CATALOGUE OF HOGARTH'S PRINTS.[1]

CATALOGUE OF HOGARTH'S PRINTS.[1]

I am now engaged in an undertaking, which from its nature will be imperfect. While Hogarth was yet an apprentice, and worked on his master's account, we may suppose he was not at liberty to affix his name to his own performances. Nay, afterwards, when he appeared as an independent artist, he probably left many of them anonymous, being sometimes obliged to measure out his exertions in proportion to the scanty prices paid for them. For reasons like these, we may be sure that many of his early plates must have eluded search; and, if gradually discovered, will serve only to swell the collections they will not adorn.—The judicious connoisseur, perhaps, would be content to possess the pictures of Raffaelle, without aiming at a complete assemblage of the Roman Fayence that passes under his name.

In settling the dates of his pieces there is also difficulty. Sometimes, indeed, they have been inferred from circumstances almost infallible; as in respect to the Rabbit-breeder,&c. which would naturally have been published in the year 1726. On other occasions they are determined within a certain compass of time. Thus the Ticket for Milward, then a player at Lincoln's-Inn Fields, must have preceded 1733, when he removed with Rich to Covent Garden; and it is equally sure, that Orator Henley christening an Infant, and A Girl swearing a child to a grave citizen, came out before 1735, in which year we know that J. Y. Schley, one of Picart's coadjutors, had re-engraved them both for the use of the fourth volume of the Religious Ceremonies, published at Amsterdam in 1736. But how are we to guess at the period that produced Sancho at Dinner, or The Discovery?

The merits and demerits of his performances would prove deceitful guides in our researches. As our artist grew older, he did not regularly advance in estimation; for neither the frontispieces to Tristram Shandy, the Times, the Bathos, or the Bear, can be said to equal many of his earliest productions.—Under such difficulties is the following chronological list of our author's pieces attempted.

The reader is likewise entreated to observe, that throughout the annexed catalogue of plates, variations, &c. J. N. has mentioned only such as he has seen. Alike unwilling to deceive or be deceived, he has suppressed all intelligence he could not authenticate from immediate inspection. He might easily have enlarged his work by admitting particulars of doubtful authority, sometimes imperfectly recollected by their several communicators, and sometimes offered as sportive impositions on an author's credulity. Of this weakness every one possesses some; but perhaps no man more than he who ambitiously seeks opportunities to improve on the labours of another. J. N. is sure, however, that Mr. Walpole, whom none can exceed in taste and judgment, will be little concerned about the merits of a performance that founds its claim to notice only on the humbler pretences of industry and correctness.

1720.

1. W. Hogarth, engraver, with two figures and two Cupids, April 28, 1720.

1721.

1. An emblematic print on the South Sea. W. Hogarth inv. & sc. Sold by Mrs. Chilcot in Westminster-hall, and B. Caldwell, Printseller in Newgate-street. "Persons riding on wooden horses. The Devil cutting Fortune into collops. A man broken on the wheel, &c. A very poor performance." Under it are the following verses:

See here the causes why in London So many men are made and undone; That arts and honest trading drop, To swarm about the Devil's shop (A), Who cuts out (B) Fortune's golden haunches, Trapping their souls with lots and chances, Sharing 'em from blue garters down To all blue aprons in the town. Here all religions flock together, Like tame and wild fowl of a feather, Leaving their strife religious bustle, Kneel down to play at pitch and hustle (C): Thus when the shepherds are at play; Their flocks must surely go astray; The woeful cause that in these times (E) Honour and Honesty (D) are crimes That publickly are punish'd by (G) Self-Interest and (F) Vilany; So much for mony's magic power, Guess at the rest, you find out more. Price One Shilling.[1]

It may be observed, that London always affords a set of itinerant poets, whose office it is to furnish inscriptions for satirical engravings. I lately overheard one of these unfortunate sons of the Muse making a bargain with his employer. "Your print," says he, "is a taking one, and why won't you go to the price of a half-crown Epigram?" From such hireling bards, I suppose, our artist purchased not a few of the wretched rhimes under his early performances, unless he himself be considered as the author of them.

Of this print emblematic of the South Sea, there are, however, two impressions. The second, printed for Bowles, has been retouched.

2. The Lottery.[1] W. Hogarth inv. & sculp. Sold by Chilcot and Caldwell. "Emblematic, and not good." This plate is found in four different states. In one there is no publisher's name under the title. Another was sold by Chilcot, &c. A third was printed and sold by S. Sympson, in Maiden-lane, near Covent Garden. A fourth was printed for John Bowles, in whose possession the plate, which he has had retouched, remains. The following explanation accompanies this plate: "1. Upon the pedestal, National Credit leaning on a pillar, supported by Justice. 2. Apollo shewing Britannia a picture representing the Earth receiving enriching Showers drawn from herself (an emblem of state lotteries). 3. Fortune drawing the blanks and prizes. 4. Wantonness drawing the numbers. 5. Before the pedestal, Suspence turned to and fro by Hope and Fear. 6. On one hand, Good Luck being elevated is seized by Pleasure and Folly, Fame persuading him to raise sinking Virtue, Arts, &c. 7. On the other hand, Misfortune oppressed by Grief, Minerva supporting him points to the sweets of Industry. 8. Sloth hiding his head in the curtain. 9. On the other side, Avarice hugging his money. 10. Fraud tempting Despair with money at a trap-door in the pedestal." Price One Shilling.—Had not Hogarth, on this occasion, condescended to explain his own meaning, it must have remained in several places inexplicable.

1723.

1. Fifteen plates to Aubry de la Motraye's "Travels through Europe, Asia, and Part of Africa." W. Hogarth sculp. on fourteen of them; viz. plates V. IX. X.[1] XI. XV. XVII. b. XVIII. XXVI. XXX.[2] XXXII. XXXIII. 1. XXXIII. 2. XXXV. XXXVIII. One of these (viz. XXX.) contains a portrait of Charles the XIIth of Sweden. Several of the pictures, from which the Seraglio, &c. were engraved, are still in being, and are undoubtedly authentic, being painted in Turkey, and brought home by De la Motraye, at his return from his travels. They were sold about twenty-five years ago at Hackney, for a mere trifle, together with the plates to the present work. The latter, in all probability, are destroyed. This book was originally published in English at London, 1723; afterwards in French at The Hague, in 1727; and again in English[3] at London, revised by the author; with the addition of two new cuts, in 1730. In the French edition, Plate V. Tom. I. is engraved by R. Smith, instead of Hogarth, so that this intermediate copy contains only fourteen plates by him. It is probable also, that some other anonymous ones, in all the editions, were by the same engraver. His reputation, indeed, will save more than it loses by the want of his signature to establish their authenticity.

2. Five Muscovites. This small print appears at the corner of one of the maps to the second volume of the foregoing work. It has no intelligible reference; but, in the English copy now before me, is the last plate but one, and is marked. C—T. II. In a former edition of the present catalogue, it was enumerated as a separate article, but must now be reckoned as one of the fifteen plates to Motraye's Travels.

To these I might add three plates more. If Hogarth engraved the Muscovites at the corner of the map already mentioned, he likewise furnished the figures in the corner of another, marked T. I.—B. And Plate T. I.—XVI. and T. I.—XXXVII. I have likewise reason to suppose were the works of our artist; eighteen plates in all; though the three latter being only conjectural, I have not ventured to set them down as indisputed performances. Of the Muscovites there is a modern copy.[1]

I have just been assured by a gentleman of undoubted veracity, that he was once possessed of a set of plates engraved by Hogarth for some treatise on mathematicks; but, considering them of little value, disposed of them at the price of the copper. As our artist could have displayed no marks of genius in representations of cycloids, diagrams, and equilateral triangles, the loss of these plates is not heavily to be lamented.

1724.

1. Seven small prints to "The New Metamorphosis of Lucius Apuleius of Medaura. London, printed for Sam. Briscoe, 1724." 12mo. 2 vol. I. Frontispiece. II. Festivals of Gallantry, which the noblemen of Rome make in the churches for the entertainment of their mistresses. III. The banditti's bringing home a beautiful virgin, called Camilla, from her mother's arms, the night before she was to have been married. Vol. I. p. 113. No name to this plate. IV. Fantasio's arrival at the house of an old witch, who is afterwards changed into a beautiful young lady. V. The provincial of the Jesuits' recovery of his favourite dog from the cooper's wife. VI. Psyche's admission of her unknown husband in the dark, who always departed before the return of light. VII. Cardinal Ottoboni and his niece's visit to an Hermitage in the holy desart, called Camaldule; the Cardinal's discourse against solitude to the hermit, who had not been out of his cell, nor spoke a word, for forty years together. Plate IV. is the only one that has the least trait of character in it.

2. Masquerades and operas. Burlington-gate. W. Hogarth inv. & sculp. Of the three small figures in the center of this plate, the middle one is Lord Burlington, a man of considerable taste in Painting and Architecture, but who ranked Mr. Kent (an indifferent artist) above his merit. On one side of the peer is Mr. Campbell, the architect; on the other, his lordship's postilion. On a show-cloth in this plate is also supposed to be the portrait of King George II. who gave 1000 l. towards the masquerade; together with that of the Earl of Peterborough, who offers Cuzzoni, the Italian singer, 8000 l. and she spurns at him.[1] Mr. Heidegger, the regulator of the Masquerade, is also exhibited, looking out at a window, with the letter H. under him. The substance of the foregoing remarks is taken from a collection lately belonging to Captain Baillie,[2] where it is said that they were furnished by an eminent Connoisseur.[3] A board is likewise displayed, with the words—"Long Room. Fawks's dexterity of hand." It appears front the following advertisement in Mist's Weekly Journal for Saturday, December 25, 1725, that this artist was a man of great consequence in his profession. "Whereas the town hath lately been alarmed, that the famous Fawks was robbed and murdered, returning from performing at the Dutchess of Buckingham's house at Chelsea; which report being raised and printed by a person to gain money to himself, and prejudice the above mentioned Mr. Fawks, whose unparalleled performances have gained him so much applause from the greatest of quality, and most curious observers: We think, both in justice to the injured gentleman, and for the satisfaction of his admirers, that we cannot please our readers better than to acquaint them he is alive, and will not only perform his usual surprizing dexterity of hand, posture-master, and musical clock; but for the greater diversion of the quality and gentry, has agreed with the famous Powell of The Bath for the season, who has the largest, richest, and most natural figures, and finest machines in England, and whose former performances in Covent Garden were so engaging to the town, as to gain the approbation of the best judges, to show his puppet-plays along with him, beginning in the Christmas holidays next, at the old Tennis-court in James-Street, near The Haymarket; where any incredulous persons may be satisfied he has not left this world, if they please to believe their hands, though they can't believe their eyes."—May 25," indeed, "1731, died Mr. Fawkes, famous for his dexterity of hand, by which he had honestly acquired a fortune of above 10,000 l. being no more than he really deserved for his great ingenuity, by which he had surpassed all that ever pretended to that art." Political State, vol. XLI. p. 543.

This satirical performance of Hogarth, however, was thought to be invented and drawn at the mitigation of Sir James Thornhill, out of revenge, because Lord Burlington had preferred Mr. Kent before him to paint for the king at his palace at Kensington. Dr. Faustus was a pantomime performed to crowded houses throughout two seasons, to the utter neglect of plays, for which reason they are cried about in a wheel-barrow.[4] We may add that there are three prints of this small masquerade, &c. one a copy from the first. The originals have Hogarth's name within the frame of the plate, and the eight verses are different from those under the other. It is sometimes found without any lines at all; those in the first instance having been engraved on a separate piece of copper, so that they could either be retained, dismissed, or exchanged, at pleasure. In the first copy of this print, instead of Ben Jonson's name on a label, we have Pasquin, N° XI. This was a periodical paper published in 1722-3, and the number specified is particularly severe on operas, &c. The verses to the first impression of this plate, are,

Could now dumb Faustus, to reform the age, Conjure up Shakespear's or Ben Johnson's ghost, They'd blush for shame, to see the English stage Debauch'd by fool'ries, at so great a cost. What would their manes say? Should they behold Monsters and masquerades, where useful plays Adorn'd the fruitfull theatre of old, And rival wits contended for the bays. Price 1 shilling 1724.

To the second impression of it:

O how refin'd, how elegant we're grown! What noble Entertainments charm the town! Whether to hear the Dragon's roar we go, Or gaze surpriz'd on Fawks's matchless show, Or to the Operas, or to the Masques, To eat up ortelans, and t' empty flasques, And rifle pies from Shakespear's clinging page, Good gods! how great's the gusto of the age.

In this print our artist has imitated the engraving of Callot.

To the third impression, i. e. the copy:

Long has the stage productive been Of offsprings it could brag on, But never till this age was seen A Windmill and a Dragon. O Congreve, lay thy pen aside, Shakespear, thy works disown, Since monsters grim, and nought beside, Can please this senseless town.

I should have observed, that the idea of the foregoing plate was stolen from an anonymous one on the same subject. It represents Hercules chaining follies and destroying monsters. He is beating Heidegger, till the money he had amassed falls out of his pocket. The situation of the buildings, &c. on the sides, &c. has been followed by our artist. Mercury aloft sustains a scroll, on which is written "The Mascarade destroy'd." The inscription under this print is "Hei Degeror. O! I am undone." Price One Shilling.

1725.

1. Five small prints for the translation of Cassandra, in five volumes duodecimo. W. Hogarth inv. & sculp.

2. Fifteen head pieces for "The Roman Military Punishments, by John Beaver, Esq. London. From the happy Revolution, Anno xxxvii." (i. e. 1725.) Small quarto, pp. 155. From the preface it should seem that the author had been Judge Advocate. The book is divided into seventeen chapters, each of which, except the second, third, seventh, and twelfth, have small head-pieces prefixed, of ancient military punishments, in the manner of Callot's Small Miseries of War. W. Hogarth inv. & sculp. In 1779, were first sold by a printseller ten of these prints, together with two others not in the book, being scenes of modern war; a pair of drums being in one, and a soldier armed with a musket in the other. Thus are there three prints in the book not in this set; viz. Chap. 9. Soldiers sold for slaves. 10. Degradation. 16. Banishment. There is also in the title-page a little figure of a Roman General sitting; probably done by Hogarth, though his name is not under it.

In the year 1774, these plates were in the possession of a Button-manufacturer at Birmingham. There are only eleven, one of them being engraved on both sides. They were given by him, however, to my informant, who parted with them to S. Harding an engraver, who sold them to Humphry the printseller near Temple-Bar, their present proprietor. How they fell into the hands of the Birmingham manufacturer (who took off a few impressions from them), is unknown.

Query. Does the plate engraved on both sides contain the two modern designs?

In a Catalogue of Books sold by W. Bathoe, was included "Part of the Collection of the late ingenious W. Hogarth, Esq. Serjeant Painter to his Majesty;" in which was Beaver's "Roman Military Punishments," with twelve plates by Hogarth.

The plate to Chap. XVII. viz. "Pay stopt wholly, or in part, by way of punishment"—"Barley given to offenders instead of wheat, &c." differs in many instances from that sold with the set. At the bottom of the former, in the book, we read, "W. Hogarth, Invent. sculpt." The latter has "W. Hogarth, invent. & fec." The former has a range of tents behind the pay-table. These are omitted in the latter; which likewise exhibits an additional soldier attendant on the measuring out of the corn, &c.

I do not mean to say that the plate sold with the set is spurious. Had it been a copy, it would naturally have been a servile one. Some reason, now undiscoverable, must have prevailed on our artist to re-engrave it with variations.

N. B. The two "scenes of modern war," mentioned also in p. 134, were designed for a continuation of the same work, which was never printed, as I guess from the conclusion of the Author's preface. "This regularly divided my book into two parts; one treating of the Roman, the other of the Modern Military Punishments. The first I now send into the world, as a man going into the water dips his foot to feel what reception he is like to meet with; by that rule resolving, either to publish the second part, or sit down contented with the private satisfaction of having, by my studies, rendered myself more able worthily to discharge the duties of my office."

I have since been assured, that our Author's heir was a pastry-cook, who used all the copies of this book for waste-paper.

3. A burlesque on Kent's altar piece at St. Clement's, with notes. "It represents angels very ill drawn, playing on various instruments." Speaking of this print, Mr. Walpole in one place calls it a parody; and in another, a burlesque on Kent's Altar-piece. But, if we may believe Hogarth himself, it is neither, but a very fair and honest representation of a despicable performance. The following is our artist's inscription to it, transcribed verbatim & literatim.

"This Print is exactly Engraiv'd after y^e celebrated Altar-Piece in St. Clements Church which has been taken down by Order of y^e Lord Bishop of London (as tis thought) to prevent Disputs and Laying of wagers among the Parrshioners about y^e Artists meaning in it. for publick Satisfaction here is a particular Explanation of it humbly Offerd to be writ under the Original, that it may be put up again by which means y^e Parish'es 60 pounds which thay nifely gave for it, may not be Entirely lost.

"1st. Tis not the Pretenders Wife and Children as our weak brethren imagin.

"2dly. Nor St. Cecilia as the Connoisseurs think but a choir of Angells playing in Consort.

"A an Organ

B an Angel playing on it

C the shortest Ioint of the Arm.

D the longest Ioint

E An Angel tuning an harp

F the inside of his Leg but whether right or Left is yet undiscover'd

G a hand Playing on a Lute

H the other leg judiciously Omitted to make room for the harp

I&K 2 Smaller Angells as appears by their wings"

This picture produced a tract, intituled, "A Letter from a Parishioner of St. Clement Danes to Edmund [Gibson] Lord Bishop of London, occasion'd by his lordship's causing the picture over the altar to be taken down: with some observations on the use and abuse of Church-paintings in general, and of that picture in particular, 1725." 8vo. See Appendix II. The proofs of this plate are commonly on blue paper, though I have met with more than one on white. The original, after it was removed from the church, was for some years one of the ornaments of the music-room at The Crown and Anchor in the Strand. As this house has frequently changed its tenants, &c. I am unable to trace the picture in question any further. There is a good copy of this print by Livesay.

4. A scene in Handel's opera of Ptolomeo, performed in 1728, with Farinelli, Cuzzoni, and Senesino, in the characters of Ptolemy, Cleopatra, and Julius Cæsar. Those who are inclined to doubt the authenticity of this performance, will do well to consult the representation on a painted canvas in the small print on masquerades and operas, where the same figures occur in almost the same attitudes. I do not, however, vouch for the genuineness of this plate. In Southwark Fair, our artist has borrowed the subject of his show-cloth from Laguerre; and might, in the present instance, have adopted it from another hand.

The appearance Farinelli makes on this occasion may be justified by the following quotation from a Pamphlet, intituled, Reflections upon Theatrical Expression in Tragedy, &c. printed for W. Johnston, &c. 1755. "I shall therefore, in my further remarks upon this article, go back to the Old Italian Theatre, when Farinelli drew every body to the Haymarket. What a pipe! what modulation! what extasy to the ear! But, heavens! what clumsiness! what stupidity! what offence to the eye! Reader, if of the city, thou mayest probably have seen in the fields of Islington or Mile-end, or if thou art in the environs of St. James's, thou must have observed in the park, with what ease and agility a Cow, heavy with Calf, has rose up at the command of the Milk-woman's foot. Thus from the mossy bank sprung up the Divine Farinelli. Then with long strides advancing a few paces, his left hand settled upon his hip, in a beautiful bend like that of the handle of an old-fashioned caudle-cup, his right remained immoveable across his manly breast, till numbness called its partner to supply its place; when it relieved itself in the position of the other handle to the caudle-cup." p. 63, &c.

Under a copy of the print abovementioned, which must have been made soon after its publication, appear the following inscription, and wretched ungrammatical lines:

The three most Celebrated Singers at the Opera. Scire tuum nihil est, nisi te scire hoc sciat alter. Sigra the great, harmoniously inclin'd, Who charms the ear and captivates the mind. Cuzzoni. Thou little slave an emblem is of those Whose hearts are wholly att y^e worlds dispose. Great Barrenstadt[1] encomiums great and true is very short of whats your right and due.

The characters in the print under consideration, might have been new-christen'd by the copier of it.

Either the dignity of Senesino must have been wonderful, or the following passage in Dr. Warburton's "Enquiry into the Cause of Prodigies and Miracles," (printed in 1727) affords a most notorious example of the Bathos. "Observe," says he, p. 60. "Sir Walter Raleigh's great manner of ending the first part of the History of the World. 'By this which we have already set down is seen the beginning and end of the Three first Monarchies of the World; whereof the founders and erectors thought that they could never have ended: that of Rome, which made the fourth, was also at this time almost at the highest. We have left it flourishing in the middle of the field; have rooted up, or cut down, all that kept it from the eyes and admiration of the world; but after some continuance, it shall begin to lose the beauty it had; the storms of ambition shall beat her great boughs and branches one against another; her leaves shall fall off; her limbs wither, and a rabble of barbarous nations enter the field and cut her down.' What strength of colouring! What grace, what nobleness of expression! With what a majesty does he close his immortal labour! It puts one in mind of the so much admired exit of the late famed Italian Singer."

5. A just View of the British Stage, or three heads better than one, scene Newgate, by M. D. V—to.[1] This print represents the rehearsing a new farce, that will include the two famous entertainments Dr. Faustus and Harlequin Shepherd.[2] To which will be added, Scaramouch Jack Hall the Chimney-sweeper's Escape from Newgate through the Privy, with the comical Humours of Ben Johnson's Ghost, concluding with the Play Dance, performed in the air by the figures A. B. C. [Wilks, Booth, and Cibber] assisted by ropes from the Muses. Note, there are no Conjurors concerned in it, as the Ignorant imagine. The Bricks, Rubbish, &c. will be real; but the Excrements upon Jack Hall will be made of chewed Gingerbread, to prevent Offence. Vivat Rex. Price Sixpence. Such is the inscription on the plate; but I may add, that the ropes already mentioned are no other than halters, suspended over the heads of the three managers;[3] and that labels issuing from their respective mouths have the following characteristic words. The airy Wilks, who dangles the effigy of Punch, is made to exclaim—"Poor R-ch! faith I pitty him." The laureat Cibber, with Harlequin for his playfellow, invokes the Muses painted on the cieling—"Assist, ye sacred Nine;" while the solemn Booth, letting down the image of Jack Hall into the forica, is most tragically blaspheming—"Ha! this will do, G-d d-m me." On a table before these gentlemen lies a pamphlet, exhibiting a print of Jack Shepherd, in confinement; and over the forica is suspended a parcel of waste paper, consisting of leaves torn from The Way of the World—Hamlet—Macbeth, and Julius Cæsar. Ben Jonson's Ghost, in the mean while, is rising through the stage, and p——g on a pantomimic statue tumbled from its base. A fidler is also represented hanging by a cord in the air, and performing, with a scroll before him, that exhibits—Music for the What—[perhaps the What d' ye call it] entertainment. The countenances of Tragedy and Comedy, on each side of the stage, are hoodwinked by the bills for Harlequin Dr. Faustus and Harlequin Shepherd, &c. &c. There is also a dragon preparing to fly; a dog thrusting his head out of his kennel; a flask put in motion by machinery, &c. Vivetur Ingenio is the motto over the curtain. In Mr. Walpole's catalogue the description of this plate is, "Booth, Wilks, and Cibber, contriving a pantomime. A satire on farces. No name."

1726.

1. Frontispiece to Terræ-filius. W. Hogarth fec. This work was printed in two volumes 12°, at Oxford, and is a satire on the Tory principles of that University. It was written by Nicholas Amherst, author of The Craftsman, and was originally published in one volume.

2. Twelve prints for Hudibras; the large set. W. Hogarth inv. pinx. et sculp. Under the head of Butler: "The basso relievo of the pedestal represents the general design of Mr. Butler, in his incomparable poem of Hudibras; viz. Butler's Genious in a Car lashing around Mount Parnassus, in the persons of Hudibras and Ralpho, Rebellion, Hypocrisy, and Ignorance, the reigning vices of his time." This set of prints was published by subscription, by P. Overton and J. Cooper. Mr. S. Ireland has seven of the original drawings; three others are known to be preserved in Holland; and two more were lately existing in this kingdom. The plates, as has been mentioned already in p. 11, are now the property of Mr. Sayer, whose name, as publisher, is subjoined. The Rev. Mr. Bowle, F. A. S. had a set with the list of the subscribers, which he purchased at the Duke of Beaufort's sale in Wiltshire. The printed title to them is, "Twelve excellent and most diverting Prints; taken from the celebrated Poem of Hudibras, wrote by Mr. Samuel Butler. Exposing the Villany and Hypocrisy of the Times. Invented and Engraved on Twelve Copper-plates, by William Hogarth, and are humbly dedicated to William Ward, Esq. of Great Houghton in Northamptonshire; and Mr. Allan Ramsay, of Edinburgh.

"What excellence can Brass or Marble claim! These Papers better do secure thy Fame: Thy Verse all Monuments does far surpass, No Mausoleum's like thy Hudibras.

"Printed and sold by Philip Overton, Print and Map-seller, at the Golden Buck near St. Dunstan's Church in Fleet-street; and John Cooper, in James-street, Covent Garden, 1726."

Allan Ramsay subscribed for 30 sets. The number of subscribers in all amounts to 192. On the print of Hudibras and the Lawyer is W. Hogart delin. et sculp. a proof that our artist had not yet disused the original mode in which he spelt his name. In the scene of the Committee, one of the members has his gloves on his head. I am told this whimsical custom once prevailed among our sanctified fraternity; but it is in vain, I suppose, to ask the reason why. In plate XI. (earliest impressions) the words "Down with the Rumps" are wanting on the scroll.—Memorandum. At the top of the proposals for this set of Prints, is a small one representing Hudibras and Ralpho, engraved by Pine. The original drawing for it by Hogarth is in the possession of Mr. Betew, Silversmith, in Compton-street, Soho.

3. Seventeen small prints for Hudibras, with Butler's head. There certainly must have been some mistake concerning this portrait. It never could have been designed for the author of Hudibras; but more strongly resembles John Baptist Monnoyer, the flower-painter. There is a print of him by White, from a picture of Sir Godfrey Kneller. This I suppose to have been the original of Hogarth's small Butler.

The same designs engraved on a larger scale, and with some slight variations, by J. Mynde, for Grey's edition of Hudibras, published in 1744.

Previous, however, to both, appeared another set of plates, eighteen in number, for an edition in eighteens of this celebrated poem. To these it is manifest that Hogarth was indebted for his ideas of several of the scenes and personages both in his larger and smaller performances on the same subject. That the collector may know the book when he meets with it, the following is a transcript of the title-page. "Hudibras. In three Parts. Written in the time of the late Wars. Corrected and amended, with Additions. To which is added, Annotations to the third Part, with an exact Index to the whole; never before printed. Adorned with cuts. London. Printed for R. Chiswel, J. Tonson, T. Horne, and R. Willington, 1710."

Copies from the smaller plates are likewise inserted in Townly's translation of Hudibras into French, with the English on the opposite page. He was, I believe, an officer in the Irish brigade. The following is the title-page to his work. "Hudibras, Poeme ecrit dans les tems des troubles d'Angleterre; et traduit en vers François, avec des remarques et des figures. 3 tom. 12mo. A Londres, 1757." It seems rather to have been printed at Paris. The plates have no name subscribed to them.

4. Cunicularii, or the Wise Men of Godliman in Consultation.

"They held their talents most adroit For any mystical exploit." Hudib.

This print was published in the year 1726, i. e. about the same time that Lord Onslow wrote the following letter:

"To the Hon^ble. Sir Hans Sloane. To be left at the Grecian Coffe House, in Devereux Court near Temple Bar London.

"Sir, The report of a woman's breeding of rabbits has almost alarmed England, and in a manner persuaded several people of sound judg^t of that truth. I have been at some pains to discover the affair, and think I have conquerd my poynt, as you will se by the Depotition taken before me, which shall be published in a day or two. I am

"Y^r humble Servant,

"Onslow.

"Clandon, Dec. 4th, 1726."

Soon after, Mr. St. André also addressed this note to Sir Hans Sloane:

"Sir, I have brought the woman from Guilford to y^e Bagnio in Leicester-fields, where you may if you please have the opportunity of seeing her deliver'd. I am S^r Your Hum Serv^t

"St. André.[1]

"To Sir Hans Sloane in Bloomsbury Square."

In the plate already mentioned, figure A represents St. André. [He has a kitt under his arm, having been at first designed by his family for a fencing and dancing-master, though he afterwards attached himself to music of a higher order than that necessary for one of the professions already mentioned.] B is Sir Richard Manningham, C Mr. Sainthill a celebrated surgeon here in London, D is Howard the surgeon at Guildford, who was supposed to have had a chief hand in the imposture. The rest of the characters explain themselves.

Perhaps my readers may excuse me, if I add a short account of another design for a print on the same subject; especially as some collectors have been willing to receive it as a work of Hogarth.

In Mist's Weekly Journal, Saturday, Jan. 11th, 1726-7, was the following advertisement:

"The Rabbit affair made clear in a full account of the whole matter; with the pictures engraved of the pretended Rabbit-breeder herself, Mary Tofts, and of the Rabbits, and of the persons who attended her during her pretended deliveries, shewing who were and who were not imposed on by her. 'Tis given gratis no where, but only up one pair of stairs at the sign of the celebrated Anodyne Necklace recommended by Doctor Chamberlen for Children's teeth, &c."

The original drawing from which the plate promised in Mist's Journal was taken, remained in the possession of Mr. James Vertue, and was probably designed by his brother George. It was sold in 1781 in the collection of George Scott, Esq. of Chigwell in Essex, together with eight tracts relative to the same imposture, for three guineas, and is now in the collection of Mr. Gough.

St. André's Miscarriage, a ballad, published in 1727, has the following stanza on this subject:

"He dissected, compar'd, and distinguish'd likewise The make of these rabbits, their growth and their size. He preserv'd them in spirits, and—a little too late Preserv'd (Vertue sculpsit) a neat copper plate."

There is also a copper-plate, consisting of twelve compartments, on the same story. It exhibits every stage throughout this celebrated fraud. St. André appears in the habit of a Merry-Andrew. The general title of it is, "The Doctors in Labour; or a new Whim-wham from Guilford. Being a representation of the frauds by which the Godliman woman carried on her pretended Rabbit breeding; also of the simplicity of our Doctors, by which they assisted to carry on that imposture, discovered their skill, and contributed to the mirth of his Majesty's liege subjects."

In Mist's Journal for Saturday, Dec. 17, 1726, is also the following paragraph, which shews that the playhouse joined in the general ridicule of St. André. "Last week the entertainment called The Necromancer was performed at the Theatre in Lincoln's-Inn Fields, wherein a new Rabbit-scene was introduced by way of episode; by which the Public may understand as much of that affair, as by the present controversy among the Gentlemen of the faculty, who are flinging their bitter pills at one another, to convince the world that none of them understand any thing of the matter." I am told by one of the spectators still alive, that in this new scene, Harlequin, being converted into a woman, pretended to be in labour, and was first delivered of a large pig, then of a sooterkin, &c. &c.

From the same paper of Saturday, Jan. 21, 1727, we learn, that "The pretended Rabbit-breeder, in order to perpetuate her fame, has had her picture done in a curious mezzotinto print by an able hand." It was painted by Laguerre, and scraped by Faber. She has a rabbit on her lap, and displays a countenance expressive of the utmost vulgarity. In Hogarth's comic representation, the remarkable turn-up of the nose is preserved. This, perhaps, was the only feature in her face that could not be altered by the convulsions of her pretended agony, or our artist would have given her resemblance with greater exactness.

Mr. Dillingham, an apothecary in Red-Lion-Square, laid a wager of ten guineas with St. André, that in a limited time the cheat would be detected. The money was paid him, and he expended it on a piece of plate, with three rabbits engraved by way of arms.

I learn from The Weekly Miscellany, for April 19, 1740, that a few days before, "The celebrated Rabbit-woman of Godalmin in Surry was committed to Guildford Gaol, for receiving stolen goods."

In The Gazetteer, or Daily London Advertiser, Jan. 21, 1763, was this paragraph, which closes the story of our heroine: "Last week died at Godalming in Surry, Mary Tofts, formerly noted for an imposition of breeding Rabbits."

1727.

1. Music introduced to Apollo by Minerva. Hogarth fecit. "Frontispiece to some book of music, or ticket for a concert." I can venture to affirm, on unquestionable authority, that this print is a mere copy from the frontispiece to a more ancient book of music. The composer's name has escaped my memory.

2. Masquerade Ticket. A. a sacrifice to Priapus. B. a pair of Lecherometers shewing the companys inclinations as they approach em. Invented for the use of ladies and gentlemen, by the ingenious Mr. H——r [Heidegger]. Price One Shilling. "There is much wit in this print." The attentive observer will find, that Hogarth has transplanted several circumstances from hence into the first plate to the Analysis of Beauty, as well as into his Satire on the Methodists. See the ornaments of an altar composed of a concatenation of different periwigs, and the barometers expressing the different degrees of animal heat. At the corners of the dial on the top of this print is the date of the year (1727), and the face of Heidegger appears under the figure XII. In the earliest impressions, the word Provocatives has, instead of V the open vowel U. This incorrectness in spelling was afterwards amended, though in a bungling manner, the round bottoms of the original letters being still visible.[1]

Concerning John James Heidegger, whose face has been more than once introduced by our artist, the reader may express some curiosity. The following account of him is therefore appended to the foregoing article.

"This extraordinary man, the son of a clergyman, was a native of Zurich in Switzerland, where he married, but left his country in consequence of an intrigue. Having had an opportunity of visiting the principal cities of Europe, he acquired a taste for elegant and refined pleasures, which, united to a strong inclination for voluptuousness, by degrees qualified him for the management of public amusements. In 1708, when he was near 50 years old, he came to England on a negotiation from the Swiss at Zurich; but, failing in his embassy, he entered as a private soldier in the guards for protection.[2] By his sprightly, engaging conversation, and insinuating address, he soon worked himself into the good graces of our young people of fashion; from whom he obtained the appellation of 'the Swiss Count.'[3] He had the address to procure a subscription, with which in 1709 he was enabled to furnish out the opera of 'Thomyris,'[4] which was written in English, and performed at the Queen's theatre in the Haymarket. The music, however, was Italian; that is to say, airs selected from sundry of the foreign operas by Bononcini, Scarlatti, Stefani, Gasparini, and Albinoni. Most of the songs in 'Thomyris' were excellent, those by Bononcini especially: Valentini, Margarita, and Mrs. Tofts sung in it; and Heidegger by this performance alone was a gainer of 500 guineas.[5] The judicious remarks he made on several defects in the conduct of our operas in general, and the hints he threw out for improving the entertainments of the royal theatre, soon established his character as a good critic. Appeals were made to his judgement; and some very magnificent and elegant decorations, introduced upon the stage in consequence of his advice, gave such satisfaction to George II. who was fond of operas, that, upon being informed to whose genius he was indebted for these improvements, his majesty was pleased from that time to countenance him, and he soon obtained the chief management of the Opera-house in The Haymarket. He then set about improving another species of diversion, not less agreeable to the king, which was the masquerades, and over these he always presided at the king's theatre. He was likewise appointed master of the revels. The nobility now caressed him so much, and had such an opinion of his taste, that all splendid and elegant entertainments given by them upon particular occasions, and all private assemblies by subscription, were submitted to his direction.[6]

"From the emoluments of these several employments, he gained a regular considerable income, amounting, it is said, in some years, to 5000 l. which he spent with much liberality: particularly in the maintenance of perhaps a somewhat too luxurious table; so that it may be said, he raised an income, but never a fortune. His foibles, however, if they deserve so harsh a name, were completely 'covered' by his 'charity,' which was boundless.[7]

"That he was a good judge of music, appears from his opera: but this is all that is known of his mental abilities;[8] unless we add, what we have good authority for saying in honour to his memory, that he walked from Charing-Cross to Temple-bar, and back again; and when he came home, wrote down every sign on each side the Strand.

"As to his person, though he was tall and well made, it was not very pleasing, from an unusual hardness of features.[9] But he was the first to joke upon his own ugliness; and he once laid a wager with the earl of Chesterfield, that, within a certain given time, his lordship would not be able to produce so hideous a face in all London. After strict search, a woman was found, whose features were at first sight thought stronger than Heidegger's; but, upon clapping her head-dress upon himself, he was universally allowed to have won the wager. Jolly, a well-known taylor, carrying his bill to a noble duke, his grace, for evasion said, 'Damn your ugly face, I never will pay you till you bring me an uglier fellow than yourself!' Jolly bowed and retired, wrote a letter, and sent it by a servant to Heidegger; saying, 'his grace wished to see him the next morning on particular business.' Heidegger attended, and Jolly was there to meet him; and in consequence, as soon as Heidegger's visit was over, Jolly received the cash.

"The late facetious duke of Montagu (the memorable author of the bottle-conjuror at the theatre in The Haymarket) gave an entertainment at The Devil-tavern, Temple-bar, to several of the nobility and gentry, selecting the most convivial, and a few hard-drinkers, who were all in the plot. Heidegger was invited, and in a few hours after dinner was made so dead drunk that he was carried out of the room, and laid insensible upon a bed. A profound sleep ensued; when the late Mrs. Salmon's daughter was introduced, who took a mould from his face in plaster of Paris. From this a mask was made, and a few days before the next masquerade (at which the king promised to be present, with the countess of Yarmouth), the duke made application to Heidegger's valet de chambre, to know what suit of cloaths he was likely to wear; and then procuring a similar dress, and a person of the same stature, he gave him his instructions. On the evening of the masquerade, as soon as his majesty was seated (who was always known by the conductor of the entertainment and the officers of the court, though concealed by his dress from the company), Heidegger, as usual, ordered the music to play 'God save the King;' but his back was no sooner turned, than the false Heidegger ordered them to strike up 'Charly over the Water.' The whole company were instantly thunderstruck, and all the courtiers, not in the plot, were thrown into a stupid consternation. Heidegger flew to the music-gallery, swore, stamped, and raved, accused the musicians of drunkenness, or of being set on by some secret enemy to ruin him. The king and the countess laughed so immoderately, that they hazarded a discovery. While Heidegger stayed in the gallery, 'God save the King' was the tune; but when, after setting matters to rights, he retired to one of the dancing-rooms, to observe if decorum was kept by the company, the counterfeit stepping forward, and placing himself upon the floor of the theatre, just in front of the music-gallery, called out in a most audible voice, imitating Heidegger, damned them for blockheads, had he not just told them to play 'Charly over the Water.' A pause ensued; the musicians, who knew his character, in their turn thought him either drunk or mad; but, as he continued his vociferation, 'Charly' was played again. At this repetition of the supposed affront, some of the officers of the guards, who always attended upon these occasions, were for ascending the gallery, and kicking the musicians out; but the late duke of Cumberland, who could hardly contain himself, interposed. The company were thrown into great confusion. 'Shame! Shame!' resounded from all parts, and Heidegger once more flew in a violent rage to that part of the theatre facing the gallery. Here the duke of Montagu, artfully addressing himself to him, told him, 'the king was in a violent passion; that his best way was to go instantly and make an apology, for certainly the music were mad, and afterwards to discharge them.' Almost at the same instant, he ordered the false Heidegger to do the same. The scene now became truly comic in the circle before the king. Heidegger had no sooner made a genteel apology for the insolence of his musicians, but the false Heidegger advanced, and, in a plaintive tone, cried out, 'Indeed, Sire, it was not my fault, but that devil's in my likeness.' Poor Heidegger turned round, stared, staggered, grew pale, and could not utter a word. The duke then humanely whispered in his ear the sum of his plot, and the counterfeit was ordered to take off his mask. Here ended the frolick; but Heidegger swore he would never attend any public amusement, if that witch the wax-work woman did not break the mould, and melt down the mask before his face.[10]

"Being once at supper with a large company, when a question was debated, which nationalist of Europe, had the greatest ingenuity; to the surprise of all present, he claimed that character for the Swiss, and appealed to himself for the truth of it. 'I was born a Swiss, said he, 'and came to England without a farthing, where I have found means to gain 5000 l. a year, and to spend it. Now I defy the most able Englishman to go to Switzerland, and either to gain that income, or to spend it there.' He died Sept. 4, 1749, at the advanced age of 96 years, at his house at Richmond in Surrey, where he was buried. He left behind him one natural daughter, Miss Pappet, who was married Sept. 2, 1750, to Captain (afterwards Sir Peter) Denis.[11] Part of this lady's fortune was a house at the north west corner of Queen-square, Ormond-street, which Sir Peter afterwards sold to the late Dr. Campbell, and purchased a seat in Kent, pleasantly situated near Westram, then called Valence, but now (by its present proprietor, the earl of Hillsborough) Hill Park."

3. Frontispiece to a Collection of Songs, with the Music by Mr. Leveridge, in two vols. 8vo. London, engraved and printed for the author, in Tavistock-street, Covent-Garden, 1727. This design consists of a Bacchus and a Venus in the Clouds, and a figure with musical instruments, &c. on the earth, soliciting their attention, &c. The ornaments round the engraved title-page seem likewise to be Hogarth's.

1728.

1. Head of Hesiod, from the bust at Wilton. The frontispiece to Cook's translation of Hesiod, in 2 vols. 4to. printed by N. Blandford for T. Green.

2. Rich's Glory, or his Triumphant Entry into Covent Garden. W. H. I. E^t. SULP. Price Sixpence.

The date of the print before us has been conjectured from its reference to the Beggar's Opera, and Perseus and Andromeda,[1] both of which were acted in the year already mentioned.

This plate represents the removal of Rich and his scenery, authors, actors, &c. from Lincoln's-Inn Fields to the New House; and might therefore be as probably referred to the year 1733, when that event happened. The scene is the area of Covent Garden, across which, leading toward the door of the Theatre, is a long procession, consisting of a cart loaded with thunder and lightning; performers, &c. and at the head of them Mr. Rich (invested with the skin of the famous dog in Perseus and Andromeda) riding with his mistress in a chariot driven by Harlequin, and drawn by Satyrs. But let the verses at bottom explain our artist's meaning:

Not with more glory through the streets of Rome, Return'd great conquerors in triumph home, Than, proudly drawn with Beauty by his side, We see gay R—-[2] in gilded chariot ride. He comes, attended by a num'rous throng, Who, with loud shouts, huzza the Chief along. Behold two bards, obsequious, at his wheels, Confess the joy each raptur'd bosom feels; Conscious that wit by him will be receiv'd, And on his stage true humour be retriev'd. No sensible and pretty play will fall[3] Condemn'd by him as not theatrical. The players follow, as they here are nam'd, Dress'd in each character for which they're fam'd. Quin th' Old Bachelour, a Hero Ryan shows, Who stares and stalks majestick as he goes. Walker,[4] in his lov'd character we see A Prince, tho' once a fisherman was he, And Massanelo nam'd; in this he prides, Tho' fam'd for many other parts besides. Then Hall,[5] who tells the bubbled countrymen That Carolus is Latin for Queen Anne. Did ever mortal know so clean a bite? Who else, like him, can copy Serjeant Kite! To the Piazza let us turn our eyes, See Johnny Gay on porters shoulders rise, Whilst a bright Man of Tast his works despise.[6] Another author wheels his works with care, In hopes to get a market at this fair; For such a day he sees not ev'ry year.

By the Man of Taste, Mr. Pope was apparently designed. He is represented, in his tye-wig, at one corner of the Piazza, wiping his posteriors with the Beggar's Opera. The letter P is over his head. His little sword is significantly placed, and the peculiarity of his figure well preserved.

The reason why our artist has assigned such an employment to him, we can only guess. It seems, indeed, from Dr. Johnson's Life of Gay, that Pope did not think the Beggar's Opera would succeed. Swift, however, was of the same opinion; and yet the former supported the piece on the first night of exhibition, and the latter defended it in his Intelligencer against the attacks of Dr. Herring,[7] then preacher to the Society of Lincoln's-Inn, afterwards archbishop of Canterbury. Hogarth might be wanton in his satire; might have founded it on idle report; or might have sacrificed truth to the prejudices of Sir James Thornhill, whose quarrel, on another occasion, he is supposed to have taken up, when he ridiculed The Translator of Homer in a view of "The Gate of Burlington-house."

There are besides some allusions in the verses already quoted, as well as in the piece they refer to, which I confess my inability to illustrate. Those who are best acquainted with the theatric and poetical history of the years 1728, &c. would prove the most successful commentators on the present occasion; but not many can possibly be now alive who were at that period competent judges of such matters.

This print, however, was not only unpublished, but in several places is unfinished. It was probably suppressed by the influence of some of the characters represented in it. The style of composition, and manner of engraving, &c. &c. would have sufficiently proved it to be the work of Hogarth, if the initials of his name had been wanting at the bottom of the plate.

3. The Beggar's Opera. The title over it is in capitals uncommonly large.

Brittons attend—view this harmonious stage, And listen to those notes which charm the age. Thus shall your tastes in sounds and sense be shown, And Beggar's Op'ras ever be your own.

No painter or engraver's name. The plate seems at once to represent the exhibition of The Beggar's Opera, and the rehearsal of an Italian one. In the former, all the characters are drawn with the heads of different animals; as Polly, with a Cat's; Lucy, with a Sow's; Macheath, with an Ass's; Lockit, and Mr. and Mrs. Peachum, with those of an Ox, a Dog, and an Owl. In the latter, several noblemen appear conducting the chief female singer forward on the stage, and perhaps are offering her money, or protection from a figure that is rushing towards her with a drawn sword. Harmony, flying in the air, turns her back on the English playhouse, and hastens toward the rival theatre. Musicians stand in front of the former, playing on the Jew's-harp, the salt-box, the bladder and string, bagpipes, &c. On one side are people of distinction, some of whom kneel as if making an offer to Polly, or paying their adorations to her. To these are opposed a butcher, &c. expressing similar applause. Apollo, and one of the Muses, are fast asleep beneath the stage. A man is easing nature under a wall hung with ballads, and shewing his contempt of such compositions, by the use he makes of one of them. A sign of the star, a gibbet, and some other circumstances less intelligible, appear in the back ground.

4. The same. The lines under it are engraved in a different manner from those on the preceding plate. Sold at the Print-Shop in The Strand, near Catherine Street.

5. A copy of the same, under the following title, &c.

The Opera House, or the Italian Eunuch's Glory. Humbly inscribed to those Generous Encouragers of Foreigners, and Ruiners of England.

From France, from Rome we come, To help Old England to to b' undone.

Under the division of the print that represents the Italian Opera, the words—Stage Mutiny—are perhaps improperly added.

On the two sides of this print are scrolls, containing a list of the presents made to Farinelli. The words are copied from the same enumeration in the second plate of the Rake's Progress.[1]

At the bottom are the following lines:

"Brittains attend—view this harmonious stage, And listen to those notes which charm the age. How sweet the sound where cats and bears With brutish noise offend our ears! Just so the foreign singers move Rather contempt than gain our love. Were such discourag'd, we should find Musick at home to charm the mind! Our home-spun authors must forsake the field, And Shakespear to the Italian Eunuchs yield."[2]

Perhaps the original print was the work of Gravelot, Vandergucht, or some person unknown.[3] The idea of it is borrowed from a French book, called Les Chats, printed at Amsterdam in 1728. In this work, facing p. 117, is represented an opera performed by cats, superbly habited. The design is by Coypel; the engraving by T. Otten. At the end of the treatise, the opera itself is published. It is improbable that Hogarth should have met with this jeu d'esprit; and, if he did, he could not have read the explanation to it.

1729.

1. King Henry the Eighth, and Anna Bullen. "Very indifferent." This plate has very idly been imagined to contain the portraits of Frederick Prince of Wales and Miss Vane;[1] but the stature and faces, both of the lady and Percy, are totally unlike their supposed originals. Underneath are the following verses by Allan Ramsay:

Here struts old pious Harry, once the great Reformer of the English church and state: 'Twas thus he stood, when Anna Bullen's charms Allur'd the amorous monarch to her arms; With his right hand he leads her as his own, To place this matchless beauty on his throne; Whilst Kate and Piercy mourn their wretched fate, And view the royal pair with equal hate, Reflecting on the pomp of glittering crowns, And arbitrary power that knows no bounds. Whilst Wolsey, leaning on his throne of state, Through this unhappy change foresees his fate, Contemplates wisely upon worldly things, The cheat of grandeur, and the faith of kings.

Mr. Charlton, of Canterbury, has a copy of this print, with the following title and verses: "King Henry VIII. bringing to court Anne Bullen, who was afterwards his royal consort." Hogarth design. &. sculp.

See here the great, the daring Harry stands, Peace, Plenty, Freedom, shining in his face, With lovely Anna Bullen joining hands, Her looks bespeaking ev'ry heav'nly grace. See Wolsey frowning, discontent and sour, Feeling the superstitious structure shake: While Henry's driving off the Roman whore, For Britain's weal, and his Lutherian's sake. Like Britain's Genius our brave King appears, Despising Priestcraft, Avarice, and Pride; Nor the loud roar of Babel's bulls he fears, The Dagon falls before his beauteous bride. Like England's Church, all sweetness and resign'd, The comely queen her lord with calmness eyes; As if she said, If goodness guard your mind, You ghostly tricks and trump'ry may despise.

2. The same plate without any verses, but with an inscription added in their room. Ramsay seems to have been particularly attached to Hogarth. He subscribed, as I have already observed, for thirty copies of the large Hudibras.

The original picture was at Vauxhall, in the portico of the old great room on the right-hand of the entry into the garden. See p. 29.

3. Frontispiece to the "Humours of Oxford," a comedy by James Miller; acted at Drury-Lane, and published in 8vo, 1729.[1] W. Hogarth inv. G. Vandergucht sc. The Vice-chancellor, attended by his beadle, surprizing two Fellows of a College, one of them much intoxicated, at a tavern.

1730.

1. Perseus, and Medusa dead, and Pegasus. Frontispiece to Perseus and Andromeda. W. H. fec.

2. Another print to the same piece, of Perseus descending. Mr. Walpole mentions only one.

3. A half-starved boy. (The same as is represented in the print of Morning.) W. H. pinx. F. Sykes sc. Sykes was a pupil of Thornhill or Hogarth. This print bears the date of 1730; but I suspect the 0 was designed for an 8, and that the upper part of it is wanting, because the aqua fortis failed; or, that the pupil copied the figure from a sketch of his master, which at that time was unappropriated. No one will easily suspect Hogarth of such plagiarism as he might justly be charged with, could he afterwards have adopted this complete design as his own; neither is it probable that any youth could have produced a figure so characteristic as this; or, if he could, that he should have published it without any concomitant circumstances to explain its meaning. The above title, which some collector has bestowed on this etching, is not of a discriminative kind. Who can tell from it whether he is to look for a boy emaciated by hunger, or shivering with cold? It is mentioned here, only that it may be reprobated. If every young practitioner's imitation of a single figure by Hogarth were to be admitted among his works, they would never be complete.

4. Gulliver presented to the Queen of Babilary. W. Hogarth inv. Ger. Vandergucht sc. "It is the frontispiece to the Travels of Mr. John Gulliver," son of Capt. Lemuel Gulliver, a translation from the French by Mr. Lockman. There is as much merit in this print as in the work to which it belongs.

1731.

1. Two frontispieces to a translation of two of Moliere's plays, viz. L'Avare[1] and Le Cocû imaginaire. These are part of a select collection of Moliere's Comedies in French and English. They were advertised in The Grub-street Journal, with designs by "Monsieur Coypel, Mr. Hogarth, Mr. Dandridge, Mr. Hamilton," &c. in eight pocket volumes.

2. Frontispiece to "The Tragedy of Tragedies, or the Life and Death of Tom Thumb," in three acts;[1] by Henry Fielding. W. Hogarth inv. Ger. Vandergucht sc. "There is some humour in this print."

3. Frontispiece to the Opera of The Highland Fair, or the Union of the Clans, by Joseph Mitchell. W. Hogarth inv. Ger Vandergucht sculp.

"Forsan et hæc olim meminisse juvabit." Virg.

The date of this piece is confirmed by the following paragraph in The Grub-street journal, March 4, 1731: "We hear from the Theatre-Royal in Drury-lane, that there is now in rehearsal, and to be performed on Tuesday, March 16, a new Scots Opera, called The Highland Fair, or Union of the Clans, &c." The subject being too local for the English stage, it met with little or no success.

1732.

1. Sarah Malcolm,[1] executed March 7, 1732, for murdering Mrs. Lydia Duncombe her mistress, Elizabeth Harrison, and Anne Price; drawn in Newgate. W. Hogarth (ad vivum) pinxit & sculpsit.[2] Some copies are dated 1733, and have only Hogarth pinx. She was about twenty-five years of age.[3] "This woman put on red to sit to him for her picture two days before her execution."[4] Mr. Walpole paid Hogarth five guineas for the original. Professor Martyn dissected this notorious murderess, and afterwards presented her skeleton, in a glass case, to the Botanic Garden at Cambridge, where it still remains.

2. An engraved copy of ditto.

3. Ditto, mezzotinto.

4. Ditto, part graven, part mezzotinto.

The knife with which she committed the murder is lying by her.

5. Another copy of this portrait[1] (of which only the first was engraved by Hogarth), with the addition of a clergyman holding a ring in his hand, and a motto, "No recompence but Love."[2]

In The Grub-street Journal of Thursday, March 8, 1732, appeared the following epigram:

"To Malcolm Guthrie[3] cries, confess the murther; The truth disclose, and trouble me no further. Think on both worlds; the pain that thou must bear In that, and what a load of scandal here. Confess, confess, and you'll avoid it all: Your body shan't be hack'd at Surgeons Hall: No Grub-street hack shall dare to use your ghost ill, Henly shall read upon your post a postile; Hogarth your charms transmit to future times, And Curll record your life in prose and rhimes. "Sarah replies, these arguments might do From Hogarth, Curll, and Henly, drawn by you, Were I condemn'd at Padington to ride: But now from Fleet-street Pedington's my guide."

The office of this Pedington[4] may be known from the following advertisement in The Weekly Miscellany, N° 37. August 25, 1733. "This day is published, Price Six-pence, (on occasion of the Re-commitment of the two Alexanders; with a very neat effigies of Sarah Malcolm and her Reverend Confessor, both taken from the Life) The Friendly Apparition: Being an account of the most surprising appearance of Sarah Malcolm's Ghost to a great assembly of her acquaintance at a noted Gin-shop; together with the remarkable speech she then made to the whole company."

6. The Man of Taste. The Gate of Burlington-house. Pope white-washing it, and bespattering the Duke of Chandos's coach. "A satire on Pope's Epistle on Taste. No name." It has been already observed that the plate was suppressed; and if this be true, the suppression may be accounted for from the following inscription, lately met with at the back of one of the copies.

"Bo^t this book of Mr. Wayte, at The Fountain Tavern, in The Strand, in the presence of Mr. Draper, who told me he had it of the Printer, Mr. W. Rayner.[1]

"J. Cosins."

On this attested memorandum a prosecution seems meant to have been founded. Cosins was an attorney, and Pope was desirous on all occasions to make the law the engine of his revenge.

7. The same, in a smaller size; prefixed to a pamphlet, intituled, "A Miscellany of Taste, by Mr. Pope," &c. containing his Epistles, with Notes and other poems. In the former of these Mr. Pope has a tie-wig on, in the latter a cap.

8. The same, in a size still smaller; very coarsely engraved. Only one of them is noted by Mr. Walpole.

A reader of these Anecdotes observes, "That the total silence of Pope concerning so great an artist, encourages a suspicion that his attacks were felt though not resented. The thunders of the poet were usually pointed at inglorious adversaries; but he might be conscious of a more equal match in our formidable caricaturist. All ranks of people have eyes for pencil'd ridicule, but of written satire we have fewer judges. It may be suspected, that the 'pictured shape' would never have been complained of, had it been produced only by a bungler in his art. But from the powers of Hogarth, Pope seems to have apprehended more lasting inconvenience; and the event has justified his fear. The frontispiece to Smedley's Gulliveriana has been long forgotten; but the Gate of Burlington house is an object coveted by all who assemble prints of humour.—It may be added, that our painter's reputation was at the height ten years before the death of Pope, who could not therefore have overlooked his merit, though, for some reason or other, he has forborne to introduce the slightest allusion to him or his performances. Yet these, or copies from them, were to be met with in almost every public and private house throughout the kingdom; nor was it easy for the bard of Twickenham to have mixed in the conversation of the times, without being obliged to hear repeated praises of the author of The Harlot's Progress."

The sheet containing this page having been shewn to a friend, produced from him the following remark: "That Pope was silent on the merits of Hogarth (as one of your readers has observed) should excite little astonishment, as our artist's print on the South Sea exhibits the translator of Homer in no very flattering point of view. He is represented with one of his hands in the pocket of a fat personage, who wears a hornbook at his girdle. For whom this figure was designed, is doubtful. Perhaps it was meant for Gay, who was a fat man, and a loser in the same scheme."—"Gay," says Dr. Johnson, "in that disastrous year had a present from young Craggs of some South-sea stock, and once supposed himself to be master of twenty-thousand pounds. His friends persuaded him to sell his share; but he dreamed of dignity and splendour, and could not bear to obstruct his own fortune. He was then importuned to sell as much as would purchase an hundred a year for life, which, says Fenton, will make you sure of a clean shirt and a shoulder of mutton every day. This counsel was rejected; the profit and principal were lost, and Gay sunk under the calamity so low that his life became in danger.—The Hornbook appended to his girdle, perhaps, refers to the Fables he wrote for the Duke of Cumberland. Some of your ingenious correspondents, or Mr. Walpole, who is instar omnium, may be able to give a further illustration. The conclusion to the inscription under this plate—Guess at the rest, you'll find out more—seems also to imply a consciousness of such personal satire as it was not prudent to explain. I may add, that the print before us exhibits more than one figure copied from Callot. Among the people going along the gallery to raffle for husbands, the curious observer will recognize the Old Maid with lappets flying, &c. afterwards introduced into the scene of Morning. Dr. Johnson, however, bears witness to the propriety of our great poet's introduction into a satire on the 'disastrous year of national infatuation, when more riches than Peru can boast were expected from the South Sea; when the contagion of avarice tainted every mind; and Pope, being seized with the universal passion, ventured some of his money. The stock rose in its price; and he for a while thought himself The Lord of Thousands. But this dream of happiness did not last long: and he seems to have waked soon enough to get clear with the loss only of what he once thought himself to have won, and perhaps not wholly that.'"

It appears from Pope's correspondence with Atterbury, that the stock he had was at one time valued at between twenty and thirty thousand pounds; and that he was one of the lucky few who had "the good fortune to remain with half of what they imagined they had."—"Had you got all you have lost beyond what you ventured," said the good Bishop in reply, "consider that your superfluous gains would have sprung from the ruin of several families that now want necessaries."[1]

1733.

1. The Laughing Audience. "1733. Rec^d. Dec^br. 18 of the Right Honn^ble. Lord Biron Half a Guinea being the first Payment for nine Prints 8 of which Represent a Rakes Progress and the 9^th a Fair, Which I promise to Deliver at Michaelmass Next on Receiving one Guinea more. Note the Fair will be Deliver'd next Christmass at Sight of this receipt the Prints of the Rake^s. Progress alone will be 2 Guineas each set after the Subscription is over."

The words printed in Italicks are in the hand-writing of Hogarth.

2. The Fair[1] [at Southwark]. Invented, painted, and engraved by W. Hogarth.. The show-cloth, representing the Stage Mutiny, is taken from a large etching by John Laguerre (son of Louis Laguerre, the historical painter), who sung at Lincoln's-Inn Fields and Covent-Garden Theatres, painted some of their scenes, and died in 1748. The Stage-Mutineers, or A Playhouse to be let, a tragi-comi farcical-ballad-opera, which was published in 1733, will throw some light on the figures here represented by Hogarth. See also the Supplement to Dodsley's Preface to his Collection of Old Plays, and the "Biographia Dramatica, 1782."

It is remarkable that, in our artist's copy of this etching, he has added a paint-pot and brushes at the feet of the athletic figure with a cudgel in his hand, who appears on the side of Highmore.[2] From these circumstances it is evident that John Ellis the painter (a pupil of Sir James Thornhill, a great frequenter of Broughton's gymnasium, the stages of other prize-fighters, &c.) was the person designed. Ellis was deputy-manager for Mrs. Wilks, and took up the cudgels also for the new patentee. Mr. Walpole observes that Rysbrack, when he produced that "exquisite summary of his skill, knowledge, and judgment," the Hercules now in Mr. Hoare's Temple at Stourhead, modelled the legs of the God from those of Ellis. This statue was compiled from the various limbs and parts of seven or eight of the strongest and best-made men in London, chiefly the bruisers, &c. of the then famous amphitheatre in Tottenham Court road.

In Banks's Works, vol. I. p. 97. is a Poetical Epistle on this print, which alludes to the disputes between the managers of Drury-Lane, and such of the actors as were spirited up to rebellion by Theophilus Cibber, and seceded to The Haymarket in 1733. Cibber is represented under the character of Pistol;[3] Harper under that of Falstaff. The figure in the corner was designed for Colley Cibber the Laureat, who had just sold his share in the play-house to Mr. Highmore, who is represented holding a scroll, on which is written "it cost £.6000." A monkey is exhibited sitting astride the iron that supports the sign of The Rose, a well-known tavern. A label issuing from his mouth contains the words: "I am a gentleman."[4] The Siege of Troy, upon another show-cloth, was a celebrated droll, composed by Elkanah Settle, and printed in 1707; it was a great favourite at fairs. A booth was built in Smithfield this year for the use of T. Cibber, Griffin, Bullock, and H. Hallam; at which the Tragedy of Tamerlane, with The Fall of Bajazet, intermixed with the Comedy of The Miser, was actually represented. The figure vaulting on the rope was designed for Signor Violante, who signalized himself in the reign of Geo. I.; and the tall man exhibited on a show-cloth, was Maximilian, a giant from Upper Saxony. The man flying from the steeple was one Cadman, who, within the recollection of some persons now living, descended in the manner here described from the steeple of St. Martin's into The Mews. He broke his neck soon after, in an experiment of the like kind, at Shrewsbury, and lies buried there in the churchyard of St. Mary Friars, with the following inscription on a little tablet inserted in the church-wall just over his grave.[5] The lines are contemptible, but yet serve to particularize the accident that occasioned his death.

Let this small monument record the name Of Cadman, and to future times proclaim How, by an attempt to fly from this high spire Across the Sabrine stream, he did acquire His fatal end. 'Twas not for want of skill, Or courage, to perform the task, he fell: No, no,—a faulty cord, being drawn too tight, Hurry'd his soul on high to take her flight, Which bid the body here beneath, good night.

A prelate being asked permission for a line to be fixed to the steeple of a cathedral church, for this daring adventurer, replied, the man might fix to the church whenever he pleased, but he should never give his consent to any one's flying from it. It seems that some exhibitor of the same kind met with a similar inhibition here in London. I learn from Mist's Journal for July 8, 1727, that a sixpenny pamphlet, intituled, "The Devil to pay at St. James's, &c."[6] was published on this occasion, Again, in The Weekly Miscellany for April 17, 1736. "Thomas Kidman, the famous Flyer, who has flown from several of the highest precipices in England, and was the person that flew off Bromham steeple in Wiltshire when it fell down, flew, on Monday last, from the highest of the rocks near The Hot-well at Bristol, with fire-works and pistols; after which he went up the rope, and performed several surprising dexterities on it, in sight of thousands of spectators, both from Somersetshire and Gloucestershire." In this print also is a portrait which has been taken for that of Dr. Rock, but was more probably meant for another Quack, who used to draw a crowd round him by seeming to eat fire, which, having his checks puffed up with tow, he blew out of his mouth.[7] Some other particulars are explained in the notes to the poetical epistle already mentioned.

3. Judith and Holofernes. "Per vulnera servor, morte tuâ vivens." W. Hogarth inv. Ger. Vandergucht sc. A frontispiece to the Oratorio of Judith.—Our heroine, instead of holding the sword by its handle, grasps it by its edge, in such a manner as should seem to have endangered her fingers. (Judith was an Oratorio by William Huggins, Esq. set to musick by William De Fesch[1] late Chapel-master of the cathedral church of Antwerp. This piece was performed with scenes and other decorations, but met with no success. It was published in 8vo, 1733.)—The original plate of the frontispiece is in the possession of Dr. Monkhouse. This design has little of Hogarth; yet if he furnished other engravers with such slight undetermined sketches as he himself is sometimes known to have worked from, we cannot wonder if on many occasions his usual characteristics should escape our notice. Whoever undertakes to perfect several of his unpublished drawings, will be reduced to the necessity of inventing more than presents itself for imitation.

4. Boys peeping at Nature. "The subscription-ticket to the Harlot's Progress." A copy in aqua-tinta from this receipt was made by R. Livesay in 1781, and is to be had at Mrs. Hogarth's house in Leicester-square.

1733 and 1734.

1.[1] The Harlot's Progress,[2] in six plates. In the first is a portrait of Colonel Chartres. "Cette figure de viellard (says Rouquet) est d'aprés nature; c'est le portrait d'un officier très riche, fameux dans ce tems-là pour de pareilles expéditions, grand séducteur de campagnardes, et qui avoit toujours à ses gages des femmes de la profession de celle qui cajole ici la nouvelle débarquée." Behind him is John Gourlay a Pimp, whom he always kept about his person. The next figure that attracts our notice, is that of Mother Needham. To prove this woman was sufficiently notorious to have deserved the satire of Hogarth, the following paragraphs in The Grub-street Journal are sufficient.

March 25, 1731. "The noted Mother Needham was yesterday committed to The Gatehouse by Justice Railton."

Ibid. "Yesterday, at the quarter-sessions for the city and liberties of Westminster, the infamous Mother Needham, who has been reported to have been dead for some time, to screen her from several prosecutions, was brought from The Gatehouse, and pleaded not guilty to an indictment found against her for keeping a lewd and disorderly house; but, for want of sureties, was remanded back to prison."

Ibid. April 29, 1731. "Oh Saturday ended the quarter-sessions for Westminster, &c. The noted Mother Needham, convicted for keeping a disorderly house in Park Place, St. James's, was fined One Shilling, to stand twice in the pillory, and find sureties for her good behaviour for three years."

Ibid. May 6, 1731. "Yesterday the noted Mother Needham stood in the pillory in Park Place, near St. James's-street, and was roughly handled by the populace. She was so very ill that she lay along, notwithstanding which she was so severely &c. that it is thought she will die in a day or two."—Another account says—"she lay along on her face in the pillory, and so evaded the law which requires that her face should be exposed."—"Yesterday morning died Mother Needham. She declared in her last words,[3] that what most affected her was the terror of standing in the pillory to-morrow in New Palace-yard, having been so ungratefully used by the populace on Wednesday."

The memory of this woman is thus perpetuated in The Dunciad, I. 323.

"To Needham's quick the voice triumphal rode, But pious Needham dropt the name of God."

The note on this passage says, she was "a matron of great fame, and very religious in her way; whose constant prayer it was, that she might 'get enough by her profession to leave it off in time, and make her peace with God.'[4] But her fate was not so happy; for being convicted, and set in the pillory, she was (to the lasting shame of all her great Friends and Votaries) so ill used by the populace, that it put an end to her days."

Rouquet has a whimsical remark relative to the clergyman just arrived in London. "Cet ecclesiastique monté sur un cheval blanc, comme ils affectent ici de l'être."—The variations in this plate are; shade thrown by one house upon another; London added on the letter the parson is reading; change in one corner of the fore-ground; the face of the Bawd much altered for the worse, and her foot introduced.

Plate II. Quin compared Garrick in Othello to the black boy with the tea-kettle,[5] a circumstance that by no means encouraged our Roscius to continue acting the part. Indeed, when his face was obscured, his chief power of expression was lost; and then, and not till then, was he reduced to a level with several other performers. In a copy of this set of plates, one of the two small portraits hanging up in the Jew's bedchamber, is superscribed, Clarke; but without authority from Hogarth. Woolston would likewise have been out of his place, as he had written against the Jewish tenets. Of this circumstance, Hogarth was probably told by some friend, and therefore effaced a name he had once ignorantly inserted.

In Plate III.[6] (as already observed) is the portrait of Sir John Gonson. That Sir John Gonson was the person intended in this print, is evident from a circumstance in the next, where, on a door in Bridewell, a figure hanging is drawn in chalk, with an inscription over it, "Sir J. G." as well as from the following explanation by Rouquet: "La figure, qui paroit entrer sans bruit avec une partie de guet, est un commissaire qui se distinguoit extrêmement par son zèle pour la persecution des filles de joye."

Respecting another circumstance, however, in the third plate, Rouquet appears to have met with some particular information that has escaped me. "L'auteur a saisi l'occasion d'un morceau de beurre qui fait partie du déjeuné, pour l'enveloper plaisamment dans le titre de la lettre pastorale qu'un grand prelat[7] addressa dans ce tems-là à son diocese, & dont plusieurs exemplaires eurent le malheur d'être renvoyés à l'epicier."—The sleeve of the maid-servant's gown in this plate is enlarged, and the neck of a bottle on the table is lengthened.

For variations in Plate IV. see the roof of the room. Shadow on the principal woman's petticoat, and from the hoop-petticoat hanging up in the back ground. The dog made darker. The woman next the overseer has a high cap, which in the modern impressions is lowered.

In Plate V. Roof of the room. Back of the chair. Table. Dr. Misaubin's waistcoat. Name of Dr. Rock on the paper lying on the close-stool. Dish at the fire.

In a despicable poem published in 1732, under the fictitious name of Joseph Gay, and intituled "The Harlot's Progress, which is a key to the six prints lately published by Mr. Hogarth," the two quacks in attendance on the dying woman are called Tan—r and G—m. It is evident from several circumstances, that this Mr. J. Gay became acquainted with our author's work through the medium of a copy.

In Plate VI. the woman seated next the clergyman was designed for Elizabeth Adams, who, at the age of 30, was afterwards executed for a robbery, September 10, 1737. The common print of her will justify this assertion.

If we may trust the wretched metrical performance just quoted, the Bawd in this sixth plate was designed for Mother Bentley.

The portrait hanging up in the Jew's apartment was originally subscribed "Mr. Woolston." There was a scriptural motto to one of the other pictures; and on the cieling of the room in which the girl is dying, a certain obscene word was more visible than it is at present. The former inscription on the paper now inscribed Dr. Rock, was also a gross one. I should in justice add, that before these plates were delivered to the subscribers, the offensive particulars here mentioned were omitted.

The following paragraph in The Grub-street Journal for September 24, 1730, will sufficiently justify the splendid appearance the Harlot makes in Bridewell. See Plate IV. Such well-dressed females are rarely met with in our present houses of correction.

"One Mary Muffet, a woman of great note in the hundreds of Drury, who, about a fortnight ago, was committed to hard labour in Tothill-fields Bridewell, by nine justices, brought his Majesty's writ of Habeas Corpus, and was carried before the right honourable the lord chief justice Raymond, expecting to have been either bailed or discharged; but her commitment appearing to be legal, his lordship thought fit to remand her back again to her former place of confinement, where she is now beating hemp in a gown very richly laced with silver."

Rouquet concludes his illustration of the fifth plate by observing, that the story might have been concluded here. "L'auteur semble avoir rempli son dessein. Il a suivi son heroine jusques au dernier soupir. Il l'a conduite de l'infamie à la pauvreté, par les voies séduisantes du libertinage. Son intention de tâcher de retenir, ou de corriger celles qui leur foiblesse, ou leur ignorance exposent tous les jours à de semblables infortunes, est suffisament executée; on peut donc dire que la tragedie finit à cette planche, et que la suivante est comme le petite piece. C'est une farce done la defunte est plustôt l'occasion que le sujet."—Such is the criticism of Rouquet; but I cannot absolutely concur in the justness of it. Hogarth found an opportunity to convey admonition, and enforce his moral, even in this last plate. It is true that the exploits of our heroine are concluded, and that she is no longer an agent in her own story. Yet as a wish prevails, even among those who are most humbled by their own indiscretions, that some respect should be paid to their remains, that they should be conducted by decent friends to the grave, and interred by a priest who feels for the dead that hope expressed in our Liturgy, let us ask whether the memory of our Harlot meets with any such marks of social attention, or pious benevolence. Are not the preparations for her funeral licentious, like the course of her life, as if the contagion of her example had reached all the company in the room? Her sisters in iniquity alone surround her coffin. One of them is engaged in the double trade of seduction and thievery. A second is admiring herself in a mirror. A third gazes with unconcern on the corpse. If any of the number appear mournful, they express at best but a maudlin sorrow, having glasses of strong liquor in their hands. The very minister, forgetful of his office and character, is shamefully employed; nor does a single circumstance occur, throughout the whole scene, that a reflecting female would not wish should be alienated from her own interment.—Such is the plate which our illustrator, with too much levity, has styled a farce appended to a tragic representation.

He might, however, have exercised his critical abilities with more success on Hogarth's neglect of propriety, though it affords him occasion to display his wit. At the burial of a wanton, who expired in a garret, no escutcheons were ever hung up, or rings given away; and I much question if any bawd ever chose to avow that character before a clergyman, or any infant was ever habited as chief mourner to attend a parent to the grave.—I may add, that when these pictures were painted (a time, if news-papers are to be credited, when, having no established police, every act of violence and licentiousness was practised with impunity in our streets, and women of pleasure were brutally persecuted in every quarter of the town), a funeral attended by such a sisterhood would scarcely have been permitted to reach the place of interment. Much however must be forgiven to the morality of Hogarth's design, and the powers with which it is executed. It may also, on the present occasion, be observed, that in no other scene, out of the many he has painted, has he so widely deviated from vraisemblance.

The following verses, however wretched, being explanatory of the set of plates already spoken of, are here re-printed. They made their appearance under the earliest and best of the pirated copies published by Bowles. Hogarth, finding that such a metrical description had its effect, resolved that his next series of prints should receive the same advantage from an abler hand.

Plate I. See there, but just arriv'd in town, The Country Girl in home-spun gown, Tho' plain her dress appears, how neat! Her looks how innocent and sweet! Does not your indignation rise, When on the bawd you cast your eyes? Fraught with devices to betray; She's hither come in quest of prey; Screens her designs with godly airs, And talks of homilies and pray'rs, Till, by her arts, the wretched Maid To vile Francisco is betray'd. And see, the lewd old rogue appears, How at the fresh young thing thing he leers! In lines too strong, too well exprest The lustful satyr stands confest. On batter'd jade, in thread-bare gown, The Rural Priest is come to town— Think what his humble thought engages; Why—lesser work and greater wages. Plate II. Debauch'd, and then kick'd out of doors, The fate of all Francisco's whores, Poor Polly's forc'd to walk the streets, Till with a wealthy Jew she meets. Quickly the man of circumcision For her reception makes provision. You see her now in all her splendour, A Monkey and a Black t' attend her. How great a sot's a keeping cully, Who thinks t' enjoy a woman solely! Tho' he support her grandeur, Miss Will by the bye with others kiss. Thus Polly play'd her part; she had A Beau admitted to her bed; But th' Hebrew coming unexpected, Puts her in fear to be detected. This to prevent, she at breakfast picks A quarrel, and insulting kicks The table down: while by her Maid The Beau is to the door convey'd. Plate III. Molly discarded once again, Takes lodgings next in Drury-lane; Sets up the business on her own Account, and deals with all the town. At breakfast here in deshabille, While Margery does the tea-pot fill, Miss holds a watch up, which, by slight Of hand, was made a prize last night. From chandler's shop a dab of butter, Brought on his lordship's Pastoral Letter, A cup, a saucer, knife, and roll, Are plac'd before her on a stool. A chair behind her holds a cloak, A candle in a bottle stuck, And by't a bason—but indecent T'would be in me to say what is in't. At yonder door, see there Sir John's Just ent'ring with his Myrmidons, To Bridewell to convey Miss Molly, And Margery with her to Mill Dolly.[8] Plate IV. See Polly now in Bridewell stands, A galling mallet in her hands, Hemp beating with a heavy heart, And not a soul to take her part. The Keeper, with a look that's sourer Than Turk or Devil, standing o'er her: And if her time she idles, thwack Comes his rattan across her back. A dirty, ragged, saucy Jade, Who sees her here in rich brocade And Mechlin lace, thumping a punny, Lolls out her tongue, and winks with one eye. That other Maux with half a nose, Who's holding up her tatter'd cloaths, Laughs too at Madam's working-dress, And her grim Tyrant's threat'ning face, A Gamester hard by Poll you see, In coat be-lac'd and smart toupee. Kate vermin kills—chalk'd out upon A window-shutter, hangs Sir John. Plate V. Released from Bridewell, Poll again Drives on her former trade amain; But who e'er heard of trading wenches That long escap'd disease that French is? Our Polly did not—Ills on ills, Elixirs, boluses and pills, Catharticks and emeticks dreary, Had made her of her life quite weary; At last thrown into salivation She sinks beneath the operation. A snuffling whore in waiting by her Screams out to see the wretch expire. The Doctors blame each other; Meagre, With wrath transported, hot and eager, Starts up, throws down the chair and stool, And calls her brother Squab a fool. Your pills, quoth Squab, with cool disdain, Not my elixir, prov'd her bane. While they contend, a muffled Punk Is rummaging poor Polly's trunk. Plate VI. The sisterhood of Drury-lane Are met to form the funeral train. Priss turns aside the coffin lid, To take her farewell of the dead. Kate drinks dejected; Peggy stands With dismal look, and wrings her hands. Beck wipes her eyes; and at the glass In order Jenny sets her face. The ruin'd Bawd roars out her grief; Her bottle scarcely gives relief. Madge fills the wine; his castle-top With unconcern the Boy winds up. The Undertaker rolls his eyes On Sukey, as her glove he tries: His leering she observes, and while he Stands thus, she picks his pocket slily. The Parson sits with look demure By Fanny's side, but leaning to her. His left hand spills the wine; his right— I blush to add—is out of sight.

Over the figure of the Parson is the letter A, which conducts to the following explanation underneath the plate. "A. The famous Couple-Beggar in The Fleet, a wretch who there screens himself from the justice due to his villainies, and daily repeats them."

All but the first impressions of this set of plates are marked thus †. None were originally printed off except for the 1200 subscribers. Immediately after they were served, the plates were retouched, and some of the variations introduced.

2. Rehearsal of the Oratorio of Judith. Singing men and boys. Ticket for "A Modern Midnight Conversation." This Oratorio of Judith, which was performed in character, was written by Mr. Huggins, as has been already observed in p. 187; and the line taken from it,

"The world shall bow to the Assyrian throne,"

inscribed on the book, is a satire on its want of success.—The corner figure looking over the notes, was designed for Mr. Tothall.

3. A Midnight Modern Conversation. W. Hogarth inv. pinx. & sculp. Hogarth soon discovered that this engraving was too faintly executed; and therefore, after taking off a few impressions in red as well as black, he retouched and strengthened the plate. Under this print are the following verses:

Think not to find one meant resemblance here, We lash the Vices, but the Persons spare. Prints should be priz'd, as Authors should be read, Who sharply smile prevailing Folly dead. So Rabilaes laught, and so Cervantes thought, So Nature dictated what Art has taught.

Most of the figures, however, are supposed to be real portraits. The Divine and the Lawyer,[1] in particular, are well known to be so.

A pamphlet was published about the same time, under the same title as this plate. In Banks's Poems, vol. I. p. 87. the print is copied as a head-piece to an Epistle to Mr. Hogarth, on this performance. In a note, it is said to have appeared after The Harlot's Progress; and that in the original, and all the larger copies, on the papers that hang out of the politician's pocket at the end of the table, was written The Craftsman, and The London Journal.

Of this print a good, but contracted copy, was published (perhaps with Hogarth's permission), and the following copy of verses engraved under it.

The Bacchanalians; or a Midnight Modern Conversation. A Poem addressed to the Ingenious Mr. Hogarth.

Sacred to thee, permit this lay Thy labour, Hogarth, to display! Patron and theme in one to be! 'Tis great, but not too great for thee; For thee, the Poet's constant friend, Whose vein of humour knows no end. This verse which, honest to thy fame, Has added to thy praise thy name! Who can be dull when to his eyes Such various scenes of humour rise? Now we behold in what unite The Priest, the Beau, the Cit, the Bite; Where Law and Physick join the Sword, And Justice deigns to crown the board: How Midnight Modern Conversations Mingle all faculties and stations! Full to the sight, and next the bowl, Sits the physician of the soul; No loftier themes his thought pursues Than Punch, good Company, and Dues: Easy and careless what may fall, He hears, consents, and fills to all; Proving it plainly by his face That cassocks are no signs of grace. Near him a son of Belial see; (That Heav'n and Satan should agree!) Warm'd and wound up to proper height He vows to still maintain the fight, The brave surviving Priest assails, And fairly damns the first that fails; Fills up a bumper to the Best In Christendom, for that's his taste: The parson simpers at the jest, And puts it forward to the rest. What hand but thine so well could draw A formal Barrister at Law? Fitzherbert, Littleton, and Coke, Are all united in his look. His spacious wig conceals his ears, Yet the dull plodding beast appears. His muscles seem exact to fit Much noise, much pride, and not much wit. Who then is he with solemn phiz, Upon his elbows pois'd with ease? Freely to speak the Muse is loth— Justice or knave—he may be both— Justice or knave—'tis much the same: To boast of crimes, or tell the shame, Of raking talk or reformation, 'Tis all good Modern Conversation. What mighty Machiavel art thou, With patriot cares upon thy brow? Alas, that punch should have the fate To drown the pilot of the state! That while both sides thy pocket holds, Nor D'Anvers grieves, nor Osborne scolds, Thou sink'st the business of the nation In Midnight Modern Conversation! The Tradesman tells with wat'ry eyes How Credit sinks, how Taxes rise; At Parliaments and Great Men pets, Counts all his losses and his debts. The puny Fop, mankind's disgrace, The ladies' jest and looking-glass; This he-she thing the mode pursues, And drinks in order—till he sp—s. See where the Relict of the Wars, Deep mark'd with honorary scars, A mightier foe has caus'd to yield Than ever Marlbro' met in field! See prostrate on the earth he lies; And learn, ye soldiers, to be wise. Flush'd with the fumes of gen'rous wine The Doctor's face begins to shine: With eyes half clos'd, in stamm'ring strain, He speaks the praise of rich champaign. 'Tis dull in verse, what from thy hand Might even a Cato's smile command. Th' expiring snuffs, the bottles broke, And the full bowl at four o'clock.