Chapter II: Preface: To the GERMAN READER (1)

Collectors of the Fine Arts were already possessed of _Catalogues_ and _Memoires Raisonnées_ of the engravings of many great masters, for which their acknowledgements are due to the industry of a _Gersaint_, a _Jombert_, a _Hecquet_, a _Vertue_, a _de Winter_, &c. &c.

But a similar illustration of HOGARTH'S copper-plates was still wanting; though it may be asked what works have a juster claim to a distinguished place in a compleat collection, than those of this instructive moral painter, this creative genius?

On this account, it is presumed that the _German_ Lover of the Arts will deem himself indebted to the Translator, for giving him, in his own tongue, a concise and faithful version of a book that has lately made its appearance in _London_, under the title of "Biographical Anecdotes of _W. Hogarth_, and a Catalogue of his Works chronologically arranged."

The Compiler as well as Editor of this work is Mr. JOHN NICHOLS, a _Printer_ and _Bookseller_ in _London_, who, by much reading, and an intimate acquaintance with the Arts and Literature of his Country, has honourably distinguished himself among his professional brethren. How modestly he himself judges of this his useful performance, appears from his preface to the work.

It is true, Mr. HORACE WALPOLE, who possesses perhaps the compleatest collection of the prints of this Master, some years ago published a Catalogue of them; but this is only to be found in his work, intituled, "_Anecdotes of Painting in England collected by G. Vertue, and published by H. Walpole_," a performance consisting of four volumes in 4to, too costly for many collectors, and inconvenient for others. Moreover all that is to be found there relative to _Hogarth_, is not only included in Mr. _Nichols's_ publication, but is also improved by considerable additions, so that the curious reader has _Walpole's_ Catalogue incorporated with the present work.

The liberty of abridgement, as mentioned in the title, is ventured only in regard to such diffuse illustrations, repetitions, anecdotes, and local stories, as would be alone interesting to an _Englishman_; in a word, in such parts as do not immediately contribute to the illustration of _Hogarth's_ plates, and would have tired the patience of the _German_ reader. Of the verses affixed to each copper-plate the first and last words only are given, as those afford sufficient indication for a collector who wishes to become acquainted with any particular print. How far some remarks of the Translator are useful, or otherwise, is left to the indulgent decision of Judges in the Arts.

He must not however forget it is his duty to acknowledge the goodness of old Mr. HANSEN of _Leipsig_. This gentleman's readiness in permitting him to examine his excellent collection of the engravings of _British_ artists, for the purpose of comparing and illustrating several passages in the original of this work, claims his warmest thanks, and a public acknowledgement.

_Leipsig, February_ 1783.

THE TRANSLATOR.

List of Gentlemen, Artists, &c. who furnished incidental intelligence to the Author of this Work.

Mr. _Ashby_. Mr. _Basire_. Mr. _Baynes_. Mr. _Belchier_--dead. Mr. _Bindley_. Mr. _Birch_. Mr. _Bowle_. Mr. _Braithwaite_. Mr. _Browning_. Lord _Charlemont_. Mr. _Charlton_. Mr. _Cole_--dead. Mr. _Colman_. Mr. _Coxe_. Mr. _Dodsley_. Dr. _Ducarel_--dead. Mr. _Duncombe_. Mr. _Edwards_. Mr. _Forrest_--dead. Mr. _Foster_--dead. Mr _Goodison_. Mrs. _Gostling_. Mr. _Gough_. Mr. _Hall_. Sir _John Hawkins_. Mr. _Henderson_. Mrs. _Hogarth_. Dr. _Hunter_--dead. Mr. _S. Ireland_. Dr. _Johnson_--dead. Mr. _Keate_. Bishop of _Kilala_. Mr. _Lane_. Mrs. _Lewis_. Mr. _Livesay_. Dr. _Lort_. Mr. _Lyon_. Mr. _Major_. Mr. _Malone_. Dr. _Monkhouse_. Dr. _Morell_--dead. Mr. _Morrison_. Mr. _Pinkerton_. Mr. _Rayner_. Mr. _Reed_. Sir _Joshua Reynolds_. Mr. _Richards_. Mr. _Rogers_--dead. Mr. _Rumsey_. Mr. _Steevens_. Mr. _Thane_. Mr. _Thomas_. Mr. _Tyers_. Mr. _Waldron_. Mr. _Walker_. Mr. _J. C. Walker_. Mr. _Walpole_. Dr. _Warton_. Mr. _Way_. Mr. _Welch_--dead. Mr. _Whately_. Mr. _B. White_. Mr. _H. White_. Mr. _Wilkes_. Mr. _Williams_. Dr. _Wright_.

COLLECTORS of HOGARTH.

Mr. AYTON.[1] Mr. BEDFORD. Mr. BELLAMY. Mr. CLARE. Mr. CRICKITT. Dr. DUCAREL.[2] Lord EXETER. Mr. FOSTER.[3] Mr. GOODISON. Mr. GULSTON. Sir JOHN HAWKINS, Kt. Mr. HENDERSON.[4] Mr. IRELAND. Dr. LORT. Mr. MORRISON. Mr. ROGERS.[5] Mr. STEEVENS. Mr. WALPOLE. Mr. WINDHAM.[6]

[1] His collection was cut up, and sold at _Dickinson's, New Bond Street_.

[2] Died _May_ 29, 1785. His collection devolves to his Nephew and Heir, Mr. DUCAREL, lately returned from _The East Indies_.

[3] Died _Oct._ 3, 1782. His improved collection sold at _Barford's_ auction rooms, late _Langford's, March_ 4, 1783, for £.105. Mr. CRICKITT was the Purchaser.

[4] Mr. HENDERSON sold his collection to Sir JOHN ELLIOT for £.126 in _April_ 1785.

[5] Died _January_ 2, 1784. His collection remains with his Nephew and Heir, Mr. COTTON, F. S. A.

[6] The Right Hon. _William Windham_, M. P. for _Norwich_.

Extract from the DAILY ADVERTISER, _January_ 27, 1783.

"HOGARTH'S ORIGINAL WORKS.

"As an opinion generally prevails, that the genuine impressions of _Hogarth's_ works are very bad, and the plates retouched; Mrs. _Hogarth_ is under the necessity of acquainting the public in general, and the admirers of her deceased husband's works in particular, that it has been owing to a want of proper attention in the conducting this work for some years past, that the impressions in general have not done justice to the condition of the plates; and she has requested some gentlemen most eminent in the art of engraving, to inspect the plates, who have given the following opinion:

"_London, Jan._ 21, 1783.

"We, whose names are underwritten, having carefully examined the copper-plates published by the late Mr. _Hogarth_, are fully convinced that they have not been retouched since his death.

"FRANCIS BARTOLOZZI.
WM. WOOLLET.[1]
WM. WYNNE RYLAND.[2]

"N. B. All[3] the original works are now properly and well printed, and to be had of Mrs. _Hogarth_, at her house at _The Golden Head_, in _Leicester-Fields_."

This is one of the most extraordinary testimonials ever laid before the public. _Hogarth_ died in 1764. Since that time his plates have been injudiciously and unmercifully worked, so as to leave no means of ascertaining, through any observation or process of art, the exact period when they were last repaired. Notwithstanding this difficulty, in the year 1783, we find several engravers of eminence declaring their full conviction on the subject. All we can do is, to suppose their confidence was grounded on the veracity of Mrs. _Hogarth_. I believe the parties as to the fact; and yet it was impossible for Messieurs _B. W._ and _R._ to be adequate judges of the truth to which they have set their names as witnesses.

[1] Died _May_ 23, 1785.

[2] Executed _Aug._ 29, 1783.

[3] By "_all_ the original works," Mrs. _Hogarth_ means only such plates as are in her possession. See page xx, where a great number of others, equally original, are found.

Prints _published by_ Mr. HOGARTH: _Genuine Impressions[1] of which are to be had at_ Mrs. HOGARTH'S _House in_ Leicester Fields, 1782.

Size of the plates in inches l. s. d.

16 by 14 Frontispiece 0 3 0
15½ by 12½ Harlot's Progress, six prints 1 1 0
16 by 14 Rake's Progress, eight prints 2 2 0
18 by 15 Marriage a-la-mode, six prints 1 11 6
19 by 15½ Four Times of the Day, four prints 1 1 0
16½ by 13 Before and After, two prints 0 5 0
18½ by 13½ Midnight Conversation 0 5 0
16 by 14 Distress'd Poet 0 3 0
16 by 14 Enraged Musician 0 3 0
18 by 14 _Southwark_ Fair 0 5 0
20¾ by 16½ _Garrick_ in King _Richard_ III. 0 7 6
18 by 12 _Calais_, or the Roast Beef
of _Old England_ 0 5 0
20½ by 16 _Paul_ before _Felix_ 0 7 6
Ditto, Ditto, with Alterations 0 6 0
20½ by 16½ _Moses_ brought to _Pharaoh's_ Daughter 0 7 6
22 by 17 March to _Finchley_ 0 10 6
Ditto, Strolling Actresses dressing in a Barn 0 5 0
Ditto, Four Prints of an Election 2 2 0
19½ by 12 Bishop of _Winchester_ 0 3 0
14 by 10½ Idleness and Industry, 12 prints 0 12 0
14 by 9 Lord _Lovat_ 0 1 0
10½ by 8½ Sleeping Congregation 0 1 0
12 by 8½ Country-Inn Yard 0 1 0
14 by 10½ _Paul_ before _Felix, Rembrant_ 0 5 0
9 by 8 Various Characters of Heads 0 2 6
6½ by 7½ _Columbus_ breaking the Egg 0 1 0
12 by 8½ The Bench 0 1 6
15 by 13 _Beer Street_ and _Gin Lane_,
two prints 0 3 0
Ditto, Four Stages of Cruelty, four prints 0 6 0
15 by 12½ Two Prints of an Invasion 0 2 0
Ditto, A Cock Match 0 3 0
9 by 8 The Five Orders of Periwigs 0 1 0
17 by 13 The Medley 0 5 0
12 by 9½ The Times 0 2 0
12¾ by 9 _Wilkes_ 0 1 0
10 by 11 Bruiser 0 1 6
9 by 7½ _Finis_ 0 2 6

_N. B._ Any person purchasing the whole together may have them delivered bound, at the Price of Thirteen Guineas; a sufficient Margin will be left for framing.--The ANALYSIS of BEAUTY, in Quarto, may also be had, with two explanatory Prints, Price 15 Shillings.

[1] _Genuine_ impressions--Query, the meaning of such an epithet in this place?

_Credite Posteri!_

In the years 1781, 1782, &c. the following Pieces of HOGARTH are known to have been sold at the prices annexed.

Lord _Boyne_. 5 5 0
Charmers of the Age. 5 5 0
_Booth, Wilks_,&c. 5 5 0
Discovery. 3 3 0
Altar-piece. 1 11 6
_Rich's_ Glory. 4 4 0
_Beaver's_ Military Pun. 3 3 0
_Blackwell's_ Figures. 1 16 6
Boys peeping, &c. 1 1 0
_Apuleius._ 1 16 6
_Cassandra._ 1 11 6
_Beer Street_ with Variat. 1 1 0
Large _Hudibras_. 5 5 0
March to _Finchley_ Aq.
F. Proof. 2 2 0
Do. finished, without
letters. 5 5 0
Festoon. Rt for _Rich._ III. 1 1 0
Power of Atty. _F. Hosp._ 1 16 9
Orator _Henley_. 1 1 0
_Huggins._ 3 3 0
Witch. 3 3 0
Jacobite's Journal. 2 11 6
_Judith_ and _Holophernes_. 1 1 0
_Sarah Malcolm._ 2 2 0
Large Masquerade. 2 2 0
Small, first impression. 1 16 6
_Scots_ Opera. 0 15 0
Woman swearing, &c. 1 1 0
Lady _Byron_. 1 1 0
_Hogarth_ with Dog. 2 2 0
Do. Serjeant Painter. 2 2 0
Do. scratched over. 2 2 0
_Perseus_ and _Andromeda_. 2 2 0
First Distrest Poet. 1 1 0
Do. Enraged Musician. 1 1 0
_Motraye._ 2 2 0
Bench, first impression. 1 1 0
_Burlington Gate._ 1 1 0
_Sancho_ at Dinner. 1 1 0
First Election. 3 3 0
Fair. 1 1 0
Farmer's Return. 0 10 6
_Gulliver_. 0 10 6
_Hen._ VIII. and _A. Bullen_ 1 1 0
_Herring_, proof impression. 1 1 0
_Hogarth_, Engr, Shop Bill. 1 1 0
_Morell._ 0 10 6
_Pine._ 0 10 6
Coat of Arms, Sir _G.
Page_,&c. 2 2 0
Times, first impression. 1 1 0
Master of the Vineyard. 2 2 0
_Turk's_ Head. 2 2 0
Harlot's Progress, first
impression, red. 10 10 0
Marriage Alamode. 3 3 0
Rake's Progress. 6 6 0
Four Times. 2 2 0
Prentices, 1st impression. 4 4 0
Elections, 1st impression. 6 6 0
_Garrick_ in _Rich._ III. 1 1 0
Gate of _Calais_. 0 15 0
_Paul_ burlesqued. 1 1 0
Strolling Actresses. 1 12 6
Three additional Prints
to _Beaver_, &c. 2 2 9
_Milward's_ Ticket. 4 4 0
Music introduced to
_Apollo_. 1 11 6
_Martin Folkes_, mezzotinto 0 10 6
_Spiller's_ Ticket. 5 5 0
Two plates to _Milton_. 2 2 0
Frontispiece to _Leveridge's_
Songs. 1 12 6
Concert. St. _Mary's_
Chapel. 5 5 0

HOGARTH.

This great and original Genius is said by Dr. _Burn_ to have been the descendant of a family originally from _Kirkby Thore_,[1] in _Westmoreland_: and I am assured that his grandfather was a plain yeoman, who possessed a small tenement in the vale of _Bampton_, a village about 15 miles North of _Kendal_, in that county. He had three sons. The eldest assisted his father in farming, and succeeded to his little freehold. The second settled in _Troutbeck_, a village eight miles North West of _Kendal_, and was remarkable for his talent at provincial poetry.[2] The third, educated at _St. Bee's_, who had kept a school in the same county, and appears to have a man of some learning, went early to _London_, where he resumed his original occupation of a school-master in _Ship Court_ in _The Old Bailey_, and was occasionally employed as a corrector of the press. A _Latin_ letter, from Mr. _Richard Hogarth_, in 1697 (preserved among the MSS. in _The British Museum_, N° 4277. 50.) relates to a book which had been printed with great expedition. But the letter shall speak for itself.[3]

A Dictionary in _Latin_ and _English_, which he composed for the use of schools,[4] still exists in MS. He married in _London_; and our Hero, and his sisters _Mary_ and _Anne_, are believed to have been the only product of the marriage.

WILLIAM HOGARTH[5] is said (under the article THORNHILL in the _Biographia Britannica_) to have been born in 1698, in the parish of _St. Bartholomew,[6] London_, to which parish, it is added, he was afterwards a benefactor. The outset of his life, however, was unpromising. "He was bound," says Mr. _Walpole_, "to a mean engraver of arms on plate." _Hogarth_ probably chose this occupation, as it required some skill in drawing, to which his genius was particularly turned, and which he contrived assiduously to cultivate. His master, it since appears, was Mr. _Ellis Gamble_, a silversmith of eminence, who resided in _Cranbourn-street, Leicester-fields_. In this profession it is not unusual to bind apprentices to the single branch of engraving arms and cyphers on every species of metal; and in that particular department of the business young _Hogarth_ was placed;[7] "but, before his time was expired, he felt the impulse of genius, and that it directed him to painting."

During his apprenticeship, he set out one _Sunday_, with two or three companions, on an excursion to _Highgate_. The weather being hot, they went into a public-house, where they had not been long, before a quarrel arose between some persons in the same room. One of the disputants struck the other on the head with a quart pot, and cut him very much. The blood running down the man's face, together with the agony of the wound, which had distorted his features into a most hideous grin, presented _Hogarth_, who shewed himself thus early "apprised of the mode Nature had intended he should pursue," with too laughable a subject to be overlooked. He drew out his pencil, and produced on the spot one of the most ludicrous figures that ever was seen. What rendered this piece the more valuable was, that it exhibited an exact likeness of the man, with the portrait of his antagonist, and the figures in caricature of the principal persons gathered round him. This anecdote was furnished by one of his fellow apprentices then present, a person of indisputable character, and who continued his intimacy with _Hogarth_ long after they both grew up into manhood.

"His apprenticeship was no sooner expired," says Mr. _Walpole_, "than he entered into the academy in _St. Martin's Lane_, and studied drawing from the life, in which he never attained to great excellence. It was character, the passions, the soul, that his genius was given him to copy. In colouring he proved no greater a master: his force lay in expression, not in tints and chiaro scuro."

To a man who by indefatigable industry and uncommon strength of genius has been the artificer of his own fame and fortune, it can be no reproach to have it said that at one period he was not rich. It has been asserted, and we believe with good foundation, that the skill and assiduity of _Hogarth_ were, even in his servitude, a singular assistance to his own family, and to that of his master. It happened, however, that when he was first out of his time, he certainly was poor. The ambition of indigence is ever productive of distress. So it fared with _Hogarth_, who, while he was furnishing himself with materials for subsequent perfection, felt all the contempt which penury could produce. Being one day distressed to raise so trifling a sum as twenty shillings, in order to be revenged of his landlady, who strove to compel him to payment, he drew her as ugly as possible, and in that single portrait gave marks of the dawn of superior genius.[8] This story I had once supposed to be founded on certainty; but since, on other authority, have been assured, that had such an accident ever happened to him, he would not have failed to talk of it afterwards, as he was always fond of contrasting the necessities of his youth with the affluence of his maturer age. He has been heard to say of himself, "I remember the time when I have gone moping into the city with scarce a shilling in my pocket; but as soon as I had received ten guineas there for a plate, I have returned home, put on my sword, and sallied out again, with all the confidence of a man who had ten thousand pounds in his pocket." Let me add, that my first authority may be to the full as good as my second.

How long he continued in obscurity we cannot exactly learn; but the first piece in which he distinguished himself as a painter, is supposed to have been a representation of _Wanstead Assembly_.[9] In this are introduced portraits of the first earl _Tylney_, his lady, their children, tenants, &c. The faces were said to be extremely like, and the colouring is rather better than in some of his late and more highly finished performances.

From the date of the earliest plate that can be ascertained to be the work of _Hogarth_, it may be presumed that he began business, on his own account, at least as early as the year 1720.

His first employment seems to have been the engraving of arms and shop-bills. The next step was to design and furnish plates for booksellers; and here we are fortunately supplied with dates.[10] Thirteen folio prints, with his name to each, appeared in "_Aubry de la Motraye's_ Travels," in 1723; seven smaller prints for "_Apuleius'_ Golden Ass" in 1724; fifteen head-pieces to "_Beaver's_ Military Punishments of the Ancients," and five frontispieces for the translation of _Cassandra_, in five volumes, 12°, 1725; seventeen cuts for a duodecimo edition of _Hudibras_ (with _Butler's_ head) in 1726; two for "_Perseus_ and _Andromeda_," in 1730; two for _Milton_ [the date uncertain]; and a variety of others between 1726 and 1733.

"No symptom of genius," says Mr. _Walpole_, "dawned in those plates. His _Hudibras_ was the first of his works that marked him as a man above the common; yet, what made him then noticed, now surprises us, to find so little humour in an undertaking so congenial to his talents."--It is certain that he often lamented to his friends the having parted with his property in the prints of the large _Hudibras_, without ever having had an opportunity to improve them. They were purchased by Mr. _Philip Overton_,[11] at the _Golden Buck_, near _St. Dunstan's Church_ in _Fleet-Street_; and still remain in the possession of his successor Mr. _Sayer_.

Mr. _Bowles_ at the _Black Horse_ in _Cornhill_ was one of his earliest patrons. I had been told that he bought many a plate from _Hogarth_ by the weight of the copper; but am only certain that this occurrence happened in a single instance, when the elder Mr. _Bowles_ of _St. Paul's Church-yard_ offered, over a bottle, half a crown a pound for a plate just then completed. This circumstance was within the knowledge of Dr. _Ducarel_.--Our artist's next friend in that line was Mr. _Philip Overton_, who paid him a somewhat better price for his labour and ingenuity.

When Mr. _Walpole_ speaks of _Hogarth's_ early performances, he observes, that they rose not above the labours of the people who are generally employed by booksellers. Lest any reader should inadvertently suppose this candid writer designed the minutest reflection on those artists to whom the decoration of modern volumes is confided, it is necessary to observe, that his account of _Hogarth_, &c. was printed off above ten years ago, before the names of _Cipriani, Angelica, Bartolozzi, Sherwin,_ and _Mortimer_ were found at the bottom of any plates designed for the ornament of poems, or dramatic pieces.

"On the success, however, of those plates," Mr. _Walpole_ says, "he commenced painter, a painter of portraits; the most ill-suited employment imaginable to a man whose turn certainly was not flattery, nor his talent adapted to look on vanity without a sneer. Yet his facility in catching a likeness, and the method he chose of painting families and conversations in small, then a novelty, drew him prodigious business for some time. It did not last, either from his applying to the real bent of his disposition, or from his customers apprehending that a satirist was too formidable a confessor for the devotees of self-love." There are still many family pictures by Mr. _Hogarth_ existing, in the style of serious conversation-pieces. He was not however lucky in all his resemblances, and has sometimes failed where a crowd of other artists have succeeded. The whole-length of Mr. _Garrick_ sitting at a table, with his wife behind him taking the pen out of his hand,[12] confers no honour on the painter or the persons represented.[13] He has certainly missed the character of our late _Roscius's_ countenance while undisturbed by passion; but was more lucky in seizing his features when aggravated by terror, as in the tent scene of King _Richard_ III. It is by no means astonishing, that the elegant symmetry of Mrs. _Garrick's_ form should have evaded the efforts of one to whose ideas _la basse nature_ was more familiar than the grace inseparable from those who have been educated in higher life. His talents, therefore, could do little justice to a pupil of Lady _Burlington_.

What the prices of his portraits were, I have strove in vain to discover; but suspect they were originally very low, as the people who are best acquainted with them chuse to be silent on that subject.

In the Bee, vol. V. p. 552. and also in the Gentleman's Magazine, vol. IV. p. 269. are the following verses to Mr. _Hogarth_, on Miss _F's_ picture, 1734.

"To _Chloe's_ picture you such likeness give,
The animated canvas seems to live;
The tender breasts with wanton heavings move,
And the soft sparkling eyes inspire with love:
While I survey each feature o'er and o'er,
I turn _Idolater_, and paint adore:
Fondly I here can gaze without a fear,
That, _Chloe_, to my love you'd grow severe;
That in your _Picture_, as in _Life_, you'd turn
Your eyes away, and kill me with your scorn:
No, here at least with transport I can see
Your eyes with softness languishing on me.
While, _Chloe_, this I boast, with scornful heart
Nor rashly censure _Hogarth_, or his _art_,
Who all your _Charms_ in strongest _Light_ has laid,
And kindly thrown your _Pride_ and _Scorn_ in _Shade_."

At _Rivenhall_, in _Essex_, the seat of Mr. _Western_, is a family picture, by _Hogarth_ of Mr. _Western_ and his mother (who was a daughter of Sir _Anthony Shirley_), Chancellor _Hoadly_, Archdeacon _Charles Plumptre_, the Rev. Mr. _Cole_ of _Milton_ near _Cambridge_, and Mr. _Henry Taylor_ the Curate there,[14] 1736.

In the gallery of the late Mr. _Cole_ of _Milton_, was also a small whole-length picture of Mr. _Western_,[15] by _Hogarth_, a striking resemblance. He is drawn sitting in his Fellow-Commoner's habit, and square cap with a gold tassel, in his chamber at _Clare Hall_, over the arch towards the river; and our artist, as the chimney could not be expressed, has drawn a cat sitting near it, agreeable to his humour, to shew the situation.

"When I sat to him," says Mr. _Cole_, "near fifty years ago, the custom of giving vails to servants was not discontinued. On my taking leave of our painter at the door, and his servant's opening it or the coach door, I cannot tell which, I offered him a small gratuity; but the man very politely refused it, telling me it would be as much as the loss of his place, if his master knew it. This was so uncommon, and so liberal in a man of Mr. _Hogarth's_ profession at that time of day, that it much struck me, as nothing of the sort had happened to me before."

It was likewise Mr. _Hogarth's_ custom to sketch out on the spot any remarkable face which particularly struck him, and of which he wished to preserve the remembrance. A gentleman still living informs me, that being once with our painter at the _Bedford Coffee-house_, he observed him to draw something with a pencil on his nail. Enquiring what had been his employment, he was shewn the countenance (a whimsical one) of a person who was then at a small distance.

It happened in the early part of _Hogarth's_ life, that a nobleman, who was uncommonly ugly and deformed, came to sit to him for his picture. It was executed with a skill that did honour to the artist's abilities; but the likeness was rigidly observed, without even the necessary attention to compliment or flattery. The peer, disgusted at this counterpart of his dear self, never once thought of paying for a reflector that would only insult him with his deformities. Some time was suffered to elapse before the artist applied for his money; but afterwards many applications were made by him (who had then no need of a banker) for payment, without success. The painter, however, at last hit upon an expedient, which he knew must alarm the nobleman's pride, and by that means answer his purpose. It was couched in the following card:

"Mr. _Hogarth's_ dutiful respects to Lord ----; finding that he does not mean to have the picture which was drawn for him, is informed again of Mr. _H's_ necessity for the money; if, therefore, his lordship does not send for it in three days, it will be disposed of, with the addition of a tail, and some other little appendages, to Mr. _Hare_, the famous wild-beast man; Mr. _H._ having given that gentleman a conditional promise of it for an exhibition-picture, on his lordship's refusal."

This intimation had the desired effect. The picture was sent home, and committed to the flames.

To the other anecdotes of this comic Painter may be added the following. Its authenticity must apologize for its want of other merit.

A certain old Nobleman, not remarkably generous, having sent for _Hogarth_, desired he would represent, in one of the compartments on a staircase, _Pharaoh_ and his Host drowned in the _Red Sea_; but at the same time gave our artist to understand, that no great price would be given for his performance. _Hogarth_ agreed. Soon after, he waited on his employer for payment, who seeing that the space allotted for the picture had only been daubed over with red, declared he had no idea of paying a painter when he had proceeded no further than to lay his _ground_. "_Ground!_" said _Hogarth_, "there is no _ground_ in the case, my lord. The red you perceive, is the _Red Sea. Pharaoh_ and his Host are drowned as you desired, and cannot be made objects of sight, for the ocean covers them all."

Mr. _Walpole_ has remarked, that if our artist "indulged his spirit of ridicule in personalities, it never proceeded beyond sketches and drawings," and wonders "that he never, without intention, delivered the very features of any identical person." But this elegant writer, who may be said to have received his education in a Court, perhaps had few opportunities of acquaintance among the low popular characters with which _Hogarth_ occasionally peopled his scenes.[16] The Friend to whom I owe this remark was assured by an ancient gentleman of unquestionable veracity and acuteness of observation, that almost all the personages who attend the levee of the Rake were undoubted portraits; and that, in _Southwark Fair_ and the _Modern Midnight Conversation_, as many more were discoverable. In the former plate he pointed out _Essex_ the dancing-master; and in the latter, as well as in the second plate to the _Rake's Progress, Figg_ the prize-fighter.[17] He mentioned several others by name, from his immediate knowledge both of the painter's design and the characters represented; but the rest of the particulars, by which he supported his assertions, have escaped the memory of my informant. I am also assured, that while _Hogarth_ was painting the _Rake's Progress_, he had a summer residence at _Isleworth_; and never failed to question the company who came to see these pictures, if they knew for whom one or another figure was designed. When they guessed wrong, he set them right.

Mr. _Walpole_ has a sketch in oil, given to him by _Hogarth_, who intended to engrave it. It was done at the time when the House of Commons appointed a committee to inquire into the cruelties exercised on prisoners in the _The Fleet_, to extort money from them. "The scene," he says, "is the committee; on the table are the instruments of torture. A prisoner in rags, half-starved, appears before them; the poor man has a good countenance, that adds to the interest. On the other hand is the inhuman gaoler. It is the very figure that _Salvator Rosa_ would have drawn for _Iago_ in the moment of detection. Villainy, fear, and conscience, are mixed in yellow and livid on his countenance; his lips are contracted by tremor, his face advances as eager to lie, his legs step back as thinking to make his escape; one hand is thrust precipitately into his bosom, the fingers of the other are catching uncertainly at his button-holes. If this was a portrait, it is the most striking that ever was drawn; if it was not, it is still finer." The portrait was that of _Bambridge_[18] the warden of _The Fleet_; and the sketch was taken in the beginning of the year 1729, when _Bambridge_ and _Huggins_ (his predecessor)[19] were under examination. Both were declared "notoriously guilty of great breaches of trust, extortions, cruelties, and other high crimes and misdemeanors;" both were sent to _Newgate_; and _Bambridge_ was disqualified by act of parliament.[20] The son[21] of _Huggins_ was possessed of a valuable painting from this sketch, and also of a scene in the _Beggar's Opera_; both of them full of real portraits. On the dispersion of his effects, the latter was purchased by the Rev. Dr. _Monkhouse_ of _Queen's College, Oxford_. It is in a gilt frame, with a bust of _Gay_ at the top. It's companion, whose present possessor I have not been able to trace out, had, in like manner, that of Sir _Francis Page_, one of the judges, remarkable for his severity;[22] with a halter round his neck.

The Duke of _Leeds_ has also an original scene in the _Beggar's Opera_, painted by _Hogarth_. It is that in which _Lucy_ and _Polly_ are on their knees, before their respective fathers, to intercede for the life of the hero of the piece. All the figures are either known or supposed to be portraits. If I am not misinformed, the late Sir _Thomas Robinson_ (as well known by the name of _Long Sir Thomas_) is standing in one of the side-boxes. _Macheath_, unlike his spruce representative on our present stage, is a slouching bully; and _Polly_ appears happily disencumbered of such a hoop as the daughter of _Peachum_ within our younger memories has worn. His Grace gave 35 _l._ for this picture at Mr. _Rich's_ auction. Another copy of the same scene was bought by the late Sir _William Saunderson_; and is now in the possession of Sir _Henry Gough_. Mr. _Walpole_ has a painting of a scene in the same piece, where _Macheath_ is going to execution. In this also the likenesses of _Walker_, and Miss _Fenton_ afterwards Dutchess of _Bolton_ (the original _Macheath_ and _Polly_), are preserved.

In the year 1726, when the affair of _Mary Tofts_, the rabbit-breeder of _Godalming_, engaged the public attention, a few of our principal surgeons subscribed their guinea a-piece to _Hogarth_, for an engraving from a ludicrous sketch he had made on that very popular subject. This plate, amongst other portraits, contains that of the notorious _St. André_, the anatomist to the royal household, and in high credit as a surgeon. The additional celebrity of this man arose either from fraud or ignorance, perhaps from a due mixture of both. It was supported, however, afterwards, by the reputation of a dreadful crime. His imaginary wealth, in spite of these disadvantages, to the last insured him a circle of flatterers, even though, at the age of fourscore, his conversation was offensive to modest ears, and his grey hairs were rendered still more irreverend by repeated acts of untimely lewdness.[23] A particular description of this plate will be given in the future catalogue of _Hogarth's_ works.

In 1727, _Hogarth_ agreed with _Morris_, an upholsterer, to furnish him with a design on canvas, representing the element of Earth, as a pattern for tapestry. The work not being performed to the satisfaction of _Morris_, he refused to pay for it; and our artist sued him for the money. This suit (which was tried before Lord Chief Justice _Eyre_ at _Westminster, May_ 28, 1728) was determined in favour of _Hogarth_. The brief for the defendant in the cause, is preserved below.[24]

In 1730, Mr. _Hogarth_ married the only daughter of Sir _James Thornhill_,[25] by whom he had no child. This union, indeed, was a stolen one, and consequently without the approbation of Sir _James_, who, considering the youth of his daughter, then barely eighteen, and the slender finances of her husband, as yet an obscure artist,[26] was not easily reconciled to the match. Soon after this period, however, he began his _Harlot's Progress_ (the coffin in the last plate is inscribed _September_ 2, 1731); and was advised by Lady _Thornhill_ to have some of the scenes in it placed in the way of his father-in-law. Accordingly, one morning early, Mrs. _Hogarth_ undertook to convey several of them into his dining-room. When he arose, he enquired from whence they came; and being told by whom they were introduced, he cried out, "Very well; the man who can furnish representations like these, can also maintain a wife without a portion." He designed this remark as an excuse for keeping his purse-strings close; but, soon after, became both reconciled and generous to the young couple.

Our artist's reputation was so far established in 1731, that it drew forth a poetical compliment from Mr. _Mitchell_, in the epistle already quoted.

An allegorical cieling by Sir _James Thornhill_ is at the house of the late Mr. _Huggins_, at _Headley Park, Hants_. The subject of it is the story of _Zephyrus_ and _Flora_; and the figure of a Satyr and some others were painted by _Hogarth_.

In 1732 (the year in which he was one of the party who made _A Tour by land and Water_, which will be duly noticed in the Catalogue) he ventured to attack Mr. _Pope_, in a plate called "The Man of Taste;" containing a view of the Gate of _Burlington-house_; with _Pope_ whitewashing it, and bespattering the Duke of _Chandos's_ coach.[27] This plate was intended as a satire on the translator of _Homer_, Mr. _Kent_ the architect, and the Earl of _Burlington_. It was fortunate for _Hogarth_ that he escaped the lash of the former. Either _Hogarth's_ obscurity at that time was his protection, or the bard was too prudent to exasperate a painter who had already given such proof of his abilities for satire. What must _he_ have felt who could complain of the "pictured shape" prefixed to _Gulliveriana, Pope Alexander's Supremacy and Infallibility examined,_ &c. by _Ducket_, and other pieces, had our artist undertaken to express in colours a certain transaction recorded by _Cibber_?

Soon after his marriage, _Hogarth_ had summer-lodgings at _South-Lambeth_; and being intimate with Mr. _Tyers_, contributed to the improvement of _The Spring Gardens_ at _Vauxhall_, by the hint of embellishing them with paintings, some of which were the suggestions of his own truly comic pencil. Among these were the "Four parts of the Day," copied by _Hayman_ from the designs of our artist. The scenes of "Evening" and "Night" are still there; and portraits of _Henry_ VIII. and _Anne Bullen_ once adorned the old great room on the right hand of the entry into the gardens. For his assistance, Mr. _Tyers_ gratefully presented him with a gold ticket of admission for himself and his friends, inscribed

IN PERPETUAM BENEFICII MEMORIAM.

This ticket, now in the possession of his widow, is still occasionally made use of.

In 1733 his genius became conspicuously known. The third scene of his "Harlot's Progress" introduced him to the notice of the great. At a board of Treasury which was held a day or two after the appearance of that print, a copy of it was shewn by one of the lords, as containing, among other excellencies, a striking likeness of Sir _John Gonson_.[28] It gave universal satisfaction; from the Treasury each lord repaired to the print-shop for a copy of it, and _Hogarth_ rose completely into fame. This anecdote was related to Mr. _Huggins_ by _Christopher Tilson_, esq. one of the four chief clerks in the Treasury, and at that period under-secretary of state. He died _August_ 25, 1742, after having enjoyed the former of these offices fifty-eight years. I should add, however, that Sir _John Gonson_ is not here introduced to be made ridiculous, but is only to be considered as the image of an active magistrate identified.

The familiarity of the subject, and the propriety of it's execution, made the "Harlot's Progress" tasted by all ranks of people. Above twelve hundred names were entered in our artist's subscription-book. It was made into a pantomime by _Theophilus Cibber_; and again represented on the stage, under the title of _The Jew decoyed, or a Harlot's Progress_, in a Ballad Opera. Fan-mounts were likewise engraved, containing miniature representations of all the six plates. These were usually printed off with red ink, three compartments on one side, and three on the other.[29]

The ingenious Abbé _Du Bos_ has often complained, that no history-painter of his time went through a series of actions, and thus, like an historian, painted the successive fortune of an hero, from the cradle to the grave. What _Du Bos_ wished to see done, _Hogarth_ performed. He launches out his young adventurer a simple girl upon the town, and conducts her through all the vicissitudes of wretchedness to a premature death. This was painting to the understanding and to the heart; none had ever before made the pencil subservient to the purposes of morality and instruction; a book like this is fitted to every soil and every observer, and he that runs may read. Nor was the success of _Hogarth_ confined to his persons. One of his excellencies consisted in what may be termed the furniture[30] of his pieces; for as in sublime and historical representations the fewer trivial circumstances are permitted to divide the spectator's attention from the principal figures, the greater is their force; so in scenes copied from familiar life, a proper variety of little domestic images contributes to throw a degree of verisimilitude on the whole. "The Rake's levee-room," says Mr. _Walpole_, "the nobleman's dining-room, the apartments of the husband and wife in Marriage Alamode, the Alderman's parlour, the bed-chamber, and many others, are the history of the manners of the age."

It may also be observed, that _Hogarth_, both in the third and last plate of the _Harlot's Progress_, has appropriated a name to his heroine which belonged to a well-known wanton then upon the town. The _Grub-street Journal_ for _August_ 6, 1730, giving an account of several prostitutes who were taken up, informs us that "the fourth was _Kate Hackabout_ (whose brother was lately hanged at _Tyburn_), a woman noted in and about the hundreds of _Drury, &c_."

In 1735 our artist lost his mother, as appears by the following extract from an old Magazine: "_June_ 11, 1735. Died Mrs. _Hogarth_, mother to the celebrated painter, of a fright from the fire which happened on the 9th, in _Cecil Court, St. Martin's Lane_, and burnt thirteen houses;[31] amongst others, one belonging to _John Huggins_, esq. late Warden of _The Fleet_, was greatly damaged."

The "Rake's Progress" (published in the same year, and sold at _Hogarth's_ house, the _Golden Head_ in _Leicester Fields_), though "perhaps superior, had not," as Mr. _Walpole_ observes, "so much success, from want of novelty; nor is the print of the arrest equal in merit to the others.[32]

"The curtain, however," says he, "was now drawn aside, and his genius stood displayed in its full lustre. From time to time our artist continued to give those works that would be immortal, if the nature of his art will allow it. Even the receipts for his subscriptions had wit in them. Many of his plates he engraved himself, and often expunged faces etched by his assistants, when they had not done justice to his ideas. Not content with shining in a path untrodden before, he was ambitious of distinguishing himself as a painter of history; and in 1736 presented to the hospital of _St. Bartholomew_, of which he had been appointed a governor,[33] a painting of the _Pool of Bethesda_, and another of the _Good Samaritan_. But the genius that had entered so feelingly into the calamities and crimes of familiar life, deserted him in a walk that called for dignity and grace. The burlesque turn of his mind mixed itself with the most serious subjects. In the _Pool of Bethesda_, a servant of a rich ulcerated lady beats back a poor man that sought the same celestial remedy; and in his _Danae_ [for which the Duke of _Ancaster_ paid 60 guineas] the old nurse tries a coin of the golden shower with her teeth, to see if it is true gold. Both circumstances are justly thought, but rather too ludicrous. It is a much more capital fault that _Danae_ herself is a mere nymph of _Drury_. He seems to have conceived no higher degree of beauty." Dr. _Parsons_ also, in his Lectures on Physiognomy, 410. p. 58, says, "Thus yielded _Danae_ to the Golden Shower, and thus was her passion painted by the ingenious Mr. _Hogarth_."

The novelty and excellence of _Hogarth's_ performances soon tempted the needy artist and print-dealer to avail themselves of his designs,[34] and rob him of the advantages which he was entitled to derive from them. This was particularly the case with the "Midnight Conversation," the "Harlot's" and "Rake's" Progresses,[35] and the rest of his early works. To put a stop to depredations like these on the property of himself and others, and to secure the emoluments resulting from his own labours, as Mr. _Walpole_ observes, he applied to the legislature, and obtained an act of parliament, 8 _George_ II. chap. 3°, to vest an exclusive right in designers and engravers, and to restrain the multiplying of copies of their works without the consent of the artist.[36]

This statute was drawn by his friend Mr. _Huggins_,[37] who took for his model the eighth of Queen _Anne_, in favour of literary property; but it was not so accurately executed as entirely to remedy the evil; for, in a cause founded on it, which came before Lord _Hardwicke_ in Chancery, that excellent Lawyer determined that no assignee, claiming under an assignment from the original inventor, could take any benefit by it. _Hogarth_, immediately after the passing the act, published a small print, with emblematical devices, and the following inscription expressing his gratitude to the three branches of the legislature:

"In humble and grateful acknowledgment
Of the grace and goodness of the LEGISLATURE,
Manifested
In the ACT of PARLIAMENT for the Encouragement
Of the Arts of Designing, Engraving, &c.
Obtained
By the Endeavours, and almost at the sole Expence,
Of the Designer of this Print in the Year 1735;
By which
Not only the Professors of those Arts were rescued
From the Tyranny, Frauds, and Piracies
Of Monopolizing Dealers,
And legally entitled to the Fruits of their own Labours;
But Genius and Industry were also prompted
By the most noble and generous Inducements to exert themselves;
Emulation was excited,
Ornamental Compositions were better understood;
And every Manufacture, where Fancy has any concern,
Was gradually raised to a Pitch of Perfection before unknown;
Insomuch, that those of GREAT-BRITAIN
Are at present the most Elegant
And the most in Esteem of any in EUROPE."

This plate he afterwards made to serve for a receipt for subscriptions, first to a print of an "Election Entertainment;" and afterwards for three prints more, representing the "polling for members for parliament, canvassing for votes, and chairing the members." The royal crown at the top of this receipt is darting its rays on mitres, coronets, the Chancellor's great seal, the Speaker's hat, &c. &c. and on a scroll is written, "An Act for the Encouragement of the Arts of Designing, Engraving, and Etching, by vesting the Properties thereof in the Inventors and Engravers, during the Time therein mentioned." It was "Designed, etched, and published as the Act directs, by _W. Hogarth, March_ 20, 1754." After _Hogarth's_ death, the legislature, by Stat. 7 _Geo._ III. chap. 38. granted to his widow a further exclusive term of twenty years in the property of her husband's works.

In 1736 he had the honour of being distinguished in a masterly poem of a congenial Humourist. The Dean of _St. Patrick's_, in his "Description of the Legion Club," after pourtraying many characters with all the severity of the most pointed satire, exclaims,

"How I want thee, humorous _Hogarth!_
Thou, I hear, a pleasant rogue art!
Were but you and I acquainted,
Every monster should be painted:
You should try your graving tools
On this odious group of fools;
Draw the beasts as I describe them;
Form their features, while I gibe them;
Draw them like, for I assure ye,
You will need no _caricatura_.
Draw them so, that we may trace
All the soul in every face."

An elegant compliment was soon after paid to _Hogarth_ by _Somervile_, the author of _The Chace_, who dedicates his _Hobbinol_ to him as to "the greatest master in the burlesque way." Yet _Fielding_, in the Preface to _Joseph Andrews_, says, "He who should call the ingenious _Hogarth_ a burlesque painter, would, in my opinion, do him very little honour, for sure it is much easier, much less the subject of admiration, to paint a man with a nose, or any other feature of a preposterous size, or to expose him in some absurd or monstrous attitude, than to express the affections of men on canvas. It hath been thought a vast commendation of a painter, to say his figures seem to breathe; but surely it is a much greater and nobler applause, that they appear to think."[38]

_Vincent Bourne_, that classical ornament of _Westminster School_, addressed the following copy of hendecasyllables

"Ad GULIELMUM HOGARTH, Παρουνετικόν [Greek: Parounetikon]

"Qui mores hominum improbos, ineptos,
Incidis, nec ineleganter, æri,
Derisor lepidus, sed & severus,
Corrector gravis, at nec invenustus;
Seu pingis meretricios amores,
Et scenas miseræ vicesque vitæ;
Ut tentat pretio rudem puellam
Corruptrix anus, impudens, obesa;
Ut se vix reprimit libidinosus
Scortator, veneri paratus omni:
Seu describere vis, facete censor,
Bacchanalia sera protrahentes
Ad confinia crastinæ diei,
Fractos cum cyathis tubos, matellam
Non plenam modò sed superfluentem,
Et fortem validumque combibonem
Lætantem super amphorâ repletâ;
Jucundissimus omnium ferêris,
Nullique artificum secundus, ætas
Quos præsens dedit, aut dabit futura.
Macte ô, eja age, macte sis amicus
Virtuti: vitiique quod notâris,
Pergas pingere, & exhibere coràm,
Censura utilior tua æquiorque
Omni vel satirarum acerbitate,
Omni vel rigidissimo cachinno."

By printed proposals, dated _Jan_. 25, 1744-5, _Hogarth_ offered to the highest bidder "the six pictures called _The Harlot's Progress_, the eight pictures called _The Rake's Progress_, the four pictures representing _Morning, Noon, Evening,_ and _Night,_ and that of _A Company of Strolling Actresses dressing in a Barn_; all of them his own original paintings, from which no other copies than the prints have ever been taken." The biddings were to remain open from the first to the last day of _February_, on these conditions: "1. That every bidder shall have an entire leaf numbered in the book of sale, on the top of which will be entered the name and place of abode, the sum paid by him, the time when, and for which picture.--That, on the last day of sale, a clock (striking every five minutes) shall be placed in the room; and when it hath struck five minutes after twelve, the first picture mentioned in the sale-book will be deemed as sold; the second picture when the clock hath struck the next five minutes after twelve; and so on successively till the whole nineteen pictures are sold. 3. That none advance less than gold at each bidding. 4. No person to bid on the last day, except those whose names were before entered in the book.--As Mr. _Hogarth's_ room is but small, he begs the favour that no persons, except those whose names are entered in the book, will come to view his paintings on the last day of sale."

The pictures were sold for the following prices:

Six Harlot's Progress, at 14 guineas each £.88 4 0
Eight Rake's Progress, at 22 guineas each 184 16 0
Morning, 20 guineas 21 0 0
Noon, 37 guineas 38 17 0
Evening, 38 guineas 39 18 0
Night, 26 guineas 27 6 0
Strolling Players, 26 guineas 27 6 0
--------
427 7 0

At the same time the six pictures of _Marriage à-la-mode_ were announced as intended for sale as soon as the plates then taking from them should be completed. This set of Prints may be regarded as the ground-work of a novel called "The Marriage Act," by Dr. _Shebbeare_, and of "The Clandestine Marriage." In the prologue to that excellent comedy, Mr. _Garrick_ thus handsomely expressed his regard for the memory of his friend:

"Poets and painters, who from nature draw
Their best and richest stores, have made this law:
That each should neighbourly assist his brother,
And steal with decency from one another.
To-night, your matchless _Hogarth_ gives the thought,
Which from his canvas to the stage is brought.
And who so fit to warm the poet's mind,
As he who pictur'd morals and mankind?
But not the same their characters and scenes;
Both labour for one end, by different means:
Each, as it suits him, takes a separate road,
Their one great object, _Marriage à la Mode!_
Where titles deign with cits to have and hold,
And change rich blood for more substantial gold!
And honour'd trade from interest turns aside,
To hazard happiness for titled pride.
The painter dead, yet still he charms the eye;
While _England_ lives, his fame can never die:
But he, 'who struts his hour upon the stage,'
Can scarce extend his fame for half an age;
Nor pen nor pencil can the actor save,
The art, and artist, share one common grave."[39]

_Hogarth_ had projected a _Happy Marriage_, by way of counterpart to his _Marriage à la Mode_. A design for the first of his intended six plates he had sketched out in colours; and the following is as accurate an account of it as could be furnished by a gentleman who, long ago enjoyed only a few minutes' sight of so imperfect a curiosity.

The time supposed was immediately after the return of the parties from church. The scene lay in the hall of an antiquated country mansion. On one side, the married couple were represented sitting. Behind them was a group of their young friends of both sexes, in the act of breaking bride-cake over their heads. In front appeared the father of the young lady, grasping a bumper, and drinking, with a seeming roar of exultation, to the future happiness of her and her husband. By his side was a table covered with refreshments. Jollity rather than politeness was the designation of his character. Under the screen of the hall, several rustic musicians in grotesque attitudes, together with servants, tenants, &c. were arranged. Through the arch by which the room was entered, the eye was led along a passage into the kitchen, which afforded a glimpse of sacerdotal luxury. Before the dripping-pan stood a well-fed divine, in his gown and cassock, with his watch in his hand, giving directions to a cook, drest all in white, who was employed in basting a haunch of venison.