Chapter IV: Preface: To the GERMAN READER (3)

His widow has also a portrait of her husband, and an excellent bust of him by _Roubilliac_, a strong resemblance; and one of his brother-in-law Mr. _Thornhill_, much resembling the countenance of Mrs. _Hogarth_. Several of his portraits also remain in her possession: _viz._ a finished portrait of Mrs. _Mary Lewis_; _Thomas Coombes_ of _Dorsetshire_, aged 108; Lady _Thornhill_; Mrs. _Hogarth_ herself, &c. &c.

A portrait of _Hogarth_ with his hat on, painted for the late Rev. Mr. _Townley_ by _Weltdon_, and said to be finished by himself, is in the possession of Mr. _James Townley_, proctor in _Doctors Commons_. A mezzotinto print from it will be mentioned under the year 1781 in the Catalogue.

Mr. _Edwards_, of _Beaufort Buildings_, has the portrait of Sir _George Hay, The Savoyard Girl, The Bench,_ and _Mary Queen of Scots,_[76] by _Hogarth_.

A conversation-piece by him is likewise at _Wanstead_ in _Essex_, the seat of Earl _Tylney_.[77] And Mrs. _Hoadly_ has a scene of _Ranger_ and _Clarinda_ in _The Suspicious Husband_; and the late Chancellor _Hoadly_ repeating a song to Dr. _Greene_, for him to compose; both by _Hogarth_. The first of these is an indifferent picture, and contains very inadequate likenesses of the persons represented.

One of the best portraits _Hogarth_ ever painted, is at _Lichfield_. It is of a gentleman with whom he was very intimate, and at whose houses at _Mortlake_ and in _Ironmongers-Lane_ he spent much of his time--Mr. _Joseph Porter_, of _London_, merchant, who died _April_ 7, 1749. Mrs. _Porter_ the sister of this gentleman (who was daughter of Dr. _Johnson's_ wife by a former husband) is in possession of the picture.--_John Steers_, esq. (of _The Paper Buildings_ in _The Temple_) has an auction by _Hogarth_, in which Dr. _Chauncey_, Dr. _Snagg_, and others, are introduced; and the Earl of _Exeter_ has a butcher's shop, with _Slack_ fighting, &c.

Of _Hogarth's_ lesser plates many were destroyed. When he wanted a piece of copper on a sudden, he would take any from which he had already worked off such a number of impressions as he supposed he should sell. He then sent it to be effaced, beat out, or otherwise altered to his present purpose.

The plates which remained in his possession were secured to Mrs. _Hogarth_ by his will, dated _August_ 12, 1764, chargeable with an annuity of 80 _l._ to his sister _Anne_,[78] who survived him. When, on the death of his other sister, she left off the business in which she was engaged (see, in the Catalogue, the first article among the "Prints of uncertain date,") he kindly took her home, and generously supported her, making her, at the same time, useful in the disposal of his prints. Want of tenderness and liberality to his relations was not among the failings of _Hogarth_.

Of _Hogarth's_ drawings and contributions towards the works of others, perhaps a number, on enquiry, might be found. An acquaintance of his, the late worthy Mr. _John Sanderson_, architect, who repaired _Woburn Abbey_, as well as _Bedford House_ in _Bloomsbury-square_, possessed several of his curiosities. One was a sketch in black-lead of a celebrated young engraver (long since dead) in a salivation. The best that can be said of it is, that it was most disgustingly natural. Even the coarse ornaments on the corners of the blankets which enwrapped him, were characteristically expressed. Our artist seems to have repeated the same idea, though with less force, and fewer adjuncts, in the third of his Election prints, where a figure swaddled up in flannel is conveyed to the hustings. Two other works, viz. a drawing in _Indian_ ink, and a painting in oil colours, exhibited _Bedford House_ in different points of view; the figures only by _Hogarth_. Another represented the corner of a street, with a man drinking under the spout of a pump, and heartily angry with the water, which, by issuing out too fast, and in too great quantities, had deluged his face. Our great painter had obliged Mr. _Sanderson_ with several other comic sketches, &c. but most of them had been either begged or stolen, before the communicator of these particulars became acquainted with him.

In the year 1745, _Launcelot Burton_ was appointed naval officer at _Deal. Hogarth_ had seen him by accident; and on a piece of paper, previously impressed by a plain copper-plate, drew his figure with a pen, in imitation of a coarse etching. He was represented on a lean _Canterbury_ hack, with a bottle sticking out of his pocket; and underneath was an inscription, intimating that he was going down to take possession of his place. This was inclosed to him in a letter; and some of his friends, who were in the secret, protested the drawing to be a print which they had seen exposed to sale at the shops in _London_; a circumstance that put him in a violent passion, during which he wrote an abusive letter to _Hogarth_, whose name was subscribed to the work. But, after poor _Burton's_ tormentors had kept him in suspence throughout an uneasy three weeks, they proved to him that it was no engraving, but a sketch with a pen and ink. He then became so perfectly reconciled to his resemblance, that he shewed it with exultation to Admiral _Vernon_, and all the rest of his friends.

In 1753, _Hogarth_ returning with Dr. _Morell_ from a visit to Mr. _Rich_ at _Cowley_, stopped his chariot, and got out, being struck by a large drawing (with a coal) on the wall of an alehouse. He immediately made a sketch of it with triumph; it was a St. _George and the Dragon_, all in strait lines.

_Hogarth_ made one essay in sculpture. He wanted a sign to distinguish his house in _Leicester-fields_; and thinking none more proper than the _Golden Head_, he, out of a mass of cork made up of several thicknesses compacted together, carved a bust of _Vandyck_, which he gilt and placed over his door. It is long since decayed, and was succeeded by a head in plaster, which has also perished; and is supplied by a head of Sir _Isaac Newton. Hogarth_ modelled another resemblance of _Vandyck_ in clay; which is likewise destroyed.

It is very properly observed by Mr. _Walpole_, that "If ever an author wanted a commentary, that none of his beauties might be lost, it is _Hogarth_; not from being obscure (for he never was that but in two or three of his first prints, where transient national follies, as Lotteries, Free-masonry, and the _South Sea_, were his topics) but for the use of foreigners, and from a multiplicity of little incidents, not essential to, but always heightening the principal action. Such is the spider's web extended over the poor's box in a parish church; the blunders in architecture in the nobleman's seat, seen through the window, in the first print of _Marriage à la Mode_; and a thousand in the Strollers dressing in a barn, which, for wit and imagination, without any other aid, is perhaps the best of all his works; as, for useful and deep satire, that on the Methodists is the most sublime. _Rouquet_, the enameller, published a _French_ explanation, though a superficial one, of many of his prints, which, it was said, he had drawn up for the use of Marshal _Belleisle_, then a prisoner in _England_."

However great the deficiencies in this work may be, it was certainly suggested by _Hogarth_, and drawn up at his immediate request. I receive this information from undoubted authority. Some of the circumstances explanatory of the plates, he communicated; the rest he left to be supplied by _Rouquet_ his near neighbour, who lived in the house at which _Gardelle_ the enameller afterwards lodged, and murdered his landlady Mrs. _King. Rouquet_, who (as I learn from Mr. _Walpole_) was a _Swiss_ of _French_ extraction, had formerly published a small tract on the state of the Arts in _England_, and another, intituled "L'Art de peinture en fromage ou en ramequin, 1755;" 12mo. (V. "La _France_ litteraire, ou Dictionaire des Auteurs _François_ vivans, par _M. Formey_, 1757.") On the present occasion he was liberally paid by _Hogarth_, for having cloathed his sentiments and illustrations in a foreign dress. This pamphlet was designed, and continues to be employed, as a constant companion to all such sets of his prints as go abroad. Only the letter descriptive of the _March to Finchley_ was particularly meant for the instruction of Marshal _Belleisle_.[79]

It was added after the three former epistles had been printed off, and before the plate was published. The entire performance, however, in my opinion, exhibits very strong marks of the vivacious compiler's taste, country, and prejudices. Indeed many passages must have been inserted without the privity of his employer, who had no skill in the _French_ language. That our _clergy_ always _affect to ride on white horses_, and other remarks of a similar turn, &c. &c. could never have fallen from the pen of _Hogarth_, or any other _Englishman_.

This epistle bears also internal evidence to the suggestions _Rouquet_ received from _Hogarth_. Are not the self-congratulations and prejudices of our artist sufficiently visible in the following passage?

"Ce Tableau dis-je a le defaut d'etre encore tout brillant de cette ignoble fraîcheur qu'on decouvre dans la nature, et _qu'on ne voit jamais dans les cabinets bien célèbres. Le tems ne l'a point encore obscurci de cette decte fumée, de ce usage sacré, qui le cachera quelque jour aux yeux profanes du vulgaire, pour ne laisser voir ses beautés qu'aux initiés._"

The title of this performance, is, "Lettres de Monsieur * * à un de ses Amis à _Paris_, pour lui expliquer les Estampes de Monsieur _Hogarth_.--Imprimé à _Londres_: et se vend chez _R. Dodsley_, dans _Pall Mall_; et chez _M. Cooper_, dans _Paternoster Row_, 1746." (Le prix est de douze sols.)

I should here observe, that this pamphlet affords only descriptions of the _Harlot's_ and _Rake's Progress, Marriage à la Mode,_ and the _March to Finchley_. Nine other plates, viz. the _Modern Midnight Conversation_, the _Distressed Poet_, the _Enraged Musician,_ the _Fair, Strolling Actresses dressing in a Barn,_ and the _Four Times of the Day,_ are enumerated without particular explanation.

I am authorized to add, that _Hogarth_, not long before his death, had determined, in compliance with the repeated solicitations of his customers, to have this work enlarged and rendered into _English_, with the addition of ample comments on all his performances undescribed by _Rouquet_.

"_Hogarth_ Moralised"[80] will however in some small degree (a very small one) contribute to preserve the memory of those temporary circumstances which Mr. _Walpole_ is so justly apprehensive will be lost to posterity. Such an undertaking indeed, requires a more intimate acquaintance with fleeting customs, and past occurrences, than the compiler of this work can pretend to. Yet enough has been done by him to awaken a spirit of enquiry, and point out the means by which it may be farther gratified.

The works of _Hogarth_, as his elegant biographer has well observed, are his history;[81] and the curious are highly indebted to Mr. _Walpole_ for a catalogue of prints, drawn up from his own valuable collection, in 1771. But as neither that catalogue, nor his appendix to it in 1780, have given the whole of Mr. _Hogarth's_ labours, I hope that I shall not be blamed if, by including Mr. _Walpole's_ catalogue, I have endeavoured from later discoveries of our artist's prints in other collections, to arrange them in chronological order. It may not be unamusing to trace the rise and progress of a Genius so strikingly original.

_Hogarth_ gave first impressions of all his plates to his late friends the Rev. Mr. _Townley_ and Dr. _Isaac Schomberg_.[82] Both sets were sold since the death of these gentlemen. That which was Dr. _Schomberg's_ became the property of the late Sir _John Chapman_, baronet; and passed after his death into the hands of his brother, the late Sir _William Chapman_. I should add, indeed, that our artist never sorted his impressions, selecting the slight from the strong ones: so that they who wish to possess any equal series of his prints, must pick it out of different sets.

A portrait of _Samuel Martin_, esq. the antagonist of Mr. _Wilkes_, which Mr. _Hogarth_ had painted for his own use, he gave as a legacy to Mr. _Martin_.

Mrs. _Baynes_, of _Kneeton-Hall_, near _Richmond, Yorkshire,_ has an original picture by _Hogarth_, four feet two inches long, by two feet four inches wide. It is a landscape, with several figures; a man driving sheep; a boat upon a piece of water, and a distant view of a town. This picture was bought in _London_, by her father, many years ago.

At Lord _Essex's_ sale, in _January_ 1777, Mr. _Garrick_ bought a picture by _Hogarth_, being the examination of the recruits before the justices _Shallow_ and _Silence_. For this, it was said in the news-papers, he gave 350 guineas. I have since been told, that remove the figure 3, and the true price paid by the purchaser remains. In private he allowed that he never gave the former of these sums, though in the public prints he did not think such a confession necessary. It was in reality an indifferent performance, as those of _Hogarth_ commonly were, when he strove to paint up to the ideas of others.

Mr. _Browning_, of _King's College, Cambridge,_ has a small picture by _Hogarth_, representing _Clare-Market_. It seems to have been one of our artist's early performances.

There are three large pictures by _Hogarth_, over the altar in the church of _St. Mary Redcliff_ at _Bristol_; the sealing of the sacred Sepulchre, the Ascension, and the three _Maries_, &c. A sum of money was left to defray the expence of these ornaments, and it found its way into _Hogarth's_ pocket. The original sketches in oil for these performances, are now at Mrs. _Hogarth's_ house in _Leicester-fields_.

In Lord _Grosvenor's_ house, at _Milbank, Westminster_, is a small painting by our artist on the following subject. A boy's paper-kite in falling become entangled with furze: the boy arrives just as a crow is tearing it in pieces. The expression in his face is worthy of _Hogarth_.

_Hogarth_ was also supposed to have had some hand in the exhibition of signs,[83] projected above 20 years ago by _Bonnel Thornton_, of festive memory; but I am informed, that he contributed no otherwise towards this display, than by a few touches of chalk. Among the heads of distinguished personages, finding those of the King of _Prussia_ and the Empress of _Hungary_, he changed the cast of their eyes so as to make them leer significantly at each other. This is related on the authority of Mr. _Colman_.

Mr. _Richardson_ ("now," as Dr. _Johnson_ says, "better known by his books than his pictures," though his colouring is allowed to be masterly) having accounted for some classical quotations in his notes on _Milton_, unlearned as he was, by his son's assisting him as a telescope does the eye in astronomy; _Hogarth_ shewed him with a telescope looking through his son (in no very decent attitude) at a _Virgil_ aloft on a shelf; but afterwards destroyed the plate, and recalled the prints. Qu. if any remain, and what date?--I much question whether this subject was ever thrown upon copper, or meant for the public eye.

In the "Nouveau Dictionnaire Historique, _Caen_, 1783," our artist is thus characterized: "Ses compositions sont mal dessinées & foiblement colories; mais ce sont des tableaux parlans de diverses scènes comiques ou morales de la vie. Il avoit négligé le méchanisme de son art, c'est à-dire, les traits du pinceau, le rapport des parties entr'elles, l'effèt du clare obscure, l'harmonie du coloris, &c. pour s'élever jusqu'à la perfection de ce méchanisme, c'est à-dire, au poétique & au moral de la peinture. 'Je reconnois,' disoit-il, 'tout le monde pour juge compétent de mes tableaux, excepté les connoisseurs de profession.' Un seul exemple prouvera combien réussit. Il avoit fait graver une estampe, dans laquelle il avoit exprimé avec énergie les différens tourmens qu'on fait éprouver aux animaux. Un charrier fouettoit un jour ses chevaux avec beaucoup de dureté; un bon homme, touché de pitié, lui dit, 'Miserable! tu n'as donc pas vu l'estampe d'_Hogarth_?' Il n'étoit pas seulement peintre, il fut écrivain. Il publia en 1750 un traité en _Anglois_, intitulé, '_Analyse de la Beauté_.' L'auteur pretend que les formes arrondies constituent la beauté du corps: principe vrai à certains égards, faux a plusieurs autres. _Voy._ sur cet artiste, la sécond volume du 'Mercure de France,' Janvier, 1770."

Mr. _Peter Dupont_, a merchant, had the drawing of _Paul before Felix_, which he purchased for 20 guineas, and bound up with a set of _Hogarth's_ prints. The whole set was afterwards sold by auction, at _Baker's_, for 17 _l._ to Mr. _Ballard_ of _Little Britain_, in whose catalogue it stood some time marked at 25 _l._ and was parted with for less than that sum.

The following original drawings, by _Hogarth_, are now in the collection of the Rev. Dr. _Lort_:

A coloured sketch of a Family Picture, with ten whole-length figures, most insipidly employed. A Head of a Sleeping Child, in colours, as large as life, &c. &c. &c.

When _Hogarth_ designed the print intituled _Morning_, his idea of an _Old Maid_ appears to have been adopted from one of that forlorn sisterhood, when emaciated by corroding appetites, or, to borrow _Dryden's_ more forcible language, by "agony of unaccomplished love." But there is in being, and perhaps in _Leicester-fields_, a second portrait by our artist, exhibiting the influence of the same misfortune on a more fleshy carcase. The ancient virgin[84] now treated of, is corpulent even to shapelessness. Her neck resembles a collar of brawn; and had her arms been admitted on the canvas, they must have rivalled in magnitude the thighs of the _Farnesian_ god. Her bosom, luckily for the spectator, is covered; as a display of it would have served only to provoke abhorrence. But what words can paint the excess of malice and vulgarity predominant in her visage!--an inflated hide that seems bursting with venom--a brow wrinkled by a _Sardonic_ grin that threatens all the vengeance an affronted Fury would rejoice to execute. Such ideas also of warmth does this mountain of quaggy flesh communicate, that, without hyperbole, one might swear she would parch the earth she trod on, thaw a frozen post-boy, or over-heat a glasshouse. "How dreadful," said a bystander, "would be this creature's hatred!" "How much more formidable," replied his companion, "would be her love!"--Such, however, was the skill of _Hogarth_, that he could impress similar indications of stale virginity on features directly contrasted, and force us to acknowledge one identical character in the brim-full and exhausted representative of involuntary female celibacy.

Mr. _S. Ireland_ has likewise a sketch in chalk, on blue paper, of _Falstaff_ and his companions; two sketches intended for the "Happy Marriage;" a sketch for a picture to shew the pernicious effects of masquerading; sketch of King _George_ II. and the royal family; sketch of his present Majesty, taken hastily on seeing the new coinage of 1764; portrait of _Hogarth_ by himself, with a palette; of Justice _Welsh_;[85] of Sir _James Thornhill_; of Sir _Edward Walpole_;[86] of his friend _George Lambert_, the landscape-painter; of a boy; of a girl's head, in the character of _Diana_, finished according to _Hogarth's_ idea of beauty; of a black girl; and of Governor _Rogers_ and his family, a conversation-piece; eleven Sketches from Nature, designed for Mr. _Lambert_; four drawings of conversations at _Button's Coffee-house_; _Cymon_ and _Iphigenia_; two black chalk drawings (landscapes) given to Mr. _Kirby_ in 1762; three heads, slightly drawn with a pen by _Hogarth_, to exemplify his distinction between _Character_ and _Caricature_, done at the desire of Mr. _Townley_, whose son gave them to Dr. _Schomberg_; a landscape in oil: with several other sketches in oil.

The late Mr. _Forrest_, of _York Buildings_, was in possession of a sketch in oil of our Saviour (designed as a pattern for painted glass), together with the original portrait of _Tibson_ the Laceman,[87] and several drawings descriptive of the incidents that happened during a five days tour by land and water. The parties were Messieurs _Hogarth, Thornhill_ (son of the late Sir _James_), _Scott_ (the ingenious landscape-painter of that name), _Tothall_,[88] and _Forrest_. They set out at midnight, at a moment's warning, from the _Bedford Arms_ Tavern, with each a shirt in his pocket. They had particular departments to attend to; _Hogarth_ and _Scott_ made the drawings; _Thornhill_ the map; _Tothall_ faithfully discharged the joint office of treasurer and caterer; and _Forrest_ wrote the journal. They were out five days only; and on the second night after their return, the book was produced, bound, gilt, and lettered, and read at the same tavern to the members of the club then present. Mr. _Forrest_ had also drawings of two of the members (_Gabriel Hunt_ and _Ben Read_), remarkable fat men, in ludicrous situations. Etchings from all these having been made in 1782, accompanied by the original journal in letter-press, an account of them will appear in the Catalogue under that year.

A transcript of the journal was left in the hands of Mr. _Gostling_,[89] who wrote an imitation of it in _Hudibrastic_ verse; TWENTY COPIES only of which having been printed in 1781, as a literary curiosity,[90] I was requested by some of my friends to reprint it at the end of the second edition of this work. It had originally been kept back, in compliment to the writer of the prose journey; but, as that in the mean time had been given to the public by authority, to preserve the Tour in a more agreeable dress cannot, it is presumed, be deemed an impropriety. See the Appendix, N° III.

[1] History of _Westmoreland_, Vol. I. p. 479.

[2] "I must leave you to the annals of Fame," says Mr. _Walker_, the ingenious Lecturer on Natural Philosophy, who favoured me with these particulars, "for the rest of the anecdotes of this great Genius; and shall endeavour to shew you, that his family possessed similar talents, but they were destined, like the wild rose,

"'To waste their sweetness in the desart air.'

"Happy should I be to rescue from oblivion the name of _Ald Hogart_, whose songs and quibbles have so often delighted my childhood! These simple strains of this mountain _Theocritus_ were fabricated while he held the plough, or was leading his fewel from the hills. He was as critical an observer of nature as his nephew, for the narrow field he had to view her in: not an incident or an absurdity in the neighbourhood escaped him. If any one was hardy enough to break through any decorum of old and established repute; if any one attempted to over-reach his neighbour, or cast a leering eye at his wife; he was sure to hear himself sung over the whole parish, nay, to the very boundaries of the _Westmoreland_ dialect: so that his songs were said to have a greater effect on the manners of his neighbourhood, than even the sermons of the parson himself.

"But his poetical talents were not confined to the incidents of his village. I myself have had the honour to bear a part in one of his plays (I say _one_, for there are several of them extant in MS. in the mountains of _Westmoreland_ at this hour). This play was called 'The Destruction of _Troy_.' It was written in metre, much in the manner of _Lopez de Vega_, or the ancient _French_ drama; the unities were not too strictly observed, for the siege of ten years was all represented; every hero was in the piece; so that the Dramatis Personæ consisted of every lad of genius in the whole parish. The wooden horse--_Hector_ dragged by the heels--the fury of _Diomed_--the flight of _Æneas_--and the burning of the city, were all represented. I remember not what Fairies had to do in all this; but as I happened to be about three feet high at the time of this still-talked-of exhibition, I personated one of these tiny beings. The stage was a fabrication of boards placed about six feet high, on strong posts; the green-room was partitioned off with the same materials; it's cieling was the azure canopy of heaven; and the boxes, pit, and galleries, were laid into one by the Great Author of Nature, for they were the green slope of a fine hill. Despise not, reader, this humble state of the provincial drama; let me tell you, there were more spectators, for three days together, than your three theatres in _London_ would hold; and let me add, still more to your confusion, that you never saw an audience half so well pleased.

"The exhibition was begun with a grand procession, from the village to a great stone (dropt by the Devil about a quarter of a mile off, when he tried in vain to erect a bridge across _Windermere_; so the people, unlike the rest of the world, have remained a very good sort of people ever since). I say the procession was begun by the minstrels of five parishes, and were followed by a yeoman on bull-back--you stare!--stop then till I inform you that this adept had so far civilised his bull, that he would suffer the yeoman to mount his back, and even to play upon his fiddle there. The managers besought him to join the procession; but the bull, not being accustomed to much company, and particularly so much applause; whether he was intoxicated with praise; thought himself affronted, and made game of; or whether a favourite cow came across his imagination; certain it was, that he broke out of the procession; erected his tail, and, like another _Europa_, carried off the affrighted yeoman and his fiddle, over hedge and ditch, till he arrived at his own field. This accident rather inflamed than depressed the good humour arising from the procession; and the clown, or jack-pudding of the piece, availed himself so well of the incident, that the lungs and ribs of the spectators were in manifest danger. This character was the most important personage in the whole play: for his office was to turn the most serious parts of the drama into burlesque and ridicule: he was a compound of Harlequin and the Merry Andrew, or rather the Arch-fool of our ancient kings. His dress was a white jacket, covered with bulls, bears, birds, fish, &c. cut in various coloured cloth. His trowsers were decorated in like manner, and hung round with small bells; and his cap was that of Folly, decorated with bells, and an otter's brush impending. The lath sword must be of great antiquity in this island, for it has been the appendage of a jack-pudding in the mountains of _Westmoreland_ time out of mind.

"The play was opened by this character with a song, which answered the double purpose of a play-bill and a a prologue, for his ditty gave the audience a foretaste of the rueful incidents they were about to behold; and it called out the actors, one by one, to make the spectators acquainted with their names and characters, walking round and round till the whole Dramatis Personæ made one great circle on the stage. The audience being thus become acquainted with the actors, the play opened with _Paris_ running away with _Helen_, and _Menelaus_ scampering after them; then followed the death of _Patroclus_, the rage of _Achilles_, the persuasions of _Ulysses_,&c. &c. and the whole interlarded with apt songs, both serious and comic, all the production of _Ald Hogart_. The bard, however, at this time had been dead some years, and I believe this Fete was a Jubilee to his memory; but let it not detract from the invention of Mr. _Garrick_, to say that his at _Stratford_ was but a copy of one forty years ago on the banks of _Windermere_. Was it any improvement, think you, to introduce several _bulls_ into the procession instead of one? But I love not comparisons, and so conclude. Yours, &c. ADAM WALKER."

However _Ald Hogart_ might have succeeded in the dramatic line, and before a rustic audience, his poems of a different form are every way contemptible. Want of grammar, metre, sense, and decency, are their invariable characteristics. This opinion is founded on a thorough examination of a whole bundle of them, transmitted by a friend since the first publication of this work.

[3] Vir Clarissime, Excusso _Malpighio_ intra sex vel plurimum septem septimanas te tamen per totum inconsulto, culpa est in Bibliopolam conferenda, qui adeo festinanter urgebat opus ut moras nectere nequivimus. Utut sit, tamen mihimet adulor me satis recte authoris & verba & mentem cepisse (diligenter enim noctes atque dies opere incubui ne tibi vel ulli regiorum tuorum sodalium molestus forem). Rudiora tamen quorum specimen infra exhibere placuit, & _Italico-Latina_, juxta præceptum tuum, _similia feci_ aliter si fecissem, totus fere liber mutationem sul iisset. Authorem tam pueriliter & barbare loquentem nunquam antehac evolvi quod meminerim; faciat ergo lector, ut solent nautæ, qui dum fœtet aqua, nares pilissando comprimunt, spretis enim verbis sensum, si quis est, attendat. Multa (infinita pœnè dixerim) authoris errata emendavi, quædam tamen non animadversa vereor; _Augeæ_ enim stabulum non nisi _Hercules_ repurgavit. Partem _Italico_ sermone conscriptam præetermitto, istam enim provinciam adornare suscepit Doctor _Pragestee Italus_; quam bene rem gessit, ipse viderit. Menda Typographica, spero, aut nulla, aut levia apparebunt. Tuam tamen & Regiæ Societatis censuram exoptat facilem, Tibi omni studio addictissimus,

"RICHARDUS HOGARTH, ...Preli Curator."

[4] He published "Grammar Disputations; or, an Examination of the eight parts of speech by way of question and answer, _English_ and _Latin_, whereby children in a very little time will learn, not only the knowledge of grammar, but likewise to speak and write _Latin_; as I have found by good experience. At the end is added a short Chronological index of men and things of the greatest note, alphabetically digested, chiefly relating to the Sacred and _Roman_ History, from the beginning of the World to the Year of Christ 1640, and downwards. Written for the use of schools of _Great-Britain_, by _Richard Hogarth_ Schoolmaster, 1712." This little book has also a _Latin_ title-page to the same purpose, "Disputationes Grammaticales, &c." and is dedicated, "Scholarchis, Ludimagistris, _et Hypodidascalis Magnæ Britanniæ_."

[5] _Hogart_ was the family name, probably a corruption of _Hogherd_, for the latter is more like the local pronunciation than the first. This name disgusted Mrs. _Hogart_; and before the birth of her son, she prevailed upon her husband to liquify it into _Hogarth_. This circumstance was told to me by Mr. _Walker_, who is a native of _Westmoreland_. By Dr. _Morell_, I was informed that his real name was _Hoggard_, or _Hogard_, which, himself altered, by changing _d_ into ð, the Saxon _th_.

[6] On what authority this is said, I am yet to learn. The registers of _St. Bartholomew the Great_, and of _St. Bartholomew the Less_, have both been searched for the same information, with fruitless solicitude. The school of _Hogarth's_ father, in 1712, was in the parish of _St. Martin's Ludgate_. In the register of that parish, therefore, the births of his children, and his own death, may probably be found.[A]

[A] The register of _St. Martin's Ludgate_, has also been searched to no purpose.

[7] This circumstance has, since it was first written, been verified by a gentleman who has often heard a similar account from one of the _last Head Assay-Masters_ at _Goldsmiths-Hall_, who was apprentice to a silversmith in the same street with _Hogarth_, and intimate with him during the greatest part of his life.

[8] Universal Museum, 1764. p. 549. The same kind of revenge, however, was taken by _Verrio_, who, on the cieling of _St. George's Hall_ at _Windsor_, borrowed the face of Mrs. _Marriot_, the housekeeper, for one of the Furies.

[9] This picture is noticed in the article _Thornhill_, in the _Biographia Britannica_, where, instead of _Wanstead_, it is called the _Wandsworth_ assembly. There seems to be a reference to it in "A Poetical Epistle to Mr. _Hogarth_, an eminent History and Conversation Painter," written _June_ 1730, and published by the author (Mr. _Mitchell_), with two other epistles, in 1731, 4to.

"Large families obey your hand;
_Assemblies_ rise at your command."

Mr. _Hogarth_ designed that year the frontispiece to Mr. _Mitchell's_ Opera, _The Highland Clans_.

[10] Of all these a more particular account will be given in the Catalogue annexed.

[11] Brother to _Henry Overton_, the well-known publisher of ordinary prints, who lived over against _St. Sepulchre's Church_, and sold many of _Hogarth's_ early pieces coarsely copied, as has since been done by _Dicey_ in _Bow Church-yard_.

[12] This conceit is borrowed from _Vanloo's_ picture of _Colley Cibber_, whose daughter has the same employment.

[13] It appears that Mr. _G._ was dissatisfied with his likeness, or that some dispute arose between him and the painter, who then struck his pencil across the face, and damaged it. The picture was unpaid for at the time of his death. His widow then sent it home to Mr _Garrick_, without any demand.

[14] Afterwards rector of _Crawley_ in _Hampshire_; author of "_Ben Mordecai's_ Letters," "Confusion worse confounded," and many other celebrated works.

[15] He died of the small-pox, Aug. 12, 1729, and is said, in the "Political State," to have possessed 5000 l. a year. He married a sister of lord _Bateman_, by whom he left a son and two daughters.

[16] I have heard that he continually took sketches from nature as he met with them, and put them into his works; and it is natural to suppose he did so.

[17] See the Catalogue at the end of these Anecdotes. A very considerable number of personalities are there pointed out under the account of each plate in which they are found.

[18] The late Mr _Cole_, of _Milton_, in his copy of these Memoirs, had written against the name of _Bambridge_, "Father to the late attorney of that name, a worthy son of such a father. He lived at _Cambridge_." And in a copy of the first edition on occasion of a note (afterwards withdrawn) which mentioned "Mr. _Baker's_ having quarrelled with _Hearne_;" Mr. _Cole_ wrote, "Mr. _Baker_ quarrelled with no man: he might coolly debate with Mr. _Hearne_ on a disputable point. It is, therefore, a misrepresentation of Mr. _Baker's_ private character, agreeable to the petulance of this age."

[19] The wardenship of _The Fleet_, a patent office, was purchased of the earl of _Clarendon_, for 5000 _l._ by _John Huggins_, esq. who was in high favour with _Sunderland_ and _Craggs_, and consequently obnoxious to their successors. _Huggins's_ term in the patent was for his own life and his son's. But, in _August_ 1728, being far advanced in years, and his son not caring to take upon him so troublesome an office, he sold their term in the patent for the same sum it had cost him, to _Thomas Bambridge_ and _Dougal Cuthbert. Huggins_ lived to the age of 90.

[20] Mr. _Rayner_, in his reading on Stat. 2 _Geo._ II. chap. 32. whereby _Bambridge_ was incapacitated to enjoy the office of warden of _The Fleet_, has given the reader a very circumstantial account, with remarks, on the notorious breaches of trust, &c. committed by _Bambridge_ and other keepers of _The Fleet-Prison_. For this publication, see _Worral's_ Bibliotheca Legum by _Brooke_, 1777, p. 16.

"A report from the Committee appointed to enquire into the State of the Gaols of this Kingdom, relating to the _Marshalsea_ prison; with the Resolutions of the House of Commons thereupon," was published in 4to. 1729; and reprinted in 8vo, at _Dublin_ the same year. It appears by a MS. note of _Oldys_, cited in _British Topography_, vol. I. p. 636, that _Bambridge_ cut his throat 20 years after.

[21] _William Huggins_, esq. of _Headly Park, Hants,_ well-known by his translation of the _Orlando Furioso_ of _Ariosto_. Being intended for holy orders, he was sent to _Magdalen College, Oxford,_ where he took the degree of M. A. _April_ 30, 1761; but, on the death of his elder brother in 1756, declined all thoughts of entering into the church. He died _July_ 2, 1761; and left in MS. a tragedy, a farce, and a translation of _Dante_, of which a specimen was published in the _British Magazine_, 1760. Some flattering verses were addressed to him in 1757, on his version of _Ariosto_; which are preserved in the _Gentleman's Magazine_, vol. XXVII. p. 180; but are not worth copying. The last Mr. _Huggins_ left an estate of 2000 _l._ a year to his two sons-in-law _Thomas Gatehouse_, Esq; and Dr. _Musgrave_ of _Chinnor_.

[22] Sir _Francis Page's_, "Character," by _Savage_, thus gibbets him to public detestation:

"Fair Truth, in courts where Justice should preside,
Alike the Judge and Advocate would guide;
And these would vie each dubious point to clear,
To stop the widow's and the orphan's tear;
Were all, like _Yorke_,[A] of delicate address,
Strength to discern, and sweetness to express,
Learn'd, just, polite, born every heart to gain,
Like _Comyns_[B] mild; like _Fortescue_[C] humane,
All-eloquent of truth, divinely known,
So deep, so clear, all Science is his own.

"Of heart impure, and impotent of head,
In history, rhetoric, ethics, law, unread;
How far unlike such worthies, once a drudge,
From floundering in low cases, rose a Judge.
Form'd to make pleaders laugh, his nonsense thunders,
And on low juries breathes contagious blunders.
His brothers blush, because no blush he knows,
Nor e'er 'one uncorrupted finger shows.'[D]
See, drunk with power, the circuit-lord exprest!
Full, in his eye, his betters stand confest;
Whose wealth, birth, virtue, from a tongue so loose,
'Scape not provincial, vile, buffoon abuse.
Still to what circuit is assigned his name,
There, swift before him, flies the warner--Fame.
Contest stops short, Consent yields every cause
To Cost; Delay endures them, and withdraws.
But how 'scape prisoners? To their trial chain'd,
All, all shall stand condemn'd, who stand arraign'd,
Dire guilt, which else would detestation cause,
Prejudg'd with insult, wondrous pity draws.
But 'scapes e'en Innocence his harsh harangue?
Alas!--e'en Innocence itself must hang;
Must hang to please him, when of spleen possest,
Must hang to bring forth an abortive jest.

"Why liv'd he not ere Star-chambers had fail'd,
When fine, tax, censure, all but law prevail'd;
Or law, subservient to some murderous will,
Became a precedent to murder still?
Yet e'en when portraits did for traitors bleed,
Was e'er the jobb to such a slave decreed,
Whose savage mind wants sophist-art to draw,
O'er murder'd virtue, specious veils of law?

"Why, Student, when the bench your youth admits,
Where, though the worst, with the best rank'd he sits;
Where sound opinions you attentive write,
As once a _Raymond_, now a _Lee_ to cite,
Why pause you scornful when he dins the court?
Note well his cruel quirks, and well report.
Let his own words against himself point clear,
Satire more sharp than verse when most severe."

Nor was _Savage_ less severe in his prose. On the trial of this unfortunate poet, for the murder of _James Sinclair_ in 1727, Judge _Page_, who was then on the bench, treated him with his usual insolence and severity; and, when he had summed up the evidence, endeavoured to exasperate the jury, as Mr. _Savage_ used to relate it, with this eloquent harangue: "Gentlemen of the Jury, you are to consider that Mr. _Savage_ is a very great man, a much greater man than you or I, gentlemen of the jury; that he wears very fine cloaths, much finer cloaths than you or I, gentlemen of the jury; that he has abundance of money in his pocket, much more money than you or I, gentlemen of the jury: but, gentlemen of the jury, is it not a very hard case, gentlemen of the jury, that Mr. _Savage_ should therefore kill you or me, gentlemen of the jury?"

_Pope_ also, _Horace_, B. II. Sat. r, has the following line:

"Hard words or hanging, if your judge be _Page."_

And _Fielding_, in _Tom Jones_, makes _Partridge_ say, with great _naiveté_, after premising that judge _Page_ was a very brave man, and a man of great wit, "It is indeed charming sport to hear trials on life and death!"

[A] Sir _Philip Yorke_, chief justice of the King's Bench, afterwards lord-chancellor and earl _Hardwicke_.

[B] Sir _John Comyns_, chief baron of the Exchequer.

[C] Hon. _William Fortescue_, then one of the justices of the court of Common Pleas, afterwards master of the Rolls.

[D] "When _Page_ one uncorrupted finger shows." D. of WHARTON.

[23] The truth and propriety of these strictures having been disputed by an ingenious correspondent in the _Public Advertiser_, his letter, with remarks on it, is subjoined by way of appendix to the present work. In this place performances of such a length would have interrupted the narrative respecting _Hogarth_ and his productions. See Appendix I.

[24] In co'i Banco.

WILLIAM HOGARTH, Plaintiff. JOSHUA MORRIS, Defendant.

_Middlesex._

The Plaintiff declares, that on the 20th of _December_, 1727, at _Westminster_ aforesaid, Defendant was indebted to him 30 _l_. for painter's work, and for divers materials laid out for the said work; which Defendant faithfully promised to pay when demanded.

Plaintiff also declares, that Defendant promised to pay for the said work and other materials, as much as the same was worth; and Plaintiff in fact says the same was worth other 30 _l_.

Plaintiff also declares for another sum of 30 _l_ for money laid out and expended for Defendant's use, which he promised to pay.

The said Defendant not performing his several promises, the Plaintiff hath brought this action to his damage 30 _l_. for which this action is brought.

To which the Defendant hath pleaded _non assumpsit_ and thereupon issue is joined.

CASE.

The Defendant is an upholsterer and tapestry-worker, and was recommended to Plaintiff as a person skilful in painting patterns for that purpose; the Plaintiff accordingly came to Defendant, who informing him that he had occasion for a tapestry design of the Element of Earth, to be painted on canvas, Plaintiff told Defendant he was well skilled in painting that way, and promised to perform it in a workmanlike manner; which if he did, Defendant undertook to pay him for it twenty guineas.

Defendant, soon after, hearing that Plaintiff was an engraver, and no painter, was very uneasy about the work, and ordered his servant to go and acquaint Plaintiff what he had heard; and Plaintiff then told the said servant, 'that it was a bold undertaking, for that he never did any thing of that kind before; and that, if his master did not like it, he should not pay for it.'

That several times sending after Plaintiff to bring the same to Defendant's house, he did not think fit so to do; but carried the same to a private place where Defendant keeps some people at work, and there left it. As soon as Defendant was informed of it, he sent for it home, and consulted with his workmen whether the design was so painted as they could work tapestry by it, and they were all unanimous that it was not finished in a workmanlike manner, and that it was impossible for them to work tapestry by it.

Upon this, Defendant sent the painting back to Plaintiff by his servant, who acquainted him, 'that the same did not answer the Defendant's purpose, and that it was of no use to him; but if he would finish it in a proper manner, Defendant would take it, and pay for it.'

Defendant employs some of the finest hands in _Europe_ in working tapestry, who are most of them foreigners, and have worked abroad as well as here, and are perfect judges of performances of this kind.

The Plaintiff undertook to finish said piece in a month, but it was near three months before he sent to the Defendant to view it; who, when he saw it, told him that he could not make any use of it, and was so disappointed for want of it, that he was forced to put his workmen upon working other tapestry that was not bespoke, to the value of 200 _l._ which now lies by him, and another painter is now painting another proper pattern for the said piece of tapestry.

To prove the case as above set forth, call Mr. _William Bradshaw_.

To prove the painting not to be performed in a workmanlike manner, and that it was impossible to make tapestry by it, and that it was of no use to Plaintiff, call Mr. _Bernard Dorrider_, Mr. _Phillips_, Mr. _De Friend_, Mr. _Danten_, and Mr. _Pajon_.

By the counsel's memoranda on this brief it appears, that the witnesses examined for the Plaintiff were _Thomas King, Vanderbank, Le Gard, Thornhill,_ and _Cullumpton_.

[25] _James Thornhill_, esq. serjeant-painter and history-painter to King _George_ I. In _June_ 1715, he agreed to paint the cupola of _St. Paul's_ church for 4000 _l._ and was knighted in _April_ 1720. In a flattering account given of him immediately after his death, which happened _May_ 13, 1734, in his 57th year, he is said to have been "the greatest history-painter this kingdom ever produced, witness his elaborate works in _Greenwich-Hospital_, the cupola of _St. Paul's_, the altar-pieces of _All-Souls College_ in _Oxford_, and in the church of _Weymouth_, where he was born; a cieling in the palace of _Hampton-Court_, by order of the late Earl of _Halifax:_ his other works shine in divers noblemens' and gentlemens' houses. His later years were employed in copying the rich cartoons of _Raphael_ in the gallery of _Hampton-Court_, which, though in decay, will be revived by his curious pencil, not only in their full proportions, but in many other sizes and shapes, he in a course of years had drawn them. He was chosen representative in the two last parliaments for _Weymouth_, and having, by his own industry, acquired a considerable estate, re-purchased the seat of his ancestors, which he re-edified and embellished. He was not only by patents appointed history-painter to their late and present majesties, but serjeant-painter, by which he was to paint all the royal palaces, coaches, barges, and the royal navy. This late patent he surrendered in favour of his only son _John Thornhill_, Esq. He left no other issue but one daughter, now the wife of Mr _Wm. Hogarth_, admired for his curious miniature conversation paintings. Sir _James_ has left a most valuable Collection of pictures and other curiosities."

[26] He was called on this occasion, in the Craftsman, "Mr. _Hogarth_, an ingenious designer and engraver."

[27] "_Pope_ published in 1731 a poem called _False Taste_, in which he very particularly and severely criticises the house, the furniture, the gardens, and the entertainments of _Timon_, a man of great wealth and little taste. By _Timon_ he was universally supposed, and by the Earl of _Burlington_, to whom the poem is addressed, was privately said to mean the Duke of _Chandos_; a man perhaps too much delighted with pomp and shew, but of a temper kind and beneficent, and who had consequently the voice of the publick in his favour. A violent outcry was therefore raised against the ingratitude and treachery of _Pope_, who was said to have been indebted to the patronage of _Chandos_ for a present of a thousand pounds, and who gained the opportunity of insulting him by the kindness of his invitation. The receipt of the thousand pounds _Pope_ publickly denied; but from the reproach which the attack on a character so amiable brought upon him, he tried all means of escaping. The name of _Cleland_ was employed in an apology, by which no man was satisfied; and he was at last reduced to shelter his temerity behind dissimulation, and endeavour to make that disbelieved which he never had confidence openly to deny. He wrote an exculpatory letter to the Duke, which was answered with great magnanimity, as by a man who accepted his excuse without believing his professions. He said, that to have ridiculed his taste, or his buildings, had been an indifferent action in another man; but that in _Pope_, after the reciprocal kindness that had been exchanged between them, it had been less easily excused." _Dr. Johnson, in his Life of Pope._

[28] That Sir _John Gonson_ took a very active part against the Ladies of Pleasure, is recorded by more than one of their votaries: In "A View of the Town, 1735," by Mr. _T. Gilbert_, a fellow of _Peter House Cambridge_, and an intimate companion of _Loveling_,[A] I meet with these lines:

"Though laws severe to punish guilt were made,
What honest man is of these laws afraid?
All felons against judges will exclaim,
As harlots startle at a _Gonson's_ name."

The magistrate entering with his myrmidons was designed as the representative of this gentleman, whose vigilance on like occasions is recorded in the following elegant Sapphic Ode, by Mr. _Loveling_. This gentleman was educated at _Winchester-school_, became a commoner of _Trinity College, Oxford_, was ordained deacon, lived gaily, and died young. His style, however, appears to have been formed on a general acquaintance with the language of _Roman_ poetry; nor do any of his effusions betray that poverty of expression so conspicuous in the poems of _Nicholas Hardinge_, esq. who writes as if _Horace_ was the only classic author he had ever read.

Ad _Johannem Gonsonum_, Equitem.

Pellicum, _Gonsone_, animosus hostis,
Per minus castas _Druriæ_ tabernas
Lenis incedens, abeas _Diones_
Æquus alumnis!
Nuper (ah dictu miserum!) _Olivera_
Flevit ereptas viduata mœchas,
Quas tuum vidit genibus minores
Ante tribunal.
Dure, cur tantâ in _Veneris_ ministras
Æstuas irâ? posito furore
Huc ades, multà & prece te vocantem
Gratior audi!
Nonne sat mœchas malè feriatas
Urget infestis fera sors procellis?
Adderis quid tu ulterior puellis
Causa doloris?
Incolunt, eheu! thalamos supernos,
Nota quæ sedes fuerat Poetis;
Nec domum argento gravis, ut solebat,
Dextra revertit.
Nympha quæ nuper nituit theatro,
Nunc stat obscuro misera angiportu,
Supplici vellens tunicam rogatque
Voce _Lyæum_.
Te voco rebus _Druriæ_ mentis;
Voci communi _Britonum_ Juventus
Te vocat, nunc ô! dare te benignum
Incipe votis.
Singulum tunc dona feret lupanar:
Liberum mittet _Rosa_ Lusitanum,
Gallici _Haywarda_ et generosa mittet
Munera _Bacchi_.
Sive te forsan moveat libido,
Aridis pellex requiescet ulnis,
Callida effœtas renovare lento
Verbere vires.

The same poet, speaking of the exhilarating effects of Gin, which had just been an object of Parliamentary notice, has the following stanza:

Utilis mœchae fuit & Poetæ;
Sprevit hinc Vates Dolopum catervas,
Mœcha _Gonsonum_ tetricâ minantem
Fronte laborem.

Thus, between the poet and the painter, the fame of our harlot-hunting Justice is preserved. But as a slave anciently rode in the same chariot with the conqueror, the memory of a celebrated street-robber and highwayman will descend with that of the magistrate to posterity, _James Dalton's_ wig-box being placed on the tester of the Harlot's bed. I learn from the _Grubstreet Journal_, that he was executed on the 12th of _May_, 1730. Sir _John Gonson_ died _January_ 9, 1765. He was remarkable for the charges which he used to deliver to the grand juries, which are said to have been written by Orator _Henley_. The following puffs, or sneers, concerning them, are found in the first number of the _Grubstreet Journal_, dated _January_ 8, 1730. "Yesterday began the General Quarter Sessions, &c. when Sir _John Gonson_, being in the chair, gave a most _incomparable, learned,_ and _fine_ charge to the Grand Jury." _Daily Post_.

"The _Morning Post_ calls Sir _John's_ charge _excellent, learned_ and _loyal_. The _Evening Post_ calls it an _excellent lecture_ and _useful charge_."

Three of these performances had been published in 1728.[B] Sir _John's_ name is also preserved in Mr _Pope's_ works:

"Talkers I've learn'd to bear: _Motteux_ I knew;
_Henley_ himself I've heard, and _Budgell_ too.
The Doctor's wormwood style, the hash of tongues
A pedant makes, the storm of _Gonson's_ lungs."
Fourth Sat. of Dr. _Donne_ versified.

[A] In the collection of _Loveling's_ Poems, 1741, are two by _Gilbert. Loveling_ also addressed a poem, not printed in his works, "_Gilberto suo_," and in _Gilbert's_ Poems, published 1747, is "A familiar Epistle to my friend _Ben Loveling_."

[B] One charge by Sir _John Gonson_ is in the Political State, vol. XXXV. p. 50; and two others in vol. XXXVI. pp 314. 333.

[29] It was customary in _Hogarth's_ family to give these fans to the maids.

[30] Among the small articles of furniture in the scenes of _Hogarth_, a few objects may speedily become unintelligible, because their archetypes, being out of use, and of perishable natures, can no longer be found. Such is the _Dare for Larks_ (a circular board with pieces of looking-glass inserted in it), hung up over the chimney-piece of the _Distress'd Poet_; and the _Jews Cake_ (a dry tasteless biscuit perforated with many holes, and formerly given away in great quantities at the Feast of Passover), generally used only as a fly-trap, and hung up as such against the wall in the sixth plate of the _Harlot's Progress_. I have frequently met with both these articles in mean houses.

[31] The fire began at the house of Mrs. _Calloway_, who kept a brandy-shop. This woman was committed to _Newgate_, it appearing among other circumstances, that she had threatened "to be even with the landlord for having given her warning, and that she would have a bonfire on the 20th of _June_, that should warm all her rascally neighbours."

[32] _Hogarth_ attempted to improve it, but without much success. The additional figures are quite episodical. See the Catalogue.

[33] In _Seymour's_ history of _London_, vol. II. p. 883. is the following notice of our artist: