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 UNIVERSITY of CALIFORNIA 
 
 AT 
 
 LOS AMGELES 
 
 LIBRARY
 
 WILLIAM HOGARTH 
 
 297
 
 " Derisor lepidus, sed 6^ sevenis. 
 Corrector gravis, at iiec invemistus." 
 
 Vincent Bourne. 
 
 " In the Works of Cervantes or Hogarth, he is, I believe, a wretched Judge, who 
 discovers no new Beauties on a second, or even a third Perusal." 
 
 Henry Fielding. 
 
 ■' He may be said to be the first, who has wrote Comedy with his Pencil." 
 
 Arthur Murphy. 
 
 " It was character, the passions, the soul that his genius was given him to copy." 
 
 Horace Walpole. 
 
 " They [his pictures] have this in them besides, that they bring us acquainted 
 with the every-day human face . . . and prevent that disgust at common life, that 
 icvdiiiin quotidianarujjiforitiamjii, which an unrestricted passion for ideal forms and 
 beauties is in danger of producing." 
 
 Charles Lamb. 
 
 " He was one of the greatest comic geniuses that ever lived. . . . His pictures 
 are . . . rich, exuberant moral satires, exposing vice and folly in their most ludicrous 
 points of view, and, with a profound insight into the weak sides of character and 
 manners in all their tendencies, combinations, and contrasts." 
 
 William Hazlitt. 
 
 " The offences of Hogarth against decency are few, — for the most part latent, 
 and never mischievous, because never alluring." 
 
 Hartley Coleridge.

 
 WILLIAM HOGARTH 
 
 BY 
 
 AUSTIN DOBSON 
 
 " Vice, if it e'er can be abash'd, 
 
 Must be or RidiciiVd, or Lashed." 
 
 Swift. 
 
 
 LONDON 
 
 SAMPSON LOW, MARSTON AND COMPANY 
 
 LIMITED 
 
 ST. DUNSTAN'S HOUSE, FETTER LANE 
 
 FLEET STREET, E.G. 
 
 189I 
 
 4 OS 8fo
 
 CHISWICK press: — C. WHITTINGHAM AND CO., TOOKS COURT, 
 CHAN'CERV LANE. 
 
 ZOO7
 
 Library 
 
 TO 
 
 COSMO MONKHOUSE 
 
 IN TOKEN OF 
 
 MANY YEARS OF UNINTERRUPTED FRIENDSHIP 
 
 THIS VOLUME IS INSCRIBED
 
 PREFACE. 
 
 ^NE of the first lessons experience teaches 
 to the maker of books is a wholesoine 
 distrust of the possible pitfalls of a 
 Preface. If he be wise, he generally 
 contrives to dispense with that decoration altogether. 
 Yet there are occasions when, " by way of precaution, 
 not puff'' [as Hogarth wotUd have said), some pre- 
 liininaiy explanations are absolutely required. This 
 is the case with the present volume. It is the amplifi- 
 cation of a smaller book ptcb lis hed, more than ten years 
 since, in the ''Great Artists'' series. The limits of 
 that series were inexorable ; ajid it was not feasible, in 
 the circtimstances, to do more than give a summary or 
 skeletofi of Hogarth's life and work. In the re-issue 
 now offered to the reader, an attempt has been made to 
 clothe this skeleton, if not completely, at least sufficiently. 
 With exception of the introductory chapter, which has 
 only been verbally revised, the "■Memoir" has been 
 entirely re-written, with the effect of extending it to 
 more than double its original length. To have ex-
 
 Vlll PREFACE. 
 
 tended it stilt farther, would not have been difficiclt, 
 but since this would simply have increased the already 
 disproportionate space allotted to the discussion of 
 HogartJis work, as co7npared with that occupied by 
 the meagre story of his life — it has been thought 
 better to restrict it to its present form. The AiUhor 
 desires to add that, in remodelling the book, and 
 incorporating into it such fresh information as has 
 come to light during the last decade, he has freely 
 made tise of the fugitive articles on the subject written 
 by himself during that period. This he has done, 
 in some cases, without great alteration of the words. 
 
 The above remarks apply exclusively to the ' ' Memoir," 
 nozu described as ''Part /." ''Part II.,'' which 
 contains the "Bibliography" and "Catalogues,'' is 
 virtually new. hi the earlier sketch the "Biblio- 
 graphy " occupied little more than a page : it here 
 occupies thirty -nine pages. The " Catalogue of 
 Prints" which was previously comprised in eight pages, 
 at present extends to eighty -eight pages ; while the 
 " Catalogite of Paintings " has been increased from two 
 pages and a half to tweitty-six pages. These figures of 
 themselves will show that the additions have been con- 
 siderable. In both the "Bibliography " and " Catalogue 
 of Prints " the actual books and engravings have as a 
 rule been consulted; and it is only where direct inspection 
 has proved impracticable, that the particulars given
 
 PREFACE. IX 
 
 have been derived fro7n any other source. As respects 
 the ''Catalogue of Paintings,'' every effort has bee7i 
 used to render it comprehensive, bid the Author does 
 not pretend to have included in it every picture which 
 has ever been proclaimed to be Hogarth's by its over 
 sanguine possessor. The principle upon which the 
 two Catalogues have been co7Jipiled will be found to 
 be indicated in the introductory notes. 
 
 It remains to specify the various obligations which 
 have been incurred in the progress of the work. To 
 Mr. G. A. Aitken, whose forttmate discovery of a7t 
 advertisement in the " Craftsinan " gave the first clue 
 to the curious rectification of the date of '' A Harlot's 
 Progress ;" to Mr. Robert Hoe, who sent the Atithor 
 a mmiber of valuable books from New York ; to Mr. 
 R. W. Ketton of Felbrigge Park, Norfolk ; to Mr. 
 A. H. Bates of Edgbaston; to Mr. W. Mitchell; 
 to Mr. F. Locker- Lampson ; to Colonel F. Grant; 
 to the Officials of the Reading and Plant Rooms at the 
 British Museum; and to the Author's frie7td and 
 counsellor in this and many previous enterprises, Mr. 
 R. F. Sketchley of the Dyce and Forster Library, 
 South Kensington — his most cordial thanks are specially 
 due. He has also to thank Messrs. Macmillan, 
 Messrs. Cassell, and Messrs. Harper of New York 
 for their obliging permission to use certain blocks; and 
 he desires to record the fact that their rights are in no
 
 X PREFACE. 
 
 way p7'ejudiced by the appearance in this place of the 
 
 illustrations in question. Lastly .^ it is his pleasa^it 
 
 duty to express to Messrs. Walker and Boittall, of 
 
 Cliffords Inn, his grateful sense of the anxious care 
 
 and invariable skill with which they have selected and 
 
 ej7tployed the different methods of reproducing the 
 
 pictures and plates. Only those accustomed to HogartJts 
 
 manner can fully appreciate the way in which these 
 
 gentlemen have endeavoured, in spite of the drawbacks 
 
 of a redticed scale, to give what Hogarth gave, without 
 
 essential loss of his characteristics as an artist and an 
 engraver. 
 
 Austin Dobson. 
 
 Ealing, November, 1891.
 
 CONTENTS. 
 I. Memoir. 
 
 CHAPTER I. 
 
 PAGE 
 
 Introductory 3 
 
 CHAPTER II. 
 Birth, Education, AND Early Years 10 
 
 CHAPTER III. 
 The Two Progresses 38 
 
 CHAPTER IV. 
 History-Pictures and Minor Prints 64 
 
 CHAPTER V. 
 
 Marriage A-la-Mode 86 
 
 CHAPTER VI. 
 Contemporaries. March to Finchley. Minor Prints 112 
 
 CHAPTER VII. 
 The Analysis, Election Prints, and Sigismunda . . 138 
 
 CHAPTER VIII. 
 Wilkes and Churchill. Death. Conclusion . . . 165
 
 XU CONTENTS. 
 
 II. Bibliography and Catalogues. 
 
 PAGE 
 
 A Bibliography of Books, Pamphlets, etc., relating 
 
 TO Hogarth and his Works 199 
 
 A Catalogue of Prints by, or after, Hogarth . . 239 
 
 A Catalogue of Paintings by, or attributed to, 
 
 Hogarth 327 
 
 List of Illustrations. 
 
 Photogravures . 
 
 William Hogarth ... Frotitispiece 
 
 A Harlot's Progress, No. 2 44 
 
 A Rake's Progress, No i 52 
 
 Southwark Fair 56 
 
 A Midnight Modern Conversation 58 
 
 Noon 72 
 
 Captain Coram 76 
 
 Marriage a-la-Mode, No. 2 .... 94 
 
 Marriage a-la-Mode, No. 4 98 
 
 March to Finchley 128 
 
 The Cockpit 156 
 
 SiGISMUNDA 158 
 
 Other Illustrations. 
 
 Hogarth's Punch-Bo\vl 3 
 
 Ellis Gamble's Shop-Card 16 
 
 Hogarth's Shop-Card 19 
 
 Masquerades and Operas 20 
 
 Kent's Altar-piece 22
 
 CONTENTS. Xlll 
 
 PAGE 
 
 Burning of Rumps at Temple Bar 24 
 
 The Man of Taste 32 
 
 Tail-piece to Hogarth's Tour 37 
 
 Leicester Square 38 
 
 The Laughing Audience 50 
 
 The Oratorio 60 
 
 Hogarth's Vauxhall Ticket 63 
 
 The Sleeping Congregation 68 
 
 The Distressed Poet 78 
 
 Taste in High Life 82 
 
 Hogarth's Invitation to Dr. King 85 
 
 Old London Bridge iii 
 
 The Farmer's Return 116 
 
 Simon Lord Lovat 118 
 
 The Stage Coach 120 
 
 Industry and Idleness, Pl. hi 122 
 
 Industry and Idleness, Pl. v 124 
 
 Industry and Idleness, Pl. x 126 
 
 Beer Street 130 
 
 Gin Lane 132 
 
 The Four Stages of Cruelty, Pl. iii 134 
 
 Subscription Ticket to the March to Finchley . . 137 
 
 Columbus breaking the Egg 145 
 
 The Invasion : France 150 
 
 The Invasion: England 152 
 
 The Bench 154 
 
 Time Smoking a Picture 160 
 
 Frontispiece to Artists' Catalogue 162 
 
 Tailpiece to Artists' Catalogue 164 
 
 The Times, Pl. i 168 
 
 John Wilkes, Esq 170 
 
 A View of Chiswick 174 
 
 Finis j or, the Bathos 177 
 
 The Nag's Head Yard 178
 
 XIV CONTENTS. 
 
 PAGE 
 
 Hogarth's Tomb in Chiswick Churchyard . . . . i8o 
 
 Hogarth's House at Chiswick 182 
 
 Hogarth's Mulberry Tree 196 
 
 Hogarth's Bookplate 198 
 
 The Battle of the Pictures 238 
 
 The Four Stages of Cruelty, Pl. hi 274 
 
 Boys Peeping at Nature '. . . . 326 
 
 Autograph Letter 136 
 
 [^*:^ The above illustrations, when not from the original pictures, 
 are copied from prints in the British Museum or in the collection 
 of the author. This, of course, does not apply to the views of 
 localities, etc. The cut of Hogarth's mulberrj'-tree, it should be 
 added, is here printed by permission of Messrs. Harper of New 
 York.]
 
 Part I. 
 MEMOIR.
 
 WILLIAM HOGARTH. 
 
 CHAPTER I. 
 
 Introductory. 
 
 H E greatest of our native 
 
 pictorial satirists has not 
 
 wanted for commentators 
 
 and expounders of all 
 
 sorts, even of those 
 
 " who view- 
 In Homer more than Homer 
 knew." 
 
 The two earliest — Jean 
 Rouquet, the enameller, 
 ^^^ who described some of 
 
 HOGARTH'S PUNCH-BOWL. Hogarth's platcs for the 
 
 use of foreigfners, and the Rev. Dr. Trusler, who 
 " moralized " the majority of them — are more note- 
 worthy for their respective relations with the painter 
 and the painter's widow than for any special merit 
 of their own. Horace Walpole, who followed these, 
 was, on the contrary, a critic of a higher order. 

 
 4 MEMOIR. 
 
 But he reserved his enthusiasm too exckisively for 
 fashionable amateurs like Lady Di. Beauclerk, and 
 the Hon. Mrs. Darner, to do real justice to the 
 plain-spoken artist of Leicester Fields. Georg 
 Christoph Lichtenberg, a German litt^ratetcr^ of con- 
 siderable sagacity, and John Ireland, the Westmin- 
 ster collector, were thoroughly sympathetic, and have 
 written exhaustively of their theme ; but both are 
 somewhat too prone to use it as a peg on which 
 to hang fantastic and often irrelevant disquisition. 
 The great body of Hogarth fact is to be found in 
 the successive " Anecdotes " of the antiquary and 
 printer John Nichols, and in the volume issued in 
 1833 by his son, John Bowyer Nichols. In the case 
 of the former, considerable allowance must be made 
 for the malice of his assistant and adviser, George 
 Steevens, the critic, who, it has been truly said, 
 " seems to have taken pleasure in mingling his own 
 gall with the milk of his coadjutor's narrative." As ta 
 the rest, Samuel Ireland, the author of the " Graphic 
 Illustrations," is to be regarded rather as " a snap- 
 per-up of unconsidered trifles " than a contributor 
 of genuine information ; while the commentaries 
 to Cook's and Clerk's editions are practically worth- 
 less. Besides these, there are the lively, but in some 
 respects inaccurate, life by Allan Cunningham 
 (edited not long since by the late Mrs. Charles 
 Heaton) ; the brief though technically authoritative 
 sketch in Redgrave's "Century of Painters;" the 
 picturesque pages contributed to the " Cornhill " by 
 Mr. Sala ; and — not to mention some minor names
 
 INTRODUCTORY. 5 
 
 and anonyms — the deservedly well-known essays of 
 Charles Lamb, Hazlitt, Thackeray, and James ^ 
 Hannay. 
 
 At first sight, then, it would appear that enough 
 has already been said respecting a subject which has 
 occupied so many pens. And, in truth, were a 
 " Hogarth Society" to be founded, it maybe doubted 
 whether any substantial addition could now be made 
 to the slender stock of existing data respecting the 
 painter's life. It is not likely, for example, that any 
 new light — if new light be needed — will ever be 
 thrown on that undignified quarrel with Wilkes and 
 Churchill. Nor can it be supposed, because we are able 
 to regard the much-abused Sigismunda without the 
 passion which seems to have animated the partisans 
 of the " Black Masters," that anything important will 
 transpire to clear materially that clouded reputation. 
 Some day, no doubt, a critic, with (or without) the 
 transfiguring enthusiasm of a Sainte-Beuve, will take 
 up the " Analysis," and demonstrate once more that 
 it contains much common-sense and some unregarded 
 verities ; but it will scarcely again enter into general 
 circulation, or be commended in pompous common- 
 place by our latter-day Warburtons and Hoadlys. 
 Nevertheless, if the main circumstances of the 
 painter's career should still remain unaltered, there ^^ 
 
 must always be a side of his work which will continue <v 
 
 to need interpretation. ( In addition to painting the 
 faults and follies of his time, he was pre-eminently 
 the pictorial chronicler of its fashions and its furniture. 
 The follies endure ; but the fashions pass away. In
 
 6 MEMOIR. 
 
 our day — a day which has witnessed the demolition 
 of Northumberland House, the disappearance of 
 Temple Bar, and the removal of we know not what 
 other time-honoured and venerated landmarks — 
 much in Hogarth's plates must seem as obscure as 
 the cartouches on Cleopatra's Needle. Much more 
 is speedily becoming so ; and without some guidance 
 the student will scarcely venture into that dark and 
 doubtful rookery of tortuous streets and unnumbered 
 houses — the London of the Eighteenth Century. 
 
 Were it not beyond the reasonable compass of a 
 methodical memoir, it would be a pleasant task to 
 loiter for a while in that vanished London of 
 Hogarth, of Fielding, of Garrick ; — that London of 
 Rocque's famous map of 1746, when " cits" had their 
 country-boxes and "gazebos" at Islington and 
 Hackney, and fine gentlemen their villas at Mary- 
 bone and Chelsey ; when duels were fought in the 
 " fields" behind the British Museum, and there was a 
 windmill at the bottom of Rathbone Place. We 
 should find the Thames swarming with noisy water- 
 men, and the streets with thick-calved Irish chair- 
 men ; we should see the old dusky oil-lamps lighted 
 feebly with the oil that dribbled on the Rake when 
 he went to Court ; and the great creaking sign-boards 
 that obscured the sky, and occasionally toppled on 
 the heads of his Majesty's lieges beneath. We 
 should note the sluggish kennels and the ill-paved 
 streets ; and rejoice in the additional facilities afforded 
 for foot-passengers at the " new buildings near 
 Hanover '^Q^^x&r We might watch King George II.
 
 INTRODUCTORY. 7 
 
 yawning in his Chapel Royal of St. James's, or follow 
 Queen Caroline of Anspach in her walk on Constitu- 
 tion Hill. Or we might turn into the Mall, which is 
 filled on summer evenings with a Beau-Mo7ide of 
 cinnamon-coloured coats and pink nSgligSs. But the 
 tour of Covent Garden (with its column and dial in 
 the centre) would take at least a chapter, and the pil- 
 grimage of Leicester Fields another. We should 
 certainly assist at the Lord Mayor's Show ; and we 
 might, like better folk before us, be hopelessly 
 engulfed in that great westward-faring crowd, which, 
 after due warning from the belfry of St. Sepul- 
 chre's, swept down the old Tyburn Road on " Exe- 
 cution Day" to see the last of Laurence Shirley, 
 Earl Ferrers, or the highwayman James M'Lean. 
 It is well, perhaps, that our limits are definitely 
 restricted. 
 
 ' Moreover, much that we could do but imperfectly 
 with the pen, Hogarth has done imperishably with 
 the graver. Essentially metropolitan in his tastes, 
 there is little notable in the London of his day of 
 which he has not_igliL^us some pictorial idea. He 
 has painted the Green Park, the Mall, and Rosa- 
 mond's Pond. He has shown us Covent Garden 
 and St. James's Street ; Cheapside and Charing 
 Cross ; Tottenham-Court Road and Hog-Lane, St. 
 Giles's. He has shown us Bridewell, Bedlam, and 
 the Fleet Prison. Through a window in one print we 
 see the houses on Old London Bridge ; in another 
 it is Temple Bar, surmounted by the blackened 
 and ghastly relics of Jacobite traitors. He takes us
 
 ?\ 
 
 ^ 
 
 % 
 
 8 MEMOIR. 
 
 to a cock-fight in Bird Cage Walk, to a dissection in 
 Surgeon's Hall. He gives us reception-rooms in 
 Arlington Street, counting-houses in St. Mary Axe, 
 sky-parlours in Porridge Island, and night- cellars in 
 Blood- Bowl Alley. He reproduces the decorations 
 of the Rose Tavern or of the Turk's Head Bagnio 
 as scrupulously as the monsters at Dr. Misaubin's 
 museum in St. Martin's Lane, or the cobweb over the 
 poor-box in Mary-le-bone Old Church. The pic- 
 tures on the walls, the Chinese nondescripts on the 
 shelves, the tables and chairs, the pipes and punch- 
 bowls, nay, the very tobacco and snuff, have all their 
 distinctive physiognomy and prototypes. ( He gives 
 us, unromanced and unidealized, " the form and 
 pressure," the absolute details and accessories, the 
 actual mise-en-scene, of the time in which he lived. ^ j 
 ' But he has done much more than this. He has 
 peopled his canvas with its dramatis personcE — with 
 vivid portraits of the more strongly-marked actors in 
 that cynical and sensual, brave and boastful, corrupt 
 and patriotic age. Not, be it understood, with its 
 Wolfes and Johnsons, — he was a humourist and a 
 satirist, and goodness was no game for his pencil, — 
 rather with its Lovats and Chartres, its Sarah 
 Malcolms and its Shebbeares. He was a moralist 
 
 ' "It was reserved to Hogarth to write a scene of furniture. 
 The rake's levee-room, the nobleman's dining-room, the apartments 
 of the husband and wife in Marriage A-la-Mode, the alderman's 
 parlour, the poet's bed-chamber, and many others, are the history 
 of the manners of the age." So says Horace Walpole (" Anec- 
 dotes," etc. 1 771, p. 74), and in this, at least, he was an unim- 
 peachable authority.
 
 INTRODUCTORY. 9 
 
 after the manner of eighteenth-century moraHty, not 
 savage hke Swift, not ironical like Fielding, not 
 tender-hearted at times like Johnson and Goldsmith ; 
 but unrelenting, uncompromising, uncompassionate. 
 He drew vice and its consequences in a thoroughly 
 literal and business-like way, neither sparing nor 
 extenuating its details, wholly insensible to its seduc- 
 tions, incapable of flattering it even for a moment, 
 preoccupied simply with catching its precise contor- 
 tion of pleasure or of pain. In all his delineations, 
 as in that famous design of Prud'hon's, we see Justice 
 and Vengeance following hard upon the criminal. 
 He knew, no doubt, as well as we, that not seldom 
 (humanly speaking) the innocent are punished and 
 the_guilty go at large. What matter ! that message 
 should not be preached — by him at any rate. So 
 he drew his "Bogey" bigger, i( possible, and drove 
 his graver deeper in the copper. ■ 
 
 What antecedents, what progress of circumstance, 
 what special conditions produced this unique and in- 
 dividual artist in an era of mediocrities like Knapton 
 and Shackleton, Highmore and William Kent ? — in 
 an age given over to auctioneers and art charlatans, 
 to adventurers like Heidegger of the " Masquerades," 
 to Italian singers and French ballet-dancers ? In the 
 chapters that follow he shall speak for himself ; but 
 when all is said and done, the reader will probably find 
 no more satisfactory reply to the question than this : — 
 /that he was a great and an exceptional genius, not to 
 be entirely accounted for by any preconceived theory 
 respecting his race, his epoch, or his environ m-entTj n
 
 CHAPTER 11. 
 
 Birth, Education, and Early Years. 
 
 OME time before the year 1796, John 
 Ireland, of 3, Poets' Corner, West- 
 minster, received from Mary Lewis, 
 Mrs. Hogarth's cousin and executrix, 
 then resident in Hogarth's house at Chiswick, a 
 number of documents which had been reHgiously 
 preserved by his widow. They included the manu- 
 script of the " Analysis of Beauty," corrected by the 
 author, and amono;- the rest a brief sketch of his life. 
 Apart from the story of his engravings it was not 
 an eventful one ; but the fragmentary account which 
 he has left of it is thoroughly characteristic, and 
 throws much interesting light_upon his mode of 
 work, and the singular — in some respects the unique 
 — training for his vocation which he adopted. As 
 far as we can, we shall interweave it with the facts 
 of the following memoir. 
 
 " The family of Hoggerd, ancestors of the cele- 
 brated William Hogarth, were tenants of this abbey 
 \i.e., Shap Abbey in Westmorelandl at the time
 
 BIRTH, EDUCATION, AND EARLY YEARS. I I 
 
 of the Dissolution, and several members of it still 
 [1814] continue in the neighbourhood." Thus 
 the authors of the " Beauties of England and 
 Wales" at p. 138 of their fifteenth volume. Nichols 
 and the earlier biographers are not as specific, nor 
 do they travel so far back. The Hogards, Hogarts, 
 or Hogarths,^ they tell us, came originally from 
 Kirkby Thore, which is not very far from Shap ; 
 and Hogarth's father, Richard Hogarth, was the 
 third son of a yeoman farmer who lived in the vale 
 of Bampton, about fifteen miles north of Kendal. 
 His mother's maiden name, as given in an old 
 Bible w^hich once formed part of the collection of Mr. 
 H. P. Standly of St. Neots, was Ann Gibbons. Of 
 the rest of his relatives little is known ; but he had 
 a quasi-literary uncle in Thomas Hogarth (" Auld" 
 or " Aid Hogart ") of Troutbeck, a rustic dramatist 
 and satirist, some of whose " Remnants of Rhyme " 
 were published at Kendal as late as 1853, from manu- 
 scripts " preserved by his Descendants."' Richard 
 Hogarth himself was educated at Archbishop 
 
 ^ As to the derivation of the name, a correspondent of "Notes 
 and Queries," 27 Sept., 1890, writes, — "If Hoggerd is the original, 
 the meaning would seem to be Hogherd ( = swine-herd) ; if 
 Hoggarth or Hoggard, it might be "hog-enclosure;" if Hogarth, 
 possibly it might be " house enclosure." Nichols ("Anecdotes." 
 1 781, p. 7) affirms that the family name was Hogart, but that 
 Mrs. Richard Hogarth, before the birth of her son, prevailed 
 upon her husband to liquefy it. into Hogarth. Hartley Coleridge, 
 however, gives another, and perhaps more plausible explanation. 
 According to him, Hogart is only the north-country pronunciation 
 of Hogarth. (See, for the entire passage, the " Bibliography " in 
 Part n. under "Hogarth, Bewick and Green.")
 
 ^ 
 
 1 2 MEMOIR. 
 
 Grindal's Free School of St. Bees, and subsequently 
 kept a school in his native county. This proving 
 unsuccessful, he came to London, his travelling com- 
 panion being Dr. Gibson, brother of that Bishop 
 Gibson (the " Codex " of the caricaturists) whose 
 " Pastoral Letter " serves such base uses in Scene IIL 
 of A Harlofs Progress. In London, according to 
 the register of Births at Great St. Bartholomew's, 
 West Smithfield, " in Barth"^ Closte, next doore to 
 Mr. Downinge's the Printer's, November y^ lo^'', 
 1697," was born his famous son. William Hogarth 
 was baptized, in the still existent font of the church, 
 "y^ 28^*" Nov--. 1697."' 
 
 Two daughters, — Mary, who was born on the 23rd 
 November, 1699, and also baptized, on the loth 
 December, at St. Bartholomew's; and Ann, born in 
 October, 1701, and baptized on the 6th November at 
 St. Sepulchre's, — followed their brother William.^ 
 
 ^ Colonel J. L. Chester, in " Notes and Queries," 6th March, 
 1880. 
 
 '" Little has been preserved with regard to Hogarth's sisters 
 beyond the facts, that he painted one or more portraits of them, 
 hereafter mentioned, and that the younger, Ann, survived him. 
 The following inscription, taken from a shop bill executed by him 
 for them about 1725, shows at least that they were independent 
 of their brother : — " Mary & Ann Hogarth from the old Frock 
 shop the corner of the Long Walk facing the Cloysters, Removed 
 to y^ King's Arms joyning to y*^ Little Britain-gate, near Long 
 Walk. Sells y*^ best & most Fashionable Ready Made Frocks, 
 sutes of Fustian, Ticken, & Holland, stript Dimmity and Flanel 
 Wastcoats, blue & canvas Frocks, & blue coat Boys Dra". 
 Likewise Fustians, Tickens, Hollands, white stript Dimitys, white 
 & stript Flanels in y*" piece by wholesale or Retale at Reasonable 
 Rates."
 
 BIRTH, EDUCATION, AND EARLY YEARS. 1 3 
 
 When Richard Hoo-arth's first two children saw the 
 hght, he was evidently living in Bartholomew Close ; 
 but when Ann was baptized, it was from St. John 
 Street, Clerkenwell. It is also recorded that he kept a 
 school in Ship Court, Old Bailey, in a house " three 
 doors from Newgate-street on the west side " (says 
 Mr. Peter Cunningham), which was pulled down in 
 1862 to make room for Messrs. Dickinson's paper 
 warehouse. His London " academy" would not seem 
 to have been more prosperous than its provincial pre- 
 decessor, for he is also reported to have been engaged 
 from the outset as a corrector of the press, — perhaps 
 by " Mr. Downinge the printer " referred to in the St. 
 Bartholomew's register; perhaps by another dweller 
 in this type-loving precinct, the Samuel Palmer who 
 later had Benjamin Franklin for journeyman. But, by 
 whomsoever employed, he must have been a man of 
 exceptional acquirements. He compiled, but never 
 published, a Latin dictionary in extension of Little- 
 ton, of which his son possessed the manuscript.^ " It 
 was deposited," says William Hogarth in his autobio- 
 graphical notes, " in confidence, in the hands of a 
 certain printer [perhaps Mr. Downinge again], and, 
 during the time it was left, letters of approbation were 
 received from the grreatest scholars in England, Scot- 
 land, and Ireland. But these flattering testimonials 
 
 ^ Mary Lewis gave John Ireland one volume of this performance, 
 a corrected 4to copy of Littleton and Robertson's "Phrases," with 
 about 400 pages of manuscript additions, and reference is made 
 to the existence of another volume. On his (Ireland's) copy Hogarth 
 had written : " The .manuscript part of this dictionary was the work 
 of Mr. Richard Hogarth."
 
 ^ 
 
 14 MEMOIR. 
 
 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." Besides the 
 
 dictionary there are some Latin epistles by Richard 
 
 Hogarth in the British Museum ; and, six years 
 
 before his death, he printed a little book called 
 
 Disputatio7ies Grammaticales, further described by 
 
 himself as " an Examination of the Eight Parts of 
 
 Speech by way of Question and Answer, English and 
 
 Latin, whereby Children in a very little time will learn, 
 
 not only the Knowledge of Gra^nmar, but likewise to 
 
 Speak and Write Latin, as I have found by good 
 
 Experience." It was published in 1712,^ but it must 
 
 be concluded that its success was not remarkable. 
 
 Of his own childhood Hogarth writes, — " My 
 
 father's pen, like that of many other authors, did not 
 
 enable him to do more than put me in away of shifting 
 
 for myself. As I had naturally a good eye, and a 
 
 fondness for drawing, shows of all sorts gave me 
 
 uncommon pleasure when an infant ; and mimicry, 
 
 common to all children, was remarkable in me. An 
 
 early access to a neighbouring painter drew my 
 
 attention from play ; and I was, at every possible 
 
 opportunity, employed in making drawings. I picked 
 
 up an acquaintance of the same turn, and soon learnt 
 
 to draw the alphabet with great correctness. My 
 
 ' There is a copy in the British Museum. It is a small octavo 
 of some 90 pages, published by W. Taylor of the Ship in Pater- 
 noster Row (the publisher seven years later of "Robinson Crusoe"). 
 At the end is a laborious "Chronological Index of Men and 
 Things^'' which must have given " Ricardus Hogarth, Ludi- 
 magister," a considerable amount of trouble.
 
 BIRTH, EDUCATION, AND EARLY YEARS. 1 5 
 
 exercises when at school were more remarkable for 
 the ornaments which adorned them, than for the 
 exercise itself. In the former, I soon found that 
 blockheads with better memories could much surpass 
 me ; but for the latter I was particularly distin- 
 guished." ^ 
 
 Neither the "neighbouring painter" nor the 
 "acquaintance of the same turn" has been identified. 
 The foregoing circumstances, however, coupled with 
 the boy's daily experience of " the precarious situation 
 of men of classical education," as exemplified in his 
 father's career, brought his school-days to a prema- 
 ture conclusion. By his own desire he was appren- 
 ticed to a "silver-plate engraver," Mr. Ellis Gamble, 
 at the sign of the " Golden Angel," in Cranbourne 
 Street or Alley, Leicester Fields.^ There is still 
 extant a shop card, engraved for his master by the 
 young apprentice, in which the angel of the sign 
 poises a bulky palm branch in a somewhat volatile 
 fashion over an announcement of Mr. Gamble's deal- 
 ings in " all sorts of Plate, Rings, and Jewells," or as 
 the French version has it, with some superfluity of 
 spelling — " Argenterie, Bagues, & Bijouxs." 
 
 But long before the expiration of this apprentice- 
 
 ■*. ' " Hogarth Illustrated," iii. 3-5. 
 
 ^ Colonel Chester's "London Marriage Licenses, 1521-1869," 
 contains the record of the marriage at All Hallo\vs-in-y''-Wall, on 
 the 12 Aug'. 1707, of Edmund Hogarth of S' Magnus, London, 
 bachelor, 35, and Sarah Gambell, of S' Swithin, spinster, 30. 
 The conjunction of names is curious, and suggests that EUis 
 Gamble may have been connected by marriage with the family 
 of his apprentice.
 
 i6 
 
 MEMOIR. 
 
 ship, the decoration of salvers and tankards with 
 florid heraldic monsters had been found by young 
 Hogarth to be far too limited for his ambition. He 
 felt the consciousness of capacity, and craved for 
 somethinor better. This " somethino- better" at first 
 seemed to be "engraving on copper." " Engraving 
 
 ELLIS gamble's SHOP-CARD. 
 
 yt 
 
 on copper was, at twenty years of age, my utmost 
 ambition," he says. For this, however, he was not 
 sufficiently skilled as a draughtsman. How to find 
 some royal road to this latter attainment, which 
 should not too much interfere with his pleasure (he 
 frankly confesses to this), was his first endeavour. 
 :' Drawing from the life he regarded as too mechanical;
 
 BIRTH, EDUCATION, AND EARLY YEARS. 1 7 
 
 copying (which he learned to do with tolerable exact- 
 ness) " little more than pouring water out of one 
 vessel into another " ^ — in short, he was face to face 
 with the problem, how to become an artist without 
 going through the usual course of study ; or, as one 
 of his colleagues humorously put it, — " how to draw 
 well without drawing at all." 
 
 "For this purpose, I considered what various ways, 
 and to what different purposes the memory might be 
 applied ; and fell upon one which I found most suit- 
 able to my situation and idle disposition — laying it first 
 down 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." To attain the power of making 
 original designs, as opposed to mere copies, was, he 
 says, his first and greatest ambition. " I therefore 
 endeavoured to habituate myself to the exercise of a 
 sort of technical memory, and by repeating in my 
 own mind, the parts of which objects were composed, 
 I could by degrees combine and put them down with 
 my pencil. Thus, with all the drawbacks which re- 
 
 ^ Probably Hogarth was thinking of "Tristram Shandy," for 
 vols. ii. and iv. of which he supplied frontispieces. " Shall we 
 for ever make new books, as apothecaries make new mixtures, by J 
 pouring only out of one vessel into another?" (vol. v., ch. i.). -^^ 
 Sterne, in his turn, had characteristically borrowed this lament 
 over borrowing from Burton's "Anatomy " (" Introduction," p. 4). 
 
 C
 
 1 8 MEMOIR. 
 
 suited from the circumstances I have mentioned, I 
 had one material advantage over my comp etitors. 
 viz., the early habit I thus acquired of retajnmgi in 
 my mind's eye, without coldly copying it on the spo t, 
 whatever I intended to imitate. Sometimes, but too 
 seldom, I took the life, for correcting the parts I had 
 not perfectly enough remembered, and then I trans- 
 ferred them to my compositions." ^ 
 
 As the old French balladist has it, // ne faict pas 
 ce tour qiii veult. That this method of study suc- 
 ceeded with William Hogarth, should not recom- 
 mend it as a model ; and even in his case its dis- 
 advantages were always more or less apparent. 
 It is quite possible, too, that, looking back with the 
 complacency of old age (he must have written the 
 above account in the last years of his life), he depre- 
 ciated his skill to magnify his theory. At all events, 
 his silver-plate engraving of the arms of Ermengard 
 de Schulemberg, Duchess of Kendal, which both of 
 the Irelands have copied, shows that even during his 
 bondage to Mr. Gamble he was no mean designer. 
 As to his singular power of seizing expression, there 
 is a well-known story which may be here quoted 
 from its first source : — " During his apprenticeship, he 
 set out one Sunday, with two or three companions, on 
 an excursion to Hio-Jis'ate. The weather beino- hot, 
 
 ^ " Hogarth Illustrated," iii. 10-12. John Ireland, in a note on 
 this passage, refers to a curious habit of Hogarth, the practice 
 of pencilling minute sketches of striking characters, etc., upon his 
 thumb nail. These indications were afterwards transferred to 
 paper. Some of these transferred sketches Ireland had seen.
 
 BIRTH, EDUCATION, AND EARLY YEARS. 
 
 19 
 
 they went into a public-house, where they had not 
 been long before a quarrel arose between some 
 persons in the same room, in which one of the dis- 
 putants struck the other on the head with a quart 
 pot, and cut him very much. The blood running 
 down the man's face, with the agony of the wound, 
 which had distorted his features into a most hideous 
 
 HOGARTH'S SHOP-CARD. 
 
 grin, presented Hogarth, who showed himself thus 
 early ' apprised of the mode Nature had intended he 
 should pursue,' with too laughable a subject to escape 
 the powerful efforts of his genius. He drew out his 
 pencil, and produced on the spot one of the most 
 ludicrous figures that ever was seen. What ren- 
 dered this piece the more pleasing was, that it exhi-
 
 20 MEMOIR. 
 
 bited an exact likeness of the man, with the portrait 
 of his antagonist, and the figures in caricature of the 
 principal persons gathered round him. This anec- 
 dote was given by one of his fellow apprentices then 
 present, a person of indisputable character, and who- 
 continued his intimacy with Hogarth long after they 
 grew up to be men."^ 
 
 The autobiographical passages already quoted 
 apparently relate to a period when the apprentice- 
 ship referred to in the above anecdote was at an end, 
 as Hogarth states that he was twenty. In May, 
 1 718, succumbing partly to disappointment arising 
 from the non-fulfilment of great men's promises, 
 partly to the hard usage of the Curlls and Osbornes 
 of the day, his father died, and was buried on the 
 nth, at St. Bartholomew's. As his residence at the 
 time of his death was in Long Lane, it would seem 
 that he still haunted the printers of the Close, from 
 whom he probably drew his surest means of support. 
 His son seems at first to have intended to follow the 
 trade to which he had been educated, for, if we 
 except a gold snuff-box lid engraved with a scene 
 from the " Rape of the Lock," his earliest work was 
 his own business card, decorated with Cupids, and 
 inscribed, "W. Hogarth Engraver Aprill y^ 23. 
 1 720." From the fact that John Ireland had seen one 
 of these cards on which Hogarth had written, " Near 
 the Black Bully Long Lane,'' it may be assumed that 
 after his father's death, he continued to reside with 
 his mother and sisters. " His first employment," 
 ^ Nichols, "Anecdotes," 1781, 8-9.
 
 w 
 
 ^ 
 
 
 
 '■' 
 
 
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 2/3 
 
 
 
 'A 
 
 ^ 
 
 < 
 
 'o 
 
 « 
 
 ^ 
 
 W 
 
 j>. 
 
 «f 
 
 ^ 
 
 2J 
 
 ^ 
 
 r. k.
 
 BIRTH, EDUCATION, AND EARLY YEARS. 21 
 
 says Nichols, " seems to have been the engraving of 
 arms and shop-bills." From this he passed to 
 " plates " and satirical designs for booksellers. Two 
 of the earliest of these latter were An Emblematic 
 Print 071 the South Sea Scheme and The Lottery. 
 Except for the tradition that the South Sea print con- 
 tains portraits of Pope and Gay, and for the indica- 
 tions they both afford that the artist had made himself 
 famiirar with the works of Jacques Callot, there is no 
 necessity to linger over these confused, and — com- 
 pared with his later work — obscure performances. 
 After them, in 1723, come eighteen or more illustra- 
 tions of the tedious travels of Aubry de la Motraye 
 (in which collectors have done their best, though 
 without great success, to discover traces of the true 
 Hogarthian vein) ; seven plates to " The New 
 Metamorphosis" (Briscoe's Apuleius) ; the plate 
 known as Masquerades and Operas, Btcrlington Gate, 
 1724, which is notable as being the first he pub- 
 lished on his own account ; five plates for the third 
 edition of Sir Charles Cotterel's "Cassandra"; the 
 Burlesque on Kent's Altar Piece at St. demerit's, 
 1725 ; a frontispiece to Amhurst's Oxford Squib of 
 ^* Terrae-Filius," 1726 ; and twelve large and sixteen 
 small designs for Butler's "Hudibras." Of these 
 (we have omitted to chronicle some minor and doubt- 
 ful pieces which will be found in our final catalogue), 
 only Masquerades and Ope7'as, the Bzirlesque on Kent, 
 and the plates to " Hudibras," need more than a 
 passing comment. 
 
 Masquerades and Operas, which Hogarth in his
 
 2 2 MEMOIR. 
 
 autobiographical notes calls the " Taste of the Town'' 
 shows how definitely he had chosen his role from the 
 beginning. (^Throughout his whole life we shall find 
 y-Q him striking vigorously at foreign favourites and 
 
 dubious exotics, at charlatans and shams of all sorts ; 
 and in this little plate he touches the key-note of his 
 future work. Crowds are seen flocking eagerly to 
 the Italian Opera, to Fawkes the Conjuror's " Dex- 
 terity of hand," to the Lincoln's Inn Fields Panto- 
 mime of " Dr. Faustus," and to Swiss Heidegger's 
 impure Masquerades ; while the neglected folios of 
 Shakespeare, Dryden, Otway, and Congreve are 
 wheeled to the waste-paper shops .^| On a show-cloth 
 above, the Earl of Peterborough (Swift's " Mor- 
 danto") is on his knees to that "little siren of the 
 stage," Francesca Cuzzoni, the singer, who had come 
 to England in the previous year. ' At the back rises 
 the gate of Burlington House, labelled " Accademy 
 \_sic\ of Arts," and surmounted by the figure of the 
 fashionable "Jack of all Trades," William Kent, who 
 has Raphael and Michael Angelo for his supporters. 
 Kent, a pretender who had recently been recom- 
 mended to the King by Lord Burlington for the 
 paintings at Kensington, was not a personage whom 
 our sturdy satirist could be expected to hold in any 
 particular reverence. Nor would he be likely to 
 hear much good of him at the art school just opened 
 by Kent's far abler rival. Sir James Thornhill, on 
 the east side of James Street, Covent Garden — an 
 institution which Hogarth now began to attend, 
 upon those rare occasions when he "took the life" to
 
 KENT'S ALTAR PIECE. 
 
 From Homrtlis Engraving.
 
 BIRTH, EDUCATION, AND EARLY YEARS. 2;^ 
 
 correct his memories. Indeed it has been stated, 
 and there is no reason why the statement should not 
 be correct, that this happy pictorial pasquinade 
 secured his admission not only into the ranks of 
 Thornhill's students, but also into their master's 
 good graces. 
 
 However this may be, in those good graces he 
 was destined to progress. The blow he struck at 
 Thornhill's dS^e 7toire in Masquerades and Operas was 
 feeble in comparison with that by which he followed 
 it up a year later, — to wit, the " Burlesque" (" faith- 
 ful copy" is his own description) of the famous Altar- 
 piece with which Kent's evil genius prompted him 
 to decorate St. Clement's Danes. Already, in con- 
 sequence of the criticisms of the parishioners, who 
 pretended to be unable to decide whether the figures 
 were meant, as contended by some, for St. Cecilia and 
 her harp, or, as maintained by others, for the Princess 
 Sobieski and her son, the Bishop of London, to 
 "preserve peace and unity" had, on his visitation, 
 caused it to be taken down. This was humiliating 
 enough ; but Hogarth covered it with further ridicule 
 by a print purporting to be " exactly engraved" after 
 it. His little satire is a very masterpiece of feeble 
 drawing and inventive incoherence, but is not easily 
 describable in words, and we must refer our readers 
 to the accompanying copy.^ The original picture, 
 
 ^ Allan Cunningham implies that Hogarth's print caused the 
 removal of the altar-piece ; and this is doubtless what every 
 staunch Hogarthian would like to be the truth. But — unless we 
 must regard it as a humorous anticipation — the very inscription 
 
 \'
 
 24 MEMOIR. 
 
 after its degradation in September, 1725, was de- 
 posited in the old vestry of the church, where it 
 remained in John Ireland's day; and Nichols adds 
 that it was occasionally used on concert-nights to 
 ornament the music room of the Crown and Anchor 
 Tavern in the Strand. Thirty years ago, it was 
 said to be still preserved in the new vestry room 
 in Picket Street, but Picket Street itself is now no 
 more. 
 
 By the small illustrations to " Hudibras," issued in 
 1726, Hogarth, says John Ireland, "first became known 
 in his profession," and they are undoubtedly his most 
 extensive efforts in the direction of book illustration. 
 It is noticeable, however, that — probably from some 
 timidity on the part of the " Congers," or associated 
 booksellers, who employed him — he seems to have 
 relied in part upon his graphic predecessors. "In 
 design," says Ireland, " these (i.e., the inferior set 
 of plates) "are almost direct copies from a series 
 inserted in a small edition of the same book pub- 
 lished sixteen years before." This was certainly 
 
 on the print itself contradicts this. It is there called the " cele- 
 brated Altar-piece in St. Clement's Church 7vhich has been taken 
 down by order of y*^ Lord Bishop of London." 
 
 [Since the above was in type (it may be added), a reference 
 to the MS. notes, now in the British Museum, which Horace 
 Walpole bought from Vertue's widow (Add. MSS. 23,076, p. 66), 
 tends to show that, in the sequel, the laugh did not remain 
 wholly on Hogarth's side. According to Vertue, Kent was 
 afterwards successful in preventing Hogarth from executing 
 certain commissions which depended wholly upon Court favour ; 
 and this^ it is stated, was a direct consequence of Hogarth's 
 caricatures of Kent.]
 
 ? *!<, 
 
 ■f, ^^ 
 
 2 ^ 
 
 y.
 
 BIRTH, EDUCATION, AND EARLY YEARS. 25 
 
 not to the advantage of the artist's work, for although 
 he was far too individual to be ever entirely suc- 
 cessful as an interpreter of other men's ideas, he 
 frequently manifested his own originality by his very 
 deviations from his text. This is exactly what he 
 has done in the infinitely superior series of twelve 
 large plates, also from " Hudibras," issued separately 
 in the same year, and dedicated to William Ward, 
 Esq., of Great Houghton, in Northamptonshire, and 
 " Mr. Allan Ramsay [the poet] of Edinburgh." 
 Here, as a very superficial comparison of the two 
 sets of illustrations will show, he has added a mass 
 of fresh humorous detail to his presentment of the 
 text, of which the hay-maker in Plate II., who, in 
 his burlesque salutation of the hero and his squire, is 
 upsetting the apple stall, may serve as an example. 
 Nevertheless, as pictorial characterizations, Hudibras 
 and Ralpho are, upon the whole, only moderately 
 successful, and the widow and Trulla are but rela- 
 tively better. The designer is at his best in the 
 concluding plates, the " Procession of the Skimming- 
 ton " ^ and the " Burning of Rumps at Temple Bar," 
 compositions in which he already exhibits something 
 of the skill which later grouped the guards in front 
 of the " Adam and Eve" in Tottenham Court Road, 
 
 ^ The " Skimmington'"' is defined by Scott, in the notes to the 
 " Fortunes of Nigel," as " a species of triumphant procession in 
 honour of female supremacy, when it rose to such a height as to 
 attract the attention of the neighbourhood." It is a distinction 
 with which the Jin Vin of that story threatens Dame Ursley 
 Suddlechop. See also " Hudibras," Part ii., Canto ii., 11. 585, 
 £t seq.
 
 26 MEMOIR. 
 
 and built up that wonderful crowd which accompanies 
 Tom Idle to Tyburn. He had always a kindness 
 for these designs from Butler, and never ceased to 
 regret that he had parted with the plates. 
 
 To the years 1727-8 belongs one of those rare 
 occurrences which have survived to Qfive incident to 
 Hogarth's biography. Among other commissions, 
 he received one from an upholsterer and tapestry- 
 worker named Joshua Morris to execute a design on 
 canvas for the Element of Eai'th, a subject which, 
 although Hogarth with great intrepidity undertook 
 it, does not suggest anything particularly definite. 
 The price was to be thirty pounds ; but Morris, 
 who — as one of the painter's critics has said — must 
 have had a good deal of the " element of earth " in 
 his own composition, having been told that the 
 designer was " an engraver, and no painter," managed 
 to Qfrow dissatisfied with the work beforehand, and 
 finally refused to pay for it. Thereupon the indig- 
 nant artist, holding that the labourer was worthy of 
 his hire, carried the case, in May, 1728, before Chief 
 Justice Eyre. Morris produced a number of experts 
 to prove that the painting was unfitted for its purpose ; 
 but Hogarth's witnesses — Thornhill, King, Jack 
 Laguerre (the scene-painter), and Vanderbank,^ all 
 testified vigorously to the contrary — the result being 
 that Morris was defeated.''' As to the fate of the 
 
 ^ This was most probably the Vanderbank, " who works in 
 Arras, and makes very good Tapestry Hangings," to whom Steele 
 refers in "Tatler" No. 3. Blackmore wrote a poem recom- 
 mending him to celebrate Marlborough's campaigns in tissue. 
 
 ^ So affirms Nichols the Elder. Allan Cunningham, it is true,
 
 BIRTH, EDUCATION, AND EARLY YEARS. 2'] 
 
 Element of Earth, history Is silent. It is not likely, 
 however, that it was more successful than some of 
 Hogarth's subsequent efforts in the "grand style." 
 
 Meanwhile he had discovered that working for 
 the booksellers was neither dignified nor lucrative, 
 and that designing on his own account (as he had 
 done in the case of Masquerades and Operas) was 
 simply an incentive to plagiarism and piracy. " The 
 first plate I published," he says, " called the Taste 
 of the Town [i.e., the above Masquerades and 
 Operas^ in which the reigning follies were lashed, 
 had no sooner began to take a run, than I found 
 copies ^ of it in the printshops, vending at half-price, 
 while the original prints were returned to me again ; 
 and I was thus obliged to sell the plates for what- 
 ever these pirates pleased to give me, as there was 
 no place of sale but at their shops." Probably it 
 was owing to these circumstances, coupled with the 
 aspersion thrown by the above-mentioned trial upon 
 his skill as a painter, that he now turned his attention 
 more directly to oil painting, for about this date, as 
 appears from a memorandum among his papers, he 
 
 implies the contrary. Probably he had only before him the second 
 edition of the "Anecdotes" (1782) which says, p. 21, "it is pro- 
 bable that Hogarth was nonsuited." In the M/>^ edition of 1785, 
 p. 24, this account is corrected as in the text. The point is not 
 without importance, because the erroneous story has misled other 
 writers into boldly stating that Hogarth had been declared by a 
 court of law to be " no painter." 
 
 ^ One of these copies is in the British Museum collection. 
 It has neither artist's name nor publication line, but has two 
 quatrains underneath beginning — " Long has the stage pro- 
 ductive been." ■
 
 Jf^ 
 
 J 
 
 28 MEMOIR. 
 
 began to paint " small conversation pieces, from 
 twelve to fifteen inches high." " This (he says) 
 having novelty, succeeded for a few years." His 
 chief works in oil from 1728^ (the year of the Morris 
 suit) until 1732 maybe briefly enumerated. They 
 are T/ie Wajistead Asseutbly, painted for Lord Castle- 
 maine ; The Coimnittee of the House of Commons 
 exainhmig Bambridge, an infamous warder of the 
 Fleet Prison, painted for Sir Archibald Grant of 
 Monnymusk ; several versions of the Polly and Lucy 
 scene in Gay's " Beggar's Opera," notable for their 
 portraits of the beautiful actress, Lavinia Fenton 
 and her future husband, the Duke of Bolton ; Before 
 and Aftei^, painted for a Mr. Thomson ; a little picture 
 of The Politician, being the likeness of one Tibson, 
 a lace-man in the Strand; The Wollaston Family ; 
 and lastly, the charming composition, which Leslie 
 praises so warmly, representing the performance 
 by a number of children, at Mr. Conduit's, of 
 Dryden's " Conquest of Mexico." Leslie, who saw 
 this at Holland House, declares it to be beautifully 
 coloured, and ranks it as " one of those early works 
 painted from Nature, the execution of which prepared 
 the way to Hogarth's greater efforts." " Three girls 
 and a boy are on the stage, and seem to be very 
 seriously doing their best ; but the attitude of one 
 little girl, on a front seat among the audience, is 
 
 ^ He had already, if we may trust an often-repeated statement, 
 produced the Hudibras series in oils. Respecting these there is 
 considerable controversy, for which the reader is referred to the 
 *' Catalogue of Paintings " in Part II.
 
 BIRTH, EDUCATION, AND EARLY YEARS. 29 
 
 matchless. She Is so entirely absorbed in the per- 
 formance, that she sits bolt upright, and will sit, we 
 are sure, immovably, to the end of the play, enjoying 
 it as a child only can, and much the more because 
 the actors are children." ^ 
 
 During the greater part of this period we must 
 assume that he preserved his connection, if not with 
 the school in Covent Garden, at least with Sir James 
 Thornhill, who, as we have seen, was one of his wit- 
 nesses against Morris. His relations with some of 
 the family, in fact, were of the closest, for he was the 
 chosen associate of John Thornhill, Sir James's son, 
 and, in 1729, he ran away with his only daughter 
 Jane, to whom, as the register of Old Paddington 
 Church still testifies, he was married privately on the 
 23rd of March.^ The lady was between nineteen and 
 twenty, and, judging from her husband's portrait of 
 her, now in the possession of Mr. H. B. Mildmay, must 
 have been extremely handsome. Her father, as may 
 be gathered from the nature of the match, was wholly 
 averse from the alliance ; but it seems that Lady 
 Thornhill connived at it. Jane Hogarth made an 
 admirable wife, and cherished the memory of her 
 
 ' "Handbook for Young Painters," 1855, p. 131. The picture 
 was exhibited at the British Gallery in 18 14. 
 
 ^ Tradition, by the voice of Mrs. S. C Hall, asserts that the 
 lovers took flight from the little "country-box" which afterwards 
 belonged to Hogarth at Chisvvick. This, as will be shown in 
 Chapter VIII., could scarcely have been the case. It is probable 
 that, in 1729, Jane Thornhill was domiciled at her father's resi- 
 dence in the Great Piazza, Covent Garden, " the second house 
 eastward from James Street." In the Paddington register she is 
 described as " of St. Paul's, Covent Garden."
 
 _^-only 
 
 30 MEMOIR. 
 
 husband, whom she long survived, with a fideHty 
 equalled by that of Mrs, Garrick for her David. 
 Soon after his marriage," says Nichols, '' Hoga7'th 
 had summer-lodofines at South- La7nbeth!' Here he 
 made or improved the acquaintance of Jonathan 
 ( Tyers, who at that time was preparing to re-open 
 N New Spring Gardens, as Vauxhall was then called, 
 
 "^V^ \with an entertainment styled a Ridotto al Fresco. 
 Hogarth is supposed to have rendered him signal 
 service by suggesting the decoration of the place 
 with pictures ; and, upon the venerated precedent of 
 the ingenious M. Josse, nothing could be more natural 
 than that a painter should put forward paintings as an 
 indispensable adornment. But one of the earliest and 
 most trustworthy of the guides, the " Sketch of the 
 Spring Gardens, Vauxhall : In a Letter to a Noble 
 Lord," seems to indicate Hayman as the " only 
 begetter" in this matter. It is certain, however, that 
 Hogarth contributed specimens of his own works to the 
 cause, and that, as time went on, others were copied. 
 According to Nichols, Hayman reproduced the later 
 series of the Four Times of the Day for Vauxhall, two 
 of which were still there in 1782, while in the portico 
 of the Rotunda to the left of the entrance, was an 
 unquestionable picture from Hogarth's brush, dating 
 from his marriage year, and representing Henry VIII. 
 and Anne Boleyn. Another work claimed as his, 
 when in 1841, obscured by dirt and slashed by sand- 
 wich knives, the relics of the Vauxhall Gallery came 
 to the hammer, was Harper and Miss Raftor (after- 
 wards Mrs. Clive) as Jobson the Cobbler and his wife
 
 BIRTH, EDUCATION, AND EARLY YEARS. 3 1 
 
 Nell in Coffey's farce of " The Devil to Pay ; or, the 
 Wives Metamorphosed," but this, as well as a genre 
 piece called The Wapping Landlady, in which a 
 short-trowsered tar of the Tom Bowling era is 
 deliberately executing a nautical pas-setil in the par- 
 lour of a waterside alehouse with the aid of a whangee, 
 is plainly attributed to Hayman in Sayer's contem- 
 porary print from the painting. There is a look of 
 Hogarth's children in Building Houses with Cards; 
 but, on the whole, it may be concluded that there 
 was in reality little of his original work among the 
 sea fights, popular games, and so forth, which deco- 
 rated the garish old supper boxes in The Grove. 
 His picture in the Rotunda portico, however, coupled 
 with his permission to reproduce his other works, 
 would be ground enough to justify the gold ticket, 
 designed by himself, and inscribed In perpetuam 
 Beneficii memoi'iarn, with which he was presented by 
 the grateful Tyers. This ticket, admitting "a coach- 
 full," that is, six persons, was, in 1808, in the 
 possession of Mrs. Hogarth's cousin, the Mary 
 Lewis mentioned at the beginning of this chapter. 
 It had passed to other hands in 1825, when (with 
 five silver passes, all said to have been struck at 
 different times from Hogarth's designs, and including 
 among the rest that of George Carey, the author of 
 many Vauxhall songs) it was engraved by James 
 Stow for Wilkinson's " Londina Illustrata." 
 
 Although, between 1726 and 1732, Hogarth painted 
 much, he did not entirely relinquish the graver, for 
 the list of his prints at this time contains several
 
 32 MEMOIR. 
 
 frontispieces for the booksellers. In the Large 
 Masque7'ade Ticket, 1727, he once more satirized 
 Heidegger and fashionable depravity. Another 
 plate, Riclis Glory, is of doubtful authenticity, but it 
 is interesting from its view of Old Covent Garden 
 in the days of the open market and central dial. 
 ^^ /Besides these, should be noted the frontispiece to 
 Fielding's " Tragedy of Tragedies " (the enlarged 
 edition of "Tom Thumb"), which, it may be, 
 i marks the beginning of his friendship for the famous 
 author of " Joseph Andrews jy and The Ma7i of 
 Taste or Burlingto7i Gate, 1731. In this Kent again 
 figures, supported as before by reclining statues 
 of Raphael and Michael Angelo. On a scaffolding 
 the diminutive figure of Alexander Pope is seen, 
 vigorously whitewashing the gate and bespattering 
 the passers-by, including the Duke of Chandos, while 
 Lord Burlington brings the whitewash. This is a 
 transparent allusion to Pope's attack on the Duke in 
 his epistle to Lord Burlington, " Of Taste," in which 
 under the title of " Timon," his Grace, and his seat 
 of Canons near Edgware, were held up to ridicule. 
 The print gave great offence; and Nichols alleges 
 that the impression was recalled, and the plate sup- 
 pressed. But as it was reduced in 1732 for the 
 frontispiece to "A Miscellany on Taste; by Mr. 
 Pope, etc.," published by Lawton and others, the 
 suppression could not have been effectual. Pope, 
 who might have been expected to retaliate, made no 
 sign. Perhaps he was too wise. 
 
 'o Hogarth's first great work, A Harlot's Pro-
 
 THE MAN OF TASTE. 
 From Homrtlis Ens^raviii^Z-
 
 BIRTH, EDUCATION, AND EARLY YEARS. 33 
 
 gress, and its successor, A Rakes Progress, the 
 ensuing chapter will be devoted. But the present 
 may not inappropriately be closed with brief reference 
 to an amusing holiday jaunt which, a few weeks 
 after the appearance of the prints of A Harlot's 
 Progress, the artist helped to organize, and to per- 
 petuate with his pencil. On an evening at the close 
 of May, I 732, it occurred to certain boon companions 
 at the Bedford Arms Tavern in Covent Garden to 
 enter upon an impromptu expedition. The company 
 consisted of Hogarth, his brother-in-law John Thorn- 
 hill, Samuel Scott (afterwards to be known as the 
 " English Canaletto "),^ a much-experienced draper 
 of Tavistock Street named William Tothall, and 
 Ebenezer Forrest, an attorney. They started at 
 midnight, each with a shirt in his pocket, down the 
 river in a tilt boat to Gravesend. "At Cuckold's 
 Point we sung St. John, at Deptford Pishoken ; and 
 in Blackwall Reach eat hung beef and biscuit, and 
 drank right Hollands." And so forth. It is a cheery 
 record of small jests and much mirth ; of songs sung 
 and flip-cans emptied ; of the jovial and not very 
 admirable fooling of a party of overgrown schoolboys 
 playing truant, and relieving the tedium of sight- 
 seeing by friendly exercises such as bolstering 
 matches, hop-scotch, and "fighting perukes." From 
 
 ^ A good example of Scott's work — "A View of Westminster 
 from the River" — has recently been acquired for the National 
 Gallery, where it hangs in Room XVII. Hogarth sometimes 
 supplied the figures for his friend's pictures. There is a humorous 
 group by him in Scott's " View of Bloomsbury Square and Bed- 
 ford House."
 
 34 MEMOIR. 
 
 Gravesend they go by the Gadshill cherry-orchards 
 to Rochester — from Rochester to Chatham, Upnor, 
 Hoo, and elsewhere. At Stoke they are shaved by a 
 shock-haired fisherman ; at Queenborough they fore- 
 gather with the local sexton ; at Minster they sketch 
 the tomb of that Lord of Shorland whom Ingoldsby 
 has immortalized in the " Legend of Sheppey." ^ 
 Their doings find a faithful chronicler in Forrest, 
 
 ' Forrest's version of this story may be given here as a specimen 
 of his style : — " The Legend of the Last being remarkable I shall 
 relate with all it's Circumstances ; In the Reign of Queen Eliza- 
 beth, This Lord having been to Visit a Friend in this Island And 
 passing by this Church in his Way home to Shorland ab* Two Miles 
 off, he saw a Concourse of people gather'd together in the Church 
 yard, and Inquiring the Reason, was Inform'd that the parson 
 who stood by there, refused to Bury the Corps : bro* for that pur- 
 pose, because there was No Money to pay the Burial Fees, His 
 Lordship being Extreamly Mov'd at y" parson Ordered the people 
 to Throw him into the Grave and Bury him Quick which they 
 accordingly Did and He Died ; My Lord went home, and there 
 reflecting on what he had Done and fearing to forfeit his Life for 
 the Offence, He wrote a petison Setting forth the Nature of his Case 
 and Hearing the Queen was on Board one of the Shipps at the Nore 
 (to which place she came to take a Veiw of her Fleet (Design'd to 
 oppose the Spanish Armada) He took a Horse and Rode Directly 
 into the Sea & Swam to y^ Nore above Three Miles off and 
 coming to the Ship's Side beg'd to See her Majesty who came 
 Imediately and he presented his petition. The Queen reced. 
 Read, and Granted it, and he without Quitting his Horse Swam 
 back again to the Island, and Coming upon the Shore, mett an 
 Old Woman who told him that tho' the Horse had then Saved his 
 Life, he would be the cause of his Death, His Lordship fearing 
 (and in order to prevent) the accomplishment of the Old 
 Woman's Prophecy, Alighted from his Horse, Drew his Sword 
 and kill'd him and left him there, and his Carcass was by y*" force 
 of the Sea Thrown some Little Way on the Land. 
 
 "Some Years after this My Lord Walking with Some of his
 
 BIRTH, EDUCATION, AND EARLY YEARS. 35 
 
 who sets them down gravely " as a burlesque on his- 
 torical writers recording a series of insignificant 
 events entirely uninteresting to the reader." When, 
 after five days' wandering, the pilgrims returned 
 before "a mackarel gale" to Billingsgate, the journal 
 was promptly bound, gilt-lettered, and read out at the 
 Bedford Arms Club for the edification of the mem- 
 bers assembled. The book thus produced, a thin 
 oblong volume in brown ink, still exists in the Print 
 Room of the British Museum, having been pur- 
 chased in 1847 for about ^loo. The drawings, 
 which include a grotesque head- and tail-piece, are by 
 Hogarth and Scott ; the map is by Thornhill. The 
 title-page, verbatim, pundatim et literatim, runs thus : 
 — " An Account/ of what Seem'd most Remarkable 
 in the Five Days Peregrination/ of the Five Fol- 
 lowing Persons viz'. Messieurs/ Tothall, Scott, 
 Hogarth, Thornhill & Forrest./ Begun on Saturday 
 May the 27th 1732/ and Finish'd/ On the 31'' of 
 the same Month./ Abi tu et fac Similiter. — Inscrip- 
 ton '[sic] on Duhvich Colledge porch." Some time 
 after its exhibition to the Club, the journal was lent 
 to Hogarth's friend, the Rev. William Gostling, 
 M.A., a Minor Canon of Canterbury Cathedral, 
 who amused himself by turning it into Hudibrastic 
 rhyme, in which form more than one of Hogarth's 
 
 Friends near the Sea Side, Espied the Skull and Some other Bones 
 of the Horse Lying there, and relating the foregoing acco^ happened 
 to kick the Skull and Hurt one of his Toes which Mortified and 
 kill'd him, and he Lyes In Minster Church and a Monument is 
 Erected over his Grave, On which he is Figur'd, with a Horse's 
 Head (supposed to be in the Waves) plac'd by him."
 
 36 MEMOIR. 
 
 biographers, misled, no doubt, by the line, " And 
 Forrest, who this journal wrote," appear to have 
 thought that it was at first composed. The title- 
 page of Gostling's version says that it is " Imitated 
 . . . with Liberty of some Additions." It is pos- 
 sible that a few minor details may have been inserted 
 from particulars supplied by one or other of the 
 travellers ; but, although the couplets are respectable,, 
 the Canterbury Canon's metrical paraphrase cannot 
 compete in freshness with Forrest's prose. Here: 
 is its " transversing " of the final lines : — 
 
 "With pleasure I observe, none idle 
 Were in our travels, or employ'd ill. 
 Tothall, our treasurer, was just, 
 And worthily discharg'd his trust ; 
 (We all sign'd his accounts as fair) : 
 Sam Scott and Hogarth, for their share, 
 The prospects of the sea and land did; 
 As Thornhill of our tour the plan did ; 
 And Forrest wrote this true relation 
 Of our five days peregrination. 
 
 This to attest, our names we've wrote all. 
 
 Viz. Thornhill, Hogarth, Scott, and Tothall." 
 
 Until 1 78 1 both versions remained in manuscript. 
 Then John Nichols struck off twenty copies of Mr, 
 Gostling's poem " as a literary curiosity,"^ and in the 
 year following, Richard Livesay the engraver made 
 dLC{\Ji2ii\nt facsimiles oi t\\Q. original drawings. Thesey^^- 
 similesh^ issued, "at Mrs. Hogarth's, Leicester Fields,"" 
 
 ^ This Nichols subsequently reproduced in the " Biographical 
 Anecdotes" of 1782, pp. 403-27, having hitherto withheld it "in 
 compliment to the writer of the prose journey " (p. 327). Gostling's- 
 version was also reprinted in Hone's "Table Book," ii. pp. 
 290-319.
 
 BIRTH, EDUCATION, AND EARLY YEARS. 
 
 37 
 
 with a reprint of Forrest's text.^ From the aforegoing 
 account of this last-named performance, it will be 
 gathered that it can scarcely be regarded as a serious 
 contribution to literature ; and it is easy to conceive 
 that its fun was somewhat too highly flavoured for 
 the fastidious palate of critics like Horace Walpole, 
 whose favourite, Scott, figures, moreover, as the butt 
 of the party. Yet it has its interest as an unvar- 
 nished record of the frank and hearty, albeit not over- 
 refined, fashion in which our middle-class ancestors 
 took their pleasure in the cock-fighting, bull-baiting, 
 cudgel-playing England of George the Second. It 
 helps us, in addition, to comprehend the humour 
 of those liberal " flicks " and " dowses" — assaults and 
 batteries — which play so prominent a part in the 
 fictions of Smollett and Fielding. 
 
 ^ Livesay's prose tour is included in Nichols and Steevens's 
 ^'Genuine Works," iii. (1817), pp. 113-131. 
 
 TAIL-PIECE TO HOGARTH'S TOUR. 
 
 -^O S8<^
 
 CHAPTER III. 
 
 The Two Progresses. 
 
 OR many years after the expiration of 
 Hogarth's apprenticeship, — when, it is 
 to be presumed, he lived with Mr. 
 Gamble inCranbourne Alley, — we have 
 no definite data as to his dwelling-place, save and 
 except those stray references of John Ireland and 
 Nichols to Long Lane, and "summer lodgings in 
 South Lambeth." That he had other summer lodg- 
 ings is not unlikely. When the Rakes Progress was 
 painted, it is stated that he was staying at Isle worth ;^ 
 and according to a recent authority,^ he sometimes 
 resorted to the "Bull and Bush" Inn at North End, 
 Hampstead, where a yew bower in the garden is still 
 reported to have been planted by his hand. These, 
 however — to use Prior's figure — were but his "visits ;" 
 his "home" was, or was shortly to be, in Leicester 
 Fields. To Leicester Fields, then, he came — as the 
 rate books tell us — in 1733, and here, with occasional 
 
 ^ Nichols, "Anecdotes," 1781, p. 14. 
 
 ^ Baines's "Hampstead," 1890, p. 233. It was then a farm-house.
 
 
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 ^
 
 THE TWO PROGRESSES. 39 
 
 absences at the " villakin " he bought sixteen years 
 later by the Thames at Chiswick, he lived mainly until 
 his death. The house he occupied (the last but two 
 on the east side) was what was afterwards the 
 northern half of the Sabloniere or J aquier's hotel, which 
 has now given place to Archbishop Tenison's school ; 
 and the painter, in that bust of him by Joseph Durham 
 which decorates Mr. Albert Grant's glorified enclo- 
 sure, must be exactly turning his back upon the site 
 of his ancient habitation. In Hogarth's day this 
 was conspicuous for its brass plate and its gilt sign 
 of the " Golden Head," — a bust of Van Dyck which 
 he had himself carved from pieces of cork glued 
 together.^ At Leicester Fields he would be in con- 
 venient proximity to his genial friends of the Bedford 
 Arms, when he was minded to a cheerful cup, and 
 " Why should we quarrel for Riches ? " or " Drink 
 and agree," or any of the chirrupping ditties com- 
 prised in that collection of Richard Leveridge, the 
 singer, for which, in 1727, he had engraved a frontis- 
 
 ^ J.T. Smith ("Life of NoUekens," 1828, ii. 209) well remembered 
 this sign. It was followed, says Nichols ("Anecdotes," 1782, p. 91), 
 by a head in plaster ; and this again, when Nichols wrote, had 
 been superseded by a bust of Sir Isaac Newton. The house, in 
 which Mrs. Hogarth lived for many years after her husband's 
 death, may still be detected in contemporary views of the square 
 {e.g. those of Maurer and Bowles, 1753), and must have been a 
 fairly " commodious residence " for those days, as Cunningham 
 says it was rated to the poor in 1756 at ;^6o. As late as 1823 
 the tradition survived that Hogarth was accustomed to walk of 
 evenings within the enclosure, in a scarlet " rocklow " or roqiielaurCy 
 "with his hat cocked and stuck on one side, much in the manner 
 of the great Frederick of Prussia."
 
 40 MEMOIR. 
 
 piece. Leveridge, by the way, kept a famous tavern 
 in Tavistock Street, where, no doubt, he occasionally 
 obliged his customers with his own admirable setting 
 of " Black- Eyed Susan"; and not far off, in all 
 probability, was George Lambert, the scene-painter 
 of Lincoln's Inn Fields and the future founder of 
 the " Beef Steak Club " ; while burly John Pine, the 
 engraver, whose " Horace " is still a delight to the 
 collector, had a print-shop in St. Martin's Lane. 
 Captain Coram, too, the benevolent originator of the 
 Foundling Hospital, would perhaps be in the neigh- 
 bourhood, for that good man and philanthropist 
 died " at his lodgings near Leicester Square." But 
 Hogarth, as may be gathered, had not yet attained 
 to widespread repute with the general public. Joseph 
 Mitchell, Sir Robert Walpole's poet, for whose "Scot's 
 Opera" he designed a plate, had indeed apostro- 
 phized him as "an eminent History and Conversa- 
 tion Painter." 
 
 " Large Families obey your Hand ; 
 Assemblies rise at your Command," — 
 
 says this tuneful panegyrist in June, 1730/ and in 
 some other verses, unaccountably neglected by the 
 
 ' A year later Mrs. Delany (then Mrs. Pendarves) thus testifies 
 to Hogarth's skill as a portrait-painter. Writing to Mrs. Anne 
 Granville, 13 July, 1731, she says: — "I have released Lady 
 Sunderland from her promise of giving me her picture by Zinck 
 [sic], to have it done by Hogarth. I think he takes a much greater 
 likeness." .... She goes on to say that Hogarth is to teach her 
 drawing by " some rules of his own that he says will improve me 
 more in a day than a year's learning in the common way," — a 
 thoroughly characteristic utterance (" Autobiography, etc. of Mrs. 
 Delany," 1861, i. 283).
 
 THE TWO PROGRESSES. 4 1 
 
 commentators, he shows that he thoroughly appre- 
 ciated Hogarth's power of expressing character : — 
 
 " You have the Skill to catch the Grace, 
 And secret Meanings of a Face ; 
 From the quick Eyes to snatch the Fire, 
 And limn th' Ideas they inspire ; 
 To picture Passions, and, thro' Skin, 
 Call forth the living Soul within." 
 
 Yet even in the obituary notice of Sir James Thornhill 
 in the "Gentleman's Magazine "for May, 1 7 34, Hogarth 
 is simply referred to as " admir'd for his curious 
 Miniature Conversation Paintings," although he had at , 
 the time put forth the first of that wonderful gallery of l<l 
 "pictur'd Morals," which, it might be imagined, 
 should have stamped him, once and for all, as an 
 artist wholly distinct and separate from his prede- 
 cessors and contemporaries. In 1 732,^ however, there 
 were but few print-shops in London ; and the circu- 
 lation of works of art must have been extremely 
 languid. 
 
 The oil paintings for A Harlot's Progress — the 
 series of "pictur'd Morals" above referred to — are 
 believed to have been begun soon after the artist's 
 marriage, as the date upon the coffin in the last plate, 
 which has been taken to denote the conclusion of the 
 work, is "2'^ Sep. 1731". Apart from the supposition 
 that the necessity for devising some connecting link 
 between the figures in his " conversation pieces " had 
 suesfested the extension of that connection from one 
 
 ^ Rouquet (" L'Etat des Artsen Angleterre,"' 1755, p- 44) hmits 
 the boutiques de marchands d'estampes in London before the Act 
 of 1735 to two; but this statement would seem to be exaggerated.
 
 42 MEMOIR. 
 
 canvas to another, it would be of considerable 
 interest if we could learn what fortunate accident 
 of inspiration suggested this particular idea to 
 Hogarth. The relating of a tale or biography by 
 means of pictures was, of course, not new, witness 
 the life of St. Bruno by Le Sueur which Walpole and 
 Gray saw in the Convent of the Chartreux at Paris. 
 But Hogarth, unless we misread him greatly, knew 
 no more of Le Sueur than of St. Bruno./ His own 
 account of the matter, meanwhile, is too general to 
 be explicit. Portrait painting, he gives us to under- 
 stand, was laborious ; and to a conscientious man 
 who scorned to consent (after the manner of your 
 Hudsons and Knaptons, be it understood !) to de- 
 grade it into a mere manufacture — " not sufficiently 
 profitable to pay the expenses my family required. 
 I therefore turned my thoughts to a still more novel 
 mode, viz., painting and engraving modern moral 
 subjects, a field not broken up in any country or any 
 age." ..." I 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 rank in the highest 
 class." ..." I have endeavoured to treat my sub-
 
 THE TWO PROGRESSES. 43 
 
 ject as a dramatic writer;^ my picture is my stage, 
 
 and men and women my players, who by means of 
 
 certain actions and gestures are to exhibit a dumb 
 
 show." . . . . " This I found was most Hkely 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."^ 
 
 Here, of course, is his theory, as it presented 
 
 itself to his memory after thirty years, but it still 
 
 leaves us in the dark with respect to the special 
 
 train of sugfofestion. To a mind so alert to em- 
 
 ploy surrounding material — so ready to seize the 
 
 humorous or satiric aspect of the momentf there 
 
 should surely have been some proximate cause that 
 
 prompted this picture-chronicle of hapless Mary 
 
 Hackabout. Major thinks, indeed, that a paper by 
 
 Steele in the "Spectator" (No. 266), in which a 
 
 procuress is shown hypocritically catechizing a raw 
 
 country girl who has come to town in a waggon, 
 
 may have furnished the first hint. But this, even if 
 
 it suggested Plate I., need not (although it may) 
 
 have suggested the entire set.^ The artist, at all 
 
 ^ It is to be noted that in the advertisements of A Harlofs 
 Progress, and in more than one of his plates — e.g., The Sleeping 
 Congregation — he speaks of himself as the " author," not the 
 " artist." And Hazlitt in his lectures classes him with the 
 " comic writers." 
 
 '\ "Hogarth Illustrated," iii., pp. 26-8, 29, 31. H" 
 
 [^ From a note at p. 56 of the MSS. already referred to on 
 p. 24 n., it would appear that some of Hogarth's contemporaries 
 ascribed to the series an altogether commonplace origin. Accord- 
 ing to Vertue, Hogarth first painted Scene III. as an independent
 
 44 MEMOIR. 
 
 events, takes us further. From that first declension 
 
 into evil paths, his heroine passes, through a Martin's 
 
 summer as the mistress of a rich Jew, to " Captain 
 
 Macheath " and Drury Lane, — to Bridewell and 
 
 beating hemp, — to Disease and Death, — to a shame- 
 
 ^^^^ \ ful funeral and a forgotten grave. It is all acted 
 
 out coram populo. There is no decorous veiling of 
 
 the catastrophe, no abatement of the pitiable detail, 
 
 no Rossetti-like — 
 — " passing thought 
 
 Of the old days which seem to be 
 Much older than any history 
 That is written in any book ; 
 When she would lie in fields and look 
 Along the ground through the blown grass. 
 And wonder where the city was 
 Far out of sight, whose broil and bale, 
 They told her then for a child's tale." 
 
 For such retrospective sensibility, such regretful 
 sentiment, Hogarth had neither space nor inclina- 
 tion. He had a plain and straightforward message 
 to deliver. If you do that, this will follow, — and 
 this, — and this. With such accessories, grotesque 
 or terrible, as may be. \ 
 
 /"Where the narrator is so unflinching and matter- 
 
 I i^ of-fact, it is obvious that, in this century at least, his 
 
 work, however fundamentallymoral and didactic in its 
 
 work, — a kind of '•''Lever in Low Life," one may suppose. It 
 attracted so much attention, that he was pressed to execute a 
 companion-piece, and so went on by degrees to complete the six 
 pictures. Vertue further says that, while the plates were engrav- 
 ing, Hogarth lived in Common [Covent] Garden with his father- 
 in-law, Sir James Thornhill. This must be added to the "dwelling- 
 places " specified at the beginning of the chapter.]
 
 ^ 
 
 j\<i 
 
 ^.1
 
 THE TWO PROGRESSES. 45 
 
 intention, is not always quite easy to write about ; and 
 there are — it must frankly be confessed — details here 
 over w^hich, as the prints can be consulted, one may 
 pass without regret. But some of the characters — for 
 some of the characters were real persons — require 
 to be named. ^ The man at the door and the elderly 
 woman, in Plate I., undoubtedly represented the 
 infamous Colonel Francis Charteris and the equally 
 infamous Mother Needham, the latter of whom died 
 after exposure in the pillory in 1731. The magis- 
 trate who enters the room in Plate III. is Sir John 
 Gonson, a well-known " harlot-hunting justice ;" the 
 wig-box in the same plate is that of James Dal ton, 
 a highwayman who had been hanged at Tyburn in 
 i73o7~7The wrangling practitioners in Plate V. are 
 said to be Drs. Misaubin and Ward,^ two quacks of 
 the day; while the clergyman (!) of Plate VI. is 
 identified with a certain dissolute " chaplain of the 
 Fleet," and the shrieking beldam with a procuress 
 named Bentley. Of the numberless minor details it 
 is here impracticable to speak at length. But the 
 attention of the reader may be briefly directed to 
 the destruction caused by the famished horse in 
 Plate I., the significant pictures on the walls in 
 Plate II.; the degradation of the Bishop's " Pastoral 
 Letter" in Plate III.; the Jew's-bread used as a 
 fly-trap, and the Anodyne necklace advertisement in 
 Plate V. ; and finally the sprigs of yew for the pre- 
 vention of infection in the concluding plate. 
 
 ' See Marriage A-la-Mode, p. 98, and T/ie Co??iJ>a?iy of Under- 
 takers, p. 67. ^ '
 
 46 MEMOIR. 
 
 By some of the commentators this concluding 
 plate {The Funeral^ has been regarded, not only as 
 involving in its details a certain neglect of pro- 
 bability, but even as in itself an anachronism and a 
 superfluity. This was the opinion of Hogarth's own 
 ^Jnspired interpreter, Rouquet. To him the tragedy 
 finishes with the fifth picture ; the sixth is simply 
 jVy the farce, or after-piece, — " une farce dont la defunte 
 
 \ est plutot r occasion que le sujet.'"^ Dr. Trusler follows 
 ^ him so closely as almost to quote his words. The 
 ^ ^'■^ plate, he says, is " the farce, of which death is oftener 
 1^ the occasion than the subject." That, as both 
 
 imply, Hogarth intended to satirize the senseless 
 funeral ceremonial of his day, and that, in doing so 
 upon the present occasion, he has somewhat strained 
 consistency, is true. But it is also true that he was 
 wiser than his critics, and that all this was merely sub- 
 ordinate to a deeper and sterner lesson, more inti- 
 mately connected with the subject. What other 
 epilogue, indeed, could there be to such a life ! Con- 
 ventionalism, no doubt, would have stepped in with its 
 ready tear and faded " Requiescat." But Hogarth 
 scorned Conventionalism, and copied human nature, 
 hard-hearted, frivolous, unrepentant, incorrigible. 
 In his experience, harlots were harlots to the end of 
 the chapter — and after. There were no Magdalens 
 among them. Their mourning was a mockery ; 
 their priest a profligate. He will not even have the 
 
 ^ Hartley Coleridge (" Essays and Marginalia," 1851, ii. 212) 
 has the same idea. In his view — " The print may be regarded as 
 the satyricon appended to a fearful tragedy."
 
 THE TWO PROGRESSES. 47 
 
 poor child impressed ; — how should he be with such 
 a mother ? No, let him wind up his " castle-top " 
 in the foreground, — " the only thing in that assembly 
 (as Lamb says) that is not a hypocrite." Tjiis-- 
 painter painj^d LJife as he saw it : he cared to dg . "4r 
 no more. \ 
 
 One of the first results of A Harlofs Progress 
 was to reinstate him in the good graces of Sir James 
 Thornhill, who had hitherto declined to forgive him for 
 running away with his daughter. By the contrivance 
 of Lady Thornhill and Mrs. Hogarth, some of the 
 pictureswere placed in the old man's dining room. He 
 eagerly asked the artist's name, and on learning it said, 
 " Very well ; the man who can furnish representations 
 like these, can also maintain a wife without a portion " 
 — a speech which was the herald of reconciliation. 
 This reconciliation may probably be placed at the end 
 of 1 73 1 or the beginning of 1732.^ Shortly after the 
 paintings, or part of them, were finished, Hogarth 
 began to engrave them, issuing as the subscription 
 ticket the clever little etching entitled Boys peeping 
 at Nature. From an advertisement in the " Country 
 Journal ; or, the Craftsman," for January 29, 173 1-2, 
 it would seem that he had not at first intended 
 to undertake all the engraving personally.- " The 
 
 ^ According to the " Somerset House Gazette," ii. 207, Mr. 
 Carpenter of Old Bond Street had, in July, 1824, a picture by 
 Hogarth [?] representing this incident. Besides the principal 
 parties concerned, it contained portraits of Fielding and Justice 
 Welch. It is said to have been well painted. 
 
 [^ This is confirmed by an undated note in Vertue's MSS. 
 (p. 51). "For the Harlot's progress M'' Hogarth having now
 
 48 MEMOIR. 
 
 Author of the Six Copper Plates, representing a 
 Harlot's Progress," runs the notice; "being disap- 
 pointed of the Assistance he proposed, is obliged to 
 engrave them all himself, which will retard the 
 Delivery of the Prints to the Subscribers about Two 
 Months ; the particular Time when they will be 
 deliver'd will be advertised in this Paper." " No 
 more," it was further stated, "will be printed than 
 are and shall be subscribed for, nor Subscriptions 
 taken for more than will receive a good Impression." 
 How many good impressions Hogarth considered 
 might be obtained is not specified, but it is recorded 
 that above 1,200 names were entered on his books. 
 This — supposing all the subscribers to pay — meant 
 some ^1,260, as the price of the set was a guinea. 
 
 In conformity with the engagement made in the 
 advertisement of January, a further advertisement of 
 March, in the " Daily Journal " and " Daily Post," 
 which was subsequently repeated, announced that 
 the plates were then " printing off," and would be 
 ready for delivery on Monday, the loth of April. 
 At the same time notice was given that subscriptions 
 would be received until the 3rd ; and as an un- 
 authorized explanation of the series in pamphlet 
 form was published on the 2ist,^ it must be as- 
 sumed that they were duly issued on or about the 
 
 1 2 hundred Subscribers — he had proposed to get them graved by 
 the best gravers in Lond. but none that he employed pleasing 
 him he has set about them himself — to grave or finish the 
 gravings ".] 
 
 ^ "Daily Journal," 21 April, 1732.
 
 THE TWO PROGRESSES. 49 
 
 date specified/ Their- success seems to have been 
 instantaneous. _. As soon as Plate III. appeared, says 
 NicholsTthe Lords of the Treasury hastened to 
 the print-shop for Sir John Gonson's portrait. In 
 addition to the prose account above referred to, a 
 Grub Street rhymer set himself to celebrate Moll 
 Hackabout's career in Hudibrastics under the title of 
 "The Harlot's Progress; or. the Humours of Drury 
 Lane," an example which was followed a year later by 
 "The Lure of Venus," a more pretentious description 
 in creaking heroics by "Joseph Gay" (Pope's "empty 
 Joseph"), the 7iom de gtierre of a certain Captain John 
 Durant Breval, formerly of Trinity College, Cam- 
 bridge, who should have been capable of better 
 things. Neither Breval's book nor the other — it need 
 scarcely be observed — is conceived in Hogarth's spirit 
 or animated by his purpose. Besides these metrical 
 efforts, in February, 1733, the story was turned into 
 a ballad opera entitled "JThe Jew Decoy'd," which, 
 however (according to the "Biographia Dramatica"), 
 w^as never performed ; and in the same year Theo- 
 philus Cibber converted it into a pantomime, pro 
 duced in April at Drury Lane. Another evidence of 
 the popularity of the prints was their transfer to fan- 
 mounts ' and cups and saucers. Lastly, they were 
 freely pirated, and Steevens saw no fewer than 
 
 ^ Nichols dates the Harlofs Progress 1733-4. But he had 
 evidently never seen the above advertisements, concerning which 
 some further particulars are given in Part II., " Bibliography." 
 
 ^ One of these is now in the British Museum. They were 
 sold by M. Gamble at the " Golden Fan " in S' Martin's Court, 
 near Leicester Fields ("Daily Journal," Jan. 24, 1733). 
 
 E 
 
 " "i^T
 
 1^ 
 
 \ 
 
 50 MEMOIR. 
 
 eight different sets of fraudulent imitations, no doubt 
 including the illustrations which accompanied " The 
 Lure of Venus." One of these sets of imitations, 
 perhaps the best known, was by Elisha Kirkall, 
 or Kirkhall, of Dockwell-Court, Whitefriars — the 
 *' bounteous Kirkall" of the " Dunciad." The plates, 
 in green ink, were reversed copies as large as the 
 
 ''' originals, and were issued in November, 1732/ 
 
 Hogarth had before suffered from depredations of 
 this kind, his first published print, Masquerades and 
 Operas, having, as already stated, been feloniously 
 reproduced. In 1 735, in concert with George Vertue, 
 Gerard Vandergucht, his friends Pine and Lambert, 
 and several others, he petitioned Parliament for leave 
 to bring in a bill to vest in designers and engravers 
 an exclusive right to their own works, and to restrain 
 the multiplying of copies without their consent. This 
 bill was duly introduced, and received the Royal 
 
 / Assent on the 15th May, 1735, becoming the well- 
 known Act 8 Geo. IL, cap. 13. Although Hogarth's 
 personal grievance does not seem to have been pro- 
 minently brought forward on this occasion, he found 
 the major portion of the funds ; the Act is generally 
 spoken of as his ; and it was drawn by his friend 
 William Huggins, author of the Oratorio of 'Judith." 
 He commemorated its passing~Fy a long and jubilant 
 inscription on the plate entitled Crowns, Mitres, 
 etc., afterwards used as a subscription ticket to the 
 Election series. Ye^ the measure was only partially 
 successful in remedying the evil at which it aimed, 
 ^ "Craftsman," Nov. 18, 1732.
 
 THE LAUGHING AUDIENCE. 
 From Hoi^arth's Etc]ii)ig.
 
 THE TWO PROGRESSES. 5 1 
 
 and to the mortification of the painter— as reported 
 by Sir John Hawkins — it failed, in a case tried before 
 Lord Hardwicke in Chancery, to secure any benefit 
 to an assignee claiming under assignment from the 
 original inventor.^ 
 
 One of Hogarth's main objects in promoting the 
 above enactment was, no doubt, the protection of the 
 series of paintings depicting A Rakes Progi^ess, with 
 which he was pre^aring^ to follow up A Harlot's 
 Progress. This fresh series, in fact, must have been 
 begun immediately after the earlier pictures were com- 
 pleted, since from an advertisement in " The Country 
 Journal ; or, the Craftsman " of December the 29th, 
 1733, he was, at that date, occupied upon the engra- 
 vings. They were subscribed for in the same year, 
 the ticket being the capital little etching, A Pleased 
 Audience at a Play, afterwards styled The Laughing 
 Audieiice. As in the previous Progress, Hogarth him- 
 self christened his chief character. In the first plate 
 " Tom Rakewell " (the name, Mr. Stephens points 
 out, is as appropriate to the miser father as to the 
 prodigal son) has entered suddenly upon his inheri- 
 tance. In a jumble of leases, bonds, and the miscel- 
 laneous hoardings of avarice, he is being measured 
 
 ^ Writing not long before his deatli, Hogarth's retrospect, never- 
 theless, is not ungrateful :—" After having had my plates pirated 
 in almost all sizes, I in 1735 applied to Parliament for redress; 
 and obtained it in so liberal a manner, as hath not only answered 
 my own purpose, but made prints a considerable article in the 
 commerce of this country, there being now more business of this 
 kind done here than in Paris, or anywhere else, and as well " 
 ("Hogarth Illustrated," iii. 35).
 
 52 MEMOIR. 
 
 for his mourning. Already his knavish attorney 
 plunders him ; and he himself begins badly by casting 
 off the poor girl whom he has ruined while at Oxford, 
 
 " Prodigus seris, 
 Sublimis, cupidusque, et amata relinquere pernix," 
 
 his fortune is written in his face. 
 
 The next plate (T/ie Levee) transforms the clumsy 
 lad into an awkward man-of- fashion. His ante- 
 chamber is thronged with milliners, wigmakers, 
 tailors, and hatters. The " dealers in dark pictures " 
 have equipped him as a connoisseur — witness the 
 yudgmeiit of Paris on the wall. A much-bewigged 
 musician is trying over " The Rape of the Sabines " 
 at a harpsichord ; a French hornplayer preludes 
 noisily upon his instrument. He dabbles in Bridge- 
 man's landscape gardening, and maintains one poet, 
 if not two. But the majority of the visitors at his 
 reception are professors of those sterner arts which 
 in 1732-5 no gentleman could be without. He must 
 have his cocks at Newmarket, and his racers at 
 Epsom, where his horse, " Silly Tom," has won a 
 cup. Essex must instruct him in dancing ; Dubois 
 in fencing ; the great Figg himself in quarter- 
 staff.^ And lest his proficiency in the two latter 
 sciences should fail to save his skin, he must enlist 
 the hireling " man-of-honour " who comes recom- 
 mended by " Wm. Stab." Roistering " bloods" who 
 finish their revels at the " Shakespear's Head" or the 
 
 ^ The figures in the plate are said to be portraits of these 
 persons. Dubois died in ^Slay, 1734, of a wound received in a 
 duel.
 
 X" 
 
 i 
 
 1^- 
 
 
 ^ 
 
 1 
 
 
 
 •"? 
 
 % 
 
 
 -, 5^ 
 
 ^ 
 
 ^ 
 
 
 N 
 
 -\ "^ 
 
 
 ^ 
 
 :; 
 
 V 
 
 H.
 
 THE TWO PROGRESSES. 53 
 
 ■" Rose" by broiling a waiter or " pinking" a chair- 
 man, sometimes require the aid of henchmen Hke the 
 Captain, when their humorous exploits fall flat upon 
 the spectators. 
 
 One of these exploits is depicted in Plate III. 
 The Rake is discovered drunk in a tavern in Drury 
 Lane at three in the morning, surrounded by the 
 trophies of a street row, largely supplemented by 
 further contributions from the apartment itself. His 
 companions, mostly recruited from the simphces 
 nympha; of the neighbourhood, are in scarcely better 
 case. One (like Prior's " Kitty") sets the world on 
 fire (in a map). Another spirts brandy in the face 
 of her furious vis-d-vis, who threatens her with a 
 knife. ^ A harper is twangling at the door ; a tattered 
 beggar-wench sings the " Black Joke." We omit the 
 remaining details of the plate, which may be studied 
 at full in Nichols and John Ireland. 
 
 This is the Rake's zenith ; in the next scene he 
 enters upon the first stage of his decline. He is 
 ignominiously arrested for debt in St. James's Street, 
 as he is going to Court in a new suit on Queen 
 Caroline's birthday, also St. David's Day, as is in- 
 dicated by an irascible-looking Welshman with an 
 enormous leek in his hat. Some temporary assist- 
 ance is rendered to him by the unfortunate girl 
 whom he discarded in Plate I.; but it is only tem- 
 porary, for in the plate that follows he is repairing 
 
 ^ Hogarth had actually witnessed an incident of this kind when 
 in company with his crony Frank Hayman (Smith's " Nollekens," 
 i. 94).
 
 54 MEMOIR. 
 
 his fortunes by an alliance in old Mary-le-bone 
 Church, then much used for private marriages, with 
 an elderly heiress. The bride is one-eyed, and 
 tremulously exultant ; the bridegroom, indifferent, 
 and already engrossed by the good-looking lady's- 
 maid. The church, which had been recently repaired, 
 and was taken down altogether six years later, is 
 depicted, no doubt as a fitting frame to the bride, in 
 an extremely dilapidated condition. The Creed has 
 been destroyed by damp, and a crack runs through 
 the Ninth Commandment. As a further evidence of 
 neglect the slot of the poor-box is covered by a 
 cobweb. 
 
 Henceforward Tom Rakewell "progresses" at a 
 headlong rate. Plate VI. shows him in a Covent 
 Garden gaming-house. He has lost all his recently- 
 acquired wealth, and flings himself upon the ground 
 in a paroxysm of fury and execration. In allusion 
 to the burning of White's, in April, 1733, flames are 
 seen bursting from the wainscot, but the absorbed 
 gamblers take no heed. The next scene is in the 
 Fleet; the last in Bedlam. In the one he is a poor 
 distracted wretch, dunned by the gaoler for "garnish," 
 pestered by the unpaid pot-boy, deafened by the 
 rancorous virago, his wife, and overwhelmed by Mr. 
 Manager Rich's letter, returning his manuscript : — 
 " S'. I have read y' Play & find it will not doe." In 
 the other he is an incurable maniac, fettered and 
 dangerous, who tears at himself with the heartrending 
 lauofh of the insane. 
 
 Our rapid outline does but scant justice to this
 
 THE TWO PROGRESSES. 55 
 
 tragical story, and scarcely touches at all upon the 
 affluence of detail with which it is presented/ We 
 are told that it did not meet with the success of 
 A Harlot's Progress. The causes are not far to 
 seek. It flew at higher social game. It attacked 
 the vices of tlie man instead of the vices of the 
 woman ; and to the vices of the man society is 
 notoriously indulgent. Then it was less probable. 
 To use the words of a critic who compares it with 
 its forerunner, its " catastrophe is one of so rare 
 occurrence in real life, as to produce no more effect 
 than a bugbear would. It is not in the ordinary 
 course of events that profligates and debauchees 
 become the inhabitants of a mad-house." Lastly, 
 it is longer, and more unequal than A Harlot's 
 Pr^ogress. Although it rises to a higher level in the 
 later scenes, in the fourth plate, which Hogarth tried 
 to improve, it was, for him, weak and hesitating. It 
 is is scarcely likely, to say the least, that a poor 
 
 ^ Among minor touches may be noticed : — the shoe-sole cut 
 from the cover of the Bible in the second state of Plate I., and 
 the cap on the mantelpiece which, in the same plate, establishes 
 the identity of the dead miser with the portrait; the Farinelli 
 caricature on the floor in Plate II. ; the twelve Csesars and Pon- 
 tack's head, in Plate III. ; the little fellow with the pipe and 
 " Farthing Post," in Plate IV. ; the dogs and the ragged charity 
 boy of Plate V. ; the highwayman of Plate VI. ; the wings of the 
 inventor and the absorbed alchemist of Plate VII. ; and lastly, the 
 two women visitors in the Bedlam scene. Scott knew these prints 
 of Hogarth's, for in his "Journal" (1891, i. 140) he likens him- 
 self, when writing on the Currency, to the projector with his 
 scheme for paying the National Debt, in Plate VII. ; and in 
 another place he borrows his illustration from the " Better to 
 Work than Stand thus " of Plate IV. oi A Harlofs Progress,
 
 56 MEMOIR. 
 
 milliner would carry about with her sufficient money 
 to relieve a fine gentleman in peril of the tipstaves. 
 Her presence after Plate I. is an illustration of that 
 " pathetic fallacy " of which we occasionally hear so 
 much. Some one, it must be supposed, had remarked 
 upon the want of tenderness in A Harlot's Progi'ess, 
 and Hogarth met the objection mA Rakes Progress 
 by the introduction of his ruined sweetheart. But her 
 re-appearances are ill-managed and almost super- 
 fluous. She adds little to the effect of the scenes in 
 the prison or the madhouse, and they would scarcely 
 suffer by her absence. If the above conjecture be 
 a correct one, this is another of the many instances 
 in which Hogarth was apparently led astray by his 
 importunate advisers. 
 
 Early in June, 1735, the plates of A Rake's Pro- 
 gress were printed off Their delivery to subscribers 
 was, however, deferred until the 25th, the date they 
 bore, in order to give them the full protection of the 
 new Act, which came into operation on the 24th. Pro- 
 bably the words "According to Act of Parliament," 
 now so common on engravings, made their first appear- 
 ance upon this occasion. But notwithstanding all 
 these precautions, the painter, as we learn from one of 
 his many advertisements, could not escape the frau- 
 dulent imitator. " Several printsellers,'' he says in 
 "The London Daily Post Boy" of June 14, "who have 
 of late made their chief gain by unjustly pirating the 
 inventions and designs of ingenious Artists, whereby 
 they have robbed them of the benefit of their labours, 
 being now prohibited such scandalous practices from
 
 ^■ 
 
 ^1 
 
 Sj. 
 ^ 
 
 "8: 
 
 N" 
 
 ^
 
 THE TWO PROGRESSES, 57 
 
 the 24th of June next, by an Act of Parliament 
 passed the last Session, intituled, ' An Act for the 
 Encouragement of the Arts of Designing, Engraving, 
 Etching, &c.,' have resolved notwithstanding to con- 
 tinue their injurious proceedings, at least till that 
 time ; and have, in a clandestine manner, procured 
 persons to come to Mr. Hogarth's house, under pre- 
 tence of seeing his Rake's Progress, in order to 
 pirate the same, and publish base prints thereof 
 before the Act commences, and even before Mr. 
 Hogarth himself can publish the true ones. This 
 behaviour, and men who are capable of a practice 
 so repugnant to honesty and destructive of pro- 
 perty, are humbly submitted to the judgment of 
 the publick, on whose justice the person injured 
 relies."^ According to Nichols, a series of copies by 
 Boitard, all on one sheet, must have appeared almost 
 simultaneously with this notice ; and the prints were 
 also plagiarised in another series issued by Overton, 
 Bowles and others, a few days later. To counteract, 
 as far as possible, the evil effect upon the sale of 
 the originals of these cheap piratical reproductions, 
 Hogarth caused small copies to be prepared, which 
 were sold at 2s. 6d. the set by " T. Bakewell, print 
 and mapseller, next Johnson's Court in Fleet Street, 
 London." These, after some delay, were issued 
 in August, accompanied by a broadside sheet of 
 explanations. 
 
 With the oriofinal enoravinofs of ^ Rake's Pj-oQ-ress 
 was published a print of earlier date, which had been 
 ^ " Genuine Works," i. %T).
 
 58 MEMOIR. 
 
 kept back to give It the advantages of protection, 
 i.e., that known as The Fair, or SoutJiwark Fair, 
 one of the Hveliest of the separate plates, albeit 
 somewhat coarse in execution. This festival (or 
 carnival) was suppressed in 1762; but in 1733, 
 when Hogarth drew it, it was diligently frequented, 
 1 during the fortnight for which it was held, by 
 " persons of all distinctions of both sexes." Its 
 notabilities are faithfully depicted. Elkanah Settle's 
 droll of the " Siege of Troy," as given at Lee 
 and Harper's booth; the " posture- master " and 
 ** curious Indian birds " of Mr. Fawkes, the conjuror ;. 
 the wax -work exhibitinof " the whole Court of 
 France ; " Miiller, or Miller, the Leipzic giant ;. 
 Violante, the tumbler ; Cadman, the steeple-flyer — 
 all these have been carefully set down. The " Fall 
 of Bajazet," at Cibber and Bullock's, is tragically 
 illustrated by the collapse of the " parade " in front 
 of the booth ; whilst in the crowd a couple of bailiffs 
 arrest a buskined hero from the same company who, 
 with a beautiful drummeress, is beating up for an 
 audience. But the incident of the plate would take 
 several pages to describe. 
 
 Among the other works which belong to this 
 chapter, and have not been mentioned hitherto, is 
 the drinkino^ scene called A Midnio;ht Modern Con- 
 versation, 1733. Its proper place lies between the: 
 two Progresses. In this a party of eleven, whose 
 degrees of intoxication are admirably characterized,, 
 have finished some two dozen bottles of claret, and, 
 at four in the morning, are commencing a capacious
 
 ^ $ 
 
 " ^ - 
 
 
 "x: 
 
 \
 
 THE TWO PROGRESSES. 59 
 
 bowl of punch presided over by a rosy-gilled parson, 
 — the 
 
 ''' forte m validumque combibonem 
 LcBtantetn super amphora repleta " 
 
 of the Westminster Latinist, Vincent Bourne ; ^ but, 
 in real life, identified both with the famous "Orator" 
 Henley and the Rev. Cornelius Ford, a dissolute 
 cousin of Dr. Johnson.^ The frontispiece to Henry 
 Carey's ' ' Chrononhotontologos," and one or two minor 
 pieces show — like the list of presents to Farinelli in 
 Plate H. oi A Rakes Progress — the artist's uncon- 
 quered antipathy to the foreign favourites upon 
 whom the British public squandered fortunes "for a 
 shrug or a song." Perhaps it was not natural under 
 the circumstances that Hogarth should do justice to 
 Farinelli ; but the British public of his day were not 
 far wronor in their admiration of that most wonderful 
 of sopranos. 
 
 In addition to the passing of the Act against pira- 
 tical printsellers, no facts of equal importance in 
 Hogarth's life during this period have been recorded. 
 From the presence of Sir James Thornhill at New- 
 
 ^ " Poematia," 1734, p. 146. 
 
 ' From an example in Solon's "Old English Potter," 1883, 
 p. 185, a modelled white ware mug (salt-glaze), it appears that this 
 popular design was transferred to pottery ; and it is often to be 
 found on snuff-boxes. It was also used as a fan-mount. (See 
 "Daily Journal" for May 24th, 1733, where it is advertised as 
 sold at Mr. Chenevix's and other toy-shops, and having prefixed to 
 it, "for the Entertainment of the Ladies, a Description of each 
 particular Person . . . introduced.") The ticket for the Mid- 
 night Moderti Coiwersation was the etching known as The Oratorio; 
 or, A Chorus of Singers.
 
 6o MEMOIR. 
 
 gate, when in March, 1733, Hogarth painted the 
 portrait of Sarah Malcolm the murderess, afterwards 
 executed in Fleet Street,^ it is plain that the recon- 
 ciliation already referred to had proved an enduring 
 one. In May, 1734, Thornhill died, his death 
 being followed, a year later, by that of Hogarth's 
 mother, occasioned, says the " Gentleman's Magazine," 
 by a fright arising out of a fire in Cecil Court, St. 
 Martin's Lane. By the decease of his father-in-law 
 the drawing school in Covent Garden practically 
 passed into Hogarth's hands. ** I became (he says) 
 possessed of his (Sir James's) 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 furni- 
 ture which had belonged to Sir James Thornhill's 
 academy ; and as I attributed the failure of that and 
 Mr. Vanderbank's^ to the leading members assuming 
 a superiority which their fellow students could not 
 brook, I proposed that every member should con- 
 tribute an equal sum to the establishment, and have 
 
 ^ "Craftsman," loth March, 1733. 
 
 ^ John Vanderbank, the portrait-painter, had endeavoured to 
 estabUsh a rival school to Thornhill's, with the additional attrac- 
 tion of a living model. He illustrated " Don Quixote " for Lord 
 Carteret, who preferred his designs to those of Hogarth. See 
 Part II., Catalogue of Prints. There is a portrait of Newton by 
 Vanderbank in the National Portrait Gallery.
 
 THE ORATORIO. 
 
 From Hoo-artlCs Etc kins'.
 
 THE TWO PROGRESSES. 6 1 
 
 an equal right to vote in every question relative to 
 the society. . . . By the regulations I have men- 
 tioned, of a general equality, etc., it has now [1762] 
 subsisted near thirty years ; and is, to every useful 
 purpose, equal to that in France, or any other." ^ The 
 exact locality of this art-centre, it may be added, was 
 " in Peter's Court, against Tom's Coffee-house in S. 
 Martin's Lane." Thus it is described in an adver- 
 tisement of 1 710, when it was a Dancing School. 
 Subsequently it became the studio of Roubillac the 
 sculptor, from whom it passed to Hogarth and his 
 coadjutors. In this institution, most of the artists of 
 the reign of George II., and the early part of the 
 reign of George III., were trained; and its useful- 
 ness only ceased with the establishment of the Royal 
 Academy, to which its " anatomical figures, busts, 
 statues, etc.," were transferred in 1768. Hogarth 
 painted a picture of the interior, showing the students 
 drawing from the life. This painting is preserved 
 at Burlington House, having been purchased not 
 many years ago. 
 
 From the " Tlxpocn^iTixov " of Vincent Bourne quo- 
 tation has been made. But, in 1736, a passage in 
 Swift's " Leofion Club" showed that Hoo^arth's fame 
 had reached the terrible Dean at Dublin : — 
 
 " How I want thee, humorous Hogarth ! 
 Thou, I hear, a pleasant rogue art. 
 Were but you and I acquainted, 
 Every monster should be painted : 
 
 ^ " Hogarth Illustrated," iii. 66-7, 68-9.
 
 62 MEMOIR. 
 
 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 car' catiira ; 
 Draw them so that we may trace 
 All the soul in every face." 
 
 Four years later, in February, 1740, Somervile the 
 poet, claiming kinship as a satirist of vice and folly, 
 dedicated his " Hobbinol " to Hogarth as "the 
 greatest master in the burlesque way " ; and a few- 
 months subsequently came a tribute from the pen of 
 a still more eminent writer, Henry Fielding. As it 
 refers solely to the Progresses, it may the more fitly 
 find place here. " I esteem," says Fielding, in the 
 "Champion" (June 10), " the ingenious Mr. //^c^rt^r/^ 
 as one of the most useful Satyrists any Age hath 
 produced. In his excellent Works you see the delu- 
 sive Scene exposed with all the Force of Humour, 
 and, on casting your Eyes on another Picture, you 
 behold the dreadful and fatal Consequence. I almost 
 dare affirm that those two Works of his, which he 
 calls the Rake s and the Harlot' s Progress, are cal- 
 culated more to serve the Cause of Virtue, and for 
 the Preservation of Mankind, than all the Folios of 
 Morality which have been ever written ; and a sober 
 Family should be no more without them, than with- 
 out the WJiole DiUy of Alan in their House." In that 
 admirable "Preface "to "Joseph Andrews," in which 
 he compares comic writing and burlesque to comic 
 painting and caricature, he returns to the same theme :
 
 THE TWO PROGRESSES. 
 
 63 
 
 ** He who should call the ingenious Hogarth a bur- 
 lesque painter, would, in my opinion, do him very 
 little honour : for sure it is much easier, much less 
 the subject of admiration, to paint a man with a nose, 
 or any other feature of a preposterous size, or to 
 expose him in some absurd or monstrous attitude, 
 than to express the affections of men on canvas. It 
 hath been thought a vast commendation of a painter, 
 to say his figures seem to breathe ; but surely it is a 
 much greater and nobler applause, that they appear 
 to think." Hogarth acknowledged this compliment 
 in 1743 by referring to Fielding's "Preface" as a 
 further explanation of the little etching of Characters 
 and Caricaturas. 
 
 HOGARTH'S VAUXHALL TICKET.
 
 CHAPTER IV. 
 History-Pictures and Minor Prints. 
 
 HE welcome which the encrravinors of 
 Hogarth's picture-comedies had re- 
 ceived should — one would think — have 
 convinced him that his best means of 
 permanent success lay in this direction. Yet ac- 
 cording to his own account, which, unhappily, it is 
 not possible to date, it would appear that he had 
 other and different ambitions. His desire was to 
 take rank with the Haymans and Thornhills, — to 
 say nothing of artists more ancient and illustrious. 
 " Before I had done anything of much consequence 
 in this walk [z>., 'painting and engraving modern 
 moral subjects '], I entertained some hopes of suc- 
 ceeding in what the puffers in books call the great 
 style of history painting ; so that without having had 
 a stroke of this grand business before, I quitted 
 small portraits and familiar conversations, and, with 
 a smile at my own temerity, commenced history 
 painter, and on a great staircase at St. Bartholo- 
 mew's Hospital, painted two Scripture stories, the
 
 HISTORY-PICTURES AND MINOR PRINTS. 65 
 
 Pool of Bethesda, and the Good Samaritmi, with 
 figures seven feet high. These I presented to the 
 charity, and thought they might serve as a specimen, 
 to show that were there an inclination in England 
 for encouraging historical pictures, such a first essay 
 might prove the painting them more easily attainable 
 than is generally imagined. But as religion, the 
 great promoter of this style in other countries, 
 rejected it in England, I was unwilling to sink into 
 a portrait mamcfacturer ; and still ambitious of 
 being singular, dropped all expectations of advan- 
 tage from that source, and returned to the pursuit of 
 my former dealings with the public at large." ^ 
 
 This is, in some respects, a singular utterance. 
 If we accept 1736, which is the date painted upon 
 the staircase of the hospital, as the date of the Good 
 Samaritan and the Pool of Bethesda, then the 
 expression " anything of much consequence " seems 
 a strange under-valuation of the two Progresses 
 which had made him a name. Seeing, however, 
 that the sentence, " I quitted small portraits and 
 familiar conversations," does not cover these series, 
 it may be that the Bartholomew's Hospital pictures 
 were executed before 1736. But even if we put 
 them back five years, Hogarth would still have 
 painted the Harloi s Progress, and the expression 
 "anything of much consequence" would remain 
 inexplicable, except by attributing to the artist a 
 perverse, though not unprecedented, blindness as to 
 his abilities. Moreover, his " Scripture stories" were 
 * "Hogarth Illustrated," iii. 29-31. 
 F
 
 66 MEMOIR. 
 
 a mistake ; and if they were not good in his own 
 day, they are homelier than ever in ours, when the 
 reahsm of artists Hke Holman Hunt and Gerome 
 have imported into our galleries the very types and 
 atmosphere of the East. With the record that the 
 pictures made the painter a governor of the hospital, 
 and the statement that they were not engraved until 
 after his death, we may pass over the Pool of 
 Bethesda and the Good Samaritan. 
 
 During the period covered by the present chapter, 
 that is to say, from 1735 to 1744, Hogarth did not 
 put forth any series of plates corresponding in im- 
 portance to the Rakes and Harlofs Progresses. 
 Indeed, with the exception of the Four Times of the 
 Day, he did not publish any series at all. Doubtless 
 he was maturing and elaborating his masterpiece, 
 Mai^riage A -la-Mode, which was advertised in April, 
 1743, and will form the subject of the ensuing 
 chapter. But in this interval, several separate prints 
 appeared, which are among the most popular of his 
 works — i.e., the Strolling Actresses Dressing in a 
 Barn, the Enraged Musician, and the Distressed Poet. 
 And here we may observe that it is the defect of 
 his biography that it lies almost wholly in the 
 description of his works. To the facts of his life 
 the account of his works must always bear much the 
 same relation in bulk as the commentary of Warton 
 to the " Minor Poems " of Milton, or the notes to 
 the text in an article by Bayle. Lamb said truly 
 I that we " read " his prints, and " look " at other 
 \ pictures. He might have added that the type is of
 
 HISTORY-PICTURES AND MINOR PRINTS. 67 
 
 the smallest, and the page is crammed to the 
 maro-in. ~ 
 
 The earliest plates belonging to the year 1736 are 
 the Company of Undertakers or Constdtatio7i of 
 Physicians ; and the Scholars at a Lectitre. The 
 Company of Undertake7's is a whimsical coat-of-arms, 
 composed of doctors " poising their gilt-head canes " 
 (as in Tennyson's " Princess"), with the motto, '' Et 
 Phirima Mortis Imago!' Conspicuous among them 
 in a harlequin suit (" issuant checkie ") is Mrs. Sarah 
 Mapp, a famous bone-setter or " shape-mistress," who 
 enjoyed a brief popularity circa 1736-7. Two other 
 figures which support her have been identified, one 
 as a famous quack oculist or " Opthalmiator " known 
 as the " Chevalier " Taylor : the other as the Dr. 
 Joshua Ward, to whose nostrums Fielding had 
 recourse in his last illness, and who figures in 
 
 Pope's 
 
 " Ward try'd on Puppies, and the Poor, his Drop." 
 
 But if he was a quack, he was a quack of genius, 
 for he inspired Bolingbroke with confidence, and he 
 attended George 1 1 . The Company of Undertakers 
 is dated March. The Scholars at a Lecture, a 
 number of, for the most part, vulgar academical 
 heads, requires no special notice. To the month of 
 April belongs a ticket for Fielding's benefit in 
 *' Pasquin." There is a doubt whether this is really 
 the work of Hogarth ; but the strokes at political 
 morality in that " dramatic Satire on the Times " 
 would have been so much to the taste of the artist 
 who later designed the inimitable Election Prints,
 
 68 MEMOIR. 
 
 that one is, inclined to give him the benefit of any 
 
 uncertainty.' Concerning the Sleepi7ig Congregation^ 
 
 which came out in October of the same year, there 
 
 is no doubt at all. The slumbering auditory are 
 
 poorly treated ; but the Rev. Dr. John Theophilus 
 
 Desaguliers, if he it be, who, 
 
 " In one lazy tone 
 Through the long, heavy, painful page drawls on," 
 
 and his pompous clerk, struggling between drowsi- 
 ness and the ill-guarded attractions of the pretty girl 
 at his side who has fallen asleep with her prayer- 
 book open at " Matrimony," are not to be improved 
 upon. Whether the preacher, once famous for his 
 lectures on Experimental Philosophy in what is now 
 Cannon Row, Westminster, deserved the satire, we 
 know not. But, to judge by the design, he will cer- 
 tainly soon be able to say, in the words of Horace 
 which have been suggested as its motto, — " Omnes 
 coinposuiy ^ 
 
 In 1737 Hogarth was probably at work on the 
 Four Times of the Day ^ the engravings of which were 
 
 1 The Sleeping Congregation would not be an inappropriate 
 frontispiece to Swift's singular sermon on " Sleeping in Church " 
 ("Works," by Scott, 1824, viii. pp. 17-27). It begins — "I have 
 chosen these words [i.e. the story of Eutychus, Acts xx. 9] with 
 design, if possible, to disturb some part of this audience of half 
 an hour's sleep, for the convenience and exercise whereof, this 
 place, at this season of the day, is very much celebrated." The 
 epigraph might be borrowed from his "Thoughts on Various 
 Subjects," 1726, — "Query, Whether churches are not dormitories 
 of the living as well as of the dead ? " Goldsmith also touches on 
 this regrettable infirmity of human nature (" Citizen of the World,"' 
 Letter xli.).
 
 T HE S L 1 •: E P I N G C (3 N G R E G A T I O N . 
 
 From Hogartli^s Engraving.
 
 HISTORY-PICTURES AND MINOR PRINTS. 69 
 
 advertised as finished early in 1738. Nothing of 
 any importance is recorded for the previous year, 
 save a very characteristic letter which he addressed, 
 over the signature of" Britophil," to the " St. James's 
 Evening Post," of June 7-9, 1737, in defence of Sir 
 James Thornhill, upon whose paintings at Green- 
 wich certain aspersions had been cast by another 
 journal.^ We take it from Nichols, who professes to 
 have " correctly transcribed " it (" Genuine Works," 
 i. 97-102). After commenting upon the criticism 
 which condemns an entire work because of some 
 minor and quite subordinate defect (a kind of ap- 
 praisement, by the way, not wholly extinct even in 
 these days), the writer proceeds to a vigorous attack 
 upon his favourite enemies, the "picture-dealers": — 
 " There is another set of gentry more noxious to 
 the Art than these, and those are your picture- 
 jobbers from abroad,^ who are always ready to raise 
 a great cry in the prints whenever they think their 
 craft is in danger ; and indeed it is their interest to 
 depreciate every English work, as hurtful to their 
 trade, of continually importing ship-loads of dead 
 Christs, Holy Families, Madona's [sic], and other 
 dismal dark subjects, neither entertaining nor orna- 
 mental ; on which they scrawl the terrible cramp 
 
 1 The authority for attributing this letter to Hogarth is the 
 *' London Magazine," which, reprinting it from the "Post," 
 declared it to be " by the first Painter in England, perhaps in the 
 World, in his way." -.. r 
 
 ^ " An abuse grown to such a height, that the'^Legislature has 
 endeavoured to put a stop to it, by laying a duty on the importa- 
 tion of foreign pictures." — (Hogarth's note.)
 
 70 MEMOIR. 
 
 names of some Italian masters, and fix on us poor 
 Englishmen the character of universal dupes. If a 
 man, naturally a judge of Painting, not bigoted to 
 those empirics, should cast his eye on one of their 
 sham virtuoso-pieces, he would be very apt to say, 
 ' Mr. Bubbleman, that grand Venus (as you are 
 pleased to call it) has not beauty enough for the 
 character of an English cook-maid.' Upon which 
 the quack answers with a confident air, ' O Lord, 
 Sir, I find that you are no connoisseur — that picture, 
 I assure you, is in Alesso Baldovinetto's second and 
 best manner, boldly painted, and truely \sic'\ sublime ; 
 the contour gracious ; the air of the head in the high 
 Greek taste, and a most divine idea it is.' Then 
 spitting on an obscure place, and rubbing it with a 
 dirty handkerchief, takes a skip to the other end of 
 the room, and screams out in raptures, ' There is an 
 amazing touch ! a man should have this picture a 
 twelve-month in his collection before he can disco- 
 ver half its beauties.' The gentleman (though 
 naturally a judge of what is beautiful, yet ashamed 
 to be out of the fashion in judging for himself) with, 
 this cant is struck dumb, gives a vast sum for the. 
 picture, very modestly confesses he is indeed quite 
 ignorant of Painting, and bestows a frame worth 
 fifty pounds on a frightful thing, without the hard 
 name on it not worth as many farthings."^ 
 
 ^ ^'' E g. A monstrous Venus at Kensington, valued at a thou- 
 sand pounds, said to be painted by Michael Angelo di Buonarotti 
 or Jacomo di Pontermo, or Sebastiano del Piambo" {sic). — 
 (Hogarth's note.)
 
 HISTORY-PICTURES AND MINOR PRINTS. 7 1 
 
 We have quoted this passage because it shows 
 that, notwithstanding the sneers cast at the painter's 
 education, he could write graphically and with 
 vitrour when his feelings were aroused. If his sketch 
 be not worthy of the immortal genius who defined 
 connoisseurship as consisting in the assertion that 
 the picture might have been better if the painter 
 had taken more pains, and in praising the works of 
 Pietro Perugino — if it be not worthy of Oliver Gold- 
 smith, it might well have come from the pen of him 
 who drew that painter Pallet whom Peregrine Pickle 
 met in the Palais Royal at Paris. It would do no dis- 
 honour to Smollett. No doubt HoQfarth's inimical 
 critic, George Steevens, would probably hint that 
 the letter was "corrected" by Hoadly or Ralph; 
 but, in the absence of any such insinuation, we may at 
 least concede (with John Ireland) that it "carries in- 
 ternal evidence of his mind." It will help us to under- 
 stand the pictures on the walls in Plate I. oi Marriage 
 A -la- Mode, and the future story of Sigismtmda. 
 
 The engravings of t^he Foiir Times of the Day 
 are dated March 25th, 1738. They represent three 
 scenes in London and one at Islington ; and the 
 pictures, as already stated in Chapter II., were origi- 
 nally designed for Mr. Jonathan Tyers of Vauxhall. 
 If only as illustrations of the time, they are extremely 
 interesting. The first plate shows us Covent Garden 
 at early morning on a winter's day, with a disor- 
 derly company coming out of " Tom King's Coffee 
 House ;"^ the second, a congregation issuing at 
 
 ' "What rake is ignorant of King's Coffee-house?" — asks
 
 ^* 
 
 72 MEMOIR. 
 
 noon, on Sunday, from the French chapel in Hog 
 Lane, St. Giles's (now Crown Street) ; the third, a 
 citizen and his wife returning from Sadler's Wells on 
 a sultry summer's evening ; and the fourth, the 
 neighbourhood of Charing Cross at night, on " Re- 
 storation Day," with the " Salisbury Flying Coach " 
 upset in the middle of a bonfire. The last is the 
 worst of the series, the second is the best ; but all 
 are filled with a multiplicity of detail that deserves 
 careful study. The uproarious misery of the lad in 
 Noon, who has broken his pie-dish by resting it too 
 heavily upon a post, and the delightful coxcombry of 
 the Frenchman in his ailes -de-pigeon and solitaire, the 
 much-enduring dyer and his melting wife in Evening, 
 and the drunken freemason in Night, are excellent. 
 But the cream of the characters represented is cer- 
 tainly the censorious prude in the first scene with 
 her lank-haired and shivering footboy. She is said 
 to have been an aunt of the painter, who, like 
 Churchill, lost a legacy by too inconsiderate a frank- 
 ness. Fielding borrowed her lineaments for the por- 
 
 Fielding in his " Covent Garden Tragedy" of 1732, and he refers 
 to it again four years later in " Pasquin," where his "comic poet" 
 is arrested as he leaves this disreputable resort. It stood, 
 according to J. R. Smith, opposite to Tavistock Row, and not in 
 front of the church, where, by artistic licence, Hogarth has 
 placed it. Of Moll King, its proprietor at the date of this 
 chapter, and a successful rival of the Needhams and Bentleys of 
 her epoch, Mr. Edward Draper, of Vincent Square, Westminster, 
 has a remarkable portrait, ascribed on good authority to Hogarth. 
 In this she appears as a bold, handsome, gipsy-looking woman, 
 holding a cat in her lap. She died in retirement at Hampstead, 
 September 17, 1747.
 
 ^lo-yriy cyCoa^vi/:^ Cy^na^ia/i^t-nq^.
 
 HISTORY-PICTURES AND MINOR PRINTS. 73 
 
 trait of Miss Bridget All worthy, and Thackeray has 
 copied her wintry figure for one of the initials to 
 the " Roundabout Papers." To her, too, Cowper, 
 whose early satires bear unmistakable traces of close 
 familiarity with Hogarth, has consecrated an entire 
 passage of " Truth " : — 
 
 " Yon ancient prude, whose wither'd features show 
 
 She might be young some forty years ago, 
 
 Her elbows pinioned close upon her hips. 
 
 Her head erect, her fan upon her lips, 
 
 Her eyebrows arched, her eyes both gone astray 
 
 To watch yon amorous couple in their play, 
 
 With bony and unkerchief'd neck defies 
 
 The rude inclemency of wintry skies, 
 
 And sails with lappet head and mincing airs 
 
 Duly at clink of bell to morning prayers. 
 
 To thrift and parsimony much inclined, 
 
 She yet allows herself that boy behind ; 
 
 The shivering urchin, bending as he goes, 
 
 With slipshod heels and dewdrop at his nose. 
 
 His predecessor's coat advanced to wear, 
 
 Which future pages yet are doom'd to share, 
 
 Carries her Bible tuck'd beneath his arm. 
 
 And hides his hands to keep his fingers warm." 
 
 One of the results brought about by the bitter per- 
 sonalities of Fielding's " Pasquin " and of its successor 
 the " Historical Register," was the passing of that 
 " Act against Strolling Players," which, among other 
 things, made it penal to represent plays out of the 
 city and liberties of Westminster for hire, gain, or 
 reward. This gave rise to the excellent print which 
 Hogarth issued with the Four Times of the Day, viz.. 
 Strolling Acti'esses Dressing iit a Barn. The play to 
 be represented is " The Devil to pay in Heaven," a
 
 74 MEMOIR. 
 
 piece which will be vainly sought for in the " Play- 
 House Companions" of the period. It is, however, 
 aptly enough symbolized by the plate itself — surely 
 the most laughable assemblage of vaulting preten- 
 sions and creeping commonplaces that were ever 
 combined together. In the centre Diana, not much 
 more closely clad than Shakespeare's "chariest maid," 
 " If she unmask her beauty to the moon," 
 
 recites (and probably rants) her part. Near to her 
 Flora is tallowing her hair, while Night (a negress) 
 darns a hole in Juno's stocking.^ Jupiter, " rtLbente 
 dextra',' is peaceably superintending the removal by 
 Cupid of some stockings from the pasteboard cloud 
 upon which they have been hung to dry. Gany- 
 mede, a Siren, and Aurora are engaged in mutual 
 civilities ; the eagle is feeding her baby with a 
 spoon ; the Witch clips a cat's tail to get blood for 
 scenic purposes, and two boy-devils — their foreheads 
 budding with their first horns — are fighting at an 
 altar for a pot of beer. The plate is crowded with 
 
 ' LesUe specially draws attention to " the exquisite prettiness of 
 this lady," and cites her — with the handsome drummeress of 6b«//^- 
 wark Fair and the country girl who, in the same plate, is wonder- 
 ing at the prize-fighter — as an instance of that sense of beauty 
 which (as Coleridge observes) was never extinguished in Hogarth 
 by the satirist. " I know not any painter (says Leslie) in whose 
 works so many extremely pretty female faces are to be found ; and 
 though they are often given to negative characters, yet he could 
 combine great beauty and delicacy of feature with utter physiog- 
 nomical depravity, as in some of the women in the third plate 
 of The Rake's Progress''^ ("Handbook for Young Painters," 
 1855, 123-5). See also Coleridge's "Friend," Dec. 7, 1809, 
 No. 16.
 
 HISTORY- PICTURES AND MINOR PRINTS. 75 
 
 minute strokes of humour — such as the fowls roost- 
 ing upon the waves, the crown jewels in a hamper, the 
 kittens sporting with the orb, the plays in the bishop's 
 mitre ; but the mere catalogue of them would be 
 lengthy. The worst fault of the design is that it 
 has no definite central interest, although we may 
 agree with Walpole that " for wit and imagination 
 witJiout any ot/ie?^ end" (the italics are ours) it is " the 
 best of all his works." To the original picture, 
 however, it is now impossible to appeal, as it was 
 unhappily burnt at Littleton in 1874. 
 
 In the establishment of the Foundling Hospital, 
 for which a Royal Charter was granted in 1739, 
 Hosfarth seems to have taken a orenuine interest. 
 It was the object of Captain Coram, the patient 
 philanthropist with whom the scheme originated, to 
 provide some asylum for those deserted infants who, 
 under the callous Poor Laws of the day, were too 
 often committed to the tender mercies of the street. 
 That such refuges are of doubtful expediency, and 
 are even open to serious abuses, are now recognized 
 facts ; facts, moreover, that were amply illustrated 
 by the after history of the Foundling itself, which 
 has long since judiciously revised its original pro- 
 gramme. But when the plan was first ventilated, 
 charities were in the air, and the plausible benevolence 
 of its purpose found many enthusiastic supporters, 
 among the foremost of whom was Hogarth. He 
 figures in the Charter as " a Governor and Guardian ;" 
 he was an active member at the meetings of the 
 Institution ; and he aided it with his money, his
 
 76 MEMOIR. 
 
 graver, and his brush. The Httle print known as 
 The Foundlings (the plate of which is still in the 
 custody of the Governors) was prepared by him as a 
 headpiece to a Power of Attorney for collecting 
 subscriptions ; he designed the heraldic shield placed 
 over the door of the hospital's first home in Hatton 
 Garden ; and, lastly, by presenting it, in May, 1 740, 
 with an admirable full-length of its brave old founder, 
 he initiated its embellishment by works of art. 
 
 He himself considered Captain Coram the best of 
 his single portraits, and the judgment of posterity 
 has ratified his opinion. " The portrait which I 
 painted with most pleasure (says he), 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 some- 
 what strange that this, which was one of the first I 
 painted the size of life, should stand the test of 
 twenty years' competition, and be generally thought 
 the best portrait in the place, notwithstanding the 
 first painters in the kingdom exerted all their talents 
 to vie with it." ^ The rivals indicated were Hudson, 
 Shackleton, Reynolds (then plain Mr.), Cotes, Ram- 
 say (the poet's son), Highmore, and Wilson. But 
 the great genius of Sir Joshua had not attained its 
 majority in the portrait of Lord Dartmouth, to which 
 reference is made ; and it must be admitted that the 
 picture of Coram stands a successful comparison 
 with any of the remaining portraits in the Foundling. 
 
 ' " Hogarth Illustrated," iii. 51.
 
 JjaJi-/ZU'/o y/u>/n>u fyiyia/Hy.
 
 HISTORY-PICTURES AND MINOR PRINTS. "]"] 
 
 Excellent as is Nutter's copy, it gives no idea of the 
 superb colouring and masterly qualities of the original 
 painting. 
 
 As may be gathered from the foregoing reference 
 to rival performances, other artists in due time 
 followed Hogarth's example, by contributing, or 
 promising to contribute, works to the institution. 
 When, in December, 1 746, the west wing was com- 
 pleted, all those who had assisted in this manner 
 were, at a general Court of the Hospital, elected 
 Governors, with power to meet once a year for the 
 purpose of considering " what further ornaments 
 could be added to the building without expense to 
 the charity." An immediate, if not an indispensable, 
 consequence of this arrangement was an annual 
 dinner on the 5th November, at which, regarding 
 " Liberty as the Parent and Friend of the Fine 
 Arts," the assembled painters were accustomed to 
 commemorate the landing of William the Third, 
 using for their pious libations a fine old white and 
 blue dragon-china punch-bowl, generally described 
 as Hogarth's, which is still carefully preserved in 
 one of the case^— of the Court-room.^ But a more 
 practical result of the appointment of the Artist- 
 Governors, was the ultimate formation of that remark- 
 able collection of works of art which " made a visit 
 to the Foundling the most fashionable lounge of the 
 reign of George H.," and, by a succession of circum- 
 stances, the record of which scarcely belongs to these 
 
 ^ A copy of this punch-bowl is given in the initial to Chapter I..
 
 78 MEMOIR. 
 
 pages, indirectly, but not the less surely, brought 
 about the establishment of the Royal Academy/ 
 
 To return to the succession of eno-ravines. In 
 1738 Hogarth prepared a set of plates for an 
 edition of Don Qtnxote. His Maritornes is better 
 than his Don (who is the grotesque of the old 
 renderino^s, and not the demented orentleman of the 
 modern versions) ; but like the bulk of his illustra- 
 tions to books, none of these efforts has any 
 especial value. The hard frost of 1739-40, which 
 stimulated so many delineations of " Ice- Fairs" and 
 the like, appears to have passed by him unnoticed. 
 But to the years 1740 and 1741 belong two delightful 
 single plates, the Disti^essed Poet and the Enraged 
 Mtisician. The former of these, it is true, had been 
 first issued as far back as 1 736, but it was republished 
 with variations in 1 740, and was followed a year 
 later by the Enraged Musician, with which it is con- 
 venient to treat it. From an advertisement in the 
 "London Daily Post," for November 24th, 1740, 
 the artist appears to have contemplated a " third on 
 Painting," but although there is reason to believe 
 that a sketch in oils was completed, it was, for some 
 unexplained reason, never engraved.^ 
 
 ^ To complete the record of Hogarth's connection with the 
 Foundhng Hospital, it may here be added that his patronage of 
 the institution took the practical form of maintaining at his own ex- 
 pense some of the children, who, in accordance with custom, were 
 put out to nurse. In a case in the Court-room is still to be seen 
 his discharged account for the keep, etc., at Chiswick, of two 
 little girls, Susan Wyndham and Mary Woolaston, who, at his 
 death, were sent back to the Hospital by his widow. 
 
 " See " Gazette des Beaux Arts," xxv. 209.
 
 'v: 
 
 o J2 
 
 
 
 i*.
 
 HISTORY-PICTURES AND MINOR PRINTS. 79 
 
 Was Oliver Goldsmith thinkinor of the Distressed 
 Poet when, in August, 1758, he described himself to 
 his friend Bob Bryanton as " in a garret writing for 
 bread, and expecting to be dunned for a milk score " ? 
 Except that the milkmaid has already arrived, and 
 is angrily exhibiting her tally, this is the precise 
 status quo of Hogarth's print. The poor verseman, 
 high in his Drury Lane or "Porridge Island" sky- 
 parlour, has risen by candlelight to finish a poem 
 on " Riches " for some contemporary Curll. He is 
 exactly in the case of Cowper's bard — 
 
 " Who having whelp'd a prologue with much pains, 
 Feels himself spent, and fumbles for his brains." 
 
 Neither the map of the " Gold Mines of Peru" nor 
 " all his books around " — a magnificent total of three,^ 
 the " Grub Street Journal " on the floor not included 
 — can help him at his need. Meanwhile his voci- 
 ferous creditor (with the Michaelmas daisies round 
 her hat) clamours for the score ; a dog, which has 
 entered with her, steals the meagre meal ; the cup- 
 board is bare, and the wind whistles " throuofh the 
 
 ' We are describing the impression of 1740. That of Mar. 3, 
 1 736, has under it the four following lines from Pope's " Dunciad," 
 1735, i. 111-14, which may have suggested the design : — 
 
 " Studious he sate, with all his books around, 
 Sinking, from thought to thought, a vast profund \_sic\ ! 
 Plung'd for his sense, but found no bottom there, 
 Then writ, and flounder'd on, in mere despair." 
 
 Instead of a poem on " Riches," he is writing on " Poverty," and 
 instead of the " Mines of Peru," there is a print of Pope thrashing 
 Curll. There are also two more books.
 
 8o MEMOIR. 
 
 broken pane/' ^ He has a consolation, however, 
 that poor Goldsmith lacked through life, one of the 
 sweetest female companions that Hogarth ever 
 drew. She is the ancestress of Thackeray's "Mrs. 
 Shandon," this patient, conciliatory lady, who gazes 
 so mildly and so helplessly at the long array of chalk- 
 marks. And (O bathos ! O " most lame and im- 
 potent conclusion ! " ) she is darning her shivering 
 spouse's small-clothes, while the cat and kittens 
 nestle familiarly on his bardship's coat." 
 
 More crowded with incident, but not nearly so 
 suggestive, is \}i\^ Enraged Musician. It is simply 
 a nc plus ultra of discord. Cats wrangle on the 
 tiles, a dog howls dismally, bells ring in St. Martin's 
 steeple, a farrier winds his horn, and a sweep 
 shrills eerily from a chimney-pot. Below, a hand- 
 some milkmaid cries her ware, a dustman bawls 
 " Dust ho ! " a costermonger yells " Flound-a-a-rs ;" 
 while a knife-grinder, a ballad-woman singing the 
 " Lady's Fall," a wretched oboe-player, well known 
 to the Londoners of that day, an amateur drummer, 
 and an escaped parrot swell the orchestra. And all 
 this cacophony for the benefit of the befrogged, and 
 
 ^ The shield-like object over the mantle-shelf is one of the 
 criues of the commentator. We are inclined to think with Mr. 
 F. G. Stephens ("Satirical Prints," iii. 213) that it is a group of 
 circular mirrors. These were made of watch glasses, and are still 
 to be found occasionally in old furniture shops. 
 
 ■^ " The poet's wife is perhaps the most loveable figure that 
 ever Hogarth drew ; while the milk-woman has as little milkiness 
 about her as if she had been suckled on blue ruin and brimstone" 
 (Hartley Coleridge, "Essays and Marginalia," 1851, ii. 217).
 
 HISTORY-PICTURES AND MINOR PRINTS. 8 1 
 
 of course foreign, violinist, who glares infuriate, and 
 
 with Stopped ears, from his (or, rather, Hogarth's 
 
 friend Muggins's) open window. The picture, as 
 
 Fielding said in his " Voyage to Lisbon," is " enough 
 
 to make a man deaf to look at." 
 
 Besides the Enraged Musician and the Distrest 
 
 Poet, the only other works of this period which need 
 
 be chronicled are a painting and a pair of portraits. 
 
 Of the latter, one was the likeness of Martin Folkes, 
 
 a mathematician, an antiquary, and a vice-president 
 
 of the Foundling. The other was a moderately 
 
 successful likeness of that full-blown and prosperous 
 
 prelate. Dr. Benjamin Hoadly, Bishop of Winchester, 
 
 whose copious paragraphs Pope, mindful of His 
 
 Grace's Hanoverian propensities, had satirized in the 
 
 " Swift, for closer style, 
 And Hoadly for a period of a mile," 
 
 of the second imitation of Donne. Hogarth was 
 
 intimate with the Bishop's family, and often visited 
 
 at the old two-storeyed Palace at Chelsea, which 
 
 once stood at the bottom of Oakley Street ; and 
 
 here, when the building was demolished in 1825, 
 
 was found a mural drawing of nine figures, affirmed 
 
 by enthusiasts to be unmistakably Hogarthian.^ 
 
 Benjamin Hoadly, M.D., the Bishop's eldest son, 
 
 and the author of the clever comedy of " The 
 
 Suspicious Husband," is said to have been one of the 
 
 numerous editors of the " Analysis of Beauty ;" " and 
 
 ^ They were copied in 1826 by Miss E. Gulston, and afterwards, 
 on two plates, by W. J. Smith. 
 
 ^ Hogarth painted his portrait. See Part II., " Catalogue of 
 Paintings," 1740. 
 
 G
 
 82 MEMOIR. 
 
 John, a clergyman, supplied the verses to the Rakes 
 Progress. John Ireland (" Hogarth Illustrated," 
 iii. 6i) prints a letter from this latter about the re- 
 touching of his father's portrait. " My love to him 
 [the Bishop]," he writes, " and desire him, when his 
 wife says he looks charmingly, to drive immediately 
 to Leicester Fields (Square, I mean, I beg your 
 pardon), and sit an hour or two, or three, in your 
 painting-room." The letter is not dated, but the 
 extract indicates that, at all events before the 
 Bishop's death in 1761, Leicester Fields was still a 
 little nervously insecure in its status as a square. 
 
 Taste in High Life, the painting, is one of the 
 most popular of Hogarth's occasional pieces, although 
 with himself it was never a favourite, no doubt be- 
 cause it was executed to order. A certain opulent 
 and eccentric Miss Edwardes, of Kensington, de- 
 signing to revenge herself upon the unfriendly critics 
 of her own emphatically original costume, com- 
 missioned Hogarth, for sixty guineas, to ridicule the 
 reigning fashions in 1742. This he did by exhibiting 
 an elderly lady wearing a sacque covered by mon- 
 strous full-blown roses and expanded by a huge hoop, 
 in a transport of affected admiration with an equally 
 fantastic old beau (Lord Portmore) over a tiny cup and 
 saucer. Another lady, a black boy, and a monkey make 
 up the group, and the furniture and other accessories 
 minutely satirize the contemporary craze for gim- 
 cracks, exotics, dancers, pets, and so forth. These 
 can scarcely be enumerated here, and the same note 
 is, moreover, struck with equal skill in MariHage
 
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 HISTORY-PICTURES AND MINOR PRINTS. 83 
 
 A-la-Mode. A surreptitious print from the picture 
 was published in May, 1 746, by Jarvis of Bedford- 
 court ; ^ but it was not elaborately engraved until 
 long after Hogarth's death. 
 
 Although by this time popular with the public 
 through the medium of the print-shops, Hogarth had 
 not yet succeeded in conquering the prejudices of the 
 picture-buyers. The majority of his more important 
 paintings still remained on his hands. At the 
 beginning of 1745 — to stray a few months beyond 
 the limits of this chapter — he advertised several of 
 them for sale by a species of auction. As usual, his 
 mode of procedure was entirely original. 
 
 " The biddings " [we quote from Nichols, ** Genuine 
 Works," i. 117] "were to remain open from the first 
 to the last day of February, on these conditions : 
 ' I. That every bidder shall have an entire leaf 
 numbered in the book of sale, on the top of which 
 will be entered the name and place of abode, the 
 sum paid by him, the time when, and for which 
 picture. 2. That, on the last day of sale, a clock 
 (striking every five minutes) shall be placed in the 
 room ; and when it hath struck five minutes after 
 twelve, the first picture mentioned in the sale-book 
 will be deemed as sold ; the second picture when 
 the clock hath struck the next five minutes after 
 twelve ; and so on successively till the whole nine- 
 teen pictures are sold. 3. That none advance less 
 than gold at each bidding. 4. No person to bid on 
 the last day, except those whose names were before 
 ^ "General Advertiser," 24 May, 1746.
 
 84 MEMOIR. 
 
 entered in the book. — As Mr. Hogarth's room is 
 but small, he begs the favour that no persons, except 
 those whose names are entered in the book, will 
 come to view his Paintings on the last day of sale.' 
 The pictures were sold for the following prices : — 
 
 £ s. d. 
 
 Six Harlots Progress, at 14 gs. each Z% 4 o 
 
 Eight Rakes Progress^ at 22 gs. each 184 16 o 
 
 Morning, 20 gs 2100 
 
 Noon, 37 gs 38 17 o 
 
 Evening, 38 gs 39 18 o 
 
 Night, 26 gs 2760 
 
 Strolling Players, 26 gs 27 6 o 
 
 £\^1 7 o 
 
 The ticket of admission to this auction was the 
 
 etching, probably suggested by Swift's " Battle of 
 
 the Books," entitled the Battle of the Pictures. It 
 
 ( depicts a spirited, though unequal, contest between 
 
 /the forces of the Black Masters on the one hand 
 
 ")and the canvasses of Hogarth on the other. Under 
 
 a standard emblazoned with an auctioneer's hammer, 
 
 long ranks of spurious replicas of the Rape of 
 
 Etiropa, Apollo flayi?tg Marsyas, and the like, are 
 
 drawn up in front of a sale-room, the weathercock 
 
 of which is ornamented, in place of the usual signs,. 
 
 with the letters P, V, F, S (puffs). In the air the 
 
 champions are already engaging. Sallying forth 
 
 from Hogarth's studio to the right, the Tavern 
 
 Scene in the Rakes Progress cleaves its way gaily
 
 HISTORY-PICTURES AND MINOR PRINTS. 85 
 
 through Titian's Feast of Olympus, while the Mid- 
 night Modern Conversation . makes a breach in a 
 bacchanahan procession by Rubens. Below, a 
 kneeling Magdalen gives a vicious downward dig 
 to the Harlot's Progress (Picture III.), and a St. 
 Francis, also absorbed in his devotions, contrives not 
 less irreparably to injure the starched Prude of the 
 Four Times of the Day. Even in the inscription on 
 this ticket, there is a touch of that half-ironic, half 
 defiant tone which is never entirely absent from the 
 painter's public utterances : — " The Bearer hereof is 
 entitled (if he thinks proper,) to be a Bidder for 
 Mr. HogartJis Pictures, which are to be sold on the 
 Last Day of this Month!' The prices realized 
 were of course wholly inadequate ; but it must be 
 borne in mind that the method of sale was peculiar, 
 and little calculated to attract or conciliate the 
 limited public of purchasers. 
 
 HOGARTH'S INVITATION TO DR. KING.
 
 CHAPTER V. 
 
 Marriage A-la-Mode. 
 
 HE auction with which the last chapter 
 conchided took place at the " Golden 
 Head" in February, 1745, when the 
 six paintings of Mar^riage A -la-Mode 
 were also announced for sale, " as soon as the Plates 
 then taking from them should be completed." A 
 hint of the new series had already been given in the 
 Battle of the Pictures, where the second scene, still 
 inoffensively reposing upon the easel, is wantonly as- 
 saulted by a copy of the Aldobrandini Marriage. 
 In April following the set of engravings was issued, 
 the subscription ticket being the etching of heads 
 known as Characters and Caricatttras. Plates I. and 
 VI. were engraved by Scotin, Plates II. and III. by 
 Baron, and Plates IV. and V. by Ravenet. Exactly 
 two years earlier, Hogarth had heralded them by 
 the following notification in the " London Daily 
 Post, and General Advertiser" of April 2nd, 1743 : 
 — " Mr. Hogarth intends to publish by Subscription,
 
 MARRIAGE A-LA-MODE. 87 
 
 Six Prints from Copper-Plates, engrav'd by the 
 best Masters in Paris, after his own Paintings ; 
 representing a Variety of Modeini Occurrences in 
 High- Life, and called Marriage a-la-Mode. Par- 
 ticular Care will be taken, that there may not be the 
 least Objection to the Decency or Elegancy of the 
 whole Work, and that none of the Characters repre- 
 sented shall be personal."^ Then follow the terms 
 of subscription. The last quoted lines were prob- 
 ably a bark at some forgotten detraction, and if 
 not actually ironical, doubtless about as sincere as 
 Fielding's promise, in the Prologue to his first 
 comedy, not to offend the ladies. Those who had 
 found inelegancy and indecency in the previous 
 productions of the painter, would still discover the 
 same defects in the masterpiece he now submitted 
 to the public. And although it may be said that 
 the "characters" represented are not "personal" in 
 a satirical sense, his precautions, as he himself tells 
 us, " did not prevent a likeness being found for 
 each head, for a general character will always bear 
 some resemblance to a particular one."^ 
 
 But what, no doubt, interested his critical contem- 
 poraries even more than these preliminary protesta- 
 
 ^ To the advertisement of April 4th and subsequent issues was 
 added: — "The Heads for the better Preservation of the Charac- 
 ters and Expressions to be done by the Author ;" and John Ireland 
 accordingly finds traces of Hogarth's burin in the faces of the 
 Citizen and Peer, Plate I. second state (" Hogarth Illustrated," 
 iii. 343)- 
 
 " " Hogarth Illustrated," iii. 343. See also Characters and 
 Caricaturas in Part II., Catalogue of Prints.
 
 88 MEMOIR. 
 
 tions, was the painter's promise to represent, in his 
 new work, " a variety of modern occurrences in high- 
 Hfe." Here, it may be admitted, was a proposition 
 which certainly savoured of temerity. What could 
 one whose pencil had scarcely travelled beyond the 
 limits of St. Giles's, know of the inner secrets of 
 St. James's ? A Hervey or a Beauclerk, or even a 
 Fielding, might have sufficed ; but a Hogarth of 
 Leicester Fields, whose only pretence to distinction 
 (as High Life conceives it) was that he had run 
 away with Thornhill's handsome daughter, — what 
 special title had he to depict that charmed region 
 of cards and folly, ringed with its long-resound- 
 ing knockers, and flambeau-carrying footmen ! This 
 was, however, to reckon without genius, which over- 
 leaps loftier barriers than these. It is true that the 
 English Novel of Manners, which has since stimulated 
 so many artists, had only just made its appearance; 
 and "Pamela" and "Joseph Andrews" butfalteringly 
 foreshadowed "Clarissa" and "Tom Jones." Yet 
 there is nothing iiLjJie story of Mama£e_A 4a-M ode 
 which was beyond the powers of a spectator ab extra^ 
 always provided he were fairly acquaintedwith the 
 Modelys and Wildairs of the stage, and_the_satires 
 of Johnson and Pope. The plot, like that of all 
 masterpieces, is extremely simple. An impoverished 
 nobleman who marries his son to a rich citizen's 
 daughter ; a husband who, pursuing his own equivocal 
 pleasures, resigns his wife to the temptations of op- 
 portunity ; a foregone sequel and a tragic issue : — 
 this material is of the oldest, and could make but
 
 MARRIAGE A-LA-MODE. 89 
 
 slender claim to originality/ Submitted to Colman or 
 Garrick as xh.Q.^cenar20 of a play for Yates and Mrs. 
 Woffington, it would probably have been rejected as 
 pitifully threadbare. Yet combined and developed 
 under the brush of Hogarth, set in an atmosphere 
 that makes it as vivid as nature itself, decorated with 
 surprising fidelity, and enlivened by all the resources 
 of the keenest humour, it passes out of the line of 
 mere transcripts of life, and retaining the merits of 
 the specific and particular, becomes a representative 
 and typical work, as articulate to-day, as direct and 
 unhesitating in its teaching, as it was when it was 
 first offered to the world. 
 
 How well-preserved, even now, these wonderful 
 pictures are! It would almost seem as if Time, un- 
 reasoning in his anofer, had determined to ignore in 
 every way the audacious artist who treated him with 
 such persistent indignity. Look at them in the 
 National Gallery. Look, too, at the cracks and 
 fissures in the Wilkies — the soiled rainbows of 
 Turner, — the bituminous riding-habit of Lady Douro 
 in Sir Edwin's Story of Waterloo. But these paint- 
 ings of William Hog"arth are well nio-h as fresh to- 
 
 '\ ^ Mr. John Forster (" Life of Swift," i. 453) asserts that Hogarth 
 ; had in mind the case of Mr. John Sayer, who, in January, 17 13, 
 was stabbed by one Noble, an attorney, whom he had surprised 
 in company with Mrs. Sayer at a house in the Mint. Noble, who 
 is referred to in Swift's " Journal to Stella," was subsequently 
 hanged. This story, which *is to be found in Howell's "State 
 Trials," xv. 731-62, has been examined by the present writer in 
 "Notes and Queries" for Ap. 3, 1880, with a view to show that 
 there is little reason for supposing that Hogarth was indebted to 
 it. Mr. Forster gives no authority for his statement.
 
 90 MEMOIR. 
 
 day as when, new from the easel, they found their 
 fortunate purchaser in Mr. Lane of HiUingdon. 
 They are not worked Hke a Denner, it is true, and 
 the artist is often less solicitous about his method 
 than about the result of it ; yet they are soundly, 
 straightforwardly, and skilfully executed. Lady 
 Bingley's red hair, Carestini's nostril, are shown in 
 the simplest and directest manner. Everywhere 
 the desired effect is exactly produced, and without 
 effort. Take, as an illustration, the inkstand in the first 
 scene, with its bell and sand-caster. In these days 
 it would be a patient trompe-Vceil, probably better 
 done than the figures using it. Here it is merely 
 indicated, not elaborated ; it holds its exact place as 
 a piece of furniture, and nothing more. And at this 
 point it may be observed that if in the ensuing de- 
 scriptions we should speak of colour, the reader will 
 remember we are describing, not the performances 
 of Messrs. Ravenet and the rest, but Hogarth's 
 original pictures at Trafalgar Square. It is the more 
 necessary to bear this in mind, because, besides 
 being reversed, the paintings frequently differ in 
 detail from the engravings.^ 
 
 The first of the series represents the signing of the 
 marriage contract. The scene, as the artist is careful 
 to signify by the ostentatious coronets on the furni- 
 
 ^ The coronet on the flank of the dog in Plate I., for example^ 
 is confined to the print. Excellent photogravures of the six 
 paintings (and the superiority of the paintings to the engravings 
 in this case is incontestable) are to be found in Ward's " English 
 Art in the Public Galleries," 1887, Part I.
 
 MARRIAGE A-LA-MODE. 9 1 
 
 ture and accessories (they are to be discerned even 
 on the crutches), is laid in the house of an earl, who, 
 with his gouty foot swathed in flannels, seems with a 
 superb — if somewhat stiff-jointed — dignity to be 
 addressing certain pompous observations respecting 
 himself and his pedigree (dating from William the 
 Conqueror) to a sober-looking personage opposite, 
 who, horn-spectacles on nose, is peering at the 
 endorsement of the " Marriage Settlem* of the R' 
 Hon'"^ Lord Viscount ['Squanderfield]." This 
 second hgure, which is that of a London merchant, 
 with its turned-in toes, the point of the sword-sheath 
 between the legs, and the awkward constraint of its 
 attitude, forms an admirable contrast to the other. A 
 massive Qrold chain denotes the wearer to be an 
 alderman. Between the two is a third person, per- 
 haps the merchant's confidential clerk or cashier, 
 who holds out a " Morto-aore" to the Earl. Gold and 
 notes lie upon the table, where are also an inkstand, 
 sealing-wax, and a lighted candle in which a " thief" 
 is conspicuous. At the back of this trio is the be- 
 trothed couple — the earl's son and the alderman's 
 daughter. It is in fact an alliance oi sacs et pavche- 
 mins, in which the young people are rather involved 
 than interested. The lady, who looks young and 
 pretty in her bridal-dress, wears a mingled expression 
 of maiLvaise honte and distaste for her position, and 
 trifles with the ring, which she has strung upon her 
 handkerchief, while a brisk and well-built young 
 lawyer, who trims a pen, bends towards her with a 
 ^ The name is added in the print.
 
 92 MEMOIR. 
 
 whispered compliment. Meantime the Viscount — a 
 frail, effeminate-looking figure, holding an open snuff- 
 box, from which he affectedly lifts a pinch — turns 
 from his fiancie with a smirk of complacent foppery 
 towards a pier-glass at his side. His wide-cuffed coat 
 is light-blue, his vest is loaded with embroidery. He 
 wears an enormous solitaire^ and has high red heels 
 to his shoes. Before him, in happy parody of the 
 ill-matched pair, are two dogs in coupling-links : — the 
 bitch sits up, alert and curious, her companion is 
 lying down. The only other figure is that of an old 
 lawyer, who, with a plan in his hand, and a gesture 
 of contempt or wonder, looks through an open 
 window at an ill-designed and partly-erected building, 
 in front of which several idle servants are lounging or 
 sitting. Like Pope's " Visto," the Earl has " a taste," 
 and his taste, interrupted for the moment by lack of 
 funds, is the ruinous one of bricks and mortar. 
 
 The pictures on the wall exemplify and satirize the 
 fashion of the time. The largest is a portrait in the 
 French style of one of the earl's ancestors, who tra- 
 verses the canvas triumphantly. A cannon explodes 
 below him, a comet is seen above ; and in his right 
 hand, notwithstanding his cuirass and voluminous 
 Queen-Anne peruke, he brandishes the thunderbolt 
 of Jupiter. Judith mid Holof ernes. St. Sebastian, The 
 Murder of Abel, David and Goliath., The Martyrdom 
 of St. Laurence, are some of the rest, all of which, it 
 is perhaps needless to note, belong to those " dismal 
 dark subjects, neither entertaining nor ornamental," 
 against which we have already heard the painter
 
 MARRIAGE A-LA-MODE. 93 
 
 inveigh. Upon the ceiHng, with a nice sense of 
 decorative fitness, is Phai^aoh in the Red Sea. 
 From a sconce at the side, a Gorgon surveys the 
 proceedings with astonishment. Hogarth has used 
 a similar idea in the Strolling Actresses, where the 
 same masic^eems horrified at the airy freedom of the 
 hghtly-clad lady who there enacts the part of Diana. 
 In the picture of the Contract y the young couple 
 and " Counsellor Silvertongue," as he has been chris- 
 tened by the artist,^ are placed in close proximity. 
 These are the real actors in the drama. Buildinof 
 immemor septdcri, the old earl had but few years to 
 live. Henceforth he is seen no more ; and the alder- 
 man reappears only at the end of the story. The 
 next scene is laid in a handsome saloon.^ A clock 
 shows the time to be twenty minutes past twelve; but 
 lights are still smouldering in the heavy chandelier, 
 and a yawning footman in curl-papers is languidly 
 arranging the furniture in the background. From the 
 cards and " Hoyle" on the floor, the two violins and 
 the music-book, it must be inferred that the establish- 
 ment is but now awakening from the fatigues of a 
 prolonged entertainment. At a round table by the 
 fire, with a teapot and one cup upon it, sits, in a co- 
 quettish night-cap and morning jacket, the lady of the 
 house, holding a pocket mirror in her right hand. 
 She stretches her arms wearily, with a sidelong glance 
 
 ^ See this name prefixed to his " Last Dying Speech " on the 
 floor in the final picture. 
 
 ^ This room, it is said, was copied from the drawing-room of 
 a house in Arlington Street.
 
 94 MEMOIR. 
 
 at her husband, who reclines upon, or rather is sup- 
 ported by, a chair at the opposite side of the fire- 
 place. Nothing in Hogarth is finer than this latter 
 figure, for which, it is stated, Hayman the painter 
 served as model. Worn out and nauseated, Lord 
 Squanderfield has returned from some independent 
 nocturnal expedition. His rich black velvet coat 
 and his waistcoat are thrown open, his disordered 
 hair has lost its ribbon, his hands are plunged deeply 
 into his small-clothes. In undisguised disregard for 
 the presence of his plebeian partner, he still wears 
 his laced hat. His sword, which he has unbuckled 
 and thrown upon the floor, is broken ignominiously 
 in its sheath ; and a lap-dog snuffs at a woman's cap 
 half-thrust into his pocket. His whole appearance, 
 the physical prostration of his posture, the tired and 
 cynical disgust upon his features, bear witness to 
 the reaction after excess in a constitution already 
 enfeebled. Hazlitt, in his review of these pictures at 
 the Exhibition of 1814, points out how skilfully his 
 pallid unhealthy face is contrasted with the yellow- 
 whitish colour of the mantelpiece behind. He seems 
 in a stupor of lassitude ; and neither he nor his wife 
 takes any notice of the Methodist steward (the only 
 other personage in the picture) who, after vainly 
 attempting to attract attention to his accounts, quits 
 the room with uplifted eyes and a single paid bill on 
 his file. From his pocket peeps a book labelled 
 ** Regeneration." 
 
 The splendid apartment in which this scene takes 
 place afibrds a further illustration of the interiors of
 
 < 
 
 ^ ^ 
 
 ^^
 
 MARRIAGE A-LA-MODE. 95 
 
 the Georgian era. It is divided into two by an arch 
 supported on dark blue marble columns. The pic- 
 tures visible on the walls, one of which is partially- 
 veiled by a curtain, disclosing only a naked human 
 foot, are less strikinof than the decorations in Scene I. 
 Indeed, those in the background appear to be figures 
 of the Apostles. Over the mantelpiece is Cupid 
 playing upon the bagpipes in the midst of ruins ; 
 immediately below him is a bust with mended 
 nose, which Lichtenberg conjectures to represent 
 "Faustina." On either side, the shelf is crowded 
 with Indian pagods and auction monstrosities, — 
 toads, and the "fat squabs" so well described in 
 Cowper's couplet : — 
 
 " Gorgonius sits, abdominous and wan, 
 Like a fat squab upon a Cliinese fan." 
 
 On the right hand of the mantelpiece hangs a non- 
 descript trophy of leafage in brass surrounding a 
 clock, and surmounted by a cat in china, life-size. 
 Fishes appear among the leaves below. The whole, 
 like the jumble of bad architecture in Scene I., is pro- 
 bably a supplemental satire on William Kent, who de- 
 signed everything, from picture-frames to petticoats.^ 
 
 ^ Kent, who really deserved credit as a landscape-gardener, was 
 a mediocrity in everything else. An excellent epigram by Lord 
 Chesterfield upon his efforts as a portrait-painter has recently come 
 to light among the Windham Collection at Felbrigge Park, Norfolk 
 (Mr. R W. Ketton's). We print it as it appears in the "Twelfth 
 Report of the Historical Manuscripts Commission," Appendix, 
 Part IX. 1 89 1, p. 191 : — 
 
 " As, to Apelles, Amnion's son 
 Would only deign to sit ;
 
 96 MEMOIR. 
 
 That the viscount and his lady have elected to 
 take their pleasures apart, is evident. What those 
 pleasures are, is indicated specifically in the third 
 and fourth pictures. Over that relating to those of 
 the husband we shall not linger long, both by 
 reason of its subject and the obscurity of its story. 
 None of the commentators, not even of those 
 whose inspiration is said to be derived direct from 
 Hogarth, has given a satisfactory explanation of it. 
 Churchill, in the after-days of his enmity, affirmed 
 that the artist himself did not know what he meant, 
 but had worked from the imperfectly apprehended 
 suggestion of some friend. This, in a man of 
 Hogarth's type, is improbable. It is far more likely 
 that he did not choose to be entirely explicit. The 
 design may be thus briefly described. The reader 
 will remember a woman's cap (in the painting it has 
 a blue ribbon), which peeped from the viscount's 
 pocket in the saloon scene. In the present picture, 
 a similar blue-ribboned cap is worn by a slight 
 girlish figure in a laced " manteel " and brocaded 
 skirt, who has been brought by the nobleman 
 to consult a quack doctor, one of that worshipful 
 fraternity whose electuaries and catholicons gene- 
 rally formed the tailpiece to the eighteenth cen- 
 tury newspaper. The girl's health, and the quack's 
 
 So, to thy pencil, Kent ! alone 
 Will Brunswick's form submit : 
 
 " Equal your envied wonders ! save 
 This difference we see, 
 One would no other painter have — 
 No other would have thee."
 
 MARRIAGE A-LA-MODE. 97 
 
 treatment of it, is certainly the question under 
 discussion ; and the viscount, who is seated, with 
 Hfted cane threatens a fierce-lookinof and masculine 
 woman (who may be the quack's wife, or a pro- 
 curess, or both), to whom he sarcastically holds out a 
 box of pills. She, in return, is preparing to retort 
 with a formidable clasp-knife. The bow-legged prac- 
 titioner, an admirable figure, whose face, Hazlitt says 
 happily, " seems as if it were composed of salve," 
 stands near her ; and is apparently addressing some 
 snarling query to the unfortunate patient, who listens 
 in a mute, impassive attitude, with a handkerchief to 
 her mouth. ^ But if the meaning- of the figures is not 
 clear, there is no doubt about the objects by which 
 they are surrounded. These are the stock-in-trade 
 of an empiric of the first water. Skulls, stuffed cro- 
 codiles, retorts, mummies, and the like, decorate the 
 apartment.^ To the left of the canvas, in obvious 
 
 ^ Rouquet's interpretation, said by Steevens to be derived from 
 the artist, is not inconsistent with the above. '■'■ II falloit (he 
 says) i7idiquer la mauvaise cotiduite du h'eros de la piece. Lauteitr 
 pour cet effet Pintroduit dans V apparte7nent d'liii empiriqiie., oil il ne 
 pent gueres se trouver qu^en consequence de ses debauches ; il fait en 
 meme te?)!s rencontrer chez cet empiriqice une de ces femmes qui 
 perdues depuis long-tems, font enfin leur metier de la perte des 
 autres. II suppose un demele entre cette femme (5n> son h'eros., dont le 
 sujet paroit etre la mauvaise sant'e d' une petite file, du commerce de 
 laquelle il ne s'est pas bien trouv'e " (p. 34). Unfortunately, 
 Trusler's account, which has the sanction of Mrs. Hogarth, differs 
 entirely from this ; and, though other explanations have been 
 suggested, the subject is not one upon which detailed discussion 
 is possible. 
 
 - One of the rare rays of illumination vouchsafed to Trusler 
 relates to certain of these accessories. In a case at the back is the 
 
 H
 
 98 MEMOIR. 
 
 ridicule of the futile ingenuities of science, is a cum- 
 brous apparatus of levers and cog-wheels for setting 
 collar-bones ; near this is a smaller one devoted to the 
 humbler office of drawing corks. Both are invented 
 by " Mons. de la Pillule " (presumably the quack 
 himself), and have been " seen and approved by the 
 Royal Academy of Sciences at Paris." The room, 
 according to Smith's life of Nollekens, was copied 
 from one at 96, St. Martin's Lane, once the resi- 
 dence of Dr. John Misaubin, the lean physician of 
 the Harlot' s Progi'-ess and Fielding's " Mock Doctor," 
 who died there in April, 1734. He was the pro- 
 prietor of a famous pill ; and if, as Smith further 
 says, he had an " Irish wife," it may well be that 
 Hogarth, though he did not reproduce the actual 
 individuals, was really thinking of the Misaubin 
 minage. ^ 
 
 In the next picture (the Toilet Scene) we pass to 
 the bedroom of the countess, a lofty chamber, with 
 the state bed standing, after the manner of the 
 eighteenth century, in its alcove, and surmounted by 
 a coronet. There is another over the mirror ; by 
 this time the old Earl is certainly dead. The pic- 
 quack's wig on its block, in company with a skeleton and an ecorchL 
 According to Hogarth's " moraliser," the bones are supposed to 
 be warning the flesh of what it may come to, if it trusts to the 
 intervention of quack doctors. 
 
 ^ Much material for conjecture respecting the meaning of this 
 picture is contained in Mr. F. G. Stephens' "Catalogue" under 
 Prenez des Pilules, No. 1,987 ; Quackery Unmask' d ; Or, Empi- 
 ricism Display' d, No. 3,019 ; and in the account of Plate V. of ^ 
 Harlot's Progress.
 
 ■^ 
 
 V
 
 MARRIAGE A-LA-MODE. 99 
 
 tures on the wall are Jttpiter and lo, Lot and his 
 Datighters, the Rape of Ganymede, and the portrait 
 of . . . Counsellor Silvertongue ! That gentleman 
 himself, 
 
 " Gros et gras, le feint f rats, et la botiche vermeille" 
 
 (like Moliere's " Tartuffe "), is lounging upon a sofa 
 in the posture of a privileged visitor, and talking 
 with easy familiarity to the countess, who, in a 
 peigjwir and yellow dressing-gown, sits at her toilet 
 table under the hands of a Swiss valet, engaged in 
 curling her hair. That she is now a mother is shown 
 by the child's coral hanging from her chair. She 
 listens with a compliant expression to her admirer's 
 conversation, which, from his indication of the 
 figures (a nun and a friar) on the screen at his back, 
 and the fluttered masquerade-ticket in his hand, 
 plainly relates to that entertainment ; but we fail 
 to discern in her look "the heightened glow, the 
 forward intelligence, and loosened soul of love," 
 which Hazlitt found in it. It is possible to be over 
 sympathetic as a critic. 
 
 These two are absorbed in their own affairs. The 
 rest of the company, with exception of one stout and 
 slumbering gentleman in the background, are listen- 
 ing intently to the performances of an Italian singer 
 and a German flute-player. Into the portrait of the 
 former, alleged to be intended for the famous con- 
 tralto, Giovanni Carestini, Hogarth has infused all his 
 spleen against exotic artists. The unwieldy, awk- 
 ward form : the gross, almost swinish, physiognomy, 
 the pampered look and posture, the profusion of
 
 lOO MEMOIR. 
 
 jewels, and the splendid costume of the jDopular 
 idol, are all expressed with the closest fidelity. 
 The wooden-featured flute-player is a certain Weide- 
 man. The chief listener is a red-haired lady in 
 a Pamela hat and white dress, Mrs. Fox Lane, 
 afterwards Lady Bingley.^ She rocks herself to the 
 notes in an ecstasy, regardless of her black servant,, 
 who hands her some chocolate, and is amazed 
 at his mistress's enthusiasm. Sitting near her, a 
 gentleman, with a fan dangling from his wrist, screws 
 his face into an affected simper of delight ; next to 
 him a slim macaroni with his hair in curl papers, 
 and his queue loose like a woman's tresses, sips at his 
 cup with a fixed look of resigned connoisseurship. 
 Both of these last are fantastic and ridiculous : what 
 other men, according to Hogarth, would listen, or 
 pretend to listen, to Italian song — that '' Dagon of 
 the Nobility and Gentry which had so long seduced 
 them to Idolatry." The foreground is littered with 
 invitation and other cards, while in the right-hand 
 corner is a pile of recent purchases from the sale, 
 perhaps at Mr. Cock's in the Piazza, of the "collec- 
 tion of the late Sir Tim^ Babyhouse." Beside these 
 kneels a second black boy, who significantly touches 
 the horns of an Actaeon. 
 
 ^ It was Mrs. Fox Lane who, from a side-box at the Opera, 
 uttered the profane exclamation on the caricature in Plate II. of 
 the Rak^s Progress. The enthusiasm for exotic minstrelsy some- 
 times took whimsical forms. In the "Gentleman's Magazine" 
 is recorded the case of another lady who justified a breach of 
 promise in a Court of Equity upon the ground among other 
 things that her lover was no admirer of Farinelli.
 
 MARRIAGE A-LA-MODE. 10 1 
 
 The succeeding pictures pass swiftly to the tragic 
 termination of the story. The fifth scene, as appears 
 from the paper on the floor, is laid in the " Turk's 
 Head Bagnio." Quitting the Masquerade, se- 
 parate chairs, swinging away speedily between their 
 trotting Irish bearers, have conveyed the Countess 
 and the Counsellor to the place of assignation. 
 Upon the pair the Earl, following in brief space, has 
 come suddenly, bursting open the lock, of which the 
 hasp lies upon the ground. A table has been hastily 
 pushed aside ; a stool with its litter of feminine 
 apparel overturned ; and the quarrel between the 
 husband and the seducer has been fought out, briefly 
 and fatally, in the dying firelight. The Counsellor, 
 naked, escapes through the window into the darkness ; 
 the Earl, run through the body, sways vaguely with 
 filmy eyes and falling sword in the centre of the 
 room. His wife, in an agony of terror and remorse, 
 has flung herself on her knees at his feet, while the 
 frightened keeper of the place, a constable, and a 
 watchman are entering at the door. 
 
 The last scene shifts to the old home in the city, 
 to which, in her dishonour, the Countess has returned. 
 Through the window we see London Bridee, with 
 the tottering houses upon it which were taken down 
 in 1758. Counsellor Silvertongue has been hung at 
 Tyburn for murder ; his " Last Dying Speech" is on 
 the floor. The Countess has poisoned herself with 
 laudanum fetched by a half-witted serving-man. and 
 a whimpering nurse, with puckered anile face, holds 
 up a rickety child to kiss the yet warm cheek of its
 
 ^v 
 
 1 02 MEMOIR. 
 
 mother.^ Meanwhile the hastily-summoned phy- 
 sician, powerless in the circumstances, majestically 
 quits the apartment ; the baulked apothecary rates 
 the imbecile messenger, and the alderman (careful 
 soul !) with prudent forethought draws a valuable 
 ring from his daughter's finger before it stiffens 
 with the rigor mortis. 
 
 We have only dealt briefly with these concluding 
 pictures, the decorations and accessories of which 
 are to the full as minute and effective as those of the 
 ones that precede them. The furniture of the 
 bagnio, with its portrait of Moll Flanders humorously 
 continued by the sturdy legs of a Jewish soldier in 
 the tapestry Judgment of Solomon behind, the half- 
 burned candle flaring in the draught of the open 
 door and window, the reflection of the lantern on the 
 ceiling and the shadow of the tongs on the floor, the 
 horror-stricken look on the mask of the lady and the 
 Satanic grin on that of her paramour, all deserve 
 notice. So do the gross Dutch pictures in the 
 alderman's house, the sordid pewter plates and the 
 sumptuous silver goblet, the stained table-cloth, the 
 ^ZZ ^^ ^^^^' ^^^ ^^ P^S'^ head which the half-starved 
 and ravenous dog is stealing. There is no defect of 
 invention, no superfluity of detail, no purposeless 
 stroke in this " owre true tale." From first to last it 
 progresses steadily to its catastrophe by a forward 
 
 ^ Mr. Sala, in an interesting paper in the " Gentleman's Maga- 
 zine" on George Cruikshank, notes that the poor child is a girl. 
 The Earl is the last of his race in the male line, and the title is- 
 therefore extinct. This is one of those subtle touches which, 
 except in Hogarth, we may seek for in vain-.
 
 MARRIAGE A- LA-MODE. IO3 
 
 march of skilfully linked and fully developed in- 
 cidents. It is like a novel of Fielding on canvas ; 
 and it seems inconceivable that, with this magnificent 
 work en ividence, the critics of that age should have 
 been contented to re-echo the opinion of Walpole 
 that "as a painter Hogarth had but slender merit," 
 and to cackle the foot-rule criticisms of the Rev. 
 William Gilpin as to his ignorance of composition. 
 But so it was. Not until that exhibition of his works 
 at the British Institution in 1814, to which reference 
 has been made, was it thoroughly understood how 
 excellent and individual both as a designer and a 
 colourist was this native artist, whom " Picture- 
 dealers, Picture-cleaners, Picture -frame-makers, and 
 other Connoisseurs" — to use his own graphically 
 ironical words — had been allowed to rank below the 
 third-rate copyists of third-rate foreigners. 
 
 Beyond the remark that the "jaded morning 
 countenance" of the Viscount in Scene II. " lectures 
 on the vanity of pleasure as audibly as anything in 
 Ecclesiastes," Lamb's incomparable essay in " The 
 Reflector" makes no material reference to Marriage 
 A-la-Mode. His comments, besides, are confined to 
 the engravings. But Hazlitt, who saw the pictures 
 in the above-mentioned exhibition of 18 14, devotes 
 much of his criticism to the tragedy of the Squander- 
 fields, chiefly, it would seem, because Lamb had left 
 the subject untouched. Hazlitt's own studies as an 
 artist, his keen insight and his quick enthusiasm, 
 make him a memorable critic of Hogarth, whose 
 general characteristics he defines with admirable
 
 I04 MEMOIR. 
 
 exactitude. , Much quotation has made his description 
 of the young Lord and Counsellor Silvertongue 
 sufficiently familiar. But he is equally good in his 
 vignette of the younger woman in the episode at the 
 Quack Doctor's, a creation which he rightly regards 
 as one of Hogarth's most successful efforts, " No- 
 thing," he says, "can be more striking than the 
 contrast between the extreme softness of her person 
 and the hardened indifference of her character. The 
 vacant stillness, the docility to vice, the premature 
 suppression of youthful sensibility, the doll-like me- 
 chanism of the whole figure, which seems to have no 
 other feeling but a sickly sense of pain, — show the 
 deepest insight into human nature, and into the 
 effects of those refinements in depravity, by which it 
 has been good-naturedly asserted, that ' vice loses 
 half its evil in losing all its grossness.' " In the death 
 of the Countess again, he speaks thus of two of the 
 subordinate characters: — "We would particularly 
 refer to the captious, petulant self-sufficiency of the 
 apothecary, whose face and figure are constructed on 
 exact physiognomical principles, and to the fine 
 example of passive obedience, and non-resistance in 
 the servant, whom he is taking to task, and whose 
 coat of green and yellow livery is as long and melan- 
 choly as his face.^ The disconsolate look, the 
 
 ^ Long as it is, the coat is alleged to have been longer. "A 
 close observer," says a note in Timbs's " Anecdote Biography," 
 i860, p. 40, "will perceive, that the servant lad is clothed in one 
 of his master's old coats, which has been shortened, and that the 
 cloth cut off is turned, and made into new cufifs ; this is more 
 plainly seen in the picture, by the contrast of the colour of them
 
 MARRIAGE A- LA-MODE. IO5 
 
 haggard eyes, the open mouth, the comb sticking in 
 the hair, the broken, gapped teeth, which, as it were, 
 hitch in an answer — everything about him denotes 
 the utmost perplexity and dismay." Some other of 
 HazHtt's comments are more fanciful, as, for example, 
 when he compares Lady Squanderfield's curl papers 
 (in the " Toilet Scene") to "a wreath of half-blown 
 flowers," and those of the macaroni-amateur to " a 
 c hev mix- de-f rise of horns, which adorn and fortify the 
 lack-lustre expression and mild resignation of the face 
 beneath." With his condemnation of the attitude of 
 the husband, in the scene at the "Turk's Head 
 Bagnio," as >" one in which it would be impossible for 
 him to stand, or even to fall," it is difficult to coin- 
 cide ; and it is an illustration of the contradictions of 
 criticism that this very figure should have been 
 selected for especial praise, with particular reference 
 to the charges made against the painter of defective 
 drawing, by another critic who was not only as keenly 
 sympathetic as Hazlitt, but was probably a better 
 anatomist — the author of " Rab and his Friends."^ 
 
 with the faded hue of the coat." The suggestion is ingenious ; 
 but would the alderman wear green and yellow? Is it not, rather, 
 an inherited livery ! 
 
 ^ Here is the entire passage, from the notes which Dr. John 
 Brown wrote in 1846 for Hugh Miller's " Witness : " — " If Hogarth 
 did not know the naked human figure (and we deny that he did 
 not), he knew the human face and the naked human heart — he 
 knew what of infinite good and evil, joy and sorrow, life and death, 
 proceeded out of it. Look at the second last of the series of 
 Marriage A-la-Mode. If you would see what are the wages of 
 sin, and how, after being earned, they are beginning to be paid, 
 look on that dying man — his body dissolving, falling not like his
 
 I06 MEMOIR. 
 
 To Hazlitt's oreneral estimate of Hoo^arth we shall 
 not now refer. ^ But his comparison of Hogarth and 
 Wilkie may fairly be summarized in this place, be- 
 cause it contains so much excellent discrimination 
 of the former. Wilkie, Hazlitt contends, is a simple 
 realist; Hogarth is a comic painter. While one is a 
 ^ " serious, prosaic, literal narrator of facts," the other 
 
 is a moral satirist, " exposing vice and folly in their 
 most ludicrous points of view, and, with a profound 
 insight into the weak sides of character and manners 
 in all their tendencies, combinations, and contrasts. 
 ... He is carried away by a passion for the ridicu- 
 lous. His object is not so much 'to hold the mirror 
 up to nature 'as 'to show vice her own feature, 
 scorn her own image.' He is so far from contenting 
 
 sword, firm and entire, but as nothing but a dying thing could 
 fall, his eyes dim with the shadow of death, in his ears the waters 
 of that tremendous river, all its billows going over him, the life of 
 his comely body flowing out like water, the life of his soul ! — who 
 knows what it is doing ? Fleeing through the open window, 
 undressed, see the murderer and adulterer vanish into the outer 
 darkness of night, anywhere rather than remain ; and that guilty, 
 beautiful, utterly miserable creature on her knee, her whole soul, 
 her whole life, in her eyes, fixed on her dying husband, dying for 
 and by her ! What is in that poor desperate brain, who can 
 tell ! ]Mad desires for life, for death, — prayers, affections, infinite 
 tears, — the past, the future, — her maiden innocence, her marriage, 
 his love, her guilt, — the grim end of it all, — the night-watch with 
 their professional faces, — the weary wind blowing through the room, 
 the prelude, as it were, of that whirlwind in which that lost soul is 
 soon to pass away. The man who could paint so as to suggest all 
 this, is a great man and a great painter" ("Horse Subsecivse," 
 1862, 244-45). 
 
 ^ A passage from it is quoted in the " Bibliography," under 
 Hazlitt's article.
 
 MARRIAGE A-LA-MODE. IO7 
 
 himself with still-hfe that he is always on the verge 
 of caricature, though without ever falling into it. 
 He does not represent folly or vice in its incipient, 
 or dormant, or grub state ; but full-grown, with 
 wings, pampered into all sorts of affectation, airy, 
 ostentatious, and extravagant. . . . There is a per- 
 petual collision of eccentricities — a tilt and tourna- 
 ment of absurdities ; the prejudices and caprices of 
 mankind are let loose, and set together by the ears, 
 as in a bear-garden. Hogarth paints nothing but 
 comedy or tragi-comedy. Wilkie paints neither one 
 nor the other, Hogarth never looks at any object 
 but to find out a moral or a ludicrous effect. Wilkie 
 never looks at any object but to see that it is 
 there. ... In looking at Hogarth, you are ready to 
 burst your sides with laughing at the unaccountable 
 iumble of odd things .which are brouofht together ; 
 you look at Wilkie's pictures with a mingled feeling 
 of curiosity and admirafron at the accuracy of the 
 representation." The distinction thus drawn is, in 
 the main, a just one. Yet, at certain points, Wilkie 
 comes nearer to Hogarth than any other English 
 artist ; and that elegant amateur, Sir George How- 
 land Beaumont, reasoned rightly when he judged the 
 painter of the Village Politicians to be, in his day, 
 the only fit recipient of Hogarth's mahl-stick. 
 
 To return to Marriage A-la-Mode. Notwith- 
 standing that the pictures were, as stated at the 
 beginning of this chapter, announced for sale in 
 1745, it was five years before they actually found a 
 purchaser, although, in the interval, they seem to
 
 I08 MEMOIR. 
 
 have been freely exhibited both at the " Golden 
 Head" and at Cock's Auction Rooms. In 1750, 
 however, they were at last disposed of by another 
 of those unfortunate schemes devised by Hogarth 
 for disposing of his works. The bidding, said the 
 announcement in the " Daily Advertiser," was to be 
 by written notes ; no dealers in pictures were to be 
 admitted as bidders ; and the highest bidder at noon 
 on the 6th June was to be the purchaser. 
 
 Whether this mode of sale, coupled with the 
 characteristic manner of its notification, " disobliged 
 the Town " or not, it is impossible to say ; but it is 
 certain that when Mr, Lane, "of Hillingdon, near 
 Uxbridge," who was to become the lucky proprietor 
 of the pictures, arrived on the date appointed at the 
 " Golden Head," he found he was the only bidder 
 who had put in an appearance.^ In fact, there was 
 no one in the room but the painter himself and his 
 friend Dr. Parsons, Secretary to the Royal Society. 
 The highest written offer having been declared to 
 be ^120, Mr. Lane, shortly before twelve, said he 
 
 ^ Not the " sole bidder," as Allan Cunningham and others have 
 inferred. If this were so, in "making the pounds guineas," 
 Mr. Lane would be bidding against himself, a thing which occa- 
 sionally occurs at auctions, but is not recommended. We have 
 failed to find any other account of this transaction than that 
 supplied to Nichols for his second edition of 1782, pp. 225-7, by 
 Mr. Lane himself, which is summarized above. Cunningham 
 seems to have derived his information from the same source ; 
 but he strangely transforms it. We can but surmise that he 
 followed Ireland's transcript, in which the highest bid is given at 
 ^iio, instead of ;!^i2o — a rather unfortunate mistake, for it 
 appears to have misled a good many people.
 
 MARRIAGE A-LA-MODE. IO9 
 
 would "make the pounds guineas," but subsequently, 
 and much to his credit, offered the artist a delay of 
 some hours to find a better purchaser. An hour 
 passed, and as, up to that time, no one had appeared, 
 Hogarth, much mortified, surrendered the pictures 
 to Mr. Lane, who thus became the owner of the 
 artist's best work, and the finest pictorial satire of 
 the century, for the modest sum of ^126, which 
 included Carlo Maratti frames that had cost Hogarth 
 four guineas a-piece. Mr. Lane, who readily promised 
 not to sell or clean the pictures without the knowledge 
 of the painter, left them at his death to his nephew, 
 Colonel J. F. Cawthorne, by whom they were put 
 up to auction in March, 1792, but were bought in 
 again for 910 guineas. In 1797 they were sold at 
 Christie's for ^1,381 to Mr. John Julius Angerstein, 
 with the rest of whose collection they were acquired 
 in 1824 for the National Gallery. 
 
 In 1746 a description of the prints in Hudibrastic 
 verse was published under the title of " Marriage- 
 A-la-Mode; an Humourous Tale, in Six Canto's," &c. 
 It appeared without Hogarth's sanction, and has no 
 especial value. In 1754 the series furnished the 
 ground-work of Dr. John Shebbeare's political novel 
 of " The Marriage Act ;" and, twelve years later, the 
 authors of the capital comedy of " The Clandestine 
 Marriage " (Colman and Garrick) acknowledged 
 their not very manifest obligations to the same source. 
 " To-night," says Garrick in his " Prologue " — 
 
 " To-night, your matchless Hogarth gives the Thought, \ 
 Which from his Canvas to the Stage is brought. \ 
 
 L J^
 
 no MEMOIR. 
 
 And who so fit to warm the Poet's IMind 
 
 As he who pictur'd Morals and Mankind ? 
 
 But not the same their Characters and Scenes ; 
 
 Both labour for one End, by different Means : 
 
 Each, as it suits him, takes a separate Road, 
 
 Their one great Object, Marriage-a-la-Mode! 
 
 Where Titles deign with Cits to have and hold, 
 \ And change rich Blood for more substantial Gold ! 
 
 1 And honour'd Trade from Interest turns aside. 
 
 To hazard Happiness for titled Pride. 
 
 The Painter dead, yet still he charms the Eye ; 
 
 While England lives, his Fame can never die ; 
 
 But he who struts his Hour upoti the Stage, 
 
 Can scarce extend his Fame for Half an Age ; 
 
 Nor Pen nor Pencil can the Actor save, 
 
 The Art, and Artist, share one common Grave." 
 
 The idea in the last couplet, which the author of 
 the Proloofue is thought to have borrowed from 
 " The Actor " of Robert Lloyd (who, in turn, had 
 "conveyed" it from Gibber's "Apology"), afterwards 
 found its way into Sheridan's " Monody on Garrick." 
 Sheridan, says Steevens (discreetly mindful of the 
 fact that the author of the "Rivals " was still living), 
 " condescended to borrow it, only because it spared 
 him the labour of unlocking the richer storehouse of 
 his own imagination." j 
 
 To conclude this account of Marriage A -la-Mode, 
 it should be added that Hogarth projected a com- 
 panion series, to be entitled the Happy Marriage, 
 some designs for which have been preserved.^ The 
 
 ^ See S. Ireland's "Graphic Illustrations," ii. 125 et seq., and 
 "Genuine Works," iii. 158 {The Farsoti's Head). The Country 
 Dance in Plate I. of the " Analysis of Beauty " is also said to have 
 been intended for The Happy Marriage.
 
 MARRIAGE A-LA-MODE. 
 
 I II 
 
 idea was abandoned, not, as Wilkes obligingly in- 
 forms us, because "the rancour and malevolence" 
 of the artist's mind " made him very soon turn with 
 envy and disgust from objects of so pleasing con- 
 templation," but no doubt because the unruffled 
 features of contented matrimony did not, upon con- 
 sideration, afford the requisite variety to his pencil. 
 As to John Major's suggestion — with which we may 
 close the chapter — that there is a relationship between 
 Marriage A-la-Moae and Dryden's play of the same 
 name, we have only to say, after reading Dryden, 
 that it appears to have no greater weight than the 
 Welsh captain's comparison of Monmouth and 
 Macedon. There are a husband and wife in the 
 one and a husband and wife in the other, and there 
 are seducers in both. 
 
 OLD LONDON BRIDGE. From Ma7-7-iage A-la-Mode.
 
 CHAPTER VI. 
 
 Contemporaries. March to Finchley. 
 
 Minor Prints. 
 
 ^^IVE us as many anecdotes as you 
 can," was Johnson's excellent advice 
 to Boswell when writing on Corsica ; 
 and by "anecdotes" the great man 
 was understood to mean what would now be styled 
 " information hitherto unpublished." In the narra- 
 tive of Hogarth's life nothing is more tantalizing 
 than the absence of particulars, not only respecting 
 his domestic life, but also respecting his contempo- 
 raries and friends. His social qualities and his 
 established reputation should, one would think, have 
 brought him into frequent contact with personages 
 eminent or notable. At places like Old Slaughter's 
 coffee-house in St. Martin's Lane or "The Feathers" 
 in Leicester Fields, at the annual dinner in the 
 Foundling Hospital and at the " Turk's Head " in 
 Gerard Street, in the Green Room of Drury Lane 
 or at the Beef Steak Club in Covent Garden, he 
 must often have met many of the artistic and literary
 
 COXTEAIPORARIES. II3 
 
 celebrities of his time. But the record of such en- 
 counters is, in the main, conspicuous for its absence. 
 With the Hoadly family, indeed, as already related, 
 he was familiar. He knew Dr. Morell, of Chiswick 
 
 (" Sive tu mavis Morelus vocari, 
 Sive Morellus"), 
 
 and the Rev. Mr. Townley of " High Life Below 
 Stairs ;" he knew Dr. Arnold King, to whom he 
 sent his ingenious " Eta Beta Py" invitation ;^ he knew 
 Fielding's friend Ralph, the Ralph of " The Cham- 
 pion" and "The Dunciad ;" and in John Ireland's 
 " Illustrations " is printed a letter — which implies a 
 certain measure of intimacy — written to him by 
 Bishop Warburton. Horace Walpole, too, collected 
 his prints, and patronized him with the grudging 
 generosity which that aristocratic critic extended 
 to Genius born out of the purple. If we are to 
 believe George Steevens, the Abbot of Strawberry 
 once invited the artist to meet Gray at dinner. But 
 the author of the " Long Story" — strange to say — 
 was anything but garrulous, and Hogarth was glum 
 and ill at ease, so that the entertainment scarcely 
 got beyond the " uncommunicating muteness " of a 
 Quakers' meeting. With Richardson Hogarth had 
 some acquaintance, and, says Boswell, was "a pretty 
 frequent visitor" at the novelist's house in Salisbury 
 Court. Here, for the first time, he saw — although 
 he was not then made known to — the " Qr-reat Cham " 
 himself. Talking one day to the author of "Pamela " 
 
 ^ See p. 85, and Part II., Catalogue of Prints, 1782. 
 I
 
 114 MEMOIR. 
 
 about the execution of the Jacobite Dr. Cameron, 
 he observed a o^entleman "standinof at a window in 
 the room, shaking his head and rolHng himself 
 about in a strange ridiculous manner." He con- 
 cluded that he was some person of defective intel- 
 ligence, placed by his friends under Richardson's 
 care. But presently the figure came forward, and 
 plunged into an animated invective against George 
 the Second (whose clemency had been under dis- 
 cussion), displaying such an unexpected power of 
 eloquence that Hogarth stared at him with astonish- 
 ment, and "actually imagined that this idiot had 
 been at the moment inspired," He had afterwards 
 many opportunities of hearing and admiring that 
 wonderful oratory. But he was also fully alive to 
 the Doctor's peculiarities, and especially to his 
 ingrained and radical incredulity. "Johnson," he 
 told Mr, Salusbury, " though so wise a fellow, is 
 more like king David than king Solomon ; for he 
 says in his haste that all men are liars." ^ 
 
 With Johnson and Johnson's name was to be 
 inseparably connected that of another of Hogarth's 
 friends. He was on terms of great familiarity with 
 Miss Hester Lynch Salusbury, afterwards Hester 
 Thrale, who calls him " dear Mr. Hogarth," and 
 refers to the " odd particular directions about dress, 
 dancing, and many other matters ' that he was 
 accustomed to s^ive her as a o-irl,^ He used fre- 
 
 ^ "Anecdotes," etc., by Hester Lynch Piozzi, 1786, p. 137, 
 ^ Mainly for its reference to Goldsmith's "Royal Game of 
 Goose," the following may be quoted from a letter in Hayward's
 
 CONTEMPORARIES. I I 5 
 
 quently, she says in her " Anecdotes," to talk to her 
 about Johnson, and exhort her to obtain, if possible, 
 his acquaintance and friendship, which, nevertheless, 
 did not come about until Hogarth was in his grave. 
 In his later years, he had some intercourse with 
 Goldsmith, of whom, according to Mr. Forster, he 
 made a sketch. This (which is engraved in the more 
 modern editions of Forster's *' Life," and belonged to 
 Mr. Studley Martin of Liverpool) shows " Goldy " 
 hard at work in his Islington lodgings, not forgetting 
 the ruffles and rings in which his soul delighted. 
 Hogarth was also at one time on friendly terms with 
 Wilkes and his boon-companion Churchill, although 
 but for his unfortunate quarrel with them we might 
 never have heard of the fact, and he had been the 
 guest of Sir Francis Dashwood (Lord Despencer), 
 whom he painted in his Medmenham Abbey cos- 
 tume, encra2:ed in the adoration of Venus. But jtlie 
 connection of which we find the most certain traces ^ ^ 
 is that with David Garrick_and_Henry Fielding. 
 Fielding, as~we have^ieen, had written of him ad- 
 miringly in tlie "Champion" and "Joseph Andrews," 
 and he refers to Hogarth's designs for the prototypes 
 
 "Autobiography, etc., of Mrs. Piozzi (Thrale)," 1861, ii. 130: — 
 " My father and he [Hogarth] were very intimate, and he often 
 dined with us. ... I had got a then new thing, I suppose, which 
 was called Game of the Goose, and felt earnest that we children 
 might be allowed a round table to play at it, but was half afraid 
 of my uncle's and my father's grave looks. Hogarth said, good- 
 humouredly, ' I will come, my dears, and play at it with you.' 
 Our joy was great, and the sport began under my management 
 and direction. The pool rose to five shillings, a fortune to us 
 monkeys, and when I won it, I capered for delight."
 
 Il6 MEMOIR. 
 
 of more than one of his minor characters. Both 
 Parson Thwackum and Mrs. Partridge have their 
 admitted originals in A Harlof s Progress. Hogarth, 
 on his side, etched at least one benefit ticket fgrjthe 
 author of ''Tom Jones,'\and.w£.^all find him m this 
 chapter assisting him with a headpiece for one of 
 his journalistic ventures. With Garrick his connec- 
 tion probably began not long after the actor's 
 first appearance at Goodman s Eieldsj_and it con- 
 tinued until his (Hogarth's) death. Among the 
 letters in the " Garrick Corresponden ce " is a^race- 
 ful apology to the painter for remissness in visit- 
 ing him ; and later, when Churchill had announced 
 that he was meditating his unjustifiable " Epistle," 
 Garrick lost no time in expostulating : — " I must 
 intreat of you," says an autograph note in the 
 Forster collection, "by the Regard you profess to 
 me, that you dont tilt at my Friend Hogarth before 
 you see me. . . . He is a great and original Genius, 
 I love him as a Man, and reverence him as an 
 Artist. I would not for all the Politicks and 
 Politicians in the Universe that you two should 
 have the least Cause of Ill-will to each other. I am 
 sure you will not publish against him if you think 
 twice." Unhappily "The Bruiser" was not to be 
 so persuaded. But this extract pleasantly illustrates 
 the relations of Hogarth and " Little Davy," of 
 whom he left several portraits, the most important 
 of which, the Garrick as Richard III., was en- 
 graved in 1746 — the year with which this chapter 
 opens.
 
 THE FARMER S RETURN. 
 From Basire's Emravinsr.
 
 CONTEMPORARIES. I I 7 
 
 "For the portrait of Mr. Garrick in Richard III.," 
 says Hogarth, " I was paid two hundred pounds 
 (which was more than any Enghsh artist ever re- 
 ceived 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." ^ The purchaser was Mr. 
 Duncombe, of Duncombe Park, Yorkshire ; and 
 when one remembers that Marriage A-la-Modc 
 only realized ;^i26, it must be admitted that the 
 price paid for the Garrick was munificent. The 
 picture itself, which was exhibited at the Grosvenor 
 Gallery in 1888, is striking and effective; but 
 unless much is allowed for the exao"0;eration of 
 acting, the resemblance to Garrlck's face and figure 
 is not great.^ Hogarth has left a better likeness 
 in the combined portraits of Garrick aiid his Wife, 
 which belonged to Mr. Locker of Greenwich 
 Hospital, who sold it to George IV. Here Garrick 
 is represented writing the prologue to Foote's comedy 
 of " Taste," while his wife behind him takes the pen 
 from his hand, a conceit which, as Steevens is careful 
 to acquaint us, is borrowed from Vanloo's portrait of 
 Colley Gibber and his Daughter. This work, a canvas 
 
 ' " Hogarth Illustrated," iii. 56. 
 
 ■ Grignion the engraver, Hogarth's colleague in the plate, told 
 John Ireland the following anecdote. " Hogarth (he said) etched 
 the head and hand, but finding the head too large, he erased it, 
 and etched it a second time, when seeing it wrong placed upon 
 the shoulders, he again rubbed it out, and replaced it as it now 
 stands, remarking — '/ never 7vas right, until I had been 7arong"' 
 (" Hogarth Illustrated," iii. 346.)
 
 Il8 MEMOIR. 
 
 of 50 X 40 inches, in unimpaired condition, was ex- 
 hibited at the recent Guelph Exhibition (1891). Of 
 the two the portrait of the lady, although some critics 
 have unaccountably pronounced it vulgar, was the 
 more beautifully painted ; but the work unfortunately 
 suffered the fate of some other of the artist's efforts. 
 An obscure dispute arose between Garrick and 
 Hogarth on the subject, and the latter in a fit of 
 irritation drew his brush across the face/ The 
 picture remained unpaid for at his death, when 
 his widow sent it to Garrick without any demand. 
 Another presentment of Garrick is contained in the 
 frontispiece to the "Farmer's Return from London" 
 (an interlude by the actor which was very popular 
 in 1762), where an honest rustic pays a visit to the 
 "fine hugeous City," sees the coronation of George 1 1 1.^ 
 goes to Laureate Whitehead's "School for Lovers," 
 and sits up with the Cock Lane Ghost Garrick 
 dedicates it to Hogarth, whose sketch is most ad- 
 mirably facsimiled by Basire, " as a faint Testimony 
 of the sincere Esteem which the Writer bears him." 
 Finally, to complete the sum of Hogarth's relations 
 with the " English Roscius," at the time of the 
 Shakespeare Jubilee he designed him a chair, for 
 which he carved a medallion from a piece of the 
 Stratford mulberry-tree. It is a cumbrous and over- 
 decorated piece of furniture, which reflects but 
 
 ^ " The eyes of Garrick being coarsely painted, ill-drawn, and 
 evidently by another hand than Hogarth's, attest the truth of 
 this story" (F. G. Stephens in " Grosvenor Gallery Catalogue," 
 1888).
 
 SIMON LORD LOVAT. 
 From Honirth's EtcJiim,
 
 LORD LOVAT. II9 
 
 slender credit upon its "author" as a rival of 
 Sheraton and Chippendale.^ 
 
 In the August of 1746, however, Hogarth pro- 
 duced a portrait in which his characteristic powers 
 are far more evident than in any picture he ever 
 made of Garrick. In that month the notorious Simon 
 Fraser, Lord Lovat, was brought in a litter to St. 
 Albans on his way to London, where he was tried, 
 and subsequently executed on Tower Hill. Upon 
 the invitation of a local physician (Samuel Ireland's 
 friend. Dr. J. Webster) Hogarth went to St. Albans to 
 meet him. He found him on the 14th at the " White 
 Hart Inn " under the hands of a barber. The old 
 lord (he was over seventy) rose at his approach, and 
 "bussing" him demonstratively after the French 
 fashion on the cheek, contrived to transfer no small 
 portion of the soapsuds on his own face to that of 
 the painter. The short squat figure, the crouching 
 attitude, the crafty eyes, and the "pawky" expres- 
 sion of Lovat as he counts over the various Highland 
 Clans on his fingers, are admirably rendered ; and it 
 is no wonder that this most effective sketch, having 
 besides its own merit all that of an a-p^'opos, should 
 have been widely popular. The rolling press could 
 not supply impressions enough ; and though they 
 were sold at a shilling each, for several weeks 
 Hogarth received payment at the rate of twelve 
 
 ' There is a copy of it by Jane Ireland in vol. ii. p. 147 of her 
 father's "Graphic Illustrations." In the "Illustrated London 
 News" for 20th July, 1S61, it is said to have been bought by 
 Ladv Burdett-Coutts.
 
 I 20 MEMOIR. 
 
 pounds a day. Whether he was also the author of 
 the mezzotint which appeared nearly ten months 
 afterwards, entitled Lovafs Ghost on Pilgrimage [i.e. 
 to Scotland], is not certain from the evidence of that 
 work itself But if the Dr. Webster above-men- 
 tioned really told Samuel Ireland that he had received 
 it from the artist " with an assurance of it's beingf his 
 own design," the historical testimony must be re- 
 garded as unimpeachable. 
 
 To the year 1 747 belongs The Stage Coach ; or, 
 Country Inn Yard, and the series called Industry and 
 Idleness. The Staox Coach is more interestinof as a 
 little piece of everyday eighteenth-century life than 
 for any dramatic element which it contains, although 
 there is an election procession in the background. 
 From the wooden-galleried courtyard of the Old 
 Angel Ijin, Tom Bates from London, the creaking 
 and lumbering Ilford Stage (?) prepares (God willing) 
 to run its snail-like course of so many — or so few- 
 miles per diem. In the foreground may be seen 
 " T. B." himself, justifying his lengthy score to a 
 hard-featured lawyer (with the " Act against Bribery " 
 in his pocket) who discharges it reluctantly. Mrs. 
 Landlady, from her sanctum among the lemons and 
 Barbadoes water, is bawling vociferously for Susan 
 Chambermaid, detained for the moment by the too 
 demonstrative farewells of a gentleman in a bag-wig. 
 A stout woman is being squeezed in at the door of the 
 vehicle by a diminutive man, perhaps her husband, 
 who hands up a dram-bottle after her. Behind come 
 a vinegar-faced spinster and a squalling child. To
 
 
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 INDUSTRY AND IDLENESS. 121 
 
 the right a portly personage, with a sword and 
 cane, disregarding an appeal from the hunchbacked 
 postilion, is waiting to follow the stout woman. 
 Among the baggage in the "basket" an old crone 
 is smoking ; and on the roof an English sailor (see 
 " Centurion" on the bundle) and a dejected French- 
 man have taken their perilous places.^ To put the 
 finishing touch to the bustle of departure, a mart 
 blows a post horn out of a window. The whole 
 scene miMit serve as an illustration to " PereQ^rine 
 Pickle " or " Tom Jones." 
 
 Industry and Idleness, says Hogarth himself, ex- 
 hibited " the conduct of two Fellow-prentices ; 
 where the one, by taking good courses, and pursuing 
 
 ' Both of these modes of traveUing, the basket and the roof, 
 are illustrated by Charles P. Moritz, whose " Travels, chiefly on 
 Foot, through several parts of England," was translated from the 
 German in 1795. Taking coach to Northampton, he mounts the 
 top, in company with a farmer, a young man, and " a black-a-moor." 
 This eminence proving as dangerous as it looked, he creeps into 
 the basket, in spite of the warnings of the black. " As long as we 
 went up hill (he says) it was easy and pleasant. And, having had 
 little or no sleep the night before, I was almost asleep among the 
 trunks and packages ; but how was the case altered when we came 
 to go down hill ; then all the trunks and parcels began, as it were, 
 to dance around me, and everything in the basket seemed to be 
 alive; and I every moment received from them such violent blows, 
 that I thought my last hour was come. ... I was obliged to 
 suffer this torture nearly an hour, till we came to another hill again, 
 when quite shaken to pieces and sadly bruised, I again crept to 
 the top of the coach, and took possession of my former seat." His 
 conclusion is, that it is safest to take inside places in English post 
 coaches, though it may be added that, from his account, travellers 
 on the top seem to have had the assistance of handles which are 
 not shown in Hogarth's plate.
 
 122 MEMOIR. 
 
 those points for which he was put apprentice, becomes 
 a vakiable man, and an ornament to his country : 
 whilst the other, giving way to idleness, naturally 
 falls into poverty, and most commonly ends fatally, 
 as is expressed in the last Print." ^ The intention, 
 as Leigh Hunt says, was "an avowed common- 
 place" . . . "while the execution of it was full 
 of much higher things and profounder humanities." 
 There is no more eloquent stroke in the whole of 
 Hogarth than that by which the miserable player 
 at " halfpenny-under-the-hat " In Plate HI. is shown 
 to have but a plank between him and the grave; 
 nor is there anything more vivid in Its squalid 
 realism than the episode in Thomas I die's career 
 to which Dr. King subjoined for epigraph — " The 
 sound of a shaken leaf shall chase him." Very touch- 
 ing, too, is the grief of the widowed mother when her 
 reprobate son Is being sculled past Cuckold's Point 
 to the ship which Is to carry his graceless fortunes 
 to a foreign land. The whole series of prints Is full 
 of contemporary detail of the most Interesting de- 
 scription. In Plate VI. we see the newly married 
 couple greeted by the old discordant hymenean (a 
 "kind of wild Janizary music," Lichtenberg calls it) 
 of the marrow-bone and cleaver men.^ Plate VIII. 
 displays a civic feast ; and the last two plates, a 
 
 ' Genuine Works," i. 134. 
 
 ^ " When, therefore, properly struck," says Lichtenberg of these 
 instruments, " they produce no despicable clang ; at least cer- 
 tainly a better one than logs of wood emit when thrown to the 
 ground ; and yet the latter are said to have occasioned the inven- 
 tion of the rebeck."
 
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 JOURNEY TO FRANCE. I23 
 
 Lord Mayor's Show, and an execution at Tyburn. 
 The first idea for this series is said to have been 
 suggested by th^ Eastward Hoc of Chapman, Jon- 
 son, and Marston, with which it has some affinities. 
 Although of set purpose executed coarsely, it was 
 extremely popular, was dramatized, and gave rise to 
 several publications graphic and otherwise. One of 
 these was the imitation of Northcote, Diligence and 
 Dissipation, a picture-history, in ten plates, of two 
 housemaids, patched together from Hogarth and 
 Richardson's "Pamela." "There could not be a 
 more lamentable failure," say the biographers of 
 Reynolds ; "and Northcote never forgave Hogarth." 
 
 In 1747 Hogarth executed a rude headpiece for v^' 
 the " Jacobite's Journal," a newspaper begun by 
 Henry Fielding in December of that year, with the 
 double object of supporting the Government and 
 ridiculing the rebel cause. Hogarth's contribution 
 to it — if his indeed it be — does not require any 
 further notice. But in the next year took place that 
 memorable journey to France which, in the lean 
 record of his life, looms so large, and the narrative 
 of which has afforded so much gratification to the 
 more malicious of his biographers. According to 
 these, Hogarth, when in France, behaved himself 
 with a plentiful lack of savoir-faire. Nothing satis- 
 fied him. He pooh-poohed the houses, the furni- 
 ture, the ornaments, or spoke of them openly with 
 scornful opprobrium. "In the streets he was often 
 clamorously rude. A tatter'd bag, or a pair of silk 
 stockings with holes in them, drew a torrent of
 
 124 MEMOIR. 
 
 imprudent language from him." His travelling com- 
 panions, among whom were his crony, Frank Hay- 
 man, and Cheere the sculptor (afterwards Sir Henry), 
 strove in vain to induce him to be more Q^uarded in 
 his language, especially as there were plenty of Irish 
 and Scotch within hearing, who would have rejoiced 
 to mob the sturdy little Englishman. But admoni- 
 tion of this kind was only thrown away. Hogarth 
 merely laughed at it ; "and treated the offerer of it 
 as a pusillanimous wretch, unworthy of a residence 
 in a free country, making him the butt of his ridicule 
 for several evenings afterwards." At last matters 
 culminated when he was amusinsf himself with a 
 slight sketch of the gate of Calais, He was forthwith 
 haled before the Commandant, and, though the 
 drawings found upon him established the innocence 
 of his purpose, was informed that, had not the Peace 
 of Aix la Chapelle been actually signed, he would 
 assuredly have been hanged upon the ramparts. 
 "Two guards," says Steevens, "were then provided 
 to convey him on shipboard ; nor did they quit him 
 till he was three miles from the shore. They then 
 spun him round like a top^ on the deck ; and told 
 him he was at liberty to proceed on his voyage 
 without further attendance or molestation. With the 
 slightest allusion to the ludicrous particulars of this 
 affair, poor Hogarth was by no means pleased. 
 The leading circumstance in It his own pencil has 
 recorded." ^ 
 
 It Is quite possible that this account loses nothing 
 ^ Nichols, "Anecdotes," 1782, p. 42-4.
 
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 JOURNEY TO FRANCE. I 25 
 
 under the malicious pen of George Steevens, who, 
 from whatever source he derived his information, 
 doubtless heightened it mo7''e suo. Horace Walpole's 
 version, written at the time in a letter to Mann 
 of December 15, 1748, is far less "picturesque." 
 " Hogarth has run a great risk since the peace ; he 
 went to France, and was so imprudent as to be 
 takinof a sketch of the drawbridofe at Calais. He 
 was seized and carried to the Governor, where he 
 was forced to prove his vocation by producing 
 several caricaturas of the French ; particularly a 
 scene of the shore, with an immense piece of beef 
 landing for the Lion-d' Argent, the English inn at 
 Calais, and several hungry friars following it. They 
 were much diverted with his drawings, and dismissed 
 him." 
 
 After this we may fairly give the story as Ho- 
 garth, who probably himself told it to Walpole, 
 relates it in the Ireland MSS. "The next print I 
 engraved," says he, " was the Roast Beef of Old 
 j5';/c^/«;^(2' [published March 6, 1749], which took its 
 rise from a visit I paid to France the preceding year. 
 The first time an Eno^lishman oroes 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 affec- 
 tation of politeness, give you even here a true picture 
 of the manners of the whole nation : nor are the 
 priests less opposite to those of Dover than the two
 
 126 MEMOIR. 
 
 shores. The friars are dirty, sleek, and solemn ; 
 the soldiery are lean, ragged, and tawdry ; 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 Eng- 
 lish, when the place was in our possession, I remarked 
 some appearance of the arms of England on the 
 front.^ By this and idle curiosity, I was prompted 
 to make a sketch of it, which being observed, I was 
 taken into custody ; but not attempting to cancel 
 any of my sketches or memorandums, which were 
 found to be merely those of a painter for his private 
 use, without any relation to fortification, it w^as not 
 thought necessary to send me back [?] to Paris. I 
 was only closely confined to my own lodgings, till 
 the wind changed for Efigland : where I no sooner 
 arrived, than I set about the picture ; made the gate 
 my back-ground ; and in one corner introduced my 
 own portrait, 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 weiorht of a vast 
 sirloin of beef, and two of the military bearing off a 
 great kettle of soup\c'\ maigre, I meant to display to 
 
 ^ It was announced in 1884 that Calais Gate was doomed. 
 But according to recent advices, the sentence has not yet been 
 carried out. " Hogarth's gate, with its drawbridge, indeed, still 
 hobbles on, but sadly mauled and defaced. As can be seen from 
 the picture, it was in his day handsomely decorated with sculp- 
 tures ; and at one period could be made out the traces of the 
 English Royal arms on one side, which had been but partially 
 erased." ("Saturday Review," 2 May, 189 1.)
 
 CALAIS GATE. 12/ 
 
 my own countrymen the striking difference between 
 the food, priests, soldiers, etc., of two nations so 
 contiguous, that in a clear day one coast may be seen 
 from the other. The melancholy and miserable 
 Highlander, browzing on his scanty fare, consisting 
 of a bit of bread and an onion, is intended for one 
 of the many that fled from this country after the 
 rebellion." ^ 
 
 Besides the figures Hogarth mentions, there are, 
 to the left of the picture, a pair of basket-women, 
 who are making merry over the resemblance to a 
 human face which a sufficiently " leathern " fishwife 
 has discovered in a skate she holds in her lap. But 
 the artist has cleverly suggested a fact of which they 
 themselves are ignorant, and that is the strong 
 similarity between this face and their own weather- 
 beaten features. In the representation of the two 
 sentinels he has oriven full value to the " rasreed and 
 tawdry" element in the French soldiers. One has 
 paper rufiies, on which the words " Grand Monarch, 
 P " are plainly legible ; his smallclothes are fastened 
 by a skewer, and he has a large hole in his gaiter. 
 Opposite, his equally famished and tattered com- 
 panion spills his skillet of so?iJ>e maigre from sheer 
 astonishment at the goodly English fare. Next to 
 this personage is the squinting and stunted figure 
 of an Irish mercenary, to whose national bravery 
 the painter has paid a compliment by giving him 
 a bullet-hole through his hat. In the backg^round, 
 through the gate, a priest is carrying the Host 
 ^ " Hogarth Illustrated," iii. 349-50.
 
 128 MEMOIR. 
 
 to a sick person, and the people fall on their knees 
 as it passes. The fat Franciscan was a portrait of 
 Pine, of St. Martin's Lane, who was only moderately 
 gratified with the compliment, as it procured him 
 the nickname of " Friar Pine." He endeavoured to 
 induce the artist to modify the likeness, but this 
 Hogarth resolutely refused. 
 
 Though not one of Hogarth's capital works, 
 Calais Gate, in its engraved form, at once became 
 popular on account of its subject. The starved 
 French sentinel was speedily appropriated as a 
 heading for recruiting advertisements, where he 
 fiofured in humiliatino- contrast to a well-fed British 
 volunteer. Besides this, Theodosius Forrest, son 
 of the Forrest who had been Hogarth's companion 
 in the " Five Days' Tour," turned the whole into 
 a cantata, which was headed by a reduced copy of 
 the print.^ These are the initial lines of this patriotic 
 performance : — 
 
 " 'Twas at the Gates of Calais, Hogarth tells, 
 Where sad Despair and Famine always dwells ; 
 A meagre Frenchman, Madam Gransire's Cook, 
 As home he steer'd his Carcase, that Way took, 
 Bending beneath the Weight of fam'd Sir-Loin, 
 On whom he often wish'd in vain to dine. 
 Good Father Dominick by Chance came by, 
 With rosy Gills, round Paunch, and greedy Eye, 
 Who, when he first beheld the greasy Load, 
 His Benediction on it he bestowed," <S:c. 
 
 ^ Theodosius Forrest, of George Street, York Buildings, was the 
 solicitor to Covent Garden Theatre, and the friend of Colman and 
 Garrick. He was a good amateur painter, a song-writer, and a 
 kind of notability in his day. In a mezzotint by Nathaniel Hone,
 
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 Six
 
 MARCH TO FINCHLEY. I29 
 
 From the second edition of this, which is dated 
 1759, it would appear that Forrest's cantata was 
 " performed at the Theatre in the Haymarket." ^ 
 
 The Gate of Calais was a subject which might well 
 be expected to awaken all the insular prejudices of 
 Hogarth, to say nothing of the " least little touch 
 of spleen" on his own account at the ignominious 
 treatment he had received in France, But although 
 he was so keenly alive to the dilapidated and un- 
 dignified appearance of the French soldiery, he 
 was not the less sensible of the weak points of the 
 British Grenadier. In the March of the Gtmrds 
 toiuards Scotland in the Year 1745, commonly called 
 the March to Finchley, he has exhibited all the 
 disorders of a military dislodgment. While the 
 vanguard are winding away to the horizon, the fore- 
 ground, between the " King's Head" inn and the 
 " Adam and Eve," at Tottenham Court Turnpike, 
 is filled with a confusion of departure that defies 
 description. Sutlers, soldiers, spies, spectators and 
 camp-followers are all blended inextricably in one 
 of those wonderful crowds of which he had already 
 given notable example in the Execution scene of the 
 
 dated 1772, he and Francis Grose, the antiquary, appear as a 
 pair of monks. He committed suicide in 1784, at the age of 
 fifty-six. 
 
 ' In 185 1, Mr. W. P. Frith, R.A., exhibited a Hogarth Brought 
 before the Governor of Calais as a Spy at the Royal Academy, 
 borrowing for his epigraph in the catalogue the above-quoted pas- 
 sage from Walpole. It is curious to note that in 181 8, Wilkie, too, 
 was taken before the mayor for sketching Calais Gate, although 
 he was politely dismissed by that functionary. 
 
 K
 
 130 MEMOIR. 
 
 Apprentice series. The most prominent figure is 
 that of a stalwart young Guardsman, " hke Paris 
 handsome, and like Hector brave," hopelessly embar- 
 rassed by the rival adieux of " his twa Deborahs," 
 one violent, the other pathetic. Near him is a 
 drummer, who is endeavouring, with an inimitable 
 screw of the face, to drown his own grief and that 
 of his wife and child by a thundering " point of 
 war." Elsewhere an officer kisses a milkmaid, while 
 a soldier pours the milk into his hat ; another soldier 
 directs the attention of a grinning pieman to this divert- 
 ing incident, and at the same time takes the oppor- 
 tunity of purloining some of his wares. Not far off, 
 a barrel of spirit is tapped with a gimlet upon its un- 
 conscious owner's shoulder ; and in the right fore- 
 ground a number of chickens are running wildly in 
 search of their vanished mother, pouched safely in a 
 predatory pocket. Beside the gutter a drunken 
 fellow turns with disgust from a malicious proffer of 
 water, and holds out his hand to a female gin-seller 
 for more gin, while the wizened infant at her back 
 imitates his gesture. In the crowd the soft un- 
 furrowed face of another child is happily contrasted 
 with the plotting eagerness of a couple of Jacobite 
 intriguers. At the back, in the extreme left, a fight 
 is going on, watched by excited spectators. But here, 
 as in many other cases, we must resign ourselves to 
 a mere indication of the chief riches of the plate. 
 It has, moreover, been excellently described in Chris- 
 topher Smart's " Student," ii. 162, by Hogarth's 
 and Fielding's friend, Justice Welch. The artist at
 
 BEER STREET. 
 [From the Origitial Engraving.
 
 MARCH TO FINCHLEY, 131 
 
 first intended to dedicate the picture to George II., 
 but that monarch had, as Walpole says, " little pro- 
 pensity to refined pleasures," and he is reported to 
 have received the intended homage with anything 
 but enthusiasm, even hinting that the designer 
 deserved to be picketed for burlesquing the "gentle- 
 men of the army." Thereupon Hogarth, in a fume, 
 inscribed the print to the King of Prussia, as " an 
 Encourager of Arts and Sciences^' and his majesty 
 made fitting acknowledgment of the honour done 
 him. Like others of the painter's works, it was sold 
 by lottery, and thus, by good fortune, became the 
 property of the Foundling Hospital, where it remains 
 to this day, having of late years been glazed for 
 additional security.^ 
 
 The plate of the March to Finchley was pub- 
 lished in December, 1750. It was engraved by 
 Luke Sullivan.^ The only other prints which concern 
 
 ' Rouquet (see " Bibliography, Part II.) wrote with reference to 
 this picture a special letter which, inter alia, serves to show how 
 completely Hogarth had inspired his friends with his hatred of 
 the " Black Masters." Rouquet begins by apologising ironically 
 for the newness of the work, — " cette ignoble frak/ieur, qu'on 
 decoitvre dans la nature, &= qiion ne voit jamais dans les Cabijiets 
 bien celebres. Le terns ne Va point encore obscurci de cette docte 
 fumee, de ce miage sacrt, qui le cachera quelque jour aux yeux pro- 
 fanes du vulgaire, pour ne laisser voir ses beautes gu'aux inities." 
 But he also takes opportunity to comment incidentally upon 
 the inveterate Gallomania both of Hogarth and Fielding. 
 Rouquet's letter was translated in the " Old Woman's Magazine," 
 i. 182. 
 
 " Sullivan is the angel in Paul before Felix. The March to 
 Finchley is his masterpiece as an engraver. He was a man of ex- 
 tremely irregular and dissolute habits ; and Hogarth is said to have
 
 )f 
 
 132 MEMOIR. 
 
 this chapter are Beer Street and Gin Lane, 1751 ; the 
 Potior Stages of Cruelty, 1751 ; the plates of Paul 
 before Felix, 1751 and 1752, and Moses drought to 
 PharaoJis Daughter, 1752. The first pair, which 
 were prompted by the agitation connected with the 
 Act for restricting the sale of spirituous liquors, are 
 among the best known of Hogarth's minor works, 
 althouorh Sir Wilfred Lawson and the total abstainers 
 of to-day would probably regard the bloated pros- 
 perity of Beer Street as scarcely less dangerous than 
 the starved emaciation of Gin Lane. With the lusty 
 beer-drinkers everything prospers but the pawn- 
 broking business ; with the consumers of " Bung- 
 your-eye " and " Strip-me-naked " everything is the 
 reverse, and the gentleman at the sign of the "three 
 balls " is driving a roaring trade. We cannot linger 
 on these plates further than to call attention to the 
 inimitable professional complacency of the ragged 
 sign-painter in Beer Street (in those days there was 
 a regular sign-market in Harp Alley, Shoe Lane), 
 and to the appalling figures of the itinerant gin-seller 
 and the maudlin mother in the companion print. 
 Charles Lamb has left an enthusiastic description of 
 Gin Lane} The Foiir Stages of Crtielty are a set of 
 
 experienced considerable difficulty in keeping him under his eye 
 during the progress of the plate. He had a habit of disappearing 
 mysteriously for weeks at a time (" Hogarth Illustrated," iii. 353). 
 ^ It is too well known to quote. But the characteristic, and 
 equally sympathetic comments of Dickens upon Hogarth and 
 Lamb are not so familiar but that they may find place here : — " I 
 have always myself thought the purpose of this fine piece [(?/« Lane] 
 to be not adequately stated even by Charles Lamb. ' The very
 
 GIN LANE. 
 Fro)n the Original Engraxnng.
 
 MINOR PRINTS. I 33 
 
 plates exhibiting the "progress" of one Thomas 
 Nero, who, from torturing dogs and horses, advances 
 by rapid stages to seduction and murder, and finishes 
 his career on the dissecting table at Surgeons' Hall. 
 They have all the downright power of Hogarth's 
 best manner ; but they are unrelieved by humour of 
 any kind, and are consequently painful and even 
 repulsive. " The leading points in these as well 
 as the two preceding prints," says Hogarth, " were 
 made as obvious as possible, in the hope that their 
 tendency might be seen by men of the lowest rank. 
 Neither minute accuracy of design, nor fine engra- 
 ving was deemed necessary, as the latter would 
 
 houses seem absolutely reeling ' it is true ; but beside that won- 
 derful picture of what follows intoxication, we have indication 
 quite as powerful of what leads to it among the neglected classes. 
 There is no evidence that any of the actors in the dreary scene 
 have ever been much better than we see them there. The best 
 are pawning the commonest necessaries, and tools of their trades ; 
 and the worst are homeless vagrants who give us no clue to their 
 having been otherwise in bygone days. All are living and dying 
 miserably. Nobody is interfering for prevention or for cure, in 
 the generation going out before us, or the generation coming in. 
 The beadle is the only sober man in the composition except the 
 pawnbroker, and he is mightily indifferent to the orphan-child 
 crying beside its parent's coffin. The little charity-girls are not 
 so well tanght or looked after, but that they can take to dram- 
 drinking already. The church indeed is very prominent and 
 handsome ; but as, quite passive in the picture, it coldly surveys 
 these things in progress under shadow of its tower, I cannot but 
 bethink me that it was not until this year of grace 1848 that a 
 Bishop of London first came out respecting something wrong in 
 poor men's social accommodations, and I am confirmed in my 
 suspicion that Hogarth had many meanings which have not grown 
 obsolete in a century" (Forster's " Life," Bk. vi. Ch. 3.) 
 
 A
 
 1 34 MEMOIR. 
 
 render them too expensive for the persons to whom 
 they were intended to be useful."^ These words 
 should be borne in mind in considering them, espe- 
 cially the Four Stages of Cruelty. The price of the 
 ordinary impressions was a shilling the plate, and an 
 unsuccessful attempt was made to sell them even 
 more cheaply by cutting them in wood.^ 
 
 Paul before Felix and Moses brought to PharaoJis 
 Daughter \^tx^ essays in that historical style to which 
 Hopfarth now and then returned like the moth to 
 the flame. Paul before Felix \v2iS painted for Lincoln's 
 Inn Hall, to decorate which Lord Wyndham had 
 left a legacy of ^200 : ^ the other the painter pre- 
 
 ^ " Hogarth Illustrated," iii. 355. 
 
 ' Stages 3 and 4 only were executed in this way. A reduced 
 facsimile of the former is given in the "Catalogue of Prints." The 
 size of the original block is 14^ x 17I- in. ; but even the reduc- 
 tion shows that the drawing on the wood, doubtless by Hogarth 
 himself, was infinitely more vigorous than the copper-plate, which 
 is also copied on the opposite page. 
 
 ^ Hogarth obtained the commission through the instrumentality 
 of Lord Mansfield. A search among the archives of the Society 
 of Lincoln's Inn not long since brought to light the following 
 letter and receipt with reference to this subject. We make no 
 apology for inserting them here, as they establish the date of the 
 painting : — 
 
 "S' "June 28, 1748. 
 
 " According to your order, I have consider'd of a place for the 
 Picture, and cannot think of any better than that over the sound 
 board, in the hall, all the advantages to be gain'd for Light, can 
 only be by setting the bottom near the wall, and Inclining the 
 Top forward as much as possible, it being thus Inclin'd will make 
 ornaments on the sides improper, so that a frame only is neces- 
 sary. I have enquired of Mr. Gosset, a Frame maker in Berwick 
 Street about the price of one somewhat in the manner of the
 
 THE FOUR STAC;ES OF CRUELTV. (Plate III.) 
 From the Ori^tiial Ejio-ravins'.
 
 MINOR PRINTS. I 35 
 
 sented to the Foundling Hospital. Neither of them 
 can be said to have been thoroughly successful, 
 though Haydon certainly goes too far when he says 
 that the painter merited a strait-waistcoat if he really 
 thought the Moses a serious painting. But if they 
 were not successful, they were at all events the cause 
 of a success. As a subscription ticket to the engra- 
 vings of these two pictures, Hogarth issued a 
 burlesque Paul before Felix, " design'd and scratch'd 
 in the true Dutch taste." Everything that he chose 
 to see in Rembrandt and his school — the imputed 
 vulgarity — the absence of beauty — the anachronisms 
 in costume — is carefully ridiculed. This etching was 
 at first merely given away to the artist's acquaintance, 
 etc., but it became so popular that it ultimately sold 
 
 Sketch below [see facsimile], he believes it may come to about 
 30 pound Guilt, to about half as much unguilt and about five pounds 
 less if my Lord Windham's armes are omitted. Frames may be 
 carried up to a great expense, but he thinks one cannot be made 
 in proportion to the picture for less. 
 
 "I am Sir your 
 
 " Most obed* Humble 
 "Ser* to com'' 
 
 "Wm. Hogarth. 
 " I have removed the picture home again in hopes of making 
 some improvements whilst the Frame is making." 
 
 ''July the 8th, 1748. 
 " Reced of Jn° Wood Esq' Treasurer of the Hon'''' Society of 
 Lincoln's Inn by the hands of Rich'' Farshall Chief Butler to the 
 Said Society the Sum of two hundred pounds being the Legacy 
 given by the late Lord Wyndham to the Said Society laid out in 
 a picture drawn by M''. Hogarth According to order of Council 
 Dated the 27*'' day of June last." 
 
 ";^2oo." "Wm. Hogarth."
 
 136 MEMOIR. 
 
 for nearly as much as the larger prints. This 
 chapter may be concluded with the very charac- 
 teristic finish of the notice in the " Daily Advertiser" 
 announcing the appearance of the prints, as well as 
 the auction of the Marriage A-la-Mode, of which we 
 have already given an account in Chapter V. " As 
 (according to the standard of judgment, so righteously 
 and laudably established by Picture-dealers, Picture- 
 cleaners, Picture-frame-makers, and other Connois- 
 seurs) the works of a Painter are to be esteemed 
 more or less valuable as they are more or less scarce, 
 and as the living Painter is most of all affected by 
 the inferences resulting from this and other con- 
 siderations equally uncandid and edifying ; Mr. 
 Hogarth, by way of precaution, not puff, begs leave 
 to urge, that, probably, this^ will be the last suit[e] 
 or series of Pictures he may ever exhibit, because 
 of the difficulty of vending such a number at once to 
 any tolerable advantage, and that the whole number 
 he has already exhibited of the historical or humorous 
 kind does not exceed fifty, of which the three sets 
 called The Harlots Progress, The Rakes Progress, 
 and that now to be sold, make twenty; so that 
 whoever has a taste of his own to rely on, not too 
 squeamish for the production of a Modern, and 
 courage enough to own it, by daring to give them a 
 place in his collection (till Time, the supposed 
 finisher, but real designer of Paintings, has rendered 
 them fit for those more sacred repositories where 
 
 ' That is, the series of Alarriage A-la-Mode.

 
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 MIXOR PRINTS. 
 
 137 
 
 Schools, Names, Heads, Masters, etc., attain their last 
 stage of preferment), may from hence be convinced 
 that multiplicity at least of his (Mr. Hogarth's) pieces 
 will be no diminution of their value." ^ 
 
 It is humiliating to reflect that, notwithstanding the 
 persuasive ingenuity of this appeal, the tragedy of 
 the Squanderfields brought no more to its Author 
 than what, in his "Rhymes on Art," Sir Martin 
 Archer Shee rightly describes as "a sum too con- 
 temptible to be named." 
 
 * Genuine Works," i. 181-2. 
 
 SUBSCRIPTION TICKET TO THE ".MARCH TO FINCHLEY."
 
 CHAPTER VII. 
 
 The Analysis, Election Prints, and 
 
 SiGISMUNDA. 
 
 N 1753 Hogarth was fifty-six years of 
 age. He had done his best work ; 
 and, with the exception of the Four 
 Prints of an Election, produced nothing 
 after this date worthy of the brain which contrived 
 Marriage A-la-Mode. Horace Walpole, indeed, re- 
 gards Crecinlity, S^iperstition, and Fanaticism as, " for 
 useful and deep satire," the " most sublime " of his 
 efforts. But no doubt the note — in the followers of 
 Wesley and Whitefield — of what the late Matthew 
 Arnold termed " provinciality," was distasteful to 
 refined Mr. Walpole ; and in common with many of 
 his contemporaries, he would probably have wel- 
 comed any effective satire on Methodism as " useful 
 and deep."^ In this instance, as in others, we do 
 not share his opinion. It is to be observed, how- 
 ever, that if Hogarth in these last years of his life 
 
 ^ Cf. his account of Wesley and his preaching at Bath ("Letter 
 to Chute," io'T)ctober, 1766).
 
 THE ANALYSIS. I 39 
 
 gave birth to nothing which could add to his fame, 
 on the other hand he issued one or two productions 
 which, though they now affect his reputation but 
 Httle, had a remarkable influence upon his credit at 
 the time. Those which concern this chapter are the 
 book called the "Analysis of Beauty" and the picture 
 of Sigismunda. These two ill-starred performances 
 gave just that opportunity to his detractors, which, as 
 lonof as he confined himself to the delineation of vices 
 and follies, was lost in the general applause. And 
 he had many enemies. With all picture-mongery and 
 sham-connoisseurship he was at war. His success 
 had alienated some of his colleagues ; his plain- 
 spoken opinions some of his friends. Added to this, 
 he was an older, perhaps a weaker man. Yet it was 
 precisely at this period that he set himself to com- 
 pose in the " Analysis " a treatise " fixing the 
 fluctuating Ideas of Taste," and sought in Sigis- 
 munda " to rival the ancients on their own crround." 
 He was not in any sense a literary man (he speaks 
 of himself as " one who never took up the pen 
 before") ; yet he selected a subject which above all 
 requires the utmost resources of style and verbal 
 finesse, of orderly arrangement and untroubled ex- 
 position, — the subject of -Esthetics : he had won his 
 spurs in the unworked field of pictorial satire ; yet 
 with that strange fatality which so often betrays 
 the wisest to their discomfiture, he dreamed of com- 
 peting successfully with the magic colouring and the 
 voluptuous imagination of the Italians. In either case 
 his failures were more than respectable ; and they
 
 140 MEMOIR. 
 
 were the failures of genius ; but they were failures 
 all the same. Their worst result was, that they 
 embittered his remaining days ; and involved him in 
 acrimonious disputes at a time of life when he might 
 reasonably have expected a peaceful close to his 
 prolonged and laborious career. 
 
 The "Analysis of Beauty" had the following 
 origin. In the picture of himself which Hogarth had 
 painted in 1 745 — that excellent portrait in which his 
 shrewd, sensible, blue-eyed head in its Montero cap 
 looks out at us from the canvas in the National 
 Gallery — he had drawn on a palette in the corner a 
 serpentine curve with these words under it — " The 
 Line of Beauty and Grace." " No Egyptian hiero- 
 glyphic ever amused more than it did for a time," he 
 says ; and so numerous were the requests which he 
 received for a solution of the enis^ma, that, after 
 applying without success to several of his friends to 
 take up the pen in his behalf, he finally made shift to 
 explain his symbol in print himself That he was 
 fully alive to the perils of such an enterprise, is 
 humorously expressed in an epigram he wrote : — 
 
 "What ! a book, and by Hogarth ! — then twenty to ten, 
 All he's gain'd by the pencil, he'll lose by the pen. 
 Perhaps it may be so — howe'er, miss or hit, 
 He will publish — here goes — it is double or quit." 
 
 In the correcting of both the manuscript and the 
 proofs he seems to have had the assistance — more or 
 less intermittent and occasional — of certain of his 
 literary acquaintance ; but this was not sufficient to 
 save the "Analysis" from a fair proportion of those
 
 THE ANALYSIS. I4I 
 
 errors of spelling and expression which afforded so 
 much delight to the petty pedantry of the day. For 
 the book itself, it was just such an one as might have 
 been expected under similar conditions. In parts it 
 was shrewd and sensible like its author; it contained 
 many practical hints and ingenious ideas ; but as a 
 whole it was wanting in method, development, pre- 
 cision of language — perhaps of idea. This makes it 
 difficult to describe except as a desultory pamphlet 
 having for its 'text (or rather pretext) the not- very- 
 definite axiom attributed in Lomazzo's " Trattata della 
 Pittura"^ to Michael Angelo, namely, — that a figure 
 should be always " pyramidal, serpent-like, and multi- 
 plied by one, two, and three " — an axiom concerning 
 which it may be observed that if it contains some 
 obvious artistic truth, it does not of necessity include 
 all. The fate of the volume was exactly what might 
 have been anticipated. The world of professional 
 scoffers and virtuosi fell joyously upon its obscurities 
 and incoherences,^ while the caricaturists diverted 
 themselves hugely with fancy representations of 
 " Painter Pugg" and his ungainly "Graces." It is not 
 
 * Hogarth employed Richard Haydocke's foUo translation of 
 1598, which he had purchased from Dr. Kennedy, the antiquary 
 and connoisseur. 
 
 ^ Hogarth, thy Fate is fix'd ; the Critic Crew, 
 The Connoisseurs and Dabblers in Vertic, 
 Club their united Wit, in ev'ry Look, 
 Hint, Shrug, and Whisper, they condemn thy Book : 
 Their guiltless Minds will ne'er forgive the Deed ; 
 What Devil prompted thee to write and read?' — 
 
 Graf s Inn Journal, 15th Dec, 1753.
 
 142 MEMOIR. 
 
 worth while to attempt any serious enumeration of 
 these pictorial efforts, a number of which are fully 
 described in Mr. F. G. Stephens's Catalogue of " Sati- 
 rical Prints and Drawino-s in the British Museum." 
 But it may be asserted generally that there is the same 
 difference between their involved brutalities and the 
 direct onslaught of Hogarth that Corporal Trim dis- 
 tinguished between one honest " home-thrust of a 
 bayonet" and the obscure and complicated manoeuvres 
 of Messieurs Gymnast and Tripet. On the other hand, 
 friendly advocacy did all it could to secure a succes 
 d'estime. Mr. Richard Owen Cambridge, of Twicken- 
 ham, referring to the author as " the nicest observer 
 of our times," spoke of the book in the " World " for 
 December 13, 1753, ^^ ^ ''most rational " one ; Mr. 
 Townley, of Merchant Taylors', wound up a com- 
 plimentary poem to the author by declaring that 
 
 " Our sons, in time to come, shall strive 
 
 Where the chief honour they shall give, 
 
 Or to your pencil, or your pen " ; 
 
 and Mr. Ralph, of Chiswick, in prose, went even far- 
 ther still. "Composition," he declared, "is at last 
 become a science ; the student knows what he is in 
 search of ; the connoisseur what to praise ; and fancy 
 and fashion, or j^rescription, will usurp the hacknied 
 name of taste no more." As both Mr. Ralph and 
 Mr. Townley are reported to have been among the 
 number of the artist's volunteer assistants, neither of 
 these latter verdicts can be regarded as wholly disin- 
 terested. But "Sylvanus Urban" was scarcely less 
 kind. In the regulation "copy of verses "prefixed
 
 THE ANALYSIS. I 43 
 
 to his twenty-fourth vokime (1754), he refers to the 
 
 " Analysis " as follows : — 
 
 " The Proteus Beauty, that illusive pow'r, 
 Who changing still, was all things in an hour, 
 Now, fix'd and bound, is just what Reason wills, 
 Nor wayward Fancy's wild decrees fulfils "; 
 
 and he gave, besides, a lengthy summary of the book, 
 which he did not shrink from describing as "written 
 with that precision and perspicuity, which can only 
 result from a perfect knowledge of the subject in all its 
 extent." " The player and the dancing master," he 
 went on, " whom others consider as patterns of just 
 action and genteel deportment, are not less instructed 
 than the statuary and the painter ; nor is there any 
 species of beauty or elegance that is not here inves- 
 tigated and analyzed." Others, as sympathetic, 
 followed suit ; and even the great Mr, Burke, when 
 he came to write his famous treatise " On the Sublime 
 and Beautiful," admitted that " the very ingenious 
 Mr. Hogarth's" idea was in general " extremely 
 just." Under the author's supervision, a rendering 
 of the "Analysis" into German was made by one 
 Christlob Mylius in 1754; and in 1761 an Italian 
 version appeared at Leghorn. It was not translated 
 in France until 1805, when it was taken in hand by 
 Jansen, Talleyrand's librarian ; but it was evidently 
 known to French criticism long before this date.^ 
 
 ^ Diderot, for example, must have been familiar with it. Com- 
 menting in his "Salon de 1765 " on Hogarth's statement at p. 121 
 that " France hath not produced one remarkable good colourist," 
 he gives him the lie direct. " Vous en avez 7ne?iti, monsieur 
 Hogarth," hesdiys. '''■ C est, devotre part, ignorance ou platitude . . .
 
 144 MEMOIR. 
 
 The " two explanatory prints " by which the 
 Analysis of Beauty is illustrated deserve a passing 
 word. They represent a Country Dance and a 
 Statuary s Yard, and each is set in a framework of 
 smaller illustrations. To make these latter perfectly 
 intelligible, the book itself must be consulted ; but 
 the dance, which occupies the centre of the former, 
 requires no lengthy explanation. It is said to be 
 intended for the Wanstead Assembly, and to include 
 the figures of Earl Tylney, his countess and their 
 children, tenants, etc. It is also stated that the 
 principal male dancer represents George the Third, 
 when young, or the Duke of Kingston. In any case, 
 the performers exhibit almost every eccentricity 
 which it is possible for the poetry of motion to 
 assume. Hogarth's own comment on the plate — a 
 comment which, it will be seen, anticipates some of 
 the revelations of modern instantaneous photography 
 — is this : — " The best representation in a picture, 
 of even the most elegant dancing, as every figure is 
 
 Feignez, peignez mteux, si vous pouvez. Apprenez a dessiner et 
 n'ecrivez point." Both contradiction and admonition were a little 
 belated, as Hogarth had been dead for some months. But 
 Chardin, of whom Diderot was speaking, was certainly a "remark- 
 able good colourist"; and, moreover, is not unfrequently com- 
 pared with Hogarth himself. What is even more curious is, that, 
 a few pages further on, in speaking of Loutherbourg, Diderot 
 seems to be remembering the " Analysis." " La pyramide (he 
 says) est plus belle que le cone qui est sifuple, mais sans variete. La 
 statue equestre plait plus que le statue pedestre ; la ligne droite 
 brisee, que la ligne droite ; la ligne circulaire, que la ligne droite 
 brisee ; P ovale, que la circulaire ; la serpentante, que V ovale'''' 
 (" OEuvres," x. (1876) pp. 303, 368).
 
 THE ANALYSIS. 
 
 145 
 
 rather a suspended action in it than an attitude, must 
 be always somewhat unnatural and ridiculous ; for 
 were it possible in a real dance to fix every person at 
 one instant of time, as in a picture, not one in twenty 
 would appear to be graceful, tho' each were ever so 
 much so in their movements; nor could the figure 
 of the dance itself be at all understood." ^ The sub- 
 
 COLUMBUS BREAKING THE EGG. From Homrth's Etchinsr. 
 
 scription ticket to the "Analysis" was Columbus 
 breakmg the Egg.m order to make it, according to 
 the well-worn anecdote, stand on end. Hogarth's 
 object here was to direct attention to the fact that, 
 although his theory of the line of Beauty (symbolized 
 in the design by two eels upon a plate) was old and 
 
 ^ "Analysis of Beauty," 1753, 137. 
 L
 
 146 MEMOIR. 
 
 simple, at least he was the first who had definitely 
 announced it. 
 
 At the bottom of page 141 was quoted an epigram 
 on the Analysis which appeared in the " Gray's Inn 
 Journal" for Dec. 15, 1753. Not many weeks after- 
 wards followed in the same periodical another passage 
 on Hogarth which, more especially because it seems 
 to anticipate Walpole's "writer of Comedy with a 
 pencil," deserves something better than the depressed 
 distinction of a foot-note. The writer, no doubt, is 
 Arthur Murphy, the author of the paper. He is 
 replying to Voltaire, who has been accusing the 
 Enorlish of a lack of o^enius for Paintino- and Music, 
 and he adduces Hogarth among his proofs to the 
 contrary, as far as pictures are concerned : — 
 ^'Hogarth',' he says, " like a true Genius, has formed 
 a new School of Painting for himself. He may be 
 truly stiled the Cervantes of his Art, as he has 
 exhibited with such a masterly Hand the ridiculous 
 Follies of human Nature. In many of his Pieces 
 there is such a grave and couched Kind of Humour, 
 that it requires a discerning Eye to perceive the 
 several latent Beauties ; and he may be said to be 
 the first, who has wrote Comedy with his Pencil. 
 His Harlot's Progress, and Marriage A -la-Mode are 
 in my Opinion, as well drawn as any Thing in Molicre, 
 and the Unity of Character, which is the Perfection 
 of Dramatic Poetry, is so skilfully preserved, that we 
 are surprised to see the same Personage thinking 
 agreeably to his complexional Habits in the many 
 different Situations, in which we afterwards perceive
 
 THE ANALYSIS. I47 
 
 him. The Fribble, the Bully, the Politician, the 
 Lawyer, the Miser, and in short all the Foibles of 
 the human Mind are, by this Gentleman, so ad- 
 mirably depicted upon Canvas, that I am convinced 
 Voltaire would be at a loss to show \vhere he has 
 been excelled." ^ Murphy, although he Avas Fielding's 
 biographer, does not wTite like Fielding, nor is his 
 opinion of equal weight ; but it is Avorth quoting for 
 the double reason that it has not been often quoted 
 before, and that it represents, accurately enough, the 
 view taken by those of the painter's educated con- 
 temporaries who were not politicians or connois- 
 seurs. 
 
 The only other prints which belong to the interval 
 between the " Analysis " and the Election series in 
 1755-8 are a whimsical frontispiece to Kirby's 
 " Perspective," embodying almost every error in 
 that science of which ignorance could possibly be 
 guilty (it has been said that even ignorance would 
 have escaped one or two of them) ; and the plate of 
 Croivns, Mitres, etc., already referred to in Chap. III. 
 as prompted by the Act of 1 735. This was employed 
 as a subscription ticket to the Four Prints of an 
 Election. 
 
 The first of this set — An Election Entertainment 
 — was issued in February, 1755. The general 
 elections of the preceding year, and perhaps those at 
 Oxford in particular, probably suggested the original 
 paintings. This supposition is sustained by the 
 reference in the plate to the "Jew Bill" and " Mar- 
 ^ "Gray's Inn Journal," February 9, 1754.
 
 148 MEMOIR. 
 
 riage Act " of 1 753, and to the change in the calendar 
 of 1752 (" Give us our Eleven Days"). At a couple 
 of tables in the large wainscoted room of a country 
 inn, the " yellows " or Court party are feasting their 
 constituents — " Speak and Have" (according to the 
 escutcheon) being the profuse motto of the festivities. 
 Outside is passing the procession of the rival party. 
 One candidate, a young well-dressed man, submits 
 unwillingly to the fulsome caresses of a stout lady, 
 perhaps the hostess. This " fair conjunction " is 
 assisted by a man behind, the ashes from whose pipe 
 drop into the gentleman's neat bagwig. The other 
 candidate ("Sir Commodity Taxem"), between the 
 delighted fraternity of a cobbler with a glass of 
 champagne, and the reeking confidences of a maudlin 
 barber, who has been terribly scratched in some 
 domestic altercation, is equally embarrassed. A 
 heavy-jowled parson mopping his bald pate over a 
 steaming chafing-dish ; a long-chinned nobleman 
 hob-a-nobbing with a longer-chinned fiddler ; a wag, 
 with a face smeared on his knuckles, who is singing 
 " An Old Woman clothed in Gray " to a couple of 
 grinning yokels ; an alderman in a fit from a surfeit 
 of oysters ; and an agent stunned by a brickbat from 
 without while he is registering the " sure " and 
 " doubtful votes " — are some of the principal guests. 
 At the back of the insensible oyster-eater, an incor- 
 ruptible, but squinting, Methodist tailor is plied at 
 once by agent, wife and son. In the foreground a 
 butcher, with "For Our Country" bound on his 
 broken head, pours Geneva into the green wound of
 
 ELECTION PRINTS. 1 49 
 
 a wincing bludgeon man, who takes a dram of the 
 same remedy internally ; a frightened boy brews rack 
 punch in a tub ; and a squat Quaker pedlar distrust- 
 fully eyes a promissory note, appropriately dated 
 April i'\ which he has received from " Richard 
 Slim" — presumably the younger Candidate — in pay- 
 ment for his wares. Finally, a sword is seen quitting 
 the room at the head of a posse of cudgels. These 
 are only a few of the incidents in this "matchless" 
 picture, as Charles Lamb calls it.^ 
 
 The second scene exhibits the Canvassing fo7' 
 Votes. Upon an election show-cloth which hangs 
 before the " Royal Oak " inn, a stream of secret 
 service money is seen issuing from the Treasury 
 (with which the artist has maliciously contrasted 
 Kent's stunted Horse Guards) ; and in the lower 
 
 ^ Hogarth told George Steevens that the singing gentleman was 
 the only portrait in the picture. It represented Sir John Parnell, 
 a nephew of the poet, and was inserted by request of the sitter. 
 Concerning the butcher and bludgeon-man, John Ireland found 
 the following among the painter's memoranda : — " 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." (" Hogarth Illustrated " iii. 361.)
 
 150 MEMOIR. 
 
 compartment, Punch, ministerial " candidate for 
 Guzzledown," scatters the golden shower among 
 eager electors. Yet, notwithstanding this pictorial 
 deprecation of the corrupt practices of the "yellows," 
 the " blue" landlord may be seen below contending 
 with his rival of the " Crown " for the vote of a newly- 
 arrived farmer, who, as a preliminary, is taking the 
 bribes of both.' Behind, an electioneering agent 
 ("Mr. Tim Partytool"), by judicious gifts from a 
 Jew pedlar's tray, is insuring the suffrages of some 
 girls in the balcony. Those of the landlady, whose 
 counted gains are watched by a covetous grenadier, 
 have been already bespoken. The same may be in- 
 ferred of a dumpy cobbler on the left of the picture, 
 who, with a finger on his newly-acquired guineas, 
 listens unconvinced to the noisy narrative which a 
 barber, aided by sundry bits of tobacco-pipe, is giving 
 of Vernon's popular capture of Porto Bello (figured 
 for the nonce by a quart pot) " with six ships only." 
 In the background, before the " Crown," also the 
 Excise Office, a riotous crowd are tugging at the 
 
 ^ John Ireland says that the idea of Reynolds's Garrick between 
 Tragedy and Comedy [1761] was indisputably taken from this 
 impartial personage, whose mental attitude is very much that of 
 "Mr. Mayor" in Fielding's comedy: — "I never gave a Vote 
 contrary to my Conscience. I have very earnestly recommended 
 the Country-Interest to all my Brethren: But before that, I recom- 
 mended the Town-Interest, that is, the interest of this Corporation ; 
 and first of all I recommended to every particular Man to take 
 a particular Care of himself. And it is with a certain way of 
 Reasoning, That he who serves me best, will serve the Town best ; 
 and he that serves the Town best, will serve the Country best " 
 (" Don Quixote in England," act i., sc. ix.).
 
 
 O k
 
 ELECTION PRINTS. 15I 
 
 sign, which a man is sawing through in bHssful 
 ignorance that its fall involves his own destruction. 
 An old ship's figure-head of a Lion swallowing a 
 Fleur-de-lis, which stands in front of the " Royal 
 Oak," alludes to the war with France which broke 
 out in 1 755, and was greatly fomented by the country- 
 party. 
 
 To the Canvassing follows the Polling, and the set 
 finishes with the Chairing of the Members. In the 
 Polli7ig, matters are nearing their termination, as the 
 reserve voters are being brought up to the hustings, 
 and the worn-out constable is dozing. Fortune, 
 whether "blue" or "yellow," is clearly in favour of 
 one of the candidates, whose complacent attitude is 
 being sketched. The other, in manifest discomfiture, 
 scratches his head, while a ballad-woman in front 
 retails an uncomplimentary broadside. The foremost 
 voter at the polling-place is a battered pensioner who 
 has lost a leg, an arm, and a hand in Queen Anne's 
 wars. He lays his iron hook on the Bible. The 
 lawyers wrangle as to the validity of the oath ; the 
 clerk explodes with merriment. Next to the soldier, 
 an idiot with a bib, restrained in his chair by a wooden 
 bar, votes at the prompting of a man in fetters, the 
 infamous Dr. Shebbeare, who was imprisoned and 
 pilloried for libelling George II., and whose sixth 
 " Letter to the People of England " peeps from his 
 pocket. Behind, a half-dead hospital patient with 
 "true blue" in his cap is borne up the steps between 
 a nurse and a noseless wretch, the fumes of whose 
 pipe curl in the face of his ghastly burden. A blind
 
 152 MEMOIR. 
 
 man, carelessly guided by a gaping boy, follows, and 
 a cripple on crutches brings up the rear. In the 
 background, under a bridge occupied by an up- 
 roarious electioneering procession, Britannia's coach 
 breaks down, while the unheeding coachman and 
 footman play cards upon the box. Probably most 
 people will agree with Horace Walpole that the 
 introduction of this allegorical incident, although 
 clever enough in itself, is out of keeping with the 
 rest of the composition. 
 
 Chairing the Members, the last of the series, would 
 appear at first sight to be a misnomer, as one member 
 only is shown. But the shadow of the other appears 
 upon a wall at the back. The gentleman whose 
 triumph is depicted clearly belongs to the "blue" or 
 " Country" party (see " True Blue" on the banner). 
 Hogarth afterwards held a Court appointment ; but, 
 although he has distributed his satire pretty equally, 
 his sympathies in this case were probably with the 
 "blues," whose procession is in temporary disorder. 
 A frightened sow, preceded by her litter, one of which 
 is drowning, has broken the ranks. The back stroke 
 of a flail wielded by a thresher in front strikes one of 
 the chair-bearers, who, tottering, increases the con- 
 fusion. The unhappy member (said to be intended 
 for the borough-monger, Bubb Dodington, afterwards 
 Lord Melcombe) clings desperately to the arms of 
 his wavering seat ; a lady who watches him from 
 the church faints with terror, and the " yellows " in 
 the window, among whom is the old Duke of New- 
 castle, vastly enjoy his misery. In imitation of the
 
 
 — p 
 
 X
 
 ELECTION PRINTS. I 53 
 
 eagle above Alexander in Le Brun's Battle of the 
 Graninis, a goose flies over his head. In front the 
 thresher whose combativeness has already caused so 
 much mischief is enofaofed in a conflict with a sailor 
 leading a bear. The bear seizes the opportunity of 
 plundering the barrels of offal borne by an ass, whose 
 master retaliates with a cudgel. Further compli- 
 cations are caused by the fact that the terrified 
 wriggling of a monkey on the bear's back discharges 
 a toy-gun in the face of a grinning sweep, who, 
 perched on the churchyard wall, is fitting a pair of 
 gingerbread spectacles on a stone skull. 
 
 Much has still been left undescribed in this excel- 
 lent series ; but the original pictures are luckily still 
 in existence. They are among the best examples of 
 Hogarth's work, broadly and freshly painted. Gar- 
 rick purchased them for 200 guineas. From him they 
 passed in 1823 for ^1,732 lOi'. to Sir John Soane, in 
 whose museum in Lincoln's Inn Fields they are at 
 present. The last of the prints appeared in January, 
 1758. In March of the year following was published 
 a "poetical description" of some thirty pages, ''written 
 under Mr, Hogarth's Sanction and Inspection." In 
 the "Advertisement" it is stated upon his authority, 
 that no other explanation of his work had given him 
 equal satisfaction — an utterance which implies un- 
 usual merit. Nevertheless there is nothing remark- 
 able in the verses, nor do they readily lend themselves 
 to quotation.^ 
 
 ^ Some interesting variations between the pictures and the 
 prints are given in Grego's " History of Parliamentary Elections
 
 1 54 MEMOIR. 
 
 In 1756 Hogarth made a final essay In historical 
 painting, and as far as money is concerned, the effort 
 was wholly successful. For the altar-piece of St. 
 Mary Redcliffe at Bristol he received ^500. The 
 compartments represented ^^Sealhig of the Sepulchre ^ 
 the Ascension, and the Three Marys, and are now in 
 the Fine Arts Academy at Clifton. Large mezzo- 
 tints of the side pieces were issued by Isaac Jenner; 
 but the Ascension has never been engraved.^ 
 
 One or two minor prints require to be noticed 
 before we come to the Sigisimmda. In 1756, when 
 people were much exercised by rumours of the 
 threatened invasion of England by France, and its 
 concomitant inroad of Popery and wooden shoes, — 
 when a camp was formed in Surrey, and a "Great 
 Personage" at Kensington, according to the "Gentle- 
 man's Magazine," went so far as to say that 10,000 
 French were actually embarking in their flat-bot- 
 tomed boats-^ Hogarth, doubtless still sorely con- 
 scious of his Calais mishap, put forth his version of 
 the " present posture of affairs " in a couple of prints 
 entitled The Invasion ; or, France and England. 
 The subjects might almost be guessed. The French, 
 
 and Electioneering," 1886, pp. 138-150. Cf. also the above- 
 named Bubb Dodington's " Diary" from 1749 to 1761, published 
 by H. P. Wyndham in 1785. 
 
 ^ " As specimens of colouring " — says Britton in his " Historical 
 and Architectural Essay on Redcliffe Church," 18 13,— "they 
 [the pictures] possess much merit, and may be viewed with 
 advantage by the young artist ; but in the forms and expressions 
 of the figures, and in their attitudes and grouping, we seek in vain 
 for propriety, dignity, or elegance."
 
 
 
 THE BKNCH. 
 
 From HonartJis Emrravin^,
 
 THE INVASION. I 55 
 
 assembling in front of the Sabot Royal, are shown as 
 half-starved frog-eaters, forced unwillingly to depart 
 from their depopulated land, the only really cheerful 
 person in the picture being a sanguinary monk, who, 
 with an ineffable grin, presides over the shipment 
 of various engines of torture to be employed at a 
 proposed monastery ''dans Black Friars a Londrel' 
 The English, on the contrary, are jubilant at the 
 prospect of the arrival of their visitors. Hodge, 
 for whose portrait it is alleged that Garrick stood, 
 strains valiantly along the sergeant's halberd to 
 reach the regulation height, while a brawny grena- 
 dier is decoratinor the wall of the " Duke of Cum- 
 berland " Inn with a fine fresco of Louis the 
 Well- Beloved, from whose lips, in allusion to the gas- 
 conading memorial of M. Rouille to Fox, issues a 
 label, — " You take a my fine ships, you be de Pirate, 
 you be de Teef, me send you my grand Armies, and 
 hang you all, Morblu." In earnest of which he 
 impotently flourishes a gibbet. Garrick wrote some 
 special verses for these prints ; but, though they are 
 livelier than those of Dr. John Hoadly to A Har- 
 lot's Progress, their patriotic note is more conspi- 
 cuous than their poetical quality. 
 
 The print called The Bench (Sep. 4th, 1758) re- 
 quires no lengthy notice. It is said to contain por- 
 traits of the Honourable William Noel, Sir Edward 
 Clive, Lord Chief Justice Willes, and the Honour- 
 able Mr, (afterwards Earl) Bathurst, and was de- 
 signed to show the difference between " Character," 
 " Caricatura," and " Outre." Another print, dated
 
 156 MEMOIR. 
 
 Nov. 5th, 1759, exhibits the old Cock Pit in St. 
 James's Park with all the " celestial anarchy and 
 confusion" which, according to Sherlock, charac- 
 terized the pastime of which it was the theatre. 
 Jockeys and cock-breeders, sweeps and Quakers, 
 English Dukes and French Marquises, blind men 
 and deaf men — are absorbed in this exciting sport. 
 A defaulter, whose shadow only is seen, has, in 
 compliance with cockpit law, been drawn up to the 
 ceiling in a basket, whence he vainly tenders his 
 watch to satisfy his creditors.^ This is one of the 
 best of Hogarth's later prints. 
 
 On the 6th of June, 1757, Hogarth was appointed 
 Serjeant Painter of all his Majesty's Works, " as 
 well belonging to his Royal Palaces or houses as to 
 his great Wardrobe, or otherwise." He succeeded 
 his brother-in-law, the John Thornhill of the " Five 
 Days' Tour ;" and from an autograph note in the 
 Forster Collection, entered upon his duties on the 
 1 6th of July. The salary by the warrant was ^10 
 per annum, payable quarterly ; but there were cer- 
 tain " fees, liveries, profits, commodities and advan- 
 taQ;es " which made it rather more. In one of the 
 
 ^ Cf. "Another Occasional Letter from Mr. Gibber to Mr. 
 Pope": — "Who knows, then, but the second Thought of thy 
 Readers may humourously mount thee into it [/.<?. the throne of 
 the Laureate] ; as the merry mob at a Cock-match hoist up a Cheat 
 into the Basket, for having lost a Bet he was not able to pay" (p. 49). 
 The old Cockpit, taken down in 1816, stood at some steps leading 
 from Birdcage Walk into Dartmouth Street, near the top of Queen 
 Street, Westminster. There is a print of it with figures by 
 T. Rowlandson, in Ackermann's "Microscosm of London," 1808, 
 No. 18.
 
 
 cj^^ 
 
 ■x
 
 SERJEANT PAINTER. 1 57 
 
 memoranda printed by John Ireland, Hogarth says 
 that it " might not have exceeded one hundred a 
 year to me for trouble and attendance ; but, by two 
 portraits, at more than eighty pounds each, the last 
 occasioned by his present Majesty's accession, and 
 some other things, it has for these last five years 
 been, one way or other, worth two hundred pounds 
 per anny^ 
 
 Although in 1757 he had, in a fit of irritation, 
 announced that he should in future "employ the 
 rest of his time in portrait painting," he appears 
 about 1759-60 to have rather inconsistently "deter- 
 mined to quit the pencil for the graver." "In this 
 humble walk," he says, " I had one advantage ; the 
 perpetual fluctuations in the manners of the times 
 enabled me to introduce new characters, which being 
 drawn from the passing day, had a chance of more 
 originality, and less insipidity, than those which are 
 repeated again and again, and again, from old stories. 
 Added to this, the prints which I had previously 
 engraved were now become a voluminous work, 
 and circulated not only through England, but over 
 Europe. These being secured to me by an Act 
 which I had previously got passed, were a kind of 
 an estate ; and as they wore, I could repair and 
 re-touch them ; so that in some particulars they 
 became better than when first engraved. 
 
 "While I was makinof arranofements to confine 
 myself entirely to my graver, an amiable nobleman 
 (Lord Charlemont) requested that before I bade a 
 ' "Hogarth Illustrated," iii., 141-2.
 
 158 MEMOIR. 
 
 final adieu to the pencil, I would paint him one 
 picture. The subject [was] to be my own choice, 
 and the reward, — whatever I demanded. The story 
 I pitched upon, was a young and virtuous married 
 lady, who, by playing at cards with an officer, loses 
 her money, watch and jewels ; the moment when he 
 offers them back in return for her honour, and she 
 is wavering at his suit, was my point of time." ^ 
 
 The picture thus indicated is that known indif- 
 ferently as the Ladys Last Stake ; or, Picquet ; or, 
 Virtue in Danger. In 1825 it was engraved by 
 Cheesman. Lord Charlemont, who paid the painter 
 ;^ioo, was greatly delighted with it; and John 
 Ireland has printed a couple of letters on the sub- 
 ject, which show this nobleman in a very favourable 
 light.* To Hogarth's description of the design, 
 it is only necessary to add that Miss Hester Lynch 
 Salusbury (better known as Mrs. Thrale or Mrs. 
 Piozzi) was wont to allege that she sat for the 
 portrait of the heroine.^ 
 
 ^ "Hogarth Illustrated,"' iii., 196-7. It is possible that this 
 subject was suggested by an anecdote in a paper by Edward 
 Moore (No. 154 of "The World" for nth Dec, 1755), where 
 the lady only saves her jeopardized reputation by a fortunate 
 repique. Hogarth's first title is, however, identical with that of 
 a comedy by Colley Gibber. 
 
 * " Hogarth Illustrated," iii., 198-200. See also the Charle- 
 mont Papers in the Appendix (Part x.) to the Twelfth Report of 
 the Historical INIanuscripts Commission, 1891, for some further 
 letters on this subject. 
 
 ^ For this reason, the Ladfs Last Stake was engraved, at Lord 
 Macaulay's suggestion, for vol. ii. of Mr. Hayward's edition of 
 Mrs. Piozzi's "Autobiography," etc., 1861. At the Grosvenor
 
 SIGISMUNDA. 159 
 
 During the process of painting, the Ladys Last 
 Stake had found other admirers ; and by one of 
 these, Sir Richard (afterwards Lord) Grosvenor, 
 Hogarth was pressed to undertake a second picture 
 " upon the same terms." He selected Dryden's 
 (or rather Boccaccio's) " Sigismunda," weeping over 
 the heart of her murdered lover Guiscardo — the 
 choice of subject having been apparently determined 
 by the large price given for a composition having 
 the same theme, ascribed to Correggio, but really by 
 Francesco Furini, which had been sold in 1758, 
 with Sir Luke Schaub's collection, and had realized 
 ^400. Hogarth valued his picture at the same 
 
 Gallery exhibition of 1888 it was exhibited with Sir Joshua's 
 portrait of Mrs. Thrale and her daughter "Queenie"; and it 
 must be admitted that the resemblance was by no means 
 obvious. Nor is Mrs. Piozzi's own account of the circumstances, 
 as embodied in a letter to Sir James Fellowes, of 30 Oct., 1815, 
 free from inconsistencies. " The next time we went to Leicester 
 Fields (she says), Mr. Hogarth Avas painting, and bid me sit 
 to him ; ' And now look here,' said he, ' I am doing this for 
 you. You are not fourteen years old yet, I think, but you 
 will be twenty-four, and this portrait will then be like you. 'Tis 
 the lady's last stake ; see how she hesitates between her money 
 and her honour. Take you care; I see an ardour for play in 
 your eyes and in your heart : don't indulge it. I shall give you 
 this picture as a warning, because I love you now, you are so good 
 a girl ' " (p. 130). If, as is now believed, Mrs. Piozzi was born in 
 January, 1741, N. S., she must have been eighteen, not fourteen, 
 when the picture was painted in 1759. And Hogarth could hardly 
 promise her a work he was painting on commission. Moreover, 
 she told an entirely different story to a correspondent of the 
 " Gentleman's Magazine," in which she affirmed that Hogarth 
 made a sketch of her one evening in the house of an uncle. It 
 is impossible to decide how much truth there is in the tradition.
 
 l6o MEMOIR. 
 
 sum. He took immense pains with it, touching and 
 retouching it repeatedly in obedience to the sugges- 
 tions of his friends. By the time it was finished, 
 Sir Richard had either, as the painter surmises, got 
 into the hands of the picture-dealers, or, perhaps 
 expecting something of a different kind, had repented 
 of his commission. At all events he took advantage 
 of the artist's conventional offer to release him from 
 his bargain, and rather meanly withdrew from it 
 upon the specious ground that " the constantly 
 having it [the picture] before one's eyes, would be 
 too often occasioning melancholy ideas to arise in 
 one's mind."^ 
 
 ^ Hogarth relieved his excusable irritation by humorously para- 
 phrasing Sir Richard's excuse in some verses addressed to Dr. 
 Hay, and " turned," he says, " into English by my friend White- 
 head," i.e., Paul Whitehead, the author of " Manners." Here are 
 the particular lines in question : — 
 
 " Nay; 'tis so moving, that the Knight 
 Can't bear the figure in his sight ; 
 And who would tears so dearly buy, 
 As give four hundred pounds to cry? 
 I own, he chose the prudent part, 
 Rather to break his word than heart ; 
 And yet, methinks, 'tis ticklish dealing, 
 With one so dehcate — in feeling." 
 
 There are two versions of this poem, one of forty-two lines which 
 appears in Nichols's " Anecdotes" of 1 781-5, and a longer one of 
 seventy-three, which, without explanation, is substituted for it in 
 the " Genuine" Works of 1808^ i., 322, and this second version is 
 reproduced in J. B. Nichols's "Anecdotes" of 1833, p. 281. 
 Hogarth also found a partizan in Churchill's friend, Robert Lloyd, 
 who addressed to him a mediocre fable in verse entitled " Genius, 
 Envy, and Time" ("Works," 1774, i., 47).
 
 As StatoesmonldermtD'Wbrfli.J^'.vy.O 
 
 ^— — ^ f^i , 
 
 i^p//u/i/,rf7>affo^h 
 
 TIME SMOKING A PICTURE. 
 
 /vY7/« HomrtJi's Etchi7icr.
 
 SIGISMUNDA. l6l 
 
 Sigismujida, therefore, greatly to the artist's morti- 
 fication, was left upon his hands. This unfortunate 
 transaction of course gave rise to much contemporary- 
 criticism, sadly envenomed by party-feeling and 
 professional antagonism. One result was that, not 
 being sold to Sir Richard Grosvenor, it was not sold 
 to any one else. At Hogarth's death, it passed into 
 the possession of his widow (who is said to have 
 served as her husband's model ^) with an injunction 
 that she was not to part with it during her lifetime 
 for less than ^500. When she died, in 1789, it 
 became the property of Messrs. Boydell, who bought 
 it at her sale for 56 guineas. At that time it had 
 not been engraved, although Hogarth had made 
 several fruitless attempts to secure an adequate 
 interpreter, and had even issued as a subscription 
 ticket the admirable little plate of Time Smoking 
 a PictiLve, 1761. In 1793 it was reproduced in 
 mezzotint by Dunkarton, and subsequently, in 1 795, 
 by Bartolozzi's pupil, Benjamin Smith. 
 
 At the present day there is no doubt that Sigis- 
 mtuida was not fairly treated in the painter's life- 
 time. The mob of dealers heaped it with obloquy, 
 
 ^ Ireland says (" Hogarth Illustrated," i. xciv.) that she was at the 
 time " weeping over the corse of her mother," and a certain con- 
 firmation of this statement was supplied by a little housemaid at 
 Chiswick, who as Mrs. Chappell, of Great Smith Street, West- 
 minster, survived far into the present century, and was accustomed 
 to assert that a sketch made by Hogarth of her mistress in her 
 grief was subsequently elaborated into Sigismunda. But Sigis- 
 munda, by the painter's own account, was painted in 1759, and 
 Lady Thornhill died in 1757, aged 84. 
 
 M
 
 1 62 MEMOIR. 
 
 and the caricaturists rejoiced in a new opportunity 
 
 for reviling the unpopular author of the " Analysis." 
 
 Then Mr. Horace Walpole, summing up in his 
 
 " Anecdotes of Painting," declared that it was no 
 
 more "like Sigismunda than he to Hercules" — and 
 
 it may be cheerfully conceded that there was not 
 
 the faintest resemblance between Mr. Walpole and 
 
 Alcmena's son. Worse than this, he wrote of it in 
 
 terms which were, if not absolutely untrue, at least 
 
 exaggerated and unjustifiable ; ^ and the " common 
 
 cry" of critics followed the example of the illustrious 
 
 virtuoso of Strawberry Hill. But those who care to 
 
 form an opinion of their own, and who, as Hogarth 
 
 recommends, 
 
 " To Nature and Themselves appeal, 
 Nor learn of others what to feel," 
 
 can decide the point on visiting the National Gallery, 
 where, by bequest of the late Mr. James Hughes 
 
 1 Walpole's words are an illustration of the coarseness which 
 sometimes overtakes refined persons who wish to be forcible against 
 nature. " Not to mention the wretchedness of the colouring (he 
 says), it was the representation of a maudlin strumpet just turned 
 out of keeping, and with eyes red with rage and usquebaugh, 
 tearing off the ornaments her keeper had given her." There is 
 no tearing off of ornaments in the picture ; but as regards a further 
 statement, namely, that Sigismunda's fingers were stained with 
 blood, it would seem that this was at one time correct. At all 
 events in a very clever letter written by Walpole to George 
 Montagu in May, 1761, describing a recent interview with the 
 painter, he speaks of Sigismunda as being then in the room. 
 " She has her father's picture in a bracelet on her arm, and her 
 fingers are bloody with the heart." The evidence of a letter 
 written almost immediately after the interview must be regarded as 
 practically conclusive.
 
 FRONTISPIECE TO ARTISTS' CATALOGUE. 
 
 Fi'oin GrignioiCs Engraving.
 
 SIGISMUNDA. 163 
 
 Anderdon, this much abused picture has found that 
 final resting-stage, at which, " beyond all auctions, 
 there is peace." They may not be inclined to rank 
 it with Correggio, as its designer intended ; but they 
 will probably admit that it is finely coloured, sound 
 in painting, and full of technical skill. Considering 
 that the attempt was made in a direction so unfavour- 
 able to the peculiar cast of the artist's talent, it is 
 wonderful that he succeeded so well. Nevertheless, 
 since the enterprize was achieved with so little profit 
 to his peace and reputation, it is permissible to regret 
 that he ever engaged in it. 
 
 Both Sigismunda and the Ladys Last Stake, 
 together with the Election Ejitertainment, the Gate 
 of Calais, and some other of Hogarth's pictures, 
 were shown at Spring Gardens in 1761 by the 
 ** Society of Artists of Great Britain." For the 
 catalogue of this exhibition — the story of which 
 is too lengthy to tell in this place, and may, 
 moreover, be read in most histories of the Royal 
 Academy — Hogarth executed a "head" and "tail- 
 piece," which were engraved by Charles Grignion. 
 The former represents Britannia watering the three 
 saplings of "Painting," "Sculpture," and "Archi- 
 tecture," from a fountain surmounted by a bust of 
 George HI., "emblematical of the confident hope 
 entertained that native talent in art would be cherished 
 by royal patronage." " Et spes et ratio sttidiorunt 
 in Ccesare tantum," — was its motto. The tail-piece, 
 directed at wealthy collectors, is an admirable figure 
 of a travelled monkey with a magnifying-glass, water-
 
 164 
 
 MEMOIR. 
 
 ing the stumps of three dead trees in pots labelled 
 " Exotics." These plates made the catalogue, which 
 also contained an allegorical design by Samuel Wale, 
 very popular, and not less than thirteen thousand 
 copies were sold. 
 
 WScfiMTl/^ jra>;ccaiJ 
 
 TAILPIECE TO ARTISTS' CATALOGUE.
 
 CHAPTER VIII. 
 
 Wilkes and Churchill. Death. Conclusion. 
 
 N March, 1762, Hogarth issued the 
 plate known as Credulity^ Superstition, 
 and Fanaticism: A Medley. It was 
 an extension, or — to speak more ex- 
 actly — an adaptation, of a previous design entitled 
 Enthusiasm Delineated, of which only two impres- 
 sions exist. ^ Credulity, Superstition, and Fanaticism 
 is, in fact, simply Enthusiasm Deli7ieated re-engraved 
 upon the same copper ; but the alterations were so 
 numerous as to make the former an almost entirely 
 new design. As this is the one which Hogarth chose 
 to give to the world, it is with this alone that we have 
 to do ; but it is never unprofitable to trace the pro- 
 gress of invention in an artist's mind ; and, therefore, 
 following the majority of our predecessors, we shall 
 begin by describing Enthusiasm Deli7ieated. The 
 artist intended, he says, to give in this plate " a 
 
 ' One of these is in the British Museum Print Room ; the 
 other, long in the possession of Mr. White of Brownlow Street, 
 was sold some years since at Christie's.
 
 1 66 MEMOIR. 
 
 lineal representation of the strange effects of literal 
 and low conceptions of Sacred Beings, as also of the 
 Idolatrous tendency of Pictures in Churches and 
 Prints in religious books." Accordingly, from a 
 pulpit decorated with dangling puppets of Moses 
 and Aaron, Peter, Paul, and Adam and Eve, an 
 energetic elocutionist (who, by the scale of vocife- 
 ration at his side, has reached " Bull Roar ") is 
 declaiming to a motley assembly, whose extra- 
 ordinary proceedings are watched through the 
 window by an astounded Mahometan. Under the 
 preacher's gown is a harlequin suit ; under his wig^ 
 which flies off in his gesticulation (carrying away 
 its attendant "glory" with it) is the tonsure of a 
 Jesuit. In one hand, to give force to his de- 
 nunciations, he holds forth a figure with the 
 symbol of the Trinity ; in the other is a devil with 
 a gridiron. In the pew below, a minute ghostly 
 personage is collecting the tears of a repentant 
 thief in a bottle. The other occupants of the pew, 
 a nobleman and a girl, have apparently discarded 
 their celestial model for a more earthly teacher. 
 Under the reading-desk, a dog, with " Whitfield " 
 on his collar, howls melodiously to the psalmody of 
 a cherub-flanked clerk above, in whom some have 
 recognized Whitefield himself. A convulsed woman 
 in the corner is said to be intended for Mother 
 Douglas of the Piazza (Foote's " Mrs. Cole "^), who 
 
 ' In "The Minor," 1760, which also attacks Whitefield. 
 Methodism, though it was viewed moderately by men like Johnson, 
 had, at the outset, many assailants, who, with Hogarth, saw in
 
 WILKES AND CHURCHILL. 1 67 
 
 ended her life in those pious exercises which Fate 
 and the pillory denied to Mother Needham of A 
 Harlot's Progress. Behind, a sweep is embracing 
 an image, while a Jew, in a rapture of exaltation, 
 mechanically sacrifices an importunate insect. There 
 are other details, but they may be better studied 
 in the enorravinp-. 
 
 This was Hogarth's "first thought," and his lan- 
 guage was unmistakable enough. In the second 
 version. Credulity, Superstition, and Fanaticism, 
 most of the chief features of Enthusiasm Delineated 
 are altered to suit the changed purpose indicated in 
 the title, and scarcely ever strengthened or improved. 
 For the symbolical figure of the Trinity is substituted 
 a witch on a broomstick, while the apparition of 
 Caesar, the shade of Sir George Villiers, and Defoe's 
 " Mrs. Veal " take the places of the scriptural 
 puppets round the pulpit. The fervid couple in the 
 pew beneath are metamorphosed into two common- 
 place personages, and in lieu of the penitent thief 
 we have a pair of figures, to one of whom a diminu- 
 tive devil is whispering. As instances of credulity, 
 the Bilston nail-spouter and the Godalming rabbit- 
 breeder (Mary Tofts, a notorious impostor in 
 1726-7) are put instead of Mother Douglas and the 
 sweep, while King James's " Demonology " and 
 
 it nothing but cant, hypocrisy, and "very ugly enthusiasm." As 
 instances may be cited the "New Bath Guide" of Anstey, 1766, 
 the "Hypocrite" of Bickerstaffe, 1768, Smollett's "Humphrey 
 Clinker," 1771, the "Spiritual Quixote" of Graves, 1772, and 
 even Goldsmith's "She Stoops to Conquer," 1773. {See Tony 
 Lumpkin's song of "The Three Pigeons" in Act i.).
 
 1 68 MEMOIR. 
 
 Whitefield's " Journal " appear on the hassock for- 
 merly occupied by the dog. There are other altera- 
 tions which it is needless to enumerate. Probably 
 the painter's advisers, fearing lest his good intentions 
 should be misconstrued, recommended him to ex- 
 punge some of the irreverences of his first design, 
 and this may have given rise to the modifica- 
 tion of the whole idea, a modification so substantial 
 as to change what was a compact satire into a 
 desultory work which the artist very properly 
 denominated " a Medley " — a work of genius for 
 a lesser man, but scarcely worthy of Hogarth, for 
 all that Walpole regards it as the " most sublime " 
 of his works "for useful and deep satire." The 
 praise would have been more fitly — though still 
 quite inappropriately — applied to Enthusiasm De- 
 lineated, which the critic does not appear to have 
 seen.^ 
 
 We come now to the last notable events in 
 Hogarth's life : — the publication of the pictorial satire 
 called The Times, and the quarrel with Wilkes and 
 Churchill. Long before the death of George H. 
 Hogarth is supposed to have enjoyed the favour of 
 Lord Bute. Up to this date, however, he had 
 avoided politics;^ but shortly before Bute's accession 
 
 ^ Hartley Coleridge, who is very severe upon this print, supplies, 
 at the same time, what is in some degree its apology. " His 
 [Hogarth's] aversion to religious pictures, however, often leads 
 him to the brink of profaneness ; but, in extenuation, it must be 
 remembered that he lived in a very gross and a very irreligious 
 age" ("Essays and Marginalia," 1851, ii. 237). 
 
 ■^ After the publication of A Rakes Progress, he had been
 
 ^^ 
 
 
 ^1
 
 WILKES AND CHURCHILL. 1 69 
 
 to the Premiership in 1762 the general stagnation 
 of art, coupled with an unhappy impulse, prompted 
 him to project some "timed thing" in the ministerial 
 interest. The announcement of his purpose at once 
 brought him into collision with the demagogue John 
 Wilkes, then editor of the opposition " North Briton" 
 and with Wilkes's " led-captain," Churchill the satirist, 
 both of whom had previously been his friends.^ 
 Wilkes endeavoured to prevent the appearance of 
 the print by threatening reprisals ; Hogarth refused 
 to desist ; and — to use John Ireland's words — " the 
 black flag was hoisted on both sides." In these cir- 
 
 pressed, says Sir John Hawkins ("Life of Johnson," 2nd edit., 
 1 7875 P- 500 n.), to design another series against Sir Robert Walpole, 
 to be entitled The Statesman's Progress ; but he had refused. This 
 must have been the "very lucrative offer," to which Horace 
 Walpole vaguely refers, " that was made to engage him in a set of 
 prints against the head of a court party." 
 
 ^ M. Augustin Filon (" Revue des Deux Mondes," 15 January, 
 1885) is virtuously incredulous as to this "friendship" with 
 Wilkes. " Qu'y avait-il de comninn" says he, with a fine indigna- 
 tion, '■^ entre le coiisciencieux negociant de Leicester- Fields, et Wilkes, 
 le banqueroutier 1 Entre le dcvou'c mari de Jane Thornhill et 
 V/wmme qui avail essaye de spoiler sa femme ? Etitre I'/ionnete 
 auteur du Rake's Progress, et Vimpur auteur de VEssay on 
 Woman ?"..." Hogarth et Wilkes se voyaient, cela est clair : on 
 ne prouvera jamais qii' lis fiissent amis" (p. 420). Unfortunately 
 there is plenty of testimony to the contrary, not to mention 
 Hogarth's own among the rest. In his account of this very affair, 
 he says that Wilkes had up to this time been " rather his friend 
 and flatterer" ("Hogarth Illustrated," iii. 221). Humour — like 
 misery — acquaints people with strange company, and we can 
 scarcely censure Hogarth for being captivated by the witty and 
 profligate man of the world who had skill enough to disarm even 
 the hostility of Johnson. {See Boswell's account of the dinner 
 at Billy's, May 15, 1776).
 
 1 70 MEMOIR. 
 
 cumstances, on September 7, 1762, The Times (PI. I.) 
 was published. 
 
 The " World " public-house is on fire. Pitt on 
 stilts, as the tyrant Henry VIII., and having, in 
 allusion to his pension, a millstone inscribed with 
 ^3,000 hanging fi'om his neck, is exciting the 
 flames ; while Bute, played upon with a syringe by 
 a featureless man (Lord Temple), and a brace of 
 garreteers (Wilkes and Churchill), is directing the 
 hose of an engine worked by Highlanders, soldiers, 
 and sailors. A Grub Street hack, with a barrowful 
 of " Monitors " and " North Britons," endeavours to 
 cut the supply pipe. The sign of the " Newcastle 
 Inn" is falling down (the Duke had gone out in 
 May), and an incendiary, with a knife in his pocket, 
 is hoisting in its stead the " Patriot Arms " — four 
 fists clenched and opposed. To the right Frederick 
 of Prussia fiddles among his weeping subjects, while 
 to the left a Dutchman, behind whom a fox peeps 
 out of a kennel, sits on a bale watching the pro- 
 ceedings. There are other allusions, many of them 
 pointed, to contemporary events ; but the composi- 
 tion as a whole is laboured, and the leading idea is 
 scarcely novel. 
 
 Wilkes kept his word as to reprisals. On the 
 Saturday following the issue of the above satire, the 
 seventeenth number of the " North Briton " ap- 
 peared, containing a violent attack upon Hogarth's 
 character, both as a man and an artist. The 
 alleged decay of his powers, the miscarriage of 
 Sigismunda, the cobbled composition of the
 
 JOHN WILKES, ESQ. 
 
 From Hog::arth's Et chins;.
 
 WILKES AND CHURCHILL. 171 
 
 "Analysis," were all discussed with unscrupulous ma- 
 lignity by one who had known his domestic life and 
 learned his weaknesses/ There can be little doubt 
 that Hogarth was deeply wounded. " Being," he 
 says, " at that time very weak, and in a kind of slow 
 fever, it could not but seize on a feeling mind." His 
 assailant believed that he had killed him, and wrote 
 to Lord Temple that Hogarth was dying of a broken 
 heart. 
 
 The painter, however, was far from dead, although 
 he appears to have deferred his retaliation till he 
 could make it more directly personal. When, in the 
 May of the following year (1763), Wilkes was 
 brought to Westminster Hall upon his trial for libel, 
 Hogarth found opportunity to sketch him. Nature 
 had not favoured the patriotic colonel of the Bucking- 
 
 ' As a sample, the following may be cited from Wilkes's 
 diatribe. Speaking of Hogarth's desertion of "his own peculiar 
 walk," he goes on — " I need only make my appeal to any one of 
 his historical or porirait pieces, which are now considered as 
 almost beneath all criticism. The favourite Sigisfnunda, the 
 labour of so many years [?], the boasted effort of his art, was not 
 human. If the figure had a resemblance of any thing ever on 
 earth, or had the least pretence to meaning or expression, it was 
 what he had seen, or perhaps made, in real life, his own wife in 
 an agony of passion; but of what passion no connoisseur could 
 guess" [Cf. note to Ch. VII., p. 161]. A touching instance of the 
 effect upon Hogarth of this vindictive attack was supplied by 
 one of the items which came into the market at the sale of the 
 collection of Mr. H. P. Standly of Paxton Place, St. Neot's, 
 Hunts. It was a worn copy of No. 17 of the "North Briton," 
 which had been given to Ireland by Mrs. Hogarth in August, 
 1782, and which had been carried by the painter "in his pocket 
 many days to show his friends."
 
 172 MEMOIR. 
 
 hamshire militia, and it has been gravely argued that 
 this squinting semblance of him was, like the sketch 
 of Lord Lovat, only intended as a portrait. But the 
 reference in it to the attack upon himself, and the 
 inscription under the subsequent plate of Churchill, 
 show clearly that Hogarth intended also to exhibit 
 the worthless character of the man throuQfh his 
 features. If this really resembled Wilkes (and 
 Wilkes himself allowed it did ^) he must have carried 
 in his face a confirmation of some of the worst vices 
 that have been laid to his charge. 
 
 It would have been well for Hogarth if the matter 
 could have ended here. But Churchill, who, as 
 appears from a letter to Garrick printed by Mr. 
 Forster,^ had, ever since the appearance of " The 
 Times," been planning an " Epistle to William 
 Hogarth," now published his contribution to the 
 quarrel. It was a slashing and savage performance, 
 
 ' " Mr. Wilkes" (says Nichols, " Genuine Works," ii., 255) " has 
 frequently observed, with his usual good humour, ' that he was 
 every day growing more and more like his Portrait by Hogarth.'" 
 
 ^ Looking to the letter from Garrick to Churchill quoted at 
 p. 116, the actor's fidgetty curiosity about the poet's onslaught is a 
 little unexpected, though perhaps not uncharacteristic. " Pray let 
 me know" — he writes to Colman from Chatsworth — "how the 
 town speaks of our friend Churchill's ' Epistle.' It is the most 
 bloody performance that has been published in my time. I am 
 very desirous to know the opinion of people, for I am really much, 
 very much hurt at it. His description of his age and infirmities 
 is surely too shocking and barbarous. Is Hogarth really ill, or 
 does he meditate revenge? Every article of news about these 
 matters will be most agreeable to me. Pray write me a heap of 
 stuff, for I cannot be easy till I know all about Churchill and 
 Hogarth " [to both of whom he sends his love].
 
 WILKES AND CHURCHILL. I 73 
 
 unequal, like most of the writer's work, and, seeing 
 that it fell hardest upon Hogarth's advanced years 
 and failing powers, scarcely worthy of Churchill's 
 vigorous yet not often unmanly pen. It contains, 
 however, a well-known tribute to Hogarth's genius 
 which has out-lived its hostile invective : — 
 
 " In walks of Humor, in that cast of Style, 
 Which, probing to the quick, yet makes us smile ; 
 In Comedy, thy nat'ral road to fame, 
 Nor let me call it by a meaner name. 
 Where a beginning, middle, and an end 
 Are aptly joined; where parts on parts depend, 
 Each made for each, as bodies for their soul, 
 So as to form one true and perfect whole. 
 Where a plain story to the eye is told, 
 Which we conceive the moment we behold, 
 Hogarth unrivall'd stands, and shall engage 
 Unrivall'd praise to the most distant age." 
 
 To Churchill's " Epistle" of July the 2nd Hogarth 
 rejoined, on the ist of August following,^ by a print 
 entitled The Bruiser, C.Churchill {once the Reverend t) 
 in the Character of a Russian Herczdes, regaling 
 himself after having kiWd the Monster Caricatura 
 that so sorely galled his virtuous friend, the Heaven- 
 born Wilkes. The poet appears as a bear, with 
 torn bands and ruffles, hugging a club, the knots of 
 which are inscribed " Lye i. Lye 2," etc., and 
 " regaling himself" with a quart pot of his favourite 
 
 ' His promptness is the more remarkable because he must (it 
 the following be not a canard) have lain seriously ill when 
 Churchill's satire appeared. " We hear that Mr. Hogarth is much 
 indisposed with a Paralytic Disorder, at his House in Leicester 
 Fields " (" St. James's Chronicle," July 2-5, 1763).
 
 174 MEMOIR. 
 
 beverage, " British Burgundy." The portrait is 
 propped on Massinger's " New Way to Pay Old 
 Debts," and " A Hst of the Subscribers to the ' North 
 Britons.'" To intimate the indigence of those who 
 wrote these latter, the pile is crowned by such a pad- 
 locked begging-box as was used for poor debtors. 
 
 In a subsequent issue of the print the painter 
 added a tablet, on which he is represented with a 
 whip, teaching Wilkes and Churchill to dance while 
 Temple fiddles. Pitt, flanked by Gog and Magog 
 (his City supporters), and having the millstone of 
 The Times (Plate I.) suspended above his head by 
 a string, fires a mortar at the dove of peace, but the 
 ball drops short, " The pleasure, and pecuniary 
 advantage," says Hogarth stoutly, " which I derived 
 from these two engravings [of Wilkes and Churchill], 
 together with occasionally riding on horseback, re- 
 stored me to as much health as can be expected at 
 my time of life." ^ 
 
 "Thus" (and here conclude the autobiographical 
 notes so often cited in these pages) "have I gone 
 through the principal circumstances of a life which, 
 till lately, past pretty much to my own satisfaction, 
 and, I hope, in no respect injurious[ly] to any other 
 man. This I can safely assert, I have invariably 
 
 ' The original pen-and-ink sketch of Wilkes, and a little blue 
 memorandum book containing, among other things, a rough pencil 
 drawing of a bear for the Bruiser are now in the possession of 
 Mr. Frederick Locker-Lampson. The book once belonged to 
 John Ireland, at whose death in 1808 it passed to other hands, 
 being afterwards owned by Mr. George Baker and Mr. H. P. 
 Standly.
 
 u 
 
 O 
 
 -^
 
 THE NO-DEDICATION. I 75 
 
 endeavoured to make those about me tolerably happy, 
 and my greatest enemy cannot say I ever did an 
 intentional injury; though, without ostentation, I 
 could produce many instances of men that have been 
 essentially benefited by me. What may follow, God 
 knows. 
 
 Finis." ^ 
 
 There is not much more to tell of Hogarth's life. 
 A print entitled The Times (Plate II.) was prepared 
 in 1762; but its publication was abandoned for 
 unknown reasons. It appeared after Mrs. Hogarth's 
 
 ^ Into Ireland's reprint of these notes (" Hogarth Illustrated," 
 iii.), he incorporated sundry documents which Hogarth had drawn 
 up as a Supplement to the "Analysis," and which are described 
 as " comprising a succinct history of the Arts in his own time, his 
 account of the institution of the Royal Academy, etc." Some of 
 these are in the MSS. department of the British Museum ; and the 
 foUowii^g characteristic dedication, which the author intended to 
 prefix to the whole, was included amongst the autographs lent to 
 the Guelph Exhibition (1891) by Mr. Alfred Morrison: — 
 
 "The no Dedication. 
 
 Not Dedicated to any Prince in Christendom for fear it might 
 be thought an Idle piece of Arrogance. 
 
 Not Dedicated to any man of quality for fear it might be 
 thought too assuming. 
 
 Not Dedicated to any learned body of Men, as either of the 
 Universityes, or the Royal Society, for fear it might be thought 
 an uncommon piece of Vanity. 
 
 Nor Dedicated to any one particular Friend for fear of offending 
 another. 
 
 Therefore Dedicated to nobody. 
 
 But if for once we may suppose Nobody to be every body, as 
 Every body is often said to be nobody, then is this work Dedicated 
 to every body. 
 
 By their most humble 
 
 and devoted W : Hogarth."
 
 1/6 MEMOIR. 
 
 death, when the Boydells issued it. By that time 
 its allusions had grown obscure, and no good end 
 would now be served by describing in this place a 
 design which enters into the list of Hogarth's works 
 merely as a curiosity.^ In the same year (1762) he 
 produced a portrait of his friend Dr. Morell ; and 
 that pen-and-ink sketch from memory which, with 
 the exception of a miniature copied in Nichols's 
 ^ " Literary Anecdotes of the Eighteenth Century." 
 
 ^ ^ and the doubtful portrait included recently (1891) in 
 
 the Guelph Exhibition, is all that we possess in the 
 way of a likeness of Henry Fielding. These, with 
 the frontispiece to Clubbe's " Physiognomy," entitled 
 the Weighing House (1763), bring us to the print of 
 Finis; or, the Bathos. 
 
 A few months before he died, Hogarth set to 
 work to prepare a " tailpiece " to his works, then 
 numerous enough to form a bulky volume. With a 
 presentiment that his life was nearing its close, he 
 informed his friends that he had chosen for his sub- 
 ject the End of all Things, and, true to his creed, 
 his last work (to which, in imitation of the " Art 
 of Sinking in Poetry," he gave the title of The 
 Bathos, or Manner of Sinking in Sublime Pai7iting), 
 is a blow at his sworn foes, the old masters, whose 
 occasional pettinesses and incongruities he ridicules 
 in this tumbled assemblage of fag-ends. Supported 
 by the fragment of a column, Time, moriturus, with 
 shattered scythe and glass, exhales the final puff 
 from his pipe, which breaks as it falls from his 
 ^ See " Catalogue of Prints,'' for further particulars.
 
 FINIS. 
 
 177 
 
 nerveless hand. By the will at his side he has devised 
 his worldly goods to Chaos, his " sole Executor," and 
 the Fates are witness. Nature is bankrupt; Apollo 
 lies dead in his chariot ; the sign of the " World's 
 End" is falling, the ship founders, the trees are 
 withered, and the moon is dark. A play-book open 
 at Exeunt omncs ; an empty money-bag; a shoe- 
 
 FIXIS ; OR, THE BATHOS. After HogartKs Engraving. 
 
 maker's last and a cobbler's end ; the remnants of a 
 crown ; a halter and a stringless bow ; a cracked bell 
 and a broken bottle ; a broom-stump and a gunstock 
 without a barrel — litter the foreground. TJie Times 
 (Plate I.), the cause of so much heart-burning, 
 crackles and parches in the flames of a candle-end, 
 and the shattered palette of the painter has done its 
 work. 
 
 N
 
 1 78 MEMOIR. 
 
 Beneath this print to left and right are two sym- 
 boHc figures in medalHons. One represents the 
 "conic Form" under which Venus was worshipped 
 at Paphos ; the other the cone and " hne of Beauty " 
 from the "Analysis" (Plate I., Fig. 26). The iden- 
 tity of these two figures, we learn from an inscrip- 
 tion, " did not occur to the author till two or three 
 years after the publication of the "Analysis" in 
 i754[3]," It must have been about this time that 
 he made use of the former for the crest, of which 
 we possess the sketch, designed by him for Catton 
 the coach-painter ;^ and, if we may infer that he then 
 first set up his carriage, it is clear that he could not 
 have done so much before 1756 or 1757. 
 
 The Bathos was Hogarth's last published work. 
 During the few months of life that remained to him 
 he continued, with some assistance, to re-touch and 
 repair his plates, upon one of which, The Bench, he 
 was working on the day before his death. On the 2 5th 
 of October, 1764, he was conveyed from his house 
 
 * The crest in question was engraved by Livesay in 1782. It 
 consists of a scroll-work design enclosing the word Cyprus, and 
 surmounted by the Cyprian cone. Beneath, on a ribbon, is the 
 word Variety. A lengthy account of it by the late Mr. William 
 Bates, of Birmingham, Avill be found in " Notes and Queries " for 
 February 22, 1879. It may be added that from an entry in the 
 little blue memorandum book referred to on p. 174 n., it would 
 appear that, in January, 1763, Hogarth's stables were in the yard 
 of the Old Nag's Head in Orange Street, Leicester Fields. In the 
 Grace Collection at the British Museum, there is a water-colour 
 drawing by Shepherd of this ancient and wooden-galleried inn- 
 yard, a copy of which, from the " English Illustrated Magazine " 
 for August, 1886, is here given.
 
 ^ 
 
 - u
 
 DEATH. 179 
 
 at Chiswick to Leicester Fields, very weak, but 
 remarkably cheerful, and (says Nichols) "receiving 
 an agreeable letter from the American Dr. Franklin^ 
 drew up a rough draft of an answer to it ; but going 
 to bed, he was seized with a vomiting, upon which 
 he rung his bell with such violence that he broke it, 
 and expired about two hours afterwards in the arms 
 of Mrs, Mary Lewis, who was called up on his being 
 taken suddenly ill." ^ He was buried in Chiswick 
 Churchyard, where a monument was erected to him 
 by his friends in 1 771, on one side of which, under 
 a design representing a mask, laurel wreath, mahl- 
 stick, palette, pencils, and a book inscribed " Analysis 
 of Beauty," is an epitaph by Garrick, of which the 
 following is an accurate copy : — 
 
 " Farewel, great Painter of Mankind ! 
 
 Who reach'd the noblest point of Art, 
 Whose pictured Morals charm the Mind, 
 
 And through the Eye correct the Heart. 
 
 If Genius fire thee, Reader, stay : 
 If Nature touch thee, drop a Tear ; 
 
 If neither move thee, turn away, 
 
 For Hogarth's honour'd dust Ues here." 
 
 From a passage in Mrs. Piozzi's " Anecdotes " it 
 
 ^ Nichols's "Anecdotes," 1782, p. 84. It is noticeable that 
 Churchill, who, the month before, had heartlessly written of his 
 adversary in " Independence " as already dead — 
 
 (" Hogarth would draw him (Envy must allow) 
 E'en to the life, was Hogarth living now"), 
 
 only survived him nine days. Horace Walpole devoted to the 
 painter the inane munus of precisely three words — " Hogarth 
 is dead, and Mrs. Spence, who lived with the Duchess of New- 
 castle." — {^Letter to Lord Hertford, 3rd November, 1764).
 
 l8o MEMOIR. 
 
 has been supposed that the well-known but generally 
 misquoted quatrain by Johnson — 
 
 " The Hand of Art here torpid lies 
 
 That traced the essential form of Grace : 
 Here Death has closed the curious eyes 
 That saw the manners in the face ;" 
 
 was also an attempt at an epitaph by the " great 
 Cham of Literature" which was rejected in favour 
 of Garrick's. But it is clear from a letter from 
 Johnson to Garrick, dated 12th December, 1771/ 
 that Johnson's lines were only a suggested emenda- 
 tion of the first form of the verses submitted to him 
 by Garrick for criticism. 
 
 By Hogarth's will, which was dated the i6th 
 August, 1764, he left all his property to his wife. 
 It seems to have consisted principally of his " en- 
 graved copper-plates ;" and it was moreover charge- 
 able with an annuity of ^80 to his surviving sister 
 Ann, who died in August, 1771, and (besides minor 
 legacies), with one of ^100 to the afore-mentioned 
 Mary Lewis. His estate, however, included the 
 house at Chiswick," for we find Mrs. Hogarth sub- 
 
 ^ Croker's *'Boswell," ed. i860, p. 225. 
 
 * According to Gary's "Memoir," 1847, this house was at one 
 time the residence of Sir James Thornhill, who died in 1734. 
 As, at a later date, it belonged to Gary himself, the statement has 
 generally been accepted, and it is of course not impossible that 
 Thornhill may have rented it. But reference to the Gourt Roll 
 of the Prebendal Manor of Chiswick shows that one G. A. Ruperty, 
 clerk, was "admitted" copyholder as far back as the 15th July, 
 1 7 21, and that he held the premises until, on the 13th September, 
 1749, "William Hogarth of Leicester Fields in the parish of 
 St. Martin in the Fields" was admitted in his stead. At Hogarth's
 
 HOGARTH'S TOMB IN CHISWTCK. CHURCHYARD.
 
 CONCLUSION. l8l 
 
 sequently bequeathing " all that my copyhold estate, 
 lying and being at Chiswick in Middlesex " to her 
 "cousin Mary Lewis." She appears to have con- 
 tinued to rent the " Golden Head " after her hus- 
 band's death, since in Nichols's editions of 1781, 
 1782, and 1785 he speaks of the same Mary 
 Lewis as continuing to dispose of the prints "at 
 Mrs. Hogarth's house in Leicester Square."^ Mrs. 
 Hogarth certainly let lodgings there, for Richard 
 Livesay, the portrait-painter and engraver was one 
 of her tenants in 1781-82; Thomas Cheesman of 
 the Ladys Last Stake was another ; and Mr. Dutton 
 Cook, in a pleasant paper in "Once a Week" for 
 December 29, i860, gave an account of yet a third 
 inmate who in 1772 exhibited from this address, the 
 strange Ossianic enthusiast and friend of Fuseli, 
 Alexander Runciman. It is probable, however, 
 that in her last years Mrs. Hogarth lived principally 
 at Chiswick, where Sir Richard Phillips saw her in 
 his boyhood, and long afterwards drew a vivid 
 
 death the house passed to his widow, and then to Mary Lewis, as 
 stated in the text. Nichols says that Hogarth lived there every 
 year during the greater part of the summer season. The present 
 owner is Mr. Alfred Dawson, of Chiswick. 
 
 ^ Having regard to the large sums paid by collectors for 
 Hogarth trifles, it may be interesting to note the prices at which 
 the prints were sold to the artist's contemporaries. From a list 
 given by John Nichols in the "Anecdotes" of 1781, it appears 
 that A Rake's Progress could be bought for j[^2 2s. This was 
 the highest amount, Marriage A-la-Modc being j[^\ \\s. 6^., 
 A Harlofs Progress £,\ \s., the Apprentices i2j-., and the March 
 to Fitichley \os. 6d. The rest varied from ']s. 6d. to i^., and 
 the entire collection was to be obtained bound up for thirteen 
 guineas.
 
 152 MEMOIR. 
 
 picture of the stately old lady sailing up the nave 
 of the parish church, with her silk sacque, raised 
 head-dress, black calash, and crutched cane, accom- 
 panied by a relative (Mary Lewis) and preceded by 
 her grey-haired man-servant Samuel, who, after 
 wheeling his mistress to the building in her Bath 
 chair, carried in the prayer-books and shut the pew- 
 door. In these days, though her dignity remained, 
 her means must have considerably fallen off Not- 
 withstanding that, by a special clause of 7 Geo, III., 
 cap. 38, the copyright in her husband's prints had 
 been secured to her personally for twenty years,^ 
 their sale had gradually declined ; and she was glad 
 to accept a pension of ^40 from the Royal Academy. 
 When she died in November, 1789, being then 
 eighty years of age, she left all she had to Mary 
 Lewis, who, in consideration of a life-annuity of 
 ^250, transferred her right in the engraved "coppers" 
 to Alderman Boydell. The Chiswick house reverted 
 at Mary Lewis's death in 1808 to other persons 
 named by Mrs. Hogarth in her will. From 18 14 
 to 1826 it was inhabited, though not continuously, 
 by Charles Lamb's friend, the Rev. H. F. Gary, 
 the translator of Dante, who for some time held the 
 curacy and afternoon lectureship of Ghiswick.^ A 
 subsequent resident was Mr. N. T. (or " Brayvo") 
 
 ' " Genuine Works," i. 81. 
 
 ^ According to the Court Roll, Gary held the copyhold from 
 May, 1814, to December 17th, 1833, but he ceased to live at 
 Chiswick when he removed to the British Museum in November, 
 1826.
 
 HOGARTH S HOUSE AT CHISWICK.
 
 CONCLUSION. 183 
 
 Hicks, a once well-known transpontine actor, not — 
 as those affirmed who had seen him in Nat. Lee's 
 " Alexander the Great" — without gifts for better 
 things. For the last few years the house has been 
 occupied by a very humble tenantry, and has become 
 much dilapidated. Little now remains to remind 
 one of the well-ordered garden which, in Mary 
 Lewis's time, was "laid out in a good style," and 
 filled with old-fashioned flower-beds. Of the five 
 large trees, including a hawthorn, the favoured haunt 
 of the nightingale (when there were nightingales at 
 Chiswick!), nothing now survives but an ancient 
 mulberry, once braced and girdled by Hogarth's 
 fostering care. This still drags on an amputated 
 existence, and in good seasons, continues to produce 
 the fruit which, of yore, was the occasion of an 
 annual festival to the village children ; but the tombs 
 of Pompey the dog and Dick the Bullfinch — the 
 latter said to have been scratched with a nail by the 
 artist himself — have disappeared, and it is no longer 
 possible to trace the site of the filbert avenue where 
 he was wont to play at nine-pins. Nevertheless, on 
 Hogarth's account, the spot is well worth a pilgrim- 
 age ; and those Londoners who, for an afternoon, 
 care to shake 
 
 " to all the liberal air, 
 The dust and din and steam of town," 
 
 may do worse than spend their time in visiting the 
 tumble-down red-brick villa with the over-haneinor 
 bay-window on the road to Chiswick Gardens, and 
 the tea-caddy-like tomb in Chiswick Churchyard,
 
 184 MEMOIR. 
 
 piously restored in 1856 by "William Hogarth of 
 Aberdeen." Of late the tomb has once more been 
 renovated in connection with the enlargement and 
 restoration of the church ; and it is consolatory to 
 think that Mr. Dawson, the present proprietor of 
 the house, proposes to take every precaution for 
 its future preservation/ 
 
 There are numerous portraits of Hogarth, several 
 of them being from his own hand. The best is that 
 in the National Gallery, in which he is shown as 
 a blue-eyed, intelligent little man, with a scar over 
 his right eye, and wearing a fur cap. Leigh Hunt 
 says he has " a sort of knowing jockey look," and 
 the phrase is not inappropriate. The canvas rests 
 upon three volumes labelled respectively " Shake- 
 speare," " Milton," and " Swift," and his favourite 
 pug-dog Trump sits at the right of it. In the left 
 corner is a palette inscribed " The Line of Beauty 
 and Grace," — the famous inscription which gave 
 rise to the " Analysis ;" and it was an " old plate" of 
 
 ^ Sketches of both house and tomb appeared in the " Pictorial 
 World" for September 26th, 1874. There were also some illus- 
 trations in the "Graphic" for November 14th in the same year. 
 Besides these, an interesting drawing by Mr. Charles J. Staniland, 
 showing the garden before (by the cutting down of trees, etc.) it 
 was subjected to modern "improvement," was published in the 
 "Illustrated London News "for October, i8th, 1873; and an admir- 
 able sketch of the mulberry by Mr. C. Graham, is contained in 
 " Harper's Magazine " for August, 1888. The only record of the 
 now non-existent tablets to the dog and bird occurs in the " Art 
 Union" for August i, 1848. That of the bird was dated 1760; 
 the other — which, in parody of Churchill's epitaph at Dover, bore 
 the inscription " Life to the last enjoyed, here Pompey lies " — 
 must have been erected by Mary Lewis, as it was dated 1791.
 
 CONCLUSION. 185 
 
 this portrait with a " background and a dog ready" 
 which Hogarth made use of in 1763 for his design 
 of " Master Churchill in the character of a Bear." 
 Another portrait is that of Hogarth painting the 
 Comic Muse, now in the National Portrait Gallery, 
 in which he sits before his easel in profile. It was 
 engraved in 1758. Others are the head in a hat 
 from ' The Gate of Calais, which forms the frontis- 
 piece to the pamphlet on " Gin Lane," etc. ; the 
 head begun by Weltdon and finished by Hogarth 
 himself, which was afterwards engraved by C. 
 Townley ; the head in a tie-wig, of which one 
 copy is prefixed to vol. i. of Samuel Ireland's 
 "Graphic Illustrations;" the "shade" or silhouette 
 (with Garrick) in vol. ii. of the same work ; 
 and the woodcut with a pipe by Branston in 
 Major's Walpole's " Anecdotes." ^ Roubillac the 
 sculptor also executed a bust of him, which is now 
 in the National Portrait Gallery, and he modelled 
 Trump the dog. To conclude the list it may be 
 added that Hogarth painted an excellent likeness of 
 his wife, which was exhibited at the Grosvenor 
 Gallery in 1888, portraits of Sir James and Lady 
 Thornhill and their son John, of his own sisters 
 Mary and Ann, of Mrs. Mary Lewis, and of his six 
 servants. 
 
 ^ This was also lithographed in 1825 by G. P. Harding. 
 The drawing by Worlidge prefixed to the "Clavis Hogarthiana" 
 and reproduced in " Genuine Works," iii., is said by J. B. Nichols 
 (" Anecdotes," 335) to be in reality the portrait of one Ashley, 
 the keeper of the punch-house on Ludgate Hill. It does not 
 resemble the painter.
 
 1 86 MEMOIR. 
 
 There is no need in this place to attempt any 
 elaborate " appreciation " of William Hogarth. 
 Numerous anecdotes respecting him have been 
 retained ; but most of them come to us, if not from 
 a tainted source, at least through a tainted channel.^ 
 It has been thought indispensable to catalogue his 
 errors in spelling ; and to collect examples of coarse- 
 ness from his various productions. We shall not 
 scruple to neglect this branch of the subject. But 
 as a matter of fact, there is no special difficulty about 
 his character. Anybody who had been in his com- 
 pany an hour was probably as well informed of his 
 peculiarities as his oldest friends. He was — it is easy 
 to believe — a sturdy, outspoken, honest, obstinate, 
 pugnacious little man who, as one is glad to think, 
 once pummelled a fellow soundly for maltreating the 
 beautiful Drummeress whom he drew in Southwark 
 Fair. As a companion he was witty and genial, 
 and to those he cared for, thoroughly faithful and 
 generous. He liked good clothes, good living, good 
 order in his household ; and he was proud of the 
 rewards of industry and respectability. As a master 
 
 ^ We refer to George Steevens. It is only necessary to read 
 this writer's unmanly and indefensible attack on poor Mary Lewis, 
 whose only error appears to have been an over-sensitive fidelity to 
 Hogarth's memory, to judge of the value of records transmitted 
 through such a distorting medium. (See Nichols's " iVnecdotes " 
 passhti, and for the special passage above referred to, pp. 1 13-14 
 of the edition of 1785.) In the "Genuine Works" of 1 808-1 7 j 
 the contributions of Steevens are indicated by inverted commas — 
 a course which at once identifies him with the majority of the 
 more splenetic comments.
 
 CONCLUSION. 187 
 
 he was exacting in his demands, but punctual in his 
 payments ; as a servant he did a full day's work, and 
 insisted upon his wage. His prejudices, like those 
 of most self-educated men, were strong ; and he 
 fought doggedly in defence of them without any 
 attempt to conciliate his adversary. That he was 
 not proof against flattery seems to have been true : 
 it is equally true of Garrick and Richardson, and of 
 a hundred others who console themselves for their 
 enemies by their parasites. In his own walk he had 
 succeeded by a course of training which would have 
 failed with nineteen men out of twenty ; and he con- 
 sequently undervalued the teaching of all academies 
 whatsoever. With the art-patronage and connois- 
 seurship of his day he was hopelessly at war ; he 
 saw in it only the fostering of foreign rubbish at the 
 expense of native talent. But a great deal that has 
 been said on the subject of his attitude to the conti- 
 nental schools of painting has been manifestly exag- 
 gerated, and in any circumstances, something must 
 be allowed for the-warmth of controversy. An artist 
 of Hogarth's parts could not be wholly insensible to 
 the merits of the Great Masters, as some have pre- 
 tended. Yet it may well be conceived that such a 
 downright and quick-tongued disputant, in his 
 impatience at the parrot raptures of pretentious and 
 incompetent persons, might easily come to utter 
 " blasphemous expressions against the divinity even 
 of Raphael Urbino, Correggio, and Michael Angelo." 
 His true feelings on the subject are, we think, dis- 
 closed in his words to Mrs. Piozzi. He was talkingf
 
 155 MEMOIR. 
 
 to her, late in life, of Dr. Johnson, whose conversa- 
 tion, he said, was to that of other men like Titian's 
 painting compared with Hudson's, — "but don't you 
 tell people now, that I say so (continued he), for 
 the connoisseurs and I are at war you know ; and 
 because I hate them, they think I hate Titian — and 
 let them ! " ^ 
 
 To Mrs. Piozzi's opportune memories may here 
 be added one or two characteristic anecdotes which, 
 in a measure, serve to illustrate Hogarth's personality 
 as above attempted. Upon one occasion he painted 
 a deformed nobleman, and drew his likeness with 
 that unshrinking fidelity which Mrs. Delany com- 
 mended. His sitter, who had expected flattery, 
 declined the picture, and withheld payment. After 
 several ineffectual applications for the money, Hogarth 
 dispatched the following ultimatum : — " Mr. Hogarth's 
 
 dutiful respects to Lord . Finding that he does 
 
 not mean to have the picture which was drawn for 
 him, is informed again of Mr. Hogarth's necessity 
 for the money. If, therefore, his Lordship does not 
 send for it in three days, it will be disposed of, with 
 the addition of a tail, and some other little ap- 
 pendages, to Mr. Hare, the famous wild-beast man ; 
 Mr. Hogarth having given that gentleman a con- 
 ditional promise of it for an exhibition-picture, on his 
 Lordship's refusal." This brought about a settle- 
 ment of the claim, and the picture was at once 
 destroyed by its owner.^ Another story is related 
 
 ^ "Anecdotes," etc., by Hester Lynch Piozzi, 1786, p. 136. 
 * ''Genuine Works,"!. 25. To give a story against Hogarth,
 
 CONCLUSION. 189 
 
 by Nichols on the authority of a surgeon named 
 Belchier. " Hogarth (says the narrator) being at 
 dinner with the great Cheselden, and some other 
 company, was told that Mr. John Freke, Surgeon of 
 St. Bartholomew's Hospital, a few evenings before, 
 at Dick's Coffee-house, had asserted that Greene was 
 as eminent in composition as Handel. ' That fellow 
 Freke,' replied Hogarth, ' is always shooting his bolt 
 absurdly one way or another ! Handel is a giant in 
 music ; Greene only a light Florimel kind of a com- 
 poser.' — ' Ay,' says our Artist's informant, ' but at 
 the same time Mr. Freke declared you were as good 
 a portrait-painter as Vandyck.' — ' There he was in 
 
 the right ; ' adds Hogarth ; " and so by G I am, 
 
 give me my time, and let me choose my subject ! " ^ 
 A third story illustrates his extreme absence of 
 mind. " Soon after he set up his carriage, he had 
 occasion to pay a visit to the Lord Mayor. When 
 he went the weather was fine ; but business detained 
 him till a violent shower of rain came on. He was 
 let out of the Mansion House by a different door 
 from that at which he entered ; and, seeing the rain, 
 began immediately to call for a hackney coach. Not 
 one was to be met with on any of the neighbouring 
 stands ; and our Artist sallied forth to brave the 
 storm, and actually reached Leicester-fields without 
 
 it may be added that he once painted a noted miser and sheriff 
 (Sir Isaac Shard) trying a Mastiff that had robbed his kitchen. 
 Thereupon Shard's son went to the studio, and slashed the canvas 
 to pieces {Ib.^ i. 147, 412-3.) 
 ^ "Genuine Works," i. 237.
 
 190 MEMOIR. 
 
 bestowing a thought on his own carriage, till Mrs. 
 Hogarth (surprised to see him so wet and splashed) 
 asked where he had left it." ^ 
 
 The list of ana might be extended indefinitely. 
 But of stories more malicious than interpretative, " a 
 small harvest is enough." It remains to supplement 
 what has already been said dispersedly in these pages 
 by a few general observations upon Hogarth's position 
 as a painter, a draughtsman, and an engraver. As 
 a painter, there can now be little doubt that his life- 
 long contest with the connoisseurs, coupled with the 
 slender facilities that then existed for exhibiting 
 works of art, tended greatly to obscure his merits in 
 this respect. Since the first exhibition of his col- 
 lected works at the British Institution in 18 14, his 
 reputation as a mere layer of colours has been steadily 
 increasing, and the reaction thus initiated has been 
 enforced of late years by the appearance in successive 
 exhibitions at Burlington House and elsewhere of 
 numerous portraits and pictures long buried in 
 private galleries. If it be not possible to place him 
 in the highest rank — to class him with those in whose 
 work the gift of colour is pre-eminent — it must at 
 the same time be admitted that his merits as a 
 painter are unquestionable, that his tints are pure 
 and harmonious, his composition perspicuous, and 
 his manner, without being minute or finely finished, 
 singularly easy, dexterous, and direct.^ 
 
 ^ "Genuine Works," i. 216-7. 
 
 " In his fourteenth lecture on Gainsborough, Reynolds, it will
 
 CONCLUSION. 191 
 
 In speaking of his "drawing" a very necessary 
 distinction has, it seems to us, been neglected. That, 
 as certain critics have pointed out, he was not a 
 "fine" draughtsman — in the sense in which that quaH- 
 fication is held to denote the reproducer of the 
 beautiful and elevated in form as opposed to the 
 merely conscientious imitator of a given object — 
 may perhaps be conceded. But apart from this, his 
 equipment in this respect has been too often decided 
 by reference to those of his performances in which 
 his skill is either not conspicuous or entirely sup- 
 pressed. In his work of caricature or pure grotesque, 
 we obviously cannot expect faultless drawing, and 
 from the remarks which he himself makes in his 
 Memoranda on the Four Stages of Cruelty, as to 
 " minute accuracy of design," it is plain that he did 
 not intend that any of his cheaper and more popular 
 
 be remembered, depreciated Hogarth. But " even Reynolds 
 and Gainsborough (says an accompUshed living critic), colourists 
 often of an inexpressible loveliness, tenderness, and charm, were 
 fumblers in their method as compared with Hogarth. Hogarth, 
 in his best works, catches with a perfect subtlety the colour of 
 rich or poor apparel, indoor furniture and outdoor Htter, the satin, 
 bows, jewels, ribbons of the bride, the fur coat and hose and 
 waistcoat of the beau, lace, silk, velvet, broadcloth, spangles, and 
 brocade, rich carpets, rich wall hangings, the look of pictures on 
 the wall ; or, on the other hand, the coarse appurtenances of the 
 market place or the street crossing : he catches them, and their 
 tone and relations in the indoor or outdoor atmosphere with a 
 perfect subtlety and sense of natural harmony. And not only so, 
 but without a school, and without a precedent (for he is no 
 imitator of the Dutchmen) he has found a way of expressing what 
 he sees with the clearest simplicity richness and directness " 
 (Sidney Colvin in "Portfolio," iii. p. 152).
 
 192 MEMOIR. 
 
 works should be advanced as models in this respect.^ 
 Indeed, it would not be difficult to find in them evi- 
 dence both of haste and negligence. That they 
 should tell their story clearly as to action and expres- 
 sion was, in short, all that he desired. But if, on the 
 other hand, he is studied in his best work, say, in the 
 March to Finchley or Marriage A -la-Mode^ it will be 
 found, not only that he rises easily to the occasion, — 
 that he is thoroughly capable, expert and accurate, — 
 but also that he exhibits an executive mastery of 
 his subject which the exceptional character of his 
 artistic education would scarcely lead one to antici- 
 pate. The wonderful figure of Viscount Squander- 
 field in the second picture of Mar^Hage A -la- Mode 
 is a case in point. 
 
 The same remarks apply to his engraving. 
 His work in this way is so well known — so much 
 better known even now than his paintings — that 
 it sounds paradoxical to say that his efforts with 
 the burin are less remarkable than his efforts with 
 the brush. And yet this is in reality a natural 
 consequence of his peculiar qualities. His unequi- 
 vocal manner, his detestation of the indirect and 
 the redundant, his very energy and veracity — all 
 disqualified him from competing with the slow 
 proficiency of the Grignions and Basires. Beauty 
 and elegance of execution, he plainly gives us to 
 understand, required far more patience than he was 
 
 ^ In some of his "Advertisements," he speaks of them expressly 
 as "furniture," — i.e., as intended for decorative purposes rather 
 than for the magnifying-glass of the collector.
 
 CONCLUSION. 193 
 
 disposed to exercise, and he regarded the mere 
 making of fine lines " as a barren and unprofitable 
 study." " The fact is," he declares, " that the pas- 
 sions may be more forcibly expressed by a strong 
 bold stroke, than by the most delicate engraving. 
 To expressing them as I felt them, I have paid the 
 utmost attention, and as they were addressed to /lard 
 hearts, have rather preferred leaving them hard, and 
 giving the effect, by a quick touch, to rendering them 
 languid and feeble by fine strokes and soft engrav- 
 ing, which require more care and practice than can 
 often be attained, except by a man of a very quiet 
 turn of mind." ^ This is a transparent apology for 
 what he knew to be the assailable side of his work, 
 its haste and lack of finish, while at the same time 
 it invites attention to what were undoubtedly its 
 special merits — its unflagging spirit, its unvarying 
 vigour, its straightforward intelligibility. And it 
 must not be forgotten that the majority of his prints 
 have one inalienable advantage, — they are auto- 
 graphs. Hogarth engraved by Hogarth must al- 
 ways claim precedence over Hogarth engraved by 
 any one else. 
 
 But it is neither by his achievements as an engraver, 
 nor by his merits as a painter, that he retains his 
 unique position among English artists. It is as a 
 pictorial chronicler of life and manners, as a satirist 
 and humourist upon canvas, that he makes his chief 
 claim upon posterity. His skill in seizing upon the 
 
 ^ "Hogarth Illustrated," iii., 11, 355. 
 O
 
 1 94 MEMOIR. 
 
 ridiculous and the fantastic was only equalled by his 
 power of rendering the tragic and the terrible. And 
 it was not only given to him to see unerringly and 
 to select unfalteringly, but to this was added a rare 
 and special faculty for narrative by action. Other 
 artists have succeeded in single scenes of humorous 
 genre, or in isolated effects of passion and horror; 
 but none has combined both with such signal ability, 
 and carried them from one canvas to another 
 with such assured dexterity, as this dramatist 
 of the brush. To take some social blot, some 
 burning fashionable vice, and hold it up sternly to 
 " hard hearts " ; to imagine it vividly, and body it 
 forth with all the resources of unshrinking realism ; 
 to tear away its conventional trappings ; to probe it 
 to the quick, and lay bare its secret shameful 
 workings to their inevitable end ; to play upon it 
 with inexhaustible ingenuity ; with the keenest and 
 happiest humour ; to decorate it with the utmost pro- 
 fuseness of fanciful accessory and suggestive detail ; 
 to be conscious at the gravest how the grotesque in 
 life elbows the pathetic, and the strange grating laugh 
 of Mephistopheles is heard through the sorriest 
 story : — these were his gifts, and this was his voca- 
 tion, a vocation in which he has never yet been 
 rivalled. Let the reader recall for a moment — not 
 indeed such halting competitors as Bunbury and 
 Zoffany, Northcote and the "ingenious" Mr. Penny 
 but — any names of note, which during the last fifty 
 years have been hastily dignified by indulgent criticism 
 with the epithet " Hogarthian," and then consider if
 
 CONCLUSION. 
 
 195 
 
 he honestly believes them to be in any way on a 
 level with the painter oi Marriage A -la- Mode. In 
 his own line he stands supreme and unapproached :— 
 
 " Nee viget qutdquam simile aut secundum."
 
 If! 
 
 HOGARTH'S MULBERRY TREE.
 
 Part II. 
 
 A Bibliography of Books, Pamphlets, etc. relating to 
 Hogarth and his Works. 
 
 A Catalogue of Prints by, or after, Hogarth. 
 
 A Catalogue of Pictures by, or attributed to, Hogarth.
 
 '?2y ^^u^iarm.^^ 
 
 HOGARTH'S BOOK-PLATE.
 
 PART II. 
 
 A BIBLIOGRAPHY OF BOOKS, 
 PAMPHLETS, ETC. 
 
 RELATING TO HOGARTH AND HIS WORKS. 
 
 '^^^^(^iJlfRBB Poetical Epistles. To Mr. 
 
 ^^^'i^ji^^Pl Hogarth, Mr. Dandridge, and Mr, 
 Lainbert, Masters in the Art of Paint- 
 
 iSS^^Si i^^g- Written by Mr. Mitchell. Dabi- 
 mus, capimusque vicissim. London : Printed 
 for John Watts, etc., 1731. Price Six Pence. 
 
 The epistle to Hogarth occupies pp. 1-5, and is dated 
 "June 1 2th, 1730." A passage from it is quoted on p. 41. 
 The following, from that to Dandridge, gives the names 
 of Hogarth's artistic contemporaries : — 
 
 " Nor wou'd I, partial or audacious strive, 
 
 To shew what Artists most excel alive ; . • • 
 
 How Thornhill, Jervas, Richardson, and Kent, 
 
 Larnbert and Hogarth, Zinks [Zincke] and ^//^wa« paint ; 
 
 What Semblance in the Vanderba?iks I see. 
 
 And wherein Dall [Dahl] and Highmore disagree ; 
 
 How Wooten, Harvey, Tillhnan, and Wright, 
 
 To one great End, in diff 'rent Roads delight," etc.
 
 200 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 The Progress of a Harlot. As she is described in 
 Six Prints^ by the Ingenious Mr. Hogarth. . . . 
 Printed for E. Rayner, at the Pamphlet-Shop 
 next the George Tavern, Charing Cross, [i 732.} 
 Price One Shilling. 
 
 Advertised in the Daily Journal as published April 21,. 
 1732, before which date Hogarth's prints must conse- 
 quently have appeared. 
 
 The Harlot' s Progress : or, The Humours of Drury- 
 lane. In Six Canto s. Being the Tale of the 
 noted Moll Hackabout, in Hudibrastick Verse, 
 containing her whole Life ; which is a Key to the 
 Six Prints already publislid by Mr. Hogarth, 
 London : Printed for B. Dickinson and others. 
 [1732.] Price i^. 
 8vo. " M. Hackabout" is Hogarth's name for his heroine 
 (See Plate L, Plate HI., and the coffin-lid in Plate VI.). 
 There was a real Kate Hackabout whose brother was hanged 
 at Tyburn in April, 1730. This poem appeared very soon 
 after the preceding pamphlet, i.e., in April, 1732. A second- 
 edition, enlarged, and with "an Epistle to the Ingenious 
 Mr. Hogarth" followed early in May {Daily Post, May 4^ 
 1732). To the fourth edition, also issued in May, illus- 
 trations in " Chiaro Obscuro " were added, raising the 
 price to two shillings {Daily Journal, May 11, 1732). 
 
 The Progress of a Rake. ... To which is prefixed, 
 by way of Introduction, a Poem, calVd, The 
 Rakes Night. London : Printed for N. Cox, 
 Book-seller under the Middle-Piazza, ** near 
 Mr. Hogarth's, Covent Garden ; " and others. 
 
 [1732.] 
 Advertised in the Daily Journal as published May 5, 
 1732.
 
 RELATING TO HOGARTH AND HIS WORKS. 201 
 
 The Progress of a Rake : or, The Templar s Exit. 
 
 In Ten Cantos, in Hudibrastick Verse 
 
 By the Author of The Harlot' s Progress. [With 
 
 a " Curious Frontispiece."] London : Printed 
 
 for B. Dickinson and others, 1732. 
 8vo. Title; Text, 3-61. h.^v^x'd^td.'m. "Cat Daily Journal 
 as published May 11, 1732. Neither this pamphlet nor its 
 predecessor has anything to do with Hogarth's Rake's 
 Progress of three years later ; but both owe their origin 
 to the popularity of his Harlofs Progress. 
 
 The Jew Decoy d: or, The Progress of a Harlot, a 
 New Ballad Opera of Three Acts. With a 
 curious Frontispiece. London : Printed for E. 
 Nutt, price \s. [1733.] 
 
 " This piece was never performed " — says the Biographia 
 Dramatica. It was published in February, 1733. There 
 is a copy at the British Museum dated 1735 (Title ; Dra- 
 matis Personce ; pp. 3-48). 
 
 The Harlot's Progress : or. The Ridotto AT Fresco. 
 
 [By Theophilus Gibber.] 1733. 
 
 4to. This, which is advertised as "a New Grotesque 
 Pantomime Entertainment," was acted in April 1733 at 
 Drury Lane. Although to be obtained at the Theatre in 
 book-form, copies are extremely rare, and one which was 
 sold at Isaac Reed's sale in 1807 (N°. 7758) fetched 
 jT^Z, — the purchaser being M''. Kemble. 
 
 The Lure of Ve^ius ; or, a Harlofs Progress. An 
 Heroi-comical Poem. In Six Canto s. By Mr. 
 Joseph Gay [Gap\ John Durant Breval]. Lon- 
 don : Sold by J. Wilford behind the Ghapter- 
 House, near St. Pauls. Price \s. 6d. [1733.] 
 8vo. Title; pp. i-iii, 1-56. "Illustrated with Six Prints,
 
 202 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 neatly engraved from Mr. Hogarth's Designs." The Pre- 
 face is dated "S^ James's A"^e'. 30, 1732." Breval, the 
 " empty Joseph " of Dunciad, ii. 128, was the author of 
 The Hoop Petticoat, ijiS, The Art of Dress, 'i-l'i.l. The 
 Confederates, a Farce, 17 17 (which earned him the notice 
 of Pope), and various other works. He died at Paris in 
 1738. This poem was pubUshed in May {Daily Journal, 
 May I, 1733). There is a Dublin reprint dated 1739 in 
 the British Museum. 
 
 The Rakes Progress; or, The Humours of Drury- 
 
 Lane. A Poem. In Eight Canto s. In Hudi- 
 
 brastick Verse. Bemg the Ramble of a Modern 
 
 Oxonian ; which is a Compleat Key to the Eight 
 
 Prints lately published by the Celebrated Mr. 
 
 Hogarth .... London, Printed for J. Chett- 
 
 wood, etc. (Price \s.) 1735. 
 
 Title; pp. 1-54. Published in July, 1735. Of late years 
 
 this has been reprinted in a limited edition, but not on 
 
 account of its literary merits or its moral tone. 
 
 An Explanation of the Eight Prints of The Rake s 
 
 Progress. . . . Copied from the OiHginals of 
 
 Mr. William Hogarth, according to Act of 
 
 Parliame7zt, by Thomas Bakewell, Printseller, 
 
 7iext Johnsons Court in Fleet-Street, London, 
 
 August 1735 . . . 
 
 A double-column sheet or broadside which, as Hogarth 
 
 allowed Bakewell to sell copies of the prints, may be looked 
 
 upon as an authorized commentary. It says that the girl 
 
 and her mother in PI. I are the Rake's " bedmaker and 
 
 her daughter " who have followed him from Oxford ; and 
 
 it adds that they reappear in the background of PI. V. 
 
 Marriage A -la- Mode : an Humorous Tale, i7i Six 
 Cantos, in Hudibrastic Verse; being an Ex-
 
 RELATING TO HOGARTH AND HIS WORKS. 203 
 
 plmiation of the Six Prints lately published by 
 
 the Ingenious Mr. Hogarth. London : Printed 
 
 for Weaver Bicker ton, in Temple- Exchange 
 
 Passage, in Fleet-Street. 1746. (Price One 
 
 Shilling.) 
 
 Title and "Preface," i-iv; Text, 1-59. Published in 
 February, 1746. 
 
 Lettres de Monsieur ^ ^ a ten de ses Amis a Paris, 
 pour hii expliquer les Estampes de Monsieur 
 Hogarth. [By Jean Rouquet.] Imprime a 
 Londres : et se vend chez R. Dodsley, dans 
 Pall-Mall ; & chez M. Cooper, dans Pater- 
 noster-Row. MDCCXLvi. (Le prix est de douze 
 sols.) 
 
 Title; pp. 1-44. 8\^o. Describes the \.-^q Progresses dXi^ 
 Ma?-riage A-la-Mode, and refers to nine other plates. 
 "This pamphlet (says Steevens) was designed, and con- 
 tinues to be employed, as a constant companion to all such 
 sets of his [Hogarth's] prints as go abroad " {Biographical 
 Anecdotes, 1782, p. 93). He says, moreover, that "it was 
 certainly suggested by Hogarth, and drawn up at his im- 
 mediate request" (p. 92). Published in April, 1746. It 
 is reprinted in Tome 3 of the Bibliothcque Choisie et 
 A?tiiisa7tte, Amsterdam, 1748, pp. 371-400. 
 
 Description du Tableau de M. Hogarth, qui repre- 
 
 sente la Marche des Gardes a leur rendez-vous de- 
 
 Finchley, dans leur Route en Ecosse. [By Jean 
 
 Rouquet. 1746 ?] 
 
 Pp. 1-7. 8vo. At the head of the description is : — " Cette 
 Lettre de Mr. Rouquet, connu par ses Ouvrages d' Email, d, 
 'ete ecrite a un de ses amis a Paris, pour I'amusement dr* 
 peut-itre par les ordres d'une personne tres-distingu'ee [Marshal 
 Belleisle ?], qui se trouvoit a Londres lorsqu'il commen^a
 
 204 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 d'ecrire celles qui ont deja paru sur les autres Ouvrages de 
 Mr. Hogarth:' " The letter descriptive of the March to 
 Finchley (says Steevens) was particularly meant for the in- 
 struction of Marshal Belleisle " {Biographical Afiecdotes, etc. 
 1782, p. 93). It was written, as appears from the opening 
 lines, before the picture had been engraved. Steevens 
 also says (p. 94) that Hogarth, "in compliance with the 
 repeated solicitations of his customers," had determined 
 to have Rouquet's work translated and enlarged by addi- 
 tional descriptions. 
 
 The Effects of Industry and Idleness, illustrated in 
 
 the Life, Adventures, and various Fortunes of 
 
 Tivo Fellow 'Prentices of the City of London, 
 
 etc. Printed by Charles Corbett, at Addison's 
 
 ^ Head in Fleet-street. [1748.] Price i^. 
 
 8vo. It is further described as " being an Explanation of 
 the Moral of Twelve celebrated Prints lately published, and 
 designed by the ingenious Mr. Hogarth." It was pubhshed 
 in March, 1748. Several Httle books were prompted by 
 this series, among which may be mentioned Murray's 
 "Two City Apprentices," 1846, which contains some 
 useful notes. A pantomime was also based upon it. 
 
 A Dissertation on Mr. HogartJis Six Prints lately 
 publish d, viz. Gin- Lane, Beer-Street, and the 
 Four Stages of Cruelty. . . . Htimbly inscribed 
 to the Right Honourable Francis Cokayne, Esq. ; 
 Lord Mayor of the City of London, etc. Lon- 
 don, Printed for B. Dickinson, on Ludgate- 
 Hill, 1 75 1. Price One Shilling. 
 
 Title; pp. 3-59. 8vo. Portrait of Hogarth from "Calais 
 Gate." Contains little information respecting the prints 
 named in the title, but much upon Gin Drinking. 
 
 Low-Life: or, One Half of the World, knows not how
 
 RELATING TO HOGARTH AND HIS WORKS. 205 
 
 the Other Half lives. Being a Critical Account 
 of what is transacted by People of almost all 
 Religions, Nations, and Circumstances, in the 
 Twenty-four Hours between Saturday-Night 
 and Monday -Morning, hi a trtie Description of 
 a Sunday, as it is tcsually spent withi?i the Bills 
 of Mortality. Calculated for the Tenth of June. 
 With an Address to the ingenious Mr. Hogarth. 
 — Let Fancy guess the rest. Buckingham. 
 London : Printed for the Author ; and sold by 
 T. Lee2f, at the Parrot and Crown in Green- 
 Arbour-Court in the Little-Old-Baily, etc. n.d. 
 [Price One ShilHng.] 
 
 Title; "To Mr. Hogarth," pp. iii-viii. ; Text, 1-52. 8vo. 
 From a reference to Calais Gate in the "Address," it 
 must have been written subsequent to March, 1749. It 
 was published in May, 1752. The author thus admits his 
 obligations to the painter : — " I say, that this Essay owes 
 its Existence partly to Your Works. And who will not 
 believe me, when I direct them to those four Pieces of 
 Yours, called Morning, Noon, Evening, and Night 1 where 
 are many Things made visible to the Eye in the most 
 elegant Colours, which are here only recorded." To the 
 third edition of 1764 is added a frontispiece representing 
 " St. Monday." The book, which is full of minute eigh- 
 teenth-century details, was highly valued both by Thack- 
 eray and Dickens, and suggested his " Twice Round the 
 Clock " to Mr. G. A. Sala. 
 
 The Aitalysis of Beauty. Written ivith a view of 
 
 fixing the fiucttcating Ideas of Taste. By WilHam 
 
 Hogarth. [Motto from Milton, and Pyramidal 
 
 Design subscribed " Variety."] London : 
 
 Printed by J. Reeves for the Author, and sold
 
 2 06 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 by him at his House in Leicester-Fields. 
 
 MDCCLIII. 
 
 Title; "Preface," pp. iii-xxii.; " Contents" and "Errata;" 
 "Introduction," 1-12; Text, 13-153; " Prints Publish'd," 
 etc. and "Figures referr'd to in the Book." 4to. There 
 are "two explanatory prints." The book was published 
 in December, 1753. It is reprinted in Cook's Anecdotes, 
 and also by Clerk and Nichols. There is besides an undated 
 issue by Bagster, with which is printed Grose's Rules for 
 Drawing Caricaturas, etc. A German translation by 
 Christlob Mylius, made in this country " under the 
 author's inspection," was published at London, Hanover, 
 Berlin and Potsdam in 1754; an Italian translation at 
 Leghorn, 1761 ; and a French translation by Talleyrand's 
 librarian, H. Jansen, at Paris, An xiii. (1805). 
 
 A Poetical Description of Mr. Hogarth's Election 
 Prints : in Four Cantos. Written tmder Mr. 
 HogartJis Sanction and Inspection. Things un- 
 attempted yet in Prose or Rhime. Milton. 
 London: Printed for T. Caslon, opposite Sta- 
 tioners-Hall : And sold by J. Smith, at 
 Hogarth's Head, in Cheapside, etc. 1759. 
 
 Title; Advertisement; and pp. 1-30. 4to. It was pub- 
 lished in March, 1759. The Advertisement, which is 
 signed "John Smith," and dated "Cheapside, March i, 
 1759," professes to quote verbatim Hogarth's opinion — 
 " That the Thoughts intirely coincide with his own ; that 
 there is a well-adapted Vein of Humour preserved through 
 the Whole ; and that, though some of his Works have been 
 formerly explained by other Hands, yet none ever gave 
 him so much Satisfaction as the present Performance," 
 
 The Roast Beef of Old England. A Cantata. Taken 
 from a celebrated Print of the Ingenious Mr. 
 Hogarth ... As it is Performed at the Theatre
 
 RELATING TO HOGARTH AND HIS WORKS. 207 
 
 in the Hay-Market. The Words by a Man of 
 Taste, and set to Mtisick by Signior Carbonado. 
 The Second Edition. . . . London : Printed 
 for R. Withy, etc. mdccclix. (Price Six- 
 Pence.) 
 
 Title; pp. 3-8, and title again at end. The "Man of 
 Taste "was Theodosius Forrest (see p. 128). 
 
 The North Briton. Numb. xvii. Saturday, Sep- 
 tember the i^th, 1762. [By John Wilkes.] 
 Printed for G. Kearsly, in Ludgate Street. 
 Pp. 97-102. The motto is from Pope [Sat. i. 85-6] : — 
 
 " Its proper pow'r to hurt, each creature feels. 
 Bulls aim their horns, and Asses lift their heels." 
 
 In the Steevens collection at Felbrigge Park, Norfolk, is a 
 reprint of this dated " May the 21st, 1763 " {i.e. five days 
 after the issue of Wilkes's portrait), which has, in addition 
 to the motto, a rude wood-engraving of the artist with the 
 words "William Hogarth, Engraver, Cut in Wood from the 
 Life." The greater part of the paper is printed at pp. 
 72-78 n. of the Biographical Aiiecdotes, 1782. 
 
 An Epistle to William Hogarth. By C. Churchill. 
 Ut Pictura, Poesis. Hor. London : Printed for 
 the Author, and sold by J. Coote, at the King's 
 Arms in Pater- Noster- Row. mdcclxiii. 
 
 Half-title; title; pp. 1-31. 4to. It was published on 
 Saturday, July 2, 1763 — a second edition following on 
 the 7th. 
 
 Hogarth Moralized. Being a complete Edition of 
 Hogartlis Works. Containing near Eourscore 
 Copper- Plates, most elegantly engraved. With 
 an Explanation, pointing out the many Beauties
 
 2o8 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 that may have hitherto escaped Notice ; and a 
 Comryient on their Moral Tendency. Calculated 
 to improve the Minds of Youth, and, convey In- 
 struction, under the Mask of Entertainment. 
 Now First published, with the Appj^odation of 
 Jane Hogarth, Widow of the late Mr. Hogarth. 
 [With 78 plates.] London : Sold by S. Hooper, 
 the East Corner of the New Church in the 
 Strand ; and, Mrs. Hogarth, at her House in 
 Leicester-Fields, mdcclxviii. 
 
 Engraved Title, — The Works of Mr. Hogarth Moralized, 
 London. Second title as above; "Dedication" and "Ad- 
 vertisement"; "Preface," pp. i-viii ; Text, pp. 1-212; 
 "Index," i-v. 8vo. It was originally published in 14 
 numbers or parts. There were subsequent editions in 
 1821, fol. ; 1831, Svo; and 1833, 4to, 2 vols, with "Anec- 
 dotes ... by J. Hogarth and J. Nichols." The best 
 modern issue is John Major's " revised, corrected, and 
 somewhat enlarged" edition of 1841, to which there is 
 an introductory Essay. "The history of the work," says 
 Steevens, " is as follows : The Rev. John Trusler engaged 
 with some engravers in this design, after Hogarth^ s death, 
 when they could carry it into execution with impunity. 
 Mrs. Hogarth, finding her property would be much 
 affected by it, was glad to accept an offer they made 
 her, of entering into partnership with them ; and they 
 were very glad to receive her, knowing her name would 
 give credit to the publication, and that she could certainly 
 supply many anecdotes to explain the plates. Such 
 as are found in the work are probably all hers " {Bio- 
 graphical Anecdotes, etc., 1781, p. 62, n). Mrs. Hogarth's 
 own Advertisement of the first Number in the London 
 Chronicle for August, 16-19, ^7^6, says that she has 
 " engaged a Gentleman to explain each Print, and moralize 
 on it in such a Manner as to make them instructive as 
 well as entertaining." The first Number contained The
 
 RELATING TO HOGARTH AND HIS WORKS. 209 
 
 Harlofs Progress ; the second, which followed in Sep- 
 tember, — The Rake's Progress. After this the parts 
 continued to appear until the volume was completed in 
 July, 1768. Dent and Corbould were the engravers of the 
 plates. 
 
 Les Satyres de Guillaume Hogarth, CEiivre moral et 
 Comique en LXIX [LXXIX] Sujets. Ridicuhtm 
 Acri. A Londres, chez Robert Sayer, Mar- 
 chand de Cartes et d'Estampes dans Fleet- 
 Street, No. 53. MDCCLXVIII. 
 
 Title (French) ; ** Index " of two pages, with brief descrip- 
 tions in English. Folio. Some of the copies are stated to 
 be published with " y^ consent of Mrs. Hogarth." 
 
 An Essay upojt Prints, etc. [By the Rev. W. Gilpin.] 
 
 Second Edition. London : Printed by G. Scott, 
 
 for J. Robson, etc. mdcclxviii. 
 
 8vo. Pp. 164-173 relate to Hogarth generally; pp. 
 212-229 describe th.e Rake's Progress. 
 
 Die Werke des Hrn Willm Hogaj'tk in Ktipferstichen 
 Moralisch nnd Satyrisch erlautert. Hamburg, 
 1769. 
 Sm. 4to. With Twenty copperplate engravings. 
 
 Anecdotes of Painting in England . . . By Mr. 
 Horace Walpole . . . Volume the fourth and 
 last. Strawberry Hill : Printed by Thomas 
 Kirgate, mdcclxxi. 
 
 4to. Pp. 68-89 relate to Hogarth, of whose works Walpole 
 had an extensive collection. There is also an Appendix 
 of one leaf, ** Prints by or after Hogarth discovered since 
 the Catalogue was finished." The volume had been in 
 type as far back as 1770, but was not pubUshed until 
 P
 
 210 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 October, 1780. " I have left with Lord Harcourt for you 
 my new old last volume of ' Painters ' ( Walpole to Mason, 
 13 Oct. 1780)." The ostensible reason for the deferred 
 issue is stated in the "Advertisement." "The publica- 
 tion (it says), though a debt to the purchasers of the 
 preceding volumes, was delayed from motives of tender- 
 ness." The author was " unwilling to utter even gentle 
 censures, which might wound the affections, or offend the 
 prejudices of those related to the persons whom truth 
 forbad him to commend beyond their merits." If these 
 were the real motives, they were not effectual, for Mrs. 
 Hogarth, who is said to have been her husband's model 
 for Sigismufida, was justly incensed at the coarse contempt 
 which Walpole lavished upon that work (see a?ite, p. 162 n.) 
 " It is whispered," says a note by George Steevens in the 
 Biographical Atiecdotes of 1781, pp. 43-4, ("we know not 
 with how much truth) that Mrs. H. was hurt by this de- 
 scription of the picture, and that she returned no thanks 
 for the volume that contains it, when it was sent to her as 
 a present by its author." Walpole confirms the fact of her 
 displeasure in a letter to Cole of 16 June, 1781. "She 
 was not pleased with my account of her husband." It 
 is difficult to imagine how she could have been pleased, 
 or how he reconciled his account of Sigismiinda with his 
 professions of consideration for the representatives of 
 those criticised. In the second edition of vol. iv. (8vo. 
 1782), Walpole refers to Nichols's Atiecdotes^ and says he 
 has made use of them to correct and extend his own 
 account. 
 
 BiograpJiical Anecdotes of William Hogarth ; and a 
 Catalogue of his Works chronologically arranged ; 
 with ' occasional Remarks. London, Printed by 
 and for J. Nichols, mdcclxxxi. 
 
 The Second Edition, enlarged aiid corrected. 
 
 London : Printed by and for J. Nichols. 
 
 ^ This is " and " in eds. 2 and 3.
 
 RELATING TO HOGARTH AND HIS WORKS. 211 
 
 MDCCLXxxii. With second engraved Title — 
 Biographical Anecdotes of William Hogarth, 
 and knife, fork, and plate vignette — " Published 
 as the Act directs, August ist, 1872." 
 
 Biographical A 7iecdotes of William Hogarth ; and a 
 Catalogtie of his Works chronologically arranged ; 
 with occasional Remarks. The Third Edition, 
 enlarged and corrected. London : Printed by 
 and for J. Nichols, in Red- Lion- Passage, Fleet- 
 Street. MDCCLXXXv. With second engraved 
 Title (as in second edition) — " Published as the 
 Act directs, Nov"". Io'^ 1785." 
 
 First Edition : Title; pp. 3-157. Second Edition : Titles; 
 pp. iii-v; 1-474. Third Edition: Titles; pp. iii-xx; 
 1-529. These Anecdotes, according to the "Memo- 
 randum " prefixed to the third edition, dated " Nov. 10, 
 1785," grew out of "a note of about a page's length" 
 which the writer, John Nichols, the bookseller and printer 
 of Red-Lion-Passage, Fleet-Street, allotted to Hogarth in 
 his Memoir of Bowyer. The fourth volume of Walpole's 
 Anecdotes of Painting, 1780, gave such an impetus to the 
 collection of Hogarth's works, that this brief account was 
 speedily expanded into a pamphlet, afterwards enlarged 
 as above in the editions that followed. Nichols's chief 
 collaborator was George Steevens, the Critic. The first 
 edition was at once translated into German in 1783 by 
 "the ingenious Mr. Crayen oi Leipzig." Prefixed to this 
 translation was a head of the artist copied by Edner from 
 his portrait when painting the Comic Muse. 
 
 An Explanation of Several of Mr. HogartJUs Prints. 
 [Mottoes from Garrick, Churchill, Walpole and 
 Smart's Hilliad.'] London : Printed for the
 
 212 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 Author [Mr. Felton] ; and sold by J. Walter, 
 
 Charing-Cross. mdcclxxxv. 
 Title; "Preface," pp. iii-iv; "Contents," v-vi; Text, 
 1-117 ; "Errata." 8vo. Mr. Felton, according to Nichols's 
 Genuine Works, iii. (1817), p. 317, was the "Author of 
 'Imperfect Hints towards a new Edition of Shakespeare,' 
 and of some elegant ' Testimonies to the Genius and 
 Memory of Sir Joshua Reynolds.' " His Preface explains 
 his book to be simply an "addition, or supplement" to 
 Walpole, Nichols, Gilpin and Trusler. It " points out 
 some minutiae," and deals only with the " most con- 
 siderable of Mr. Hogarth's prints " — i.e. the two Progresses, 
 a Midnight Modern Conversation, the Sleeping Con- 
 gregation, the Distrest Poet, the Four Times of the Day, 
 the Strolling Actresses, the Enraged Musician, Marriage 
 A-la-Mode, a Stage Coach, Industry and Idleness, the 
 March to Finchley, Beer Street and Gin Lane, the Stages 
 of Cruelty, the Election series, the Cockpit and Southwark 
 Fair. The " x^ppendix " (pp. 92-11 7) contains a collection 
 of valuable extracts from contemporary sources bearing 
 upon Hogarth and his work. 
 
 Rules for Drawing Caricatttras : with an Essay on 
 Comic Painting. [By Francis Grose, Esq., 
 F.A.S.]. London : Printed by A. Grant, War- 
 dour-Street, for S. Hooper, No. 212, High- 
 Holborn, mdcclxxxviii. 
 Title ; pp. 3-38. 8vo. With four plates. 
 
 Ut Pictu7'a Poesis ! or, the Enraged Musician. A 
 Musical Ejitertainment. Founded on Hogarth. 
 Performed at the Theatre Royal in the Hay- 
 market. Written by George Colman. Com- 
 posed by D"". Arnold. London : Printed by T. 
 Cadell, in the Strand, mdcclxxxix. 
 Svo. Title; "Characters"; Text, pp. 5-17. The copy 
 in the British Museum has a MS. Prologue.
 
 RELATING TO HOGARTH AND HIS WORKS. 213 
 
 A Catalogue of the Pictures and Prints ; the Pro- 
 perty of the late Mrs. Hogarth, Dec^. Amongst 
 which is the Sigismu7ida, several Portraits, 
 Sketches and Prints by Hogarth, framed and 
 glazed, choice ancient Impressions ; the Bust of 
 Hogarth, by Roubilliac \sic?^ ; Twelve Plates, 
 painted at Delft, by Sir James Thornill \sicr\ ; 
 and other Matters. Which will be sold by 
 Auction, by Mr. Greenwood, by Order of the 
 Executrix, {on the Premises) The Golden Heady 
 Leicester-Square, on Saturday the 2\th of April, 
 1790, at Twelve d Clock. . . . Printed by H. 
 Reynell, No. 21, Piccadilly. 
 
 The Executrix was Mary Lewis (see p. 181). Sigismutida 
 was bought by Alderman Boydell for ;^58 16s. ; Rou- 
 biliac's bust, ;£"] ']$.; cast of Trump and of Hogarth's 
 hand, fz 16s.; the Shrimp Girl, f^. 10s.; Hogarth's 
 six servants, ;£^ 15^. 6d. ; his sisters, ;£2. The entire sale 
 reaUsed ;^255 loj-. The copy of the Catalogue in the 
 British Museum belonged to George Steevens. 
 
 William Hogarth. Original Works, mostly engi'aved 
 by Himself. London : Boydell, 1 790. 
 Atlas folio. 108 plates, 2 portraits. 
 
 Hogarth Illustrated. By John Ireland. [In Two 
 
 Volumes]. Pub. June i, 1791, by J. & J. 
 
 Boydell, Cheapside, & at the Shakespeare 
 
 Gallery, Pall Mall. 
 
 Vol. i. Engraved Title, with vignette portrait of Hogarth, 
 engraved by J. Barlow; " Introduction ; " " Errata," *' In- 
 dex to the Plates;" "Anecdotes," i-cxxii; Text, 1-3 n. 
 8vo. 
 Vol. ii. Engraved Title, with vignette " Nature ; " Index
 
 214 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 to the Plates; Text, 311-607 and List of Hogarth's works 
 sold by Boydell. 8vo. A second -edition, " corrected," 
 was published in August, 1793. To this was added a 
 supplement of 8 pp., containing a description of Marriage 
 A-la-Mode found among the papers of Mr. Lane of Hilling- 
 don, and translated from Rouquet. The majority of the 
 plates in these volumes are fromTrusler {Getmitie Works, i. 
 453)- 
 
 A Supplement to Hogarth Illustrated ; cotnpiled from 
 
 his Original Manuscripts, in the Possession of 
 
 John Irelajtd, etc. [Motto from Walpole.] 
 
 London : Published, March, 1 798, for the 
 
 Author, No. 3, Poets' Corner, and others. 
 
 Engraved Title as in Vols. i. and ii., with vignette of the 
 Serpentine Candlestick ; second title as above ; " Adver- 
 tisement," pp. iii-viii ; " Introduction," ix-xxi ; " Index to 
 the Prints," xxii-xxiii ; "Contents;" "Anecdotes," 1-227; 
 "Description of the Prints, etc.," 229-330; "Appendix," 
 331-377 ; " Index to the Variations, etc." Svo. Ireland's 
 "proposals" for this volume are dated July 7"", 1796. 
 There were further editions of Hogarth Illustrated in 1806 
 and 1812. 
 
 Graphic Illustrations of Hogarth, fro7n Pictures, 
 Drawings, and Scarce Prints ^ in the Possession 
 of Samuel Ireland, Atcthor of this work, etc. 
 [In Two Volumes.] London : Published by 
 R. Faulder, New Bond Street; and others. 
 
 MDCCXCIV-IX. 
 
 Vol. i. (1794). Half-Title; Title; "Preface," pp. v-xii; 
 "Prints," etc. xiii-xvi; Text, 1-183. Vol. ii. (1799). Half- 
 Title; Title; "Preface" (dated May), pp. v-xi; "Prints," 
 etc. xiii-xix. Text, 1-150. Svo. 
 
 ^ In vol. ii. it is " from Pictures and Drawings " only.
 
 RELATING TO HOGARTH AND HIS WORKS. 215 
 
 G. C. Lichtenbergs ausfUhrliche Erkl'drung der 
 Hogarthische7i Kupferstiche, mit verkleinerten 
 aber vollstdndigeii Copien derselben von E. 
 Riepenhausen. [Fourteen vols.] Gottingen im 
 Verlag von Joh. Christ. Dieterich. 1794- 
 
 1834 (?) 
 
 8vo. Lichtenberg visited England in 1770, and again in 
 1774 when he stayed for four years. He died 24th 
 February, 1799. The "Introduction" to the fifth volume 
 is dated after his death ; and thenceforward the commen- 
 tary is derived mainly from the English authorities. A 
 thirteenth part {preface dated October, 1832) was added 
 by J. P. Lyser; a fourteenth (preface dated December, 
 1834), by Dr. le Petit and Karl Gutzkow. A '■'■ Neue ver- 
 besserte Ausgabe" (including parts 13 and 14) was issued 
 in 1850-4. The completion of Lichtenberg was also under- 
 taken separately circa 1839-40 by Dr. Franz Kottenkamp, 
 a third edition of whose work appeared at Stuttgard in 
 1873. Lichtenberg's descriptions of Plate I. of the Harlofs 
 Progress, and Plates I., II. and HI. of the Rake's Progress 
 were translated in the London Magazine for September and 
 October, 1820, pp. 277-284, and pp. 388-402. A French 
 translation by M. M. Lamy appeared at Gottingen in 1797. 
 See also infra, " Lichtenberg and Hogarth." 
 
 Hogarth Restored. The whole works of the Cele- 
 brated William Hogarth, as originally published, 
 with a Suppleine7it, consisting of such of his 
 Prints as were not published in a collected Form. 
 Now re-engraved by Thomas Cook. Accompanied 
 with Anedotes of Mr. Hogarth, and explanatory 
 Descriptions of his Designs. London : 1 80 1 - 3 . 
 
 h.\\.zs> folio. The "Anecdotes," first issued in 1803, in 
 royal 8vo. are frequently found apart from the plates. The 
 4to. issue of 181 1 has a rude woodcut portrait of the 
 painter. There is also an 8vo. edition of 1 813.
 
 2l6 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 The Genuine Works of William Hogarth ; illustrated 
 with Biographical Anecdotes, a Chronological 
 Catalogue, and Commentary. By John Nichols, 
 F.A.S. Edinb. & Perth; and the late George 
 Steevens, Esq., F.R.S. and F.S.A. In Two 
 Volumes. London : Printed for Longman, 
 Hurst, Rees, and Orme, Paternoster Row. 
 1808-1810. 
 
 Vol. i. Title; "Preface," pp. iii-vii; Text, 1-524. Vol. ii. 
 Title; "Advertisement" and "List of Plates," pp. iii-viii ; 
 1-444, and Index. There are 160 plates, engraved by T. 
 Cook from the original pictures or proof impressions. In 
 this edition the contributions of Steevens, who died in 
 1800, "are in general pointed out." Another coadjutor, 
 "in the theatrical part more particularly," was Isaac Reed. 
 
 The Gemcine Works of William Hogarth ; with 
 Biographical Anecdotes. By John Nichols, 
 F.S.A. Lond. Edinb. and Perth ; and the late 
 George Steevens, Esq., F.R.S. and F.S.A. In 
 Three Volumes. Volume III. Containing 
 Clavis Hogarthiana, and other Illustrative Es- 
 says : with fifty additional Plates. London : 
 Printed by and for Nichols, Son, and Bentley, 
 etc. 181 7. 
 Title; "Advertisement," "Contents," "Plates," etc. pp. 
 iii-xxxii; Text and Index, 1-358. Reprints infer alia the 
 Prose Tour {set p. 35) with Livesay's Etchings. There are 
 also many "Additions and Corrections" to vols. i. and ii. 
 
 The Works of William Hogarth, {including the 
 ' Analysis of Beauty I) elucidated by Descriptions, 
 Critical, Moral, a7id Historical ; [founded on the 
 most approved Authorities?) To which is pre-
 
 RELATING TO HOGARTH AND HIS WORKS. 217 
 
 fixed some Account of his Life. By Thomas 
 Clerk. In Two Volumes [each having an 
 engraved title page, — " The Works of Wm. 
 Hogarth," and vignette]. London. Printed for 
 R. Scholey, 46, Paternoster Row. 18 10. 
 
 Volume I.: Title; "Preface," pp. iii-v ; "Contents"; 
 
 " Some Account of William Hogarth " 1-32 ; Text, 33-203. 
 
 Volume II. : " Contents " ; Text, 1-96 ; A?ialysis of Beauty 
 
 unpaged. 8vo. The editor is said to have been T. H. 
 
 Home. Another edition followed in 181 2. 
 
 07t the Genitis and Character of Hogarth ; with some 
 
 Remarks 07i a Passage in the Writings of the 
 
 late Mr. Barry. By " L" [i.e. Charles Lamb]. 
 
 Article in No. iii. of The Reflector. 
 Pp. 61-77 ofvol. ii. (1811). 8vo. " I contend," says Lamb 
 in this famous paper, speaking of Hogarth's subjects, " that 
 there is in most of them that sprinkling of the better nature, 
 which, like holy- water, chases away and disperses the con- 
 tagion of the bad. They have this in them besides, that 
 they bring us acquainted with the every-day human face, 
 — they give us skill to detect those gradations of sense and 
 virtue (which escape the careless or fastidious observer) in 
 the countenances of the world about us ; and prevent that 
 disgust at common life, that t(zdium qiiotidia7iarum for- 
 marum, which an unrestricted passion for ideal forms and 
 beauties is in danger of producing. In this, as in many 
 other things, they are analogous to the best novels of 
 Smollett and Fielding " (p. 77). 
 
 A Descriptive Catalogue of the Works of Hogarth^ 
 
 placed ht the Gallery of the British Institution 
 
 for Exhibition .... By Mr. Young, Keeper 
 
 of the British Gallery. London : Printed by 
 
 William Bulmer, and Co., Cleveland Row, St. 
 
 James's. 1814. 
 Title; pp. 3-30. 4to.
 
 2l8 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 On HogartJis Marriage A -la-Mode. On Hogarth. 
 Two articles in the Examiner, No. 336, June 5, 
 and No. 338, June 19, 1814. By " W. H." [i.e. 
 William Hazlitt]. 
 Pp. 366-7 and pp. 398-9 of the volume for 1814. 4to. 
 These papers were reprinted in the Round Table ; and also 
 as No. vii. of Hazlitt's Lectures oti the English Co?nic 
 Writers, 3rd edn., 1841, pp. 274-311. Quotations from 
 them already appear in the foregoing " Memoir " ; but the 
 following may be added here : — " Everything in his 
 [Hogarth's] Pictures has life and motion in it. Not only 
 does the business of the scene never stand still, but every 
 feature and muscle is put into full play ; the exact feeling of 
 the moment is brought out, and carried to its utmost height, 
 and then instantly seized and stamped on the canvass for 
 ever . . . Besides the excellence of each individual face, 
 the reflection of the expression from face to face, the 
 contrast and struggle of particular motives and feelings in 
 the different actors in the scene, as of anger, contempt, 
 laughter, compassion, are conveyed in the happiest and 
 most lively manner." (P. 398.) 
 
 Illustrations of Hogarth : i.e. Hogarth Ilhistrated 
 front Passages i7t Authors he never read, and 
 could not understand. [By the Rev. E. Ferrers.] 
 London : Printed by and for Nichols, Son, and 
 Bentley, Red Lion Passage, Fleet Street. 
 1816. 
 
 Title ; " Introduction," pp. 3-8 ; " Postscript " [dated Nov. 
 i3> 1815], 9-10; Text, ir-55. Frontispiece-Portrait of 
 Hogarth after drawing by Worlidge (see p. 185 n.). 8vo. A 
 second edition, "enlarged and corrected," with the addi- 
 tional title of Clavis Hogarthiana, was issued in 181 7. 
 The book was also reprinted in Vol.iii. of Nichols's Genuine 
 Works, 181 7. 
 
 The Works of William Hogarth, from the Original
 
 RELATING TO HOGARTH AND HIS WORKS. 219 
 
 Plates restored by James Heath, Esq., R.A.; 
 
 with the Addition of many Subjects not before 
 
 collected : to which are prefixed, a Biographical 
 
 Essay on the Genitis and Productions of Hogarthy 
 
 and Explanations of the Subjects of the Plates, 
 
 by John Nichols, Esq., F.S.A. London : Printed 
 
 for Baldwin, Cradock, and Joy, Paternoster 
 
 Row, by J. Nichols and Son, Parliament Street. 
 
 1822. 
 
 Title; "Biographical Essay" and " Contents," pp. iii-xi ; 
 "Explanation of Plates," 1-52. Atlas folio. There is a 
 portrait of Hogarth for frontispiece, and 119 pages of plates, 
 the original coppers of which in 1822 were in possession of 
 Messrs. Baldwin and Cradock. 
 
 Nollekens and his Times : comprehending a Life of 
 
 that celebrated Sculptor ; aud Memoirs of several 
 
 conte77iporary Artists, fro?n the Time of Rou- 
 
 biliac, Hogarth, and Reynolds, to that of Fuseli, 
 
 Elaxma7i, and Blake. By John Thomas Smith, 
 
 Keeper of the Prints and Drawings in the 
 
 British Museum. In Two Volumes. London : 
 
 Henry Colburn, New Burlington Street, 1828. 
 
 8vo. There are anecdotes of Hogarth at pp. 46-8 ; 94 ; 
 193-4, and 266-S of vol. i; in vol. ii, pp. 224-5 ^"^^ 34°'5 
 are devoted to him. 
 
 Garrick in the Green Room ! a Biographical and 
 Critical Analysis of a Picture^ painted by Wil- 
 liam Hogarth, and engraved by William Ward. 
 By George Daniel. [Motto from the Modern 
 Dunciad7\ London : James Webb Southgate, 
 22, Fleet Street. 1829. 
 Title; pp. 3.33. 4to.
 
 V 
 
 2 20 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 The Lives of the Most Eminent British Painters, etc. 
 
 By Allan Cunningham. London [In Six 
 
 Volumes]. 1829-1833. 
 
 Pp. 54-186 of vol. i (1829) relate to Hogarth. Cunning- 
 ham's Lives were edited in 1879-80 by the late Mrs. 
 Charles Heaton. Hogarth occupies pp. 44-151 of vol. i. 
 
 Hogarth, Bewick and Green. [By Hartley Cole- 
 ridge.] Article in Blackivood's Magazine, 
 No. 186, October, 1831. 
 
 Pp. 655-668 of vol. XXX. The paper is No. HI. in a series 
 entitled " Ignoramus on the Fine Arts," and the Green is 
 William Green the landscape-painter of the lakes. The 
 pages on Hogarth are sympathetic but desultory. Of his 
 name the writer says — " An early print inscribed William 
 Hogart, and a couplet in Swift's Legion Club, 
 
 How I w'ant thee, humorous Hogart, 
 Thou, I hear, a pleasant rogue art, 
 
 are brought to prove that the final H was an unwarrantable 
 innovation. Now, it so happens that the name is common 
 in the north at this day [1831], and is always spelt 
 Hogarth, but pronounced Hogart. Any one passing by 
 the shop of Mr. Hogarth of Keswick, druggist, and sub- 
 distributor of stamps, may resolve his doubts on this 
 important subject (p. 667)." See also same paper in 
 Hartley Coleridge's Essays and Ma7-gijialia, 185 1, i. 
 250-86. In vol. ii (pp. 201-42), are some characteristic 
 notes on Allan Cunningham's " Life of Hogarth." 
 
 A7iecdotes of William Hogarth, wi^itten by Himself : 
 with Essays on his Life and Genius, and Criti- 
 cis7ns on his Works, selected from Walpole, 
 Gilpin, J. Lreland, Lamb, Phillips, and others. 
 To ivJiich are added a Catalogue of his Prints ; 
 Accotmt of their Variations, and principal copies ;
 
 RELATING TO HOGARTH AND HIS WORKS. 22 1 
 
 Lists of Paintings, Drazuings, etc. [With 48 
 
 plates.] London: J. B. Nichols and Son, 25 
 
 Parliament Street. 1833. 
 
 Title, "Preface," "Contents" and "List of Plates," iii 
 to xii; Text, 1-416. 8vo. John Bowyer Nichols, who 
 compiled the volume, was the son of John Nichols, the 
 antiquary, the collaborator of George Steevens. It was 
 printed in the same manner as John Major's Trusler, 1831, 
 which it was intended to supplement. 
 
 Hogarth and his Works. Articles in the Penny 
 Magazine for 1834 and 1835. 
 
 Pp. 121-8, 209-16, 249-56, 287-8, 329-30, 377-84, 401-2, 
 and 481-2 of Vol. iii ; and pp. 12-13, 29-30, 81-88, 1 13-14, 
 145-6, 172-5, 193-5, and 209-216 of vol. iv. There are 
 numerous illustrations drawn on the wood after Hogarth 
 by F. W. Fairholt and engraved by John Jackson. In 
 the concluding paper, it was stated that the series would 
 be republished " with about half as many more additional 
 cuts, and the text enlarged." They were abridged and re- 
 arranged for vol. xii. of the Cabinet Portrait Gallery of 
 British Worthies, 1847. 
 
 Lichtenberg and HogartJi. Article in the Foreign 
 Quarterly Review, No. xxxii (1836). 
 
 Pp. 279-303 of vol. xvi. 8vo. "His [Lichtenberg's] 
 'descriptions'" says the writer, "may in fact be considered 
 his chef-dceuvre among his humorous writings ; it cannot, 
 however, be said that he adheres very strictly to the duties 
 of a commentator, since he not unfrequently allows him- 
 self to be carried away by his sportiveness much farther 
 than is necessary, and is moreover apt to put a different 
 construction upon many things, from what Hogarth him- 
 self appears to have intended. Often does it happen, 
 again, that he makes what is subordinate in the subject 
 principal in his description of it. . . ." (p. 290). Neither 
 of these criticisms can be gainsaid.
 
 2 22 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 Patronage of British Art, an Historical Sketch: . . . 
 illustrated with Notes, Historical, Biographical^ 
 and Explanatory. By John Pye, Landscape- 
 Engraver, etc. [Motto from Barry.] London : 
 Longman, Brown, Green, and Longmans, Pa- 
 ternoster Row. 1845. 
 8vo. Contains many valuable particulars respecting Ho- 
 garth and his contemporaries. At p. 89 is a beautiful little 
 wood-cut, engraved by John Thompson, of the blue and 
 white dragon-china punch-bowl used by the painter and his 
 friends when they held their annual dinners at the Foundling 
 Hospital (See chapter iv). 
 
 Memoranda ; or, Chronicles of the Foundling Hos- 
 pital, hichiding Memoirs of Captain Corain, etc., 
 etc. By John Brownlow. London : Sampson 
 Low, Lamb's Conduit Street. 1847. 
 
 Large 8vo. Title; "Contents," pp. iii-iv ; text, pp. 1-231. 
 The book contains plates of Hogarth's head-piece to a 
 Power of Attorney (1739), of the Arms of the Hospital, 
 supposed to have been designed by him, and an autograph 
 receipt for the maintenance at Chiswick of two of the 
 Foundhngs during 1 761-2 (see chapter iv). It also in- 
 cludes portraits of Coram by Hogarth (p. 76 of this book) 
 and B. Nebot, autographs of Coram and Wilkes, and 
 various particulars respecting the painters and other nota- 
 bilities connected with the Institution. 
 
 England U7ider the House of Hanover, etc. .By 
 
 Thomas Wright. With numerous Illustrations, 
 
 executed by F. W. Fairholt, F.S.A. In Two 
 
 Volumes. London : Bentley, 1848. 
 
 Vol. i., which extends to the beginning of the reign of 
 George III., contains much information respecting Ho- 
 garth. A revised edition, under the new title of Caricature 
 History of the Georges, was issued in 186S.
 
 RELATING TO HOGARTH AND HIS WORKS. 223 
 
 The Tomb of Williafn Hogarth. By Mrs. S. C. 
 
 Hall. With Notes and Illustrations by F. W. 
 
 Fairholt, F.S.A. Article in the Art-Union for 
 
 August I, 1848. 
 Pp. 252-256 of vol. X. Afterwards reprinted in Fi/gritnages 
 to English Shrines, 2 vols., 8vo., 1850-3, ist Series, pp. 274- 
 294. In 'Cixt Art Journal iox May, 185 1, p. 148, appeared 
 an article on " Hogarth's Tomb at Chiswick," in which 
 attention was drawn to its dilapidated condition. 
 
 William Hogarth tend Seine Zeit, oder London in i8 
 
 Jahrhttndert. Bine Sammlnng von Stahlst : 
 
 nach Hogarth's Originalen, mit Erzahlungen 
 
 von Adolph Gorlijig. Leipzig: Payne, 185 1-2. 
 
 4to. In ten Parts. 
 
 The English Himto^irists of the Eighteenth Century. 
 A Series of Lectures^ delivered in England, Scot- 
 land, and the United States of America. By 
 W. M. Thackeray. London: Smith, Elder and 
 and Co. 1853. 
 
 8vo. Pp. 219-241 are the beginning of the lecture on 
 " Hogarth, Smollett and Fielding," and relate to the 
 painter. The notes are by James Hannay, in whose hands 
 Mr. Thackeray placed the MS. of the Lectures for annota- 
 tion in October, 1852, before he started for America {Brief 
 Memoir of the late Mr. Thackeray, by Hannay, 1864, 
 p. 25 n). 
 
 La Caricatttre en Angleterre. ByE. D. F. [?E.D. 
 Forgues]. Articles in the Revtte Britannique 
 for November and December, 1854. 
 Pp. 201-216 and pp. 321-352 of vol. xxiv. 
 
 .A Hand-Book for Voting Painto^s. By C. R.
 
 224 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 Leslie, R.A. . . . With Illustrations. London : 
 
 John Murray, Albemarle Street. 1855. 
 
 8vo. Contains, chiefly in the Chapters on " Invention 
 and Expression " and " Composition," much valuable 
 criticism of Hogarth. 
 
 Hogarth in London Streets. By G. Walter Thorn- 
 bury. Article in Art Journal, 1859. 
 
 Pp. 1-4 of vol. V. New Series. Reprinted in Thornbury's 
 British Artists, 1861, vol. i. pp. 286-329 as "The Day 
 after Hogarth's Death." 
 
 Londres il y a ceitt Ans. Par Francis Wey. Paris : 
 
 Michel Levy Freres, Libraires-Editeurs Rue 
 
 Vivlenne, 2 Bis. 1859. 
 
 Title; '■' Introdiidion {William Hogarth en Fra?ice)" \)t^. 
 1-15; Text, pp. 17-233. 8vo. A French novel of 
 Hogarth's time by the author of Les Anglais chez eux. 
 
 William Hogarth : Painter, Engraver, and Philo- 
 sopher. Essays on the Alan, the Work, and the 
 Time. [By George Augustus Sala.] Articles 
 in the Cornhill Magazine, from February to 
 October, i860 (vols. i. and ii.). 
 
 These papers, which were partially illustrated, were repub- 
 lished by Messrs. Smith, Elder and Co., in 1866 (Title, 
 " Contents," " List of Illustrations," and pp. 1-3 18). They 
 are nine in number, the last (" Tail-Piece ") bringing the 
 whole to a somewhat precipitate conclusion, as it deals with 
 nineteen years of the painter's life. From the final lines it 
 would appear that Mr. Sala intended to return to the 
 subject. This, as far as we are aware, he has never done, 
 although it is no doubt to these studies in Hogarth that 
 we owe the remarkable pastiche entitled the Strange Ad- 
 ventures of Captain Dangerotis which followed them not 
 long afterwards in Temple Bar.
 
 RELATING TO HOGARTH AND HIS WORKS. 225 
 
 Afi English Painter s Tomb. By Charles Allston 
 
 Collins. Article in Macmillan s Magazhie for 
 
 April, i860. 
 
 Pp. 489-94 of vol. i. Records a visit to Hogarth's house 
 and tomb while the painting loft over the stable was 
 still in existence. The writer says the house was Sir James 
 Thornhill's. But see p. 180 n. of this book. 
 
 Widow Hogarth and Her Lodger [Alexander Runci- 
 
 man]. By Dutton Cook. Article in Once a 
 
 Week for December 29th, i860. 
 
 Pp. 10-13 of vol. iv. The paper was reprinted in Art in 
 England, 1869, pp. 104-122. 
 
 Hogarth and his Pictures. A Lecture delivered 
 
 before the Younof Men's Christian Association 
 
 in Exeter Hall. By the Rev. Hugh Stowell 
 
 Brown. London : i860. 
 
 8vo. Pp. 321-57 of the volume of Lectures from 
 November, 1859, to February, i860. 
 
 Anecdote Biography. Willia^n Hogarth, etc. By 
 
 John Timbs, F.S.A. [Vignette of " Hogarth's 
 
 House at Chiswick."] London: Richard Bentley, 
 
 New Burlington Street, i860. 
 
 8vo. Pp. I to 94, and p. 370 relate to Hogarth, of whom 
 there is a portrait on steel from his own picture in the 
 National Gallery. 
 
 The Complete Works of William Hogarth : in a 
 Series of One Hundred and Fifty Steel En- 
 gravings, from the Original Pictures [f]. With 
 an Introductory Essay, by James Hannay ; and 
 Q
 
 2 26 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 descriptive Letterpress, by the Rev. J. Trusler, 
 
 and E. F. Roberts. [Quotation from Sala,] 
 
 London: Richard Griffin and Company, lo, 
 
 Stationers'-Hall Court, [i860?] 
 
 Title; "Contents"; "Hogarth as a Satirist" [Hannay's 
 Essay], pp. i-xiv; " Biography of Hogarth," xv-xviii ; Text, 
 1-201. There is also an engraved title, " Hogarth's Works," 
 with vignette of the Milkmaid from the Enraged Alusician. 
 4to. I\Ir. Hannay's Essay, it may be added, although 
 restricted to a single aspect of Hogarth's genius, viz., his 
 relation to the severer masters of satire, is a most scholarly 
 and vigorous contribution to the literature of the subject. 
 
 Histoire des Peintres de Toutes Ics Ecolcs. Ecole 
 
 Anglaise par M. W. Bii7'ger. Paris: Vve. Jules 
 
 Renouard, mdccclxiii. 
 
 Folio. Contains an article of 16 pp. by Philarete Chasles, 
 with Portrait and seven illustrations. 
 
 Life and Ti7nes of Sir Joshua Reynolds . . . Com- 
 menced by Charles Robert Leslie, R.A. Con- 
 tinued and concluded by Tom Taylor, M.A. 
 In Two Volumes, London : John Murray, 
 1865. 
 
 8vo. Contains many references to Hogarth (See "Index," 
 ii. 501-2). 
 
 A Centniy of Painters of the English School ; with 
 Critical Notices of their Works, and an Account 
 of the Progress of the Art in England. By 
 Richard Redgrave, R. A., and Samuel Redgrave. 
 [Motto from Locke.] In Two Volumes. 
 London : Smith, Elder and Co., 65, Cornhill, 
 1866.
 
 RELATING TO HOGARTH AND HIS WORKS. 22/ 
 
 8vo. Chap. ii. pp. 44-61 of vol. i. relates to Hogarth. A 
 second edition in one volume of viii, 479 pp., "abridged 
 and continued," was issued in 1890. 
 
 William Hogarth. Roma^i. Von A. E. Brachvogel. 
 [In three vols.] Berlin; Janke, 1866. 
 
 Svo. Pp. 987. Brachvogel is also the author of Hogarth, 
 a Drama in five Acts, Berlin, 1870, the scene of which is 
 laid in London in September, 1733. Among the characters 
 are BoUngbroke, Sir Robert Walpole, Lord Chesterfield, 
 Sir John Gonson, Richard (!) Thornhill, " Hofmaler," his 
 daughter Mary (!), and "Twakum," gaoler of Newgate, 
 where the piece finishes. 
 
 William Hogarth. By Theophile Gautier. Article 
 
 in L Artiste for August, 1868. 
 
 Pp. 155-172. This is reprinted at pp. 315-344 of Gautier's 
 Guide de P Amateur au Musee du Louvre, etc., Paris : Char- 
 pentier, 1882. Under the title of "English Art from a 
 French Point of View," M. Gautier's notes in the Moniteur 
 on Hogarth at the International Exhibition of 1862 were 
 translated by Mr. Sala in Temple Bar, for June and Sep- 
 tember, 1862, being pp. 320-326 of vol. v. and pp. 258-272 
 of vol. vi. 
 
 William Hogarth. Par M. F. Feuillet de Conches. 
 
 Article in the Gazette des Beaux- Arts, Livraison 
 
 147, ler Septembre, 1868. 
 
 Pp. 185-214 of Tome xxv. M. de Conches is stronger on 
 the critical than the biographical side. He confounds 
 Vanloo's portraits of Gibber and his daughter with 
 Hogarth ; he confuses Colley and his son ; and he sup- 
 poses that, in 1757, Hogarth succeeded his father-in-law 
 as Serjeant Painter, whereas Sir James Thornhill died in 
 1734. But he speaks of several of the pictures as if he 
 had seen them, and his characterization of Hogarth's
 
 2 28 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 painting is well worth quoting — " La peinture d'Hogarth 
 est generalement libre, brutale de touche, un peu terne, 
 molle et lachee, parce que, pressee d'exprimer ce qu'elle a 
 a exprimer, elle court droit au fait et ne se soucie pas plus 
 que celle de Goya des regies banales. Hogarth savait et 
 beaucoup, mais avant tout c'etait un diseur familier qui ne 
 cherchait point les effets de style et qui cependant les 
 trouvait au besoin, toujours vif, saisissant, h. force d'emo* 
 tions intimes, de vie et de verity. II n'avait ni le dessein 
 ni le temps de se mettre devant son chevalet pour se 
 montrer peintre, pour lutter de parti pris avec la lumiere, 
 se jouer avec un effet de colons et chercher un triomphe 
 de palette. Ce n'est pas absolument que chez lui I'habitude 
 du burin eut nui k la peinture : sous ce burin etait un 
 pinceau ; mais la pensee est sa preoccupation premiere : 
 le pittoresque vient s'il le pent. L'execution, toujours 
 sufiSsante, est parfois energique ; mais, pour tout exprimer 
 en un mot, elle n'est pas toujours egale en profondeur a la 
 pensee" ... (p. 212). 
 
 Historical Sketches of the Reign of George II. No. 
 xii. — The Painter [By Mrs. Oliphant] Article 
 in Blackwood's Magazine for August, 1869 
 (No. 646). 
 
 Pp. 140-168 of vol. cvi. These sketches were afterwards 
 published in two vols, in i86g. 
 
 HogartJis Five Days Peregrination by Land and 
 JVater, iy^2. Abi tn et fac Similiter. [Sepia 
 Design.] HogartJis Frolic. The Five Days 
 Peregrination aromid the Isle of Sheppey of 
 William Hogarth and his Fellow Pilgrirns, 
 Scott, Tot hall, Thornhill and Forrest. [Small 
 woodcut.] With Sketches in Sepia from the 
 Original Drawings illustrating the Tour by W.
 
 RELATING TO HOGARTH AND HIS WORKS. 2 29 
 
 Hogarth and Sam. Scott [and several Wood- 
 cuts]. London : John Camden Hotten, 74 and 
 75 Piccadilly, W. [1871.] 
 
 Two titles; "Introduction," pp. i-xiv ; "Title;" Text, 
 pp. 1-42. 4to. A Reprint of E. Forrest's prose version 
 of the Tour, and of W. Gostling's rhymed paraphrase. 
 Plate i. (" Hogarth painting the Comic Muse "), ii. iii. and 
 xiii. form no part of the illustrations to the Tour. On the 
 other hand, the book does not include a copy of Thorn- 
 hill's map. 
 
 The Works of William Hogarth rep7''oduced from the 
 Original Engravings i^i permanent Photographs 
 and newly described with an Essay on the Genius 
 and Character of Hogarth by Charles Lamb. 
 [In Two Volumes.] London : Bell and Daldy, 
 York Street, Covent Garden. 1872. 
 
 Volume I. Title; "Preface;" "List of Plates," vii-xi; 
 "A Few Words about Hogarth," by W[illiam] C[osmo] 
 M[onkhouse], xiii-xviii; Lamb's Essay, 1-22; Text and 
 Plates unpaged. Volume II. Title ; Text and Plates un- 
 paged. 4to. The descriptions are by Mr. Monkhouse 
 and the author of the present Memoir. The volumes 
 include all the prints in Baldwin and Cradock's collection 
 of 1822, two only excepted ; and they also include one plate 
 never before reproduced in a volume of Hogarth prints, viz. 
 a copy of Cheesman's engraving of The Lady's Last Stake; 
 or Ficquet, or Virtue in Danger (see p. 158). 
 
 William Hogarth. By Carl Justi. Articles in 
 Lutzow's Zeitschrift filr Bildende Kunst, 1872. 
 Pp. 1-8, and pp. 44-54 of vol. vii. 4to. 
 
 William Hogarth. By Sidney Colvin. Article in 
 a series " From Rigaud to Reynolds " in the
 
 230 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 Portfolio for 1872-3. With Autotype oi Time 
 
 Smoking a Picture. 
 Pp. 146-155 of vol' iii. Folio. Mr. Colvin's closely- 
 woven style does not lend itself readily to quotation ; but 
 every student of Hogarth will do well to read his remarks 
 upon the painter's intellectual and moral qualities, as well 
 as upon his colouring, execution, and design, — points too 
 much disregarded by those who regard him almost exclu- 
 sively as a mirth-maker and caricaturist (see p. 190 n.). 
 
 Catalogue of Prints and Drawings in the British 
 Musetim. Division I. Political and Personal 
 Satires. Vols. ii. to iv. [June, 1689 to c. 1 770 : — 
 Nos. 1236 to 4838]. Prepared by Frederic 
 George Stephens, and containing many Des- 
 criptions by Edward Hawkins^ late Keeper of 
 the Antiquities, F.R.S. Printed by Order of 
 the Trustees, 1873-83. 
 
 Four Volumes, volume iii. being in two parts. " In no 
 respect was the Cataloguer more fortunate than in being 
 able in some cases to cast new light, and in a much greater 
 number of instances, a stronger light than time had per- 
 mitted to remain on the masterpieces of Hogarth, their 
 satiric force, their multitudinous allusions to individuals, 
 their pathetic and moral applications, and even their his- 
 torical significance {Introduction to vol. iii. part i. p. xvii.)" 
 These volumes are in truth, as far as the subject comes 
 within their scope, a vast storehouse of Hogarthiana, not to 
 be safely neglected by any student of his work and epoch. 
 The basis of the work is the Hawkins Collection in the 
 Department of Prints and Drawings ; but it also includes 
 many other Satires both in the Print Room, and contained 
 in works in the Library. 
 
 Leicester Square; its Associations and its Worthies. 
 By Tom Taylor, . . . With Illustrations. Lon-
 
 RELATING TO HOGARTH AND HIS WORKS. 23 1 
 
 don : Bickers and Son, i, Leicester Square, W. 
 
 1874. 
 
 8vo. Chapter xii. (pp. 281-340) is entitled " Hogarth at 
 the Golden Head." There js a photograph of his picture 
 in the National Gallery, and a cut of the Chiswick House 
 from Timbs. Hogarth is also referred to in Appendix C, 
 pp. 493-5, which relates to the murderer, Theodore 
 Gardelle. 
 
 The East H addon Hogarths. By "Video." Article 
 in \ki^ Art Journal for September, 1874 (No. 
 cliii. New Series). 
 Pp. 265-268 of vol. xiii, New Series. An account of 
 "Twelve oil paintings by Hogarth, illustrative of 'Hudi- 
 bras'," at East Haddon Hall, an old Northamptonshire 
 manor-house. 
 
 English Graphic Satire, etc. By Robert William 
 Buss. Printed for the Author by Virtue and 
 . Co. For Private CirciUation only. 1874. 
 "Folios " ix and x, pp. 73-90, relate mainly to Hogarth. 
 
 William Hogarth. By A. Genevay. Articles in 
 LArtior 1875. 
 
 Pp. 122-126 and pp. 1 77-181 of vol. i. Folio. With a 
 woodcut of Garrick as Richard III. 
 
 Hogarth as an Historian. By W. J. Morgan. 
 Article in the St. James s Magazine for 1878. 
 Vol. xliv. p. 206. 
 
 Die Werke von W. Hogarth. Nach den Original- 
 Platten auf 118 Bl'dttern photo-lithographirt. . . . 
 nebst einem biographischen Essay fiber den Genius
 
 232 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 n,nd die Schopfungen HogartJis, sowie Erkld- 
 rungen der emzelnen Bilder von John Nichols. 
 . . . Bearbeitet von E. C. Bm'schall, Briinn 
 [printed] und Wien, 1878. 
 Title; " Essay " iii-x ; Text, pp. 1-48; "Register." Folio. 
 
 Hogarth. By Austin Dobson. London : Sampson 
 Low, Marston and Co., 1879. 
 
 Title ; " Preface," pp. v-vi ; " Contents," vii-viii ; " List of 
 Illustrations;" "Bibliography," xi-xii ; Text, "Chrono- 
 logy," " List of Engravings," etc., " List of Paintings," 
 etc., etc., 1-128. 8vo. One of the series of the "Illus- 
 trated Biographies of the Great Artists," of which this 
 volume is an expansion. 
 
 Hogarth and Landseer. By W. C. Monkhouse. 
 Three Articles in the Art Journal for Septem- 
 ber, October and November, 1879. With 14 
 illustrations. 
 Pp. 178-9; 201-4; and 245-9 of vol. xviii. 4to. The first 
 paper is introductory ; the second treats of Hogarth as an 
 animal painter in relation to Landseer ; the third, of Land- 
 seer as a humourist in relation to Hogarth. The key to 
 the writer's argument is contained in the following : — "The 
 moral as well as the physical resemblances between man 
 and brute were caught and utilized by both artists : the 
 one [Landseer] mainly for the exaltation of the brute, the 
 other [Hogarth] mainly for the depreciation of man (p. 
 204)." 
 
 The Masters of Genre Paintings etc. By Frederick 
 Wedmore. With Sixteen Illustrations. Lon- 
 don : C. Kegan Paul and Co., i, Paternoster 
 Square^ 1880. 
 
 8vo. Pp. 221-7 relate to Hogarth, from whose Marriage 
 
 A-la-Mode there is an illustration.
 
 RELATING TO HOGARTH AND HIS WORKS. 233 
 
 Kunst tend Kimstler. Von Dr. Robert Dohme. 
 
 Dritte Abtheilung. Leipzig. Verlag von E. 
 
 A. Seeman, 1880. 
 
 Part ciii. pp. 3-22, is "William Hogarth, von J. Beaving- 
 ton-Atkinson." 8vo. 
 
 The Normanton Hogarth. By Austin Dobson. 
 Article in the Magazine of Art ^ for September, 
 1S82. 
 
 Pp. 441-43 of vol. V. A description of the " Graham 
 Family" exhibited at Burlington House in 1882. 
 
 William Hogarth. By Feuillet de Conches. Ar- 
 ticles in H Artiste iox: November and December, 
 1882. 
 
 Pp. 365-383, and pp. 463-482 of vol. xvii. (^Nouvelle Periode). 
 8vo. With copies of the Oratorio^ Scholars at a Lecture^ 
 the Strolling Actresses, the Cockpit, and A Sleeping Congre- 
 gation. An editorial note (p. 365) says that these papers 
 are part of a Histoire de VEcole Anglaise, etc., by M. de 
 Conches, published by Ernest Leroux, Paris. 
 
 La Peinture Anglaise. Par Ernest Chesneau. Paris: 
 
 A. Ouantin. [1882.] 
 
 Pp. 9-26 and 319-20 relate to Hogarth, whom M. Chesneau 
 defines as " avant tout un peintre moraliste." His account 
 has some errors of fact and description for which the 
 following atones : — " Malgre la lourdeur et I'incorrection 
 de son dessin, il a pousse plus loin que pas un artiste au 
 monde I'eloquence, sous le crayon, du geste, de I'attitude, 
 de I'expression, c'est-a-dire rendu la physiognomic du 
 visage, la physiognomic du mouvement, et dans un tel et 
 si parfait accord qu'on lit clairement les pensees de con- 
 voitise, de haine, de bassesse, de souffrance, d'abetisse- 
 ment, de douleur, de folic, de concupiscence, de terreur, 
 de joie, de misere morale, de misere sociale qui s'agitent
 
 234 -^ BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 en ces ames falotes, en ces cranes aplatis ou pointus, en 
 ces visages bouffis ou emacies, exsangues ou apoplectiques, 
 en ces corps gonfles comme une outre ou fendus comme 
 des pincettes, difformes, tordus, contrefaits par toutes les 
 maladies qui peuvent, dans I'homme, atteindre I'esprit et 
 la bete " (p. 320). Za Peinture Anglaise has been trans- 
 lated by L. N. Etherington, with an Introduction by Prof. 
 Ruskin, for Cassell's " Fine Art Library." 
 
 Hoga7''th and the Pi7^ates. By F. G. Stephens. 
 Article In the Portfolio for 1884. With four 
 Illustrations. 
 
 Pp. 2-10 of vol. XV. 
 
 Some Port7'aits by Hogarth. By Austin Dobson. 
 Article in the Magazine of Art for November, 
 
 1884. 
 
 Pp. 40-4 of vol. viii. With woodcuts of " Dr. Arnold," 
 " Miss Arnold " and " Ashby Lodge " from the Fitzwilliam 
 Museum ; and of " Lavinia Fenton " from the National 
 Gallery. 
 
 La Caricature en Angleterre. Williain Hogarth. 
 Par M. Auofustin Filon. Article in the Revue 
 des Deux Mondes, 15 Janvier, 1885. 
 Pp. 385-423 of tome Ixvii. M. Filon's paper is rather a 
 brilliant sequence of descriptions of Hogarth's prints than 
 an examination of his merits as a painter. Naturally, he 
 falls into some minor errors. Because Mr. Sala speaks of 
 " Dominie " Hogarth, M. Filon concludes that Richard 
 Hogarth's christian name was Dominique ; and Counsellor 
 Silvertongue figures repeatedly as " Silvertong." He does 
 full justice, however, to the moral purpose which even 
 Walpole recognized : — " Deux choses, d'ailleurs, peuvent 
 ennoblir le realisme : la purete des intentions morales, qui 
 tient lieu de gout, et la precision des peintures, qui donne 
 a une toile de genre, a mesure qu'elle vieillit, la valeur et 
 I'autorite d'un tableau d'histoire. Ni I'une ni I'autre de
 
 RELATING TO HOGARTH AND HIS WORKS. 235 
 
 ces justifications n'a manque a I'ceuvre realiste de William 
 Hogarth " (p. 394). Genius he denies to him, — he is a 
 "compilateur de faits psychologiques." "II est, et doit 
 rester pour nous un homme de talent, au second rang 
 parmi les moraUstes, au troisieme parmi les dessinateurs. 
 Comme peintre, il ne pent etre classe " (p. 423). 
 
 The Lojidon of Hogarth. By W. E. Milliken. Ar- 
 ticle in London Society for March 1886. 
 Pp. 235-40 of vol. xlix. 
 
 Hoga rtJis Frolic. The Five Days Peregrinatioji ,1732. 
 
 [By "J. G." i.e. Joseph Grego.] Article in the 
 
 Graphic for September 17, 1887. With seven 
 
 illustrations by Charles Green, R.I. 
 
 Pp. 313-6 of vol. xxxvi. Folio. Five of the original 
 
 drawings for the illustrations were exhibited in i88g at the 
 
 Royal Institute of Painters in Water Colours (" EngHsh 
 
 Humourists in Art " Catalogue, p. 34) . They are at 
 
 present in the possession of Mr. Grego and ^^Ir. T. C. 
 
 Venables. 
 
 Old London Picture Exhibitions, By F. G. Stephens. 
 
 Articles in th& Art Journalior February, March, 
 
 September, and December, 1887. 
 Pp. 44-8, 85-8, 309-12, and 397-401 of vol. for 1887. 
 Contain many particulars respecting Hogarth in connec- 
 tion with the earlier picture-exhibitions. 
 
 English Art in the Ptcblic Galleries. Published under 
 the direction of T. H. Ward. London : Goupil 
 and Co. [1887.] 
 Pp. 1-12 (Part I.) contains an article on Hogarth by 
 Austin Dobson, with photogravures of Hogarth's two 
 portraits of himself, of Stgis}?mnda, and of the Marriage 
 A-la-Mode, all taken from the original pictures. Large 
 folio.
 
 236 A BIBLIOGRAPHY OF BOOKS, PAMPHLETS, ETC. 
 
 A Populai'' Handbook to the National Gallery . . . 
 Compiled by Edward T. Cook. London, Mac- 
 millan and Co., and New York. 1S88. 
 
 8vo. Pp. 424-27, 429, 43o> 433, 435-440, and 444 refer to 
 Hogarth and his pictures in the National Gallery. 
 
 Thackeray s Lectures on the English Humourists of 
 
 the Eighteenth Century. Mit Bibliographischeni 
 
 Material, Litterarischer Einleitung, nnd Sach- 
 
 lichen Anmerkungen fiir Studierende. Heraus- 
 
 gegeben von Ernst Regel. V. Hogai'th, Smollett, 
 
 and Fielding. Halle. Max Niemeyer. 1889. 
 
 8vo. Pp. 1-33, and pp. 86-7 relate to Hogarth, — pp. 17-33 
 being Thackeray's lecture with James Hannay's notes. 
 The Einleitung {^Bibliographic, HogartJfs Leben 7ind Cha- 
 racter, Hogarth in seine?i IVerkeJi) is excellently done. 
 
 The Royal Academy in the Last Century. By J. E. 
 
 Hodgson and Fred. A. Eaton. Article I. in a 
 
 series beginning in the Art Journal for May, 
 
 1889. 
 
 Pp. 129-134 of the volume for 1889, 4to. The paper has 
 four illustrations, one being from a picture by Hogarth 
 representing the Life School at the Academy in Peter's 
 Court, St. Martin's Lane, and another the entrance to the 
 same. 
 
 William Hoga^^h. Mit 58 Illustrationen. Leipzig. 
 
 Verlag von Bruno Lemme. [188 ?] 
 
 Title: pp. 3-128. N°^ 16-20 of the Universal-Bibliothek 
 den bildenden Kilnste. Sm. 4to. 
 
 William Hogarth. Vort^^ag von Prof. Emit Soff^, 
 gehalten in Mdhrischen Gewei'be-Museum am 1 1
 
 RELATING TO HOGARTH AND HIS WORKS. 237 
 
 November, 1889. Separat-AbdrUcke der Mit- 
 theiluneen des Mahrischen Gewerbe- Museums. 
 Briinn 1890. Druck von W. Burkart. 
 
 Title ; pp. iii-xiii. Folio. 
 
 HogartJis Tour. By Austin Dobson. Article in 
 the Fortnightly Review for August, 1890 (N°. 
 cclxxxiv. ) 
 
 8vo. Pp. 218-23 of vol. xlviii. New Series. 
 
 Ckiswick, Past and Present. By C. J. Hamilton. 
 
 With Illustrations by Mrs. L. Jopling Rowe. 
 
 Article in the English Ilhistrated Magazine for 
 
 September, 1891 (No. 96). 
 
 Pp. 874-85 of vol. viii. There are illustrations of Hogarth's 
 house and tomb which should be added to those on 
 p. 184 n.
 
 THE BATTLE OF THE PICTURES. From Ho garth's Etchhig.
 
 A CATALOGUE OF PRINTS 
 
 BY, OR AFTER, 
 
 H OGART H. 
 
 [^*^ This Catalogue is intended to include every known print 
 by, or after, Hogarth, excepting a few doubtful or unimportant 
 ones, which are, for the most part, specified in the final note. It 
 does nof comprise the copies by Riepenhausen, Cook, and others, 
 contained in the ordinary collections. Concerning these, parti- 
 culars will be found in the preceding " Bibliography." The first 
 dimension given is always the horizontal one ; and the space 
 measured is that occupied by the design, exclusive of the writing.^ 
 When the print has been strained or mounted, the measurements 
 sometimes vary, more or less ; but those here indicated will be 
 found sufficient for purposes of identification. As regards the 
 different " states," it has not been thought necessary to give all 
 the variations, but only those more obvious ones which serve to 
 distinguish the earlier from the later impressions. The titles and 
 inscriptions in inverted commas are the titles and inscriptions 
 given on the plates themselves.] 
 
 The Rape of the Lock. 
 
 [Hogarth.] [171 7?] 
 
 Impression from a gold snuff-box lid. An outline copy of 
 one of these was made by Samuel Ireland, and published 
 
 In some cases the writing is inseparable from the design.
 
 240 A CATALOGUE OF PRINTS 
 
 I March, 1786, by W. Dickinson, 15S, New Bond Street; 
 another, more finished, in March, 1798, by F. Legat for 
 John Ireland {Hogarth Illustrated, iii. 21). Very few of 
 the original impressions exist. That in the British Museum 
 was bought 23 June, 1842, at the Strawberry Hill Sale, for 
 £,2\. The same impression (J. B. Nichols, 1833, 318) 
 had fetched ;£,ZZ ^^ Gulston's sale, 7 February, 1786. 
 John Ireland also had a first state. Samuel Ireland's out- 
 line, which he reprinted in Graphic Illustratio?is, i. 8*, was 
 copied from Lord Orford's. In its first form, this copy 
 was dedicated to the Prince of Wales; in its second, "To 
 the Admirers of Hogarth." 
 3| X 2i in. (oval). 
 
 Hogarth's Shop-card. 
 
 "W Hogarth Engraver" "Aprill y^ 23. 1720" 
 
 1720. 
 
 J. Ireland had seen an impression inscribed in Hogarth's 
 hand — "Near the Black Bull, Long La^ie" {Hogarth 
 Illustrated, iii. 331). ^25, according to S. Ireland (who 
 copied the card in April, 1786, and afterwards included it 
 in Graphic Illustrations, i. 21) was paid for an impression. 
 Lord Orford's sold in 1842 for ;^i7 6^. bd. The day of 
 the month difters in some examples ; we follow that in the 
 British Museum. Nichols's copy {Genuitie Works, ii. 20) 
 has the inscription — " at y* Golden Ball y* Corner of 
 Cranbone Alley little Newport Street. Aprill y^ 29, 1720 ". 
 4 X 3 in. 
 
 " The Lottery " 
 
 "Will'" Hogarth Inv^ et Sculp'." "Price One 
 Shilling." [1721.] 
 
 Below the design is "The Explanation." The yf/'^/ state 
 (as above) has no publication line. The second has " Sold 
 by M" Chilcot in Westminster Hall " and " R. Caldwell 
 Printseller in Newgate Street." The third has M"^ Chilcot's.
 
 BY, OR AFTER, HOGARTH. 24 1 
 
 address. The fourth, S. Sympson. The fifth, Bowles of 
 the Black Horse. The sixth, " Printed for John Bowles, 
 N° 13, in Cornhill." The seventh, price and address 
 obHterated. 
 i2|- X 8| in. 
 
 An E^nblematical Print on the South Sea Scheme. 
 
 " W. Hogarth Inven'et Sculp' " " price i Shilling " 
 
 [1721.] 
 
 There are twenty doggerel lines engraved below the print 
 beginning, " See here y^ Causes why in London." The 
 first state (as above) has no publication line. The second 
 has "Sold by M^* Chilcot in Westminster Hall" and "R. 
 Caldwell Printseller in Newgate Street." The third has 
 S. Sympson. The fourth, John Bowles, N° 13 Cornhill, 
 and no price. The fifth, no publisher's name or price. 
 From a Notice in the General Advej-tiser, 10 Dec. 1751, it 
 would appear that Bowles republished this print during 
 Hogarth's lifetime. 
 12^ X 8|: in. 
 
 Plates to the Travels of Aiibry de la Motraye. 
 
 " W Hogarth sculp", etc. 1723. 
 
 These plates are as follow : 
 
 1. Tome I. N° V. " Vas inirabile ex i?itegro Smaragdo, 
 
 GeTioce" etc. The Vase, without the ornaments, and 
 with " W. Hogarth scup." is in the British Museum. 
 
 2. Tome I. N° IX. " Tiara Patriarchalis GrcBca." 
 
 3. Tome I. N° X. A Lady and Black Woman in a Bath- 
 
 Room. 
 
 4. Tome I. N° XL A Dance of Women. This is copied 
 
 by W. Skelton for Ireland's Hogarth Illustrated, iii. 
 167. 
 
 5. Tome I. N° XV. A Procession. 
 
 6. Tome i. N" XVII. b. A Group of Figures in Turbans. 
 
 7. Tome I. N° XVIII. A Scene in the Seraglio. 
 
 8. Tome 2. N° III. [XXVIb.] Park of the Artillery. 
 
 R
 
 242 A CATALOGUE OF PRINTS 
 
 9. Tome 2. N^ V. [XXX.] "Bender." Portrait of Charles 
 XII. 
 
 10. Tome 2. N° VIII. [XXXII.] Head of Charles XII. 
 
 etc. 
 
 11. Tome 2. N°IX. PI. I. [XXXIII. N° i.] '' Fodina 
 
 Argentea Sahlensis." 
 
 12. Tome 2. N' IX. PI. 11. [XXXIII. N° 2.] ditto. 
 
 13. Tome 2. N" XI. [XXXV,] " Fodina Ferrea Danmo- 
 
 rensis." 
 
 14. Tome 2. N° XIV. [XXXVIIL] A Lapland Hut, with 
 
 Rein-Deer, etc. 
 To these John Ireland adds conjecturally Tome i, 
 N°* XIII. and XVI., as well as the figures at the Corners 
 of Tome 2, N° XXVI, a. {The Five Muscovites), and those 
 in Tome 2. c (of which there is a modern copy), while J. B. 
 Nichols would include "two dromedaries with a man 
 feeding them" in the corner of the map marked T. I. B. 
 
 Royalty, Episcopacy, and Law. 
 
 [Hogarth.] [1724.] 
 
 Under this design is — " Some of the Principal Inhabitants 
 of y^ Moon, as they Were Perfectly Discover'd by a 
 Telescope brought to y* Greatest Perfection since y* last 
 Eclipse ; Exactly Engraved from the Objects, whereby y^ 
 Curious may Guess at their Religion, Manners, &c. Price 
 Six Pence." "This print (says J. B. Nichols, Anecdotes, 
 1833, p. 164) was first published 2 Dec. 1724." 
 71- X 9i in. 
 
 Seven Plates to " The New Metamorphosis'' 
 
 " W Hogarth fee." " W Hogarth Inv' et sculp." 
 
 " W Hogarth Inv' et fee'." ete. [1724.] 
 
 Four plates in vol. i.; three plates in vol. ii., — with signatures 
 varied as above. Plate 2 in vol ii. in first state has no 
 lettering at all. Two of the plates in vol. i. says J. B. 
 Nichols {Anecdotes, 1833, p. 318) are copied from a Trans- 
 lation of Apuleius in 2 vols. 1708. 
 V. s.
 
 BY, OR AFTER, HOGARTH. 243 
 
 Masquei'ades a7id Opei'as. Burlington Gate. 
 
 " W". Hogarth Inv' et Sculp'." " Price i Shilling. 
 1724" 1724- 
 
 Under the design come two quatrains, beginning " Could 
 now dumb Faustus," engraved on a separate plate. In the 
 second state, " Pasquin N° XCV.," which is one of the 
 books in a wheelbarrow in the foreground of \h& first state 
 becomes "Ben John[son]," and the publication line is 
 " To be sold at y^ Golden Ball in Little Newport Street 
 Price I shill. 1724". The two quatrains are also different ; 
 they begin " O how refin'd," etc. J. Ireland thinks this is 
 the plate which Hogarth calls The Taste of tJie Town 
 {Hogarth Illustrated, iii. 15). There is a contemporary 
 copy, with the same title and date, and a third set of 
 verses ("Long has the Stage productive been"), but 
 without artist's name and publication line. 
 6| X 4|- in. 
 
 Frontispiece to " The Happy Ascetick!' 
 
 [Hogarth.] 1724. 
 
 Underneath the design is — "S' Matthew Ch. 21. Verse 28. 
 Son, go Work to day in my Vineyard," It forms the 
 Frontispiece to the sixth edition of D"" Anthony Horneck's 
 Happy Ascetkk, London: S. Chapman and others, 1724. 
 The print (says J. B. Nichols) is sometimes known as 
 " The Master of the Vineyard." 
 3i X 6 in. 
 
 At Burlesque on Kent's Altarpiece at St. Clemen fs 
 
 Danes C/mrck, Westminster. 
 
 [Hogarth.] [1725.] 
 
 There is an inscription under the design, the last word of 
 which, i.e. "wings," ends in the first state with a long "s." 
 The earlier impressions are generally on blue paper, but 
 there are also reproductions on blue paper. (See p. 23.) 
 7 X ii|- in.
 
 244 A CATALOGUE OF PRINTS 
 
 Five Plates for " Cassandra." 
 
 " W Hogarth inv' et sculp." 1725. 
 
 These form the frontispieces to the five 12™° volumes of 
 the third edition of Sir Charles Cotterel's Cassandra, a 
 Romance, London, John Darby and others, 1725. 
 3 X 5| in. 
 
 Fifteen Headpieces for Beavers '■'Roman Military 
 Punishments y 
 " W H " ; " W. Hogarth Inv' et sculp." etc. 
 
 1725- 
 These are headpieces to Roman Military Punishments, by 
 John Beaver, London, 1725, 4to., and are engraved in the 
 manner of Jacques Callot. " A little figure of a Roman 
 General in the title-page may possibly be by Hogarth, 
 though his name is not to it." {Hogarth Illustrated, iii. 
 
 333-) 
 
 2\l X li in. 
 
 " A yust View of the British Stage, or three Heads 
 are better than one. Scene Newgate, by MD — 
 
 v—tor 
 
 [Hogarth?] [1725-] 
 
 Represents Booth, Wilks and Gibber, the patentees of 
 Drury Lane Theatre, contriving a Pantomime. There is 
 an explanatory inscription under the design ending " Vivat 
 Rex. price six pence." There are two states. " Mr. Devoto 
 was scene-painter at Drury Lane or Lincoln's Inn Fields 
 Theatre, and also to Goodman's Fields" (J. B. Nichols, 
 Anecdotes, 1833, 166). 
 8|- X 7 in. 
 
 Berenstat, Cuzzoni, and Senesino. 
 
 [Hogarth?] [1725.] 
 
 A scene from the opera oi Julius CcBsar, the characters-
 
 BY, OR AFTER, HOGARTH. 245 
 
 being Julius Csesar (Berenstat), Cleopatra (Cuzzoni), and 
 Mark Antony (Senesino). It is also said to represent 
 Ptolemy, Cleopatra, and Julius Caesar in Handel's Ptolomeo, 
 the tall male figure being identified with Farinelli. There 
 are three states of this plate ; but it is probably by the 
 younger Vanderbank. 
 10 X 7^ in. 
 
 Frontispiece to " Terrce-Filius!^ 
 
 " W. Hogarth fee" 1726. 
 
 This is the frontispiece to vol. i. of Nicholas Amhurst's 
 TerrcB-Filius : or, The Secret History of the University of 
 Oxford, 2 vols., London, R. Francklin, 1726. Francklin 
 was the printer of Amhurst's paper, the Craftsman. 
 3f X 5iin. 
 
 Twenty-six figin^es to BlackivelV s " Co^npenditim of 
 Military Discipline!' 
 [Hogarth.] [1726.] 
 
 On two Sheets. A cartouche in the first is inscribed — 
 " The several Postures of y"^ Salute w'*^ y' half-Pike,'' etc. 
 " By Jn° Blackwell Adjutant and Clerk." 
 
 Sixteen Small Prints for Hudibras, aiid Butler s 
 
 Head. 
 
 " W Hogarth. Inv' et sculp." 1726. 
 
 Prepared for an edition of Hiidibras printed for D. Browne 
 and others in 1726. The alleged head of Butler is in 
 reality Jean-Baptiste Monnoyer, copied from White's mez- 
 zotint. These plates were enlarged, and slightly varied 
 by J. Mynde for Zachary Grey's Hudibras, 2 vols. 1744- 
 Copies were also inserted in John Towneley's translation 
 into French, 1757 ; and Plate II. was borrowed by I. Ross 
 for ^2,"^^ Hiidibras, 1795. 
 V. s.
 
 246 A CATALOGUE OF PRINTS 
 
 Twelve Large Prints for Htididras. 
 
 " W. Hogarth Inven. et sculp," etc. 1726, 
 
 Issued stitched, with the following Title-page: — Twelve 
 Excellent and most Diverting Prints ; taken from the 
 Celebrated Poem of Uudibras, tvrote by Mr. Samuel Butler. 
 Exposing the Villa7iy and Hypocrisy of those Times. In- 
 vented and Engraved on Twelve Copper-Plates by William 
 Hogarth .... " Printed, and sold by Philip Overton, 
 Print and Map-Seller, at the Golden Buck near S* Dunstan's 
 Church in Fleetstreet ; and John Cooper, in James-Street, 
 Covent-Garden. 1726." There are many minute varia- 
 tions in the later impressions, of which the following may 
 be particularized : — 
 
 Plate I. " Frontispiece and its Explanation." The first 
 state has Overton and Cooper ; second state Overton 
 only ; the third Sayer instead of Overton. 
 
 Plate II. '* Hudibras sallying forth." The later impres- 
 sions have " W" Hogarth Inven. et Sculp." 
 
 Plate III. "Hudibras's First Adventure." Butcher's 
 waistcoat without stripes in first impressions. 
 
 Plate IV. '' Hudibras Catechis'd." 
 
 Plate V. " Hudibras Vanquish'd by Trulla." 
 
 Plate VI. ** Hudibras in Tribulation." The later impres- 
 sions have **,W" Hogarth Inven. et Sculp." 
 
 Plate VII. " Hudibras and the Lawyer." First state not 
 numbered. 
 
 Plate VIII. " Hudibras beats Sidrophel, and his Man 
 Whacum." The later impressions have " Wm Hogarth 
 inven. et sculp." 
 
 Plate IX. " The Committee." The later impressions have 
 " Wm Hogarth Inven. et Sculp." 
 
 Plate X. ** Hudibras Triumphant." The later impressions 
 have " Wm Hogarth inven. et sculp." 
 
 Plate XI. " Burning the Rumps at Temple Bar." The 
 earliest impressions want " Down with the Rumps," 
 on the scroll. 
 
 Plate XII. " Hudibras encounters the Skimmington." 
 
 Mr. H. P. Standly, says J. B. Nichols {Anecdotes, 1833, p.
 
 BY, OR AFTER, HOGARTH. 247 
 
 320) had some apparently unique states of Plates IL, IV., 
 v., VI., and VII. 
 V. s. 
 
 " Cimicularii or The Wise men of Godliman in Con- 
 sultation!' 
 
 [Hogarth?] \M^^^ 
 
 A satire on the Godalming Rabbit Breeder, Mary Tofts. 
 The motto is — 
 
 " They held their Talents most Adroit 
 For any Mystical Exploit, Hudib." 
 There are also explanatory references to the letters on the 
 plate. 
 
 9| X 6i in. 
 
 " The Punishment infiicted on Lemuel Gulliver, etc." 
 
 [Hogarth?] [1726.] 
 
 Under the design to the left is "Nahtanoi Tfiws" {i.e. 
 Jonathan Swift) ; to the right " Hogearth sculp." In the 
 second state (1757), the title is altered to The Political 
 Clyster, and the Engraver's name is given as " D"" O'Gearth 
 sculp." The publication line is — " Publish'd according to 
 Act of Parliament, Jan. i'' 1757." There is a third state 
 without any publication line. 
 i2|- X 7iin. 
 
 " MiLsick Introducd to Apollo by Mijierval' 
 
 " Hogarth Fecit." "^1^1- 
 
 The publication line is "Sold by J. Clark Engraver & 
 Printseller in Greys Inn." Nichols {Anecdotes, 1782, 133) 
 affirms this to be a copy from an earlier book of music. 
 6:1: X 9t in. 
 
 Large " Masquerade TicketT 
 
 [Hogarth.] " price one Shilling " \M'^1^ 
 
 There are explanatory references to the letters A and B on 
 the plate. In the first state the word " Provocatives " on
 
 248 A CATALOGUE OF PRINTS 
 
 the wall to the left is spelled " Pro^^ocatives " ; in the second 
 the "//" is altered to a "v." 
 10 X 7= in. 
 
 Frontispiece to " Collection 0/ Songs.'' 
 
 [Hogarth.] ^T^l- 
 
 The title of this book, which is also engraved, and pro- 
 bably by Hogarth, is A Collection of Songs, with the 
 Mustek, by Mr. Leveridge . . . London Engrav'd and 
 Printed for the Author in Tavistock-street, Covent-Garden. 
 1727. 
 Z\\ X 6f in. 
 
 Head of Hesiod for Cooke s Translation. 
 
 " W. Hogarth Sculp'." [i 728.] 
 
 In the corner of the plate is " Ex musseo Pembrokiano." 
 J. B. Nichols {Anecdotes, 1833, p. 172) says it is copied 
 •* from the bust at Wilton." 
 4tV X 6i in. 
 
 The Beggar s Opera Burlesqued. 
 [Hogarth.] [1728.] 
 
 Under the design {first state) are engraved four lines 
 beginning — " Brittons attend. — view this harmonious 
 Stage." There are four other states, — the second with a 
 large lettered title, TJie Beggars Opera, at top ; the third, 
 title erased, and printed from a separate plate ; the fourth 
 with the publication line, "Sold at the Print-shop in the 
 Strand, near Catherine Street " ; and the fifth with the 
 publication line, *' Printed for John Bowles at the Black 
 horse in Cornhill." 
 9t X 7t in. 
 
 King Heniy the Eighth and Anne Boleyn. 
 
 " Hogarth design. & sculp." 1729. 
 
 The original picture hung in the portico of the Rotunda at 
 Vauxhall Gardens (see ante, p. 30). The first state
 
 BY, OR AFTER, HOGARTH. 249 
 
 (B. M.) has no title, but under the plate is a printed slip 
 headed, "King Henry VIII. bringing to Court Anna 
 Bullen, who was afterwards his Royal Consort." Then 
 come four quatrains beginning *' See here the Great, the 
 daring Harry stands," etc., signed "Allan Ramsay scrip.," 
 with the publication line, "Printed and Sold by Phil- 
 Overton near S' Dunstan's Church, Fleetstreet ; and Allan 
 Ramsay in Edinburgh, mdccxxix." The second state has 
 seven couplets beginning " Here struts old pious Harry," 
 etc. The third state has the title, "King Henry the 
 Eigth [_sic] & Anna Bullen," the publication line, " London 
 printed for John Bowles at the Black Horse in Cornhil, 
 Carington Bowles in S' Paul's Church Yard & R. Sayer in 
 Fleet Street." " Price 3V' and in the right corner under 
 the plate, "Design'd, and Engrav'd by W. Hogarth." 
 The fourth has the same title as the third ; but the price 
 is 5^., and the publication line is "London, Printed 
 for Robert Wilkinson, Cornhil, Carington Bowles in 
 S* Paul's Churchyard and R. Sayer, in Fleet Street." 
 i4i X i7iin. 
 
 Frontispiece to " The Humours of Oxford." 
 
 " W. Hogarth inv'" " G, Vander Gucht sculp." 
 
 [1729.] 
 
 This is a frontispiece illustrating act iv. sc. i of The 
 Humours of Oxford. A Comedy. " By a Gentleman of 
 Wadham-CoWtge. " [Rev. James Miller]. Second Edition, 
 London, J. Watts, 1730. 
 4i X 6t in. 
 
 Two Plates to ''Perseus and Andromeda !' 
 
 "W H Fecit" 1730. 
 
 These are two plates to Lewis Theobald's [?] Perseus and 
 Andromeda, 4to., London, T. Wood, 1730. The first is 
 the frontispiece ; the second (Perseus Descending) faces 
 " The Argument." 
 4j X 6 in.
 
 250 A CATALOGUE OF PRINTS 
 
 " Gulliver presented to the Queen of Babilary^ 
 
 "W. Hogarth inv'." " Ger. Vandergucht sculp." 
 
 1731. 
 This is the frontispiece to vol. i. of J. Lockman's Travels of 
 Mr. John Gulliver, Son to Cap'. Leimiel Gulliver (London : 
 Harding, 1731), a translation from the French of theAbb6 
 de S*. Fontaine. 
 
 2H X 5t in- 
 
 Frontispiece to " The Tragedy of Tragedies!' 
 
 " W. Hogarth inv\" " Ger VanderGucht sculp." 
 
 1731- 
 This is a frontispiece to The Tragedy of Tragedies ; or, the 
 
 Life and Death of Ton Thiunh the Great With 
 
 the Annotations of H. Scriblerus Secufidus [Henry Fielding], 
 London, J. Roberts, 1731, being an enlarged version of the 
 same writer's Tom Thumb of the previous year. 
 Z\ X 6:^ in. 
 
 ''A Scots Opera:' 
 
 " W. Hogarth inv'." " Ger. VanderGucht sculp." 
 
 1731- 
 
 Underneath the plate is " Forsan et hcEc olim meminisse 
 ''i juvabit. Virg. ^^ Yxonixs'^itct to The Highland Fair s or, 
 the Union of the Clans. An Opera. " Written by M"" 
 Mitchell" {i.e. Joseph Mitchell]. London: J. Watts, 
 1 73 1. It was played at Drury-Lane in March of that 
 year. 
 
 Z\\ X 6 in. 
 
 " Taster 
 
 [Hogarth.] " Price 6^ " 1731. 
 
 There is a reference table below the design. This was 
 Hogarth's reply to Pope's attack on the Duke of Chandos 
 in Of Taste : ati Epistle to the Right Hon. Richard, Earl of 
 Burlington, London, L. Gilliver, 1731. It is said to have 
 been suppressed [Genuine Works, ii. p. 78). It was reduced
 
 BY, OR AFTER, HOGARTH. 25 1 
 
 as the Frontispiece to A Miscellafiy on Taste. By Mr. 
 Pope, etc., London, G. Lawton and others, 1732. In this, 
 the tie-wig. Pope's dress of ceremony, which he wears in 
 the larger plate, is changed into a cap. 
 6i X 8| in. 
 
 Boys Peeping at Nature. 
 
 [Hogarth.] [1731 ?] 
 
 Subscription Ticket for A Harlofs Progress. Along a wall 
 on the plate itself is " Antiquam exquirite Matrem. Vir." ; 
 below the design : — 
 
 "necesse est 
 Indiciis monstrare recentibus abdita rerum, 
 dabiturque Licentia Sumpta pudenter. Hor." 
 
 Below these lines again comes the following form of 
 receipt : — " Rec*^ of half a Guinea being y*' first 
 
 Payment for Six Prints of a Harlot" Progress which I 
 Promise to Deliver when Finish'd on Receiving one half 
 Guinea more." It was afterwards used in 1737, with an 
 altered form of Receipt, for the Fotir Times of the Day 
 and the Strolling Actresses y and again in 1751, with varia- 
 tions, for Moses brought to Pharaoh's Daughter and Paul 
 before Felix. There is a copy in aquatint of ih.Q first state 
 by Livesay, 1782 {Genuine Works, iii. 132). 
 4| X 3t in. 
 
 T2V0 Plates to Moliere. 
 
 " Hogarth Inv." " J Vander Gucht sculp." 
 
 1732. 
 These were frontispieces to the plays of "Z'y^?'«;r" and 
 " Le Cocii Imaginaire," in vol. i. of a selection of Moliere's 
 comedies published (French and English) in eight volumes 
 in 1732. The second states have references to the play 
 engraved below; in the case of '^ L'Avare," ".Act 5. 
 Scene. 5 "; in the case of the other, " .Scene. 6." only. A 
 facsimile of the original washed drawing for DAvare faces 
 p. 76 of Graphic Illustrations, ii. 
 l\ X 5i in.
 
 252 A CATALOGUE OF PRINTS 
 
 " RicJis Glory or his Triumphant Entry into Covent- 
 G ardent 
 [Hogarth?] [1732.] 
 
 Over the print is the title given above ; below are thirty- 
 doggerel lines beginning, " Not with more glory through 
 the streets of Rome." To the left below the verse is 
 ♦'WH IE SULP";' and to the right "Price 6^" In 
 the second state the price is omitted. 
 12 X 6^ in. 
 
 A Harlot's Progress. 
 
 " W" Hogarth inv' pinx' et sculp' " ^IZ'^- 
 
 See pp. 47-50. The yfr^/ state {i.e. that issued to the sub- 
 scribers), is distinguished by the absence of a black Latin 
 cross which, in the second state, appears below the design.^ 
 There are also many variations in the second state, which 
 was much worked upon by the artist. Of these the fol- 
 lowing may be specified as sufficiently distinctive : — 
 Plate I. [Her Arrival in London]. Feet added to the 
 
 elder woman ; " London " added to the address of the 
 
 clergyman's letter. 
 Plate II. [Quarrels with her Protector]. Shadow of the 
 
 raised leg of the table greatly extended. 
 Plate III. [Apprehended by a Magistrate]. Covered or 
 
 " sugar " dish near the punch-bowl turned into a 
 
 bottle. 
 Plate IV. [Beating Hemp in Bridewell]. Holes in roof 
 
 filled in. 
 Plate V. [Her Death]. Dr. Rock's name added to the 
 
 paper near the fire. 
 Plate VI. [Her Funeral]. Shadow thrown by the bottle 
 
 of " Nants " on the apron of the woman in the right- 
 hand corner. 
 
 ^ The same words with "Sculp " instead of "sulp " are trace- 
 able on the ground to the left. 
 
 ^ Copies of theyfrj/ state are sometimes found with the cross. 
 Such a set is in the possession of the writer.
 
 BY, OR AFTER, HOGARTH. 253 
 
 Pirated copies of this set of prints in "chiaro oscuro" 
 (mezzotint) and green ink were published by E. Kirkall or 
 Kirkhall in November, 1732. By Hogarth's permission, 
 copies were also engraved and issued in April " with Orna- 
 ments and Explanations" by G. King at the " Golden Head" 
 Brownlow-Street, Drury-Lane. From these were prepared 
 the illustrations to the book called The Lure of Venus, 
 1 733. Sayer and Bowles also published copies ; and Lavater 
 reproduced some of the heads in his Physiononiie, 1807. 
 At Mr. H. P. Standly's expense, W. J. Smith engraved in 
 1829 the first design for the doctors in Plate V. J. B. 
 Nichols, Anecdotes, 1733, p. 292, says it had previously 
 been copied by S. Ireland, under the name of " D'' Ward 
 and D'' Misaubin." There is a separate plate of Elizabeth 
 Adams, the woman next the clergyman in Plate VI. ; and 
 the whole series were copied on wood in Cruikshank's 
 manner for BelVs Life {Gallery of Comicalities'). 
 14I: X ii| m. 
 
 A Chorus of Singers ; or, The Oratorio. 
 
 [Hogarth.] [i732.] 
 
 This was the Subscription Ticket for A Midjiight Modern 
 Conversation ; and represents the Rehearsal of the Ora- 
 torio of Judith. Below the design in the first state is 
 engraved the following receipt form : — " Rec** 
 of Five Shillings being the whole Payment 
 
 for a Print Call'd the Midnight Moddern Conversation 
 which I Promise to Deliver on y* i'* of March next [i.e. 
 1733] at farthest, But Provoided the Number Already 
 Printed shall be Sooner Subscribed for, then y*" Prints shall 
 be sooner Delivered & time of Delivery will be Ad- 
 vertiz'd." In the second state " Provoided " is corrected. 
 It was afterwards issued as an etched print, and described 
 as A Chorus of Singers. G. Cruikshank copied this plate 
 in 1 83 1 for Major's edition of Trusler. 
 6 X 6i in. 
 
 " A Midnight Moddern Cornier sation." 
 
 " W"* Hogarth Inv' Pinxt & Sculpt." 1733. 
 
 Some of the impressions of the first state are in red. There
 
 254 A CATALOGUE OF PRINTS 
 
 are four lines under the design beginning — "Think not to 
 find," etc. In the second state, " Moddern " is corrected. 
 In the later impressions, among other variations, a shadow- 
 thrown by the tobacco paper on the front of the table 
 cloth, is^dded; and the contents of the vessel in the right 
 hand corner, as well as the vessel itself, are cross hatched. 
 There are various copies, viz' by G. Bickham (3^ x 2|-in.) 
 in Bancks's Poems, 1738, i. 87; by Geo. Bickham Jun'" 
 (i7-|- X i2| in.); by R. Cooper (i2|- x 17^ in.); by 
 Kirkall (mezzotint) ; and by a French engraver, Creite 
 (i6i X lo^ in.). Copies without engravers' names were 
 sold by Sayer and Bowles. A copy was also prepared by 
 Bickham Jun'' for his Musical E?itertainer (1737?) where it 
 appears in a cartouche at the head of a song entitled "The 
 Releif ; or Pow'r of Drinking." Some of the heads and 
 figures were reproduced by E. Riepenhausen in a Manuel 
 contenant diverses Connaissances ciin'cuses, etc. Gottingen, 
 1786. 
 
 18 X 1 2 J- in. 
 
 Sarah Malcolm. 
 
 " W. Hogarth (ad Vivum) pinxit & sculpsit." 
 
 1733- 
 
 At the top of the plate, which was published March 10, 
 is " Price 6''." The inscription below is, " Sarah Malcolm 
 Executed in Fleet street, March y'' 7*" 1732 [1733] for 
 Robbing the Chambers of M" Lydia Duncomb in y^ 
 Temple, and Murdering Her, Eliz : Harrison «& Ann 
 Price " There is an engraved copy with " W. Hogarth ad 
 vivum Pinxit," and there are reversed mezzotint copies. 
 There is also a woodcut in the Gentlemafi's Magazine for 
 March 1733, p. 153. In addition to these, there is a 
 ■curious print {4^ X 6\) copied and reversed from Hogarth 
 with the title " Sarah Malcom ^tat. XXII." " No Recom- 
 pence but Love." At the woman's back, to the right, is a 
 figure in a wig and bands holding a ring ; and through a 
 window to the left is seen the execution. In Hogarth 
 Illnstrated, ii. 295, John Ireland gives a full-length from a
 
 BY, OR AFTER, HOGARTH. 255 
 
 picture belonging to Josiah Boydell, said to be copied from 
 Horace Walpole's original oil-sketch at Strawberry Hill. 
 Ireland's copy is dated May 31, 1791, and engraved by 
 J. Barlow. 
 6|- X 6|- in. 
 
 Frontispiece to the Oratorio of '' JiLclith'' 
 
 " W. Hogarth Inv." " G. V'^'" Gucht sc." 1733. 
 
 Underneath the plate is " Per Vulnera Servor Morte tua 
 Vivens. Virg. ^neid." Judith was an opera by William 
 Huggins, set to music by William Defesch. It was pub- 
 lished in ^c/^w, 1733. ^QQ A Chorus of Stngejs. 
 
 " Sanckd's Feast.'' 
 
 [Hogarth] [1733.] 
 
 There is a " proof before all letters" at the British Museum. 
 The second state has the following title and publication 
 line ; — *' Sancho at the Magnificent Feast prepared at his 
 government of Barataria, is Starved in the midst of Plenty, 
 Pedro Rezzio his Phisician, out of great Care for his health 
 ordering every Dish from the Table before the Governour 
 Tasts it." *' Printed for H. Overton & J. Hoole at the 
 White Horse without Newgate." " W. Hogarth Inv' et 
 Sculpsit." The third state has above the design, — " This 
 Original Print was invented and engraved by Will''' 
 Hogarth." 
 iif X lol in. 
 
 The Laughing Audience. 
 [W. Hogarth.] [i733.] 
 
 This was the Subscription Ticket to the Rak^s Progress 
 and Southwark Fair. Below the design in the first state 
 was engraved, " Rec** of Half a Guinea 
 
 being the first Payment for Nine Prints, 8 of Which Re- 
 present a Rakes Progress & the 9"" a Fair, Which I 
 Promise to DeUver at Michaelmass next, on Receiving one
 
 256 A CATALOGUE OF PRINTS 
 
 Guinea more, the Print of the Fair being Deliver'd at the 
 time of Subscribing." In the second state, " when finish'd " 
 is substituted for " at Michaelmass next ; " and a line is 
 added " NB : the Rakes alone will be two Guineas after 
 the time of Subscribing." Many of these receipts have 
 Hogarth's seal — a palette and pencils. This was set in a 
 ring which Mary Lewis gave to John Ireland {^Hogarth 
 Illustrated, iii. 356). The later impressions of the Laugh- 
 ing Audience have no inscription, and were probably issued 
 as etched prints, and described as A pleased Audience at a 
 Play. Cruikshank copied it for Major's Trusler, 1831. 
 6|- X 7 in. 
 
 A Satire 011 Ctczzoni, Farinelli, and Heidegger. 
 [Hogarth?] [i734-] 
 
 This satire is also ascribed to Dorothy, Countess of Bur- 
 lington, who is said to have designed it, and had it etched 
 by Goupy. 
 8 X 9f in. 
 
 Frontispiece to " Chrononhotonthologos!' 
 
 [Hogarth?] [i734-] 
 
 This is a frontispiece to The Tragedy of Chrono)ihoton- 
 thologos . . . Written by Benjamin Bounce, Esq.; [Henry 
 Carey]. London : Printed for J. Suckburgh, etc. n. d. 
 There is a copy by Mr. White of Brownlow Street in 
 which a figure (a page who holds the Queen's train) is 
 omitted. 
 
 " A Rakes Progress'' 
 
 " Invented Painted & Engrav'd by W"" Hogarth, 
 June y^ 25 1735. According to Act of Parlia- 
 ment." 1735- 
 The inscriptions vary slightly in the arrangement of the 
 words ; and to Plate VI. is added " Sold at y* Golden 
 Head in Leicester Fields, Lon'^""." As to the pubUcation
 
 BY, OR AFTER, HOGARTH. 257 
 
 of this series, see pp. 56-7. The verses below the designs 
 were by Dr. John Hoadly. In Xhefijst state, the publica- 
 tion line differs from that which appears above, and marks 
 the second state. 
 
 Plate I. [He takes possession]. In the third state the 
 woollen draper's shop-bill is omitted ; the Bible sub- 
 stituted for the memorandum book, which is moved 
 to the tailor's foot; and the girl is made much older. 
 
 Plate II. [His Levee]. Theword "Horlot's" in the/r^/ 
 state altered to "Harlot's." 
 
 Plate III. [He revels]. "June y^ 24*", 1735 " in \ki& first 
 state altered to "June y* 25*^ 1735 " in the second. 
 The Rake's companion has a hat instead of a cap in 
 later impressions, and Pontac's portrait is substituted 
 for the headless Caesar near the looking-glass. 
 
 Plate IV. [Goes to Court]. In the second state, a group 
 of gambling boys takes the place of the shoe-black 
 who steals the Rake's cane. 
 
 Plate V. [He marries]. In the second state the Bride- 
 groom's right foot is omitted. 
 
 Plate VL [He^gambles]. ^'' Second %\.2A.q. : Rays round the 
 candle stronger " {Hogarth Illustrated, iii. 339). 
 
 Plate VII. [In the Fleet Prison]. " In the very earHest 
 impressions, ' Plate 7 ' is not inserted in the margin." 
 (Jbid.) In the second state the wings over the tester 
 are much darker than in \he first state. 
 
 Plate VIII. [In Bedlam]. The second state has "Re- 
 touched by the author, 1763," and a halfpenny with a 
 figure of Britannia, and the date 1763, is fixed against 
 the wall to show what the artist thought of the state 
 of the nation. 
 
 These plates were copied with Hogarth's consent and sold 
 in August 1735 by Thomas Bakewell, next Johnson's Court 
 in Fleet Street, London. They were also copied by Sayer; 
 and they were plagiarized (see p. 57). An alleged First 
 Design for the Rake's Progress, from which Livesay copied 
 the Matchmaker and Old Maid, faces p. 91 of Graphic Illus- 
 trations, ii. ; and in the Neugate Calendar a print called 
 Betty Ireland's Dexterity is borrowed from the woman 
 S
 
 258 A CATALOGUE OF PRINTS 
 
 Stealing the watch in Plate III. Besides these, there is a 
 private etching, The Fencer, derived from Plate II. 
 i5t X i2iin. 
 
 Southwark Fair. 
 
 " Invented Painted and Engrav''^ byW"* Hogarth. 
 
 I733-" [1735-] 
 
 Also known as A Fair, The Humours of a Fair. Although 
 dated 1733, from advertisements in the London Evening 
 Post it was not printed and issued until June 1735. 
 Copies were sold by Overton and Hoole (34 x 22 in.), 
 and by Carington and John Bowles engraved by R. Parr 
 (17^ X X2i\'vs\). There is also a smaller copy ( 1 3|- x Q^in.) 
 with French and English titles. 
 i7i X 132 in. 
 
 Woman Swearing a Child to a grave Citizen. 
 "W. Hogarth pi nx." "J. Sympson Jun' sculp." 
 
 [1735?] 
 " Sold by J. Sympson Engraver and Print-seller 
 
 at the Dove in Russell Court Drury Lane." 
 
 According to John Ireland {Hogarth Illustrated, iii. 263), 
 the design has afifinities with a humorous print after Heems- 
 kirk, under the title of The Village Magistrate, engraved by 
 Dickinson in March 1772 in mezzotint. Hogarth's print 
 was reproduced as " Z^ Serment de la Fille qui se trouve 
 enceifite" by J. V. Schley in Picart's Ceremonies et Coutumes 
 Religieuses, etc. 1738; and by Basire in vol. i., p. 248, of 
 Bancks's Works, 1738, where it figures as the illustration 
 to " The Substitute Father," a tale in verse. John Bowles 
 also issued a large copy ; and there is a mezzotint, dated 
 June, 18 1 6, by James Young. 
 i3t X lOg-in. 
 
 The Distressed Poet. 
 
 " Invented Painted Engraved & Publish'd by W"
 
 BY, OR AFTER, HOGARTH. 259 
 
 Hogarth March the 3"^ 1736. According to Act 
 of Parliament. Price 3 Shillings " 1 736. 
 
 Below the first state are four lines from Book I. of 
 the Diinciad, beginning " Studious he sate, with all his 
 books around." On the wall is an engraving of Pope 
 thrashing Curll. In the second state, the lines from the 
 DunciadhscwQ. disappeared; and for Pope and Curll is sub- 
 stituted, "A View of the Gold Mines of Peru." The date 
 of publication is also altered to "Decern"" the 15, 1740-" 
 Steevens thought the poet was meant for Lewis Theobald, 
 the editor of Shakespeare and the original hero of the 
 Dunciad ; and in January, 1 794, the figure was issued by W. 
 Richardson of Castle Street, Leicester Fields, as Theobald's 
 portrait. There is an impression of this without letters in 
 the British Museum. It has also been said to represent 
 Thomas Rymer, the critic and antiquary. 
 151 X 121 in. 
 
 A Constellation of Physicians. 
 
 "Publish'd by W. Hogarth March the 3'' 1736" 
 
 " Price Sixpence." 1736. 
 
 At the base of the design is " Et Plurima Mofiis Imago " ; 
 below it "The Company of Undertakers", and a descrip- 
 tion of their arms. In the first state, this description has 
 " One Compleat Docter " ; in the secojid, the error is 
 corrected. G. Cruikshank copied this plate in 1831 for 
 Major's edition of Trusler. 
 7 X 8i- in. 
 
 The AtUhors Benefit Pasqtiin. 
 
 [W. Hogarth?] [1736.] 
 
 " At y'' Theatre in y'^ Haymarket." A ticket for the benefit 
 
 of Henry Fielding, which, according to an inscription upon 
 
 a copy facsimiled by A. W. Ireland in Graphic Illustrations, ~^^^ 
 
 i. 130, must have been on Tuesday, April 25, 1736. 
 
 5^ X 4^ in. 
 
 «♦
 
 260 A CATALOGUE OF PRINTS 
 
 The Sleeping Congregation. 
 
 "Invented Engraved & Published October 26: 
 
 1736 by W" Hogarth Pursuant to an Act of 
 
 Parliament." " Price One Shilling." 1736. 
 
 In the first state there is no motto under the royal arms, 
 and the angel over the window to the right smokes a 
 tobacco pipe; the second is the same with darkened 
 shadows ; the third has the motto, and the pipe is removed ; 
 the fourth has engraved along the bottom of the left margin 
 "Retouched & Improved April 21 1762 by the x\uthor." 
 A copy in mezzotint (9I- x i2|) was issued by Bowles and 
 Carver, of No. 69, St. Paul's Church Yard. Perhaps this 
 is the pirated impression to which Mrs. Hogarth refers in a 
 cautionary advertisement in the Lofidoji Chronicle of 
 February 2, 1765, where she says that several copies of 
 it " have been bought in the Print Shops by her own 
 servants." 
 ' 7|^ X 10 in. 
 
 Before and After (two prints). 
 
 " Invented Engraved & Published Dec^' y^ 1 5"" 
 
 1736 by W" Hogarth Pursuant to an Act of 
 
 Parliament." " Price two Shillings & 6 pence " 
 
 1736. 
 
 In 'C^e first state of "Before," the girl has a light necklace ; 
 in the second state, this is made much heavier, and the 
 back of the bed is darkened. In " After," " Dec"""" in the 
 publication line is " Deem*""." There are other variations. 
 I It X i4t. and 12^ x Hf in. 
 
 " Tar tuffs Banquet!' 
 
 [Hogarth?] 1736. 
 
 The publication line of this plate is " Publish'd & 
 Sold According to Act of Parliament by L : Gilliver at 
 Homers head in Fleet street, 1736." The design only is 
 ascribed to Hogarth ; the engraving is by G. Vandergucht.
 
 BY, OR AFTER, HOGARTH. 26 1 
 
 There is a motto at the sides from Horace; and 14 lines 
 below from the poetical satire called Seasonable Reproof, 
 1735. The original drawing in bistre was sold in April, 
 1845, at Mr. H. P. Standly's sale. It had been facsimiled 
 by W. J. Smith. 
 8| X 7^ in. 
 
 *' The Right Honble. Fra7ices Lady Byron'' 
 " W. Hogarth pinx^ " " I. Faber fecit 1736." 
 
 1736. 
 
 The frsi state is a whole length. The best impressions 
 are usually in brown ink. The second state is cut down to 
 a three-quarters size, and has the inscription, " Sold by 
 Faber at the Golden Head in Bloomsbury Square." 
 12^ X 17 in. and 9I: x i2|:in. 
 
 Frontispiece to " The Lawyer s Fortuned 
 
 [Hogarth.] 1736. 
 
 The Lawyer'' s Fortune; or, Love in a Hollow Tree, a 
 Comedy, London : Underbill, 1736, was by Lord Viscount 
 Grimston. 
 3 X 51 in. 
 
 Scholars at a Lecttire. 
 
 " Publish'd by W Hogarth January 20^ 1 73-f- " 
 
 1737. 
 In \}cit first state, Datur Vacuum is omitted from the book 
 in the lecturer's hand ; in the second, it appears, and the 
 publication Hne is '' Publish'd by W Hogarth March 3* 
 1736 [1737]." G. Cruikshank copied this plate for Major's 
 edition of Trusler, 1831. 
 6|- x 8 in. 
 
 " y^neas in a Storm." 
 
 [Hogarth ?] 1737. 
 
 Below the plate is : — 
 
 "Tanta haec Mulier /^///// Suadere Malorum." 
 The publication line is, " Publish'd pursuant to an Act of
 
 262 A CATALOGUE OF PRINTS 
 
 Parliament, 1737." "Price 6'^" This plate, though 
 ascribed to Hogarth, is probably by G. Vandergucht, 
 9 X 6 in. 
 
 The Four Times of the Day. 
 [Hogarth and B. Baron {^. infra).'] i738» 
 
 Plate I. ["Morning"]. " Invented Painted Engrav'd & 
 Publish'd by W™ Hogarth March 25. 1738 according 
 to Act of Parliament." In the second state, the carrots- 
 are darkened, and the foreground cross-hatched. 
 Plate II. ["Noon"]. "Invented Painted & Engraved 
 by W"" Hogarth & PubUsh'd March 25. 1738 accord- 
 ing to Act of ParHament." In the second state, the 
 coat of the little boy is darkened, etc. 
 Plate III. ["Evening"]. " Invented Painted & Publish'd 
 by W" Hogarth March 25*" 1738, according to Act of 
 Parliament." " Engraved byB. Baron" "Price 5 Shil- 
 lings." In the earlier impressions the man's hands 
 were printed in blue, to indicate his trade, that of a 
 dyer ; the woman's neck is red, to denote heat. There 
 is a xdiXt first state, without the girl, afterwards added 
 on the plate by Hogarth himself to account for the 
 crying of the little boy. The second state has the girl ; 
 in the third state, " the rail post is crossed with inter- 
 secting lines, and the clearness of the water is much 
 injured." 
 Plate IV. ["Night"]. "Invented Painted Engraved & 
 Published by W™ Hogarth March 25, 1738. According 
 to Act of Par"\" In the second state the ground on 
 which the watchman and freemason stand is much 
 darkened. 
 Carver and Bowles copied these plates in their " Artistic 
 Caricatures" and they were mezzotinted by Spooner, 
 " Morning " being, as it should be, reversed so as to bring 
 Lord Archer's house (at present a Sporting Club) to the 
 right instead of the left of the picture. In 1730 [1739 ?]r 
 the boy in " Morning " was copied by F. Sykes in a print 
 known by collectors as " The Half-Starved Boy." 
 14I- X 18 in.
 
 BY, OR AFTER, HOGARTH. 263 
 
 Strolling Actresses dressing in a Barn. 
 
 " Invented, Painted, Engraved, & Publish'd, by 
 
 W" Hogarth March the 25, 1738. According 
 
 to Act of Parliament." 1738. 
 
 In "Csxt first state Flora is greasing her hair in her cap and r 
 feathers ; there are three holes in the roof, and Juno's shoe | 
 
 is white. The second state is undescribed. In the third i 
 Flora's cap and feathers are removed ; the roof has but one 
 hole ; and Juno's shoe is black. 
 21 X i6i in. 
 
 The Foimdlings. 
 "W. Hogarth inv: " "F. Morellon La Cave 
 Sculp London." [i739-] 
 
 Headpiece to a Power of Attorney for the Foundling 
 Hospital. There is a copy at the British Museum without 
 the writing. The t/u'rd state is followed by the " Power of 
 Attorney." 
 81 X 4i in. 
 
 *' TAe Enraged Musician^ 
 
 " Design'd, Engrav'd & Publish'd by W"° Hogarth 
 Nov"' the 30'" 1 741. According to Act of Parlia- 
 ment. Price 3 Shillings." i74i- 
 
 In the first state, the farrier, cats, steeple, play-bill, and 
 dog are absent. The sweep has a Grenadier's cap, and 
 there is a doll placed under the trap of bricks. This state 
 — of which there is a tracing in the Steevens collection at 
 Felbrigge Park — is very rare. In the second state, besides 
 the above additions, the farrier's horse is white; in the 
 t/ii'rd state it is ^/cick. The figure of the Milkmaid was 
 engraved separately in 1824 (February 10) by B. Smith. 
 Samuel Ireland gives an etching of what he professes to 
 be the first design for this print at p. 115, vol. ii. of his 
 Graphic Illustrations. 
 15J: X i3|in.
 
 264 A CATALOGUE OF PRINTS 
 
 ''Martin Folkes, Esq." 
 
 '' W" Hogarth Pinx' et Sculp'" 1742. 
 
 '■ " In early impressions, the name of W. Hogarth, etc., is 
 not inscribed " {Hogarth Illustrated, iii. 342). At the 
 British Museum there are a touched proof with MS. title, 
 an impression before the letters, an impression with 
 "Martin Folkes Esq'';" only, and the state described 
 above. J. Faber also engraved this in mezzotint in 1742 
 with "W Hogarth pinx* 1741. J Faber fecit 1742." 
 8|- X II in. 
 
 " The Mystery of Masonry brought to Light by y^ 
 Gormagons." 
 " Hogarth inv : et Scul[p]." [1742.] 
 
 *' Done from y^ Original, Painted at Pekin by Matachauter, 
 Grav'd by Ho-ge, and sold by y" Printsellers of London 
 Paris & Rome." There is a reference table below the 
 Print. The first state is without the artist's name, the 
 second\\2i% it; the third hdiS in addition, "London, Printed 
 for Rob' Sayer, Map «& Printseller, at No. 53 in Fleet 
 Street." 
 
 13^: X 8iin. 
 
 " The Charmers of the Age" 
 
 [Hogarth.] [1742.] 
 
 Ridicules Desnoyers the Dancing-Master and Signora 
 Barberini. The original print was in the Strawberry Hill 
 Collection. There is a modern copy by R^ Livesay, pub- 
 lished byM''^ Hogarth and dated March i, 1782, of which 
 there are three states in the British Museum. 
 9f X 6|- in. 
 
 ** Dr. Benjamin Hoadly, Lord Bishop of Winchester ^ 
 "W. Hogarth, Pinx." " B. Baron, Sculp." 
 
 [I743-] 
 Sherlock engraved a small oval from this picture in 1759. 
 Hi X i3|-in.
 
 BY, OR AFTER, HOGARTH. 265 
 
 Characters and Caricaturas. 
 
 *'W. Hogarth Fecit 1743." [i743-] 
 
 Under the design is : — ^^ Fo7- a farthar {sic) Explanation of 
 the Difference Betwixt Character «Sc Caricatura See y' Pre- 
 face to Jo^ Andrews." This was the Subscription Ticket 
 for Marriage A-la-Mode ; and bears the following receipt : — 
 " Rec'^ of Half a Guinea being the first 
 
 Payment for Six Prints Called Marriage A la Mode 
 which I Promise to deliver when finish'd 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," says 
 Ireland, " Hogarth makes the following remark. * Being 
 perpetually plagued, from the mistakes made among the 
 illiterate, by the similitude in the sound of the words charac- 
 ter and caricatura, I ten years ago endeavoured to explain 
 the distinction by the above print ; and as I was then pub- 
 lishing Marriage A-la-AIode, wherein were characters of 
 high life ; I introduced the great number of faces there 
 delineated, (none of which are exaggerated) varied at 
 random, to prevent if possible, personal application when 
 the prints should come out : 
 
 " We neither this nor that Sir Fop li fig call, 
 He's knight 0' 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 re- 
 semblance to a particular one ' " {Hogarth Illustrated, iii. 
 
 343)- 
 
 8 X 8iin. 
 
 " The Battle of the Pictures." 
 
 [Hogarth] 1745. 
 
 This was the ticket for the auction of the " Rake's Pro- 
 gress," etc. in 1745 (see pp. 83-5). x\bove the design is 
 engraved, " The Bearer hereof is Entitled {if he thinks 
 proper,) to be a Bidder for Mr. Hogarth's Pictures, which are 
 to be Sold on the Last day of this Month " (i.e. February, 
 1745). See pp. 84-5, and p. 238. 
 7f X 6f in.
 
 266 A CATALOGUE OF PRINTS 
 
 " Marriage A-la-ModeJ' 
 
 Scotin, Baron, Ravenet ut infra. 1745- 
 
 Plate I. [The Contract]. " Engraved by G. Scotin '' 
 "Invented Painted & Published by W" Hogarth" 
 "According to Act of Parliament April i*' 1745." In 
 the second state a shadow is thrown on the building 
 seen out of window, and on the light parts of the 
 two dogs. In the third state all the shadows are 
 strengthened. 
 
 Plate II. [The Breakfast Scene]. "Engraved by B. 
 Baron" "Invented Painted & Published by W" 
 Hogarth " " According to Act of Parliament April i" 
 1745." The first state is without the lock of hair on 
 the lady's forehead, or with it, added in Indian ink. 
 In the second state, the lock is engraved, and the 
 shadows on the carpet are strengthened. 
 
 Plate III. [The Scene with the Quack]. " Engraved by 
 B. Baron " " Invented Painted & Published by W" 
 Hogarth " " According to Act of Parliament April i" 
 1745." In the second stSLte the bow under the noble- 
 man's chin is enlarged, and the shadow on the sole 
 of his right shoe darkened. The girl's cloak and 
 woman's apron are also darker. 
 
 Plate IV. [The Toilet Scene]. "Engraved by S. 
 Ravenet" "Invented Painted & Published by W" 
 Hogarth " " According to Act of Parliament April i'* 
 1745." In the secofid state, the front of the curtains 
 of the bed is cross-hatched ; in the t/u'rd, the faces of 
 the Countess and the singer are essentially altered, 
 and the curtains, frames, etc., are also darkened. 
 
 Plate V. [The Death of the Earl]. " Engraved by R. F. 
 Ravenet " ^ " Invented Painted and Published by W" 
 Hogarth" "According to Act of Parliament April i^* 
 1745." In the second state, says Ireland {Hogarth 
 Illustrated, iii. 344), " all the lights, figures on the 
 tapestry, etc. are kept down, and the whole print 
 
 ^ Probably the writing-engraver's mistake. Ravenet's Christian 
 names were Frangois- Simon.
 
 BY, OR AFTER, HOGARTH. 267 
 
 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 marks of a coarser 
 
 burin than that of Ravenet." 
 
 Plate VI. [The Death of the Countess]. " Engraved by 
 
 G. Scotin." " Invented Painted & Published by W". 
 
 Hogarth " " According to Act of Parliament April i"^ 
 
 1745." In the second state, says Ireland (/// supra, 
 
 345), "the whole of the print [is] rendered less 
 
 brilliant, but more in harmony. Drapery of the dying 
 
 woman improved." In the third state the shadows 
 
 were strengthened. 
 
 Bowles, Sayer and Wilkinson issued cheap copies of the 
 
 six prints without engraver's name, and with four lines of 
 
 verse below each. In June 4, 1795 — Aug. i, 1800, the 
 
 series was engraved in mezzotint for Messrs. Boydell from 
 
 the original pictures by Richard Earlom. Large woodcuts 
 
 of the series were issued with the Weekly Times and the 
 
 London Journal circa 1847-1850. 
 
 Portrait of Archbishop Herring. 
 
 "William Hogarth Pinx'" "C. Mosley sculp, 
 according to Act of Parliam' 1745." " Price i'" 
 
 1745. 
 Heading to a speech made by the Archbishop at York, 
 24 Sep'. 1745. J. B. Nichols {Anecdotes, 331) speaks of a 
 second state, " the head only, cut out of the large print, 
 with the words ' D'' Herring, Lord Archbishop of Canter- 
 bury ' engraved round the frame." 
 8i X 6 in. 
 
 Mask and Palette. 
 
 [Hogarth.] [1745-] 
 
 Subscription Ticket to "Garrick in the Character of
 
 268 A CATALOGUE OF PRINTS 
 
 Richard the Third." Livesay published a copy of it in 
 1781. (^Genuine Works, vi\. 137). The copy in the British 
 Museum was given by Mrs. Hogarth to S. Ireland, Feby. 
 1781. 
 
 4t X 4 in. 
 
 ^' Taste 171 High Life!' 
 
 " Painted by Mr. Hogarth." " Published May 24''. 
 
 According to Act of ParHament." " Sold by 
 
 Mr. Jarvis in Bedford Court Covent Garden. 
 
 Price 6d. [1746.] 
 
 There is another impression which has " Invented & 
 
 Painted by W™ Hogarth " only. From an Advertisement 
 
 in the General Advertiser, this print was published in May, 
 
 1746. In 1798 the picture was copied in stipple for Boydell 
 
 by Samuel PhilUps (174- x i4| in.). The first state 
 
 of this latter is without inscription ; the second is dated 
 
 "May I, 1798"; the third "March i, 1808." 
 
 lof X 7|: in. 
 
 *" Mr. Garrick in the Character of Richard the 3'^." 
 " Painted by W" Hogarth." " Engrav'd by W" 
 Hogarth & C. Grignion." " Publish'd accord- 
 ing to Act of Parliam' June 2o'\ 1 746." 
 
 1746. 
 Under the title is — " Shakespear. Act 5. Scene 7." The 
 British Museum has a copy of the unfinished plate. There 
 is also a mezzotint by A. Miller, Dublin, 1746. 
 20 X 15^ in. 
 
 '* Simon Lord Lovat!' 
 
 " Drawn from the Life and Etch'd in Aquafortis 
 
 by Will"" Hogarth." " Publish'd according to 
 
 Act of Parliament August 25''' 1746." 1746. 
 
 The second state is marked in the left hand corner, *' price
 
 BY, OR AFTER, HOGARTH. 269 
 
 1 Shilling." The head and bust was copied in the Gentle- 
 man's Magazine for December, 1746, by T. Jefferys. It 
 was also reproduced as a watch paper, with a Calendar. 
 H X 131 in. 
 
 " Lovafs Ghost on Pilgrimage." 
 
 [Hogarth ?] " Publish'd according to Act of 
 
 Parliament June \^^ ^IM-' I747- 
 
 A Mezzotint. Underneath are six lines beginning, " Dis- 
 guis'd thro' Life, a Layman at y*" Block." A copy by S. 
 Ireland, who asserts that Hogarth assured Dr. Webster of 
 St. Albans it was his own design, faces p. 147 of Graphic 
 Illustrations, i. A copy was also published May i, 1788, by 
 Molton & Co., No. 132, Pall Mall. 
 i2|- X ^\'ln. 
 
 Industry and Idleness. 
 
 " Design'd & Engrav'd by W" Hogarth. Pub- 
 lish'd according to Act of ParHament 30 Sep. ,^ V^, 
 1747." 1747- -''^ 
 
 Plate I. [The Fellow 'Prentices at their Looms]. In the 
 
 ^first state the inscription " Plate I " does not occur. 
 Plate II. [" The Industrious 'Prentice performing the 
 Duty of a Christian."] "Second state : Shadows on the 
 organ, etc., deeper." 
 Plate III. [" The Idle 'Prentice at Play in the Church 
 Yard, during Divine Service."] " Second state : Lines 
 stronger." 
 Plate IV. [" The Industrious 'Prentice a Favourite, and 
 entrusted by his Master."] Second state : Mr. West's 
 coat cuff and porter's apron darkened. 
 Plate V. ["The Idle 'Prentice turn'd away, and sent to 
 Sea."] Second st^te : " Tender lines in the offing worn 
 out ; broader lines in the faces." 
 Plate VI. [" The Industrious 'Prentice out of his Time, 
 & Married to his Master's Daughter."] First state : 
 Goodchild and West, instead of West and Goodchild 
 to which the sign was afterwards altered, in the
 
 270 A CATALOGUE OF PRINTS 
 
 second state. There is a third state with further 
 
 variations. 
 Plate VII. ["The Idle 'Prentice return'd from Sea, & 
 
 in a Garret with a common Prostitute."] Second 
 
 state : The bottom of the coverUd is cross hatched, 
 
 and the man's hair is black. There are other 
 
 variations. 
 Plate VIII. ["The Industrious 'Prentice grown rich, 
 
 & Sheriff of London."] " Second state. Shadows 
 
 strengthened." 
 Plate IX. [" The Idle 'Prentice betray'd by his Whore, & 
 
 taken in a Night Cellar with his Accomplice."] 
 
 Second state : Woman's face altered ; print darkened. 
 Plate X. [" The Industrious 'Prentice Alderman of 
 
 London, the Idle one brought before him, & Im- 
 
 peach'd by his Accomplice."] " Second state. 
 
 Shadows heightened." 
 Plate XL ["The Idle 'Prentice Executed at Tyburn."] 
 
 " Second state. Shadows on the parson's face, pigeon, 
 
 etc. stronger." 
 Plate XII. ["The Industrious 'Prentice Lord-Mayor of 
 
 London."] Second state : Coachman's coat darkened; 
 
 tapestry under Prince and Princess cross-hatched, 
 
 etc. 
 
 Lavater reproduced some of the figures in this series for 
 his Physiognomy, 1807. The fat citizen in a tie-wig in 
 Plate VIIL, says John Ireland, was copied by Bartolozzi. 
 He also states that there are " tolerably correct copies of 
 the same size." The original sketches (in pen and India 
 ink) were sold at the Strawberry Hill sale in 1842, the 
 purchaser being Mr. H. P. Standly. 
 v. s. 
 
 Head-piece to " The Jacobite s J ournal^ 
 
 [Hogarth?] 1747. 
 
 This headpiece (a wood-cut) was prefixed to Henry 
 ¥\Q\d.\ng's Jacobite's Jourfial, Nos. i to 12, after which, 
 being worn out, it was discarded. The first number is 
 dated Dec. 5, 1747. It was copied by Richard Livesay
 
 BY, OR AFTER, HOGARTH. 27 1 
 
 (Nov. 27 : 1781); and also in vol. i. p. 149, of S. Ireland's 
 Graphic Illustrations, 1794. Walpole, and after him H. 
 P. Standly, had the alleged original sketch in red chalk 
 for this design. 
 7i X 4^ in. 
 
 The Stage Coach ; or, Country Inn Yard. 
 
 '* Price one Shilling " " Design'd and Engrav'd 
 
 by W. Hogarth." " Publish'd According to Act 
 
 of Parliament. 1747." i747- 
 
 In ik^Q. first state the flag in the background is without the 
 
 words "No old Baby"; in the second state, the words 
 
 appear; in xSxt third, they have been obliterated. In the third 
 
 state the front of the bar is also much darkened. There 
 
 is a copy of this print by I. June, entitled "A Country Inn 
 
 Yard at the Time of an Election." 
 
 ii|- X 8 in. 
 
 '''■Jacobus Gibbs, ArcJiitectus 1747." 
 
 "Wiir Hogarth dehn " " B. Baron Sculp" 1747. 
 
 There is a copy of this in the British Museum with archi- 
 tectural back-ground, and the addition of " Architectus, 
 A.M. and F.R.S." It was engraved, partly in mezzotint 
 and partly in line by J. M'Ardell, without date, and with 
 the title "Jacobus Gibbs, Architectus, A.M. and F.R.S." 
 7t X lof in. 
 
 Hymen and Cupid. 
 
 [Hogarth] [1748]. 
 
 This was the ticket for the Masque of Alfred. It was 
 afterwards intended to be used as the subscription ticket 
 for the print of " Sigismunda." ' £,2 2s' is usually written 
 on the earliest impressions {Hogarth Illustrated, iii. 349). 
 
 " O the Roast Beef of Old England, &cr 
 
 "Painted by W. Hogarth" "Engrav'd by C.
 
 272 A CATALOGUE OF PRINTS 
 
 Mosley & W, Hogarth." "Publish'd according 
 to Act of Parliament March 6^'' 1749." 1749 
 
 In the second state the whole of the shadow in the fore- 
 ground is considerably darkened. . It was copied by J. 
 June and others. Robert Sayer published a reduction as 
 a heading to a Cantata by Theodosius Forrest entitled 
 The Roast Beef of Old England. (See also " Bibliography" 
 under 1759.) 
 i7i X i3iin. 
 
 ''Mr. Hogarthy 
 
 "■ Publish'd according to Act of ParHament by R. 
 Sayer opposite Fetter Lane. Sep^ 29, 1749." 
 
 [1749-] 
 A watch-paper head of Hogarth from Calais Gale. 
 
 " Captai7i Thomas Coram!' 
 
 "Will" Hogarth Pinx\" ^'Ja^ M'Ardell Fecit." 
 
 1749. 
 A three-quarters mezzotint. The first state (in the British 
 Museum) is before the writing; the second \% as above. 
 A third via.^ published by Laurie and Whittle in 1794. A 
 full-length copy (i3|- x 20 in.) was engraved, Dec. i, 1796, 
 by W. Nutter, in stipple, and published by R. Cribb of 
 No. 288, Holborn. 
 10 X i2j^in. 
 
 ^' /vhn Palmer 1749." 
 
 "W Hogarth Pinx " " B. Baron Sculp." 1749. 
 
 This is a little circular portrait under a view of Ecton 
 Church, Northamptonshire. 
 2 in. diam. 
 
 " Gulielmiis Hogarth!' 
 
 "Se ipse Pinxit et Sculpsit 1749." i749- 
 
 "YYit first state is without the writing, and the words " The
 
 BY, OR AFTER, HOGARTH. 273 
 
 Line of Beauty" on the palette. This portrait (says J. B. 
 Nichols, 227) was also mezzotinted by C Spooner, 1749. 
 In 1795 (June 4), Benjamin Smith engraved it for the 
 Boydells. In this impression the three books are lettered 
 respectively "Shakespeare," "Swift," and "Milton's Para- 
 dise Lost;" while the Palette is inscribed — " The Line of 
 Beauty and Grace. W. H. 1745." Besides the copies in 
 the ordinary collections (See "Introductory Note" to this 
 Catalogue), it was engraved by T. Chambers, and then 
 by B. P. Gibbon, for Walpole's Anecdotes of Fainting ; 
 by Barlow for Hogarth Illustrated (1791) ; by W. Edwards 
 (1829) for the Family Library ; by I. Mills for the Wonder- 
 ful Magazine (1808), and by Audinet (May i, 1794) for 
 Harrison & Co. 
 loi X i3|- in. 
 
 Arms, Bagpipes^ etc. 
 
 [Hogarth.] [1750-] 
 
 Subscription Ticket to the " March to Finchley," with the 
 following form of Receipt : — 
 
 " Rec'd of 7' : 6*^ : being the whole 
 
 Payment for a Print Representing a March to Finchly in 
 the year 1746 {sic\ which I promise to deliver when finish'd 
 on sight hereof. N.B. Each print will be half a Guinea 
 after the Subscription is over." 
 1\ X 6|- in. 
 
 ''A Representation of the March of the Guards 
 towards Scotland in the Year, 1745." 
 
 " Engrav'd by Luke Sullivan." 1750. 
 
 Commonly called 'The March to Finchley.' There are 
 several states of this plate. The first (in the British 
 Museum) is the etching ; the second, the finished plate, is 
 without writing ; the third has the following inscription : — 
 "Painted by Wiir Hogarth & Publish'd Dec^' 30. 1750. 
 According to Act of Parliament." " A Representation of 
 the March of the Guards towards Scotland, in the year
 
 274 A CATALOGUE OF PRINTS 
 
 1745." "To His Majesty the King of Prusia, an Encou- 
 rager of Arts and Sciences ! This Plate is most humbly 
 Dedicated." " Engrav'd by Luke Sullivan." In X\\e.fourth 
 state, the beginning of this inscription is varied : — " Painted, 
 & Publish'd by Wiir Hogarth Dec"' 30. 1750," etc.; in the 
 fifth the date is altered to Dec"'" 31*' (the 30'" December 
 having been a Sunday) ; in the sixth, the spelling of 
 " Prussia " is corrected, and the words " Retouched and 
 Improved by W" Hogarth, republish'd June 12'" i76i,"are 
 added. The seventh and eighth states were further worked 
 on. There are three contemporary copies of this print. 
 The figure of the Pie-man was also engraved separately in 
 1824 (Feb. 10) by Benjamin Smith. 
 2ii X i6i in. 
 
 Archbishop Herring. 
 
 "Wil^ Hogarth Pinxit." "B Baron sculp'" 
 
 "Publish'd according to Act of Parliam' 1750, 
 
 for S. Austen Bookseller in Newgate Street," 
 
 1750. 
 
 At the British Museum are impressions of the unfinished 
 print; the print without the letters; and the print as above 
 with arms and title. 
 Hi X 13I- in. 
 
 *^ Beer Street!' 
 
 " Design'd by W. Hogarth " " Publish'd according 
 to Act of Parliament Feb. i. 1751." Price i'." 
 
 1751- 
 There are three quatrains under the plate beginning 
 "Beer, happy Produce of our Isle." In the first state, the 
 blacksmith is lifting a Frenchman by the waist-belt ; in 
 the second, he flourishes a shoulder of mutton, and a pair 
 of figures etc. are added. A copy was issued by Sayer 
 and Bowles. 
 11^ X 14 in.
 
 THE FOUR STAIIKS OF CRUELTY. (Plate III.) 
 
 From J. Bell's IVoodcut.
 
 BY, OR AFTER, HOGARTH» 275 
 
 " Gin Lane." 
 
 " Design d by W. Hogarth." "Publish'd according 
 to Act of Parliament Feb. i, i 751. Price i'. 
 
 1751- 
 
 The three quatrains begin " Gin cursed Fiend, with Fury 
 fraught." In the earlier impressions, the face of the falling 
 child is plump and white ; in the later ones it is wizened 
 and much darkened. A copy was issued by Sayer and 
 Bowles. 
 
 ii|: X 14 in. 
 
 The Four Stages of Cruelty. 
 " Design'd by W. Hogarth " " PubHshed according 
 to Act of ParHament Feb. i. 1751." " Price i'" 
 
 1751- 
 
 The price of those on common paper was i^. ; on superior 
 paper \s. 6d. Under each plate are three quatrains, pro- 
 bably by the Rev. James Townley. The second states have 
 the shadows strengthened. There are woodcut copies of 
 Plates 3 and 4 by J. Bell. They deviate from the coppers 
 in certain particulars. 
 I if X 14 in. 
 
 " Paul before Felix!' 
 
 ''Design'd and scratch'd in the true Dutch taste 
 by W" Hogarth." " Publish'd According to 
 Act of Parliament May i'' 1751." 1751- 
 
 Given as a receipt for "Paul before Felix," and "Moses 
 brought to Pharaoh's Daughter " with this inscription, — 
 " Rec'' 5'. being the First Payment for two Prints, 
 
 one Moses brought to Pharoahs Daughter, the other Paul 
 before Felix which I promise to Deliver when finish'd on 
 the payment of 5 shillings more. N.B. Each Print will be 
 7' 6" after the subscription is over." In the second state 
 the publication line runs " Design'd & Etch'd in the 
 rediculous manner of Rembrant, by W" Hogarth " and a
 
 276 A CATALOGUE OF PRINTS 
 
 diminutive imp is sawing through the leg of St. Paul's 
 stool. The early impressions are stained with bistre, and 
 have Hogarth's palette seal. 
 
 " Paul before Felix " (i ). 
 
 " Engraved from the Original Painting in Lin- 
 coln's Inn Hall, Painted by W" Hogarth." 
 "and Publish'd by him Feb^ the 5"^ 1752." 
 
 1752. 
 Over the above is the text, "And as he reasoned of righteous- 
 ness, temperance and Judgment to come, FeHx trembled" 
 (See next plate). In the second stsite, a quotation from Dr. 
 Joseph Warton's Essay on Pope is engraved at the bottom 
 corners, and the publication line is altered to "Engraved 
 by W™ Hogarth from his Original Painting in Lincoln's 
 Inn Hall & Publish'd as the Act directs, Feb. 5. 1752 "; 
 in the third state, the quotation from Warton is omitted. 
 (As to this, see Genuine Works, i. 207-13; and Warton's 
 Essay, 2nd ed. 1762, p. 119 n.) 
 20 X 15 in. 
 
 Paul before Felix (2). 
 
 " From the original Painting in Lincoln's Inn 
 Hall, Painted by W" Hogarth." •' Published 
 Feb^ the s'*" 1752." " Engrav'd by Luke 
 Sullivan," 1752. 
 
 There is the same text in this as in the preceding plate ; 
 but there are fewer figures. In the second state, the same 
 quotation from Warton as in the foregoing plate is en- 
 graved at the bottom corners, and the engraver's name and 
 date of publication are omitted. In the tJm-d state, the 
 quotation is omitted. 
 19! X 15 in. 
 
 Moses brought to PharaoJis daughter. 
 
 " From the Original Painting in the Foundling
 
 BY, OR AFTER, HOGARTH. 277 
 
 Hospital, Engraved by Will'" Hogarth & Luke 
 Sullivan." "Published Feb. 5 1752 according 
 to Act of Parliament." " W. Hogarth pinx'." 
 
 1752. 
 The second state has the same quotation from Dr. Warton 
 as the Paul before Felix (i) and (2); in the third state, 
 this was omitted. " W Hogarth pinx'," and " Published 
 according to," etc. were also effaced, and their place sup- 
 plied by "Published as the Act directs Feb'''^ 5, 1752." 
 In the British Museum there is an impression before the 
 writing. 
 
 19A X 15 in. 
 
 Columbus breaking the Egg. 
 
 [Hogarth] [1752.] 
 
 Subscription ticket for the Analysis of Beauty. The first 
 state has the following form of receipt, — " Rec"' 
 of 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, to which will 
 be added two Explanatory Prints Serious and Comical, 
 Engraved on large Copper Plates fit to frame for Furni- 
 ture/' N.B. The Price will be rais'd after the Subscription 
 is over. In the seco?id state this was burnished off, the 
 plate reduced, and " Design'd & Etch'd by W" Hogarth 
 Decem I. 1753" substituted. 
 7 X sf in. 
 
 Xwo Plates to " The Analysis of Beauty." 
 
 " Designed, Engraved, and Publish'd by W" 
 Hogarth, March ^^^ i753, according to Act of 
 Parliament." I753- 
 
 In Plate i (A Statuary's Yard) ihe first state is distinguished 
 by the words " Et tu Brute " upon the pedestal of Quin 
 in the character of Brutus ; in the second state, this inscrip- 
 tion is erased. In Plate 2 (A Country Dance), there is a
 
 278 A CATALOGUE OF PRINTS 
 
 vacant chair under the picture of Henry VIII. ; in the 
 second state, a sleeping figure occupies the chair, and the 
 chief pair of dancers is considerably altered. 
 
 Frontispiece to " Kir by s Perspective.'^ 
 
 " W. Hogarth inv. et delin." " L. Sullivan sculp." 
 
 1753- 
 
 This was the frontispiece to Joshua Kirby's edition of D'". 
 Brook Taylor's Method of Perspective, 1753. At the top is 
 the word " Frontispiece," and under the plate — " Whoever 
 makes a Design without the Knowledge of Perspective 
 will be liable to such Absurdities as are shewn in this Fron- 
 tispiece." S. Ireland gives a copy of the original drawing 
 for this at p, 134, vol. ii. of his Graphic Illustrations, while 
 at p. 158 of vol. i. he reproduces an oil-sketch which he 
 calls the " first thought." 
 6i X 8^^ in. 
 
 Crowns, Mitres, Maces, etc. 
 
 " Design'd, Etch'd & Publish'd, as the Act directs, 
 
 by W" Hogarth, March 20'^^ 1754." 1754. 
 
 Subscription ticket to the Election series. It had originally 
 been prepared in 1736 as a head-piece to an inscription ex- 
 pressing the artist's gratitude to the legislature for passing 
 the Act 8 Geo. II. cap. 13. The receipt added at the foot 
 varies in different cases. In the first state, it is for " 5V' 
 being part payment for "An Election Entertainment"; in 
 the second, "One guinea " for the first payments for the set 
 of four; in the third, " 15 " for the first payments for " The 
 Polling," " Canvassing for Votes," and " Chairing the 
 Members." 
 7t X 8i in. 
 
 Four Prints of an Election. 
 
 Hogarth and others {y. infra). 1755-8. 
 
 Plate I. (" An Election Entertainment "). " Painted and
 
 BY, OR AFTER, HOGARTH. 2/9 
 
 the Whole Engraved byW" Hogarth." "Published 
 24''> Feb"^ 1755, as the Act directed." The/r^/ state 
 (in the British Museum) is without the writing above 
 and below. The second state, besides the title and 
 publication line, is inscribed "To the Right Honourable 
 Henry Fox, &c. &c. &c." In the third state, " and 
 
 the " on the flag outside the window is removed, 
 
 and a cobweb introduced in the angle of the case- 
 ment. In x\ie fourth state, " the whole " in the publi- 
 cation line is scratched over; and, among other 
 variations, the fat woman's right arm hangs down 
 instead of being bent under her apron, seven lemons 
 near the punch tub in the three previous states are re- 
 moved; and"Pro Patria" replaces " For our Country " 
 in the butcher's cap. In the fifth state, " the whole " 
 is restored ; in the sixth state it is erased once more. 
 In the seventh, it is again effaced. 
 
 Plate II. ("Canvassing for Votes"). "Painted by W. 
 Hogarth. Engrav'd by C. Grignion." "Published 
 20**^ Feb''' 1757. As the Act directs." The first state 
 is without the writing. The second state, besides the 
 title and publication line, is dedicated to Sir Charles 
 Hanbury Williams. In the third state, the lion's teeth 
 are removed. In the British Museum are three im- 
 pressions of the plate in progress. 
 
 Plate III. (" The Polling "). " Engrav'd by W. Hogarth 
 & Le Cave." "Published 20 Feb'^ 1758. As the 
 Act directs." The first state is without the writing ; 
 the second state, besides the title and pubUcation line, 
 is dedicated to Sir Edward Walpole. In the third 
 state, the words " Milicia Bill " appear on the coat of 
 the maimed elector. 
 
 Plate IV. ("Chairing the Members"). "Engrav'd by 
 W. Hogarth & F. Aviline." "Published i" Jan'^ 1758 
 as the Act directs."' It is dedicated to the Honourable 
 George Hay. In the second state, the word "indintur" 
 [indenture] is written on the scroll hanging out of the 
 attorney's window. 
 2ii X i5|in.
 
 2 8o A CATALOGUE OF PRINTS 
 
 The Invasion (Two Plates). 
 " Design'd and Etch'd by W" Hogarth " " Pub- 
 lish'd according to Act of Parliament March S'*", 
 
 1756." 1756. 
 
 In the early impressions the words " France " and " Eng- 
 land" are omitted j "Plate i"" and "Plate 2°'*" being the 
 only titles. Under each design are twelve lines by David 
 Garrick. 
 
 i/^\ X Hi and \\\ x 11^ in. 
 
 Mr. John Pine. 
 
 [M^ArdelL] \c. 1756.] 
 
 A mezzotint. The first state has no inscription ; below 
 the second is — " M'' Pine, Done from an Original Picture 
 painted by W Hogarth, in Imitation of Rembrant, By J' 
 M'=Ardell." "sold at the Golden Head the Corner of 
 Southampton Str', Cov^ Garden." " Price 2'" The third 
 state is darkened and the " sold," etc., omitted. There is 
 also a head of Pine with " Hogarth pinx*" and " London" 
 " printed for Geo. Pulley at Rembrandt's head, the corner 
 of Bride Court, Fleet Street," and there is a small copy 
 entitled Le Bourgmestre Syx, ami de Rembrant. 
 8| X ii| in. 
 
 Hogarth painting the Comic Muse. 
 
 [Hogarth.] 1758. 
 
 In the second state at the British Museum, the inscription 
 runs "W" Hogarth Sergeant Painter to His Majesty. 
 The Face Engrav'd by W" Hogarth and Publish'd as the 
 Act directs." The third state omits "and," and adds after 
 "directs" — "March 29 1758." ThQ fourth state omits 
 "The Face Engrav'd by W" Hogarth." In \hQ fifth, 
 "Serjeant Painter" is scratched through, Comedy has the 
 face and mask marked with black, and on the pillar is 
 written, "Comedy 1764." The sixth state has nothing 
 but "William Hogarth. 1764." The head in this print
 
 BY, OR AFTER, HOGARTH. 28 1 
 
 was copied in 1782 by Edner for A. Crayen's translation 
 of Nichols's ^«^(:^i?/^j-, 1783 (see p. 211); also for Jeffrey 
 of Pall Mall. 
 i3t X i4f in- 
 
 '* The Bench!' 
 
 " Design'd & Engrav'd by W. Hogarth " " Pub- 
 
 lish'd as the Act directs, 4 Sep. 1758." 1758. 
 
 Under the design (in addition to "The Bench") is written 
 " Of the different meaning of the Words Character, Cara- 
 catura, and Outre in Painting and Drawing. Addressed to 
 the Honb'^ Coll. T — s — d." On a separate copper is a 
 long explanatory inscription. In the second state, the word 
 "Character" appears over the design, and "Addressed," etc. 
 is left out. In the third state "Character" is effaced, as is 
 also the King's Arms on the wall, the place of the latter 
 being supplied by eight caricatured heads, and after the 
 word Drawing is added — "This Plate would have been 
 better explain'd had the Author lived a Week longer." A 
 later state omits this, and adds at the end of the explana- 
 tory inscription : "The unfinish'd Groupe of Heads in the 
 upper part of this Print was added by the Author in Oct^ 
 1764 : & was intended as a further Illustration of what is 
 here said concerning Character Caracatura & Outre, He 
 worked upon it the Day before his Death which happened 
 the 26*'' of that Month." 
 1\ X 6|- in. 
 
 The Cockpit. 
 
 "Design'd and Engrav'd by Will" Hogarth" 
 
 " Publish'd according to Act of Parliament 
 
 Nov. 5'^ 1759." 1759. 
 
 There is but one state of this print. At the bottom of the 
 design, on an upright oval medallion or token, is a crowing 
 cock; on the ground of the medallion are the words 
 " Royal Sport." The medallion is entitled " Pit Ticket." 
 141 X \\\ in.
 
 252 A CATALOGUE OF PRINTS 
 
 Frontispiece to " Tristram Shandy'' vol. ii. 
 "W Hogarth inv'." " S. Ravenet Sculp'." 
 
 [1 759-] 
 "Vol. 2. page 128." Over the left-hand top-corner is 
 " Frontispiece Vol. i ." A hat and clock are introduced in 
 the second state. There is a copy by the same Engraver. 
 Heath and Grignion also reproduced the design. 
 3i X 51- in. 
 
 Frontispiece to Joshua Kir by s " Perspective of Archi- 
 tecture.'' 
 "W" Hogarth, July 1760." " W" Woollett, 
 sculp," 1760. 
 
 Over the design is " Frontispiece." This was also engraved 
 by C. Grignion in 1793 ; and Samuel Ireland gives a copy 
 of the original design at p. 140, vol. ii. of his Graphic 
 Illustrations. 
 15 X 9 in. 
 
 "■ Huggins'' 
 
 " Hogarth pinx'." " Major sculp' " [1760.] 
 
 This circular plate was engraved for a translation of Dante 
 which never got beyond the proposal stage. In \}aQ first 
 state there is no writing, no bust of Ariosto, or inscription 
 " Dante " ; in the second these are added. 
 2\ in. diam. 
 
 Frontispiece to " Tristram Shandy'' vol. iv. 
 
 " W. Hogarth inv'." " F. Ravanet \sic'\ sculp." 
 
 [1761.] 
 
 Over the right-hand top corner is "Vol. iv. page 112" 
 There is a copy of this by John Ryland. 
 3-8- X 5f
 
 BY, OR AFTER, HOGARTH. 283 
 
 Frontispiece to the Catalogue of Pictures exhibited in 
 
 Spring Gardens, 1 76 1 . 
 
 "W. Hogarth inv' et del." "C Grignion sculp." 
 
 Published according to Act of Parliament May 
 
 7, 1761." 1761. 
 
 The second state has the motto : — ^' Etspes 6- ratio Studio- 
 rum in Ccesare tantum" Juv. There was another print 
 from this design by the same engraver. 
 5f X 6|- in. 
 
 Tailpiece to the Catalogue of Pictures exhibited in 
 Spring Gardens, 1 76 1 . 
 "W. Hogarth inv* et del." [1761.] 
 
 The second state has the motto, " Esse quid hoc dicam ? — 
 vivis quod Fama negatur" — Mart." and the inscription 
 "W. Hogarth inv* C Grignion sculp. Publish'd according 
 to Act of Parliament, May 7, 1761." The word "Obit," 
 thrice repeated in the Jirst state, is altered to " Obiit." 
 5t X 4t in. 
 
 " The five orders of Perriwigs as they were worn at 
 the late Coronation, measured Architectoni- 
 cally T 
 [Hogarth.] 1761. 
 
 There is no engraver's name ; and the publication line is 
 "Publish'd as the Act directs Ocf 15, 1761 by W: 
 Hogarth." In the middle of the plate is the notice : — 
 " Least the Beauty of these Capitels {_sic'\ should chiefly 
 depend, as usual, on the delicacy of the Engraving, the 
 Author hath Etched them with his own hand." In the 
 second %\.'AX.e, the second "e" in the word "Advertisement," 
 omitted in theyfr^/ state, is added on the back of one of 
 the figures (the Countess of Northumberland). 
 Sir X \o\ in.
 
 284 A CATALOGUE OF PRINTS 
 
 Time Smoking a Picture. 
 
 [Hogarth.] 1761. 
 
 Subscription Ticket for Sigisnmnda. Upon the upper 
 part of the picture frame is a Greek motto; below the 
 design the words — 
 
 "To Nature and your Self appeal, 
 
 Nor learn of others, what to feel. Anon : " 
 
 Under a broken statue to the right is 
 
 " — As Statues moulder into Worth. P : W : " 
 
 The first state is without the word " Crates " prefixed to 
 the Greek motto. The following form of receipt was used 
 iox Sigisnmnda. "1761. Rec^ of 
 
 half a Guinea being the whole Payment for a Print of 
 Sigismonda mourning over the Heart of Guiscardo her 
 murder'd Husband, w"^*^ I promise to deliver, when finish'd. 
 N.B: the price will be 15^ after the Subscription is over," 
 61 X 8|- in. 
 
 " Credulity, Superstition, and Fanaticism,. A 
 Medley!' 
 "Design'd and Engrav'd by W" Hogarth." 
 "Published as the Act directs March y* 15"" 
 1762." 1762. 
 
 Under the title is — " Believe not every Spirit ; but try the 
 Spirits whether they are of God : because many false 
 Prophets are gone out into the World, i. John. Ch. 4. V. 
 I." The title, etc. is on a separate copper. 
 i2i X i4iin. 
 
 " The Times Plate ir 
 
 " Designed & Engraved by W Hogarth " 
 " Published as the Act Directs Sep' 7 1762 " 
 
 1762. 
 In the first stSite, Pitt, afterwards Earl of Chatham, on stilts, 
 and in the character of Henry VHI., is blowing up the
 
 BY, OR AFTER, HOGARTH. 285 
 
 flames; in the second, the plate has sHght variations; in 
 the third, a direct portrait of Pitt is substituted for the 
 figure of Henry VIII. 
 Hi X 8iin. 
 
 " The Farmer s Return!^ 
 
 "W"" Hogarth delin." " James Basire. sculp." 
 
 1762. 
 Frontispiece to Garrick's The Farmer's Return from London. 
 An Interlude. London : J. & R. Tonson, 1762. There is 
 an impression in the British Museum without the writing. 
 A copy of a somewhat different sketch by Hogarth of 
 Garrick in this piece is given by S. Ireland at p. 171 of 
 vol. i. of his Graphic Illustrations. 
 6 X 7 in. 
 
 " T. Morell, S.T. P.—S.S.A:' 
 
 "W. Hogarth, del," "James Basire, Sculp." 
 
 [1762.] 
 
 In the later impressions " Thesaurus " and " -^tat 60 " are 
 added. There is an impression without the writing in the 
 British Museum. 
 51- X 7l in- 
 
 " Henry Fielding, yS talis XL VIII r 
 
 " W" Hogarth delin." " James Basire sculp." 
 
 1762. 
 
 The first state is without frame or ornaments. The print 
 was prepared as a frontispiece to the edition of Fielding's 
 works issued in June, 1762. 
 Oval. 2|- X 3i in. 
 
 '^yokn Wilkes, Esq"-'' 
 
 " Drawn from the Life and Etch'd in Aquafortis 
 by Will'" Hogarth." "Price i Shilling." 
 
 ^>.
 
 286 A CATALOGUE OF PRINTS 
 
 " Publish'd according to Act of Parliament 
 
 May y^ i6. 1763." 1763. 
 
 In the later impressions the face was retouched. There 
 are many pirated copies of this design. Hogarth's original 
 sketch (see note to p. 174) was copied by S. Ireland in vol. 
 i. of the Graphic Illustrations, p. 176. 
 8|- X i2i in. 
 
 " The Bruiser, C. Churchill'' etc. 
 
 " Design'd and Engraved by W"" Hogarth 
 Price I^" " Publish'd according to Act of 
 
 Parliament August I, 1763." '^I^Z- 
 
 The full inscription is — " The Bruiser, C. Churchill (once 
 the Rev** !) in the Character of a Russian Hercules, Regal- 
 ing himself after having Kill'd the Monster Caricatura that 
 so Sorely Gall'd his Virtuous friend, the Heaven born 
 Wilkes. 
 
 " But he had a Club this Dragon to Drub, 
 Or he had ne'er don't I warrant ye : " 
 In Xkit first state, "Zy^ i " and '■'•Lye 5 " on the club are 
 white, the inscription reads " a Modern Hercules," and the 
 price is \s. In the second state the white knots are shaded, 
 and " Russian " is substituted for " Modern." In the third 
 state stronger lines have been drawn across the inscription 
 on the book marked " A New way to Pay Old Debts," &c. 
 In the fourth state a picture is placed before the palette in 
 which the figure of Hogarth wears a white hat, and the 
 price is raised to is. 6d. In the fifth state " N.B." {i.e. 
 North Briton) appears on the club, Hogarth's hat is made 
 black, and " Dragon of Wantley " is added after the 
 motto. 
 
 loi X 13I- in. 
 
 *' The Weig/mtg House " 
 
 [Engraved by L. Sullivan.] 1/63. 
 
 Frontispiece to Physiognomy ; Being a Sketch only of a larger 
 Work on the satne Plan, etc. " By the Editor of the
 
 BY, OR AFTER, HOGARTH. 287 
 
 History and Antiquities of Wheatfield in Suffolk " \i.e. The 
 Rev. John Clubbe]. London : Dodsley, 1763. The book 
 is dedicated to Hogarth, A smaller copy was engraved 
 by W. W. Ryland for Clubbe's Works. 
 71 X 81 in. 
 
 A Witch on a Broomstick. 
 
 [Hogarth.] [1763?] 
 
 Engraved for a pamphlet against the Hutchinsonians by 
 Dr. Gregory Sharpe; but not published. A copy faces 
 p. 175 of Graphic Illustrations, i. 
 3t X 5t in. 
 
 " The Bathos, or Manner of Sinking, in Sublime 
 
 Paintings, inscribed to the Dealers in Dark 
 
 Pictures!' 
 
 "Design'd and Engrav'd by W" Hogarth." 
 
 " Pubh'shd according to Act of Parliam' March 
 
 3' 1764-" 1764- 
 
 There are two medallions below the design. That to the 
 left, a circle, contains a pyramidal shell with the inscription, 
 " The Conic Form in w'^" the Goddess of Beauty was wor- 
 ship" by the Ancients at Paphos in y^ Island of Cyprus " 
 (See p. 178)." The other, to the right, an oval, contains a 
 cone encircled by the line of Beauty. After the sub-title 
 is a Latin Cross referring to the following engraved note, 
 "See the manner of disgracing y'' most Serious Subjects, in 
 many celebrated Old Pictures, by introducing Low, absurd, 
 obscene & often prophane Circumstances into them.' 
 There are other inscriptions on the plate, and over it is 
 engraved " Tail Piece." 
 12^ X loi in. 
 
 ** Satan, Sin, a^ici Death!' 
 
 [Hogarth.] Engraved by C. Townley. [1767.] 
 From Paradise Lost, Bk. 2, " and intended (says J. B.
 
 255 A CATALOGUE OF PRINTS 
 
 Nichols, Anecdotes, 1833, p. 272) to have been published 
 April 16, 1767 ; but, when a few copies were printed, the 
 plate was destroyed." Five impressions only were known 
 when Nichols wrote. It was etched by T. Rowlandson, 
 " from a Painting in Chiaro Scuro by R. Livesay," and 
 engraved by J. Ogborne, June i, 1792 ; and by S. Ireland 
 {Graphic Illustrations, i. 178.) 
 21 X 17 in. 
 
 " The Good Samaritan.'' 
 
 "Will". Hogarth pinxit." "Ravenet & Delatre 
 sculpserunt." "Published, Feb^ 24'^ 1772 by 
 John Boydell Engraver, in Cheapside London." 
 
 1772. 
 Under the design is a smaller one headed " John Boydell 
 excudit ; " and the plate is said to be " Engraved from the 
 Original Picture ; Painted by William Hogarth Esq' on the 
 Stair Case in S^ Bartholomew's Hospital." 
 21 X 16 in. 
 
 " The Pool of Bethesdar 
 
 " Will"* Hogarth pinxit." " Ravenet & Picot 
 sculpserunt." "Published Feb^ 24'^. 1772 by 
 John Boydell Engraver, in Cheapside London." 
 
 1772. 
 Under the design is a smaller one headed "John Boydell 
 excudit ; " and the plate is stated to be " Engraved from 
 the Original Picture; Painted by William Hogarth Esq. 
 on the Stair Case in S* Bartholomew's Hospital," 
 21 X 16 in. 
 
 " T/ie Politician y 
 
 " Will" Hogarth Inv' " " Etch'd by J : K : Sher- 
 
 win." " Pub"* as the Act directs by Jane 
 
 Hogarth, 1775." 1775. 
 
 This is said to be "Etch'd from an Original Sketch of
 
 BY, OR AFTER, HOGARTH. 289 
 
 W"" Hogarth's, in the Possession of W. [Theodosius] 
 Forrest." The early impressions have "31 October" 
 inserted with a pen. There are also two in the British 
 Museum without the writing, and with the hilt of the sword 
 coming through the coat. The print was copied by J. 
 Mills for Hogarth Illustrated^ iii. 274. 
 \o\ X 13 in. 
 
 A View of M''. Ranbys House at Chiswick. 
 
 " Publish'd as the Act directs by Jane Hogarth at 
 the Golden-head Leicester Fields i'' May, 
 1781." 1781. 
 
 There is a copy in the British Museum without the writing, 
 but with the manuscript title, "A View of M''. Ranby the 
 Surgeon's house. Taken from Hogarth's window at 
 Chiswick." It is there dated 1748. 
 si X 3t in- 
 
 Four Heads from the Hampton Court Cartoons. 
 
 [Hogarth.] 1781. 
 
 These were issued by M" Hogarth, May 14, 1781. 
 According to Walpole, Sir James Thornhill meant to 
 publish an account of the Cartoons, and an inscription on 
 this plate says, — " As the present plate was found among 
 others belonging to the late M'' Hogarth, it is not impos- 
 sible but that it might have been engraved by him for his 
 father-in-law S'' James's intended publication." There is 
 an impression before the writing in the British Museum. 
 13I X Si- in. 
 
 " Tho. Pellet M.D ". 
 
 "Will" Hogarth Pinx'." " Cha^ Hall Sculp." 
 "Pub' June \'' 1781 by I. Thane Rupert Street 
 Hay Market." 1781. 
 
 l\ X i,\ in. (Oval.) 
 
 U
 
 290 A CATALOGUE OF PRINTS 
 
 " W"' Bullock the Comedian^ 
 
 " W Hogarth pinx'" " Cha= Hall Sculp." Pub" 
 June i'^ 1 78 1 by I. Thane Rupert Street, Hay 
 Market." 1781. 
 
 "From the Original Picture in the Possession of John 
 Thane." 
 3i X 4i in. 
 
 " Hogarth." 
 
 "Charles Townley fecit" "Price 5 Shillings" 
 
 " Published according to Act of Parliament, 
 
 June 1 78 1 and Sold by C. Townley, Arlington 
 
 Street, Piccadilly." 1781. 
 
 An oval mezzotint. Under the name is, " From an 
 Original Portrait begun by Weltdon, And finished by Him- 
 self " [i.e. Hogarth]. Late in the Possession of the Rev'' 
 M'' Townley." The second state is without " Price 5 
 Shillings," and with Hogarth's name and " Charles Town- 
 ley fecit " in larger script. 
 io|- X iii in. 
 
 Nine Prints for ''Hogarth's Tour." 
 
 " R' Livesay Fecit." " Publish'd as the Act 
 
 directs Nov' 2 7'^ 1781, by R*^ Livesay at 
 
 M'* Hogarths Leicester Fields." 
 
 The prints are (i) "Frontispiece," (2) "A View from 
 Rochester Bridge," (3) "Upnor Castle," (4) "Breakfasting, 
 &c.," (5) " The Embarcation," (6) The Town of Queen- 
 borough," (7) "The Monument of a Spanish Embasador, in 
 Minster Church, in the Island of Shepey," (8) "Monument 
 of the Lord Shorland in Minster Church," and (9) " Tale- 
 Piece. Nos. (2) and (7) are designed by Scott ; No. (5) by 
 Scott and Hogarth ; the rest are by Hogarth. They were 
 issued by Livesay with the text (see p. 36) in 1782. As
 
 BY, OR AFTER, HOGARTH. 29 1 
 
 regards the " Frontispiece " and "Tailpiece" Livesay says, 
 "The frontispiece of this work (M' Somebody) was de- 
 signed by Hogarth, as emblematical of their journey, viz. 
 that it was a short tour by land and water, backwards 
 and forwards, without head or tail." "The tail-piece 
 (M"" Nobody) [is] of the same whimsical nature with the 
 first ; the whole being intended as a burlesque on historical 
 writers recording a series of insignificant events entirely 
 uninteresting to the reader." J. B. Nichols (" Anecdotes,'' 
 p. 343) gives the following variations : First state : plates 
 printed in outline, and afterwards coloured in imitation of 
 the original drawings ; descriptions filled in with a pen. 
 SecoTtd state : plates tinted, but descriptions written in. 
 Third state : writing in open hair lines. Fourth state : 
 letters filled up. 
 V. s. 
 
 *'Mr. Ben: Ready 
 
 " Hogarth Delin'" " R"* Livesay Fecit." " Pub- 
 
 lish'd, Nov' 27, 1 78 1, by R** Livesay at 
 
 M" : Hogarths, Leicester Fields." 1781. 
 
 Under the name is the sub-title, "A Member of Hogarth's 
 Club at the Bedford Arms Tavern. Drawn by Him about 
 the Year 1757." In the Jzrst state the writing is in open 
 hair lines. 
 io| X II in. 
 
 "Mr. Gabriel Hunt y 
 
 " Hogarth Delin* " " R' Livesay Fecit." " Pub- 
 Ush'd, Nov' 27; 1 78 1, by R' Livesay, at 
 M" Hogarths Leicester P^ields." 
 
 Under the name is the sub-title, " A Member of Hogarth's 
 Club at the Bedford Arms Tavern. Drawn by Him about 
 the Year 1733." In the first state the writing is in open 
 hair lines. 
 71- X lof in.
 
 292 A CATALOGUE OF PRINTS 
 
 ' ' A rmes for the Foundling Hospital : ' W '" Hogarth 
 Inv^ : 1747." 
 '' Publish'd, Dec' 22; 1781, by R"^ Livesay, at 
 M^' Hogarth's Leicester Fields." 
 
 This is said to be "Engraved from the Original, in the 
 Collection of the Earl of Exeter." There is an impression 
 at the British Museum with the date " July 31, 1781." 
 6 X 6 in. 
 
 Lord Melcombe and L^ Winchilsea. 
 
 "W. Hogarth deP," "F. Bartolozzi Sculp*" " Pub- 
 lish'd Dec 22 ; 1781 by R*^ Livesay at 
 M" Hogarth's Leicester Fields." 1781. 
 
 An impression faces p. 150 of Genuine Works, iii. 
 71: X 6 in. 
 
 Shrimp Girl. 
 
 " W. Hogarth pinx." " F. Bartolozzi sculp." 
 " Engravd from an Original Sketch in Oil 
 by Hogarth, in the possession of M'' Hogarth" 
 "Published Dec. 24, 1781, by R. Livesay." 
 
 Impressions later than that described above have the title 
 "Shrimps!" " Publish'd March 25"^; 1782 by Jane 
 Hogarth & R** Livesay Leicester Fields." 
 6|- X Si in. 
 
 Parsons Head. 
 
 " Hogarth DeHn*" " Livesay Fecit." [1781 ?] 
 
 Supposed to have been intended for one of the series of 
 "The Happy Marriage," p. no. It is also given in 
 Genuine Works, iii. 158. 
 3|- in. diam.
 
 BY, OR AFTER, HOGARTH. 293 
 
 The Match-maker and Old Maid (Two Plates). 
 Hogarth Delin'" Livesay Fecit" [1781 ?] 
 
 Figures from the first design for the Rak^s Progress. Also 
 given in Genuine Works ^ iii. 140, with the publication line 
 — "Publish'd by J. Nichols and Co. Oct. i. 1816." The 
 two figures were combined in one plate by J. Mills for 
 Hogarth Illustrated, iii. 276, and "Published March 
 1798." 
 4i X 51 in. 
 
 Head of Solsull. 
 
 "Hogarth deP" "S. I. fee* 178 1 " Publish'd 
 
 March i^* 1786, by W. Dickenson, N° 158, 
 
 New Bonds'" 1781. 
 
 " Solsull a maker of Punches for y^ Engravers from a Sketch 
 by Hogarth in the possession of Sam. Ireland." The 
 second state is without these eleven words (J. B. Nichols, 
 Anecdotes, 343). 
 
 " Debates o?i Palmistry y 
 
 [Hogarth.] Etched by Joseph Haynes. 1782. 
 
 First state, before the writing ; second state, lettered " A 
 Consultation of Physicians ;" third state, " Debates on 
 Palmistry." 
 131 X loi in. 
 
 " The Stay maker." 
 
 [Hogarth.] Etched by Joseph Haynes. 
 
 1782. 
 
 The first state is the proof before the writing. 
 13I. X lol in. 
 
 Taylor and Death. 
 " Hogarth Delin*" " R' Livesay Fecit " " Pub-
 
 294 A CATALOGUE OF PRINTS 
 
 lish'd March i 1782 by R'* Livesay at 
 
 M" Hogarth's Leicester Fields London. 
 
 1782. 
 
 Taylor is buried at Deptford. Two sketches from the 
 collection of Mr. Morrison. There is also an epitaph by 
 Hogarth published with the same date. In the first state, 
 the letters are in hair Unes. There are reduced copies in 
 Genuine Works, iii. 160. 
 14^ X 10 in. 
 
 ** Tke Right Honb^' Ja' Caulfield Earl of Charle- 
 mount',' etc. 
 " From an original Portrait by Hogarth in the 
 possession of M' Samuel Ireland etched by 
 Jos'" Haynes Pupil to the late M' Mortimer." 
 " Pub'' as the Act directs. Mar. 19''' 1 782 " 
 
 1782. 
 
 There is a proof before the writing in the British Museum. 
 61 X ll in. 
 
 ** The Right Hon^^ Henry Fox, Lord Holland!' 
 
 " From an original Portrait in Oil by Hogarth, in 
 
 the Possession of Mr, Sam\ Ireland, etched by 
 
 J. Haynes, Pupil to the late M". Mortimer." 
 
 " Pub' as the Act directs Mar. I9*^ 1782." 
 
 1782 
 
 There is a proof before the writing in the British Museum. 
 (i\ X 71 in. 
 
 " Hogarth's Crest." 
 
 "Hogarth PinxV " R. L. Fee*." " Publish'd
 
 BY, OR AFTER, HOGARTH. 295 
 
 April 23^ 1782, by R'. Livesay at M". Ho- 
 garth's, Leicester Fields." 1782. 
 
 See p. 178. 
 9i X i2i in. 
 
 '' Eta Beta PYT (^Invitation Card.) 
 
 "Published as the Act directs, August i^\ 1782. 
 
 1782. 
 
 This, says Nichols, Biographical Anecdotes, 1782, p. 328, 
 was engraved by J. Cary. See also page 56 of the same 
 work, in the title-page of which it first appeared, being also 
 reproduced in the edition of 1785. The "Mr. King" 
 invited to the "Mitre" in Fleet Street was Dr. Arnold 
 King, who selected the texts which garnish the Apprentice 
 Series. 
 
 3^ X 2i in. 
 
 " Hudibras and Sidrophel'' 
 
 " Painted by W. Hogarth " [?J. Engraved by 
 
 Thorn. Gaugain." 1782. 
 
 The publication line is— " Published Oct' i'* 1782 by T. 
 Gaugain, No. 4 Little Compton Street Soho London." The 
 print is in colours. 
 13I- X II in. 
 
 ' Orator Henley christening a Child. " 
 
 " Hogarth pinx^" " S. Ireland fecit." " Publish'd 
 
 March i, 1786, by W. Dickenson, No. 158, 
 
 New Bond S'." 1785. 
 
 " Etch'd by Sam' Ireland from an Original Sketch in Oil 
 in his possession by Hogarth ; " and dedicated to Francis 
 Grose, the antiquary. A smaller copy by Jane Ireland was 
 also etched for vol. i. of the Graphic Illustrations^ p. 135. 
 io|- X 12 in
 
 296 A CATALOGUE OF PRINTS 
 
 " W'". Hogarthr 
 
 "Hogarth pinx\" "Published March ist, 1786, 
 by W. Dickenson, No. 158, New Bond Street." 
 " Etchd by Sam' Ireland from an Original Por- 
 trait in oil by Hogarth in his possession." 
 
 [1786?] 
 
 After the name comes, "died Ocf 26"" 1764. Aged 67." 
 A smaller copy of this portrait by the same engraver faces 
 p. I, vol. i., of S. Ireland's Graphic Illustrations, 1794. 
 7 X 71- in. 
 
 " S"" James Thornkill." 
 
 " Hogarth pinx^" "S.I. fecit. 1786. 
 
 "Publish'd March ist, 1786, by W. Dickenson, 
 No. 158, New Bond Street. 
 
 " Etch'd by S. Ireland from a portrait in oil the same size 
 in his possession." " By Hogarth." The same etching, 
 cut down, faces p. 86 of Graphic Illustrations, i. 
 6|- X 7f in- 
 
 Miss Rich [?] 
 
 " Painted by William Hogarth." " Engraved by 
 
 Martha Knight." "London, Pub*' March i, 
 
 1786, by Martha Knight, Brompton." 1786. 
 
 Miss Rich was the daughter of Rich, the comedian. Some 
 impressions have — " From an Original Sketch in the Col- 
 lection of Mrs. Hogarth." That lady, it should be added, 
 was wont to speak of it " as a study from a Charity-girl of 
 St. Martin's parish." {Genuine Works, iii. 171*.) In 1877 
 this sketch was beautifully mezzotinted by the late Samuel 
 Cousins. 
 
 Oval, 3i X 4^ in. 
 
 A Landscape. 
 
 " Hogarth pinx\" " S. Ireland fecit."
 
 BY, OR AFTER, HOGARTH. 297 
 
 "Publish'd March ist, 1786, by W. Dickenson, 
 
 N°. 158, New BondS\" 1786. 
 
 " Etch'd by Sam' Ireland, from an original Picture in his 
 possession said to be the only Landscape ever painted by 
 Hogarth." 
 io| X yi in. 
 
 "A Shepherd Boy!' 
 
 " Hogarth de?." " Sam. Ireland fecit." 
 
 " PubHsh'd March ist, 1786, by W. Dickenson, 
 
 N°. 158, New BondS^" 1786. 
 
 " From an original Sketch by Hogarth in the Collection of 
 Sam. Ireland," being a copy of a chalk sketch of a figure 
 designed for George Lambert. 
 8x6^ in. 
 
 " Theodore Gardelle^ 
 
 "S. Ireland, fecit." "Published April i, 1786." 
 
 1786. 
 
 The sketch was by Mr. Richards ; it was only " touch'd 
 on " by Hogarth. The first state has a long account of 
 this murderer. In the second^ which was published May i, 
 1788, by Molton and Co., 132, Pall Mall, there is a short 
 inscription ; in the third there is no letterpress. An im- 
 pression faces p. 1 7 2 of Graphic Illustrations, i. 
 2f X 31- in. 
 
 ^''Jack in an Office or Peter Necessary, etc!' 
 " Hogarth deP." " Sam^ Ireland fecit." 
 " London Publish'd April i^ 1786 by W. Dickin- 
 son, N°. 158, New Bond Street." "Price 6"^." 
 
 1786. 
 Z\ X 7f in.
 
 298 A CATALOGUE OF PRINTS 
 
 Head of Diana. 
 
 [Hogarth.] 1786. 
 
 "Publish'd April i^' 1786 by W. Dickenson, 
 N° 158 New Bond Street." 
 " Etch'd by Sam' Ireland from an Original Portrait in oil 
 in his possession by Hogarth." There is also an impres- 
 sion in Graphic Illustrations, i. 170. 
 5i X 6f in. 
 
 A Black Girl. 
 [Hogarth.] " Pubhsh'd April i, 1786, by W. 
 Dickenson, N°. 158, New Bond S\ 1786. 
 
 " Etch'd by Sam. Ireland from an original Sketch in Oil 
 in his possession by Hogarth." There is also an impres- 
 sion by S. Ireland in Graphic Illustrations, i. 169. 
 5t X 6i in. 
 
 Gambles Book Plate. 
 
 [Hogarth.] 1786. 
 
 "London, published April i^ 1786, by W. 
 Dickinson, N°. 158, New Bond S\ 
 Copied in Graphic Illustrations, i. 7*, and in Genuine 
 Works, ii. 20. 
 2\ X 2\ in. 
 
 " Characters who frequented Buttons Coffee-house 
 about the year 1730." 
 " Hogarth del' " " S Ireland fecit " [1786.] 
 
 "Published April i'' 1786, by W Dickenson, 
 N°. 158, New Bond Street." 
 Four plates containing portraits of Daniel Button, Addison, 
 Folkes, Arbuthnot, Count Viviani, Garth, Pope, etc. Im- 
 pressions face pp. 25, 31, 34, and 38 of Graphic Illustra- 
 tiotis, i. 
 V. s.
 
 BY, OR AFTER, HOGARTH. 299 
 
 "Jenny Cameron!' 
 
 " Hogarth Pinx\" " Published as the Act directs 
 by J. Clarke, No. 291, Strand, February 8*^ 
 1788." 1788. 
 
 51- X 7i in-, oval. 
 
 " yustice Welchr 
 
 [W. Hogarth pinx'.] " S. I. sculp." 1788. 
 
 "London, Publish'd May i^ 1788, by Molton & 
 e. 132, Pall Mall." 
 
 " From an Original Sketch by Hogarth in the Collection 
 of Sam'. Ireland 1781. The portrait was began and 
 finish'd within an hour by which a Considerable bet was 
 Won." Another impression faces p. 155 oi Graphic Illustra- 
 tions^ i. 
 4 X 3i in. 
 
 Ticket for Milward' s Benefit. 
 
 " Etch'd by S. Ireland from a very scarce Print 
 by Hogarth in his Collection." 
 "London. Publish'd i^^ May, 1788, by Molton 
 and Co., 132 Pall Mall." 
 
 Another impression faces p. 98 of Graphic Illustrations, i. 
 4 X 31 in. 
 
 Fat Man upset like a Ttirtle. 
 
 " Hogarth Delink" " Livesay Fecit." " Published 
 
 Ocf, 1788, by Tho^: King; New Broad Street." 
 
 1788. 
 
 An impression faces p. 159 of Genuine Works, iii. 
 Si X 5| in.
 
 300 A CATALOGUE OF PRINTS 
 
 " The Times Plate IT' [unfinished] 
 
 " Designed & Engraved by W. Hogarth." " Pub- 
 lish'd May 29; 1790, by J & J. Boydell, Cheap- 
 side, & at the Shakespeare Gallery Pall Mall 
 London." 1790 
 
 "Vcit first state is said by J. B. Nichols, Anecdotes^ 341, to be 
 before the usual writing, and with the Hne of pubUcation 
 only, in hair lines. There is one without any writing in the 
 British Museum. The publication of North Briton^ N°. 1 7, 
 was the proximate cause of this plate. The central effigy 
 represents George III., a la Ramsay, whose angular method 
 is typified by the stiff folds of the drapery and by the 
 plumb line. Bute regulates the distribution of the stream 
 which issues from the base of the statue, but a special and 
 particular cascade falls from Aquarius upon a laurel 
 labelled " Culloden." In front Fox is tumbling away the 
 Dutch horticulture of previous reigns, but his efforts are 
 embarrassed by a roller marked ;^i, 000,000,000 (? National 
 Debt). To the left Parliament, among whose ranks Pitt's 
 long gun and gouty legs are conspicuous, are firing volleys 
 at the dove of peace ; while to the right Wilkes and the 
 Cock Lane Ghost forlornly occupy the pillory. Behind 
 these, " Dr. Cant, Man Midwife " (Archbishop Seeker) is 
 confirming two adults, and up the fagade of the Society 
 of Arts is being slowly hoisted a palette inscribed 
 "Premium." Hospitals and other buildings are rising 
 in the background. These are the chief features of the 
 design ; but many of its allusions, unexplained at the date 
 of issue, remain obscure, 
 iif X 91 in. 
 
 ''Beggars Opera, Act Ilir 
 
 " Painted by W" Hogarth." " Engraved by W" 
 Blake." " From the original Picture, in the Col- 
 lection of his Grace the Duke of Leeds." 
 "Publish'd July i^' 1790, by J. & J. Boydell,
 
 BY, OR AFTER, HOGARTH. 3OI 
 
 Cheapside, & at the Shakspeare Gallery Pall 
 
 Mall London." 1790 
 
 Under the title is, " When my hero in Court appears, &c." 
 The states are thus given in J. B. Nichols {Anecdotes, 323) 
 First state, etching ; second, finished proof before writing ; 
 third, open letters ; fourth, letters filled up. 
 2ii X islrin. 
 
 Drunken Party. 
 
 [Hogarth.] Cheesman sculpt. 1 790 
 
 Published Oct. i, 1790, by E. Walker, No. 7, 
 Cornhill. 
 16 X 13 in. 
 
 Four small Prints of Lord Lovafs Trial. 
 
 "Published Aug* i 1791 by W Birch, Hampstead 
 Heath" 1791 
 
 From sketches belonging to Horace Walpole. 
 
 Two Soldiers fighting. 
 " Publish'd Oct i, 1791, by W. Birch, Hampstead 
 Heath from a Drawing by Hogarth." 1791 
 
 31 X zk\n. 
 
 " Conversation' 
 
 "Published Oct i, 1791, byW. Birch, Hampstead 
 
 Heath." 1791 
 
 " From a drawing by Hogarth." 
 3i X 21 in.
 
 302 A CATALOGUE OF PRINTS 
 
 " The Indian Emperor, or the Conquest of Mexico ; 
 
 Act 4, Scene 4." 
 
 " Painted by W" Hogarth." " Engrav'd by Rob' 
 
 Dodd." 1792 
 
 "Publish'd Jan' i. 1792, by J. & J. Boydell, 
 
 Cheapside, & at the Shakspeare Gallery Pall 
 
 Mall." 
 
 " As performed in the year 1731, at Mr. Conduit's, Master 
 of the Mint, before the Duke of Cumberland &c." " From 
 the original Picture in the Collection of Lord Holland." 
 The company are children, — " Cortez " being Lord Lemp- 
 ster ; " Cydaria," Lady Caroline Lenox ; " Almeria," Lady 
 Sophia Fermor; and " Alibeck," Miss Conduit, afterwards 
 Lady Lymington. Among the audience are the Duke of 
 Cumberland, the Princesses Mary and Louisa, Lady Delo- 
 raine, her daughters, the Duke and Duchess of Richmond, 
 the Earl of Pomfret, the Duke of Montague, Tom Hill 
 (or Captain Poyntz) and (on the stage) Dr. Desaguliers. In 
 Hogarth Illustrated, ii, 331, is a key-plate to this print. 
 21 X 16 in. 
 
 " Pisces, One of the Signs in the Zodiac!' 
 
 '•W. Hogarth Sculp' circa annum 1730." [1792.] 
 
 Impressions from nine quadrille fish engraved on by 
 Hogarth. Three others, obtained from Mary Lewis, were 
 published by J. Ireland as " A Tail-piece " to vol. iii. of 
 Hogarth Illustrated, 377, which he thus explains : — " 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." 
 
 '' Sigismunda" (N° i). 
 
 •' Hogarth Pinx'" " Dunkarton Sculp'" " London,
 
 BY, OR AFTER, HOGARTH. 3O3 
 
 Published Feb 1^1793, by T. B. Freeman & 
 
 C° Strand, & Sold by Dickenson, New Bond 
 
 Street, & Walker, Cornhill." 1 793 
 
 Underneath the name is, " The original Picture in Oil [i.e. 
 the original sketch] by the late IM"" W" Hogarth, and the 
 Drawing from which this Print is made of the same size are 
 both in the Collection of M" Sam' Ireland, of Norfolk 
 Street, who purchased them of M''* Hogarth in 1781. The 
 Drawing was made by jM"" Edw'' Edwards, Associate of the 
 Royal Academy, & finished in April 1764 under the inspec- 
 tion of M'' Hogarth, from whose pencil it received its last 
 finishing touches about six months before his death. From 
 this Drawing M'' Basire, the Engraver, began a Print but 
 the death of M''. Hogarth prevented its being finished." 
 Basire's outline was issued May 5, 1790. There are three 
 states of Dunkarton's print : — the Jirst being the unfinished 
 etching ; the second, the same with the dress more finished ; 
 the t/n'rd, the finished print. 
 i4t X i3|in. 
 
 " Sealing the Septilchre!' 
 
 " W. Hogarth pinx^" " I. Jenner del. et fecit." 
 
 1794 
 "London. Publish'd Jan i. 1794, by A Molteno, 
 . . N° 76, S' James's Street." 
 
 A mezzotint from the Altar Piece of St. Mary RedcUffe, 
 Bristol. Nichols (^Anecdotes, 1833) dates this 1790. 
 20 X 21 in. 
 
 " The Resurrection of Christ!' 
 
 "W. Hogarth pinx^" "I. Jenner del. et fecit." 
 
 1794 
 "London. Publish'd Jan i. 1794 by A. Molteno, 
 
 . . . N° 76 S' James's Street." 
 A mezzotint from the Altar Piece of St. Mary Redcliffe,
 
 304 A CATALOGUE OF PRINTS 
 
 Bristol. The picture was also engraved by C Grignion, 
 March 1798, for vol. iii. oi Hogarth ////^^/r«/^^ with the title 
 of "The Sepulchre." Nichols {Anecdotes, 1833,) dates 
 this 1790. 
 2o|- X 21 in. 
 
 Hardy s Shop Card. 
 
 [Hogarth?] [i794.] 
 
 A Goldsmith's card in Callot's style,— copy of which faces 
 p. 3 of Graphic Illustrations, i. 
 2|- X 2 in. 
 
 Ellis Gamble s Shop Card. 
 
 [Hogarth.] "A. M. Ireland sculp." [1794.] 
 
 See p. 16, and Graphic Illustratiojis, i. 8. 
 5i X 71 in. 
 
 Shop Bill for ''Mary & Ann Hogarthr 
 
 [Hogarth?] [1794.] 
 
 A copy marked "W Hogarth deP." and "J. I sc." faces 
 p. 1 5 of Graphic Illustrations, i. There is an impression 
 of the original bill in the British Museum. 
 4i X 3| in. 
 
 A Ticket for the School of Tiverton, Devonshire. 
 " W. Hogarth scul." [i794-] 
 
 Copied in Graphic Illustrations, i. 18 by "A. M. I[reland]." 
 There is one of the original tickets in the British Museum. 
 6 X 4^: in. 
 
 A Ticket for the Benefit of Spiller the Player. 
 
 [Hogarth.] " S. I[reland] sc." [i794-] 
 
 Copied in Graphic Illustratio?is, i. 62 and in Genuine 
 Works, ii. 69. 
 5i X 4 in.
 
 BY, OR AFTER, HOGARTH. 305 
 
 Tzuo Prints for Paradise Lost. (Books i. and iii.) 
 
 " W" Hogarth In\ et Sculp'." [i794-] 
 
 There are copies by Jane Ireland at pp. 79 and 82 of 
 Graphic Illustrations^ i. 
 3 X 51- in. 
 
 Ticket for James Figg. 
 
 "Will. Hogarth f." [i794.] 
 
 With Inscription. A copy by A. M. I[reland] faces p. 89 
 of Graphic Illustrations^ i. 
 4| X 6|: in. 
 
 The Discovery. 
 
 [Hogarth ?] 
 
 " Qui color albus crat, nunc est contrarius albo.'" A Copy by 
 S. Ireland faces p. 112 of Graphic Illustrations, i. 
 7^ X 6 in. 
 
 Character a7td Caricat7C7^a. 
 
 "Hogarth fecit 1758" "Jane Ireland fc." 
 
 [1794-] 
 Copy of a pen-and-ink sketch made for Mr. Townley which 
 appears in Graphic Illustrations, i. 167. 
 
 " Sketches from Pen & Ink Draivings!' 
 
 [Hogarth?] " J. I. fecit." [i794-] 
 
 Faces p. 114 of Graphic Illustrations, i. One of the 
 sketches is entitled " hearing void of attention." 
 V. s. , 
 
 '' Sigismo7ida'' (No. 2). 
 
 " Painted by Will'" Hogarth." " Engraved by 
 Benj° Smith." " Published June 4, 1795, by J. 
 
 X
 
 306 A CATALOGUE OF PRINTS 
 
 & J. Boydell, at N° 90, Cheapside ; & at the 
 Shakespeare Gallery Pall- Mall." i795- 
 
 " From the Original Picture, in the Collection of Aid" 
 Boydell." Underneath the title are eight lines from 
 Hogarth's Epistle to a Frieiid (see p. 160 n.). 
 16I- X 12I- in. 
 
 " Enthnsiasm Delineated'' 
 
 "W. Hogarth, inv^" "I. Mills sculp* " "Pub- 
 lished Nov'" 12''' 1795 by John Ireland, N° 3 
 Poets Corner, Palace Yard, Westminster." 
 
 1795- 
 Under the design are various explanatory notes " copied 
 from Hogarth's hand-writing beneath the Original Print," 
 as to which, see p. 165. Above it is engraved — "Hogarth's 
 First Thought for The Medley. Copied from a very 
 curious Print designed and engraved by Hogarth, of 
 which there are only two Impressions, both of them in the 
 possession of John Ireland — March 15"' 1796 ^° After 
 taking the above Impressions, Hogarth changed the point 
 of his Satire from the superstitious absurdities of popery, 
 and ridiculous personification delineated by ancient 
 Painters, to the popular credulities of his own day, erased 
 or essentially altered every Figure except two, and on the 
 same piece of copper, engraved the plate now in the posses- 
 sion of Mess''. Boydell, entitled ' Credulity, Superstition 
 and Fanaticism, a Medley.'" Beyond the artist's and 
 engraver's names and " Published by J. Ireland Nov'' 12"' 
 1795," the ^ri'/ state has no writing; the second is that 
 described above ; in the third, the writing is put in neatly 
 by the writing engraver. The design was also reduced by 
 I. Mills for Hogarth Illustrated, iii., where it faces 
 p. 233. In the same volume, there is a plate by Mills of 
 " References to the Figures in Hogarth's Enthusiasm 
 Delineated." 
 12^ X 14 in.
 
 BY, OR AFTER, HOGARTH. 307 
 
 Sketches of Quin and Garrick. 
 
 [Hogarth.] " Published 12*^ May, 1797, by Robert 
 
 Laurie & James Whittle, N° 53 Fleet Street, 
 
 London." An impression faces p. 280 of 
 
 Genuine Works, ii. i797- 
 
 From a Drawing belonging to Mr. Stevenson of Norwich. 
 
 ^31 X 91- in. 
 
 '' Mrs. Hoga7'thr 
 
 "Hogarth pinxV "Ryder dir* " "Pub'' for S. 
 Ireland, June i, 1797." i797- 
 
 Faces p. 4 of GrapJiic Illustrations, ii. 
 4f X 6i in. 
 
 '^ Lavinia Fenton, afterwards Dutchess of Bolton^ 
 
 " Hogarth pinx'." " C. Apostool sculp*." " Pub''. 
 
 for S. Ireland June i, 1797." i797- 
 
 Faces p. 49 of Graphic Illustratio?is, ii. There is a proof ^>\. 
 before letters in the British Museum. It was also engraved '^ \~ 
 by Cook, May i, 1807 {Genuine Works, ii. *287). 
 4i X 51 in. 
 
 " Painters Room.'' 
 
 "Hogarth pinx'." "Ryder dir'." "Pub'' for 
 S. Ireland June i 17(^7." 
 Faces p. 97 of Graphic Illustrations, ii. 
 4f X si in. 
 
 " /// Effects of Masquerades. " 
 
 " Hogarth pinx'." " Le Cceur sculp." " Pub'' for 
 S. Ireland June i, 17(^7'' i797- 
 
 Faces p. 98 of Graphic Illustrations, ii. 
 5f X 4| in. 
 
 t^
 
 308 A CATALOGUE OF PRINTS 
 
 '^Heidegger''' 
 
 " W. H. Delin." " I. M[ills] sc." " Published 
 
 by John Ireland Dec' 1797" i797- 
 
 Represents Heidegger in a rage (see Hogarth lUiistrated^ 
 iii. 323, where it first appeared). 
 
 51- X Z'k ii^- 
 
 " Variety " 
 
 "Published March 1798, for John Ireland Poets 
 
 Corner, Palace Yard, Westminster." 1 798. 
 
 A serpentine candlestick which forms the vignette to the 
 title-page of vol. iii. of Hogarth Illustrated. 
 
 " Le Basir \_Baiscr'\ Rendtt." 
 "W. H. del" 
 
 A woodcut, with the reference "Vide Fontaine's Tales, 
 p. 131," which occurs at p. xxi of Hogarth Illustrated, 
 iii. 
 
 " The Vase'' 
 
 " W. Hogarth delin'" "I Mills sculp*" " Pub- 
 lished March 1 798 " 1 798. 
 
 Faces p. 147 of Hogarth Illustrated^ iii. 
 
 " Square & Rottnd Heads " 
 
 "W. Hogarth. Inv'" " I : Mills. Sculp'" "Pub- 
 lished March 1798." 1798. 
 Faces p. 153 oi Hogarth Illustrated, iii. 
 3t X 5t in- 
 
 " The Savoyard Giidy 
 
 "W. Hogarth pinx'." "G. Sherlock sculp'." "Pub- 
 lished as the Act directs by G. Sherlock, March 
 
 13, 1 799-" 1799- 
 
 " From the Original of the same size in the possession of 
 S. Edwards, Esq., Beaufort Buildings, Strand." 
 i3t X i7t i"-
 
 BY, OR AFTER, HOGARTH. 3O9 
 
 " Lady Thornhill " 
 
 " Hogarth pinx^" " Le Coeur sc^" " Pub^ for 
 
 S. Ireland May i, 1799." i799- 
 
 Faces p. 1 2 of Graphic Illustrations, ii. 
 \\ X 6f in. 
 
 "iWJa\ [John] Thornhilir 
 
 "Hogarth pinx*." "Whesell sc* " "Pub for S. 
 
 Ireland May i, 1799." i799- 
 
 Faces p. 14 of Gi'aphic Illustrations, ii. 
 
 4t X 5l in. 
 
 " Concert Ticket!' 
 
 " W. Hogarth Inv." [?] "Jane I[reland] sculp." 
 " Pub. for S. Ireland May i, 1799." i799- 
 
 " Mary's Chappel " " Five at Night " Faces p. 43 of 
 Graphic Illitstrations, ii. 
 5t X 41- in. 
 
 " Design for a Shop Bill!' 
 
 " Hogarth pinx*" " Merigot sculp'" 
 "Pub. for S. Ireland May i. 1799" i799- 
 
 Faces p. 44 of Graphic Illustrations^ ii. 
 6|- X 5t in- 
 
 Tzuo Sides of a'' Sign for a Paviour!' 
 
 "Hogarth pinx'" "J. I. sc' " "Pub. for 
 
 S Ireland May i. 1799" i799- 
 
 Face pp. 46 and 47 of Graphic Illustrations, ii. 
 4f X 4I in. 
 
 " Rosamond' s Pond!' 
 
 " Hogarth Pinx'." " Merigot Sc'." " Pub^ for 
 
 S. Ireland, May i, 1799." i799- 
 
 Faces p. 57 of Graphic Illustrations, ii. 
 6i X 4ir in.
 
 3IO A CATALOGUE OF PRINTS 
 
 " Tho' Rich Esq'', and family " 
 
 "Hogarth deP" "T Ryder sc'" "Pub. for 
 S. Ireland May i, 1799." i 799- 
 
 Faces p. 62 of Graphic Illustrations^ ii. 
 5l X 4t in- 
 
 " Gov^ Rogers (^family'' 
 
 " Hogarth pinx' " " Skelton sculp' " " Published 
 for S. Ireland May i. 1799." i799- 
 
 Faces p. 65 of Graphic Illustrations^ ii. 
 5i X 4i in. 
 
 " Garden Scene at Cowley the residence of the late 
 Tho' Rich Esq^r 
 "Hogarth pinx'" "Skelton sculp'" "Pub. for 
 S. Ireland May i. 1799" i799- 
 
 Faces p. 68 of Graphic Illustrations, ii. 
 5^ X 4t in. 
 
 '' Scend i7i a Hay -field'' 
 
 "Hogarth del'" " Brome sc'" " Pub for 
 S. Ireland May i 1799" i799- 
 
 Faces p. 71 of Graphic Illustratio?is, ii., and copied again 
 by T. Cook in Genuine Works, iii. loi. 
 6 X 4i in- 
 
 " Falstaff examining his recruits T 
 
 " Hogarth pinx'." " Ryder sc." " Pub. for 
 S Ireland, May i. 1799" i799- 
 
 Faces p. 72 of Graphic Illustrations, ii., and is dedicated to 
 Mrs. Garrick (who owned the picture). 
 Si X 4t in.
 
 BY, OR AFTER, HOGARTH. 3II 
 
 ''John Dennis the Critic'' 
 
 "Hogarth deP." "Pub. for S. Ireland May i. 
 
 1799" 1799- 
 
 Faces p. 78 in G?-aphic Illustrations, ii. Over the head is 
 
 written, " M"". D s y Critick," in Hogarth's handwriting 
 
 (says Ireland), 
 Zl X 4i in. 
 
 " Sleeping Shepherd.'' 
 
 "Hogarth deP" "J. I sc'" "Pub. for 
 
 S. Ireland May i, 1799." i799* 
 
 Faces p. 94 of Graphic Ilhistrations, ii. 
 7 X 5 in. 
 
 Female Curiosity. 
 
 " Hogarth pinx' " " T. Ryder sculp* " 
 " Pub. for S. Ireland May i, 1799." i799« 
 
 Faces p. 96 of Graphic Illustrations^ ii. 
 5t X 4i in- 
 
 ''Auction of Pictitres, etc." 
 
 " Hogarth pinx'" " Le Coeur s^." 
 
 "Pub. for S. Ireland, May i, 1799." i799' 
 
 Faces p. loi of Graphic Illustrations, ii. 
 7t X 5 in. 
 
 " Lady Pembroke " 
 
 "Hogarth pinx'" " T. Ryder fc^" "Pub for 
 
 S. Ireland May i, 1799." i799« 
 
 Faces p. 102 of Graphic Illustrations, ii. 
 4 X 41 in.
 
 312 A CATALOGUE OF PRINTS 
 
 " Hazard Table'' 
 
 " Hogarth deP " " Le Coeur sc." 
 "Pub. for S. Ireland May i. 1799." i799- 
 
 "from y original drawing." A copy faces p. 104 of 
 GrapJiic Illustrations, ii. 
 6i X 4i in. 
 
 " Conversation in the manner of Van Dyck!' 
 " Hogarth pinx^" " Barlow sculp'." 
 " Pub. for S. Ireland May i, 1799." i799- 
 
 Faces p. 108 of Graphic Illustrations, ii. 
 51 X 4i in. 
 
 " Scene at a Ba7iking house in 1745." 
 
 "Hogarth pinx'" "Barlow sculp'" "Pub. for 
 S. Ireland May i, 1799." i799- 
 
 Faces p. 1 1 7 of Graphic Illustrations, ii. 
 l\ X 4^ in. 
 
 " Brotighton & Slack " 
 
 "Hogarth pinx'" " Pub. for S. Ireland May i. 
 1799" 1799. 
 
 Faces p. 120 of Graphic Illustj'ations, ii. 
 
 " Happy Marriage.'" 
 
 ' ' H ogarth pinx' " " T Ryder sculp' " 
 " Pub. for S. Ireland May i. 1799" i799- 
 
 Four plates facing pp. 125, 127, 128, and 130 of Graphic 
 Illustrations, ii. 
 6 X 4J: in, 
 
 " George y II. his Queen, & family.'' 
 " Hogarth pinx'." " Ryder dir'." 
 " Pub. for S. Ireland May i. 1799." I799- 
 
 Faces 137 of Graphic Illustrations, ii 
 5t X 41 in.'
 
 BY, OR AFTER, HOGARTH. 313 
 
 " Mary Stuart, Queen of Scotland!' 
 
 "W. Hogarth Pinx " "F. Bartolozzi R.A. 
 Sculp." "Published JanM2^ 1803 by A Mol- 
 teno, Printseller, to Her Royal Highness the 
 Dutchess of York, 29, Pall Mall. London." 
 
 1803. 
 
 Bambridge on Trial for Alurdcr by a Committee of 
 
 the House of Commons. 
 
 [T. Cook after Hogarth.] 1803. 
 
 Under the title is, " Engraved by T. Cook from an 
 Original Painting by W™ Hogarth in the Possession of M'' 
 Ray," Avith the publication line " Published June 1^' 1803, 
 by G. and J. Robinson, Paternoster Row, London." 
 2o|- X i5i in. 
 
 The House of Commons. 
 " Engraved by A. Fogg, Historical Engraver 
 to his Royal Highness Prince W" Frederick " 
 " London Published Nov', i, 1803, by E. Hard- 
 ing, N° 100, Pall Mall." 1803. 
 
 " From an original Picture painted by Hogarth, and Sir 
 James Thornhill, in the Collection of Earl Onslow." 
 i4t X lyiio- 
 
 ''Royal Masquerade Somerset House!' 
 
 " Hogarth pinx " " T Cook Sc." 1804. 
 
 " Engraved by T. Cook from an Original Picture painted 
 by William Hogarth in the collection of Roger Palmer, 
 Esq""." Other impressions have " Published by Tho* Cook 
 Engraver & Printer No 11 Hay IMarket Oct. 21, 1805." 
 20t X i5|-in.
 
 314 A CATALOGUE OF PRINTS 
 
 " The Modern Orpheus " 
 
 " Design'd by W. Hogarth." [?] '' Etch'd by 
 
 D Smith " " Publish'd as the Act directs by 
 
 Machell Stace Aug' 24, 1807." 1807. 
 
 " From an Original Sketch, in the possession of the Marquis 
 of Bute." An impression faces p. 138 oi Genuine Works, iii. 
 7iX 5iin. 
 
 ''Joseph Porter Esq'', of Mortlake." 
 
 " Hogarth pinx'. " " T Cook sculp'." " PubHshed 
 by Longman, Hurst, Rees, & Orme, March 1'' 
 
 1809." 1809- 
 
 In Nichols and Steevens's Genuine Works, ii. *287, where 
 this appears, it is stated to be "From a Drawing taken from 
 the Original Picture in 1807." 
 3t6 X 4 in. 
 
 A Night Scene. 
 
 " Hogarth pinx." " T. Cook sculp." 1809. 
 
 Published by Longman, etc., Oct. ist, 1809: "From an 
 original Sketch communicated by Mess''^ Boydell." Faces 
 p. *288 of Genuine Works, ii. 
 8 X 5 in. 
 
 '' A Musical Study " 
 
 " Hogarth pinx." " T. Cook sc." " PubHshed by 
 Longman, Hurst, Rees& Orme, Nov. i"'. 1809." 
 
 1809. 
 In Nichols and Steevens's Genuine Works, ii. *2 88, where 
 this appears, it is said to be " from an original Painting in 
 the possession of M"" Nichols." 
 41 X 51 in. 
 
 " The Painter s Room " 
 
 " Hogarth pinx." " T. Cook sc." " PubHshed by
 
 BY, OR AFTER, HOGARTH. 315 
 
 Longman, Hurst, Rees & Orme, Nov. i^\ 
 
 1809." 1809. 
 
 In Nichols and Steevens's Genuine Works, ii. *288, where 
 
 this appears, it is said to be " From an Original Painting 
 
 in the possession of M"" Nichols." 
 
 5t6 X 4i in. 
 
 " The Fire- Eater " 
 
 " Hogarth del' " " D. B. Pyet sculp' " 
 " London Published as the Act directs by Robert 
 Scholey, 46 Paternoster Row." 18 10. 
 
 First published in Clerk's Hogarth, ii. 69. 
 4| X 3i in- 
 
 The Bruiser, and Giants in Guildhall. 
 
 " Copied from Hogarth's original Sketches by J. 
 
 Mills." 
 '' Published by J. Nichols & C°. March, i. 1817." 
 
 1817. 
 Faces p. 163 of Genuine Works, iii. 
 41- X 71- in. 
 
 " 4 Logger heads or B e Tritimphant " 
 
 '* W. Hogarth, deP " " W. J. White, Sc'" 
 
 " Pub'^ by W. J. White April i, 18 18." 18 18. 
 
 2 X 2i in. 
 
 ^^ James Thompson (sic), AtUJior of the Seasons." 
 
 "Executed in lithography by M, Gauci, Esq', 
 
 from an Original Picture painted by W. Hogarth. 
 
 Published by the proprietor, Jan^ 1820, at the 
 
 Gothic Hall, Pall Mall." 1820. 
 
 There is another issue of this, dated May, in which the 
 face looks to the left instead of to the right.
 
 3l6 A CATALOGUE OF PRINTS 
 
 ''John Gay!' 
 
 " Executed in lithography by M. Gauci, from the 
 
 original Picture painted by Hogarth. Published 
 
 by the Proprietor, 1820, at the Gothic Hall, 
 
 Pall Mall" 1820. 
 
 There is another issue of this, dated June, which is larger, 
 and without background. 
 
 Plates for Don Qidxote. 
 
 [Hogarth.] 1822. 
 
 Six plates of these, said to have been prepared for Lord 
 Carteret's Spanish edition of 1738, were published in Ho- 
 garth's Works by Baldwin and Cradock, 1822. John 
 \xt\2cs\^ {Hogarth Illustrated^ iii. 301-319, 372) issued small 
 copies of them, with two others. See also J. B. Nichols, 
 Anecdotes, 1833, 203-8, 329. These prints are to be found 
 in three states at the British Museum. 
 6| X 8f in. 
 
 Handel, 
 
 " Engraved by C. Turner." " London. Published 
 
 April 4, 1 82 1, by {^sic^ for the Proprietor, by C. 
 
 Turner, 50 Warren S', Fitzroy Square." 
 
 1821. 
 
 " From an Original Painting by Hogarth." It is dedicated 
 by the engraver " To The Noblemen, Directors k. Patrons, 
 of The Antient Music." 
 11^ X 14I- in. 
 
 Feeding Pott I try. 
 
 " Hoofarth fecit." " Reading sc." 
 
 .[I82I.] 
 
 Copy of an impression from a snuff-box lid.
 
 BY, OR AFTER, HOGARTH. 317 
 
 The Lady s last Stake ; or, Picquet ; or, Virtite i7i 
 
 Danger. 
 
 Hogarth. Engraved by Cheesman. Published 
 
 May 8, 1825, by Hurst, Robinson and Co. 
 
 1825. 
 
 There is a proof before the writing in the British Museum. 
 See also p. 158 n. 
 23t X iSiin. 
 
 " Garrick in the Green Roomy 
 
 "Painted by Hogarth." "Engraved in mezzo- 
 tinto by \Vm. Ward, Jan i, 1829." 1829. 
 
 "From the original of the same size (23 in. by 19) by 
 Hogarth, in the possession of the publisher, J. W. South- 
 ,■ gate" (J. B. Nichols, Afiecdoies, p. 314). 
 
 23 X 19 in. 
 
 Portraits of a Society of Artists that existed about 
 
 1730. 
 
 [Hogarth.] " Etched by Rich'' Sawyer." 
 
 "London. Published May i, 1829, by W. B. 
 
 Tiffin, 3 Hay Market." 1829. 
 
 Engraved from an original sketch in oil in the possession 
 of the publisher. Contains portraits of Rysbrack, Gibbons, 
 Laroon, Kent, Dahl, Vanderbank, and others. 
 131 X Hi in. 
 
 " Chelsea Peiisioners " 
 
 [Hogarth.] " W™. Ja\ Smith sculp'." [1829 ?] 
 " From the Original Drawing by Hogarth."
 
 3l8 A CATALOGUE OF PRINTS. 
 
 " View in S^. James s Park showing Rosamond's 
 
 Pond'' 
 
 " W. Hogarth pinx :." " F. Ross lith :." " London. 
 
 Published for the Proprietor, Dec^ 25"" 1840, 
 
 by W. & G. Smith, 24 Lisle Street, Leicester 
 
 Square" 1840. 
 
 " From the original Picture by William Hogarth, in the 
 Collection of Henry Ralph Willett, Esq'', of Merly House 
 in the County of Dorset." 
 17I X iii in. 
 
 '■John Bro2igJiton, Prize Fighter!' 
 
 "W. Hogarth." " F. Ross." "London. Pub- 
 lished for the Proprietor March 25*''. 1842, by 
 W. and G. Smith, 24 Lisle Street, Leicester 
 Square." 1842, 
 
 " From the Original Picture (of the same size) by William 
 Hogarth. In the Collection of Henry Ralph Willett, Esq'''' 
 of Merly House, in the County of Dorset." 
 iif X 16^ in. 
 
 " Garrick and his Wife." 
 
 "W. Hogarth, Pinx*." " H. Bourne, Sculp*." 
 
 I^'^ 1855- 
 
 "From the Picture in the Royal Collection." Appeared 
 in the Art Journal iox February, 1855. 
 7t X 9| in.
 
 PRINTS OF UNCERTAIN DATE. 
 
 " Abraham buys a Field of Ephron y Hittite for a 
 Buryhig-place. Gen. 23. 10." 
 [Hogarth.] 
 
 3| X 5i in. 
 
 Abraham, Agar, & Ishmacl. 
 
 " W. Hogarth F'." 
 
 Underneath is "Genesis, Ch. 21. Verse II," and the Text. 
 A Frontispiece to a Tract. A copy faces p. 106 of Genuine 
 Works, iii. 
 ^4- X 6 in. 
 
 Lord Aylmej's Coat of Arms. 
 [Hogarth ?] 
 
 Ayala Arms, with Terjns of the Four Seasons. 
 [Hogarth ?] 
 
 Bes^mr Girl. 
 [Hogarth.] 
 
 Biist of Belinda, etc. 
 
 Impression from plate.
 
 320 PRINTS OF UNCERTAIN DATE. 
 
 " The R^ : Honb^" : Giistavus Lord Visd Boyne, Bm^on 
 
 of Stackallen \sic\ etc. etc!' 
 
 " W. Hogarth pinx." " Ford fecit." 
 
 " Publish'd and Sold by Mich. Ford, Painter and 
 
 Print Seller on Cork Hill." " Price 5^-. ^d!' 
 
 This is a whole-length mezzotint. There is another with 
 the inscription "W"". Hogarth Pinxit." "Andrew Miller 
 fecit." "price 2s. Z\d. There is a small copy in Graphic 
 Illustrations, i. 133. 
 13I- X 191-in. 
 
 Mrs. BtUler ; or, GoldsmitJi s Hostess. 
 [Hogarth.] 
 
 There is a print of this before letters in the British Museum. 
 5t X 6i in. 
 
 The Calves Head Clttb. 
 [Hogarth.] 
 
 Two plates, (i) The true Effigies, &c., and (2) The Four 
 Healths. 
 
 Chicdleigh Arms. 
 From plate. 
 
 Coitntry Dance. 
 
 " W. Hogarth inven. & sculp." 
 " Printed for I. Johnson, Musical Instrument Maker, 
 at y^ Harp and Crown in Cheapside, London," 
 7t X 3 in- 
 
 TJie Crying Child, in the ''Analysis of Beauty.'' 
 [Hogarth.] [W. J. White sculp.] 
 
 " From a Drawing in the Possession of M''. Sheepshanks." 
 4t X 5 in.
 
 PRINTS OF UNCERTAIN DATE. 32 1 
 
 ^^ Sir Francis Dashwood Worshipping Vemis^ 
 
 [Hogarth.] [Piatt sc] 
 
 There is a print of this before letters in the British Museum, 
 8i X 12 in. 
 
 Sir Robert Fagg and the Gipsey. 
 [Hogarth ?] 
 7^ X 6 in. 
 
 A Flower Girl. 
 [Hogarth.] 
 
 From a snuff-box lid. 
 
 De la Fontaine s Shopbill. 
 
 "W. Hogarth F'." 
 
 A Goldsmith's shop. Underneath the design is " Peter De 
 la Fontaine Goldsmith At the Golden Cup in Litchfield 
 Street Soho. Makes, & Sells all Sorts of Gold & Silver 
 Plate, Swords, Rings, Jewells &c, at y'' lowest prices." A 
 Copy faces p. 102 of Genuuie Works, iii. 
 
 Four Eleinents. 
 [Hogarth ?] 
 
 Figures of Vulcan, Juno, Tellus, and Neptune. 
 
 A Ticket for a Bitrial ; or Ftmeral Ticket. 
 [Hogarth ?J 
 
 The Gin Drinkers. 
 [Hogarth.] 
 
 The Great Seal of England. 
 [Hogarth ?] 
 
 Said to have been engraved during Hogarth's apprentice- 
 ship. There is a copy by S. Ireland. (See J. B. Nichols, 
 Anecdotes, 1833, p. 295). 
 Y
 
 32 2 PRINTS OF UNCERTAIN DATE. 
 
 Griffin and Flag. 
 
 Crest, from plate. 
 
 Harrison s Tobacco Paper. 
 [Hogarth ?] 
 
 Arms of John Holland, herald painter. 
 [Hogarth ?] A book-plate. 
 
 Mrs. Holfs Shop Bill. 
 [Hogarth ?] 
 
 There is a copy by M. Ireland in Graphic Illustrations, i. 1 7. 
 
 Impressio7t from a Tankard belonging to the Claire 
 Ma7^ket Artists Club. 
 [Hogarth.] 
 
 Inside of an Opei^a House. 
 [Hogarth ?] 
 A prison scene. 
 
 Kendal Arms. 
 (See p. 18). 
 
 Six Plates for King's '' Pantheon T 
 [Hogarth ?] 
 
 There are two states of these at the British Museum. 
 
 Lacroixs Shop Bill. 
 [Hogarth ?] 
 
 A tobacconist's Bill. The second state has a label at top.
 
 PRINTS OF UNCERTAIN DATE. 323 
 
 Arms of Cotmt Lippe Schauenberg. 
 
 Lumber Troop Arms. 
 
 See J. B. Nichols, Anecdotes, 1833, 299. 
 
 Ticket for the London Infirmary. 
 
 [Hogarth.] "T. Ramsey Sculp*. Lombard Street." 
 
 With the Duke of Richmond's Arms as President and 
 motto from Matt. xxv. v. 40, Certificates of attendance 
 at Lecture in Surgery and Anatomy. The same plate with 
 the background altered to the London Hospital was also 
 used as a Certificate of Attendance to the Practice of 
 Surgery. 
 
 9i X 13I in. 
 
 Ticket for the London Infirmary. 
 
 " W. Hogarth inv." " C. Grignion sculp." 
 
 Motto from Matt. xxv. v. 40. 
 9 X 6i in. 
 
 Benefit Ticket for Laguerre. 
 "W. Hogarth Inv*." 
 
 George Lambert's Book-plate. 
 [Hogarth ?] 
 
 There is a copy in Graphic Illustrations, i. 115. 
 
 Lees Shop Bill. 
 
 [Hogarth ?] 
 
 A Tobacconist's Bill, copied at p. 12 of "Graphic Illus- 
 trations," i. and based on a Midnight Modern Conversation. 
 4 X 31 in.
 
 324 PRINTS OF UNCERTAIN DATE. 
 
 " Daniel Lock Esq"!' 
 
 *'Wil^ Hogarth Pinx*. "J. M^Ardell Fecit." 
 
 " Price I^ 6." 
 
 Lock was Architect of the Foundling. The secojid state 
 has no price. 
 
 Arms of Paul de la Marie. 
 
 Marriage for Love. 
 [Hogarth.] 
 
 From a drawing belonging to Mr. Willett. 
 
 Dr. Cromwell Mortimer. 
 
 [Hogarth.] " Rigou sculp." 
 
 With four lines from Pope. Dr. Mortimer was Secretary 
 to the Royal Society. 
 
 Orator Henley. 
 [Hogarth.] 
 
 The Oratory {i.e., Heyileys). 
 [Hogarth ?] 
 
 Page Tttrner Arms. 
 [Hogarth ?] 
 
 The Prevailing Candidate ; or the Election carried 
 by Bribery and the Devil. 
 [Hogarth ?]
 
 PRINTS OF UNCERTAIN DATE. 325 
 
 A Procession of Painters to the throne of Bacchus. 
 [Hogarth ?] 
 
 Radnor Arms. 
 [Hogarth ?] 
 
 Rape of the Smock. "W. H. Fecit." 
 
 Rutter Arms. 
 
 The Scotch Congregation. 
 [Hogarth?] 
 
 ** A Sea Officer [Sir A. Schomberg]." 
 
 "W". Hogarth pinxit" " C. Townley sc'" 
 
 " Publish'd as the Act directs, by J. FHght, N°. 
 
 400, Strand." 
 
 " The Original Painted by William Hogarth Esq., in pos- 
 session of Sir Alexander Schomberg Knight." 
 II X 13 in. 
 
 Study of a Gentleman sitting in his Library. 
 [Hogarth .?] 
 
 Ik X 5i in. 
 
 Tatton Arms. 
 
 Tavern Bill for John Shaw, Ram Inn, Cirencester. 
 
 "W. Hogarth P" 
 
 A copy faces p. 102 of Genuine Works, iii. There is an 
 impression of the original in the British Museum. 
 \l X 51: in.
 
 326 PRINTS OF UNCERTAIN DATE. 
 
 " Tragedy and Comedy T 
 
 Two plates without writing. There are also reduced copies^ 
 3 X 51 in. 
 8^ X 14 in. 
 
 ''A Turk's Head:' 
 
 Shop Bill for John Barker, Goldsmith, Lombard Street. 
 Copied in Genuine Works, iii. 102. 
 3t X 2i in. 
 
 [^*^ Copious as is the foregoing list, it is possible that there 
 may have been inadvertent omissions. There have, however, 
 been some omissions of set purpose. Such are the tickets 
 (Fielding's, Walker's, etc.), suspected to be forgeries by Powell 
 (J. B, Nichols, Anecdotes, 1833, p. 300), together with sundry 
 doubtful or unimportant shop-bills, and certain coats-of-arms. It 
 has also been thought unnecessary to include two or three designs, 
 the grossness of which neither the ingenuity of the artist nor the 
 coarse taste of his time can reasonably be held to excuse.]
 
 :y/w r^ierj'^a/// i^^ffz-e^^^^r. rv'fjf^mii.iC ^ Ml'Cr- 
 
 <;n/i. /nM. offf-r ^if fimt nf .jHl.ifr//'/na 
 
 BOVS PfclEPING AT NATURK. 
 Fivin HogartJi's Eng7-avin;^.
 
 A CATALOGUE OF PAINTINGS 
 
 BY, OR ATTRIBUTED TO, 
 
 HOGARTH. 
 
 [^*^ Hogarth's best-known works in oil are all in public and 
 private galleries, or in the hands of well-known collectors. A large 
 number are here added from Exhibition Catalogues and other 
 sources ; but although some of them have been confidently ascribed 
 to Hogarth, it is not impossible that they may have been wrongly 
 attributed to his brush. In doubtful cases of this kind, only the 
 personal inspection of experts could decide with certainty, as the 
 traditional origin is often extremely well supported.] 
 
 Twelve Pictures of Hudibi^as. 1726? 
 
 J. B. Nichols {Anecdotes, 1833, 349) enumerates four series 
 of paintings connected with this subject : — 
 
 (i) A set, since sold in November, 1872, at the death of 
 Mrs. Sawbridge, the owner of East Haddon Hall, 
 Northamptonshire, and supposed to have been 
 painted by Hogarth subsequent to the issue of the 
 large series of prints (p. 25). 
 
 (2) A set belonging to John Ireland, and believed by him 
 
 to be Hogarth's originals ; but thought by others to 
 be by Heemskirk. These, in 1833, belonged to 
 Mr. Twining. 
 
 (3) A set on panel, belonging in 1833 to Mr. J. Britton,
 
 328 A CATALOGUE OF PAINTINGS 
 
 bought by him at Southgate's as Hogarth's,'but pro- 
 nounced by Sir T. Lawrence to be by Vandergucht. 
 (4) A set belonging in 1816 to Mr. W. Davies, bookseller 
 in the Strand, and attributed to Lepipre, the illus- 
 trator of the Hudibras of 17 10 referred to at p. 24, 
 under whom Hogarth is said to have studied. 
 
 The existence of so many sets is curious ; but as 
 the proprietor of East Haddon in 1726 was the 
 William Ward to whom Hogarth dedicated the 
 larger Hudibras series (p. 25), it is probable that 
 the East Haddon pictures were painted from the 
 prints by commission (cf. on this question a very 
 interesting article in the "Art Journal" for Sept. 
 1874). Nichols adds (p. vii.) that Mr. H. R. Willett 
 had a painting corresponding to plate v. 
 
 The Wanstead Assembly. 1728. 
 
 Painted for Lord Castlemaine. Belonged in 1814-22 to Mr. 
 W. Long Wellesley. Exhibited in 1875 by Mr. W. Car- 
 penter (35 X 264 in.). 
 
 Scene in the ' ' Beggar s Opera, " 1728-9. 
 
 Belongs to Mr. Louis Huth (22 x 19 in.). 
 
 {Another^ 
 
 Belongs to the Duke of Leeds (29 x 24 in.). 
 
 (^Another ^ 
 
 Belongs to Mr. John Murray (28^ x 22 in.). There are 
 records of other versions. 
 
 Committee of the House of Commons examining Bam- 
 bridge. 1729. 
 
 Painted for Sir Archibald Grant, of Monymusk ; and now 
 in the possession of the Earl of Carlisle (28 x 21 in.). 
 Horace Walpole also had an oil-sketch of this, which was 
 given to him by Hogarth. It was sold in 1842 at his 
 sale for £'^ 5s. to Mr. T. S. Forman, M.P.
 
 BY, OR ATTRIBUTED TO, HOGARTH. 329 
 
 Governor Rogers and Family, 1729. 
 
 Belonged to S. Ireland; bought at his sale in 1801 by 
 Mr. Vernon. 
 
 Mr. Woodbridge and Captain Holland? 1729. 
 
 Belonged to Lord Gvvydir ; in 1833 to General Phipps. 
 (J. B. Nichols, Anecdotes, 1833, 374, where it is said to be 
 inscribed " W, Hogarth pinx. 1729.") 
 
 Henry VHI. and Ann Boleyn. c. 1729. 
 
 Formerly in Vauxhall Gardens. 
 
 The Wollasto7i Family. 1730. 
 
 Belongs to Mr. Frederick Wollaston (49 x 39|:in.) 
 
 The Politician. 1730. 
 
 Given by Hogarth to Theodosius Forrest. Bought by 
 Count \Voronzow at Mr. G. Watson Taylor's sale in 1832. 
 
 The Honse of Commons. 1 730 ? 
 
 By Hogarth and Sir James Thornhill. Now in the posses- 
 sion of the Earl of Onslow. 
 
 The Rich Family. 1728-31* 
 
 " A family piece, consisting of four figures, for Mr. Rich, 
 1728" (Hogarth MS.). Belonged to Mr, Vernon; after- 
 wards to Mr. John Jackson, R.A. (1817). 
 
 The Wood Family. 1728-31.* 
 
 " Family of four figures, — Mr. Wood, 1728 " (Hogarth MS.). 
 
 The Cock Fam ily. 1728-31.* 
 
 "A conversation of six figures, — Mr. Cock, Nov. 1728" 
 (Hogarth MS.). This, in 1833, was in the possession of 
 Mr. Abraham Langford, of Highgate (23 x 19 in.). 
 
 * All these occur in a list by Hogarth of pictures remaining 
 unfinished on the ist January, 1731 {^Hogarth Illustrated, iii., 23)-
 
 330 A CATALOGUE OF PAINTINGS 
 
 Lord Castlemaine and Family. 1729-31.* 
 
 " An assembly of twenty-five figures, for Lord Castlemaine, 
 August 28, 1729" [Hogarth MS.]. Belonged in 18 17 to 
 Mr. Gwennap. 
 
 The Jones Fani ily. 1730-31,* 
 
 A family of five figures, — Mr. Jones, March, 1730" 
 (Hogarth MS.). 
 
 Mr. Kirkam (f ) 1 730- 1 . * 
 
 "Single figure, — Mr. Kirkham, April 18, 1730" (Hogarth 
 MS.). 
 
 The Vernon Family. 1 730-1.* 
 
 " Family of nine, — Mr. Vernon, Feb. 27, 1730" (Hogarth 
 MS.). 
 
 Sir Robert Pye. 1 7 30- 1 . * 
 
 " Single figure, — Sir Robert Pye, Nov. 18, 1730 " (Hogarth 
 MS.). Belonged in 1833 to the Earl of Suffolk, at Charlton 
 near Malmesbury. It is dated at back " 1731." 
 
 Before and After ( i ). i "j^o- 1 .* 
 
 " Two little pictures, called Before and After, for Mr- 
 Thomson Dec. 7, 1730" (Hogarth MS.). These after- 
 wards belonged to Lord Besborough. In 1833 they were in 
 the possession of Mr. H. R. Willett. There is an oil sketch 
 of •' Before " in the Royal Collection. 
 
 Before and After (2). 1730. 
 
 A different design. Belonged in 1879 to Mr. Locker 
 Lampson ; now the property of the Duke of Hamilton 
 (17^ X i2iin.). 
 
 Mr. Sarmond {}) 1731-* 
 
 "A head, for Mr. Sarmond, Jan. 12, 1730-31." 
 
 * All these occur in a list by Hogarth of pictures remaining 
 unfinished on the ist January, 1731 {Hogarth Iliustrated, iii., 23).
 
 BY, OR ATTRIBUTED TO, HOGARTH. 33 1 
 
 A Harlot' s Progress (six pictures). i73i- 
 
 See pp. 41-50. Five were burnt at Fonthill in 1755; the 
 sixth (Picture 2), which once belonged to Lord Charlemont 
 now belongs to the Earl of Wemyss. Lord Rosebery has 
 also two scenes which had formed part of the Novar 
 Collection. There are copies by J. Collett. (See also J. 
 B. Nichols, Anecdotes, 1833, 353 n.) 
 
 Scene in the ' ' Indian Emperor ; or, Conquest of 
 Mexico" 1731- 
 
 Formerly belonged to the Earl of Upper Ossory ; now at 
 Holland House. 
 
 Soutkwark Fair. i733- 
 
 Exhibited in 1885 by the Trustees of the Duke of New- 
 castle (59 X 47iin-)- 
 
 Sarah Malcolm ( i ) . 1733- 
 
 Belonged to Horace Walpole; afterwards to Mr. J. H. 
 Anderdon. (17 x 2o|- in.). 
 
 Sarah Malcolm (2). 
 
 A full-length. Belonged in 1793 to Josiah Boydell ;. 
 in 1833 to the Earl of Mulgrave. 
 
 A Modern Midnight Conversation. i733- 
 
 There are several copies of this. One (48 x 36 in.) 
 was exhibited at Richmond by Mr. H. C. Bohn in 1881. 
 It had belonged to Lord Chesterfield {Athenceum, Aug. 1 3). 
 Another (35 x 29 in.) was shewn at the Guelph Exhibition 
 in 1 89 1 by Mrs Morrison of Basildon. There is also a 
 version at Lord Leconfield's, at Petworth. See also letter 
 from Mr. J. Wade in AthencEum for Sep. 24, 1881, as to 
 another apparent version (33 x 26 in.).
 
 332 A CATALOGUE OF PAINTINGS 
 
 A Rakes Progress (eight pictures). i735- 
 
 See pp. 51-57. Belonged to Alderman Beckford; then to 
 Col. FuUerton ; now in the Soane Museum. Mrs. Hogarth 
 had an oil sketch of the sixth picture ; and Sir Clare Ford 
 exhibited in 1888 a version (29 x 24in.) of the "Tavern 
 Scene " (HI.), which had been painted for his great-great- 
 grandfather, Mr. Benjamin Booth. 
 
 The Distressed Poet. i735- 
 
 See p. 79. Given by the artist to Mrs. Draper, the Queen's 
 midwife, at whose death it was bought for £^^ ^s. by a 
 solicitor named Ward. Lord Grosvenor bought it at Ward's 
 death for 14 guineas. It is now in the collection of the 
 Duke of Westminster (29^ x 2iiin.). 
 
 The Westerft Family. c. 1735. 
 
 Belonged in 1833 to Lord Western. 
 
 The Pool of Bethesda. 1736. 
 
 Belongs to St. Bartholomew's Hospital (20 ft. 3 in. x 
 13 ft. 8 in.). 
 
 The Good Samaritan. ^ITi^- 
 
 Belongs to St. Bartholomew's Hospital (16 ft. 9 in. x 
 13 ft. 8 in.). 
 
 The Sleeping Congregation. ^Th^- 
 
 See p. 68. Belonged to Sir Edward Walpole ; afterwards 
 to J. Follett, Esq. of the Temple; sold in 1807 for ^20 9.^. 
 with Mr. Jackson's collection, and then by Mr. Woolner 
 R. A. in 1875 to Messrs. Agnew for ;;^94 loi'. Exhibited 
 in 1888 by Mr. R. Rankin (17^ x 2iiin.). 
 
 The Strolli7ig A dresses. ^ITi^- 
 
 See p. 73. Belonged to Mr. Wood, of Littleton, where it 
 was burnt in 1874.
 
 BY, OR ATTRIBUTED TO, HOGARTH. 333 
 
 Four Times of the Day. 1738. 
 
 See pp. 71-3. "Night" and "Morning" belong to the 
 Hursley Park Trustees. They are at present in the keep- 
 ing of Lady Heathcote. "Noon" and "Evening" origi- 
 nally belonged to the Duke of Ancaster ; in 1833 they were 
 in possession of Lord Gwydir (24 x 29 in.). A sketch for 
 " Morning," purporting to have been given by Hogarth to 
 his friend Mr, Birch, was sold in 1827. 
 
 Captain Coram. i739' 
 
 See. p. 76. In the FoundHng Hospital. 
 
 Benjamin Hoadly, M.D. 1 740. 
 
 This, signed and dated, was for sale at Messrs. Colnaghi's in 
 March, 1891. It is now in the National Gallery of Ireland. 
 
 Monamy showing a Picture. c. 1 740. 
 
 Belonged to Mr. Thomas Walker, and was presented to 
 Horace Walpole by Mr. Richard Bull. The Earl of 
 Derby, to whom it now belongs, gave 20 guineas for it 
 at Walpole's sale in 1842. (24 x 19 in.) The sea-piece 
 in the picture is by Monamy himself. 
 
 The Enraged Musician. 1 74 1 • 
 
 See p. 80. An oil sketch of this belonged to S. Ireland. 
 In 1833 it was in the possession of Mrs. Chambers Hall 
 of Southampton. 
 
 Martin Folkes, Esq., President R.S. i74i- 
 
 Belongs to the Royal Society (24 x 29 in.). 
 
 Taste in High Life. 1 742. 
 
 Painted for ?tliss Edwardes (see p. 82). Belonged in 18 14 
 to Mr. Birch of Spring Gardens. 
 
 Bishop Hoadly. 1743- 
 
 Belonged in 1833 to Mr. Serjeant D'Oyly.
 
 334 A CATALOGUE OF PAINTINGS 
 
 BisJiop Hoadly. 
 
 By Hogarth and Mrs. Hoadly. This is in the National 
 Portrait Gallery (40 x 50 in.). 
 
 Mrs. Hoadly. 1743- 
 
 Belonged in 1833 to Serjeant D'Oyly. 
 
 Chancellor Hoadly. 1 7 4 3 • 
 
 Belonged in 1782 to Mrs. Hoadly. 
 
 Mrs. Elizabeth Hoadly. i743- 
 
 Wife of Dr. Benjamin Hoadly. Exhibited in 1879 by Mr. 
 Ernest Gye. 
 
 Archbishop Herring. i745. 
 
 Belonged in 1833 to Mr. George Stone of Lombard Street. 
 Exhibited in 1876 by the Archbishop of York. There is 
 a copy at Lambeth Palace, which was exhibited at South 
 Kensington in 1867 by the Archbishop of Canterbury 
 (39 X 49 in-)- 
 
 Marriage A-la-Mode (Six pictures). i745- 
 
 See p. 90. Bought of the artist by Mr. Lane of Hillingdon, 
 near Uxbridge. Bequeathed by him to Colonel Cawthorne, 
 who sold them in 1797 to Mr. Angerstein, with whose 
 collection they were purchased in 1824 by the nation. 
 They are now in the National Gallery (35 x 27 in.) 
 
 Hogarth with Pug Dog. i745- 
 
 See p. 184. Bought at Mrs. Hogarth's sale in 1790 by Mr. 
 Angerstein, with whose collection it was purchased by 
 Parliament in 1824 (27 x 35 in.). 
 
 Garrick as Richard HI. 1 746. 
 
 See p. 117. Bought of the artist by Mr. Buncombe of 
 Buncombe Park, in Yorkshire. It now belongs to his 
 descendant, the Earl of Feversham (96 x 74^ in.).
 
 Simon Eraser, Lord Lovat. 1746. 
 
 Seep. 119. Purchased by the Trustees of the National 
 Portrait Gallery in June 1866 (16 x 25^ in.). 
 
 {Another). 
 
 Was in 1879 in possession of Mr. H. Gravies of Pall Mall. 
 
 Mary Hogarth. 1 746. 
 
 Bequeathed to the National Gallery in 1 861 by Mr. Richard 
 Frankum, and dated " 1746" {Z~ x 11 in.). 
 
 Saint Georges Hospital (with Count Solacio on 
 
 horseback). 1746. 
 
 The horse is by Sartorius. Belongs to St. George's Hospital, 
 Hyde Park. 
 
 Paul before Felix. 1748- 
 
 See p. 134. Belongs to the Honourable Society of Lin- 
 coln's Inn. 
 
 The Gate of Calais. i749- 
 
 See p. 125. Bought from the painter by the Earl of 
 Charlemont. Until recently, it formed part of the Bolckow 
 collection. Messrs. Agnew purchased it in May 189T for 
 2,450 guineas. It is now in the collection of the Duke of 
 Westminster (37I- X 31 in.). 
 
 The March to Finchley. 1750. 
 
 See p. 129. In the Foundling Hospital. 
 
 Moses brought to PharaoJis Daughter. 1752. 
 
 See p. 134. In the Foundling Hospital. 
 
 False Perspective Exemplified. i754- 
 
 Belonged to S. Ireland. 
 
 Four Pictures of an Election. i755- 
 
 See p. 147. Belonged to Garrick ; now in Sir John Soane's 
 Museum.
 
 2,;^6 A CATALOGUE OF PAINTINGS 
 
 Altar- Piece for St. Mary Redcliffe, Bristol. 1756. 
 
 See p. 154. To the right is The Sealing of the Sepulchre ; 
 to the left, The Three Maries visitifig the Sepulchre ; the 
 centre piece represents The Ascension. The pictures are 
 now in the possession of the Fine Arts Academy at Clifton. 
 
 George II. and Family. i757 ? 
 
 Belonged to S. Ireland, at whose sale in 181 1 it was bought 
 by Mr. Vernon ; bought again 5 April, 1821, at Gwennap's 
 sale by Colnaghi. Belonged in 1833 to Mr. H. R. Willett. 
 
 David Gar rick and his Wife. i757- 
 
 See p. 117. At Mrs. Garrick's sale in 1823 this picture was 
 bought for ^75 11^. by Mr. Edward Hawke Locker of 
 Greenwich Hospital, who sold it to George IV. It is now 
 in the Royal Collection at Windsor (39 x 50 in.). 
 
 Hogarth painting the Comic Mtise. 1758. 
 
 Bought by Lord Camden from Mrs. Hogarth ; subsequently 
 in the Willett collection ; purchased by the Trustees of the 
 National Portrait Gallery in June, 1869 (144^ x 15^ in.). 
 
 The Ladys Last Stake; or Picquet ; or Vi^'tite in 
 
 Danger. 
 See p. 158. Bought by Lord Charlemont from the artist 
 for ;^ioo. It now belongs to Mr. Louis Huth (41 x 35|- 
 in.). 
 
 Sigismunda. 1 7 5 9 • 
 
 See p. 159. Bought at Mrs. Hogarth's sale in 1790 for 
 56guineas ; sold in July 1807 for 400 guineas ; bequeathed 
 to the National Gallery in 1879 by Mr. J. H. Anderdon 
 (49-^ x 39 in.). An oil sketch of Sigismunda, belonging 
 to S. Ireland, was sold at Christie's in 1797 for ;£^ ^s. 
 (See Sigismunda (i) and (2) in the "Catalogue of Prints," 
 pp.302 and 305.)
 
 BY, OR ATTRIBUTED TO, HOGARTH. T^T^J 
 
 William Hog art k. 1761 ? 
 
 (See p. 1 85). With a pipe. Belonged in 1825 to the Duke 
 of Bedford. At the back of the picture is, — "This 
 portrait of M"" Hogarth was made me a present of by him 
 in friendly return for a Tobacco Box I gave him. S"" 
 Graves, Chiswick, 2<f Dec"". 1761."
 
 PAINTINGS OF UNCERTAIN DATE. 
 
 An AiLctioii of Pictures . 
 
 Bought of Mr. W. B. Tiffin by Francis Douce, the antiquary, 
 to whom it belonged in 1833. 
 
 The Dance in the " Analysis of Beauty T 
 
 Bought by Mr. Vernon at S. Ireland's sale. In 1833 it 
 belonged to Mr. W, B. Tiffin of the Strand. 
 
 Dr. Arnold of Ashby Lodge. 
 
 In the Fitzwilliani Museum at Cambridge (27 x 35 in.). 
 
 Miss Arnold of Ashby Lodge. 
 
 In the Fitzwilliani Museum at Cambridge (27 x 35 in.), 
 
 Ashby Lodge, in Leicestershire. 
 
 In the Fitzwilliam Museum at Cambridge (47 x 32 in.). 
 
 A View of Bethlehem Hospital. 
 
 Exhibited 18 14; in the possession of Mr. Jones. 
 
 The Betts Family. 
 
 Belonged to Mr. Matthew Raper, of Wimpole Street. 
 
 Lord Bolingbroke. 
 
 Sold at Gwennap's sale, 5 April, 1821.
 
 PAINTINGS OF UNCERTAIN DATE. 339 
 
 Boy with a Kite. 
 
 ^ Belongs to the Duke of Westminster (iiy X 14 in.) 
 
 Viscount Boyne. 
 
 Belonged to Mr. Bellamy, Mr. Thomas Dimsdale, and 
 in 1833 to Mr. Woodburn. Exhibited in 1891 by Mr. M. 
 H. Colnaghi (14 x 2o|- in.). Mr. Willett had also a 
 repetition of it. A little picture containing among others 
 a portrait of Lord Boyne, and said to be by Hogarth, was 
 exhibited at South Kensington in 1867. 
 
 A Breakfast Piece. 
 
 Represents the Strode Family. Belonged in 1833 to Mr 
 William Finch, and nowin the National Gallery (36 x 34 in.) 
 
 Mr. Bt'ido-eman, the Gardener? 
 
 Sold at Gwennap's sale, 5 April, 1821. 
 
 Mr. Bullock the Comedian. 
 
 Belonged in 1833 to Mr. Charles Mathews, to whom it was 
 presented by Mr. H. R. Willett. 
 
 A Butcher s Shop {with Slack fighthig). 
 
 Belonged in 1833 to the Marquis of Exeter. 
 
 Mrs. Btitler; or, Golds77iith's Hostess. 
 
 Belonged to Mr. Robert Graves ; now in the possession 
 of Mr. Henry Graves of Pall Mall. 
 
 Lady Byron. 
 
 At Lowther Castle (Earl of Lonsdale's), where are also 
 portraits of Miss and Master Byron. 
 
 Outskirts of a Camp. 
 
 A study sold at Gwennap's sale, 5 April, 182 1. 
 
 Elizabeth Candling. 
 
 Belonged in 1833 to the Earl of Mulgrave.
 
 340 PAINTINGS OF UNCERTAIN DATE. 
 
 Lord Charlemont. 
 
 Belonged to S. Ireland. Sold at Gwennap's sale, 5 April, 
 1821. 
 
 Clare Market. 
 
 Belonged to Mr. Browning, formerly of King's College, 
 Cambridge. 
 
 Tke Coffee-House Politicians. 
 
 Belonged in 1827 to Rev. Mr. Williams of Hendon. 
 
 Thomas Combes of Dorsetshire. 
 
 A Conversation. 
 
 " Another of two [figures], — Mr. Cooper" (Hogarth MS.) 
 
 Captain Coram. 
 
 Exhibited in 1891 by the Duke of Sutherland (27^ x 35 in.) 
 
 The Country in the Olde7i Time. 
 
 Belonged in 1879 to Mr. Ayscough Fawkes. 
 
 The Earl of Coventry a7idhis wife [Maria Gunning). 
 Exhibited in 1891 by the Earl of Coventry (29 x 48 in.). 
 
 Falstaff examining his Recruits. 
 
 This was bought by Garrick at Lord Exeter's sale ni 1777 
 At Mrs. Garrick's death it passed to Mr. Cord. It was 
 recently in the Bolckow Collection, which was dispersed 
 in May, 1891 (23 x 19^ in.). 
 
 Mrs. Charlton the younger. 
 
 Exhibited in 18S8 by Mrs. Edgar (28 x 30 in.). 
 
 The Duke of Cumberland, K.G., when a Boy. 
 
 Belonged to Mr. W. J. Broderip, with whose collection it 
 was sold in 1859. Exhibited in 1888 by Sir Charles 
 Tennant, Bart. (13I: x 17^ in.).
 
 PAINTINGS OF UNCERTAIN DATE. 34 1 
 
 Danae. 
 
 Bought of Hogarth by the Duke of Ancaster for ^^63 
 (Hogarth MS.). See also Walpole's Anecdotes. 
 
 Sir Francis Dashwood worshipping Vemts. 
 
 In 1833 th^s was in the room of the Dilettanti Society at 
 the Thatched House Tavern. 
 
 Debates on Palmistry. 
 
 A Sketch. Belonged to S. Ireland ; then to Sir G. 
 Beaumont. 
 
 M". Desaguliers (Wife of Maj. Gen. Desaguliers). 
 
 Exhibited in 1891 by Mr. W. G. Cartwright (27 x 27 in. 
 circular). 
 
 Head of Diana. 
 
 Belonged in 1794 to S. Ireland. 
 
 The Devonshire Family. 
 
 Exhibited in 1891 by tho Duke of Devonshire (49^ x 39^ 
 in.). 
 
 William 5'^' Duke of Devonshire. 
 
 Exhibited in 1878 by Lord Chesham (24 x 29!- in.). 
 
 A Drunken Party. 
 
 Belonged, in 1833, to Viscount Boyne. 
 
 Fe7nale Curiosity. 
 
 Belonged to S. Ireland. 
 
 Head of a Fe7nale Moor. 
 
 Belonged to S. Ireland; bought at his sale in 1801, by Mr. 
 Vernon.
 
 / '^ 
 
 342 PAINTINGS OF UNCERTAIN DATE. 
 
 Lavinia Fentofi as ''Polly Peachumr 
 
 Bought at Samuel Ireland's sale in 1801 by Mr. Sequier. 
 Afterwards in the collection of Mr. George Watson- 
 Purchased for the National Gallery from Sir Philip Miles' 
 collection in 1884 for 800 guineas (23 x 29 in. oval). 
 
 Lavinia Fenton, Duchess of Bolton. 
 
 Exhibited in 1888 byMr.C. Brinsley Marley(i9^ x 23iin.). 
 
 A Village FHe. 
 
 Belonged, in 1833, to Mr. James West of Bryanston Square. 
 
 Figg, the prize-fighter. 
 
 Belonged to S. Ireland ; bought in 1801 by Mr. Vernon. 
 
 Florizel and Perdita. 
 
 Belonged in 1833 to Mr, H. R. Willett. 
 
 The Fountaine Family. 
 
 Exhibited in 1880 by Mr. A. C. Fountaine (23 x 18 in.). 
 
 Garrick in the Greejt Roo7n. 
 
 Exhibited in 1880 by Mr. Samuel Addington (24 x 18 in.). 
 
 M"" Garrick. 
 
 Exhibited in 1 89 1 by Dr. Edward Hamilton (11^ x Y-^-'va.), 
 
 Garrick' s Villa. 
 
 John Gay. 
 
 Bought at Gwennap's sale, 5 April 182 1 by Mr. Sinclair. 
 
 Gentleman tmknown. 
 
 Belonged in 1833 to Mr. J. B. Nichols. 
 
 James Gibds, Architect. 
 
 Belongs to the Church of St. Martin's-in-the-Fields.
 
 PAINTINGS OF UNCERTAIN DATE. 343 
 
 Girl with a Cage. 
 
 Belonged to Mr. G. Watson Taylor, sold at his sale in 
 1832 (12 X 15 in.). 
 
 The Graham Fa7nily. 
 
 Belonged in 1804-14 to " M'' Graham of Chelsea;" sub- 
 sequently to Mr. Seguier and Mr. G. Watson Taylor. Now 
 in the possession of the Earl of Normanton (71 x 63 i in.). 
 
 Hagar and IshmaeL 
 
 Bought at S. Ireland's sale in 1801 by Mr. Cummings. 
 
 Hon''^'. J. Hamilton. 
 
 Exhibited in 1875 by the Earl of Abercorn (24 x 29 in.). 
 
 Hammond, Hogarth^ etc. 
 
 A Conversation. At Stisted Hall, Essex, in 1833. 
 
 Handel. 
 
 Belonged in 1833 to Mr. Peacock of Marylebone Street 
 (i7i X 21 in.). 
 
 The Happy Marriage. 
 
 Bought at Mrs. Garrick's sale in 1832 by Mr. T. S. Forman 
 (34 X 25 in.). 
 
 Sir C. Hawkins. 
 
 Belongs to the Royal College of Surgeons. 
 
 Sir George Hay, LL.D. 1760. 
 
 Sold, in 1823, at Mrs. Garrick's sale, to Mr. Dawkins 
 Pennant. 
 
 Scene in a Hayfield. 
 
 Part of a landscape by Lambert. Belonged in 1833 to Mr. 
 A. Langford of Highgate.
 
 344 PAINTINGS OF UNCERTAIN DATE. 
 
 William Hogarlh. 
 
 Exhibited in 1891 by the Honble. Mrs. Maxwell Scott 
 (24 X 30 in. oval). 
 
 M''' Hogarth. 
 
 Belonged to Mr. H. R. Willett ; exhibited in 1888 by Mr. 
 H. Bingham Mildmay (27^ x 35 in.). 
 
 Mary and Ann Hogarth. 
 
 These belonged to J. B. Nichols, and are now in the 
 possession of Mr. R. C. Nichols of 6 Essex Place, Hyde 
 Park. 
 
 Ann Hogarth. 
 
 Exhibited in 1891 by Miss Reid (24 x 30 in.). 
 
 Hogarth' s five Serva7its. 
 
 These belonged in 181 7 to Mr. William CoUins of Greenwich. 
 
 Lord Holland. 
 
 Belonged to Mr. S. Ireland. Exhibited in 1891 by the 
 Earl of Ilchester (19 x 23^ in.). 
 
 Bishop Hooper. 
 
 In Christ Church Hall, Oxford. 
 
 W. Huggins, Esq. 
 
 J. Jacobson, Esq. 
 
 Sold in 1832 at Mr. G. Watson Taylor's sale. 
 
 The Jeffreys Family. 
 
 Belonged in 1833 to the Rev. Mr. Jeffreys of Barnes. 
 
 William Jones, Esq. 
 
 Father of Sir W. Jones, the Orientalist. Exhibited in 1882 
 by the Earl of Macclesfield (39 x 49 in.).
 
 PAINTINGS OF UNCERTAIN DATE. 345 
 
 A Lady at a Tca-Table. 
 
 Exhibited in 1888 by Mr. John Cleland (25 x 30 in.). 
 
 A Lady Unknown. 
 
 Belonged to John Ireland; in 1833 the property of j\Ir. J. 
 B. Nichols. 
 
 Poi'trait of a Lady. 
 
 Exhibited in 1877 by Mr. J. B. Gibson Craig (37 x 48 in.). 
 
 Portrait of a Lady. 
 
 Exhibited in 1888 by Mr. S. N. Castle (28^ x 34r in-)- 
 
 Sir Charles Kcmeys-Tynte, Bart. 
 
 Exhibited in 1888 by Colonel Kemeys-Tynte (39I- x 49 in.). 
 
 M^. George Lambert. 
 
 Belonged in 1782 to S. Ireland. 
 
 A Landscape. 
 
 Exhibited in 1882 by the Rev. F. K. Harford (lo^ x "j^ in.). 
 See Notes and Queries for 28 Jan. 1882. 
 
 The Latigking Attdience. 
 
 Belonged in 18 14 to R. B. Sheridan ; subsequently to Mr. 
 G. Watson Taylor. Sold in 1848 at Mr. Richard Sander- 
 son's sale. An original oil-sketch (16 x i9|- in.) of the 
 beau and orange-girl for this picture belonged in 1879 to 
 Mr. W. S. Harvey of Stockwell. 
 
 M''^ Mary Lewis. 
 
 Daniel Lock, Esq ; F.S.A. 
 
 Belonged to Mr. Bellotti ; in 1832 the property of Mr. 
 Peacock of Mary-le-bone Street. 
 
 George, 2'"^ Earl of Macclesfield. 
 
 Exhibited in 18S2 by the Earl of Macclesfield (39 x 49 in.).
 
 34^ PAINTINGS OF UNCERTAIN DATE. 
 
 A View of the Mall, St. James s Park. 
 In the Royal Collection (50 x 40 in.). 
 
 JVP Samuel Martin. 
 
 Left by Hogarth in his will to Mr. Martin. 
 
 Mary, Queen of Scots. 
 
 Originally a portrait of Mrs. Cholmondeley. Belonged to 
 Mr. Edwards of Beaufort Buildings. 
 
 Masquerade at Somerset Hotise. 
 
 Belonged to Mr. Palmer, then to his sister, INIrs. Palmer. 
 
 /// Effects of Masquerades. 
 
 BelongedtoMr, Peacock of Mary -le-bone Street (15 x 12 in.) 
 
 The Matthias Family. 
 
 Belonged in 181 7 to Mr. T. J. Matthias (29 x 24 in.) 
 
 The Mayor of Garratt. 
 
 M'' Moses Mendez. 
 
 Belonged in 181 7 to Mr. Coram of Lyon's Inn. 
 
 The Montague Family. 
 
 "Another [i.e. a family] of five — Duke of Montague" 
 (Hogarth MS.). 
 
 M'' Moss op as '' Bajazet." 
 
 Belonged to Hogarth's godson, J. Richards, R.A. ; then 
 to Mr. Robert Graves. Bought in 1825 at Baker's sale, 
 by Mr. T. S. Forman, of Pall Mall. 
 
 A Mttsical Party. 
 
 Sold in Mr. W. Richardson's sale, 30 June, 1813. Contains 
 portraits of the Duke of Bolton, Miss Fenton, etc.
 
 PAINTINGS OF UNCERTAIN DATE. 347 
 
 Music Piece. 
 
 Exhibited in 1888 by the Earl by Essex (29 x 24 in.). 
 
 A Musical Study. 
 
 Belonged in 1833 to Miss Nicholls of Highbury Place. 
 Exhibited in 18S9 by Mrs. Gough Nichols (22 x i8iin.). 
 
 Henry, Duke of Nezucastle, K. G. 
 
 Exhibited in 1888 by John Pender, Esq. (24 x 29^ in.). 
 
 Orator Henley cJunsteiiing a Child. 
 
 Belonged to S. Ireland ; now in the British Museum, who 
 obtained it with the Payne Knight Collection (9^ X 13 in.). 
 
 Oysters ; or, St. James's Day. 
 
 Belonged in 1833 to Mr. G. Weller. Includes portraits 
 of the Duke of Wharton, Bab Selby, Spiller the player, 
 Figg, Garth, Betterton, etc. 
 
 The Painter s Room. 
 
 Belonged to S. Ireland. 
 
 The Painting Room. 
 
 Belonged to Mr. Jennings of Chelsea : sold at Gwennap's 
 sale, 1 82 1. Represents Hogarth painting Lady Thornhill. 
 
 John Palmer, Esq. 
 
 Belonged in 1833 to Mr. Thomas AVhaley of Ecton, 
 Northamptonshire. 
 
 Paviours Sign ( Tzvo Designs). 
 
 Belonged to S. Ireland, and bought at his sale in 181 1 by 
 Mr. Vernon. 
 
 Thomas Pellett, M.D. 
 
 Bought at Gwennap's sale in 1821 by Mr. Penny. 
 
 Lady Pembroke.
 
 348 PAINTINGS OF UNCERTAIN DATE. 
 
 Mr. Pine the Ens^raver. 
 
 Belonged to Mr. Ranby the Surgeon. 
 
 Miss Pine. 
 
 Belonged to John Ireland; bought at his sale by Mr. 
 Spackman. 
 
 Portrait Gronp. 
 
 Includes portraits of Henry and Stephen Fox, Lord 
 Harvey Winnington and two others. Exhibited in 1889 
 by the Earl of Ilchester (5o|- x 33|in.). 
 
 Joseph Porter, Esq. ; of Mortlake. Before 1749. 
 
 Belonged in 18 14 to the Marquis of Stafford. 
 
 The Porten Family. 
 
 Exhibited by Rev. Thos. Burningham (39 x 49 in.). 
 
 Mr. Prior, the Poet. 
 
 Belonged in 1833 to Mr. J. B. Nichols. Probably a book- 
 seller's sign. 
 
 James Qtdn, the Actor. 
 
 Belonged in 18 17 to Mr. Gwennap; afterwards to Charles 
 INIathews. Exhibited in 1885 by the Marquis Townsend 
 (24 X 29 in.). 
 
 Miss Ray [or Reay). 
 
 Belonged to Mr. Munro, at whose sale in 1867 it passed to 
 Mr, Addington. It now belongs to Mr F. B. Henson 
 (2ii X 29^- in.). 
 
 Michael Rysbrack, the Sculptor. 
 
 Exhibited in 1888 by Mr. Edward Draper (24 x 28^ in.). 
 
 Miss Rich. 
 
 Belonged to Mr. John Heywood; in 1867 in possession of 
 Mr. J. Heyv/ood Hawkins (14 x 16 in.).
 
 PAINTINGS OF UNCERTAIN DATE. 349 
 
 Mr. Rick, Mr. Cock, etc. 
 
 Belonged in 1833 to Mr. Langford of Highgate(2 3 x i8in). 
 
 Samttel Richardson. 
 
 Exhibited in 1889 by Sir John Neeld, Bart. (7 x gin.). 
 
 Satan, Sin and Death. 
 
 Belonged to Mrs. Garrick ; bought at her sale in 1823 by 
 Mr. J. S. Forman of Pall Mall. 
 
 Mrs. Salter of the Charter House. 
 
 Belonged to S. Ireland ; brought at his sale by Mr. Vernon. 
 
 Oitr Saviour. 
 
 Belonged to Theodosius Forrest ; in 1784 to his executor 
 Mr. Peter Coxe. 
 
 The Savoyard Girl. 
 
 Sold at Mr. G. Watson Taylor's sale in 1832. 
 
 Scene in Goodman Fields Theatre. 
 
 Belonged in 1833 to Mr. Peacock of Mary-le-bone Street' 
 (22^ X i4y in.) 
 
 Scene in the Suspiciotis Husband. 
 Belonged in 1782 to Mrs. Hoadly. 
 
 The SJu'imp Girl. 
 
 Sold at Mrs. Hogarth's sale in April 1790, and again in 
 1832 at the sale of the collection of Mr. George Watson 
 Taylor. It was purchased for the National Gallery from 
 Sir Philip Miles's collection in 1884 (20 x 25 in.). 
 
 View in St. James s Park ; or, Rosamond' s Pond. 
 
 Belonged to S. Ireland ; afterwards to Messrs. Gwennap, 
 Colnaghi, and Willett. Now in the possession of Louisa 
 Lady Ashburton (6o| x 39^ in-)-
 
 350 PAINTINGS OF UNCERTAIN DATE. 
 
 Captain Sir A. Schombcrg. 
 
 Exhibited in 1891 by General G. A. Schomberg. 
 
 The Sewcll Family. 
 
 Belonged to Dr. Clarke the Traveller (22I: x 19I- in.). 
 
 Sleeping Child. 
 
 Belonged, in 1782, to Dr. Lort. 
 
 View of Spencei'- House. 
 
 Exhibited in 1889 by Earl Spencer (50 x 31 in.). 
 
 A Statnaiys Shop. 
 
 Belonged, in 1833, to Mr. Edward Rudge. 
 
 TJie Staymaker. 
 
 Belonged to S. Ireland; in 1833 to Mr. W. B. Tiffin of 
 the Strand. 
 
 Death of Sir Philip Sidney. 
 
 Bought at Gwennap's sale in 182 1 by Mr. Penny. 
 
 A Society of Artists. 
 
 Belonged to the Boydells ; afterwards to Hurst, Robinson 
 & Co. ; then to Mr. W. B. Tiffin of the Strand. In 1833 
 it belonged to Mr. Chambers Hall of Southampton. 
 
 Thomson the Poet. 
 
 Belonged, in 1832, to Mr. C. Rossi. 
 
 Thomson the Poet {anothei') . 
 
 Belonged, in 182 1, to Mr. Sinclair. 
 
 Sir James Thorn hill. 
 
 Lady ThornhilL 
 
 Belongs to Lord St. Oswald.
 
 PAINTINGS OF UNCERTAIN DATE. 35 1 
 
 M*' John Thornhill. 
 
 The Thornhill Family (i). 
 
 Belonged to Mr. J. Andrews ; bought at his sale by Mr. 
 Donovan (27 x 22 in.). 
 
 The Thoinihill Family (2). 
 
 Exhibited in 1889 by Mrs. Wollaston (36 x 29 in.). 
 
 The Vane Family. 
 
 Belonged, in 1S82, to Lord Harry Vane, Bart. (29 x 24 in.). 
 
 View of the Treasury Garden. 
 Sold at Gvvennap's sale in 1821. 
 
 View in a Village near London. 
 
 Belonged in 1S17 to Mr. Davies of the Strand. 
 
 Sir Edivard Walpole. 
 
 Belonged to his brother, Horace Walpole. 
 
 Horace Walpole. 
 
 Exhibited in 189 1 by Mr. H.Spencer Walpole (2 yi x 35 in.) 
 
 Wanstead Family Group. 
 
 Belonged, in 1822, to Mr. W. Long Wellesley. 
 
 M'-Jtislice Welch. 
 
 Belonged to Mr. G. M. Stainforth of Berkeley Square. 
 
 M^ Western of Clare Hall. 
 
 Belonged to the Rev. W. Cole of Milton. 
 
 The Misses Weston. 
 
 Exhibited in 1891 by Mr. Horace A. Helyer (50 x 40 in.).
 
 352 PAINTINGS OF UNCERTAIN DATE. 
 
 M"" Windham. 
 
 Belonged to S. Ireland; bought at his sale, in 1801, by 
 Mr. Vernon. 
 
 M'' Woffington. 
 
 Belonged to Mr. Addington ; now in the possession of Mr. 
 F. B. Henson (28 x 36 in.). 
 
 J/". Woffi7igton. 
 
 Belongs to the Marquis of Lansdowne (23^ x 27^. in.). 
 
 M'' Woffington. 
 
 Exhibited in 1888 by Sir Charles Tennant, Bart. (241 x 29^ 
 in.). 
 
 ADDENDA. 
 
 M'' Clive. 
 
 Belongs to Lord St. Oswald. 
 
 Broughton the Prize-fighter. 
 
 Exhibited in 1867 by Mr. Willett L. Adye (12 x 17^ in.). 
 There is a version at Lowther Castle. 
 
 Captain Lord George Graham. 
 
 Exhibited in 1891 by the Duke of Montrose. 
 
 Street Scene in a Fre^ich Town. 
 
 Belongs to Mr. John Reid (54 x 42 in.).
 
 INDEX. 
 
 [N.B.— Titles of Books are in inverted commas ; titles of Prints and 
 Pictures in italics.'] 
 
 BR AH AM, Agar, Appre?itice Series, The, 1 20, 1 2 1 -3, 
 ^j^^^ and Ishmael, 2,'i^(). 269 
 
 ^^S^^ Abraham buys a " Apuleius," Briscoe's, 21, 242. 
 
 ^) jF/^A/ of Ephron, Apiikius, Plates to, 21, 2/^2. 
 
 319. Archbishop Tenison's School, 
 Act against Strolling Players, The, 39- 
 
 73- ^^"^^, Bagpipes, etc., 137, 273. 
 
 Adams, Elizabeth, 253. Arnold, Dr., 338. 
 
 yEneas in a Storm, 261, Arnold, Mathevv, 138. 
 
 After, 28, 260, 330. Arjiold, Miss, 338. 
 
 Altar-piece for St. Mary Red- "Art in England," Button Cook's, 
 
 cliffe, 154, 336. 225. 
 
 "Analysis of Beauty," 81, 139, Artists' Catalogue, Frontispiece 
 
 140-6, 205. and Tailpiece to, 163, 283. 
 
 " Analysis of Beauty," Editions Artists, Portraits of a Society of, 
 
 of, 143, 206. 317. 
 
 Analysis of Beauty, Plates to, lAfif, Ascension, The, 1^4. 
 
 277. Ashby Lodge, 338. 
 
 Afialysis of Beauty, Dance in, ^■^2). Auction of Pictures, 311, 338^ 
 
 Anderdon, Mr, J. H., 163, 331. Ayala Arms, 319. 
 
 "Anecdote Biography," Timbs's, Ay Imer Arms, T,ig. 
 
 225. 
 
 "Anecdotes of William Hogarth," Baiser Rendu, Le, 308. 
 
 J. B. Nichols's, 4, 220. Bambridge on Trial, 28, 313, 32S. 
 
 " Anecdotes of Painting in Eng- Banking House, Scene at a, 312. 
 
 land," Walpole's, 209. Bates, Mr. WiUiam, 178 n. 
 
 Angerstein, Mr. J. J., 109, 334. Bathos, The, 176, 177, 287. 
 
 A A
 
 354 
 
 INDEX. 
 
 Battle of the Pictures, 84, 86, 265. 
 
 Beaumont, Sir G. H., 107. 
 
 Bedford Arms Tavern, 33, 35, 39. 
 
 Beer Street, 132, 274. 
 
 Before, 28, 260, 330. 
 
 Beggar Girl, 319. 
 
 Beggar's Opera, 28, 300, 328. 
 
 Beggar's Opera Burlesqued, The, 
 248, 
 
 Belinda, Bust ^319. 
 
 Bench, The, 155, 178, 281. 
 
 Bentley, Mother, 45. 
 
 Berenstat, Cuzzoni, and Se?iesino, 
 244. 
 
 Bethlehem Hospital, 338. 
 
 Belts Family, The, 338. 
 
 Betty Ireland's Dexterity, 257. 
 
 Bingley, Lady, 90, 100. 
 
 " Biographical Anecdotes of Wil- 
 liam Hogarth," Nichols's, 4, 
 210, 211. 
 
 Black Girl, A, 298. 
 
 Boli?igbroke, Lord, 338. 
 
 Bolton, Duchess of, 28, 307, 342. 
 
 Bourne, Vincent, ii, 59, 61. 
 
 Boy with a Kite, 339. 
 
 Boyne, Viscount, 320, 339. 
 
 Boys peeping at Nature, 47, 251. 
 
 Breakfast Piece, A, 339. 
 
 Breval, Captain J. D., 49, 201. 
 
 Bridgeman, Mr., 52, 339. 
 
 British Stage, A Just View of the, 
 244. 
 
 "Britophil," Letter of, 69-70. 
 
 Broughton and Slack, 312. 
 
 Broughton, John, Prize Fighter, 
 318, 352. 
 
 Brown, Dr. John, 105 n. 
 
 Bruiser,The,i'] 2)^1'] ^n., 286, 315. 
 
 Building Houses 7mth Cards, 31. 
 
 Bullock, William, the Comedian, 
 
 29°, 339- 
 Burial, Ticket for a, 321. 
 Burlesque of Kent's Altar-piect,2T„ 
 
 243- 
 Burlington Gate, 21, 243. 
 Burning of Rumps at Temple 
 
 Bar, 25. 
 Burton's " Anatomy," Quotation 
 
 of Sterne from, 1 7 n. 
 Butcher's Shop, A, 339. 
 Butler, Mrs., 320, 339. 
 Button's Coffee-house, Characters 
 
 at, 298. 
 Byron, Lady, 261, 339. 
 
 Calais Gate, 126 n. 
 Calais Gate, 125, 128, 271. 
 Calves' Head Club, 320. 
 Cambridge, Mr. Richard Owen, 
 
 142. 
 Camerofi, Je?my, 299. 
 Ca?np, Outskirts of a, 339. 
 Cammig, Elizabeth, 339. 
 Canvassing for Votes, The, 149- 
 
 5i> 279. 
 Carestini, Giovanni, 90, 99. 
 " Caricature en Angleterre," 
 
 Forgues's, 223. 
 " Caricature History of the 
 
 Georges," Wright's, 222. 
 Gary, Rev. H. F., 180 n, 182. 
 Cassandra, Plates for, 21, 244. 
 Castlemaine, Lord, and Family, 
 
 33°- 
 
 " Catalogue of Prints and Draw- 
 ings in the British Museum," 
 F. G. Stephens's, 230. 
 
 Cawthorne, Col. J. F., 109, 334.
 
 INDEX. 
 
 355 
 
 " Century of Painters of the Eng- 
 lish School," Redgrave's, 4, 226. 
 Chairing the Members, 152-3, 279. 
 Chappell, Mrs., 161 n. 
 Character, Caricatura, and Outre, 
 
 155- 
 
 Characters and Caricaturas, 63, 
 86, 87 n., 265, 305. 
 
 Charlemont, Lord, 157, 158. 
 
 Charleino7it, The Earl of, 2()^, 340. 
 
 Charlton, Mrs., 340. 
 
 Charmers of the Age, The, 264. 
 
 Charteris, Colonel Francis, 45. 
 
 Cheere the Sculptor, 124. 
 
 Cheesman, Thomas, 158, 181. 
 
 Chelsea Pensioners, 317. 
 
 Chelsea, Pictures at, 81. 
 
 Chester, Col. J. L., 12 n, 15 n. 
 
 " Chiswick," Hamilton's, 237, 
 
 Chiswick, Hogarth at, 39, 179,182. 
 
 Chorus of Singers, A, 253. 
 
 " Chronicles of the Foundling 
 Hospital," Brownlow's, 222. 
 
 Chrononhotontologos, Frontispiece 
 to Carey's, 59, 256. 
 
 Chudleigh Arms, 320. 
 
 Churchill as a Bear, 286. 
 
 Churchill, Charles, 72, 96, 115, 
 116, 168, 174, 179 n., 185, 286. 
 
 Cibber, Colley, no, 156, 158, 
 
 Cibber, Theophilus, 49, 201, 
 
 "Clandestine Marriage," 109. 
 
 Clare Market, 340. 
 
 Clare Market Chib Tankard, Im- 
 pression fro7n, 332. 
 
 Clerk, Thomas, 4, 216. 
 
 Clive, Mrs., 352. 
 
 Cock Family, The, 329. 
 
 Cock, Mr., etc., 349. 
 
 Cock, the Auctioneer, 100, 108. 
 
 Cockpit, The, 156, 281. 
 Coffee House Politicians, 340. 
 Coleridge, Hartley, ii., 1 1 n., 46 n. 
 
 80 n., 168 n. 
 Colman, George, 109. 
 Columbus breaking the Egg, 145, 
 
 277. 
 Colvin, Professor, 190 n., 229. 
 Combes, Thoj/ias, 340. 
 Conunittee of the House of Co?n- 
 
 mons examining Bambridge, 28, 
 
 3i3> 328. 
 Commons, The House of, 313, 329. 
 Cotnpafiy of Undertakers, The, 
 
 67, 259. 
 Compendium of Military Disci- 
 pline, Twenty-six figures to 
 
 BlackweWs, 245. 
 Concert Ticket, 309. 
 Conquest of Afexico, The, 28, 302, 
 
 331- 
 Consultation of Physicians, The, 
 
 67, 259. 
 Conversation, 301. 
 Conversation, A, 340. 
 Conversation in the manner of 
 
 Van Dyck, 312. 
 Conversation pieces, 28, 65. 
 Cook, Thomas, 4, 215. 
 Cooper, Mr., 340. 
 Coram, Captain, 40, 75. 
 Coram, Captaifi, 76, 2 7 2, 333, 340. 
 Cotes, 76. 
 
 Country Datice, 320. 
 Country Dance, A, 144, 277. 
 Country Inn Yard, A, 120, 271. 
 Country i?i the Olden Time, 340. 
 Covent Garden, Drawing School 
 
 in, 22, 60. 
 Covent Garden, Hogarth at, 44 n.
 
 156 
 
 INDEX. 
 
 Coventry, The Earl of, 340, 
 Cowley, Garden Scene at, 310. 
 Cowper, William, 73, 79. 
 Credulity, Superstition, and 
 
 Fanaticism, 138, 165, 167, 284. 
 Crowns, Mitres, etc., so, 147, 278. 
 Cruelty, Four Stages ^,132-4,275. 
 Cruikshank, George, 102 n. 
 Cruikshank's copies of Hogarth, 
 
 253j 256, 259, 261. 
 Crying C/iild (from "Analysis"), 
 
 320. 
 Cumberland, The Duke of, 340. 
 Cunicularii, 247. 
 Cunningham, Allen, 4, 23 n., 26 n. 
 Cunningham, Mr. Peter, 13. 
 Cuzzoni, Farinelli, and Heidegger, 
 
 256. 
 
 Dalton, James, the Highway- 
 man, 45. 
 
 Danae, 341. 
 
 Dance, The (from La Motraye), 
 241. 
 
 Dashwood, Sir Francis, 321, 341. 
 
 Datur Vacuum, 261. 
 
 Dawson, Mr. Alfred, 181 n., 184. 
 
 Debates on Palmistry, 293, 341. 
 
 De la Fo7itaine^s Shopbill, 321. 
 
 Delany, Mrs., 40 n., 188. 
 
 Dennis, John, 311. 
 
 Desaguliers, Dr., 68, 302. 
 
 Desaguliers, Mrs., 341. 
 
 Devonshire, Duke of, 341. 
 
 Devonshire Family, The, 341. 
 
 Diana, Head of , 298, 341. 
 
 Dickens, Charles, 132 n. 
 
 Diderot, 143 n. 
 
 Dilige?ice and Dissipation (North- 
 cote's), 123. 
 
 Discovery, The, 305. 
 "Dissertation on Mr. Hogarth's 
 
 Six Prints," etc., A, 204. 
 Distressed Poet, The, 66, 78, 79, 
 
 81, 258, 332. 
 Dodington, Bubb, his Diary, 
 
 154 n. 
 Do}i Quixote, Plates for, 78, 316. 
 Dr. Ward and Dr. Afisaubin, 
 
 253- 
 Draper, Mr. Edward, 72, 348. 
 Drunken Party, A, 301, 341. 
 Dubois, the fencing-master, 52, 
 Duncombe, Mr., of Duncombe 
 
 Park, 117, 334. 
 Durham, Joseph, Hogarth's bust 
 
 by, 39- 
 
 " East Haddon Hogarths," The, 
 
 231, 327- 
 
 "Eastward Hoe," 123. 
 
 Edwardes, Miss, of Kensington, 
 82. 
 
 "Effects of Industry and Idle- 
 ness," The, 204. 
 
 Election Entertainment, Aji, 147-9, 
 163, 278. 
 
 ElcctioTi, Four Pictures of a7i, 335. 
 
 ElectioJi prints, 138, 147-153, 278. 
 
 Ele^nent of Earth, 26, 27. 
 
 England, 154, 280. 
 
 " England under the House of 
 Hanover," Wright's, 222. 
 
 " English Art in the Public Galle- 
 ries," T. H. Ward's, 235. 
 
 "Enghsh Graphic Satire," etc. 
 Buss's, 231. 
 
 " English Humourists of the 
 Eighteenth Century," Thacke- 
 ray's, 223.
 
 INDEX. 
 
 357 
 
 ''English Painter's Tomb," An, 
 
 C. A. Collins's, 225. 
 Enraged Musician, The, 66, 78, 
 
 80-81, 263, 333. 
 Enthusiasm Delineated 165, 166, 
 
 306. 
 Enthusiasm Delineated, Refer- 
 ences to the Figures in, 306. 
 "Epistle to William Hogarth," 
 
 An, 172, 207. 
 *' Erklarung der Hogarthischen 
 
 Kupferstiche," Lichtenberg's, 
 
 4,215. 
 ■" Essay upon Prints," Gilpin's, 
 
 209. 
 Essex, the dancing-master, 52. 
 Eta Beta PY, 113, 295. 
 *' Explanation of Several of 
 
 Mr. Hogarth's Prints," Felton's, 
 
 211. 
 
 Fagg, Sir Robert, 321. 
 
 Fair, The, 58, 258. 
 
 False Perspective Exemplified, 335. 
 
 Falstaff Examining his Recruits, 
 
 310, 340- 
 Farinelli, 59. 
 
 Farmer's Return, The, 118, 285. 
 Fat Man upset like a Turtle, 299. 
 Feeding Poultry, 316. 
 Female Curiosity, 311, 341. 
 Female Moor, Head of a, 341. 
 Fencer, The, 258. 
 Fenton, Lavinia, 28, 307, 342. 
 Fete, A Village, 342. 
 Fielding, Henry, ii., 4711:772 n., 81, 
 
 115, 116, 123, i5on., 176,285. 
 on Hogarth, in "Joseph 
 
 Andrews," 62. 
 in " Champion," 62. 
 
 Figg, James, the boxer, 52, 342. 
 -P^gg, James, Ticket for, 305. 
 Filon, M. Augustin, 169 n., 234. 
 Finis; or the Bathos, 176, 177, 
 
 287. 
 Fire-Eater, The, 315. 
 "Five Days' Tour," 33-37. 
 
 Livesay's Facsimile, 36, 290. 
 
 Tail-Piece, 37. 
 
 Gostling's version, 35-36. 
 
 Original MS., 35. 
 
 Five Muscovites, The, 342. 
 Florizel and Perdita, 342. 
 Flower Girl, A, 321. 
 Folkes, Martin, 81, 264, 333. 
 Ford, Rev. Cornelius, 59. 
 Forrest, Ebenezer, 33. 
 Forrest, Theodosius, 128. 
 Foundling Hospital, 75. 
 
 Annual Dinners at, 77. 
 
 Arms for the, 292. 
 
 Hogarth's little pensioners 
 
 from, 78 n. 
 
 Works of Art at, 77. 
 
 Foundlings, The, 76, 263. 
 Fountaine Family, The, 342. 
 Four Eletnefits, 321. 
 Four Prints of an Election, 138, 
 
 147-153- 
 Fotir Stages of Cruelty, 132, 134, 
 
 275- 
 Fotir Times of the Day, 30, 66, 
 
 68, 71-73, 262, 333. 
 
 France, 154, 280. 
 
 Frith, Mr. W. P., 129 n. 
 
 Funeral Ticket, A, 321. 
 
 Gambell, Sarah, 15 n. 
 Gamble, Ellis, 15. 
 Gamble's Book Plate, 298.
 
 358 
 
 INDEX. 
 
 Gamblers Shop Card, 15, 16, 304. 
 Gardelle, Theodore, 297. 
 Garrick, David, 109, 115, 116, 
 
 117, 155, 172, 179. 
 Garrick and his Wife, 117,318, 
 
 336. 
 
 Garrick and Quin, Sketches of, 
 
 307- 
 Garrick in Richard III., 117, 
 
 268, 334. 
 "Garrick in the Green Room !" 
 
 Daniel's, 219. 
 Garrick in the Green Room, 317, 
 
 342. 
 Garrick, Mrs., 342. 
 Garrick's Villa, 342. 
 Gate of Calais, The, 129, 163, 
 
 271, 335- 
 
 Gay, John, 316, 342. 
 
 Gay, Joseph, 49, 201. 
 
 " Genius and Character of Ho- 
 garth," Lamb's Essay, 217. 
 
 Gentleman zmknown, 342. 
 
 " Genuine Works of WilHam 
 Hogarth," Nichols's, 216. 
 
 George y^ II., his Queen, and 
 Family, 312, 336. 
 
 Giants in Guildhall, 315. 
 
 Gibbons, Ann, (Hogarth's 
 mother), 11. 
 
 Gibbs, James, 271, 342. 
 
 Gibson, Bishop, ("Codex,") 12. 
 
 Gibson, Dr., 12. 
 
 Gilpin, Rev. William, 103. 
 
 Gin Drinkers, The, 321. 
 
 Gin lane, 132, 275. 
 
 Girl with a Cage, 343. 
 
 Golden Head, The, 39, 181. 
 
 Goldsmith, Oliver, ii4n., 115. 
 
 Goldsmitlis Hostess, 320, 339. 
 
 Gonson, Sir John, 45. 
 
 Good Samaritan, The, 65, 66, 
 
 288, 332. 
 Graha?n Family, The, 343. 
 Graham, Lord George, 352. 
 Great Seal of England, The, 321. 
 Griffin and Flag, 2)'2.'2. 
 Grose, Francis, 129 n, 212. 
 Grosvenor, Sir Richard, 159. 
 Gonson, Sir John, 49. 
 Goodman Fields Theatre, Scene in, 
 
 349- 
 
 " Graphic Illustrations of Ho- 
 garth," S. Ireland's, 4, 214. 
 
 Gray, Thomas, 113. 
 
 Grego, Mr. Joseph, 153 n., 235. 
 
 Grignion, the engraver, 117 n. 
 
 "Guide de I'Amateur au Musee 
 du Louvre," Gautier's, 227. 
 
 Gulliver presented to the Queen of 
 Babilary, 250. 
 
 Hackabout, Mary, 45, 49, 200. 
 
 Hagar and Ishmael, 343. 
 
 Half -starved Boy, The, 262. 
 
 Hall, Mrs. S. C, 29 n., 223. 
 
 Hamilton, Hon""\ J., 343. 
 
 Hammond, Hogarth, etc., 343. 
 
 Hampstead, Hogarth at, 38. 
 
 Hajnptoti Court Ca?ioons, Heads 
 from, 289. 
 
 "Hand-Book for Young Pain- 
 ters," Leshe's, 223. 
 
 " Handbook to the National 
 Gallery," E. T. Cook's, 236. 
 
 Handel, 316, 343. 
 
 Hannay, James, ii., 5, 225-6. 
 
 Happy Ascetick, Frontispiece to 
 the, 243.
 
 INDEX. 
 
 359 
 
 Happy Marriage, The, 110,312, 
 
 343- 
 Hardy's Shop Card, 304. 
 Harlofs Progress, A, 32, 33, 41, 
 
 43 n-. 44, 252, 331. 
 
 Details of, 45. 
 
 Plate VL, 46. 
 
 Publication of prints, 47. 
 
 " Harlot's Progress ; or, The Hu- 
 mours of Drury Lane," 49, 200. 
 
 " Harlot's Progress : or. The 
 
 Ridotto Al' Fresco," The, 49, Hoadly, Benjamin, M.D., 81, 
 
 Hesiod, Head of, 248. 
 
 Hicks, Mr. N. T., 182. 
 
 Highland Fair, The, 250. 
 
 Highmore, 76. 
 
 " Histoire de I'Ecole Anglaise," 
 
 Conches's, 233. 
 " Histoire des Peintres de Toutes 
 
 les Ecoles," 226. 
 "Historical Sketches of the 
 
 Reign of George H., Mrs. 
 
 Oliphant's, 228. 
 
 Harrison's Tobacco Paper, 322. 
 Hawkins, Sir John, 169 n. 
 Hawki}2s, Sir C, 343. 
 Hay, Dr., 160 n. 
 Hay, Sir George, 343. 
 Haydon, B. R., 135. 
 Hay -field. Scene in a, 310, 343. 
 Hayman, Frank, 30, 31, 53 n., 
 
 94, 124. 
 Hazard Table, 312. 
 Hazlitt, William, 5, 97, 99, 103, 
 
 104, 106, 107. 
 on Marriage A-la-Mode, " Hogarth and Landseer," C. 
 
 333- 
 Hoadly, Bishop, 81, 82, 264, m, 
 
 334- 
 Hoadly, Chancellor, 334. 
 Hoadly, Elizabeth, 334. 
 Hoadly Family, The, 113. 
 Hoadly, Mrs., 334, 
 Hoadly, Rev. John, 82, 155. 
 Hogart, Aid or Auld, 11. 
 " Hogarth and his Pictures," 
 
 Brown's, 225. 
 " Hogarth and his Works" (Penny 
 
 Magazine), 221. 
 
 103-5- 
 Head-piece to Artists' Catalogue, 
 
 163. 
 Heads, Square and Round, 308. 
 Heaton, Mrs. Charles, 4. 
 Heidegger, 308. 
 
 Heidegger's Masquerades, 22, 32. 
 Henley Christening a Child, 295, 
 
 347- 
 Henley, "Orator," 59, 324. 
 Henry VIII. and Anne Boleyn, 
 
 30, 248, 329. 
 Herring, Archbishop, 267, 274, 
 
 334. 
 
 Monkhouse's, 232. 
 
 " Hogarth and the Pirates," F. 
 G. Stephens's, 234. 
 
 "Hogarth as a Satirist," Han- 
 nay's, 225-6. 
 
 " Hogarth as an Historian," Mor- 
 gan's, 231. 
 
 " Hogarth, Bewick, and Green," 
 Hartley Coleridge's, 220. 
 
 " Hogarth," Brachvogel's Drama, 
 227. 
 
 " Hogarth," Dobson's, 232. 
 
 " Hogarth Illustrated," John Ire- 
 land's, 4, 213, 214.
 
 36o 
 
 INDEX. 
 
 " Hogarth in London Streets," 
 
 Thornbury's, 224. 
 " Hogarth Moralized," 207. 
 Hogarth MSS., 175 n. 
 Hogarth Painting the Comic Muse, 
 
 185, 280, 336. 
 " Hogarth Restored," Cook's, 
 
 215. 
 Hogarth with Pug Dog, 185, 272, 
 
 334- 
 Hogarth, Ann, 12, 13, 180, 185, 
 
 344- 
 
 Hogarth, Ann, 344. 
 
 Hogarth, Edmund, 15 n. 
 
 Hogarth, Gulielmus, 272. 
 
 Hogarth, Mary, 12, 185. 
 
 Hogarth, Mary, 335, 344, 
 
 Hogarth, Mary ajid Ami, 344. 
 
 Hogarth, Mary and Ajin, Shop- 
 bill for, 12, 304. 
 
 Hogarth, Mrs. Richard, iin., 60. 
 
 Hogarth, Mrs. Jane, 29, 161, 180, 
 181, 182. 
 
 Sale Catalogue of, 213. 
 
 Hogarth, Mrs., 185, 307, 344. 
 
 Hogarth, Richard, 11, 13, 14, 20. 
 
 Hogarth, Thomas, 11. 
 
 Hogarth^ s Crest, 178, 294. 
 
 "Hogarth's Five Days' Peregri- 
 nation," Hotten's, 228. 
 
 "Hogarth's FroHc," Grego's, 235. 
 
 Hotten's, 228. 
 
 " Hogarth's Marriage A-la-Mode, 
 etc.," Hazlitt's Essay, 218. 
 
 ^^ Hogarth's Shop-Card" 240. 
 
 Hogarth's Servants, 344. 
 
 " Hogarth's Tour," Dobson's, 
 
 237- 
 Hogarth's Tour, Nine Prints for, 
 290. 
 
 " Hogarth's Original Works," 
 Boydell's, 213. 
 
 "Hogarth's Works," Baldwin and 
 Cradock's, 219. 
 
 Hogarth's Works, Barschall's, 231. 
 
 Hogarth's Works, Bell snd 
 Daldy's, 229. 
 
 Hogarth's Works, Catalogue of. 
 Young's, 217. 
 
 " Hogarth's Works," Clerk's, 
 216. 
 
 " Hogarth's Works," Griffin's, 
 225. 
 
 Hogarth, William, born in Bar- 
 tholomew Close, 10 Nov. 1697, 
 12; childhood, 14; appren- 
 ticed to Ellis Gamble, 15 ; 
 development of his technical 
 memory, 17 ; his shop-card 
 (1720), 19; father dies, 20; 
 living in Long Lane, 20 ; first 
 prints, 21 ; suit against Morris 
 (1728), 26; marries Jane 
 Thornhill (1729), 29; lodges 
 at Lambeth, 30; "Five Days' 
 Tour," 33-37; paints A Har- 
 lofs Progress (1731), 41; living 
 in Covent Garden, 44 n. ; 
 moves to Leicester Fields, 38, 
 181 ; paints A Pake's Progress 
 at Isleworth, 38 ; father-in-law 
 dies, 60; Copyright Act (1735), 
 5O) 5 1) 57 j mother dies, 60; 
 scripture-stories and history- 
 pieces, 64; Governor of Found- 
 ling Hospital, 75 ; auction of 
 pictures, 83; visit to France, 
 123-7 5 sale oi March to Finch- 
 ley (1750), 131; auction of 
 Marriage A-la-Mode (1750),
 
 INDEX. 
 
 361 
 
 107-9; "Analysis of Beauty," 
 published (1753), 142; cari- 
 catures against him, 141 ; ap- 
 pointed Serjeant Painter (1757, 
 re-appointed 1761), 156; 
 quarrels with Wilkes and 
 Churchill (1762-3), 168-174; 
 Finis; or, the Bathos {I'jb/^), 
 176-7; dies at Leicester Fields, 
 25 Oct. 1764, 179; buried at 
 Chiswick, 179 ; his epitaph by 
 Garrick, 179; his will, 180; 
 his widow, 181-2 ; his house 
 at Chiswick, 29, 180, 182, 183, 
 184; his mulberry-tree, 183, 
 196; prices of his prints, 
 181 n.; his stable and coach, 
 178; his crest, 178; his seal, 
 256; his punch-bowl, 3, 77; 
 portraits of himself and family, 
 184-5; his character, 186-7; 
 anecdotes, 187-190; qualities 
 as a painter, 190; as a 
 draughtsman, 191 ; as an en- 
 graver, 192 ; as an artist gene- 
 rally, 193. 
 
 ■Hoggerd {dim\\y, 10. 
 
 Holland, Captain, 329. 
 
 Holland, John, Arms of, 2,22. 
 
 Holland, Lord, 294, 344. 
 
 Holfs Shop-Bill, 322. 
 
 Hooper, Bishop, 344. 
 
 House of Commons, The, 313, 329. 
 
 Hudibras and Sidrophel, 295. 
 
 Hiidibras, Lai-ge Fritits for, 21, 
 25, 28 n., 246. 
 
 Hiidibras, Small Prints for, 21, 
 24, 245. 
 
 Hudibras, Twelve Pictures of, 
 327- 
 
 Hudson, 76. 
 
 Huggins, WiUiam, 50, 81, 282, 
 
 344- 
 Humours of A Fair, The, 258. 
 " Humours of Drury Lane," 49. 
 Humours of Oxford, Frontispiece 
 
 to the, 249. 
 Hunt, Leigh, 122. 
 Hunt, Mr. Gabriel, 291. 
 Hymen and Ciipid, 271. 
 
 " Illustrations of Hogarth," Fer- 
 
 rers's, 218. 
 Indian Emperor, The, 28, 302, 
 
 331- 
 Industry and Idleness, 120, 12 1-3, 
 
 269. 
 Inhabitants of the Moo7i, 242. 
 Invasion, The, 154, 280. 
 Invitation card to Dr. King, 85, 
 
 ii3> 295. 
 Ireland, John, 4, 10, 13 n., 20, 
 
 213. 
 Ireland, Samuel, 4, 214. 
 Isleworth, Hogarth at, 38. 
 
 Jack in an Office, 297. 
 "Jacobite's Journal," The, 123. 
 Jacobite's Jour7ial, Headpiece to 
 
 the, 270. 
 Jacobson,/., 344. 
 Jaquier's Hotel, 39. 
 Jeffreys Family, The, 344. 
 " Jew Decoy'd : or, The Progress 
 
 of a Harlot," The, 49, 201. 
 Johnson, Samuel, 113, 114, 180. 
 Jones Family, The, 330. 
 Jones, William, 344. 
 Judith, Frontispiece to the Oratorio 
 
 of 255-
 
 362 INDEX. 
 
 Kemeys-Tynie, Sir Charles^ 345. Lane, ]Mr., of Hillingdon, 90, 
 
 Kendal, Arms of Ermengard of 108, 334. 
 
 Schulemberg, Duchess of, 18. Lane, Mrs. Fox, 100 n. 
 Kent, William, 22, 24n,, 32, 95. Large Masquerade Ticket, 1727, 
 Lord Chesterfield's epigram 32. 
 
 upon, 95 n. Laughing Audience, A, 51, 255, 
 
 Kenfs Altar-piece, Burlesque on, 345. 
 
 21,243. Lanyer's FortuJie, F?-ontispiece to 
 
 King, the painter, 26. the, 261. 
 
 King, Dr. Arnold, 85, 113, 122, Lee's Shop-Bill, 323. 
 
 295. Leicester Fields, 38, 39, 179. 
 
 King, Moll, 72 n. "Leicester Square," Taylor's, 
 
 Kin^s Pantheon, Plates for, 322. 230. 
 
 Kirby's Perspective, Frontispiece to, Leslie, C. R., Quotation from, 28, 
 
 147, 278. " Lettres de Monsieur * * *, 
 
 Kirkall, Elisha, 50, 253. etc.," Rouquet's, 203. 
 
 Kirkam, Mr., 330. Leveridge's Songs, Frontispiece to, 
 
 Kirkhall, Elisha, 50, 253. 39, 248. 
 
 "Kunst and Kiinstler," Dohme's, Lewis, Mary, 10, 13 n., 180, iSi^ 
 
 233. 182, 185, 186 n., 345. 
 
 " Lichtenberg and Hogarth," 221, 
 
 Lacroix's Shop Bill, 322. Lichtenberg, Georg Christoph, 4, 
 
 Lady at a Tea-Table, A, 345. 95, 122, 
 
 Lady's Last Stake, The, 158, 159, "Life and Times of Sir Joshua 
 
 163, 317. Reynolds," Leslie and Taylor's, 
 
 Lady, Portrait of a, 345. 226. 
 
 Lady Unknown, A, 345. Line of Beauty and Grace, The, 
 
 Laguerre, Benefit Ticket for, 323. 140. 
 
 Laguerre, Jack, the scene-painter, Lippe-Schatienberg, Arms of, 323. 
 
 26. " Lives of the Painters," Cun- 
 
 Lamb, Charles, ii., 5, 103, 132. ningham's, 220. 
 
 Lamb on Hogarth, 66, 217. Livesay, Richard, 181. 
 
 Lambert, George, the scene- Lock, Daniel, 324, 345. 
 
 painter, 40, 50, 345. Locker, Mr., of Greenwich Hos- 
 
 Lambert's Book-Plate, ;^2^. pital, 117. 
 
 Lambeth, South, Hogarth in, 30, Locker-Lampson, Mr. Frederick, 
 
 38. 1 74 n., 330. 
 
 La Motrayis Travels, Plates for, Logger heads, 4, 315. 
 
 21, 241. Lomazzo, "Trattata della Pit- 
 
 Landscape, A, 296, 345. tura," 141.
 
 INDEX. 
 
 363 
 
 London Infirmary, Ticket for, 
 
 323- 
 "London of Hogarth," Milli- 
 
 ken's, 235. 
 " Londres il y a Cent Ans," 
 
 Wey's, 224, 
 Long Lane, Hogarth in, 20, 38. 
 Lord Lovafs Trial, Prints of, 
 
 301. 
 Lottery, The, 21, 240. 
 Lovat, Simon Fraser, Lord, 119, 
 
 120, 268, 335. 
 Lovafs Ghost on Pilgrimage, 269. 
 " Low-Life," 204. 
 Lloyd, Robert, no, 160 n. 
 Lumber Troop Arms, 323. 
 "Lure of Venus; or, A Harlot's 
 
 Progress," 49, 50, 201, 
 
 Macclesfield, The Earl of, 345. 
 
 Malcolm, Sarah, 254, 331. 
 
 Mall, St. James' Park, A View of 
 the, 346. 
 
 Man of Taste, 32. 
 
 Mapp, Mrs. Sarah, 67. 
 
 March of the guards toward Scot- 
 land in the year 1745, The, 129. 
 
 March to Finchley, The, 129, 273, 
 
 335- 
 
 Marie, Arms of Paul de la, 324. 
 
 " Marriage Act," Shebbeare's,io9. 
 
 Marriage A-la-Mode, 66, 86-1 11, 
 266, 334. 
 
 " Marriage A-la-Mode," Dry- 
 den's Play, III. 
 
 " Marriage A-la-Mode ; An Hu- 
 morous Tale," 202. 
 
 Mari'iage for Love, 324. 
 
 Martin, Mr Samuel, 346. 
 
 Mary Queen of Scots, 346. 
 
 Mary Stuart, 313. 
 Mask and Palette, 267. 
 Masquerade at Somerset House^ 
 
 Royal, 313, 346. 
 Masquerades and Operas, 21, 23, 
 
 27, 50, 243. 
 Masquerades, III Effects of 2,0"], 
 
 346. 
 Masquerade Ticket, Large, 247. 
 "Masters of Genre Painting," 
 
 Wedmore's, 232. 
 Martin, Mr. Studley, 115. 
 Match-Maker, The, 257, 293. 
 Matthias Family, The, 346. 
 Mayor of Garratt, The, 346. 
 Melcoinbe, Lord, 292. 
 Metidez, Mr. Moses, 346, 
 "Metamorphosis, The New," 21. 
 Methodists, Attacks on, 166 n. 
 Midnight Modern Conversation, 
 
 58, 233, 331. 
 Milward's Benefit, Ticket for,. 
 
 299. 
 Misaubin, Dr. John, 45, 98. 
 " Miscellany on Taste," 32. 
 Mitchell, Joseph, the poet, 40, 
 
 41, 199. 
 Moliere, Two Plates to, 251. 
 Monatny showing a Picture, t,2)3' 
 Montague Family, The, 346. 
 Moore, Edward, 158 n. 
 Morell, Dr., 113, 176, 285. 
 Moritz, Charles P., 121 n. 
 Morris, Joshua, 26. 
 Morrison, Mr. Alfred, 175 n. 
 Mortimer, Dr. Cromwell, 324. 
 Moses brought to Pharaoh's 
 
 Daughter, 132, 134, 276,335. 
 Mossop as " Bajazet," 346. 
 Murphy, Arthur, ii., 146.
 
 364 
 
 INDEX. 
 
 " Patronage of British Art," Pye's, 
 
 Musical Party, A, 346. 
 
 Musical Study, ^,347. 222. 
 
 Musick Ifitroduc'd to Apollo by Paul before Felix, 132, 134, 276, 
 
 Mi7ierva, 247, 
 Music Piece, 347. 
 Mystery of Alasonry, The, 264. 
 
 Nichols, John, 4, 26, 211, 216. 
 Nichols, John Bowyer, 4, 220. 
 JSIight Scene, A, 314. 
 Noble, Mr., 89 n. 
 
 335- 
 Paul before Felix burlesqued, 135, 
 
 275- 
 Pavioui's Sign, 347. 
 " Peinture Anglaise," Chesneau's, 
 
 233- 
 Pellett, Thomas, 289, 347. 
 Pembj-oke, Lady, 311, 347. 
 
 "NoUekens and his Times," Perriwigs, The five orders of, 2%-^. 
 
 Smith, 219. 
 " Normanton Hogarth " (Graham 
 
 Family), Dobson's, 233. 
 "North Briton" (No. 17), 170, 
 
 171 n., 207. 
 Northcote, 123. 
 Needham, Mother, 45. 
 Newcastle, Duke of, 2, AT- 
 
 Perseus and Andromeda, Plates 
 to, 249. 
 
 Perspective of Architecture, Frontis- 
 piece to, 282. 
 
 Phillips, Sir Richard, 181. 
 
 Picquet, 158, 159, 163, 317, 336. 
 
 Pine, John, the engraver, 40, 50, 
 128. 
 
 New Metamorphosis, Plates to the, Pine the Engraver, 280, 348. 
 
 242. 
 
 *' Old London Picture Exhibi- 
 tions," F. G. Stephens's, 235. 
 Old Maid, 257, 293. 
 Opera House, Inside of an, 322. 
 Oratory, The, 324. 
 Orpheus, The Modern, 314. 
 Oysters, 347. 
 
 Page Turner Arms, 324. 
 Pai7iter's Room, 307. 
 Painter's Room, The, 314, 347. 
 Painti7ig Room, The, 347. 
 Palmer^ John, 272, 347. 
 Paradise Lost, Two Prints for,2,o^ . 
 Parsons, Dr., 108. 
 Parsoii s Head, 292. 
 Pasquin, Ticket for, 67, 259. 
 
 Pine, Miss, 348. 
 
 Piozzi, Mrs., 114 n., 158, 187, 
 
 188. 
 Pleased Audience at a Play, A, 
 
 5h 255- 
 " Poetical Description of Mr. 
 
 Hogarth's Election Prints," 206. 
 Political Clyster, The, 247. 
 Politician, The, 28, 288, 329. 
 Polling, The, 15 1-2. 
 Pool of Bethesda, The, 65, 66, 
 
 288, 332. 
 Pope, Alexander, 32. 
 Porten Family, The, 348. 
 Porter, Joseph, ef Mortlake, 314, 
 
 348. 
 Portmore, Lord, 82. 
 Portrait Group, 348. 
 Prevailing Candidate, The, 324.
 
 INDEX. 
 
 365 
 
 Prior the Poet, 3 48. 
 
 Procession of Painters to the Throne 
 
 of Bacchus, 325. 
 " Progress of a Harlot," The, 200. 
 "Progress of a Rake," The, 200. 
 " Progress of a Rake ; or, The 
 
 Templar's Exit," The, 201. 
 Punishtneiit inflicted on Lemuel 
 
 Gulliver, The, 247. 
 Pye, Sir Robert, 330. 
 
 Quin the Actor, 348, 
 
 Quin and Garrick, Sketches of^oy. 
 
 Radnor Anns, 325. 
 
 Pake's Progress, ^, 33, 51, 55 n., 
 256, 332- 
 
 Piracies of, 57. 
 
 Printing of, 56. 
 
 " Rake's Progress : or. The Hu- 
 mours of Drury-Lane,"The,202. 
 
 " Rake's Progress," The (Expla- 
 nation of the Prints), 202. 
 
 Rak^s Progress, First design for 
 the, 257. 
 
 Ralph, Mr. James, 113, 142. 
 
 Ram Inn Tavern Bill, 325. 
 
 Ramsay, Allan, 25. 
 
 Rafibfs House at Chisivick, Vieiv 
 of, 289. 
 
 " Rape of the Lock," Snuff-box 
 design from, 20. 
 
 Rape of the Lock, The, 239. 
 
 Rape of the Smock, 325. 
 
 Ray, Miss, 348. 
 
 Read, Mr. Ben., 291. 
 
 Redgrave's " Century of Painters," 
 4, 226. 
 
 Resurrection of Christ, The, 303. 
 
 Reynolds, Mr., 76. 
 
 Richardson, Samuel, 113. 
 
 RichardsoJi, Sa?nuel, 349. 
 
 Rich Fajnily, The, 329. 
 
 Rich, Miss, 296, 348. 
 
 Rich, Mr., etc., 349. 
 
 Rich, Mr. Manager, 54. 
 
 Rich's Glory, 32, 252. 
 
 Rich, Thos., and Family, 310. 
 
 Roast Beef of Old Etigland, The, 
 
 125, 206. 
 Rogers, Gov''., and Family, 310, 
 
 329- 
 Roman Military Punishments, 
 
 Headpieces for, 244. 
 Rosamond'' s Pond, 309, 349. 
 Rouquet, Jean, 3, 41 n., 46, 97 n., 
 
 131 n. 
 "Royal Academy in the Last 
 
 Century," Hodgson's and 
 
 Eaton's, 236. 
 Royalty, Episcopacy, andLaio, 242. 
 "Rules for Drawing Caricaturas," 
 
 Grose's, 212. 
 Rutter Arms, 325. 
 Rysbrack the Sculptor, 348. 
 
 Sabloniere Hotel, 39. 
 
 St. Clejnetifs Danes, Burlesque on 
 
 Kenfs Altar-piece at, 21, 23. 
 St. George's Hospital, 335. 
 St. fames' s Day, 347. 
 St. James's Park, 318, 349. 
 St. Martin's Lane, Drawing School 
 
 in, 60, 61. 
 St. Mary Redclifft, Altar-piece at 
 
 154, l^i. 
 Sala, Mr. G. A., 4, 102 n., 205, 
 
 224, 227. 
 Salter, Mrs., 349. 
 Salusbury, Miss H. L., 114, 158.
 
 366 
 
 INDEX. 
 
 Salusbury, Mr., 114. 
 
 Sa mho's Feast, 255. 
 
 Sarmoiid, Mr,, 330. 
 
 Satan, Sin, and Death, 287, 349. 
 
 " Satyres de Guillaume Hogarth," 
 
 209. 
 Saviour, Our, 349. 
 Savoyard Girl, The, 308, 349. 
 Sayer, Mr. John, 89. 
 Schaub, Sir Luke, 159. 
 Scholars at a Lecture, 67, 261. 
 Schomberg, Sir A., 325, 350. 
 Scotch Congregation, The, 325. 
 Scott, Samuel, 33. 
 Scots Opera, A, 40, 250. 
 Sealing of the Sepulchre, The, 154, 
 
 Sea Officer, A, 325, 350. 
 Sewell Family, The, 350. 
 Shackleton, 76. 
 
 Shakespeare Jubilee Chair, 118. 
 Shaids Tavern Bill, 325 
 "Sheppey, Legend of," Forrest 
 
 on, 34. 
 Shepherd Boy, A, 297. 
 Shepherd sleeping, 311. 
 Sheridan, R. B., no. 
 Shop-Bill, Design for a, 309. 
 Shrimp Girl, 292, 349. 
 Sidney, Sir Philip, Death of, 
 
 350. 
 
 Sigismunda, 139, 159, 161, 162 n., 
 163, 336. 
 
 Sigismunda, No. i, 302. 
 
 Sigismunda, No. 2, 305. 
 
 Sigismufida, (Furini's), 159. 
 
 Sign for a Faviour, Two Sides 
 of a, 309. 
 
 Sketches from Fen and Ink Draw- 
 ings, 305. 
 
 Skimmington, The, 25 n. 
 
 Sleeping Congregation, The, 68, 
 260, 332. 
 
 Sleeping Child, 350. 
 
 Smart, Christopher, 130. 
 
 Soane, Sir John, 153. 
 
 Society of Artists, A, 350. 
 
 Soldiers fighting, 301. 
 
 Solsull, Head of , 293. 
 
 "Some Portraits by Hogarth," 
 (The Arnolds and Miss Fen- 
 ton), Dobson's, 234. 
 
 South Lambeth, Hogarth's Lodg- 
 ings at, 30. 
 
 South Sea, Emblematic Frint on 
 the, 21, 241. 
 
 Southwark Fair, 58, 258. 
 
 Spencer House, View of, 350. 
 
 Spiller's Benefit, Ticket for, 304. 
 
 Stage Coach, The, 120, 271. 
 
 Standly, Mr. H. P., 11, 171 n. 
 
 Statesmatis Progress, The, 169. 
 
 Statuary's Shop, A, 350. 
 
 Statuary's Yard, A, 144, 277. 
 
 Stay maker. The, 350. 
 
 Steevens, George, 4, 149, 186 n., 
 216. 
 
 Stephens, Mr. F. G., 98 n„ 142, 
 230. 
 
 Strode Family, The, 339. 
 
 Strolling Actresses dressing in a 
 Bar?i, 66, 73, 93, 263, 332. 
 
 Study, A Musical, 314. 
 
 Study of a Gentleman , 325. 
 
 Sullivan, Luke, 131. 
 
 Suspicious Husband, Scene in, 349. 
 
 Swift's "Legion Club," on Ho- 
 garth, 61. 
 
 Sermon on "Sleeping in 
 
 Church," 68 n.
 
 INDEX. 
 
 Z^1 
 
 Tail-Piece^ 287. 
 
 Tail-Piece to Artists' Catalogue, 
 
 163. 
 Tartuffe's Banquet, 260. 
 Taste, 32, 250. 
 
 Taste in High Life, 82, 268, 333. 
 Taste of the Town, The, 22, 27, 
 
 243- 
 Tattofi Arms, 325. 
 Taylor and Death, 293. 
 Taylor, "Chevalier," 67. 
 " Terrse-Filius," Frontispiece to 
 
 Amhurst's, 21. 
 Thackeray, W. M., 5, 73, 223. 
 " Thackeray's Lectures," Kegel's, 
 
 236. 
 " The Devil to Pay," Jobson and 
 
 Nell in, 31. 
 " The no Dedication," 175 n. 
 Thomson the Poet, 315, 350. 
 Thornhill Family, The, 351. 
 Thornhill, John, 29, 33, 156, 185. 
 Thornhill, John, 309, 351. 
 Thornhill, Lady, 29, 161 n., 185. 
 Thornhill, Lady, 309, 350. 
 Thornhill, Sir James, 22, 26, 29, 
 
 41, 47, 60, 69, 185. 
 Thornhill, Sir James, 296, 350. 
 Thrale, Mrs., 114, 115, 158. 
 Three Marys, The, 154. 
 " Three Poetical Epistles " 
 
 (Mitchell's), 199. 
 Timbs, John, 104 n., 225. 
 Time smoking a Picture, 161, 284. 
 Times, The, PI. I., 168, 170, 284. 
 Times, The, PI. II., 175, 300. 
 Tiverton School, Ticket for, 304. 
 "Tomb of William Hogarth," 
 
 Mrs. S. C. Hall's, 223. 
 Tom King's Coffee-House, 71. 
 
 Tothall, William, 33. 
 Townley, Rev. Mr. 113, 142. 
 Tragedy and Comedy, 326. 
 " Tragedy of Tragedies," 32, 250. 
 Treasury Garden, Viewofthe,2,$i. 
 " Tristram Shandy," quotation 
 
 from, 1 7 n. 
 Tristram Shandy, Frontispieces to, 
 
 17 n., 282. 
 Trusler, The Rev. Dr., 3, 46, 97 n., 
 
 207. 
 Turk's ILead, A, 326. 
 Tyers, Jonathan, 30, 31, 71. 
 
 " Ut Pictura Poesis ! " Colman's, 
 212. 
 
 Vanderbank, John, 60, 199. 
 Vanderbank, the tapestry de- 
 signer, 26, 199. 
 Vandergucht, Gerard, 50, 260. 
 Vane Family, The, 351. 
 Variety, 308. 
 Vase, The, 308. 
 
 Vauxhall Gardens, Designs for, 30. 
 Hogarth's Gold Ticket for, 
 
 31- 
 
 Vernon Family, The, 330. 
 Vertue, George, 50. 
 Vertue's MSS., 24 n., 43 n. 
 Village near London, View in a, 
 
 351- 
 Virtue in Danger, 158, 159, 317, 
 
 Walpole, Sir Fdward, 351. 
 Walpole, Horace, ii., 3, 8 n., 75, 
 
 103, 113, 125, 138, 146, 162, 
 
 169, i79n., 351.
 
 368 
 
 INDEX. 
 
 l'Va?istead Assembly, The, 28, 144, 
 328. 
 
 Waiistead Family Group, 301. 
 
 Wappittg Landlady, The, 31. 
 
 Warburton, Bishop, 113. 
 
 Ward, Dr. Joshua, 45, 67. 
 
 Ward, WiUiam, of Great Hough- 
 ton, 25. 
 
 Webster, Dr. J., 119, 120. 
 
 Weideman, the flute-player, 100. 
 
 Weighing TTouse, The, 176, 
 286. 
 
 Welch, Mr. Justice, 47 n., 130. 
 
 Welch, Justice, 299, 351. 
 
 " Werke des Herrn Willm. Ho- 
 garth," 209. 
 
 Westminster from the River, Vieiu 
 of, (Scott's), 33. 
 
 Western Family, The, 332. 
 
 Western, Mr., 351, 
 
 Weston, The Misses, 351, 
 
 Whitehead, Paul, 160 n. 
 
 " Widow Hogarth and her 
 Lodger," Dutton Cook's, 225. 
 
 Wilkes, John, 115, 168, 170, 171, 
 285. 
 
 Wilkie, David, i29n. 
 
 compared with Hogarth, 
 
 106. 
 
 " William Hogarth," Bevington 
 
 Atkinson's, 233. 
 " William Hogarth," Brachvogel's^ 
 
 227. 
 " WiUiam Hogarth," Colvin's, 229. 
 "William Hogarth," Feuillet de 
 
 Conches's, 227, 233. 
 " William Hogarth," Filon's, 234. 
 " William Hogarth," Gautier's, 
 
 227. 
 " WiUiam Hogarth," Geneva} 's, 
 
 231. 
 "William Hogarth," Justi's, 229. 
 "William Hogarth," Sala's, 224. 
 "William Hogarth," Soffe's, 236. 
 "William Hogarth und Seine 
 
 Zeit," Gorling's, 223. 
 " William Hogarth (Universal- 
 
 Bibhothek), 236, 
 Wi7ichilsea, Lord, 292. 
 Windham Collection at Felbrigge 
 
 Park, 95*. 
 lVi?idham Mr., 352. 
 JVitch on a Broomstick, A, 287. 
 Woffington, Mrs., 352. 
 Wollaston Family, The, 28, 329, 
 Womafi Swearing a Child, 258. 
 Woodbridge, Air., 2,2^. 
 Wood Family, The, 329. 
 
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