CATALOGUE OF HOGARTH'S PRINTS.[1] (continued 2)

March 22, 1742, was acted at Covent-Garden, a new scene, called A Modern Midnight Conversation, taken from Hogarth's celebrated print; in which was introduced, Hippisley's Drunken Man, with a comic tale of what really passed between himself and his old aunt, at her house on Mendip-Hills, in Somersetshire. For Mr. Hippisley's benefit.

1735.

1. The Rake's Progress, in eight plates.

Extract from the London Daily Post, May 14, 1735:

"The nine prints from the paintings of Mr. Hogarth, one representing a Fair, and the others a Rake's Progress, are now printing off, and will be ready to be delivered on the 25th of June next.

"Subscriptions will be taken at Mr. Hogarth's, the Golden-Head, in Leicester-fields, till the 23d of June, and no longer, at half a guinea to be paid on subscribing, and half a guinea more on delivery of the prints at the price above-mentioned, after which the price will be two guineas.

"N. B. Mr. Hogarth was, and is, obliged to defer the publication and delivery of the abovesaid prints till the 25th of June next, in order to secure his property, pursuant to an act lately passed both houses of parliament, now waiting for the royal assent, to secure all new invented prints that shall be published after the 24th of June next, from being copied without consent of the proprietor, and thereby preventing a scandalous and unjust custom (hitherto practised with impunity) of making and vending base copies of original prints, to the manifest injury of the author, and the great discouragement of the arts of painting and engraving."

In The Craftsman, soon afterwards, appeared the following advertisement:

"Pursuant to an agreement with the subscribers to the Rake's Progress, not to sell them for less than two guineas each set after publication thereof, the said original prints are to be had at Mr. Hogarth's, the Golden-Head, in Leicester-fields; and at Tho. Bakewell's, print-seller, next Johnson's Court, in Fleet-street, where all other print-sellers may be supplied.

"In four days will be published, copies from the said prints, with the consent of Mr. Hogarth, according to the act of parliament, which will be sold at 2 s. 6 d. each set, with the usual allowance to all dealers in town and country; and, that the the publick may not be imposed on, at the bottom of each print will be inserted these words, viz. 'Published with the consent of Mr. William Hogarth, by Tho. Bakewell, according to act of parliament.'

"N. B. Any person that shall sell any other copies, or imitations of the said prints, will incur the penalties in the late act of parliament, and be prosecuted for the same."

This series of plates, however, as Mr. Walpole observes, was pirated by Boitard on one very large sheet of paper, containing the several scenes represented by Hogarth. It came out a fortnight before the genuine set, but was soon forgotten. The principal variations in these prints are the following:

Plate I. The girl's face who holds the ring is erased, and a worse is put in.[1] The mother's head, &c. is lessened. The shoe-sole, cut from the cover of an ancient family Bible, together with a chest, is added; the memorandum-book removed into another place; the woollen-draper's shop bill,[2] appended to a roll of black cloth, omitted; the contents of the closet thrown more into shade.

In Plate II. are portraits of Figg, the prize-fighter;[3] Bridgeman, a noted gardener; and Dubois, a master of defence, who was killed in a duel by one of the same name, as the following paragraphs in The Grub-street Journal for May 16, 1734, &c. will testify: "Yesterday (May 11) between two and three in the afternoon, a duel was fought in Mary-le-bone Fields, between Mr. Dubois a Frenchman, and Mr. Dubois an Irishman, both fencing-masters, the former of whom was run through the body, but walked a considerable way from the place, and is now under the hands of an able surgeon, who has great hopes of his recovery."

May 23, 1734, "Yesterday morning died Mr. Dubois, of a wound he received in a duel."

The portrait of Handel has been supposed to be represented in the plate before us; but "this," as Sir John Hawkins observes to me, "is too much to say. Mr. Handel had a higher sense of his own merit than ever to put himself in such a situation; and, if so, the painter would hardly have thought of doing it. The musician must mean in general any composer of operas." On the floor lies a picture representing Farinelli, seated on a pedestal, with an altar before him, on which are several flaming hearts, near which stand a number of people with their arms extended, offering him presents: at the foot of the altar is one female kneeling, tendering her heart. From her mouth a label issues, inscribed, "One God, one Farinelli;" alluding to a lady of distinction, who, being charmed with a particular passage in one of his songs, uttered aloud from the boxes that impious exclamation. On the figure of the captain, Rouquet has the following remark: "Ce caractere ne paroit plus Italien qu'Anglois." I am not sufficiently versed in Alsatian annals to decide on the question; but believe that the bully by profession (not assassin, as Rouquet seems to interpret the character) was to be found during the youth of our artist. More have heard and been afraid of these vulgar heroes, than ever met with them. This set of prints was engraved by Scotin chiefly; but several of the faces were touched upon by Hogarth. In the second plate the countenance of the man with the quarter-staves was wholly engraved by Hogarth. In some early proofs of the print, there is not a single feature on this man's face; there is no writing either in the musician's book, or on the label; nor is there the horse-race cup, the letter, or the poem that lies at the end of the label, that being entirely blank. I mention these circumstances to shew that our artist would not entrust particular parts of his work to any hand but his own; or perhaps he had neither determined on the countenance or the inscription he meant to introduce, till the plate was far advanced. With unfinished proofs, on any other account, this catalogue has nothing to do. As the rudiments of plates, they may afford instruction to young engravers; or add a fancied value to the collections of connoisseurs.

In the third plate is Leather-coat,[4] a noted porter belonging to The Rose Tavern, with a large pewter dish in his hand, which for many years served as a sign to the shop of a pewterer on Snow-Hill. In this utensil the posture-woman, who is undressing, used to whirl herself round, and display other feats of indecent activity: "II suffit" (I transcribe from Rouquet, who is more circumstantial) "de vous laisser à deviner la destination de la chandelle. Ce grand plat va servir a cette femme comme à une poularde. Il sera mis au milieu de la table; elle s'y placera sur le dos; et l'ivresse et l'esprit de débauche feront trouver plaisant un jeu, qui de sang-froid ne le paroit guères." Rouquet, in his description of an English tavern, such as that in which our scene lies, mentions the following as extraordinary conveniencies and articles of magnificence: "Du linge toujours blanc[5]—de tables de bois qu'on appelle ici mahogani—grand feu et gratis." Variations: Pontac's head is added in the room of a mutilated Cæsar. Principal woman has a man's hat on. Rake's head altered. Undrest woman's head altered. Woman who spirts the wine, and she who threatens her with a drawn knife, have lower caps, &c.

So entirely do our manners differ from those of fifty years ago, that I much question if at present, in all the taverns of London, any thing resembling the scene here exhibited by Hogarth could be found. That we are less sensual than our predecessors, I do not affirm; but may with truth observe, we are more delicate in pursuit of our gratifications.—No young man, of our hero's fortune and education, would now think of entertaining half a score of prostitutes at a tavern, after having routed a set of feeble wretches, who are idly called our Guardians of the Night.

Plate IV. Rakewell is going to court on the first of March, which was Queen Caroline's birth-day, as well as the anniversary of St. David. In the early impressions a shoe-black steals the Rake's cane. In the modern ones, a large group of blackguards[6] [the chimney-sweeper peeping over the poll boy's cards, and discovering that he has two honours, by holding up two fingers, is among the luckiest of Hogarth's traits] are introduced gambling on the pavement; near them a stone inscribed Black's, a contrast to White's gaming-house, against which a flash of lightning is pointed. The curtain in the window of the sedan chair is thrown back. This plate is likewise found in an intermediate state;[7] the sky being made unnaturally obscure, with an attempt to introduce a shower of rain, and lightning very aukwardly represented. It is supposed to be a first proof after the insertion of the group of black-guard gamesters; the window of the chair being only marked for an alteration that was afterwards made in it. Hogarth appears to have so far spoiled the sky, that he was obliged to obliterate it, and cause it to be engraved over again by another hand.[8] Not foreseeing, however, the immense demand for his prints, many of them were so slightly executed, as very early to stand in need of retouching. The seventh in particular was so much more slightly executed than the rest, that it sooner wanted renovation, and is therefore to be found in three different states. The rest appear only in two.

In Plate V. is his favourite dog Trump. In this, also the head of the maid-servant is greatly altered, and the leg and foot of the bridegroom omitted.

From the antiquated bride, and the young female adjusting the folds of her gown, in this plate, is taken a French print of a wrinkled harridan of fashion at her toilet, attended by a blooming coëffeuse. It was engraved by L. Surugue in 1745, from a picture in crayons by Coypel, and is entitled, La Folie pare la Decrepitude des ajustemens de la Jeunesse. From the Frenchman, however, the Devonshire-square dowager of our artist has received so high a polish, that she might be mistaken for a queen mother of France.

Mr. Gilpin, in his remarks on this plate, appears not to have fully comprehended the extent of the satire designed in it. Speaking of the church, he observes, that "the wooden post, which seems to have no use, divides the picture disagreeably." Hogarth, however, meant to expose the insufficiency of such ecclesiastical repairs as are confided to the superintendance of parish-officers. We learn, from an inscription on the front of a pew, that "This church was beautified in the Year 1725. Tho. Sice, Tho. Horn, Churchwardens."[9] The print before us came out in 1735 (i. e. only ten years afterwards), and by that time the building might have been found in the condition here exhibited, and have required a prop to prevent part of its roof from falling in.—As a proof that this edifice was really in a ruinous state, it was pulled down and rebuilt in the year 1741.

Fifty years ago, Marybone church was considered at such a distance from London, as to become the usual resort of those who, like our hero, wished to be privately married.

In Plate VI. the fire breaking out, alludes to the same accident which happened at White's, May 3, 1733. I learn from a very indifferent poem descriptive of this set of plates (the title is unfortunately wanting), that some of the characters in the scene before us were real ones:

"But see the careful plain old man, M——[10], well-known youth to trepan, To C———sh[11] lend the dear bought pence, C———sh quite void of common sense, Whose face, unto his soul a sign, Looks stupid, as does that within. A quarrel from behind ensues, The sure retreat of those that lose. An honest 'Squire smells the cheat, And swears the villain shall be beat: But G——dd wisely interferes, And dissipates the wretch's fears."

The original sketch in oil for this scene is at Mrs. Hogarth's house in Leicester-fields. The principal character was then sitting, and not, as he is at present, thrown upon his knees in the act of execration.

The thought of the losing gamester pulling his hat over his brows is adopted from a similar character to be found among the figures of the principal personages in the court of Louis XIV. folio. This work has no engraver's name, but was probably executed about the year 1700.

Plate VII. The celebrated Beccaria, in his "Essay on Public Happiness," vol. II. p. 172, observes, "I am sensible there are persons whom it will be difficult for me to persuade: I mean those profound contemplators, who, secluding themselves from their fellow-creatures, are assiduously employed in framing laws for them, and who frequently neglect the care of their domestic and private concerns, to prescribe to empires that form of government, to which they imagine that they ought to submit. The celebrated Hogarth hath represented, in one of his moral engravings, a young man who, after having squandered away his fortune, is, by his creditors, lodged in a gaol. There he sits, melancholy and disconcerted, near a table, whilst a scroll lies under his feet, and bears the following title: 'being a new scheme for paying the debt of the nation. By T. L. now a prisoner in The Fleet.'"

The Author of the poem already quoted, intimates that the personage in the night-gown was meant for some real character:

"His wig was full as old as he, In which one curl you could not see. His neckcloth loose, his beard full grown, An old torn night-gown not his own. L———, great schemist, that can pay, The nation's debt an easy way."

In Plate VIII. (which appears in three different states) is a half-penny reversed (struck in the year 1763) and fixed against the wall, intimating, that Britannia herself was fit only for a mad-house. This was a circumstance inserted by our artist (as he advertises) about a year before his death. I may add, that the man drawing lines against the wall just over the half-penny, alludes to Whiston's proposed method of discovering the Longitude by the firing of bombs, as here represented. The idea of the two figures at each corner of the print appears to have been taken from Cibber's statues at Bedlam. The faces of the two females are also changed. That of the woman with a fan, is entirely altered; she has now a cap on, instead of a hood, and is turned, as if speaking to the other.

Mr. Gilpin's opinion concerning this set of prints is too valuable to be omitted, and is therefore transcribed below.[12] The plates were thus admirably illustrated by Dr. John Hoadly.

Plate I. O Vanity of Age, untoward, Ever spleeny, ever froward! Why these Bolts, and massy chains, Squint suspicions, jealous Pains? Why, thy toilsome Journey o'er, Lay'st thou in an useless store? Hope along with Time is flown, Nor canst thou reap the field thou'st sown. Hast thou a son? in time be wise—. He views thy toil with other eyes. Needs must thy kind, paternal care, Lock'd in thy chests be buried there? Whence then shall flow that friendly ease, That social converse, home-felt peace, Familiar duty without dread, Instruction from example bred, Which youthful minds with freedom mend, And with the father mix the friend? Uncircumscrib'd by prudent rules, Or precepts of expensive schools Abus'd at home, abroad despis'd, Unbred, unletter'd, unadvis'd; The headstrong course of youth begun, What comfort from this darling son? Plate II. Prosperity (with harlot's smiles, Most pleasing when she most beguiles) How soon, sweet foe, can all thy train Of false, gay, frantic, loud, and vain, Enter the unprovided mind, And Memory in fetters bind; Load Faith and Love with golden chain, And sprinkle Lethe o'er the brain! Pleasure, in her silver throne, Smiling comes, nor comes alone; Venus comes with her along, And smooth Lyæus ever young; And in their train, to fill the press, Come apish Dance, and swol'n Excess, Mechanic Honour, vicious Taste, And Fashion in her changing vest. Plate III. O vanity of youthful blood, So by misuse to poison good! Woman, fram'd for social love, Fairest gift of powers above; Source of every houshold blessing, All charms in innocence possessing— But turn'd to Vice, all plagues above, Foe to thy Being, foe to Love! Guest divine to outward viewing, Ablest Minister of Ruin! And thou, no less of gift divine, "Sweet poison of misused wine!" With freedom led to every part, And secret chamber of the heart; Dost thou thy friendly host betray, And show thy riotous gang the way To enter in with covert treason, O'erthrow the drowsy guard of reason, To ransack the abandon'd place, And revel there in wild excess? Plate IV. O vanity of youthful blood, So by misuse to poison good! Reason awakes, and views unbarr'd The sacred gates he watch'd to guard; Approaching sees the harpy, Law, And Poverty, with icy paw, Ready to seize the poor remains— That Vice has left of all his gains. Cold Penitence, lame After-thought, With fears, despair, and horrors fraught, Call back his guilty pleasures dead, Whom he hath wrong'd, and whom betray'd. Plate V. New to the School of hard Mishap, Driven from the ease of Fortune's lap, What schemes will Nature not embrace T' avoid less shame of drear distress! Gold can the charms of youth bestow, And mask deformity with show: Gold can avert the sting of Shame, In winter's arms create a flame; Can couple youth with hoary age, And make antipathies engage. Plate VI. Gold, thou bright son of Phœbus, source Of universal intercourse; Of weeping Virtue soft redress, And blessing those who live to bless! Yet oft behold this sacred truth, The tool of avaricious Lust: No longer bond of human kind, But bane of every virtuous mind. What chaos such misuse attends! Friendship stoops to prey on friends; Health, that gives relish to delight, Is wasted with the wasting night; Doubt and mistrust is thrown on Heaven, And all its power to Chance is given. Sad purchase of repentant tears, Of needless quarrels, endless fears, Of hopes of moments, pangs of years! Sad purchase of a tortur'd mind To an imprison'd body join'd! Plate VII. Happy the man, whose constant thought (Though in the school of hardship taught) Can send Remembrance back to fetch Treasures from life's earliest stretch; Who, self-approving, can review Scenes of past virtues, which shine through The gloom of age, and cast a ray To gild the evening of his day! Not so the guilty wretch confin'd: No pleasures meet his conscious mind; No blessings brought from early youth, But broken faith and wrested truth, Talents idle and unus'd, And every trust of Heaven abus'd. In seas of sad reflection lost, From horrors still to horrors toss'd, Reason the vessel leaves to steer, And gives the helm to mad despair. Plate VIII. Madness! thou chaos of the brain; What art, that pleasure giv'st and pain? Tyranny of Fancy's reign! Mechanic Fancy! that can build Vast labyrinths and mazes wild, With rule disjointed, shapeless measure, Fill'd with horror, fill'd with pleasure! Shapes of horror, that would even Cast doubt of mercy upon Heaven! Shapes of pleasure, that but seen Would split the shaking sides of spleen. O vanity of age! here see The stamp of Heaven effac'd by thee! The headstrong course of youth thus run, What comfort from this darling son? His rattling chains with terror hear; Behold Death grappling with despair; See him by thee to ruin sold, And curse Thyself, and curse thy Gold.

On this occasion also appeared an 8vo pamphlet, intituled, "The Rake's Progress, or the Humours of Drury-Lane, a poem in eight canto's, in Hudibrastick verse, being the ramble of a modern Oxonian, which is a compleat key to the eight prints lately published by the celebrated Mr. Hogarth." The second edition with additions, particularly an "epistle to Mr. Hogarth" was "printed for J. Chetwood, and sold at Inigo Jones's-Head against Exeter Change in The Strand, 1735." This is a most contemptible and indecent performance. Eight prints are inserted in some copies of it; but they are only the designs of Hogarth murdered, and perhaps were not originally intended for the decoration of the work already described.

The original paintings, both of the Rake's and Harlot's Progress, were at Fonthill, in Wiltshire, the seat of Mr. Beckford,[13] where the latter were destroyed by a fire, in the year 1755; the former set was happily preserved. Mr. Barnes, of Rippon, in Yorkshire, has the Harlot's Progress in oil. It must, however, be a copy. Mr. Beckford has also twenty-five heads from the Cartoons by Hogarth, for which he paid twenty-five guineas.

There is reason to believe that Hogarth once designed to have introduced the ceremony of a Marriage Contract into the Rake's Progress, instead of the Levee. An unfinished painting of this scene is still preserved. We have here the Rake's apartment as now exhibited in Plate II. In the anti-room, among other figures, we recognize that of the poet who at present congratulates our hero on his accession to wealth and pleasure. The bard is here waiting with an epithalamium in his hand. The Rake has added connoisseurship to the rest of his expensive follies. One of his purchases is a canvas containing only the representation of a human foot. [Perhaps this circumstance might allude to the dissection of Arlaud's Leda. See Mr. Walpole's Anecdotes, &c. vol. IV. p. 39.] A second is so obscure, that no objects in it are discernible. [A performance of the same description is introduced in our artist's Piquet, or Virtue in Danger.] A third presents us with a Madona looking down with fondness on the infant she holds in her arms. [This seems intended as a contrast to the grey headed bride who sits under it, and is apparently past child-bearing.] The fourth is emblematical, and displays perhaps too licentious a satire on transubstantiation. The Blessed Virgin is thrusting her Son down the hopper of a mill, in which he is ground by priests till he issues out in the shape of the consecrated wafer, supposed by Catholicks to contain the real presence. At a table sits a toothless decrepit father, guardian, or match-maker, joining the hand of the rake with that of the antiquated female, whose face is highly expressive of eagerness, while that of her intended husband is directed a contrary way, toward a groom who is bringing in a piece of plate won at a horse-race.[14] On the floor in front lie a heap of mutilated busts, &c. which our spendthrift is supposed to have recently purchased at an auction. The black boy, who is afterwards met with in Plate IV. of Marriage Alamode, was transplanted from this canvas. He is here introduced supporting such a picture of Ganymede as hangs against the wall of the lady's dressing-room in the same plate of the same work.

1736.

1. Two prints of Before and After. The two pictures, from which these prints are taken, were painted at the particular request of a certain vicious nobleman, whose name deserves no commemoration. The hero of them is said to have been designed for Chief Justice Willes. Hogarth repented of having engraved them; and almost every possessor of his works will wish they had been with-held from the public, as often as he is obliged to shew the volume that contains them to ladies. To omit them, is to mutilate the collection; to pin the leaves, on which they are pasted, together, is a circumstance that tends only to provoke curiosity; and to display them, would be to set decency at defiance. The painter who indulges himself, or his employers, in such representations, will forfeit the general praise he might have gained by a choice of less offensive subjects. We have an artist of no common merit, who has frequently disgraced his skill by scenes too luxuriant to appear in any situation but a brothel; and yet one of the most meretricious of his performances, but a few years ago, was exhibited by the Royal Academy. These prints, however, display almost the only instance in which Hogarth condescended to execute a subject proposed to him; for I am assured by one who knew him well, that his obstinacy on these occasions has often proved invincible. Like Shakspeare's Tully,

"——he would never follow any thing That other men began."

In the later impressions from these plates, the scroll-work on the head-cloth, &c. of the bed, is rendered indistinct, by an injudicious attempt to strengthen the engraving. Mr. S. Ireland has the first sketch in oil of "Before."[1]

2. The Sleeping Congregation. The preacher was designed as the representative of Dr. Desaguliers. This print was first published in 1736. It was afterwards retouched and improved[1] by the author in 1762, and is found in three different states. In the first, Dieu & Mon Droit is wanting under the King's Arms; the angel with one wing and two pair of thighs, that supports this motto, is smoking a pipe; and the lion has not his present magnificent genitals. In the second, the words already mentioned are added; the angel's pipe is obliterated; the insignia of the lion's sex rendered ostentatiously conspicuous; and the lines of the triangle under the angel are doubled. The other distinctions are chiefly such as a reiteration of engraving would naturally produce, by adding strength to the fainter parts of the composition. Changes of this slender kind are numberless in all the repaired prints of our artist. There is also a pirated copy of this plate. It is not ill executed, but in size is somewhat shorter than its predecessor, and has no price annexed. In the original picture, in the collection of Sir Edward Walpole, the clerk's head is admirably well painted, and with great force; but he is dozing, and not leering at the young woman near him, as in the print.

3. The Distressed Poet.[1] In a back ground, a picture of Pope threshing Curll. Over the head of Pope we read, Pope's Letters; out of his mouth comes Veni, vidi, vici; and under Curll lies a letter, directed—to Curll. The distressed bard is composing Poverty, a poem. At the bottom of the plate are the following lines from The Dunciad, I. iii.

Studious he sate, with all his books around, Sinking from thought to thought, a vast profund! Plung'd for his sense, but found no bottom there; Then writ, and flounder'd on in mere despair.

In the subsequent impressions, dated December 15, 1740, the triumphs of Pope are changed to a view of the gold mines of Peru; and our hero of the garret is employed in celebrating the praise of Riches. The lines already quoted are effaced. The original painting is at lord Grosvenor's house at Milbank, Westminster.

4. Right Hon. Frances Lady Byron. Whole length, mezzotinto. W. Hogarth pinxit. J. Faber fecit. The most beautiful impressions of this plate were commonly taken off in a brown colour.

5. The same, shortened into a three-quarters length.

6. Consultation of Physicians. Arms of the Undertakers. In this plate, amongst other portraits, is the well-known one of Dr. Ward[1] (who was called Spot Ward, from the left side of his face being marked of a claret colour); and that of the elder Taylor,[2] a noted oculist, with an eye on the head of his cane; Dr. Pierce Dod,[3] Dr. Bamber;[4] and other physicians of that time. The figure with a bone in its hand, between the two demi-doctors (i. e. Taylor and Ward), is said to have been designed for Mrs. Mapp, a famous masculine woman, who was called the bone-setter, or shape-mistress. I am told, that many of her advertisements may be found in Mist's Journal, and still more accounts of her cures in the periodical publications of her time. Her maiden name was Wallin. Her father was also a bone-setter at Hindon, Wilts; but quarrelling with him, she wandered about the country, calling herself crazy Sally. On her success in her profession she married, August 11, 1736,[5] one Hill Mapp, a servant to Mr. Ibbetson, mercer on Ludgate-Hill. In most cases her success was rather owing to the strength of her arms, and the boldness of her undertakings, than to any knowledge of anatomy or skill in chirurgical operations. The following particulars relative to her are collected from the The Grub-street Journal, &c. and serve at least to shew, that she was a character considerable enough to deserve the satire of Hogarth.

August 19, 1736, "We hear that the husband of Mrs. Mapp, the famous bone-setter at Epsom, ran away from her last week, taking with him upwards of 100 guineas, and such other portable things as lay next hand."

"Several letters from Epsom mention, that the footman, whom the female bone-setter married the week before, had taken a sudden journey from thence with what money his wife had earned; and that her concern at first was very great: but soon as the surprize was over, she grew gay, and seemed to think the money well disposed of, as it was like to rid her of a husband. He took just 102 guineas."

The following verses were addressed to her in August 1736.

"Of late, without the least pretence to skill, Ward's grown a fam'd physician by a pill;[6] Yet he can but a doubtful honour claim, While envious Death oft blasts his rising fame. Next travell'd Taylor fill'd us with surprize, Who pours new light upon the blindest eyes; Each journal tells his circuit thro' the land; Each journal tells the blessings of his hand: And lest some hireling scribbler of the town Injures his history, he writes his own. We read the long accounts with wonder o'er; Had he wrote less, we had believ'd him more. Let these, O Mapp! thou wonder of the age! With dubious arts endeavour to engage: While you, irregularly strict to rules, Teach dull collegiate pedants they are fools: By merit, the sure path to fame pursue; For all who see thy art, must own it true."

September 2, 1736, "On Friday several persons, who had the misfortune of lameness, crowded to The White-hart Inn, in White-chapel, on hearing Mrs. Mapp the famous bone-setter was there. Some of them were admitted to her, and were relieved as they apprehended. But a gentleman, who happened to come by, declared Mrs. Mapp was at Epsom, on which the woman thought proper to move off."

September 9, 1736. "Advertisement.

"Whereas it has been industriously (I wish I could say truly) reported, that I had found great benefit from a certain female bone-setter's performance, and that it was to a want of resolution to undergo the operation, that I did not meet with a perfect cure: this is therefore to give notice, that any persons afflicted with lameness (who are willing to know what good or harm others may receive, before they venture on desperate measures themselves) will be welcome any morning to see the dressing of my leg, which was sound before the operation, and they will then be able to judge of the performance, and to whom I owe my present unhappy confinement to my bed and chair.

"Thomas Barber, Tallow-chandler, Saffron-hill."

September 16, 1736. "On Thursday, Mrs. Mapp's plate of ten guineas was run for at Epsom. A mare, called 'Mrs. Mapp,' won the first heat; when Mrs. Mapp gave the rider a guinea, and swore if he won the plate she would give him 100; but the second and third heat was won by a chestnut mare."

"We hear that the husband of Mrs. Mapp is returned, and has been kindly received."

September 23, 1736. "Mrs. Mapp continues making extraordinary cures: she has now set up an equipage, and on Sunday waited on her Majesty."

Saturday, October 16, 1736. "Mrs. Mapp, the bone-setter, with Dr. Taylor, the oculist, was at the play-house, in Lincoln's-Inn Fields, to see a comedy called 'The Husband's Relief, with the Female Bone-setter and Worm Doctor;' which occasioned a full house, and the following epigram:

"'While Mapp to th'actors shew'd a kind regard, On one side Taylor sat, on the other Ward: When their mock persons of the Drama came, Both Ward and Taylor thought it hurt their fame; Wonder'd how Mapp cou'd in good humour be— Zoons! cries the manly dame, it hurts not me; Quacks without art may either blind or kill; But[7] demonstration shews that mine is skill.'

"And the following was sung upon the stage:

"'You surgeons of London, who puzzle your pates, To ride in your coaches, and purchase estates, Give over, for shame, for your pride has a fall, And the doctress of Epsom has outdone you all. Derry down, &c. "'What signifies learning, or going to school, When a woman can do, without reason or rule, What puts you to nonplus, and baffles your art? For petticoat-practice has now got the start. "'In physics, as well as in fashions, we find, The newest has always the run with mankind; Forgot is the bustle 'bout Taylor and Ward; Now Mapp's all the cry, and her fame's on record. "'Dame Nature has given her a doctor's degree, She gets all the patients, and pockets the fee; So if you don't instantly prove it a cheat, She'll loll in her chariot, whilst you walk the street. Derry down, &c.'"

October 19, 1736, London Daily Post. "Mrs. Mapp, being present at the acting of The Wife's Relief, concurred in the universal applause of a crowded audience. This play was advertised by the desire of Mrs. Mapp, the famous bone-setter from Epsom."

October 21, 1736, "On Saturday evening there was such a concourse of people at the Theatre-royal in Lincoln's-Inn Fields, to see the famous Mrs. Mapp, that several gentlemen and ladies were obliged to return for want of room. The confusion at going out was so great, that several gentlemen and ladies had their pockets picked, and many of the latter lost their fans, &c. Yesterday she was elegantly entertained by Dr. Ward, at his house in Pall-Mall."

"On Saturday and yesterday Mrs. Mapp performed several operations at The Grecian Coffee-house, particularly one upon a niece of Sir Hans Sloane, to his great satisfaction and her credit. The patient had her shoulder-bone out for about nine years."

"On Monday Mrs. Mapp performed two extraordinary cures; one on a young lady of The Temple, who had several bones out from the knees to her toes, which she put in their proper places: and the other on a butcher, whose knee-pans were so misplaced that he walked with his knees knocking one against another. Yesterday she performed several other surprizing cures; and about one set out for Epsom, and carried with her several crutches, which she calls trophies of honour."

November 18, 1736, "Mrs. Mapp, the famous bone-setter, has taken lodgings in Pall-Mall, near Mr. Joshua Ward's, &c."

November 25, 1736,

"In this bright age three wonder-workers rise, Whose operations puzzle all the wise. To lame and blind, by dint of manual slight, Mapp gives the use of limbs, and Taylor sight. But greater Ward, &c."

December 16, 1736, "On Thursday, Polly Peachum (Miss Warren, that was sister to the famous Mrs. Mapp) was tried at The Old Bailey for marrying Mr. Nicholas; her former husband, Mr. Somers, being living, &c."

December 22, 1737, "Died last week, at her lodgings near The Seven Dials, the much-talked-of Mrs. Mapp, the bone-setter, so miserably poor, that the parish was obliged to bury her."

The plate is thus illustrated by the engraver: "The Company of Undertakers beareth Sable, an Urinal proper, between twelve Quack Heads of the second, and twelve Cane Heads, Or, Consultant. On a Chief,[8] Nebulæ,[9] Ermine, one compleat Doctor[10] issuant, checkie, sustaining in his right hand a baton of the second. On his dexter and sinister sides two demi-doctors issuant of the second, and two Cane Heads issuant of the third; the first having one eye couchant, towards the dexter side of the escutcheon; the second faced per pale proper and gules, guardant, with this motto—Et plurima mortis imago."

1737.

1. The Lecture. "Datur vacuum." The person reading is well known to be the late Mr. Fisher, of Jesus College, Oxford, and Registrar of that University. This portrait was taken with the free consent of Mr. Fisher; who died March 18, 1761. There are some impressions in which "Datur vacuum" is not printed, that leaf being entirely blank; published January 20, 1736-7; the other March 3, 1736. Hogarth at first marked these words in with a pen and ink.

2. Æneas in a Storm. The following advertisement appeared in The London Daily Post, January 17, 1736-7.

"This day is published, price sixpence, a hieroglyphical print called Æneas in a Storm.

"Tanta hæc mulier potuit suadere malorum.

"Sold by the booksellers and printsellers in town and country. Of whom may be had, a print called Tartuff's Banquet, or Codex's Entertainment. Price one shilling.

"—populus me sibilat, at mihi plaudo Ipse domi."

The same paper mentions the King's arrival at Loestoff on the 16th of January, and afterwards at St. James's on the 17th.

The author of this print, whoever he was, did not venture to put his name to so ludicrous a representation of the tempest which happened on King George the Second's return from Hanover. His Majesty is supposed to have kicked his hat overboard. This, it seems, was an action customary to him when he was in a passion. To the same circumstance Loveling has alluded in his Sapphic Ode ad Carolum B——.[1]

Concinet majore poeta plectro Georgium,[2] quandoque calens furore Gestiet circa thalamum ferire Calce galerum.

I have been told, that Mr. Garrick, when he first appeared in the character of Bayes, taking the same liberty, received instantly such a message from one of the stage boxes, as prevented him from practising so insolent a stroke of mimickry a second time.

In spite of the confidence with which this plate has been attributed to Hogarth, I by no means believe it was his performance. It more resembles the manner of Vandergucht, who was equally inclined to personal satire, however his talents might be inadequate to his purposes. Witness several scattered designs of his in the very same style of engraving. I may add, that he always exerted his talents in the service of the Tory faction. Besides, there is nothing in the plate before us which might not have been expected from the hand of any common artist. The conceit of the blasts issuing from the posteriors of the Æolian tribe, is borrowed from one of the prints to Scarron's Travesty of Virgil; and the figure of Britannia is altogether insipid and unworthy of Hogarth. Our artist also was too much accustomed to sailing parties, and too accurate an observer of objects on The Thames, not to have known that our Royal Yachts are vessels without three masts, &c.

1738.

1. The Four Parts of the Day.[1] Invented, painted, engraved, and published by W. Hogarth. Mr. Walpole observes that these plates, "except the last, are inferior to few of his works." We have been told that Hogarth's inclination to satire once cost him a legacy. It seems that the figure of the Old Maid, in the print of Morning, was taken either from an acquaintance or relation of his. At first she was well enough satisfied with her resemblance; but some designing people teaching her to be angry, she struck the painter out of her will, which had been made considerably in his favour. This story we have heard often related by those whom, on other occasions, we could readily believe. In the same print is a portrait of Dr. Rock, who formerly attended Covent-Garden market every morning.

To the propriety of Hogarth's having introduced a scene of riot within King's Coffee-house, the following quotation from The Weekly Miscellany for June 9, 1739, bears sufficient testimony: "Monday Mrs. Mary King of Covent-Garden was brought up to the King's Bench Bar at Westminster, and received the following sentence, for keeping a disorderly house; viz. to pay a fine of £.200, to suffer three months imprisonment, to find security for her good behaviour for three years, and to remain in prison till the fine be paid." As it was impossible she could carry on her former business, as soon as the time of her imprisonment was ended, she retired with her savings, built three houses on Haverstock hill, near Hampstead, and died in one of them, September 1747. Her own mansion was afterwards the last residence of the celebrated Nancy Dawson;[2] and the three together are still distinguished by the appellation of Moll King's Row. Perhaps the use of the mirror in reversing objects was not yet understood by our engravers, for in Hogarth's painting the late Mr. West's house (now Lowe's Hotel) is properly situated on the left of Covent-garden church. In the print it appears on the contrary side.

The Crying Boy in Noon was sketched by Hogarth from a picture by N. Poussin of the Rape of the Sabines, at Mr. Hoare's at Stourhead. The school boy's kite lodged on the roof of a building, was introduced only to break the disagreeable uniformity of a wall.

Our artist, in the scene of Evening, inserted the little girl with the fan, as an after-thought, some friend having asked him what the boy cried for. He therefore introduced the girl going to take the play-thing from her brother. Nothing is more common than to see children cry without reason. The circumstance, however, shews that this great Genius did not always think himself above advice, as some have alledged to have been the case with him. In the early impressions of this plate, the face and neck of the woman are coloured with red, to express heat; and the hand of her husband is tinged with blue, to intimate that he was by trade a Dyer. The purchasers of the plate, intituled Evening, are hereby cautioned against imposition. In a modern copy of it, sold to the late Mr. Ingham Foster, the face of the woman had been washed over with vermilion, that it might pass (as it chanced to do) for a first impression. In the true ones, and none but these, the face and bosom were printed off with red, and the hand with blue ink. Only the traces of the graver, therefore, ought to be filled by either colour, and not the whole surface of the visage, &c. as in the smeary counterfeit. I have been told that a few copies of plate III. were taken off before the fan was inserted, but have not hitherto met with one of them. In Night, the drunken Free-mason has been supposed to be Sir Thomas de Veil; but Sir John Hawkins assures me, it is not the least like him. The Salisbury Flying-Coach implies a satire on the right honourable inventor of that species of carriage. The two first of these pictures were sold to the Duke of Ancaster, for 57 Guineas; the remaining pair to Sir William Heathcote for 64.

2. Strolling Actresses[1] dressing in a Barn. Invented, painted, engraved, and published by W. Hogarth. Mr. Walpole observes that this piece, "for wit and imagination, without any other end," is the best of all our artist's works. Mr. Wood of Littelton has the original, for which he paid only 26 Guineas.

Dr. Trusler, in his explanation of this plate, is of opinion, that some incestuous commerce among the performers is intimated by the names of Oedipus and Jocasta appearing above the heads of two figures among the theatrical lumber at the top of the barn. But surely there is no cause for so gross a supposition. Painted prodigies of this description were necessary to the performance of Lee's Oedipus. See Act II. where the following stage direction occurs; "The cloud draws, that veiled the heads of the figures in the sky, and shews them crowned, with the names of Oedipus and Jocasta written above, in great characters of gold." The magazine of dragons, clouds, scenes, flags, &c. or the woman half naked, was sufficient to attract the notice of the rustick peeping through the thatch he might be employed to repair. Neither is the position of the figures at all favourable to the Doctor's conceit. Incest was also too shocking an idea to have intruded itself among the comic circumstances that form the present representation. When this plate was retouched a second time, a variety of little changes were made in it. In the two earliest impressions the actress who personates Flora, is greasing her hair with a tallow candle, and preparing to powder herself, after her cap, feathers, &c. were put on. This solecism in the regular course of dress is removed in the third copy, the cap and ornaments being there omitted. The coiffure of the female who holds the cat, is also lowered; and whereas at first we could read in the play-bill depending from the truckle-bed, that the part of Jupiter was to be performed by Mr. Bilk-village, an additional shade in the modern copy renders this part of the inscription illegible. Several holes likewise in the thatch of the barn are filled up; and the whole plate has lost somewhat of its clearness. The same censure is due to the reparations of the Harlot's and Rake's Progresses. Had Hogarth lived, he would also have gradually destroyed much of that history of dress, &c. for which his designs have been justly praised by Mr. Walpole. In the first and last scenes of the Rake's Progress, he began to adorn the heads of his females in the fashion prevalent at the time he retraced the plates. In short, the collector, who contents himself with the later impressions of his work, will not consult our artist's reputation. Those who wish to be acquainted with the whole extent of his powers, should assemble the first copies, together with all the varieties of his capital works.

1739.

1. Several children of The Foundling Hospital; the boys with mathematical instruments; the girls with spinning wheels. Over the door of the house they come out of, are the King's-arms. A porter is bringing in a child, followed by Capt. Coram, whose benevolent countenance[1] is directed towards a kneeling woman. On the right hand is a view of a church; near it a woman lifting a child from the ground; at a little distance another infant exposed near a river. In the back of the picture, a prospect of ships sailing. W. Hogarth inv. F. Morellon la Cave sculp. London.

This is prefixed to an engraved Power of Attorney, from the trustees of The Foundling Hospital, to those gentlemen who were appointed to receive subscriptions towards the building, &c. The whole together is printed on a half sheet.

1741.

1. The Enraged Musician, Designed, engraved, and published by W. Hogarth. "Mr. John Festin,[1] the first hautboy and German flute of his time, had numerous scholars, to each of whom he devoted an hour every day. At nine in the morning he attended Mr. Spencer, grandfather to the earl of that name. If he happened to be out of town on any day, he devoted that hour to another. One morning at that hour he waited on Mr. V——n, afterwards Lord V——n. He was not up. Mr. Festin went into his chamber, and opening the shutter of a window, sat down in it. The figure with the hautboy was playing under the window. A man, with a barrow full of onions, came up to the player, and sat on the edge of his barrow, and said to the man, 'if you will play the Black Joke, I will give you this onion.' The man played it. When he had so done, the man again desired him to play some other tune, and then he would give him another onion. 'This,' said Festin to me, 'highly angered me; I cried out, Z——ds, sir, stop here. This fellow is ridiculing my profession: he is playing on the hautboy for onions.' Being intimate with Mr. Hogarth, he mentioned the circumstance to him; which, as he said, was the origin of 'The enraged Musician.' The fact may be depended upon. Mr. Festin[2] was himself the Enraged Performer." The story is here told just as he related it to a clergyman, in whose words the reader now receives it.

Of this print[3] it has been quaintly said, that it deafens one to look at it. Mr. Walpole is of opinion that it "tends to farce." Rouquet says of it, "Le Musicien est un Italien que les cris de Londres font enrager." The wretched figure playing on a hautbois, was at that time well known about the streets. For variations, see the horse's head, originally white, but now black.—Sleeve of the child with a rattle, at first smaller, as well as of a lighter hue—the milk-woman's face, cloak, &c. boy's dragg, cutler's hatchet, dog, &c. &c. more darkened than in the first impressions. These, however, can scarcely be termed varieties, as they were occasioned only by retouching the plate, and adding a few shadows.

Hogarth, however, made several alterations and additions in this plate when it appeared to be finished. He changed in some measure all the countenances, and indeed the entire head and limbs of the chimney-sweeper, who had originally a grenadier's cap on. Miss had also a Doll, significantly placed under the trap composed of bricks, near which some sprigs from a tree are set in the ground, the whole contrivance being designed by some boy for the purpose of taking birds; but when occupied by Miss's Play-thing, became emblematic of the art of catching men. What relates, however, to this young lady from a boarding-school, was gross enough without such an amplification. The play-bill, sow-gelder, cats, dragg, &c. were not introduced, nor the pewterer's advertisement, nor the steeple in which the ringers are supposed. It is remarkable that the dustman was without a nose. The proofs of the plate in this condition are scarce. I have seen only one of them.[4] Mr. S. Ireland has the original sketch.

1742.

1. Martin Folks, Esq. half length. W. Hogarth pinxit & sculpsit. An engraving. To some impressions of this print, which are not proofs, the name of Hogarth is wanting.

2. The same, half length mezzotinto. W. Hogarth pinx. 1741; J. Faber fecit. 1742. The original of both is now in the meeting-room of the Royal Society, in Somerset Place.

3. Charmers of the Age.[1] "A sketch. No name." It was intended to ridicule Mons. Desnoyer[2] and Signora Barberini, the two best dancers that ever appeared in London. This plate exhibits the internal prospect of a theatre. The openings between the side scenes are crowded with applauding spectators. The two performers are capering very high. A sun over head (I suppose the emblem of public favour) is darting down its rays upon them. The representatives of Tragedy and Comedy are candle-holders on the occasion. Underneath is the following inscription: "The prick'd lines show the rising height." There are also a few letters of direction, so situated as to convey no very decent innuendo. The whole is but a hasty outline, executed, however, with spirit, and bitten uncommonly deep by the aqua fortis. I ascribe it to Hogarth without hesitation. Of this print there is a copy by Livesay.

All the three pieces of our artist that satirize the stage, &c. are peculiarly scarce. We may suppose them, therefore, to have been suppressed by the influence of the managers for the time being, who were not, like our present ones, become callous through the incessant attacks of diurnal criticks in the news-papers.

4. Taste in High Life. A beau, a fashionable old lady, a young lady, a black boy, and a monkey. Painted by Mr. Hogarth. It was sold by Mr. Jarvis, in Bedford-street, Covent-Garden. Published May 24th, [no year]. The original picture is in the possession of Mr. Birch, surgeon, Essex-street, in The Strand.

It displays (as we learn from an inscription on the pedestal under a Venus dressed in a hoop-petticoat) the reigning modes of the year 1742. It was painted for the opulent Miss Edwards, who paid our artist sixty guineas for it. Her reason for choosing such a subject was rather whimsical. By her own singularities having incurred some ridicule, she was desirous, by the assistance of Hogarth, to recriminate on the publick. As he designed after her ideas, he had little kindness for his performance, and never would permit a print to be taken from it. The present one was from a drawing made by connivance of her servants. The original was purchased by the father of its present owner, at her sale at Kensington.

The figure of the beau holding the china-saucer is said to have been that of Lord Portmore, dressed as he first appeared at court after his return from France. The young female was designed for a celebrated courtezan, who was the Kitty Fisher of her time. Her familiarity with the black boy alludes to a similar weakness in a noble duchess, who educated two brats of the same colour. One of them afterwards robbed her, and the other was guilty of some offence equally unpardonable. The pictures with which the room is adorned, contain many strokes of temporary satire. See the Venus with stays, a hoop, and high-heel'd shoes; Cupid burning all these parts of dress, together with a modish wig, &c.; a second Cupid paring down a plump lady to the fashionable standard; and [in a framed picture classed with a number of insects] the figure of Desnoyer the dancing-master in a grand ballet. The ridicule on the folly of collecting old china, &c. &c. are alike circumstances happily introduced, and explanatory of the fashions then in vogue. The colouring is better than that in most of Hogarth's pictures. The plate is now the property of Mr. Sayer.

1743.

1. Benjamin Hoadly, bishop of Winchester. W. Hogarth pinx. B. Baron sculp. The plate belongs to Mrs. Hoadly.

2. Captain Thomas Coram, who obtained the charter[1] for The Foundling Hospital. Mezzotinto; a three-quarters. The first print published by M'Ardell. The original is a whole length. The captain has the seal of the charter in his hand. Before him is a globe; at a distance a prospect of the sea. This is perhaps the best of all Hogarth's portraits, and is thus described in the Scandalizade, a satire published about 1749.

"Lo! old Captain Coram,[2] so round in the face, And a pair of good chaps plump'd up in good case, His amiable locks hanging grey on each side To his double-breast coat o'er his shoulders so wide," &c.

3. The same engraving, for the London Magazine.

4. Characters and Caricaturas, "to show that Leonardo da Vinci exaggerated the latter." The subscription-ticket to Marriage à la Mode.

1745.

1. Marriage à la Mode.[1] Six plates. In 1746 was published, "Marriage à la Mode: an Humourous Tale, in Six Canto's, in Hudibrastic Verse; being an Explanation of the Six Prints lately published by the ingenious Mr. Hogarth. London: printed for Weaver Bickerton, in Temple-Exchange Passage, in Fleet-Street, 1746. Price One Shilling." Of this pamphlet it will be sufficient to extract the Preface and the arguments of the several Canto's; the poem itself (if such it may be called) being extended to the length of 59 pages.

"The prints of Marriage à la Mode, being the latest production of that celebrated Artist who had before obliged the town with several entertaining pieces, have, ever since their publication, been very justly admired; the particular vein of humour, that runs through the whole of his works, is more especially preserved in this.

"If the Comic Poet who draws the characters of the age he lives in, by keeping strictly up to their manners in their speeches and expressions; if satirizing vice and encouraging virtue in dialogue, to render it familiar, is always reckoned amongst the liberal arts; and the authors, when dead, dignified with busts and monuments sacred to their memory; sure the master of the pencil, whose traits carry, not only a lively image of the persons and manners, but whose happy genius has found the secret of so disposing the several parts, as to convey a pleasing and instructive moral through the history he represents, may claim a rank in the foremost class, and acquire, if the term is allowable, the appellation of the Dramatic Painter.

"The Modish Husband, incapable of relishing the pleasures of true happiness, is here depicted in his full swing of vice, 'till his mistaken conduct drives his wife to be false to his bed, and brings him to a wretched end; killed in revenging the loss of that virtue which he would never cherish. The Lady is equally represented as a true copy of all the fine ladies of the age, who, by indulging their passions, run into all those extravagances, that at last occasion a shameful exit. If the gentlemen of the long robe, who ought to know the consequences, are guilty of committing such a breach of hospitality as is here described, they are properly reprimanded: the penurious Alderman, and the profligate old Nobleman, are a fine contrast; the Quack Doctor, the Italian Singer, &c. are proofs of the Inventor's judgement and distinction, both in high and low life.

"Though these images are pleasing to the eye, yet many have complained that they wanted a proper explanation, which we hope will plead an excuse for publication of the following Canto's, as the desire to render these pieces more extensive may atone for the many faults contained in this poem, for which the Hudibrastic style was thought most proper."

The ARGUMENTS. CANTO I. "The joys and plagues that wedlock brings, The Limner paints, the Poet sings; How the old dads weigh either scale, And set their children up to sale; How, void of thought, the Viscount weds The nymph, who such a marriage dreads; And, whilst himself the Fop admires, M——y with love her soul inspires." CANTO II. "The wedding o'er, the ill-match'd pair Are left at large, their fate to share; All public places he frequents, Whilst she her own delight invents; And, full of love, bewails her doom, When drunk i'th' morning he comes home; The pious stew'rd, in great surprize, Runs from them with uplifted eyes." CANTO III. "My Lord now keeps a common Miss, Th' effects describ'd of amorous bliss, Venereal taints infect their veins, And fill them full of aches and pains; Which to an old French Doctor drives 'em, Who with his pill, a grand p—x gives 'em; A scene of vengeance next ensues, With which the Muse her tale pursues." CANTO IV. "Fresh honours on the Lady wait, A Countess now she shines in state; The toilette is at large display'd, Where whilst the morning concert's play'd, She listens to her lover's call, Who courts her to the midnight-ball." CANTO V. "The dismal consequence behold, Of wedding girls of London mould; The Husband is depriv'd of life, In striving to detect his Wife; The Lawyer naked, in surprize, Out of the Bagnio window flies: Whilst Madam, leaping from the bed, Doth on her knee for pardon plead." CANTO VI. "The Lawyer meets his just reward, Nor from the triple tree is spar'd; The Father takes my Lady home, Where, when she hears her Lover's doom, To desperate attempts she flies, And with a dose of poison dies."

In these plates only a single variation is detected. In the very first impressions of the second of them (perhaps a few only were taken off) a lock of hair on the forehead of the lady is wanting. It was added by our artist, after Baron had finished the plate. In the early copies he inserted it with Indian ink. A passage in the Analysis[2] will perhaps account for this supplemental ornament: "A lock of hair falling cross the temples, and by that means breaking the regularity of the oval, has an effect too alluring to be strictly decent." The room represented in this plate is adorned with a melange of pictures on wanton and devotional subjects.

Mr. Walpole has remarked, that the works of Hogarth have little obscurity. This position is true in general, though Marriage à la Mode may supply an exception to it; no two persons, perhaps, having hitherto agreed in their explanation of Plate the third.[3]

When this set of plates was to be engraved, Ravenet, a young artist, then just coming into employ, was recommended to Mr. Hogarth; and a hard bargain was made. Ravenet went through two of the plates, but the price proved far inadequate to the labour. He remonstrated, but could obtain no augmentation. When the Sigismunda was to be engraved, Mr. Ravenet was in a different sphere of life. The painter, with many compliments, solicited his assistance as an engraver, but Ravenet indignantly declined the connexion.

In the fourth of these plates[4] are the following portraits: Mrs. Lane (afterwards Lady Bingley) adoring Carestini; her husband Fox Lane asleep. Rouquet only calls him "Un gentilhomme campagnard, fatigué d'une course après quelque renard ou quelque cerf, s'endort." This idea seems to be countenanced by the whip in his hand. The same explainer adds, speaking of the two next figures, "Ici on voit en papillotes un de ces personages qui passent toute leur vie à tâcher de plaire sans y reüssir; la, un eventail au poing, on reconnoît un de ces hérétiques en amour, un sectateur d'Anacreon." The former of these has been supposed to represent Monsieur Michel, the Prussian ambassador. Weideman is playing on the German flute.—The pictures in the room are properly suited to the bed-chamber of a profligate pair—Jupiter and Io, Lot with his Daughters, Ganymede and the Eagle, and the Young Lawyer who debauches the Countess. The child's coral, hanging from the back of the chair she sits in, serves to shew she was already a mother; a circumstance that renders her conduct still more unpardonable. Some of her new-made purchases, exposed on the floor, bear witness to the warmth of her inclinations. These will soon be gratified at the fatal masquerade, for which her paramour is offering her a ticket.

The pompous picture on the right hand of the window in the nobleman's apartment, Plate I. also deserves attention. It appears to be designed as a ridicule on the unmeaning flutter of French portraits, some of which (particularly those of Louis XIV.) are painted in a style of extravagance equal at least to the present parody by Hogarth. This ancestor of our peer is invested with several foreign orders. At the top of one corner of the canvas, are two winds blowing across each other, while the hero's drapery is flying quite contrary directions. A comet is likewise streaming over his head. In his hand he grasps the lightning of Jove, and reposes on a cannon going off, whose ball is absurdly rendered an object of sight. A smile, compounded of self-complacency and pertness, is the characteristic of his face.

On the cieling of this magnificent saloon is a representation of Pharaoh and his Host drowned in the Red Sea. The pictures underneath are not on the most captivating subjects—David killing Goliath—Prometheus and the Vulture—the Murder of the Innocents—Judith and Holofernes—St. Sebastian shot full of Arrows—Cain destroying Abel—and St. Laurence on the Gridiron.

Among such little circumstances in this plate as might escape the notice of a careless spectator, is the Thief in the Candle, emblematic of the mortgage on his Lordship's estate.

When engravings on a contracted scale are made from large pictures, a few parts of them will unavoidably become so small, as almost to want distinctness. It has fared thus with a number of figures that appear before the unfinished edifice,[5] seen through a window in the first plate of this work. Hogarth designed them for the lazy vermin of his Lordship's hall, who, having nothing to do, are sitting on the blocks of stone, or staring at the building;[6] for thus Rouquet has described them, "Une troupe de lacquais oisifs, qui sont dans le cour de ce batiment, acheve de caracteriser le faste ruineux qui environne le comte." The same illustrator properly calls the Citizen Echevin (i. e. sheriff) of London, on account of the chain he wears.

Plate II. From the late Dr. Ducarel I received the following anecdote; but there must be some mistake in it, as Herring was not archbishop till several years after the designs for Marriage à la Mode were made.

"Edward Swallow, butler to Archbishop Herring, had an annuity of ten pounds given to him in his Grace's will. For the honesty and simplicity of his physiognomy, this old faithful servant was so remarkable, that Hogarth, wanting such a figure in Marriage à la Mode, accompanied the late dean of Sarum, Dr. Thomas Greene, on a public day, to Lambeth, on purpose to catch the likeness. As they were coming away, he whispered, 'I have him!' And he may now be seen to the life preserved in the old steward, in Plate II. with his hands held up, &c."

In Plate V. the back ground, which is laboured with uncommon delicacy (a circumstance that will be remarked by few except artists), was the work of Mr. Ravenet's wife. Solomon's wise judgement is represented on the tapestry. When Ravenet's two plates were finished, Hogarth wanted much to retouch the faces,[7] and many disputes happened between him and the engraver on this subject. The first impressions, however, escaped without correction. Those who possess both copies, may discover evident marks of Hogarth's hand in the second. See particularly the countenance of the dying nobleman, which is fairly ploughed up by his heavier burin.

I have been told that our artist took the portrait of the female, who is so placed, that the legs of a figure in the tapestry supply the want of her own, from a coarse picture of a woman called Moll Flanders.

Plate the sixth of this set, affords Rouquet an opportunity of illustrating the following remark, which he had made at the outset of his undertaking: "Ce qu'un Anglois lit, pour ainsi dire, en jettant les yeux sur ces estampes, va exiger de vous la lecture de plusieurs pages." Speaking of our citizen's parsimony, says he—"Voyez-vous ces pipes conservées dans le coin d'un armoire? Vous ne devineriez pas, vous qui n'êtes pas jamais venu en Angleterre, qu'elles sont aussi une marque d'economie; mais il faut vous dire que les pipes sont si communes ici, qu'on ne fume jamais deux fois dans la même. La païsan, l'artizan le plus vil prend une pipe gratis dans le premier cabaret où il arrête: il continue son chemin en achevant de la fumer, et la jette à ses pieds."

As Rouquet observes, "Ce qui sert à garnir cet apartement ne contribue pas à l'orner. Tout y indique une économie basse." The scarcity of the real dinner—the picture exhibiting plenty of provision—the starved dog—the departing physician—the infected and ricketty condition of the child who is brought to take a last kiss of its dying mother—are circumstances too striking to be overlooked.

The Daily Advertiser of 1750 affords the following illustration of our artist's history: "Mr. Hogarth proposes to publish by subscription two large prints, one representing Moses brought to Pharaoh's daughter; the other Paul before Felix; engraved after the pictures of his painting which are now hung up in The Foundling Hospital and Lincoln's-Inn Hall. Five Shillings to be paid at the time of subscribing, and Five Shillings more on the delivery of the print. On the first payment a receipt will be given, which receipt will contain a new print (in the true Dutch taste) of Paul before Felix. Note, The above two prints will be Seven Shillings and Six Pence each after the subscription is over; and the receipt-print will not be sold at a less price than One Guinea each. Subscriptions are taken in till the 6th of June next, and no longer, at The Golden-Head in Leicester-Fields, where the drawings may be seen; as likewise the author's six pictures of Marriage-à-la-Mode, which are to be disposed of in the following manner: That every bidder sign a note with the sum he intends to give. That such note be deposited in the drawer of a cabinet, which cabinet shall be constantly kept locked by the said William Hogarth; and in the cabinet, through a glass door, the sums bid will be seen on the face of the drawer, but the names of the bidders may be concealed till the time of bidding shall be expired. That each bidder may, by a fresh note, advance a further sum if he is outbid, of which notice shall be sent him. That the sum so advanced shall not be less than Three Guineas. That the time of bidding shall continue till twelve o'clock the 6th of June next, and no longer. That no dealer in pictures will be admitted a bidder.

"As (according to the standard of judgement, so righteously and laudably established by picture-dealers, picture-cleaners, picture-frame-makers, and other connoisseurs) 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 considerations equally uncandid and edifying; Mr. Hogarth, by way of precaution, not puff, begs leave to urge, that, probably, this will be the last suit 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 humourous kind does not exceed fifty, of which the three sets called The Harlot's Progress, The Rake's 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 Schools, Names, Heads, Masters, &c. 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."

Mr. Lane, of Hillingdon near Uxbridge, bought the six original pictures for 120 guineas, at Hogarth's auction.[8]

2. A small print of Archbishop Herring, at the head of the speech he made to the clergy of York, September 24, 1745. William Hogarth pinx. C. Moseley sculp.

3. The same head cut out of the plate, and printed off without the speech.

4. The Battle of the Pictures. "Ticket to admit persons to bid for his works at an auction." On the plate called The Battle of the Pictures is written, "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 [February, 1744-5.]."

5. A festoon, with a mask, a roll of paper, a palette, and a laurel. Subscription ticket for Garrick in Richard the Third. A very faithful copy from this receipt was made by R. Livesay, 1781. It is to be sold at Mrs. Hogarth's house in Leicester-square.

1746.

1. Simon Lord Lovat.[1] Drawn from the life, and etched in aquafortis by William Hogarth.—Hogarth said himself, that Lord Lovat's portrait was taken (at the White-Hart, at St. Alban's) in the attitude of relating on his fingers the numbers of the rebel forces.—"Such a general had so many men, &c." and remarked, that the muscles of Lovat's neck appeared of unusual strength, more so than he had ever seen. When the painter entered the room, his lordship, being under the barber's hands, received his old friend with a salute, which left much of the lather on his face.—The second impressions are marked, Price One Shilling. When Hogarth had finished this plate, a printseller offered its weight in gold for it. The impressions could not be taken off so fast as they were wanted, though the rolling-press was at work all night for a week together. For several weeks afterwards he is said to have received at the rate of 12 l. per day.

2. Mr. Garrick[1] in the character of Richard III. Painted by Wm. Hogarth; engraved by Wm. Hogarth and C. Grignion. The late Mr. Duncombe, of Duncombe Park in Yorkshire, gave 200 l. for the original picture, which is now in the possession of his family. The expression of the countenance is happily hit off, but the figure is abundantly too large and muscular. This print was afterwards, by Hogarth's permission, copied for a watch-paper.

3. A stand of various weapons, bag-pipes, &c. and a pair of scissars cutting out the arms of Scotland. A subscription-ticket for the March to Finchley; of which the original price was only 7 s. 6 d. It was to be raised to 10 s. 6 d. on closing the subscription. The additional three shillings afforded the subscriber a chance for the original picture.

1747.

1. Stage-coach. An election procession in the yard. Designed and engraved by William Hogarth. In this plate there is a variation. The early impressions have a flag behind the wheel of the coach, inscribed no old baby, which was the cry used by the opponents of the honourable John Child Tylney (then Viscount Castlemain and now Earl Tylney[1]) when he stood member for the county of Essex, against Sir Robert Abdy and Mr. Bramston. The figure still carries a horn-book, and a rattle in its hands. At the election, a man was placed on a bulk with an infant in his arms, and exclaimed, as he whipt the child, "What, you little Child, must you be a member?" The family name was changed from Child to Tylney by an act of parliament in 1735. In this disputed election, it appeared from the register-book of the parish where Lord Castlemain was born, that he was but 20 years of age. Some pains have been taken to ascertain the particular inn-yard in which the scene is laid, but without success, so many of the publick-houses between Whitechapel and Chelmsford in Essex having been altered, or totally rebuilt.

2. Industry and Idleness, in twelve plates.[1] Mr. Walpole observes, that "they have more merit in the intention than execution." At first they were printed off on very thin paper. Plate V. The scene is Cuckold's Point, below London Bridge. Plate VI. In a few first impressions, "Goodchild and West" is written under the sign, instead of "West and Goodchild." Hogarth had inadvertently placed the name of the junior partner first. Some mercantile friend, however, pointing out the mistake, when as yet only a few copies were taken off, our artist corrected it, to avoid the criticisms of Cheapside and Cornhill. In this plate is a figure of Philip in the Tub, a well-known beggar and cripple, who was a constant epithalamist at weddings in London, and had visited Ireland and The Seven Provinces. The French clergyman in Plate VIII. was designed for Mr. Platell, curate of Barnet. Plate XI. The scene is in a cellar of a noted house that went by the name of "The Blood Bowl House," from the various scenes of blood that were there almost daily exhibited, and where there seldom passed a month without the commission of a murder. Blood Bowl-alley is down by the fishmonger's, near Water-lane, Fleet-street; and I am assured, that the house and event, that gave rise to the name, were there. In Plate XI. is Tiddy Doll, the well-known vender of gingerbread. Just behind him, in a cart, to bring away the body of the criminal, is his mother. Though her face is concealed, she is distinguished by her excess of sorrow, and the black hood she has worn throughout the foregoing representations of her. Plate XII. Frederick Prince of Wales, and the Princess of Wales, in the balcony. The standards of the Blacksmiths' and Stationers' Companies appear in the procession. The flag, at the corner of one of the stands, belongs to the Pinners and Needlers. The hint for this series of prints was evidently taken from the old comedy of Eastward-hoe, by Jonson, Chapman, and Marston, reprinted in Dodsley's Collection of Old Plays. "The scenes of Bedlam and the gaming-house," as Mr. Walpole well observes, "are inimitable representations of our serious follies, or unavoidable woes; and the concern shown by the lord-mayor, when the companion of his childhood is brought before him as a criminal, is a touching picture, and big with humane admonition and reflection." The late comedian Mr. James Love (otherwise Dance, and brother to the painter of that name) dramatized this series of prints; and Mr. King, now deputy-manager of Drury-lane, performed the character of the Good 'Prentice.

These Plates were retouched by Hogarth; but, as usual, whatever they gained in respect to force, they lost in the article of clearness. They offer no variations, except such as are occasioned by his having thrown a few of the figures into shade, that others might appear more prominent. Dr. Ducarel informed me, that the passages of Scripture applicable to the different scenes were selected for Mr. Hogarth, by his friend the Rev. Mr. Arnold King.

In the following year was published, price one shilling (being an explanation of the moral of twelve celebrated prints lately published, and designed by the ingenious Mr. Hogarth), "The Effects of Industry and Idleness, illustrated in the Life, Adventures, and various Fortunes of Two Fellow 'Prentices of the City of London: shewing the different Paths, as well as Rewards of Virtue and Vice; how the good and virtuous 'Prentice, by gradual Steps of Industry, rose to the highest Pitch of Grandeur; and how, by contrary Pursuits, his Fellow-'Prentice, by Laziness and Wickedness, came to die an ignominious Death at the Gallows. ¶ This little book ought to be read by every 'Prentice in England, to imprint in their hearts these two different examples, the contrary effects each will produce on their young minds being of more worth than a hundred times the price, i. e. an abhorrence of the vice and wickedness they perceive in the one boy, and, on the contrary, an endeavour after an imitation of the actions of the other. And is a more proper present to be given to the Chamber of London, at the binding and enrolling an apprentice, than any other book whatever. Printed by Charles Corbett, at Addison's Head in Fleet street."

3. Jacobus Gibbs, architectus. W. Hogarth delin. B. Baron sculp.

4. Jacobus Gibbs, architectus. W. Hogarth delin. J. M^c Ardell fec. Partly mezzotinto, partly graved. No date.

5. To this period may be referred the arms of The Foundling Hospital, printed off on the tops of the indentures; together with

6. The same, but smaller; employed as a frontispiece to "Psalms, Hymns, and Anthems; for the Use of the Children of the Hospital for the Maintenance and Education of exposed and deserted Young Children."

They are both classed here, because the original drawing (see under the year 1781) is dated in 1747.

1748.

1. A monk leading an ass with a Scotch man and woman on it, &c. A wooden cut. Head-piece to the "Jacobite's Journal." This was a news-paper set up and supported by Henry Fielding, and carried on for a few months with some success. The wooden-cut was only prefixed to six or seven of the papers. Being faintly executed, it was soon worn out, and has lately been copied in aqua tinta by Mr. Livesay.

2. Pool of Bethesda, from the picture[1] he painted for St. Bartholomew's Hospital. Engraved by Ravenet for S. Austen, as a frontispiece for Stackhouse's Bible. In this plate, I am assured by an old acquaintance of Mr. Hogarth, is a faithful portrait of Nell Robinson, a celebrated courtezan, with whom, in early life, they had both been intimately acquainted.

1749.

1.[1] The Gate of Calais.[2] Engraved by C. Mosley and W. Hogarth. "His own head sketching the view. He was arrested when he was making the drawing, but set at liberty when his purpose was known." See above, p. 49. Mr. Walpole also observes, that in this piece, though it has great merit, "the caricatura is carried to excess." Mr. Pine the engraver sat for the portrait of the Friar, a circumstance of which he afterwards repented;[3] for, thereby obtaining the nick-name of Friar Pine, and being much persecuted and laughed at, he strove to prevail on Hogarth to give his Ghostly father another face. Indeed, when he sat to our artist, he did not know to what purpose his similitude would afterwards be applied. The original picture is in the possession of the Earl of Charlemont. Soon after it was finished, it fell down by accident, and a nail ran through the cross on the top of the gate. Hogarth strove in vain to mend it with the same colour, so as to conceal the blemish. He therefore introduced a starved crow, looking down on the roast-beef, and thus completely covered the defect.

The figure of the half-starved French centinel has since been copied at the top of more than one of the printed advertisements for recruits, where it is opposed to the representation of a well-fed British soldier. Thus the genius of Hogarth still militates in the cause of his country.

A copy of this print was likewise engraved at the top of a Cantata, intituled, The Roast Beef of Old England. As it is probable that the latter was published under the sanction of our artist, I shall, without scruple, transcribe it.

RECITATIVE. 'Twas at the Gates of Calais, Hogarth tells, Where sad Despair and Famine always dwells, A meagre Frenchman, Madam Grandsire'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 bestow'd; And while the solid fat his finger press'd, He lick'd his chaps, and thus the knight address'd: AIR. A lovely Lass to a Friar came, &c. O rare Roast Beef! lov'd by all mankind, If I was doom'd to have thee, When dress'd and garnish'd to my mind, And swimming in thy gravy, Not all thy country's force combin'd Should from my fury save thee. Renown'd Sir-loin, oft-times decreed The theme of English ballad, E'en kings on thee have deign'd to feed, Unknown to Frenchman's palate; Then how much more thy taste exceeds Soup-meagre, frogs, and sallad. RECITATIVE. A half-starv'd soldier, shirtless, pale and lean, Who such a sight before had never seen, Like Garrick's frighted Hamlet, gaping stood, And gaz'd with wonder on the British food. His morning's mess forsook the friendly bowl, And in small streams along the pavement stole; He heav'd a sigh, which gave his heart relief, And then in plaintive tone declar'd his grief. AIR. Ah, sacre Dieu! vat do I see yonder, Dat looks so tempting, red and white? Begar I see it is de Roast Beef from Londre, O grant to me one letel bite. But to my guts if you give no heeding, And cruel Fate dis boon denies, In kind compassion to my pleading, Return, and let me feast my eyes. RECITATIVE. His fellow guard, of right Hibernian clay, Whose brazen front his country did betray, From Tyburn's fatal tree had hither fled, By honest means to get his daily bread; Soon as the well-known prospect he espy'd, In blubbering accents dolefully he cried: AIR. Ellen a Roon, &c. Sweet Beef, that now causes my stomach to rise. Sweet Beef, that now causes my stomach to rise, So taking thy sight is, My joy that so light is, To view thee, by pailfuls runs out at my eyes. While here I remain, my life's not worth a farthing, While here I remain, my life's not worth a farthing, Ah! hard-hearted Lewy, Why did I come to ye? The gallows, more kind, would have sav'd me from starving. RECITATIVE. Upon the ground hard by poor Sawney sate, Who fed his nose, and scratch'd his ruddy pate; But when Old England's bulwark he descry'd, His dear-lov'd mull, alas! was thrown aside. With lifted hands he bless'd his native place, Then scrub'd himself, and thus bewail'd his case: AIR. The Broom of Cowdenknows, &c. How hard, O Sawney! is thy lot, Who was so blyth of late, To see such meat as can't be got, When hunger is so great! O the Beef, the bonny bonny Beef! When roasted nice and brown, I wish I had a slice of thee, How sweet it would gang down. Ah, Charley! hadst thou not been seen, This ne'er had hapt to me: I would the De'el had pickt mine eyne Ere I had gang'd with thee. O the Beef, &c. RECITATIVE. But see! my Muse to England takes her flight, Where Health and Plenty chearfully unite. Where smiling Freedom guards great George's throne, And chains, and racks, and tortures are not known; Whose Fame superior bards have often wrote.— An ancient fable give me leave to quote. AIR. The Roast Beef of Old England. As once on a time a young Frog, pert and vain, Beheld a large Ox grazing on the wide plain, He boasted his size he could quickly attain. Oh! the Roast Beef, &c. Then eagerly stretching his weak little frame, Mamma, who stood by, like a knowing old dame, Cried, "Son, to attempt it you're greatly to blame." Oh! the Roast Beef, &c. But, deaf to advice, he for glory did thirst, An effort he ventured, more strong than the first, Till swelling and straining too hard, made him burst. Oh! the Roast Beef, &c. Then, Britons, be valiant; the moral is clear: The Ox is Old England, the Frog is Monsieur, Whose puffs and bravadoes we need never fear. Oh! the Roast Beef, &c. For while by our commerce and arts we are able To see the brave Ox smoaking hot on our table, The French must e'en croak, like the Frog in the fable. Oh! the Roast Beef, &c.

Printed for R. Sayer, at the Golden Buck in Fleet-street; and J. Smith, at Hogarth's Head in Cheapside.

At the end of a pamphlet which I shall have occasion to mention under the year 1755, was announced, as speedily to be published under the auspices of our artist, "A Poetical Description of Mr. Hogarth's celebrated print, The Roast Beef of Old England, or the French surprized at the Gate of Calais."

2. Portrait of John Palmer, esq. lord of the manor of Cogenhoe or Cooknoe, and patron of the church, of Ecton in Northamptonshire. W. Hogarth pinx. B. Baron sculp. This small head is inserted under a view of Ecton Church.

3. His own head in a cap, a pug-dog, and a palette with the line of beauty, &c. inscribed Gulielmus Hogarth. Seipse pinxit & sculpsit. Very scarce, because Hogarth erased his own portrait, and introduced that of Mr. Churchill, under the character of a bear, in its room. See under the year 1763.

On this print, in its original state, the Scandalizade, a satire published about 1749, has the following lines. The author represents himself as standing before the window of a print-shop.

"There elbowing in 'mong the crowd with a jog, Lo! good father Tobit, said I, with his dog! But the artist is wrong; for the dog should be drawn At the heels of his master in trot o'er the lawn,— To your idle remarks I take leave to demur, 'Tis not Tobit, nor yet his canonical cur, (Quoth a sage in the crowd) for I'd have you to know, Sir, 'Tis Hogarth himself and his honest friend Towser, Inseparate companions! and therefore you see Cheek by jowl they are drawn in familiar degree; Both striking the eye with an equal eclat, The biped This here, and the quadruped That— You mean—the great dog and the man, I suppose, Or the man and the dog—be't just as you chuse.— You correct yourself rightly—when much to be blam'd, For the worthiest person you first should have nam'd, Great dog! why great man I methinks you should say. Split the difference, my friend, they're both great in their way. Is't he then so famous for drawing a punk, A harlot, a rake, and a parson so drunk, Whom Trotplaid[1] delivers to praise as his friend? Thus a jacknapes a lion would fain recommend.— The very self same—how boldly they strike, And I can't forbear thinking they're somewhat alike.— Oh fie! to a dog would you Hogarth compare?— Not so—I say only they're alike as it were, A respectable pair! all spectators allow, And that they deserve a description below In capital letters, Behold we are Two."

4. Portrait of Hogarth, small circle. Mr. Basire (to whom this plate has been ascribed) says it is much in our artist's manner. On enquiry, however, it appears to be no other than a watch-paper "Published according to Act of Parliament by R. Sayer, opposite Fetter-lane, Sept. 29, 1749," and certainly copied from the small portrait of our artist introduced in The Roast Beef of Old England. Another head of him, with a fur cap on, was also edited by the same printseller, at the same time. There is likewise a third head of Hogarth, in an oval, prefixed as a frontispiece to "A Dissertation" on his six prints, &c. Gin Lane, &c. which appeared in 1751.

1750.

1. Thomas Herring, Archbishop of Canterbury. W. Hogarth p. B. Baron sculp. Of this picture (which is preserved in Lambeth-Palace) the Archbishop, in a letter to Mr. Duncombe, says, "None of my friends can bear Hogarth's picture;" and Mr. Duncombe, the son, in a note to this epistle, observes, that "this picture (as appears by the print engraved by Baron in 1750) exhibits rather a caricature than a likeness, the figure being gigantic, the features all aggravated and outrés, and, on the whole, so far from conveying an idea of that os placidum, moresque benigni, as Dr. Jortin expresses it, that engaging sweetness and benevolence, which were characteristic of this prelate, that they seem rather expressive of a Bonner, who could burn a heretic.

"Lovat's hard features Hogarth might command; A Herring's sweetness asks a Reynolds' hand."

Hogarth however made the following observation while the Archbishop was sitting to him: "Your Grace, perhaps, does not know that some of our chief dignitaries in the church have had the best luck in their portraits. The most excellent heads painted by Vandyck and Kneller, were those of Laud and Tillotson. The crown of my works will be the representation of your Grace."

2. Jacobus Gibbs, Architectus, A. M. and F. R. S. Hogarth delin. Baron sculp. The same face as that in 1747, but in an octagon frame, which admits more of the body to be shewn, as well as some architecture in the back ground. There is also a smaller head of Gibbs, in a circle, &c. but whether engraved by Baron from a picture by Hogarth, or any other hand, is uncertain. Perhaps it was designed as a vignette for some splendid edition of Gibbs's works.

3. The March to Finchley,[1] dedicated to the King of Prussia[2][as "an Encourager of the Arts,"] "in resentment for the late king's sending for the picture to St. James's, and returning it without any other notice." This print is engraved by Luke Sullivan but afterwards, as we learn from a note at the bottom of it, was "Retouched and improved by Wm. Hogarth, and republished June 12, 1761." The improvements in it, however, remain to be discovered by better eyes than mine.

I am authorized to add, that soon after the lottery described in a note at the beginning of this article, our artist waited on the treasurer to the Foundling Hospital, acquainting him that the trustees were at liberty to dispose of the picture by auction. Scarce, however, was the message delivered, before he changed his mind, and never afterwards would consent to the measure he had originally proposed. The late Duke of Ancaster offered the hospital 300 l. for it. The following complete explanation of it is in The Student, vol. II. p. 16. It is supposed to have been written by the ingenious Mr. Bonnel Thornton.

"The scene of this representation is laid at Tottenham Court Turnpike; the King's-Head, Adam and Eve, and the Turnpike-house, in full view; beyond which are discovered parties of the guards, baggage, &c. marching towards Highgate, and a beautiful distant prospect of the country; the sky finely painted. The picture, considered together, affords a view of a military march, and the humours and disorders consequent thereupon.

"Near the center of the picture, the painter has exhibited his principal figure, which is a handsome young grenadier, in whose face is strongly depicted repentance mixed with pity and concern; the occasion of which is disclosed by two females putting in their claim for his person, one of whom has hold of his right arm, and the other has seized his left. The figure upon his right hand, and perhaps placed there by the painter by way of preference (as the object of love is more desirable than that of duty), is a fine young girl in her person, debauched, with child, and reduced to the miserable employ of selling ballads, and who, with a look full of love, tenderness, and distress, casts up her eyes upon her undoer, and with tears descending down her cheeks, seems to say——sure you cannot——will not leave me! The person and deportment of this figure well justifies the painter's turning the body of the youth towards her. The woman upon the left is a strong contrast to this girl; for rage and jealousy have thrown the human countenance into no amiable or desirable form. This is the wife of the youth, who, finding him engaged with such an ugly slut, assaults him with a violence natural to a woman whose person and beauty is neglected. To the fury of her countenance, and the dreadful weapon her tongue, another terror appears in her hand, equally formidable, which is a roll of papers, whereon is wrote, The Remembrancer; a word of dire and triple import; for while it shews the occupation the amiable bearer is engaged in, it reminds the youth of an unfortunate circumstance he would gladly forget: and the same word is also a cant expression, to signify the blow she is meditating. And here, I value myself upon hitting the true meaning, and entering into the spirit of the great author of that celebrated Journal called The Remembrancer, or, A weekly slap on the face for the Ministry.