Chapter X: Preface: To the GERMAN READER (9)

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

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

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

[1] "Mr. _Festin_ has not been dead ten years. He was brother to the _Festin_ who led the band at _Ranelagh_."

[2] In the second edition of these anecdotes, I had said "the musician was undoubtedly _Castrucci_;" though one gentleman assured me it was _Veracini_. The error is here acknowledged, to shew the danger of receiving information upon trust. In the first edition, I had fallen into a less pardonable mistake, by supposing it was _Cervetto_, whom I described to be then lately dead. But "_Hogarth's_ musician," as a friend on that occasion suggested to me, "is represented with a violin; whereas _Cervetto's_ instrument was the violoncello; but, however that may be, he is now certainly living. He lodges at _Friburg's_ snuff-shop, in _The Haymarket_, and may be seen every day at _The Orange Coffeehouse_, although he completed his 101st. year in _November_ 1781." This extraordinary character in the musical world came to _England_ in the hard frost, and was then an old man. He soon after was engaged to play the bass at _Drury-lane_ theatre, and continued in that employment till a season or two previous to Mr. _Garrick's_ retiring from the stage. He died _June_ 14, 1783, in his 103d year. One evening when Mr. _Garrick_ was performing the character of Sir _John Brute_, during the drunkard's muttering and dosing till he falls fast asleep in the chair (the audience being most profoundly silent and attentive to this admirable performer), _Cervetto_ (in the orchestra) uttered a very loud and immoderately-lengthened yawn! The moment _Garrick_ was off the stage, he sent for the musician, and with considerable warmth reprimanded him for so ill-timed a symptom of somnnolency, when the modern _Naso_, with great address, reconciled _Garrick_ to him in a trice, by saying, with a shrug, "I beg ten tousand pardon! but I alvays do so ven I am _ver much please_!" Mr. _Cervetto_ was distinguished among his friends in the galleries by the name of _Nosey_. See _Gentleman's Magazine_, 1783, p. 95.

[3] _London Daily Post, November_ 24, 1740. "Shortly will be published, a new print called _The Provoked Musician_, designed and engraved by Mr _William Hogarth_; being a companion to a print representing a _Distressed Poet_, published some time since. To which will be added, a _Third on Painting_, which will compleat the set; but as this subject may turn upon an affair depending between the right honourable the L--d _M---r_ and the author, it may be retarded for some time."

Query to what affair does _Hogarth_ allude? _Humphrey Parsons_ was then Lord Mayor.

[4] In the collection of Mr. _Crickitt_.

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1742.

1. _Martin Folks_, Esq. half length. _W. Hogarth pinxit & sculpsit_. An engraving. To some impressions of this print, which are not proofs, the name of _Hogarth_ is wanting.

2. The same, half length mezzotinto. _W. Hogarth pinx._ 1741; _J. Faber fecit._ 1742. The original of both is now in the meeting-room of the Royal Society, in _Somerset Place_.

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

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

[1] _Hogarth_ designed to have published this print, with some explanation at the bottom of it in 1741-2.--See the inscription almost effaced, a circumstance to which the copier did not attend.

[2] I learn from _The Grub-street Journal_ for _October_ 17, 1734, that Monsieur _Desnoyer_ was just arrived from _Poland_, together with Mademoiselle _Roland_ from _Paris_ (this lady is still alive). Again, from the same paper, _August_ 19, 1756, that "Monsieur _Desnoyer_, the famous dancer at _Drury-lane_, is gone to _Paris_, by order of Mr. _Fleetwood_, to engage Mademoiselle _Sallee_ for the ensuing winter." In some future expedition, we may suppose, he prevailed on Signora _Barberini_ to come over for the same purpose.

4. Taste in High Life. A beau, a fashionable old lady, a young lady, a black boy, and a monkey. Painted by Mr. _Hogarth_. It was sold by Mr. _Jarvis_, in _Bedford-street, Covent-Garden. Published May 24th, [no year]._ The original picture is in the possession of Mr. _Birch_, surgeon, _Essex-street_, in _The Strand_.

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

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

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1743.

1. _Benjamin Hoadly_, bishop of _Winchester. W. Hogarth pinx. B. Baron sculp._ The plate belongs to Mrs. _Hoadly_.

2. Captain _Thomas Coram_, who obtained the charter[1] for _The Foundling Hospital_. Mezzotinto; a three-quarters. The first print published by _M'Ardell_. The original is a whole length. The captain has the seal of the charter in his hand. Before him is a globe; at a distance a prospect of the sea. This is perhaps the best of all _Hogarth's_ portraits, and is thus described in the _Scandalizade_, a satire published about 1749.

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

[1] In which the name of _William Hogarth_ stands enrolled as one of the earliest governors of the charity.

[2] Mr. _Coram_ was bred to the sea, and spent the first part of his life as master of a vessel trading to our colonies. While he resided in that part of the metropolis which is the common residence of seafaring people, business often obliging him to come early into the city and return late; he had frequent occasions of seeing young children exposed, through the indigence or cruelty of their parents. This excited his compassion so far, that he projected _The Foundling Hospital_; in which humane design he laboured 17 years, and at last, by his sole application, obtained the royal charter for it.[A] He died at his lodgings near _Leicester-Square, March_ 29, 1751, in his 84th year: and was interred under the chapel of the _Foundling Hospital_, where the following inscription perpetuates his memory:

"Captain THOMAS CORAM,
whose Name will never want a Monument
so long as this Hospital shall subsist, was born about
the year 1668; a Man eminent in that most eminent
Virtue, the Love of Mankind;
little attentive to his private Fortune, and refusing
many Opportunities of encreasing it, his Time and Thoughts
were continually employed in endeavours to promote the
public Happiness,
both in this Kingdom and elsewhere, particularly
in the Colonies of North America; and his Endeavours
were many Times crowned with the desired Success. His
unwearied Solicitation, for above Seventeen Years together,
(which would have battled the Patience and Industry of any
Man less zealous in doing Good)
and his Application to Persons of Distinction of both Sexes,
obtained at Length the Charter of the Incorporation
(bearing Date the 17th of _October_, 1739)
FOR THE MAINTENANCE AND EDUCATION
OF EXPOSED AND DESERTED YOUNG CHILDREN,
by which many Thousands of Lives may be preserved to the
Public, and employed in a frugal and honest Course of
Industry. He died the 29th of _March_, 1731, in the
84th Year of his Age, poor in worldly Estate, rich in good
Works; was buried, at his own Desire, in the Vault
underneath this Chapel;
(the first here deposited)
at the East End thereof; many of the Governors
and other Gentlemen attending the Funeral, to do
Honour to his Memory.
Reader, thy Actions will shew whether thou art sincere
in the Praises thou may'st bestow on him; and if thou hast
Virtue enough to commend his Virtues, forget not to
add also the Imitation of them."

[A] For his other charitable projects, see Biog. Dict. 1784, vol. IV. p. 120.

3. The same engraving, for the _London Magazine_.

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

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1745.

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

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

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

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

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

THE ARGUMENTS.

CANTO I.
"The joys and plagues that wedlock brings,
The Limner paints, the Poet sings;
How the old dads weigh either scale,
And set their children up to sale;
How, void of thought, the Viscount weds
The nymph, who such a marriage dreads;
And, whilst himself the Fop admires,
_M----y_ with love her soul inspires."

CANTO II.
"The wedding o'er, the ill-match'd pair
Are left at large, their fate to share;
All public places he frequents,
Whilst she her own delight invents;
And, full of love, bewails her doom,
When drunk i'th' morning he comes home;
The pious stew'rd, in great surprize,
Runs from them with uplifted eyes."

CANTO III.
"My Lord now keeps a common Miss,
Th' effects describ'd of amorous bliss,
Venereal taints infect their veins,
And fill them full of aches and pains;
Which to an old _French_ Doctor drives 'em,
Who with his pill, a grand p--x gives 'em;
A scene of vengeance next ensues,
With which the Muse her tale pursues."

CANTO IV.
"Fresh honours on the Lady wait,
A Countess now she shines in state;
The toilette is at large display'd,
Where whilst the morning concert's play'd,
She listens to her lover's call,
Who courts her to the midnight-ball."