w 
 
Ulrich Middeldorf 
 

 
HOGARTH ILLUSTRATED 
 
 FROM 
 
 HIS OWN MANUSCRIPTS; 
 
 COMPILED AND ARRANGED FROM THE ORIGINALS 
 BY 
 
 JOHN IRELAND, 
 
 VOLUME THE THIRD AND LAST. 
 
 “It WAS CHARACTER, THE PASSIONS, THE SOUL, THAT 
 u HIS GENIUS WAS GIVEN HIM TO COPY/' 
 
 Lord Orford’s Anecdotes of Painting . 
 
 THE THIRD EDITION. 
 
 LONDON: 
 
 PUBLISHED, 1812, BY MESSRS. BOYDELL, AND CO. 
 CHEAPSIDE. 
 
 PRINTED BY W. BULMER AND CO. CLEVELAND-ROW, 
 
 st. james’s. 
 
IF MEN OF CELEBRITY IN ANY OF THE LIBERAL 
 PROFESSIONS, WOULD BECOME THEIR OWN BIO- 
 GRAPHERS, AND LEAVE TO THEIR SUCCESSORS A 
 SHORT AND HONEST DETAIL OF THE COURSE OF 
 THEIR STUDIES, INTERSPERSED WITH SOME SLIGHT 
 ACCOUNT OFTHEIR CONTEMPORARIES, IT WOULD 
 BE OF GREAT USE TO SURVIVORS. 
 
 FROM A FEW PAGES OF THEIR OWN WRITING, 
 WE SHOULD LEARN MORE OF THE REAL CHARAC- 
 TERS OF THE MEN, AND MANNERS OF THE TIMES, 
 THAN FROM VOLUMES OF TEDIOUS NARRATIVE 
 WRITTEN BY OTHERS, BEGINNING WITH A PEDI- 
 GREE, AND ENDING WITH A FUNERAL. 
 
 ANON: 
 
ADVERTISEMENT. 
 
 THE Manuscripts from which the princi- 
 pal parts of this Volume are compiled, were 
 zvritten by the late Mr. Hogarth; had he 
 lived a little huger, he would have metho- 
 dized and published them.* On his decease , 
 they devolved to his widow, who kept them 
 sacred and entire •f 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. 
 
 * The dedication, of which I have prefixed a facsimile, 
 was written for that work. 
 
 i 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 Ho- 
 garth's hand writing. 
 
 a 2 
 
iv 
 
 ADVERTISEMENT. 
 
 This is the fair and honest pedi- 
 gree 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 oj 
 Beauty , corrected by the Author ; with the 
 original sketches , and many remarks omitted 
 in the printed copy. 
 
 IV. ^ Supplement to the Analysis , 
 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 sub- 
 ject 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 
 
ADVERTISEMENT. 
 
 V 
 
 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 atten- 
 tively examined , and is to the best of my judg- 
 ment 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. JVhere 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 
 
VI 
 
 ADVERTISEMENT. 
 
 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 corre- 
 spondence 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 appre- 
 hensive that the whole will stand in need 
 
ADVERTISEMENT. 
 
 vii 
 
 of much indulgence ; but certain that the 
 errors , whatever they may be, do not origi- 
 nate 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 any thing 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 com 
 pile a volume , which would gratify the ad- 
 mirers 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 in- 
 dulgence of the Public. 
 
 J. I. 
 
INTRODUCTION. 
 
 Mr . Walpole (in p. 160 of his Anecdotes) 
 gravely declares, that Hogarth had but slen- 
 der merit as a painter, and in colouring prov- 
 ed no greater a master. By the six pictures 
 of Marriage-a-la-Mode, both these decla- 
 rations are answered and refuted. 
 
 Mr. Nichols, (in p. 449 of his Anecdotes) 
 at the same time that he kindly acknow- 
 ledges — “ 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 
 
X 
 
 INTRODUCTION. 
 
 than they would have been, had he intrusted 
 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 Musicians, 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 expressionwhich the artistintended- 
 
 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 univei sal 
 HAZE, as a fog, a mist: and indistinct- 
 ness, he defines to be confusion , uncertainty , 
 obscurity; faults which were never attri- 
 buted 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 
 
INTRODUCTION. 
 
 XI 
 
 gauzy, glittering tone, which marks many 
 of our modern productions, I humbly con- 
 ceive the artist did not desire such distinc- 
 tion ; 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 convin- 
 cing 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 crow ; d ; who are in- 
 variably attracted by colour and glare. But 
 for my own part, so far am I from think- 
 ing 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, 
 
Xll 
 
 INTRODUCTION. 
 
 Professor of Painting to the Royal Aca- 
 demy, 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 re- 
 tribution , he gives Hogarth a seat in Ely- 
 sium ; but in p. 162 of his description of 
 the picture, efr:. (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 de- 
 grading immortality. 
 
 The Professor begins by admitting, that 
 “ Hogarth’s merit intitles him to an ho- 
 nourable place amongst the artists in Ely- 
 sium, 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 
 
INTRODUCTION. xiti 
 
 raw and unformed , yet Mr. Barry acknow- 
 ledges 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 thejonctures, and other dif- 
 “ Acuities of drawing that might occur in 
 “ their limbs, are artfully concealed with 
 “ their clothes, rags, &c.” Mr. Barry surely 
 -does not mean that Hogarth needed any ar- 
 tifice ta 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 admi- 
 “ rable fund of invention, ever inexhaust- 
 “ ible in its resources; and his satyr, 
 “ which is always sharp and pertinent, 
 “ and often highly moral, was (except in 
 “ a few instances, where he weakly and 
 
XIV 
 
 INTRODUCTION. 
 
 “ meanly suffered his integrity to give way 
 “ to his envy,) seldom or never employed 
 “ in a dishonest or unmanly way.” A jew 
 instances ! I do not believe it possible to 
 point out one. Seldom or never l 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 cri- 
 tic, surely, does not mean to insinuate that 
 there was any violation of integrity, in Ho- 
 garth’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 : — £C Few have at- 
 « tempted to rival him in his moral walk. 
 “ The line of art pursued by my very in- 
 “ genious predecessor and brother Acade- 
 “ mician, 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.” 
 
INTRODUCTION. 
 
 XV 
 
 Whoever will turn over a port-folio of Ho- 
 garth'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 acade- 
 “ mical skill, which the other wanted/' 
 Can Mr. Barry conceive it possible that pos- 
 terity will think Mr. Penny's line of art of 
 a superior relish to that of Hogarth ! Mr. 
 Penny's academical skill, I do not con- 
 test ; — 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 itmay be reasonably doubted whe- 
 “ ther the being much conversant with Ho- 
 <e garth's method of exposing meanness, de- 
 <£ formity, and vice, in many of his works, is 
 “ not rather a dangerous or at least a worth- 
 ■* less pursuit ; which, if it does not find a 
 
xvi 
 
 INTRODUCTION. 
 
 “ false relish, and a love of, and search after 
 “ satyr and buffoonery in the spectator, is at 
 « least not unlikely to give him one." 
 
 That the Professor of painting, after ac- 
 knowledging Hogarth's satire was highly 
 moral, should be apprehensive that con- 
 templating 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 reluc- 
 tantly admitted his merits : but to such criti- 
 cism 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, in- 
 serted the following paragraph. “ I have 
 “ for some time observed Hogarth's setting 
 “ sun : he has long been very dim, and al- 
 “ most shorn of his beams."— A few weeks 
 after the appearance of this candid critique , 
 
INTRODUCTION. 
 
 xvii 
 
 Hogarth published his Medley; which, con- 
 sidered in the first and second state, (see 
 P- 233,) has more mind, and is marked 
 with deeper satire, than all his other works ! 
 
 B y f&stidious 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 ascend- 
 ing 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 demi-gods, 
 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 
 
 VOL. III. b 
 
XV111 
 
 INTRODUCTION. 
 
 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 philo- 
 sopher that there was no such thing as motion , 
 gravely rose from his seat and walked across 
 the room. I can produce the original ma- 
 nuscript, with the red chalk corrections by 
 his own hand* This Supplement , to that 
 
 * The printed sheets were occasionally corrected by 
 his friend Townley, etc. The Editor will have great 
 pleasure in shewing the MSS. to any gentleman who 
 will do him the honour of inspecting them. 
 
INTRODUCTION. 
 
 XIX 
 
 work, Hogarth wrote to vindicate himself 
 from these and similar aspersions. In ex- 
 plaining his motives, he is led into stating 
 his professional opinions, and in that part 
 which relates to the Royal Academy , pre- 
 dicts, that on the plan they set out, the in- 
 stitution could never be of material use to 
 the Arts. For one who is neither Artist, 
 Associate, or 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 re- 
 vived under the reign of George the 
 Third.” 
 
 This discourse was read in 3 769,’ 
 
XX INTRODUCTION. 
 
 yet ! — (let it not be told in Gath , nor whis T 
 pered in the streets of Askalon,) 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 paint- 
 ing has recorded in his letter to the Dilet- 
 tanti Society , and candidly admits that the 
 fault does not lie with the students, hut 
 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 , Hay man. or any of that school of 
 mannerists who figured in the different 
 
INTRODUCTION. 
 
 xxi 
 
 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 de- 
 rive its principal interest from the celebrity 
 of the Artist, who, like Louis de Camoens , 
 was a distinguished actor in the scenes he 
 describes. 
 
 W.H.del. 
 
 Le Baiser lic//du. 
 
 Vide Fontaine's Tales, p % 131 . 
 
INDEX TO THE PRINTS. 
 
 PAGE 
 
 I. The Masquerade Ticket, Frontispiece described 316 
 
 II. The Serpentine Candlestick, —Title Page. 
 
 4 III. A Tale from La Fontaine - - xxi 
 
 « IV. Hogarth’s Dedication, facing the Anecdotes 
 
 V. Copy of Kent’s Altar-Piece - 17 
 
 ^ VI. Rape of the Lock _ _ 19 
 
 { VII. Kendall Arms - -23 
 
 ^ VIII. Captain Thomas Coram - 5 ° 
 
 V IX. Frontispiece to Artist’s Catalogue - 93 
 
 v X. Tail Piece to ditto - - 95 
 
 XI. The Vase - I 4 2 
 
 v XII. Hints for a new Capital - - 145 
 
 XIII. Round and square heads - - 14& 
 
 XIV. Hercules, Henry VIII. etc. - 1 53 
 
 XV. Italian Jupiter etc. - - 156 
 
 XVI. The Dance - - 161 
 
 XVII. Taylor’s Perspective of Architecture 173 
 
 •/ XVIII. Correggio’s Sigismunda - - 205 
 
 V XIX. Hogarth’s shrine, from Mortimer - 221 
 
 ^ XX. Enthusiasm Delineated - - 226 
 
 XXI. A Key plate to Enthusiasm Delineated 226 
 
 V XXII. Credulity, Superstition, etc. a Medley 226 
 
 XXIII. Taste in High Life - - 243 
 
 J XXIV. Farinelli, Cuzzoni, and Senesino - 248 
 
 XXV. Woman swearing a Child to a Citizen 253 
 
 * XXVI The Foundlings - - 257 
 
 • XXVII. Terra Filius - - 261 
 
INDEX TO THE PRINTS. 
 
 xxiii 
 
 PAGE 
 
 XXVIII. The Altar-Piece to St. Mary Redcliffe’s 264 
 
 XXIX. The Politician - - 267 
 
 XXX. The Matchmaker - 269 
 
 XXXI. The Man of Taste - - 272 
 
 XXXII. Henry Fielding] - - 280 
 
 XXXIII. Simon Frazer, Lord Lovat - 285 
 
 NINE PRINTS FOR DON QUIXOTE. 
 
 XXXIV. Plate I. 
 XXXV. Plate II. 
 
 J XXXVI. Plate III. 
 XXXVII, Plate IV. 
 XXXVIII. Plate V. 
 XXXIX. Plate VI. 
 XL. Plate VII. 
 
 ^ XLI. Plate VIII. 
 
 - XLI I. Plate IX. 
 
 3 01 
 
 302 
 
 3°3 
 
 3°4 
 
 306 
 
 3°7 
 
 308 
 
 3 IQ 
 
 3 11 
 
 XLIII. Heidegger in a Rage - - 314 
 
 XLIV. Quadrille Fishes - - 368 
 
XXIV 
 
 CONTENTS. 
 
 PAGE. 
 
 Advertisement - iii 
 
 Introduction - - ix 
 
 Index to the Prints - - xxii 
 
 Hogarth’s Anecdotes of his own 
 Life, etc. 
 
 CHAPTER i. 
 
 His Birth , early Education , - 2 
 
 CHAPTER II. 
 
 Marries , commences Historical Painter; 
 occasionally takes Portraits , and paints the 
 Picture of Captain Coram for the Found- 
 ling Hospital - 2 4 
 
 CHAPTER III. 
 
 His Opinion of the Institution of the Royal 
 Academy , and Society for the Encourage- 
 ment of Arts 59 
 
 CHAPTER IV. 
 
 The Motives by which he was induced to 
 publish his Analysis of Beauty. Is elected 
 Member of the Royal Academy at Augs- 
 bourg , and appointed Sergeant Painter to 
 the King - - - i°° 
 
 CHAPTER v. 
 
 Inducements to painting the Picture of 
 Sigismunda; Correspondence with Lord 
 Grosvenor on this Subject contrasted by 
 two Letters from Lord Charlemont. 
 Origin of the Quarrel with Wilkes and 
 Churchill , and the Artist’s Heath 189 
 
 Description of the Prints - - 223 
 
 Catalogue - - - 3 22 
 
Hogarth s Dedication, 
 
 of the Arts J 
 
 A. Supplement to the Analysis ol Aeautj' o 
 
 Ze4u./>d fyruri /u<t t s/Cr sMtuS&u'/i - /' ✓ n, /6s / 
 
 of J ohn Ireland. 
 
 V/e Me? 
 
 coZf on 
 
 Z/r/ ^£Ab'oaS%*r' J £# Ceny nn ZAr^ - 
 
 r\ * j&ncc'n / n 7 // 
 
 -f ZbZnrr\ JrO-n yy jZ* /7U JnAA AZ 
 
 *- yz*/7 , 
 
 n< \ 
 
 ZA^Z- -c$/ axZa 0 An oyry /ouno 
 
 - ^<xn?~ ZZ mj^yZlZ tn/~ ZZn/tyyAy/- Arm O^Att- 
 
 or' 
 
 * n 
 
 z?- 
 
 Z/nA Sz^cJr^f occS 4 a-<) Aor <xyy ^/tonnrA 
 ^> g/ yTf VZL^ Y /\ V^T^^tZo, err/Z^S 
 
 'sCry a^^Aca ZZy ,yZ-n ^ryn t/A nuy/A/f' &s //uny A 
 
 <<__/ 1 i{ tt ct/m t * 1 i <* '/ f" < * ‘Z ^ 1 1 1 'f ’ 
 
 /% ■SzZn-Z/7 c a JLtf) Ao wyy 
 
 yZr y^eni J/ rvy m \n-ZZCor • . 
 
 /^n/o nc Sr{Zf_A iycox sia/Zw- 
 
 one 
 
 >/a /> 'yC yZor~ . oruxA 
 
 rio<s rrvot 
 
 ZZ<'ZAlry /er & < hxrty zC9y / ay ^ ° {J/ 
 
 Cj O^&JJL Zctoi) /o &C, roZthj , fZltrL ij A/uy W'O'r /C 
 
 S^ZcZ ccn/ifrh Act esdnyy AoZy . 
 
 ^ /Aat" /nny/Z AsumArhi 
 
 cm 
 
 ZZ ^Z) cn'i/'^toZ'^cT-A) 
 
HOGARTH. 
 
 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. 
 
 VOL. Ill, 
 
 B 
 
2 
 
 HOGARTH. 
 
 CHAPTER /. 
 
 hogarth’s own account of his birth and 
 
 EARLY EDUCATION ; REASONS FOR j!IS BEING 
 APPRENTICED TO A SILVER-PLATE ENGRAVER 5 
 WITH WHICH EMPLOYMENT BECOMING DISGUST- 
 ED, 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,* would be highly, accept- 
 able. 
 
 “ I am farther told, that the public have 
 
 * Rouquet’s book was written in French, and de- 
 scribes the Harlot’s and Rake’s Progress, Marriage a-la- 
 Mode, and March to Finchley. 
 
HOGARTH. 
 
 3 
 
 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 trod by any other man. 
 These reasons will, I hope, be deemed a 
 sufficient apology for my attempting the 
 following brief history ; in which must ne- 
 cessarily 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 asper- 
 sions which they have so liberally bestowed 
 upon each. 
 
 " With respect to my life,— to begin suf- 
 ficiently early,— I was born in the city of 
 London, on theioth 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 my- 
 self. As I had naturally a good eye, and 
 a fondness for drawing, shows of all sorts 
 b 2 
 
4 
 
 HOGARTH. 
 
 gave me uncommon pleasure when an in- 
 fant; and mimickry, common to all chil- 
 dren, 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 exer- 
 cises when at school were more remark- 
 able for the ornaments which adorned them, 
 than for the exercise itself.* In the former 
 
 • 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 fol- 
 lowing 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 neg- 
 lected the letter-press ; 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. 16. of the Life. 
 
HOGARTH. 
 
 5 
 
 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 draw- 
 ing rather than learning languages, I had 
 before my eyes the precarious situation of 
 men of classical education. I saw the dif- 
 ficulties under which my father laboured, 
 and the many inconveniences he endured, 
 from his dependance being chiefly on his 
 pen, and the cruel treatment he met with 
 from booksellers and printers, particularly in 
 the affair of a Latin dictionary,* the compil- 
 ing of which had been a work of some years. 
 It was deposited, in confidence, in the hands 
 
 * 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 nu- 
 merous corrections to each, and about 400 pages of 
 manuscript close written. On the marginal leaf is 
 inscripted, in Hogarth’s hand-writing : “ The manu- 
 script part of this dictionary was the work of Mr. Richard 
 Hogarth.” Another volume of this work is in the pos- 
 session of J. Bindley, Esq. of the Stamp-office. 
 
6 
 
 HOGARTH. 
 
 of a certain printer, and, during the time it 
 was left, letters of approbation were received 
 from the greatest scholars in England, Scot- 
 land, and Ireland. But these flattering tes- 
 timonies 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.* It was therefore very 
 conformable to my own wishes that I was 
 taken from school, and served a long ap- 
 prenticeship to a silver-plate engraver. 
 
 “ I soon found this business in every re- 
 spect too limited. The paintings of St. Paul's 
 cathedral and Greenwich hospital, + which 
 were at that time going on, ran in my head ; 
 and I determined that silver-plate engrav- 
 ing should be followed no longer than ne- 
 cessity obliged me to it. Engraving on 
 copper was, at twenty years of age, my 
 
 * 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. 
 
 + By Sir James Thornhill, afterwards his father-in- 
 law. 
 
HOGARTH. 
 
 7 
 
 utmost ambition. To attain this it was ne- 
 cessary that I should learn to draw objects 
 something like nature, instead of the mon- 
 sters of heraldry, and the common me- 
 thods 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, &c. and 
 even when the pictures or prints to be imi- 
 tated were by the best masters, it was little 
 more than pouring water out of one vessel 
 into another. Drawing in an academy, 
 
8 
 
 HOGARTH. 
 
 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 dread- 
 ful. 
 
 “ A dull transcriber, who, in copying 
 Milton* s Paradise Lost , hath not omitted a 
 line, has almost as much right to be com- 
 pared 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 minnte parts, but the mind scarcely 
 ever embraces the whole. Besides this, 
 there is an essential difference between the 
 
HOGARTH. 
 
 9 
 
 man who transcribes the deed, and he who 
 copies the figure ; for though what is writ- 
 ten, 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 recol- 
 lection of his own imperfect work than of 
 the original from which he took it. 
 
 “ More reasons, not necessary to enume- 
 aate, struck me as strong objections to this 
 practice, and led me to wish that I could 
 find the shorter path ; fix forms and cha- 
 racters 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 obser- 
 vations 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 
 
JO HOGARTH. 
 
 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 suffi- 
 cient 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 
 
HOGARTH. 
 
 11 
 
 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 draw- 
 backs which resulted from the circumstances 
 I have mentioned, I had one material ad- 
 vantage 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.* 
 
 * 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 
 
HOGARTH. 
 
 12 
 
 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 im- 
 pression on my mind ; but had not I sedu- 
 lously practised what I had thus acquired, 
 I should very soon have lost the power of 
 performing it. 
 
 “ Instead of burthening the memory with 
 musty rules, or tiring the eyes with copy- 
 ing dry and damaged pictures, I have ever 
 found studying from nature, the shortest and 
 safest way of attaining knowledge in my 
 art.* By adopting this method, I found 
 
 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. 
 
 * “ 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 welly was not to draw at 
 all ; and on the same principle, he supposed, that if 
 
HOGARTH. 
 
 IS 
 
 a redundancy of matter continually occur- 
 ring. A choice of composition was the 
 next thing to be considered, and my con- 
 stitutional idleness * naturally led me to the 
 use of such materials as I had previously 
 collected ; and to this I was farther 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 deter- 
 mined to qualify myself for engraving on 
 copper. In this I readily got employment ; 
 and frontispieces to books, such as prints to 
 Hudibras, in twelves, &c. soon brought me 
 into the way. But the tribe of booksel- 
 lers remained as my father had left them, 
 when he died about five years before this 
 
 I wrote an essay on the art of swimming, I should 
 prohibit my pupil from going into the water, until he 
 had learnt .” 
 
 * If Hogarth calls himself idle, who shall dare to 
 denominate himself industrious ? 
 
14 
 
 HOGART H. 
 
 time,* which was of an illness occasioned 
 partly by the treatment he met with from 
 this set of people, and partly by disappoint- 
 ment 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 pub- 
 lished, 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 re- 
 turned to me again; and I was thus obliged 
 to sell the plate for whatever these pirates 
 
 * Hudibras was published in 1726, so that his father 
 probably died about the year 1741, leaving two daugh- 
 ters, 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 10 th, 1699. 
 
 « Ann Hogarth , two years after in the same month. 
 
 « Taken from the Register at Great St. Bartholomew's." 
 
HOGARTH. 
 
 15 
 
 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 Masque- 
 rade Ticket , or Burlington Gate , published 
 in 1724, in which the follies of the town are 
 very severely satirized, by the representa- 
 tion of multitudes, properly habited, crowd- 
 ing to the masquerade,* opera, pantomime 
 
 * 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 
 the Second, 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 Peter- 
 
1 6 
 
 HOGARTH. 
 
 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 farther 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, bran- 
 dishing 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 im- 
 prover of gardens, Hogarth seems to have 
 had an early dislike, founded in some de- 
 gree on his being, as he really was, a most 
 contemptible painter ; and probably heigh- 
 tened, 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 ivEA'TS ALTAit-PIECF 
 
 TJSte’ Hint is e.raedy c^meed , a/kr the rfebmteJ Altm-jneeein t 
 
 kn ,knmhv enter 'or 'the /.on) Ji/shop or London ,■ ■ fo t/ioindit {>•/•/< > <n • \ • ■ . 
 
 .Won,, the Fotvhifners about the Mtr. »„>,»»& Wit. % £%■ Zh&f, 
 
 P /., notion o, ,t hnnd/v vnlrd to be it'fU Under th. ( >11 (final . that ti nut< h /ud up *<>,"«■*> ><» 
 means the pansies .d.tfr Lounds n/seiv ../are /or ,t mat, ^ 
 
 g s %»*, * U. I j£M« 
 
 zttzM Srr*rx^i$£z*E?' fttr&M 
 
HOGARTH. 
 
 17 
 
 COPT OF KENTS ALTAR-PIECE * 
 Which, combined with the inscription en- 
 graved beneath, is a very bitter satire on 
 the painter ; though it must be acknow- 
 ledged that the original, which has been for 
 many years in the vestry room of St. Cle- 
 ment Danes, amply justifies the ridicule. 
 
 This picture produced a small tract, with 
 the following title. 
 
 “ A letter from a parishioner of St. Cle- 
 “ ment Danes , to Edmund (Gibson), Lord 
 “ Bishop of London, occasioned by his Lord- 
 <c ship’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, 
 
 * As this print, to heighten the burlesque, was almost 
 invariably impressed on blue paper, I have stamped the 
 annexed copy on the same colour. 
 
 VOL. III. 
 
 C 
 
i8 
 
 HOGARTH. 
 
 which in a degree elucidate part of the in- 
 scription 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 Ho- 
 garth’s apprenticeship that he engraved the 
 annexed print, entitled 
 
THE RAPE OF THE LOCK. 
 
 «*'//■ Plume of amber snuif- bop justly vain 
 , d/id the nice, conduct of a clouded cane ) 
 
 With earnest cvc.i ■ and round unthinking rice 
 //• rirat the Snuff- box open d .then the case 
 .find thus brohe out —My Lord .why. what the devil f 
 “Z—ds.'d— n the Loch ! - 'fore fad, non must he aril 
 “Tlae/uc on'tf '/is past a Jest _ nap prithee . pox 
 “five her the hair- he spo he frapp d his boa. 
 
 Vide Top e. s tvonkj p. 254 - 
 
THE RAPE OF THE LOCK. 
 
 I by no means think, as Mr. Nicholls as- 
 serts, that this is one of the poorest of Ho- 
 garth's performances ; for though slight, and 
 not intended to be impressed on paper, the 
 air of the figures is easy, and the faces, es- 
 pecially those of Sir Plume, and the heroine 
 of the story, extremely characteristic. It is 
 said to have heen 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 repre- 
 sented as holding the lock of hair in his 
 left hand. Sir Plume , — the round-faced and 
 insignificant Sir Plume , 
 
 — ■■■ u Of amber snuff-box justly vain , 
 
 And the nice conduct of a clouded cane f 
 
 for Sir George Brown, who was the only 
 one of the party that took the thing seri- 
 ous. 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. 
 
 C 2 
 
 HOGARTH. 
 
20 
 
 HOGARTH. 
 
 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 thirty-three pounds. 
 
 The following account of the persons for 
 whom Hogarth painted several of his early 
 pictures, is copied from his own hand-writ- 
 ing, and may sometimes be useful in tracing 
 the pedigree oj a portrait. 
 
 By this list it appears, that the two pic- 
 tures 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. 
 
HOGARTH. 
 
 21 
 
 £< Account taken January 1 , 1731 , of all the 
 pictures that remain unfinished. — Half pay- 
 ment 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 jour figures, — Mr. JVood, 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 , 1 729 . 
 
 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 , 1 730 - 31 . 
 Pictures bespoke for the present year 1731 /' 
 
22 
 
 HOGARTH. 
 
 With this his memorandum ends, and I 
 regret that he has not recorded the prices 
 he received for the pictures. Mr. Nicholls 
 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. 
 
 On the opposite page 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 
 
HOGARTH. 
 
 23 
 
 engraven not demanding much attention 
 or exertion, gave some promise of the excel- 
 lence which he afterwards attained. 
 
 In this point of view, to an admirer of Ho- 
 garth, it becomes in some degree interest- 
 ing ; — 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. 
 
HOGARTH. 
 
 CHAPTER II. 
 
 marries: paints small conversations, which 
 
 SUBJECTS HE QUITS FOR FAMILIAR PRINTS; AT- 
 TEMPTS HISTORY; BUT FINDING IT IS NOT ENCOU- 
 RAGED IN ENGLAND, RETURNS TO ENGRAVING. 
 FROM HIS OWN DESIGNS. OCCASIONALLY TAKES 
 PORTRAITS LARGE AS LIFE, FOR WHICH HE IN- 
 CURS 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 back-ground and drapery painters, it 
 was not sufficiently profitable to pay the 
 expences my family required. I therefore 
 
HOGARTH. 
 
 35 
 
 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 his- 
 torical style, totally overlooked that inter- 
 mediate 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 farther 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 
 
HOGARTH- 
 
 q6 
 
 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 sub- 
 jects as a dramatic writer; my picture is 
 my stage, and men and women my players, 
 
 * 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 . 
 
HOGARTH. 
 
 27 
 
 who by means of certain actions and ges- 
 tures, are to exhibit a dumb show. 
 
 “ Before I had done any thing of much 
 consequence in this walk, I entertained 
 some hopes of succeeding in what the puf- 
 fers in books call the great style of histoi y 
 painting; so that without having had a 
 stroke of this grand business before, I quit- 
 ted small portraits and familiar conversa- 
 tions, and, with a smile at my own teme- 
 rity, commenced history painter, and on a 
 great staircase at St. Bartholomew's hos- 
 pital, 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 shew that were 
 there an inclination in England for en- 
 couraging historical pictures, such a first 
 essay might prove, the painting them more 
 easily attainable than is generally imagined. 
 
 * For these pictures he was elected a governor of the 
 hospital. 
 
 O11 the top of the staircase beneath the cornice, is 
 
28 
 
 HOGARTH. 
 
 But as religion, the great promoter of this 
 style in other countries, rejected it in Eng- 
 land, I was unwilling to sink into a portrait 
 manufacturer; and, still ambitious of being 
 singular, dropped all expectations of ad- 
 vantage 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 
 
 the following inscription. “ The historical paintings 
 of this staircase were painted and given by Mr. JVilliam 
 Hogarth , and the ornamental paintings at his expence , 
 
 A. D. 1736. 
 
HOGARTH. 
 
 2 9 
 
 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 imi- 
 tation, that when I drew the comparison 
 in my mind, I could not help uttering 
 blasphemous expressions against the divi- 
 nity even of Raphael Urbino, Corregio, 
 and Michael Angelo. For this, though my 
 brethren have most unmercifully abused 
 me, I hope to be forgiven. I confess to have 
 
3o 
 
 HOGARTH. 
 
 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 enter- 
 taining and more useful than the eternal 
 blazonry, and tedious repetition of hack- 
 neyed, 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.* 
 
 * 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 re- 
 ligion 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 every thing 
 they do. In another place it is more negative and con- 
 tracted ; being formed in direct opposition to the first, 
 its measures were regulated accordingly ; much pains 
 were taken to root out and to remove every thing that 
 might give wing to imagination, and so to regulate the 
 outward man, by a torpid inanmate composure, gravity , 
 
HOGART H. 
 
 31 
 
 “ 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, pub- 
 lishing 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 occa- 
 sionally interspersed with some thoughts by 
 the way, on the state of the arts, institution 
 of a Royal Academy, Society of Arts, &c. 
 
 and indifference, that it may attend to nothing but mere 
 acts of necessity, every thing 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. 
 
32 
 
 HOGARTH. 
 
 as being remotely, if not immediately con- 
 nected 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 ac- 
 knowledged, 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 ex- 
 plained my motives. Some part of this de- 
 fence 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 
 
HOGARTH. 
 
 S3 
 
 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 any where 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 situa- 
 tion 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. 
 
* 
 
 34 HOGARTH. 
 
 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 
 
HOGARTH. 
 
 35 
 
 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 l are 
 phrases perpetually repeated by coach and 
 sign painters. Merely well painted or pen- 
 cilled, is chiefly the effect of much practice ; 
 and we frequently see that those who are 
 in these particulars very excellent, cannot 
 advance a step farther. 
 
 “ 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 man- 
 ner in which the present race of professors 
 
 VOL. III. D 
 
36 
 
 HOGARTH. 
 
 in England conduct it, that also becomes 
 still life, as much as any of the preceding. 
 Admitting that the artist has no farther 
 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 acknow- 
 ledged, they do not seem ashamed of the 
 title, for their figures are frequently so exe- 
 cuted as to be as still as a post. Posture 
 and drapery, as it is called, is usually sup- 
 plied by a journeyman, who puts a coat, 
 &c. 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 laymen, they may thus carry on a very 
 profitable manufactory, without a ray of 
 genius. There is a living instance, well 
 
HOGARTH. 
 
 37 
 
 known to the connoisseurs in this town of 
 one of the best copiers of pictures , particu- 
 larly those by Rubens, who is almost an 
 idiot. * 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 suf- 
 ficient 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 
 
 * 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 
 
 D 2 
 
HOGARTH. 
 
 38 
 
 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 a-kimbo, 
 and, strutting among the historical artists, 
 cries , — how we apples swim ! 
 
 “ For men who drudge in this mechani- 
 cal part, merely for gain, to commence deal- 
 ers in pictures is natural. In this also, great 
 advantage may accrue from the labour and 
 ingenuity of others. They stand in the ca- 
 talogue 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 
 
 Devonshire and Dr. Mead. He was indefatigable, — 
 executed a vast number of works, — succeeded greatly 
 in copying Reubens, — and died in 1768: his pictures 
 were sold by auction in the December of that year. 
 
r 
 
 HOGARTH. 39 
 
 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 attend- 
 ance at auctions. They collect , under pre- 
 tence of a love for the arts ; but sell, know- 
 ing 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,* and unascertained by tradi- 
 tion, the best preserved and highest finished 
 picture (though it should have been painted 
 by Raphael), will not, at a public auction, 
 
 * 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. 
 
4?o 
 
 HOGARTH. 
 
 produce five shillings ; while a despicable, 
 damaged, and repaired old canvas, sanction- 
 ed by their praise, shall be purchased at any 
 price, and find a place in the noblest col- 
 lections. All this is very well understood by 
 the dealers, who, on every occasion where 
 their own interest is concerned, are wonder- 
 ously 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 ori- 
 ginally 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 misrepre- 
 sentations, 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. 
 
HOGARTH. 
 
 4 1 
 
 <f 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, what- 
 ever 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 manu- 
 factory, his fortune is made ; and as his two 
 coadjutors are kept in the back-ground his 
 own fame is established. 
 
 “ If a painter comes from abroad, his be- 
 ing an exotic will be much in his favour ; and 
 if he has address enough to persuade the 
 public that he had brought a new discover- 
 ed mode of colouring, and paints his faces 
 all red, all blue, or all purple, he has no- 
 thing to do but to hire one of these painted 
 tailors as an assistant, for without him the 
 
42 
 
 HOGARTH. 
 
 manufactory cannot go on, and my life for 
 his success. 
 
 “ Vanloo,* a French portrait painter, be- 
 ing 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 *, — *, — *, — *, — *,■ — &c. &c. &c. f 
 
 * Vanloo came to England with his son in the year 
 I 737* — JValpoU's Anecdotes . 
 
 t I am not sufficiently versed in the palette biogra- 
 phy of the day to Jtnow who are the painters that these 
 stars, &c. &c. &c. allude to. Abbe le Blanc, in his 
 letter to the Abbe du Bos, on the state of painting and 
 sculpture in England, notices the whole body in the fol- 
 lowing very flattering terms . i< The portrait painters 
 “ are at this day more numerous and worse in London, 
 u than ever they have been. Since Mr. Vanloo came 
 
 hither, they strive in vain to run him down, for no- 
 “ body is painted but by him. I have been to see the 
 “ most noted of them ; at some distance one might 
 u easily mistake a dozen ol 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 
 
HOGARTH. 
 
 43 
 
 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 in- 
 terference excited much enmity, because, 
 as my opponents told me, my studies were 
 
 “ 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 speak- 
 “ ing they are not painters; they know how to lay 
 “ colours on the canvas, but they know not how to ani- 
 “ mate it. Nature exists in vain for them ; they see 
 “ her not, or if they see her, they have not the art of 
 “ expressing her.” 
 
44 * 
 
 HOGARTH. 
 
 in another way. You talk, added they, 
 with ineffable contempt of portrait paint- 
 ing ; 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 ac- 
 knowledged, 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* My query as to the cre- 
 dit I should obtain if I did, was replied to 
 by Mr. Ramsay, and confirmed by the pre- 
 sident 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, 
 
 * Sir Francis Bacon somewhere remarks, that in the 
 flight of Fame, she will make but slow progress without 
 some feathers of ostentation. 
 
HOGARTH. 
 
 45 
 
 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 affirm- 
 ing 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 Qjuare , 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 pri- 
 vilege be allowed to a painter? The mo- 
 dern artist, though he will not warrant his 
 works as the watchmaker, has the impu- 
 dence 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 
 
4 6 
 
 HOGARTH. 
 
 requisite for portrait painting, I had not the 
 most exalted opinion, and thought, that if 
 I chose to practice 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 berogue 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 su- 
 periority, in one he knows to be his in- 
 ferior, — he must be either a fool or an 
 
HOGARTH. 
 
 47 
 
 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 paint- 
 ing. 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. 
 
4 $ 
 
 HOGARTH. 
 
 Ramsey, on the abilities necessary for por- 
 trait 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 fol- 
 lowed, — 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 sug- 
 gested. 
 
 “ 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 com- 
 
HOGARTH. 
 
 49 
 
 petition, 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.* To this I refer 
 Mr. Rams-eye,^ and his quick- sighted, and 
 impartial coadj utors/ ' 
 
 * 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. 
 
 t 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 can- 
 dour than any of his other opponents. 
 
50 
 
 HOGARTH. 
 
 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 Rother- 
 hithe, his avocations obliging him to go early 
 into the city and return late, he frequently 
 saw deserted infants exposed to the incle- 
 mencies of the seasons, and through the in- 
 digence or cruelty of their parents left to 
 casual relief, or untimely death. This na- 
 turally 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, an 
 at last, by his unwearied application, ob- 
 tained the royal charter, bearing date the 
 17th of October, 1739, for its incorporation. 
 
 He was highly instrumental in promot- 
 ing another good design, viz. the procuring 
 a bounty upon naval stores imported from 
 
HOGARTH. 
 
 51 
 
 the Colonies to Georgia and Nova Scotia. 
 But the charitable plan which he lived to 
 make some progress in, though not to com- 
 plete, 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,* 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 
 
 * Upon the death of Coram, this pension was con- 
 tinued to poor old Leveridge, for whose volume of songs 
 Hogarth had in 1727 engraved a title-page, and frontis- 
 piece, and who at the age of ninety had scarcely any 
 other prospect than that of a parish subsistence. 
 
 VOL. Ill, E 
 
52 
 
 HOGARTH. 
 
 subscription being opened for his benefit 
 would not offend him ; he gave this noble 
 answer. “ I have not wasted the little zvealth 
 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, 175L an< ^ 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 pre- 
 served his honest countenance. 
 
 Hogarth thus resumes his narrative. 
 
 “ For the portrait of Mr. Garrick in 
 Richard III. I was paid two hundred 
 pounds* (which was more than any English 
 
 * 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 help- 
 less infancy, is not calculated to strike the million so 
 forcibly, as the dramatic perturbation of a guilty tyrant. 
 
HOGARTH. 
 
 53 
 
 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 with- 
 out 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 pliyz- 
 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,* and my composition 
 and engraving contemptible. 
 
 “ This so much disgusted me, that I 
 
 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. 
 
 * 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. 
 
 E 2 
 
54 
 
 HOGARTH. 
 
 sometimes declared I would never paint 
 another portrait, and frequently refused 
 when applied to; for I found by mortify- 
 ing experience, that whoever would succeed 
 in this branch, must adopt the mode recom- 
 mended in one of Gay's fables, and make 
 divinities of all who sit to him.* Whether 
 or not this childish affectation will ever be 
 
 * The fable here alluded to, is entitled, a Painter who 
 ■pleased every body 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; — resolv’d 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.” 
 
HOGARTH. 
 
 55 
 
 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 gra- 
 tified 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 estima- 
 tion in which the author of the Battle of the 
 Books held the painter of the Battle of the 
 Pictures. 
 
II O G A R T H. 
 
 56 
 
 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.* Your reputation 
 “ here is sufficiently known, to recommend 
 “ any thing 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;^ and de- 
 “ sired me to thank you for your kind pre- 
 “ sent, and to accept of his service. 
 
 * The Distressed Poet, Enraged Musician, and a com- 
 panion print on painting, which, though advertised, was 
 never published, are the three here alluded to. 
 
 t In his description of the Legion Club, after 
 
HOGARTH. 
 
 .57 
 
 “ I am, Sir, your most obedient and 
 “ most humble Servant, George Faulkner ” 
 
 Dublin, Nov. 15, 1740. 
 
 Hogarth about this time painted the por- 
 trait of Doctor Benjamin Hoadley, bishop of 
 Winchester, which, though rather French, 
 is in a grand style. Concerning it, Doctor 
 John Hoadley wrote the following whim- 
 sical epistle to the artist. 
 
 pourtraying 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.” 
 
58 
 
 HOGARTH. 
 
 To Mr. William 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 pack- 
 “ ing to London. My love to him, and desire 
 him, when his wife says he looks charm- 
 ingly, 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 for- 
 “ get it now, — don't you. My humble ser- 
 “ vice waits upon Mrs. Hogarth, and all 
 “ good wishes upon your honour, and 
 
 “ I am, dear Sir, 
 
 “ your obliged and affectionate 
 “ J . Hoadley 
 
HOGARTH. 
 
 59 
 
 CHAPTER III. 
 
 OF ACADEMIES; HOGARTH’S OPINION OF THAT 
 NOW DENOMINATED ROYAL ; AND OF THE SOCIETY 
 FOR THE ENCOURAGEMENT OF ARTS, MANUFAC- 
 TURES, AND COMMERCE, GIVING PREMIUMS FOR 
 PICTURES AND DRAWINGS. 
 
 Among Hogarth's loose papers I found 
 the rough draught of a letter (addressed 
 but not directed ) to a nobleman, declaring 
 his disapprobation of a scheme, by which 
 certain projectors were endeavouring to es- 
 tablish 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 wdth 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. 
 
6o 
 
 HOGARTH. 
 
 “ My Lord , 
 
 “ Mr. Martin has informed me, that 
 u 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 in- 
 “ spection, 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 
 a n ot 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 
 u 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 
 
HOGARTH. 
 
 6 1 
 
 “ being now upwards of sixty years of age, 
 “ and in a very poor state of health, I would 
 <c 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 in- 
 “ duce him to support it. 
 
 “ I am, my Lord, & c. W. H.” 
 
 “ Much has been said about the immense 
 benefit likely to result from the establish- 
 ment 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 free- 
 dom 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 establish- 
 ments. 
 
 “ The first place of this sort was in Queen- 
 street, about sixty years ago ; it was begun 
 
62 
 
 HOGARTH. 
 
 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 solem- 
 nity ; 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 march- 
 ing 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 Pres- 
 byterian meeting-house into an academy. 
 
HOGARTH. 
 
 63 
 
 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, &c, 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. Van- 
 derbank'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 
 
HOGARTH. 
 
 64 
 
 right to vote in every question relative to 
 the society. As to electing presidents, di- 
 rectors, professors, &c. I considered it as a 
 ridiculous imitation of the foolish parade of 
 the French academy, by the establishment 
 of which Lewis 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 advan- 
 tages than what arose to a few leaders from 
 their paltry salaries, not more I am told than 
 fifty pounds a year ; which, as must always 
 be the Tase, were engrossed by those who 
 had most influence, without any regard to 
 their relative merit.* 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 
 
 * 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 
 
HOGARTH. 
 
 % 
 
 appeared in the country ; the whole band, 
 adds the same lively and sensible wri- 
 ter, became mannerists and imitators .* It 
 may be said in answer to this, that all 
 painting is but imitation: granted; but if 
 we go no farther 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 he 
 behind. 
 
 “To return to our own academy; by 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. 
 
 * Lewis 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 estab- 
 lishment. 
 
66 
 
 HOGARTH. 
 
 regulations I have mentioned of a general 
 equality, See., it has now subsisted near 
 thirty years ; and is, to every useful pur- 
 pose, 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 ap- 
 pointed to places, and have salaries as in 
 France, for telling a lad when an arm or a 
 leg is too long or too short. 
 
67 
 
 HOGARTH. 
 
 “ 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 laucrh- 
 ed at, and laughed at it has been.* The 
 business rests in the breast of majesty, and 
 the simple question now is, — whether he 
 will do, what Sir James Thornhill did be- 
 fore him, i. e. establish an academy, with 
 the little addition of a royal name, and sa- 
 laries for those professors who can make 
 most interest and obtain the greatest patron- 
 age. As his majesty’s beneficence to the 
 
 * The late Sir Robert Strange seems to have enter- 
 tained an opinion somewhat similar. 
 
 Academies, under proper regulations, are no doubt 
 the best nurseries of the fine arts. But when the estab- 
 lishment of the Royal Academy at London, is impar- 
 tially examined, it will not, I am afraid, reflect that 
 credit we wish upon the annals of its royal founder.” 
 
 Strange's Inquiry, p. 61. 
 
 VOL. in. f 
 
68 
 
 HOGARTH. 
 
 arts will unquestionably induce him to do 
 that which he thinks most likely to pro- 
 mote 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 num- 
 ber 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 
 
HOGARTH. 
 
 % 
 
 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 car- 
 ried 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 com- 
 memoration ; which being displayed in a 
 language legible to all, incited the spectator 
 to emulate the virtues they represented. 
 The artists who could perform such won- 
 ders, were held in an estimation of which 
 we can hardly form an idea ; and could 
 we ascertain the rewards they received, 
 
 F 2 
 
7o 
 
 HOGARTH. 
 
 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 attain- 
 ed 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.* 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 
 
 * “ 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 ge- 
 neral assuring a soldier, to whom he gave in charge 
 a statue, which was the work of Praxiteles, that if 
 he broke it, lie should get another as good made in its 
 place.” 
 
HOGARTH. 
 
 7 * 
 
 lay in a dormant state, until they were 
 revived by the introduction of a new re- 
 ligion ; this, in the magnificent style it was 
 there brought forward, called upon sculp- 
 ture 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 op- 
 posite to their pagan origin.* 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 contem- 
 plation of such works, would naturally pro- 
 duce 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 
 
 * Transmigrations of heathen deities into apostles, 
 etc. have been too frequent to need particular enumera- 
 tion'. 
 
7 s 
 
 HOGARTH. 
 
 fringe to their gaudy religion, Rome be- 
 came 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 na- 
 tion 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 
 
HOGARTH. 
 
 73 
 
 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 w’iil succeed better in this country 
 than in any other ;* 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 acknowledg- 
 ed that the artists and the age are fitted 
 for each other. If hereafter the times 
 alter, the arts, like water, will find their 
 level. 
 
 * 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 ©f 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. 
 
74 
 
 HOGARTH. 
 
 “Among other causes that militate against 
 either painting or sculpture succeeding in 
 this nation, we must place our religion ; 
 which inculcating unadorned simplicity, 
 doth 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, ex- 
 pensive, 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 pur- 
 chase 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 
 
HOGARTH. 
 
 75 
 
 where the people cultivate them from a 
 kind of religious necessity , and where pro- 
 ficients 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 en- 
 courage trade and mechanics, rather than 
 painting and sculpture. Is it then reason- 
 able 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 la- 
 borious study merely for fame, when his next 
 door neighbour, perhaps a porter- brewer, 
 or an haberdasher of small wares , can with- 
 out 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 mode- 
 rately rich, it is not reasonable to expect, 
 that they should waste their lives in culti- 
 vating the higher branch of the art, until 
 their country becomes more alive to its 
 
7 6 
 
 HOGARTH. 
 
 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 bright- 
 est parts, be branded with incapacity, by a 
 set of pedantic dreamers , who seem to ima- 
 gine 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 hot- house ? Gross as are these 
 absurdities, there will always be a band of 
 profound blockheads ready to adopt and cir- 
 culate them ; if it were only upon the au- 
 thority of the great names by which they 
 are sanctioned.* 
 
 * The president Montesquieu, the Abbes Winckel- 
 mann, 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 any thing that 
 requires genius. 
 
HOGARTH. 
 
 77 
 
 “ 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, &c. 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 every thing 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 
 
7 S 
 
 HOGARTH. 
 
 principle may be clearly seen , is sold for a few 
 shillings. These small casts, if quite cor- 
 rect, 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 in- 
 variably 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 
 
HOGARTH. 
 
 79 
 
 much more than the names of the painters ; 
 though sometimes, they have attained the 
 amazing power of distinguishing styles * 
 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 hand- writing 
 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 unqua- 
 lified admiration on the marvellous bad 
 copies of marvellous bad originals, which 
 they have brought home as trophies, and 
 
 * u Their mode of judging, subjects them to con- 
 u tinual imposition ; for what is called manner , is easily 
 “ copied by the lowest performer -he only fails in 
 “ beauty, delicacy, and spirit !” 
 
8o 
 
 HOGARTH. 
 
 triumphantly display, to prove their dis- 
 cernment and taste. 
 
 “ Neither England nor Italy ever pro- 
 duced 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.* 
 
 “ To conclude, — I think that this osten- 
 tatious 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 re- 
 ceive salaries, for the kind superintendence 
 they will exercise over such of their bre- 
 
 * One specimen of Mr. Kent’s talents in painting is 
 in page 17. 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. 
 
HOGARTH. 
 
 8l 
 
 thren as have not so much interest as them- 
 selves.* 
 
 <( 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 ; sub- 
 jects 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 tra- 
 velled, and seen fine pictures and statues, to 
 be planet struck with a desire of being cele- 
 brated in books, like those great men, of 
 whom they have read in the lives of the 
 painters, &c. ; for it must be recollected that 
 the popes, princes, and cardinals, who pa- 
 tronized these painters, have been celebrated 
 
 * How far the present situation of the Royal Aca- 
 demy, and the arts, has fulfilled or contradicted this 
 opinion, I will not presume to determine. 
 
8s 
 
 HOGARTH. 
 
 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, &c. 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.* 
 
 “ This society of castle-builders, have a 
 similar idea. They wish first to persuade 
 
 * Mr. Strange, in his Inquiry into the Rise and Estab- 
 lishment of the Royal Academy of Arts of London, places 
 the causes of this disagreement in a point of View some- 
 what 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 re- 
 “ spectable persons in this country, commonly known 
 « by the name of the Dilettanti , made the first step to- 
 “ wards an establishment of this nature. That society 
 
HOG ARTH. 
 
 S B 
 
 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. 
 
 46 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 
 
 “ 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 so- 
 “ ciety 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 libe- 
 “ rality 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. 
 
 VOL. III. 
 
 G 
 
84 
 
 HOGARTH. 
 
 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 pro - 
 moters 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 pro- 
 mises, 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 ven- 
 ture to lay it before the reader, with the 
 same frankness that I then gave it. 
 
HOGARTH. 
 
 85 
 
 “ When the society was in its infancy, 
 they gave premiums for children's drawings, 
 —and for this , — let children lisp their praise .* 
 It was asserted that we should thus improve 
 our own manufactures, and gravely asked 
 by these professed encouragers of the com- 
 
 * This society was first projected by Mr. William 
 Shipley, who was very active in his endeavours to estab- 
 lish it. Their original proposal was, “ to give pre- 
 miums 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 coffee-house, 
 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, 
 
 1 755> at Peek’s coffee-house, where the first premium of 
 f or the best drawing by boys under the age of fourteen, 
 was adjudged to Mr. Richard Cosway. 
 
 G 2 
 
86 
 
 HOGARTH. 
 
 merce of their country , if the F rench children, 
 being instructed in drawing, did not enable 
 that people to give a better air to all the 
 articles they fabricated. I answered posi- 
 tively, 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 sup- 
 ported by fashionable ladies, travelled gen- 
 tlemen, 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. 
 
HOGARTH. 
 
 87 
 
 “ 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, re- 
 quires as much skill, as to copy different 
 forms of columns and cornices in architec- 
 ture, and might with some show of propriety, 
 be said to demand a knowledge of design ; 
 yet common sense and experience con- 
 vince us, that the proper place for acquiring 
 a fine hand is a writing-school. As mea- 
 suring 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 dimen- 
 sions of all the bits of antiquity that re- 
 main in Greece.* How absurd would it 
 be to see perriwig-makers' and shoemakers' 
 boys learning the art of drawing, that they 
 might give grace to a peruke or a slipper. 
 
 * “ 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.” 
 
88 
 
 HOGARTH. 
 
 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 improve- 
 ment to a tinman ; it would be highly pro- 
 per 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 every thing , 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, &c. for silks 
 and linens, let it be recollected that these 
 artizans copy the objects they introduce 
 from nature ; a much surer guide than all 
 the childish and ridiculous absurdities of 
 temples, dragons, pagodas, and other fan- 
 tastic fripperies, which have been imported 
 from China. 
 
 “As from all these causes (and many 
 more might be added), it appears that a 
 
HOGARTH. 
 
 *9 
 
 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 de- 
 mand:* 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 
 
 * Little did Hogarth imagine that a man lived in his 
 own time, who by a great commercial enterprize, 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 pas- 
 sions, and opened to the artist a new mine of rich ma- 
 terials, 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 pos- 
 sible for an Englishman to paint a good historical 
 picture. 
 
9 ° 
 
 HOGARTH. 
 
 by people of rank, may find employment; 
 but the majority, even of these, must either 
 shift how they can amongst their acquaint- 
 ance, 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 manu- 
 factory, and will wish that they had been 
 taught to make a shoe, rather than thus 
 devoted to the polite arts * 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 enter- 
 
 * 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 y those painters only 
 can determine* 
 
HOGARTH. 
 
 91 
 
 tained 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 pro- 
 duced, determined to try the fate of an ex- 
 hibition 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 permis- 
 sion 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 them- 
 selves into a regular institution, by the name 
 of “A society of artists , associated for the relief 
 
g<2, HOGARTH. 
 
 of the distressed and decayed of their own body , 
 their widows and children For these hu- 
 mane purposes they agreed to form a fund. 
 As far as this plan went, it had Hogarth's 
 approbation; and for their exhibition cata- 
 logue of 1761, he made two designs, which 
 were engraved by Mr. Charles Grignion, 
 and of which the following are copies. 
 

HOGARTH. 
 
 93 
 
 FRONTISPIECE 
 
 TO THE CATALOGUE OF THE ARTISTS* EXHIBI- 
 TION, 1761, 
 
 Et spes & ratio studiorum in Casare tantum .* 
 
 juv. 
 
 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 ma- 
 jesty 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, — 
 
 * The hope of the arts f is in the patronage of the save - 
 reign. 
 
94 
 
 H 0 G A R T H. 
 
 Architecture. These promising saplings, 
 are planted upon a gentle declivity ; Paint- 
 ing 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 sur- 
 face 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 pre- 
 viously written, seems intended for portrait 
 painting. The tree, which is the symbol 
 for sculpture , appears to bend and withdraw 
 itself from the reservoir;* one branch from 
 the centre of the trunk, is probably fune- 
 real, and intended to intimate sepulchral 
 
 * A great personage once remarked, that sculpture 
 was too cold and chilling for this climate. 
 
HOGARTH. 
 
 95 
 
 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, contem- 
 plate the building, pay their shilling , and 
 walk through the rooms of the Royal Aca- 
 demy, during the time of their annual exhi- 
 bition ! 
 
 TAIL PIECE 
 
 TO THE ARTISTS’ CATALOGUE. 
 
 Esse quid hoc dicam ? vivis quod Fama negatur ! * 
 
 MART. 
 
 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 
 
 * What shall we say of these ? if fame is denied to the 
 living. 
 
96 
 
 HOGARTH, 
 
 flowering shrubs ; and are inscribed Exo- 
 ticks . These wretched remnants of things 
 which were , are carefully placed in labelled 
 flower pots; on the first is written obiit 
 1502 ; on the second, ohiit 1600 ; and on 
 the third ohiit 1606. Still adhering to the 
 hieroglyphics in his frontispiece, Hogarth 
 introduces these three dwarfish importa- 
 tions 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 mag- 
 nifying glass, that will draw forth hidden 
 beauties, which to common optics are in- 
 visible. 
 
 So great was the demand for the cata- 
 logues, with the illustrative prints of Ho- 
 garth, that the two first done were soon 
 worn down, and Mr. Grignion was em- 
 ployed to engrave others from the same 
 drawings. Beneath those that were first 
 
HOGARTH. 
 
 97 
 
 tnade, 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 pre- 
 ceding pages, given of the taste and judg- 
 ment of the public in his own day, may 
 at first sight seem rather harsh; but was 
 in a degree justified, by the scandalous in- 
 attention with which the town received his 
 six inimitable pictures of Marriage a 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 admir- 
 able series, was but a few shillings more 
 than one hundred pounds.* Such are the 
 
 # On Mr. Lane’s death, they became the property 
 of his nephew, Colonel Cawthorn j and on the 5th of 
 
rewards of genius. Low as this sum was, 
 a Mr. Perry, being eleven months after- 
 wards 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: “ /\fh 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), 
 
 February, 1797, were sold by ruction, at Christie’s 
 room, and purchased by Mr. Angerstein for one thou- 
 sand guineas. 
 
 It has frequently been the fate of painters, as well as 
 
 poets, to have their works disregarded until the authors 
 
 'to 
 
 were out or 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 t 
 And starv'd his authors , that their works might sell." 
 
HOGARTH. 
 
 99 
 
 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 
 ie mine in the city, that seventy- five pounds 
 Ci only, was bid for your pictures of Mar - 
 “ nage a-la-Mode ; and this I hope will 
 “ excuse my bidding you so small a sum as 
 <c 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 mo obedient 
 " servant, Car . Perry.” 
 
 “ May 15, 1751. 
 
 vol. m. 
 
 H 
 
100 
 
 HOGARTH. 
 
 CHAPTER IP. 
 
 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 ELECT- 
 ED A MEMBER OF THE IMPERIAL ACADEMY AT 
 AUGSBOURG, AND APPOINTED SERJEANT PAINTER 
 TO THE KING. 
 
 Hogarth finding his prints were become 
 sufficiently numerous to form a handsome 
 volume, in the year 1745,* 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 in- 
 scribed the line of beauty. This created 
 much curious speculation, and as he him- 
 self expresses it, “ The bait soon took, 
 
 * Such is the date, both in his MS. and the preface 
 to the Analysis ; though under the print, he has en- 
 graven, Se ipse pinxit et sculpsit , 1749. It is probable 
 that in the first instance, he meant to speak of the paint- 
 ing it was taken from, which is now in the possession 
 of Mr. Angerstein. 
 
HOGARTH. 
 
 101 
 
 “ and no Egyptian hieroglyphic ever amus- 
 “ ed 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,* though the ac- 
 “ count 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 
 fe as a mechanical power/' “ They knew 
 “ it, as Falstqff did Prince Henry — by in- 
 “ stinct!" 
 
 This crooked line drew upon him a nu- 
 merous 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 
 
 * To this he evidently alludes, in giving the well 
 known story of Columbus breaking the egg , as a subscrip- 
 tion receipt to his Analysis of Beauty, 
 
 H 2 
 
102 
 
 HOGARTH. 
 
 acknowledged his claim to superiority as an 
 artist , were apprehensive that, by thus wan- 
 dering 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 feel- 
 ings. 
 
 *'■ What ! a book, and by Hogarth ! then twenty to ten, 
 All he’s gained by th t 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 preced- 
 ing the publication, he frankly acknow- 
 ledges, 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 
 
HOGARTH. I03 
 
 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 com- 
 mence 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 asper- 
 sions. 
 
 “ Among many other high crimes and 
 misdemeanours, of which I am accused, it 
 is asserted that I have abused the srreat 
 masters. This is so far from being just, 
 that when the truth is fairly stated, it may 
 possibly appear, that the professional repu- 
 tation of these luminaries of the arts, is 
 more injured by the wild and enthusiastic 
 admiration of those who denominate them- 
 selves 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 
 
HOGARTH. 
 
 IO4 
 
 first-rate artist, that the trees, water, sky, 
 &c. were boldly, though tenderly relieved 
 from each other, and the eye of the specta- 
 tor 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, patch- 
 work piece of antiquity is in the state that 
 it first came out of the artist's hands, does 
 not abuse the painter?* and whether he 
 
 * Sir Joshua Reynolds, whose lectures are, generally 
 speaking, the best rules, conveyed in the best language, 
 in his discourse, read December nth, 1769, acknow- 
 ledges, “ 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 con- 
 “ siders rather what the picture once was, than what it 
 “ is at present. He has acquired a power by habit, of 
 
HOGARTH. 
 
 105 
 
 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 con- 
 sciousness 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 
 
 u 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 Tohoso ! Such is the power of enchant- 
 
 ment. 
 
106 HOGARTH. 
 
 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 in- 
 sects, I have in my explanatory prints, done 
 the Antinous, Venus, &c. in a slighter style 
 than the other figures, to shew that they 
 are introduced as mere references to the 
 originals ; and I will not now attempt to 
 paint my Goddess of Beauty .* 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 
 
 * I do not know what Hogarth here alludes to ; per- 
 haps to some figure that he had threatened to paint as an 
 exemplification of his system. 
 
HOGARTH. 
 
 107 
 
 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 be- 
 wildered 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 bye. To re- 
 turn into my own path, and resume the 
 
ioS 
 
 HOGARTH. 
 
 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 per- 
 mitted to adopt an allegorical figure, it 
 necessarily led them into the wide road 
 of order and regularity , which they unex- 
 pectedly found crossed and intersected by 
 many other paths, that led into the laby- 
 rinths of variety ; where, not having passed 
 through the province of painting , they be- 
 came confused, and could never find their 
 way. To explaining the order and use- 
 fulness of nature they might be equal ; but 
 of her sportiveness and fancy, they were 
 
HOGARTH. I09 
 
 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 un- 
 derstood, 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 ad- 
 here 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 under- 
 stand, and read many books which they 
 
no 
 
 HOGARTH. 
 
 do not fully comprehend ; notwithstanding 
 all their pompous parade of knowledge, are 
 apt to wander about it and about it, per- 
 petually 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 dif- 
 ference, that yovir 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 phy- 
 siological disquisitions on the nature of the 
 
H O G A R T H. 
 
 1 11 
 
 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 me- 
 chanic 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 trust- 
 ed 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 ) 
 
3.12 
 
 HOGARTH. 
 
 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 ; re- 
 presented in the strangest employments, 
 and pictured in the strangest shapes ; some- 
 times under the hieroglyphical semblance of 
 a satyr , and at others, under the still more 
 ingenious one , of an ass * 
 
 * 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 draw- 
 ing, in pen and ink, entitled, A Christmas Gambol pram 
 Leicester Square to Westminster Hall , representing the 
 artists with ass’s ears, stripped, and tied to a cart’s tail, 
 and an old fellow, with a long wig, and cat-a ’ nine 
 tails in his hand, lashing his naked back, and exclaim- 
 ing — “ 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 
 
HOGARTH. 
 
 113 
 
 “ 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 
 
 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 por- 
 “ traiture (printed on fool’s-cap paper), and descriptive 
 t( 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 
 u 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 
 
H4 
 
 HOGARTH. 
 
 forgiven ; to say that such malicious at- 
 tacks and caricatures , did not discompose 
 me, would be untrue ; for to be held up 
 to public ridicule would discompose any 
 
 have been consigned to oblivion, had not they been oc- 
 casionally collected, as relatives to Hogarth. One of 
 them is intitled 
 
 Pugg's Graces, etched from his original daubing. 
 
 In this, the artist is represented at his easily 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 shews 
 evident marks of admiration, but the latter holds the 
 Analysis in his left hand, and appears rather puzzled. 
 A figure in the back-ground, who, to show that he is a 
 judgey is arrayed in a gown, a band, and ample periwig, 
 shews evident marks of disgust. Three naked and most 
 fill *y female figures, one of them fat as was Bright of 
 Maldeny 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 
 Hospitaly with a gilded frameyfor the admiration of the 
 public.” The other is seated on a chest of drawers, on 
 which are written under the yvord “ folly,” “ bid 
 for by Pugg’s friends , £.50, £. loo , £.120.” This most 
 
HOGARTH. 
 
 
 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 
 
 pointed piece of wit , evidently alludes to the auction of 
 Marriage-a-la-Mode , which has been already noticed. 
 On the upper part of the print is a head, intitled 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 con- 
 tinued, ” 
 
 A. C. Inv f . et Sculp. — Published according to act of 
 parliament , 1753-4. 
 
 On the back of this delicate satire, is printed the fol- 
 lowing address. '1‘ 
 
 “ TO THE PUBLIC. 
 
 “ I propose to publish by subscription, an Ana- 
 “ lysis of the Sun, in which I will show the consti- 
 “ tuent parts of which it is composed, and of which it 
 “ ought to have been composed. 
 
 “ I w iH compute exactly its magnitude and quantity 
 “ °f matter, both as it is, and as it ought to have been 
 “ constructed. 
 
 VOL. III. 
 
 I 
 
n6 
 
 HOGARTH. 
 
 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 
 
 “ 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 shew how they are caused. 
 
 I will prove that the figure of our earth is an in- 
 « verted C/3. And lastly, I will demonstrate, that their 
 « systems shew 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 shil- 
 “ lings. 
 
 <« 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.” 
 
HOGARTH. 
 
 117 
 
 received, I consoled myself with the trite 
 observation, that every success or advan- 
 tage in this world must be attended by 
 some sort of a reverse ; and that though 
 
 In a well etched print which, on a monumental stone 
 placed in the corner, the engraver has chosen to deno- 
 minate “ A self-conceited , arrogant dauber , grovelling in 
 vain to undermine the ever sacred temple of the best paint- 
 ers , sculptors , architects , (Ac. in imitation of the impious 
 Hero stratus, 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 has relief, and, be- 
 tween a serpent, which is spirally twisted round a cir- 
 cular 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 drest 
 connoisseur in the character of his torch bearer, accom- 
 panied 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 palate knife, (Ac. (Ac. 
 (Ac. The print is enriched with cypress trees, capitals, 
 
 l 2 
 
1 1 8 
 
 HO G ART H. 
 
 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, 
 
 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—tb, ’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 u A mountebank , demonstrating 
 to his admiring audience , that crookedness is most beauti- 
 ful and in another, of a larger size, iniitied, “ The 
 Burlesquer Burlesqued,” depicted with satyr’s legs, paint- 
 ing 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 
 Abram sacrificing Isaac, by pointing a blunderbuss at 
 his head ; with an angel hovering over the figures, etc . 
 
HOGARTH. 
 
 119 
 
 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 tenour of his language ; but his mor- 
 tifications were in a degree balanced. The 
 annexed letter from a man of Warburton’s 
 literary fame, was a flattering testimony 
 
 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. 
 
120 
 
 HOGARTH. 
 
 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 in- 
 closed 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 Cam- 
 bridge, that it would have a place in the 
 university library. 
 
 For Mr. Hogarth . 
 
 “ Hear 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* this to your country; for you 
 “ are both an honour to your profession, 
 “ and a shame to that worthless crew pro- 
 “ fessing vertu* and connoisseurship ; to whom 
 “ all that grovel in the splendid poverty 
 
 * The Doctor’s orthography is adhered to. 
 
HOGARTH. 
 
 121 
 
 cc of wealth and taste are the miserable 
 “ bubbles. 
 
 “ I beg you would give me leave to con- 
 “ tribute my mite towards this work, and 
 “ permit the inclosed to intitle me to a sub- 
 “ scription for two copies. 
 
 “ lam, dear Sir (with a true sense of your 
 “ superior talents), your very affectionate 
 “ humble servant, 
 
 “ JV. JVarburton." 
 
 P. P. March 28, 1752. 
 
 To Mr. Hogarth. 
 
 “ Dear Sir, 
 
 “ I expected to have been in England 
 “ about this time, but find myself disap- 
 “ pointed by the tediousness of the progress 
 “ of what I have begun, and business com- 
 “ ing 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 
 
122 
 
 HOGARTH. 
 
 “ 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 ac- 
 “ quainted with you. The hum* bug 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 damn'd picture, as 
 “ the soul of the dealer ; and consequently, 
 “ modern performances are much encou- 
 “ raged, and mine amongst them, for I have 
 " met with a reception much beyond what 
 
HOGARTH. 
 
 123 
 
 “ I expected, or they deserved. This cir- 
 <e cumstance has made Paris more agreeable 
 “ to me than it would have been without it. 
 “ I pass my time in it very swiftly ; perpe- 
 <£ tually employed in a great variety of un- 
 “ avoidable business. The days succeed one 
 “ another with great rapidity. Neverthe- 
 “ less, 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, 
 <f may be the reason of it ; I am afflicted 
 “ with a continual head-ach, 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 be- 
 “ fore 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 
 
HOGARTH. 
 
 iH 
 
 “ answer that I beg you will favour me 
 “ with. 
 
 “ I am, Sir, your humble servant, 
 
 “ Rouquet.” 
 
 Paris, March the 22d, 1753. 
 
 To Mr. Hogarth , in Leicester Fields. 
 
 “ Sir, Cambridge, Nov. 28, 1753 * 
 
 “ 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 plea- 
 « sure, 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 
 “ any thing that comes from his hand. 
 
 “ I am, Sir, your most obedient 
 
 “ humble servant, P. Tonge .” 
 
 Hogarth presented another copy to the 
 Royal Society : and by several of his books 
 that were sent abroad, he found that, how- 
 ever captiously the work had been treated 
 
HOGARTH. 
 
 125 
 
 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 Augsbourg ; an invi- 
 tation, which, by his reply, he appears to 
 have accepted. 
 
 An Italian translation of his Analysis was 
 published at Leghorn, dedicated “All’illus- 
 “ trissime Signora Diana Molineux Dama 
 “ Inglese.” It had been previously done into 
 German by Mr. Mylins, a new edition of 
 whose translation is thus pompously an- 
 nounced 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 
 
126 
 
 HOGARTH. 
 
 £ amply and handsomely noticed it. The 
 ‘ Author made the beauty of forms, which 
 f was the object of his art, at the same time 
 £ the subject of his philosophical medita- 
 £ tions, and fell at last upon a system which 
 £ was meant to ascertain, in some degree, 
 £ the various conceptions of mankind con- 
 £ cerning 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 there- 
 c fore to him we are indebted if the word 
 c beautijul, 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. 
 4 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 
 c 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 
 
HOGARTH. 
 
 127 
 
 44 philosopher, the naturalist, the antiqua- 
 4 4 rian, the orator, both in the pulpit and 
 44 on the stage ; the painter, the statuary, 
 44 the dancing-master, must consider it as a 
 44 book essentially necessary to them ; and 
 44 not only to them, but also to those persons 
 44 who are vain of being thought connois- 
 44 seurs, yet often form such contradictory 
 44 and inadequate judgment of what relates 
 44 to the imitation of natural beauty, that 
 
 they but too plainly betray their want 
 44 of fixed and determinate ideas. One may 
 44 venture to affirm, that the utility of Mr. 
 44 Hogarth’s system will soon extend itself 
 44 into the empire of fashion ; for even there 
 44 where nothing reigned but occasional 
 44 caprice, now something of certainty may 
 44 take its place by the assistance of this 
 44 theory. 
 
 44 Mr. Mylins,when in England translated 
 44 it into German, under the author’s in- 
 44 spection ; his translation was printed in 
 44 London, and contains only 22 sheets in 
 44 quarto, and the two prints, yet was it sold 
 44 for five dollars.” 
 
128 
 
 HOGARTH. 
 
 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 de- 
 scription 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, 
 ist 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 
 
HOGARTH. 
 
 129 
 
 ct of taste, to have dispelled the mist, and 
 “ cleared the difficulties that had previously 
 “ attended a problem in painting, of exqui- 
 “ site nicety, and the greatest moment. The 
 “ most eminent masters, and most sagaci- 
 “ ous 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 Augsbourg , 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 re- 
 “ spect your uncommon talents and capacity. 
 “ Proud of the acquisition of one no less dis- 
 “ tinguished in the republic of letters, than 
 “ in the commonwealth of arts, they ear- 
 “ nestly desire you would accept the diploma 
 
1 3 ° 
 
 HOGARTH. 
 
 “ of counsellor and honorary member of 
 “ their academy. It is ready to be drawn 
 “ up, and will not fail being dispatched so 
 “ soon as they are sure of your approbation ; 
 <c 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 Augsbourg 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 pub- 
 “ lished at. their own expense, a few select 
 “ pieces; but finding that the polite arts 
 
HOGART H. 
 
 131 
 
 “ 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 in- 
 “ structions in writing upon the two above- 
 “ mentioned branches, and a correspond- 
 “ ence 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 institu- 
 “ tion 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 char- 
 “ ter 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 
 
 VOL. III. 
 
 K 
 
HOG ART H« 
 
 132 
 
 “ Director, impowering the members to 
 “ choose those officers themselves ; and 
 “ moreover to appoint counsellors and pro- 
 “ fessors, 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 un- 
 “ avoidable expenses, such as salaries to 
 <c masters, and teachers, charges of the 
 “ press, etc. On this account they had re- 
 <c course to a tontine , a kind of lottery, con- 
 “ sisting 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 com- 
 “ passed, 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 
 
HOGARTH. 
 
 
 “ 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, 
 “ Stutgard, 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, 
 4£ 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 opera- 
 “ ting 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 
 
 k 2 • 
 
HOGARTH. 
 
 m 
 
 “ hints of those pieces we still expect from 
 “ your warm and masterly pencil. 
 
 “ But I have too much reason to appre- 
 “ hend 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, &c. &c. &c. 
 
 “ 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 
 Ci Augsbourg ; on which account let me 
 “ request it as a favour, that you will be so 
 “ good as to pay my proper compliments to 
 
HOGARTH. 
 
 *35 
 
 ** the gentlemen belonging to it ; and at the 
 ** same time assure them, that I with eager- 
 “ ness 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 laud- 
 “ able 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 corres- 
 “ ponding with you ; a happiness much to 
 “ be coveted, by Sir, &c. &c. 
 
 “ JV m , Hogarth. 
 
 London, April 18th, 1757. 
 
 <c A Monsieur Monsieur Reiffsten.'* 
 
HOGARTH. 
 
 %S 6 
 
 In addition to the high and sounding title 
 of counsellor and honorary member of the 
 Imperial Academy at Augsbourg, conferred 
 upon Hogarth in the German diploma, he 
 was on the 6th of June 1 757, still farther 
 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 shews that the 
 salary was £10. per annum , payable quar- 
 terly. 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. Man- 
 ning, 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 
 
HOGARTH. 
 
 137 
 
 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 embas- 
 sadors, in which case they were probably 
 sent to the continent. 
 
 “ George R. 
 
 “ Whereas the King our late Royal 
 “ Grandfather, of glorious and happy me- 
 “ mory, 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 other- 
 
IS 8 
 
 HOGARTH. 
 
 “ wise, to hold the said office to the said 
 if 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 
 u regrant 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 ap- 
 “ pointed ; and to contain our grant unto our 
 “ trusty and well-beloved, the said William 
 “ Hogarth of the office of Serjeant Painter 
 
HOGARTH. 
 
 *39 
 
 of all our works, as well belonging to all 
 e our Royal Palaces or houses, as to our 
 c great Wardrobe or otherwise, to hold and 
 £ exercise and enjoy the said office to the 
 * said William Hogarth, during our plea- 
 ‘ sure by himself, or his sufficient deputy, 
 £ or deputies together with the yearly fee 
 £ or salary of ten pounds, payable at the re- 
 £ ceipt 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 
 4 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 pay- 
 £ able and paid from such the commence- 
 £ ment 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 
 
HOGARTH. 
 
 1 4° 
 
 “ even and equal portions during his con- 
 “ tinuance in the said office ; and together 
 “ with all other fees, liveries, profits, com- 
 “ modifies, and advantages to the said office 
 “ belonging, or in any wise appertaining, 
 “ and in as full, ample, and beneficial man- 
 « ner 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 
 
HOGARTH. 
 
 141 
 
 “ 30th day of October, 1761, in the second 
 “ year of our reign. 
 
 “ By his Majesty's command. 
 
 “ James Oswald . 
 
 “ To our Attorney or Solicitor General . 
 u William Hogarth, Esq. Serjeant Painter of 
 “ his Majesty's Works. — Office renewed." 
 
 The following oracular prediction, I found 
 among his papers, in the hand writing of 
 his friend Townley. 
 
 “ From an old Greek fragment. 
 
 “ There was an ancient oracle delivered 
 u at Delphos, which says that the source of 
 “ beauty should never again be rightly dis- 
 “ covered, 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. 
 
 “ Holies Newcastle. 
 ci North. 
 
 Pythagoras 
 
 Hogarth." 
 
14 * 
 
 HOGARTH. 
 
 THE VASE . 
 
 Is man no more than this $ consider him well. 
 
 Shaklspeari. 
 
 As Doctor Townley, in the foregoing 
 mythological fragment, chooses to suppose, 
 that in the Greek particles which com- 
 pounded the name of Pythagoras , were to 
 be found the letters h, o, g, a, r, t, h; Ho- 
 garth, with a whimsicality somewhat simi- 
 lar, 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. 6 g, 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 
 
HOGARTH. 
 
 *43 
 
 " 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 draw- 
 “ ing a figure or two ( though ever so im- 
 “ perfectly), 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 gen- 
 “ teel man ; and yet it would make a vase 
 “ too taper to be elegant ; no rule or com- 
 “ passes 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 
 
HOGARTH. 
 
 144 
 
 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 * 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. 
 
 # 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.” 
 
HOGARTH. 
 
 H 5 
 
 HINTS FOR A NEW CAPITAL. 
 
 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 produc- 
 tions of men, men might without heresy, 
 venture to vary from them. He remarks, 
 “ That churches, palaces, prisons, com- 
 “ mon houses, and summer houses, might 
 “ be built more in distinct characters than 
 “ they are, by contriving orders suitable to 
 4 4 each ; whereas, were a modern architect 
 “ to build a palace in Lapland, or the West 
 “ Indies, Paladio 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 
 
1^6 HOGARTH. 
 
 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 re- 
 peat, 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 or- 
 ders, adapted to various purposes may be 
 still invented. I cannot help thinking it is 
 possible, that a man who understood draw- 
 ing, 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 com- 
 position be continually varied, and yet be 
 pleasing. For example, if the capitals com- 
 posed of the confined shapes of hats and 
 
HOGARTH. 
 
 147 
 
 wigs can be rendered tolerable what might 
 not be done by selecting the elegant varieties 
 which are displayed in feathers, flowers, 
 shells, etc.?”* 
 
 * 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 shewn, that a man who had 
 never seen or heard of Roman architecture, might, by 
 adhering to these lines, produce new and original forms. 
 
 r< 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. 
 
 VOL. III. 
 
 L 
 
148 
 
 HOGARTH. 
 
 ROUND AND SQUARE 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.* but lose their beauty 
 ££ in the full laugh ; the expression of ex- 
 £< cessive laughter, oftener than any other, 
 ££ gives a sensible face a silly or disagreeable 
 
 * This quotation is from p. 130, and refers to two 
 heads in the second plate, No. 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 charac- 
 ter, comes between them. 
 
HOGARTH. 
 
 *49 
 
 et look, as it is apt to form regular plain lines 
 <f about the mouth (like a parenthesis), which 
 C£ 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 inimi- 
 table Butler knew this ; and describes the 
 beard of Hudibras, fig. 2. — 
 
 u In cut and die so like a tile., 
 
 “ A sudden view it would beguile 
 
 “ To set this in an outred light, see fig. 4.* 
 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 
 
 * 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. 
 
 L 2 
 
150 
 
 HOGARTH. 
 
 “ 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.* 
 
 To No. 3. he thus alludes in his Analysis, 
 p. 128, but has not engraved it in his ex- 
 planatory plate, though it would certainly 
 have been a better example than his old 
 man’s head, fig. 98. 
 
 “ Human nature can hardly be repre- 
 “ sented more debased, than in the charac- 
 “ ter of the Silenus, where the bulging line 
 “ runs through ail the features of the face, 
 cc 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 con- 
 tinues. — 
 
 # “ Cleop. Bear' st thou her face in mind ? 
 
 {i Is’t iongy or round ? . 
 
 “ Mess. Round , even to faultiness. 
 
 “ Cleop, For the most part, they are foolish that are so.** 
 
HOGARTH. 
 
 151 
 
 “ 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, Corregio’s softer line, 
 
 “ Paulo’s free stroke,” &c. 
 
 “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.* He would have said the 
 
 * This truth is amply verified in the epistle above 
 quoted. 
 
 “ Oh lasting as thy colours may they shine, 
 
 “ Free as thy strode, 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 
 
152 
 
 HOGARTH. 
 
 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/'* 
 
 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.” 
 
 * 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’s por- 
 trait of the author of Tristram Shandy. 
 
— 
 
HOGARTH. 
 
 *53 
 
 HERCULES , HENRT VIII. AND 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 
 c< 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 
 
1 54 
 
 HOGARTH. 
 
 “ Corregio ; and the Antinous's 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, 1 ess- 
 “ ened the size of the muscles gradually 
 “ down towards the feet, and for the same 
 “ reason made the neck larger in circum- 
 “ ference than any part of the head ; other- 
 « wise the figure would have been burdened 
 « with an unnecessary weight, which w r ould 
 « have been a drawback from his strength, 
 “ and, in consequence of that, from his cha- 
 “ racteristic beauty. These seeming faults, 
 “ which shew the superior anatomical know- 
 “ ledge as w^ell as judgment of the ancients, 
 
HOGARTH. 
 
 1 55 
 
 “ are not to be found in the leaden imita- 
 “ tions 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 observa- 
 tion. 
 
i $6 
 
 HOGARTH. 
 
 CHARLES I. ITALIAN JUPITER, etc. 
 
 These figures, as well as the preceding, 
 are copied from sketches in the MS. of the 
 Analysis ; the Italian Jove, grasping a thun- 
 derbolt, 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 ac- 
 knowledged 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, thpugh drawn 
 with an easy and elegant air, Hogarth con- 
 siders as not composed on the principle of 
 the waving line , which he says Vandyke 
 seems never to have thought of. Thus does 
 
HOGARTH. 
 
 157 
 
 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 deli- 
 cacy and simplicity ; but when nature flag- 
 ged, he was tame, not knowing that principle 
 which might have raised his ideas. His best 
 works are, however, marked with grace." 
 
 No. g. is intended to represent one of 
 those clumsy, grotesque ornaments with 
 which our cathedrals abound, where a wing- 
 ed figure, perched in the niche of an arch, 
 behind a shield, seems intended as a guar- 
 dian angel to the dust of the deceased hero, 
 whose armorial bearing is sometimes dis- 
 played 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 ven- 
 tured to introduce it in the title-page to 
 
158 
 
 HOGARTH. 
 
 this volume. The original drawing is on the 
 same leaf with two sketches of an ill-shaped 
 candlestick, and torch thistle, No. 40. and 42. 
 in the first plate to the Analysis. I think it 
 maybe denominated The Dolphin Candle- 
 stick, 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 un- 
 varied lines can make them and producing 
 as examples, the ill-shaped candlesticks, etc. 
 which are engraved in his first plate, he con- 
 cludes 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 
 shew in a much clearer view than can be 
 
HOGARTH. 
 
 159 
 
 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 con- 
 trast to such flowers, as the Chalcedonian 
 iris and lily, whose enchanting beauty pro- 
 ceeds form their variety — these two flowers 
 united, from a nozle to the candlestick above 
 alluded to.” 
 
 Notwithstanding Hogarth’s perpetual re- 
 ference 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. Nicholls, 
 in his z\necdotes, insists on his notorious 
 deficiency in what is styled the graceful , and 
 in p. 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 
 
i6o 
 
 HOGARTH. 
 
 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 other- 
 wise ; he has not referred to them as models 
 in his book, and it is but fair to think, meant 
 them as leading figures, less outre 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 amplifymg awkwardness 
 in the Wandsworth assembly * the annexed 
 design, which may be considered as its con- 
 trast, he has either composed on a different 
 principle, or by a most happy and singular 
 accident, grouped some very easy and ele- 
 gant forms with much taste. 
 
 # Which he is said to have caricatured in this plate. 
 
Zpr 
 
HOGARTH. 
 
 161 
 
 THE DANCE , 
 
 Was designed and engraved in the year 
 1723, for the first volume of De la Mot- 
 traye’s Travels. In p. 1 39, 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 oc- 
 casions wine is not spared.* 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 
 
 * u Sing, we will drink nothing hit Lipari wine.” 
 
 Rehearsal. 
 
i6a 
 
 HOGARTH. 
 
 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 deli- 
 neating 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 
 
HOGARTH. 
 
 163 
 
 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 imme- 
 diately 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 JV m. Hogarth, Esq. Chiswick 
 “ Dear Sir , 
 
 “ When you come to town, I shall be 
 “ very glad to shew you farther advantages 
 <£ which I have gathered from your excellent 
 “ Analysis. I assure you, I think myself 
 
 VOL. III. 
 
 M 
 
HOGARTH. 
 
 164 
 
 “ 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 men- 
 “ tioned to me lately, which it seems is a 
 “ fact. A parallelogram viewed obliquely 
 “ at a given distance, forms a different re- 
 tc presentation when seen through a tele- 
 “ scope, 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. 
 
 “ Qu. 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, &c. 
 
 et B. Wilson*’ 
 
 For Mr. Hogarth. 
 
 “ Dear Sir , Ipswich, May 3d, 1753. 
 
 “ Ever since I received the favour of your 
 t( drawing I have been in expectation of 
 
HOGARTH. 
 
 1 65 
 
 “ having my preface printed, but have been 
 <e continually disappointed, which was the 
 “ reason of my not returning you my most 
 Ct 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 en- 
 “ graved 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 pur- 
 <( pose. 
 
 “ I have inclosed my preface for your in- 
 <c spection, and one page of the work itself, 
 “ as a specimen of the paper and letter, and 
 “ shall be glad if they please you ; my 
 
 m 2 
 
HOGARTH. 
 
 1 66 
 
 “ intention in the three last paragraphs* will 
 “ be obvious at first sight , and I hope you 
 “ will not think them unnecessary. 
 
 # The last paragraph in his preface, page io, 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 per- 
 “ spective ; for to draw a good picture, is to draw the 
 “ representation of nature as it appears to the eye ; and 
 i( to draw the perspective representation of any object, 
 “ is to draw the representation of that object as it ap- 
 “ pears to the eye. Therefore the terms painting and 
 (t 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 al- 
 “ ways 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 shewn 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 ge- 
 “ neral rules of perspective, and to enforce the practice 
 
HOGARTH. 
 
 167 
 
 “ But, good Sir, give me leave to ask 
 “you (for you have given me much as- 
 <£ surance by your friendship, and particu- 
 “ larly by your promise), have you thought 
 
 “ 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 opposi- 
 tion to the system. 
 
 “ A Critical Examination of those two Paintings on 
 “ the ceiling of Whitehall, in which Architecture is in- 
 “ troduced, 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 j or whether 
 
i68 
 
 HOGARTH. 
 
 t 
 
 “ any more of what we have so often 
 “ discoursed upon, in relation to parallel 
 “ columns, &c. I am more and more con- 
 cc vinced of the justness of your reasoning 
 
 (because they really in nature appear less, in propor- 
 tion as they are more distant), they ought not to be 
 made less, or, at most, equal to each other in the pic- 
 ture ? . 
 
 Mr. Kirby says, p. 70 of his first part, “ since the 
 fallacies of vision are so many and great, &c. it seems 
 reasonable not to comply with the strict rules of mathe- 
 matical perspective, in some particular cases (as in this 
 before us), but to draw the representations of objects as 
 they appear to the eye, &c.” 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 
 iC 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 shew 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 
 
HOGARTH. 
 
 169 
 
 “ upon that subject, and shall think myself 
 “ prodigiously honoured, if you annex some- 
 “ thing of that kind to my work; for then 
 “ I shall have you both in my front and 
 
 “ contrivance, the oval may be foreshortened, so as to 
 “ appear a circle.” 
 
 He farther asks, “ Would a carpenter allow fourteen 
 “ inches to be the true representation of a foot-rule, 
 iC since in no situation whatever can the eye possibly 
 t( see it so ?” 
 
 Again. “ Did ever any history painter widen or 
 “ distort his figures, as they are removed from the 
 u 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 
 u dumb things, they cannot help themselves ? And are all 
 “ objects exempt from the rules of perspective, except 
 u 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 
 14 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 cus- 
 ** tomers, to tell them they were only disposed by the 
 “ true rules of perpective, and might be seen in their 
 “ proper shape again, if they would give themselves the 
 
170 
 
 HOGARTH. 
 
 “ rear, and shall not be afraid even of the 
 “ d — 1 himself, when I am so guarded. If 
 “ the little witlings despise the study of 
 “ perspective, I'll give 'em a thrust with my 
 
 “ trouble of looking through a pin hole at a certain dis"- 
 “ tance, which by learning perspective they might be 
 “ able to find in half an hour's time ; or to save them- 
 “ selves that trouble, they might get a painter to lug 
 “ them about till their eye was brought to the proper 
 tc point. He then observes, that he would not have the 
 <f intervening plane wholly rejected, but that it should.be 
 “ laid aside when it begins to do mischief, or is of no use ; 
 (C for it is no doubt as necessary to painters of architec- 
 “ ture, 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, per- 
 “ spectively true, where the dry mathematics of the art 
 “ are left far behind, as incapable of lending the least 
 tc assistance. 
 
 “ These things our mathematicians are strangers to, 
 “ therefore, in my opinion, have rated them too high. 
 “ Dr. Swift thought mere Philo's a ridiculous sort of 
 “ people, as appears by a song of his on two very re- 
 “ markable ones, Whiston and Ditton. I forget it 
 “ particularly, but it was about the longitude being mist 
 
HOGARTH. 
 
 171 
 
 <c frontispiece, which they cannot parry ; and 
 “ if there be any that are too tenacious of 
 “ mathematical rules, Fll 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 
 
 “ on by Whiston, and not better hit on by Ditton : sing 
 ££ Whiston, &c. &c. Ditton has wrote a good book on 
 ££ speculative perspective.” 
 
 Hogarth then alludes to Highmore’s critique on Ru- 
 bens’ ceiling at Whitehall, and asks, “ What is it but 
 ££ w hat almost every child knows, even without the 
 <£ knowledge of perspective ? viz. that parallel lines 
 “ always meet in a point, and that, he has with pene- 
 ££ Nation 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.” 
 
17 ® 
 
 HOGARTH. 
 
 “ humble thanks for all your favours ; and 
 “ I shall be glad to know if you intend 
 “ doing any thing as you proposed. And 
 “ am, with compliments to Lady Thornhill, 
 t( Mrs. Hogarth, &c. 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 Tay- 
 lor, begun by order of his present Majesty, 
 when Prince of Wales.” I have annexed 
 a copy. 
 
1 
 
 
FRONTISriE C E to fh.e PEHSPE CTITE of MCHITEC TUBE 
 
 Published March i "oft 
 
HOGARTH. 
 
 *73 
 
 FRONTISPIECE TO THE PERSPEC- 
 TIVE 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 (z. 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 perpective.) “ To 
 “ me it conveys the idea which Milton so 
 “ poetically describes, of the angel Uriel 
 “ gliding down to Paradise on a sun beam ; 
 “ 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 
 
*74 
 
 HOGARTH. 
 
 “ which, supported by a large block of stone y 
 “ is the upper part of a sceptre, broke off'; 
 “ the shaft, very obliquely and absurdly in- 
 “ dined, somewhat resembling the Roman 
 “ fasces, and girt above, with the Prince of 
 “ Wales’s 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 vile- 
 “ ly 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 en- 
 “ couraged by the ray$ of royal favour, 
 “ they will thrive and flourish ; but where 
 “ they are neglected and do not find 
 
HOGARTH. 
 
 175 
 
 “ encouragement, they will droop and lan- 
 “ guish.”* 
 
 On the ray from the sun rising over a 
 
 * Though Mr. Mahon’s description is built on fancy , 
 as much as Mr. Hogarth’s design, it must be acknow- 
 ledged 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 chi- 
 valry, 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 to- 
 gether 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 De- 
 cember 10, 1776, gives the following strong reasons 
 against any new order succeeding. 
 
 “ Though it is from the prejudice we have in favour 
 u of the ancients, who have taught us architecture, that 
 
HOGARTH. 
 
 1 76 
 
 distant mountain, etc . so facetiously treated 
 by Mr. Malton, some light is thrown, in a 
 manuscript chapter of the Analysis, where 
 Hogarth, describing painter’s colours , re- 
 marks, that 
 
 “ Sir Isaac Newton's theory of light and 
 colours, though excellent in itself, is an in- 
 quiry of so different a nature from ours, 
 that were we to take this great philosopher 
 as our guide, he would not assist, but mis- 
 lead us, as he did Dr. Brook Taylor, the 
 ingenious author of the best book on per- 
 
 “ we had adopted likewise their ornaments; and though 
 (S 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 
 il has that great advantage, of having custom and pre- 
 
 judice 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 no- 
 “ velty, which soon destroys itself, and at any rate, is 
 4< but a weak antagonist against custom.” 
 
HOGARTH. 
 
 177 
 
 spective that ever was written. The Doc- 
 tor printed an appendix to this work, which 
 he intitled, 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 mi- 
 nute 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 Pere Castle, a French theore- 
 tical doctor, impressed with the idea, that 
 with infinite pains and trouble, he contrived 
 a harpsichord to play harmonious composi- 
 tion of colours ! On this he wrote a book, 
 and built a system, in which prism colours 
 were his notes ; these, the keys of his in- 
 strument were to produce at pleasure. But 
 surely he could not have been drawn into 
 such an absurdity, without having first 
 
178 
 
 HOG ART H. 
 
 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.* I should not 
 be much surprised, if some native of that 
 nation of taste , contrived an instrument for 
 cookery , on a similar plan.-f This would 
 
 * “ 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.” 
 
 t 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 practiced 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 pre- 
 “ tend to unite pleasure with absolute utility ; but this 
 “ art, born in servitude, to which it is still condemned, 
 a 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 ; 
 ei I mean the art of preparing aliments.” 
 
HOGARTH. 
 
 179 
 
 without doubt be adopted in England, where 
 it must unquestionably have great encou- 
 ragement. How pleasant would it be to 
 mark Monsieur de Quisiney at his harpsichord, 
 composing a grand festino, for the entertain- 
 ment of foreign ministers ; and would the 
 inventor compose a banquet for an installa- 
 tion, or a feast for a lord mayor's day, it 
 would insure 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?"* 
 
 * This is a palpable hit at Handel. In a caricatured 
 portrait, intitled 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 voluptuous- 
 ness scattered round him. Published, March 21, 1754. 
 Motto, on a scroll , ts I am myself alone and under the 
 print these lines. 
 
 ft The figure’s odd, yet who would thinjc, 
 
 “ 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 ? 
 
 VOL. III. N 
 
i8o 
 
 HOGARTH. 
 
 “ The fact is, that though compositions 
 of music and colours, may illustrate each 
 other in their principles, they very essen- 
 tially differ in their effects. The notes on 
 a scale in music, will range similar to the 
 colours in a rainbow, or to those separated 
 
 “ 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 re- 
 turned. 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 — 1 have a thought ! and a 
 third time left the company one of the gentlemen 
 privately followed, and traced him into another apart- 
 ment ; w'here, on looking through the key-hole, 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 ! 
 
HOGARTH. 
 
 181 
 
 by the prism ; but their operations are pre- 
 cisely 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 suc- 
 cession, 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 intitles a supple- 
 mentary 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 
 
 N 2 
 
182 
 
 HOGARTH. 
 
 of view, in an old book called the Artificial 
 Changeling , where the author not only de- 
 scribes the uncouth, wild, and extravagant 
 mode of clothing the body, in different ages 
 and countries, but also states many detest- 
 able 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 chil- 
 dren’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 consi- 
 dered 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 con- 
 sonant to the spirit of a free people. In 
 
HOGARTH. 
 
 iSg 
 
 dress, nothing need be restrained, except 
 the folly, I had almost said wickedness, of 
 changing the form or colour of nature.* 
 
 “ As to the fashion of men's dresses, if 
 they are not rendered inconvenient, it is of 
 little consequence : the tailors may con- 
 trive them as they will.f But for the sex 
 
 # In Hogarth’s time, the forms of nature were tor- 
 tured and disguised by stiff stays ; the ladies of the pre- 
 sent day are not guilty of this error ; as to the bloom of 
 Circassia — the less that is said about it, the better. 
 
 t 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 acquisi- 
 tions necessary to make a perfect tailor ! 
 
 “ This day is published, price ics. 6d. the Tailor’s 
 “ complete Guide t 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 
 u 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. 
 
184 
 
 HOGARTH. 
 
 to whom nature has been so bountiful, to 
 disguise their enchanting forms, and sacri- 
 fice ease, elegance, and grace, on the shrine 
 of fashion, is defying symmetry , and thwart- 
 ing nature , which, in their capricious varia- 
 tions, they should sometimes suffer to take 
 fancy by the hand. The principles laid 
 down for sculpture, & c. will apply to dress; 
 and fitness, propriety, and convenience, being 
 first established, it should be rendered pleas- 
 ing. 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 
 
 “ 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 be- 
 “ nefit of the trade, to instruct the rising generation , and 
 “ perfectly to complete them in the art and science of 
 11 cutting out clothes. The copper-plates consist of each 
 “ separated part, which will on the first view convince 
 “ the uninformed mind t that with a little attention, he 
 “ may be a complete tailor," 
 
HOGARTH. 
 
 185 
 
 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 or- 
 nament, &c. 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 prin- 
 ciples 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, &c. but give an artist such lati- 
 tude for light and shadow, as might enable 
 him to shine in the grand historical style; 
 though in painting the manners of the 
 
i86 
 
 HOGARTH. 
 
 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 impro- 
 per 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 petti- 
 coat ; 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 frequent- 
 ly obscured, overwhelmed, and buried by 
 gaudy and heavy ornaments, that totally 
 destroy the effect they are intended to 
 
HOGARTH. 
 
 187 
 
 produce. Yet, her e as in composition, sim- 
 plicity 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 some- 
 times 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 enor- 
 mous hoop petticoat, as much as they would 
 by carrying a pair of panniers on their hips. 
 While they preserve the figure of the pyra- 
 mid, this produces some degree of dignity ; 
 but excess renders it ridiculous. 
 
 “ The horse-grenadier, mounted, capa- 
 risoned with his sword, and other accoutre- 
 ments, gives a good example of the noble 
 effect of quantity, so combined as to come 
 
i88 
 
 HOGARTH. 
 
 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 re- 
 served 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 inclosed compo- 
 sition ; and adds more or less beauty there- 
 to, 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.” 
 
HOGARTH. 
 
 18 9 
 
 CHAPTER V. 
 
 hogarth’s inducement to painting the pic- 
 ture OF SIGISMUNDA ; HIS CORRESPONDENCE 
 WITH LORD GROSVENOR ON THIS SUBJECT, CON- 
 TRASTED BY TWO LETTERS FROM LORD CHARLE- 
 MONT, FOR WHOM HE HAD PREVIOUSLY PAINTED 
 AN INTERESTING SCENE. ORIGIN OF THE QUAR- 
 REL WITH WILKES AND CHURCHILL, WHICH GAVE 
 RISE TO THE PRINT OF THE BEAR, etc. AND THE 
 ARTIST’S DEATH. 
 
 1 h e 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 Grosve- 
 nor, and a proof print of Mac ArdelLs copy 
 from Corregio's picture. In a little blue 
 memorandum book, he resumes the sub- 
 ject, and concludes with a narrative of his 
 quarrel with Wilkes and Churchill, which 
 ends with the word finis. 
 
 In these and some other loose papefs, 
 after having stated the professional injury 
 
Igo HOGARTH. 
 
 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 pro- 
 fitable branch of my profession, I at first 
 thought of attaching myself to history- 
 painting, but in this there was no employ- 
 ment, 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 produc- 
 tions, 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 
 
HOGARTH. 
 
 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.* 
 
 “ While I was making arrangements to 
 confine myself entirely to my graver, an 
 amiable nobleman (Lord Charlemont) re- 
 quested 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 j e wels ; 
 
 # 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 shoe- 
 black. 
 
192 
 
 HOGARTH. 
 
 the moment when he offers them back in 
 return for her honour, and she is wavering 
 at his suit, was my point of time.* 
 
 “ The picture was highly approved of, 
 and the payment was noble ; but the man- 
 ner in which it was made, by a note inclosed 
 in one of the following letters, was, to me, 
 infinitely more gratifying than treble the 
 sum. 
 
 From Lord Charlemont to Mr. Hogarth. 
 
 tc Dear Sir , Mount-street, 19 Aug. 1759. 
 
 “ I have been so excessively busied with 
 “ ten thousand troublesome affairs, that I 
 
 * 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 jive in the morning. The 
 lady has lost her money, jewels, a miniature of her hus- 
 band, 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 repre- 
 sented, perplexed, agitated, and irresolute. A print of it 
 has lately been finely engraved by Mr. Cheesman. 
 
HOGARTH. 
 
 1 93 
 
 “ 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 farthest. 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 recompence my abilities permit me 
 “ to make you. But the truth is, having 
 “ wrong calculated my expenses, I find my- 
 “ self 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 hap- 
 “ piness, 
 
 " Your most obedient humble servant, 
 
 “ Charlemont.” 
 
*94 
 
 HOGARTH. 
 
 To Mr. Hogarth . 
 
 Hear Sir, Dublin, 29 January, 1760. 
 
 “ Inclosed I send you a note upon Nes- 
 “ bitt for one hundred pounds ; and consi- 
 “ dering the name of the author, and the 
 “ surprising merit of your performance, I 
 “ am really much ashamed to offer such a 
 “ trifle in recompence 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 accept- 
 “ ance of the inclosed trifle. As this is really 
 “ the case, with how much reason do I sub- 
 “ scribe myself, 
 
 “ Your most obliged humble servant, 
 
 “ Charlemont ” 
 
HOGARTH. 
 
 195 
 
 <f This elevating circumstance had its 
 contrast, and brought on a train of most 
 dissatisfactory circumstances, which by hap- 
 pening 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), see- 
 ing this picture, pressed me with much 
 vehemence to paint another for him, up- 
 on the same terms. To this I reluctantly 
 assented ; and as I had been frequently 
 flattered for my power of giving expres- 
 sion, 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 tra- 
 gedy ; 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 
 
 VOL, III, © 
 
HOGARTH. 
 
 196 
 
 through the ear.* 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 Sigis- 
 munda, painted by a French master, but 
 falsely ascribed to Corregio, four hundred 
 pounds was the price at which I rated 
 this.-f 
 
 * In the little memorandum book from which I ex- 
 tracted this, Hogarth has inserted the following note 
 (without the translation), from Horace. I do not pro- 
 duce it as a proof that he was a Latin scholar , but 
 suppose that the lihes were pointed out by some literary 
 friend, and he thus applied them.— 
 
 “ Segnius irritant animos dimissa per aures , 
 x{ §)uam qua sunt oculis commissa fidelibus .” — 
 
 t “ What we hear, 
 
 “ With weaker passion will affect the ear, 
 
 “ Than when the faithful eye beholds the part.” 
 
 Francis . 
 
 t 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 
 
HOGARTH. 
 
 1 97 
 
 “ By any other of my pursuits I could 
 have got twice the sum in the time I de- 
 voted to it ; nor was it more than half what 
 a fashionable face-painter would have gain- 
 ed 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 Lord- 
 ship keeping his money in his pocket. Had 
 it been Charlemonl ! 
 
 “ 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 Gros- 
 venor, now Lord Grosvenor, in the year 
 1759, at a time when Mr. Hogarth had 
 
 at Greenwood’s rooms, and purchased by Messrs. Boy- 
 dell : it is in their possession now. 
 
 I some years since saw a picture of Lucretia, by Do- 
 menichino, in the collection of Mr. Welbore Ellis Agar, 
 which in air, attitude, and expression, bo^e a strong 
 resemblance to Hogarth’s Sigismunda. 
 
 O 3 
 
HOGARTH# 
 
 198 
 
 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,* 
 had not produced him one quarter of the 
 profit that arose from his engravings. How- 
 ever, the flattering compliments, as well as 
 generous offers made him by the above 
 gentleman (who was immensely rich), pre- 
 vailed 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 deter- 
 mine. The price required for it was there- 
 fore 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 Altar-piece to St. Mary Re d cliff e' s , Bristol, 
 for which he received £ 500. and the Paul before Felix, 
 painted for Lincoln’s-Inn Hall.” 
 
HOGARTH. 
 
 m 
 
 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,* so much alarmed the artist, that 
 
 * 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 Sigistnunda, 
 
 • “ Shall urge a bold and proper claim 
 
 “ To level half the ancient fame.” 
 
 A writer in the Public Advertiser, March 7, 1761, ho- 
 nours 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. 
 
200 
 
 HOGARTH. 
 
 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, 1 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 
 
 t( At length, be just — throw prejudice aside, 
 
 11 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. 
 
 u Howard." 
 
HOGARTH. 
 
 201 
 
 “ promised should be as I pleased, which I 
 “ now intreat you will comply with, with- 
 “ out the least hesitation, if you think four 
 “ hundred too much money for it.* 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, &c 
 
 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 
 
 * ** N. B. At Sir Luke Schaub’s sale, Sir Richard 
 tc Grosvenor bid ^400. for a less picture, said to be a 
 “ Corregio , but really painted by an obscure French 
 “ artist.” 
 
202 
 
 HOGARTH. 
 
 “ to the Sigismunda, I have no sort of ob- 
 “ jection 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 17th. 
 
 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, &c. IF. Hr 
 
 “ His Lordship not thinking fit to take 
 any farther notice of the affair, here it must 
 
HOGARTH. 
 
 20g 
 
 have ended ; but things having been repre- 
 sented 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 en- 
 graved, and Mr. Ravenet undertaking it, 
 “ a subscription for the print was begun 
 “ March 2d, 1761;* but some time after- 
 
 * It appears by the subscription book that it closed 
 March 26th, During this time there were fifty subscri- 
 bers, at half-a-guinea each, the receipts were given on the 
 print of Time smoking a Picture. The first name Is that 
 of Doctor Gamier, 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 
 
204 
 
 HOGARTH. 
 
 wards, finding that Mr. Ravenet was under 
 articles, not to work for any one except Mr. 
 Boy dell, 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 2d, 1764. 
 
 “ All efforts to this time to get the picture 
 finely engraved proving in vain, Mr. Ho- 
 garth humbly hopes his best endeavours to 
 engrave it himself will be acceptable to his 
 friends/' 
 
 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. Bov- 
 dell, and a reduced copy is in the first volume of Hogarth 
 Illustrated . 
 
HOGARTH. 
 
 205 
 
 CORREGIO’S SIGISMUNDA . 
 
 “ Mute , solemn sorrow, free from female noise” 
 
 Dryden’s Sigismunda. 
 
 On the comparative merit of the two pic- 
 tures 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 al- 
 ways proportionate to labour, and his per- 
 formance 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 
 
20 6 
 
 HOGARTH. 
 
 states Hogarth's performance to be more 
 ridiculous than any thing 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 sug- 
 gestions of different critical friends. Mr. 
 Walpole contrasts it with that painted by 
 Corregio, (or Furino), on which, at the 
 expense of the poor English artist, he be- 
 stows most extravagant and unqualified 
 praise ; asserting that it is impossible to 
 see the picture , or read Dryderis inimitable 
 tale , and not feel that the same spirit ani- 
 mated both poet and painter. That the reader 
 may form his own opinion by comparison, 
 I have annexed a copy from Mac Ardell's 
 admirable print ; and as both sides ought 
 to be heard, I have subjoined the follow- 
 ing remarks from the Monthly Register of 
 Literature , Vol. II. in which is a critique 
 
HOGARTH. 
 
 207 
 
 (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 be- 
 gins with some remarks on Miss Edwards's 
 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 pounds ! 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 pre- 
 ceding lots, the writer observes of “ No. 59, 
 “ Sigismunda weeping over the heart of Tan - 
 “ cred, called a Corregio , — 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 pounds ; but 
 
208 
 
 HOGARTH. 
 
 “ Sir Thomas Sebright, at the desire of the 
 “ proprietor, bought it in for 404 pounds 
 “ 5 shillings. He soon discovered his mis- 
 “ take, for in reality it was worth no more 
 “ than 10 guineas.” 
 
 Though I cannot consent to view this 
 picture through the medium of Mr. Wal- 
 pole'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. Mac Ar- 
 dell's print gives a faithful representation of 
 the character, and the annexed head is a 
 correct copy. 
 
 Hogarth still bearing in mind this trans- 
 action, 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. ; 
 
HOGARTH. 
 
 209 
 
 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 hav- 
 ing been ever at war, I mean the expounders 
 of the mysteries of old pictures ; I have been 
 sometimes told they were beneath my no- 
 tice. 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 modem 
 artist. However mean the vender of poisons, 
 the mineral is destructive : — to me its ope- 
 ration 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.* The anxiety 
 
 * The chosen band who then directed the storm hav- 
 ing dragged poor Sigismunda into their political vortex, 
 the cannibal caricaturists of the day tore her in pieces 
 
210 
 
 HOGARTH. 
 
 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 
 
 as a carcass for the hounds , and rioted over her mangled 
 remains. 
 
 One of these political Slaughtermen, in a print en- 
 titled, 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’s portrait, and 
 a bloated and filthy figure displayed in the back-ground, 
 baptized Sigismunda. Many other wretched and con- 
 temptible squibs were hurled about on the same occa- 
 sion. 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 , con- 
 descended 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, 
 
 “ Shew so much rancour, spleen, and strife ? 
 
 ** Why, Billy, at a statesman’s whistle, 
 
 “ Drag dirty loads, and feed on thistle ? 
 
HOGARTH. 
 
 21 f 
 
 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 
 
 i( Did any of the long-ear’d tribe 
 “ E’er swallow half so mean a bribe ? 
 u Pray, have you no sinister end, 
 
 41 Thus to abuse the nation’s friend ? 
 
 “ His country’s and his monarch’s glory, — 
 
 “ Who prais’d no man as Whig or Tory. 
 
 44 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 ; 
 
 44 His practice still, in every station, 
 
 44 To serve himself and starve the nation. 
 
 “ Then, Billy, in the vale of life, 
 
 44 Desist from all this noise and strif.: ; 
 
 44 For, though the hint perhaps is bold, 
 
 44 I tell thee thou art growing old. 
 
 44 Read coolly, o’er thy evening glass, 
 
 44 Toledo’s bishop, in Gil Bias." 
 
 Christening the author of the North Briton, his coun- 
 try'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, a 
 
 VOL. III. 
 
 P 
 
212 
 
 HOGARTH. 
 
 soon recovered. This being at a period 
 when war abroad and contention at home 
 engrossed every one's mind, prints were 
 thrown into the back-ground ; and the 
 
 well as the verses that follow, were amongst Hogarth’s 
 manuscripts, was moved by, a very different spirit. 
 
 u Of the eighth month the loth 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 
 tf 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 , — 
 u 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 
 
/ 
 
 HOGARTH. 213 
 
 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 
 
 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 
 if its true and masterly turn of exposing licentiousness, 
 “ vice, hypocrisy, faction, and apostacy. 
 
 “ Thine, in all brotherly and good wishes, 
 
 {t 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. 
 ft Alas!— he (with the world) will only smile. 
 
 At self-importance in a frippery style. 
 
 “ Churchill, stand forth f—l 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 shiptvreck of divinest grace f 
 
 “ Ephraim Knox” 
 
 P 2 
 
214 
 
 HOGARTH. 
 
 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 Mr. Hogarth. 
 
 “ Sir , Brighthelmstone, July 9, 1763. 
 
 “ 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 picture pocsis.” 
 
 “ Dear Churchill, what ill-fated hour 
 “ Has put thee into Hogarth’s power ? 
 u This railing shews how much you’re hurt, 
 
 “ While Hogarth nothing meant but sport ; 
 tf 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 admir’d, 
 
 “ Which heaven-born liberty inspir’d ! 
 
 Which keeps our ministers in awe, 
 li And is from justice screen’d by law l 
 
 “ The sad resource to which you’re driven, 
 
 « Appears by your appeal to heaven : 
 
HOGARTH. 
 
 215 
 
 to foment destruction in the minds of the 
 populace. One of the most notorious amon<r 
 
 o 
 
 them, till now rather my friend and flat- 
 terer, attacked me in a North Briton , in 
 
 “ A place ne’er thought on once before, — 
 
 “ Withdraw th’ appeal, and give it o’er. 
 
 “ You must proceed by different ways, 
 
 “ Tour only court’s the Common Pleas. 
 
 “ Horace was wrong when once he said, 
 u 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 handy 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. 
 
21 6 
 
 HOGARTH. 
 
 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 
 
 “ 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 j 
 “ Fair Truth , and modest Candour join’d, — • 
 
 “ 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, insur’d of future fame, 
 
 “ Shall consecrate to Churchill’s name.” 
 
HOGARTH. 
 
 217 
 
 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 f 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 ob- 
 ject 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 an- 
 swered my purpose. The ridiculous was 
 apparent to every eye. A Brutus! a sa- 
 viour 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 
 
2 1 8 
 
 HOGARTH. 
 
 sick of thus seeing me always at full 
 length. 
 
 “ Churchill, JVilkes’s toad-eater , put the 
 North Briton into verse, in an epistle to Ho- 
 garth; but as the abuse was precisely the 
 same, except a little poetical heightening, 
 which goes for nothing, it made no impres- 
 sion, but perhaps in some measure effaced 
 or weakened, the black strokes of the N. B. 
 However, having an old plate by me, with 
 some parts ready, such as the back-ground 
 and a dog, I began to consider how I could 
 turn so much work laid aside to some ac- 
 count, 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, to- 
 gether with occasionally riding on horse- 
 back, restored me to as much health as can 
 be expected at my time of life. 
 
 “ Thus have I gone through the princi- 
 pal circumstances of a life which, till lately, 
 past pretty much to my own satisfaction, 
 and, I hope, in no respect injurious to any 
 
HOGARTH. 
 
 21 9 
 
 other man. This I can safely assert, I have 
 invariably endeavoured to make those about 
 me tolerably happy, and my greatest ene- 
 my cannot say I ever did an intentional in- 
 jury; 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 ap- 
 peal, which this unequalled Artist, and ex- 
 cellent man, makes to his contemporaries 
 and to posterity. 
 
 “ In October, 1764, he died of an aneu- 
 rism 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 
 
220 
 
 HOGARTH 
 
 the following tribute to his talents and 
 virtues. 
 
 TO THE MEMORY OF 
 
 WILLIAM HOGARTH; 
 
 WHO WAS SUCH AN ACCURATE OBSERVER OF MAN- 
 KIND, 
 
 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^ 
 
HOGARTH, 
 
 221 
 
 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, J764. 
 
 T?xom a itawm criy Ike led q 
 
 Iohnt Mortimer. . 
 
HOGARTH. 
 
 DESCRIPTION 
 
 OF 
 
 THE PRINTS , etc. 
 
 With talents equally honourable to him- 
 self, his country, and the age in which he 
 lived, Hogarth did not leave his widow pos- 
 sessed 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 i 780, the late Horace Lord 
 Orford published his Anecdotes, in which 
 he has introduced Hogarth's catalogue and 
 character. The volume printed at Straw- 
 berry Hill, he ( with the preceding part of 
 the work), presented to Mrs. Hogarth. — 
 The books were accompanied with the 
 
HOGARTH. 
 
 224 
 
 following handsome apology for his stric- 
 tures on the genius of her husband.* 
 
 To Mrs. Hogarth. 
 
 Berkeley-square, Oct. 4, 1780. 
 
 “ Mr. Walpole begs Mrs. Hogarth's ac- 
 “ ceptance 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 disap- 
 “ probation 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 
 
 * 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 chiaro scuro.” 
 
 Anecdotes of Painting, Vol. IV. p. 1 60. 
 
 How was it possible for Mr, Walpole to have written 
 the foregoing lines, after having seen the pictures of 
 Marriage-aAa Mode ! 
 
HOGARTH. 
 
 22 5 
 
 <f 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;* and his just admi- 
 “ ration of Mr. Hogarth, Mr. W. flatters 
 “ himself, will notwithstanding his impar- 
 ‘ e tiality, 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 let- 
 ter Mrs. Hogarth died, bequeathing her 
 property to her relation, Mrs. Mary Lewis, 
 of Chiswick; by whose kindness and friend- 
 ship 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. 
 
 * The last volume was not published till October 9, 
 17S0, though printed in 1771. 
 
 Advertisement to Vol. IV, 
 
22 6 
 
 HOGARTH. 
 
 ENTHUSIASM DELINEATED , 
 
 CONTRASTED WITH THE PRINT ENTITLED 
 
 A MEDLEY; 
 
 TO WHICH HOGARTH AFTERWARDS ALTERED 
 THE PLATE. 
 
 “ Idolatry is not only an accounting and worshipping that 
 for God which is not God, hut it is also a worshipping 
 the true God in a way unsuitable to his nature , and par- 
 ticularly by the mediation of images, and corporeal re - 
 semblances South. 
 
 Such was the opinion of Dr. South, and 
 such the opinion of Hogarth when he de- 
 signed this very extraordinary print, the 
 intention of which is to give a lineal repre~ 
 sentation 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 , &c. 
 To exemplify this he has parodied the pro- 
 ductions 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 
 
II O GARTH'S FIRST THOUGHT FOR THE MEDLEY. 
 
 CopUd from a very curious /hint de.ngned ond cnarayed fry So garth .of which there are only two Impressions, both of them in 
 
 th< ■ pojsc/'sion of John Ireland filer ta Irina the above Impres.tions. Hogarth chanaed the point of his Satire .from the super 
 
 slitious absurdities of p0pe7y.fr ridunlot/s personitiration delineated by ancient RtirUers , to the popidar credulities of his own day .erased 
 or essentially altered every / inure. e.rcept two. fr on the same piece of copper engraved the plate which is copied on the opposite page. 
 
 Humbly dedicated to his Grace the Arch Bishop of C ant er bury. by 
 his Graces most obedient humble Servant it nn Hooor/A . 
 
 Adyertisement. 
 
 1 Che Intmition, of this Print is to give a lineal representation of the strange effects of ~ 
 literal and low conceptions of Sacred /linos, os also of the Idolatrous tendency of 
 Pictures in Churches, and Prints in Pclioious Poo/c.i. fro. 
 
 £ 
 
 jf Sea j 
 
 C.y 
 
 jPuhtiahcd- March l/afl fcJo/ui firhw.i l\\'hr (omcr Ca/aco Xir.L 
 
jj^ JcaFy . 
 
 b 1 
 
 n* 
 
 Fe/e retires to the Figures in 
 
 ENTj 
 
 A.. ///< r Raphael . Yh.AfterJtuhens . C el fter Rembrandt . D. E.F. G.HL-ire Imitations of 'ocher. Jhi nters . 
 *J'n m Sketches by -Hogarth on the marc) ins of the Original lYints . 
 
 Puf'li.sfuil bv dohn Ireland N°d Poets Corner, PcdaceYard Westminster. 
 
HOGARTH. 
 
 227 
 
 which they intended to be sublime , is ren- 
 dered in the highest degree ridiculous. To 
 burlesque the idolatrous symbols with which 
 they have peopled their canvas, ,* — place the 
 popish doctrine of transubstantiation * in 
 its true point of view, — unmask hypocrisy, 
 and check the progress of those enthusiastic 
 delusions , which Bishop Lavington properly 
 terms, Religion run mad,’f are the author's 
 leading objects. 
 
 To effect these purposes, he has delineated 
 
 * Archbishop Tillotson remarks, in one of his sermons, 
 that Hocus Pocus is derived from Hoc est Corpus . 
 
 t “ This new dispensation” (methodism) « is a com- 
 position 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. 
 
228 
 
 HOGARTH. 
 
 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 congre- 
 gation with a hull roar. He may be consi- 
 dered as either a Methodistical Papist , or a 
 Popish Methodist , for his shaven crown in- 
 timates 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 poizes 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.* 
 
 Exemplifying sacred mysteries by these ab- 
 surd theorems , is surely open to the severest 
 
 * 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.” 
 
Hogarth. 
 
 229 
 
 Satire ; and to heighten his ridicule, the ar- 
 tist 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 antethesis, — “ 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, en- 
 circled 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 
 
 VOL. III. o 
 
HOGARTH. 
 
 230 
 
 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 crown- 
 ed with a porridge pot ; the two feet may 
 jserve 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, un- 
 questionably refers to some known charac- 
 ter, 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 
 
II O G A R T H. 
 
 231 
 
 prowling among the lambs of the flock. 
 His face presents the index of a mind in 
 which hypocrisy is united with another pas- 
 sion, and is in an eminent degree charac- 
 teristic. The holy fervour * of the female, 
 who, seduced by the tender touches of an 
 
 # Bishop Lavington, after quoting many of the le- 
 gends 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 en- 
 thusiastic pretenders to the love of God, have not enter- 
 tained the same violence of passion (not quite so spiritual) 
 for their neighbours.” 
 
 Lavinglaris Enthusiasm of Papists and Methodists 
 compared, Vol. /. 57 . 
 
 8 2 
 
HOGARTH. 
 
 £32 
 
 earthly lover, lets her celestial model fall, 
 to the ground, is equally remarkable. A 
 ragged figure* 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 re- 
 pentant 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 
 
 * Let it not be supposed, that because the female 
 mendicant and her handcuffed neighbour are half naked, 
 — they are in any degree ashamed. (t Among the Papists 
 there are religious orders, who profess to prefer food, 
 bed, and raiment of the vilest sort for their greater spiri- 
 tual 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 . 
 
HOGARTH. 
 
 23 3 
 
 wings, Cherubin ;* 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 Abram offering up Isaac.'f 
 
 The figures in the back-ground it is not 
 
 * What renders this still more curious, is that the 
 word signifies oxen. 
 
 t When this circumstance was once mentioned to 
 Doctor Rundle, as a striking instance of Abram’s obe- 
 dience, the Doctor in reply said that, however it might 
 be generally understood,— if lie had been a justice of 
 peace in Abram’s parish, he would have committed 
 him till he found sufficient ball for his good behaviour. 
 Some good-natured friend repeated this speech to Queen 
 Caroline, and it retarded Rundle’s promotion for many 
 
 years. 
 
II O G A R T II. 
 
 % 34 > 
 
 necessary to enumerate : they are sighing, 
 weeping, groaning! the four most obtrusive, 
 convey a severe satire on transubstantia- 
 tion. 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 has- 
 sock, 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 con- 
 fusion 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 
 
?■. it 5 
 
 PHESE1MT STATE OF VUE PE ATE IN THE POSSESSION OF ME S.S 3!OY})KJJ,, 
 
 CM Ell UL I TT, S Ul 1 ER S El El O N t and FA FA EIC ISM , 
 
 Relieve not every Spirit but try the Spirits whether they are of Gori because many 
 false Prophets are y one. out into the World, i John O1.4.V.1. 
 
 AtbUjhed March t/qS . 
 
HOGARTH. 
 
 235 
 
 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 back-ground, it is positively ascer- 
 tained that the first and second engravings 
 are on the same copper-plate. 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 Caesar’s apparition, and 
 the shade of Sir George Villiers. 
 
 The nobleman, and lady dropping her 
 deified image, in the pew beneath the pul- 
 pit, 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 
 
236 
 
 HOGARTH. 
 
 the other asleep. The ragged woman hug- 
 ging 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 corpu- 
 lent and consequential clerk, the artist has 
 inserted a meagre and moon-eyed monster, 
 with wings, that either grow out of his shoul- 
 ders, or appertain to a foul fiend, planted 
 behind him, and acting as his prompter. 
 Mother Douglas is beaten out of the cop- 
 per, and in her room Hogarth has intro- 
 duced Mrs. Tofts and her rabbits, one of 
 the popular impositions of his own day. 
 *lhe smelling bottle applied to recover 
 Mrs. Douglas from fainting, is with Mrs. 
 Toffs very properly changed to a dram 
 glass. The Jew is altered, and altered for 
 the worse : the print of Abram and Isaac, 
 in a book before him, is obliterated, and a 
 
HOGARTH. 
 
 237 
 
 "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 for- 
 gotten. On the scale of vociferation, and 
 the chandelier, the names of W — d and 
 Romaine, are only to be found in the pre- 
 sent state of the plate ; in the scale of the 
 thermometer , there are numerous altera- 
 tions. In the Medley , the artist has made 
 an addition, and placed Westley’s sermons, 
 and Glanvil's book on witches, as sup- 
 porters to the Methodist's brain ; to do this, 
 *md introduce the rabbits on the foreground. 
 
23S 
 
 HOGARTH. 
 
 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 de- 
 lineated , the inscriptions on the thermome- 
 ter , etc. are evidently from the burin of 
 Hogarth ; in the print of the Medley , every 
 inscription, even those which in each im- 
 pression 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 
 
HOGARTH. 
 
 2 39 
 
 one great whole ; and the skill with which 
 he has appropriated the absurd symbols of 
 painters, and combined the idolatrous em- 
 blems 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 shews 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 descrip- 
 tion, and in the place of Enthusiasm, intro- 
 duced Credulity , Superstition , and Fanaticism . 
 In his management of them, he has shewn 
 much genius, and by his transition from one 
 object to another, and the many metamor- 
 phoses of his characters, displayed a power 
 of assimilating, aptness of appropriating, 
 and versatility of pencil, hardly to be paral- 
 leled, and proved that his invention was 
 inexhaustible. With all this, it must be ac- 
 knowledged, that some of the local credu- 
 
24 ° 
 
 HOGARTH. 
 
 lities 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 intro- 
 duced in this print. 
 
 Ten or twelve figures engraved on the 
 back-ground, 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 audi- 
 ence, 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 farther 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 
 
HOGARTH. 
 
 24I 
 
 print. A little cherub Mercury crowned with 
 a postillion's cap, and bearing in his mouth 
 a letter directed to St. Moneytrap, is an after- 
 thought, and only to be found in the second 
 
 impression. 
 
 If I am asked, what were the artist's in- 
 ducements 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 fre- 
 quently 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 
 
HOGARTH. 
 
 242 
 
 design, became much more numerous than 
 he had at first intended; * 
 
 * Of the plate in its first state there are only two im- 
 pressions, 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 in- 
 serted slight pen-and-ink sketches of a monk as a wind- 
 mill, 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 facul- 
 “ ties of the mind.” Swift. 
 

24-3 
 
 Taste ijY High Life. 
 
HOGARTH. 
 
 H 3 
 
 TASTE IN HIGH LIFE , 
 
 IN THE YEAR 1742. 
 
 The picture from which this print was 
 copied, Hogarth painted by the order of 
 Miss Edwards, a woman of large fortune, 
 who having been laughed at for some sin- 
 gularities 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 in- 
 to 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 won- 
 der at that and the companion saucer which 
 he holds in his hand, joins in admiration of 
 its astonishing beauties ! 
 
244 
 
 HOGARTH. 
 
 “ Each varied colour of the brightest hue , 
 
 “ The green , the red , the yellow , and the blue, 
 
 t( In every part their dazzled eyes behold, 
 
 u 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 ap- 
 peared 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 bro- 
 cade, 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 
 
HOGARTH. 
 
 2 45 
 
 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 di ceuts beurre .* 
 
 In the centre of the room is a capacious 
 china jar; in one corner a tremendous py- 
 ramid, composed of packs of cards, and 
 on the floor close to them, a bill inscribed, 
 “ Lady Basto D r to John Pip, for cards , — * 
 
 “ £s°°" 
 
 The room is ornamented with several 
 pictures ; the principal represents the Me- 
 dicean Venus, on a pedestal, in stays and 
 high -heeled shoes, and holding before her 
 a hoop petticoat, somewhat larger than a 
 
 * “ 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.” 
 
 VOL. Ill, R 
 
HOGARTH. 
 
 246 
 
 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 evi- 
 dently of the same genus with this deity of 
 dance. On the sinister, is a drawing deno- 
 minated 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 compa- 
 nion picture, we have a blind man walking 
 the streets. 
 
 The fire-screen is adorned with a draw- 
 ing of a lady in a sedan chair — 
 
 “ To conceive how she looks you must call to your mind 
 tt The lady you've seen in a lobster confin'd^ 
 
 “ Or a pagod in some little corner insbrin’d.” 
 
 As Hogarth made this design from the 
 ideas of Miss Edwards, it has been said that 
 
HOGARTH. 
 
 247 
 
 he had no great partiality for his own per- 
 formance, and that, as he never would con- 
 sent to its being engraved, the drawing from 
 which the print is copied, was made by the 
 connivance of one of her servants.* Be that 
 as it may, his ridicule on the absurdities of 
 fashion, — on the folly of collecting old china, 
 — cookery, — card playing, etc. is pointed, 
 and highly wrought. 
 
 At the sale of Miss Edwards's effects at 
 Kensington, the original picture was pur- 
 chased by the father of Mr. Birch, surgeon, 
 of Essex-street, Strand. 
 
 # 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. 
 
 R 2 
 
248 HOGARTH. 
 
 FARINELLI, CUZZONI, AND 
 SENESINO, 
 
 IN THE CHARACTERS OF 
 
 PTOLEMY, CLEOPATRA, AND JULIUS CJESAR. 
 
 “ 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 
 tl In execution , cadence , and grimace ; 
 
 <l To ravish with unnatural sounds the ear, 
 
 “ While beaux applaud, and belles with rapture hear,* 
 i( The song we raise.” 
 
 This dignified heroine, and the two he- 
 roes, — 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 
 
 * These raptures were expensive ; — the lavish pro- 
 fusion 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 of 
 £1500. and casual presents, his annual income must 
 have been more than four thousand pounds! 
 
Mil—— mm 
 
HOGARTH. 
 
 H9 
 
 foremost man of all this world ; * 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 carica- 
 ture, 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. 15), there is little 
 doubt of its being his production. 
 
 Th q 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 Thea- 
 trical expression in Tragedy, etc. published 
 in 1755 * These Reflections are admirably 
 contrasted by the exaggerated compliment, 
 with which the author of the Divine Lega- 
 tion honours the divine Senesino.— The two 
 quotations follow. 
 
 * See Shakspeare’s Julius Cassar, and Antony and 
 Cleopatra. 
 
HOGARTH. 
 
 25O 
 
 * — “ I shall therefore in my further re- 
 “ marks on this article, go back to the old 
 “ Italian Theatre , when Farinelli drew every 
 “ body to the Haymarket. What a pipe ! 
 “ what modulation ! what ecstacy to the 
 “ ear U- but heavens! what clumsiness! 
 “ what stupidity ! what offence to the eye ! 
 “ Reader, if of the city, thou mayst pro- 
 “ bably have seen in the fields of Islington 
 te or Mile-End; or if thou art in the environs 
 “ of St. James’s, thou must have observed 
 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 di- 
 u vine Farinelli. Then with long strides, 
 “ advancing a few paces, his left hand settled 
 “ u P on 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. 
 
HOGARTH. 
 
 251 
 
 With respect to the other Genius of Ita- 
 lian song , Mr. Nicholls 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. 
 
 44 Observe/’ says he, p. 60, “ Sir Walter 
 “ Raleigh’s great manner of ending the first 
 “ part of the History of the World.” 4 By 
 4 this, which we have already set down, is 
 4 seen the beginning and end of the three 
 4 first monarchies of the world; whereof 
 4 the founders and erectors thought that 
 4 they never could have ended : that of 
 4 Rome, which made the fourth, was also 
 4 at this time almost at the highest. We 
 4 have left it flourishing in the middle of 
 4 the field ; have rooted up or cut down all 
 4 that kept it from the eyes and admiration 
 4 of the world ; but after some continuance 
 4 it shall begin to lose the beauty it had ; 
 4 the storms of ambition shall beat the great 
 4 boughs and branches one against another; 
 
HOGARTH. 
 
 252 
 
 ‘ 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 
 r< he close his immortal labour ! It puts one 
 “ in mind of the so much admired exit of the 
 “ late fam’d Italic Singer!” (< Senesino*). 
 — What a climax ! 
 
 * Of this gentleman there is a tolerably good mezzo- 
 tinto 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, 
 u Kind Heaven his voice, and harmony his fame. 
 
 “ While here the great and fair their tribute bring, 
 
 “ The deaf may wonder wnence his merits spring, > 
 “ But all think Fortune just that hear him sing.” J 
 There is a portrait of Carlo Broschi Detto Farinelli , 
 Ami coni pinxit. C. Grignion sculp, small circle. 
 
- - - - l Ti-TTH" 111 
 
HOGARTH. 
 
 253 
 
 A WOMAN SWEARING HER CHILD 
 TO A GRAVE CITIZEN 
 
 il Here Justice triumphs in his elbow chair, 
 
 “ And makes his market of the trading fair ; 
 
 “ His office shelves with parish laws are grac’d, 
 f* But spelling-books and guides between ’em plac’d.* 
 “ Here pregnant madam screens the real sire, 
 
 ** And falsely swears her bastard child for hire 
 “ Upon a rich old lecher ; who denies 
 « The fact, and vows the naughty hussif lies. 
 
 <t His wife enrag’d, exclaims against her spouse, 
 
 “ And swears she’ll be reveng’d upon his brows ; 
 
 “ The jade, the justice, and church ward’ns agree, 
 
 “ And force him to provide security.” 
 
 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 
 
 * 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. 
 
2 54 
 
 HOGARTH. 
 
 such does Picart class a copy which he has 
 introduced in the fourth volume of his 
 work,* accompanied with the following 
 explanation. 
 
 “ Many other customs might find a place 
 “ here, and delight the readers by their co- 
 “ mical 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, pre- 
 “ scribed by ecclesiastical laws or formu- 
 “ laries, 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, 
 
 * 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 Bapteme do - 
 mestique. 
 
HOGARTH. 
 
 255 
 
 “ 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 amphi- 
 “ bious (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. Gene- 
 “ rally they say, she pitches upon some 
 “ good citizen, though she does not know 
 “ him, or may be has never seen him. — 
 “ Then she goes before a justice of the 
 “ peace, — summons the pretended fathef 
 “ 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 restric- 
 “ tions of that oath may excuse her from 
 “ perjury, let a good casuist be the judge. 
 
HOGARTH. 
 
 256 
 
 “ 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, North- 
 amptonshire. 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 monkies ; 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 in- 
 troduced as the head-piece to a tale printed 
 in Banks's Works, Vol. I. p. 248, entitled the 
 Substitute Father . 
 

 The Ioundlings 
 
HOGARTH. 
 
 257 
 
 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.” 
 
 The last print represented what Mr. 
 Picart chose to call a religious ceremony; 
 — in this, we have a scene which may pro- 
 perly be so denominated; for surely res- 
 cuing 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* plain, 
 
 “ Perhaps the mother mourn’d her soldier slain, 
 
 * The gates of this charity were for several years 
 open to the orphans of those who fell in the battles of 
 
2^8 
 
 HOGARTH. 
 
 “ 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 in- 
 stitution ; it was engraved by F. Morellon 
 la Cave , as the head-piece to a power of 
 attorney from the trustees of the charity 
 to those gentlemen who were appointed 
 to receive subscriptions towards the build- 
 ing, etc. 
 
 The artist has made his old friend Cap- 
 tain 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, 
 
 their country ; a great number of the children who be- 
 came orphans by the battle of Minden, were admitted 
 into this Hospital. 
 
HOGARTH. 
 
 259 
 
 with which she might have been momen- 
 tarily 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 - 1 
 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 path- 
 way, 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, com- 
 ing out of a door, with the king's arms 
 over it : as emblems of their future employ- 
 ments, one of them poizes 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 trowsers ; 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 fore-ground, 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. 
 
-Page ?.6l 
 
HOGARTH. 
 
 2 , 6 1 
 
 FRONTISPIECE 
 TO TERR JE FILIUS . 
 
 The work to which this is a frontispiece 
 was written by Nicholas Amhurst, author 
 of the Craftsman, and published in the year 
 172 6. The leading object of this writer is 
 to satirize the Tory principles of the uni- 
 versity 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 School-boys, etc. 
 who are designed for the university of Ox- 
 ford. 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 flut- 
 “ ter about Oxford in prodigious numbers 
 “ in summer time, called Toasts; take care 
 " how you reflect on their parentage, their 
 
 VOL. III. s 
 
262 
 
 HOGARTH. 
 
 “ condition, their virtue, or their beauty, — 
 “ ever remembering that 
 
 ‘ Hell has no fury like a woman scorn'd 
 
 “ especially when they have spiritual bra- 
 “ voes 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 au- 
 “ thor of this anonymous libel, to discover 
 “ whom no pains were spared ; all the dis- 
 “ gusted ill-natured Fellows in the univer- 
 <e sity, 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 enor- 
 “ mous crime, and one of them (more 
 “ enraged than the rest) was heard to de- 
 “ clare, ‘ that right or wrong, that impudent 
 
HOGARTH. 
 
 2 6g 
 
 ie 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 unani- 
 “ mously) expelled from his fellowship, 
 <c in the presence of some of the persons 
 <c injured, who came thither to see the exe- 
 “ cution. 
 
 “ Felix quam faciunt aliena pericula caution,” 
 
 “ was the thesis pitched upon, by the ex- 
 “ eluding 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. 
 
 s 2 
 
* 
 
 2 64 HOGARTH. 
 
 THE SEPULCHRE . 
 
 It has been frequently and truly remark- 
 ed, that in either historical or serious sub- 
 jects, 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 se- 
 lected 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 insterstices of the sur- 
 rounding clouds, are tenderly and brilliantly 
 touched. In the fore-ground, St. Thomas, 
 on one knee, with his hands clasped toge- 
 ther, is eagerly looking up with an expres- 
 sion of wonder and astonishment. On the 
 other side is St. Peter, in a reclining posture. 
 Near the centre, St. John, with a group 
 
jPatfC 2 6 1 /. 
 
 the Sepulchre. 
 
 Publish'd 7\la/ih>jt)3. 
 

HOGARTH. 
 
 265 
 
 made up of the other Apostles, attentively 
 listening to the two men in white, who ap- 
 peared on this occasion. The back -ground 
 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, illumi- 
 nated by a flash of lightning, which darting 
 from a darkened sky, casts a livid gloom 
 over the whole. 
 
 The compartment on the right hand re- 
 presents the rolling of the stone, and seal- 
 ing 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 ap 
 proach the empty sepulchre. The angel, 
 speaking, and pointing up to heaven, with 
 an expression which explains itself,— to sin- 
 gular 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, 17 56 ; 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 aban- 
 don 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. 
 

 
 
 
HOGARTH. 
 
 THE POLITICIAN. 
 
 A politician should (as I have read) 
 
 Be furnished in the first place with a head ! 
 
 One of our old writers gives it as his opi- 
 nion, that there are onlie two subjects which 
 are worthie 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 vo- 
 taries in many most tedious and unprofit- 
 able disputes, and been the source of much 
 evil to many well-meaning and honest men. 
 Under this class comes the Quidnunc here 
 pourtrayed ; it is said to be intended for 
 a Mr. Tibson, laceman, in the Strand, who 
 paid more attention to the affairs of Europe 
 than to those of his own shop. He is re- 
 presented in a style somewhat similar to 
 that in which Schalcken painted William 
 the Third,* — holding a candle in his right 
 
 * When Schalcken once painted a portrait of King 
 William, he requested his majesty to hold the candle ; 
 
e68 
 
 HOGARTH. 
 
 hand, and eagerly inspecting the Gazetteer 
 of the day. Deeply interested in the intel- 
 ligence it contains, concerning the flames 
 that rage on the Continent, he is totally in- 
 sensible 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 quar- 
 tered 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 inva- 
 sion, 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. 
 
 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. 
 
The Matchmaker,. 
 
 fuMukoi. M<mch "1QB. 
 
HOGARTH. 
 
 269 
 
 THE MATCHMAKER. 
 
 “ Wanted immediately, — A Husband.” 
 
 Vide the daily papers . 
 
 The two agreeable persons here intro- 
 duced formed part of a group in an unfi- 
 nished picture painted by Hogarth. They 
 were some years since engraved on two 
 copper-plates, but as I thought that was 
 placing still farther 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 no- 
 thing 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 
 
270 
 
 HOGARTH. 
 
 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 pro- 
 vides 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 ima- 
 gine that the tribe of Matchmakers , like 
 the race of wolves, are extinct in England ; 
 but this is so far from being the case, that 
 there is now in the neighbourhood of Pic- 
 cadilly, a regular office,* where any gentle- 
 
 # 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 
 
HOGARTH. 
 
 271 
 
 man, or gentle- woman, first paying a stipu- 
 lated sum for entrance-money may disclose 
 their virtuous wishes , and be provided with 
 partners for life , — -or — as long as they can 
 agree. 
 
 “ 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, (Ac.” 
 
 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 consi- 
 “ derable 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 preg- 
 “ nancy.” Address to Brecknock, Esq. etc . 
 
 Pub. Adv. April 16, iyj6. 
 
272 
 
 HOGARTH. 
 
 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 par- 
 “ ticularly and severely criticises the house, 
 “ the furniture, the gardens, and the enter- 
 “ tainments 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 
 
HOGARTH. 
 
 2 73 
 
 * £ 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,* by which 
 “ no man was satisfied ; and he was at last 
 “ reduced to shelter his temerity behind dis- 
 ££ simulation, and endeavoured to make that 
 ££ disbelieved which he never had confidence 
 ££ openly to deny. He wrote an exculpatory 
 
 * The apology here alluded to was made in a letter 
 to the author of the Beggar’s Opera, dated December 
 1 6, 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. con- 
 cludes, — “ and yet for all this , the public will not allow 
 i4 him to be the author of this letter .” 
 
^74 
 
 HOGARTH. 
 
 “ 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 in- 
 “ different 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 pro- 
 jector being entitled to the appellation, 
 placed a statue of his grand favourite Wil- 
 liam Kent, triumphantly brandishing his 
 palette and pencils on the summit with 
 two reclining figures, representing Raphael 
 and Michael Angelo, for his supporters.* 
 
 * Hogarth has introduced these three figures in rather 
 a better style, in his print of the small Masquerade Ticket 
 or Burlington-gate. 
 
HOGARTH. 
 
 275 
 
 Standing on a scaffold board beneath them, 
 Mr. Pope, in the character of a plasterer, 
 is white-washing 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 him- 
 self in his retreat. The torrent is not con- 
 fined to his Grace's person, but lavishly 
 scattered over his carriage and attendants, 
 among whom is a Blackamoor in the way of 
 being white- washed. The clergyman, whom 
 I believe intended for the Duke's chaplain,* 
 is escaping round the carriage. 
 
 An old military character, who as well 
 as the chaplain is got out of the poet's 
 
 * 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, 
 tl Who never mentions hell to ears polite. ”t 
 
 + “ 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. 
 
27 6 
 
 HOGARTH. 
 
 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* 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 distin- 
 guished dexterity : he at the same time co- 
 vers the corrosions in the front, dashes a 
 
 * To this architectural ornament he has an unques- 
 tionable right. His Lordship (besides other buildings), 
 designed the Dormitory at Westminster School, the As- 
 sembly-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.” 
 
HOGARTH. 
 
 2 77 
 
 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 t 
 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,* elevates the 
 
 * “ Yet shall (my Lord), your just, your noble rules? 
 
 “ Fill half the land with imitating fools, 
 u Who random drawings from your sheets shall take, 
 
 “ And of one beauty many blunders make.” 
 
 His Lordship was then publishing copies from the de- 
 signs 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 , every body 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 recall- 
 ing 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 
 
 VOL. III. 
 
 T 
 
278 
 
 HOGARTH. 
 
 powers of his own patron, and sinks those 
 of all his competitors. 
 
 “ A perfect judge will read each work of wit 
 “ JVith the same spirit that its author writ." 
 
 “ Consult the genius of the place in all ; * 
 
 “ 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.” 
 
 the note ! 
 
 1 
 
 * * First, the Genius of the place tells the waters, or 
 ‘ only simply gives directions : then he helps the ambi- 
 
 * tious 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 
 4 in the country , alluding to the orders of princes in their 
 4 progress, when accustomed to display all their state 
 
 * and magnificence. His character then grows sacred, 
 4 he joins willing woods , a metaphor, taken from one of 
 4 the offices of the priesthood, till at length he becomes 
 ‘ a divinity, and creates, and presides over the whole.’ 
 
 Warburtori s edit, of Pope , 1752, Vsl. III. p. 285. 
 Would the reader wish a better specimen of the 
 bishop’s taste ! 
 
HOGARTH. 
 
 279 
 
 The print from which this is copied was 
 prefixed to a pamphlet, entitled a Miscel- 
 lany of Taste , by Mr . Pope, &c., contain- 
 ing his epistles, with notes, &c. 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.* 
 
 * 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 shoe- 
 black, blackening a great jack boot, and bespattering 
 the surrounding crowd. 
 
 Beneath is inscribed, “ With what judgment ye judge , 
 shall ye he judged. Matt. chap. vii. ver. 2,” and, 
 ii In justice to Mr. Hogarth, the engraver of this 
 “ plate declares to the public, he took the hint of the 
 u Butifyer from a print of Mr. Pope white-washing 
 “ Lord Burlington’s gate, and at the same time bespat- 
 ** terring the rest of the nobility 
 
 T 3 
 
HOGARTH. 
 
 280 
 
 HEJV'RV FIELDING. 
 
 This admirable writer was born at Sharp- 
 ham Park, in Somersetshire, near Glaston- 
 bury, 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 grand- 
 father of Sir Henry Gould, one of the ba- 
 rons 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 hu- 
 morous and striking portrait given of him 
 afterwards, under the name of Parson Trul- 
 liber, in Joseph Andrews. From Mr. Oli- 
 ver's care he was removed to Eton school, 
 
HOGARTH. 
 
 28 l 
 
 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 pe- 
 culiar 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 con- 
 tinued to shew an eager thirst for know- 
 ledge, and to study the civilians with un- 
 wearied assiduity for two years ; when re- 
 mittances failing, he was obliged to return 
 to London, not then quite twenty years 
 old. 
 
 The comedy called Don Quixote in Eng- 
 land, was planned at Leyden, and completed 
 on his return to London ; where, from some 
 cause or other, he was induced to bring it 
 
 
HOGARTH. 
 
 s8& 
 
 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 lie wrote eight come- 
 dies and fifteen farces, they have not gene- 
 rally proved what are termed stock plays ;* 
 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 \Vhich place he 
 went for the recovery of his health, in the 
 year 175L a g etl 47 - 
 
 Of his talents he has left memorials that 
 will never die, while the English nation 
 retains a taste for genuine and Cervantic 
 
 # Fielding and Hogarth had in some respects, simi- 
 lar powers, and similar want of success in things lor 
 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 suc- 
 ceeded in historical pictures. 
 
II O G A RT H» 
 
 283 
 
 humour : his features posterity would have 
 only known by description, had not his 
 friend Hogarth, to whom he had often pro- 
 mised to sit, made this drawing ; — for sin- 
 gular as it may seem, though this admirable 
 writer lived on intimate terms witn tne 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 scissavs ; — of Mr. Gainck 
 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 
 Distrest Poet, and the author of Tom Jones , 
 having talents of a similar textuie, lived in 
 habits of strict intimacy, and Hogartn 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. Ba~ 
 sire : 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.* 
 
 * 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. 
 
HOGARTH. 
 
 285 
 
 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 Huntley, a 
 “ battle was fought, in which almost the 
 “ whole clan of the Frazers was extermi- 
 « nated. There was an old quarrel between 
 “ the Frazers and the Macdonalds, which 
 
HOGARTH. 
 
 2 86 
 
 “ had been rendered illustrious by the many 
 “ bloody engagements to which it had given 
 “ birth. • Huntley, in the mean time, 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 Argyle ; 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 stan- 
 “ dard. For this time, however, the feud 
 “ was composed without an engagement, 
 “ and the forces of each party having dis- 
 banded themselves, returned to the re- 
 “ spective clans. The Macdonalds, mean 
 “ time, instructed by the Earl of Huntley, 
 “ collected their whole force, and having 
 “ taken their enemy by surprise, engaged in 
 “ a most obstinate battle. The unfortunate 
 “ clan, overpowered by the greatest inequa^ 
 “ lity of numbers, were killed to a man. 
 
HOGARTH. 
 
 287 
 
 « Thus a family the most numerous, and 
 “ who had often deserved well of the Scot- 
 “ tish 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 .”*— Pity but they had 
 been twins ! “ Buchanan , lib. xv. p. 532.” 
 
 Thus much may suffice for the charac- 
 ter of his progenitors — as to his cHvn*— *he 
 
 * 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 au- 
 “ thority, 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 al- 
 
 ways received company* even at dinner, was the very 
 
s8B 
 
 HOGARTH. 
 
 wrote a narrative in French, stating his 
 conduct, connections, treatment at the court 
 of St. Germains, etc. These memoirs,* 
 which are brought no farther than the 
 year 1715, were translated and printed 
 several years ago, but for some political or 
 family reasons, not published until 1757. 
 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 ob- 
 servations. “ Your lordships have already 
 
 u same room where he lodged ; and his lady’s sole 
 “ apartment was her bed-room ; and the only provision 
 ‘‘ for the lodging of the servants and retainers, was a 
 “ quantity of straw, which they spread every night on 
 “ the floors of the lower rooms, where the whole in- 
 u ferior part of the family, consisting of a very great 
 “ number of persons, took up their abode !” 
 
 Archaologia, Vol. IV. 
 
 * By a book on the table inscribed memoirs, Ho- 
 garth seems to allude to the manuscript. 
 
HOGARTH. 
 
 289 
 
 done national justice on some of the prin- 
 <c cipal 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 trea- 
 “ sons 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 Pre- 
 “ tender, and remaining at home himself, to 
 “ endeavour to deceive his majesty's faith— 
 “ ful 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 cun- 
 “ ning ! Atrocious impiety l 8 ' — 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 
 
HOGARTH. 
 
 2 9° 
 
 character of that all accomplished statesman , 
 William Pulteney, Earl of Bath. 
 
 “ Leave a blank here and there, in each page, 
 
 “ To enroll 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 pre- 
 vious to execution, was manly and spirited. 
 When advised by his friends to throw 
 himself at his majesty's feet and peti- 
 tion 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 exe- 
 cution, 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 execu- 
 tioner 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 ,* 
 
 * In the name by which the old peer supposed the 
 Maiden was to be distinguished in a future age, he was 
 
HOGARTH. 
 
 291 
 
 When he was brought from Scotland, to 
 be tried in London, Hogarth, having pre- 
 viously known him, went to meet him at 
 St. Alban's, 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 enumerat- 
 ing 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. 
 
 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. 
 
3^2 
 
 HOGARTH. 
 
 NINE PRINTS FOR 
 DON QUIXOTE. 
 
 The first of these prints is copied from a 
 plate in Jarvis's quarto translation of this 
 inimitable work ; it has neither painter nor 
 engraver's name, but carries indisputable 
 marks of the pencil and burine of Hogarth. 
 The second, is from an unfinished print in 
 my possession, which I think by the same 
 artist. The six which follow, were design- 
 ed for Lord Carteret's Spanish edition, 
 published in the year 1738, but as they are 
 etched in a bold and masterly style, I sup- 
 pose 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 
 
HOGARTH. 
 
 *93 
 
 remain * While in Dodsley’s hands, refe- 
 rences to the chapters, and corresponding 
 pages in Jarvis’s 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 
 
 vol. hi. u 
 
294 HOGARTH. 
 
 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 rouzes their spirits, a whole nation, 
 like a man of war becalmed , may be undu- 
 lated 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 
 
HOGARTH. 
 
 295 
 
 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 insolence — 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 enthu- 
 siasm 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 
 
 u 2 
 
HOGARTH. 
 
 296 
 
 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 
 tz you are wise -I think I am wise because 
 “lam happy ” is not easily confuted.* 
 
 But this admirable romance carries me 
 farther 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 
 
 * 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.” 
 
HOGARTH. 
 
 2 97 
 
 calculated to encourage industry and pro- 
 mote humanity in the lower orders of 
 society, by exhibiting the baneful conse- 
 quences 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 Cer- 
 vantes will not be offended, if I venture to 
 assert, that these were objects of more na- 
 tional, 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 Eng- 
 land, 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 
 
*g8 
 
 HOGARTH. 
 
 shores of Albion, but takes as wide acir- 
 cuit through Europe, and his pictured stories 
 are contemplated with admiration by men 
 of every clime.* 
 
 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, To- 
 ledo, 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 
 
 * A complete set of reduced copies from his prints 
 are now publishing at Gottingen, with illustrations in 
 the German and French languages. 
 
*99 
 
 HOGARTH. 
 
 the year 1547, and died at Madrid, April 23, 
 1616, on the same nominal day with Shake- 
 speare ; so that Spain and England lost 
 their two great luminaries at the same pe- 
 riod, nor have succeeding centuries pro- 
 duced 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 de- 
 scribed by Cervantes ; and though our great 
 painter of nature succeeded better in sub- 
 jects 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 con- 
 stitution, spare bodied, of a meagre visage, 
 and a very keen sportsman. 
 
 “ Rozinante 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."* 
 
 To attempt a description of the nine fol- 
 lowing 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 fol- 
 lowing scenes are in their recollection. The 
 few that have not read this admirable ro- 
 mance have a pleasure to come ; as an in- 
 ducement 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's or Smollet's modern 
 translations. My edition is that of 1675. 
 
 * Jarvis and Smollet have strangely translated it, 
 spindle shanked y which by no means accords with the 
 rest of his figure. 
 
- - - 
 
Published Afarch 1708 
 
HOGARTH. 
 
 301 
 
 DON QUIXOTE. Plate I. 
 
 THE FIRST SALLY IN QUEST OF ADVENTURES. 
 
 The original from which this plate is 
 copied is in Jarvis’s 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 knight- 
 hood, at the door of an inn, which he con- 
 sidered as a castle ; the host holding his 
 horse’s bridle, and two young female tra- 
 vellers looking with astonishment at his 
 figure. In the distance is a swine-herd 
 blowing his horn, which our adventurer 
 mistakes for a trumpet sounded by a dwarf 
 on the battlements, to announce his ap- 
 proaching the portico of the castle. 
 
 Vide Shelton , p. 3. 
 
H Q G A R T If . 
 
 m 
 
 DON QUIXOTE. Plate II. 
 
 THE INN KEEPER. 
 
 The original of this print is in my pos- 
 session, and was designed to represent the 
 innkeeper conferring the order of knight- 
 hood 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 out- 
 line 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 de- 
 scribes. This print is not in any of the ca- 
 talogues of Hogarth's works, but the style 
 leaves little doubt of the artist. 
 
 In the plate from Vanderbank, in Jarvis's 
 quarto, representing the whole scene, the 
 innkeeper has a more than accidental re- 
 semblance to this figure. 
 
— — - — - — — ' — — — ■ — ■ — — " • 
 
 
HOGART H. 
 
 3°3 
 
 DON QUIXOTE. Plate IIL 
 
 THE FUNERAL OF CHRYSOSTOM. 
 
 The stern attention which our Don gives 
 to the Shepherdess Marcella, who is vindi- 
 cating 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's 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. 
 
HOGARTH. 
 
 3°4 
 
 DON QUIXOTE. Plate IV. 
 
 THE INNKEEPER’S WIFE AND DAUGHTER ADMI- 
 NISTERING CHIRURGICAL ASSISTANCE TO THE 
 POOR KNIGHT OF LA MANCHA. 
 
 Don Quixote's adventure with the Yan- 
 guessian 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 daugh- 
 ter, 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 participa- 
 tion 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* high ; and burthened with shoulders 
 
 * Jarvis oddly enough translates it seven feet . 
 
Published MiueJi ijgti . 
 
HOGARTH. 
 
 3 °5 
 
 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 over- 
 looked. 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 wretch- 
 edness. I do not recollect to have seen a 
 print in which the light is more judiciously 
 distributed ; in this and every other particu- 
 lar, I think it much superior to the same 
 scene designed by Vanderbank, in Jarvis's 
 quarto translation. Vide Shelton , p. 29. 
 
HOGARTH. 
 
 $06 
 
 DON QUIXOTE . Plate V. 
 
 DON QJJIXOTE SEIZES THE BARBER’S BASON FOR 
 MAMBRINO’S HELMET. 
 
 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 cha- 
 racteristic. Notwithstanding this, I think, 
 that Vanderbank's design for Jarvis, where 
 the squire is brought into the fore-ground, 
 contemplating the glittering prize, is a bet- 
 ter chosen point of time. To Sancho he has 
 given a mixture of cunning and simplicity 
 which I have seldom seen so happily dis- 
 played ; and taken as a whole, it is perhaps 
 a superior plate to Hogarth's. 
 
 Vide Shelton, p. 42. 
 
HOGARTH. 
 
 8°7 
 
 DON g V IXO TE. Plate VI. 
 
 DON QUIXOTE fcELEASES THE GALLEY SLAVES. 
 
 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’s translation, 
 where the scene is chosen after the discom- 
 fiture of the guards ; for to two or three of 
 the thieves Van. has given the countenances 
 of apostles. His whole print is tame, feeble, 
 and spiritless. Vide Shelton , p. 47. 
 
HOGARTH. 
 
 g°8 
 
 DON QUIXOTE. Plate VII. 
 
 THE FIRST INTERVIEW OF THE VALOROUS KNIGHT 
 OF LA MANCHA WITH THE UNFORTUNATE KNIGHT 
 OF THE ROCK. 
 
 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 return- 
 ed 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 em- 
 braced, 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 
 
_ ... ... - 
 
HOGARTH. 
 
 3°9 
 
 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 mad- 
 man, did not the two knights so strongly 
 determine it to be before. 
 
 In Vanderbank's design of the same sub- 
 ject, vide Jarvis's quarto, the figure of San- 
 cho is tolerable, but the Don is vapid and 
 ill drawn, and Cardenio’s head, like that of 
 Medusa, looks as if it were encirded with 
 snakes. Vide Shelton, p. 5 1. 
 
 VOL. in. 
 
 x 
 
HOGARtk. 
 
 310 
 
 DON Q UIXO TE. Plate VIII. 
 
 THE CURATE AND BARBER DISGUISING THEM- 
 SELVES TO CONVEY DON QUIXOTE HOME. 
 
 Don Quixote's old neighbours, the cu- 
 rate and barber, being desirous of checking 
 bis wandering disposition, are here disguise 
 ing themselves for ah 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 ; arid 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. 6 o. 
 
POM QUIXOTE 
 
 UYHojpxrtfr IriAp 
 
 Published March i JQ d 
 
don q u ixote 
 
HOGARTH. 
 
 311 
 
 DON QUIXOTE. Plate IX. 
 
 SANCHO’S FEAST. 
 
 “ Sane bo’s dread doctor and bis wand were there.” 
 
 Though Don Quixote is the ostensible 
 hero of this admirable history, I have some- 
 times thought that Sanchl was the author's 
 favourite character. He is here represented 
 as governor of Barataria, and seated in the 
 spacious hall of a sumptuous palace, sur- 
 rounded with all the pompous parade of 
 high rank, and encircled numerous at- 
 tendants.* A band of musicians in an ad- 
 joining 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 ap- 
 pendages of this mock-monarch, the instant 
 he attempts to taste the solid comforts of 
 
 * 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. 
 
 X 2 
 
HOGARTH. 
 
 312 
 
 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 con- 
 trasted by the assumed gravity of Doctor 
 Pedro Rezio. The starch and serious solem- 
 nity of a straight-haired student, who offici- 
 ates as chaplain, is well opposed by the broad 
 grin of a curl-pated blackamoor. The sup- 
 pressed laughter of a man who holds a nap- 
 kin 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; 
 
HOGARTH. 
 
 313 
 
 they present a front and back view of the 
 same figure. To two females on the vice- 
 roy's right hand, there may be a similar 
 objection. 
 
 The original print was designed and en- 
 graved 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 at- 
 tempted in a similar style. 
 
 In the drawing, Sancho was originally 
 portrayed with a full face; but Hogarth ju- 
 diciously thinking a profile would be pre- 
 ferable, 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 Smol- 
 lett'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. 
 
3H 
 
 HOGARTH. 
 
 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 Hei- 
 degger 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 mas- 
 querade, when George II. ( who was ap- 
 prized 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 backed turned v 
 than the impostor, assuming his voice and 
 manner, ordered them to play Charley over 
 
HE!!) J7 GGEU. Pap 
 
HOGARTH. 
 
 315 
 
 the water. On this, Heidegger raged, stamp- 
 ed, swore, and commanded God save the 
 King. The instant he retired the impostor 
 returned, and ordered them to resume Char- 
 ley. The musicians thought their master 
 drunk, but durst not disobey. The scene 
 now became truly comic ; — shame ! shame J 
 resounded from all parts of the theatre. Hei- 
 degger 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, hut could not speak. - The 
 duke, seeing it take so serious a turn, or- 
 dered the fellow to unmask. Heidegger 
 retired in great wrath, seated himself in an 
 arm-chair, furiously commanded his atten- 
 dants to extinguish the lights, and swore he 
 would never again superintend the mas- 
 querade 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. 
 
Si6 
 
 HOGARTH. 
 
 THE LARGE MASQUERADE 
 TICKET. Vide Frontispiece. 
 
 As the first print which Hogarth pub- 
 lished on his own account, usually denomi- 
 nated the small Masquerade Ticket , ( see p. 15) 
 represents a large company eagerly press- 
 ing to the door of a masquerade, we have 
 here the interior of the room crowded with 
 a countless multitude of grotesque cha- 
 racters, 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, shewing y e company's in- 
 clinations as they approach 'em. Invented 
 for the use of ladys and gentlemen by y e in- 
 genious 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 
 
HOGARTH. 
 
 8*7 
 
 terminated by a goat's head — ornamented 
 with a pair of branching antlers — and de- 
 corated 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 mer- 
 cury, in one of those instruments which the 
 reference informs us is to shew the incli- 
 nations 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 
 
HpGARTH. 
 
 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 be- 
 lieve intended to vibrate with the pendu- 
 lum; 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 pf 
 the clock. 
 
 Recumbent on the upper lipe 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 uni- 
 corp cfexter . T he supporters of our regal 
 
HOGARTH. 
 
 3*9 
 
 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 Baccha- 
 nalian scene ; and on each side, shelves 
 with pyramids of jellies, sweatmeats, etc. in- 
 scribed “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, jixt. 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. 
 
320 
 
 HOGARTH. 
 
 “ 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 ; bra- 
 mins, friars, drones, monks ; and monkies 
 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 slaugh- 
 terman, 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 bason to catch the blood ; 
 the fumes from which he snuffs up with 
 
HOGARTH. 
 
 321 
 
 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 1 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, so- 
 licitous to give a glass of wine to one of 
 the sisterhood, lifts up her veil for the pur- 
 pose of her drinking it.* 
 
 * 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. 
 
 VOL. III. 
 
 Y 
 
ADDENDA. 
 
 The following Hirtls 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 recognized, were undoubtedly meant by the 
 Artist as portraits ) would , to the other merits 
 of these inimitable Compositions , add the im- 
 portant one of making them an assemblage of the 
 similitudes oj the leading remarkables of his day. 
 
 Southwark Fair. 
 
 Although Hogarth, from a fear of creating 
 himself enemies, disclaimed individual por- 
 trait 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; 8cc. are 
 found to be less peopled with ideal personages 
 than the Marriage a 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 
 
addenda. 
 
 323 * 
 
 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 inge- 
 nious 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 en- 
 couragement 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 T ide. 
 
 The following characters, in this print, have 
 been identified, in addition to others, before no- 
 ticed. Middle groupe. 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 oj Troy , (an- 
 nounced for representation on one of the neigh- 
 bouring shew-cloths) was intended for Walker , 
 afterwards the famous Macheath in the Beggar’s 
 Opera, whose portrait it exactly resemblesX-It 
 is introduced in this place with strict propriety, 
 as we learn, that Walker kept a great thea- 
 trical booth, in Southwark Fair, as did Pen- 
 kethman. — “ He also acted,” says one of his 
 biographers, “ in the same way at Bartholomew 
 
ADDENDA. 
 
 324 * 
 
 Fair; where Booth saw him playing the part 
 of Paris in the Siege of Troy — The painter 
 probably placed him in the ridiculous situation, 
 we see him, on account of his known extrava- 
 gancy, 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, Crafts- 
 man, and almost all the pe riodical 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 intro- 
 duced 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 encoun- 
 ters, 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 shewing their courage 
 and their great skill, they issue mutual chal- 
 
 Noble’s Contin. to Grang. b. iii, p. 418. 
 
ADDENDA. 
 
 325 * 
 
 lenges, and before they engage, parade the town 
 oil horseback, with drums and trumpets sounding, 
 to inform the public there is a challenge be- 
 tween 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 T all Man, whose effigies are ex- 
 hibited on a shew 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 ol him the year 
 before his death. 
 
 The two jugglers, in senatorial wigs, who 
 are displaying their magic wonders with cups 
 and balls, 8cc. seem to have been intended like- 
 wise for two real characters, Fawkes and 
 Neve, the Breslaw and Katterlelto 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's 
 dexterity of hand." Portraits of these worthies 
 still exist, and bear a sufficient resemblance to 
 identify them with thsir representatives in the 
 plate ; JVeve^ in a wood print, prefixed to his 
 “ Merry Companion, teaching tricks in Leger- 
 demain”-— and Fciwkes in a large sheet prints 
 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 
 
addenda. 
 
 82 6* 
 
 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. 
 
 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 transi- 
 tion, from being one of the most fashionable 
 of the Cyprian corps , became lady abbess of 
 a brothel ; and, after frequent arrests and im- 
 prisonments, was buried from the poor house 
 of St. Paul’s, Govent 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.” 
 
 lb. Plate IV. A card on the floor, in this 
 Print, is inscribed, 
 
 “ Count Basset desire to no how Lade Squander sleep last nite ? v 
 
ADDENDA. 
 
 327 * 
 
 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 satyrize the 
 game of Basset. 
 
 N. B. The set of prints of Marriage a la 
 Mode, is said to have furnished the idea for the 
 Comedy of the Clandestine Marriage. 
 
 Harlot’s Progress. 
 
 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 gourde One supposes them 
 merely intended to convey a ridicule on the 
 old masters, or placed here to satyrise the im- 
 propriety 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 inci- 
 dents 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 him- 
 self ” when dancing before the ark, “ in the eyes 
 oj the handmaids of his servants, as one of the 
 vain fellows shamelessly uncover elh himself, ” 
 which his wile charges him wilh on that occa- 
 sion, evidently typify the backsliding Jew. 
 While Jonah sitting under the shelter of hi$ 
 
ADDENDA, 
 
 328* 
 
 gourd, which sprung up in the night, and which 
 the worm destroyed in the morning, as inge- 
 niously 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 III. Tavern Scene. In the second state 
 of this plate Pontac’s head is introduced in the 
 place of a mutilated Caesar. Pontac was a cele- 
 brated 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 V. Dr. Misaubin, or Mizenbank, as 
 Trussler 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 introduc- 
 tory chapters in Tom Jones, “ The learned Dr. 
 Misaubin used to say, that the proper direction 
 to him was, to Dr. Misaubin, in the world; in- 
 timating, 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 Escu- 
 lapius, from which a print was engraved by 
 Pond. The likeness strikingly resembles Ho- 
 garth’s representation, and is inscribed “ prenez 
 dei pillules.” The similitude of his opponent, 
 Dr. Rock, though not authenticated in the same 
 
ADDENDA. 
 
 329 * 
 
 manner, is, from the testimony of those who re- 
 collect him, equally correct. 
 
 This “ great man” is said to have been ori- 
 ginally a porter , for which his strong squat 
 figure excellently adapted him. An anecdote, in 
 some degree confirmed, is told of him, thatpassing 
 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." 
 
 Raee’s Progress. / 
 
 Plate VI. The maniac chained to the floor of 
 his cell, in this Print, is noticed by Mr. Ireland, 
 as being a copy from one ol Gibber’s figures 
 over the gate ol Bedlam. He might have added 
 that the person of the Rake himsell, whose ex- 
 pression of madness Mr. Mortimer so much 
 admired, is, as to features , a copy ol the com- 
 panion figure over the same gate. This pla- 
 giarism, if it may be so called, was to the credit 
 of Hogarth’s taste, for with all his own amaz- 
 ing powers of expression, he could scarcely 
 have hoped to equal such inimitable represen- 
 tations. Time, and an injudicious attempt, some 
 years since, at restoration, have woelully in- 
 jured these master-pieces of Gibber’s chissel. 
 
 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 
 
ADDENDA. 
 
 regions, but that most of the persons are cer- 
 tainly 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 in- 
 scribed “ 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 represen- 
 tation, 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, JEt. 45, 
 1709.” Sitting;on the rails ol Moorfields. Printed 
 with his life and character written by himself, 
 8cc. 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 chap- 
 let 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 C harming 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 phoenix she shall be my bride. 
 
ADDENDA 
 
 331 * 
 
 - — -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 Ho- 
 garth, by Francis Beckford, Esq, for ,£88, 4$. 
 were, at the sale of William Beckford, Esq. of 
 Fonthili, in 18 ..., sold by the elder Mr. Chris- 
 tie, for the sum of 85O guineas. The buyer was 
 Colonel Fullarton, M. P. 
 
 Idle and Industrious Apprentice. 
 
 Plate VIII. Speaking of the disposition of 
 a crowd in a picture, Mr. Gilpin says, “ I do 
 not recollect having seen a crowd better ma- 
 naged, than Hogarth has managed one in the 
 last print of his idle prentice. In combining the 
 multifarious company, which attends the spec- 
 tacle 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 any 
 thing offensive in it, which is rare in the ma- 
 nagement of such a multitude of figures.” — Ob- 
 ’ servation on the Wye, p. 123 . 
 
 The Times. 
 
 The wild Indian, painted on a shew-cloth, 
 with the inscription underneath, “ Alive from 
 America ,” is meant as a satire on Alderman 
 Becklord, for whose recent uncourtly speech to 
 Majesty, (see the Guildhall Statue) the painter 
 has represented him as a Savage. 
 
 * Noble’s Contin, to Grang. b. ii, p. 395 and 396 . 
 
332* 
 
 ADDENDA. 
 
 Four Times of the Day. 
 
 Plate II. Noon. The Bey who has had the 
 misfortune to break the baked pudding, a Com- 
 mentator on Hogarth asserts, was the late Mr. 
 Henderson, the player, who often sportively 
 assured his friends, that hel 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 cor- 
 respondent has assured us, that he has repeat- 
 edly heard his grandfather, an individual 
 unknown to the public, refer to that figure 
 in the print, as a portrait of himself', as- 
 serting 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 shewn 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” — &c. 
 
 Plate 111. Evening. The scene of this picture 
 is laid at Islington, near Sadlers Wells, 
 which was then a famous place for tea drinking, 
 
addenda. 
 
 335 * 
 
 and the antitype, for low dissipation, of the late 
 Dos: and Duck. The view represents it cor- 
 rectly previous to its being rebuilt in its present 
 form, and exactly similar to a small copper 
 plate delineation of it over an old song, called 
 “ a Song in praise of Sadlers Wells,” in which 
 its various amusements are described. The ad- 
 joining ale-house window, in which we behold 
 a group enveloped in their own smoke, is the 
 Sir Hugh Middleton s Head , a sign still remain- 
 ing. A celebrated knot of drinkers and smokers 
 actually- met at this place about the period al- 
 luded to, at the head of which was old Rosa- 
 mond, the proprietor of the Wells ; and it is not 
 improbable but that Hogarth might have known, 
 and meant to satirize this fraternity. The por- 
 traits 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. 
 
 Cerretto, well known by the name of “ JVosee 
 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 autho- 
 rize 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 lair 
 an object for caricature, that one of his portraits, 
 printed with a song of his composing, has iro- 
 
334 * 
 
 ADDENDA. 
 
 nically written under it, “ Beauty and Virtue,’* 
 This song, with the portrait, was eagerly pur- 
 chased 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 Musi- 
 cian ; when the character of the Musician was 
 purposely given to a performer, who w as thought 
 in figure and face, to resemble Dr. Arne. 
 
 Sigismunda. 
 
 This celebrated picture, which, at the time of 
 first publishing the preceding volumes, was in 
 the possession of Messrs. Boydell and 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 pur- 
 pose, to the auctioneer. 
 
 The Beggar’s Opera. 
 
 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 Lincolns Inn f ields Theatie. 
 This playhouse was opened under the manage- 
 ment of Betterton, with the Comedy of Love lor 
 Love, which had a very considerable run ; the 
 Beggar’s Opera, however, was of still superior 
 attraction, and it carried all before it. Alter con- 
 tinuing open with various success for several 
 seasons, the Lincolns Inn fields playhouse 
 finally closed, on the removal of the Company 
 to the New Theatre, in Covent Garden, and the 
 
ADDENDA. 
 
 335* 
 
 building, (the exterior of which is still entire) is 
 now occupied as Spode’s Pottery Warehouse. 
 
 Sleepy Congregation. 
 
 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 Whit* 
 church in Middlesex. He was the first lecturer 
 on experimental philosophy in the capital, and 
 published his Lectures in 2 vots. 4to. He died 
 at his Lodgings at the Bedford Coffee house, 
 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 de- 
 livering his sermons, which occasioned Ho- 
 garth’s satire. The original painting, from 
 which this print was engraved, was lately in 
 the possession of the late John Foliett, Esq. of 
 the Temple, London. It differs in some little 
 particulars from the print. 
 
CATALOGUE OF HOGARTH’S PRINTS, 
 
 WITH THE VARIATIONS, ETC. 
 
 Of the articles marked thus,* there are reduced copies in the 
 two volumes of Hogarth Illustrated. Those marked thus * * 
 are copied in this volume ; and such as have this f, I da 
 not consider as Hogarth’s. The plates of those marked b. 
 are in the possession of Messrs. Boydell. 
 
 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 Is. Second state, printed for 
 Chilcot. Third state, for Sympson: and in a fourth for Bowles, 
 “ price Is.” 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 stile. 
 
 1723. 
 
 Eighteen plates to Aubry de la Mottray’s Travels. Ho- 
 garth’s name on fourteen of them. As these prints have such 
 references as are hardly intelligible, and as Mr. Nichols’s. 
 numbers and mine do not exactly agree, I have given a slight 
 hint of the subject of each. 
 
CATALOGUE. 
 
 323 
 
 3. “ Vas mirabile ex integro Smaragdo. Genoa f etc. 
 
 T. i. N. ix. u Tiara Patriarchalis Greece. 
 
 T. i. x. A Lady and Black in a Bath. No name legible. 
 
 * *■ T. i. xi. Dance of elegant female figures. Vide p. l6l. 
 xv. A Procession. 
 
 T. i. xvn. A group of figurs in turbans. 
 xvni. T. i. A scene in the Seraglio. 
 
 Tom. 2 No. in. Park of the Artillary. 
 
 Tom. 2 No. v. u Bender.” Portrait of Charles XII. 
 
 Tom. 2 No. viii. Head of Charles XII. etc. 
 
 Tom. 2 No. ix. PI. t. “ Fodina Argentea Sahlensis.” 
 
 Tom. 2 No. ix. PI. Ditto. 
 
 Tom. 2 No. xi. “ Fodina Terrea Danmorensis. 
 
 Tom. 2 No. xiv. A Lapland Hut, with Rein Deer. etc. 
 
 To this catalogue, I think we ’may add, xin. Tom. i. and 
 T. i. xvi. as well as the figures at the corners of T. 2. 
 xxvi. a, and those in Tom. 2. C. of which there is a mo- 
 dern copy, under the name of The 5 Muscovites. 
 
 1724. 
 
 1. Seven small -prints to the new Metamorphosis of Lucius 
 Apuleius of Medaura ; printed for Sam. Briscoe , 12m"o. 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 Apulieus. 
 
 2. Masquerades and Operas : Burlington Gate. W. Ho- 
 garth inv. et sculp, vide p. 15. In the early impressions the 
 name of ¥asquin,No. 11. is inserted as a label on a book in 
 a wheelbarrow, 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 f etc. 
 beneath them is price Is. To the second impression, 
 
 “ 0 how refin'd , how elegant we're grown !” etc. 
 
 The print is sometimes found without any lines. In this, 
 
324 
 
 CATALOGUE* 
 
 Hogarth’s name is inserted within the frame of the plate. 
 To the copy there are also eight lines, beginning^ 
 
 4 ‘ Long has the stage productive been,” etc. 
 
 1725. 
 
 1. Five small prints for the translation of Cassandra, in five 
 volumes duodecimo. W. Hogarth , inv. et sculp. 
 
 2. Fifteen head > pieces for the Roman Military Punish- 
 ments, by John Beaver, Esq. engraved in the stile of 
 Callot. 
 
 The plate to Chapter 17, Pay stopt 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 fee.” 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, videp. 17. This was 
 usually printed on blue paper. In the original, the word 
 wings is terminated with a longy. In a modern copy this 
 error is corrected. 
 
 * * 4. A scene in Handel’s Opera of Ptolomeo. Vide 
 p. 248. There is a copy of the same size. 
 
 5. Booth, Wilkes , and Cibber, contriving a pantomine. 
 
 1726. 
 
 * * 1. Frontispiece to Terrceflius. Vide p. 2f)l. 
 
 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 
 xi. (the earliest impressions) the words “ Down with the 
 Plumps,” 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. 
 
325 
 
 / 
 
 CATALOGUE. 
 
 f 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 mez- 
 zoiinto 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 17 10. 
 
 Copies are inserted in Townley’s translation of Hudibras 
 into French, published in 17 57. 
 
 Many of them were copied by Ross, with violent altera - 
 tions, for Dr. Nashe’s splendid edition of Hudibras, published 
 in 1795. 
 
 4. “ Cunicularii , or the Wise Men of Godliman in Consul- 
 tation.” A burlesque on the Believers in Mrs. Tofts, the 
 rabbit breeder. 
 
 1727. 
 
 1. Music introduced to J polio by Minerva, Hogarth fecit. 
 Frontispiece to some book of music, or ticket for a concert. 
 
 * * 2. Large Masquerade Ticket. Vide Frontispiece and 
 p. 3l6. 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 Beveridge'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 1 sulp. Contemptible ! 
 
 Of this there is a modern copy. 
 
 vol. hi. y 
 
326 
 
 CATALOG U E. 
 
 3. The Beggar’s 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 Vaux- 
 hall. 
 
 3. Frontispiece to Miller’s Comedy of the Humours of 
 Oxford, engraved by Vandergucht. 
 
 1730. 
 
 1. Two prints for Verseus and Andromeda. 
 
 2. Gulliver presented to the Queen of Eahilary ; engraved 
 by Vandergucht. Frontispiece to Lochman's translation of 
 John Gulliver's travels. A wretched design. 
 
 1731. 
 
 1. Frontispiece to Moliere’s L'Avare. 
 
 2. To Le Coed imaginaire, prefixed to Moliere's plays in 
 Freuch and English. 
 
 3. Frontispiece to Fielding’s Tom Thumb ; engraved by 
 V andergucht. 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. 
 
CATALOGUE. 327 
 
 5. Another copy, with the addition of a clergyman holding 
 a ring. 
 
 6. A wooden cut in the Gentleman’s Magazine for March, 
 17S3. 
 
 *7- A small copy from a small whole length, in the pos- 
 session 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. Pre- 
 fixed to a pamphlet entitled “ A Miscellany of Taste, by Mr. 
 Pope, &c.” Vide p. 272. 
 
 10. The same, in a still smaller size, coarsely engraved. 
 
 1733. 
 
 E. * 1. The Laughing Audience. Subscription ticket to 
 the Rake’s Progress, and Southwark Fair, which were origi- 
 nally delivered to subscribers at a guinea and a half. 
 
 The receipt was afterwards cut otf. Of this print there is a 
 coarse copy. 
 
 b * 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 5 large prints, one representing a Strolling 
 Company of Actresses dressing themselves in a barn, and 
 the other 4 , Morning, Noon, Evening, and Night; which 
 Y 2 
 
328 
 
 CATALOGUE. 
 
 I promise to deliver on Lady-day next, on receiving half a 
 guinea more.” 
 
 “ N. b. They will be twenty-five shillings after the sub- 
 scription is over. 5 ’ 
 
 A modern copy of this receipt in aquatinta, was published 
 in 1781. 
 
 B. * 2. Another print on the same subject, with consider- 
 able 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, 1 find the following notices of the 
 pictures of The Harlots 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 I with many other fine pictures, 
 at the country house of the gentleman who bought them. § 
 It is reported, and very remarkable if true, that a most mag- 
 nificent clock-work organ, being left exposed to the confla- 
 gration, was heard in the midst of the flames to play several 
 pleasing airs.’’ 
 
 1733 and 1734. 
 
 B. The Harlot’s Progress, in six Plates. 
 
 * Plate 1. Second state. Feet to the old woman. Sha- 
 dow' thrown by one house upon another. London , added to 
 the letter the parson is reading. Cross put in the centre of 
 
 X 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 Pro- 
 gress were not destroyed. 
 
 § Francis Beckford, Esq. to whom I find by one of Hogarth’s memo- 
 randums, they were sold for £ 88. 4s. 
 
CATALOGUE. 329 
 
 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 magpye. I have a copy 
 of this print, of tbe same size, and well engraved ; the situa- 
 tion 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 lower’d. 
 
 * Plate 6. The mask on the bottle inscribed Nants, has 
 a most ludicrous appearance. The shadows, especially that 
 on the forehead of the gill near the clergyman, are much 
 heightened in the second state. 
 
 b. * 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. 
 
 B. * 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. 
 
 B. 1. The Rake’s Progress, in eight plates. 
 
 * Plate 1. First state. A book “ Mem duBl 1721, May 3d. 
 
330 
 
 CATALOGUE. 
 
 My son Tom came from Oxford. 4th, dined at the French 
 Ordinary. 3th 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. Wool- 
 len-draper’s shop-bill omitted. 
 
 * 1 late 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 23th 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 Ccesar. 
 
 * Plate 4. Second state. Shoeblack stealing the cane, 
 erased, and his place supplied by a group of gambling boys. 
 1 his design is unquestionably much improved by the alte- 
 rations. 
 
 * Plate 5. Second state. The right foot of the bride- 
 groom, which gave a tottering awkwardness to the figure, 
 omitted. The maid servant’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 S. 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 
 u Charming Betty Careless,’’ went mad for love. Doctor 
 Monro, I am told, asserts, that not more than one or two 
 men have become mad from love in the course of an hundred 
 years. Shakespeare has not, as I recollect, drawn one man 
 
CATALOGUE. 
 
 315 
 
 mad from that cause. I find by Hogarth’s memorandum that 
 the original pictures were sold to Francis Beckford, Esq. for 
 £184. lfo. 
 
 1736. 
 
 b. * 1. Two 'prints of Before and After. See p. 21. 
 
 b. * 2. The Sleeping Congregation. 
 
 First state. u Dieu et mon droit.” under the king’s arms, 
 not inserted z 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.” 
 
 b. * 3 The Distrest 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 conjec- 
 tured 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. 
 
 b. * 5. Arms of the Undertaker s Company. 
 
 The three figures at top are Doctor 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. 
 
 b. * 1. The Lecture , i( Datur vacuum .” In the early im- 
 pressions, the words datur vacuum are not printed. Hogarth 
 sometimes wrote them in with a pen. 
 
 T Mneas in a Storm. 
 
332 
 
 CATALOGUE, 
 
 1738. 
 
 B. 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 de- 
 lineation would be improved by it, afterwards inserted it with 
 his own burine. 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 \~jl. Os. 0 d. 
 
 * 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 2 71. 6s. Noon was sold 
 for 38 1. Ifs. and Evening for 3Ql. 18s. to the Duke of 
 Aneaster. 
 
 B. *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 
 
CATALOGUE. 
 
 333 
 
 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. 257. 
 
 1741. 
 
 B. * The enraged Musician. 
 
 Mr. Cricket has an impression, taken before the man 
 blowing a horn, cats, steeple, play-bill, or dragg, were intro- 
 duced. 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, com- 
 posed of bricks, etc. 
 
 In the early impressions, the horse’s head is white ; in its 
 present state, black: and the dog, dragg, hatchet, etc. con- 
 siderably darker than when first engraved. 
 
 1742. 
 
 b. 1. Martin Folks, Esq. half-length. W. Hogarth pinxit 
 ei 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. 250. 
 
 1743. 
 
 b. 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 l Ardcll. 
 
 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. 50. 
 
334 
 
 CATALOGUE. 
 
 E. * 5. Characters and Caricaturas ; subscription ticket 
 to Marriage A-la-mode. “ For a farther explanation of the 
 difference betwixt “ Character and Caricatura, see y : Preface 
 to Jo h Andrews’ * 
 
 “ Received April , of , half-a-guinea, being 
 
 “ the first payment for six prints called Marriage A-la-mode, 
 u 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 , 1 ten years ago endeavoured 
 to explain the distinction by the above print; and as I was 
 then publishing Marriage A-la-mode , wherein were charac- 
 ters 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 cut : 
 
 “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. 
 
 b . 1 . Marriage A-la-mode in six plates. 
 
 * Plate 1. The coronet imprest 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 stale of plate 1, there is evident marks of the 
 burine of Hogarth, in the faces of the Citizen and Peer; and 
 each of the characters, especially the latter, are 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 
 
CATALOGUE. 
 
 335 
 
 seen out of the window, and on the light parts of the two 
 dogs. Third state, all the shadows blacker. Engraved by 
 G. Scutin. 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 dis- 
 cover 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 piano forte, 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 burine than that of Ravenet. Engraved by 
 R. F, Ravenet. § 
 
 § The R must have been a mistake of the writing- engraver. Ravenet’s 
 •hristeued names were Simon Francis . 
 
336 
 
 SATALOGUB. 
 
 Mr. Nicholls states that this back-ground was engraved 
 by Ravenet’s wife, but I am informed by Mr. Charles 
 Crignion , who at that period knew the family intimately, 
 that she could not engrave. That, concerning the back- 
 ground 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 , (with- 
 out any additional remuneration,) a process that must have 
 taken him up a length of time, which no man but an en- 
 graver 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. Angerstcin’s col- 
 lection, I have already spoken. If considered in the various 
 relations of invention , composition, drawing, colouring , charac- 
 ter, 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 A-la-mode, which the family believe to be Ho- 
 garth’s explanation, either copied from his own hand- writing, 
 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 head-piece to the printed speech 
 addressed to the Clergy of York, September 24th, 1745 . 
 William Hogarth pinx. C, Mosely sculp. 
 
CATALOGUE. 337 
 
 з. 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. 
 
 b. * 4. The Battle of the Pictures. Ticket to admit per- 
 sons 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 . 
 
 b. * * 1. Simon Lord Lovat. Videp. 285. 
 
 The second impressions are marked “ price Is.” 
 
 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 Phy- 
 siognomy. 
 
 и. * 2. Mr. Garrick in the character of Richard III. 
 
 Engraved by W m 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 se- 
 cond time, when seeing it wrong placed upon the shoulders, 
 he again rubbed it out, and replaced it as it now stands, re- 
 marking — “ I never was right, until I had been wrong.” 
 
 3. Subscription ticket to the March to Finchley, which was 
 originally published at Js. 6d. 
 
 Among a stand of various weapons, bagpipes, etc. the 
 artist has introduced a pair of scissars cutting out the Arms 
 of Scotland. 
 
 1747 . 
 
 b. * 1. The Stage Coach, or Country Inn Yard. In the 
 very ear liest 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. 
 
 b. 2. Industry and Idleness, in twelve plates , de- 
 signed and engraved by W m . Hogarth. 
 
338 
 
 CATALOGUE, 
 
 * 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 W est , 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 re- 
 main, 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 
 
CATALOGUE. 339 
 
 I found among Hogarth’s papers, seems addressed to some one 
 whom he intended so continue Rouquefs 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 every 
 thing addressed to them is fully described in words as well 
 as figures ; yet, to foreigners, a translation of the mottoes, $ 
 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, &c. 
 
 “ Considering the persons they were intended to serve, I 
 have endeavoured to render them intelligible, and cheap as 
 possible. || Fine engraving is not necessary for such sub* 
 jects, 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, &c. 
 
 “ These prints I have found sell much more rapidly at 
 Christmas, than at any other season." 
 
 3. Jacobus Gibbs Architect us: W. Hogarth, delin. J .M l Ar dell 
 fecit : partly mezzotinto, partly graved : no date. 
 
 4. Ditto engraved by Baron. 
 
 5. Ditto by ditto. 
 
 6. Another copy with the addition of “ Archilectus, A.M. 
 and F. R. S.” was published 1750. Of the last print I 
 have an impression, where the back ground 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 
 W ouvermans. 
 
 Besides these, there is a small profile of Gibbs in a circle, 
 which I do not think Hogarth's : at least it is uncertain. 
 
 § The mottos were selected by the Reverend Arnold King. 
 
 || The twelve prints were originally published at 12*. 
 
340 
 
 CATAXOGUE. 
 
 7< Arms of the Foundling Hospital, printed on the tops of 
 the indenture. 
 
 8. 1 he 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 ; head-piece to the Jacobites’ Journal ; 
 a newspaper set up and supported by Henry Fielding . This 
 print, (of which there is a modern copy in aqua tint a) , was 
 prefixed to six or seven of the earliest papers, and then set 
 aside. Mine, is dated “ 2d January, 1747 . No. 5.” 
 
 1748. 
 
 b. 1. View of Mr. Ranby’s House at Chiswick. Etched by 
 Hogarth without any inscription. Afterwards “ published for 
 Jane Hogarth etc. 1st May, 1781. 
 
 b. 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. 
 
 B. The gate of Calais. Engraved by C. Mosely. The ori- 
 ginal picture is in the possession of the Earl of Charlemont. 
 
 Of this print Hogarth thus writes : lt After the March to 
 Finchley , the next print I engraved, was the Roast Reef of 
 old England ; § 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, 
 
 § So does he express himself in the ms. though the Roast JteeJ was 
 published March 6, 1749 ; and the March, December 3t, 1750. 
 
CATALOGUE. 
 
 341 
 
 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 taudry ; and 
 as to, the fish-women — 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 sotpe 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. § 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 
 back-ground ; and in one corner introduced my own por- 
 trait, (I 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, &c. of two nations so contiguous, that in a clear 
 day one coast may be seen fiom the other. The melancholy 
 and miserable Highlander, browzing on his scanty fare, con- 
 sisting of a bit of bread, and an onion, is intended for one of 
 the many that fled from this country after the rebellion in 
 1744.” 
 
 2. Portrait of John Palmer, Esq. W. Hogarth pinx : B t 
 Baron sculp. A small hedd, inserted under a view of the 
 church of Ecton, Northamptonshii e. 
 
 § It has been said that Hogarth never went farther into Franct than 
 Calais ; this proves he had reached Paris. 
 
 || This was afterwards copied for a watch-paper, 
 
 VOL. III. Z 
 
342 
 
 catalogue. 
 
 * 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 Lin e of Beauty and Grace/’) 
 
 In the year 17f)3, Hogarth erased his own head from 
 the plate, and in its place inserted “The Bruiser C. 
 Churchil (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 
 apolitical print introduced on the palette. 
 
 B. * Third state. The letters N. B. and the word “ Infa- 
 mous” inscribed on the club ; and “ Dragon of Want ley f 
 added at the end of “ I warrant ye.” ‘ 4 price Is. 6d.” in- 
 stead of u Is.” 
 
 B. * In the year 1758, Hogarth published a full length of 
 his own portrait, painting the Comic Muse, inscribed 4 ‘ W. 
 Ilogarth, sergeant painter to his Majesty “ Engraved by 
 W. Hogarth .” This being a mistake of the writing en- 
 graver, the painter altered it to “ the face engraved by W. 
 Hogarth.” Third impression, “ the face engraved by W 
 Hogarth,” omitted. Fourth state , u serjeant painter,” etc t 
 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 , 1 7f>4/’ 
 No other inscription beneath the print, but W. Hogarth, 
 1764.” 
 
CATALOGUE. 
 
 343 
 
 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 
 ©f Mrs. Lewis of Chiswick. 
 
 A portrait of Hogarth was, in 1781, engraved in mezzo- 
 tinto by Charles Townley from a picture painted by Welt don, 
 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. 
 
 b. * The March to Finchley , engraved by Luke Sullivan. 
 Dedicated to the king of Pnrsia ; thus was the word spelt 
 in the prints delivered to the subscribers. A few early im- 
 pressions 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, u 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 . 
 u Retouched and improved by W m . Hogarth ; and republished 
 June 12t/i, 1761.” 
 
 Z 2 
 
CATALOGUE. 
 
 o44 
 
 I have an early impression of this print, in which the de- 
 dication to the King of Prussia does not appear, and it might 
 pass for a proof. On inquiry I find, that upon one of Ho- 
 garth’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 im- 
 pressions, 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 Hos* 
 pital, the old man, to whom a Frenchman is giving a letter, 
 has a plaid waistcoat. 
 
 1721. 
 
 b. * 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. 
 
 b. * 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.§ 
 
 § 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. 
 
 “ Sir, December 12, 1759 
 
 “ When genius is made subservient to public good, it does honour 
 to the possessor, as it is expressive of gratitude to his Creator, by ex- 
 erting itself to further the happiness of his creatures. The poignancy 
 and delicacy of your ridicule has bepn 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 
 
CATALOGUE. 
 
 i> 4>'j 
 
 Of their intentions, Hogarth gives the following account : 
 a 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 Pawnbrokers and Gin-shop. 
 
 “ Bee r 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 thriv- 
 ing. 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 farther distress. 
 
 u. 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 Is on superior paper , 
 “ Is. 6d .” The stamp by which the artist marked the “ 6d.” 
 was cut by himself, on a halfpenny, now in my possession. 
 Of Plate 3 and 4 there are wooden cuts, which were engraved 
 under Hogarth’s inspection. 
 
 then, Gin Lane and Beer Street, that you may have the honour and ad- 
 vantage of bringing the two first engines to the fire j and work them 
 manfully at each corner of the building; and instead of the paltry re- 
 ward 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 liqnid fire 
 into the veins of the now brave Britons, whose robuat fabrics will soon 
 fall in, when these dreadful flames have consumed the inside timbers 
 and supporters, I am sir, yours, Vc 
 
 tl An Englishman.' 
 
346 
 
 CATA L O G U E. 
 
 The motives by which Hogarth was induced to make the? 
 designs, he thus describes. 
 
 The leading points in these as well as the two preced- 
 ing prints were made as obvious as possible, in the hope 
 that their tendency might be seen by men of the lowest 
 rank. Iseitlier minute accuracy of design, nor fine engrav- 
 ing 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 exprest 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 addrest 
 to hard hearts, have rather preferred leaving them hard 7 
 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 de- 
 gree, correcting that barbarous treatment of animals, the very 
 sight of which renders the streets of our metropolis so dis- 
 tressing to every feeling mind. If they have had this effect, 
 and checked the progress of cruelty, I am more proud of 
 having been the author, than I should be of having painted 
 Raphael’s Cartoons. 
 
 The Fiench, among their other mistakes respecting our 
 tragedies, &c. asseit, that such scenes could not be repre- 
 sented except by a barbarous people. Whatever may be our 
 national character, I trust that our national conduct will be an 
 unanswerable refutation. ’’J 
 
 | Humanity and tenderness of mind were the leading characteristics 
 of my most valued, and most regretted friend Mortimer; he would 
 
CATALOGUE. 
 
 347 
 
 B. 4. Paul before Felix. <c Designed and scratch'd in the 
 true Dutch taste , by W m Hogarth:' Under the second im- 
 pression, ** 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 advo- 
 cate 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 Pharoali’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. 
 
 b. * 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 
 Lincolns Inn Hall , and publish’d as the act directs, Feb. 5, 
 1752.” 
 
 * 2. The same subject, with fewer figures, and those re- 
 versed on the plate. This, though not good, is in arrange- 
 ment, 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 ." 
 
 not have trod on a worm ; yet, in painting subjects from which the 
 common eye would revolt, he had the greatest delight. 
 
348 
 
 CATALOGUE. 
 
 In the second state, a quotation from Dr. War ton’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. 
 
 B. * In the present state of the plate, the date of 
 publication, and name of the engraver, are taken out. 
 
 3. Moses brought to Pharoah’s daughter. 
 
 “ From the original painting in the Foundling Hospital, 
 engraved by Will m Hogarth , and Luke Sullivan.’’ 
 
 “ Published Feb. 5, 1762, 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 after- 
 wards effaced from the copper. 
 
 b. * Third impression. “ W. Hogarth pinxt. and published 
 according to,” etc. effaced, and its place supplied by “pub- 
 lished as the Act directs, Feb. 5, 1752.’’ 
 
 Columbus breaking the egg. Ticket to The Analysis. “ Rec d . 
 Nov r „ 30, 1752, of Nath 1 . Garland, Esq. five shillings, being 
 the first payment for a short tract in quarto, call’d the 
 Analysis of Beauty ; wherein Forms are consider’d in a new 
 light,” etc. 
 
 1753. 
 
 b. * The receipt cut off and inscribed, design’d and etch’d 
 by W m Hogarth, Dec*. 1, 1753. 
 
 B. 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 
 
CATALOGUE. 349 
 
 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 Kirby’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 46 1 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 Febv. 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 en- 
 graving, with emblematical devices of Crowns, Mitres, etc. 
 published in the year 1736, as a head-piece to an inscription 
 expressing his gratitude to the legislature, for passing the act 
 to protect prints from piracy, etc. 
 
 Crowns, Mitres , Maces, etc. 
 
 « Received 4 May, 1754, of Mr. King 5s. being the first 
 payment for a print representing an Election Entertainment, 
 which I promise to deliver when finish’d on the receipt of 
 five shillings and sixpence more. W m . Hogarth.” 
 
350 
 
 catalogue. 
 
 “ n. B. The price will be raised when the subscription 
 is over/' 
 
 Second state. Receipt for one guinea, being the first pay- 
 ment 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. 
 
 b. Third state. Receipt for 15s. being the first payment 
 u for three prints, representing the polling,” etc. 
 
 b. Four Prints of an Election. 
 
 Plate 1. An Election Entertainment. 
 
 It had 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“ 
 Hogarth,’' “ Published 24th Feb. 1 755," and “ Inscribed to 
 the Right Honourable Henry Fox, &c. &c. &c." 
 
 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 in- 
 scription, 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 candi- 
 date, removed from under her apron, and hanging down by 
 her side, by which the shoulder, elbow, etc. is 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, ef- 
 faced. Half a casement near the painting of a landscape, 
 changed to a window-shutter : the king’s head, frame, and 
 back-ground behind it, lighter : the salt-cellar and bit of 
 
catalogue. 
 
 351 
 
 bread removed from the table : lemons taken out, and the 
 tub, pail, and fore-ground 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’? book, are re- 
 engraved : both leaves are shadowed, and the centre line 
 from top to bottom, which in the first state was with th® 
 sure votes, is here transferred to the doubtful : two pearly 
 diops are trickling from the parson’s forehead. Four win- 
 dows are added to a house seen out of the open casement ; 
 a pair of scissars suspended to the metbodist taylor’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 fea- 
 ther outwards, is now properly altered to the quill out- 
 wards. 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 ren- 
 dered 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 some- 
 what stronger, and the shadows on the round table in the 
 corner, especially on the edge, made darker. 
 
352 
 
 CATALOGUE. 
 
 I have this print in all the states here described, and be* 
 lieve 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 free-stone 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 some- 
 what 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 (touch’d 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 
 after thought. 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 
 
CATALOGUE. 
 
 353 
 
 smoaker is presenting tobacco, and who, in the print, has 
 so speculative and carbuncledi 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 in- 
 scription, afterwards added, of (“ the 6th letter to the ”) 
 without the strokes being burnished out. 
 
 Second impression . u Milicia Bill,” awkwardly inscribed on 
 the maimed voter’s skirt, intended to appear as a paper 
 hanging out of his pocket. 
 
 * Plate 4. Chairing tiie 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) writ- 
 ten on the scroll hanging out of the attorney’s window. 
 
 1756. 
 
 b. * 1 . France and England, in two plates, “ designed and 
 etch’d by Flogarth,” and published March 8, 1756.” 
 
 In the very early impressions of these prints, the titles, 
 France and England, are not inserted. 
 
 1758. 
 
 The Bench , “ design’d and engrav’d 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, after- 
 wards Earl Bathurst ; Sir Edward Clive. 
 
 Over the print is written “Character;” under it 
 
 “ Of the different meanings of the words Character, Cara- 
 catura, and Outr6, in painting and drawing.” This is fol- 
 lowed 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. 
 
 b. * Present state of the plate ; the word Character is 
 
354 
 
 CATALOGUE. 
 
 effaced, and the king’s arms discarded, and its place sup- 
 plied by eight caricatured heads, on which the artist worked 
 the day before he died. Below the inscription is inserted, 
 
 *** “ The unfinish'd group of heads in the upper part 
 of this print was added by the author in October, 1764, and 
 was intended as a farther illustration of what is here said 
 concerning character, caricatura, and outre. 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 : in- 
 deed 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 look- 
 ing over a legion of his portraits, Monsieur, with a low bow, 
 told me that he infinitely admired my caricatures ! I returned 
 his congi, 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 stile, 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 ex- 
 traordinary 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; 
 «ven his habit is full and ample, to keep it on a par with his 
 
catalogue. 
 
 355 
 
 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 
 farther, and admit, that with the drama of Shakespeare, and 
 action of Garrick , it may be a nobler species of entertainment 
 than comedy. 
 
 “ As to farce, where it is exaggerated, and outre , I have 
 no objection to its being called caricature , for such is the 
 proper title.” 
 
 1759. 
 
 B. * 1. The Cockpit. “ Design'd and engrav’d by Will* 
 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 clock 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. Rav&net 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 Archi- 
 tecture. “ W. Hogarth, 1760 . “ W. Woollet sculp.” vide 
 p. 1 73. 
 
 2. Mr. Huggins, a small circular plate. Hogarth pinx. 
 Major sculp. Engraved for a translation of Dante , of which 
 a specimen only was published. 
 
 \76l. 
 
 ** 1. Frontispiece to the catalogue of pictures exhibited 
 at Spring Gardens, engraved by Grignion. Vide p. 93. 
 
 2. Another print from this design, by the same engraver. 
 
356 
 
 C A T A 1 O G 0 E. 
 
 •** 3. Tail-piece to the catalogue ; the word obiit spelt obit, 
 vide p. 95. 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. 
 
 B. * 5. Time smoaking a picture. Subscription ticket to 
 Sigismunda. I have seen an impression of this print, without 
 the name “ Crates ” in the inscription. 
 
 b. * 6. “ The five orders pf Perriavigs, as they i cere 
 worn at the late coronation, measured architectonically.’' 
 
 Second impression. The spelling in the word “ adver- 
 tisement,” 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 con- 
 cerning 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 di- 
 mensions 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 j 
 engraved by J. Basirc. 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 Medly, is in p. 226. 
 A copy, of the same size, was published by the editor of this 
 volume, in 1796. 
 
 1762. 
 
 b. ** 1. Credulity , Superstition 9 and Fanaticism ; , a 
 
C A T A LOGUE. 
 
 3 57 
 
 medley. “ Designed and engraved by W m Hogarth and 
 published March 15, 1762. Vide 235. 
 
 B. * 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. 
 
 B. * 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. Roy dell, and published 
 May 29 ? 1790* Part of the sky is left unfinished. 
 
 3. T. Morell , s. t. p. s. s. a. “ IV. Hogarth delm.’’ 
 11 James Basire sculp.” Some impressions are without either 
 the inscription of u Thesaurus’’ or “ Mtat. 60 .” 
 
 A correct copy, has the same painter and engraver’s 
 name. 
 
 **4. Henry Fielding, Mtat is 48. “ W. Hogarth 
 
 delin.” “ James Basire sculp.” A few impressions were 
 taken off before the frame and ornaments were inserted. 
 The copy in p. 280, is taken from one of them, in my 
 possession. 
 
 1763. 
 
 B. * 1. “ John Wilkes, Esq Drawn from the life, and 
 etched in aquafortis by William Hogarth. Price Is.” 
 
 4. The Weighing House. Frontispiece to Clubbe's Phy- 
 siognomy. 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 2 vols. 
 
 A small copy was engraved for an octavo edition of the 
 same pamphlet. 
 
 1764. 
 
 b. * The Bathos. “ Design’d and engrav’d by W m 
 Hogarth and published March 3, 1764. 
 
 vol. hi. A A 
 
35S 
 
 CATALOGUE. 
 
 1767. 
 
 Satan, Sin , and Death : Milton's Paradise Lost, B. 2. 
 Engraved by C. Townley, and intended to have been pub- 
 lished 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. 
 
 b. The Good Samaritan. Engraved by Ravenet and 
 Delatre, and published Feb. 24, 1772, by J. Boydell. Ho - 
 garth’s first sketch is in the possession of Mr. Bellamy. 
 
 B. 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. 
 
 b. * * The Politician ; etched by J. K. Sherwin, and 
 published by Jane Hogarth, 1774, Oct. 31. Vide p. 274. 
 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 cf punches for engravers. “ S. J. fecit. 1 7 8 1 
 
 2. four heads from the Cartoons at Hampton Court ; an 
 early etching by Hogarth, published by Mrs. Hogarth , May 
 14, 1781- 
 
 * The Match-maker. Vide 2 69- 
 
 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 , 
 
CATALOGUE. 
 
 359 
 
 from very bald and unfinished sketches by Hogarth. The 
 plates are in the possession of Mr. Jeffrey , Pall-Mall. 
 
 b. 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 trans- 
 ferred 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, de- 
 signed for the monument and epitaph of George Taylor. 
 
 11. Nine prints for Hogarth’s Tour, from drawings by 
 Scott, e£c.' engraved by Livesay, accompanied with nine pages 
 of letter-press. 
 
 12. Hogarth's Crest. A spiral shell, painted on his car- 
 riage, and since his death copied by Livesay. 
 
 13. Eta Beta Py. Prefixed to the title of the Second 
 Edition of Mr. Nicholas Anecdotes. 
 
 14. An old parson’s head, most admirably marked ; en- 
 graved 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 pos- 
 session of Mrs. Hogarth, was about this time very delicately 
 engraved by Martha Knight , Brompton. 
 
 1790. 
 
 B. * 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 
 
360 
 
 CATALOGUE. 
 
 Redclijfe’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. 264. 
 
 1792. 
 
 b. * 1. The Indian Emperor, or Conquest of Mexico ; from 
 the original picture in the collection of Lord Holland, en- 
 graved by R. Dodd, and published by Messrs. Boydell. 
 
 b. * 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 mez- 
 zotinto was a few years since, engraved by Dun /carton. 
 
 Prints of uncertain date. 
 
 Some of the followfng prints are insignificant enough; 
 otheis are curious, but all derive their principal value from 
 being the work .of Hogarth. 1 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 2 9 preceding prints. 
 
 Coats of Arms. 
 
 1. A Gryffon with a flag. A crest. 
 
 2. Lord Aylmer's coat of arms. A copy sold for ff . 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 Kendall’s arms. Vide p. 24. A 
 copy. Sold in Mr. Gulston's sale for ^4. 
 
CATALOGUE. 
 
 3G 1 
 
 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 en- 
 graver'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 
 23 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 fleurde fys 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. Js. 
 
 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, gold- 
 smith, Lombard Street. 
 
 Of the head there is a modem 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. 
 
362 
 
 CATALOGUE. 
 
 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 jT5.7s.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, en- 
 graved on a snuff-box. Vide p. 19. Sold Feb. 7, 1786, at 
 Mr. Gulston’s sale, for £33. 
 
 31. An emblematic print, representing Agriculture, etc. 
 
 32. An hieroglyphic print, representing Royalty , Evis- 
 copacy , 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 book 1st. and 3d. oi Milton’s 
 Faradise 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. 253. 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 thcGor - 
 magons. Hogarth inv. et sculp. 
 
 The second impression published for Sayer, 
 
CATALOGUE. 
 
 363 
 
 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 punish- 
 ment inflicted on Samuel Gulliver, etc." but when the plate 
 came into the hands of Mr. Sayer, he added the present re- 
 trograde 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 en- 
 graver’s name, is in Jarvis’s quarto translation. Vide p. 302. 
 
 * * 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. 303. 
 
 B. # * 41. Plate 3. Engraved for the same work, but never 
 
 inserted. Vide p. 304. 
 
 B . * * 42. Plate 4. Had the same fate. Vide p. 305. 
 
 B . * * 43 . Plate 5. Was equally unfortunate. Vide p. 307* 
 
 b. * * 44. Plate 6. Not approved. Vide p. 308. 
 
 B. ** 45. Plate 7 . Not inserted. Vide p. 30 9* 
 
 B. * * 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 cor- 
 responding with Jarvis's translation. Vide p. 310. 
 
 **4 7 . Plate 9. Sancho’s Feast. Vide p. 311. 
 
 48. The Master of the Vineyard, engraved for Horneck’s 
 Happy Ascetic. 
 
 4y. 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. 
 
364 
 
 CATALOGUE. 
 
 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 su- 
 perior. Repaired copies, with the inscription erased, are some- 
 times sold as Proofs. 
 
 52. Daniel Lock , Esq. v. s. a. mezzotinto. TV. Hogarth 
 pinx. J. M\ A r dell, fecit Price Is. 6 d. 
 
 53., licket for the London Hospital , with Richmond arms. 
 
 54. The same, larger without the arms, by Grignion. 
 
 55. Another, with a view of the I,ondon 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 broom-stick. Frontispiece to a pamphlet 
 written by Dr. Gregory Sharpe , but never published, in- 
 scribed 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 Checsman, 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 copper 
 plate, have been some years advertised. 
 fc" A portrait of Sir Alexander Schomberg, engraved by Townlcy 
 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 Re- 
 storation, the twelve copies amount to thirty ! 
 
 An Illustration of Hogarth in the German language, by 
 J. C. Lichtenberg , with reduced copies foom 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. 
 
CATALOGUE. 
 
 365 
 
 Many of the following articles, and others not worth enu- 
 meration, imputed trash and libel not his own, have been 
 foisted into auctioneers’ catalogues, sold for large sums, 
 warranted originals, and, 
 
 ASCRIBED TO HoGARTH. 
 
 t 1 . Coat of Arms, from a large silver tea-table. Linder 
 the arms are a shepherd and his flock, 
 f 2. Shop-bill for Peter de la Fontaine. 
 
 + 3. The Oratory. Orator Henley on a scaffold, 
 f 4. A Ticket for II. Fielding. Scene Pasquin. 
 t 5. A Ticket for II. Fielding. Scene the Mock Doctor . 
 f 6 . A Ticket for James Figg the Prize-fighter, 
 t 7. A Ticket for the. benefit of Joe Miller. 
 t S. The Gin drinkers. 
 
 + 9. Jack in Office ; a Ticket-porter, etc. 
 t 10. The complicated Richardson. Nauseous ! 
 f 11. Pug the Painter. Sometimes ascribed to Hogarth. 
 12. St. Mary’s Chapel, 12 at Night. Probably Vander- 
 gucht’s. Sold as Hogarth’s in Gulston’s sale for £ 3. 4s. 
 
 f 13. Farinelli, Cuzzoni, and Heidegger : said to be de- 
 signed 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, 
 f 16. Ten prints to Butlers Posthumous Works. Pub- 
 lished in 1730. The same designs were published in 2 vols. 
 twelves, in 1717- Some of them are much like Hogarth. 
 
 f 17. Samuel Butler, author of Hudibras. Coarsely en- 
 graved in an oval. 
 
 f 18. Thomas Pellet , M. D. president of the college of 
 physicians. IV. Hogarth, pinx. C. Hall , sculp. 
 
 t 19. William Bullock, the comedian. W. Hogarth pinx. 
 C. Hall, sculp. 
 
 f 20. A scene of a pantomime entertainment lately exhi- 
 bited, designed by a Knight of Malta. Satire on the royal 
 incorporated artists. 
 
 VOL. III. 2 B 
 
366 
 
 CATALOGUE. 
 
 f 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. 
 
 f 22. Rape of (he Smock. A palpable imposition. 
 
 + 23. Lovat's Ghost on Pilgrimage. A mezzotinto copy 
 was published May 1, 1788. 
 
 -f 24. Four small prints of Lord Lovat’s trial, etc. 
 t 25. A dotted print of Jenny Cameron. 
 f 26. Fwo figures, designed for Lord Melcombe and Lord 
 Winchilsta. Hogarth inv. F. B. ( F. Bartolozzi ) sculp, de- 
 signed by Lord Townshend. 
 
 t 27. North and South of Great Britain. TV. Hogarth 
 del. F. B. ( Bartolozzi ) scidp. Really designed by Sandby. 
 
 f 28. Inside of an Opera House, scene a prison, sold as 
 Hogarth’s at Gulston’s sale, March 1 , 1786, for 2 1. 4$. 
 t 29 . The Scotch Congregation. 
 
 t 30. The Search Night. J. Fielding sculp. Two cards 
 were afterwards engraved from the same design. 
 
 t 3 1 . Hogarth’s cypher, with his name undeT it. A plate 
 for books. 
 
 f 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 . 
 
 f 33. The Five Muscovites. Copied from Dc la Mottraye’s 
 Travels. 
 
 A full length print of a Savoyard Girl, has been lately en- 
 graved from a picture painted by Hogarth. 
 
CATALOGUE. 367 
 
 Prints published to ridicule the Analysis , Times, 
 etc. 
 
 1 . “ A New Dunciad, done with a view of fixing the fluc- 
 tuating 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 Painters March from Finchley , dedicated to the 
 king of the gypsies, as an encourager of Art, &c.’’ 
 
 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. 
 
 If). The Boot and the Blockhead. 
 
 17. The Vision, or M n— st — 1 Monster. 
 
 18. John Bull’s House in Flames. 
 
 19. The Bruiser triumphant, with a curtain inscribed, “ A 
 Hailot 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. 
 
CATALOG U E. 
 
 S6'8 
 
 I had nearly forgotten two curiosities , which though re- 
 ceived, 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 
 
 B. 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. 
 
INDEX TO THE CATALOGUE OF THE 
 VARIATIONS, etc. 
 
 PAGE 
 
 A 
 
 Agriculture and arts 362 
 
 Analysis of beauty - 348 
 
 Apuleius - - 323 
 
 Arms and bagpipes - 337 
 
 Artists’ catalogue - 355 
 
 B 
 
 The Bathos . - 357 
 
 Battle of the pictures 33? 
 The Bear - - 342 
 
 Beavers’ punishments 324 
 
 Beer Street - - 344 
 
 Before and after - 331 
 
 Beggar’s opera (large ) 3 59 
 
 • (small) 32 6 
 
 Bench - - - 353 
 
 Blackwell’s figures 324 
 
 Booth, Wilkes, and Cibber, 324 
 Lord Boyne - - 363 
 
 Boys peeping at nature 327 
 
 Burlington gate - 323 
 
 Lady Frances Byron 331 
 
 C 
 
 Cartoons, heads from 358 
 
 Cassandra - - 324 
 
 Characters & caricatures 334 
 Lord Charlemont - 358 
 
 Charmers of the age 333 
 
 Coats of arms - 36O 
 
 Cockpit - - 355 
 
 Columbus - - 348 
 
 Conquest of Mexico 36 0 
 
 Captain Coram - 333 
 
 Cottage - - 368 
 
 Crowns, mitres, maces 349 
 
 D 
 
 Debates on palmistry 35 8 
 
 Diana - 359 
 
 The Discovery - 364 
 
 Distrest poet - 331 
 
 Don Quixote, nine prints 363 
 
 PAGE 
 
 E 
 
 Election prints - 349 
 
 Enraged musician . 333 
 
 Enthusiasm delineated 356 
 F 
 
 Fair (Southwark) - 327 
 
 Farmer’s return - 356 
 
 Farinelli, Cuzzoni, etc. 324 
 
 Henry Fielding - 357’ 
 
 Fish (quadrille) - 368 
 
 Five orders of periwigs 356 
 Martin Folkes - 333 
 
 Foundling hospital arms 340 
 ——power of attorney 333 
 Four parts of the day 332 
 
 Four stages of cruelty 345 
 
 France, and England 353 
 G 
 
 Garrick in Richard III. 337 
 Gate of Calais - 340 
 
 James Gibbs - - 339 
 
 Gin Lane - - 344 
 
 Good Samaritan . 358 
 
 Gormagons - - 36 2 
 
 Great seal of England 367 
 
 Gulliver presented - 326 
 H 
 
 Harlot’s progress - 328 
 
 Henry V1II.& Anne Bullen320 
 Herring, Archbishop 336 
 
 Hesiod - * - 325 
 
 Highland fair - 32 6 
 
 Hoadley, Bishop - 333 
 
 Hogarth’s portraits 342 
 
 shop-bill - 322 
 
 — — crest, and tour 359 
 
 Lord Holland - 358 
 
 Hudibras - - 324 
 
 William Huggins - 355 
 
 Humours of Oxford 326 
 
 Gabriel Hunt - 359 
 
 Hymen and Cupid - 340 
 
370 
 
 INDEX. 
 
 PAGE 
 
 J 
 
 Jacobite’s journal - 340 
 
 Industry and Idleness 337 
 Judith and Holofernes 327 
 
 Judith (an oratorio) 329 
 
 K 
 
 King’s pantheon - 363 
 
 Kirby’s perspective - 249 
 Kent’s altar-piece - 324 
 
 L 
 
 Landscape - - 359 
 
 Laughing audience - 327 
 
 Leveridge’s songs - 325 
 
 Lecture - - 331 
 
 Daniel Lock - - 364 
 
 London hospital, etc. 364 
 
 Lottery - . 322 
 
 Lord Lovat - - 337 
 
 M 
 
 Sarah Malcolm - 326 
 
 Man of taste - - 327 
 
 March to Finchley - 343 
 
 Marriage a-la-mode 334 
 
 Mask and palette - 337 
 Masquerade ticket - 325 
 
 Master of the vineyard 363 
 Matchmaker - 358 
 
 A Medley - - 356 
 
 Milton - - 36 2 
 
 Milward’s ticket - 362 
 
 Midnight conversation 329 
 Moliere - - 32 6 
 
 Moses, etc. - - 348 
 
 Doctor Morell - 357 
 
 Mottraye’s travels - 322 
 
 Music introduced, etc. 325 
 O 
 
 Orator Henley - 36 2 
 
 Another, (modern copy) 359 
 
 P 
 
 John Palmer - 341 
 
 Parson’s head - 359 
 
 Paul before Felix 347. 
 
 Perseus and Andromeda 326 
 Mr. Pine - 363 
 
 PAGE 
 
 Political clyster - 36 3 
 Politician - 358 
 
 Pool of Bethesda 35S 
 
 Prints of uncertain date 360 
 Prints ascribed to Hogarth 3 65 
 to ridicule the Ana- 
 lysis, etc. - 367 
 
 R 
 
 Rabbit breeder - 325 
 
 Rake’s Progress - 329 
 
 Ranby’s house - 340 
 
 Rape of the lock - 362 
 
 Benjamin Read - 359 
 
 Royalty, episcopacy, etc. 362 
 
 S 
 
 Satan, sin and death 358 
 
 Sigismunda - 360 
 
 Sealing the sepulchre, etc. 359 
 Shop bills - 36l 
 
 Shrimp girl - 359 
 
 Sleeping congregation 331 
 
 South sea - 322 
 
 Stage coach - 337 
 
 Staymaker - 358 
 
 Strolling actresses 332 
 
 Schomberg, Sir A. 364 
 
 The Savoyard - 3 66 
 
 T 
 
 Taste in high life 333 
 
 George Taylor - 359 
 
 Taylor’s Perspective 355 
 
 Teriae Filius - 324 
 
 Tickets - - 362 
 
 Time smoking - 356 
 
 Times, plate 1 and 2 357 
 
 Tom Thumb - 32 6 
 
 Tristram Shandy - 355 
 U 
 
 Undertakers’ arms - 331 
 
 W 
 
 Weighing house - 357 
 
 Witch on a broomstick 364 
 
 John Wilkes - - 357 
 
 Woman swearing a child 362 
 
 Printed by W. Bulmer and Co. Cleveland-row, St. James’s. 
 

 
 *Mgr' 
 
 pECM 
 
 L 
 
 /I O | 1/ |