Chapter V: Preface: To the GERMAN READER (4)

"Among the Governors of _St. Bartholomew's Hospital_, was lately chosen Mr. _William Hogarth_ the celebrated printer, who, we are told, designs to paint the stair-case of the said hospital, and thereby become a benefactor to it, by giving his labour gratis."

[34] He bought up great quantities of the copies of his works; and they still remain in possession of his widow. The "Harlot's" and the "Rake's" Progress, in a smaller size than the original, were published, with his permission, by _Thomas Bakewell_, a printseller, near the _Horn Tavern, Fleet-street_.

[35] Of the _Harlot's Progress_ I have seen no less than eight piratical imitations.

[36] _Lord Gardenston_, one of the lords of session in _Scotland_, on delivering his opinion in the court of session upon the question of literary property, in the cause of _Hinton_ and _Donaldson_ and others, all booksellers, in _July_ 1773 thus introduced the works of _Hogarth_: "There is nothing can be more similar than the work of engraving is to literary composition. I will illustrate this proposition by the works of Mr _Hogarth_, who, in my humble opinion, is the only true original artist which this age has produced in _England_. There is hardly any character of an excellent author, which is not justly applicable to his works. What composition, what variety, what sentiment, what fancy, invention, and humour, we discover in all his performances! In every one of them an entertaining history, a natural description of characters, and an excellent moral. I can read his works over and over, _Horace's_ characteristic of excellency in writing, _decies repetita placebit_; and every time I peruse them, I discover new beauties, and feel fresh entertainment: can I say more in commendation of the literary compositions of a _Butler_ or a _Swift_? There is great authority for this parallel; the legislature has considered the works of authors and engravers in the same light; they have granted the same protection to both; and it is remarkable, that the act of parliament for the protection of those who invent new engravings, or prints, is almost in the same words with the act for the protection and encouragement of literary compositions." This is taken from a 4to pamphlet, published in 1774 by _James Boswell_, esq. advocate, one of the counsel in the cause.

[37] "That _Huggins_ penned the statute, I was told by Mr. _Hogarth_ himself. The determination of Lord _Hardwicke_ was thus occasioned. _Jefferys_, the printseller at the corner of _St. Martin's Lane_, had employed an artist to draw and engrave a print representing the _British_ Herring Fishery; and, having paid him for it, took an assignment of the right to the property in it accruing to the artist by the act of parliament. The proprietors of one of the magazines pirated it in a similar size, and _Jefferys_ brought his bill for an injunction, to which the defendants demurred: and, upon argument of the demurrer, the same was allowed, for the reason abovementioned, and the bill dismissed. _Hogarth_ attended the hearing; and lamented to me that he had employed _Huggins_ to draw the act, adding, that, when he first projected it, he hoped it would be such an encouragement to engraving and printselling, that printsellers would soon become as numerous as bakers' shops; which hope, notwithstanding the above check, does at this time seem to be pretty nearly gratified." _For this note my readers are indebted to Sir_ John Hawkins.

[38] "What Caricatura is in painting," says _Fielding_, "Burlesque is in writing; and in the same manner the comic writer and painter correlate to each other. And here I shall observe, that as in the former the painter seems to have the advantage; so it is in the latter infinitely on the side of the writer: for the Monstrous is much easier to paint than describe, and the Ridiculous to describe than paint. And though perhaps this latter species doth not in either science so strongly affect and agitate the muscles as the other; yet it will be owned, I believe, that a more rational and useful pleasure arises to us from it."

[39] This idea originally occurred in _Colley Cibber's Apology_. From thence it was transplanted by _Lloyd_ into his celebrated poem intituled _The Actor_. Lying thus in the way of _Garrick_, he took it up for the use of the _prologue_ already quoted. Lastly, Mr. _Sheridan_, in his beautiful _Monody_, condescended to borrow it, only because it spared him the labour of unlocking the richer storehouse of his own imagination.

I may however remark that _Cibber_, when he suggested this mortifying reflection, had more reason on his side than some of his successors who have indulged themselves in the same dolorous strain of complaint. To whatever oblivion the celebrated actors of the last age have been resigned, the pencil of _Hogarth, Dance, Zoffani,_ and _Reynolds_, had left Mr. _Garrick_ not the slightest reason to be apprehensive that, in his own particular case, the art and the artist would alike be forgotten. Meanwhile, let our heroes of the stage be taught to moderate their anxiety for posthumous renown, by a recollection that their peculiar modes of excellence will, at least, be as well preserved to futurity as those of the lords _Chatham_ and _Mansfield_, whose talents, perhaps, might support an equal claim to perpetuation.

[40] Dr. _M._ once observed to _J. N._ in a letter on this subject, "In the 13th chapter I was somewhat puzzled with the _flat_ and _round_, or the _concave_ and _convex_, appearing the reverse; till the sun happily shining in upon the cornice, I had a fair example of what he intended to express. The next chapter, with regard to _colouring_, did not go on quite so smooth; for, if I satisfied _him_, I was not satisfied _myself_ with his peculiar principles; nor could I relish his laying the blame on the _colourmen_, &c."

[41] One exception to this remark occurs in the _Gentleman's Magazine_ for 1754, p. 14; where the reviewer of the Analysis observes, that it is "a book written with that precision and perspicuity which can only result from a perfect knowledge of his subject in all its extent. His rules are illustrated by near two hundred figures, engraved by himself; the knowledge which it contains is universally useful, and as all terms of art are avoided, the language will be universally understood. The player and the dancing-master, whom others consider as patterns of just action and genteel deportment, are not less instructed than the statuary and the painter; nor is there any species of beauty or elegance that is not here investigated and analysed.

"A book, by which the author has discovered such superiority, could scarce fail of creating many enemies; those who admit his Analysis to be just, are disposed to deny that it is new. Though in the year 1745, having drawn a serpentine line on a painter's pallet, with these words under it, 'the line of beauty,' as a frontispiece to his prints, no _Egyptian_ hieroglyphic ever produced greater variety of speculation; both painters and sculptors then came to enquire the meaning of a symbol, which they soon pretended to have been their old acquaintance; though the account they could give of its properties were scarce so satisfactory as that of a day-labourer, who constantly uses the _lever_, could give of that instrument, as a mechanical power. The work, however, will live when these cavils are forgotten; and except the originals, of which it is pretended to be a copy, are produced, there is no question but that the name of the author will descend to posterity with that honour which competitors only can wish to withhold."

It should be observed, however, that the general decision on _Hogarth's_ performance may be just. Certain we are, that it has not been reversed by the opinion of the First of our Modern Painters.

[42] The _Analysis_ itself however affords sufficient specimens of inaccuracy in spelling. Thus we have (pref. p. xix.) _Syclamen_ instead of _Cyclamen_; (p. 44.) calc_i_donian for C_h_alc_e_donian; (p. 65.) nuckles for _k_nuckles; (p. 97.) Iris_h_-stitch for Iris-stitch, &c. &c. In the sheets that contain these errors, it is easy to conceive that _Hogarth_ must have been his own corrector of the press.

[43] It is so extraordinary for an illiterate person to ridicule inaccuracy of spelling, that this might probably be a real blunder.

[44] Some account of this work will be given in a future page.

[45] See a note on _Marriage-a-la-Mode_ (under the year 1745); from whence it sufficiently appears, that _indelicacies_, &c. had been imputed to _Hogarth's_ performances, and that, therefore, when he advertised the six plates of _Marriage-a-la-Mode_, he thought it necessary to assure the public that no _indelicacy, indecency,_ or _personality_, would be found in any of these representations.

[46] The exigence of this card having been doubted, it is engraved in our title-page, from the original now in _Charles Street, Grosvenor Square_, in the possession of Dr. _Wright_.

[47] This pun reminds us of a similar one from _Garth_ to _Rowe_, who making repeated use of his snuff-box, the _Doctor_ at last sent it to him with the two _Greek_ letters written on the lid, Φ, ρ, (_Phi, Ro_). At this the sour _Dennis_ was so provoked, as to declare, that "a man who could make such a vile pun, would not scruple to pick a pocket."

[48] The cat spitting at the dog is a circumstance in the fourth plate of _Industry and Idleness_, where it is naturally introduced. The dog attends on a porter who is bringing in goods; and the warehouse cat, who considers this animal as an invader, is preparing to defend her person and premises.

[49] When this ample, nay, redundant, apology by Dr. _Joseph Warton_ first made its appearance, _Hogarth_ was highly delighted with as much of it as he understood. But, not knowing the import of the word ΗθΟΣ [Greek: Ethos], he hastened to his friends for information. All, in their turn, sported with his want of skill in the learned languages; first telling him it was Greek for one strange thing, and then for another, so that his mind remained in a state of suspence; as, for aught he knew to the contrary, some such meaning might lie under these crooked letters, as would overset the compliments paid him in the former parts of the paragraph. No short time, therefore, had passed before he could determine whether he ought to retract or continue his charge against his adversary: but it was at last obliterated. For several months afterwards, however, poor _Hogarth_ never praised his provision or his wine, without being asked what proportion of the ΗθΟΣ [Greek: Ethos] he supposed to be in either.

[50] An engraving from this picture may be expected from Mr. _Livesay_.

[51] A polite gentleman, of great learning, and much esteemed. He had some good pictures, and a very fine library, in the great house at _Peckham_ (formerly inhabited by Lord _Trevor_), which, together with a considerable estate there, was bequeathed to him by his aunt Mrs. _Hill_.

[52] See the names of the purchasers, and prices of this collection, in the _Gentleman's Magazine_, 1758, p. 225.

[53] He painted the heart from an injected one provided for him by _Cæsar Hawkins_ the surgeon; and, on the authority of repeated inspection, I venture to affirm, that the fingers of _Sigismunda_ are unstained with blood, and that neither of her hands is employed in rending ornaments from her head, or any other part of her person. In this instance Mr. _Walpole's_ memory must have failed him, as I am confident that his misrepresentation was undesigned. It is whispered (we know not with how much truth) that Mrs. _H._ was hurt by this description of the picture, and that she returned no thanks for the volume that contains it, when it was sent to her as a present by its author. It should seem that she still designs to dispose of this ill-fated performance, and thinks that its reputation required no additional blast.

I have reprinted this note, without correction, that I might thereby obtain the fairer opportunity of doing justice to Mr. _Walpole_, concerning the faithfulness of whose memory I had ventured to express a doubt. Genuine information is not always to be had; nor shall I hesitate a moment to apologize for the fallaciousness of mine. The fingers of _Sigismunda_ were _originally_ stained with blood. This indelicate and offensive circumstance was pointed out by some intelligent friend to _Hogarth_, who reluctantly effaced it.

A correspondent, however, on reading this work, has furnished an additional reason why the lady already mentioned may be offended by the severity of Mr. _Walpole's_ strictures on _Sigismunda_. "It has been whispered that Count _Guiscard's_ widow was a copy from the _daughter of Sir James Thornhill_. If this circumstance be true, the very accomplished Critick of _Strawberry Hill_ will own at least that her wrath and _Juno's_ had the same provocation, '_Judiciam Paridis, spretæque injuria formæ_.' Impartiality, however, obliges us to add, that Mrs. _Hogarth_, though in years, is still a very fine woman; and that Mr. _Walpole's_ idea of what a picture of _Sigismunda_ ought to express, is poetically conceived, and delivered with uncommon elegance and force of language. The _sober grief_, the _dignity of suppressed anguish_, the _involuntary tear_, the _settled meditation on the fate she meant to meet_, and the _amorous warmth turned holy by despair_, are words that fill the place of colours, supply all the imperfections of _Hogarth's_ design, and succeed even where a _Furino_ or a _Correggio_ may have failed."

[54] This circumstance was ridiculed in a grotesque print, called _A Harlot blubbering over a bullock's heart. By William Hogart._

[55] "Many causes may vitiate a writer's judgement of his own works. On that which has cost him much labour he sets a high value, because he is unwilling to think that he has been diligent in vain; what has been produced without toilsome efforts is considered with delight, as a proof of vigorous faculties and fertile invention; and the last work, whatever it be, has necessarily most of the grace of novelty. _Milton_, however it happened, had this prejudice, and had it to himself." Dr. JOHNSON.

[56] _Sigismunda_, however, though she missed of judicious admirers, had, at least, the good fortune to meet with a flatterer in the late Mr. _Robert Lloyd_, whose poem intituled _Genius, Envy,_ and _Time,_ addressed to _William Hogarth_, esq. has the following lines. _Time_ is the speaker.

"While _Sigismunda's_ deep distress
Which looks the soul of wretchedness,
When I, with slow and softening pen,
Have gone o'er all the tints agen,
Shall urge a bold and proper claim,
To level half the ancient fame;
While future ages, yet unknown,
With critic air shall proudly own
Thy _Hogarth_ first of every clime
For humour keen, or strong sublime, &c."

It is but justice, on one hand, to add, that when _Lloyd_ wrote this eulogium, he was not yet enlisted under the banners of fashion; but impartiality, on the other hand, requires we should observe that, having, like _Hogarth_, seen few pictures by the best masters, he was treating of an art he did not understand.

The authors of the _Monthly Review_ are of opinion, that _Mr. Walpole_ speaks too contemptuously of _Sigismunda_, and that there is no ground for the insinuation that the person for whom it was painted thought meanly of it. "We have in our possession (say they) a letter to _Hogarth_ from the noble person referred to, in which he expresses himself in the following terms;--_I really think the performance so striking and inimitable, that the constantly having it before one's eyes, would be often occasioning melancholy ideas to arise in one's mind, which, a curtain being drawn before it, would not diminish in the least._" Surely this epistle, if genuine, was ironical. Or shall we suppose that, afterwards, his lordship only saw the picture through the disgusting medium of the price? Mr. _Wilkes's_ opinion of the piece will be best conveyed in his own words, which are therefore copied in p. 81.

Dr. _Morell_, an intimate friend of Mr. _Hogarth_, who was applied to for information, returned for answer: "His excellencies, as well as his foibles, are so universally known, that I cannot add to the former, and would not, if I could, to the latter. I should think we lived in a very ill-natured world, if the whims and follies in a man's life were to be exposed, and his oddities and mistakes, _ubi plura nitent_, seriously condemned. But the unhappy affair of _Sigismunda_ requires animadversion. And I will venture to say that even this _Sigismunda_ would not have deserved so many hard things as have been said of it, if Mr. _Hogarth_ had timely and properly observed the caution--_Manum de Tabula_. But it was so altered, upon the criticism of one Connoisseur or another; and especially when, relying no longer upon strength of genius, he had recourse to the _feigned_ tears and _fictitious_ woe of a female friend; that, when it appeared at the exhibition, I scarce knew it again myself, and from a passable picture it became little better than the wretched figure here represented. In my opinion, I never saw a finer resemblance of flesh and blood, while the canvas was warm, I mean _wet_; but, like that of real flesh, as soon as it was chilled, the beauty wore off. And this, he said, could not be helped, as no colours, but those of pure nature, as _ultramarine_, &c. would keep their natural brightness. But it is granted that colouring was not Mr. _Hogarth's_ forte; and the subject we are upon is a disagreeable one."

[57] The first sketch in oil for _Sigismunda_, and a drawing from the finished picture, are in the possession of Mr. _Samuel Ireland_.

[58] At the Club of Artists, it was not unusual to reproach _Hogarth_ with want of due attention to the Ancients, whom he always affected to despise. It accidentally happened that Mr. _Basire_, whilst this plate was in hand, was employed likewise in engraving, for the Society of Antiquaries, two plates of an antique bronze from the collection of Mr. _Hollis_, so remarkably grotesque, that Mr. _Hogarth_ very readily consented that his plate should be postponed, and declared, "he could not have imagined that the Ancients had possessed so much humour."

[59] Some subscriptions were actually received, and the money returned. The munificient Mr. _Hollis_, who was one of the subscribers, refused to take back what he had paid; and it was given by Mr. _Basire_ to a public charity.

[60] Two other little pieces are ascribed to him; the distich under the subscription-ticket for his _Sigismunda_, 1761,

'To Nature and yourself appeal;
Nor learn of others how to feel.'

And the following well-known Epigram:

"Your servant, Sir," says surly _Quin_,
"Sir, I am yours," replies _Macklin_,
"Why, you're the very _Jew_ you play,
Your face performs the task well."
"And you are _Sir John Brute_, they say,
And an accomplished _Maskwell_."
Says _Rich_, who heard the sneering elves,
And knew their horrid hearts;
"Acting too much your very selves,
You overdo your parts."[A]

[A] The censure contained in these poor lines is eminently unjust. _Macklin_ is known to have been an anxious and affectionate parent, and _Quin_ a benevolent and liberal friend.

[61] On what account I know not, but he had then forborn painting for more than a year.

[62] See hereafter, p. 81.

[63] In the Beauties of all the Magazines, 1773, p. 440, is a droll "Epistle from _Jacob Henriques_, born anno Domini, &c. to Messieurs _Hogarth_ and _Churchill_ greeting."

[64] For this the Satirist unmercifully apologizes in the conclusion of his poem, which may be seen in the Catalogue, under the year 1763, in a note on N° 2.

[65] As much of this paper as relates to our artist is here subjoined:

"The humourous Mr. _Hogarth_, the _supposed_ author of the _Analysis of Beauty_, has at last entered the list of politicians, and given us a print of _The Times. Words are man's province_, says _Pope_; but they are not Mr. _Hogarth's_ province. He somewhere mentions his being indebted to a friend for a third part of the _wording_: that is his phrase. We all titter the instant he takes up a _pen_, but we tremble when we see the _pencil_ in his hand. I will do him the justice to say, that he possesses the rare talent of gibbetting in colours, and that in most of his works he has been a very good moral satirist. His forte is there, and he should have kept it. When he has at any time deviated from _his own peculiar walk_, he has never failed to make himself perfectly ridiculous. I need only make my appeal to any one of his _historical_ or _portrait_ pieces, which are now considered as almost beneath all criticism. The favourite _Sigismunda_, the labour of so many years, the boasted effort of his art, was not _human_. If the figure had a resemblance of any thing ever on earth, or had the least pretence to meaning or expression, it was what he had seen, or perhaps made, in real life, his own wife in an agony of passion; but of what passion no connoisseur could guess. All his friends remember what tiresome discourses were held by him day after day about the transcendent merit of it, and how the great names of _Raphael, Vandyke,_ and others, were made to yield the palm of beauty, grace, expression, &c. to him, for this long laboured, yet still, _uninteresting_, single figure. The value he himself set on this, as well as on some other of his works, almost exceeds belief; yet from politeness or fear, or some other motives, he has actually been paid the most astonishing sums, as the price, not of his merit, but of his unbounded vanity.

"The darling passion of Mr. _Hogarth_ is to shew the _faulty_ and _dark_ side of every object. He never gives us in perfection the _fair face of nature_, but admirably well holds out her deformities to ridicule. The reason is plain. All objects are painted on his _retina_ in a grotesque manner, and he has never felt the force of what the _French_ call _la belle nature_. He never caught a single idea of beauty, grace, or elegance; but, on the other hand, he never missed the least flaw in almost any production of nature or of art. This is his true character. He has succeeded very happily in the way of humour, and has miscarried in every other attempt. This has arisen in some measure from his head, but much more from his heart. After _Marriage à la Mode_, the public wished for a series of prints of a _happy_ marriage. _Hogarth_ made the attempt, but the rancour and malevolence of his mind made him very soon turn with envy and disgust from objects of so pleasing contemplation, to dwell and feast a bad heart on others of a hateful cast, which he pursued, for he found them congenial, with the most unabating zeal, and unrelenting gall.

"I have observed some time his _setting sun_. He has long been very _dim_, and almost _shorn of his beams_. He seems so conscious of this, that he now glimmers with _borrowed light. John Bull's house in flames_ has been hackney'd in fifty different prints; and if there is any merit in the figure on stilts, and the mob prancing around, it is not to be ascribed to _Hogarth_, but to _Callot_. That spirited _Italian_, whom the _English_ painter has so carefully studied, has given us in the _Balli di Sfessania di Jacomo Callot_, the very same ideas, but infinitely more ludicrous in the execution. The piece is _Smaraolo cornuto. Ratsa di Boio. The Times_ must be confessed destitute of every kind of original merit. The print at first view appears too much crouded with figures; and is in every part confused, perplexed, and embarrassed. The _story is not well told to the eye_; nor can we any where discover the faintest ray of that genius, which with a few strokes of the pencil enabled us to penetrate into the deepest recesses of thought, and even caprice, in a _rake_, a _harlot_, and a _profligate young man of quality_.

"I own too that I am grieved to see the genius of _Hogarth_, which should take in all ages and countries, sunk to a level with the miserable tribe of party-etchers, and now, in his rapid decline, entering into the poor politics of the faction of the day, and descending into low personal abuse, instead of instructing the world, as he could once, by manly moral satire. Whence can proceed so surprizing a change? Is it the frowardness of old age? Or is it that envy and impatience of resplendent merit in every way, at which he has always sickened? How often has he been remarked to droop at the fair and honest applause given even to a friend, though he had particular obligations to the very same gentleman! What wonder then that some of the most respectable characters of the age become the objects of his ridicule? It is sufficient that the rest of mankind applaud; from that moment he begins the attack, and you never can be well with him, till he hears an universal outcry against you, and till all your friends have given you up. There is besides a silly affectation of singularity, joined to a strong desire of leading the rest of the world: when that is once found impracticable, the spleen engendered on such an occasion is discharged at a particular object, or ends in a general misanthropy. The public never had the least share of _Hogarth's_ regard, or even good-will. _Gain_ and _vanity_ have steered his little bark quite through life. He has never been consistent but with respect to those two principles. What a despicable part has he acted with regard to the society of _Arts and Sciences_! How shuffling has his conduct been to the whole body of _Artists_! Both these useful societies have experienced the most ungenteel and offensive behaviour from him. There is at this hour scarcely a single man of any degree of merit in his own profession, with whom he does not hold a professed enmity. It is impossible the least degree of friendship could ever subsist in this intercourse of the arts with him; for his insufferable vanity will never allow the least merit in another, and no man of a liberal turn of mind will ever condescend to feed his pride with the gross and fulsome praise he expects, or to burn the incense he claims, and indeed snuffs like a most gracious god. To this he joins no small share of jealousy; in consequence of which, he has all his life endeavoured to suppress rising merit, and has been very expert in every mean underhand endeavour, to extinguish the least spark of genuine fire. Rut all _genius_ was not born, nor will die, with Mr. _Hogarth_: and notwithstanding all his ungenerous efforts to damp or chill it in another, I will trust to a discerning and liberal spirit in the _English_ nation, to patronize and reward all real merit. It will in the end rise superior to the idle laugh of the hour, which these triflers think it the highest praise to be able to raise. For my part, I scarcely know a more profligate principle, than the indiscriminately sacrificing every thing, however great or good, to the dangerous talent of ridicule; and a man, whose sole object is _dummodo risum excutiat_, ought to be avoided as the worst pest of society, as the _enemy_ most to be feared, I mean a treacherous _friend_. Such a man will go all lengths to raise a laugh at your expence, and your whole life will be made miserable from his ambition of diverting the company for half an hour.

"I love to trace the ideas of a Genius, and to mark the progress of every art. Mr. _Hogarth_ has heard much of the _cobwebs_ of the law, and the _spinning fine spider-webs_, &c. This is thrown on paper, and the idea carefully treasured. Lord _Hardwicke_ being at the head of the law, and deservedly in as high esteem with his countrymen as any man who ever held the seals, unspotted in life, and equally revered by prince and people, becomes an excellent subject for the satirical pencil of a malevolent painter. He is accordingly emblematically represented by Mr. _Hogarth_ as a great spider in a large, thick web, with myriads of the carcases of _flies, clients_ I suppose, sucked to death by the gloomy tyrant. Mr. _Hogarth_ had heard of Mr. _Pitt's_ being _above_ all his fellow-citizens, and of his superior virtue having _raised_ him to an envied and dangerous _height_ of grandeur. Now this he has taken literally, and, with the kind aid of _Callot_, has put Mr. _Pitt_ on stilts, and made the people _look up_ to him; which, after all this insipid ridicule, they will continue to do, as a kind of tutelar deity, from whom they expect that security and those blessings they despair of from others. As to the conceit of the _bellows_, to signify, I suppose, Mr. _Pitt's_ endeavours to blow up the flames of war and discord, it is at once very poor and very false. His whole conduct the last session in parliament, and out of the house ever since, has demonstrated the contrary: _neque vero hoc_ oratione _solum, sed multo magis_ vitâ _et_ moribus _comprobavit._ Cic. de Fin.

"Lord _Temple_ is a nobleman of fine parts and unsullied honour, who has shewn a thorough disinterestedness, a great love of liberty, and a steady attachment to the public, in every part of his conduct through life. It was impossible such a character could be missed by the poisonous shafts of envy, which we see pointed at all superior virtue.... Mr. _Hogarth's_ wit on this noble lord is confined to the wretched conceits of the _Temple Coffee-house_, and a _squirt_ to signify the _playing on_ the ministry. I really believe this wit is all Mr. _Hogarth's_ own.

"When a man of parts dedicates his talents to the service of his country, he deserves the highest rewards: when he makes them subservient to base purposes, he merits execration and punishment. Among the _Spartans_, music and poetry were made to serve the noblest purposes of the _Lacedemonian_ state. A manly courage and great contempt of death were inspired by them; and the poet, musician, soldier, and patriot, were often the same good citizen, who despised the low _mechanic lucre_ of the profession, and was zealous only for the glory of his country. In the year 1746, when the _Guards_ were ordered to march to _Finchley_, on the most important service they could be employed in, the extinguishing a _Scottish_ rebellion, which threatened the intire ruin of the illustrious family on the throne, and, in consequence, of our liberties, Mr. _Hogarth_ came out with a print to make them ridiculous to their countrymen and to all _Europe_; or perhaps it rather was to tell the _Scots_ in his way how little the Guards were to be feared, and that they might safely advance. That the ridicule might not stop here, and that it might be as offensive as possible to his own _sovereign_, he dedicated the print to the king of _Pru[s]ia[A] as an encourager of arts_. Is this patriotism! In old _Rome_, or in any of the _Grecian_ states, he would have been punished as a profligate citizen, totally devoid of all principle. In _England_ he is rewarded, and made _serjeant_ painter to that very king's grandson. I think the term means the same as what is vulgarly called _house_-painter; and indeed he has not been suffered to _caricature_ the royal family. The post of portrait-painter is given to a _Scotsman_, one _Ramsay_. Mr. _Hogarth_ is only to paint the wainscot of the rooms, or, in the phrase of the art, may be called their _pannel-painter_. But how have the _Guards_ offended Mr. _Hogarth_, for he is again attacking them in _The Times_? Lord _Harrington's_ second troop of grenadier guards is allowed to be very perfect in every part of military discipline; and _Hogarth's_ friend, the king of _Prussia_, could have shewn him the real importance of it. He had heard them much applauded, and therefore must abuse them. The ridicule ends however in airs composed by _Harrington_, and in a piece of _clock-work_; but he ought to have known, that though _l'homme machine_ is not sound philosophy, it is the true doctrine of tactics.

"The _Militia_ has received so many just testimonies of applause, both from their king and country, that the attack of envy and malevolence was long expected. But I dare say this poor jester will have Mr. _George Townshend's_ free consent to vent his spleen upon him and the gentlemen of _Norfolk_. I believe he may ever go on in this way almost unnoticed; at one time ridiculing the _Guards_ for a _disorderly_, and at another the _Militia_ for an exact and _orderly_ march. Mr. _Townshend_ will still have the warm applause of his country, and the truest satisfaction, that of an honest heart, for his patriot labours in establishing this great plan of internal defence, a _Militia_, which has delivered us from the ignominy of _foreign hirelings_, and the ridiculous fears of invasion, by a brave and well-disciplined body of _Englishmen_, at all times ready and zealous for the defence of their country, and of its laws and constitution."

[A] This is the orthography of Mr. _Hogarth_. See the print.

[66] The present Lord _Camden_.

[67] This gave rise to a catchpenny, intituled, "_Pug's_ Reply to Parson _Bruin_; or, a Political Conference, occasioned by an Epistle to _William Hogarth_, Esq;" 4to.

[68] "Which was probably accelerated by this unlucky (we had almost said unnatural) event; for _Wilkes, Churchill,_ and _Hogarth_, had been intimate friends, and might have continued such as long as they lived, had not the dæmon of politics and party sown discord among them, and dissolved their union."

[69]--the friend----Dr. _Morell_. The conduct of this gentleman cannot fail to put the reader in mind of _Sir Fretful Plagiary's_ complaint in Mr. Sheridan's _Critic_: "--if it is abuse, why one is always sure to hear of it from one damn'd good-natured _friend_ or another."

[70]
"While thinking figures from the canvas start,
And _Hogarth_ is the _Garrick_ of his art,"

is a couplet in _Smart's Hilliad_.

The compliment from the _Hilliad_ to Mr. _Hogarth_, Mr. _Smart_ observes, "is reciprocal, and reflects a lustre on Mr. _Garrick_, both of them having similar talents, equally capable of the highest elevation, and of representing the ordinary scenes of life with the most exquisite humour."

[71] The pyramid, &c. This stroke of satire was retorted on _Hogarth_, and employed to express his advanced age and declining abilities; while the _Cheshire_ cheese, with 3000 _l._ on it, seemed to imply that he himself merited an annual pension.

I received this explanation from an ingenious friend.--The late Mr. _Rogers_ explained it thus: "Mr. _Pitt_ is represented in it sitting at his ease [in the position of the great Sir _Isaac Newton_ in _Westminster-Abbey_], with a mill-stone hanging over his head, on which is written 3000 _l._ in allusion to his saying, that _Hanover_ was a mill-stone round the neck of _England_, on account of the expences attending it; and his afterwards adding himself to the public expences by accepting a pension of 3000 _l._ a year. He is firing a mortar-piece levelled at a Dove bearing an olive-branch (the symbol of peace) perched on the standard of _England_; and is supported by the City of _London_, denoted by the two Giants in _Guildhall. Hogarth_ is flogging _Wilkes_ and _Churchill_, and making them dance to the scrapings of a fidler; designed to represent a Nobleman [Earl _Temple_], who patronized them in 1763, and who, for his unmeaning face, has ever been described without a feature. See _Trusler's_ Preface, p. vii."

[72] It may be worth observing, that in "Independence," a poem which was not published by _Churchill_ till the last week of _September_, 1764, he considers his antagonist as a departed Genius:

"_Hogarth_ would draw him (Envy must allow)
E'en to the life, WAS HOGARTH LIVING NOW."

How little did the sportive Satirist imagine that the power of pleasing was so soon to cease in both! _Hogarth_ died in four weeks after the publication of this poem; and _Churchill_ survived him but nine days. In some lines which were printed in _November_ 1764, the compiler of these Anecdotes took occasion to lament that

"----Scarce had the friendly tear,
For _Hogarth_ shed, escap'd the generous eye
Of feeling Pity, when again it flow'd
For _Churchill's_ fate. Ill can we bear the loss
Of Fancy's twin-born offspring, close ally'd
In energy of thought, though different paths
They sought for fame! Though jarring passions sway'd
The living artists, let the funeral wreath
Unite their memory!"

[73] The _Monthly Reviewer_ unintentionally reads _supper_, instead of _dinner_. As to this article of minute intelligence, whether it be true or false, it was communicated by Mrs. _Lewis_.

[74] Mr. _Walpole_ once invited _Gray_ the Poet and _Hogarth_ to dine with him; but what with the reserve of the one, and a want of colloquial talents in the other, he never passed a duller time than between these representatives of _Tragedy_ and _Comedy_, being obliged to rely entirely on his own efforts to support conversation.

[75] The most solid praise, perhaps, that ever was given to our artist, was a legacy of 100 _l._ "for the great pleasure the testator had received from his works."

[76] Originally begun for a portrait of Mrs. _Cholmondeley_, but altered, after one or two sittings, to the Queen.

[77] See p. 9.

[78] To whom, in case of Mrs. _Hogarth's_ marrying again, he gave the plates of Marriage à la Mode, and of the Harlot's and Rake's Progress.

[79] Whilst the Marshal was a prisoner in _England_, Monsieur _Coetlagon_ opened a subscription at two guineas, one to be paid on subscribing, the other on the delivery of "A Dictionary of Arts and Sciences," in two large folio volumes. Many of the nobility, as well as gentry subscribed; but very few of them made good their second payments, or had the work; and the author dedicated it (in gratitude, it is supposed, for the generous patronage he received from the _English_) to Marshal _Belleisle_; whose place of confinement was in _The Round Tower_ at _Windsor Castle_; where the large dining-room is still ornamented with a variety of humourous _French_ engravings; and a small library of _French_ books.

[80] In the year 1768 was published a work, intituled, "_Hogarth_ Moralised. Being a complete Edition of _Hogarth's_ Works. Containing near Fourscore Copper-Plates, most elegantly engraved. With an Explanation, pointing out the many Beauties that may have hitherto escaped Notice, and a Comment on their Moral Tendency, &c. With the Approbation of _Jane Hogarth_, Widow of the late Mr. _Hogarth_."

The history of the work is as follows: The Rev. _John Trusler_ engaged with some engravers in this design, after _Hogarth's_ death, when they could carry it into execution with impunity. Mrs. _Hogarth_, finding her property would be much affected by it, was glad to accept an offer they made her, of entering into partnership with them; and they were very glad to receive her, knowing her name would give credit to the publication, and that she would certainly supply many anecdotes to explain the plates. Such as are found in the work are probably all hers. The other stuff was introduced by the editor to eke out the book. We are informed, that, when the undertaking was completed, in order to get rid of her partners, she was glad to buy out their shares, so that the whole expence which fell on her amounted to at least 700 _l._

[81] "They abound," says an excellent judge, "in true humour; and satire, which is generally well-directed: they are admirable moral lessons, and afford a fund of entertainment suited to every taste: a circumstance, which shews them to be just copies of nature." We may consider them too as valuable repositories of the manners, customs, and dresses of the present age. What amusement would a collection of this kind afford, drawn from every period of the history of _Britain!_--How far the works of _Hogarth_ will bear a critical examination, may be the subject of a little more enquiry. In design _Hogarth_ was seldom at a loss. His invention was fertile, and his judgement accurate. An improper incident is rarely introduced; a proper one rarely omitted. No one could tell a story better; or make it, in all its circumstances, more intelligible. His genius, however, it must be owned, was suited only to low, or familiar subjects. It never soared above common life: to subjects naturally sublime, or which from antiquity, or other accidents, borrowed dignity, he could not rise. In composition we see little in him to admire. In many of his prints, the deficiency is so great, as plainly to imply a want of all principle; which makes us ready to believe, that when we do meet with a beautiful group, it is the effect of chance. In one of his minor works, the Idle Prentice, we seldom see a crowd more beautifully managed, than in the last print. If the sheriff's officers had not been placed in a line, and had been brought a little lower in the picture, so as to have formed a pyramid with the cart, the composition had been unexceptionable: and yet the first print of this work is so striking an instance of disagreeable composition, that it is amazing, how an artist, who had any idea of beautiful forms, could suffer so unmasterly a performance to leave his hands. Of the distribution of light _Hogarth_ had as little knowledge as of composition. In some of his pieces we see a good effect; as in the execution just mentioned; in which, if the figures at the right and left corners had been kept down a little, the light would have been beautifully distributed on the fore-ground, and a little fine secondary light spread over part of the crowd: but at the same time there is so obvious a deficiency in point of effect, in most of his prints, that it is very evident he had no principles. Neither was _Hogarth_ a master in drawing. Of the muscles and anatomy of the head and hands he had perfect knowledge; but his trunks are often badly moulded, and his limbs ill set on. I tax him with plain bad drawing; I speak not of the niceties of anatomy, and elegance of outline: of these indeed he knew nothing; nor were they of use in that mode of design which he cultivated: and yet his figures, upon the whole, are inspired with so much life and meaning, that the eye is kept in good humour, in spite of its inclination to find fault. The author of the Analysis of Beauty, it might be supposed, would have given us more instances of grace, than we find in the works of _Hogarth_; which shews strongly that theory and practice are not always united. Many opportunities his subjects naturally afford of introducing graceful attitudes; and yet we have very few examples of them. With instances of picturesque grace his works abound. Of his expression, in which the force of his genius lay, we cannot speak in terms too high. In every mode of it he was truly excellent. The passions he thoroughly understood, and all the effects which they produce in every part of the human frame: he had the happy art also of conveying his ideas with the same precision with which he conceived them.--He was excellent too in expressing any humorous oddity, which we often see stamped upon the human face. All his heads are cast in the very mould of nature. Hence that endless variety, which is displayed through his works: and hence it is, that the difference arises between his heads, and the affected caricaturas of those masters, who have sometimes amused themselves with patching together an assemblage of features from their own ideas. Such are _Spagniolet's_; which, though admirably executed, appear plainly to have no archetypes in nature. _Hogarth's_, on the other hand, are collections of natural curiosities. The _Oxford-heads_, the physicians-arms, and some of his other pieces, are expressly of this humorous kind. They are truly comic; though ill-natured effusions of mirth: more entertaining than _Spagniolet's_, as they are pure nature; but less innocent, as they contain ill-directed ridicule.--But the species of expression, in which this master perhaps most excels, is that happy art of catching those peculiarities of air, and gesture, which the ridiculous part of every profession contract; and which, for that reason, become characteristics of the whole. His counsellors, his undertakers, his lawyers, his usurers, are all conspicuous at sight. In a word, almost every profession may see, in his works, that particular species of affectation which they should most endeavour to avoid. The execution of this master is well-suited to his subjects, and manner of treating them. He etches with great spirit; and never gives one unnecessary stroke. For myself, I greatly more value the works of his own needle, than those high-finished prints on which he employed other engravers. For as the production of an effect is not his talent; and as this is the chief excellence of high finishing; his own rough manner is certainly preferable; in which we have most of the force and spirit of his expression. The manner in none of his works pleases me so well as in a small print of a corner of a play-house. There is more spirit in a work of this kind, struck off at once, warm from the imagination, than in all the cold correctness of an elaborate engraving. If all his works had been executed in this style, with a few improvements in the compositions, and the management of light, they would certainly have been a much more valuable collection of prints than they are. The Rake's Progress, and some of his other works, are both etched and engraved by himself: they are well done; but it is plain he meant them as furniture. As works designed for a critick's eye, they would certainly have been better without the engraving, except a few touches in a very few places. The want of effect too would have been less conspicuous, which in his highest-finished prints is disagreeably striking." _Gilpin, Essay on Prints,_ p. 165.

[82] To whom _Hogarth_ bequeathed ten guineas for a ring.

[83] It having been requested in the Catalogue of this exhibition (which was in _Bow-Street, Covent-Garden_) that all remarks on the artists, or their performances, might be sent to _The St. James's Chronicle_; the compiler of these Anecdotes transmitted a few hasty lines, which were printed in that paper _April_ 29, 1762. They are not worth transcribing: but a short extract will preserve the ASSUMED names of some of the artists--

"And _Masmore, Lester's, Ward's_, and _Fishbourne's_ name,
With thine, _Vandyck_, shall live to endless fame;
In your collection Wit and Skill combine,
And Humour flows in every well-chose Sign."

[84] She is still living, and has been loud in abuse of this work, a circumstance to which she owes a niche in it.

[85] Among the compliments _Hogarth_ was disposed to pay his own genius, he asserted his ability to take a complete likeness in three quarters of an hour. This head of Mr. _Welsh_ was painted within the compass of the time prescribed, but had afterwards the advantage of a second sitting.

[86] Mr. _Walpole_ is now possessed of the portrait of his brother Sir _Edward_.

[87] This, and the preceding article, are now in the possession of _Peter Coxe_, esq. of _College Hill_, in the city, executor to Mr. _Forrest_, and brother to the Rev. _William Coxe_, who has obliged the world with his Travels through _Poland, Russia,_ &c.

[88] The following brief Memoirs of Mr. _William Tothall_, F. A. S. were communicated by Dr. _Ducarel_, who was personally acquainted with Mr. _Tothall_, and received the intelligence in a letter from the Rev. Mr. _Lyon_, Minister of _St. Mary's_ at _Dover_, to whom the particulars in it were related by Captain _Bulstrode_ of that town.

"_Dover, June_ 11, 1781.

"Sir,

"The following narrative of your friend _Tothall_ may be depended upon, as Captain _Bulstrode_ informs me he frequently heard it from _Tothall_ himself. His father was an apothecary in _Fleet-street_; but dying, as Captain _Bulstrode_ thinks, while his son was young, and in but indifferent circumstances (as his mother afterwards practised as a midwife), he was taken by an uncle, who was a fishmonger. He lived with his uncle some time; but, not approving of the business, ran away from him, and entered on board a merchant-ship going to _The West Indies_. He also went several times to _Newfoundland_. During the time of his being in _The West Indies_, though so early in life, he was indefatigable in the collecting of shells, and brought home several utterly unknown in _England_. He continued at sea till he was almost 30 years of age. In one of his voyages he was taken by the _Spaniards_, and marched a considerable way up the country, without shoe or stocking, with only a woollen cap on his head, and a brown waistcoat on, with a large staff in his hand. He had afterwards his picture drawn in this dress. He continued a prisoner till exchanged.

"When he was about 30 years of age, he went as shopman to a woollen-draper at the corner of _Tavistock Court, Covent Garden,_ with whom he continued some years; and his master, finding him a faithful servant, told him, 'as he dealt only in cloth, and his customers were taylors, he would lend him money to buy shalloons and trimmings, and recommend him to his chapmen, if he liked to take the trouble and the profit of the branch upon himself.' He readily accepted the proposal.

"About the same time an acquaintance in _The West Indies_ sent him a puncheon of rum. Before he landed it, he consulted his master what he should do with it; who advised him to sell it out in small quantities, and lent him a cellar in his house. He followed this advice; and, finding the profits considerable, wrote to his correspondent in _The West Indies_ to send him another supply; and from this time he commenced rum, brandy, and shalloon merchant.

"I cannot learn how long he continued in this way; but his master having acquired a fortune, and being desirous of retiring from business, left him in possession of his whole stock at prime cost, and he was to pay him as he sold it. He now commenced woollen-draper, and continued in this business till he acquired a sum sufficient, as he thought, to retire upon; and he left his business to his shopman, the late Mr. _Job Ray_, on the same conditions his master left it to him.

"During his residence in _Covent Garden_, he became a member of the club at the _Bedford Coffee-house_, and of course contracted an acquaintance with _Hogarth, Lambert,_ and other men eminent in their way; and _Hogarth_ lived some time in his house on the footing of a most intimate friend.

"On quitting his business (being troubled with an asthmatical complaint) he came and settled at _Dover_; where, soon becoming connected with certain persons in the smuggling branch, he fitted out a bye-boat, which was designed (as is supposed) to promote their business; but in this branch Fortune, which had hitherto smiled upon his endeavours, now frowned upon his attempts. The vessel, in going over with horses either to _Ostend_ or _Flushing_, was lost. This, with some other losses, so reduced him, that he was rather straitened in his circumstances, and he could not live as he had done previous to the losses he sustained.

"His residence was near the Rope-walk at _Dover_ (since pulled down), where his old friend _Hogarth_ frequently visited him: but being in a decline, and his asthma increasing, he bought a very small cottage at _West Langdon_, about three miles from _Dover_, to which he used to go on horseback. Digging in a very small garden belonging to this cottage, he had the good fortune to find some valuable fossils; which to a man of his taste was a singular treasure. He died _January_ 9, 1768, at the age of 70 (possessed of about 1500 _l._), and was buried at _St. Mary's Church_ at _Dover_. His collection of shells and fossils were sold by auction at _Longford's_, the following year.

"The foregoing is the substance of what I have gathered from Capt. _Bulstrode_. If there should be any other particular which you are desirous of knowing, I shall be happy to make the inquiry, and to communicate it; and am, Sir, your most obedient humble servant,

"J. LYON."