Chapter VI: Preface: To the GERMAN READER (5)

[89] _William Gostling_, M. A. a minor canon of _Canterbury_ cathedral for fifty years, and vicar of _Stone_ in the isle of _Oxney, Kent_, well known to all lovers of antiquity by his truly original "Walk in and about _Canterbury_," first printed in 1774, of which there have been three editions. He died _March_ 9, 1777, in the 82d year of his age. Of his father, who was first a minor canon of _Canterbury_, and afterwards one of the priests of the chapel-royal and sub-dean of _St. Paul's_, there are several anecdotes, communicated by his son, in Sir _John Hawkins's_ "History of Music." To which may be added what King _Charles_ II. is reported to have said of him, "You may talk as much as you please of your nightingales, but I have a _Gostling_ who excels them all." Another time, the same merry monarch presented him with a silver egg filled with guineas, saying, "that he had heard that eggs were good for the voice."

[90] See the Catalogue, under the year 1782.

CATALOGUE OF HOGARTH'S PRINTS.[1]

I am now engaged in an undertaking, which from its nature will be imperfect. While _Hogarth_ was yet an apprentice, and worked on his master's account, we may suppose he was not at liberty to affix his name to his own performances. Nay, afterwards, when he appeared as an independent artist, he probably left many of them anonymous, being sometimes obliged to measure out his exertions in proportion to the scanty prices paid for them. For reasons like these, we may be sure that many of his early plates must have eluded search; and, if gradually discovered, will serve only to swell the collections they will not adorn.--The judicious connoisseur, perhaps, would be content to possess the pictures of _Raffaelle_, without aiming at a complete assemblage of the Roman _Fayence_ that passes under his name.

In settling the dates of his pieces there is also difficulty. Sometimes, indeed, they have been inferred from circumstances almost infallible; as in respect to the _Rabbit-breeder_,&c. which would naturally have been published in the year 1726. On other occasions they are determined within a certain compass of time. Thus the _Ticket for Milward_, then a player at _Lincoln's-Inn Fields_, must have preceded 1733, when he removed with _Rich_ to _Covent Garden_; and it is equally sure, that _Orator Henley christening an Infant_, and _A Girl swearing a child to a grave citizen_, came out before 1735, in which year we know that _J. Y. Schley_, one of _Picart's_ coadjutors, had re-engraved them both for the use of the fourth volume of the _Religious Ceremonies_, published at _Amsterdam_ in 1736. But how are we to guess at the period that produced _Sancho at Dinner_, or _The Discovery_?

The merits and demerits of his performances would prove deceitful guides in our researches. As our artist grew older, he did not regularly advance in estimation; for neither the frontispieces to _Tristram Shandy_, the _Times_, the _Bathos_, or the _Bear_, can be said to equal many of his earliest productions.--Under such difficulties is the following chronological list of our author's pieces attempted.

The reader is likewise entreated to observe, that throughout the annexed catalogue of plates, variations, &c. _J. N._ has mentioned only such as he has seen. Alike unwilling to deceive or be deceived, he has suppressed all intelligence he could not authenticate from immediate inspection. He might easily have enlarged his work by admitting particulars of doubtful authority, sometimes imperfectly recollected by their several communicators, and sometimes offered as sportive impositions on an author's credulity. Of this weakness every one possesses some; but perhaps no man more than he who ambitiously seeks opportunities to improve on the labours of another. _J. N._ is sure, however, that Mr. _Walpole_, whom none can exceed in taste and judgment, will be little concerned about the merits of a performance that founds its claim to notice only on the humbler pretences of industry and correctness.

[1] It is proper to acknowledge, that all such short strictures and annotations on these performances as are distinguished by being printed both in _Italics_ and between inverted commas, are copied from the list of _Hogarth's_ works published by Mr. _Walpole_.

* * * * *

1720.

1. _W. Hogarth_, engraver, with two figures and two _Cupids, April_ 28, 1720.

* * * * *

1721.

1. An emblematic print on the _South Sea. W. Hogarth inv. & sc. Sold by Mrs. Chilcot in Westminster-hall, and B. Caldwell, Printseller in Newgate-street. "Persons riding on wooden horses. The Devil cutting Fortune into collops. A man broken on the wheel, &c. A very poor performance."_ Under it are the following verses:

See here the causes why in _London_
So many men are made and undone;
That arts and honest trading drop,
To swarm about the Devil's shop (A),
Who cuts out (B) Fortune's golden haunches,
Trapping their souls with lots and chances,
Sharing 'em from blue garters down
To all blue aprons in the town.
Here all religions flock together,
Like tame and wild fowl of a feather,
Leaving their strife religious bustle,
Kneel down to play at pitch and hustle (C):
Thus when the shepherds are at play;
Their flocks must surely go astray;
The woeful cause that in these times
(E) Honour and Honesty (D) are crimes
That publickly are punish'd by
(G) Self-Interest and (F) Vilany;
So much for mony's magic power,
Guess at the rest, you find out more.
_Price One Shilling._[1]

It may be observed, that _London_ always affords a set of itinerant poets, whose office it is to furnish inscriptions for satirical engravings. I lately overheard one of these unfortunate sons of the Muse making a bargain with his employer. "Your print," says he, "is a taking one, and why won't you go to the price of a half-crown Epigram?" From such hireling bards, I suppose, our artist purchased not a few of the wretched rhimes under his early performances, unless he himself be considered as the author of them.

Of this print emblematic of the _South Sea_, there are, however, two impressions. The second, printed for _Bowles_, has been retouched.

[1] For some further account of this design, see the article _Man of Taste_, under the year 1732, N° 7.

2. The Lottery.[1] _W. Hogarth inv. & sculp. Sold by Chilcot and Caldwell. "Emblematic, and not good."_ This plate is found in four different states. In one there is no publisher's name under the title. Another was _sold by Chilcot, &c._ A third was printed and sold by S. _Sympson_, in _Maiden-lane_, near _Covent Garden_. A fourth was printed for _John Bowles_, in whose possession the plate, which he has had retouched, remains. The following explanation accompanies this plate: "1. Upon the pedestal, National Credit leaning on a pillar, supported by Justice. 2. _Apollo_ shewing _Britannia_ a picture representing the Earth receiving enriching Showers drawn from herself (an emblem of state lotteries). 3. Fortune drawing the blanks and prizes. 4. Wantonness drawing the numbers. 5. Before the pedestal, Suspence turned to and fro by Hope and Fear. 6. On one hand, Good Luck being elevated is seized by Pleasure and Folly, Fame persuading him to raise sinking Virtue, Arts, &c. 7. On the other hand, Misfortune oppressed by Grief, _Minerva_ supporting him points to the sweets of Industry. 8. Sloth hiding his head in the curtain. 9. On the other side, Avarice hugging his money. 10. Fraud tempting Despair with money at a trap-door in the pedestal." _Price One Shilling._--Had not _Hogarth_, on this occasion, condescended to explain his own meaning, it must have remained in several places inexplicable.

[1] It appears, from the following notice in the _General Advertiser, Dec._ 12, 1751, that this and the foregoing print were re-published by _Bowles_ during the life of _Hogarth_.

"Lately reprinted, designed, and engraved by Mr. _William Hogarth_.

"Two Prints on the Lottery. One of them showing the drawing of the Lottery by Wantonness and Fortune; and by suitable emblems represents the suspence of the adventurers, the situation of the fortunate and unfortunate.

"The other print is a burlesque representation of the folly and madness which inspires all ranks of people after lottery-gaming, with the pernicious consequences thereof. _Price One Shilling._

"Sold by _J. Bowles_, at the _Black-horse_, in _Cornhill_."

* * * * *

1723.

1. Fifteen plates to _Aubry de la Motraye's_ "Travels through _Europe, Asia,_ and Part of _Africa_." _W. Hogarth sculp._ on fourteen of them; viz. plates V. IX. X.[1] XI. XV. XVII. b. XVIII. XXVI. XXX.[2] XXXII. XXXIII. 1. XXXIII. 2. XXXV. XXXVIII. One of these (viz. XXX.) contains a portrait of _Charles_ the XIIth of _Sweden_. Several of the pictures, from which the Seraglio, &c. were engraved, are still in being, and are undoubtedly authentic, being painted in _Turkey_, and brought home by _De la Motraye_, at his return from his travels. They were sold about twenty-five years ago at _Hackney_, for a mere trifle, together with the plates to the present work. The latter, in all probability, are destroyed. This book was originally published in _English_ at _London_, 1723; afterwards in _French_ at _The Hague_, in 1727; and again in _English_[3] at _London_, revised by the author; with the addition of two new cuts, in 1730. In the _French_ edition, Plate V. Tom. I. is engraved by _R. Smith_, instead of _Hogarth_, so that this intermediate copy contains only fourteen plates by him. It is probable also, that some other anonymous ones, in all the editions, were by the same engraver. His reputation, indeed, will save more than it loses by the want of his signature to establish their authenticity.

[1] At the bottom of this plate, in one copy of the _English_ edition, the name of _Hogarth_, though erased, is sufficiently legible.

[2] In some of the _English_ copies of this work, instead of Plate XXX. by _Hogarth_, we only find a very small and imperfect copy of it by another hand.

[3] This, strictly speaking, was not a re-publication; it is the identical edition of 1723, with the addition of a Preface and an Appendix. New title-pages were again printed to it, and a third volume added, in 1732.

2. Five _Muscovites_. This small print appears at the corner of one of the maps to the second volume of the foregoing work. It has no intelligible reference; but, in the _English_ copy now before me, is the last plate but one, and is marked. C--T. II. In a former edition of the present catalogue, it was enumerated as a separate article, but must now be reckoned as one of the fifteen plates to _Motraye's_ Travels.

To these I might add three plates more. If _Hogarth_ engraved the _Muscovites_ at the corner of the map already mentioned, he likewise furnished the figures in the corner of another, marked T. I.--B. And Plate T. I.--XVI. and T. I.--XXXVII. I have likewise reason to suppose were the works of our artist; eighteen plates in all; though the three latter being only conjectural, I have not ventured to set them down as indisputed performances. Of the _Muscovites_ there is a modern copy.[1]

I have just been assured by a gentleman of undoubted veracity, that he was once possessed of a set of plates engraved by _Hogarth_ for some treatise on mathematicks; but, considering them of little value, disposed of them at the price of the copper. As our artist could have displayed no marks of genius in representations of cycloids, diagrams, and equilateral triangles, the loss of these plates is not heavily to be lamented.

[1] Mr. _Walpole_ enumerates only 12 plates.

* * * * *

1724.

1. Seven small prints to "The New Metamorphosis of _Lucius Apuleius_ of _Medaura. London_, printed for _Sam. Briscoe_, 1724." 12mo. 2 vol. I. Frontispiece. II. Festivals of Gallantry, which the noblemen of _Rome_ make in the churches for the entertainment of their mistresses. III. The banditti's bringing home a beautiful virgin, called _Camilla_, from her mother's arms, the night before she was to have been married. Vol. I. p. 113. No name to this plate. IV. _Fantasio's_ arrival at the house of an old witch, who is afterwards changed into a beautiful young lady. V. The provincial of the Jesuits' recovery of his favourite dog from the cooper's wife. VI. _Psyche's_ admission of her unknown husband in the dark, who always departed before the return of light. VII. Cardinal _Ottoboni_ and his niece's visit to an Hermitage in the holy desart, called _Camaldule_; the Cardinal's discourse against solitude to the hermit, who had not been out of his cell, nor spoke a word, for forty years together. Plate IV. is the only one that has the least trait of character in it.

2. Masquerades and operas. _Burlington-gate. W. Hogarth inv. & sculp._ Of the three small figures in the center of this plate, the middle one is Lord _Burlington_, a man of considerable taste in Painting and Architecture, but who ranked Mr. _Kent_ (an indifferent artist) above his merit. On one side of the peer is Mr. _Campbell_, the architect; on the other, his lordship's postilion. On a show-cloth in this plate is also supposed to be the portrait of King _George_ II. who gave 1000 _l._ towards the masquerade; together with that of the Earl of _Peterborough_, who offers _Cuzzoni_, the _Italian_ singer, 8000 _l._ and she spurns at him.[1] Mr. _Heidegger_, the regulator of the Masquerade, is also exhibited, looking out at a window, with the letter _H._ under him. The substance of the foregoing remarks is taken from a collection lately belonging to Captain _Baillie_,[2] where it is said that they were furnished by an eminent Connoisseur.[3] A board is likewise displayed, with the words--"Long Room. _Fawks's_ dexterity of hand." It appears front the following advertisement in _Mist's Weekly Journal_ for _Saturday, December_ 25, 1725, that this artist was a man of great consequence in his profession. "Whereas the town hath lately been alarmed, that the famous _Fawks_ was robbed and murdered, returning from performing at the Dutchess of _Buckingham's_ house at _Chelsea_; which report being raised and printed by a person to gain money to himself, and prejudice the above mentioned Mr. _Fawks_, whose unparalleled performances have gained him so much applause from the greatest of quality, and most curious observers: We think, both in justice to the injured gentleman, and for the satisfaction of his admirers, that we cannot please our readers better than to acquaint them he is alive, and will not only perform his usual surprizing dexterity of hand, posture-master, and musical clock; but for the greater diversion of the quality and gentry, has agreed with the famous _Powell_ of _The Bath_ for the season, who has the largest, richest, and most natural figures, and finest machines in _England_, and whose former performances in _Covent Garden_ were so engaging to the town, as to gain the approbation of the best judges, to show his puppet-plays along with him, beginning in the _Christmas_ holidays next, at the old _Tennis-court_ in _James-Street_, near _The Haymarket_; where any incredulous persons may be satisfied he has not left this world, if they please to believe their hands, though they can't believe their eyes."--"_May_ 25," indeed, "1731, died Mr. _Fawkes_, famous for his dexterity of hand, by which he had honestly acquired a fortune of above 10,000 _l._ being no more than he really deserved for his great ingenuity, by which he had surpassed all that ever pretended to that art." Political State, vol. XLI. p. 543.

This satirical performance of _Hogarth_, however, was thought to be invented and drawn at the mitigation of Sir _James Thornhill_, out of revenge, because Lord _Burlington_ had preferred Mr. _Kent_ before him to paint for the king at his palace at _Kensington_. Dr. _Faustus_ was a pantomime performed to crowded houses throughout two seasons, to the utter neglect of plays, for which reason they are cried about in a wheel-barrow.[4] We may add that there are three prints of this small masquerade, &c. one a copy from the first. The originals have _Hogarth's_ name within the frame of the plate, and the eight verses are different from those under the other. It is sometimes found without any lines at all; those in the first instance having been engraved on a separate piece of copper, so that they could either be retained, dismissed, or exchanged, at pleasure. In the first copy of this print, instead of _Ben Jonson's_ name on a label, we have _Pasquin_, N° XI. This was a periodical paper published in 1722-3, and the number specified is particularly severe on operas, &c. The verses to the first impression of this plate, are,

Could now dumb _Faustus_, to reform the age,
Conjure up _Shakespear's_ or _Ben Johnson's_ ghost,
They'd blush for shame, to see the _English_ stage
Debauch'd by fool'ries, at so great a cost.
What would their manes say? Should they behold
Monsters and masquerades, where useful plays
Adorn'd the fruitfull theatre of old,
And rival wits contended for the bays.
_Price_ 1 _shilling_ 1724.

To the second impression of it:

O how refin'd, how elegant we're grown!
What noble Entertainments charm the town!
Whether to hear the Dragon's roar we go,
Or gaze surpriz'd on _Fawks's_ matchless show,
Or to the Operas, or to the Masques,
To eat up ortelans, and t' empty flasques,
And rifle pies from _Shakespear's_ clinging page,
Good gods! how great's the gusto of the age.

In this print our artist has imitated the engraving of _Callot_.

To the third impression, i. e. the copy:

Long has the stage productive been
Of offsprings it could brag on,
But never till this age was seen
A Windmill and a Dragon.

O _Congreve_, lay thy pen aside,
_Shakespear_, thy works disown,
Since monsters grim, and nought beside,
Can please this senseless town.

I should have observed, that the idea of the foregoing plate was stolen from an anonymous one on the same subject. It represents _Hercules_ chaining follies and destroying monsters. He is beating _Heidegger_, till the money he had amassed falls out of his pocket. The situation of the buildings, &c. on the sides, &c. has been followed by our artist. _Mercury_ aloft sustains a scroll, on which is written "The Mascarade destroy'd." The inscription under this print is "Hei Degeror. O! I am undone." _Price One Shilling._

[1] She is rather drawing the money towards her with a rake.

[2] This collection, consisting of 241 prints, in three portfeuilles, was sold at _Christie's, April_ 7, 1781, for 59 guineas, to Mr. _Ingham Foster_, a wealthy ironmonger, since dead. A set, containing only 100 prints, had been sold some time before, at the same place, for 47 guineas. The Hon. _Topham Beauclerk's_ set, of only 99 prints, was sold in 1781 (while this note was printing off for the first edition) for 34_l._ 10_s._

[3] It is not, indeed, inconvenient for the reputation of this famous connoisseur, that his name continues to be a secret. Either he could not spell, or his copier was unable to read what he undertook to transcribe. _Postilion_ must be a mistake for some other word. The whole note, in the original, appears to have been the production of a male _Slip-slop_, perhaps of high fashion. His petulant invective against Lord _Burlington_ is here omitted.

[4] Dr. _Faustus_ was first brought out at _Lincoln's-Inn Fields_ in 1723, and the success of it reduced the rival theatre to produce a like entertainment at their house in 1725. From a scarce pamphlet in octavo, without date, called "Tragi-comical Reflections, of a moral and political Tendency, occasioned by the present State of the two Rival Theatres in _Drury-Lane_ and _Lincoln's-Inn Fields_, by _Gabriel Rennel_, Esq." I shall transcribe an illustration of these plates: "A few years ago, by the help of _Harleykin_, and Dr. _Faustus_, and _Pluto_ and _Proserpine_, and other infernal persons, the New-House was raised to as high a pitch of popularity and renown as ever it had been known to arrive at. Tho' the actors there consisted chiefly of _Scotch_, and _Irish_, and _French_ Strollers, who were utterly unacquainted with the _English_ Stage, and were remarkably deficient in elocution and gesture: yet so much was the art of juggling at that time in vogue, and so extreamly was the nation delighted with Raree-Shows, and foreign representations, that all people flocked to the New-House, whilst the Old one was altogether deserted, tho' it then could glory in as excellent a set of _English_ actors as ever had trod upon any stage. In the midst of this joyful prosperity and success, the Managers of the New-House were not without secret uneasiness and discontent, whenever they considered how slippery a ground they stood upon, and how much a juster title their rivals had to the favour and affections of the people. They were therefore always intent upon forming designs and concerting measures for the entire subversion of the Old-House. For this purpose, they constantly kept in pay a standing army of Scaramouches, who were sent about the town to possess it with aversion and resentment against the Old Players, whose virtues had rendered them formidable, and whose merit was their greatest crime. These Scaramouches, in so corrupt and degenerate a time, when blindness and folly, and a false taste every where reigned, were every where looked on as men of a superior skill to all other actors, and consequently had a greater influence than the rest, and could lead after them a larger number of followers. It was by means of the incessant clamour and outcry that these miscreants raised, and of the lies and forgeries which they scattered about the nation, that the common people were spirited up to commit the most extravagant acts of insolence and outrage on the Managers of the Old-House. They were made the sport and derision of fools, and were delivered up to an enraged and deluded populace, as a prey to the fury of wild beasts. Their enemies were continually plotting and conspiring their destruction, and yet were continually prosecuting them for Sham-Plots and pretended Conspiracies, and suborning witnesses to prove them guilty of attempts to undermine and blow up the New-House.

"During the course of those violent and illegal proceedings, the New Actors were not wanting in any pains or expence to gratify and increase the then popular taste for Raree-Shows, and Hocus-Pocus Tricks. Scenes and Machines, and Puppets, and Posture-Masters, and Actors, and Singers, with a new set of Heathen Gods and Goddesses, and several other foreign Decorations and Inventions, were sent for from _France_ _and Italy_, and were ready to be imported with the first fair wind. But quarrels falling out among the Managers of the House, and one or two of the principal Actors happening to quit the Stage, and the people growing tired with so much foul play, and with the same _deceptio visus_ so often repeated, the scene changed at once, the _vox populi_ turned against the New-House, which sunk under a load of infamy and contempt, and was deserted not only by the Spectators, but even by its Actors, who, to save themselves from the justice of an abused and enraged people, were forced to fly out of the nation, and to beg for protection and subsistence from their wicked Confederates and Fellow-Jugglers abroad."

* * * * *

1725.

1. Five small prints for the translation of _Cassandra_, in five volumes duodecimo. _W. Hogarth inv. & sculp._

2. Fifteen head pieces for "The _Roman_ Military Punishments, by _John Beaver_, Esq. _London_. From the happy Revolution, Anno xxxvii." (i. e. 1725.) Small quarto, pp. 155. From the preface it should seem that the author had been Judge Advocate. The book is divided into seventeen chapters, each of which, except the second, third, seventh, and twelfth, have small head-pieces prefixed, of ancient military punishments, in the manner of _Callot's_ Small Miseries of War. _W. Hogarth inv. & sculp._ In 1779, were first sold by a printseller ten of these prints, together with two others not in the book, being scenes of modern war; a pair of drums being in one, and a soldier armed with a musket in the other. Thus are there three prints in the book not in this set; viz. Chap. 9. Soldiers sold for slaves. 10. Degradation. 16. Banishment. There is also in the title-page a little figure of a _Roman_ General sitting; probably done by _Hogarth_, though his name is not under it.

In the year 1774, these plates were in the possession of a Button-manufacturer at _Birmingham_. There are only eleven, one of them being engraved on both sides. They were given by him, however, to my informant, who parted with them to _S. Harding_ an engraver, who sold them to _Humphry_ the printseller near _Temple-Bar_, their present proprietor. How they fell into the hands of the _Birmingham_ manufacturer (who took off a few impressions from them), is unknown.

Query. Does the plate engraved on both sides contain the two modern designs?

In a Catalogue of Books sold by _W. Bathoe_, was included "Part of the Collection of the late ingenious _W. Hogarth_, Esq. Serjeant Painter to his Majesty;" in which was _Beaver's_ "_Roman_ Military Punishments," with _twelve plates_ by _Hogarth_.

The plate to Chap. XVII. viz. "Pay stopt wholly, or in part, by way of punishment"--"Barley given to offenders instead of wheat, &c." differs in many instances from that sold with the set. At the bottom of the former, in the book, we read, "_W. Hogarth, Invent. sculpt."_ The latter has "_W. Hogarth, invent. & fec._" The former has a range of tents behind the pay-table. These are omitted in the latter; which likewise exhibits an additional soldier attendant on the measuring out of the corn, &c.

I do not mean to say that the plate sold with the set is spurious. Had it been a copy, it would naturally have been a servile one. Some reason, now undiscoverable, must have prevailed on our artist to re-engrave it with variations.

N. B. The two "scenes of modern war," mentioned also in p. 134, were designed for a continuation of the same work, which was never printed, as I guess from the conclusion of the Author's preface. "This regularly divided my book into two parts; one treating of the _Roman_, the other of the _Modern Military Punishments_. The first I now send into the world, as a man going into the water dips his foot to feel what reception he is like to meet with; by that rule resolving, either to publish the second part, or sit down contented with the private satisfaction of having, by my studies, rendered myself more able worthily to discharge the duties of my office."

I have since been assured, that our Author's heir was a pastry-cook, who used all the copies of this book for waste-paper.

3. A burlesque on _Kent's_ altar piece at _St. Clement's_, with notes. "_It represents angels very ill drawn, playing on various instruments._" Speaking of this print, Mr. _Walpole_ in one place calls it a _parody_; and in another, a _burlesque_ on _Kent's_ Altar-piece. But, if we may believe _Hogarth_ himself, it is neither, but a very fair and honest representation of a despicable performance. The following is our artist's inscription to it, transcribed _verbatim & literatim_.

"This Print is exactly Engraiv'd after ye celebrated Altar-Piece in St. _Clements_ Church which has been taken down by Order of ye Lord Bishop of _London_ (as tis thought) to prevent Disputs and Laying of wagers among the Parrshioners about ye Artists meaning in it. for publick Satisfaction here is a particular Explanation of it humbly Offerd to be writ under the Original, that it may be put up again by which means ye Parish'es 60 pounds which thay nifely gave for it, may not be Entirely lost.

"1st. Tis not the Pretenders Wife and Children as our weak brethren imagin.

"2dly. Nor St. _Cecilia_ as the Connoisseurs think but a choir of Angells playing in Consort.

"A | an Organ
B | an Angel playing on it
C | the shortest Ioint of the Arm.
D | the longest Ioint
E | An Angel tuning an harp
F | the inside of his Leg but whether right or Left
| is yet undiscover'd
G | a hand Playing on a Lute
H | the other leg judiciously Omitted to make
| room for the harp
I& | 2 Smaller Angells as appears by their
K | wings"

This picture produced a tract, intituled, "A Letter from a Parishioner of _St. Clement Danes_ to _Edmund [Gibson]_ Lord Bishop of _London_, occasion'd by his lordship's causing the picture over the altar to be taken down: with some observations on the use and abuse of Church-paintings in general, and of that picture in particular, 1725." 8vo. See Appendix II. The proofs of this plate are commonly on blue paper, though I have met with more than one on white. The original, after it was removed from the church, was for some years one of the ornaments of the music-room at _The Crown and Anchor_ in the _Strand_. As this house has frequently changed its tenants, &c. I am unable to trace the picture in question any further. There is a good copy of this print by _Livesay_.

4. A scene in _Handel's_ opera of _Ptolomeo_, performed in 1728, with _Farinelli, Cuzzoni,_ and _Senesino_, in the characters of _Ptolemy, Cleopatra,_ and _Julius Cæsar_. Those who are inclined to doubt the authenticity of this performance, will do well to consult the representation on a painted canvas in the small print on masquerades and operas, where the same figures occur in almost the same attitudes. I do not, however, vouch for the genuineness of this plate. In _Southwark Fair_, our artist has borrowed the subject of his show-cloth from _Laguerre_; and might, in the present instance, have adopted it from another hand.

The appearance _Farinelli_ makes on this occasion may be justified by the following quotation from a Pamphlet, intituled, _Reflections upon Theatrical Expression in Tragedy, &c._ printed for _W. Johnston_, &c. 1755. "I shall therefore, in my further remarks upon this article, go back to the _Old Italian Theatre_, when _Farinelli_ drew every body to the _Haymarket_. What a pipe! what modulation! what extasy to the ear! But, heavens! what clumsiness! what stupidity! what offence to the eye! Reader, if of the city, thou mayest probably have seen in the fields of _Islington_ or _Mile-end_, or if thou art in the environs of _St. James's_, thou must have observed in the park, with what ease and agility a Cow, heavy with Calf, has rose up at the command of the Milk-woman's foot. Thus from the mossy bank sprung up the _Divine Farinelli_. Then with long strides advancing a few paces, his left hand settled upon his hip, in a beautiful bend like that of the handle of an old-fashioned caudle-cup, his right remained immoveable across his manly breast, till numbness called its partner to supply its place; when it relieved itself in the position of the other handle to the caudle-cup." p. 63, &c.

Under a copy of the print abovementioned, which must have been made soon after its publication, appear the following inscription, and wretched ungrammatical lines:

The three most Celebrated Singers at the Opera.

_Scire tuum nihil est, nisi te scire hoc sciat alter._

_Sigra_ the great, harmoniously inclin'd,
Who charms the ear and captivates the mind.

_Cuzzoni._

Thou little slave an emblem is of those
Whose hearts are wholly att ye worlds dispose.

Great _Barrenstadt_[1] encomiums great and true
is very short of whats your right and due.

The characters in the print under consideration, might have been new-christen'd by the copier of it.

Either the dignity of _Senesino_ must have been wonderful, or the following passage in Dr. _Warburton's_ "Enquiry into the Cause of Prodigies and Miracles," (printed in 1727) affords a most notorious example of the Bathos. "Observe," says he, p. 60. "Sir _Walter Raleigh's_ great manner of ending the _first part of the History of the World_. 'By this which we have already set down is seen the beginning and end of the Three first Monarchies of the World; whereof the founders and erectors thought that they could never have ended: that of _Rome_, which made the fourth, was also at this time almost at the highest. We have left it flourishing in the middle of the field; have rooted up, or cut down, all that kept it from the eyes and admiration of the world; but after some continuance, it shall begin to lose the beauty it had; the storms of ambition shall beat her great boughs and branches one against another; her leaves shall fall off; her limbs wither, and a rabble of barbarous nations enter the field and cut her down.' What strength of colouring! What grace, what nobleness of expression! With what a majesty does he close his immortal labour! It puts one in mind of the so much admired exit of the late famed ITALIAN SINGER."

[1] _Berenstadt_; a castrato engaged by _Handel_ in the operas.

5. A just View of the _British_ Stage, or three heads better than one, scene _Newgate_, by _M. D. V--to_.[1] This print represents the rehearsing a new farce, that will include the two famous entertainments _Dr. Faustus_ and _Harlequin Shepherd_.[2] To which will be added, _Scaramouch Jack Hall_ the Chimney-sweeper's Escape from _Newgate_ through the Privy, with the comical Humours of _Ben Johnson's Ghost_, concluding with the Play Dance, performed in the air by the figures A. B. C. [_Wilks, Booth,_ and _Cibber_] assisted by ropes from the Muses. Note, there are no Conjurors concerned in it, as the Ignorant imagine. The Bricks, Rubbish, &c. will be real; but the Excrements upon _Jack Hall_ will be made of chewed Gingerbread, to prevent Offence. _Vivat Rex. Price Sixpence._ Such is the inscription on the plate; but I may add, that the _ropes_ already mentioned are no other than _halters_, suspended over the heads of the three managers;[3] and that labels issuing from their respective mouths have the following characteristic words. The airy _Wilks_, who dangles the effigy of _Punch_, is made to exclaim--"Poor _R-ch_! faith I pitty him." The laureat _Cibber_, with _Harlequin_ for his playfellow, invokes the Muses painted on the cieling--"Assist, ye sacred Nine;" while the solemn _Booth_, letting down the image of _Jack Hall_ into the forica, is most tragically blaspheming--"Ha! this will do, G-d d-m me." On a table before these gentlemen lies a pamphlet, exhibiting a print of _Jack Shepherd_, in confinement; and over the forica is suspended a parcel of waste paper, consisting of leaves torn from _The Way of the World--Hamlet--Macbeth_, and _Julius Cæsar. Ben Jonson's_ Ghost, in the mean while, is rising through the stage, and p----g on a pantomimic statue tumbled from its base. A fidler is also represented hanging by a cord in the air, and performing, with a scroll before him, that exhibits--_Music for the What_--[perhaps the _What d' ye call it] entertainment_. The countenances of Tragedy and Comedy, on each side of the stage, are hoodwinked by the bills for _Harlequin Dr. Faustus_ and _Harlequin Shepherd_, &c. &c. There is also a dragon preparing to fly; a dog thrusting his head out of his kennel; a flask put in motion by machinery, &c. _Vivetur Ingenio_ is the motto over the curtain. In Mr. _Walpole's_ catalogue the description of this plate is, "_Booth, Wilks, and Cibber, contriving a pantomime. A satire on farces. No name._"

[1] Mr. _Devoto_ was scene-painter to _Drury-Lane_ or _Lincoln's-Inn Fields_, and also to _Goodman's Fields_ Theatre. There is a mezzotinto of him with the following title: "_Johannes Devoto_ Historicus Scenicusque Pictor." _Vincenso Damini_ pinxit. _J. Faber_ fecit, 1736.

[2] Dr. _Faustus_ and _Harlequin Shepherd_ were pantomimes contrived by _Thurmond_ the dancing-master, and acted at _Drury-Lane_ in 1725.

[3]--_Halters_, &c.; The same idea is introduced in the 9th plate of the apprentices.

* * * * *

1726.

1. Frontispiece to _Terræ-filius. W. Hogarth fec._ This work was printed in two volumes 12°, at _Oxford_, and is a satire on the Tory principles of that University. It was written by _Nicholas Amherst_, author of _The Craftsman_, and was originally published in one volume.

2. Twelve prints for _Hudibras_; the large set. _W. Hogarth inv. pinx. et sculp._ Under the head of _Butler_: "The basso relievo of the pedestal represents the general design of Mr. _Butler_, in his incomparable poem of _Hudibras_; viz. _Butler's_ Genious in a Car lashing around Mount _Parnassus_, in the persons of _Hudibras_ and _Ralpho_, Rebellion, Hypocrisy, and Ignorance, the reigning vices of his time." This set of prints was published by subscription, by _P. Overton_ and _J. Cooper_. Mr. _S. Ireland_ has seven of the original drawings; three others are known to be preserved in _Holland_; and two more were lately existing in this kingdom. The plates, as has been mentioned already in p. 11, are now the property of Mr. _Sayer_, whose name, as publisher, is subjoined. The Rev. Mr. _Bowle_, F. A. S. had a set with the list of the subscribers, which he purchased at the Duke of _Beaufort's_ sale in _Wiltshire_. The printed title to them is, "Twelve excellent and most diverting Prints; taken from the celebrated Poem of _Hudibras_, wrote by Mr. _Samuel Butler_. Exposing the Villany and Hypocrisy of the Times. Invented and Engraved on Twelve Copper-plates, by _William Hogarth_, and are humbly dedicated to _William Ward_, Esq. of _Great Houghton_ in _Northamptonshire_; and Mr. _Allan Ramsay_, of _Edinburgh_.

"What excellence can Brass or Marble claim!
These Papers better do secure thy Fame:
Thy Verse all Monuments does far surpass,
No Mausoleum's like thy _Hudibras_.

"Printed and sold by _Philip Overton_, Print and Map-seller, at the _Golden Buck_ near _St. Dunstan's Church_ in _Fleet-street_; and _John Cooper_, in _James-street, Covent Garden_, 1726."

_Allan Ramsay_ subscribed for 30 sets. The number of subscribers in all amounts to 192. On the print of _Hudibras_ and the _Lawyer_ is _W. Hogart delin. et sculp._ a proof that our artist had not yet disused the original mode in which he spelt his name. In the scene of the _Committee_, one of the members has his gloves on his head. I am told this whimsical custom once prevailed among our sanctified fraternity; but it is in vain, I suppose, to ask the reason why. In plate XI. (earliest impressions) the words "Down with the Rumps" are wanting on the scroll.--Memorandum. At the top of the proposals for this set of Prints, is a small one representing _Hudibras_ and _Ralpho_, engraved by _Pine_. The original drawing for it by _Hogarth_ is in the possession of Mr. _Betew_, Silversmith, in _Compton-street, Soho_.

3. Seventeen small prints for _Hudibras_, with _Butler's_ head. There certainly must have been some mistake concerning this portrait. It never could have been designed for the author of _Hudibras_; but more strongly resembles _John Baptist Monnoyer_, the flower-painter. There is a print of him by _White_, from a picture of Sir _Godfrey Kneller_. This I suppose to have been the original of _Hogarth's_ small _Butler_.

The same designs engraved on a larger scale, and with some slight variations, by _J. Mynde_, for _Grey's_ edition of _Hudibras_, published in 1744.

Previous, however, to both, appeared another set of plates, eighteen in number, for an edition in _eighteens_ of this celebrated poem. To these it is manifest that _Hogarth_ was indebted for his ideas of several of the scenes and personages both in his larger and smaller performances on the same subject. That the collector may know the book when he meets with it, the following is a transcript of the title-page. "_Hudibras._ In three Parts. Written in the time of the late Wars. Corrected and amended, with Additions. To which is added, Annotations to the third Part, with an exact Index to the whole; never before printed. Adorned with cuts. London. Printed for _R. Chiswel, J. Tonson, T. Horne,_ and _R. Willington_, 1710."

Copies from the smaller plates are likewise inserted in _Townly's_ translation of _Hudibras_ into _French_, with the _English_ on the opposite page. He was, I believe, an officer in the _Irish_ brigade. The following is the title-page to his work. "_Hudibras_, Poeme ecrit dans les tems des troubles d'_Angleterre_; et traduit en vers _François_, avec des remarques et des figures. 3 tom. 12mo. A _Londres_, 1757." It seems rather to have been printed at _Paris_. The plates have no name subscribed to them.

4. _Cunicularii_, or the Wise Men of _Godliman_ in Consultation.

"They held their talents most adroit
For any mystical exploit." HUDIB.

This print was published in the year 1726, i. e. about the same time that Lord _Onslow_ wrote the following letter:

"To the Honble. Sir _Hans Sloane_. To be left at the _Grecian_ Coffe House, in _Devereux Court_ near _Temple Bar London_.

"Sir, The report of a woman's breeding of rabbits has almost alarmed _England_, and in a manner persuaded several people of sound judgt of that truth. I have been at some pains to discover the affair, and think I have conquerd my poynt, as you will se by the Depotition taken before me, which shall be published in a day or two. I am

"Yr humble Servant,

"ONSLOW.

"_Clandon, Dec._ 4_th_, 1726."

Soon after, Mr. _St. André_ also addressed this note to Sir _Hans Sloane_:

"Sir, I have brought the woman from _Guilford_ to ye Bagnio in _Leicester-fields_, where you may if you please have the opportunity of seeing her deliver'd. I am Sr Your Hum Servt

"ST. ANDRÉ.[1]

"To Sir _Hans Sloane_ in _Bloomsbury Square_."

In the plate already mentioned, figure A represents _St. André_. [He has a kitt under his arm, having been at first designed by his family for a fencing and dancing-master, though he afterwards attached himself to music of a higher order than that necessary for one of the professions already mentioned.] B is Sir _Richard Manningham_, C Mr. _Sainthill_ a celebrated surgeon here in _London_, D is _Howard_ the surgeon at _Guildford_, who was supposed to have had a chief hand in the imposture. The rest of the characters explain themselves.

Perhaps my readers may excuse me, if I add a short account of another design for a print on the same subject; especially as some collectors have been willing to receive it as a work of _Hogarth_.

In _Mist's Weekly Journal, Saturday, Jan._ 11th, 1726-7, was the following advertisement:

"The Rabbit affair made clear in a full account of the whole matter; with the pictures engraved of the pretended Rabbit-breeder herself, _Mary Tofts_, and of the Rabbits, and of the persons who attended her during her pretended deliveries, shewing who were and who were not imposed on by her. 'Tis given gratis no where, but only up one pair of stairs at the sign of the celebrated Anodyne Necklace recommended by Doctor _Chamberlen_ for Children's teeth, &c."

The original drawing from which the plate promised in _Mist's_ Journal was taken, remained in the possession of Mr. _James Vertue_, and was probably designed by his brother _George_. It was sold in 1781 in the collection of _George Scott_, Esq. of _Chigwell_ in _Essex_, together with eight tracts relative to the same imposture, for three guineas, and is now in the collection of Mr. _Gough_.

_St. André's Miscarriage_, a ballad, published in 1727, has the following stanza on this subject:

"He dissected, compar'd, and distinguish'd likewise
The make of these rabbits, their growth and their size.
He preserv'd them in spirits, and--a little too late
Preserv'd (_Vertue sculpsit_) a neat copper plate."

There is also a copper-plate, consisting of twelve compartments, on the same story. It exhibits every stage throughout this celebrated fraud. _St. André_ appears in the habit of a _Merry-Andrew_. The general title of it is, "The Doctors in Labour; or a new Whim-wham from _Guilford_. Being a representation of the frauds by which the _Godliman_ woman carried on her pretended Rabbit breeding; also of the simplicity of our Doctors, by which they assisted to carry on that imposture, discovered their skill, and contributed to the mirth of his Majesty's liege subjects."

In _Mist's_ Journal for _Saturday, Dec._ 17, 1726, is also the following paragraph, which shews that the playhouse joined in the general ridicule of _St. André_. "Last week the entertainment called _The Necromancer_ was performed at the Theatre in _Lincoln's-Inn Fields_, wherein a new _Rabbit-scene_ was introduced by way of episode; by which the Public may understand as much of that affair, as by the present controversy among the Gentlemen of the faculty, who are flinging their bitter pills at one another, to convince the world that none of them understand any thing of the matter." I am told by one of the spectators still alive, that in this new scene, _Harlequin_, being converted into a woman, pretended to be in labour, and was first delivered of a large pig, then of a sooterkin, &c. &c.

From the same paper of _Saturday, Jan._ 21, 1727, we learn, that "The pretended Rabbit-breeder, in order to perpetuate her fame, has had her picture done in a curious mezzotinto print by an able hand." It was painted by _Laguerre_, and scraped by _Faber_. She has a rabbit on her lap, and displays a countenance expressive of the utmost vulgarity. In _Hogarth's_ comic representation, the remarkable turn-up of the nose is preserved. This, perhaps, was the only feature in her face that could not be altered by the convulsions of her pretended agony, or our artist would have given her resemblance with greater exactness.

Mr. _Dillingham_, an apothecary in _Red-Lion-Square_, laid a wager of ten guineas with _St. André_, that in a limited time the cheat would be detected. The money was paid him, and he expended it on a piece of plate, with three rabbits engraved by way of arms.

I learn from _The Weekly Miscellany_, for _April_ 19, 1740, that a few days before, "The celebrated Rabbit-woman of _Godalmin_ in _Surry_ was committed to _Guildford Gaol_, for receiving stolen goods."

In _The Gazetteer, or Daily London Advertiser, Jan._ 21, 1763, was this paragraph, which closes the story of our heroine: "Last week died at _Godalming_ in _Surry, Mary Tofts,_ formerly noted for an imposition of breeding Rabbits."

[1] Both these letters are in _The British Museum_. See MS. Sloan. 3312. XXVI. G. and MS. Sloan. 3316. XXVI. G.

* * * * *

1727.

1. Music introduced to _Apollo_ by _Minerva. Hogarth fecit. "Frontispiece to some book of music, or ticket for a concert."_ I can venture to affirm, on unquestionable authority, that this print is a mere copy from the frontispiece to a more ancient book of music. The composer's name has escaped my memory.

2. Masquerade Ticket. A. a sacrifice to _Priapus_. B. a pair of Lecherometers shewing the companys inclinations as they approach em. Invented for the use of ladies and gentlemen, by the ingenious Mr. _H----r [Heidegger]._ Price One Shilling. "_There is much wit in this print._" The attentive observer will find, that _Hogarth_ has transplanted several circumstances from hence into the first plate to the _Analysis of Beauty_, as well as into his Satire on the Methodists. See the ornaments of an altar composed of a concatenation of different periwigs, and the barometers expressing the different degrees of animal heat. At the corners of the dial on the top of this print is the date of the year (1727), and the face of _Heidegger_ appears under the figure XII. In the earliest impressions, the word Provocatives has, instead of V the open vowel U. This incorrectness in spelling was afterwards amended, though in a bungling manner, the round bottoms of the original letters being still visible.[1]

Concerning _John James Heidegger_, whose face has been more than once introduced by our artist, the reader may express some curiosity. The following account of him is therefore appended to the foregoing article.

"This extraordinary man, the son of a clergyman, was a native of _Zurich_ in _Switzerland_, where he married, but left his country in consequence of an intrigue. Having had an opportunity of visiting the principal cities of _Europe_, he acquired a taste for elegant and refined pleasures, which, united to a strong inclination for voluptuousness, by degrees qualified him for the management of public amusements. In 1708, when he was near 50 years old, he came to _England_ on a negotiation from the _Swiss_ at _Zurich_; but, failing in his embassy, he entered as a private soldier in the guards for protection.[2] By his sprightly, engaging conversation, and insinuating address, he soon worked himself into the good graces of our young people of fashion; from whom he obtained the appellation of 'the _Swiss_ Count.'[3] He had the address to procure a subscription, with which in 1709 he was enabled to furnish out the opera of '_Thomyris_,'[4] which was written in _English_, and performed at the Queen's theatre in the _Haymarket_. The music, however, was _Italian_; that is to say, airs selected from sundry of the foreign operas by _Bononcini, Scarlatti, Stefani, Gasparini,_ and _Albinoni_. Most of the songs in '_Thomyris_' were excellent, those by _Bononcini_ especially: _Valentini, Margarita,_ and Mrs. _Tofts_ sung in it; and _Heidegger_ by this performance alone was a gainer of 500 guineas.[5] The judicious remarks he made on several defects in the conduct of our operas in general, and the hints he threw out for improving the entertainments of the royal theatre, soon established his character as a good critic. Appeals were made to his judgement; and some very magnificent and elegant decorations, introduced upon the stage in consequence of his advice, gave such satisfaction to _George_ II. who was fond of operas, that, upon being informed to whose genius he was indebted for these improvements, his majesty was pleased from that time to countenance him, and he soon obtained the chief management of the Opera-house in _The Haymarket_. He then set about improving another species of diversion, not less agreeable to the king, which was the masquerades, and over these he always presided at the king's theatre. He was likewise appointed master of the revels. The nobility now caressed him so much, and had such an opinion of his taste, that all splendid and elegant entertainments given by them upon particular occasions, and all private assemblies by subscription, were submitted to his direction.[6]

"From the emoluments of these several employments, he gained a regular considerable income, amounting, it is said, in some years, to 5000 _l._ which he spent with much liberality: particularly in the maintenance of perhaps a somewhat too luxurious table; so that it may be said, he raised an income, but never a fortune. His foibles, however, if they deserve so harsh a name, were completely 'covered' by his 'charity,' which was boundless.[7]

"That he was a good judge of music, appears from his opera: but this is all that is known of his mental abilities;[8] unless we add, what we have good authority for saying in honour to his _memory_, that he walked from _Charing-Cross_ to _Temple-bar_, and back again; and when he came home, wrote down every sign on each side the _Strand_.

"As to his person, though he was tall and well made, it was not very pleasing, from an unusual hardness of features.[9] But he was the first to joke upon his own ugliness; and he once laid a wager with the earl of _Chesterfield_, that, within a certain given time, his lordship would not be able to produce so hideous a face in all _London_. After strict search, a woman was found, whose features were at first sight thought stronger than _Heidegger's_; but, upon clapping her head-dress upon himself, he was universally allowed to have won the wager. _Jolly_, a well-known taylor, carrying his bill to a noble duke, his grace, for evasion said, 'Damn your ugly face, I never will pay you till you bring me an uglier fellow than yourself!' _Jolly_ bowed and retired, wrote a letter, and sent it by a servant to _Heidegger_; saying, 'his grace wished to see him the next morning on particular business.' _Heidegger_ attended, and _Jolly_ was there to meet him; and in consequence, as soon as _Heidegger's_ visit was over, _Jolly_ received the cash.