Chapter XIX: Canto IV (3)

21. Small oval print for the Rape of the Lock. This was not designed for any edition of it. A few impressions only were taken off from the lid of a snuff-box engraved by Mr. _Hogarth_, as it is believed, for some gentleman characterized by _Pope_ in his celebrated mock-heroic poem. It is one of the poorest of _Hogarth's_ performances.

22. An emblematic print, representing Agriculture and Arts. "_It seems to be a ticket for some society._"

23. A ticket for the benefit of _Milward_ the tragedian. A scene in _The Beggar's Opera_; "Pitt 3 _s._" inserted with a pen between "Theatre" and "Royal," in a scroll at the bottom of it. I have seen an impression of it, under which is engraved, "_Lincolns-Inn Fields, Tuesday, Aprill_ 23. _A Bold Stroke for a Wife_, with Entertainments, for the benefit of Mr. _Milward_." This careless, but spirited little engraving, has more of _Hogarth's_ manner than several other more laboured pieces, which of late have been imputed to him.--Let the connoisseur judge.

This ticket (as is already observed) must have been issued before 1733, when the Theatre in _Lincolns-Inn-Fields_ was shut up, and all the actors, _Milward_ among the rest, removed to _Covent Garden_.

24. The Mystery of Masonry brought to Light by the _Gormagons_.

A. _Chin Quaw-Kypo'_ _Done from ye Original._
1st _Emperor of China_. _Painted at Pekin by Matt-chauter,_
B. _The sage Confucius._ _Grav'd by Ho-ge_
C. _In Chin present_ _and sold by ye Printsellers_
_Oecumenical Volgi._ _of London Paris and Rome._
D. _The Mandarin Hangchi._ _Hogarth inv. et sculp._

To the earliest impressions of this plate, the name of _Sayer_ (for whom it has since been retouched) is wanting. "_Stolen from_ Coypel's Don Quixote." Underneath, these verses:

From Eastern climes, transplanted to our coasts,
Two oldest orders that creation boasts
Here meet in miniature, expos'd to view
That by their conduct men may judge their due.

The _Gormagons_, a venerable race,
Appear distinguish'd with peculiar grace:
What honour! wisdom! truth! and social love!
Sure such an order had its birth, above.

But mark Free Masons! what a farce is this?
How wild their mystery! what a _Bum_ they kiss![1]
Who would not laugh,[2] who such occasions had?
Who should not weep, to think the world so mad?

I should suspect that this plate was published about 1742, when the Procession[3] of _Scald Miserables_ had been produced[4] to parody the cavalcade of the _Free Masons_, who ever afterwards discontinued their annual procession. _Hogarth_ was always ready to avail himself of any popular subject that afforded a scope to ridicule. Among _Harry Carey's_ Poems, however, 1729, third edition, is the following;

"The Moderator between the Free-Masons and Gormogons.

"The Masons and the Gormogons
Are laughing at one another,
While all mankind are laughing at them;
Then why do they make such a pother?

"They bait their hook for simple gulls,
And truth with bam they smother;
But when they've taken in their culls,
Why then 'tis--Welcome Brother!"

The particular disputes between the parties referred to by this poem, it is not easy to ascertain. Perhaps the humourous writer alludes to some schism or dissention now forgotten. Mr. _Gray_, in one of his letters to Mr. _Walpole_, says, "I reckon next week to hear you are a Free Mason, or a _Gormogon_ at least." 4to edition, p. 188.

I learn from _Masonry Dissected_, &c. a pamphlet published in 1730, by _Samuel Prichard_, late member of a Constituted Lodge, that "From the Accepted Mason sprang the real Masons, and from both sprang the _Gormogons_, whose grand master the _Volgi_ deduces his original from the _Chinese_, whose writings, if to be credited, maintain the hypotheses of the Pre-adamites, and consequently must be more antique than Masonry."--This circumstance will account for the _Chinese_ names and habits in our artist's plate.

[1] On this occasion the print exhibits a trait of humour that may hitherto have escaped observation. To render the part presented for salutation more tempting, it has patches on, such as women wore at the time when the plate was published.

[2] _Who would not laugh_, &c. Parody on the concluding couplet of _Pope's_ character of _Addison_.

[3] The contrivers of the Mock Procession were at that time said to be _Paul Whitehead_, esq. and his intimate friend (whose real Christian name was _Esquire_) _Carey_, of _Pall Mall_, surgeon to _Frederic_ Prince of _Wales_. The city officers did not suffer this procession to go through _Temple-Bar_, the common report then being, that its real intent was to affront the annual procession of the Free Masons. The Prince was so much offended at this piece of ridicule, that he immediately removed _Carey_ from the office he held under him.

[4] The print, representing a View of _Somerset-House_ and of _The Strand_, is 3 feet 11½ inches in length, and ten inches in width; and is intituled, "A Geometrical View of the grand Procession of the scald-miserable Masons, designed as they were drawn up over against _Somerset-House_ in _The Strand_, on the Twenty-seventh of _April_, An° 1742. Invented and engraved by _A. Benoist_, at his Lodgings, at Mr. _Jordan's_, a Grocer, the North East Corner of _Compton-street, So-ho_; and sold by the Printsellers of _London_ and _Westminster_.--Note, _A. Benoist_ teaches Drawing abroad.

"N° 1. The grand Swoard Bearer, or Tyler, carrying the Swoard of State (a Present of _Ishmael Abiff_ to old _Hyram_ King of the _Saracens_) to his Grace of _Wattin_, Grand Master of the Holy Lodge of _St. John of Jerusalem_ in _Clerkenwell_.

"2. Tylers or Guarders.

"3. Grand Chorus of Instruments.

"4. The Stewards, in three Gutt Carts, drawn by Asses.

"5. Two famous Pillars, _Jachin_ and _Boaz_.

"6. Three great Lights: the Sun Hieroglyphical to rule the Day, the Moon Emblematical to rule the Night; a Master Mason Political to rule his--Lodge.

"7. The Entered Prentice's Token.

"8. The Letter G famous in Masonry for differencing the Fellow Craft's Lodge from that of Prentices.

"9. The Funeral of a Grand Master, according to the Rites of the Order, with the 15 loving Brethren.

"10. A Master Mason's Lodge.

"11. Grand Band of Musick.

"12. Two Trophies; one being that of a Black-shoe Boy and Link Boy, the other that of a Chimney Sweeper.

"13. The Equipage of the Grand Master, all the Attendants wearing Mystical Jewels."

A different, but a smaller, print of this Mock Procession was printed in _May_ 1742, with the following memoranda, viz. "The great Demand there has been for _The Westminster Journal_, of the 8th instant, occasion'd reprinting the following piece.

"From my own Apartments in _Spring Gardens_.

"Though I do not belong to the Fraternity mentioned in the following piece, and therefore am little concerned in the annual disputes, I think it my duty, as a Watchman of the city of _Westminster_, to preserve the memory of the late extraordinary Cavalcade, the like to which hath never happened since I have been in office. As more solemn processions have of late years been very rare, it cannot surely be taken amiss, either by the _Free Masons_, or the _Scald-Miserables_, that I give so much distinction to this.

"_T. Touchit._

"The Free Mason's Downfall, or the Restoration of the Scald-Miserables."

After the print follows: "A Key, or Explanation of the solemn and stately Procession of the Scald-Miserable Masons, as it was martial'd on _Tuesday_ the 27th past, by their _Scald-Pursuivant_ Black Mantle--set forth by Order of the Grand Master _Poncy_."--Printed by _J. Mechell_, at _The Kings Arms_ in _Fleet-street_, and sold by the Pamphlet-shops, &c. Price Two-pence.

Extracts from _The London Daily Post, March_ 20, 1740-1, &c. "Yesterday some mock Free-Masons marched through _Pall-Mall_ and _The Strand_, as far as _Temple-Bar_, in procession; first went fellows on jack-asses, with cows horns in their hands; then a kettle-drummer on a jack-ass, having two butter-firkins for kettle-drums; then followed two carts drawn by jack-asses, having in them the stewards with several badges of their order; then came a mourning coach drawn by six horses, each of a different colour and size, in which were the grand master and wardens; the whole attended by a vast mob. They stayed without _Temple Bar_ till the Masons came by, and paid their compliments to them, who returned the same with an agreeable humour that possibly disappointed the witty contriver of this mock scene, whole misfortune is, that though he has some wit, his subjects are generally so ill chosen, that he loses by it as many friends as other people of more judgement gain."

Again, _April_ 28, 1742. "Yesterday being the annual feast of the ancient and honourable society of Free and Accepted Masons, they made a grand procession from _Brook-street_ to _Haberdashers Hall_, where an elegant entertainment was provided for them, and the evening was concluded with that harmony and decency peculiar to the society."

"Some time before the society began their cavalcade, a number of shoe-cleaners, chimney-sweepers, &c. on foot and in carts, with ridiculous pageants carried before them, went in procession to _Temple-Bar_, by way of jest on the Free-Masons, at the expence, as we hear, of one hundred pounds sterling, which occasioned a great deal of diversion."

Again, _May_ 3, 1744. "Yesterday several of the mock masons were taken up by the constable empowered to impress men for his Majesty's service, and confined till they can be examined by the justices."

24. _Sancho_, at the magnificent feast, &c. starved by his Physician. On the top of this plate are the following words: "This original print was invented and engraved by _William Hogarth_. Price 1 _s._" At bottom we read, _W. Hogarth inv. & sculp. Printed for H. Overton and J. Hoole._ Perhaps this design was meant as a rival to that of _Coypel_ on the same subject; or might be intended by way of specimen of a complete set of plates for _Don Quixote_. Mr. _S. Ireland_ has the original drawing.

25. Impression from a tankard belonging to a club of artists, who met weekly at _The Bull's Head_ in _Clare-Market_. Of this society _Hogarth_ was a member. A shepherd and his flock are here represented.

26. The Gin Drinkers. This may have been one of _Hogarth's_ early performances; and, if such, is to be considered as a rude fore-runner of his _Gin-Lane_. But I do not vouch for its authencity.

27. The Oratory.[1] Orator _Henley_ on a scaffold, a monkey (over whom is written _Amen_) by his side. A box of pills and the Hyp Doctor lying beside him. Over his head, "The ORATORY. _Inveniam viam, aut faciam._"[2] Over the door. "_Ingredere ut proficias._"[3] A Parson receiving the money for admission. Under him, "The Treasury." A Butcher stands as porter. On the left hand, Modesty in a cloud; Folly in a coach; and a gibbet prepared for Merit; people laughing. One marked THE SCOUT,[4] introducing a Puritan Divine. A Boy easing nature. Several grotesque figures, one of them (marked TEE-HEE) in a violent fit of laughter. I discover no reason for regarding this as a production of _Hogarth_, though his name, cut from the bottom of one of his smaller works, was fraudulently affixed to an impression of it belonging to the late worthy Mr. _Ingham Foster_, whose prints were sold at _Barford's_, in _March_ 1783. _Hogarth_, whose resources, both from fancy and observation, were large, was never, like the author of this plate, reduced to the poor necessity of peopling his comic designs with _Pierot, Scaramouch_, and the other hackneyed rabble of _French_ and _Italian_ farces.

Underneath a second impression of it, is the following inscription:

"_An extempore Epigram, made at the Oratory:_
"O Orator! with brazen face and lungs,
Whose jargon's form'd of ten unlearned tongues,
Why stand'st thou there a whole long hour haranguing,
When half the time fits better men for hanging!"
_Geo. B--k--h[5] jun. Copper-scratcher
and Grub-Street invent. sculp._

[1] There are such coincidences between this print and that of _The Beggar's Opera_, as incline me to think they were both by the same hand.

[2] The motto on the medals which Mr _Henley_ dispersed as tickets to his subscribers. See Note on _Dunciad_, III. 199.

[3] This inscription is over the outer door of St. _Paul's_ school.

[4] On what personage the name of _Scout_ was bestowed, I am unable to inform the reader, though I recollect having seen the same figure in several other prints, particularly one from which it appears that he was at last murdered.

[5] _B--k--h._ Perhaps this was an intended mistake for _B--k--m._

28. Orator _Henley_ christening a child. _John Sympson jun. fecit._ Mezzotinto (commonly of a greenish colour), with the following verses under it:

Behold _Vilaria_ lately brought to bed,
Her cheeks now strangers to their rosy red;
Languid her eyes, yet lovely she appears!
And oh! what fondness her lord's visage wears!
The pamper'd priest, in whose extended arms
The female infant lies, with budding charms,
Seeming to ask the name e'er he baptise,
Casts at the handsome gossips his wanton eyes,
While gay Sir _Fopling_, an accomplish'd ass,
Is courting his own dear image in the glass:
The _Midwife_ busied too, with mighty care,
Adjusts the cap, shews innocency fair.
Behind her stands the _Clerk_, on whose grave face
Sleek _Abigal_ cannot forbear to gaze:
But master, without thought, poor harmless child,
Has on the floor the _holy-water_ spill'd,
Thrown down the hat; the lap-dog gnaws the rose;
And at the fire the _Nurse_ is warming cloaths.
One guest enquires the _Parson's_ name;--says _Friendly_,
Why, dont you know, Sir?--'tis _Hyp-Doctor[1] H----y_.

_Sold by J. Sympson, at the Dove in Russel-Court, Drury-Lane._ An original sketch in oil, on the same subject, is in the possession of Mr. _S. Ireland_.[2]

[1] He wrote a periodical paper under that title.

[2] See p. 415. for an etching from it.

29. A woman swearing a child to a grave citizen.[1] _W. Hogarth pinx. J. Sympson jun. sculp. Sold by J. Sympson_ engraver and print-seller, at _The Dove_ in _Russel-Court, Drury-Lane_. This Mr. _Walpole_ observes to be a very bad print. Perhaps he had only seen some wretched impression, or copy of it (for there are two, the one in a small size, the other large, but fit for no other purpose than to adorn the walls of a country Inn), and therefore spoke with contempt of a performance which hardly deserves so unfavourable a character. This entire design, however, is stolen from a picture of _Heemskirk_, which has been since engraved in mezzotinto by _W. Dickinson_ of _New Bond-street_, and published _March 10_, 1772. The original picture is in the possession of Mr. _Watson_, surgeon, in _Rathbone Place_.

The title given to this plate by the ingenious engraver, is _The Village Magistrate_. All the male figures are monkies; all the female ones, cats. _Hogarth_ has likewise been indebted to its companion--_The Constable of the Night_. Few impressions from these plates having been hitherto sold, they are both in excellent condition, and the former of them exhibits an indisputable instance of _Hogarth's_ plagiarism.

While _Picart_ was preparing his _Religious Ceremonies_, he wrote to some friend here, to supply him with representations illustrative of his subject. His correspondent, either through ignorance or design, furnished him with the two preceding plates by _Hogarth. Picart_ has engraved the former with a few variations, and the latter with the utmost fidelity. The one is called by him _Le Serment de la Fille qui se trouve enceinte_; the other, _Le Baptême domestique_. The first contains a supposed portrait of Sir _Thomas de Veil_. For the conversion of a _civil_ into a _religious_ ceremony, let the _Frenchman_, or his purveyor, be answerable. The lines under _Hogarth's_ performance are as follows:

Here Justice triumphs in his elbow chair,
And makes his market of the trading fair;
His office-shelves with parish laws are grac'd,
But spelling-books, and guides between 'em placed
Here pregnant madam screens the real fire,
And falsely swears her bastard child for hire
Upon a rich old letcher, who denies
The fact, and vows the naughty Hussif lies;
His wife enrag'd, exclaims against her spouse,
And swears she'll be reveng'd upon his brows;
The jade, the justice, and church ward'ns agree,
And force him to provide security.

_Hogarth's_ picture is in the possession of the Rev. Mr. _Whalley_, at _Ecton, Northamptonshire_.

Mr. _Whalley_ is the nephew of _John Palmer_, whose portrait is mentioned among the works of _Hogarth_. See p. 295. This picture too is at _Ecton_. The foregoing print (as already observed, p. 121.) must have been published before the year 1735.

[1] A copy of this forms the head-piece to a tale printed in _Banks's_ Works, vol, I. p. 248, intituled, "The Substitute Father."

30. Right Hon. _Gustavus_ Lord Viscount _Boyne_, &c. &c. Whole length, mezzotinto. _W. Hogarth pinx. Andrew Miller fecit._ "_A very bad print, done in Ireland._"

I have since met with an early impression of this mezzotinto. The inscription, dedication, &c. underneath it, are as follows:

"_W. Hogarth pinx. Ford fecit._ The Rt. Honble. _Gustavus_ Lord Visct. _Boyne_, Baron of _Stackallen_, one of his Majesty's most Honble. Priuy Council, one of the Comrs. of the Revenue of _Ireland_, &c.

"To the Rt. Honble. the Earl of _Kildare_ this plate is humbly dedicated by his Lordship's most obedient humble servt. _Mich. Ford_.

"Published and sold by _Mich. Ford_, Painter and Print-seller on _Cork Hill_. Price 5s. 5.d. [i. e. five thirteens."]

Mr. _Walpole's_ is probably a later or a retouched impression from the same plate, after it had fallen into the hands of one _Andrew Miller_, who effaced the name of _Ford_, and substituted his own.

This scarce print will undoubtedly suffer from comparison with the works of _Smith, M'Ardell, Earlom, Jones,_ &c. and yet perhaps it is the best mezzotinto that _Ireland_ has hitherto produced. It must be confessed, however, that _Hogarth's_ whole-length figure of Lord _Boyne_ is equally void of grace, meaning, and proportion; but these defects have no connection with the labours of _Ford_, which would have appeared to more advantage had they been exerted on a better subject.

31. Mr. _Pine_ (the celebrated engraver), in the manner of _Rembrandt_. Mezzotinto (about the year 1746), by _M'Ardell, Price_ 2 _s._ The original was in the possession of the late Mr. _Ranby_ the surgeon.

There is a second head of Mr. _Pine_, a mezzotinto; both his hands leaning on a cane. Printed for _George Pulley_, at _Rembrandt's Head_, the corner of _Bride-court, Fleet-street_.

I have called this "a second head," but know not which of the two was first published.

In the first edition of the present work I had described this plate as an unfinished one, but have since met with it in a perfect state.

32. A View of Mr. _Ranby's_ house at _Chiswick. Etched by Hogarth._ This view, I am informed, was taken in 1750, but was not designed for sale.

33. _Daniel Lock_, Esq. F. S. A. formerly an architect. He retired from business with a good fortune, lived in _Surrey-street_, and was buried in the chapel of _Trinity College, Cambridge_. Mezzotinto. _W. Hogarth pinx. J. M'Ardell fecit. Price_ 1 _s._ 6 _d._

34. Christ and his disciples; persons at a distance carried to an hospital. "In as much as ye have done it unto one of the least of these my brethren, ye have done it unto me." _St. Matt._ xxv. ver. 40. _W. Hogarth inv. C. Grignion sculp._ Ticket for _The London Hospital_.

As this charitable foundation was instituted in 1740, probably the ticket was engraved soon afterwards.

35. Original of the same, in a smaller size, with the Duke of _Richmond's_ arms as president.

36. Another, almost the same as N° 34, but with a view of _The London Hospital_.

37. Six prints for _Don Quixote. W. Hogarth inv. & sculp._

When Lord _Carteret_, about the year 1737, was seeking artists to design, &c. plates for his _Spanish_ edition of this famous novel, published in 1738, _Hogarth_, of course, was not overlooked. His performances, however, gave so little satisfaction to his noble employer, that they were paid for, and then laid aside in favour of _Vandrebank's_ drawings, afterwards engraved by _Vandergucht_. The plates remaining in the hands of Mr. _Tonson_, his lordship's publisher, at his death, were bought by Mr. _Dodsley_, who, finding they exhibited no descriptions that could render them welcome to the possessors of any copy of _Don Quixote_ whatever, had the titles of the chapters, &c. to which they belong, together with references to the corresponding pages in _Jarvis's_ translation, engraved under each of them. The subjects of them are, I. Funeral of _Chrysostom_, and _Marcella_ vindicating herself; vol. I. p. 71. II. The Inn-keeper's wife and daughter taking care of the Don after being beaten and bruised, p. 129. III. _Don Quixote_ releases the galley slaves, p. 129. IV. The unfortunate Knight of the Rock meeting _Don Quixote_, p. 140. V. _Don Quixote_ seizes the barber's bason for _Mambrino's_ helmet, p. 155. VI. The Curate and Barber disguising themselves to convey _Don Quixote_ home, p. 166. _Tonson_ had several specimens of plates, both in quarto and octavo sizes, executed for editions of _Shakspeare_, but they shared the same fate with the others prepared for _Don Quixote_.

38. An oval, with two figures representing _Hymen_ and _Cupid_. A view of a magnificent villa at a distance. This print was intended as a ticket for _Sigismunda_, which _Hogarth_ proposed to be raffled for. It is often marked with ink 2 _l._ 2 _s._ The number of each ticket was to have been inserted on the scroll hanging down from the knee of the principal figure. Perhaps none of them were ever disposed of. This plate, however, must have been engraved about 1762 or 3. Had I not seen many copies of it marked by the hand of _Hogarth_, I should have supposed it to have been only a ticket for a concert or music-meeting.

39. Four heads from the cartoons at _Hampton-Court_. An etching.

Mr. _Walpole_, in his _Anecdotes of Painting_, &c. vol. IV. p. 22. speaking of Sir _James Thornhill's_ attention to these celebrated pictures, has the following remark: "He made copious studies of the heads, hands, and feet, and intended to publish an exact account of the whole, for the use of students: but his work never appeared."

As this plate was found among others engraved by _Hogarth_, it might probably have been one of his early performances. His widow has directed a few impressions to be taken from it, and they are sold at her house in _Leicester-square_.

40. A Scene in a Pantomime Entertainment lately exhibited; designed by a Knight of _Malta_. A satire on the Royal Incorporated Society of Artists of _Great Britain_. No name.

This design is difficult to be explained, as it alludes to some forgotten dissentions among the artists before the Royal Academy was founded. Sir _William Chambers, Kirby, Rooker_ the Engraver and Harlequin, _Liotard_, remarkable for having adopted the _Turkish_ dress, and others, are introduced in it. The hat and head of _Hogarth_ also appear on one of the necks of a Hydra. It is hardly credible, therefore, that he should have rendered himself an object of his own satire. A mere etched outline of the same design, with additions, was afterwards published, and is marked plate II. It is larger than the original plate, and must be considered as a slight temporary sketch, of which the author is uncertain.

41. A Ticket-porter carrying a load of chamber-pots to some place of public resort, from the entrance of which three grenadiers are keeping off the crowd. At the bottom is written.

"_Jack_ in an Office, or _Peter Necessary_, with Choice of Chamber-pots.

"A Ticket for the--------------------Price 6 _d._"

Of the following articles the 49th, and 53d, are the undoubted productions of _Hogarth_. Some of the rest may admit of dispute. Those marked * I have not yet seen in any collection but that of Mr. _S. Ireland_.

* 42. Arms of _George Lambart_ [_Lambert_] the painter, an intimate friend of our artist.

* 43. Arms of _Gore_, engraved on a silver waiter.

* 44. Arms of a Duke of _Kendal_. N. B. There never was a _Duke_ of _Kendal_, but an infant son of _James_ II. The arms mentioned are certainly those of the Dutchess of _Kendal_. The male shield must be a mistake.

* 45. Arms of _Chudleigh_; motto "Aut vincam, aut peribo." Done for Major _L'Emery_, whilst _Hogarth_ was apprentice.

46. The Great Seal of _England_, from a large silver table. This was given to Mr. _S. Ireland_ by a Mr. _Bonneau_, who took off the impression before the year 1740.

47. Twenty-six figures, on two large sheets, engraved for "A Compendium of Military Discipline, as it is practised by the Honourable the Artillery Company of the City of _London_, for the initiating and instructing Officers of the Trained Bands of the said City, &c. Most humbly dedicated to his Royal Highness _George_ Prince of _Wales_, Captain General of the Honourable the Artillery Company. By _John Blackwell_, Adjutant and Clerk to the said Company.

"_London_. Printed for the Author; and are to be sold at his house in _Well-Court_ in _Queen-Street_, near _Cheapside_, 1726."

48. _Farinelli, Cuzzoni,_ and _Heydegger. Cuzzoni_ and _Farinelli_ are singing a duet. The latter is in the character of a prisoner, being chained by his little finger. _Heydegger_ sits behind, and is supposed to utter the eight following lines, which are engraved under the plate:

Thou tuneful scarecrow, and thou warbling bird,
No shelter for your notes these lands afford.
This town protects no more the singsong strain,
Whilst Balls and Masquerades triumphant reign.
Sooner than midnight revels ere should fail,
And ore Ridottos Harmony prevail;
The cap (a refuge once) my head shall grace,
And save from ruin this harmonious face.[1]

I am told, however, that this plate was designed by the last Countess of _Burlington_, and etched by _Goupy_. I may add, that the figures in it, though slightly done on the whole, consist of more than a single stroke, being retouched and heightened by the burin in several places. On the contrary, _Hogarth's_ plate, intituled _The Charmers of the Age_, only offers an etched outline, which at once afforded the extent of his design, leaving no room for improvement. The former print exhibits traces of perseverance and assiduity; the latter is an effort of genius that completes its purpose without elaboration.

[1] He had once enlisted as a private soldier in the Guards, for a protection. See p. 152.

49. The Discovery. This scarce plate is acknowledged as genuine by Mrs. _Hogarth_. The subject is a black woman in bed; her eyes archly turned on her gallant just risen, who expresses his astonishment on the entrance of three laughing friends, one of them with a candle in his hand. Underneath the print is this apposite motto:

_Qui color albus erat nunc est contrarius albo_.

A similar circumstance occurs in _Fletcher's Monsieur Thomas_, and in _Foote's Cozeners_.

I know not of any among our artist's works that displays so little character. It must have been one of his early performances.

It should be observed that, being founded on a private occurrence, this print was never designed for general circulation. Mr. _Highmore_ the manager of _Drury-Lane_, who bought _Cibber's_ share in the patent, is the Hero of it. A few copies only were distributed among _Hogarth's_ particular friends, and the gentlemen whose portraits it contains. At the bottom of the plate there is no descriptive title. _The Discovery_ was that by which Mrs. _Hogarth_ mentioned it when she recollected the very laughable circumstance here commemorated by her husband's pencil.

* 50. The Cottage. An impression from a breeches-button, the size of a crown-piece; a sketch made for Mr. _Camfield_, a surgeon, on a subject that will not bear explanation. There is a copy of this little plate by Mr. _S. Ireland_.

51. _Pug_ the Painter. This has been usually understood as a satire _on Hogarth_, rather than a design _by_ him. Mr. _Ireland_ once told me it was etched by _Dawes_, and that our artist gave a copy of it, as his own design, to Mr. _Kirby_. But I am assured with superior confidence by another gentleman, that the true author of it is to be sought among those artists whom _Hogarth_ had provoked by his contemptuous treatment of their works. If _Pug_ was not designed as his representative, why is the animal exhibited in the act of painting the ridiculous figure of the _Priest_ in _The Good Samaritan_?

52. A Head in an oval, coarsely engraved, and subscribed "_Samuel Butler_ Author of _Hudibras_." Several connoisseurs, beside Mr. _Thane_ who possesses the plate, conceive it to be an undoubted work of _Hogarth_. For what purpose it was executed, and why suppressed (for no one has hitherto met with even a proof from it) it is vain to enquire. I am silent on the subject, heartily wishing that throughout this work I had had the opinions of more friends to record, and had offered fewer sentiments of my own.

53. "A very rare hieroglyphic print; representing Royalty, Episcopacy, and Law, composed of emblematic attributes, and no human features or limbs; with attendants of similar ingredients. Beneath is this inscription. Some of the principal inhabitants of the Moon, as they were discovered by a telescope, brought to the greatest perfection since the last eclipse; exactly engraved from the objects, whereby the Curious may guess at their Religion, Manners, &c. Price Six-pence."

A kind of scaffold above the clouds is the theatre of this representation. Monarchy, Episcopacy, and Law, appear characteristically seated. Their faces are--a Crown-piece--a _Jew's_ Harp, and--a Mallet. The monarch holds a globe and sceptre, with crescents on the tops of them. Instead of a collar of _esses_, he wears a string of bubbles; his side is ornamented with a pointed star; and a circle, the emblem of perpetuity, is embroidered on the cloth under his throne. Episcopacy is working at a pump (a type I suppose of the Church) by the assistance of a bell-rope. The Bible is fastened to the handle of the pump, and out of the nose of it issues money that falls into a chest discriminated by an armorial escutcheon, containing a knife and fork, properly emblazoned, with a mitre by way of crest. The lid of the coffer leans against a pillar, that serves also to support a triple pile of cushions. Over the top of the pump (which is fashioned much like a steeple) is a weathercock on a small pyramid supported by balls; and below it, through a circular opening, a little bell appears to ring. Under the sacerdotal robe, a cloven foot peeps out. Law sustains a sword; and behind him appears a dagger thrust through the bottom of a sieve. The attendants on Monarchy are of various materials. The bodies and legs of such as seem designed for soldiers, are composed of circular fire-screens resembling shields. The trunks of the courtiers are large looking-glasses, the sconces with candles in them serving for hands and arms. The face of the chief of these is the reverse of a sixpence; and a key significantly appended to his sash, at once denotes his sex and office. Under the figure of law are a male and female modishly drest. Her head is a tea-pot, her neck a drinking-glass, and her body a fan half spread. On the oval that forms the countenance of her paramour, is a coat of arms with supporters. His right honourable legs are fan-sticks, and he seems in the act of courtship. How this couple are immediately connected with Law, is not very clearly pointed out. _Hogarth_, however, we may suppose, had planned some explanation of his hieroglyphics, as the letters _a, b, c, d, e, f, g,_ are placed over some of them, and beneath others.

From the form of the perukes exhibited in this design, I should suppose it was made above forty years ago. Other circumstances in it need no decyphering.

* 54. The Master of the Vineyard. St. _Matthew_ chap. xxi. v. 28. "Son, go work to-day in my Vineyard."

* 55. The _London_ Infirmary for charitably relieving sick and diseased Manufacturers and Seamen in the Merchants' service, their Wives and Children. A blank certificate for Pupils in Surgery and Anatomy, printed on a half sheet, folio.

56. A ticket for the benefit of _Spiller_ the player. He died in the year 1729.

In the plate before us, which possesses no small share of humour, poor _Spiller_ is represented in a melancholy posture. His finances are weighed against his debts, and outweighed by them. His taylor's bill appears to be of great length, and many others for ale, gin, &c. are on the ground near him. A bailiff is clapping him on the shoulder--a prison is in sight--ladies and gentlemen are taking tickets, &c. This very uncommon and beautiful little print is, at present, found only in the collection of Mr. _Ireland_.

57. St. _Mary's Chapel_. Five at night. Several performers playing on different instruments. _William Hogarth inv. G. Vandergucht sculpt._

This was certainly an ornament at the top of a ticket for a music-meeting. The name of _Hogarth_ is affixed to it, and the whole design _might_ have been his. I do not, however, believe it _was_ so. A few of the figures appear to have been collected from his works by some other hand, rather than grouped by his own. _Vandergucht_ too was so thoroughly a mannerist, and especially in small subjects, that he was rarely faithful to the expressions of countenance he undertook to trace on copper. There is no humour, and indeed little merit of any kind, in this performance. It has not hitherto been met with on the entire piece of paper to which it must originally have belonged.

A print called _The Scotch Congregation_, by _Hogarth_, is almost unique, on account of its extreme indecency. One copy of it was in a collection of his works belonging to Mr. _Alexander_ of _Edinburgh_. He is said to have had it from Mrs. _Hogarth_. A second copy is reported to exist in the possession of another gentleman. No more impressions of it are known.

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A correspondent at _Dublin_ informs me, that in the collection of Dr. _Hopkins_ of that city are the following seven prints by _Hogarth_:

1. _The History of Witchcraft_. Humbly dedicated to the Wise. Allegorically modernized. Part the First. Published according to act of Parliament. _Hogarth inv. et sculpt._

Half sheet print. At one end, Witches attending the punishment of two human figures; at the other, several at their different occupations.

2. _The History of Witchcraft_. Part the Second. Published according to act of Parliament. _Hogarth inv. et sculpt._

Same size as the former. Witches dancing; others at various amusements. These two prints contain a great variety of distorted figures.

3. _A Suit of Law fits me better than a Suit of Clothes_. Invented and engraved by _W. H._ and published pursuant to an Act of Parliament, 1740.

An upright half-sheet. A Man in embroidered clothes, his hat under his arm. A scroll in his left hand, inscribed, "I'll go to Law." Huntsmen, dogs, and horses in the back ground. Four lines in verse underneath.

Useful in all families. Invented and engraved by _W. H._ and published pursuant to an Act of Parliament, 1740.

4. The same man in a tattered garment in a wild country; a staff in his right hand, and a scroll in his left, inscribed, "To shew that I went to law, and got the better." Four lines at the bottom.

These two may be classed among his indifferent prints.

5. _The Caledonian March and Embarkation. Hogarth invent. London_, printed for _T. Baldwin_.

A number of _Scotchmen_ embarking in the _Caledonian_ Transport. Labels issuing from their mouths.

_The Laird of the Posts, or the Bonnets exalted._ Printed for _T. Baldwin, London. Hogarth inv._

6. _A Scotch Nobleman and his Friends taking possession of several posts, having kick'd down the former Possessors_. Labels from their mouths too tedious to copy. A Lion on the fore-ground, hood-winked by a _Scotch_ plaid.

Supposed to be printed for _The London Magazine_.

7. _The Lion entranced_. Printed for _T. Baldwin, London. Hogarth inv._ 1762.

A Lion in a Coffin. A plate on the cover, inscribed, "Leo _Britanicus_, Ob. An. 1762. Requiescat in pace." Attended by state mourners with labels as above. In one corner _Hibernia_ supplicating for her Sister's interest.

A respect for the obliging communicator has induced me to publish this _supposed_ addition to the foregoing catalogue of _Hogarth's_ works. But, without ocular proof, I cannot receive as genuine any one of the plates enumerated. The name of our Artist has more than once been subscribed to the wretched productions of others; and a collector at _Dublin_ must have had singular good fortune indeed, if he has met with seven authentic curiosities unknown to the most confidential friends of _Hogarth_, and the most industrious connoisseurs about _London_. I may add, that two, if not three, of the above-mentioned anti-ministeral pieces, appeared in 1762, the very year in which our artist was appointed _Serjeant Painter_. Till that period he is unsuspected of having engaged his pencil in the service of politicks; and _T. Baldwin_ (perhaps a fictitious name) is not known to have been on any former occasion his publisher. So much for the probability of _Hogarth's_ having ushered performances like these into the world.

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Chance, and the kindness of my friends, have not enabled me to form a more accurate series of _Hogarth's_ labours. Those of the collector, however, are still incomplete, unless he can furnish himself with a specimen of several other pieces, said, I think, to have been produced a little before our artist's marriage. I forbear to keep my readers in suspense on the occasion. _Hogarth_ once taking up some plain ivory fishes that lay on his future wife's card-table, observed how much was wanting to render them natural representations. Having delivered this remark with becoming gravity, he proceeded to engrave scales, fins, &c. on each of them. A few impressions have been taken from these curiosities, which remain in Mrs. _Hogarth's_ possession. As a _button_ decorated by her husband has been received into the foregoing catalogue of his works, it can hardly be disgraced by this brief mention of the ornaments he bestowed on a _counter_.

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There are three large volumes in quarto by _Lavater_, a minister at _Zurich_ (with great numbers of plates), on Physiognomy. Among these are two containing several groups of figures from different prints of _Hogarth_, together with the portraits of Lord _Lovat_ and _Wilkes_. For what particular purpose they are introduced, remains to me a secret.[1]

In "An Address of Thanks to the Broad Bottoms, for the good things they have done, and the evil things they have not done, since their elevation, 1745," is what the author calls "A curious emblematic Frontispiece, taken from an original painting of the ingenious Mr. _H----th_;" a palpable imposition.

Mr. _Walpole, Anecdotes of Painting_, Vol. IV. 63, observes, that "_Hogarth_ drew the supposed funeral of _Vanaken_, attended by the painters he worked for, discovering every mark of grief and despair." To explain this passage, it should be added, that "he was employed by several considerable artists here, to draw the attitudes, and dress the figures in their pictures."

The merits of _Hogarth_, as an engraver, are inconsiderable. His hand was faithful to character, but had little acquaintance with the powers of light and shade. In some of his early prints he was an assiduous imitator of _Callot_, but deviated at last into a manner of his own, which suffers much by comparison with that of his coadjutors, _Ravenet_ and _Sullivan_. In the pieces finished by these masters of their art, there is a clearness that _Hogarth_ could never reach. His strokes sometimes look as if fortuitously disposed, and sometimes confusedly thwart each other in almost every possible direction. What he wanted in skill, he strove to make up in labour; but the result of it was a universal haze and indistinctness, that, by excluding force and transparency, has rendered several of his larger plates less captivating than they would have been, had he entrusted the sole execution of them to either of the artists already mentioned. His smaller etchings, indeed, such as _The Laughing Pit_, &c. cannot receive too much commendation.

Mr. _Walpole_ has justly observed, that "many wretched prints came out to ridicule" the _Analysis of Beauty._ He might have added, that no small number of the same quality were produced immediately after the _Times_ made its appearance. I wish it had been in my power to have afforded my readers a complete list of these performances, that as little as possible might have been wanting to the history of poor _Hogarth's_ first and second persecution. Such a catalogue, however, not being necessary to the explanation of his works, it is with the less regret omitted.[2]

The scarceness of the good impressions of _Hogarth's_ larger works is in great measure owing to their having been pasted on canvas or boards, to be framed and glazed for furniture. There were few people who collected his prints for any other purpose at their first appearance. The majority of these sets being hung up in _London_ houses, have been utterly spoiled by smoke. Since foreigners have learned the value of the same performances, they have also been exported in considerable numbers. Wherever a taste for the fine arts has prevailed, the works of this great master are to be found. Messieurs _Torré_ have frequent commissions to send them into _Italy_. I am credibly informed that the Empress of _Russia_ has expressed uncommon pleasure in examining such genuine representations of _English_ manners; and I have seen a set of cups and saucers with _The Harlot's Progress_ painted on them in _China_ about the year 1739.

Of all such engravings as are Mrs. _Hogarth's_ property, the later impressions continue selling on terms specified many years ago in her printed catalogue, which the reader will find at the end of this pamphlet. The few elder proofs that remain undisposed of, may be likewise had from her agent at an advance of price. As to the plates which our artist had not retained as his own property, when any of these desiderata are found (perhaps in a state of corrosion), they are immediately vamped up, and impressions from them are offered to sale, at three, four, or five times their original value. They are also stained to give them the appearance of age; and on these occasions we are confidently assured, that only a few copies, which had lurked in some obscure warehouse, or neglected port-feuille, had been just discovered. This information is usually accompanied by sober advice to buy while we may, as the vender has scarce a moment free from the repeated solicitations of the nobility and gentry, whom he always wishes to oblige, still affording that preference to the connoisseur which he withholds from the less enlightened purchaser. It is scarce needful to observe, that no man ever visited the shops of these polite dealers, without soon fancying himself entitled to the more creditable of the aforesaid distinctions. Thus becoming a dupe to his own vanity, as well as to the artifice of the tradesman, he has speedily the mortification to find his supposed rarities are to be met with in every collection, and not long afterwards on every stall. The caution may not prove useless to those who are ambitious to assemble the works of _Hogarth_. Such a pursuit needs no apology; for sure, of all his fraternity, whether ancient or modern, he bent the keenest eye on the follies and vices of mankind, and expressed them with a degree of variety and force, which it would be vain to seek among the satiric compositions of any other painters. In short, what is observed by _Hamlet_ concerning a player's office, may, with some few exceptions, be applied to the designs of _Hogarth_. "Their end, both at the first, and now, was, and is, to hold as 'twere the mirror up to nature; to shew virtue her own feature, scorn her own image, and the very age and body of the time his own form and pressure."

I may add, that, since the appearance of Mr. _Walpole's_ Catalogue, a disposition to attribute several anonymous plates, on ludicrous subjects, to _Hogarth_, has betrayed itself in more than a single instance:[3] a supposition has also prevailed that there was a time when _Hogarth_ had the whole field of satire to himself, and we could boast of no designers whose performances could be mistaken for his own. The latter notion is undoubtedly true, if real judges are to decide; and yet many prints, very slightly impregnated with humour, continue to be ascribed to him. It should therefore be observed, that, at the same period, _Bickham, Vandergucht, Boitard, Gravelot, Laguerre_ the younger, &c. were occasionally publishing satirical Sketches, and engraving laughable frontispieces for books and pamphlets. To many of these, for various reasons, they forbore to set their names; and we have at present collectors, who, to obtain the credit of having made discoveries, are willing to adopt such performances as the genuine effusions of _Hogarth_, although every way beneath his talents, and repugnant to his style of engraving. Perhaps also the names of other painters and designers have been occasionally obliterated, to countenance the same fallacy. Copies likewise have been palmed on the unwary for originals. "Therefore" (gentle reader) for once be content to follow the advice of _Pistol_, "Go clear thy chrystals, and _Caveto_ be thy counsellor." For if all such fatherless engravings, as the vanity of some, and the interest, or the ignorance, of others, would introduce among the works of our artist, were to be admitted, when would the collector's labour and expence be at end?

Among other anonymous plates ascribed to _Hogarth_, but omitted in the present catalogue, is the following, _A living Dog is better than a dead Lion_, or, _The Vanity of human Glory; a design for the Monument of General Wolfe_, 1760. A medallion of our hero appears on the side of a pyramid. On the base of it is the well known speech of _Shakespeare's Brutus_,

_Set Honour in one hand, and Death in t' other,
And I will look on both indifferent:
And let the Gods so speed me, as I love
The name of Honour more than I fear Death_.

At the bottom a dying Lion is extended, while a Dog (with _Minden_ on his collar, and _Honour's a jest_, &c. issuing from his mouth) is at once lifting up his leg against the noble brute, and treading on a wreath of laurel. _Here lies Honour_, is also written on the side of the expiring animal. I have since been assured that this print was by another artist, whose name I omit to mention, because perhaps he would wish it, on the present occasion, suppressed.

[1] This book, I am told, is now translated into _French_.

[2] One of these productions, however, should be singled from the rest. The print, entitled _The Connoisseurs_, was suspected to be a work of _Hogarth_ himself. It is placed with some of his other undisputed designs in the back-ground of _The Author run Mad_ (which is known to be one of Mr. _Sandby's_ performances), and has the following reference--"_A._ his own _Dunciad_."

[3] Thus the frontispiece to _Taste_, designed, if not etched by _Worsdale_ (for whose benefit this dramatic piece was performed), and _Sawney in the Bog-house_, an anonymous satire on the _Scotch_, that made its appearance near forty years ago, and was revived during the administration of Lord _Bute_, are at present imputed to our artist, whose name is already engraved at the bottom of the latter.

POSTSCRIPT.

The Author of this pamphlet, being convinced that, in spite of all his care and attention, some errors may still be found in his catalogue, list of variations, &c. will think himself highly obliged by any gentlemen who will point them out, and enable him to correct them. Such favours shall be gratefully acknowledged, if the present rude Essay towards an account of _Hogarth's_ different performances should happen to reach another edition.

As in consequence of the extraordinary prices lately paid for the collected works of this great master, certain dealers, &c. are supposed to be assembling as many of his prints as they can meet with,--binding them up in pompous volumes,--writing "fine old impressions" either over or under them--specifying the precise sums pretended to have been disbursed for several of them (perhaps a guinea for a three shilling article)--preparing to offer a few rare trifles to sale, overloaded with a heap of wretched proofs from our artist's more capital performances;--exhibiting imperfect suites of such as are cut out of books; and intending to station puffers at future auctions, whose office will be to intimate they have received commissions to bid up as far as such or such an amount (i. e. the sum under which the concealed proprietor resolves not to part with his ware), &c. &c. it is hoped the reader will excuse a few parting words of admonition. Perhaps it may be in the power of Mrs. _Hogarth_ to select a few sets from such of her husband's pieces as have remained in her own custody from the hour of their publication. Let the multitude, who of course cannot be supplied with these, become their own collectors. Even ignorance is a more trusty guide than professional artifice. It may be urged, indeed, that the proportionate value of impressions[1] can be ascertained only by those who have examined many of them in their various states, with diligence and acuteness. But surely to qualify ourselves for estimating the merit of the curiosities we are ambitious to purchase, is wiser than to rely altogether on the information of people whose interest is commonly the reverse of our own. Let it also be remembered, that the least precious of all _Hogarth's_ productions are by far the scarcest; and that when, at an immoderate expence, we have procured impressions from tankards ornamented by him, or armorial ensigns engraved for the books of his customers, we shall be found at last to have added nothing to his fame, or the entertaining quality of our own collections. By such means, however, we may open a door to imposition. A work like _The Harlot's Progress_ will certainly remain unimitated as well as inimitable; but it is in the power of every bungler to create fresh coats of arms, or shop bills with our artist's name subscribed to them: and wherein will the Lion or Griffin of _Hogarth_ be discovered to excell the same representation by a meaner hand? A crafty selection of paper, and a slight attention to chronology and choice of subjects, with the aid of the hot-press, may, in the end, prove an overmatch for the sagacity of the ablest connoisseur. A single detection of such a forgery would at least give rise to suspicions that might operate even where no fallacy had been designed. How many fraudulent imitations of the smaller works of _Rembrandt_ are known to have been circulated with success!--But it may be asked, perhaps, from what source the author of this pamphlet derives his knowledge of such transactions. His answer is, from the majority of collectors whom he has talked with in consequence of his present undertaking.

He ought not, however, to conclude without observing, that several _genuine_ works of _Hogarth_ yet remain to be engraved. He is happy also to add that a young artist, every way qualified for such a task, has already published a few of these by subscription.

_J. N._

[1] Prints have, of late years, been judiciously rated according to the quality of their _impressions_. But the very term _impression_, as applied to copper-plates, perhaps is a novelty among us. If we refer to the earliest and most valuable assemblage of portraits (such as that catalogued by _Ames_, afterwards purchased by Dr. _Fothergill_, and lately sold to Mr. _Thane_), we shall have little reason to suppose any regard was once paid to a particular of so much importance. As fast as heads were met with, they were indiscriminately received; and the faintest proofs do not appear to have been excluded at a time when the strongest might easily have been procured. In consequence of an _àmás_ so carelessly formed, the volumes already mentioned, were found to display alternately the most beautiful and the most defective specimens of the graphic art.

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