A ILLUSTRATED BIOGRAPHIES OF THE GREAT CART1STS. WILLIAM HOGARTH. ILLUSTRATED BIOGRAPHIES OF THE GREAT ARTISTS. The foll(nving volumes, :; ^>"-->v?'- >** * ' ... \V- " v. ** ' (All rights reserved.) RICHARD CLAY AND SONS, LIMITED, LONDON AND BUNGAY. PREFACE. BY way of preface to this brief account of Hogarth's life and works, it is only necessary to say that all the authorities named in the following list most of them collected during many years' patient admiration of this great artist's genius have been diligently consulted in preparing it. Those which may be fairly described as " recent " are, it will be seen, but few in number. To the most considerable of these, however, the Author desires to make especial reference. No one who may hereafter work at Hogarth on a large scale will be able to neglect the mass of minute information which has been brought together in Mr. F. G. Stephens' " Catalogue of the Satiri- cal Prints and Drawings in the British Museum ;" and when the next portion, carrying the chronicle from 176] onwards, shall have been issued, it will be practically use- less to consult any antecedent work for information re- specting the history and production of those of Hogarth's engravings which are covered by the scheme of the series. This being so, the Author has of necessity gratefully availed himself, for purposes of revision and correction, of the volumes already published. The Author has also to express his thanks to the vi PREFACE. Treasurer of the Honourable Society of Lincoln's Inn for his obliging permission to print the hitherto unpublished letter at pp. 72-3 respecting Paul before Felix ; and to Messrs. Smith and Elder and the proprietors of the " Pictorial "World " for allowing him to make use of the woodcuts which appear in the volume. He is moreover in- debted to Mr. G. "W. Reid, the Keeper of the Prints at the British Museum, and Mr. R. F. Sketchley, the Librarian of the Dyce and Forster Collections at South Kensington, for much kind and courteous assistance. In conclusion, it is proper to state that some of the descriptions of the prints have been reproduced, with but little variation, from such of the commentaries to Messrs. Bell and Daldy's " Hogarth " of 1872 as were contributed to that work by the Author. A. D. 13, GRANGE PARK, EALIXG. CONTENTS. CHAPTER I. INTRODUCTORY CHAPTER II. BIRTH, EDUCATION. AND KARLY YEARS CHAPTER III. THE Two PROGRESSSES CHAPTER IV. IIlMOKV-PlCTURES AND MlXOR PKINTS CHAPTER V. Tin: MARKIAGE-A-I.A-MODE" CHAPTER VI. CONTEMPORARIES, : MARCH TO FINCHLEY," Mixou PRINTS . CHAPTER VII. " THE ANALYSIS," ''ELECTION PRINTS," AND " SIGISJZONDA" . CHAPTER VIII. WlI.KES AM) CHURCHILL, DEATH, CONCLUSION Page 1, 19 33 g] CHROKOLOOX OF HOGARTH'S LIFE ...... A LIST OF ENGRAVINGS BY AND AFTER HOGARTH . A LIST OF THE PRINCIPAL PAINTINGS BY HOGARTH ORIGINAL PRICES OF HOGARTH'S PRINTS .... INDKX Jtl 111 113 1-21 124 ~ . -,- ..< HISTORY PICTURES 4.ND mZfQ& PRINTS." . 43 ., like, appears to have passed by nnfiasKBftcea. Bat to the years 1740 and 1741 belong two delightful single plates, the Distrest Poet, and the Enraged Musician. The former of these had indeed been issued as far back as 1736, but it was republished with certain variations in 1740, and was followed a year after by the Enraged Musician, with which it is convenient to treat it. From a letter published by Ireland, and an advertisement in the " London Daily Post," for Nov. 24th, 1740, the artist appears to have con- templated a " third on Painting," but although there is reason to believe that a sketch in oils was completed, for some unexplained reason it was never engraved. Was Goldsmith thinking of the Distrest Poet when, in August, 1758, he described himself as "in a garret, writing for bread, and expecting to be dunned for a milk- score ? " Except that the milkmaid has already arrived, and is angrily exhibiting her tally, this is the precise status quo of Hogarth's print. The poor verseman, high in his Grub-Street or " Porridge-Island " sky-parlour, has risen by candlelight to finish a poem on " Riches " for some contemporary Curll. He is exactly in the case of Cowper's bard " Who having whelp'd a prologue with much pains, Feels himself spent, and fumbles for his brains." Neither the map of the " Gold Mines of Peru " upon his walls, nor Bysshe's "Art of Poetry," nor " all his books around," a magnificent total of three (we are describing the impression of 1740 1 ), can help him at his need. Mean- 1 The impression of Mar. 3, 1736, has under it the four following lines from Tope (adapted) : " Studious he sate, with all his books around, Sinking from thought to thought, a vast j>rofund 1 44 \VILLIAM HOGARTH. while his vociferous creditor (with the Michaelmas daisies round her hat) clamours for the score ; the awakened child is crying, and the wind whistles " through the broken pane." He has a consolation, however, that poor Goldsmith lacked through life, one of the sweetest female companions that Hogarth ever drew. She is the ancestress of Thacke- ray's "Mrs. Shandon," this patient conciliatory lady. And (0 bathos! "most lame and impotent conclusion!") tfhe is repairing her husband's small clothes, while the cat and kittens nestle cosily upon his worship's coat. The Enraged Musician is more crowded with incident ; but not nearly so suggestive. It is simply an apotheosis of discord. Cats wrangle on the tiles, a dog howls dismally, bells ring in the steeple, and a sweep shrills from a chim- ney-pot. Below a dustman bawls "Dast-Ho!" a coster- monger yells " Flound-a-a-rs ! " and a knife-grinder, a ballad-woman singing the " Lady's Fall," an oboe-player, an amateur drummer, and an escaped parrot swell the orchestra. And all this cacophony for the benefit of the befrogged (and, of course, foreign) violinist, who glares, infuriate, from his open window ! The picture, in truth, as Fielding said, is deafening to look at. Besides this pair of prints, the only other work of this period (a moderately successful portrait of B'isliop Hoadly excepted) which need be chronicled, is the painting called Taste in High Life. It was not a favourite with Hogarth ; Plung'd for his sense, but found no bottom there ; Then writ, and flounder'd on, in mere despair." Dunciad, book i. Instead of a poem on " Riches," he is writing on " Poverty," and instead of the " Mines of Peru " there is a print of Pupe thrashing Curll. There are also two more books. T / fcK HISTORY PICTURES AND MINOR PRINTS. 45 but affords a capital idea of the extremes of fashionable foible in 1742. In the year 1745 (we are straying a few months beyond the limits of our chapter) Hogarth advertised several of his pictures for sale by a kind of auction. As usual, his method was entirely characteristic and original. " The biddings [we quote from Nichols] were to remain open from the first to the last day of February, on these conditions : ' 1. That every bidder shall have an entire leaf numbered in the book of sale, on the top of which will be entered the name and place of abode, the sum paid by him, the time when, and for which picture. 2. That, on last day of sale, a clock (striking every five minutes) shall be placed in the room ; and when it hath struck five minutes after twelve, the first picture mentioned in the sale-book will be deemed as sold ; the second picture when the clock hath struck the next five minutes after twelve ; and so on suc- cessively till the whole nineteen pictures are sold. 3. That none advance less than gold at each bidding. 4. No person to bid on the last day, except those whose names were before entered in the book. As Mr. Hogarth's room is but small, he begs the favour that no persons, except those whose names are entered in the book, will come to view his paintings on the last day of sale.' The pictures were sold for the following prices : Six Harlot's Progress, at 14 guineas each . . . ,88 4 Eight Rake's Progress, at 22 guineas each . . . 184 16 Morning, 20 guineas . . . . . . . 2100 Noon, 37 guineas . . . . . . . . 38 17 Evening, 38 guineas 39 18 yiffht, 26 guineas 27 6 Strolling Players, 26 guineas 27 6 .427 7 0" 46 WILLIAM HOGARTH. The ticket of admission was the etching known as the Battle of the Pictures, an idea probably suggested by Swift's "Battle of the Books;" and which depicts a spirited engagement between the canvases of the Black Masters on the one hand, and those of Hogarth on the other. Even in the inscription npon this ticket there is a touch of that half-ironic, half-defiant tone, which is never absent from the painter's public announcements : " The Bearer hereof is Entitled (if bethinks proper) to be aBidderfor MR. HOGARTH'S PICTURES, which are to be sold on the Last day of this Month." The prices realized were of course wholly inadequate ; but it must, we fear, be remembered that the method of sale was peculiar, and little calculated to attract or conciliate the limited public of purchasers. CHAPTER V. THE MARRIAGE-A-LA-MODE. 1745. THE auction with which the last chapter concluded took place in February, 1745 ; and the six paint- ings of Marriage-a-la-Mode were announced for sale, "as soon as the Plates then taking from them should be completed." A hint of the series had already been given in the Battle of tlie Pictures, where a copy of the second scene is viciously assailed by a copy of the Aldobrandini Marriage. In April, 1745, the set of engravings was issued ; Plates i. and vi. being engraved by Scotin, Plates ii. and iii. by Baron, and Plates iv. and v. by Ravenet. Exactly two years before Hogarth had heralded them by the following notification in the " London Daily Post, and General Advertiser," of April 2nd, 1743: "Mr. HOGARTH intends to publish by Subscription, Six PEINTS from Copper-Plates, engrav'd by the best Masters in Paris, after his own Paintings ; representing a Variety of Modern Occurrences in High-Life, and called MARRIAGE-A-LA-MODE. Particular care will be taken, that there may not be the least Objection to the Decency or Elegancy of the whole Work, and that none of the Characters represented shall 48 WILLIAM HOGARTH. be personal." l Then follow the terms of subscription. The last quoted lines were probably a bark at some for- gotten detraction ; and, if not actually ironical, doubt- less about as sincere as Fielding's promise, in the prologue to his first comedy, not to offend the ladies. Those who had found indecency and inelegancy in the previous productions of the painter, would still see the same de- fects in the master-piece he now submitted to the public. And although it may be said that the "characters " re- presented are not " personal " in a satirical sense, more than one of them have been confidently identified with well-known originals. It would be almost impossible that they should not be. Like Moliere, Hogarth took his material where he found it. It lay about him in' the daily occurrences of his time ; and unconsciously as well as con- sciously, real actors found their way into his " comedies with the pencil." As a matter of course, they were not absent from Marriage-d-la-Mode. How "well-preserved," even in this year of grace 1879, these wonderful pictures are ! It would seem as if Time, in mistaken malice, had resolved to ignore in every way the courageous little artist who treated him with such frequent indignity. Look at them in the National Gal- lery. Look, too, at the cracks and fissures in the Wilkies the soiled rainbows of Turner the bituminous riding- habit of Lady Douro in Sir Edwin's " Story of Waterloo." But these paintings of William Hogarth, which, when fresh from the easel, found their timid purchaser in Mr. 1 To the advertisement of April 4 and subsequent issues was added : " The Heads for the better Preservation of the Characters and Expres- sions to be done by the Author." THE M \RRIAGE-A-LA-MODE. 49 Lane of Hillingdon, are fresh to-day. They are not worked like a Denner, it is true, and the artist is sometimes less solicitous about his method than the result of it; yet they are soundly, straightforwardly, and skilfully painted. Lady Bingley's red hair, Carestini's nostril, are shown in the simplest and directest manner. Bat .everywhere the desired effect is exactly produced, and without effort. Take, for example, the inkstand in the first scene, with its sand-box and bell. In these days it would be a patient trompe-Voell, probably better done than the figures using 1 it. Here it is sufficiently indicated, though not elabo- rated ; it holds its exact place as a piece of furniture, and nothing more. And at this point it should be added that if in the ensuing descriptions we should speak of colour, our readers will know that we are describing not the engravings of Messrs. Scotin and the rest, but Hogarth's own pictures at Trafalgar Square. It is the more necessary to say this, because the paintings frequently differ slightly from the engravings. The first picture of the series represents the 3Iarria < . , 65 "'VvWl ;j 'I V ^^hfci^^f ^. the notorious Simon Fraser, Lord Lovat, wasbrought in a litter to St. Albans on his way to London, where he was tried, and subsequently executed on Tower Hill. Ho- garth, upon the invitation of a local physician (Samuel Ireland's friend Dr. Webster) travelled to St. Albans to meet him. He found him on the 14th at the " White Hart " in the hands of a barber. The old lord (he was over seventy) rose at his approach, embracing him after the French fashion on the cheek, and, says the chronicle, transferring some of the soapsuds on his face to that of the painter. The short squat figure, the watchful attitude, and the " pawky " expression of Lovat as he counts the Clans on his fingers, are admirably rendered. It is no wonder that this effective sketch, having besides its own merit all that of an apropos, should have been widely popular. The rolling press could not supply impressions enough ; and though they were sold at a shilling each, for several weeks Hogarth received payment at the rate of twelve pounds a day. To the following year belong The Stage Coach; or, Country Inn Yard, and the series called Industry and Idle- ness. The former is more interesting as a little piece of every-day English eighteenth century life than for any dramatic element which it contains, although there is an election procession in the background. From the wooden- galleried courtyard of the Old Angel Inn, Tom Sates from London, the creaking and lumbering Ilford stage (?) pre- pares to run its snail-like course of so many miles per diem. " T. B." himself maybe seen in the foreground, justifying his lengthy score to a hard-featured lawyer (with the " Act against Bribery " in his pocket), who discharges it un- willingly. Mrs. Landlady, from her sanctum among the F fi6 WILLIAM HOGARTH. strong waters, is bawling for Susan Chambermaid, who is detained by the farewells of a gentleman in a bag-wig. A stout woman is being squeezed in at the coach-door by a man, who hands a dram-bottle after her. Behind come a vinegar-faced spinster in a Joseph and hood, and a squall- ing child. To the right, a portly personage, with a sword and cane, disregarding an appeal from the hunchbacked postilion, prepares to follow the stout woman. In the " basket " an old crone is smoking among the baggage ; and, on the roof, an English sailor (see "Centurion" on the bundle) and a dejected Frenchman have taken their perilous places. To put the finishing touch to the bustle of departure, a man blows a post-horn out of a window. The whole scene might serve as an illustration to " Pere- grine Pickle " or " Tom Jones." Industry and Idleness, says Hogarth himself, exhibited "the conduct of two fellow 'prentices : where the'one by taking good courses, and pursuing points for which he was put apprentice, becomes a valuable man, and an ornament to his country: the other, by giving way to idleness, naturally falls into poverty, and ends fatally, as is ex- pressed in the last print." The end, as Leigh Hunt says, was " an avowed commonplace," . . . "while the execu- tion of it was full of much higher things and profounder humanities." There is no finer stroke in Hogarth than that by which the miserable player at " halfpenny-under- the-hat," in PL iii., is shown to have but a plank between him and the grave ; nor is there anything more forcible in its squalid realism than the episode in Thomas Idle's career to which Dr. King subjoined the epigraph " The sound of a shaken leaf shall chase him." Very piteous, too, is the grief of the widowed mother when her repro- CONTEMPORARIES. 67 bate son is being sculled past Cuckold's Point to the ship which is to carry his graceless fortunes to a foreign land. The whole set of prints, which we cannot further describe, is full of contemporary detail of the most interest- ing character. In PI. vi. we see the newly married couple feted by the old discordant hymensean (a " kind of wild Janizary music," Lichtenberg calls it) of the marrow-bone and cleaver men. 1 PL viii. shows a civic feast; and the two final plates a Lord Mayor's Show and an execution at Ty- burn. The idea for this series is said to have been suggested by the " Eastward Hoe " of Chapman, Jonson, and Mar- ston, with which it has some affinities. Though coarsely executed it was very popular, was dramatized, and gave rise to several publications, graphic and otherwise. One of these was the imitation of Northcote, the history of two housemaids, patched together from Hogarth and Richard- son's " Pamela." " There could not be a more lamentable failure," say the biographers of Reynolds, " and Northcote never forgave Hogarth." In 1747 Hogarth executed a rude headpiece for the " Jacobite's Journal," a newspaper begun by Henry Field- ing in the December of that year, and having for its object the ridicule of Jacobite principles. Hogarth's contribution to it (if indeed it be his) does not require any further notice. In the next year took place that memorable journey to France the narrative of which has afforded so much delight to the more malicious of his biographers. At this date we may be content with his own version of 1 " When, therefore, properly struck," says Lichtenberg of these in- struments, " they produce no despicable clang ; at least certainly a better one than logs of wood emit when thrown to the ground ; and yet the latter are said to have occasioned the invention of the rebeck." 68 WILLIAM HOGARTH. che story, without encumbering it with any of the varia- tions of the commentators, amiable or otherwise. " The next print," says he, " I engraved was the Boast Beef of Old England [published March 6, 1749], which took its rise from a visit I paid to France the preceding year. The first time an Englishman goes from Dover to Calais, he must be struck with the different face of things at so little a distance. A farcical pomp of war, pompous parade of religion, and much bustle with very little busi- ness. To sum up all, poverty, slavery, and innate inso- lence, covered with an affectation of politeness, give you even here a true picture of the manners of the whole nation : nor are the priests less opposite to those of Dover, than the two shores. The friars are dirty, sleek, and solemn ; the soldiery are lean, ragged, and tawdry ; and as to the fish-women their faces are absolute leather. " As I was sauntering about and observing them, near the gate which it seems was built by the English, when the place was in our possession, I remarked some appear- ance of the arms of England on the front. By this and idle curiosity, I was prompted to make a sketch of it ; which being observed, I was taken into custody; but not attempt- ing to cancel any of my sketches or memorandums, which were found to be merely those of a painter for his private use, without any relation to fortification, it was not thought necessary to send me back to Paris. 1 I was only closely con- 1 J. B. Nichols, who had an opportunity of consulting the original MSS. when in the possession of Mr. H. P. Standly, says that Ireland's transcripts of them ai'e " most incorrectly copied." There is nothing in them about Paris, which is unfortunate for Ireland's note u this proves he had reached Paris." J. B. Nichols' reference to the MSS. seems to have escaped the notice of the later commentators ; but it throws grave doubts upon the accuracy of the Hogarth papers as printed by Ireland. H-.ii CONTEMPORARIES. 69 fined to my own lodgings, till the wind changed/or England : where I no sooner arrived, than I set about the picture ; made the gate my background ; and in one corner intro- duced my own portrait, which has been generally thought a correct likeness, with the soldier's hand upon my shoulder. By the fat friar, who stops the lean cook that is sinking under the weight of a vast sirloin of beef, and two of the military bearing off a great kettle of soup maigre, I meant to display to my own countrymen the striking difference between the food, priests, soldiers, &c., of two nations so contiguous, that in a clear day one coast may be seen from the other. The melancholy and miserable High- lander, browzing on his scanty fare, consisting of a bit of bread and an onion, is intended for one of the many that fled from this country after the rebellion in 1744[5]." It is not necessary to add anything to this description of Calais Gate, save that Mr. Pine, the engraver, sat for the "fat friar," and that the painter's friend, Theodosius Forrest, made a cantata on the subject. 1 One of the French soldiers long served as a heading to recruiting advertise- ments. The Gate of Calais was a subject which might well be expected to excite all the insular prejudices of Hogarth, to say nothing of the " least little touch of spleen " on his own account at the somewhat ignominious treatment he had received in France. But although he was so keenly alive to the " lean, ragged, and tawdry " appearance of the soldiers of the Grand Monarque he was not the less sensible of the weak points of the British Grenadier. In 1 Nichols ( <: Genuine Works") calls him " Theophilus," but this is probably a slip of the pen. See note to Chap, ii., p. 17. 70 WILLIAM HOGARTH. the March of the Guards towards Scotland in the year 1745, commonly called the March to Finchley, he has exhibited all the disorders of a military hegira. While the straggling vanguard are winding away to the horizon, the foreground, between the " King's Head " Inn and the " Adam and Eve " at Tottenham Court Turnpike, is filled with a con- fusion of departure that beggars all description. The most prominent figure is a young and handsome guardsman, hopelessly embarrassed by the rival adieux of two ladies, one violent, the other pathetic. Near him is a drummer who is endeavouring, with a comical screw of his face, to drown his own grief and that of his wife and child by a vigorous attack upon his drum. Elsewhere an officer kisses a milk- maid, while a soldier pours her milk into his hat ; another soldier directs the attention of a grinning pieman to the episode, and takes the opportunity of abstracting his wares. A drunken fellow in the gutter turns disgustedly from a friendly offer of water and holds out his hand to a female sutler for more gin, while the shrivelled infant at her back imitates his gesture. The soft, unfurrowed face of another child in the crowd is happily contrasted with the plotting eagerness of a couple of Jacobite intriguers. In the back- ground a fight is going on, watched by eager spectators. But here, as in so many other cases, we must resign our- selves to a mere indication of the chief riches of the plate. It has, however, been excellently described in the " Old Woman's Magazine," i. 182, and by Hogarth's and Field- ing's friend, Mr. Justice Welch, in Christopher Smart's " Student," ii. 162. The artist at first intended to dedi- cate the picture to George II. That monarch had, as Wai- pole says, " little propensity to refined pleasures ; " and he received it with anything but enthusiasm. It was ac- MARCH TO FINCHLEF. 71 cordingly dedicated to the King of Prussia as "an En- courager of Arts and Sciences," and his Majesty made a hand- some acknowledgment of the honour done him. Like others of Hogarth's works, it was sold by lottery, and became the property of the Foundling Hospital, where it remains. The print of the March to Finchley was published in December, 1750. The only other prints which concern this chapter are Beer Street and Gin Lane, 1751 ; the Four Stages of Cruelty, 1751 ; the two plates of Paul before Felix, 1751 and 1752, and Moses brought to Pharaoh's Daughter, 1752. The first pair, which seem to have been prompted by the agitation connected with the Act for restricting the sale of spirituous liquors, are among the best known of Hogarth's minor works, although Sir Wilfrid Lawson and the total abstainers would probably regard the bloated prosperity of Beer Street as scarcely less dangerous than the starved emaciation of Gin Lane. With the lusty beer- drinkers every thing prospers but the pawnbroking business; with the consumers of " Bung-your-eye " and " Strip-me- naked " everything is the reverse, and the gentleman at the sign of the " three balls " is driving a roaring trade. We cannot linger on these plates further than to call attention to the inimitable professional complacency of the ragged sign-painter in Beer Street (in those days there was a regular sign-market in Harp Alley, Shoe Lane), and the terrible figure of the itinerant gin-seller and the maudlin mother in the companion print. Charles Lamb has left an enthusiastic description of this latter. The Four Stages of Cruelty are a set of plates exhibiting the " progress " of one Thomas Nero, who, from torturing dogs and horses, advances by rapid stages to seduction and murder, and finishes his career on the dissect- ing table at Surgeons' Hall. They have all the downright 72 WILLIAM HOGARTH. power of Hogarth's -best manner ; but they are unrelieved by humour of any kind, and consequently painful and even repulsive. " The leading points in these as well as in the two preceding prints," says Hogarth, "were made as obvious as possible, in the hope that their tendency might be seen by men of the lowest rank. Neither minute accuracy of design, nor fine engraving were deemed necessary, as the latter would render them too expensive for the persons to whom they were intended to be useful." These words should be borne in mind in considering them, especially the Four Stages of Cruelty. The price of the ordinary im- pressions was a shilling the plate, and an unsuccessful attempt was made to sell them even more cheaply by cutting them in wood. Paul before Felix and M oses brought to Pharaoh's Daughter were essays in that historical style to which Hogarth now and then returned like the moth to the flame. The former was painted for Lincoln's Inn Hall, to decorate which Lord Wyndham had left a legacy of 200 ; ' the latter the painter 1 Hogarth obtained the commission through the instrumentality of .Lord Mansfield. Recent search among the archives of the Society of Lincoln's Inn has brought to light the following letter and receipt with reference to this subject. We make no apology for inserting them here, especially as they have not hitherto been printed, and moreover establish the date of the painting: "June 28 1748 "S' " According to your order, I have consider'd of a place for the Pic- ture, and cannot think of any better than that over the sound board, in the hall, all the advantages to be gain'd for Light, can only be by setting the bottom near the wall, and Inclining the Top forward as much as possible, it being thus Inclin'd will make ornaments on the sides im- proper, so that a Frame only is necessary. I have enquired of M r Gosset a Frame maker in Barwick Street about the price of one some- * I-! 15 II AH MINOR PRINTS."'*,... 73' presented to the Foundling Hospital. * i Krbr ! wiete ban be said to have been thoroughly successful, though Haydon certainly goes too far when he says that the painter merited a strait-waistcoat if he really thought the Moses a serious painting. But if they were not successful they were at all events the cause of a success. As a subscription ticket to the engravings of these two pictures Hogarth issued a burlesque Paul before Felix, "design'd and scratch'd in the true Dutch taste." Everything that he chose to see in Rembrandt and his school the vulgarity the want of beauty the anachronisms in costume is carefully ridiculed. This etching was at first merely given away to the artist's acquaintance, M "THF. FI.F.rTION PRINTS.'' Plate II. "ELECTION PRINTS." 83 to the arms of his wavering chair ; a lady, who watches him from the church, faints with terror, and the " yellows" in the window (among whom is the old Duke of New- castle) enjoy his misery. In imitation of the eagle above Alexander in Le Brun's Battle of the Granicus a goose flies over his head. The thresher who causes so much mischief is engaged in a conflict with a sailor leading a bear. The bear seizes the opportunity of plundering the barrels of an ass, whose master retaliates with a cudgel, while the terrified wrig- gling of a monkey on Bruin's back discharges a toy-gun in the face of a grinning sweep, who is fixing gingerbread spectacles on a stone skull. We have still left much undescribed in this capital series, but the original pictures are luckily still in exis- tence. They are among the best examples of Hogarth's style, broadly and freshly painted. Garrick purchased them for 200 guineas. From him they passed in 1823 to Sir John Soane, in whose museum at Lincoln's Inn Fields they are at present. The price then paid for them was 1,732 10s. In 1756 Hogarth made a final essay in historical painting, and so far as money is concerned, the effort was wholly successful. For the Altai-piece of St. Mary Redcliffe at Bristol he received 500. The compartments repre- sented the Sealing of the Sepulchre, the Ascension and the Three Maries ; and are now in the Fine Arts Academy at Clifton. One or two minor prints require to be noticed before we come to the Sigismonda. In the above-mentioned year, when people were much exercised by fears of the threatened- invasion of England by France, when a camp was formed 84 WILLIAM HOGARTH. in Surrey, and a " Great Personage" at Kensington (accord- Ing to the " Gentleman's Magazine ") went so far as to say that 10,000 French were actually embarking, Hogarth doubtless still sorely conscious of his Calais mishap con- tributed his version of the " present posture of affairs " in a couple of prints entitled The Invasion, or France and Eng- land. The subjects might almost be guessed. The French are shown as half-starved frog-eaters, forced unwillingly to embark from their depopulated country the only really cheerful person in the picture being a sanguinary monk, who presides over the shipment of various engines of Popish torture to be employed at a proposed monastery " dans Black Friars a Londre." The English, on the other hand, are jubilant at the prospect of their adversaries' ar- rival. Hodge (for whose portrait it is reported that Gar- rick stood) strains along the sergeant's halberd to reach the regulation height, whilst a brawny grenadier is deco- rating the wall of the "Duke of Cumberland" with a fine fresco of Louis the Well-Beloved, from whose lips, in allu- sion to the gasconading memorial of M. Rouille to Fox, issues a label : " You take a my fine ships, you be de Pirate, you be de Teef, me send my grand Armies, & hang you all, Morblu." In earnest of which he flourishes a gibbet. Garrick wrote some verses for these prints ; but they have no special merit, though they are better than Dr. John Hoadly's to the Harlot's Progress. The nrint called The Sench (Sept. 4, 1758) requires no lengthy notice. It is said to contain the portraits of the Honourable William Noel, Sir Edward Clive, Sir John Willes, Lord Chief Justice, and the Honourable Mr. (after- wards Earl) Bathurst, and was designed to show the dif- ference between " Character," "Caricature," and "Outre." ! KRAR . '"''. \ MINOR PRINTS^ "*tw.+ --"~ 80 ' ;< Character " only is represented in the firstMat&'blF print. In the second state is added at the top a row of heads ex- pressing " Caricature " and " Outre ; " but they were never finished. Another print, dated November 5, 1759, shows the old Cockpit in Bird Cage Walk (?) with all the "celestial anarchy and confusion" which, according to Sherlock, characterized the pastime of which it was the theatre. Jockeys and cockbreeders, sweeps and Quakers, English Dukes and French Marquises, blind men and deaf men, are absorbed in this exciting sport. A defaulter, whose shadow alone is seen, has, according to Cockpit law, been drawn up to the ceiling in a basket, whence he vainly tenders his watch to satisfy his creditors. This is one of the best of Hogarth's later prints ; but we cannot dwell upon it. On the 6th of June, 1757, Hogarth was appointed Ser- jeant Painter of all his Majesty's Works " as well belong- ing to his Royal Palaces or houses as to his great Ward- robe or otherwise." He succeeded his brother-in-law, the John Thornhill of the "Five Days' Tour;" and from an autograph note in the Forster collection, entered upon his duties on the 16th of July. The salary by the warrant was 10 per annum, payable quarterly ; but there were apparently certain "fees, liveries, profits, commodities and advantages" which made it rather more. In one of the memoranda printed by Ireland, he says that it " might not have exceeded one hundred a year to me for trouble and at- . tendance; but, by two portraits, at more than eighty pounds each, the last occasioned by his present Majesty's accession, and some other things, it has, for these last five years been, one way or other, worth two hundred pounds per ann" Although in 1757 he had, in a fit of irritation, announced 86 WILLIAM HOGARTH. that he should in future " employ the rest of his time iu portrait painting," he appears about 1759-60 to have rather inconsistently " determined to quit the pencil for the graver." " In this humble walk (he says) I had one advantage ; the perpetual fluctuations in the manners of the times enabled me to introduce new characters, which being drawn from the passing day, had a chance of more originality and less insipidity than those which are repeated again and again, and again, from old stories. Added to this, the prints which I had previously engraved were now become a voluminous work, and circulated not only through England, but over Europe. These being secured to me by an Act which I had previously got passed, were a kind of an estate ; and as they wore, I could repair and re-touch them ; so that in some particulars they be- came better than when first engraved. ' While I was making arrangements to confine myself entirely to my graver, an amiable nobleman (Lord Charle- mont) requested that before I bade a final adieu to the pencil, I would paint him one picture. The subject [was] to be my own choice, and the reward, whatever I demanded. The story I pitched upon was a young and virtuous mar- ried lady, who, by playing at cards with an officer, loses her money, watch and jewels ; the moment when he offers them back in return for her honour, and she is wavering at his suit, was my point of time." The picture thus indicated is that known as the Lady's Last Stake, or Picquet, or Virtue in Danger. It was en- graved by Cheeseman in 1825 ; and a copy of the print was given for the first time in Bell and Daldy's two- volume Hogarth of 1872. Lord Charlemont, for whom it was painted, was greatly delighted with it ; and John " SIGISMONDA." 87 Ireland has printed a couple of letters on the subject which show this nobleman in a very favourable light. To Hogarth's description of the design it is only necessary to add that the heroine is a portrait of Mrs. Piozzi, then Miss Salusbury. 1 Daring the process of painting, the Lady's Last Stake had found other admirers ; and by one of them, Sir Richard (afterwards Lord) Grosvenor, Hogarth was pressed to undertake another picture " upon the same terms." He selected Dryden's (or rather Boccaccio's) Sigismonda weeping over the heart of her murdered lover Guiscardo, the choice of subject being apparently determined by the large price given for a picture having the same theme, ascribed to Correggio, but really by Furini, which had been sold for 400 with Sir Luke Schaub's collection in 1758. 2 Hogarth valued his picture at the same sum, and took immense pains with it, touching and retouching it in obedience to the suggestions of his friends. When it was finished, Sir Richard had either, as the painter surmises, got into the hands of the picture-dealers, or repented of his commission. At all events he appears to have rather meanly shuffled out of it, upon the plea that "the con- stantly having it [the picture] before one's eyes would be too often occasioning melancholy ideas to arise in one's mind." 3 Sigismonda, therefore, greatly to the artist's 1 This picture was sold at Christie's, in 1874, for 1,585. Lord Charlemont gave the painter 100. * It was exhibited at Manchester in 1857 (No. 348). It is now according to Cunningham's " Letters of Horace Walpole " in the pos- session of the Duke of Newcastle, at Clumber. 3 Hogarth has humorously paraphrased Sir Kichard's excuse in some verses addressed to Dr. Hay, and " turned," says be, " into English by 88 WILLIAM HOGARTH. mortification, was left upon his hands. This unfortunate transaction of course gave rise to much contemporary criticism, sadly envenomed by party-feeling and profes- sional antagonism. One result was that not being sold to Sir Richard Grosvenor, it was not sold to any one else. After Hogarth's death, it remained in the possession of his widow, with an injunction that she was not to part with it for less than 500 during her lifetime ; but when she died in 1789 it passed into the possession of Messrs. Boy- dell, who bought it for 56 guineas. At that time it had not been engraved, although Hogarth had made several fruitless attempts to secure an adequate interpreter, and had even issued as a subscription ticket the admirable little plate of Time smoking a Picture, 1761. In 1793 it was reproduced in mezzotint by Dunkarton, and subse- quently, in 1795, by Bartolozzi's pupil, Benjamin Smith. At this date there is no doubt that the picture was not fairly treated in the painter's life-time. The mob of dealers heaped it with obloquy, and the caricaturists rejoiced in a new opportunity of reviling the unpopular author of the Analysis. Then Mr. Walpole, summing up in his " Anec- dotes of Painting," declared that it was " no more like Sigismonda than he to Hercules," and it may perhaps be my friend "Whitehead" the Paul Whitehead of Churchill's satires. Here are the lines in question : " Nay ; 'tis so moving, that the knight Cant bear the figure in his sight ; And who would tears so dearly buy As give four hundred pounds to cry ? I own, he chose the prudent part. Either to break his word than heart ; And yet, methinks, 'tis ticklish dealing, With one so delicate in feeling." " SIG1SMONDA." 89 conceded that there was not the slightest resemblance be- tween Mr. Walpole and Alcmena's son. Worse than this, he wrote of it in terms which were, if not absolutely untrue, at least exaggerated and unjustifiable; and the "common cry " of critics followed the example of the illustrious vir- tuoso of Strawberry Hill. But those who care to form an opinion of their own, and who, to use Hogarth's own re- commendation, " To Nature and Themselves appeal, Nor learn of others what to feel." can decide for themselves on visiting the National Gallery, where, by bequest of the late Mr. Anderdon, this much abused picture has found a permanent resting-place. They may not be inclined to rank it with Correggio, as its designer intended, but they will probably admit that it is soundly painted, full of technical skill and in excellent preservation. Considering that the attempt was made in a direction so unfavourable to the peculiar cast of the artist's talent, it is wonderful that he succeeded so well. Nevertheless, since the enterprise was undertaken with so little profit to his peace or reputation, it cannot but be regretted that he ever made the attempt. Both Sigismonda and the Lady's Last Stake, with the Election Entertainment and some other of Hogarth's pic- tures, were exhibited at Spring Gardens in 1761. For l:he catalogue of this exhibition, the story of which is too lengthy to tell in this place, and which may, moreover, be read in most histories of the Royal Academy, Hogarth executed a " head " and " tail-piece," which were engraved by Griguion. The former represents Britannia watering the three young trees of" Painting," " Sculpture," and " Archi- 90 WILLIAM HOGARTH. lecture," from a fountain surmounted byabustof GeorgellL, " emblematical of the confident hope entertained that na- tive talent in art would be cherished by royal patronage." " Et spes et ratio studiorum in Ccesare tantum " was its motto. The tail -piece, directed at wealthy collectors, is an admi- rable figure of a travelled monkey with an eye-glass, water- ing the stumps of three dead trees in pots labelled " Exo- tics." Hogarth had evidently not forgotten that the vir- tuosi had allowed the Harriaye-a-la-Mode to be sold for (as Sir Martin Shee phrases it in his " Rhymes on Art ") "a sum too contemptible to be named." These plates made the catalogue, which also contained an allegorical design by "Wale, very popular, and not less than thirteen thousand copies were sold. The price was a shilling. CHAPTER THE LAST. WILEES AND CHURCHILL. DEATH. CONCLUSION. 1762 TO 1764. IN March, 1762, Hogarth issued the plate known as Credulity, Superstition, and Fanaticism. A Medley. It was an extension, or perhaps we should say adaptation, of a previous design entitled Enthusiasm Delineated, of which only two impressions exist. 1 Credulity, Superstition, and Fanaticism is, in fact, simply Enthusiasm Delineated re- engraved upon the same copper ; but the alterations were so numerous as practically to make the former an entirely new design. As this is the one which Hogarth chose to give to the world, it is with this alone that we have to do ; but it is always serviceable to trace the progress of in- vention in an artist's mind ; and, therefore, following the majority of our predecessors, we shall begin by describing Enthusiasm Delineated. The artist intended he says to give in this plate " a lineal representation of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches 1 One of these is in the British Museum ; the other, long in the possession of the late Mr. White of Brownlow Street, was recently sold at Christie's. John Ireland published a copy by Isaac Mills iu 1795. 92 WILLIAM HOGARTH. and prints in religious books." Accordingly, from a pulpit decorated with dangling puppets of Moses and Aaron, Peter, Paul, and Adam and Eve, an energetic elocutionist (who, by the scale of vociferation at his side, has reached " Bull roar ") is declaiming to a motley congregation, whose extraordinary vagaries are watched through the window by an astounded Mahometan. Under the preacher's gown is a harlequin suit ; under his wig, which flies offin his gesticulation (carrying away its attendant " glory " with it) is the tonsure of a Jesuit. In one hand, to give force to his denunciations, he holds forth a bearded figure with the symbol of the Trinity ; in the othci is a devil with a grid- iron. In the pew below a minute ghostly personage is collecting the tears of a repentant thief in a bottle. The other occupants of the pew, a nobleman and a girl, have apparently thrown aside their celestial exemplar for a more earthly teacher. A dog under the reading-desk, with " Gr. Whitfield" on his collar, howls melodiously to the psalmody of a cherub-flanked clerk above, in whom some have re- cognized Whitefield himself. A convulsed woman in the corner is snid to be intended for Mother Douglas of the Piazza (Foote's " Mother Cole "), who ended her life in those pious exercises which Fate and the pillory denied to Mother Needham of the Harlot's Progress. Behind, a sweep is embracing an image, while a Jew, in a moment of exal- tation, sacrifices an obtrusive insect. In the background a number of figures, in ridicule of the doctrine of Transub- stantiation, are eating the little images which they hold. We omit other details, which must be studied in the engraving. This was Hogarth's first thought, and his language was forcible enough. In the second design, Credulity, Super- stition, and Fanaticism, most of its chiei features are - v : r '.vv i.i an *K\ A WII.KES AND CHURCHILL. . . >...$&' \ f t ^ ^ altered to suit the modified purpose indicaflfcHio'&e-riatle, and scarcely ever strengthened or improved. For the symbolical figure of the Trinity is substituted a witch on a broomstick,, while Csesar, Sir George Villiersand Defoe's " Mrs. Veal " take the place of the scriptural puppets round the pulpit. The fervent couple in the pew beneath are metamorphosed into two ordinary personages, and in lieu of the penitent thief we have a pair of figures, to oiie of whom a diminutive devil is whispering. As instances of credulity the Bilston nail-spouter and the Godalming rabbit-breeder (Mary Tofts, a notorious impostor in 1726-7) are put instead of Mother Douglas and the sweep, while King James's " Demonology " and Whitefield's " Journal " appear on the hassock formerly occupied by the dog. There are other alterations which it is impossible to enumerate. Probably the painter's advisers, fearing lest his intentions should be misconstrued, recommended him to expunge some of the apparent irreverences of his first design, and this may have given rise to the modification of the whole idea, a modification so substantial as to change what was a compact satire into a desultory work which the artist properly styled " a Medley " a work of genius for a lesser man, but scarcely worthy of Hogarth, for all that Wai pole regards it as the " most sublime of his works for useful and deep satire." The praise would have been more fitly applied to Enthusiasm Delineated, which the critic does not appear to have seen. We come now to the last notable event in Hogarth's life the publication of The Times and the quarrel with Wilkes and Churchill. Long before the death of George II. Hogarth is supposed to have enjoyed the favour of Lord Bute. Up to this date, however, he had 94 WILLIAM HOGARTH. avoided politics ; but shortly before Bate's accession to the Premiership in 1762 the general stagnation and an evil genius prompted him to project some " timed " thing in the ministerial interest. The announcement of his purpose at once brought him into collision with the demagogue John Wilkes, then editor of the opposition " North Briton," and Churchill the poet, with both of whom he had lived on terms of some intimacy. Wilkes endeavoured to prevent the appearance of the print by threatening reprisals ; Hogarth refused to desist and in John Ireland's words the black flag was hoisted on both sides. Under these circumstances The Times (PL i.) was published, Sept. 7, 17G2. This " World " public-house is on fire. Pitt on stilts, as the tyrant Henry VIII., and having, in allusion to his pension, a millstone inscribed with 3,000 hanging from his neck, is exciting the flames ; while Bute, played upon by a featureless man (Lord Temple), and a brace of garreteers (Wilkes and Churchill), is directing the hose of an engine worked by Highlanders, soldiers, and sailors. A Grub-street hack with a barrowful of " Monitors " and " North Britons " endeavours to cut the supply pipe. The sign of the " Newcastle Inn " is falling down (the Duke had resigned in May), and an incendiary with a knife in his pocket is hoisting in its stead the " Patriot A.rms " four fists clenched and opposed. To the right Frederick of Prussia fiddles among his weeping subjects, while to the left a Dutchman, behind whom a fox peeps out of a kennel, sits on a bale watching the proceedings. There are other allusions, many of them pointed, to con- temporary events ; but the whole composition is somewhat Laboured, and the central idea is scarcely novel. WILKES AND CHURCHILL. 95 Wilkes kept his word as to reprisals. On the Saturday following the issue of the above satire, the seventeenth number of the " North Briton " appeared, headed by a rough woodcut portrait of Hogarth, and containing a violent attack upon his character, both as a man and an artist. The alleged decay of his powers the miscarriage of the Sicjismonda the cobbled composition of the Analysis were all discussed with scurrilous malignity by one who had known his domestic life and learned his weaknesses. There can be little doubt that Hogarth was deeply wounded. " Being," he says, " at that time very weak, and in a kind of slow fever, it could not but seize on a feeling mind." His assailant believed that he had killed him, and wrote to Lord Temple that he was dying. The painter, however, was far from dead, although he appears to have deferred his retaliation till he could make it more directly personal. When, in the May of the following year, Wilkes was brought to Westminster Hall upon his trial for libel, Hogarth sketched his portrait. Nature had not favoured the patriotic colonel of the Buckinghamshire militia, and it has been gravely argued that this squinting semblance of him, like the sketch of Lord Lovat, was only intended as a portrait. But the reference in it to the attack upon himself, and the sub- scription to the subsequent plate of'Churchill, clearly show that Hogarth intended to exhibit the worthless character of the man through his features. If this really resembled Wilkes, and Wilkes himself allowed it did, he must have carried in his face a confirmation of the worst vices that have been laid to his charge. It would have been well for Hogarth if the matter could have ended here. But Churchill, who, as appears from a 96 WILLIAM HOGARTH. letter to Garrick printed by Mr. Forster, 1 had been planning an " Epistle to William Hogarth" ever since the appearance of The Times, now published Ms attack upon the painter. It was a slashing and savage performance, unequal like most of Churchill's work, and seeing that it fell hardest upon Hogarth's age and failing powers, scarcely worthy of his generally manly muse. It contains, however, a well- known tribute to the artist's genius which has out-lived its hostile invective : " In walks of Humour, in that cast of Style, Which, probing to the quick, yet makes us smile ; In Comedy, his nat'ral road to fame, Nor let me call it by a meaner name, Where a beginning, middle, and an end Are aptly joined; where parts on parts depend, Each made for each, as bodies for their soul, So as to form one true and perfect whole, Where a plain Story to the eye is told, Which we conceive the moment we behold, Hogarth unrivall'd stands, and shall engage Unrivall'd praise to the most distant age." To Churchill's "Epistle " of July, Hogarth rejoined, on the 1st of August following, by a print entitled The Bruiser, C. Churchill (once the Reverend!) in the character of a Russian Hercules regaling himself after having killed the monster Cari- catura, that so severely galled his virtuous friend, the heaven- lorn Willces." The poet appears as a bear, with torn bands and ruffles, hugging a club, the knots of which are inscribed " Lye 1, Lye 2, etc.," and " regaling himself" with a quart pot of his favourite beverage, " British Burgundy." The portrait is propped on Massinger's " New Way to Pay Old Debts," and " A list of the Subscribers to the ' North See also Garrick's letter to Churchill, quoted at p. 63. n~ W1LKES AND CHURCH?!.!;. 97 r ' / *"NS*V " . Briton.' " To intimate the poverty last, the pile is crowned by a padlocked To a later issue of this the painter added a tablet, in which he is represented with a whip, teaching Wilkes and Churchill to dance while Temple fiddles. Pitt, flanked by Gog and Magog (his City supporters), and having the mill- stone of The Times (PL i.) suspended above his head by a thread, fires a mortar at the dove of peace, but the ball drops short. "The pleasure, and pecuniary advantage," says Hogarth, " which I derived from these two engravings [of Wilkes and Churchill], together with occasionally riding on horseback, restored me to as much health as can be ex- pected at my time of life." " Thus " (and here conclude the autobiographical notes from which we have so often quoted) " have I gone through the principal circumstances of a life which, till lately, past pretty much to my own satisfaction, and, I hope, in no re- spect injurious to any other man. This I can safely assert, I have invariably endeavoured to make those about me tolerably happy, and my greatest enemy cannot say I ever did an intentional injury ; though, without ostentation, I could produce many instances of men that have been -s- sentially benefited by me. What may follow, God knows. Finis." There is not much more to tell of Hogarth's life. A plate entitled The Times (PL ii.) was prepared in 17C2 ; bat its publication then was abandoned for unknown reasons. It appeared after Mrs. Hogarth's death, when the Boydells published it. Bat by that time the allusions had grown 1 The original pen-and-ink sketch of Wilkes, and a little uiemorandmn- hook containing, among other things, a rough pencil sketch for the Bruiser are now in the possession of Mr. Frederick Locker. H 08 WILLIAM HOGARTH. obscure ; and there would be no good end served now in describing a design which enters into the list of Hogarth's works merely as a curiosity. In the same year he pro- duced a portrait of his friend Dr. Morell and that pen-and- ink sketch from memory which, with the exception of a miniature copied in Nichols's " Literary Anecdotes of the Eighteenth Century," is all that we possess in the way of a semblance of Henry Fielding. These, with the frontispiece to Clubbe's " Physiognomy," entitled the Weighing House, bring us to the print of Finis, or The BatJws. A few months before he died Hogarth set to work to prepare a " tailpiece" to his works, then numerous enough to form a bulky volume. With a presentiment that his life was n earing its close he informed his friends that he had chosen for his subject the End of all things, and true to his creed, his last work (to which, in imitation of Swift's " Art of Sinking in Poetry," he gave the title of The Bathos, or Manner of Sinking in Sublime Painting) is a blow at his ancient enemies, the old masters, whose occasional pettinesses and incongruities he ridicules in this jumbled assemblage of fag-ends. Supported by the frag- ment of a column, Time, moriturus, with shattered scythe and glass, exhales the final puff from his pipe, which breaks as it falls from his nerveless hand. By the will at his side he has devised his worldly goods to Chaos his " sole Exe- cutor," and the Fates are witness. Nature is bankrupt; Apollo lies dead in his chariot ; the sign of the " World's End " is falling, the ship sinks, the trees are withered, and the moon is dark. A play-book open at Exeunt omnes ; an empty money-bag ; " a shoemaker's last and a cobbler's end ; " the remnants of a crown ; a halter and a stringless bow ; a cracked bell and a broken bottle j a broom stump HIS DEATH. 09 Jind a gtmstock without a barrel, litter the foreground. The Times (PI. i.), the cause of so much heart-burning, crackles and parches in the flame of a candle-end, and the palette of the painter has done its work. Under this print to left and right are two figures in circles. One represents the " conic Form " under which Venus was worshipped at Paphos ; the other the cone and " line of Beauty " from the Analysis (PI. i. fig. 26). The identity of these two figures, we learn from an inscription on the print, " did not occur to the Author till two or three years after the publication of the Analysis in 1754 [3]." It must have been about this time that he made use of the former for the crest, 1 of which we possess the sketch designed by him for Catton the coach-painter ; and, if we may infer that he then first set up his carriage, it is clear that he could not have done so much before 1756 01 1757. The Bathos was Hogarth's last published work. Indeed if we except some additions made to The Beuch, he never touched pencil more. It was published in March, 1764. On the 25th of October in the same year he was conveyed from his house at Chiswick to Leicester Fields, very weak, but remarkably cheerful, and (says Nichols), "receiving an agreeable letter from the American Dr. Franklin, drew up a rough draft of an answer to it ; but going to bed, he was 1 The crest in question was engraved by Livesay in 1782. It consists of a scroll -work design enclosing the word Cyprus, and surmounted by the Cyprian cone. Beneath, on a ribbon, is the word Variety, A lengthy account of it will be found in "Notes and Queries" for Feb. 22, 1879. It is from the pen of the author of a recent volume on " Cruikshank. r Mr. William Bates of Birmingham, who has of late years contributed many interesting " Hogarthiana" to the pages of " N. and Q." 100 WILLIAM HOGARTH. seized with a vomiting, upon which he rung his bell with such violence that he broke it, and expired about two hours afterwards in the arms of Mrs. Mary Lewis, who was called up on his being taken suddenly ill." Ho was buried in Chiswick Churchyard, where a monument was erected to him by his friends in 1771, on one side of which, under a design representing a mask, laurel wreath, maulstick, palette, pencils, and a book inscribed "Analysis of Beauty," is an epitaph by Garrick, of which the following is an ac- curate copy : " Farewel, great Painter of Mankind ! Who reach 'd the noblest point of Art, Whose pictured Morals charm the Mind. And through the Eye correct the Heart. " If Genius fire thee, Reader, stay : If Nature touch thee, drop a Tear ; If neither move thee, turn away, For HOGARTH'S honour'd dust lies here.'' From a passage in Mrs. Piozzi it has been supposed that the well-known but generally misquoted quatrain by Johnson : " The Hand of Art here torpid lies That traced the essential form of Grace : Here Death has closed the curious eyes That saw the manners in the face ; " was also an attempt at an epitaph by the "great Cham of Literature " which was rejected in favour of Garrigk's. But it is clear from a letter in Croker's Boswell that Johnson's lines were only a suggested emendation of Garrick's verses, which had been submitted to him for criticism. By Hogarth's will, which was dated the 16th August, 1764, he left all his property to his wife. It seems to HOGARTH'S TOMB AT CHISWICK. 102 WILLIAM HOGARTH. have consisted principally of his " engraved copper-plates ; " and it was moreover chargeable "with an annuity of 80 to his surviving sister Anne, who died in 1771, and besides minor legacies, with one of 100 to the afore-mentioned Mary Lewis. His estate must, however, have included the house at Chiswick, 1 for we find Mrs. Hogarth subsequently bequeathing " all that my copyhold estate, lying and being at Chiswick in Middlesex " to her " cousin Mary Lewis." She appears to have continued to rent the " Golden Head" after her husband's death, since in Nichols's editions of 1781, 1782, and 1785 he speaks of the same Mary Lewis as con- tinuing to dispose of the prints " at Mrs. Hogarth's house in Leicester Square." Mrs. Hogarth certainly let lodgings there, for Livesay the engraver was one of her tenants in 1781-82; and Mr. Dutton Cook in a pleasant paper in "Once a Week" for December 20, 1860, gives an account of another inmate circa 1772, the Scotch painter Alexander Runciman. It is probable, however, that in her last years Mrs. Hogarth resided principally at Chiswick, where Sir Richard Phillips saw her in his boyhood, and long after drew a vivid picture of the stately old lady sailing np the aisle of the parish church, with her silk sacque, raised head-dress, black calash and crooked cane, accompanied by a relative, and preceded by her grey-haired man-servant Samuel, who, after wheeling his mistress to church in her Bath-chair, 1 When Hogarth first took this house at Chiswick is not clear. Dr. Morell says, in a letter printed by the elder Nichols " I knew little of Hogarth before he came to Chiswick, not long after his marriage " [1729] ; and this coincides with the statement, in the " Memoir " of Gary, that it was previously the residence of Sir James Thornhill, who died in 173-1. Clerk says he purchased it about 1743; Nichols soon after 1743, and that he passed the greater part of the summer season there. HIS DEATII. ]03 carried in the prayer-books and shut the pew-door. In those days, though her dignity remained, her means must have considerably fallen off. Notwithstanding that by a special Act of Parliament the copyright iu her hus- band's prints had been secured to her personally for twenty years, their sale had gradually declined ; and she was glad to accept a pension of 40 at the hands of the Royal Academy, who granted it upon the interposition of the king. When she died in 1789, she left all she had to Mary Lewis, who shortly afterwards, in consideration of a life annuity, transferred her right in the copper-plates to Messrs. Boydell. The Chiswick house reverted at Mary Lewis's death in 1808 to other persons named by Mrs. Hogarth. From 1814 to 1826 it was inhabited by the Rev. H. F. Gary, the translator of Dante, who during that period held the curacy and lectureship of Chiswick. Another resident was Mr. N. T. Hicks, the well-known melodramatic actor. When the writer last saw it, not many mouths ago, it was occupied by a very humble tenantry, and sadly dilapidated. The old mulberry tree, once braced and girdled by Hogarth's fostering care, still drags on an amputated existence, and produces fruit in good seasons ; but the tombs of Pompey the dog, and Dick the Bullfinch, the latter rudely graved by the painter himself with the end of a nail, have disappeared, while the roomy garden, which in Mary Lewis's time was " laid out in a good style," is now neglected. Nevertheless the place is well worth a pilgrimage for Hogarth's sake ; and those Londoners who care for an afternoon to shake " to all the liberal air The dust and din and steam of town " may do worse than spend it in visiting the tumbledown 104 WILLIAM HOGARTH. red-brick villa with the bay window on the road to Chis- wick gardens, and the old tomb in Chiswick Churchyard piously repaired in 1856 by " William Hogarth of Aber- deen." * There are several portraits of Hogarth, most of them from his own hand. The best is that in the National Gallery (No. 112), in which he is shown as a blue-eyed, intelligent little man, in a Montero cap. (Leigh Hunt says he has " a sort of knowing jockey look," and the phrase is not wholly inapt. ) The canvas rests upon three volumes labelled respectively "Shakespeare," "Milton," and " Swift," and his favourite pug-dog Trump sits at the right of it. In the left corner is a palette inscribed " The Line of Beauty and Grace, W. H. 1745," the famous inscription which gave rise to the Analysis; and it was the " old plate " of this portrait with a " background and a dog ready" which Hogarth made use of in 1763 for his print of " Master Churchill in the character of a Bear." Another portrait is that of Hogarth painting tlie Comic Muse, now in the National Portrait Gallery, in which he sits before his easel in profile. It was engraved in 1758. Others are the head in a hat from the " Gate of Calais ;" the oval head begun by Wheltdon, and finished by Hogarth himself; the head in a tiewig prefixed to vol. i. of Samuel Ireland's " Graphic Illustrations," a copy of which forms our frontispiece ; the woodcut with a pipe in Major's Wal- 1 Sketches of the house and tomb appeared in the " Pictorial World " for Sept. 26, 1874. That of the latter is here given. There were also some illustrations in the " Graphic" for Nov. 14 in the same year. In addi- tion to these, an interesting drawing by Mr. Charles J. Staniland, show- ing the garden before it was subjected to modern '' improvement," was published in the " Illustrated London News" for Oct. 18, 1873. CONCLUSION. 105 pole's " Anecdotes,'' and the drawing by Worlidge, which appears as a frontispiece to " Clavis Hogarthiana." Rou- billiac the sculptor also executed a bust of him, 1 which is engraved in vol. ii. of Nichols's "Hogarth," 1799, and he modelled Trump the dog. To conclude the list it may be added that Hogarth painted an excellent likeness of his wife, which was exhibited at the " Old Masters " in 1873, portraits of Sir James and Lady Thornhili and their son John, his own sisters Mary and Anne, Mrs. Mary Lewis and his five servants. There is no need in this place to attempt any elaborate verbal portrait of William Hogarth. Numerous anecdotes respecting him have been retained ; but most of them come to us, if not from a tainted source, at least through a tainted channel. 2 It has been thought essential to cata- logue his errors in spelling ; and to collect examples of coarseness from his various productions. We shall not scruple to neglect this branch of the subject. But, in truth, there is no special difficulty about his character. Any one who had been in his company an hour was probably as well informed of his peculiarities as his oldest friends. He was it was easy to see a sturdy, outspoken, honest, obstinate, pugnacious little man, who, as we are glad to think, once pummelled a fellow soundly for maltreating the handsome Drummeress of Southwark Fair. He was 1 This is in the National Portrait Gallery at South Kensington. a We refer to George Steevens. It is only necessary to read this writer's abominable attack on pcor Mary Lewis, whose only error ap- pears to have been fidelity to Hogarth's memory, to judge of the value of records transmitted through such a medium. See Nichols's " Anec- dotes " passim, and for the special passage above referred to, pp. 1 13-14 of the ed. of 1785. 100 WILLIAM HOGARTH. witty and genial as a companion ; and to those he cared for thoroughly faithful and generous. He liked good clothes, good living, good order in his household ; and he was proud of the rewards of industry and respectability. As a master he was exacting in his demands, but punctual in his payments ; as a servant he did a good day's work, and insisted upon his hire. His prejudices, like those of most self-educated men, were strong ; and he fought dog- gedly in defence of them without any attempt to conciliate his opponent or convince himself. That he was not proof against flattery seems to have been true : it is equally true of Garrick and Richardson, and a hundred others who console themselves for their enemies by their parasites. In his own walk he had succeeded by a course of training which would have failed with nineteen men out of twenty ; and he consequently undervalued the teaching of all aca- demies whatsoever. It is obvious that with the art- patronage and connoisseurship of his day he was hopelessly at war ; he saw in it only the fostering of exotic models at the expense of native talent. But a great deal that has been said on the subject of his attitude to foreign schools of painting has been manifestly exaggerated ; and, under any circumstances, much must be allowed for the excite- ment of controversy. An artist of Hogarth's parts could not be wholly insensible to the Great Masters, as some have supposed. Yet it may well be conceived that such a downright and quick-tongued disputant, in his impa- tience at the parrot raptures of ordinary persons, might easily come to utter " blasphemous expressions against the divinity even of Raphael Urbino, Correggio, and Michael Angelo." His true attitude towards them is we think disclosed in his words to Mrs. Piozzi. He was talk- CONCLUSION. x. * ing to her, late in life, of Dr. JohrtSQn, (wt6* tion, he said, was to that of other men I?fcfe :s 5 ! *4nf'3' paint- ing compared to Hudson's, "but don't you tell people now, that I say so (continued he), for the connoisseurs and I are at war you know ; and because I hate tliem, they think I hate Titian and let them ! " To this contest with the connoisseurs, coupled perhaps with the slender facilities for exhibiting works of art, is no doubt to be attributed that mistaken contemporary notion as to his merits as a painter. So completely had this gained ground, that oven his friend Dr. Morell, writing of Sigismonda, says, " it is granted that colouring was not Mr. Hogarth's forte." But Time has modified that unjust sentence. It is now, on the contrary, granted that he had great merit as a painter, that his colouring is pare and harmonious, his handling singularly direct and dexterous, and that for ease and perspicuity his composition leaves nothing to be desired. A very necessary distinction has, it seems to us, been neglected in speaking of him as a draughtsman, and his equipment in this respect has been decided by reference to those of his works in which it is least conspicuous. In his work of pure caricature we cannot obviously expect good drawing, and from the remarks which he makes as to " minute accuracy of design " in his Memoranda on the Four Stages of Cruelty, it is clear that he did not intend that any of his cheaper and more popular works should be exhibited as models in this respect. Indeed, it would not be difficult to find in them evidence both of haste and carelessness. That they should tell their story clearly as to action and expression was, in short, all that he desired. But if, on the other hand, he is studied in 108 WILLIAM HOGARTH. his best work, say the Marriage-a-la-Mode or the March to Finchley, it will be found that he rises easily to the occa- sion, and that he is thoroughly capable, expert, and accu- rate. The wonderful figure of Viscount Squanderfield in the second picture of Marriage-d-la-Mode is a case in point. The same remarks apply in a measure to his engraving. He did not attempt to compete with Grignion, or Ravenet, or Morellon le Cave. Beauty and delicacy of stroke, he plainly gives us to understand, demanded more patience than he felt disposed to exercise. He regarded the making of fine lines " as a barren and unprofitable study." " The fact is (he declares) that the passions may be more forcibly exprest by a strong bold stroke, than by the most deli- cate engraving. To expressing them as I felt them, I have paid the utmost attention, and as they were addrest to hard hearts, have rather preferred leaving them hard, and giving the effect, by a quick touch, to rendering them languid and feeble by fine strokes and soft engraving ; which require more care and practice than can often be attained, except by a man of a very quiet turn of mind." All this is manifestly in defence of what he knew to be the assailable side of his work, its occasional lack of finish and haste of execution ; and at the same time, it suggests attention to what were its special merits its spirit, its vigour, its intelligibility. But it is neither as engraver, draughtsman, nor painter that William Hogarth claims pre-eminence among English artists ; it is as a wit, a humourist, a satirist upon canvas. To take some social blot, some fashionable vice, and hold it up sternly to " hard hearts ;" to imagine it vividly and dramatically, and body it forth with all the resources of CONCLUSION. 109 unshrinking realism ; to tear away its trappings of conven- tion and prescription, to probe it to the quick, and lay bare all its secret shameful workings to their inevitable end ; to play upon it with inexhaustible invention, with the keenest and happiest humour; to decorate it with the utmost prodigality of fanciful accessory and allusive sug- gestion ; to be conscious at his gravest how the grotesque in life elbows the terrible, and the strange grating laugh of Mephistopheles is heard through the sorriest story : these were his gifts, and this was his vocation a vocation in which he has never yet been rivalled. Let the reader recall for a moment, not indeed such halting competitors as Bunbury and Zofiany, Northcote and the "ingenious" Mr. Penny, but any name of note, which in the last fifty years his been hastily dignified by indulgent criticism with the epithet " Hogarthian," and then con- sider if he honestly believes them to be on any level with the painter of Marriaje-a-la-Mode. In his own line he stands supreme and unapproached : " 2fec viget qiiidqiiam simile aut secundum.'' CHRONOLOGY OF HOGARTH'S LIFE. 13 Born in London, Nov. 10 . . Apprenticed to Ellis Gamble . , . . Shop-card, " W. Hogarth, Engraver," April 23 Masquerades and Operas (published) . Suit against Morris (Ele'inent of Earth), Ma}' 28 Married Jane Thornhill, March 23 . . . Summer Lodgings at South Lambeth " Five Days' Tour," May 27-31 Summer Lodgings at Islcworth . . . Came to Leicester-Fields . ... Sir James Thornhill, his father-in-law, died, May Copyright Act (8 Geo. III. cap. 13) . . . . Mother died, June 11 Made a Governor and Guardian of the Foundling Hospital Auction of Rake's Progress, &c., February Journey to France . . . . . Lottery of March to Finchley, April 30 . Auction of Marriage-a-la-Mode, June 6 . (i Analysis of Beauty " published, Dec. .... Appointed Sergeant-Painter, June 6 .... Commenced his duties, July 16 Lady Thornhill died, Nov. 12 Sigismonda, painted Re-appointed Sergeant-Painter, Oct. 30 . . . Quarrel with Wilkes and Churchill Finis, or The Bathos, published, March 3 ... Died at Leicester Fields, Oct. 25 1697 about 1712-18 1720 1724 1728 1729 about 1729 1732 about 1732 1733 1734 1735 1735 1739 1745 . 1 748 ? 1750 1750 1753 1757 1757 1757 before 1761 1761 . 1762-3 1764 1764 HOGARTH'S BOOK-PLATE. A LIST OF ENGRAVINGS BY AND AFTER HOGARTH, Arranged, as far as possible, according to date of publication. [N.B. This list has been mainly compiled from the prints themselves. It does not pretend to record more than a few superficial variations, or to include any but the best known or most important of the artist's works. Exception has, however, been made in favour of several minor plates which illustrate his career. The titles in inverted commas are taken from the engravings.] Engraved by 1717 ? The Rape of the Lock. (Impression from a snuff- box lid. Also reprinted Mar. 1, 1786) . . Hogarth. 1720. " W. Hogarth, Engraver, Aprill y 23 rd , 1720." (Shop-card. We follow the copy in the British Museum) ....... Hogarth. 1721 ? An Emblematical Print on the South Sea . . Hogarth. " The Lottery " Hogarth. 1723. Eighteen Plates to the Travels of Aubry de la Motraye _> Hogarth. 1724. Dec. 2. " Some of the principal Inhabitants of y* Moon &c.," or Royalty Episcopacy and Law. ( There is a copy by Ireland, dated May 1,1788) Hogarth? Seven Plates to Briscoe's " Apuleius" . . Hogarth. Masquerades and Operas. Burlington Gate. (Ireland thinks this the plate which Hogarth calls the " Taste of the Town," v. p. 12) . . Hogarth. Frontispiece to Horneck's "Happy Ascetick," 6th edition Hogarth. 114 A LIST OF ENGRAVINGS Engraved by 1725. Five Prints for the translation of " Cassandra " . Hogarth. Fifteen Head-pieces for Beaver's 1 " Roman Mili- tary Punishments". ..... Hogarth. "A Just View of the British Stage, or three Heads are better than one. Scene Newgate, by M D-v-to ." (Booth, Wilks, and, Gibber con- triving a pantomime) Hogarth ? A Satire on the Altar-piece by Kent in St. Cle- ment Danes, Westminster. ( The first impres- sions were on blue paper) Hogarth. Berenstat, Cuzzoni, and Senesino. (Doubtful) . Hogarth ? 1726. Frontispiece to Amhurst's " Terrse-Filius" . Hogarth. Twenty-six figures for Blackwell's " Compendium of Military Discipline " . . . . . Hogarth. Twelve Prints for Butler's " Hudibras " . . Hogarth. Seventeen small do. ...... Hogarth. Cunicularii or The Wise Men of Godliman in Consultation. (A satire on the case of Mary Tofts, the Godalming Babbit-Breeder) . . Hogarth ? " The Punishment inflicted on Lemuel Gulliver &c." (A coarse illustration of a supposed inci- dent in " Gulliver's Travels") . . . . Hogarth? 1727. Music introduc'd to Apollo by Minerva. (Pro- bably a frontispiece to music) .... Hogarth. Masquerade Ticket. (Generally known as the " large Masquerade Ticket ") . . . . Hogarth. Frontispiece to " A Collection of Songs " by Leve- ridge Hogarth ? 1728. A Ticket for the Benefit of Spiller the Player . Hogarth ? Head of Hesiod for Cook's Translation . Hogarth. The " Beggar's Opera " burlesqued . . . Hogarth ? 1729. King Henry the Eighth and Anna Bullen. (Also engraved by T. Cook, Oct. 1, 1801) . . . Hogarth. Frontispiece to " The Humours of Oxford," a Comedy by the Rev. James Miller . . . Vandergucht. 1730. Frontispiece to " Perseus and Andromeda" . Hogarth. Another print of the same, " Perseus descending " Hogarth. Gulliver presented to the Queen of Babilary . Vandergucht. 1731. Two Plates to Moliere Hogarth. Frontispiece to Fielding's " Tom Thumb " . . Vandergucht. B? AND AFTER HOGARTH. 315 1731. Frontispiece to the opera of ''The Highland Fair " by Joseph Mitchell .... Taste, or The Man of Taste, or Burlington Gate 1732. Ap. 20. Ticket for " Mock Doctor." (Fielding's Benefit} "Rich's Glory or his Triumphant Entry into Covent Garden." (Doubtful) . 1 733. [March]. " Sarah Malcolm," &c. ... Boys Peeping at Nature. (Ticket for the "Har- lot's Progress ; " afterwards used for the " Stroll- ing Actresses" and "Four Times of the Day; " and finally, much altered, for " Moses brought to Pharaoh's Daughter " and (! Paul before Fdix") A Chorus of Singers. Rehearsal of the oratorio of " Judith " by William Huggins. ( Ticket for "A Midnight Modern Conversation") A Pleased Audience at a Play, or The Laughing Audience. ( Ticket for '' Southward Fair " and the " Hake's Progress ") . . . . 1734. Cuzzoni, Farinelli, and Heidegger Frontispiece to Carey's " Chrononhotontologos " "A Harlot's Progress," in six plates. (All but the first impressions are marked thus 7) . "A Midnight Modern Conversation." (Some of the impressions are in red) .... 1735. June 25. A Rake's Progress, in eight plates. (The last plate was "Retouched by the Author 176b." A group was also added to PL iv., Ind state) Southwark Fair. (Dated 1733; but not published until 1735) ....... A Woman swearing a Child to a grave Citizen. (There is also a mezzotint, dated June, 1816, by James Young) 1736. Mar. 3. The Distressed Poet (Afterwards issued, Dec. 15, 1740, with variations). Mar. 3. " The Company of Undertakers," or A Consultation of Physicians .... April 25. A Ticket for Fielding's Benefit in " Pasquin " Engraved by Vandergucht. Hogarth. Hogarth ? Hogarth ? Hogarth. Hogarth. Hogarth. Hogarth. Hogarth ? Hogarth? Hogarth. Hogarth. Hogarth. Hogarth. J. Sympson, Jun. Hogarth. Hogarth. Hogarth. 116 A LIST OF ENGRAVINGS Engraved by 1736. Oct. 26. The Sleeping Congregation. ("Retouched and Improved April 21, 1762 ") . . . Hogarth. Dec. 15. Before and After . .... Hogarth. "Tartuff's Banquet" ...... Vandergucht. Right Hon. Frances Lady Byron. (Mezzotint) , J. Faber, Jun. Frontispiece to Grimston's Comedy of " The Lawyer's Fortune, or Love in a Hollow Tree " Hogarth ? 1737. Jan. 20, 173|. Scholars at a Lecture. (The second state is dated Mar. 3,1736) .... Hogarth. tineas in a Storm. (Satire on George II. Doubtful) Hogarth. 1738. Mar 25. The Four Times of the Day. (In some impressions of "Evening "which Baron engraved, the face of the woman was printed in red to indi- cate heat, and the hands of the man in blue to show his trade of a dyer) .... Mar. 25. Strolling Actresses dressing in a Barn Eight Plates to Jarvis's " Don Quixote " . Sancho's Feast ....... 1739. The Foundlings. (Head-piece to Power of Attor- 1741. Nov. 30. " The Enraged Musician ". 1742. " Martin Folkes, Esq." (Also engraved in the same year in mezzotint by J. Faber, Jun.) The Mystery of Masonry brought to Light by y* Gormagons .... ... 1743. "Dr. Benjamin Hoadly, Lord Bishop of Win- chester" ........ " Characters" and " Caricaturas." (Subscription Ticket to the " Marriage-a-la-Mode ") (Before.') Gustavus, Viscount Boyne. (Mezzotint) 1745. The Battle of the Pictures. (A Ticket for the Auction of the "Rake's Progress," etc., in Feb- ruary, 1745, v. p. 46) ..... Ap. 1. "Marriage A -la-Mode" in six Plates. (PI. i. and vi. engraved by G. Scotin ; PI. ii. and Hi. by B. Baron ; PI. ^v. and v. by Ravenet. It was also engraved by B. Earlom in mezzo- tint, June 4,1795 Aug. 1,1800) . Mask and Palette. (Subscription Ticket to " Gar- rick in Richard HI."} ..... Hogarth and B. Baron. Hogarth. Hogarth. Hogarth. Le Cave. Hogarth. Hogarth. Hogarth. B. Baron. Hogarth. M. Ford. Hogarth. Scotin, &c. Hogarth. Page 1 1 6. A PLEASED AUDIENCE AT A PLAY. BY AND AFTER HOGARTH. 117 Engraved by 1746. May 24. " Taste in High Life." (Also engraved by 8. Phillips, May 1, 1798) .... June 20. " M r . Garrick in the Character of [ Hogarth Kiehard the 3 d ." (There is also a mezzotint j and by A. Miller, Dublin, 1746) .... I C. Grignion. Aug. 25. " Simon Lord Lovat " . . . . Hogarth. Arms, Bagpipes, &c. (Subscription Ticket to " March to Finchley ") Hogarth. 1747. Sept. 30. " Industry and Idleness ", in Twelve plates Hogarth. [Dec. 5.] Head-piece to the " Jacobite's Journal " The Stage-Coach, or Country Inn Yard . . Hogarth. "Jacobus Gibbs, Architectus, 1747." (There is also a mezzotint by McArdell) . . . . B. Baron. 1748. Hymen and Cupid. (Ticket for the "Masque of Alfred") Mr. Ranby's House at Chiswick . . . . Hogarth. 1749. Mar. 6. " O the Roast Beef of Old England etc.," ) Hogarth and or the Gate of Calais . . . . . J C. Mosley. " Captain Thomas Coram." ( This was a mezzo- tint. The picture was also engraved by W. Nutter, Dec. 1,1796) McArdelL John Palmer, Esq. ...... B. Baron. " Gulielmus Hogarth." His own Portrait with Pug Dog. (Engraved also by B. Smith, June 4,1795) Hogarth. 1750. Dec. 30. "A Representation of the March of the Guards towards Scotland in the Year 1745," or The March to Finchley. (The plate was at first dated Dec. 30, a Sunday, and afterwards altered to Dec. Zlst. There are other notable variations) . . . . . L. Sullivan. 1751. Feb. 1. " Beer Street." (In the first state the black- smith lifts up a Frenchman by the waist-belt ; in the second a shoulder of mutton is suOftituted) . Hogarth. 1 Feb. 1. "Gin Lane" Hogarth.' The Four Stages of Cruelty . . . Hogarth. 1 1 These six prints only bear the words " Design'd by W. Hogarth." Eut see his " Memoranda " in J. Ireland, iii. p. 355. 118 A LIST OF ENGRAVINGS Engraved by 1751. May 1. " Paul before Felix." (Burlesqued) . Hogarth. 1752. Feb. 5. Paul before Felix Hogarth. Paul before Felix. (Altered) . . . . L. Sullivan. f Hogarth and Moses brought to Pharaoh's Daughter . | L Sullivan Columbus breaking the Egg. (Subscription Ticket to the "Analysis of Beauty ") . . . . Hogarth. 1 753. Mar. 5. Two Plates to the "Analysis of Beauty " Hogarth. Frontispiece to Kirby's " Perspective " . . L. Sullivan. 1754. Crowns, Mitres, etc. (Subscription Ticket to the " Election Entertainment ") .... Hogarth. 1755. Four Prints of an Election. (PI. i. by Hogarth, dated Feb. 24, 1755; pi. ii. by C. Grignion, dated Feb. 20, 1757 ; pi. Hi. by Hogarth and Le Cave, dated Feb. 20, 1758 ; and pi. iv. by Hogarth and F. Aviline, dated Jan. 1, 1758 Hogarth, &c. 1756. Mar. 8. "France" and "England," or "The Invasion" Hogarth. (Before.) John Pine, in imitation of Rembrandt. (Mezzotint} J. McArdell. 1758. Sept. 4. "The Bench" . . . . . Hogarth. Hogarth painting the Comic Muse. (The latest impressions bear the inscription "W. Hogarth, 1764," and the face and mask of Comedy are Hogarth (in part). marked with black) ..... 1759. Nov. 5. The Cockpit Hogarth. Frontispiece to vols. ii. and iv. of "Tristram Shandy " Ravenet. 1760. Frontispiece to Kirby's "Perspective of Archi- tecture" W. Woollett. " M r . Huggins " Major. 1761. May 7. Frontispiece and Tailpiece to Artists' Catalogue C. Grignion. Oct. 15. " The Five Orders of Periwigs, etc." . Hogarth. Tune Smoking a Picture. (Subscription Ticket to " Sigismunda ") Hogarth. 1762. Mar. 15. "Credulity, Superstition, and Fanati- cism, a Medley " Hogarth. Sept. 7. "The Times, PI. i." .... Hogarth. Page 118. BY AND AFTER HOGARTH. 119 1762. 1763. 1764. 1767. 1772. 1775. 1781. 1782. 1786. 1788. 1790. Frontispiece to the " Farmer's Keturn," by Gar- rick "T. Morell, S.T.P. S.S.A." . " Henry Fieldir.g, ^Etatis 48." . May 16. " John Wilkes, Esq r ." . Aug. 1. "The Bruiser, C. Churchill, etc." (The second state has a tablet added in the corner, seep. 97) Frontispiece to Clubbe's " Physiognomy " . Mar. o. " The Bathos, or Manner of Sinking in Sublime Paintings, inscribed to the Dealers in Dark Pictures." (See p. 98) . Satan, Sin, and Death Feb. 24. " The Good Samaritan "... " The Pool of Bethesda " Oct. 31. "The Politician" May 14. Four Heads from the Hampton Court Cartoons June. His own Portrait. (Begun by Wheltdoa and finished by himself. Mezzotint) July 31. "Arms for the Foundling Hospital," 1747 Nov. 27. "M r . Gabriel Hunt" . M'. Ben. Read" . Nine Prints for Hogarth's " Tour " . Feb. 1. "The Stay maker" . " Debates on Palmistry " Mar. 19. Henry Fox, Lord Holland . James Caulfield, Earl of Charlemont . Mar. 25. " Shrimps ! " Ap. 23. " Hogarth's Crest." (See p. 89) . Aug. 1. Eta Beta PY. (Invitation Card) . Mar. 1. Orator Henley Christening a Child " Wm. Hogarth "his own Portrait in a Wig . Miss Kich ........ Feb. 8. Jenny Cameron May 29. " The Times, PI. ii." .... July 1. " Beggar's Opera, Act iii.'' . Engraved by Basire. Basire. Basire. Hogarth. Hogarth. L. Sullivan. Hogarth. C. Townley. {Ravenet and Delatre. r Ravenet and 1 Picot. J.K.Sherwin. Hogarth. C. Townley.- R. Livesay. R. Livesay. R. Livesay. R. Livesay. J. Haynes. J. Haynes. J. Haynes. J. Haynes. F. Bartolozzi. R. Livesay. J. Gary. Jane Ireland. S. Ireland. M. Knight. Hogarth. W. Blake. \ 120 A LIST OF ENGRAVINGS. Engraved by 1792. Jan. 1. "The Iiidian Emperor" . . . R. Dodd. 1793. Feb. 1. " Sigismunda." (Mezzotint. There is another engraving by S. Smith, dated June 4, 1795. It had also been partly etched by Sasire) Dunkarton. 1794. Jan. 1. Sealing the Sepulchre . . . .1. Jenner. The Sepulchre I. Jenner. Sir James Thornhill S. Ireland. Justice Welch . . . . - . . . S. Ireland. Theodore Gardelle S. Ireland. 1795. Nov. 12. " Hogarth's First Thought for the Medley ", or Enthusiasm Delineated . . I. Mills. 1797. June 1. " La vinia Fenton, Duchess of Bolton " . S. Apostool. " M". Hogarth " Ryder. 1799. Mar. 13. " The Savoyard Girl" . . . G.Sherlock. May 1 . " Rosamonds Pond " Merigot. " Falstaff examining his Recruits" . Ryder. " Lady Thornhill" .... Le Cceur. Mr. Thornhill " Whesell. " Scene at a Banking House " [Child's] . . Barlow. 1803. June 1. " Bambridge on Trial for Murder &c." . T. Cook. Nov. 1 . The House of Commons . . .A. Fogg. " Royal Masquerade, Somerset House " . T. Cook. Mar. 1. Joseph Porter, Esq T. Cook. A Musical Study T. Cook. Hogarth's Painting Room T. Cook. 1820. May. James Thomson (Lithograph) . . M. Gauci. June. John Gay. (Lithograph) . . . M. Gauci. 1821. Ap. 4. Handel C. Turner. 1825. "The Lady's Last Stake" Cheesman. 1837. " Charity in the Cellar" Leney. 1840. Dec. 25. " View in St. James's Park shewing Rosamond's Pond." (Lithograph) . . . F. Ross. 1842. Mar. 25. John Broughton, Prize Fighter. (Li- thograph) F. Ross. " Garrick and his Wife." (Seep. 64) . . II. Bourne. Daniel Lock, Esq., F.S.A. (Mezzotinf) . . J. McArdell. " A Sea Officer." (Sir A. Schombcrg) . . J. Flight. Arranged Chronologically. [N.B. Many pictures not included in this list have been exhibited at the " Old Masters " and other exhibitions ; and of some of those here given there are replicas in different collections. With exception of a few which it has been possible to correct accurately, the dates are taken from J. B. Nichols ; but it will be obvious that where they correspond with those of the engravings some earlier date should generally be ascribed to the pictures. A complete catalogue of Hogarth's paintings and sketches is a desideratum, but it cannot be attempted here.] 1729. Committee of House of Commons examining Bambridge . . Scene in the " Beggar's Opera " Scene in the "Beggar's Opera." (Another) Scene in the " Beggar's Opera." (Another) 1730. Before and After .... Before and After. (Another) (?) The Politician . 1731. Scene in the "Indian Emperor " . 1733. Sarah Malcolm .... Southwark Fair .... 1733-4. A Harlot's Progress . Present Possessor. Earl of Carlisle. John Murray, Esq. Duke of Leeds. Louis Huth, Esq. Frederick Locker, Esq. Holland House. i Burnt ir 1807. Five barn; atFonthill,1746. J 1 This picture is now (1879) at Mr. Cox's, 57. fall Mall. The sixth (Picture 2) belongs to the Earl of Wemysa. 122 PRINCIPAL PAINTINGS BY HOGARTH. 1733-4. A Harlot's Progress. (Two Pic- tures from Novar Collection) 1734. A Midnight Modern Conversation l 1735. Woman swearing a Child to a grave Citizen s . . . A Rake's Progress . . A Distressed Poet 1736. ThePoolofBethesda . The Good Samaritan 17 38. Strolling Actresses dressing in a Barn ...... The Four Times of the Day 3 1739. Captain Coram . . 1741. The Enraged Musician . Martin Folkes .... 1742. Taste in High Life 1745. The Marriage-ii-la-Mode 1745. Hogarth with Pug-dog . 1746. Garrick as Richard IIL Simon Lord Lovat Simon Lord Lovat (Another) . , Mary Hogarth .... 1748. Paul before Felix .... 1749. The Gate of Calais . . . 1750. The March to Finchley 1 752 . Moses brought to Pharaoh's Daugh- ter 1755. The Election Series 1756. Altar-piece,*" St. Mary Redcliffe . 1758.' Hogarth painting the Comic Muse 1759. The Lady's Last Stake . 1760. Sigismonda A View of the Green Park, 1760 . Present Possessor. Earl of Rosebery. Soane Museum. Duke of Westminster. St. Bartholomew's Hospital. St. Bartholomew's Hospital. Burnt at Littleton, in 1874. Foundling Hospital. Royal Society. National Gallery. National Gallery. Earl of Feversham. National Portrait Gallery. H. Graves, Esq. National Gallery. Society of Lincoln's Inn. 4 Family of H. F.Bolckow,Esq. Foundling Hospital. Foundling Hospital, Soane Museum. Fine Arts Society at Clifton. National Portrait Gallery. Louis Huth, Esq. National Gallery. Earl Spencer. 1 There are versions of this picture at Basildon and at the Earl of Egremont's at Petworth. 2 There is a copy in the South Kensington Museum by J. Collet. 3 " Night " belongs or belonged to Lady Tannton. 4 See letter at pp. 72, 73. PRINCIPAL PAINTINGS BY HOGARTH. 123 UNCERTAIN DATE. Present Possessor. Falstaff reviewing his Recruits . . FamilyofH.F.Bolckow,Esq. Shrimp Girl Sir Philip Miles. A View in St. James's Park . . Louisa, Lady Ashburton. James Gibbs, Architect . . . .St. Martin's-in-the-Fields. Mrs. Hogarth H. Bingham Mildmay, Esq. Garrick and his Wife .... Royal Collection. Mrs. Garrick Earl of Dunmore. Lavinia Fenton, Duchess of Bolton . . C. Brinsley Marlay, Esq. Lavinia Fenton as " Polly Peachum " . Sir Philip Miles. Miss Rich . . . . . . C. H. Hawkins, Esq. Dr. Arnold, of Ashby Lodge . . . Fitzwilliam Museum. Miss Arnold, of Ashby Lodge . . . Fitzwilliam Museum. Ashby Lodge ' ..... Fitzwilliam Museum. Mrs. Elizabeth Hoadly .... Ernest Gye, Esq. Sir C. Hawkins ..... Royal College of Surgeons. Peg Woffington Marquis of Lansdowne. William, fifth Duke of Devonshire . . Lord Chesham. Hon. J. Hamilton '. . . . Duke of Abercorn. The Country in the Olden Time . . Ayscough Fawkes, Esq. 1 By Hogarth or Richard Wilson. v. ' ' X > ^ I L* f*K An . ORIGINAL PRICES OF HOGARTH'S PRINTS. (From Nichols's "Anecdotes," 1781.) Prints published by the late W. HOGARTH : Genuine Impressions of which are to be had of Mrs. HOGARTH, at her House in Leicester Fields, 1781. Frontispiece Harlot's Progress, in six prints Rake's Progress, in eight prints Marriage-a-la-mode, in six prints Four Times of the Day, in four prints .... Before and After, two prints Midnight Conversation ....... Distress'd Poet Enraged Musician Southwark Fair Mr. Garrick in the Character of King Richard III. . Calais, or the Roast Beef of Old England .... Paul before Felix Ditto, with Alterations Moses brought to Pharaoh's Daughter .... March to Finchley Strolling Actresses dressing in a barn .... Four Prints of an Election Bishop of Winchester The Effects of Idleness and Industry, exemplified in the Conduct of two Fellow-Prentices, in twelve prints . Lord Lovat Sleeping Congregation Country-Inn Yard s. d. 3 n 1 1 2 2 1 11 6 1 5 5 3 3 5 7 6 5 7 6 6 7 6 10 6 5 2 2 3 12 1 1 1 ORIGINAL PRICES OF HOGARTH'S PRI> s. d. Paul before Felix, in the Manner of Rembran[d]t . . 050 Various Characters of Heads, in five groups . . . 026 Columbus breaking the Egg . . . . . . 010 The Bench 0" 1 6 Beer Street and Gin Lane, two prints . . . . 030 Four Stages of Cruelty, four prints 060 Two prints of an Invasion 020 A Cock Match 030 The Five Orders of Periwigs 010 The Medley .050 The Times 020 Wilkes 010 Bruiser 016 Finis 026 N.B. Any Person purchasing the whole together may have them deliver 'd bound, at the Price of Thirteen Guineas ; a sufficient Margin will be left for Framing. Where likewise may be had, The ANALYSIS of BEAUTT, in Quarto, with two explanatory Prints, Price 15 Shillings. INDEX. Page Altar-piece of St. Mary Rf.d- cliffe 83 " Analysis of Beauty " 75, 76, 77, 99 Apuleius, Illustrations to . . 12 Artists' Catalogue, Designs for 89, 90 Bambridge, Examination of . . 15 Baron, the Engraver .... 47 Bate** William 99 Bathos, The 98, 99 Battle of the Pictures. . . 46, 47 Beer Street 71 Beggar's Opera, Scene from . . 15 Bench, The 84, 99 Bourne, Vincent 30 Boys Peeping at Nature ... 24 " Britophil," Hogarth's nom de plume 36 Bruiser, The 96, 97 Burlesque on Kent . . . . 12, 13 Burlington Gate 16 Canvassing for Votes .... 79 Carestini, the Singer : . . 49, 54 Gary, Kev. H. F. . . . 102, 103 Cassandra, Prints for . . . . 12 Chairing of the Members . . . 81 Charteris, Colonel 23 " Chrononhotontologos" .' . . 30 Churchill, Charles 62, 93, 94, 95, 96,97 Cock, the Auctioneer . . . 56, 58 Cockpit, The 85 C^nmbus breaking the Egg . . 79 Commentators, Hogarth's . . 1, 2 Company of Undertakers ... 35 Consultation of Physicians . . 35 Conversation paintings . . 14, 20 Cook, Button 102 Coram, Captain . . . 20, 41, 42 Coram, Captain, Portrait of . 42 Country Dance 78 Country Inn Yard .... 65, 66 Cowper 39, 40, 43 Credulity, Superstition, and Fa- naticism 75,91,93 Crowns, Mitres, $c. ... 25, 79 Cuzzoni, Farin elli, and Heidegger 30 Dalton, James, highwayman . '23 Dashwood, Sir Francis ... 62 Desaguiliers, Dr 36 Distrest Poet 35, 43, 44 Don Quixote, Illustrations to . 42 Draper, Edward 39 INDEX. 327 Page Election Entertainment ... 79 Election Prints 75 Enraged Musician . . . 35, 43, 44 Enthusiasm Delineated . . 91, 92 Farinelli, the Singer . . .' 30, 31 " Farmer's Return " .... 64 Fielding, Henry . 16, 31, 39, 62, 98 Fielding's Benefit, Ticket for . 35 Finis, or the Bathos .... 98 " Five Days Peregrination" 17, 18 Folkes, Martin, Portrait of . . 42 Ford, Rev. Cornelius .... 30 Forrest, E 17 Forrest, Theodosius . 17 (note), 69 Foundling Hospital . . . 41, 42 Foundlings, The 41 Four Stages of Cruelty ... 71 Four Times of the Day 15, 34, 38, 45 Gamble, Ellis, Shop-card of . 8. 9 Garrick, David . . 62, 63, 84, 96 Garrick as Richard III. . . .63 Garrick and his Wife .... 64 Gate of Calais, The .... 68 Gilpin, Rev. Mr 58 Gin Lane 71 joldsmith, Oliver . . .38,43,62 Sonson, Sir John 23 Good Samaritan .... 33, 34 Gostling, The Rev. Mr. ... 18 Gray, the Poet 62 Happy Marriage 59 Harlot's Progress . . .21,25,45 Henley, Orator 30 Henry VIII. and Anna Bullcn . 1 5 Hicks, N. T 103 Hoadly, Bi.-hup, Portrait of . 44 Hoadlys,The 61 Pege Hogarth, Portraits of . . . . 104 Hogarth, William, of Aberdeen 104 Hogarth's BookPlate. . . 112 Hogarth's Crest 99 Hogarth's Engravings, List of. 113 Hogarth's Haunts 61 Hogarth's House at Chiswiek 102, 103, 104 Hogarth's Shop-card .... 11 Hogarth's Tomb . . . 100, 104 Hogarth's Will 100 Hudibras, Illustrations to . 12, 13 Indian Emperor, The .... 15 Industry and Idleness .... 66 Invasion, The 84 Jacobite's Journal, Head- piece to 67 Johnson, Dr 62 Kendal Arms \\ Kent, William 12, 13 King, Dr. Arnold 62 % King, Moll, Portrait of ... 39 Lady's Last Stake, The . . 86, 89 Lambert, the Scene-painter . . 20 Lane, Mr., of Hillingdon . 58, 59 Large Masquerade Ticket . . 16 Laughing Audience 26 Lewis, Mary. . . 102,103,105 London, Hogarth's 5 Lottery, The 12 Lovat, Lord, Portrait of . . . 65 Malcolm, Sarah 24 Man of Taste, The 16 Manuscripts, Hogarth . 7,18,68 Miipp, Sarah, Bonesetter . . 35 March to Finchlcy 70 _i 128 INDEX. Page Marriage-a-la-Mode .... 47 Masquerades a."d Operas 12, 14, 25 Midnight Modern Conversation . 30 Misaubin, Dr 23, 54 Mitchell, the Poet 20 Morell, Dr 62,98 Moses brought to Pharaoh's Daughter 71, 72 " Musical Entertainer," Bick- ham's 30 (note) Needham, Mother . Northcote . 23,92 . 67 Opera House, 1735 30 Paul before Felix . . . 71, 72 Paul before Felix (Burlesque) . 73 Picquet 86, 89 Pine, the Engraver . . . 20, 69 Piozzi, Mrs 62, 87 Piracy of Prints, Act to prevent 25 Pleased Audience at a Play . . 26 Politician, The 15 Polling, The 81 Pool of Bethesda . . . .33,34 Rake's Progress 25, 45 Ralph, Mr. 62 Rape of the Lock ..... 1 1 Ravenet, the Engraver ... 47 Richardson, Samuel .... 62 Rich's Glory 16 Roast Beef of Old England . 68,69 Roubilliac's Bust of Hogarth ^ . 105 Rauciman, the Painter . . .102 St. Bartholomew's Hospital . 33, 34 Sala, G. A. 2, 57 Sales by Auction . . .45, 47, 58 Page Scholars at a Lecture .... 35 Scotiu, the Engraver .... 47 Scott, the Landscape Painter . 17 Shebbeare, Dr 82 Sigismonda ... 63, 75, 87, 89 Sleeping Congregation. ... 36 Somervile 31 South Sea, Emblematic Print on 11 Southward Fair 29 Spring Gardens Exhibition . . 89 Stage Coach, The 65 Statuary's Yard . . . . 78, 79 Steevens, George .... 2, 105 Stephens, F. G. . . 2, 29, 54, 77 Strolling Actresses in a Barn 35, 40, 45 Swift 31, 46, 104 Taste in High Life 44 Taste of the Town, The . 12, 13, 25 Terrcs-Filius, Frontispiece . . 12 Thackeray 39, 44 Thornhill, Sir James 24, 31, 36, 102 Thornhill, John . . . .17,85 Time Smoking a Picture ... 88 Times, The (PL i.) . . . 93, 94, 97 Times, The (PL 2) 97 Tom Thumb, Frontispiece . . 16 Tothall, the Draper .... 17 Townley, Mr 62 Walpole, Horace . 1, 41, 58, 75, 89 Wanstead Assembly . . .15,78 Warburton, Bishop .... 62 Ward, Dr 23 Weideman, the Flute-player . 56 Weighing House, The .... 9^ Welch, Mr. Justice .... 70 Wilkes, John 59, 62, 93, 94, 95, 97 UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. JUH ! , 3 '. Form L9-Series 4939 A 000104416 3