Chapter V (5)

"Published Feb. 5, 1752, according to Act of Parliament; W. Hogarth, _pinxt._"

The _second state_ has the same quotation from Dr. Warton as the preceding print, and for the same cause it was afterwards effaced from the copper.

Third impression; "W. Hogarth, _pinxt._, and published according to," etc., effaced, and its place supplied by "published as the Act directs, Feb. 5, 1752."

Columbus breaking the Egg. Ticket to the _Analysis_. "Rec^d. Nov^r. 30, 1752, of Nath^l. Garland, Esq., five shillings, being the first payment for a short tract in quarto, called the _Analysis of Beauty_, wherein forms are considered in a new light," etc.

1753.

The receipt cut off and inscribed, "designed and etched by W^m. Hogarth, Dec^r. 1, 1753."

2. Analysis of Beauty, two plates.

Plate 1. In an impression in the possession of Mr. Baker, "ET TU BRUTE" is engraved on the pedestal on which Quin stands in the character of Brutus.

In the _second state_, though this inscription is erased, on close inspection some of the letters are still visible.

Plate 2. _First state_--A vacant chair under the figure of Henry VIII. The principal figure is said to be a portrait of the Duke of Kingston.

_Second state_--Altered to a portrait of his present Majesty: the position of the right hand, etc. changed; the riband to the necklace of the principal female figure lengthened, and a sleeping figure put in the vacant chair. In the _present state_--The necklace riband is made still longer.

3. Frontispiece to Kilby's _Perspective_; engraved by Sullivan.

1754.

ELECTION ENTERTAINMENTS, ETC.

Hogarth's subscription-book, with the names of all, and autographs of most of the subscribers, is in my possession; and by this it appears that the subscription to the first print of an Election Entertainment, or to the complete set, commenced 28th March 1754. From this time to the 31st of May in the same year, there were 461 subscribers to the first print, and 127 to the complete set. The leading names on the list are the Prince of Wales, the Princess-Dowager of Wales, and Prince Edward; but the first person that has any money annexed to his signature is the Right Hon. Henry Fox, afterwards Lord Holland.

The subscription for the remaining three prints was opened 24th Feb. 1755, and closed 28th August 1756. To this there were only 165 subscribers, so that there were 296 names to the first print who did not continue to subscribe to the other three.

As a receipt to these prints, he gave the following engraving, with emblematical devices of Crowns, Mitres, etc., published in the year 1736, as a headpiece to an inscription expressing his gratitude to the Legislature for passing the Act to protect prints from piracy, etc.:--

_Crowns, Mitres, Maces, etc._

"Received 4th May 1754, of Mr. King, 5s., being the first payment for a print representing an Election Entertainment, which I promise to deliver when finished on the receipt of five shillings and sixpence more. Wm. Hogarth."

"_N.B._--The price will be raised when the subscription is over."

_Second state_--Receipt for one guinea, being the first payment for the four prints. In this, the receipt for 5s. appears to have been covered with paper while the impressions were taken off, and that for a guinea, engraved on another piece of copper, stamped beneath.

_Third state_--Receipt for 15s., being the first payment "for three prints representing the polling," etc.

FOUR PRINTS OF AN ELECTION.

Plate 1. An Election Entertainment.

It has been said that Hogarth attempted to finish this plate without taking a single proof from it, to examine the effect as he proceeded in his work. Be that as it may, the _little_ alterations are more numerous than in any of his other prints; and that in the inscription, stating the _whole_ to be engraved by Hogarth, being so often inserted and repeatedly effaced, I am unable to account for.

_First state_--"Painted, and the whole engraved by W^m. Hogarth," "Published 24th Feb. 1755," and "Inscribed to the Right Honourable Henry Fox, etc. etc. etc."

Seven cut lemons on a piece of paper close to the punch-tub; four hats in the corner; "For our Country," on the riband in the striped cap of the butcher pouring out gin. A salt-cellar and a bit of bread near the fork upon the table.

_Second state_--The two words, "the whole," in the inscription, scratched over with black lines; the drapery, stockings, etc. on the table before Richard Slim made much darker; the hand of the fat old woman, close to the candidate, removed from under her apron, and hanging down by her side, by which the shoulder, elbow, etc. are thrown out of drawing; her countenance less clear, and a single tooth, very conspicuous in the first impression, is here removed. Shadow on the top of the wainscot in the left corner effaced. Half a casement near the painting of a landscape changed to a window-shutter; the king's head, frame, and background behind it, lighter; the salt-cellar and bit of bread removed from the table; lemons taken out, and the tub, pail, and foreground below them much lighter; the boy's napkin darker. The butcher's cap, in which was "For our Country," has now "PRO PATRIA," and is not striped; the open-back chair in which he was seated in the _first state_, is here filled up to a cushion back. The words, "sure votes" and "doubtful," in the attorney's book, are re-engraved. Both leaves are shadowed, and the centre line from top to bottom, which in the _first state_ was with the "sure votes," is here transferred to the "doubtful." Two pearly drops are trickling from the parson's forehead. Four windows are added to a house seen out of the open casement; a pair of scissors suspended to the Methodist tailor's apron-string, and the pen, stuck under the wig of the fellow who offers him a bribe, which in the _first state_ was with the feather outwards, is now properly altered to the quill outwards. There are several other little variations in the shadows which seem generally intended to bring the print into harmony; and I think have their effect, for it is more still, and in better keeping than in the _first state_.

_Third state_--The cross strokes of the graver on the words "the whole," in the inscription, nearly burnished out. One hat added in the corner, and another placed on the bench near the scabbard and gloves. The face, knot, etc. of the little girl near the candidate darkened; and the hair of the fellow smoking him much shadowed, and rendered less woolly. Character of face of the boy pouring punch altered, and hair made much darker.

_Fourth state_--The words "the whole" again inserted; the W is different, and engraving not so good as in the _first state_: the shadow on the top of the wainscot, close to the landscape, again restored. A strong shadow on the lower part of the round table in the corner burnished down.

_Fifth_, which is the _present state_--The words "the whole" again completely effaced by black lines. The masses somewhat stronger, and the shadows on the round table in the corner, especially on the edge, made darker.

I have this print in all the states here described, and believe that the third and fourth are very uncommon.

On the butcher with "PRO PATRIA" in his cap, and his wounded companion, Hogarth makes the following remark:--

"These two patriots, who, let what party will prevail, can be no gainers, yet spend their time, which is _their_ fortune, for what they suppose right, and for a glass of gin lose their blood, and sometimes their lives, in support of _the cause_, are, as far as I can see, entitled to an equal portion of fame with many of the emblazoned heroes of ancient Rome; but such is the effect of prejudice, that though the picture of an antique wrestler is admired as a grand character, we necessarily annex an idea of vulgarity to the portrait of a modern boxer. An old blacksmith in his tattered garb is a coarse and low being; strip him naked, tie his leathern apron round his loins, chisel out his figure in freestone or marble, precisely as it appears--he becomes elevated, and may pass for a philosopher, or a Deity."

Plate 2. Canvassing for Votes.

"Engraved by C. Grignion, published 20th February 1757," and inscribed to Sir Charles Hanbury Williams.

In this admirable print I discover no variations, except that the lion's teeth are, in the _second impression_, removed; and the lines throughout having been re-entered, are somewhat darker than in the _first state_.

Plate 3. The Polling.

"Engraved by Hogarth and Le Cave, published 20th February 1758," and inscribed to the Hon. Sir Ed. Walpole.

In an etching (touched in the shadows by Hogarth) which I have of this plate, the blind voter going up the steps has not any bandage over his eyes. The cockade of the sick figure just before him is not of sufficient length for the words "true blue" now inserted, and probably an afterthought. The fellow before him with a pipe in his mouth, in the print is without a nose, but in the etching has a very large one; while the man to whom this old smoker is presenting tobacco, and who in the print has so speculative and carbuncled a proboscis, has, in the etching, scarcely any nose at all. The book in the pocket of Dr. Shebeare is so much intersected as not to admit of the inscription, afterwards added, of ("the 6th letter to the"), without the strokes being burnished out.

_Second impression_--"Milicia Bill," awkwardly inscribed on the maimed voter's skirt, intended to appear as a paper hanging out of his pocket.

Plate 4. Chairing the Members.

"Engraved by W. Hogarth and F. Aviline; published 1st January 1758," and inscribed to the Hon. George Hay, one of the Lords Commissioners of the Admiralty.

_Second impression_--The word INDINTUR (indenture) written on the scroll hanging out of the attorney's window.

1756.

1. France and England, in two plates, "designed and etched by Hogarth," and published March 8, 1756.

In the very early impressions of these prints, the titles France and England are not inserted.

1758.

The Bench, "designed and engraved by W. Hogarth," and published 4th September 1758.

This plate, in its _first state_, exhibits the inside of the Court of Common Pleas, the king's arms at top. Portraits of the following judges are beneath it:--Hon. William Noel; Sir John Willes, Lord Chief Justice; Hon. Mr. Justice, afterwards Earl Bathurst; Sir Edward Clive.

Over the print is written "Character;" under it, "Of the different meanings of the words Character, Caricatura, and _Outré_, in painting and drawing." This is followed by a long explanatory inscription engraved on another piece of copper. The original picture, which is somewhat different from the print, was once the property of Sir George Hay, and is now in the possession of Mr. Edwards.

_Present state_ of the plate--The word Character is effaced, and the king's arms discarded, and its place supplied by eight caricatured heads, on which the artist worked the day before he died. Below the inscription is inserted--

"The unfinished group of heads in the upper part of this print was added by the author in October 1764, and was intended as a further illustration of what is here said concerning character, caricatura, and _outré_. He worked upon it the day before his death, which happened the 26th of that month."

The mistakes which Hogarth's friends frequently made in the meaning of the words character, caricatura, etc., seem to have dwelt much on his mind. In one of his MSS. he has given the following thoughts on the subject:--

"I have ever considered the knowledge of character, either high or low, to be the most sublime part of the art of painting or sculpture, and caricatura as the lowest--indeed, as much so as the wild attempts of children when they first try to draw: yet so it is, that the two words, from being similar in sound, are often confounded. When I was once at the house of a foreign face-painter, and looking over a legion of his portraits, Monsieur, with a low bow, told me that he infinitely admired my caricatures! I returned his _congé_, and assured him that I equally admired his.

"I have often thought that much of this confusion might be done away, by recurring to the three branches of the drama, and considering the difference between comedy, tragedy, and farce. Dramatic dialogue, which represents nature as it really is, though neither in the most elevated nor yet the most familiar style, may fairly be denominated comedy: for every incident introduced might have thus happened; every syllable have been thus spoken, and so acted in common life. Tragedy is made up of more extraordinary events. The language is in a degree inflated, and the action and emphasis heightened. The performer swells his voice, and assumes a consequence in his gait; even his habit is full and ample, to keep it on a par with his deportment. Every feature of his character is so much above common nature, that were people off the stage to act, speak, and dress in a similar style, they would be thought fit for Bedlam. Yet with all this, if the player does not o'erstep the proper bounds, and, by attempting too much, become swoln, it is not caricatura, but elevated character. I will go further, and admit, that with the drama of Shakspeare, and action of Garrick, it may be a nobler species of entertainment than comedy.

"As to farce, where it is exaggerated, and _outré_, I have no objection to its being called caricature, for such is the proper title."

1759.

1. The Cockpit. "Designed and engraved by Wm. Hogarth," and published November 5, 1759.

2. Frontispiece to _Tristram Shandy_, vol. 2; engraved by S. Ravenet.

3. Another copy, by the same engraver, in which a hat and cloak are introduced, and the faces of his father and uncle Toby much inferior to the former plate. A print for the 4th volume, representing the christening, was published in 1761. "F. Ravanet, _sculp._"--for thus is the name here written. A print of the same size was engraved from the same design by J. Ryland. The original drawings are in the possession of Mrs. Nicol.

1760.

1. Frontispiece to Brook Taylor's _Perspective of Architecture_. "W. Hogarth, 1760; W. Woollet, _sculp._" _Vide_ p. 132.

2. Mr. Huggins, a small circular plate. Hogarth, _pinx._; Major, _sculp._ Engraved for a translation of _Dante_, of which a specimen only was published.

1761.

1. Frontispiece to the catalogue of pictures exhibited at Spring Gardens; engraved by Grignion. _Vide_ p. 77.

2. Another print from this design, by the same engraver.

3. Tail-piece to the catalogue. The word _obiit_ spelt _obit_. _Vide_ p. 79. In a second plate this error is corrected.

4. Hogarth's Gate of Calais; and Relapse, or Virtue in Danger, and three portraits, were in this exhibition.

5. Time Smoking a Picture. Subscription-ticket to Sigismunda. I have seen an impression of this print without the name "Crates" in the inscription.

6. "The Five Orders of Periwigs, as they were worn at the late coronation, measured architectonically."

_Second impression_--The spelling in the word "advertisement" corrected, by an _e_ inserted on the neck of the Duchess of Northumberland. This is a pointed ridicule on Stewart's _Antiquities of Athens_, in which the measurements of all the members of the Greek architecture are given with minute accuracy. Hogarth's opinion of his labours may be gathered from the following fragment, which he wrote concerning this print:--

"There is no great difficulty in measuring the length, breadth, or height of any figures, where the parts are made up of plain lines. It requires no more skill to take the dimensions of a pillar or cornice, than to measure a square box; and yet the man who does the latter is neglected, and he who accomplishes the former is considered as a miracle of genius; but I suppose he receives his honours for the distance he has travelled to do his business."

7. Frontispiece to the _Farmer's Return from London_; engraved by J. Basire. Of this plate there is an admirable copy with the same name, and a vile imitation without any name.

Enthusiasm Delineated.

A reduced copy and description of this very singular print, which was the first thought for the Medley, is in p. 169. A copy of the same size was published by the editor of this volume in 1796.

1762.

1. Credulity, Superstition, and Fanaticism: A Medley. "Designed and engraved by Wm. Hogarth," and published March 15, 1762. _Vide_ p. 175.

2. The Times, Plate 1; "designed and engraved by W. Hogarth," and published Sept. 7, 1762. In the _first impression_--A figure of Henry VIII. is exalted on stilts, and blowing up the flames; in the _second_--The monarch is erased, and Mr. Pitt, afterwards Lord Chatham, introduced in his place.

The Times, Plate 2, was engraved soon after, but withheld from the public until Mrs. Hogarth's death, when the plate was purchased by Messrs. Boydell, and published May 29, 1790. Part of the sky is left unfinished.

3. T. Morell, S. T. P. S. S. A.; "W. Hogarth, _delin._;" "James Basire, _sculp._" Some impressions are without either the inscription of "Thesaurus" or "_Ætat. 60._"

A correct copy has the same painter and engraver's name.

4. Henry Fielding, _Ætatis 48_; "W. Hogarth, _delin._;" "James Basire, _sculp._" A few impressions were taken off before the frame and ornaments were inserted. The copy in p. 206 is taken from one of them in my possession.

1763.

1. "John Wilkes, Esq., drawn from the life, and etched in aquafortis by William Hogarth. Price 1s."

4. The Weighing House. Frontispiece to Clubbe's _Physiognomy_; W. Hogarth, _del._; Luke Sullivan, _sculp._

Another copy, without either painter or engraver's name, which the late W. Ryland told me was engraved by him, and the heads afterwards touched upon by Hogarth. Prefixed to Clubbe's works, in two vols.

A small copy was engraved for an octavo edition of the same pamphlet.

1764.

The Bathos. "Designed and engraved by Wm. Hogarth," and published March 3, 1764.

1767.

Satan, Sin, and Death: Milton's _Paradise Lost_, B. 2. Engraved by C. Townley, and intended to have been published April 15, 1767; but when a few impressions were taken off, the plate was destroyed. One of the copies of this strange and incomprehensible print is in the possession of Mr. Bellamy, Charlotte Row.

A print of a smaller size, with some variations, has been since engraved by Ogbourne, and I have seen one of a larger size, of a similar description, without any name.

The Good Samaritan. Engraved by Ravenet and Delatre, and published Feb. 24, 1772, by J. Boydell. Hogarth's first sketch is in the possession of Mr. Bellamy.

The Pool of Bethesda. Engraved by Ravenet and Picot as a companion to the preceding print. These engravings were copied from the pictures in St. Bartholomew's Hospital. A small copy of the latter was, in 1748, engraved by Ravenet for S. Austen, as a frontispiece to Stackhouse's _Bible_.

1775.

The Politician; etched by J. K. Sherwin, and published by Jane Hogarth, 1774, Oct. 31. _Vide_ p. 197. In the early impressions the figure "5" and 31st October, are usually inserted with a pen.

1781.

1. A small and slight etching, conjectured to be Solsull, a maker of punches for engravers. "S. J. _fecu._, 1781."

2. Four Heads from the Cartoons at Hampton Court; an early etching by Hogarth, published by Mrs. Hogarth, May 14, 1781.

The Matchmaker. _Vide_ p. 199.

1782.

1. The Staymaker.

2. Debates in Palmistry.

3. Portrait of Henry Fox, Lord Holland.

4. Portrait of James Caulfield, Earl of Charlemont.

The four last articles are slightly etched by Joseph Haynes, from very bald and unfinished sketches by Hogarth. The plates are in the possession of Mr. Jeffrey, Pall Mall.

5. The Shrimp Girl. Engraved in the dotted style by Bartolozzi. Had this unrivalled artist etched this print in the manner he did Guercino's drawings, he would have transferred the true spirit of the original. As it is, we have Hogarth translated into Italian.

It was published by Mrs. Hogarth in 1782, by subscription, with the five following prints engraved by Livesay.

6 and 7. Portraits of Gabriel Hunt and Benjamin Read.

8, 9, and 10. Three plates from sketches by Hogarth, designed for the monument and epitaph of George Taylor.

11. Nine prints for Hogarth's _Tour_, from drawings by Scott, etc., engraved by Livesay, accompanied with nine pages of letterpress.

12. Hogarth's Crest. A spiral shell painted on his carriage, and since his death copied by Livesay.

13. Eta Beta Py. Prefixed to the title of the second edition of Mr. Nichols' _Anecdotes_.

14. An Old Parson's Head, most admirably marked; engraved in the dotted style.

1785.

The four which follow were etched by S. Ireland.

1. Orator Henley Christening a Child. From an unfinished sketch by Hogarth.

2. A Small Landscape.

3. Head of a Female Moor.

4. Head of Diana.

The Portrait of a Young Girl, from a picture in the possession of Mrs. Hogarth, was about this time very delicately engraved by Martha Knight, Brompton.

1790.

1. The Beggars' Opera. Engraved by Blake, and published by Messrs. Boydell, from a picture in the collection of the Duke of Leeds.

2. Sealing the Sepulchre: from the Altar-piece in St. Mary Redcliffe's, Bristol; engraved in a large mezzotinto by J. Jenner.

3. The Sepulchre; engraved from the same altar-piece as a companion, with the title of The Resurrection. _Vide_ p. 195.

1792.

1. The Indian Emperor, or Conquest of Mexico; from the original picture in the collection of Lord Holland; engraved by R. Dodd, and published by Messrs. Boydell.

2. Sigismunda. Engraved by Benj. Smith, and published by Messrs. Boydell, who possess the original picture, from which there was an etching by Basire in Hogarth's lifetime; and from the sketch a print in mezzotinto was a few years since engraved by Dunkarton.

PRINTS OF UNCERTAIN DATE.

Some of the following prints are insignificant enough, others are curious, but all derive their principal value from being the work of Hogarth. I have noted the prices at which a few of them sold, and think it probable that No. 30 produced more money at Mr. Gulston's sale than the artist received for engraving the twenty-nine preceding prints:--

_Coats of Arms._

1. A Gryffon with a Flag. A crest.

2. Lord Aylmer's Coat of Arms. A copy sold for £7, 10s. in Mr. Gulston's sale.

3. Lord Radnor's Coat of Arms.

4. A large Coat of Arms, with Terms of the Four Seasons.

5. A Coat of Arms, with two Slaves as trophies.

6. Another with two Boys as Terms.

7. Foreign Coat of Arms; supporters, a Savage and Angel.

8. The Duchess of Kendal's Arms. _Vide_ p. 28. A copy sold in Mr. Gulston's sale for £4.

9. Another, for a silver tea-table, larger, but not so neatly engraved. Sold in the same sale for £6.

10. Another.

11. With a male shield, probably a mistake of the engraver's.

12. A Coat of Arms, engraved on a silver tea-table.

13. The same ornaments left, and Sir Gregory Page's arms inserted in their place. At Sir Gregory's sale, the table was purchased by Mr. Morrison, who, after taking off twenty-five impressions, melted the plate.

14. The Chudleigh Arms. Motto: _Aut vincam, aut peribo_.

15. Arms of Gore, engraved on a silver waiter.

16. Arms of John Holland, herald painter; a book plate. In the second impressions the lion is of a smaller size, and eight _fleur-de-lis_ instead of the seven originally inserted.

17. Arms of George Lambart. Said to have been a book-plate for Lambert the painter. If it was so, it is passing strange that the name should be thus spelt.

_Shop-bills._

18. A large Angel, holding a palm in his left hand: a shop-bill for Ellis Gamble, at the Golden Angel, Cranbourn Street, Leicester Fields, has sold for £7, 7s.

19. A contracted copy of the above.

20. Another, somewhat different, in the collection of Mr. Walpole.

21. A Turk's Head: a shop-bill for John Barker, goldsmith, Lombard Street.

Of the head there is a modern copy.

22. A shop-bill for Mrs. Holt, at the Italian Warehouse in the Strand; with the Duke of Tuscany's and the Florence arms; and views of Naples, Venice, Genoa, and Leghorn at the four corners. A copy sold in Mr. Gulston's sale for £6, 6s.

23. Shop-bill, for his sisters, Mary and Ann Hogarth, at the King's Arms, joining to the Little Britain gate. People in a shop, etc., has sold for £8, 8s.

_Tickets, etc._

24. A Ticket for the benefit of Spiller the player.

25. A Ticket for the benefit of Millward.

26. Ticket for a burial. Sold in Gulston's sale for £5, 7s. 6d.

27. A Ticket for the school at Tiverton, Devonshire.

28. The Great Seal of England.

29. Impression from a tankard belonging to a club of artists, who, as I have been told, met at the sign of a Shepherd and his Flock, Clare Market. This design is in a good taste. On the dexter side, as a supporter, a man making a drawing; and on the sinister, a man modelling a figure. In the centre is a Shepherd and his Flock, etc. A copy sold in Mr. Gulston's sale for £10.

_Miscellaneous._

30. A small oval print of the Rape of the Lock, engraved on a snuff-box. _Vide_ p. 25. Sold, Feb. 7, 1786, at Mr. Gulston's sale for £33.

31. An Emblematic Print, representing Agriculture, etc.

32. A Hieroglyphic Print, representing Royalty, Episcopacy, and Law, composed of emblematic attributes, etc., abounds in wit and satire. Of this there is a good copy by Samuel Ireland.

33. Two small prints for books 1st and 3d of Milton's _Paradise Lost_. W. Hogarth, _inv. et sculp._ These two prints were in Mr. Gulston's sale sold for sixteen guineas; but the original plate of that for book 3d has been lately discovered, and is now in the possession of Mr. Vincent.

34. A Woman swearing a Child to a grave Citizen. W. Hogarth, _pinx._; J. Sympson, jun., _fecit_. _Vide_ p. 188. Another copy is in Picart's _Religious Ceremonies_.

35. Orator Henley Christening a Child. John Sympson, jun., _fecit_. The impressions are usually taken off in green. A copy of this also is in Picart's _Religious Ceremonies_.

36. The Mystery of Masonry brought to light by the Gormagons. Hogarth, _inv. et sculp._

The second impression published for Sayer.

37. The Political Glyster, "Nahtanoi Tfiws" (Swift's name spelt backwards), engraved on one corner, and on the other, Dr. O'Garth, _sculp._ It was originally inscribed, "the punishment inflicted on Samuel Gulliver," etc.; but when the plate came into the hands of Mr. Sayer, he added the present retrograde and ridiculous inscription.

38. Six small prints, engraved for an early edition of King's _Pantheon_.

NINE PRINTS FOR "DON QUIXOTE."

39. Plate 1.--Is inserted without either painter or engraver's name, is in Jarvis' quarto translation. _Vide_ p. 220.

40. Plate 2.--Was probably engraved for Lord Carteret's _Don Quixote_, but not introduced; one figure only being finished, and the plate cut. _Vide_ p. 221.

41. Plate 3.--Engraved for the same work, but never inserted. _Vide_ p. 222.

42. Plate 4.--Had the same fate. _Vide_ p. 222.

43. Plate 5.--Was equally unfortunate. _Vide_ p. 224.

44. Plate 6.--Not approved. _Vide_ p. 224.

45. Plate 7.--Not inserted. _Vide_ p. 225.

46. Plate 8.--Not introduced; but with the other five came into the hands of Mr. Dodsley, who sold a few of the first impressions, and afterwards inserted references corresponding with Jarvis' translation. _Vide_ p. 226.

47. Plate 9.--Sancho's Feast. _Vide_ p. 227.

48. The Master of the Vineyard, engraved for Horneck's _Happy Ascetic_.

49. Gustavus, Lord Viscount Boyne, etc. Whole-length mezzotinto, engraved in Ireland. W. Hogarth, _pinx._; Ford, _fecit_. The original picture is in the possession of Mr. Bellamy. A copy of the print sold in Gulston's sale for £2, 13s.

50. Mr. Pine (the mezzotinto engraver), in the manner of Rembrandt, both his hands resting upon a cane. Printed for George Pulley, etc.

51. Another head of Mr. Pine; mezzotinto by M'Ardell. I am much inclined to think that this is an alteration of the Plate No. 50. Be that as it may, it is in every respect superior. Repaired copies, with the inscription erased, are sometimes sold as Proofs.

52. Daniel Lock, Esq., F.S.A., mezzotinto. W. Hogarth, _pinx._; J. M'Ardell, _fecit_. Price 1s. 6d.

53. Ticket for the London Hospital, with Richmond Arms.

54. The same, larger, without the Arms, by Grignion.

55. Another, with a view of the London Hospital.

56. The London Infirmary for charitably relieving sick and diseased manufacturers, seamen, etc. A blank certificate for pupils in surgery and anatomy.

57. A Witch on a Broomstick. Frontispiece to a pamphlet written by Dr. Gregory Sharpe, but never published, inscribed Front-is-piss.

58. The Discovery, or a Black Woman in Bed.

A copy from Hogarth's Piquet, or Virtue in Danger, has been engraved by Cheesman, and will be shortly published. The portraits of five gentlemen who met to drink a hogshead of claret, which they finished before they separated; of a nobleman and gentleman fighting with a watchman; and an etching, copied from a small picture on the back of a copperplate, have been some years advertised.

A portrait of Sir Alexander Schomberg, engraved by Townley from a portrait by Hogarth.

A work, consisting of copies, the same size as the original prints, and modestly entitled "_Hogarth Restored_," is now publishing in numbers. The twelve originals of Industry and Idleness, Hogarth published at twelve shillings. In this Restoration, the twelve copies amount to thirty!

_An Illustration of Hogarth_, in the German language, by J. C. Lichtenberg, with reduced copies from the prints, by J. Ripenhausen, has been published at Gottingen, in numbers at 15s. each. The same plates are used for a work, also publishing at Gottingen, on a similar plan, with the illustrations in French.

Many of the following articles, and others not worth enumeration, imputed trash and libel not his own, have been foisted into auctioneers' catalogues, sold for large sums, warranted originals, and

ASCRIBED TO HOGARTH.

1. Coat of Arms, from a large silver tea-table. Under the Arms are a Shepherd and his Flock.

2. Shop-bill for Peter de la Fontaine.

3. The Oratory. Orator Henley on a scaffold.

4. A Ticket for H. Fielding. Scene Pasquin.

5. A Ticket for H. Fielding. Scene the Mock Doctor.

6. A Ticket for James Figg the prize-fighter.

7. A Ticket for the benefit of Joe Miller.

8. The Gin-drinkers.

9. Jack in Office; a Ticket-porter, etc.

10. The complicated Richardson. Nauseous!

11. Pug the Painter. Sometimes ascribed to Hogarth.

12. St. Mary's Chapel, 12 at Night. Probably Vandergucht's. Sold as Hogarth's in Gulston's sale for £3, 4s.

13. Farinelli, Cuzzoni, and Heidegger: said to be designed by the Countess of Burlington, and etched by Goupy.

14. Frontispiece to eight views in Richmond gardens.

15. Frontispiece to Love in a Hollow Tree.

16. Ten prints to Butler's posthumous works; published in 1730. The same designs were published in 2 vols. twelves, in 1717. Some of them are much like Hogarth.

17. Samuel Butler, author of _Hudibras_. Coarsely engraved in an oval.

18. Thomas Pellet, M.D., President of the College of Physicians. W. Hogarth, _pinx._; C. Hall, _sculp._

19. William Bullock, the comedian. W. Hogarth, _pinx._; C. Hall, _sculp._

20. A scene of a pantomime entertainment lately exhibited, designed by a Knight of Malta. Satire on the royal incorporated artists.

An etched outline of a larger size, with some additions, was afterwards published, and inscribed No. 2.

21. The Calves' Head Club. I think, designed and engraved by Vandergucht.

22. Rape of the Smock. A palpable imposition.

23. Lovat's Ghost on Pilgrimage. A mezzotinto copy was published May 1, 1788.

24. Four small prints of Lord Lovat's Trial, etc.

25. A dotted print of Jenny Cameron.

26. Two figures, designed for Lord Melcombe and Lord Winchelsea. Hogarth, _inv._; F. B. (F. Bartolozzi), _sculp._; designed by Lord Townshend.

27. North and South of Great Britain. W. Hogarth, _del._; F. B. (Bartolozzi), _sculp._ Really designed by Sandby.

28. Inside of an Opera House, scene a prison, sold as Hogarth's at Gulston's sale, March 1, 1786, for £2, 4s.

29. The Scotch Congregation.

30. The Search Night. J. Fielding, _sculp._ Two cards were afterwards engraved from the same design.

31. Hogarth's cypher, with his name under it. A plate for books.

32. A living Dog is better than a dead Lion; or, the Vanity of Human Glory: a design for the monument of General Wolfe, 1760.

33. The Five Muscovites. Copied from De la Mottraye's _Travels_.

A full-length print of a Savoyard Girl has been lately engraved from a picture painted by Hogarth.

PRINTS PUBLISHED TO RIDICULE THE "ANALYSIS," "TIMES," ETC.

1. "A New _Dunciad_; done with a view of fixing the fluctuating ideas of taste," etc.

2. A Mountebank demonstrating to his admiring audience that crookedness is most beautiful.

3. The Author run mad.

4. An Author sinking under the weight of his _Analysis_.

5. "The Analyst," etc. etc. "in his own Taste." A vile, nauseous, and vulgar print.

6. Pugg's Graces, etched from his original daubing.

7. The Temple of Ephesus in Flames, etc.; inscribed "A self-conceited Dauber," etc., and extremely well etched.

8. "Burlesque sur le Burlesque," with a French inscription: a large print.

9. "The second edition," with an English inscription, and some slight variations.

10. Burlesque of the Burlesque Paul; magic lantern, etc.

11. The Painter's March from Finchley. "Dedicated to the King of the Gypsies, as an encourager of Art, etc."

12. The Butifyer, a touch upon the Times, Plate 1.

13. The Times, Plate 2.

14. The Times, Plate 1, 1762. Hogarth's head, with the body of an ass, at the top of a ballad.

15. The Raree Show, a political contrast to the Times.

16. The Boot and the Blockhead.

17. The Vision, or M----n--st--l Monster.

18. John Bull's House in Flames.

19. The Bruiser Triumphant, with a curtain inscribed, "A Harlot blubbering over a Bullock's Heart."

20. Tit for Tat.

21. The Bear and Pugg: a small print.

22. The Snarling Cur chastised.

23. The Hungry Tribe of Scribblers and Etchers.

24. The Grand Triumvirate, or Champions of Liberty; with three foolish acrostics of Wilkes, Bute, and Hogarth.

I had nearly forgotten two curiosities, which, though received in all the catalogues, and unquestionably genuine, can hardly be classed as prints. One is entitled Hogarth's Cottage, engraved for Mr. Camfield, a surgeon, on a breeches button the size of a half-crown, from Hogarth's design, of which an etched copy by S. Ireland was published March 1, 1786. The other, being impressions taken from nine quadrille fish, was published in 1792, with the title of--

Pisces, one of the signs of the Zodiac.

To enter into the spirit of the last article, the reader must be informed that Hogarth never played at cards; and that while his wife and a party of friends were so employed, he occasionally took the quadrille fish, and cut upon them scales, fins, heads, etc., so as to give them some degree of character. Three of these little aquatic curiosities which remained in the possession of Mrs. Lewis, she presented to me, and I have ventured to insert them as

A TAIL-PIECE.

FOOTNOTES:

[1] The Dedication, of which I have prefixed a fac-simile, was written for that work.

[2] I am authorized to say that during her life Mrs. Hogarth never parted with any of his papers, except a loose leaf or some such trifle, which in one or two instances she gave to such as wished to possess a little specimen of Hogarth's handwriting.

[3] The printed sheets were occasionally corrected by his friend Townley, etc. The Editor will have great pleasure in showing the MSS. to any gentleman who will do him the honour of inspecting them.

[4] Rouquet's book was written in French, and describes the "Harlot's" and "Rake's Progress," "Marriage à la Mode," and "March to Finchley."

[5] When I wrote the two former volumes of _Hogarth Illustrated_, I had not seen the MSS. which I now lay before the reader, nor did I know that there were any such papers. His own declaration corroborates the following conjecture relative to his early bias to the arts:--"Young Hogarth had an early predilection for the arts, and his future acquirements give us a right to suppose he must have studied the curious sculptures which adorned his father's spelling-books, though he neglected the letterpress; and when he ought to have been storing his memory with the eight parts of speech, was examining the allegorical apple-tree which decorates the grammar."--_Hogarth Illustrated_, vol. i. p. 27.

[6] The dictionary here alluded to, Mrs. Lewis of Chiswick presented to the Editor of this volume. It is a thick quarto, containing an early edition of Littleton's _Dictionary_, and also Robertson's _Phrases_, with numerous corrections to each, and about 400 pages of manuscript close written. On the marginal leaf is inscripted in Hogarth's handwriting, "The manuscript part of this dictionary was the work of Mr. Richard Hogarth." Another volume of this work is in the possession of J. Bindley, Esq., of the Stamp Office.

[7] Hogarth's father came to the metropolis in company with Dr. Gibson, the late Bishop of London's brother, and was employed as corrector of the press, which in those days was not considered as a mean employment.

[8] By Sir James Thornhill, afterwards his father-in-law.

[9] Though averse, as he himself expresses it, to coldly copying on the spot any objects that struck him, it was usual with him when he saw a singular character, either in the street or elsewhere, to pencil the leading features and prominent markings upon his nail, and when he came home, to copy the sketch on paper, and afterwards introduce it in a print. Several of these sketches I have seen, and in them may be traced the first thoughts for many of the characters which he afterwards introduced in his works.

[10] As this was the doctrine I preached as well as practised, an arch brother of the pencil once gave it this turn, that the only way to draw well, was not to draw at all; and, on the same principle, he supposed that if I wrote an essay on the art of swimming, I should prohibit my pupil from going into the water until he had learnt.

[11] If Hogarth calls himself idle, who shall dare to denominate himself industrious?

[12] _Hudibras_ was published in 1726, so that his father probably died about the year 1721, leaving two daughters, Mary and Anne, besides his son William, who, on the leaf of an old memorandum book in my possession, after mentioning the time of his own birth and baptism, thus continues:

"Mary Hogarth was born November 10th, 1699.
Ann Hogarth, two years after in the same month.
Taken from the Register at Great St. Bartholomew's."

[13] The leader of the figures hurrying to a masquerade, crowned with a cap and bells, and a garter round his right leg, has been supposed to be intended for George II., who was very partial to these nocturnal amusements, and is said to have bestowed a thousand pounds towards their support. The purse with the label £1000, which the satyr holds immediately before him, gives some probability to the supposition. The kneeling figure on the show-cloth, pouring gold at the feet of Cuzzoni, the Italian singer (with the label, "Pray accept £8000"), has been said to be designed for Lord Peterborough.

[14] As this print, to heighten the burlesque, was almost invariably impressed on blue paper, I have stamped the annexed copy on the same colour.

[15] It has been truly observed that comedy exhibits the character of a species,--farce of an individual. Of the class in which Hogarth has a right to be placed, there can be little doubt: he wrote comedies with a pencil.

[16] For these pictures he was elected a governor of the hospital. On the top of the staircase, beneath the cornice, is the following inscription: "The historical paintings of this staircase were painted and given by Mr. William Hogarth, and the ornamental paintings at his expense, A.D. 1736."

[17] The Reformed religion is, in almost all its branches, rather a drawback than an assistance to art. Thus are its effects described by Mr. Barry: "Where religion is affirmative and extended, it gives a loose and enthusiasm to the fancy, which throws a spirit into the air and manners, and stamps a diversity, life, quickness, sensibility, and expressive significance over everything they do. In another place it is more negative and contracted: being formed in direct opposition to the first, its measures were regulated accordingly; much pains were taken to root out and to remove everything that might give wing to imagination, and so to regulate the outward man by a torpid inanimate composure, gravity, and indifference, that it may attend to nothing but mere acts of necessity, everything else being reputed idle and vain. They have had as few words as buttons, the tongue spoke almost without moving the lips, and the circumstances of a murder were related with as little emotion as an ordinary mercantile transaction."--_Barry on the Arts_, p. 214.

[18] Hogarth may possibly allude to Ranelagh Barret, who, I learn from Mr. Walpole, was thus employed; and, being countenanced by Sir Robert Walpole, copied several of his collection, and others for the Duke of Devonshire and Dr. Mead. He was indefatigable,--executed a vast number of works,--succeeded greatly in copying Rubens, and died in 1768. His pictures were sold by auction in the December of that year.

[19] In part of this violent philippic Hogarth may possibly glance at the late President of the Royal Academy, whom, it has been said, but I think unjustly, he envied. In Sir Joshua's very early pictures there is not much to envy; they gave little promise of the taste and talents which blaze in his later works.

[20] Vanloo came to England with his son in the year 1737.--Walpole's _Anecdotes_.

[21] I am not sufficiently versed in the palette biography of the day to know who are the painters that these stars, etc. etc. etc. allude to. Abbé le Blanc, in his letter to the Abbé du Bos on the state of painting and sculpture in England, notices the whole body in the following _very flattering_ terms: "The portrait painters are at this day more numerous and worse in London than ever they have been. Since Mr. Vanloo came hither, they strive in vain to run him down; for nobody is painted but by him. I have been to see the most noted of them; at some distance one might easily mistake a dozen of their portraits for twelve copies of the same original. Some have the head turned to the left, others to the right; and this is the most sensible difference to be observed between them. Moreover, excepting the face, you find in all the same neck, the same arms, the same flesh, the same attitude; and to say all, you observe no more life than design in those pretended portraits. Properly speaking, they are not painters; they know how to lay colours on the canvas, but they know not how to animate it. Nature exists in vain for them; they see her not, or if they see her, they have not the art of expressing her."

[22] Sir Francis Bacon somewhere remarks, that in the flight of Fame she will make but slow progress without some feathers of ostentation.

[23] The rival portraits here alluded to are: George the Second, patron of the foundation, by Shackleton; Lord Dartmouth, one of the vice-presidents, by Mr. Reynolds (afterwards Sir Joshua); Taylor White, treasurer of the Hospital, in crayons, by Coates; Mr. Milner and Mr. Jackson, by Hudson; Dr. Mead, by Ramsay; Mr. Emmerson, by Highmore; and Francis Fauquier, Esq., by Wilson.

To say that it is superior to these is but slight praise; independent of this relative superiority, it will not be easy to point out a better painted portrait. The head, which is marked with uncommon benevolence, was in 1739 engraved in mezzotinto by M'Ardell.

[24] Thus does Hogarth pun upon the name of Mr. Ramsay, who he seems to think peered too closely into his prints, though he acknowledges that, in a book entitled _The Investigator_, Ramsay has treated him with more candour than any of his other opponents.

[25] Upon the death of Coram this pension was continued to poor old Leveridge, for whose volume of songs Hogarth had, in 1727, engraved a title-page and frontispiece, and who at the age of ninety had scarcely any other prospect than that of a parish subsistence.

[26] How very inferior was this to the portrait of Coram! But the genuine benevolence and simplicity which beams in the countenance of the friend and protector of helpless infancy is not calculated to strike the million so forcibly as the dramatic perturbation of a guilty tyrant. In this, as in some other cases, the purchaser seems to have paid for the player rather than the picture. It was painted for the late Mr. Duncombe, of Duncombe Park, Yorkshire.

[27] By both the artists and connoisseurs of his own day he was accused of having stolen the ideas contained in his "Essay" from Lomazzo. Several prints which were published in support of this opinion will be noticed.

[28] The fable here alluded to is entitled, _A Painter who pleased everybody and nobody_:

"So very like a painter drew,
That every eye the picture knew.--
His honest pencil touch'd with truth,
And mark'd the date of age and youth;"

But see the consequence:

"In dusty piles his pictures lay,
For no one sent the second pay."

Finding the result of truth so unpropitious to his fame and fortune, he changed his practice:

"Two bustos fraught with every grace,
A Venus, and Apollo's, face
He placed in view;--resolved to please,
Whoever sat, he drew from these."

This succeeded to a tittle:

"Through all the town his art they prais'd,
His custom grew, his price was rais'd."

[29] The "Distressed Poet," "Enraged Musician," and a companion print on painting which, though advertised, was never published, are the three here alluded to.

[30] In his description of the Legion Club, after portraying many of the characters with most pointed severity, Swift thus exclaims:

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

[31] The designer of a print which was published in 1753, and intended to burlesque some of the figures in the _Analysis of Beauty_, seems to have believed that Hogarth intended to have published his objections to the establishment of the academy. The print is entitled "Pugg's Graces," and the artist is represented with the legs of a satyr, and painting "Moses before Pharaoh's Daughter." One of his hoofs rests on three books, the lowest of which is labelled _Analysis of Beauty_. A little lower in the print is an open volume, on one page of which is written, _Reasons against a Public Academy_, 1753; and on the other, _No Salary_.

[32] Louis XIV. founded an academy for the French at Rome; but Poussin and Le Sueur, painters who have done the most credit to France, were prior to the establishment.

[33] The late Sir Robert Strange seems to have entertained an opinion somewhat similar:--"Academies, under proper regulations, are no doubt the best nurseries of the fine arts. But when the establishment of the Royal Academy at London is impartially examined, it will not, I am afraid, reflect that credit we wish upon the annals of its royal founder."--Strange's _Inquiry_, p. 61.

[34] "Of the estimation in which they were held, and the taste with which they were contemplated by the Romans, we may form some judgment by a general assuring a soldier, to whom he gave in charge a statue which was the work of Praxiteles, that if he broke it, he should get another as good made in its place."

[35] Transmigrations of heathen deities into apostles, etc., have been too frequent to need particular enumeration.

[36] Sir Godfrey Kneller knew this, and made the most of his labours. He used to say, in his own vindication, that historical painting only revived the memory of the dead, who could give no testimony of their gratitude; but when he painted the living, he gained what enabled him to live from their bounty.

[37] The president Montesquieu, the Abbés Winckelmann, Du Bos, and Le Blanc, have gravely asserted, that from the coldness of our climate, and other causes equally curious, we can never succeed in anything that requires genius.

[38] "Their mode of judging subjects them to continual imposition; for what is called manner is easily copied by the lowest performer: he only fails in beauty, delicacy, and spirit!"

[39] One specimen of Mr. Kent's talents in painting is in page 39. Mr. Walpole's description of some of his other pictures, and the history of his patronage, amply illustrate Hogarth's opinion of the artist's abilities in that branch.

[40] How far the present situation of the Royal Academy and the arts has fulfilled or contradicted this opinion, I will not presume to determine.

[41] Mr. Strange, in his _Inquiry into the Rise and Establishment of the Royal Academy of Arts of London_, places the causes of this disagreement in a point of view somewhat different from Mr. Hogarth's narrative; but in their account of the consequences the narrators precisely agree:--

"A society, composed of a number of the most respectable persons in this country, commonly known by the name of the 'Dilettanti,' made the first step towards an establishment of this nature. That society having accumulated a considerable fund, and being really promoters of the fine arts, generously offered to appropriate it to support a public academy.

"General Gray, a gentleman distinguished by his public spirit and fine taste, was deputed by that society to treat with the artists. I was present at their meeting. On the part of our intended benefactors, I observed that generosity and benevolence which are peculiar to true greatness; but on the part of the majority of the leading artists, I was sorry to remark motives, apparently limited to their own views and ambition to govern, diametrically opposite to the liberality with which we were treated. After various conferences, the 'Dilettanti' finding that they were to be allowed no share in the government of the academy, or in the appropriating their own fund, the negotiation ended."--Strange's _Inquiry_, p. 62.

[42] This society was first projected by Mr. William Shipley, who was very active in his endeavours to establish it. Their original proposal was, to "give premiums for the revival and advancement of those arts and sciences which are at a low ebb amongst us; as poetry, painting, tapestry, architecture, etc." The plan, in the latter end of the year 1753, was laid before Dr. Hales and Mr. Baker, by whom it was introduced to Lord Romney and Lord Folkestone, who warmly patronized the institution.

In March 1754, they met at Rathmell's Coffeehouse, Henrietta Street, Covent Garden. Their first premium for the best drawing by boys and girls under fourteen years of age was £15; but as the subscribers were then too few in number to raise the proposed sum, the two above-named noblemen made good a considerable deficiency. They next met at the Circulating Library, in Crane Court, Fleet Street, and on the 10th of January 1755 at Peele's Coffeehouse, where the first premium of £5 for the best drawing by boys under the age of fourteen was adjudged to Mr. Richard Cosway.

[43] "Swift's Laputa tailor made all his clothes by mathematical rules, and there was no objection to them,--except that they never fitted those for whom they were made."

[44] Little did Hogarth imagine that a man lived in his own time, who, by a great commercial enterprise, should awaken the spirit of the nation to historical and poetical paintings from the drama of Shakspeare. This drama has been a school for the representation of all the passions, and opened to the artist a new mine of rich materials for displaying the mirror of life in the colours of nature. The Shakspeare Gallery has been followed by undertakings of a similar description, and, all united, have afforded a patronage to the arts which had been vainly sought for among the nobility, and given to such painters as had the power, a fair opportunity of confuting the visionary assertion, that it was not possible for an Englishman to paint a good historical picture.

[45] How far Hogarth's prediction has been fulfilled, by the repentance of some painters who may have been thus dragged into the temple of taste, those painters only can determine.

[46] The hope of the arts is in the patronage of the sovereign.

[47] A great personage once remarked that sculpture was too cold and chilling for this climate.

[48] What shall we say of these, if fame is denied to the living?