Chapter XVIII: Canto IV (2)

[1] In a letter written to his friend Mr. _Wilkes_, dated _Aug._ 3, 1763, _Churchill_ says: "I take it for granted you have seen _Hogarth's Print_ against me. Was ever any thing so contemptible? I think he is fairly _felo de se_--I think not to let him off in that manner, although I might safely leave him to your NOTES. He has broke into my pale of private life, and set that example of illiberality which I wished--of that kind of attack which is ungenerous in the first instance, but justice in return. I intend an Elegy on him, supposing him dead; but * * tells me with a kiss, he will be really dead before it comes out: that I have already killed him, &c. How sweet is flattery from the woman we love! and how weak is our boasted strength when opposed to beauty and good sense with good nature!"--In Mr. _Churchill's_ will is the following passage: "I desire my dear friend, _John Wilkes_, Esq. to collect and publish my Works, with the Remarks and Explanations he has prepared, and any others he thinks proper to make."

[2] In a few days after, the following Advertisement, for a satirical Print on _Hogarth_, was published:

_Tara, Tan, Tara! Tara, Tan, Tara!_

This Day made its appearance at the noted SUMPTER's Political Booth, next door to _The Brazen Head_, near _Shoe-Lane, Fleet-street_, which began precisely at twelve at noon, a new humourous performance, entitled, The BRUISER TRIUMPHANT: or, The Whole Farce of the _Leicester-fields_ Pannel Painter. The principal parts by Mr. _H[ogarth]_, Mr. _W[ilkes]_, Mr. _C[hurchill]_, &c. &c. &c. Walk in, Gentlemen, walk in! No more than 6 _d._ a-piece!

[3] The reader shall judge for himself of this Epistle's "power to hurt."

"Amongst the sons of men, how few are known
Who dare be just to merit not their own!
Superior virtue, and superior sense,
To knaves and fools will always give offence;
Nay, men of real worth can scarcely bear,
So nice is Jealousy, a rival there.

"Be wicked as thou wilt, do all that's base,
Proclaim thyself the monster of thy race;
Let Vice and Folly thy Black Soul divide,
Be proud with meanness, and be mean with pride!
Deaf to the voice of Faith and Honour, fall
From side to side, yet be of none at all;
Spurn all those charities, those sacred ties,
Which Nature in her bounty, good as wise,
To work our safety, and ensure her plan,
Contriv'd to bind, and rivet man to man;
Lift against Virtue Power's oppressive rod,
Betray thy Country, and deny thy God;
And, in one general comprehensive line,
To group, which volumes scarcely could define,
Whate'er of Sin and Dulness can be said.
Join to a _F----'s_ heart a _D----'s_ head.
Yet mayst thou pass unnotic'd in the throng,
And, free from Envy, safely sneak along.
The rigid Saint, by whom no mercy's shewn
To Saints whose lives are better than his own,
Shall spare thy crimes; and WIT, who never once
Forgave a Brother, shall forgive a Dunce."

After this nervous introduction, our satirist proceeds:

"HOGARTH--I take thee, CANDOUR, at thy word,
Accept thy proffer'd terms, and will be heard;
Thee have I heard with virulence declaim,
Nothing retain'd of Candour but the name;
By thee have I been charg'd in angry strains
With that mean falshood which my soul disdains--
HOGARTH, stand forth--Nay hang not thus aloof--
Now, CANDOUR, now Thou shalt receive such proof--
Such damning proof, that henceforth Thou shalt fear
To tax my wrath, and own my conduct clear--
HOGARTH stand forth--I dare thee to be tried
In that great Court, where Conscience must preside;
At that most solemn bar hold up thy hand;
Think before whom, on what account you stand---
Speak, but consider well--from first to last
Review thy life, weigh every action past--
Nay, you shall have no reason to complain--
Take longer time, and view them o'er again--
Canst Thou remember from thy earliest youth,
And as thy God must judge Thee, speak the truth,
A single instance where, _Self_ laid aside,
And Justice taking place of fear and pride,
Thou with an equal eye didst GENIUS view,
And give to Merit what was Merit's due?
Genius and Merit are a sure offence,
And thy soul sickens at the name of Sense.
Is any one so foolish to succeed?
On ENVY'S altar he is doom'd to bleed.
HOGARTH, a guilty pleasure in his eyes,
The place of Executioner supplies.
See how he glotes, enjoys the sacred feast,
And proves himself by cruelty a priest.

"Whilst the weak Artist, to thy whims a slave,
Would bury all those powers which Nature gave,
Would suffer blank concealment to obscure
Those rays, thy Jealousy could not endure;
To feed thy vanity would rust unknown,
And to secure thy credit blast his own,
In HOGARTH he was sure to find a friend;
He could not fear, and therefore might commend.
But when his Spirit, rous'd by honest Shame,
Shook off that Lethargy, and soar'd to Fame,
When, with the pride of Man, resolv'd and strong,
He scorn'd those fears which did his Honour wrong,
And, on himself determin'd to rely,
Brought forth his labours to the public eye,
No Friend in Thee, could such a Rebel know;
He had desert, and HOGARTH was his foe.

"Souls of a timorous cast, of petty name
In ENVY'S court, not yet quite dead to shame,
May some Remorse, some qualms of Conscience feel,
And suffer Honour to abate their Zeal:
But the Man, truly and compleatly great,
Allows no rule of action but his hate;
Through every bar he bravely breaks his way,
Passion his Principle, and Parts his prey.
Mediums in Vice and Virtue speak a mind
Within the pale of Temperance confin'd;
The daring Spirit scorns her narrow schemes,
And, good or bad, is always in extremes.

"Man's practice duly weigh'd, through every age
On the same plan hath ENVY form'd her rage.
'Gainst those whom Fortune hath our rivals made
In way of Science, and in way of Trade,
Stung with mean Jealousy she arms her spite,
First works, then views their ruin with delight.
Our HOGARTH here a grand improver shines,
And nobly on the general plan refines;
He like himself o'erleaps the servile bound;
Worth is his mark, wherever Worth is found.
Should Painters only his vast wrath suffice?
Genius in every walk is Lawful Prize.
'Tis a gross insult to his o'ergrown state:
His love to merit is to feel his hate.

"When WILKES, our Countryman, our common friend,
Arose, his King, his Country to defend,
When tools of power he bar'd to public view,
And from their holes the sneaking cowards drew;
When Rancour found it far beyond her reach
To soil his honour, and his truth impeach,
What could induce Thee, at a time and place,
Where manly Foes had blush'd to shew their face,
To make that effort, which must damn thy name,
And sink Thee deep, deep in thy grave with shame?
Did Virtue move Thee? no, 'twas Pride, rank Pride,
And if thou hadst not done it, Thou hadst dy'd.
MALICE (who, disappointed of her end,
Whether to work the bane of Foe or Friend,
Preys on herself, and, driven to the Stake,
Gives Virtue that revenge she scorns to take)
Had kill'd Thee, tottering on life's utmost verge,
Had WILKES and LIBERTY escap'd thy scourge.

"When that GREAT CHARTER, which our Fathers bought
With their best blood, was into question brought;
When, big with ruin, o'er each English head
Vile Slavery hung suspended by a thread;
When LIBERTY, all trembling and aghast,
Fear'd for the future, knowing what was past:
When every breast was chill'd with deep despair,
Till Reason pointed out that PRATT was there;
Lurking, most Ruffian-like, behind a screen,
So plac'd all things to see, himself unseen,
VIRTUE, with due contempt, saw HOGARTH stand,
The murderous pencil in his palsied hand.
What was the cause of Liberty to him,
Or what was Honour? Let them sink or swim,
So he may gratify, without controul,
The mean resentments of his selfish soul.
Let Freedom perish, if, to Freedom true,
In the same ruin WILKES may perish too.

"With all the symptoms of assur'd decay,
With age and sickness pinch'd, and worn away,
Pale quivering lips, lank cheeks, and faultering tongue,
The spirits out of tune, the nerves unstrung,
The body shrivel'd up, the dim eyes sunk
Within their sockets deep, the weak hams shrunk
The body's weight unable to sustain,
The stream of life scarce trembling through the vein,
More than half-kill'd by honest truths, which fell,
Through thy own fault, from men who wish'd thee well;
Canst thou, e'en thus, thy thoughts to vengeance give,
And, dead to all things else, to Malice live?
Hence, Dotard, to thy closet, shut thee in,
By deep repentance wash away thy sin,
From haunts of men to shame and sorrow fly,
And, on the verge of death, learn how to die.

"Vain exhortation! wash the Ethiop white,
Discharge the leopard's spots, turn day to night,
Controul the course of Nature, bid the deep
Hush at thy Pygmy voice her waves to sleep,
Perform things passing strange, yet own thy art
Too weak to work a change in such a heart.
_That_ ENVY, which was woven in thy frame
At first, will to the last remain the same.
Reason may droop, may die; but Envy's rage
Improves by time, and gathers strength from age,
Some, and not few, vain triflers with the pen,
Unread, unpractis'd in the ways of men,
Tell us that ENVY, who with giant stride
Stalks through the vale of life by Virtue's side,
Retreats when she hath drawn her latest breath,
And calmly hears her praises after death.
To such observers HOGARTH gives the lie;
Worth may be hears'd, but Envy cannot die;
Within the mansion of his gloomy breast,
A mansion suited well to such a guest,
Immortal, unimpair'd, she rears her head,
And damns alike the living and the dead.

"Oft have I known Thee, HOGARTH, weak and vain,
Thyself the idol of thy aukward strain,
Through the dull measure of a summer's day,
In phrase most vile, prate long, long hours away,
Whilst Friends with Friends, all gaping sit, and gaze
To hear a HOGARTH babble HOGARTH'S praise.
But if athwart thee Interruption came,
And mention'd with respect some Ancient's name,
Some Ancient's name, who in the days of yore
The crown of Art with greatest honour wore,
How have I seen thy coward cheek turn pale,
And blank confusion seize thy mangled tale!
How hath thy Jealousy to madness grown,
And deem'd his praise injurious to thy own!
Then without mercy did thy wrath make way,
And Arts and Artists all became thy prey;
Then didst Thou trample on establish'd rules,
And proudly level'd all the ancient schools;
Condemn'd those works, with praise through ages grac'd,
Which you had never seen, or could not taste.
'But would mankind have true Perfection shewn,
It must be found in labours of my own.
I dare to challenge in one single piece,
Th' united force of ITALY and GREECE.'
Thy eager hand the curtain then undrew,
And brought the boasted Master-piece to view.
Spare thy remarks--say not a single word--
The Picture seen, why is the Painter heard?
Call not up Shame and Anger in our cheeks:
Without a Comment SIGISMUNDA speaks.

"Poor SIGISMUNDA! what a Fate is thine!
DRYDEN, the great High-Priest of all the Nine,
Reviv'd thy name, gave what a Muse could give,
And in his Numbers bade thy Memory live;
Gave thee those soft sensations, which might move
And warm the coldest Anchorite to Love;
Gave thee that Virtue, which could curb desire,
Refine and consecrate Love's headstrong fire;
Gave thee those griefs, which made the Stoic feel,
And call'd compassion forth from hearts of steel;
Gave thee that firmness, which our Sex may shame,
And make Man bow to Woman's juster claim,
So that our tears, which from compassion flow,
Seem to debase thy dignity of woe!
But O, how much unlike! how fall'n! how chang'd!
How much from Nature and herself estrang'd!
How totally depriv'd of all the powers
To shew her feelings, and awaken ours,
Doth SIGISMUNDA now devoted stand,
The helpless victim of a Dauber's hand!

"But why, _my_ HOGARTH, such a progress made,
So rare a Pattern for the sign-post trade,
In the full force and whirlwind of thy pride,
Why was _Heroic_ Painting laid aside?
Why is It not resum'd? Thy Friends at Court,
Men all in place and power, crave thy support;
Be grateful then for once, and, through the field
Of Politics, thy _Epic_ Pencil wield;
Maintain the cause, which they, good lack! avow,
And would maintain too, but they know not how.

"Through ev'ry _Pannel_ let thy Virtue tell
How BUTE prevail'd, how PITT and TEMPLE fell!
How ENGLAND'S sons (whom they conspir'd to bless
Against our Will, with insolent success)
Approve their fall, and with addresses run,
How got, God knows, to hail the SCOTTISH Sun!
Point out our fame in war, when Vengeance, hurl'd
From the strong arm of Justice, shook the world;
Thine, and thy Country's honour to increase,
Point out the honours of succeeding Peace;
Our _Moderation_, Christian-like, display,
Shew, what we got, and what we gave away.
In Colours, dull and heavy as the tale,
Let a _State_-Chaos through the whole prevail.

"But, of events regardless, whilst the Muse,
Perhaps with too much heat, her theme pursues;
Whilst her quick Spirits rouze at FREEDOM'S call,
And every drop of blood is turn'd to gall,
Whilst a dear Country, and an injur'd Friend,
Urge my strong anger to the bitterest end,
Whilst honest trophies to Revenge are rais'd,
Let not One real Virtue pass unprais'd.
Justice with equal course bids Satire flow,
And loves the Virtue of her greatest foe.

"O! that I here could that rare Virtue mean,
Which scorns the rule of Envy, Pride and Spleen,
Which springs not from the labour'd Works of Art,
But hath its rise from Nature in the heart,
Which in itself with happiness is crown'd,
And spreads with joy the blessing all around!
But truth forbids, and in these simple lays
Contented with a different kind of Praise,
Must HOGARTH stand; that Praise which GENIUS gives;
In Which to latest time the _Artist_ lives,
But not the _Man_; which, rightly understood,
May make us great, but cannot make us good,
That Praise be HOGARTH'S; freely let him wear
The Wreath which GENIUS wove, and planted there.
Foe as I am, should Envy tear it down,
Myself would labour to replace the Crown.

"In walks of Humour, in that cast of Style,
Which, probing to the quick, yet makes us smile;
In Comedy, his nat'ral road to fame,
Nor let me call it by a meaner name,
Where a beginning, middle, and an end,
Are aptly join'd; where parts on parts depend,
Each made for each, as bodies for their soul,
So as to form one true and perfect whole,
Where a plain Story to the eye is told,
Which we conceive the moment we behold,
HOGARTH unrival'd stands, and shall engage
Unrival'd praise to the most distant age.

"How could'st Thou then to shame perversely run,
And tread that path which Nature bade Thee shun?
Why did Ambition overleap her rules,
And thy vast parts become the Sport of Fools?
By different methods different Men excell,
But where is He who can do all things well?
Humour thy Province, for some monstrous crime
Pride struck Thee with the frenzy of _Sublime_.
But, when the work was finish'd, could thy mind
So partial be, and to herself so blind,
What with Contempt All view'd, to view with awe,
Nor see those faults which every Blockhead saw?
Blush, Thou vain Man, and if desire of Fame,
Founded on real Art, thy thoughts inflame,
To quick destruction SIGISMUNDA give,
And let her memory die, that thine may live.

"But should fond Candour, for her Mercy's sake,
With pity view, and pardon this mistake;
Or should Oblivion, to thy wish most kind,
Wipe off that stain, nor leave one trace behind;
Of ARTS _despis'd_, of ARTISTS by thy frown
_Aw'd from just hopes_, of _rising worth kept down_,
Of all thy meanness through this mortal race,
Canst Thou the living memory erase?
Or shall not Vengeance follow to the grave,
And give back just that measure which You gave?
With so much merit, and so much success,
With so much power to curse, so much to bless,
Would He have been Man's friend, instead of foe,
HOGARTH had been a little God below.
Why then, like savage Giants, fam'd of old,
Of whom in Scripture Story we are told,
Dost Thou in cruelty that strength employ,
Which Nature meant to save, not to destroy?
Why dost Thou, all in horrid pomp array'd,
Sit grinning o'er the ruins Thou hast made?
Most rank ill-nature must applaud thy art;
But even Candour must condemn thy heart.

"For Me, who, warm and zealous for my Friend,
In spite of railing thousands, will commend,
And, no less warm and zealous 'gainst my foes,
Spite of commending thousands, will oppose,
I dare thy worst, with scorn behold thy rage,
But with an eye of Pity view thy Age;
Thy feeble Age, in which, as in a glass,
We see how men to dissolution pass.
Thou _wretched Being_, whom, on Reason's plan,
So chang'd, so lost, I cannot call a Man,
What could persuade Thee, at this time of life,
To launch afresh into the Sea of Strife?
Better for Thee, scarce crawling on the earth,
Almost as much a child as at thy birth,
To have resign'd in peace thy parting breath,
And sunk unnotic'd in the arms of Death.
Why would thy grey, grey hairs, resentment brave,
Thus to go down with sorrow to the grave?
Now, by my Soul, it makes me blush to know
My Spirits could descend to such a foe.
Whatever cause the vengeance might provoke,
It seems rank Cowardice to give the stroke.

"Sure 'tis a curse which angry Fates impose,
To fortify man's arrogance, that those,
Who're fashion'd of some better sort of clay,
Much sooner than the common herd decay.
What bitter pangs must humbled GENIUS feel!
In their last hours, to view a SWIFT and STEELE!
How much ill-boding horrors fill her breast
When She beholds Men, mark'd above the rest
For qualities most dear, plung'd from that height,
And sunk, deep sunk, in second Childhood's night!
Are Men, indeed, such things, and are the best
More subject to this evil than the rest,
To drivel out whole years of Ideot Breath,
And sit the Monuments of living Death?
O, galling circumstance to human pride!
Abasing Thought, but not to be denied!
With curious Art the Brain, too finely wrought;
Preys on herself, and is destroy'd by Thought.
Constant Attention wears the active mind,
Blots out her powers, and leaves a blank behind.
But let not Youth, to insolence allied,
In heat of blood, in full career of pride,
Possess'd of GENIUS, with unhallow'd rage,
Mock the infirmities of reverend age.
The greatest GENIUS to this Fate may bow,
REYNOLDS, in time, may be like HOGARTH now."

3. The same; but on the palette is introduced the political print described in p. 91. In the second impressions of the plate thus altered,[1] we find the letters N B added on the club, as well as the epithet _infamous_ prefixed to the word _Fallacy_. The shadows on the political print are likewise changed, and deepened; and the words "Dragon of _Wantley_" are added at the end of "I warrant ye."

[1] The first was price 1_s._; the second price 1_s._ 6_d._

4. Print Of the Weighing-house to "_Clubbe's_ Physiognomy;" a humourous pamphlet in quarto, published in 1763, by Mr. _Clubbe_[1] (editor of the History and Antiquities of _Wheatfield_ in _Suffolk_), and dedicated to _Hogarth. W. Hogarth del. L. Sullivan sculp._ It was likewise printed in a collection of this author's works, published at _Ipswich_, 2 vols. 12mo. no date, with a new engraving of the plate. There is also a third engraving of the same design, perhaps executed in the country, for some octavo edition of Mr. _Clubbe's_ pamphlet.

[1] I had said in my first edition, that Mr. _Clubbe_ was drowned in the moat that surrounded his house at _Wheatfield_; but readily retract that assertion, having been since informed, that he died a natural death, of old age and infirmities.

5. _Frontispiece to a pamphlet_ written by Dr. _Gregory Sharpe_, Master of _The Temple_, against the _Hutchinsonians, but never published._ "_It represents a witch sitting on the moon, and watering on a mountain, whence issue mice, who are devouring Sir Isaac Newton's Optics; one mouse lies dead on Hutchinson's works, probably to imply being choaked. The conundrum signifies, Front-is-piss._" The few impressions from this plate that have strayed into the hands of dealers, were originally presents from Dr. _Sharpe_ to his friends.

* * * * *

1764.

1. FINIS, or the Tail-piece. The Bathos, or manner of sinking in sublime painting, inscribed to the dealers in dark pictures.[1] TIME breathing out his _last_, a ruinous tower, and many other allegorical devices; among the rest, he has introduced his own "Times."[2]

[1] On this print, which he called _Finis_, and represents the destruction of all things, the following epigram, ascribed to _Charles Churchill_ the poet, and said to have been written by him when at Mr. _Dell's_, in _Kew-foot-lane, April_ 18, 1764, is printed from _The Muse's Mirrour_, vol. I. p. 8.

On _Hogarth's_ print of the _Bathos_, or the Art of Sinking in
Painting.

All must old _Hogarth's_ gratitude declare,
Since he has nam'd old _Chaos_ for his heir;
And while his works hang round that _Anarch's_ throne,
The connoisseurs will take them for his own.

Mr. _Walpole's_ Anecdotes, 8vo. vol, IV. p. 191.

[2] A few months before this ingenious artist was seized with the malady which deprived society of one of its greatest ornaments, he proposed to his matchless pencil the work he has intituled a _tail-piece_; the first idea of which is said to have been started in company, while the convivial glass was circulating round his own table. "My next undertaking," says _Hogarth_, "shall be the _End of all Things_." "If that is the case," replied one of his friends, "your _business will be finished_; for there will be _an end of the painter_." "There _will_ so," answered _Hogarth_, sighing heavily; "and, therefore, the sooner my _work is done_, the better." Accordingly he began the next day, and continued his design with a diligence which seemed to indicate an apprehension (as the report goes) that he should not live till he had completed it. This, however, he did in the most ingenious manner, by grouping every thing which could denote the _end of all things_--a broken bottle--an old broom worn to the stump--the butt-end of an old musket--a cracked bell--bow unstrung--a crown tumbled in pieces--towers in ruins--the _sign-post_ of a tavern, called _The World's End_, tumbling--the moon in her wane--the map of the globe burning--a gibbet falling, the body gone, and the chain which held it dropping down--_Phœbus_ and his horses dead in the clouds--a vessel wrecked--Time, with his hour-glass and scythe broken; a tobacco-pipe in his mouth, the last whiff of smoke going out--a play-book opened, with _Exeunt omnes_ stamped in the corner--an empty purse--and a statute of bankruptcy taken out against Nature.--"So far, so good," cried _Hogarth_; "nothing remains but this,"--taking his pencil in a sort of prophetic fury, and dashing off the similitude of a _painter's pallet broken_--"_Finis_," exclaimed _Hogarth_, "_the deed is done--all is over._"--It is remarkable, that he died in about a month after this tail-piece. It is also well known he never again took the pencil in hand.

2. The Bench.[1] The same described under the year 1758; but with additions. The plate thus varied occurs in two states. In the first of these we have only "This plate could have been better explained, had the author lived a week longer." In the second impression of it we are told, that "The unfinished group of heads, in the upper part of this print, was added by the author in _October_ 1764; and was intended as a farther illustration of what is here said concerning _Character, Caracatura,_ and _Outrè_. He worked upon it a day before his death, which happened the 26th of that month." This plate exhibits the inside of the _Common Pleas_, with portraits of the following judges then belonging to that court:

Hon. _Wm. Sir _Edw. Sir _John Hon. Mr. Justice
Noel_. Clive_. Willes_, Ld. (now Earl)
Ch. Justice. _Bathurst_.

Mr. _Edwards's_ picture on this subject (see p. 367.) differs from both the plates.

[1] A term peculiarly appropriated to the Court of _Common Pleas_.

3. Hell-Gate, Satan, Sin, and Death. _Milton's Paradise Lost._ Book II. A large print. Engraved by _C. Townley_, and intended to have been published _April_ 15, 1767. It was dedicated to the late Mr. _Garrick_, who possessed the original (unfinished) picture painted by _Hogarth_. The plate was destroyed, and only a few of the prints are now remaining. The original is in the possession of Mrs. _Garrick_.

It is impossible to conclude my account of it without observing, that the united labours of _Teniers, Heemskirk,_ and _Callot,_ could not have furnished a more absolute burlesque of this noble subject, than _Hogarth_, who went seriously to work on it, has here produced. "How art thou fallen, O _Lucifer_, thou son of the Morning!" will be the exclamation of every observer, on seeing this unaccountable performance, in which _Satan_ and _Death_ have lost their terrors, and _Sin_ herself is divested of all the powers of temptation.

* * * * *

1772.

1. The Good Samaritan; by _Ravenet_ and _Delatre_.

In _The Grub-Street Journal_ for _July_ 14, 1737, appeared the following paragraph: "Yesterday the scaffolding was taken down from before the picture of _The Good Samaritan_,[1] painted by Mr. _Hogarth_, on the Stair Case in _St. Bartholomew's_ Hospital, which is esteemed a very curious piece." _Hogarth_ paid his friend _Lambert_ for painting the landscape in this picture, and afterwards cleaned the whole at his own expence. To the imaginary merits of his coadjutor, the Analysis, p. 26, bears the following testimony: "The sky always gradates one way or other, and the rising or setting sun exhibits it in great perfection; the imitating of which was _Claud de Lorain's_ peculiar excellence, and is now Mr. _Lambert's_."

[1] Of this picture Mr. _S. Ireland_ has a sketch in oil.

2. _The Pool of Bethesda_; large, by _Ravenet_ and _Picot_. A small one, by _Ravenet_, has been mentioned under 1748. Both very indifferent. Mr. _Walpole_ justly observes, that "the burlesque turn of our artist's mind mixed itself with his most serious compositions; and that, in _The Pool of Bethesda_, a servant of a rich ulcerated lady, beats back a poor man [perhaps woman] who sought the same celestial remedy." To this remark I may add, that the figure of the priest, in _The Good Samaritan_, is supremely comic, and rather resembles some purse-proud burgomaster, than the character it was designed to represent.

On the top of the staircase at St. _Bartholomew's_ Hospital, and just under the cornice, is the following inscription, "The historical paintings of this staircase were painted and given by Mr. _William Hogarth_, and the ornamental paintings at his expence, A. D. 1736." Both pictures, which appear of an oblong square in the engravings, in the originals are surrounded with scroll-work which cuts off the corners of them, &c. All these ornaments, together with compartments carved at the bottom, were the work of Mr. _Richards_. Mr. _Boydell_ had the latter engraved on separate plates, appended to those above them, on which sufficient space had not been left.--_Hogarth_ requested that these pictures might never be varnished. They appear therefore to disadvantage, the decorations about them having, within these few years past, been highly glazed. _The Pool of Bethesda_ has suffered much from the sun; and _The Good Samaritan_, when lately cleaned, was pressed so hard against the straining frame, that several creases have been made in the canvas.

* * * * *

1775.

1. The Politician [Mr. _Tibson_, lately a laceman in _The Strand_], from a sketch in oil, by _Hogarth_. Etched by _J. K. Sherwin_. Published _Oct._ 31, 1775.

* * * * *

1781.

1. Portrait of _Solfull_,[1] a maker of punches for engravers. _W. Hogarth del. S. J. fecit aqua fort._ Mr. _S. Ireland_ has the original sketch. This portrait is mentioned by Mr. _Walpole_ under the title of "_Two small heads of men in profile in one plate, etched by Mr. Ireland, from a sketch in his own collection._"

[1] This was etched a second time, Mr. _Ireland_ having accidentally lost his first plate.

2. _Thomas Pellet_, M. D. President of the College of Physicians. _W. Hogarth pinxit. C. Hall sculpsit._

3. _William Bullock_ the Comedian. _W. Hogarth pinxit. C. Hall sculpsit._ It is by no means certain that these two last portraits were painted by _Hogarth_.

4. North and South of _Great Britain. W. Hogarth delin. F. B._ [i. e. _Francis Bartolozzi_] _sculp._ This little print represents a _Scotchman_ scrubbing against a sign-post; no sign on it; with _Edenborough_ castle in the back ground:--and an _Englishman_ reposing on a post, with a pot of _London_ porter in his hand; the sign of an Ox, with _roast and boild_, by way of inscription, over his head; and a view of St. _Paul's_ at a distance. I do not believe it was designed by our artist, whose satire was usually of a more exalted kind: neither are the figures at all in his manner.

A sketch imputed to _Hogarth_, and engraved by this matchless _Italian_, however, carries a double temptation with it, as it unites with the works of both artists, which are so much the present objects of pursuit. No man can entertain too high an idea of _Barlolozzi's_ talents; but yet, being sometimes apt to sacrifice similitude to grace,

_Emollit mores, nec finit esset feros._

He therefore is the last person from whom justice to the strong marked characters of _Hogarth_ could be expected.

Since the above observations were communicated, a new impression of this plate has appeared with the name of _Sandby_ annexed to it. The history of so extraordinary a change deserves notoriety. The publisher was at first assured that the sketch, from which he designed the engraving, was not the production of _Hogarth_. He, however, on his own judgement, pretended to affirm the contrary, being at least convinced that, during the late rage for collecting the works of our artist, no name was so likely as his to draw in purchasers. Having disposed of as many copies as he could in consequence of hanging out such false colours, he now sets sail again under those of _Sandby_, and would probably make a third voyage with Mr. _Bunbury's_ flag at his mast head, were not our second _Hogarth_ at hand, to detect the imposture.--The price of this etching, originally 2 _s._ 6 _d._ is now sold at 1 _s._ though the proprietor has incurred the fresh expence of decorating it in _aqua tinta_. Should it henceforward fail to meet with buyers, I shall not be ready to exclaim, with _Ovid_,

_Flebam successu posse carere dolo._

The three last published by _John Thane, Rupert-street, Haymarket_.

5. First sketch of arms for _The Foundling Hospital. Wm. Hogarth inv._ 1747. Over the Crest and Supporters is written--A Lamb--Nature--_Britannia_. In the shield is a naked Infant: the Motto HELP.

This is an accurate fac simile from a drawing with a pen and ink by _Hogarth_. Published as the Act directs _July_ 31, 1781, by _R. Livesay_, at Mrs. _Hogarth's, Leicester Fields_. The original is in the collection of the Earl of _Exeter_.

6. Two Figures, &c. _Hogarth inv. F. B._ [i. e. _Francis Bartolozzi_] _sculp._ These figures were designed for Lord _Melcombe_ and Lord _Winchelsea_. From a drawing with a pen and ink by _Hogarth_. Published as the Act directs, 31 _July_, 1781, by _R. Livesay_ at Mrs. _Hogarth's, Leicester-fields_. I am informed, however, that this drawing was certainly the work of Lord _Townshend_. The original is in the collection of the Earl of _Exeter_.

7. A mezzotinto portrait of _Hogarth_ with his hat on, in a large oval, "from an original begun by _Wheltdon_, and finished by himself, late in the possession of the Rev. Mr. _Townley. Charles Townley fec._" The family of _Hogarth_ affect to know nothing of this painting; and say, if there is such a thing, it was only slightly touched over by him. It must be confessed that it bears little, if any, resemblance to the representations of our artist edited by himself. The original is now in the possession of Mr. _James Townley_, as has been mentioned in p. 98.

* * * * *

1782.

1. The Staymaker.

2. Debates on Palmistry.

The humour in the first of the two preceding prints is not very strong, and in the second it is scarce intelligible. The Male _Staymaker_ seems to be taking professional liberties with a female in the very room where her husband sits, who is playing with one of his children presented to him by a nurse, perhaps with a view to call off his attention from what is going forward. The hag shews her pretended love for the infant, by kissing its posteriors. A maid-servant holds a looking-glass for the lady, and peeps significantly at the operator from behind it. A boy with a cockade on, and a little sword by his side, appears to observe the familiarities already mentioned, and is strutting up fiercely towards the Staymaker, while a girl is spilling some liquor in his hat.

The figures employed in the study of _Palmistry_ seem to be designed for Physicians and Surgeons of an Hospital, who are debating on the most commodious method of receiving a fee, unattentive to the complaints of a lame female who solicits assistance. A spectre, resembling the _Royal Dane_, comes out behind, perhaps to intimate that physick and poison will occasionally produce similar effects. A glass case, containing skeletons, is open; a crocodile hangs overhead; and an owl, emblematic of this sapient consistory, is perched on an high stand. I suspect these two to have been discarded sketches--the first of them too barren in its subject to deserve finishing, and the second a repented effort of hasty spleen against the officers of _St. Bartholomew's_, who might not have treated some recommendation of a patient from our artist with all the respect and attention to which he thought it was entitled. But this is mere supposition.

3. Portrait of _Henry Fox_ Lord _Holland_.

4. Portrait of _James Caulfield_ Earl of _Charlemont_.

The above four articles are all etched by _S. Haynes_, pupil to the late Mr. _Mortimer_, from original drawings in the possession of Mr. _S. Ireland_.

The six prints which follow, were published by subscription by Mrs. _Hogarth_ in _April_ 1782; of these No. 5. was engraved by _Bartolozzi_, and the rest by _R. Livesay_.

5. The Shrimp Girl, a head, from an original sketch in oil, in the possession of Mrs. _Hogarth_.

This plate, which is executed in the dotted manner so much at present in fashion, should have been etched or engraved like those excellent performances by _Bartolozzi_ after the drawings of _Guercino_. Spirit, rather than delicacy, is the characteristic of our artist's _Shrimp Girl_.

6. 7. Portraits of _Gabriel Hunt_ and _Benjamin Read_, in _aqua tinta_, from the original drawings in the possession of the late Mr. _Forrest_. The drawing of Mr. _Hunt_ was taken in 1733, a period when, from the number of street-robberies, it was usual to go armed. _Hunt's_ couteau is stuck in one of his button-holes.

The figure of _Ben Read_ was taken in 1757. Coming one night to the club after having taken a long journey, he fell asleep there. _Hogarth_ had got on his roquelaure, and was about to leave the room; but, struck with the drollery of his friend's appearance, he exclaimed, "Heavens! what a character!" and, calling for pen and ink, took the drawing immediately, without sitting down.

To be recorded only as votaries of the bottle and pipe, is no very flattering mark of distinction to these members of our artist's club. There is scarce a meaner avenue to the Temple of Fame.

8. Three plates, from the original sketches of _Hogarth_, designed for the epitaph and monument of _George Taylor_. The drawings are the property of Mr. _Morrison_.

_George Taylor_ was a famous boxer, who died _February_ 21, 1750. A writer already quoted speaks of him in these terms: "_George Taylor_, known by the name of _George the Barber_, sprang up surprisingly. He has beat all the chief boxers but _Broughton_. He, I think, injudiciously fought him one of the first, and was obliged very soon to give out. Doubtless it was a wrong step in him to commence a boxer by fighting the standing champion: for _George_ was not then twenty, and _Broughton_ was in the zenith of his age and art. Since that he has greatly distinguished himself with others; but has never engaged _Broughton_ more. He is a strong able boxer, who, with a skill extraordinary, aided by his knowledge of the small and back swords, and a remarkable judgement in the cross-buttock fall, may contest with any. But, please or displease, I am resolved to be ingenuous in my characters. Therefore I am of opinion, that he is not overstocked with that necessary ingredient of a boxer, called a _bottom_; and am apt to suspect that blows of equal strength with his too much affect him and disconcert his conduct." _Godfrey on the Science of Defence_, p. 61.

On _Taylor's_ tombstone in _Deptford_ church-yard is the following epitaph:

Farewell ye honours of my brow!
Victorious wreaths farewell!
One trip from Death has laid me low,
By whom such numbers fell.
Yet bravely I'll dispute the prize,
Nor yield, though out of breath:
'Tis but a fall--I yet shall rise,
And conquer--even DEATH.

The idea, however, is all that can merit praise in these rough outlines by _Hogarth_. Some graver critics, indeed, may think our artist has treated the most solemn of all events with too great a degree of levity.

9. Nine prints of _Hogarth's_ Tour from drawings by _Hogarth_, &c. accompanied with nine pages of letter press. The frontispiece of this work (Mr. _Somebody_) was designed by _Hogarth_, as emblematical of their journey, _viz._ that it was a short Tour by land and water, backwards and forwards, without head or tail. The 9th is the tail-piece (Mr. _Nobody_) of the same whimsical nature with the first; the whole being intended as a burlesque on historical writers recording a series of insignificant events intirely uninteresting to the reader. "Some few copies of the Tour," says Mr. _Walpole_,[1] "were printed by Mr. _Nichols_ in the preceding year. It was a party of pleasure down the river into _Kent_, undertaken by Mr. _Hogarth_, Mr. _Scott_, and three of their friends, in which they intended to have more humour than they accomplished, as is commonly the case in such meditated attempts. The Tour was described in verse by one of the company, and the drawings executed by the painters, but with little merit, except the views taken by Mr. _Scott_."

I have transcribed this paragraph lest the readers of the truly valuable work whence it is taken should imagine the Tour printed by _J. N._ in 1781, was the same with that published by Mr. _Livesay_ in 1782. The former was the production of the ingenious Mr. _Gostling_ of _Canterbury_; the latter was written by one of the company, and, with the omission of a single glaring indelicacy, and many false spellings, has been faithfully edited by Mr. _Livesay_.

[1] Vol. IV. 8vo. p. 192.

10. _Hogarth's_ Crest, exhibiting the Line of Beauty. _Cyprus_ and _Variety_ subjoined by way of mottoes; but my readers will anticipate me when I observe that the universe contains no place in which _Hogarth_ had so little interest as in the _Cyprian_ isle, where _Venus_ was attended by the Graces. _Hogarth's_ original sketch, which he delivered to Mr. _Catton_ the coach-painter for the purpose of having it transferred on his carriage, is now in the possession of Mr. _Livesay_.

11. The card of invitation mentioned in p. 63. is introduced in the title-page of the present publication. It is engraved by _J. Cary_, a young artist, whose abilities, more particularly in the line of map-engraving, will soon raise him into notice.

12. An Old Man's Head with a band. In the dotted stile. Published by _Livesay_.

* * * * *

1785.

1. Orator _Henley_ Christening a Child. Etched by _Saml Ireland_ from an original sketch in oil--in his possession--by _Hogarth_.--To _Francis Grose_, Esq; F. A. S. an encourager and promoter of the arts, this etching, from his favourite _Hogarth_, is inscribed by his obliged friend and servant, SAML IRELAND.

2. A Landscape. Etch'd by _Saml Ireland_, from an original picture in his possession, said to be the only landscape ever painted by _Hogarth_.--To the Right Honourable the Earl of _Exeter_, an admirer of _Hogarth_, and encourager of the arts, this etching is inscribed by his Lordship's most obliged and obedient servant. S. IRELAND.

The very considerable degree of skill and fidelity, displayed in the execution of these two plates, entitles the gentleman who etched them to the warmest thanks of every collector of the works of _Hogarth_.--May a hope be added, that he will favour us with yet other unpublished designs of the same master?

* * * * *

PRINTS _of uncertain Date_.

Before Mr. _Walpole's_ enumeration of the following shop-bills, coats of arms, &c. made its appearance, perhaps few of them were known to our collectors. Concerning the genuineness of some of these unimportant engravings, no doubt can be entertained; but whence is it inferred that _all_ of them were his productions? Do we receive them merely on the faith of Mr. _Pond_? or are they imputed to our artist for any other reason, or on the strength of any other testimony? I am assured, by a gentleman who possesses the chief of them, and is well acquainted with _Hogarth's_ manner, that from mere external evidence several of these could not have been authenticated.

It is natural, however, to suppose that most of them (if _Hogarth's_) were the fruits of his apprenticeship.[1] As such, therefore, they should be placed at the beginning of every collection.

[1] Let it be remembered likewise, that being bound apprentice to the single branch of engraving arms and cyphers, the majority of his works, whether on base metal or silver, must have been long since melted down. During the minority of _Hogarth_, the forms in which plate was made, could contribute little to its chance of preservation. Pot-bellied tankards, and salvers scalloped like old-fashioned minced-pies, were the highest efforts of that period.

* * * * *

1. People in a shop under the King's arms: _Mary_ and _Ann Hogarth_. "_A shop-bill_" for his two sisters, who for many years kept a linen-draper's, or rather what is called a slop-shop.

_Mary_ and _Ann Hogarth_.

from the Old Frock-shop near the corner of _The
Long Walk_, facing _The Cloysters_, Removed to ye
_Kings Arms_ joyning to ye _Little Britain-gate_, near
_Long Walk_. Sells ye best and most Fashionable
Ready Made Frocks, sutes of Fustian, Ticken and
Holland, stript Dimmity and Flañel Wastcoats, blue
and canvas Frocks, and bluecoat Boys Drars.

Likewise Fustians, Tickens, Hollands, white stript
Dĩ̃mitys, white and stript Flañels in ye piece.

By wholesale or Retale, at Reasonable Rates.

2. His own cypher, with his name under it at length; "_a plate he used for his books_." I have reason to think it was neither designed nor engraved by _Hogarth_.

3. A _Turk's_ head. "_A shop bill_," for _John Barker_, goldsmith, at the _Morocco_ Ambassador's head in _Lombard-Street_.--A copy of this has been made.

4. A shop-bill, with emblems of Trade. Grand Duke of _Tuscany's_ arms at the top; those of _Florence_ within the plate. At the four corners, views of _Naples, Venice, Genoa,_ and _Leghorne_.

At Mrs. _Holt's,
Italian_ Warehouse,

at the two Olive Posts in ye broad part of _The
Strand_ almost opposite to _Exeter Change_ are sold all
Sorts of _Italian_ Silks, as Lustrings, Sattins, Padesois,
Velvets, Damasks, &c. Fans, Legorne Hats, Flowers,
Lute and Violin Strings, Books of Essences, Venice
Treacle, Balsomes, &c. And in a Back Warehouse
all Sorts of _Italian_ Wines, _Florence_ Cordials, Oyl,
Olives, Anchovies, Capers, Vermicelli, _Bolognia_ Sausidges,
_Parmesan_ Cheeses, _Naple_ Soap, &c.

5. A large angel, holding a palm in his left hand. "_A shop-bill_" for

_Ellis Gamble_
Goldsmith,
at the _Golden-Angel_ in _Cranbourn-street,
Leicester-Fields_.
Makes Buys and Sells all Sorts
of Plate, Rings and Jewels
&c.

_Ellis Gamble_
Orfeure,
a l'Enseigne de l'Ange d'Or
dans _Cranbourn-Street, Leicester-Fields_.
Fait, Achete,
& vend toutes sortes d'Argenterie,
Bagues & Bijouxs, &c.

6. A smaller angel. This is a contracted copy from the preceding, was another shop-bill for our Artist's Master, and has the same inscription as that already given.

7. Another small angel "almost the same as the preceding," in the collection of Mr. _Walpole_.

8. A large oval coat of arms, with terms of the four seasons.

9. A coat of arms, with two slaves and trophies. Plate for books.

10. Another coat of arms, and two boys as terms.

11. A foreign coat of arms; supporters a savage and an angel. Ditto.

12. Lord _Aylmer's_ coat of arms.

13. Two ditto of the Duchess of _Kendal_; one of them, an impression from a silver tea table.

14. The Earl of _Radnor's_ arms, from a silver cup and cover.

15. A grifon, with a flag. A crest.

16. _Minerva_, sitting and holding the arms of _Holland_, four _Cupids_ round her. "_Done for the books of_ John Holland, _herald-painter._"

Of this there are two plates. The _Fleurs de Lys_ in the one are more numerous and crowded than in the other.

17. A ticket for a burial.

For the same purpose our artist's contemporary _Coypel_ likewise engraved a plate, which is still in use.

18. Two small for _Milton. W. Hogarth inv. & sculp._

It is so singular, that only plates referring to the first and third books of _Paradise Lost_ should be discovered with our artist's name subscribed to them, that I almost suspect they were not executed for any edition of that work, but rather for some oratorio or operatical performance founded thereon, though neither performed nor printed. An example of two prints by _Hogarth_ to a single dramatic piece, we have already met with in _Perseus and Andromeda_.

If the first of the present designs was made for the first book of _Paradise Lost_, one might almost swear that _Hogarth_ had never read it, or he could not have fallen into the strange absurdities and incoherences that his engraving displays. We have on one side a Dæmon exalted in a kind of pulpit, at the foot of which another infernal spirit lies bound in chains, while a cannon is pointed at his head. At a distance, in the centre of an arcade adorned with statues, is a throne with a personage seated on it. Over his head are little beings supporting an emblem of eternity. Stars, &c. appear above them. Whether this dignified character was designed for "a spirit of health, or goblin damn'd," it would be difficult from his figure and attributes to determine. Perhaps several works of fancy might be named, with which the present representation would as naturally connect as with the first book of _Milton's_ Poem.

The following plate exhibits two celestial characters of equal age. They sit aloft in the clouds, and listen to a concert of angels playing on various instruments, and, among the rest, on a clumsy organ. A ray of light darts down on a distant orb, designed, I suppose, for the new-created world, towards which the figure of a little being, scarce bigger than a bird, though meant for _Satan_, is seen directing its flight.[1]

A bookseller of common sagacity would have been justified in rejecting these designs, if prepared for _Milton_. Indeed, had I not been taught by Mr. _Walpole's_ catalogue that such was their destination, I should not hastily have conjectured that the former of them had the least reference to the Poet's _Pandæmonium_. Let it be remembered, however, that these must have been among the earliest of _Hogarth's_ performances, and, like his prints for _Don Quixote_, were in all probability thrown aside, as unsuited to the purpose for which they were engraved. I have been told, indeed, that a couple of plates, by our artist, to the comedy of _The Spanish Friar_, are still existing.[2] If _Hogarth_, therefore, was once employed in preparing cuts to the plays of _Dryden_, the designs already mentioned might have been intended for two different scenes in _The State of Innocence, or the Fall of Man_.

[1] In justice, however, to one of these designs, I transcribe part of a letter that appeared in _The Gentleman's Magazine_ for _March_ 1782.

"_Twickenham, March_ 12.

"MR. URBAN,

"Throughout Mr. _Nichols's_ excellent but unequal account of _Hogarth_ and his works, there is no decision I am so much inclined to controvert, as that respecting the first of the two plates to _Milton_. Perhaps the critic had only seen some imperfect copy of the _Pandæmonium_, or formed his idea of it on the vague description of those who who had considered it with less attention than it really deserves. In my opinion, our artist's arrangement of the infernal senate affords a happy instance of his power to exhibit scenes of picturesque sublimity. The ample space within the arcade, containing myriads of subordinate spirits; the vault above, illuminated by supernatural fires; the magnificence and elevation of _Satan's_ throne; his superior stature, and the characteristic symbols over the seats of his peers; are circumstances entitled to a more flattering reception than they have met with. That this print has likewise absurdities, I am ready to allow: yet a _Voltaire_ might ask whether most of them are not inseparable from its subject. I wish, for the sake of those who acknowledge the genius of _Hogarth_ only in familiar combinations, that the plate in question were less rare. Our connoisseurs in general might then decide on its merits. The only known impression of it, as well as of its companion, is in the collection of Mr. _Walpole_,[A] who once indulged me with a sight of them both.

"I am content, however, that the second of these plates should be abandoned to the austerities of criticism. The architecture in the skies is every way unsuitable to its place. The characters of the Almighty and our Redeemer have little, if any, discrimination of attributes or years. They appear swinging on a festoon composed of tiny cherubs, clustered together like a swarm of bees. The Father rests his arm on one of these childish satellites; and the Son holds another by the wing, like _Domitian_ catching a fly. Beneath, is a concert of angels, who perform on different instruments, and among others (as Mr. _Nichols's_ book expresses it) on a clumsy organ. _Lucifer_, approaching the new-created world, appears but as an insect, flying towards an apple. This part of _Hogarth's_ subject is beyond the compass of any design on a contracted scale. _Satan_ might be delineated in the act of alighting on a promontory, a part of the earth; but when its complete orb is exhibited on a slip of paper measuring about six inches by four, the enterprizing fiend must be reduced to very insignificant dimensions. Such a circumstance may therefore succeed in a poet's comprehensive description, but will fail on any plate designed for the ornament of a little volume.

"Let me add, that these two are the neatest and most finished of all the engravings by _Hogarth_. The second might have been mistaken for one of the smaller works of _Picart_. Perhaps the high price demanded for the plates, was the reason why a series of them was not continued through the other books of _Paradise Lost_."

[A] These two plates are also in the collection of Mr. _Steevens_.

[2] These are in the collection of the Earl of _Exeter_, and are said to have the name of our artist fallaciously affixed to them. I speak, however, with uncertainty.

19. A coat of arms from a large silver tea table. Under these arms are a shepherd and his flock, exactly the same as those on the tankard, N° 25. A shepherd and shepherdess also are the supporters. This has been ascribed to _Hogarth_, but I suspect it to be a copy, and am told indeed that it was engraved by _Pelitreau_.

20. Impression from a coat of arms engraved on a silver dish made by _Delemery_; purchased, at some distance of time, by Sir _Gregory Page_, Bart. who erased the original arms from the escutcheon, and had his own put in. The dish was afterwards bought at _Christie's_ at a sale of Sir _Gregory's_ plate; and when 25 impressions only had been taken from it, was cut to pieces by _R. Morrison_, 1781. I wish some of these discoveries of _Hogarth's_ engravings had been made by people who had no immediate view to their own profit, and the sale of their acquisitions. Too many of our collectors are become dealers.