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One quotation, however, from Churchill's Epistle the warmest admirers
of our matchless artist must be pleased with:

"In walks of humour, in that cast of style,

Which, probing to the quick, yet makes us smile;
In Comedy, his natural road to fame,
Nor let me call it by a meaner name,
Where a beginning, middle, and an end,
Are aptly join'd; 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;[70]
Hogarth unrival'd stands, and shall engage
Unrival'd praise to the most distant age."

Hogarth having been said to be in his dotage when, he produced his

print of the Bear, it should seem as if he had been provoked to make
the following additions to this print, in order to give a further specimen
of his still existing genius.
In the form of a framed picture on the painter's palette, he has
represented an Egyptian pyramid, on the side of which is a Cheshire
cheese,[71] and round it 3000 l. per annum; and at the foot a Roman
Veteran in a reclining posture, designed as an allusion to Mr. Pitt's
resignation. The cheese is meant to allude to a former speech of his,
wherein he said that he would rather subsist a week on a Cheshire
cheese and a shoulder of mutton, than submit to the implacable
enemies of his country.
But to ridicule this character still more, he is, as he lies down, firing a
piece of ordnance at the standard of Britain, on which is a dove with an
olive-branch, the emblem of peace. On one side of the pyramid is the
City of London, represented by the figure of one of the Guildhall giants,
going to crown the reclining hero. On the other side is the king of
Prussia, in the character of one of the Cæsars, but smoking his pipe. In
the center stands Hogarth himself, whipping a Dancing Bear (Churchill)
which he holds in a string. At the side of the Bear is a Monkey,
designed for Mr. Wilkes. Between the legs of the little animal is a mop-
stick, on which he seems to ride, as children do on a hobby-horse: at
the top of the mop-stick is the cap of liberty. The Monkey is undergoing
the same discipline as the Bear. Behind the Monkey is the figure of a
man, but with no lineaments of face, and playing on a fiddle. This was
designed for Earl Temple.
At the time these hostilities were carrying on in a manner so virulent
and disgraceful to all the parties, Hogarth was visibly declining in his
health. In 1762, he complained of an inward pain, which, continuing,
brought on a general decay that proved incurable.[72] This last year of
his life he employed in retouching his plates with the assistance of
several engravers whom he took with him to Chiswick. On the 25th of
October, 1764, he was conveyed from thence to Leicester-fields, in a
very weak condition, yet remarkably chearful; and, receiving an
agreeable letter from the American Dr. Franklin, drew up a rough
draught of an answer to it; but going to bed, he was 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. To this lady,
for her faithful services, he bequeathed 100 l. After the death of
Hogarth's sister, Mrs. Lewis succeeded to the care of his prints; and,
without violation of truth, it may be observed, that her good nature and
affability recommend these performances which she continues to
dispose of at Mrs. Hogarth's house in Leicester-square. Before our artist
went to bed, he boasted of having eaten a pound of beef-steaks for his
dinner,[73] and was to all appearance heartier than he had been for a
long time before. His disorder was an aneurism; and his corpse was
interred in the church-yard at Chiswick, where a monument is erected
to his memory, with this inscription, under his family arms:
"Here lieth the body
Of William Hogarth, Esq.
Who died October the 26th, 1764;
Aged 67 years."
On another side, which is ornamented with a masque, a laurel wreath,
a palette, pencils, and a book, inscribed "Analysis of Beauty," are the
following verses by his friend Mr. Garrick:

"Farewell, great painter of mankind,

Who reach'd the noblest point of art;
Whose pictur'd 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 honoured dust lies here."

On a third side is this inscription:

"Here lieth the body
Of Dame Judith Thornhill,
Relict of Sir James Thornhill, knight,
Of Thornhill in the county of Dorset.
She died November the 12th, 1757,
Aged 84 years."
And on the fourth side:
"Here lieth the body
Of Mrs. Anne Hogarth, sister
to William Hogarth, Esq.
She died August the 13th, 1771,
Aged 70 years."
Mr. Hayley, in his justly admired Epistle to an Eminent Painter (Mr.
Romney), has since expressed himself concerning our artist in terms
that confer yet higher honours on his comic excellence:

"Nor, if her favour'd hand may hope to shed

The flowers of glory o'er the skilful dead,
Thy talents, Hogarth! will she leave unsung;
Charm of all eyes, and Theme of every tongue!
A separate province 'twas thy praise to rule;
Self-form'd thy Pencil! yet thy works a School,
Where strongly painted, in gradations nice,
The Pomp of Folly, and the Shame of Vice,
 Reach'd thro' the laughing Eye the mended Mind,
And moral Humour sportive Art refin'd.
While fleeting Manners, as minutely shown
As the clear prospect on the mirror thrown;
While Truth of Character, exactly hit,
And drest in all the dyes of comic wit;
While these, in Fielding's page, delights supply,
So long thy Pencil with his Pen shall vie.
Science with grief beheld thy drooping age
Fall the sad victim of a Poet's rage:
But Wit's vindictive spleen, that mocks controul,
Nature's high tax on luxury of soul!
This, both in Bards and Painters, Fame forgives
Their Frailty's buried, but their Genius lives."

Thus far the encomiast, who seeks only for opportunities of bestowing
praise. A more impartial narrative will be expected from the biographer.
It may be truly observed of Hogarth, that all his powers of delighting
were restrained to his pencil.[74] Having rarely been admitted into
polite circles, none of his sharp corners had been rubbed off, so that he
continued to the last a gross uncultivated man. The slightest
contradiction transported him into rage. To be member of a Club
consisting of mechanics, or those not many removes above them,
seems to have been the utmost of his social ambition; but even in
these assemblies he was oftener sent to Coventry for misbehaviour,
than any other person who frequented them. To some confidence in
himself he was certainly entitled; for, as a comic painter, he could have
claimed no honour that would not most readily have been allowed him;
[75] but he was at once unprincipled and variable in his political conduct
and attachments. He is also said to have beheld the rising eminence
and popularity of Sir Joshua Reynolds with a degree of envy; and, if I
am not misinformed, frequently spoke with asperity both of him and his
performances. Justice, however, obliges me to add, that our artist was
liberal, hospitable, and the most punctual of pay-masters; so that, in
spite of the emoluments his works had procured to him, he left but an
inconsiderable fortune to his widow. His plates indeed are such
resources as may not speedily be exhausted. Some of his domestics
had lived many years in his service, a circumstance that always reflects
credit on a master. Of most of these he painted strong likenesses on a
canvas still in Mrs. Hogarth's possession.
His widow has also a portrait of her husband, and an excellent bust of
him by Roubilliac, a strong resemblance; and one of his brother-in-law
Mr. Thornhill, much resembling the countenance of Mrs. Hogarth.
Several of his portraits also remain in her possession: viz. a finished
portrait of Mrs. Mary Lewis; Thomas Coombes of Dorsetshire, aged
108; Lady Thornhill; Mrs. Hogarth herself, &c. &c.
A portrait of Hogarth with his hat on, painted for the late Rev. Mr.
Townley by Weltdon, and said to be finished by himself, is in the
possession of Mr. James Townley, proctor in Doctors Commons. A
mezzotinto print from it will be mentioned under the year 1781 in the
Catalogue.
Mr. Edwards, of Beaufort Buildings, has the portrait of Sir George Hay,
The Savoyard Girl, The Bench, and Mary Queen of Scots,[76] by
Hogarth.
A conversation-piece by him is likewise at Wanstead in Essex, the seat
of Earl Tylney.[77] And Mrs. Hoadly has a scene of Ranger and Clarinda
in The Suspicious Husband; and the late Chancellor Hoadly repeating a
song to Dr. Greene, for him to compose; both by Hogarth. The first of
these is an indifferent picture, and contains very inadequate likenesses
of the persons represented.
One of the best portraits Hogarth ever painted, is at Lichfield. It is of a
gentleman with whom he was very intimate, and at whose houses at
Mortlake and in Ironmongers-Lane he spent much of his time—Mr.
Joseph Porter, of London, merchant, who died April 7, 1749. Mrs.
Porter the sister of this gentleman (who was daughter of Dr. Johnson's
wife by a former husband) is in possession of the picture.—John Steers,
esq. (of The Paper Buildings in The Temple) has an auction by Hogarth,
in which Dr. Chauncey, Dr. Snagg, and others, are introduced; and the
Earl of Exeter has a butcher's shop, with Slack fighting, &c.
Of Hogarth's lesser plates many were destroyed. When he wanted a
piece of copper on a sudden, he would take any from which he had
already worked off such a number of impressions as he supposed he
should sell. He then sent it to be effaced, beat out, or otherwise altered
to his present purpose.
The plates which remained in his possession were secured to Mrs.
Hogarth by his will, dated August 12, 1764, chargeable with an annuity
of 80 l. to his sister Anne,[78] who survived him. When, on the death of
his other sister, she left off the business in which she was engaged
(see, in the Catalogue, the first article among the "Prints of uncertain
date,") he kindly took her home, and generously supported her, making
her, at the same time, useful in the disposal of his prints. Want of
tenderness and liberality to his relations was not among the failings of
Hogarth.
Of Hogarth's drawings and contributions towards the works of others,
perhaps a number, on enquiry, might be found. An acquaintance of his,
the late worthy Mr. John Sanderson, architect, who repaired Woburn
Abbey, as well as Bedford House in Bloomsbury-square, possessed
several of his curiosities. One was a sketch in black-lead of a celebrated
young engraver (long since dead) in a salivation. The best that can be
said of it is, that it was most disgustingly natural. Even the coarse
ornaments on the corners of the blankets which enwrapped him, were
characteristically expressed. Our artist seems to have repeated the
same idea, though with less force, and fewer adjuncts, in the third of
his Election prints, where a figure swaddled up in flannel is conveyed to
the hustings. Two other works, viz. a drawing in Indian ink, and a
painting in oil colours, exhibited Bedford House in different points of
view; the figures only by Hogarth. Another represented the corner of a
street, with a man drinking under the spout of a pump, and heartily
angry with the water, which, by issuing out too fast, and in too great
quantities, had deluged his face. Our great painter had obliged Mr.
Sanderson with several other comic sketches, &c. but most of them
had been either begged or stolen, before the communicator of these
particulars became acquainted with him.
In the year 1745, Launcelot Burton was appointed naval officer at Deal.
Hogarth had seen him by accident; and on a piece of paper, previously
impressed by a plain copper-plate, drew his figure with a pen, in
imitation of a coarse etching. He was represented on a lean Canterbury
hack, with a bottle sticking out of his pocket; and underneath was an
inscription, intimating that he was going down to take possession of his
place. This was inclosed to him in a letter; and some of his friends, who
were in the secret, protested the drawing to be a print which they had
seen exposed to sale at the shops in London; a circumstance that put
him in a violent passion, during which he wrote an abusive letter to
Hogarth, whose name was subscribed to the work. But, after poor
Burton's tormentors had kept him in suspence throughout an uneasy
three weeks, they proved to him that it was no engraving, but a sketch
with a pen and ink. He then became so perfectly reconciled to his
resemblance, that he shewed it with exultation to Admiral Vernon, and
all the rest of his friends.
In 1753, Hogarth returning with Dr. Morell from a visit to Mr. Rich at
Cowley, stopped his chariot, and got out, being struck by a large
drawing (with a coal) on the wall of an alehouse. He immediately made
a sketch of it with triumph; it was a St. George and the Dragon, all in
strait lines.
Hogarth made one essay in sculpture. He wanted a sign to distinguish
his house in Leicester-fields; and thinking none more proper than the
Golden Head, he, out of a mass of cork made up of several thicknesses
compacted together, carved a bust of Vandyck, which he gilt and placed
over his door. It is long since decayed, and was succeeded by a head in
plaster, which has also perished; and is supplied by a head of Sir Isaac
Newton. Hogarth modelled another resemblance of Vandyck in clay;
which is likewise destroyed.
It is very properly observed by Mr. Walpole, that "If ever an author
wanted a commentary, that none of his beauties might be lost, it is
Hogarth; not from being obscure (for he never was that but in two or
three of his first prints, where transient national follies, as Lotteries,
Free-masonry, and the South Sea, were his topics) but for the use of
foreigners, and from a multiplicity of little incidents, not essential to,
but always heightening the principal action. Such is the spider's web
extended over the poor's box in a parish church; the blunders in
architecture in the nobleman's seat, seen through the window, in the
first print of Marriage à la Mode; and a thousand in the Strollers
dressing in a barn, which, for wit and imagination, without any other
aid, is perhaps the best of all his works; as, for useful and deep satire,
that on the Methodists is the most sublime. Rouquet, the enameller,
published a French explanation, though a superficial one, of many of
his prints, which, it was said, he had drawn up for the use of Marshal
Belleisle, then a prisoner in England."
However great the deficiencies in this work may be, it was certainly
suggested by Hogarth, and drawn up at his immediate request. I
receive this information from undoubted authority. Some of the
circumstances explanatory of the plates, he communicated; the rest he
left to be supplied by Rouquet his near neighbour, who lived in the
house at which Gardelle the enameller afterwards lodged, and
murdered his landlady Mrs. King. Rouquet, who (as I learn from Mr.
Walpole) was a Swiss of French extraction, had formerly published a
small tract on the state of the Arts in England, and another, intituled
"L'Art de peinture en fromage ou en ramequin, 1755;" 12mo. (V. "La
France litteraire, ou Dictionaire des Auteurs François vivans, par M.
Formey, 1757.") On the present occasion he was liberally paid by
Hogarth, for having cloathed his sentiments and illustrations in a
foreign dress. This pamphlet was designed, and continues to be
employed, as a constant companion to all such sets of his prints as go
abroad. Only the letter descriptive of the March to Finchley was
particularly meant for the instruction of Marshal Belleisle.[79]
It was added after the three former epistles had been printed off, and
before the plate was published. The entire performance, however, in
my opinion, exhibits very strong marks of the vivacious compiler's
taste, country, and prejudices. Indeed many passages must have been
inserted without the privity of his employer, who had no skill in the
French language. That our clergy always affect to ride on white horses,
and other remarks of a similar turn, &c. &c. could never have fallen
from the pen of Hogarth, or any other Englishman.
This epistle bears also internal evidence to the suggestions Rouquet
received from Hogarth. Are not the self-congratulations and prejudices
of our artist sufficiently visible in the following passage?
"Ce Tableau dis-je a le defaut d'etre encore tout brillant de cette
ignoble fraîcheur qu'on decouvre dans la nature, et qu'on ne voit
jamais dans les cabinets bien célèbres. Le tems ne l'a point encore
obscurci de cette decte fumée, de ce usage sacré, qui le cachera
quelque jour aux yeux profanes du vulgaire, pour ne laisser voir ses
beautés qu'aux initiés."
The title of this performance, is, "Lettres de Monsieur * * à un de ses
Amis à Paris, pour lui expliquer les Estampes de Monsieur Hogarth.—
Imprimé à Londres: et se vend chez R. Dodsley, dans Pall Mall; et chez
M. Cooper, dans Paternoster Row, 1746." (Le prix est de douze sols.)
I should here observe, that this pamphlet affords only descriptions of
the Harlot's and Rake's Progress, Marriage à la Mode, and the March to
Finchley. Nine other plates, viz. the Modern Midnight Conversation, the
Distressed Poet, the Enraged Musician, the Fair, Strolling Actresses
dressing in a Barn, and the Four Times of the Day, are enumerated
without particular explanation.
I am authorized to add, that Hogarth, not long before his death, had
determined, in compliance with the repeated solicitations of his
customers, to have this work enlarged and rendered into English, with
the addition of ample comments on all his performances undescribed
by Rouquet.
"Hogarth Moralised"[80] will however in some small degree (a very
small one) contribute to preserve the memory of those temporary
circumstances which Mr. Walpole is so justly apprehensive will be lost
to posterity. Such an undertaking indeed, requires a more intimate
acquaintance with fleeting customs, and past occurrences, than the
compiler of this work can pretend to. Yet enough has been done by him
to awaken a spirit of enquiry, and point out the means by which it may
be farther gratified.
The works of Hogarth, as his elegant biographer has well observed, are
his history;[81] and the curious are highly indebted to Mr. Walpole for a
catalogue of prints, drawn up from his own valuable collection, in 1771.
But as neither that catalogue, nor his appendix to it in 1780, have
given the whole of Mr. Hogarth's labours, I hope that I shall not be
blamed if, by including Mr. Walpole's catalogue, I have endeavoured
from later discoveries of our artist's prints in other collections, to
arrange them in chronological order. It may not be unamusing to trace
the rise and progress of a Genius so strikingly original.
Hogarth gave first impressions of all his plates to his late friends the
Rev. Mr. Townley and Dr. Isaac Schomberg.[82] Both sets were sold
since the death of these gentlemen. That which was Dr. Schomberg's
became the property of the late Sir John Chapman, baronet; and
passed after his death into the hands of his brother, the late Sir William
Chapman. I should add, indeed, that our artist never sorted his
impressions, selecting the slight from the strong ones: so that they who
wish to possess any equal series of his prints, must pick it out of
different sets.
A portrait of Samuel Martin, esq. the antagonist of Mr. Wilkes, which Mr.
Hogarth had painted for his own use, he gave as a legacy to Mr. Martin.
Mrs. Baynes, of Kneeton-Hall, near Richmond, Yorkshire, has an
original picture by Hogarth, four feet two inches long, by two feet four
inches wide. It is a landscape, with several figures; a man driving
sheep; a boat upon a piece of water, and a distant view of a town. This
picture was bought in London, by her father, many years ago.
At Lord Essex's sale, in January 1777, Mr. Garrick bought a picture by
Hogarth, being the examination of the recruits before the justices
Shallow and Silence. For this, it was said in the news-papers, he gave
350 guineas. I have since been told, that remove the figure 3, and the
true price paid by the purchaser remains. In private he allowed that he
never gave the former of these sums, though in the public prints he did
not think such a confession necessary. It was in reality an indifferent
performance, as those of Hogarth commonly were, when he strove to
paint up to the ideas of others.
Mr. Browning, of King's College, Cambridge, has a small picture by
Hogarth, representing Clare-Market. It seems to have been one of our
artist's early performances.
There are three large pictures by Hogarth, over the altar in the church
of St. Mary Redcliff at Bristol; the sealing of the sacred Sepulchre, the
Ascension, and the three Maries, &c. A sum of money was left to defray
the expence of these ornaments, and it found its way into Hogarth's
pocket. The original sketches in oil for these performances, are now at
Mrs. Hogarth's house in Leicester-fields.
In Lord Grosvenor's house, at Milbank, Westminster, is a small painting
by our artist on the following subject. A boy's paper-kite in falling
become entangled with furze: the boy arrives just as a crow is tearing
it in pieces. The expression in his face is worthy of Hogarth.
Hogarth was also supposed to have had some hand in the exhibition of
signs,[83] projected above 20 years ago by Bonnel Thornton, of festive
memory; but I am informed, that he contributed no otherwise towards
this display, than by a few touches of chalk. Among the heads of
distinguished personages, finding those of the King of Prussia and the
Empress of Hungary, he changed the cast of their eyes so as to make
them leer significantly at each other. This is related on the authority of
Mr. Colman.
Mr. Richardson ("now," as Dr. Johnson says, "better known by his books
than his pictures," though his colouring is allowed to be masterly)
having accounted for some classical quotations in his notes on Milton,
unlearned as he was, by his son's assisting him as a telescope does the
eye in astronomy; Hogarth shewed him with a telescope looking
through his son (in no very decent attitude) at a Virgil aloft on a shelf;
but afterwards destroyed the plate, and recalled the prints. Qu. if any
remain, and what date?—I much question whether this subject was
ever thrown upon copper, or meant for the public eye.
In the "Nouveau Dictionnaire Historique, Caen, 1783," our artist is thus
characterized: "Ses compositions sont mal dessinées & foiblement
colories; mais ce sont des tableaux parlans de diverses scènes
comiques ou morales de la vie. Il avoit négligé le méchanisme de son
art, c'est à-dire, les traits du pinceau, le rapport des parties entr'elles,
l'effèt du clare obscure, l'harmonie du coloris, &c. pour s'élever jusqu'à
la perfection de ce méchanisme, c'est à-dire, au poétique & au moral
de la peinture. 'Je reconnois,' disoit-il, 'tout le monde pour juge
compétent de mes tableaux, excepté les connoisseurs de profession.'
Un seul exemple prouvera combien réussit. Il avoit fait graver une
estampe, dans laquelle il avoit exprimé avec énergie les différens
tourmens qu'on fait éprouver aux animaux. Un charrier fouettoit un
jour ses chevaux avec beaucoup de dureté; un bon homme, touché de
pitié, lui dit, 'Miserable! tu n'as donc pas vu l'estampe d'Hogarth?' Il
n'étoit pas seulement peintre, il fut écrivain. Il publia en 1750 un traité
en Anglois, intitulé, 'Analyse de la Beauté.' L'auteur pretend que les
formes arrondies constituent la beauté du corps: principe vrai à
certains égards, faux a plusieurs autres. Voy. sur cet artiste, la sécond
volume du 'Mercure de France,' Janvier, 1770."
Mr. Peter Dupont, a merchant, had the drawing of Paul before Felix,
which he purchased for 20 guineas, and bound up with a set of
Hogarth's prints. The whole set was afterwards sold by auction, at
Baker's, for 17 l. to Mr. Ballard of Little Britain, in whose catalogue it
stood some time marked at 25 l. and was parted with for less than that
sum.
The following original drawings, by Hogarth, are now in the collection
of the Rev. Dr. Lort:
A coloured sketch of a Family Picture, with ten whole-length figures,
most insipidly employed. A Head of a Sleeping Child, in colours, as
large as life, &c. &c. &c.
When Hogarth designed the print intituled Morning, his idea of an Old
Maid appears to have been adopted from one of that forlorn
sisterhood, when emaciated by corroding appetites, or, to borrow
Dryden's more forcible language, by "agony of unaccomplished love."
But there is in being, and perhaps in Leicester-fields, a second portrait
by our artist, exhibiting the influence of the same misfortune on a more
fleshy carcase. The ancient virgin[84] now treated of, is corpulent even
to shapelessness. Her neck resembles a collar of brawn; and had her
arms been admitted on the canvas, they must have rivalled in
magnitude the thighs of the Farnesian god. Her bosom, luckily for the
spectator, is covered; as a display of it would have served only to
provoke abhorrence. But what words can paint the excess of malice
and vulgarity predominant in her visage!—an inflated hide that seems
bursting with venom—a brow wrinkled by a Sardonic grin that
threatens all the vengeance an affronted Fury would rejoice to execute.
Such ideas also of warmth does this mountain of quaggy flesh
communicate, that, without hyperbole, one might swear she would
parch the earth she trod on, thaw a frozen post-boy, or over-heat a
glasshouse. "How dreadful," said a bystander, "would be this creature's
hatred!" "How much more formidable," replied his companion, "would
be her love!"—Such, however, was the skill of Hogarth, that he could
impress similar indications of stale virginity on features directly
contrasted, and force us to acknowledge one identical character in the
brim-full and exhausted representative of involuntary female celibacy.
Mr. S. Ireland has likewise a sketch in chalk, on blue paper, of Falstaff
and his companions; two sketches intended for the "Happy Marriage;"
a sketch for a picture to shew the pernicious effects of masquerading;
sketch of King George II. and the royal family; sketch of his present
Majesty, taken hastily on seeing the new coinage of 1764; portrait of
Hogarth by himself, with a palette; of Justice Welsh;[85] of Sir James
Thornhill; of Sir Edward Walpole;[86] of his friend George Lambert, the
landscape-painter; of a boy; of a girl's head, in the character of Diana,
finished according to Hogarth's idea of beauty; of a black girl; and of
Governor Rogers and his family, a conversation-piece; eleven Sketches
from Nature, designed for Mr. Lambert; four drawings of conversations
at Button's Coffee-house; Cymon and Iphigenia; two black chalk
drawings (landscapes) given to Mr. Kirby in 1762; three heads, slightly
drawn with a pen by Hogarth, to exemplify his distinction between
Character and Caricature, done at the desire of Mr. Townley, whose son
gave them to Dr. Schomberg; a landscape in oil: with several other
sketches in oil.
The late Mr. Forrest, of York Buildings, was in possession of a sketch in
oil of our Saviour (designed as a pattern for painted glass), together
with the original portrait of Tibson the Laceman,[87] and several
drawings descriptive of the incidents that happened during a five days
tour by land and water. The parties were Messieurs Hogarth, Thornhill
(son of the late Sir James), Scott (the ingenious landscape-painter of
that name), Tothall,[88] and Forrest. They set out at midnight, at a
moment's warning, from the Bedford Arms Tavern, with each a shirt in
his pocket. They had particular departments to attend to; Hogarth and
Scott made the drawings; Thornhill the map; Tothall faithfully
discharged the joint office of treasurer and caterer; and Forrest wrote
the journal. They were out five days only; and on the second night
after their return, the book was produced, bound, gilt, and lettered,
and read at the same tavern to the members of the club then present.
Mr. Forrest had also drawings of two of the members (Gabriel Hunt and
Ben Read), remarkable fat men, in ludicrous situations. Etchings from
all these having been made in 1782, accompanied by the original
journal in letter-press, an account of them will appear in the Catalogue
under that year.
A transcript of the journal was left in the hands of Mr. Gostling,[89] who
wrote an imitation of it in Hudibrastic verse; twenty copies only of which
having been printed in 1781, as a literary curiosity,[90] I was requested
by some of my friends to reprint it at the end of the second edition of
this work. It had originally been kept back, in compliment to the writer
of the prose journey; but, as that in the mean time had been given to
the public by authority, to preserve the Tour in a more agreeable dress
cannot, it is presumed, be deemed an impropriety. See the Appendix,
N° III.
[1] History of Westmoreland, Vol. I. p. 479.
[2] "I must leave you to the annals of Fame," says Mr. Walker, the ingenious
Lecturer on Natural Philosophy, who favoured me with these particulars, "for the
rest of the anecdotes of this great Genius; and shall endeavour to shew you, that
his family possessed similar talents, but they were destined, like the wild rose,

"'To waste their sweetness in the desart air.'

"Happy should I be to rescue from oblivion the name of Ald Hogart, whose songs
and quibbles have so often delighted my childhood! These simple strains of this
mountain Theocritus were fabricated while he held the plough, or was leading his
fewel from the hills. He was as critical an observer of nature as his nephew, for
the narrow field he had to view her in: not an incident or an absurdity in the
neighbourhood escaped him. If any one was hardy enough to break through any
decorum of old and established repute; if any one attempted to over-reach his
neighbour, or cast a leering eye at his wife; he was sure to hear himself sung over
the whole parish, nay, to the very boundaries of the Westmoreland dialect: so that
his songs were said to have a greater effect on the manners of his neighbourhood,
than even the sermons of the parson himself.
"But his poetical talents were not confined to the incidents of his village. I myself
have had the honour to bear a part in one of his plays (I say one, for there are
several of them extant in MS. in the mountains of Westmoreland at this hour).
This play was called 'The Destruction of Troy.' It was written in metre, much in the
manner of Lopez de Vega, or the ancient French drama; the unities were not too
strictly observed, for the siege of ten years was all represented; every hero was in
the piece; so that the Dramatis Personæ consisted of every lad of genius in the
whole parish. The wooden horse—Hector dragged by the heels—the fury of
Diomed—the flight of Æneas—and the burning of the city, were all represented. I
remember not what Fairies had to do in all this; but as I happened to be about
three feet high at the time of this still-talked-of exhibition, I personated one of
these tiny beings. The stage was a fabrication of boards placed about six feet
high, on strong posts; the green-room was partitioned off with the same
materials; it's cieling was the azure canopy of heaven; and the boxes, pit, and
galleries, were laid into one by the Great Author of Nature, for they were the
green slope of a fine hill. Despise not, reader, this humble state of the provincial
drama; let me tell you, there were more spectators, for three days together, than
your three theatres in London would hold; and let me add, still more to your
confusion, that you never saw an audience half so well pleased.
"The exhibition was begun with a grand procession, from the village to a great
stone (dropt by the Devil about a quarter of a mile off, when he tried in vain to
erect a bridge across Windermere; so the people, unlike the rest of the world,
have remained a very good sort of people ever since). I say the procession was
begun by the minstrels of five parishes, and were followed by a yeoman on bull-
back—you stare!—stop then till I inform you that this adept had so far civilised his
bull, that he would suffer the yeoman to mount his back, and even to play upon
his fiddle there. The managers besought him to join the procession; but the bull,
not being accustomed to much company, and particularly so much applause;
whether he was intoxicated with praise; thought himself affronted, and made
game of; or whether a favourite cow came across his imagination; certain it was,
that he broke out of the procession; erected his tail, and, like another Europa,
carried off the affrighted yeoman and his fiddle, over hedge and ditch, till he
arrived at his own field. This accident rather inflamed than depressed the good
humour arising from the procession; and the clown, or jack-pudding of the piece,
availed himself so well of the incident, that the lungs and ribs of the spectators
were in manifest danger. This character was the most important personage in the
whole play: for his office was to turn the most serious parts of the drama into
burlesque and ridicule: he was a compound of Harlequin and the Merry Andrew, or
rather the Arch-fool of our ancient kings. His dress was a white jacket, covered
with bulls, bears, birds, fish, &c. cut in various coloured cloth. His trowsers were
decorated in like manner, and hung round with small bells; and his cap was that of
Folly, decorated with bells, and an otter's brush impending. The lath sword must
be of great antiquity in this island, for it has been the appendage of a jack-
pudding in the mountains of Westmoreland time out of mind.
"The play was opened by this character with a song, which answered the double
purpose of a play-bill and a a prologue, for his ditty gave the audience a foretaste
of the rueful incidents they were about to behold; and it called out the actors, one
by one, to make the spectators acquainted with their names and characters,
walking round and round till the whole Dramatis Personæ made one great circle
on the stage. The audience being thus become acquainted with the actors, the
play opened with Paris running away with Helen, and Menelaus scampering after
them; then followed the death of Patroclus, the rage of Achilles, the persuasions
of Ulysses,&c. &c. and the whole interlarded with apt songs, both serious and
comic, all the production of Ald Hogart. The bard, however, at this time had been
dead some years, and I believe this Fete was a Jubilee to his memory; but let it
not detract from the invention of Mr. Garrick, to say that his at Stratford was but a
copy of one forty years ago on the banks of Windermere. Was it any improvement,
think you, to introduce several bulls into the procession instead of one? But I love
not comparisons, and so conclude. Yours, &c. Adam Walker."
However Ald Hogart might have succeeded in the dramatic line, and before a
rustic audience, his poems of a different form are every way contemptible. Want
of grammar, metre, sense, and decency, are their invariable characteristics. This
opinion is founded on a thorough examination of a whole bundle of them,
transmitted by a friend since the first publication of this work.
[3] Vir Clarissime, Excusso Malpighio intra sex vel plurimum septem septimanas te
tamen per totum inconsulto, culpa est in Bibliopolam conferenda, qui adeo
festinanter urgebat opus ut moras nectere nequivimus. Utut sit, tamen mihimet
adulor me satis recte authoris & verba & mentem cepisse (diligenter enim noctes
atque dies opere incubui ne tibi vel ulli regiorum tuorum sodalium molestus
forem). Rudiora tamen quorum specimen infra exhibere placuit, & Italico-Latina,
juxta præceptum tuum, similia feci aliter si fecissem, totus fere liber mutationem
sul iisset. Authorem tam pueriliter & barbare loquentem nunquam antehac evolvi
quod meminerim; faciat ergo lector, ut solent nautæ, qui dum fœtet aqua, nares
pilissando comprimunt, spretis enim verbis sensum, si quis est, attendat. Multa
(infinita pœnè dixerim) authoris errata emendavi, quædam tamen non
animadversa vereor; Augeæ enim stabulum non nisi Hercules repurgavit. Partem
Italico sermone conscriptam præetermitto, istam enim provinciam adornare
suscepit Doctor Pragestee Italus; quam bene rem gessit, ipse viderit. Menda
Typographica, spero, aut nulla, aut levia apparebunt. Tuam tamen & Regiæ
Societatis censuram exoptat facilem, Tibi omni studio addictissimus,
"RICHARDUS HOGARTH, ...Preli Curator."
[4] He published "Grammar Disputations; or, an Examination of the eight parts of
speech by way of question and answer, English and Latin, whereby children in a
very little time will learn, not only the knowledge of grammar, but likewise to
speak and write Latin; as I have found by good experience. At the end is added a
short Chronological index of men and things of the greatest note, alphabetically
digested, chiefly relating to the Sacred and Roman History, from the beginning of
the World to the Year of Christ 1640, and downwards. Written for the use of
schools of Great-Britain, by Richard Hogarth Schoolmaster, 1712." This little book
has also a Latin title-page to the same purpose, "Disputationes Grammaticales,
&c." and is dedicated, "Scholarchis, Ludimagistris, et Hypodidascalis Magnæ
Britanniæ."
[5] Hogart was the family name, probably a corruption of Hogherd, for the latter is
more like the local pronunciation than the first. This name disgusted Mrs. Hogart;
and before the birth of her son, she prevailed upon her husband to liquify it into
Hogarth. This circumstance was told to me by Mr. Walker, who is a native of
Westmoreland. By Dr. Morell, I was informed that his real name was Hoggard, or
Hogard, which, himself altered, by changing d into ð, the Saxon th.
[6] On what authority this is said, I am yet to learn. The registers of St.
Bartholomew the Great, and of St. Bartholomew the Less, have both been
searched for the same information, with fruitless solicitude. The school of
Hogarth's father, in 1712, was in the parish of St. Martin's Ludgate. In the register
of that parish, therefore, the births of his children, and his own death, may
probably be found.[A]
 [A] The register of St. Martin's Ludgate, has also been searched
to no purpose.
[7] This circumstance has, since it was first written, been verified by a gentleman
who has often heard a similar account from one of the last Head Assay-Masters at
Goldsmiths-Hall, who was apprentice to a silversmith in the same street with
Hogarth, and intimate with him during the greatest part of his life.
[8] Universal Museum, 1764. p. 549. The same kind of revenge, however, was
taken by Verrio, who, on the cieling of St. George's Hall at Windsor, borrowed the
face of Mrs. Marriot, the housekeeper, for one of the Furies.
[9] This picture is noticed in the article Thornhill, in the Biographia Britannica,
where, instead of Wanstead, it is called the Wandsworth assembly. There seems to
be a reference to it in "A Poetical Epistle to Mr. Hogarth, an eminent History and
Conversation Painter," written June 1730, and published by the author (Mr.
Mitchell), with two other epistles, in 1731, 4to.

"Large families obey your hand;

Assemblies rise at your command."

Mr. Hogarth designed that year the frontispiece to Mr. Mitchell's Opera, The
Highland Clans.
[10] Of all these a more particular account will be given in the Catalogue annexed.
[11] Brother to Henry Overton, the well-known publisher of ordinary prints, who
lived over against St. Sepulchre's Church, and sold many of Hogarth's early pieces
coarsely copied, as has since been done by Dicey in Bow Church-yard.
[12] This conceit is borrowed from Vanloo's picture of Colley Cibber, whose
daughter has the same employment.
[13] It appears that Mr. G. was dissatisfied with his likeness, or that some dispute
arose between him and the painter, who then struck his pencil across the face,
and damaged it. The picture was unpaid for at the time of his death. His widow
then sent it home to Mr Garrick, without any demand.
[14] Afterwards rector of Crawley in Hampshire; author of "Ben Mordecai's
Letters," "Confusion worse confounded," and many other celebrated works.
[15] He died of the small-pox, Aug. 12, 1729, and is said, in the "Political State,"
to have possessed 5000 l. a year. He married a sister of lord Bateman, by whom
he left a son and two daughters.
[16] I have heard that he continually took sketches from nature as he met with
them, and put them into his works; and it is natural to suppose he did so.
[17] See the Catalogue at the end of these Anecdotes. A very considerable
number of personalities are there pointed out under the account of each plate in
which they are found.
[18] The late Mr Cole, of Milton, in his copy of these Memoirs, had written against
the name of Bambridge, "Father to the late attorney of that name, a worthy son of
such a father. He lived at Cambridge." And in a copy of the first edition on
occasion of a note (afterwards withdrawn) which mentioned "Mr. Baker's having
quarrelled with Hearne;" Mr. Cole wrote, "Mr. Baker quarrelled with no man: he
might coolly debate with Mr. Hearne on a disputable point. It is, therefore, a
misrepresentation of Mr. Baker's private character, agreeable to the petulance of
this age."
[19] The wardenship of The Fleet, a patent office, was purchased of the earl of
Clarendon, for 5000 l. by John Huggins, esq. who was in high favour with
Sunderland and Craggs, and consequently obnoxious to their successors.
Huggins's term in the patent was for his own life and his son's. But, in August
1728, being far advanced in years, and his son not caring to take upon him so
troublesome an office, he sold their term in the patent for the same sum it had
cost him, to Thomas Bambridge and Dougal Cuthbert. Huggins lived to the age of
90.
[20] Mr. Rayner, in his reading on Stat. 2 Geo. II. chap. 32. whereby Bambridge
was incapacitated to enjoy the office of warden of The Fleet, has given the reader
a very circumstantial account, with remarks, on the notorious breaches of trust,
&c. committed by Bambridge and other keepers of The Fleet-Prison. For this
publication, see Worral's Bibliotheca Legum by Brooke, 1777, p. 16.
"A report from the Committee appointed to enquire into the State of the Gaols of
this Kingdom, relating to the Marshalsea prison; with the Resolutions of the House
of Commons thereupon," was published in 4to. 1729; and reprinted in 8vo, at
Dublin the same year. It appears by a MS. note of Oldys, cited in British
Topography, vol. I. p. 636, that Bambridge cut his throat 20 years after.
[21] William Huggins, esq. of Headly Park, Hants, well-known by his translation of
the Orlando Furioso of Ariosto. Being intended for holy orders, he was sent to
Magdalen College, Oxford, where he took the degree of M. A. April 30, 1761; but,
on the death of his elder brother in 1756, declined all thoughts of entering into the
church. He died July 2, 1761; and left in MS. a tragedy, a farce, and a translation
of Dante, of which a specimen was published in the British Magazine, 1760. Some
flattering verses were addressed to him in 1757, on his version of Ariosto; which
are preserved in the Gentleman's Magazine, vol. XXVII. p. 180; but are not worth
copying. The last Mr. Huggins left an estate of 2000 l. a year to his two sons-in-
law Thomas Gatehouse, Esq; and Dr. Musgrave of Chinnor.
[22] Sir Francis Page's, "Character," by Savage, thus gibbets him to public
detestation:

"Fair Truth, in courts where Justice should preside,

Alike the Judge and Advocate would guide;
And these would vie each dubious point to clear,
To stop the widow's and the orphan's tear;
Were all, like Yorke,[A] of delicate address,
Strength to discern, and sweetness to express,
Learn'd, just, polite, born every heart to gain,
Like Comyns[B] mild; like Fortescue[C] humane,
All-eloquent of truth, divinely known,
So deep, so clear, all Science is his own.

"Of heart impure, and impotent of head,

In history, rhetoric, ethics, law, unread;
How far unlike such worthies, once a drudge,
From floundering in low cases, rose a Judge.
Form'd to make pleaders laugh, his nonsense thunders,
And on low juries breathes contagious blunders.
His brothers blush, because no blush he knows,
Nor e'er 'one uncorrupted finger shows.'[D]
See, drunk with power, the circuit-lord exprest!
Full, in his eye, his betters stand confest;
Whose wealth, birth, virtue, from a tongue so loose,
'Scape not provincial, vile, buffoon abuse.
Still to what circuit is assigned his name,
There, swift before him, flies the warner—Fame.
Contest stops short, Consent yields every cause
To Cost; Delay endures them, and withdraws.
But how 'scape prisoners? To their trial chain'd,
All, all shall stand condemn'd, who stand arraign'd,
Dire guilt, which else would detestation cause,
Prejudg'd with insult, wondrous pity draws.
But 'scapes e'en Innocence his harsh harangue?
Alas!—e'en Innocence itself must hang;
Must hang to please him, when of spleen possest,
Must hang to bring forth an abortive jest.

"Why liv'd he not ere Star-chambers had fail'd,

When fine, tax, censure, all but law prevail'd;
Or law, subservient to some murderous will,
 Became a precedent to murder still?
Yet e'en when portraits did for traitors bleed,
Was e'er the jobb to such a slave decreed,
Whose savage mind wants sophist-art to draw,
O'er murder'd virtue, specious veils of law?

"Why, Student, when the bench your youth admits,

Where, though the worst, with the best rank'd he sits;
Where sound opinions you attentive write,
As once a Raymond, now a Lee to cite,
Why pause you scornful when he dins the court?
Note well his cruel quirks, and well report.
Let his own words against himself point clear,
Satire more sharp than verse when most severe."

Nor was Savage less severe in his prose. On the trial of this unfortunate poet, for
the murder of James Sinclair in 1727, Judge Page, who was then on the bench,
treated him with his usual insolence and severity; and, when he had summed up
the evidence, endeavoured to exasperate the jury, as Mr. Savage used to relate it,
with this eloquent harangue: "Gentlemen of the Jury, you are to consider that Mr.
Savage is a very great man, a much greater man than you or I, gentlemen of the
jury; that he wears very fine cloaths, much finer cloaths than you or I, gentlemen
of the jury; that he has abundance of money in his pocket, much more money
than you or I, gentlemen of the jury: but, gentlemen of the jury, is it not a very
hard case, gentlemen of the jury, that Mr. Savage should therefore kill you or me,
gentlemen of the jury?"
Pope also, Horace, B. II. Sat. r, has the following line:

"Hard words or hanging, if your judge be Page."

And Fielding, in Tom Jones, makes Partridge say, with great naiveté, after
premising that judge Page was a very brave man, and a man of great wit, "It is
indeed charming sport to hear trials on life and death!"
[A] Sir Philip Yorke, chief justice of the King's Bench, afterwards
lord-chancellor and earl Hardwicke.
[B] Sir John Comyns, chief baron of the Exchequer.
[C] Hon. William Fortescue, then one of the justices of the court
of Common Pleas, afterwards master of the Rolls.
[D] "When Page one uncorrupted finger shows." D. of Wharton.
[23] The truth and propriety of these strictures having been disputed by an
ingenious correspondent in the Public Advertiser, his letter, with remarks on it, is
subjoined by way of appendix to the present work. In this place performances of
such a length would have interrupted the narrative respecting Hogarth and his
productions. See Appendix I.
[24] In co'i Banco.
William Hogarth, Plaintiff. Joshua Morris, Defendant.
Middlesex.
The Plaintiff declares, that on the 20th of December, 1727, at Westminster
aforesaid, Defendant was indebted to him 30 l. for painter's work, and for divers
materials laid out for the said work; which Defendant faithfully promised to pay
when demanded.
Plaintiff also declares, that Defendant promised to pay for the said work and other
materials, as much as the same was worth; and Plaintiff in fact says the same was
worth other 30 l.
Plaintiff also declares for another sum of 30 l for money laid out and expended for
Defendant's use, which he promised to pay.
The said Defendant not performing his several promises, the Plaintiff hath brought
this action to his damage 30 l. for which this action is brought.
To which the Defendant hath pleaded non assumpsit and thereupon issue is
joined.
CASE.
The Defendant is an upholsterer and tapestry-worker, and was recommended to
Plaintiff as a person skilful in painting patterns for that purpose; the Plaintiff
accordingly came to Defendant, who informing him that he had occasion for a
tapestry design of the Element of Earth, to be painted on canvas, Plaintiff told
Defendant he was well skilled in painting that way, and promised to perform it in a
workmanlike manner; which if he did, Defendant undertook to pay him for it
twenty guineas.
Defendant, soon after, hearing that Plaintiff was an engraver, and no painter, was
very uneasy about the work, and ordered his servant to go and acquaint Plaintiff
what he had heard; and Plaintiff then told the said servant, 'that it was a bold
undertaking, for that he never did any thing of that kind before; and that, if his
master did not like it, he should not pay for it.'
That several times sending after Plaintiff to bring the same to Defendant's house,
he did not think fit so to do; but carried the same to a private place where
Defendant keeps some people at work, and there left it. As soon as Defendant
was informed of it, he sent for it home, and consulted with his workmen whether
the design was so painted as they could work tapestry by it, and they were all
unanimous that it was not finished in a workmanlike manner, and that it was
impossible for them to work tapestry by it.
Upon this, Defendant sent the painting back to Plaintiff by his servant, who
acquainted him, 'that the same did not answer the Defendant's purpose, and that
it was of no use to him; but if he would finish it in a proper manner, Defendant
would take it, and pay for it.'
Defendant employs some of the finest hands in Europe in working tapestry, who
are most of them foreigners, and have worked abroad as well as here, and are
perfect judges of performances of this kind.
The Plaintiff undertook to finish said piece in a month, but it was near three
months before he sent to the Defendant to view it; who, when he saw it, told him
that he could not make any use of it, and was so disappointed for want of it, that
he was forced to put his workmen upon working other tapestry that was not
bespoke, to the value of 200 l. which now lies by him, and another painter is now
painting another proper pattern for the said piece of tapestry.
To prove the case as above set forth, call Mr. William Bradshaw.
To prove the painting not to be performed in a workmanlike manner, and that it
was impossible to make tapestry by it, and that it was of no use to Plaintiff, call Mr.
Bernard Dorrider, Mr. Phillips, Mr. De Friend, Mr. Danten, and Mr. Pajon.
By the counsel's memoranda on this brief it appears, that the witnesses examined
for the Plaintiff were Thomas King, Vanderbank, Le Gard, Thornhill, and
Cullumpton.
[25] James Thornhill, esq. serjeant-painter and history-painter to King George I. In
June 1715, he agreed to paint the cupola of St. Paul's church for 4000 l. and was
knighted in April 1720. In a flattering account given of him immediately after his
death, which happened May 13, 1734, in his 57th year, he is said to have been
"the greatest history-painter this kingdom ever produced, witness his elaborate
works in Greenwich-Hospital, the cupola of St. Paul's, the altar-pieces of All-Souls
College in Oxford, and in the church of Weymouth, where he was born; a cieling in
the palace of Hampton-Court, by order of the late Earl of Halifax: his other works
shine in divers noblemens' and gentlemens' houses. His later years were employed
in copying the rich cartoons of Raphael in the gallery of Hampton-Court, which,
though in decay, will be revived by his curious pencil, not only in their full
proportions, but in many other sizes and shapes, he in a course of years had
drawn them. He was chosen representative in the two last parliaments for
Weymouth, and having, by his own industry, acquired a considerable estate, re-
purchased the seat of his ancestors, which he re-edified and embellished. He was
not only by patents appointed history-painter to their late and present majesties,
but serjeant-painter, by which he was to paint all the royal palaces, coaches,
barges, and the royal navy. This late patent he surrendered in favour of his only
son John Thornhill, Esq. He left no other issue but one daughter, now the wife of
Mr Wm. Hogarth, admired for his curious miniature conversation paintings. Sir
James has left a most valuable Collection of pictures and other curiosities."
[26] He was called on this occasion, in the Craftsman, "Mr. Hogarth, an ingenious
designer and engraver."
[27] "Pope published in 1731 a poem called False Taste, in which he very
particularly and severely criticises the house, the furniture, the gardens, and the
entertainments of Timon, a man of great wealth and little taste. By Timon he was
universally supposed, and by the Earl of Burlington, to whom the poem is
addressed, was privately said to mean the Duke of Chandos; a man perhaps too
much delighted with pomp and shew, but of a temper kind and beneficent, and
who had consequently the voice of the publick in his favour. A violent outcry was
therefore raised against the ingratitude and treachery of Pope, who was said to
have been indebted to the patronage of Chandos for a present of a thousand
pounds, and who gained the opportunity of insulting him by the kindness of his
invitation. The receipt of the thousand pounds Pope publickly denied; but from the
reproach which the attack on a character so amiable brought upon him, he tried
all means of escaping. The name of Cleland was employed in an apology, by which
no man was satisfied; and he was at last reduced to shelter his temerity behind
dissimulation, and endeavour to make that disbelieved which he never had
confidence openly to deny. He wrote an exculpatory letter to the Duke, which was
answered with great magnanimity, as by a man who accepted his excuse without
believing his professions. He said, that to have ridiculed his taste, or his buildings,
had been an indifferent action in another man; but that in Pope, after the
reciprocal kindness that had been exchanged between them, it had been less
easily excused." Dr. Johnson, in his Life of Pope.
[28] That Sir John Gonson took a very active part against the Ladies of Pleasure,
is recorded by more than one of their votaries: In "A View of the Town, 1735," by
Mr. T. Gilbert, a fellow of Peter House Cambridge, and an intimate companion of
Loveling,[A] I meet with these lines:

"Though laws severe to punish guilt were made,

What honest man is of these laws afraid?
All felons against judges will exclaim,
As harlots startle at a Gonson's name."

The magistrate entering with his myrmidons was designed as the representative of
this gentleman, whose vigilance on like occasions is recorded in the following
elegant Sapphic Ode, by Mr. Loveling. This gentleman was educated at
Winchester-school, became a commoner of Trinity College, Oxford, was ordained
deacon, lived gaily, and died young. His style, however, appears to have been
formed on a general acquaintance with the language of Roman poetry; nor do any
of his effusions betray that poverty of expression so conspicuous in the poems of
Nicholas Hardinge, esq. who writes as if Horace was the only classic author he had
ever read.

Ad Johannem Gonsonum, Equitem.

Pellicum, Gonsone, animosus hostis,

Per minus castas Druriæ tabernas
Lenis incedens, abeas Diones
Æquus alumnis!
Nuper (ah dictu miserum!) Olivera
Flevit ereptas viduata mœchas,
Quas tuum vidit genibus minores
Ante tribunal.
Dure, cur tantâ in Veneris ministras
Æstuas irâ? posito furore
Huc ades, multà & prece te vocantem
Gratior audi!
Nonne sat mœchas malè feriatas
Urget infestis fera sors procellis?
Adderis quid tu ulterior puellis
Causa doloris?
Incolunt, eheu! thalamos supernos,
Nota quæ sedes fuerat Poetis;
Nec domum argento gravis, ut solebat,
Dextra revertit.
Nympha quæ nuper nituit theatro,
Nunc stat obscuro misera angiportu,
Supplici vellens tunicam rogatque
Voce Lyæum.
Te voco rebus Druriæ mentis;
Voci communi Britonum Juventus
Te vocat, nunc ô! dare te benignum
Incipe votis.
Singulum tunc dona feret lupanar:
Liberum mittet Rosa Lusitanum,
Gallici Haywarda et generosa mittet
Munera Bacchi.
Sive te forsan moveat libido,
Aridis pellex requiescet ulnis,
Callida effœtas renovare lento
Verbere vires.
The same poet, speaking of the exhilarating effects of Gin, which had just been an
object of Parliamentary notice, has the following stanza:

Utilis mœchae fuit & Poetæ;

Sprevit hinc Vates Dolopum catervas,
Mœcha Gonsonum tetricâ minantem
Fronte laborem.

Thus, between the poet and the painter, the fame of our harlot-hunting Justice is
preserved. But as a slave anciently rode in the same chariot with the conqueror,
the memory of a celebrated street-robber and highwayman will descend with that
of the magistrate to posterity, James Dalton's wig-box being placed on the tester
of the Harlot's bed. I learn from the Grubstreet Journal, that he was executed on
the 12th of May, 1730. Sir John Gonson died January 9, 1765. He was remarkable
for the charges which he used to deliver to the grand juries, which are said to
have been written by Orator Henley. The following puffs, or sneers, concerning
them, are found in the first number of the Grubstreet Journal, dated January 8,
1730. "Yesterday began the General Quarter Sessions, &c. when Sir John Gonson,
being in the chair, gave a most incomparable, learned, and fine charge to the
Grand Jury." Daily Post.
"The Morning Post calls Sir John's charge excellent, learned and loyal. The Evening
Post calls it an excellent lecture and useful charge."
Three of these performances had been published in 1728.[B] Sir John's name is
also preserved in Mr Pope's works:

"Talkers I've learn'd to bear: Motteux I knew;

Henley himself I've heard, and Budgell too.
The Doctor's wormwood style, the hash of tongues
A pedant makes, the storm of Gonson's lungs."
Fourth Sat. of Dr. Donne versified.

[A] In the collection of Loveling's Poems, 1741, are two by

Gilbert. Loveling also addressed a poem, not printed in his works,
"Gilberto suo," and in Gilbert's Poems, published 1747, is "A
familiar Epistle to my friend Ben Loveling."
[B] One charge by Sir John Gonson is in the Political State, vol.
XXXV. p. 50; and two others in vol. XXXVI. pp 314. 333.
[29] It was customary in Hogarth's family to give these fans to the maids.
[30] Among the small articles of furniture in the scenes of Hogarth, a few objects
may speedily become unintelligible, because their archetypes, being out of use,
and of perishable natures, can no longer be found. Such is the Dare for Larks (a
circular board with pieces of looking-glass inserted in it), hung up over the
chimney-piece of the Distress'd Poet; and the Jews Cake (a dry tasteless biscuit
perforated with many holes, and formerly given away in great quantities at the
Feast of Passover), generally used only as a fly-trap, and hung up as such against
the wall in the sixth plate of the Harlot's Progress. I have frequently met with both
these articles in mean houses.
[31] The fire began at the house of Mrs. Calloway, who kept a brandy-shop. This
woman was committed to Newgate, it appearing among other circumstances, that
she had threatened "to be even with the landlord for having given her warning,
and that she would have a bonfire on the 20th of June, that should warm all her
rascally neighbours."
[32] Hogarth attempted to improve it, but without much success. The additional
figures are quite episodical. See the Catalogue.
[33] In Seymour's history of London, vol. II. p. 883. is the following notice of our
artist:
"Among the Governors of St. Bartholomew's Hospital, was lately chosen Mr.
William Hogarth the celebrated printer, who, we are told, designs to paint the
stair-case of the said hospital, and thereby become a benefactor to it, by giving his
labour gratis."
[34] He bought up great quantities of the copies of his works; and they still
remain in possession of his widow. The "Harlot's" and the "Rake's" Progress, in a
smaller size than the original, were published, with his permission, by Thomas
Bakewell, a printseller, near the Horn Tavern, Fleet-street.
[35] Of the Harlot's Progress I have seen no less than eight piratical imitations.
[36] Lord Gardenston, one of the lords of session in Scotland, on delivering his
opinion in the court of session upon the question of literary property, in the cause
of Hinton and Donaldson and others, all booksellers, in July 1773 thus introduced
the works of Hogarth: "There is nothing can be more similar than the work of
engraving is to literary composition. I will illustrate this proposition by the works of
Mr Hogarth, who, in my humble opinion, is the only true original artist which this
age has produced in England. There is hardly any character of an excellent author,
which is not justly applicable to his works. What composition, what variety, what
sentiment, what fancy, invention, and humour, we discover in all his performances!
In every one of them an entertaining history, a natural description of characters,
and an excellent moral. I can read his works over and over, Horace's characteristic
of excellency in writing, decies repetita placebit; and every time I peruse them, I
discover new beauties, and feel fresh entertainment: can I say more in
commendation of the literary compositions of a Butler or a Swift? There is great
authority for this parallel; the legislature has considered the works of authors and
engravers in the same light; they have granted the same protection to both; and it
is remarkable, that the act of parliament for the protection of those who invent
new engravings, or prints, is almost in the same words with the act for the
protection and encouragement of literary compositions." This is taken from a 4to
pamphlet, published in 1774 by James Boswell, esq. advocate, one of the counsel
in the cause.
[37] "That Huggins penned the statute, I was told by Mr. Hogarth himself. The
determination of Lord Hardwicke was thus occasioned. Jefferys, the printseller at
the corner of St. Martin's Lane, had employed an artist to draw and engrave a
print representing the British Herring Fishery; and, having paid him for it, took an
assignment of the right to the property in it accruing to the artist by the act of
parliament. The proprietors of one of the magazines pirated it in a similar size, and
Jefferys brought his bill for an injunction, to which the defendants demurred: and,
upon argument of the demurrer, the same was allowed, for the reason
abovementioned, and the bill dismissed. Hogarth attended the hearing; and
lamented to me that he had employed Huggins to draw the act, adding, that,
when he first projected it, he hoped it would be such an encouragement to
engraving and printselling, that printsellers would soon become as numerous as
bakers' shops; which hope, notwithstanding the above check, does at this time
seem to be pretty nearly gratified." For this note my readers are indebted to Sir
John Hawkins.
[38] "What Caricatura is in painting," says Fielding, "Burlesque is in writing; and in
the same manner the comic writer and painter correlate to each other. And here I
shall observe, that as in the former the painter seems to have the advantage; so it
is in the latter infinitely on the side of the writer: for the Monstrous is much easier
to paint than describe, and the Ridiculous to describe than paint. And though
perhaps this latter species doth not in either science so strongly affect and agitate
the muscles as the other; yet it will be owned, I believe, that a more rational and
useful pleasure arises to us from it."
[39] This idea originally occurred in Colley Cibber's Apology. From thence it was
transplanted by Lloyd into his celebrated poem intituled The Actor. Lying thus in
the way of Garrick, he took it up for the use of the prologue already quoted.
Lastly, Mr. Sheridan, in his beautiful Monody, condescended to borrow it, only
because it spared him the labour of unlocking the richer storehouse of his own
imagination.
I may however remark that Cibber, when he suggested this mortifying reflection,
had more reason on his side than some of his successors who have indulged
themselves in the same dolorous strain of complaint. To whatever oblivion the
celebrated actors of the last age have been resigned, the pencil of Hogarth,
Dance, Zoffani, and Reynolds, had left Mr. Garrick not the slightest reason to be
apprehensive that, in his own particular case, the art and the artist would alike be
forgotten. Meanwhile, let our heroes of the stage be taught to moderate their
anxiety for posthumous renown, by a recollection that their peculiar modes of
excellence will, at least, be as well preserved to futurity as those of the lords
Chatham and Mansfield, whose talents, perhaps, might support an equal claim to
perpetuation.
[40] Dr. M. once observed to J. N. in a letter on this subject, "In the 13th chapter I
was somewhat puzzled with the flat and round, or the concave and convex,
appearing the reverse; till the sun happily shining in upon the cornice, I had a fair
example of what he intended to express. The next chapter, with regard to
colouring, did not go on quite so smooth; for, if I satisfied him, I was not satisfied
myself with his peculiar principles; nor could I relish his laying the blame on the
colourmen, &c."
[41] One exception to this remark occurs in the Gentleman's Magazine for 1754, p.
14; where the reviewer of the Analysis observes, that it is "a book written with
that precision and perspicuity which can only result from a perfect knowledge of
his subject in all its extent. His rules are illustrated by near two hundred figures,
engraved by himself; the knowledge which it contains is universally useful, and as
all terms of art are avoided, the language will be universally understood. The
player and the dancing-master, whom others consider as patterns of just action
and genteel deportment, are not less instructed than the statuary and the painter;
nor is there any species of beauty or elegance that is not here investigated and
analysed.
"A book, by which the author has discovered such superiority, could scarce fail of
creating many enemies; those who admit his Analysis to be just, are disposed to
deny that it is new. Though in the year 1745, having drawn a serpentine line on a
painter's pallet, with these words under it, 'the line of beauty,' as a frontispiece to
his prints, no Egyptian hieroglyphic ever produced greater variety of speculation;
both painters and sculptors then came to enquire the meaning of a symbol, which
they soon pretended to have been their old acquaintance; though the account
they could give of its properties were scarce so satisfactory as that of a day-
labourer, who constantly uses the lever, could give of that instrument, as a
mechanical power. The work, however, will live when these cavils are forgotten;
and except the originals, of which it is pretended to be a copy, are produced, there
is no question but that the name of the author will descend to posterity with that
honour which competitors only can wish to withhold."
It should be observed, however, that the general decision on Hogarth's
performance may be just. Certain we are, that it has not been reversed by the
opinion of the First of our Modern Painters.
[42] The Analysis itself however affords sufficient specimens of inaccuracy in
spelling. Thus we have (pref. p. xix.) Syclamen instead of Cyclamen; (p. 44.)
calcidonian for Chalcedonian; (p. 65.) nuckles for knuckles; (p. 97.) Irish-stitch for
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