Chapter XII: Canto VI (2)

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

3. The March to _Finchley_,[1] dedicated to the King of _Prussia_[2][as "an Encourager of the Arts,"] "_in resentment for the late king's sending for the picture to St. James's, and returning it without any other notice._" This print is _engraved by Luke Sullivan_ but afterwards, as we learn from a note at the bottom of it, was "Retouched and _improved_ by _Wm. Hogarth_, and republished _June_ 12, 1761." The _improvements_ in it, however, remain to be discovered by better eyes than mine.

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

"The scene of this representation is laid at _Tottenham Court Turnpike_; the _King's-Head, Adam_ and _Eve_, and the _Turnpike-house_, in full view; beyond which are discovered parties of the guards, baggage, &c. marching towards _Highgate_, and a beautiful distant prospect of the country; the sky finely painted. The picture, considered together, affords a view of a military march, and the humours and disorders consequent thereupon.

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

"It is easily discernible that the two females are of different parties. The ballad of _God save our noble King_, and a print of the _Duke of Cumberland_, in the basket of the girl, and the cross upon the back of the wife, with the implements of her occupation, sufficiently denote the painter's intention: and, what is truly beautiful, these incidents are applicable to the march.

"The hard-favoured serjeant directly behind, who enjoys the foregoing scene, is not only a good contrast to the youth, but also, with other helps, throws forward the principal figure.

"Upon the right of the grenadier is a drummer, who also has his _two Remembrancers_, a woman and a boy, the produce of their kinder hours; and who have laid their claim by a violent seizure upon his person. The figure of the woman is that of a complainant, who reminds him of her great applications, as well in sending him clean to guard, as other kind offices done, and his promises to make her an honest woman, which he, base and ungrateful, has forgot, and pays her affection with neglect. The craning of her neck shews her remonstrances to be of the shrill kind, in which she is aided by the howling of her boy. The drummer, who has a mixture of fun and wickedness in his face, having heard as many reproaches as suit his present inclinations, with a bite of his lip, and a leering eye, applies to the instrument of noise in his profession, and endeavours to drown the united clamour; in which he is luckily aided by the _ear-piercing fife_ near him.

"Between the figures before described, but more back in the picture, appears the important but meagre phiz of a _Frenchman_, in close whisper with an _Independent_. The first I suppose a spy upon the motion of the army, the other probably drawn into the croud, in order to give intelligence to his brethren, at their next meeting, to commemorate their noble struggle in support of _Independency_. The _Frenchman_ exhibits a letter, which he assures him contains positive intelligence, that 10000 of his countrymen are landed in _England_, in support of _liberty_ and _independency_. The joy with which his friend receives these glorious tidings, causes him to forget the wounds upon his head, which he has unluckily received by a too free and premature declaration of his principles.

"There is a fine contrast in the smile of innocency in the child at the woman's back, compared with the grim joy of a gentleman by it; while the hard countenance of its mother gives a delicacy to the grenadier's girl.

"Directly behind the drummer's quondam spouse, appears a soldier pissing against a shed; and some distortions in his countenance indicate a malady too indelicate to describe; this conjecture is aided by a bill of Dr. _Rock's_ for relief in like cases. Directly over him appears a wench at a wicket, probably drawn there to have a view of the march; but is diverted from her first intention by the appearance of another object directly under her eye, which seems to ingross her whole attention.

"Behind the drummer under the sign of the _Adam_ and _Eve_ are a group of figures; two of which are engaged in the fashionable art of bruising: their equal dexterity is shewn, by _sewed-up peepers_ on one side, and _a pate well-sconced_ on the other. And here the painter has shewn his impartiality to the merit of our _noble youths_, (whose minds, inflamed with love of glory, appear, not only encouragers of this truly laudable science, but many of them are also great proficients in the art itself,) by introducing a youth of quality, whose face is expressive of those boisterous passions necessary for forming a hero of this kind; and who, entering deep into the scene, endeavours to inspire the combatants with a noble contempt of bruises and broken bones. An old woman, moved by a foolish compassion, endeavours to force through the croud and part the fray, in which design she is stopped by a fellow, who prefers fun and mischief to humanity. Above their heads appears a little man[3] of meagre frame, but full of spirits, who enjoys the combat, and with fists clenched, in imagination deals blow for blow with the heroes. This figure is finely contrasted, by a heavy sluggish fellow just behind. The painter, with a stroke of humour peculiar to himself, has exhibited a figure shrinking under the load of a heavy box upon his back, who, preferring curiosity to ease, is a spectator, and waits in this uneasy state the issue of the combat. Upon a board next the sign, where roots, flowers, &c. were said to be sold, the painter has humorously altered the words, and wrote thereon, _Tottenham-Court Nursery_; alluding to a bruising-booth in this place, and the group of figures underneath.

"Passing through the turnpike, appears a carriage laden with the implements of war, as drums, halberts, tent-poles, and hoop-petticoats. Upon the carriage are two old women-campaigners, funking their pipes, and holding a conversation, as usual, in fire and smoke. These grotesque figures afford a fine contrast to a delicate woman upon the same carriage, who is suckling a child. This excellent figure evidently proves, that the painter is as capable of succeeding in the graceful style as in the humorous. A little boy laes at the feet of this figure; and the painter, to shew him of martial breed, has placed a small trumpet in his mouth.

"The serious group of the principal figures, in the center, is finely relieved by a scene of humour on the left. Here an officer has seized a milk-wench, and is kissing her in a manner excessively lewd, yet not unpleasing to the girl, if her eye is a proper interpreter of her affections: while the officer's ruffles suffer in this action, the girl pays her price, by an arch soldier, who in her absence of attention to her pails, is filling his hat with milk, and, by his waggish eye, seems also to partake of the kissing scene. A chimney-sweeper's boy with glee puts in a request to the soldier, to supply him with a cap full, when his own turn is served; while another soldier points out the fun to a fellow selling pyes, who, with an inimitable face of simple joy, neglects the care of his goods, which the soldier dexterously removes with his other hand. In the figure of the pye-man, the pencil has exceeded description----here the sounding epithets of _prodigious--excellent--wonderful_--and all the other terms used by Connoisseurs (when speaking of the beauties of an old picture, where the objects must have lain in eternal obscurity, if not conjured out to the apprehension of the spectator, by the magic of unintelligible description) are too faint to point out its real merit.

"The old soldier divested of one spatter-dash, and near losing the other, and knocked down by all-potent gin, upon calling for t'other cogue, his waggish comrade, supporting him with one hand, endeavours to pour water into his mouth with the other, which the experienced old one rejects with disdain, puts up his hand to his wife who bears the arms and gin-bottle, and who, well acquainted with his taste, is filling a quartern. And here the painter exhibits a sermon upon the excessive use of spirituous liquors, and the destructive consequences attending it: for the soldier is not only rendered incapable of his duty, but (what is shocking to behold) a child begot and conceived in gin, with a countenance emaciated, extends its little arms with great earnestness, and wishes for that liquor, which it seems well acquainted with the taste of. And here, not to dwell wholly upon the beauties of this print, I must mention an absurdity discovered by a professed connoisseur in painting--'Can there,' says he, 'be a greater absurdity than the introducing a couple of chickens so near such a croud--and not only so--but see--their direction is to go to objects it is natural for 'em to shun--is this is knowledge of nature?--absurd to the last degree!'----And here, with an air of triumph, ended our judicious critic. But how great was his surprize, when it was discovered to him, that the said chickens were in pursuit of the hen, which had made her escape into the pocket of a sailor.

"Next the sign-post is an honest tar throwing up his hat, crying 'God bless King _George_.' Before him is an image of drunken loyalty; who, with his shirt out of his breeches, and bayonet in his hand, vows destruction on the heads of the rebels. A fine figure of a speaking old woman, with a basket upon her head, will upon view tell you what she sells. A humane soldier perceiving a fellow hard-loaded with a barrel of gin upon his back, and stopped by the croud, with a gimblet bores a hole in the head of the cask, and is kindly easing him of a part of his burthen. Near him, is the figure of a fine gentleman in the army. As I suppose the painter designed him without character, I shall therefore only observe, that he is a very pretty fellow, and happily the contemplation of his own dear person guards him from the attempts of the wicked women on his right hand. Upon the right hand of this _petit maitre_ is a licentious soldier rude with a girl, who screams and wreaks her little vengeance upon his face, whilst his comrade is removing off some linen which hangs in his way.

"You will pardon the invention of a new term--I shall include the whole _King's Head_ in the word _Cattery_, the principal figure of which is a noted fat _Covent Garden_ lady,[4] who, with pious eyes cast up to heaven, prays for the army's success, and the safe return of many of her babes of grace. An officer offers a letter to one of this lady's children, who rejects it; possibly not liking the cause her spark is engaged in, or, what is more probable, his not having paid for her last favour. Above her, a charitable girl is throwing a shilling to a cripple, while another kindly administers a cordial to her companion, as a sure relief against reflection. The rest of the windows are full of the like cattle; and upon the house-top appear three cats, just emblems of the creatures below, but more harmless in their amorous encounters."

There is likewise another explanation in _The Old Woman's Magazine_, vol. I. p. 182. To elucidate a circumstance, however, in this justly celebrated performance, it is necessary to observe, that near _Tottenham Court Nursery_ was the place where the famous _Broughton's_ amphitheatre for boxing was erected. It has been since taken down, having been rendered useless by the justices not permitting such kind of diversions. This will account for the appearance of the Bruisers at the left hand corner of the print. One of _Hogarth's_ ideas in this performance also needs the assistance of colouring, to render it intelligible. The person to whom the _Frenchman_ is delivering a letter, was meant for an old _Highlander_ in disguise, as appears from the plaid seen through an opening in his grey coat; a circumstance in the print that escaped me, till after I had seen the picture, and perused _Rouquet's_ explanation of this particular circumstance, which I shall add in his own words, with his reflections at the end of it. "A droite du principal group paroit une figure de _François_, qu'on a voulu representer comme un homme de quelque importance, afin de lui donner plus de ridicule; il parle à un homme dont la nation est indiquée par l'etoffe de sa veste, qui est celle dont s'habillent les habitans des montagnes _d'Ecosse_: le _François_ semble communiquer à l'_Ecossois_ des lettres qu'il vient de reçevoir, & qui ont rapport à l'evenement qui donne lieu à cette marche. Les _Anglois_ ne se réjouissent jamais bien sans qu'il en coute quelque chose aux _François_; leur theatre, leur conversation, leurs tableaux, et sur tout ceux de notre peintre, portent toujours cette glorieuse marque de l'amour de la patrie; les romans même sont ornés de traits amusans sur cet ancien sujet; l'excellent auteur de _Tom Jones_ a voulu aussi lâcher les siens. Mais le pretendu mépris pour les _François_ dont le peuple de ce pais-ci fait profession, s'explique selon moi d'une façon fort équivoque. Le mépris suppose l'oubli; mais un objet dont on médit perpetuèllement est un objet dont on est perpetuèllement occupé: la satire constitue une attention qui me feroit soupconner qu'on fait aux _François_ l'honneur de les haïr un peu."

All the off tracts from the faces in the original picture of the March to _Finchley_, in red chalk on oiled paper, are still preserved.

This representation may be said to contain three portraits, all of which were acknowledged by the artist: a noted _French_ pye-man; one of the young fifers then recently introduced into the army by the Duke of _Cumberland_; and a chimney-sweeper with an aspect peculiarly roguish. The two latter were hired by _Hogarth_, who gave each of them half a crown, for his patience in sitting while his likeness was taken. Among the portraits in the _March to Finchley_ (says a correspondent) that of _Jacob Henriques_ may also be discovered. I wish it had been pointed out.

With this plate (of which the very few proofs in aqua-fortis, as well as the finished ones, are highly valuable) no unfair stratagems have been practised, that a number of the various impressions, taken off at different times, might be mistaken for the earliest. On copper nothing is more easy than to cover, alter, efface, or re-engrave an inscription, as often as temporary convenience may require a change in it.[5] Witness, the several copies of _The Lottery_, three of which exhibit the names of three different publishers: the fourth has none at all.

The possessors of this March to _Finchley_ need not vehemently lament their want of the original. The spirit of it is most faithfully transfused on the copper. As to the colouring, it will hardly delight such eyes are are accustomed to the pictures of _Steen_ or _Teniers_. To me the painting of the _March to Finchley_ appears hard and heavy, and has much the air of a coloured print.

I should not, on this occasion, omit to add, that Mr. _Strange_, in his _Inquiry into the Rise and Establishment of the Royal Academy of Arts in London_, observes, that "the donations in painting which several artists presented to _The Foundling Hospital_," first led to the idea of those Exhibitions which are at present so lucrative to our Royal Academy, and so entertaining to the publick. _Hogarth_ must certainly be considered as a chief among these benefactors.

[1] _General Advertiser, April_ 14, 1750. Mr _Hogarth_ is publishing, by subscription, a print representing the march to _Finchley_ in the year 1746, engraved on a copper-plate, 22 inches by 17. The price 7 _s._ 6 _d._

Subscriptions are taken in at _The Golden Head_ in _Leicester-Fields_, till the 30th of this instant, and not longer, to the end that the engraving may not be retarded.

Note. Each print will be half a Guinea after the Subscription is over.

In the Subscription-book, are the particulars of a proposal whereby each subscriber of three shillings, over and above the said seven shillings and sixpence for the print, will, in consideration thereof, be entitled to a chance of having the original picture, which shall be delivered to the winning subscriber as soon as the engraving is finished.

_General Advertiser, May_ 1, 1750.

Yesterday Mr. _Hogarth's_ subscription was closed. 1843 chances being subscribed for, Mr. _Hogarth_ gave the remaining 157 chances to _The Foundling Hospital_. At two o'clock the box was opened, and the fortunate chance was N° 1941, which belongs to the said Hospital; and the same night Mr. _Hogarth_ delivered the picture to the Governors.

[2] PRUSIA, in the earliest impressions. I have been assured that only twenty-five were worked off with this literal imperfection, as _Hogarth_ grew tired of adding the mark ~ with a pen over one S, to supply the want of the other. He therefore ordered the inscription to be corrected before any greater number of impressions were taken. Though this circumstance was mentioned by Mr. _Thane_, to whose experience in such matters some attention is due, it is difficult to suppose that _Hogarth_ was fatigued with correcting his own mistake in so small a number of the first Impressions. I may venture to add, that I have seen, at least, five and twenty marked in the manner already described: and it is scarce possible, considering the multitudes of these plates dispersed in the world, that I should have met with all that were so distinguished.

[3] The real or nick name of this man, who was by trade a cobler, is said to have been _Jockey James_.

[4] This figure is repeated in the last print but one of _Industry_. and _Idleness_, and was designed for Mother _Douglas_ of the Piazza.

[5] _Proofs_ were anciently a few impressions taken off in the course of an engraver's process. He _proved_ a plate in different states, that he might ascertain how far his labours had been successful, and when they were complete. The excellence of such early impressions, worked with care, and under the artist's eye, occasioning them to be greedily sought after, and liberally paid for, it has been customary among our modern printsellers to take off a number of them, amounting, perhaps, to hundreds, from every plate of considerable value; and yet their want of rareness has by no means abated their price. On retouching a plate, it has been also usual, among the same conscientious fraternity, to cover the inscription, which was immediately added after the first proofs were obtained, with slips of paper, that a number of secondary proofs might also be created. This device is notorious, and too often practised, without discovery, on the unskilful purchaser. A new print, in short, is of the same use to a crafty dealer, as a fresh girl to a politic bawd. In both instances _le fausse pucelage_ is disposed of many times over.

* * * * *

1751.

1. _Beer-street_;[1] two of them, with variations, (the former price 1 _s._ the latter 1 _s._ 6 _d._), and _Gin Lane_. The following verses under these two prints are by the Rev. Mr. _James Townley_, Master of _Merchant Taylors School_:

BEER-STREET.
Beer, happy product of our isle,
Can sinewy strength impart,
And, wearied with fatigue and toil,
Can chear each manly heart.

Labour and Art, upheld by thee,
Successfully advance;
We quaff thy balmy juice with glee,
And water leave to _France_.

Genius of Health, thy grateful taste
Rivals the cup of _Jove_,
And warms each _English_ generous breast
With Liberty and Love.

GIN-LANE.
Gin, cursed fiend! with fury fraught,
Makes human race a prey;
It enters by a deadly draught,
And steals our life away.

Virtue and Truth, driven to despair,
Its rage compels to fly,
But cherishes, with hellish care,
Theft, Murder, Perjury.

Damn'd cup! that on the vitals preys,
That liquid fire contains,
Which madness to the heart conveys,
And rolls it thro' the veins.

Mr. _Walpole_ observes, that the variation of the butcher lifting the _Frenchman_ in his hand, was an after-thought;[2] but he is mistaken. This _butcher_ is in reality a _blacksmith_; and the violent hyperbole is found in the original drawing, as well as in the earliest impressions of the plate. The first copies of _Beer-street, Gin Lane,_ and _The Stages of Cruelty,_ were taken off on very thin paper; but this being objected to, they were afterwards printed on thicker. The painter, who in the former of these scenes is copying a bottle from one hanging by him as a pattern, has been regarded as a stroke of satire on _John Stephen Liotard_, who (as Mr. _Walpole_ observes) "could render nothing but what he saw before his eyes."[3]

It is probable that _Hogarth_ received the first idea for these two prints from a pair of others by _Peter Breugel_ (commonly called _Breugel d'enfer_, or _Hellish Breugel_), which exhibit a contrast of a similar kind. The one is entitled _La grasse_, the other _La maigre Cuisine_. In the first, all the personages are well-fed and plump; in the second, they are starved and slender. The latter of them also exhibits the figures of an emaciated mother and child, sitting on a straw-mat upon the ground, whom I never saw without thinking on the female, &c. in _Gin Lane_.[4] In _Hogarth_, the fat _English_ blacksmith is insulting the gaunt _Frenchman_; and in _Breugel_, the plump cook is kicking the lean one out of doors. Our artist was not unacquainted with the works of this master, as will appear by an observation on the _Lilliputians_ giving _Gulliver_ a clyster.

On the subject of these two plates, and the four following ones, was published a stupid pamphlet, intituled, "A Dissertation on Mr. _Hogarth's_ Six Prints lately published, viz. _Gin-Lane, Beer-street,_ and _The Four Stages of Cruelty_, Containing, I. A genuine narrative of the horrible deeds perpetrated by that fiery dragon, _Gin_; the wretched and deplorable condition of its votaries and admirers; the dreadful havock and devaluation it has made amongst the human species; its pernicious effects on the soldiers, sailors, and mechanicks of this kingdom; and its poisonous and pestilent qualities in destroying the health, and corrupting the morals of the people. II. Useful observations on wanton and inhuman cruelty, severely satirizing the practice of the common people in sporting with the lives of animals. Being a proper key for the right apprehension of the author's meaning in those designs. Humbly inscribed to the Right Honourable _Francis Cockayne_, Esq; Lord Mayor of the City of _London_, and the worshipful Court of Aldermen, who have so worthily distinguished themselves in the measures they have taken to suppress the excessive use of spirituous liquors. _London_: Printed for _B. Dickinson_ on _Ludgate-Hill_. 1751. Price one shilling;" and eleven pence three farthings too dear, being compiled out of _Reynolds's_ "God's Revenge against Murder," &c.

[1] _General Advertiser, February_ 13, 1750-51.

On _Friday_ next will be published, price one shilling each.

Two large Prints designed and etched by Mr. _Hogarth_, called _Beer-street_ and _Gin-lane_.

A number will be printed in a better manner for the Curious at 1 _s._ 6 _d_. each.

And on _Thursday_ following will be published,

Four Prints on the subject of Cruelty. Price and size the same.

_N. B._ As the subjects of these Prints are calculated to reform some reigning vices peculiar to the lower class of people, in hopes to render them of more extensive use, the author has published them in the cheapest manner possible.

To be had at the _Golden Head_ in _Leicester Fields_, where may be had all his other works.

[2] I am sorry to perceive that this observation remains in the octavo edition of the "Anecdotes of Painting," vol. IV. p. 147.

[3] The opinion which _Hogarth_ entertained of the writings of Dr. _Hill_ may be discovered in his _Beer-Street_, where _Hill's_ critique upon the Royal Society is put into a basket directed to the Trunk-Maker, in _St. Paul's Church-Yard_.

[4] This emaciated figure, who appears drunk and asleep at the corner of this print, was painted from nature.

2. The Stages of Cruelty, in four prints. _Designed by Wm. Hogarth, price_ 4 _s._ Of the two latter of these there are wooden plates[1] on a large scale, _Invd. and published by Wm. Hogarth, Jan._ 1, 1750. _J. Bell sculp._ They were done by order of our artist, who wished to diffuse the salutary example they contain, as far as possible, by putting them within the reach of the meanest purchaser; but finding this mode of executing his design was expensive beyond expectation, he proceeded no further in it, and was content to engrave them in his own coarse, but spirited manner. Impressions from the wooden blocks are to be had at Mrs. _Hogarth's_ house in _Leicester-fields_. This set of prints, however, is illustrated with the following verses:

FIRST STAGE OF CRUELTY.
While various scenes of sportive woe
The infant race employ,
And tortur'd Victims bleeding shew
The tyrant in the boy;
Behold! a _youth_ of gentler heart,
To spare the Creature's pain,[2]
O take, he cries--take all my tart,
But tears and tart are vain.
Learn from this fair example--you,
Whom savage sports delight,
How Cruelty disgusts the view,
While pity charms the sight.

SECOND STAGE OF CRUELTY.
The generous _steed_, in hoary age,
Subdu'd by labour lies;
And mourns a cruel master's rage,
While _Nature_ strength denies.
The tender _Lamb_, o'erdrove and faint,
Amidst expiring throes,
Bleats forth it's innocent complaint,
And dies beneath the blows.
Inhuman wretch! say whence proceeds
This coward Cruelty?
What int'rest springs from barb'rous deeds
What joy from misery?

III. CRUELTY IN PERFECTION.
To lawless _Love_ when once betray'd,
Soon crime to crime succeeds;
At length beguil'd to _Theft_, the _maid_
By her _beguiler_ bleeds.
Yet learn, seducing man, not night
With all its sable cloud,
Can skreen the guilty _deed_ from sight:
Foul Murder cries aloud.
The gaping wounds, the blood-stain'd steel,
Now shock his trembling _soul_:
But oh! what pangs his breast must feel,
When Death his knell shall toll.

IV. THE REWARD OF CRUELTY.
Behold, the _Villain's_ dire disgrace
Not death itself can end:
He finds no peaceful _burial-place_;
His breathless corse, no friend,
Torn from the root, that wicked _Tongue_,
Which daily swore and curst!
Those eye-balls, from their sockets wrung,
That glow'd with lawless lust.
His heart, exposed to prying eyes,
To pity has no claim;
But, dreadful! from his bones shall rise
His monument of shame.[3]

[1] N. B. The first of these wooden cuts differs in many circumstances from the engraving. In the former, the right hand of the murderer is visible; in the latter it is pinioned behind him. Comparison will detect several other variations in this plate and its fellow.

[2] The thrusting an arrow up the fundament of a dog, is not an idea of _English_ growth. No man ever beheld the same act of cruelty practised on any animal in _London. Hogarth_, however, met with this circumstance in _Callot's Temptation of St. Antony_, and transplanted it, without the least propriety, into its present situation.

[3] In the last of these plates, "how delicate and superior," as Mr. _Walpole_ observes, "is _Hogarth's_ satire, when he intimates, in the College of Physicians and Surgeons that preside at a dissection, how the legal habitude of viewing shocking scenes hardens the human mind, and renders it unfeeling. The president maintains the dignity of insensibility over an executed corpse, and considers it but as the object of a lecture. In the print of the Sleeping Judges, this habitual indifference only excites our laughter." To render his spectacle, however, more shocking, our artist has perhaps deviated from nature, against whose laws he so rarely offends. He has impressed marks of agony on the face of the criminal under dissection; whereas it is well known, that, the most violent death once past, the tumult of the features subsides for ever. But, in _Hogarth's_ print, the wretch who has been executed, seems to feel the subsequent operation. Of this plate Mr. _S. Ireland_ has the original drawing.

3. Boys peeping at Nature, with Variations.

Receipt for _Moses brought to Pharaoh's Daughter_, and St. _Paul before Felix_.

The burlesque _Paul_, &c. being the current receipt for these two prints, I know not why our artist should have altered and vamped up his _Boys peeping at Nature_ (see p. 188.) for the same purpose. This plate was lately found at Mrs. _Hogarth's_, but no former impressions from it appear to have been circulated. It might have been a first thought, before the idea of its ludicrous successor occurred. _Hogarth_, however, with propriety, effaced all the wit in his original design, before he meant to offer it as a prologue to his uninteresting serious productions.

4. _Paul_ before _Felix_, designed and scratched in the true _Dutch_ taste, by _W. Hogarth_. This was the receipt for _Pharaoh's_ daughter, and for the serious _Paul_ and _Felix_; and is a satire on _Dutch_ pictures. It also contains, in the character of a serjeant tearing his brief, a portrait of _Hume Campbell_, who was not over-delicate in the language he used at the bar to his adversaries and antagonists. This, however, is said by others to be the portrait of _William King_,[1] LL. D. Principal of _St. Mary Hall, Oxford_. In a variation of this print, the Devil is introduced sawing off a leg of the stool on which _Paul_ stands. In the _third_ impression, as is noted in the collection sold last at _Christie's_, "_Hogarth_ has again taken out the Devil. By these variations of _Devil and no Devil_, he glances at Collectors, who give great prices for such rarities; and perhaps he had in his eye the famous print of the Shepherd's Offering by _Poilly_, after _Guido_, which sells very dear, without the Angels." This, however, is erroneous. After the dæmon was once admitted, he was never discarded. The plate in Mrs. _Hogarth's_ keeping confirms my assertion. In the first proof of _Poilly's Shepherd's Offering_, the angels are lightly sketched in; in the finished proof they are totally omitted; but were afterwards inserted. There are similar variations relative to the arms at the bottom of it.

Of this burlesque _Paul_, &c. none were originally intended for sale; but our artist gave them away to such of his acquaintance, &c. as begged for them. The number of these petitioners, however, increasing every day, he resolved at last to part with no copies of it at a less price than five shillings.[2] All the early proofs were stained by himself, to give them that tint of age which is generally found on the works of _Rembrandt_. Of this plate, however, there are _two_ impressions. The inscription under the _first_ is "_Paul_ before _Felix_. Design'd and scratch'd in the true _Dutch_ taste by &c." Under the _second_, "Designed and etch'd in the ridiculous manner of _Rembrant_, &c." From the former of these _Hogarth_ took off a few reverses. He must have been severely mortified when he found his ludicrous representation of _Paul_ before _Felix_ was more coveted and admired than his serious painting on the same subject.

[1] Of Dr. _King_, who was "a tall, lean, well-looking man," there is a striking likeness in _Worlidge's_ View of the Installation of Lord _Westmoreland_ as chancellor of _Oxford_ in 1761. Some particulars of his life and writings may be seen in the "Anecdotes of Mr. _Bowyer_," p. 594.

[2] Mr. _Walpole_ has honoured a passage in the first edition of this hasty work, with the following stricture: (see Anecdotes of Painting, vol. IV. p. 149).

"I have been blamed for censuring the indelicacies of _Flemish_ and _Dutch_ painters, by comparing them with the _purity_ of _Hogarth_, against whom are produced many instances of indelicacy, and some repetitions of the same indelicacy. I will not defend myself by pleading that these instances are thinly scattered through a great number of his works, and that there is at least humour in most of the incidents quoted, and that they insinuate some reflection, which is never the case of the foreigners--but can I chuse but smile when one of the nastiest examples specified is from the burlesque of _Paul_ before _Felix_, professedly in ridicule of the gross images of the _Dutch_?"

In consequence of private remarks from Mr. _W._ this questionable position, as well as a few others, had been obviated in my second impression of the trifling performance now offered to the public: but as our author cannot _chuse but smile_, when the occasion of his mirth was no longer meant to be in his way, I would ask, in defence of my former observation, if moralists usually attempt to reform profligates by writing treatises of profligacy? or, if painters have a right to chastise indelicacy, by exhibiting gross examples of it in their own performances? To become indecent ourselves, is an unwarrantable recipe for curing indecency in others. The obscenities of _Juvenal_ have hitherto met with no very successful vindication: "Few are the converts _Aretine_ has made." According to our critic's mode of reasoning, a homicide might urge that the crime of which he stands accused was committed only as a salutary example of the guilt of murder; nay, thus indeed every human offence might be allowed to bring with it its own apology.--I forbear to proceed in this argument, or might observe in behalf of our "foreigners," that their incidents insinuate some reflections as well as _Hogarth's_. The evacuations introduced in _Dutch_ pictures, most certainly inculcate the necessity of temperance, for those only who eat and drink too much at fairs, or in ale-houses, are liable to such public and unseemly accidents as _Heemskirk, Ostade,_ and _Teniers,_ have occasionally represented. If we are to look for "Sermons in stones, and good in everything," this inference is as fair as many which Mr. _W._ seems inclined to produce in honour of poor _Hogarth_, who, like _Shakspeare_, often sought to entertain, without keeping any moral purpose in view. But was there either wit or morality in _Hogarth's_ own evacuation against the door of a church, a circumstance recorded by Mr. _Forrest_ in his MS. tour, though prudently suppressed in his printed copy of it? Perhaps, following Uncle _Toby's_ advice, he had better have wiped the whole up, and said nothing about the matter. Our worthy Tour-writer, however, was by no means qualified to be the author of a Sentimental Journey. He rather (and purposely, as we are told) resembles _Ben Jonson's_ communicative traveller, who says to his companion,

----I went and paid a moccinigo
For mending my silk stockings; by the way
I cheapen'd sprats, and at _St. Mark's_ I urin'd.
Faith, these are politic notes!

* * * * *

1752.

1. _Paul_ before _Felix_, from the original painting in _Lincoln's-Inn Hall_, painted by _W. Hogarth._ "_There is much less Dignity in this, than Wit in the preceding._" Under the inscription to the first impressions of this plate is "Published _Feb._ 5, 1752. Engraved by _Luke Sullivan._" To the second state of it was added the quotation which, in p. 64, I have printed from Dr. _Joseph Warton's_ Essay on the Genius of _Pope_. It was covered with paper in the third impression, and entirely effaced in the fourth.

2. The same, "_as first designed, but the wife of_ Felix _was afterwards omitted, because St_. Paul's _hand was very improperly placed before her._" I have seen a copy of it, on which _Hogarth_ had written, "A print off the plate that was set aside as insufficient. Engraved by _W. H._" On the appearance of Dr. _Warton's_ criticism on this plate, _Hogarth_ caused the whole of it to be engraved under both this and the next mentioned print, without any comment.

3. _Moses_ brought to _Pharaoh's_ daughter, from a picture at _The Foundling Hospital. Engraved by W. Hogarth and Luke Sullivan._

In the early impressions from this plate (exclusive of its necessary and usual inscription) the words "Published _February_ 5, 1752, according to Act of Parliament," and "_W. Hogarth pinxit_," are found. In subsequent copies they are obliterated; and we have only "Published as the Act directs" in their room. These were left out, however, only to make room for the quotation from Dr. _Warton's_ book already mentioned.[1]

[1] It should here be remarked, that the heads of several of the figures in the original, differ widely from those in the engraving. The daughter of the _Egyptian_ Monarch appears to more advantage in the print than on the canvas, for there she resembles a wanton under-actress, who, half-undrest, and waiting for her keeper, employs the interval of time in settling accounts with a washerwoman, who has her bastard at nurse, and has just brought him home to convince her that young _Curl-pated Hugh_ has no shoes to his feet. The colouring of this piece is beneath criticism. I have just been told the head of _Pharaoh's_ daughter was copied from one _Seaton_, a smock-faced youth of our artist's acquaintance: a proper model, no doubt, for an _Eastern_ Princess! _Hogarth_ could not, like _Guido_, draw a _Venus_ from a common porter.

* * * * *

1753.

1. _Columbus_ breaking the egg. "_The subscription-ticket to his Analysis._" First payment 5 _s. Hogarth_ published this print as a sarcasm on those artists who had been inclined to laugh at his boasted line of beauty, as a discovery which every one might have made.

2. Analysis of Beauty. Two plates. Mr. _Walpole_ observes, that _Hogarth's_ "samples of grace in a young lord and lady are strikingly stiff and affected. They are a _Bath_ beau and a county beauty." The print is found in three different states. "In the original plate the principal figure represented the present king, then prince, but _Hogarth_ was desired to alter it. The present figure was taken from the last duke of _Kingston_; yet, though like him, is stiff, and far from graceful."[1] In Plate I. Fig. 19. the fat personage drest in a _Roman_ habit, and elevated on a pedestal, was designed, as _Hogarth_ himself acknowledged, for a ridicule on _Quin_ in the character of _Coriolanus. Essex_ the dancing-master is also represented in the act of endeavouring to reduce the graceful attitude of _Antinous_ to modern stiffness. Fig. 20. was likewise meant for the celebrated _Desnoyer_, dancing in a grand ballet.

Dr. _Beattie_, speaking of the modes of combination, by which incongruous qualities may be presented to the eye, or the fancy, so as to provoke laughter, observes "A country dance of men and women, like those exhibited by _Hogarth_ in his Analysis of Beauty, could hardly fail to make a beholder merry, whether he believed their union to be the effect of design or accident. Most of those persons have incongruities of their own in their shape, dress, or attitude, and all of them are incongruous in respect of one another; thus far the assemblage displays contrariety or want of relation: and they are all united in the same dance; and thus far they are mutually related. And if we suppose the two elegant figures removed, which might be done without lessening the ridicule, we should not easily discern any contrast of dignity and meanness in the group that remains.

"Almost the same remarks might be made on _The Enraged Musician_, another piece of the same great master, of which a witty author quaintly says, that it deafens one to look at it. This extraordinary group forms a very comical mixture of incongruity and relation; of incongruity, owing to the dissimilar employment and appearances of the several persons, and to the variety and dissonance of their respective noises; and of relation, owing to their being all united in the same place, and for the same purpose of tormenting the poor fidler. From the various sounds co-operating to this one end, the piece becomes more laughable, than if their meeting were conceived to be without any particular destination; for the greater number of relations, as well as of contrarieties, that take place in any ludicrous assembly, the more ludicrous it will generally appear. Yet, though this group comprehends not any mixture of meanness and dignity, it would, I think, be allowed to be laughable to a certain degree, merely from the juxta-position of the objects, even though it were supposed to be accidental." Essay on Laughter and Ludicrous Composition, 4to Edit. 608.

"I have no new books, alas! to amuse myself or you; so can only return yours of _Hogarth's_ with thanks. It surprized me agreeably; for I had conceived the performance to be a set of prints only, whereas I found a book which I did not imagine _Hogarth_ capable of writing; for in his pencil I always confided, but never imagined his pen would have afforded me so much pleasure. As to his not fixing _the precise degree of obliquity_, which constitutes beauty, I forgive him, because I think the task too hard to be performed literally: but yet he conveys an idea between his pencil and his pen, which makes one conceive his meaning pretty well." Lady _Luxborough's_ Letters, p. 380.

I shall here transcribe as much from the _Analysis_ as is necessary to communicate our artist's design relative to the various figures that compose the country-dance in the second plate. The reader who neither possesses the book, nor wishes to accompany the author throughout his technical explanations, may desire some intelligence concerning the present subject.

"CHAP. XIV.

"OF ATTITUDE.

"--As two or three lines at first are sufficient to shew the intention of an attitude, I will take this opportunity of presenting my reader with the sketch of a country-dance, in the manner I began to set out the design; in order to shew how few lines are necessary to express the first thoughts as to different attitudes [see fig. 71. T. p. 2.], which describe, in some measure, the several figures and actions, mostly of the ridiculous kind, that are represented in the chief part of plate II.

"The most amiable person may deform his general appearance by throwing his body and limbs into plain lines; but such lines appear still in a more disagreeable light in people of a particular make; I have therefore chose such figures as I thought would agree best with my first score of lines, fig. 71.

"The two parts of curves next to 71, served for the old woman and her partner at the farther end of the room. The curve and two strait lines at right angles gave the hint for the fat man's sprawling posture. I next resolved to keep a figure within the bounds of a circle, which produced the upper part of the fat woman between the fat man and the aukward one in a bag-wig, for whom I had made a sort of an X. The prim lady, his partner, in the riding habit, by pecking back her elbows, as they call it, from the waist upwards, made a tolerable D, with a straight line under it, to signify the scanty stiffness of her petticoat; and a Z stood for the singular position the body makes with the legs and thighs of the affected fellow in the tye-wig; the upper part of his plump partner was confined to an O, and this, changed into a P, served as a hint for the straight lines behind.[2] The uniform diamond of a card was filled by the flying dress, &c. of the little capering fellow in the Spencer wig; whilst a double L marked the parallel position of his poking partner's hands and arms [_N. B. This figure was copied from that of an uncouth young female whom_ Hogarth _met with at_ Isleworth _assembly_]: and, lastly, the two waving lines were drawn for the more genteel turns of the two figures at the hither end.

"The drawing-room is also ornamented purposely with such statues and pictures as may serve to a farther illustration. _Henry_ VIII. [Fig. 72. P. 2] makes a perfect X with his legs and arms; and the position of _Charles_ [Fig. 51. P. 2.] is composed of less-varied lines than the statue of _Edward_ VI. [Fig. 73. P. 2.]; and the medal over his head is in the like kind of lines; but that over Q. _Elizabeth_, as well as her figure, is in the contrary; so are also the two other wooden figures at the end. Likewise the comical posture of astonishment expressed by following the direction of one plain curve, as the dotted line in a _French_ print of _Sancho_, where Don _Quixote_ demolishes the puppet-show [Fig. 75. R. P. 2], is a good contrast to the effect of the serpentine lines in the fine turn of the _Samaritan_ woman [Fig. 75. L. p. 2.] taken from one of the best pictures _Annibal Carache_ ever painted."

Respecting the plate numbered I. there are no variations. In its companion the changes repeatedly made as to the two principal figures are more numerous than I had at first observed. It may, however, be sufficient for me to point out some single circumstance in each, that may serve as a mark of distinction. In the first, the principal female has scarce any string to her necklace; in the second it is lengthened; and still more considerably increased in the third. In the first and second editions also of this plate, between the young lord and his partner (and just under the figure of the man who is pointing out the stateliness of some of K. _Henry_ VIIIth's proportions to a lady), is a vacant easy chair. In the third impression this chair is occupied by a person asleep. I have lately been assured that this country-dance was originally meant to have formed one of the scenes in the _Happy Marriage_. The old gentleman hastening away his daughter, while the servant is putting on his spatter-dashes, seems to countenance the supposition; and having since examined the original sketch in oil, which is in Mr. _Ireland's_ possession, I observe that the dancing-room is terminated by a large old-fashioned bow-window, a circumstance perfectly consistent with the scenery of the wedding described in p. 46, &c.

I may add, that in this picture, the couple designed for specimens of grace, appear, not where they stand in the print, but at the upper end of the room: and so little versed was our painter in the etiquette of a wedding-ball, that he has represented the bride dancing with the bridegroom.[3]

When _Hogarth_ shewed the original painting, from which this dance has been engraved, to my informant, he desired him to observe a pile of hats in the corner, all so characteristic of their respective owners, that they might with ease be picked out, and given to the parties for whom they were designed.

[1] Anecdotes of Painting, 8vo. vol. IV. p. 166.

[2] The idea of making human figures conform to the shape of capital letters, is by no means new. Several alphabets of this kind were engraved above 150 years ago.

[3] As different fashions, however, prevail at different times, this observation may be wrong.

3. The Political Clyster. _Nahtanoi Tfiws.[1] Dr. O'Gearth sculp. Nll Mrrg. Cht Nf. ndw Lps ec ple &c. &c. shd b. Prgd. See Gulliver's Speech to the Honble. House of Vulgaria in Lilliput._

This was originally published about 1727, or 1728, under the title of "The punishment inflicted on _Lemuel Gulliver_, by applying a _Lilypucian_ Fire Engine to his posteriors for his urinal profanation of the Royal Pallace at _Mildendo_; which was intended as a Frontispiece to his first volume, but omitted. _HogEarth sculp._" The superiority of the impressions thus inscribed is considerable.[2]

More than the general idea of this print is stolen from another by _Hellish Breugel_, whom I have already mentioned in a remark on _Beer-street_, and _Gin-lane_. The _Dutchman_ has represented a number of pigmies delivering a huge giant from a load of fæces. His postern is thrust out, like that of _Gulliver_, to favour their operations. _Breugel_ has no less than three prints on this subject, with considerable variations from each other.

"When _Hogarth's_ topics were harmless," says Mr. _Walpole_, "all his touches were marked with pleasantry and fun. He never laughed, like _Rabelais_, at nonsense that he imposed for wit; but, like _Swift_, combined incidents that divert one from their unexpected encounter, and illustrate the tale he means to tell. Such are the hens roosting on the upright waves in the scene of the Strollers, and the devils drinking porter on the altar." The print now before us is, however, no very happy exemplification of our critick's remark.

[1] Originally mistaken by Mr. _Walpole_ for the name of a _Lilliputian_ painter, but put right in his new edition.

[2] The present unmeaning title of this plate, was bestowed on it by its owner, Mr. _Sayer_.

* * * * *

1754.

1. Crowns, mitres, maces, &c. A subscription-ticket for the Election entertainment. This print has been already described. See p. 39. The engraved forms of a receipt annexed to it do not always agree. In one copy (which I suppose to be the eldest) it contains an acknowledgement for "Five Shillings, being the first payment for a print representing an Election Entertainment, which I promise to deliver, when finished, on the receipt of five shillings and sixpence more." The second is for "one guinea, being the first payment for four prints of an Election, which I promise, &c. on the receipt of one guinea more." The third for "fifteen shillings, being the first, &c. for three prints, &c. on the payment of sixteen shillings and sixpence more."