou declarest -unto the people? with much more exalted and sublime ideas, -replied, "It is he who derives being from himself; from whom all -others derive their being; and to whom there is no likeness in the -whole extent of space."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> Bishop Lavington, after quoting many of the legends of St. Catherine -and St. Teresa, and the journals of modern Methodists, which in a -very similar style describe their divine love, concludes as follows:— -</p> -<p> -"'Tis true indeed, as the legendaries own, that St. Catherine was -slandered as a fond and light woman, and St. Teresa kept such bad -company, that most persons concluded celestial visions were not compatible -with her kind of life; but all this may be reconciled; for these -excesses of the spiritual and carnal affections are nearer allied than is -generally thought, arising from the same irregular emotions of the -blood and animal spirits; and the patient is hurried on either way, -according to the nature of the object; and I am much mistaken, and so -is history too, if some of the warmest and most enthusiastic pretenders to -the love of God have not entertained the same violence of passion (not -quite so spiritual) for their neighbours."—Lavington's <cite>Enthusiasm of -Papists and Methodists Compared</cite>, vol. i. p. 57.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> Let it not be supposed that because the female mendicant and her -handcuffed neighbour are half naked, they are in any degree ashamed. -"Among the Papists there are religious orders who profess to prefer -food, bed, and raiment of the vilest sort for their greater spiritual proficiency; -and St. Philip Nerius was such a lover of poverty, that he -frequently besought Almighty God to bring him to such a state as to -stand in need of a penny, and find nobody that would give him one."—Lavington's -<cite>Enthusiasm</cite>, etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> What renders this still more curious is, that the word signifies -"oxen."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> When this circumstance was once mentioned to Dr. Rundle, as a -striking instance of Abraham's obedience, the Doctor in reply said, that -however it might be generally understood,—if he had been a Justice of -Peace in Abraham's parish, he would have committed him till he found -sufficient bail for his good behaviour. Some good-natured friend -repeated this speech to Queen Caroline, and it retarded Rundle's promotion -for many years.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> Of the plate in its first state there are only two impressions, both -of them in the possession of the Editor, who has published a correct -copy of the same size, which may be had from him or from Messrs. -Boydell. -</p> -<p> -On the margin of these two prints Hogarth has inserted slight pen-and-ink -sketches of "A Monk as a Windmill," "the Hopper of a Mill," -etc. These are copied in the annexed plate of reference, and in a -degree elucidated by the following passage in Burnet's <cite>Travels through -Switzerland</cite>, etc., p. 232:— -</p> -<p> -"Over a popish altar at Worms is a picture one would think invented -to ridicule transubstantiation. There is a windmill, and the -Virgin throws Christ into the hopper, and he comes out at the eye of -the mill all in wafers, which some priest takes up to give to the people. -This is so coarse an emblem, that one would think it was too gross even -for Laplanders; but a man that can swallow transubstantiation will -digest this likewise." -</p> -<p> -Of painters presuming to explain the Trinity by a triangle, Hogarth -and Swift thought alike: -</p> -<p> -"If God should please to reveal unto us this great mystery of the -Trinity, or some other mysteries in our holy religion, we should not be -able to understand them unless He would bestow on us some new -faculties of the mind."—<span class="smcap">Swift.</span></p></div> - -<div class="footnote"> - -<p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"For eating and drinking <em>we</em> know the best rules,</p> -<p class="verse">Our fathers and mothers were blockheads and fools;</p> -<p class="verse">'Tis dress, cards, and dancing, alone should engage</p> -<p class="verse">This highly enlighten'd and delicate age."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> Since the publication of the first edition of this volume, a print of -a larger size has been copied from the picture by Mr. T. Philips.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> These raptures were expensive. The lavish profusion which our -people of rank then displayed in their presents to this band of quavering -exotics is scarcely credible. The <cite>Daily Advertiser</cite> gives a list of -some of the contributors, and states Farinelli's share at more than -£2000 a year; to which if we add his salary £1500 and casual -presents, his annual income must have been more than four thousand -pounds!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> See Shakspeare's <cite>Julius Cæsar</cite> and <cite>Antony and Cleopatra</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> Of this gentleman there is a tolerably good mezzotinto print, -engraved by Kirkall from a picture by Goupy, with the following -curious inscription from the Italian:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Renown'd Sienna gave him birth and name,</p> -<p class="verse">Kind Heaven his voice, and harmony his fame.</p> -<p class="verse">While here the great and fair their tribute bring,</p> -<p class="verse">The deaf may wonder whence his merits spring,</p> -<p class="verse">But all think Fortune just that hear him sing."</p> -</div></div> - -<p> -There is a portrait of Carlo Broschi Detto Farinelli, Amiconi pinxit. -C. Grignion sculp. small circle.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> <cite>Art of Spelling, The Complete Justice, etc.</cite> This austere magistrate -has been said to be intended for Sir Thomas De Veil, who raised -himself from the rank of a common soldier to a station in which he -made a considerable figure; but De Veil wrote French and English, -and was both intelligent and active.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> <cite>Religious Ceremonies of all Nations</cite>, published at Amsterdam in -1735. He entitles this print, "<cite lang="fr" xml:lang="fr">Le Serment de la Fille qui se trouve -enceinte</cite>." On the same page he has introduced a copy from Sympson's -print of orator Henley christening a child, and calls it "<cite lang="la" xml:lang="la">Le Baptême -Domestique</cite>."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> The gates of this charity were for several years open to the orphans -of those who fell in the battles of their country. A great number of -the children who became orphans by the battle of Minden were -admitted into this Hospital.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> When Schalcken once painted a portrait of King William, he -requested his Majesty to hold the candle; this the monarch did till -the tallow ran down upon his fingers. To justify this piece of ill-breeding, -the painter drew his own portrait in the same situation.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> The conductors of this office have printed proposals, stating their -terms, etc.; but the business is sometimes transacted by individuals, -through the medium of the public prints. The following advertisements -are copied from the daily papers:— -</p> - -<div class="blockquot"> - -<p class="center"><span class="smcap">Matrimony.</span></p> - -<p> -"A gentleman of honour and property having in his disposal at -present a young lady of good family, with a fortune of sixty thousand -pounds on her marrying with his approbation, would be very happy to -treat with a man of fortune and family, who may think it worth his -while to give the advertiser a gratuity of five thousand pounds. Direct, -etc." -</p> - -<p class="center"><span class="smcap">Matrimony.</span></p> - -<p> -"A gentleman who hath filled two succeeding seats in Parliament, -is near sixty years of age, lives in great splendour and hospitality, and -from whom a considerable estate must pass if he dies without issue, -hath no objection to marry any single lady, provided the party be of -genteel birth, polite manners, and five, six, seven, or eight months -advanced in her pregnancy. Address to —— Brecknock, Esq., etc."—<em>Pub. -Adv., April 16, 1776.</em></p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> The apology here alluded to was made in a letter to the author -of the <cite>Beggars' Opera</cite>, dated December 16, 1731, and ushered into the -world as written by a Mr. Cleland, who had a few years before sent -a letter to the publisher of the <cite>Dunciad</cite>, explaining the author's motives -for writing the poem, and subjoining a list of the books in which he had -been abused, etc. This Pope printed; and this, as well as the letter to -Mr. Gay, it was universally believed was written by Pope. In a note -to the letter to Gay, printed in the same volume with the <cite>Dunciad</cite>, the -poet, after giving Mr. Cleland a very high character for diligence, -punctuality, etc., concludes: "and yet for all this, the public will not -allow him to be the author of this letter."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> Hogarth has introduced these three figures in rather a better style, -in his print of "The Small Masquerade Ticket, or Burlington Gate."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> Mr. Pope has honoured this dignified divine with a slight stroke in -the Epistle to Lord Burlington, and note on the lines— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"To rest, the cushion and soft Dean invite,</p> -<p class="verse">Who never mentions hell to ears polite."<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a></p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> "A reverend Dean, preaching at Court, threatened the sinner with -punishment in a place he thought it not decent to name in so polite an -assembly."—P.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> To this architectural ornament he has an unquestionable right. -His Lordship (besides other buildings) designed the Dormitory at -Westminster School, the Assembly Room at York, Lord Harrington's -at Petersham, and General Wade's in Cork Street. The latter, though -ill-contrived and inconvenient, had so beautiful a front, that Lord -Chesterfield said, "As the General could not live in it at his ease, he -had better take a house over against it, and look at it."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Yet shall (my Lord) your just, your noble rules,</p> -<p class="verse">Fill half the land with imitating fools,</p> -<p class="verse">Who random drawings from your sheets shall take,</p> -<p class="verse">And of one beauty many blunders make."</p> -</div></div> - -<p> -His Lordship was then publishing copies from the designs of Palladio -and Inigo Jones. -</p> -<p> -The elegant but ill-natured stanzas which allude to the Duke of -Chandos, beginning, "At Timon's villa let us pass a day," everybody -knows. The delicately turned compliments to Lord Burlington display -the poet's art; his precepts on ornamental gardening prove his taste -and judgment. I cannot resist the temptation of recalling six or eight -lines to the reader's recollection, were it only to subjoin Dr. Warburton's -curious note, which admirably illustrates the remark that -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"A perfect judge will read each work of wit</p> -<p class="verse">With the same spirit that its author writ:"—</p> - -<div class="p1 fs90"> -<p class="verse4">"Consult the Genius of the place in all;<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a></p> -<p class="verse">That tells the waters or to rise or fall;</p> -<p class="verse">Or helps the ambitious hill the heavens to scale,</p> -<p class="verse">Or scoops in circling theatre the vale;</p> -<p class="verse">Calls in the country, catches opening glades,</p> -<p class="verse">Joins willing woods, and varies shades from shades.</p> -<p class="verse">Now breaks or now directs th' intending lines,</p> -<p class="verse">Paints as you plant, and as you work designs."</p> -</div> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a></p> - -<p class="p1 center">THE NOTE!</p> - -<p> -"First, the Genius of the place 'tells the waters,' or only simply -gives directions: then he 'helps the ambitious hill,' or is a fellow-labourer: -then again, he 'scoops the circling theatre,' or works alone, -or in chief. Afterwards, rising fast in our idea of dignity, he 'calls in -the country,' alluding to the orders of princes in their progress, when -accustomed to display all their state and magnificence. His character -then grows sacred, 'he joins willing woods,' a metaphor taken from -one of the offices of the priesthood, till at length he becomes a divinity, -and creates, and presides over the whole."—Warburton's edit. of <cite>Pope</cite>, -1752, vol. iii. p. 285. -</p> -<p> -Would the reader wish a better specimen of the Bishop's taste!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> An artist in the year 1762 stole Hogarth's thunder, and aimed -the bolt at the head of him who had forged it. In a print entitled -"The Butifyer, or a Touch upon the Times," he is represented in the -character of a shoeblack, blackening a great jack-boot, and bespattering -the surrounding crowd. -</p> -<p> -Beneath is inscribed, "With what judgment ye judge, shall ye be -judged."—Matt. chap. vii. ver. 2; and, -</p> -<p> -"In justice to Mr. Hogarth, the engraver of this plate declares to -the public he took the hint of 'The Butifyer' from a print of Mr. Pope -whitewashing Lord Burlington's gate, and at the same time bespattering -the rest of the nobility."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> Fielding and Hogarth had in some respects similar powers and -similar want of success in things for which they seemed peculiarly -gifted. Admirable as was the dialogue of the comic characters in -Fielding's novels, he was unable to give them stage effect; and though -Hogarth saw nature in all her varieties, and gave to every face the -index of their mind, he rarely succeeded in historical pictures.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> This etching is so nearly a fac-simile of the original, that when it -was brought home Hogarth mistook it for his own drawing, which, -considering of no value, he threw into the fire, whence it was snatched -by Mrs. Lewis, though not before the paper was scorched. -</p> -<p> -Hogarth made a very whimsical design for Fielding's tragedy of -tragedies, <cite>Tom Thumb the Great</cite>. It was engraved by Vandergucht, -and is prefixed to the play published by Lowndes, etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> Mr. King, in his <cite>Observations on Ancient Castles</cite>, observes that -"Lord Lovat was one of the last chieftains that preserved the rude -manners and barbarous authority of the early feudal ages. He resided -in a house which would be esteemed but an indifferent one for a very -private plain country gentleman in England, as it had properly only -four rooms on a floor, and those not large. Here, however, he kept -a sort of court, and several public tables, and a numerous body of -retainers always attending. His own constant residence, and the place -where he always received company, even at dinner, was the very same -room where he lodged; and his lady's sole apartment was her bedroom; -and the only provision for the lodging of the servants and -retainers was a quantity of straw, which they spread every night on -the floors of the lower rooms, where the whole inferior part of the -family, consisting of a very great number of persons, took up their -abode!"—<cite>Archæologia</cite>, vol. iv.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> By a book on the table, inscribed <em>Memoirs</em>, Hogarth seems to -allude to the manuscript.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> In the name by which the old peer supposed the Maiden was -to be distinguished in a future age, he was mistaken. The Guillotine -is an improvement of the Maiden; so that, though France has been -the first to bring it into universal practice, Scotland is entitled to the -whole honour of the invention.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a> The mad peer in Pope's imitation of Horace was not very grateful -to the d—d doctor: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Who, from a patriot of distinguished note,</p> -<p class="verse">Blister'd and bled him to a single vote."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a> A complete set of reduced copies from his prints are now publishing -at Gottingen, with illustrations in the German and French languages.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> Jarvis and Smollett have strangely translated it "spindle-shanked," -which by no means accords with the rest of his figure.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> Jarvis oddly enough translates it seven feet.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a> Let it not be said in objection that many of the attendants are idle -lookers on, and most of them laughing at their governor; for I am -told a similar practice has sometimes prevailed in more regular governments.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> The original and scarce print from which this was copied, I owe to -the kindness of Sir James Lake, Bart., who did me the honour of presenting -it to me.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> Noble's <cite>Contin. to Grang.</cite>, B. iii. p. 418.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> In this circumstance the artist must have been misinformed. At the fire he mentions, -five of the Harlot's Progress were burnt; the sixth is now in the possession -of Lord Charlemont. The eight of the Rake's Progress were not destroyed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a> Francis Beckford, Esq., to whom I find, by one of Hogarth's memorandums, -they were sold for £88, 4s.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a> The R must have been a mistake of the writing-engraver. Ravenet's christened -names were Simon Francis.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a> The mottoes were selected by the Reverend Arnold King.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a> The twelve prints were originally published at 12s.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a> So does he express himself in the <span class="fs80">MS.</span>, though the Roast Beef was published -March 6, 1749, and the March, December 31, 1750.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a> It has been said that Hogarth never went farther into France than Calais; this -proves he had reached Paris.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a> This was afterwards copied for a watch-paper.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a> About eight years after the publication of these prints, when there was an Act -in contemplation relative to the distilleries, Hogarth received the following anonymous -letter:— -</p> - -<div class="blockquot"> - -<p class="right">"<em>December 12, 1759.</em></p> - -<p> -"<span class="smcap">Sir</span>,—When genius is made subservient to public good, it does honour to the possessor, -as it is expressive of gratitude to his Creator, by exerting itself to further the -happiness of His creatures. The poignancy and delicacy of your ridicule has been -productive of more reformation than more elaborate pieces would have effected. On -the apprehension of opening the distillery, methinks I hear all good men cry, Fire!—it -is therefore the duty of every citizen to try to extinguish it. Rub up, then, Gin -Lane and Beer Street, that you may have the honour and advantage of bringing the -two first engines to the fire; and work them manfully at each corner of the building; -and instead of the paltry reward of thirty shillings allowed by Act of Parliament, -receive the glorious satisfaction of having extinguished those fierce flames which -threaten a general conflagration to human nature, by pouring liquid fire into the -veins of the now brave Britons, whose robust fabrics will soon fall in when these -dreadful flames have consumed the inside timbers and supporters.—I am, Sir, -yours, etc.,</p> - -<p class="right">"<span class="smcap">An Englishman</span>."</p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a> Humanity and tenderness of mind were the leading characteristics of my most -valued and most regretted friend Mortimer: he would not have trod on a worm; -yet in painting subjects from which the common eye would revolt, he had the -greatest delight.</p></div> -</div> - - -<div class="transnote"> -<a name="TN" id="TN"></a> -<p><strong>TRANSCRIBER'S NOTE</strong></p> - -<p>Obvious typographical errors and punctuation errors have been -corrected after careful comparison with other occurrences within -the text and consultation of external sources.</p> - -<p>Footnotes have been moved to the end of the book text. Some Footnotes are very long.</p> - -<p>One occurrence of the 3-star asterism symbol is denoted by ⁂. On -some handheld devices it may display as a space.</p> - -<p>One occurrence of the old long-form s is denoted by ſ.</p> - -<p>Footnotes [105] and [108] are referenced from the prior Footnotes -<a href="#Footnote_104_104">[104]</a> and <a href="#Footnote_107_107">[107]</a>, and not from the text itself.</p> - -<p>Footnote <a href="#Footnote_55_55">[55]</a> is referenced by two anchors in the same paragraph.</p> - -<p>For consistency and to follow the intent of the publisher, the Plate -illustrations have been moved to the beginning of the section -describing them. In most cases this was only one or two paragraphs -earlier than the original book layout.</p> - -<p>Quotations of Hogarth himself, and all letters, have been indented -in the main text (but not the Addenda, Notes, or Footnotes). All -other quotations have not. The original text was not completely -consistent in its use of vertical whitespace to end letters and -Hogarth quotations.</p> - -<p>Three illustrations listed in the <a href="#LOI">'List of Plates'</a> have no description -in the text, and have been placed after 'The Farmer's Return' section. -The three are:<br /> -<span class="pad4">'Inhabitants of the Moon'</span><br /> -<span class="pad4">'Receipt for Print of March to Finchley'</span><br /> -<span class="pad4">'Gravity'.</span></p> - -<p>The item numbering in the <a href="#CHRON">'Chronological List'</a> at the end of the book -is sometimes inconsistent or incorrect. This has been left unchanged.</p> - -<p>Except for those changes noted below, all misspellings in the text, -and inconsistent or archaic usage, have been retained. For example, -face-painter, face painter; Boleyne, Bulleyn; dissatisfactory; -confuting; unascertained; personate.</p> - -<p> -<a href="#Page_vii">Pg vii</a>, '<span class="smcap">Martin Foulkes, Esq.</span>' replaced by '<span class="smcap">Martin Folkes, Esq.</span>'.<br /> -<a href="#Page_38">Pg 38</a> Footnote <a href="#Footnote_18_18">[18]</a>, 'countenanced by by Sir' replaced by 'countenanced - by Sir'.<br /> -<a href="#Page_102">Pg 102</a>, 'acquintance with men' replaced by 'acquaintance with men'.<br /> -<a href="#Page_107">Pg 107</a>, 'A Monsieur Monsieur Reiffsten' replaced by 'A Monsieur - Reiffsten'.<br /> -<a href="#Page_170">Pg 170</a> Footnote <a href="#Footnote_85_85">[85]</a>, 'Enthasiasm of Methodists' replaced by 'Enthusiasm of - Methodists'.<br /> -<a href="#Page_233">Pg 233</a>, 'jellies, sweatmeats' replaced by 'jellies, sweetmeats'.<br /> -<a href="#Page_289">Pg 289</a>, 'Grostesque, and good' replaced by 'Grotesque, and good'.<br /> -<a href="#Page_292">Pg 292</a>, 'June y<sub>e</sub> ' [subscript] replaced by 'June y<sup>e</sup> ' [superscript].<br /> -<a href="#Page_302">Pg 302</a>, 'Churchil (once' replaced by 'Churchill (once'.<br /> -<a href="#Page_314">Pg 314</a>, '<em>Vide</em> 175' replaced by '<em>Vide</em> p. 175'.<br /> -<a href="#Page_316">Pg 316</a>, '<em>Vide</em> 199' replaced by '<em>Vide</em> p. 199'.<br /> -<a href="#Page_320">Pg 320</a>, 'mezzottinto by' replaced by 'mezzotinto by'.<br /> -</p> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Hogarth's Works: Volume 3 (of 3), by -John Ireland and John Nichols - -*** END OF THIS PROJECT GUTENBERG EBOOK HOGARTH'S WORKS: VOLUME 3 (OF 3) *** - -***** This file should be named 52181-h.htm or 52181-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/1/8/52181/ - -Produced by Chris Curnow, John Campbell and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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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