Chapter IX: Preface: To the GERMAN READER (8)

[3] Of whom a separate portrait, by _Ellis_, had been published by _Overton. Figg_ died in the year 1734. As the taste of the publick is much changed about the importance of the _noble_ Science of Defence, as it was called, and as probably it will never again revive, it may afford some entertainment to my readers, to see the terms in which this celebrated prize-fighter is spoken of by a professor of the art. "FIGG was the _Atlas_ of the Sword; and may he remain the gladiating statue! In him strength, resolution, and unparalleled judgement, conspired to form a matchless master. There was a majesty shone in his countenance, and blazed in all his actions, beyond all I ever saw. His right leg bold and firm, and his left, which could hardly ever be disturbed, gave him the surprising advantage already proved, and struck his adversary with despair and panic. He had that peculiar way of stepping in I spoke of, in a parry; he knew his arm, and its just time of moving; put a firm faith in that, and never let his adversary escape his parry. He was just as much a greater master than any other I ever saw, as he was a greater judge of time and measure." _Captain John Godfrey's Treatise upon the Useful Science of Defence_, 4to, 1747, p. 41. "Mr. _Figg_," says _Chetwood_, History of the Stage, p. 60, "informed me once, that he had not bought a shirt for more than twenty years, but had sold some dozens. It was his method, when he fought in his amphitheatre (his stage bearing that superb title), to send round to a select number of his scholars, to borrow a shirt for the ensuing combat, and seldom failed of half a dozen of superfine Holland from his prime pupils (most of the young nobility and gentry made it a part of their education to march under his warlike banner). This champion was generally conqueror, though his shirt seldom failed of gaining a cut from his enemy, and sometimes his flesh, though I think he never received any dangerous wound. Most of his scholars were at every battle, and were sure to exult at their great master's victories, every person supposing he saw the wounds his shirt received. Mr. _Figg_ took his opportunity to inform his lenders of linen of the chasms their shirts received, with a promise to send them home. But, said the ingenious courageous _Figg_, I seldom received any other answer than D-mn you, keep it!" A Poem by Dr. _Byrom_, on a battle between _Figg_ and _Sutton_, another prize-fighter, is in the 6th Volume of _Dodsley's_ Collection of Poems.

[4] _Fielding_ has introduced this porter, under the name of _Leathersides_, into _The Covent-Garden Tragedy_, acted in 1732.

_Leath._
Two whores, great Madam, must be straight prepar'd,
A fat one for the Squire, and for my Lord a lean.

_Mother._
Thou, _Leathersides_, best know'st such nymphs to find,
To thee their lodgings they communicate.
Go thou procure the girl.

[5] The cleanliness of the _English_ seems to have made a similar impression on the mind of M. _De Grosley_, who, in his "Tour to _London_," observes, that "The plate, hearth-stones, moveables, apartments, doors, stairs, the very street-doors, their locks, and the large brass knockers, are every day washed, scowered, or rubbed. Even in lodging-houses, the middle of the stairs is often covered with carpeting, to prevent them from being soiled. All the apartments in the house have mats or carpets; and the use of them has been adopted some years since by the _French_;" and that "The towns and villages upon the road have excellent inns, but somewhat dear; at these an _English_ lord is as well served as at his own house, and with a cleanliness much to be wished for in most of the best houses of _France_. The innkeeper makes his appearance only to do the honours of his table to the greatest personages, who often invite him to dine with them."

[6] The chief of these, who wears something that seems to have been a tie-wig, was painted from a _French_ boy, who cleaned shoes at the corner of _Hog-Lane_.

[7] In the collection of Mr. _Steevens_ only.

[8] He had meditated, however, some additional improvements in the same plate. When he had inserted the storm, he began to consider the impropriety of turning the girl out in the midst of it with her head uncovered; and therefore, on a proof of this print, from which he designed to have worked, he sketched her hat in with _Indian_ ink.

[9] It appears, on examination of the Registers, &c. that _Tho. Sice_ and _Tho. Horn_ are not fictitious names. Such people were really churchwardens when the repairs in 1725 were made. The following inscription on the pew, denoting a vault beneath, is also genuine, and, as far as can be known at present, was faithfully copied in regard to its obsolete spelling.

THESE PEWES VNSCRVD AND TANE IN SVNDER
IN STONE THERS GRAVEN WHAT IS VNDER
TO WIT A VALT FOR BURIAL THERE IS
WHICH EDWARD FORSET MADE FOR HIM AND HIS.

Part of these words, in raised letters, at present form a pannel in the wainscot at the end of the right-hand gallery, as the church is entered from the street.--No heir of the _Forset_ family appearing, their vault has been claimed and used by his Grace the Duke of _Portland_, as lord of the manor. The mural monument of the _Taylors_, composed of lead gilt over, is likewise preserved. It is seen, in _Hogarth's_ print, just under the window. The bishop of the diocese, when the new church was built, gave orders that all the ancient tablets should be placed, as nearly as possible, in their former situations.

[10] Old _Manners_, brother to the late _Duke of Rutland_.

[11] The old Duke of _Devonshire_ lost the great estate of _Leicester_ abbey to him at the gaming-table. _Manners_ was the only person of his time who had amassed a considerable fortune by the profession of a gamester.

[12] "The first print of this capital work is an excellent representation of a young heir, taking possession of a miser's effects. The passion of avarice, which hoards every thing, without distinction, what is and what is not valuable, is admirably described.--The _composition_, though not excellent, is not unpleasing. The principal group, consisting of the young gentleman, the taylor, the appraiser, the papers, and chest, is well shaped: but the eye is hurt by the disagreeable regularity of three heads nearly in a line, and at equal distances.--The _light_ is not ill disposed. It falls on the principal figures: but the effect might have been improved. If the extreme parts of the mass (the white apron on one side, and the memorandum-book on the other) had been in shade, the _repose_ had been less injured. The detached parts of a group should rarely catch a strong body of light.--We have no striking instances of _expression_ in this print. The principal figure is unmeaning. The only one, which displays the true _vis comica_ of _Hogarth_, is the appraiser fingering the gold. You enter at once into his character.--The young woman might have furnished the artist with an opportunity of presenting a graceful figure; which would have been more pleasing. The figure he _has_ introduced, is by no means an object of allurement.--The _perspective_ is accurate, but affected. So many windows, and open doors, may shew the author's learning; but they break the back ground, and injure the simplicity of it.

"The second print introduces our hero into all the dissipation of modish life. We became first acquainted with him, when a boy of eighteen. He is now of age; has entirely thrown off the clownish school-boy; and assumes the man of fashion. Instead of the country taylor, who took measure of him for his father's mourning, he is now attended by _French_ barbers, _French_ taylors, poets, milleners, jockies, bullies, and the whole retinue of a fine gentleman.--The _expression_, in this print, is wonderfully great. The dauntless front of the bully; the keen eye, and elasticity of the fencing-master; and the simpering importance of the dancing-master, are admirably expressed. The last is perhaps a little _outré_. The architect[A] is a strong copy from nature.--The _composition_ seems to be entirely subservient to the expression. It appears, as if _Hogarth_ had sketched, in his memorandum-book, all the characters which he has here introduced; but was at a loss how to group them; and chose rather to introduce them in detached figures, as he had sketched them, than to lose any part of the expression by combining them.--The _light_ is ill distributed. It is spread indiscriminately over the print; and destroys the _whole_--We have no instance of _grace_ in any of the figures. The principal figure is very deficient. There is no contrast in the limbs; which is always attended with a degree of ungracefulness.--The _execution_ is very good. It is elaborate, and yet free.--The satire on operas, though it may be well directed, is forced and unnatural.

"The third plate carries us still deeper into the history. We meet our hero engaged in one of his evening amusements. This print, on the whole, is no very extraordinary effort of genius.--The _design_ is good; and may be a very exact description of the humours of a brothel.--The _composition_ too is not amiss. But we have few of those masterly strokes which distinguish the works of _Hogarth_. The whole is plain history. The lady setting the world on fire is the best thought: and there is some humour in furnishing the room with a set of _Cæsars_; and not placing them in order.--The _light_ is ill managed. By a few alterations, which are obvious, particularly by throwing the lady dressing into the shade, the disposition of it might have been tolerable. But still we should have had an absurdity to answer, whence comes it? Here is light in abundance; but no visible source.--_Expression_ we have a little through the whole print. That of the principal figure is the best. The ladies have all the air of their profession; but no variety of character. _Hogarth's_ women are, in general, very inferior to his men. For which reason I prefer the _Rake's Progress_ to the _Harlot's_. The female face indeed has seldom strength of feature enough to admit the strong markings of expression.

"Very disagreeable accidents often befall gentlemen of pleasure. An event of this kind is recorded in the fourth print; which is now before us. Our hero going, in full dress, to pay his compliments at court on St. _David's_ day, was accosted in the rude manner which is here represented.--The _composition_ is good. The form of the group, made up of the figures in action, the chair, and the lamp-lighter, is pleasing. Only, here we have an opportunity of remarking, that a group is disgusting when the extremities of it are heavy. A group in some respect should resemble a tree. The heavier part of the foliage (the _cup_ as the landscape painter calls it) is always near the middle; the outside branches, which are relieved by the sky, are light and airy. An inattention to this rule has given a heaviness to the group before us. The two bailiffs, the woman, and the chairman, are all huddled together in that part of the group which should have been the lightest; while the middle part, where the hand holds the door, wants strength and consistence. It may be added too, that the four heads, in the form of a diamond, make an unpleasing shape. All regular figures should be studiously avoided.--The _light_ had been well distributed, if the bailiff holding the arrest, and the chairman, had been a little lighter, and the woman darker. The glare of the white apron is disagreeable.--We have, in this print, some beautiful instances of _expression_. The surprise and terror of the poor gentleman is apparent in every limb, as far as is consistent with the fear of discomposing his dress. The insolence of power in one of the bailiffs, and the unfeeling heart, which can jest with misery, in the other, are strongly marked. The self-importance too of the honest _Cambrian_ is not ill portrayed; who is chiefly introduced to settle the chronology of the story.--In point of _grace_, we have nothing striking. _Hogarth_ might have introduced a degree of it in the female figure: at least he might have contrived to vary the heavy and unpleasing form of her drapery.--The _perspective_ is good, and makes an agreeable shape.--I cannot leave this print without remarking the _falling band-box_. Such representations of quick motion are absurd; and every moment the absurdity grows stronger. You cannot deceive the eye. The falling body _must_ appear _not_ to fall. Objects of that kind are beyond the power of representation.

"Difficulties crowd so fast upon our hero, that at the age of twenty-five, which he seems to have attained in the fifth plate, we find him driven to the necessity of marrying a woman, whom he detests, for her fortune. The _composition_ here is very good; and yet we have a disagreeable regularity in the climax of the three figures, the maid, the bride, and the bride-groom.--The _light_ is not ill distributed. The principal figure too is _graceful_; and there is strong _expression_ in the seeming tranquillity of his features. He hides his contempt of the object before him as well as he can; and yet he cannot do it. She too has as much meaning as can appear thro' the deformity of her features. The clergyman's face we are all well acquainted with, and also his wig; tho' we cannot pretend to say, where we have seen either. The clerk too is an admirable fellow.--The _perspective_ is well understood; but the church is too small;[B] and the wooden post, which seems to have no use, divides the picture very disagreeably.--The creed lost, the commandments broken, and the poor's-box obstructed by a cobweb, are all excellent strokes of satirical humour.

"The fortune, which our adventurer has just received, enables him to make one push more at the gaming-table. He is exhibited, in the sixth print, venting curses on his folly for having lost his last stake.--This is upon the whole, perhaps, the best print of the set. The horrid scene it describes was never more inimitably drawn. The _composition_ is artful, and natural. If the shape of the whole be not quite pleasing, the figures are so well grouped, and with so much ease and variety, that you cannot take offence.--In point of light, it is more culpable. There is not shade enough among the figures to balance the glare. If the neck-cloth and weepers of the gentleman in mourning had been removed, and his hands thrown into shade, even that alone would have improved the effect.--The _expression_, in almost every figure, is admirable; and the whole is a strong representation of the human mind in a storm. Three stages of that species of madness, which attends gaming, are here described. On the first shock, all is inward dismay. The ruined gamester is representing leaning against a wall, with his arms across, lost in an agony of horror. Perhaps never passion was described with so much force. In a short time this horrible gloom bursts into a storm of fury: he tears in pieces what comes next him; and, kneeling down, invokes curses upon himself. He next attacks others; every one in his turn whom he imagines to have been instrumental in his ruin.--The eager joy of the winning gamesters, the attention of the usurer, the vehemence of the watchman, and the profound reverie of the highwayman, are all admirably marked. There is great coolness too expressed in the little we see of the fat gentleman at the end of the table. The figure opposing the mad-man is bad: it has a drunken appearance; and drunkenness is not the vice of a gaming table.--The principal figure is _ill-drawn_. The _perspective_ is formal; and the _execution_ but indifferent: in heightening his expression, _Hogarth_ has lost his spirit.

"The seventh plate, which gives us the view of a jail, has very little in it. Many of the circumstances, which may well be supposed to increase the misery of a confined debtor, are well contrived; but the fruitful genius of _Hogarth_, I should think, might have treated the subject in a more copious manner. The episode of the fainting woman might have given way to many circumstances more proper to the occasion. This is the same woman, whom the rake discards in the first print; by whom he is rescued in the fourth; who is present at his marriage; who follows him into jail; and, lastly, to _Bedlam_. The thought is rather unnatural, and the moral certainly culpable.--The _composition_ is bad. The group of the woman fainting is a round heavy mass: and the other group is very ill-shaped. The _light_ could not be worse managed, and, as the groups are contrived, can hardly be improved.--In the principal figure there is great _expression_; and the fainting scene is well described. A scheme to pay off the national debt, by a man who cannot pay his own; and the attempt of a silly rake, to retrieve his affairs by a work of genius; are admirable strokes of humour.

"The eighth plate brings the fortune of our hero to a conclusion. It is a very expressive representation of the most horrid scene which human nature can exhibit.--The _composition_ is not bad. The group, in which the lunatic is chained, is well managed; and if it had been carried a little further towards the middle of the picture, and the two women (who seem very oddly introduced) had been removed, both the composition, and the distribution of light, had been good.--The _drawing_ of the principal figure is a more accurate piece of anatomy than we commonly find in the works of this master. The _expression_ of the figure is rather unmeaning; and very inferior to the strong characters of all the other lunatics. The fertile genius of the artist has introduced as many of the causes of madness, as he could well have collected; but there is some tautology. There are two religionists, and two astronomers. Yet there is variety in each; and strong _expression_ in all the characters. The self-satisfaction, and conviction, of him who has discovered the longitude; the mock majesty of the monarch; the moody melancholy of the lover; and the superstitious horror of the popish devotee; are all admirable.--The _perspective_ is simple and proper.

"I should add, that these remarks are made upon the first edition of this work. When the plates were much worn, they were altered in many parts. They have gained by the alterations, in point of _design_; but have lost in point of _expression_."

[A] The _architect_. Mr. _Gilpin_ means--the _gardener_.

[B] I am authorized to observe, that this is no fault in our artist. The old church at _Marybone_ was so little, that it would have stood within the walls of the present one, leaving at the same time sufficient room for a walk round it.

[13] Afterwards twice lord mayor of _London_. See p. 44.

[14] The same as that introduced in Plate II.

* * * * *

1736.

1. Two prints of Before and After. The two pictures, from which these prints are taken, were painted at the particular request of a certain vicious nobleman, whose name deserves no commemoration. The hero of them is said to have been designed for Chief Justice _Willes. Hogarth_ repented of having engraved them; and almost every possessor of his works will wish they had been with-held from the public, as often as he is obliged to shew the volume that contains them to ladies. To omit them, is to mutilate the collection; to pin the leaves, on which they are pasted, together, is a circumstance that tends only to provoke curiosity; and to display them, would be to set decency at defiance. The painter who indulges himself, or his employers, in such representations, will forfeit the general praise he might have gained by a choice of less offensive subjects. We have an artist of no common merit, who has frequently disgraced his skill by scenes too luxuriant to appear in any situation but a brothel; and yet one of the most meretricious of his performances, but a few years ago, was exhibited by the Royal Academy. These prints, however, display almost the only instance in which _Hogarth_ condescended to execute a subject proposed to him; for I am assured by one who knew him well, that his obstinacy on these occasions has often proved invincible. Like _Shakspeare's Tully_,

"----he would never follow any thing
That other men began."

In the later impressions from these plates, the scroll-work on the head-cloth, &c. of the bed, is rendered indistinct, by an injudicious attempt to strengthen the engraving. Mr. _S. Ireland_ has the first sketch in oil of "Before."[1]

[1] The originals of both are at the earl of _Besborough's_ seat at _Roehampton_.

2. The Sleeping Congregation. The preacher was designed as the representative of Dr. _Desaguliers_. This print was first published in 1736. It was afterwards retouched and _improved_[1] by the author in 1762, and is found in three different states. In the first, _Dieu & Mon Droit_ is wanting under the King's Arms; the angel with one wing and two pair of thighs, that supports this motto, is smoking a pipe; and the lion has not his present magnificent genitals. In the second, the words already mentioned are added; the angel's pipe is obliterated; the insignia of the lion's sex rendered ostentatiously conspicuous; and the lines of the triangle under the angel are doubled. The other distinctions are chiefly such as a reiteration of engraving would naturally produce, by adding strength to the fainter parts of the composition. Changes of this slender kind are numberless in all the repaired prints of our artist. There is also a pirated copy of this plate. It is not ill executed, but in size is somewhat shorter than its predecessor, and has no price annexed. In the original picture, in the collection of Sir _Edward Walpole_, the clerk's head is admirably well painted, and with great force; but he is dozing, and not leering at the young woman near him, as in the print.

[1] I wish, for the sake of some future edition of the present work, these _improvements_ could be ascertained. To me they are invisible, like those in the re-published _March to Finchley_.

3. The Distressed Poet.[1] In a back ground, a picture of _Pope_ threshing _Curll_. Over the head of _Pope_ we read, _Pope's Letters_; out of his mouth comes _Veni, vidi, vici_; and under _Curll_ lies a letter, directed--_to Curll_. The distressed bard is composing _Poverty_, a poem. At the bottom of the plate are the following lines from _The Dunciad_, I. iii.

Studious he sate, with all his books around,
Sinking from thought to thought, a vast profund!
Plung'd for his sense, but found no bottom there;
Then writ, and flounder'd on in mere despair.

In the subsequent impressions, dated _December_ 15, 1740, the triumphs of _Pope_ are changed to a view of the gold mines of _Peru_; and our hero of the garret is employed in celebrating the praise of _Riches_. The lines already quoted are effaced. The original painting is at lord _Grosvenor's_ house at _Milbank, Westminster_.

[1] In _The Craftsman, March_ 12, 1736-7, occurs, "This day is published, price 3s. a print representing a _Distressed Poet_. Also, five etchings, of different characters of heads in groups, viz. a Chorus of Singers; a pleased Audience at a Play; Scholars at a Lecture; and Quacks in Consultation; price 6d. each. To be had either bound together with all Mr. _Hogarth's_ late engraved works (except the Harlot's Progress), or singly, at the _Golden Head_, in _Leicester Fields_; and at Mr _Bakewell's_, printseller, next the _Horn Tavern, Fleet-street_." And _April_ 2 and 9, 1737, "Just published, price 3s. A print representing a _Distressed Poet_. Designed and engraved by Mr. _Hogarth_. Also four etchings, viz. A pleased Audience; a Chorus of Singers; Scholars at a Lecture; and a Consultation of Quacks, price 6d. each. To be had at the _Golden Head_, in _Leicester Fields_; and at Mr. _Bakewell's_, print-seller, next the _Horn Tavern_, in _Fleet-street_. Where may be had, bound or otherwise, all Mr. _Hogarth's_ late engraved works, viz. A _Midnight Conversation; Southwark Fair_; the _Rake's Progress,_ in eight prints; a sleepy Congregation in a Country Church; Before and After, two prints."

4. Right Hon. _Frances_ Lady _Byron_. Whole length, mezzotinto. _W. Hogarth pinxit. J. Faber fecit._ The most beautiful impressions of this plate were commonly taken off in a brown colour.

5. The same, shortened into a three-quarters length.

6. Consultation of Physicians. Arms of the Undertakers. In this plate, amongst other portraits, is the well-known one of Dr. _Ward_[1] (who was called _Spot Ward_, from the left side of his face being marked of a claret colour); and that of the elder _Taylor_,[2] a noted oculist, with an eye on the head of his cane; Dr. _Pierce Dod_,[3] Dr. _Bamber_;[4] and other physicians of that time. The figure with a bone in its hand, between the two demi-doctors (i. e. _Taylor_ and _Ward_), is said to have been designed for Mrs. _Mapp_, a famous masculine woman, who was called the bone-setter, or shape-mistress. I am told, that many of her advertisements may be found in _Mist's Journal_, and still more accounts of her cures in the periodical publications of her time. Her maiden name was _Wallin_. Her father was also a bone-setter at _Hindon, Wilts_; but quarrelling with him, she wandered about the country, calling herself _crazy Sally_. On her success in her profession she married, _August_ 11, 1736,[5] one _Hill Mapp_, a servant to Mr. _Ibbetson_, mercer on _Ludgate-Hill_. In most cases her success was rather owing to the strength of her arms, and the boldness of her undertakings, than to any knowledge of anatomy or skill in chirurgical operations. The following particulars relative to her are collected from the _The Grub-street Journal_, &c. and serve at least to shew, that she was a character considerable enough to deserve the satire of _Hogarth_.

_August_ 19, 1736, "We hear that the husband of Mrs. _Mapp_, the famous bone-setter at _Epsom_, ran away from her last week, taking with him upwards of 100 guineas, and such other portable things as lay next hand."

"Several letters from _Epsom_ mention, that the footman, whom the female bone-setter married the week before, had taken a sudden journey from thence with what money his wife had earned; and that her concern at first was very great: but soon as the surprize was over, she grew gay, and seemed to think the money well disposed of, as it was like to rid her of a husband. He took just 102 guineas."

The following verses were addressed to her in _August_ 1736.

"Of late, without the least pretence to skill,
_Ward's_ grown a fam'd physician by a pill;[6]
Yet he can but a doubtful honour claim,
While envious Death oft blasts his rising fame.
Next travell'd _Taylor_ fill'd us with surprize,
Who pours new light upon the blindest eyes;
Each journal tells his circuit thro' the land;
Each journal tells the blessings of his hand:
And lest some hireling scribbler of the town
Injures his history, he writes his own.
We read the long accounts with wonder o'er;
Had he wrote less, we had believ'd him more.
Let these, O _Mapp!_ thou wonder of the age!
With dubious arts endeavour to engage:
While you, irregularly strict to rules,
Teach dull collegiate pedants they are fools:
By merit, the sure path to fame pursue;
For all who see thy art, must own it true."

_September_ 2, 1736, "On _Friday_ several persons, who had the misfortune of lameness, crowded to _The White-hart Inn_, in _White-chapel_, on hearing Mrs. _Mapp_ the famous bone-setter was there. Some of them were admitted to her, and were relieved as they apprehended. But a gentleman, who happened to come by, declared Mrs. _Mapp_ was at _Epsom_, on which the woman thought proper to move off."

_September_ 9, 1736. "Advertisement.

"Whereas it has been industriously (I wish I could say truly) reported, that I had found great benefit from a certain female bone-setter's performance, and that it was to a want of resolution to undergo the operation, that I did not meet with a perfect cure: this is therefore to give notice, that any persons afflicted with lameness (who are willing to know what good or harm others may receive, before they venture on desperate measures themselves) will be welcome any morning to see the dressing of my leg, which was sound before the operation, and they will then be able to judge of the performance, and to whom I owe my present unhappy confinement to my bed and chair.

"_Thomas Barber_, Tallow-chandler, _Saffron-hill_."

_September_ 16, 1736. "On _Thursday_, Mrs. _Mapp's_ plate of ten guineas was run for at _Epsom_. A mare, called 'Mrs. _Mapp_,' won the first heat; when Mrs. _Mapp_ gave the rider a guinea, and swore if he won the plate she would give him 100; but the second and third heat was won by a chestnut mare."

"We hear that the husband of Mrs. _Mapp_ is returned, and has been kindly received."

_September_ 23, 1736. "Mrs. _Mapp_ continues making extraordinary cures: she has now set up an equipage, and on _Sunday_ waited on her Majesty."

_Saturday, October_ 16, 1736. "Mrs. _Mapp_, the bone-setter, with Dr. _Taylor_, the oculist, was at the play-house, in _Lincoln's-Inn Fields,_ to see a comedy called 'The Husband's Relief, with the Female Bone-setter and Worm Doctor;' which occasioned a full house, and the following epigram:

"'While _Mapp_ to th'actors shew'd a kind regard,
On one side _Taylor_ sat, on the other _Ward_:
When their mock persons of the Drama came,
Both _Ward_ and _Taylor_ thought it hurt their _fame_;
Wonder'd how _Mapp_ cou'd in good humour be--
Zoons! cries the manly dame, it hurts not me;
Quacks without art may either blind or kill;
But[7] _demonstration_ shews that mine is _skill_.'

"And the following was sung upon the stage:

"'You surgeons of _London_, who puzzle your pates,
To ride in your coaches, and purchase estates,
Give over, for shame, for your pride has a fall,
And the doctress of _Epsom_ has outdone you all.
_Derry down_, &c.

"'What signifies learning, or going to school,
When a woman can do, without reason or rule,
What puts you to nonplus, and baffles your art?
For petticoat-practice has now got the start.

"'In physics, as well as in fashions, we find,
The newest has always the run with mankind;
Forgot is the bustle 'bout _Taylor_ and _Ward_;
Now _Mapp's_ all the cry, and her fame's on record.

"'Dame Nature has given her a doctor's degree,
She gets all the patients, and pockets the fee;
So if you don't instantly prove it a cheat,
She'll loll in her chariot, whilst you walk the street.
_Derry down_, &c.'"

_October_ 19, 1736, _London Daily Post._ "Mrs. _Mapp_, being present at the acting of _The Wife's Relief_, concurred in the universal applause of a crowded audience. This play was advertised by the desire of Mrs. _Mapp_, the famous bone-setter from _Epsom_."

_October_ 21, 1736, "On _Saturday_ evening there was such a concourse of people at the Theatre-royal in _Lincoln's-Inn Fields_, to see the famous Mrs. _Mapp_, that several gentlemen and ladies were obliged to return for want of room. The confusion at going out was so great, that several gentlemen and ladies had their pockets picked, and many of the latter lost their fans, &c. Yesterday she was elegantly entertained by Dr. _Ward_, at his house in _Pall-Mall_."

"On _Saturday_ and yesterday Mrs. _Mapp_ performed several operations at _The Grecian Coffee-house_, particularly one upon a niece of Sir _Hans Sloane_, to his great satisfaction and her credit. The patient had her shoulder-bone out for about nine years."

"On _Monday_ Mrs. _Mapp_ performed two extraordinary cures; one on a young lady of _The Temple_, who had several bones out from the knees to her toes, which she put in their proper places: and the other on a butcher, whose knee-pans were so misplaced that he walked with his knees knocking one against another. Yesterday she performed several other surprizing cures; and about one set out for _Epsom_, and carried with her several crutches, which she calls trophies of honour."

_November_ 18, 1736, "Mrs. _Mapp_, the famous bone-setter, has taken lodgings in _Pall-Mall_, near Mr. _Joshua Ward's_, &c."

_November_ 25, 1736,

"In this bright age three wonder-workers rise,
Whose operations puzzle all the wise.
To lame and blind, by dint of manual slight,
_Mapp_ gives the use of limbs, and _Taylor_ sight.
But greater _Ward_, &c."

_December_ 16, 1736, "On _Thursday, Polly Peachum_ (Miss _Warren_, that was sister to the famous Mrs. _Mapp_) was tried at _The Old Bailey_ for marrying Mr. _Nicholas_; her former husband, Mr. _Somers_, being living, &c."

_December_ 22, 1737, "Died last week, at her lodgings near _The Seven Dials_, the much-talked-of Mrs. _Mapp_, the bone-setter, so miserably poor, that the parish was obliged to bury her."

The plate is thus illustrated by the engraver: "The Company of Undertakers beareth Sable, an Urinal proper, between twelve Quack Heads of the second, and twelve Cane Heads, Or, Consultant. On a Chief,[8] Nebulæ,[9] Ermine, one compleat Doctor[10] issuant, checkie, sustaining in his right hand a baton of the second. On his dexter and sinister sides two _demi-_doctors issuant of the second, and two Cane Heads issuant of the third; the first having one eye couchant, towards the dexter side of the escutcheon; the second faced per pale proper and gules, guardant, with this motto--_Et plurima mortis imago._"

[1] _Joshua Ward_ was one of the younger sons of an ancient and respectable family settled at _Guisborough_ in _Yorkshire_, where he was born some time in the last century. He seems, from every description of him, to have had small advantages from education, though he indisputably possessed no mean natural parts. The first account we have of him is, that he was a associated in partnership with a brother named _William_, as a dry-salter, in _Thames-street_. After they had carried on this business some time, a fire broke out in an adjoining house, which communicated itself to their warehouses, and entirely destroyed all their property. On this occasion Mr. _Ward_, with a gentleman from the country who was on a visit to him, escaped over the tops of the houses in their shirts. In the year 1717 he was returned member for _Marlborough_; but, by a vote of the House of Commons, dated _May_ 13, was declared not duly elected. It is imagined that he was in some measure connected with his brother _John Ward_ (who is stigmatized by Mr. _Pope_, Dunciad III. 34.) in secreting and protecting illegally the property of some of the _South Sea_ directors. Be this as it may, he soon after fled from _England_, resided some years abroad, and has been frequently supposed to have turned _Roman_ Catholic. While he remained in exile, he acquired that knowledge of medicine and chemistry, which afterwards was the means of raising him to a state of affluence. About the year 1733 he began to practise physic, and combated, for some time, the united efforts of Wit, Learning, Argument, Ridicule, Malice, and Jealousy, by all of which he was opposed in every shape that can be suggested. At length, by some lucky cures, and particularly one on a relation of Sir _Joseph Jekyl_ Master of the Rolls, he got the better of his opponents, and was suffered to practise undisturbed. From this time his reputation was established: he was exempted, by a vote of the House of Commons, from being visited by the censors of the college of physicians, and was even called in to the assistance of King _George_ the Second, whose hand he cured, and received, as a reward, a commission for his nephew the late General _Gansel_. It was his custom to distribute his medicines and advice, and even pecuniary assistance, to the poor, at his house, _gratis_; and thus he acquired considerable popularity. Indeed, in these particulars his conduct was entitled to every degree of praise. With a stern outside, and rough deportment, he was not wanting in benevolence. After a continued series of success, he died _Dec._ 21, 1761, at a very advanced age, and left the secret of his medicines to Mr. _Page_, member for _Chichester_, who bestowed them on two charitable institutions, which have derived considerable advantages from them. His will is printed in _The Gentleman's Magazine_, 1762, p. 208.

[2] I was assured by the late Dr. _Johnson_, that _Ward_ was the weakest, and _Taylor_ the most ignorant, of the whole empiric tribe. The latter once asserted, that when he was at _St. Petersburg_, he travelled as far as _Archangel_ to meet Prince _Herculaneum_. Now _Archangel_ being the extreme point from _European Asia_, had the tale been true, the oculist must have marched so far backwards out of the route of Prince _Heraclius_, whose name he had blundered into _Herculaneum_.

The present likeness of our oculist, however, we may suppose to have been a strong one, as it much resembles a mezzotinto by _Faber_, from a picture painted at _Rome_ by the Chevalier _Riche_. Under it is the following inscription: "_Joannes Taylor_, Medicus in Optica expertissimus multisque in Academiis celeberrimis Socius." Eight _Latin_ verses follow, which are not worth transcription. _Taylor_ made presents of this print to his friends. It is now become scarce.

[3] One of the physicians to _St. Bartholomew's_ Hospital. He died _August_ 6, 1754. His merits were thus celebrated by Dr. _Theobald_, a contemporary physician:

"O raro merito quem juncta scientia dudum
Illustrem sacris medico stellam addidit orbi
Auspiciis, pura nunquam non luce corusce!
Utcunque incolumem virtutum aversa tueri
Gens humana solet, non ni post fata corona
Donandam merita, potitus melioribus astris,
Invidia major, tu præsens alter haberis
_Hippocrates_, pleno jam nunc cumulatus honore.
Te seu, corporea tandem compage soluta,
Accipiet, doctis clarescentem artibus, alta
_Coi_ sphæra senis; seu tu venerabilis aureo
_Romani Celsi_ rite effulgebis in orbe;
O sit adhuc tarda illa dies, sit tarda, precamur,
Illa dies, nostris et multum ferior annis,
Cum tua mens, membris seducta fluentibus, almas
Advolet, angelicis immixta cohortibus, arces!
Hic potius Musas, thematis dulcedine captas,
Delecta, atque audi laudes vel _Apolline_ dignas."

[4] A celebrated anatomist, physician, and man-midwife, to whose estate the present _Gascoyne_ family succeeded, and whose surname has been given as a Christian name to two of them.

[5] Some indifferent verses on this event were printed in _The Gentleman's Magazine_, 1736, p. 484.

[6] General _Churchill_ was "the primary puffer of _Ward's_ pill at court;" and Lord Chief Baron _Reynolds_ soon after published "its miraculous effects on a maid servant," as I learn by some doggrel verses of Sir _William Browne_, addressed to "Dr. _Ward_, a Quack, of merry memory," under the title of "The Pill-Plot. On _The Daily Courant's_ miraculous Discovery, upon the ever-memorable 28th day of _November_ 1734, from the Doctor himself being a Papist, and distributing his Pills to the poor _gratis_, by the hands of the Lady _Gage_ also a Papist, that the Pill must be beyond all doubt a deep-laid Plot, to introduce popery."

[7] "This alludes to some surprizing cures she performed before Sir _Hans Sloane_ at _The Grecian Coffee-house_ (where she came once a week from _Epsom_ in her chariot with four horses): viz. a man of _Wardour-street_, whose back had been broke nine years, and stuck out two inches; a niece of Sir _Hans Sloane_ in the like condition; and a gentleman who went with one shoe heel six inches high, having been lame twenty years of his hip and knee, whom she set strait, and brought his leg down even with the other." _Gent. Mag._ 1756, p. 617.

[8] A chief betokeneth a senator, or honourable personage borrowed from the _Greeks_, and is a word signifying a head; and as the head is the chief part of a man, so the chief in the escutcheon should be a reward of such only whose high merits have procured them chief place, esteem, or love amongst men.

[9] The bearing of clouds in armes (saith _Upton_) doth import some excellencie.

[10] Originally printed _docter_, but afterwards altered in this print.

* * * * *

1737.

1. The Lecture. "Datur vacuum." The person reading is well known to be the late Mr. _Fisher_, of _Jesus College, Oxford_, and Registrar of that University. This portrait was taken with the free consent of Mr. _Fisher_; who died _March_ 18, 1761. There are some impressions in which "Datur vacuum" is not printed, that leaf being entirely blank; published _January_ 20, 1736-7; the other _March_ 3, 1736. _Hogarth_ at first marked these words in with a pen and ink.

2. _Æneas_ in a Storm. The following advertisement appeared in _The London Daily Post, January_ 17, 1736-7.

"This day is published, price sixpence, a hieroglyphical print called _Æneas in a Storm_.

"Tanta hæc mulier potuit suadere malorum.

"Sold by the booksellers and printsellers in town and country. Of whom may be had, a print called _Tartuff's Banquet_, or _Codex's_ Entertainment. Price one shilling.

"--populus me sibilat, at mihi plaudo
Ipse domi."

The same paper mentions the King's arrival at _Loestoff_ on the 16th of _January_, and afterwards at _St. James's_ on the 17th.

The author of this print, whoever he was, did not venture to put his name to so ludicrous a representation of the tempest which happened on King _George_ the Second's return from _Hanover_. His Majesty is supposed to have kicked his hat overboard. This, it seems, was an action customary to him when he was in a passion. To the same circumstance _Loveling_ has alluded in his Sapphic Ode ad _Carolum B----_.[1]

Concinet majore poeta plectro
_Georgium_,[2] quandoque calens furore
Gestiet circa thalamum ferire
Calce galerum.

I have been told, that Mr. _Garrick_, when he first appeared in the character of _Bayes_, taking the same liberty, received instantly such a message from one of the stage boxes, as prevented him from practising so insolent a stroke of mimickry a second time.

In spite of the confidence with which this plate has been attributed to _Hogarth_, I by no means believe it was his performance. It more resembles the manner of _Vandergucht_, who was equally inclined to personal satire, however his talents might be inadequate to his purposes. Witness several scattered designs of his in the very same style of engraving. I may add, that he always exerted his talents in the service of the Tory faction. Besides, there is nothing in the plate before us which might not have been expected from the hand of any common artist. The conceit of the blasts issuing from the posteriors of the _Æolian_ tribe, is borrowed from one of the prints to _Scarron's Travesty of Virgil_; and the figure of _Britannia_ is altogether insipid and unworthy of _Hogarth_. Our artist also was too much accustomed to sailing parties, and too accurate an observer of objects on _The Thames_, not to have known that our Royal Yachts are vessels without three masts, &c.

[1] _Bunbury_.

[2] The author had here left a blank, which I have ventured to fill up with the royal name.

* * * * *

1738.

1. The Four Parts of the Day.[1] _Invented, painted, engraved, and published by W. Hogarth._ Mr. _Walpole_ observes that these plates, "except the last, are inferior to few of his works." We have been told that _Hogarth's_ inclination to satire once cost him a legacy. It seems that the figure of the Old Maid, in the print of _Morning_, was taken either from an acquaintance or relation of his. At first she was well enough satisfied with her resemblance; but some designing people teaching her to be angry, she struck the painter out of her will, which had been made considerably in his favour. This story we have heard often related by those whom, on other occasions, we could readily believe. In the same print is a portrait of Dr. _Rock_, who formerly attended _Covent-Garden_ market every morning.

To the propriety of _Hogarth's_ having introduced a scene of riot within _King's Coffee-house_, the following quotation from _The Weekly Miscellany_ for _June_ 9, 1739, bears sufficient testimony: "_Monday_ Mrs. _Mary King_ of _Covent-Garden_ was brought up to the King's Bench Bar at _Westminster_, and received the following sentence, for keeping a disorderly house; viz. to pay a fine of £.200, to suffer three months imprisonment, to find security for her good behaviour for three years, and to remain in prison till the fine be paid." As it was impossible she could carry on her former business, as soon as the time of her imprisonment was ended, she retired with her savings, built three houses on _Haverstock_ hill, near _Hampstead_, and died in one of them, _September_ 1747. Her own mansion was afterwards the last residence of the celebrated _Nancy Dawson_;[2] and the three together are still distinguished by the appellation of _Moll King's Row_. Perhaps the use of the mirror in reversing objects was not yet understood by our engravers, for in _Hogarth's_ painting the late Mr. _West's_ house (now _Lowe's_ Hotel) is properly situated on the left of _Covent-garden_ church. In the print it appears on the contrary side.

The _Crying Boy_ in _Noon_ was sketched by _Hogarth_ from a picture by _N. Poussin_ of the Rape of the _Sabines_, at Mr. _Hoare's_ at _Stourhead_. The school boy's kite lodged on the roof of a building, was introduced only to break the disagreeable uniformity of a wall.

Our artist, in the scene of _Evening_, inserted the little girl with the fan, as an after-thought, some friend having asked him what the boy cried for. He therefore introduced the girl going to take the play-thing from her brother. Nothing is more common than to see children cry without reason. The circumstance, however, shews that this great Genius did not always think himself above advice, as some have alledged to have been the case with him. In the early impressions of this plate, the face and neck of the woman are coloured with red, to express heat; and the hand of her husband is tinged with blue, to intimate that he was by trade a _Dyer_. The purchasers of the plate, intituled _Evening_, are hereby cautioned against imposition. In a modern copy of it, sold to the late Mr. _Ingham Foster_, the face of the woman had been washed over with vermilion, that it might pass (as it chanced to do) for a first impression. In the true ones, and none but these, the face and bosom were _printed_ off with red, and the hand with blue ink. Only the traces of the graver, therefore, ought to be filled by either colour, and not the whole surface of the visage, &c. as in the smeary counterfeit. I have been told that a few copies of plate III. were taken off before the fan was inserted, but have not hitherto met with one of them. In _Night_, the drunken Free-mason has been supposed to be Sir _Thomas de Veil_; but Sir _John Hawkins_ assures me, it is not the least like him. The _Salisbury Flying-Coach_ implies a satire on the right honourable inventor of that species of carriage. The two first of these pictures were sold to the Duke of _Ancaster_, for 57 Guineas; the remaining pair to Sir _William Heathcote_ for 64.

[1] _Hogarth_ advertises in _The London Daily Post, January_ 20, 1737-8, five copper plates, viz. Morning, Noon, Evening and Night, and a Company of Strolling Actresses dressing in a barn, for _one guinea_, half to be paid at the time of subscribing, half on the delivery. After the subscription, to be raised to five shillings a plate.

[2] A hornpipe dancer at _Covent Garden_. She was mistress to _Shuter_ the comedian, &c. &c. &c.

2. Strolling Actresses[1] dressing in a Barn. _Invented, painted, engraved, and published by W. Hogarth_. Mr. _Walpole_ observes that this piece, "for wit and imagination, without any other end," is the best of all our artist's works. Mr. _Wood_ of _Littelton_ has the original, for which he paid only 26 Guineas.

Dr. _Trusler_, in his explanation of this plate, is of opinion, that some incestuous commerce among the performers is intimated by the names of _Oedipus_ and _Jocasta_ appearing above the heads of two figures among the theatrical lumber at the top of the barn. But surely there is no cause for so gross a supposition. Painted prodigies of this description were necessary to the performance of _Lee's Oedipus_. See Act II. where the following stage direction occurs; "The cloud draws, that veiled the heads of the figures in the sky, and shews them crowned, with the names of _Oedipus_ and _Jocasta_ written above, in great characters of gold." The magazine of dragons, clouds, scenes, flags, &c. or the woman half naked, was sufficient to attract the notice of the rustick peeping through the thatch he might be employed to repair. Neither is the position of the figures at all favourable to the Doctor's conceit. Incest was also too shocking an idea to have intruded itself among the comic circumstances that form the present representation. When this plate was retouched a second time, a variety of little changes were made in it. In the two earliest impressions the actress who personates _Flora_, is greasing her hair with a tallow candle, and preparing to powder herself, after her cap, feathers, &c. were put on. This solecism in the regular course of dress is removed in the third copy, the cap and ornaments being there omitted. The coiffure of the female who holds the cat, is also lowered; and whereas at first we could read in the play-bill depending from the truckle-bed, that the part of _Jupiter_ was to be performed by Mr. _Bilk-village_, an additional shade in the modern copy renders this part of the inscription illegible. Several holes likewise in the thatch of the barn are filled up; and the whole plate has lost somewhat of its clearness. The same censure is due to the reparations of the _Harlot's_ and _Rake's Progresses_. Had _Hogarth_ lived, he would also have gradually destroyed much of that history of dress, &c. for which his designs have been justly praised by Mr. _Walpole_. In the first and last scenes of the _Rake's Progress_, he began to adorn the heads of his females in the fashion prevalent at the time he retraced the plates. In short, the collector, who contents himself with the later impressions of his work, will not consult our artist's reputation. Those who wish to be acquainted with the whole extent of his powers, should assemble the first copies, together with all the varieties of his capital works.

[1] I know not why this print should have received its title only from its female agents. Not to dwell on the _Jupiter_ pointing with _Cupid's_ bow to a pair of stockings, whoever will examine the linen[A] of the weeping figure receiving a dram-glass from the _Syren_, and look for the object that attracts her regard, may discover an indication that the other sex has also a representative in this theatrical parliament.

[A] Non sic præcipiti carbasa tensa noto.

* * * * *

1739.

1. Several children of _The Foundling Hospital_; the boys with mathematical instruments; the girls with spinning wheels. Over the door of the house they come out of, are the King's-arms. A porter is bringing in a child, followed by Capt. _Coram_, whose benevolent countenance[1] is directed towards a kneeling woman. On the right hand is a view of a church; near it a woman lifting a child from the ground; at a little distance another infant exposed near a river. In the back of the picture, a prospect of ships sailing. _W. Hogarth inv. F. Morellon la Cave sculp. London._

This is prefixed to an engraved Power of Attorney, from the trustees of _The Foundling Hospital_, to those gentlemen who were appointed to receive subscriptions towards the building, &c. The whole together is printed on a half sheet.

[1] See p. 261.

* * * * *

1741.