,,transcriber',s ,,note ,italic text is denoted by underscores4 ,a superscript is denoted by 2 for example ,m,r1 ye4 ,obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources4 ,footnotes have been moved to the end of the book text4 ,some ,footnotes are very long4 ,more detail can be found at the end of the book4 ,,hogarth',s ,,works3 ,,with ,,life ,,and ,,anecdotal ,,descriptions ,,of ,,his ,,pictures4 ,,third ,,series4 ,illustration3 ,,hogarth',s ,,dedication1 ,,written ,,for ,a ,,history ,,of ,,the ,,arts1 c41 ,,which ,,he ,,intended ,,publishing ,,as ,a ,,supplement ,,to ,,the ,,analysis ,,of ,,beauty4 ,,copied ,,from ,,his ,,manuscript ,,in ,,the ,,possession ,,of ,,john ,,ireland4 ,the no ,dedication ,not ,dedicated to any ,prince in ,christendom for fear it might be thought an ,idle piece of ,arrogance4 ,not ,dedicated to any man of quality for fear it might be thought too assuming4 ,not ,dedicated to any learned body of ,man1 as either of the universityes1 or the ,royal ,society1 for fear it might be thought an uncommon piece of ,vanity4 ,nor ,dedicated to any one particular ,friend for fear of offending another4 ,therefore ,dedicated to nobody4 ,but if for once we may suppose ,nobody to be every body1 as ,every body is often said to be nobody1 then is this work ,dedicated to every body4 by their most humble and devoted ,w3 ,hogarth4 ,,hogarth',s ,,works3 ,,with ,,life ,,and ,,anecdotal ,,descriptions ,,of ,,his ,,pictures4 ,,by ,,john ,,ireland ,,and ,,john ,,nichols1 ,f4,s4,a4 ,illustration3 7,the ,dolphin ,candlestick7 ,,the ,,whole ,,of ,,the ,,plates ,,reduced ,,in ,,exact ,,fac-,,simile ,,of ,,the ,,originals4 ,third ,series4 ,london3 ,,chatto ,,and ,,windus1 ,,publishers4 7,,successors ,,to ,,john ,,camden ,,hotten47 ,,list ,,of ,,plates ,,described ,,in ,,the ,,third ,,series4 ,,page ,,fac-,,simile ,,autograph--,,the ,,no ,,dedication1 ,frontispiece to face ,title4 ,,dolphin ,,candlestick1 ,title ,page4 ,do4 7described71 #abc ,,kent',s ,,altar-,,piece1 #bd ,,the ,,rape ,,of ,,the ,,lock1 #bf ,,arms ,,of ,,the ,,duchess ,,of ,,kendal1 #bh ,,frontispiece ,,to ,,artists' ,,catalogue1 #gh ,,tail-,,piece ,,to ,do41 #gh ,,the ,,vase1 #aad ,do4 7described71 #aab ,,hints ,,for ,a ,,new ,,capital1 #aad ,,round ,,and ,,square ,,heads1 #aad ,do4 7described71 #aaf ,,hercules1 ,,henry ,,viii41 ,,and ,a ,,french ,,dancing-,,master1 #aad ,do4 7described71 #aai ,,charles ,i41 ,,henrietta ,,maria1 ,,italian ,,jupiter1 ,,etc41 #abd ,,the ,,dance1 #abd ,,frontispiece ,,to ,,the ,,perspective ,,of ,,architecture1 #acb ,,taste ,,in ,,high ,,life1 #ahj ,,farinelli1 ,,cuzzoni1 ,,and ,,senesino1 #ahd ,a ,,woman ,,swearing ,,her ,,child ,,to ,a ,,grave ,,citizen1 #ahh ,,the ,,foundlings1 #aib ,,captain ,,thomas ,,coram1 #aib ,,frontispiece ,,to ,,terr ,,filius1 #aid ,,the ,,sepulchre1 #aid ,,the ,,politician1 #aih ,,the ,,matchmaker1 #bjj ,,the ,,man ,,of ,,taste1 #bjb ,,henry ,,fielding1 #bjf ,,simon ,,lord ,,lovat1 #baj ,,nine ,,plates ,,for ,,don ,,quixote3 ,,plate ,i4 ,the ,first ,sally in ,quest of ,adventure1 #bbj ,,plate ,,ii4 ,the ,innkeeper1 #bbj ,,plate ,,iii4 ,the ,funeral of ,chrysostom1 #bbb ,,plate ,,iv4 ,the ,innkeeper's ,wife and ,daughter administering ,chirurgical ,assistance to the poor ,knight of ,la ,mancha1 #bbb ,,plate ,v4 ,don ,quixote seizes the ,barber's ,basin for ,mambrino's ,helmet1 #bbd ,,plate ,,vi4 ,don ,quixote releases the ,galley ,slaves1 #bbd ,,plate ,,vii4 ,first ,interview of ,don ,quixote with the ,knight of the ,rock1 #bbf ,,plate ,,viii4 ,the ,curate and ,barber disguising themselves to convey ,don ,quixote home1 #bbf ,,plate ,,ix4 ,sancho's ,feast1 #bbh ,,heidegger ,,in ,a ,,rage1 #bcj ,,large ,,masquerade ,,ticket1 #bcj ,,the ,,south ,,sea ,,bubble1 #bch ,,the ,,lottery1 #bch ,,masquerades ,,and ,,operas--,,burlington ,,gate1 #bch ,,beggars' ,,opera ,,burlesqued1 #bdb ,,twelve ,,plates ,,of ,,butler',s ,,hudibras1 #bdb ,,just ,,view ,,of ,,the ,,british ,,stage1 #bdf ,,examination ,,of ,,bambridge1 #bdf ,,henry ,,viii4 ,,and ,,anna ,,bulleyn1 #bdh ,,crowns1 ,,mitres1 ,,maces1 ,,etc41 #bdf ,do4 7described71 #bdi ,,the ,,royal ,,masquerade1 #beb ,,rich',s ,,triumphant ,,entry1 #bed ,,mr4 ,,ranby',s ,,house ,,at ,,chiswick1 #bed ,do4 7described71 #bfb ,,hymen ,,and ,,cupid1 #bed ,do4 7described71 #bfc ,,the ,,pool ,,of ,,bethesda1 #bef ,,the ,,good ,,samaritan1 #bef ,,martin ,,folkes1 ,esq41 #bfj ,,bishop ,,hoadley1 #bfb ,,false ,,perspective1 #bfd ,,inhabitants ,,of ,,the ,,moon1 #bfd ,,receipt ,,for ,,print ,,of ,,march ,,to ,,finchley1 #bfd ,,the ,,farmer',s ,,return1 #bff ,,gravity1 #bff ,,frontispieces ,,to ,,tristram ,,shandy1 #bff ,,four ,,heads ,,from ,,the ,,cartoons1 #bfh ,,the ,,shrimp-,,girl1 #bfh ,,lord ,,holland1 #bfh ,,earl ,,of ,,charlemont1 #bfh ,,the ,,house ,,of ,,commons1 #bgj ,,debates ,,on ,,palmistry1 #bgj ,,the ,,staymaker1 #bgj ,,charity ,,in ,,the ,,cellar1 #bgj ,,six ,,tickets1 #bgb ,illustration3 7end of section floral icon7 ,,advertisement4 ,the manuscripts from which the principal parts of this volume are compiled were written by the late ,mr4 ,hogarth2 had he lived a little longer1 he would have methodized and published them4#a ,on his decease1 they devolved to his widow1 who kept them sacred and entire#b until her death1 when they became the property of her relation and executrix1 ,mrs4 ,lewis1 of ,chiswick1 by whose kindness and friendship they are now in my possession4 ,this is the fair and honest pedigree of the ,papers1 which may be thus divided3-- ,i4 ,hogarth's life1 comprehending his course of study1 correspondence1 political quarrels1 etc4 ,,ii4 ,a manuscript volume1 containing the autographs of the subscribers to his ,elections1 and intended print of ,sigismunda2 and letters to and from ,lord ,grosvenor relative to that picture4 ,,iii4 ,the manuscript of the ,analysis of ,beauty1 corrected by the author1 with the original sketches1 and many remarks omitted in the printed copy4 ,,iv4 ,a supplement to the ,analysis1 never published2 comprising a succinct history of the arts in his own time1 his account of the institution of the ,royal ,academy1 etc4 ,v4 ,sundry memoranda relative to the subject of his satire in several of his prints4 ,these manuscripts being written in a careless hand1 generally on loose pieces of paper1 and not paged1 my first endeavour was to find the connection1 separate the subjects1 and place each in its proper class4 ,this1 in such a mass of papers1 ,i found no very easy task2 especially as the author1 when dissatisfied with his first expression1 has frequently varied the form of the same sentence two or three times3 in such instances ,i have selected that which ,i thought best constructed4 ,every paper has been attentively examined1 and is to the best of my judgment arranged as the author intended4 ,i have incorporated ,hogarth's account of the ,arts1 ,academy1 etc41 with his narrative of his own life2 and to keep distinct the various subjects on which he treats1 divided the whole into chapters4 ,where from negligence or haste he has omitted a word1 ,i have supplied it with that which the context leads me to believe he would have used4 ,where the sentences have been very long1 ,i have occasionally broken them into shorter paragraphs1 and sometimes tried to render the style more perspicuous1 by the retrenchment of redundant expressions2 but in every case the sense of the author is faithfully adhered to4 ,as he has usually given the progress of his life1 opinions1 etc4 in the first person1 ,i have adopted the same rule2 and to distinguish my own remarks from ,hogarth's narrative1 the beginning of each sentence written by him is marked with inverted commas4 ,his correspondence is regulated by the dates of the letters2 and the copies from sketches in the ,,ms4 ,analysis are placed in the chapter which contains ,hogarth's account of that publication4 ,in the papers which relate to the subject of his satire in some of his prints1 he appears to have projected more than his life allowed him to perform2 the few remarks which he made are inserted in the ,appendix4 ,prints are in general designed to illustrate books1 but the ,editor's part of this volume is written to illustrate ,prints4 ,he is apprehensive that the whole will stand in need of much indulgence1 but certain that the errors1 whatever they may be1 do not originate in a want of diligence4 ,to his thanks for the flattering reception of the first ,edition1 and rapid sale of the first and second ,editions of the two preceding volumes1 he has only to add his reasons for bringing forward this third4 ,when they were published1 he had neither seen the ,,mss41 nor ever heard that ,hogarth had written anything for the press1 except the ,analysis of ,beauty4 ,when he some time after obtained the papers1 he considered them as a very valuable acquisition1 and was vain enough to think that by arranging them he could compile a volume which would gratify the admirers of ,hogarth2 and in the hope that the life1 opinions1 criticisms1 and correspondence of this great and original genius will excite and gratify curiosity1 he respectfully submits the following pages to the candour and indulgence of the public4 ,j4 ,i4 ,illustration3 7end of section floral icon7 ,,hogarth4 ,,introduction4 ,mr4 ,walpole 7in p4 #afj of his ,anecdotes7 gravely declares that ,hogarth had but slender merit as a painter1 and in colouring proved no greater a master4 ,by the six pictures of ,marriage la ,mode1 both these declarations are answered and refuted4 ,mr4 ,nichols 7in p4 #ddi of his ,anecdotes71 at the same time that he kindly acknowledges ,hogarth's hand was faithful to character1 roundly asserts that as an engraver his merits are inconsiderable2 that he wants clearness2 that his strokes sometimes look as if fortuitously disposed1 and sometimes thwart each other in almost every possible direction4 ,he adds1 that what the artist wanted in skill1 he strove to make up in labour2 but the result of it was a universal haze and indistinctness1 that1 by excluding force and transparency1 rendered several of his larger plates less captivating than they would have been had he entrusted the sole execution of them to either ,ravenet or ,sullivan4 ,this is very severe2 but is it true8 ,if the ,harlot's and ,rake's ,progress1 the ,enraged ,musician1 ,strolling ,actresses1 ,medley1 and many other prints produced by his own graver1 are attentively examined1 ,i think the strokes will not be found to be fortuitously disposed3 every touch tells1 and gives that expression which the artist intended4 ,as to his striving to make up for his want of skill by labour1 ,i believe him to have been a prodigy of industry1 but do not discover the result that is suggested by ,mr4 ,nichols4 ,we may possibly annex different ideas to the words4 ,johnson describes a universal haze as a fog1 a mist2 and indistinctness he defines to be confusion1 uncertainty1 obscurity1--faults which were never attributed to ,william ,hogarth4 ,neither have ,i before heard it said that his prints want force3 energy is in general their leading characteristic4 ,as to transparency1 if ,mr4 ,nichols means that they have not that gauzy1 glittering tone which marks many of our modern productions1 ,i humbly conceive the artist did not desire such distinction2 neither did he wish his works to be classed with such pretty performances3 he was superior to the tricks of art1 rejected all unnecessary flourish1 and aimed at convincing the mind rather than dazzling the eye4 ,the two most difficult things in painting are character and drawing2 and they are least understood by the crowd1 who are invariably attracted by colour and glare4 ,but for my own part1 so far am ,i from thinking his style unsuitable to his subject1 that ,i cannot conceive any manner in which his prints could be engraved that would be equal to his own4 ,i prefer it to the most laboured copies of those miniature masters who1 by fine finishing1 fritter away all force4 ,thus much may suffice for ,mr4 ,nichols1 from whom ,i am sorry to differ1 as ,i owe him thanks for much useful information2 but with the next critic upon the list it is dangerous to disagree4 ,for the talents of ,mr4 ,james ,barry1 ,professor of ,painting to the ,royal ,academy1 ,i have the highest respect2 his pictures in the ,adelphi are an honour to the artist1 and to the nation4 ,in the sixth1 representing the state of final retribution1 he gives ,hogarth a seat in ,elysium2 but in p4 #afb of his description of the picture1 etc4 7published for ,cadell71 he has drawn this great artist in so motley a garb as leaves the reader in some doubt whether censure or praise predominates1 and confers on poor ,hogarth a sort of degrading immortality4 ,the ,professor begins by admitting that ,hogarth's merit entitles him to an honourable place amongst the artists in ,elysium1 and that his little compositions 'tell' their own story with more facility than is often found in the elevated and more noble inventions of ,raphael2 yet adds1 it must be honestly confessed that in what is called knowledge of the figure1 foreigners have justly observed ,hogarth is often so raw and unformed as hardly to deserve the name of an artist4 ,though he is often thus raw and unformed1 yet ,mr4 ,barry acknowledges that this capital defect is not often perceivable1 as examples of the naked and of elevated nature but rarely occur in his subjects1 which are for the most part filled with characters that in their nature tend to deformity4 ,sometimes1 ,i admit2 but surely not for the most part4 ,besides1 his figures are small1 and the junctures and other difficulties of drawing that might occur in their limbs are artfully concealed with their clothes1 rags1 etc4 ,mr4 ,barry surely does not mean that ,hogarth needed any artifice to conceal an ignorance of anatomy1 because ,mr4 ,barry knows that many of his works prove a perfect knowledge of the figure4 ,the ,professor thus continues3-- ,what would atone for all his defects1 even if they were twice told1 is his admirable fund of invention1 ever inexhaustible in its resources2 and his satire1 which is always sharp and pertinent1 and often highly moral1 was 7except in a few instances1 where he weakly and meanly suffered his integrity to give way to his envy7 seldom or never employed in a dishonest or unmanly way4 ,a few instances6 ,i do not believe it possible to point out one4 ,seldom or never6 ,why is the ,professor so parsimonious in his praise8 ,he might safely have said never4 ,it has been the fashion to call ,hogarth an envious man2 ,i cannot conjecture why4 ,the critic surely does not mean to insinuate that there was any violation of integrity in ,hogarth's retaliating the pictured shapes upon ,wilkes and ,churchill1 or that he envied the character of the late worthy ,chamberlain of the city of ,london6 ,mr4 ,barry goes on3 ,few have attempted to rival him in his moral walk4 ,the line of art pursued by my very ingenious predecessor and brother ,academician1 ,mr4 ,penny1 is quite distinct from that of ,hogarth1 and is of a much more delicate and superior relish2 he attempts the heart1 and reaches it1 whilst ,hogarth's general aim is only to shake the sides4 ,whoever will turn over a portfolio of ,hogarth's prints1 will find that his satire had sometimes a higher aim4 ,in other respects no comparison can be thought of1--in good truth1 it cannot1--as ,mr4 ,penny has all that knowledge of the figure and academical skill which the other wanted4 ,can ,mr4 ,barry conceive it possible that posterity will think ,mr4 ,penny's line of art of a superior relish to that of ,hogarth6 ,mr4 ,penny's academical skill ,i do not contest2 but to say that ,hogarth wanted all that knowledge of the figure1 etc41 is rather too much4 ,i know that imperfections may be pointed out in some of his works1 but they had their origin in carelessness rather than ignorance4 ,mr4 ,barry concludes by remarking1 that perhaps it may be reasonably doubted whether the being much conversant with ,hogarth's method of exposing meanness1 deformity1 and vice1 in many of his works1 is not rather a dangerous1 or at least a worthless pursuit2 which1 if it does not find a false relish1 and a love of1 and search after1 satire and buffoonery in the spectator1 is at least not unlikely to give him one4 ,that the ,professor of ,painting1 after acknowledging ,hogarth's satire was highly moral1 should be apprehensive that contemplating such of his works as expose meanness1 deformity1 and vice1 is dangerous1 ,i cannot comprehend6 ,considering their genius1 general good tendency1 and boundless variety1 it would have been more candid to have viewed them through the medium of his beauties1 than thus have distorted his faults1 and reluctantly admitted his merits2 but to such criticism his own works supply a short answer4 ,an instance of this occurred in #agfb1 when the author of the ,north ,briton1 among some other malign remarks1 inserted the following paragraph3--,i have for some time observed ,hogarth's setting sun3 he has long been very dim1 and almost shorn of his beams4 ,a few weeks after the appearance of this candid critique1 ,hogarth published his ,medley1 which1 considered in the first and second state1 has more mind1 and is marked with deeper satire1 than all his other works6 ,by fastidious connoisseurs it has been said that his scenes are sometimes low and vulgar2 but he carried into every subject the energy of genius1 and marked every countenance with the emotions of the soul4 ,he had powers more than equal to ascending into a higher region1 though1 as he might have lost in utility what he gained in dignity1 this adherence to terrestrial objects is not much to be regretted4 ,had he wandered in heathen mythology1 and chosen to people his canvas with demigods instead of the ,harlot's ,progress1 we might have had the ,loves of ,venus and ,adonis2 and in the place of the ,stages of ,cruelty1 the ,labours of ,hercules4 ,to enumerate the little critics that stepped forth with the kind intention of unpluming this eagle tow'ring in his pride of place1 would be waste of ink2 had they succeeded to their wish1 not a feather would have been left in his wing4 ,as an artist1 he might have soared superior to their efforts2 but when he commenced author1 they found him within their reach1 and renewed their attack with redoubled acrimony4 ,mr4 ,wilkes1 in the ,north ,briton above quoted1 calls him the supposed author of the ,analysis4 ,by some he was said to have borrowed a part of the work1 and by others to have stolen the whole2 nay1 ,i have more than once been seriously assured that every line was written by his friends4 ,to this ,i can now reply in a style similar to that of the peripatetic1 who1 being told by a philosopher that there was no such thing as motion1 gravely rose from his seat and walked across the room4 ,i can produce the original manuscript1 with the red chalk corrections by his own hand4#c ,this supplement to that work1 ,hogarth wrote to vindicate himself from these and similar aspersions4 ,in explaining his motives1 he is led into stating his professional opinions2 and in that part which relates to the ,royal ,academy1 predicts that1 on the plan they set out1 the institution could never be of material use to the ,arts4 ,for one who is neither artist1 associate1 nor academician1 to assert that ,hogarth's prophecy is fulfilled1 might be deemed too assuming4 ,but1 with little more claim to connoisseurship than ,i derive from a long and unreserved intimacy with some of the first painters of this country1 ,i am led to fear that the wish their late ,president expressed in his first discourse is not likely to be speedily realized4 ,he hopes that the present age may vie in ,arts with that of ,leo the ,tenth2 and that 'the dignity of the dying ,art' 7to make use of an expression of ,pliny7 may be revived under the reign of ,george the ,third4 ,this discourse was read in #agfi2 yet 7let it not be told in ,gath1 nor whispered in the streets of ,askelon71 when in #agig the students of the ,royal ,academy produced their drawings for the silver medal1 not one of them was found worthy of the prize2 and what 7considering the recent discovery of the ,venetian secret7 was still more strange1 all the pictures sent by the candidates for the prize of painting were rejected1 and voted out of the room6 ,this circumstance the ,professor of ,painting has recorded in his letter to the ,dilettanti ,society1 and candidly admits that the fault does not lie with the students1 but is in the ,institution6 ,if it should be thought that ,hogarth1 in the course of his narration1 seems too tremblingly alive1 and sometimes offended where offence was not meant1 let it be recollected that he must have felt superior to men whom the public preferred4 ,to rank him with ,kent1 ,jervas1 ,highmore1 ,hudson1 ,hayman1 or any of that school of mannerists who figured in the different periods of his life1 is classing a giant among pigmies4 ,his works will bear the relative test of times when the ,arts may be higher than they were then or are now2 and ,i am fully conscious that this ,memoir must derive its principal interest from the celebrity of the artist1 who1 like ,louis de ,camons1 was a distinguished actor in the scenes he describes4 ,,anecdotes ,,of ,,an ,,artist1 ,,who ,,held1 ,,as ',,twere1 ,,the ,,mirror ,,up ,,to ,,nature4 ,,containing ,,many ,,circumstances ,,relative ,,to ,,his ,,life1 ,,and ,,opinions ,,of ,,the ,,arts1 ,,artists1 ,,etc4 ,,of ,,the ,,times ,,in ,,which ,,he ,,lived2 ,,and ,,sundry ,,memoranda ,,relative ,,to ,,his ,,prints4 ,compiled from his ,original ,manuscripts1 in the possession of ,,john ,,ireland4 ,,chapter ,i4 ,,hogarth',s ,,own ,,account ,,of ,,his ,,birth ,,and ,,early ,,education4 ,,reasons ,,for ,,his ,,being ,,apprenticed ,,to ,a ,,silver-,,plate ,,engraver2 ,,with ,,which ,,employment ,,becoming ,,disgusted1 ,,he ,,commences ,,an ,,engraver ,,on ,,copper4 ,,method ,,of ,,study4 ,,the ,,fate ,,of ,,the ,,first ,,print ,,he ,,published1 ,,etc4 ,as many sets of my works have been lately sent to foreign countries1 and others sold to persons who1 from their ignorance of the particular circumstances at which ,i aimed1 have mistaken their meaning and tendency1 ,i have been told that a short account of such parts as are obscure1 or have been most liable to misconstruction1 in those prints that are not noticed in ,mr4 ,rouquet's book1#d would be highly acceptable4 ,i am further told1 that the public have sometimes expressed a curiosity to know what were the motives by which the author was induced to make choice of subjects so different from those of other painters1 and what were his modes of study in a walk which had not been trode by any other man4 ,these reasons will1 ,i hope1 be deemed a sufficient apology for my attempting the following brief history2 in which must necessarily be introduced my opinion of the present state of the arts1 and conduct of contemporary artists1 and a vindication of myself and my productions from the aspersions which they have so liberally bestowed upon each4 ,with respect to my life1--to begin sufficiently early1--,i was born in the city of ,london1 on the #ajth day of ,november #afig1 and baptized the #bhth of the same month4 ,my father's pen1 like that of many other authors1 did not enable him to do more than put me in a way of shifting for myself4 ,as ,i had naturally a good eye and a fondness for drawing1 shows of all sorts gave me uncommon pleasure when an infant2 and mimicry1 common to all children1 was remarkable in me4 ,an early access to a neighbouring painter drew my attention from play1 and ,i was at every possible opportunity employed in making drawings4 ,i picked up an acquaintance of the same turn1 and soon learnt to draw the alphabet with great correctness4 ,my exercises when at school were more remarkable for the ornaments which adorned them1 than for the exercise itself4#e ,in the former ,i soon found that blockheads with better memories could much surpass me1 but for the latter ,i was particularly distinguished4 ,besides the natural turn ,i had for drawing rather than learning languages1 ,i had before my eyes the precarious situation of men of classical education4 ,i saw the difficulties under which my father laboured1 and the many inconveniences he endured from his dependence being chiefly on his pen1 and the cruel treatment he met with from booksellers and printers1 particularly in the affair of a ,latin ,dictionary1#f the compiling of which had been a work of some years4 ,it was deposited in confidence in the hands of a certain printer2 and during the time it was left1 letters of approbation were received from the greatest scholars in ,england1 ,scotland1 and ,ireland4 ,but these flattering testimonies from his acquaintance 7who1 as appears from their letters which ,i have still by me1 were of the first class7 produced no profit to the author4#g ,it was therefore very conformable to my own wishes that ,i was taken from school and served a long apprenticeship to a silver-plate engraver4 ,i soon found this business in every respect too limited4 ,the paintings of ,st4 ,paul's ,cathedral and ,greenwich ,hospital1#h which were at that time going on1 ran in my head1 and ,i determined that silver-plate engraving should be followed no longer than necessity obliged me to it4 ,engraving on copper was1 at twenty years of age1 my utmost ambition4 ,to attain this it was necessary that ,i should learn to draw objects something like nature instead of the monsters of heraldry2 and the common methods of study were much too tedious for one who loved his pleasure and came so late to it1 for the time necessary to learn in the usual mode would leave me none to spare for the ordinary enjoyments of life4 ,this led me to considering whether a shorter road than that usually travelled was not to be found4 ,the early part of my life had been employed in a business rather detrimental than advantageous to those branches of the art which ,i wished to pursue1 and have since professed4 ,i had learned by practice to copy with tolerable exactness in the usual way1 but it occurred to me that there were many disadvantages attending this method of study1 as having faulty originals1 etc42 and even when the pictures or prints to be imitated were by the best masters1 it was little more than pouring water out of one vessel into another4 ,drawing in an academy1 though it should be after the life1 will not make the student an artist2 for as the eye is often taken from the original to draw a bit at a time1 it is possible he may know no more of what he has been copying when his work is finished than he did before it was begun4 ,there may be1 and ,i believe are1 some who1 like the engrossers of deeds1 copy every line without remembering a word2 and if the deed should be in law ,latin or old ,french1 probably without understanding a word of their original1--happy is it for them1 for to retain would be indeed dreadful4 ,a dull transcriber who1 in copying ,milton's ,paradise ,lost1 hath not omitted a line1 has almost as much right to be compared to ,milton as an exact copier of a fine picture by ,rubens hath to be compared to ,rubens4 ,in both cases the hand is employed about minute parts1 but the mind scarcely ever embraces the whole4 ,besides this1 there is an essential difference between the man who transcribes the deed and he who copies the figure2 for though what is written may be line for line the same with the original1 it is not probable that this will often be the case with the copied figure3 frequently far from it4 ,yet the performer will be much more likely to retain a recollection of his own imperfect work than of the original from which he took it4 ,more reasons1 not necessary to enumerate1 struck me as strong objections to this practice1 and led me to wish that ,i could find the shorter path2 fix forms and characters in my mind1 and1 instead of copying the lines1 try to read the language1 and1 if possible1 find the grammar of the art1 by bringing into one focus the various observations ,i had made1 and then trying by my power on the canvas how far my plan enabled me to combine and apply them to practice4 ,for this purpose ,i considered what various ways1 and to what different purposes1 the memory might be applied1 and fell upon one which ,i found most suitable to my situation and idle disposition4 ,laying it down first as an axiom1 that he who could by any means acquire and retain in his memory perfect ideas of the subjects he meant to draw1 would have as clear a knowledge of the figure as a man who can write freely hath of the twenty-four letters of the alphabet and their infinite combinations 7each of these being composed of lines71 and would consequently be an accurate designer4 ,this ,i thought my only chance for eminence1 as ,i found that the beauty and delicacy of the stroke in engraving was not to be learnt without much practice1 and demanded a larger portion of patience than ,i felt myself disposed to exercise4 ,added to this1 ,i saw little probability of acquiring the full command of the graver in a sufficient degree to distinguish myself in that walk2 nor was ,i1 at twenty years of age1 much disposed to enter on so barren and unprofitable a study as that of merely making fine lines4 ,i thought it still more unlikely1 that by pursuing the common method and copying old drawings1 ,i could ever attain the power of making new designs1 which was my first and greatest ambition4 ,i therefore endeavoured to habituate myself to the exercise of a sort of technical memory2 and by repeating in my own mind the parts of which objects were composed1 ,i could by degrees combine and put them down with my pencil4 ,thus1 with all the drawbacks which resulted from the circumstances ,i have mentioned1 ,i had one material advantage over my competitors1 viz4 the early habit ,i thus acquired of retaining in my mind's eye1 without coldly copying it on the spot1 whatever ,i intended to imitate4#i ,sometimes1 but too seldom1 ,i took the life for correcting the parts ,i had not perfectly enough remembered1 and then ,i transferred them to my compositions4 ,my pleasures and my studies thus going hand in hand1 the most striking objects that presented themselves1 either comic or tragic1 made the strongest impression on my mind2 but had not ,i sedulously practised what ,i had thus acquired1 ,i should very soon have lost the power of performing it4 ,instead of burdening the memory with musty rules1 or tiring the eyes with copying dry and damaged pictures1 ,i have ever found studying from nature the shortest and safest way of attaining knowledge in my art4#aj ,by adopting this method ,i found a redundancy of matter continually occurring4 ,a choice of composition was the next thing to be considered1 and my constitutional idleness#aa naturally led me to the use of such materials as ,i had previously collected2 and to this ,i was further induced by thinking that1 if properly combined1 they might be made the most useful to society1 in painting1 although similar subjects had often failed in writing and preaching4 ,to return to my narrative3 the instant ,i became master of my own time1 ,i determined to qualify myself for engraving on copper4 ,in this ,i readily got employment2 and frontispieces to books1 such as prints to ,hudibras1 in twelves1 etc41 soon brought me into the way4 ,but the tribe of booksellers remained as my father had left them when he died about five years before this time1#ab which was of an illness occasioned partly by the treatment he met with from this set of people1 and partly by disappointment from great men's promises2 so that ,i doubly felt this usage1 which put me upon publishing on my own account4 ,but here again ,i had to encounter a monopoly of printsellers equally mean and destructive to the ingenious2 for the first plate ,i published1 called the ',taste of the ,town1' in which the reigning follies were lashed1 had no sooner begun to take a run1 than ,i found copies of it in the print-shops1 vending at half price1 while the original prints were returned to me again2 and ,i was thus obliged to sell the plate for whatever these pirates pleased to give me1 as there was no place of sale but at their shops4 ,owing to this and other circumstances1 by engraving1 until ,i was near thirty1 ,i could do little more than maintain myself2 but even then ,i was a punctual paymaster4 ,the print here alluded to1 ,i apprehend to be that now entitled the ,small ,masquerade ,ticket1 or ,burlington ,gate1 published in #agbd1 in which the follies of the town are very severely satirized by the representation of multitudes1 properly habited1 crowding to the masquerade1#ac opera1 pantomime of ,doctor ,faustus1 etc41 while the works of our greatest dramatic writers are trundled through the streets in a wheel-barrow1 and cried as waste paper for shops4 ,as a further illustration of the taste of the times1 the artist has given a view of ,burlington ,gate1 with a figure1 ,i believe1 intended to represent the then fashionable artist1 ,william ,kent1 on the summit1 brandishing his palette and pencils1 and placed in a more elevated situation than either ,michael ,angelo or ,raphael1 who1 seated beneath1 become the two supporters to this favourite of ,lord ,burlington4 ,to this popular artist1 architect1 and improver of gardens1 ,hogarth seems to have had an early dislike1 founded in some degree on his being1 as he really was1 a most contemptible painter2 and probably heightened by his ranking higher1 with those who led the fashion of the day1 than that very superior artist1 ,sir ,james ,thornhill4 ,hogarth the year following published his ,,copy ,,of ,,kent',s ,,altar-,,piece1#ad ,illustration3 ,,kent',s ,,altar-,,piece which1 combined with the inscription engraved beneath1 is a very bitter satire on the painter2 though it must be acknowledged that the original1 which has been for many years in the vestry-room of ,st4 ,clement ,danes1 amply justifies the ridicule4 ,this picture produced a small tract1 with the following title3-- ,a letter from a parishioner of ,st4 ,clement ,danes1 to ,edmund 7,gibson71 ,lord ,bishop of ,london1 occasioned by his ,lordship's causing the picture over the altar to be taken down1 with some observations on the use and abuse of church paintings in general1 and of that picture in particular4 ,in this tract1 after some compliments to the prelate1 the writer works himself into a violent rage at the introduction of this piece of popish foppery1 and asks some questions which in a degree elucidate part of the inscription under ,hogarth's copy3-- ,to what end or purpose was it put there1 but to affront our most gracious sovereign1 by placing at our very altar the known resemblance of a person who is the wife of his utter enemy1 and pensioner to the whore of ,babylon8 ,when ,i say the known resemblance1 ,i speak not only according to my own knowledge1 but appeal to all mankind who have seen the ,princess ,sobieski1 or any picture or resemblance of her1 if the picture of that angel in the white garment and blue mantle1 which is there supposed to be beating time to the music1 is not directly a great likeness of that princess4 ,whether it was done by chance or on purpose1 ,i shall not determine2 but be it which it will1 it has given great offence1 and your ,lordship has acted the part of a wise and good prelate to order its removal4 ,it was probably during the time of ,hogarth's apprenticeship that he engraved the annexed print1 entitled ,,the ,,rape ,,of ,,the ,,lock4 ,illustration3 ,,the ,,rape ,,of ,,the ,,lock4 ,i by no means think1 as ,mr4 ,nichols asserts1 that this is one of the poorest of ,hogarth's performances2 for though slight1 and not intended to be impressed on paper1 the air of the figures is easy1 and the faces1 especially those of ,sir ,plume and the heroine of the story1 extremely characteristic4 ,it is said to have been engraven on the lid of a snuff-box for some gentleman characterized in ,pope's admirable mock-heroic poem1 probably ,lord ,petre1 who is here represented as holding the lock of hair in his left hand4 ,sir ,plume1--the round-faced and insignificant ,sir ,plume1-- ,of amber snuff-box justly vain1 ,and the nice conduct of a clouded cane2 for ,sir ,george ,brown1 who was the only one of the party that took the thing serious4 ,he was angry that the poet should make him talk nothing but nonsense2 and1 in truth 7as ,mr4 ,warburton adds71 one could not well blame him4 ,as this little story was intended to be viewed on gold1 the figures in the copy are not reversed1 but left as they were originally engraven on the box2 from which ,i believe there are only three impressions extant1 one of which was sold by ,greenwood at ,mr4 ,gulston's sale1 on the #gth of ,february #aghf1 for #cc4 ,the following account of the persons for whom ,hogarth painted several of his early pictures is copied from his own handwriting1 and may sometimes be useful in tracing the pedigree of a portrait4 ,by this list1 it appears that the two pictures of ,before and ,after were painted for a ,mr4 ,thomson2 but as it is not probable that ,hogarth delineated this subject twice1 ,i think that these two pictures were the property of the late ,lord ,besborough4 ,they were sold on his ,lordship's demise1 in ,february #ahja1 at ,christie's rooms4 ,account taken1 ,january #a1 #agca1 of all the pictures that remain unfinished4--,half payment received4 ,a family piece1 consisting of four figures1 for ,mr4 ,rich1 #agbh4 ,an assembly of twenty-five figures1 for ,lord ,castlemain1 ,august #bh1 #agbi4 ,family of four figures2 ,mr4 ,wood1 #agbh4 ,a conversation of six figures2 ,mr4 ,cock1 ,nov4 #agbh4 ,a family of five figures2 ,mr4 ,jones1 ,march #agcj4 ,the ,committee of the ,house of ,commons1 for ,sir ,archibald ,grant1 ,nov4 #e1 #agbi4 ,the ,beggar's ,opera2 ditto4 ,single figure2 ,mr4 ,kirkham1 ,april #ah1 #agcj4 ,family of nine2 ,mr4 ,vernon1 ,feb4 #bg1 #agcj4 ,another of two2 ,mr4 ,cooper4 ,another of five2 ,duke of ,montague4 ,two little pictures2 ditto4 ,single figure2 ,sir ,robert ,pye1 ,nov4 #ah1 #agcj4 ,two little pictures1 called ,before and ,after1 for ,mr4 ,thomson1 ,dec4 #g1 #agcj4 ,a head1 for ,mr4 ,sarmond1 ,jan4 #ab1 #agcj-ca4 ,pictures bespoke for the present year #agca4 ,with this his memorandum ends2 and ,i regret that he has not recorded the prices he received for the pictures4 ,mr4 ,nichols conjectures that they were originally very low2 he is most probably right with respect to those that were painted in the early part of ,hogarth's life4 ,but let it be recollected that for the portrait of ,garrick in ,richard ,,iii4 he received two hundred pounds1 which1 as the artist himself remarks1 was a more liberal remuneration than had been paid to any contemporary painter4 ,when my late friend ,mr4 ,gainsborough began to paint portraits at ,bath 7at a period when much higher prices were paid71 his general rule was five guineas for a three-quarters portrait4 ,below is inserted a copy from one of ,hogarth's early engravings1 the arms of the ,duchess of ,kendal1 mistress to ,george ,i41 probably done on a piece of plate at the time he was ,gamble's apprentice4 ,the original1 of the same size1 is in the ,editor's possession4 ,it is drawn in a correct and spirited style2 and considering the age of the artist1 and the purpose for which it was engraven1 not demanding much attention or exertion1 gave some promise of the excellence which he afterwards attained4 ,in this point of view1 to an admirer of ,hogarth it becomes in some degree interesting1 which will1 ,i hope1 plead my apology for the insertion of this solitary specimen of his boyish heraldry4 ,on no other ground should so insignificant a production as a coat of arms have found a place in this volume4 ,illustration3 ,,the ,,kendal ,,arms4 ,,chapter ,,ii4 ,,marries4 ,,paints ,,small ,,conversations1 ,,which ,,subjects ,,he ,,quits ,,for ,,familiar ,,prints4 ,,attempts ,,history2 ,,but ,,finding ,,it ,,is ,,not ,,encouraged ,,in ,,england1 ,,returns ,,to ,,engraving ,,from ,,his ,,own ,,designs4 ,,occasionally ,,takes ,,portraits ,,large ,,as ,,life1 ,,for ,,which ,,he ,,incurs ,,much ,,abuse4 ,,to ,,prove ,,his ,,powers ,,and ,,vindicate ,,his ,,fame1 ,,paints ,,the ,,admirable ,,portrait ,,of ,,captain ,,coram1 ,,and ,,presents ,,it ,,to ,,the ,,foundling ,,hospital4 ,i then married1 and commenced painter of small conversation pieces1 from twelve to fifteen inches high4 ,this having novelty1 succeeded for a few years4 ,but though it gave somewhat more scope to the fancy1 was still but a less kind of drudgery2 and as ,i could not bring myself to act like some of my brethren1 and make it a sort of a manufactory to be carried on by the help of background and drapery painters1 it was not sufficiently profitable to pay the expenses my family required4 ,i therefore turned my thoughts to a still more novel mode1 viz4 painting and engraving modern moral subjects1 a field not broken up in any country or any age4 ,the reasons which induced me to adopt this mode of designing were1 that ,i thought both writers and painters had1 in the historical style1 totally overlooked that intermediate species of subjects which may be placed between the sublime and grotesque2 ,i therefore wished to compose pictures on canvas1 similar to representations on the stage1 and further hope that they will be tried by the same test1 and criticised by the same criterion4 ,let it be observed1 that ,i mean to speak only of those scenes where the human species are actors1 and these ,i think have not often been delineated in a way of which they are worthy and capable4 ,in these compositions1 those subjects that will both entertain and improve the mind bid fair to be of the greatest public utility1 and must therefore be entitled to rank in the highest class4 ,if the execution is difficult 7though that is but a secondary merit71 the author has a claim to a higher degree of praise4 ,if this be admitted1 comedy in painting as well as writing ought to be allotted the first place1 as most capable of all these perfections1 though the sublime1 as it is called1 has been opposed to it4 ,ocular demonstration will carry more conviction to the mind of a sensible man1 than all he would find in a thousand volumes2 and this has been attempted in the prints ,i have composed4 ,let the decision be left to every unprejudiced eye2 let the figures in either pictures or prints be considered as players dressed either for the sublime1--for genteel comedy1#ae or farce1--for high or low life4 ,i have endeavoured to treat my subjects as a dramatic writer3 my picture is my stage1 and men and women my players1 who by means of certain actions and gestures are to exhibit a dumb show4 ,before ,i had done anything of much consequence in this walk1 ,i entertained some hopes of succeeding in what the puffers in books call the great style of history painting2 so that without having had a stroke of this grand business before1 ,i quitted small portraits and familiar conversations1 and with a smile at my own temerity1 commenced history painter1 and on a great staircase at ,st4 ,bartholomew's ,hospital painted two ,scripture stories 7the ',pool of ,bethesda' and the ',good ,samaritan'71 with figures seven feet high4 ,these ,i presented to the charity1#af and thought they might serve as a specimen to show that were there an inclination in ,england for encouraging historical pictures1 such a first essay might prove the painting them more easily attainable than is generally imagined4 ,but as religion1 the great promoter of this style in other countries1 rejected it in ,england1 ,i was unwilling to sink into a portrait manufacturer2 and1 still ambitious of being singular1 dropped all expectations of advantage from that source1 and returned to the pursuit of my former dealings with the public at large4 ,this ,i found was most likely to answer my purpose1 provided ,i could strike the passions1 and by small sums from many1 by the sale of prints which ,i could engrave from my own pictures1 thus secure my property to myself4 ,in pursuing my studies1 ,i made all possible use of the technical memory which ,i have before described1 by observing and endeavouring to retain in my mind lineally such objects as best suited my purpose2 so that be where ,i would1 while my eyes were open1 ,i was at my studies1 and acquiring something useful to my profession4 ,by this means1 whatever ,i saw1 whether a remarkable incident or a trifling subject1 became more truly a picture than one that was drawn by a camera-obscura4 ,and thus the most striking objects1 whether of beauty or deformity1 were by habit the most easily impressed and retained in my imagination4 ,a redundancy of matter being by this means acquired1 it is natural to suppose ,i introduced it into my works on every occasion that ,i could4 ,by this idle way of proceeding ,i grew so profane as to admire nature beyond the first productions of art1 and acknowledged ,i saw1 or fancied1 delicacies in the life so far surpassing the utmost efforts of imitation1 that when ,i drew the comparison in my mind1 ,i could not help uttering blasphemous expressions against the divinity even of ,raphael ,urbino1 ,correggio1 and ,michael ,angelo4 ,for this1 though my brethren have most unmercifully abused me1 ,i hope to be forgiven4 ,i confess to have frequently said1 that ,i thought the style of painting which ,i had adopted1 admitting that my powers were not equal to doing it justice1 might one time or other come into better hands1 and be made more entertaining and more useful than the eternal blazonry and tedious repetition of hackneyed1 beaten subjects1 either from the ,scriptures or the old ridiculous stories of heathen gods2 as neither the religion of one or the other requires promoting among ,protestants1 as it formerly did in ,greece1 and at a later period in ,rome4#ag ,for these and other heretical opinions1 as ,i have before observed1 ,i was deemed vain1 and accused of enviously attempting what ,i was unable to execute4 ,the chief things that have brought much obloquy on me are3 ,first1 the attempting portrait-painting2 ,secondly1 writing the ,analysis of ,beauty2 ,thirdly1 painting the picture of ',sigismunda2' and1 ,fourthly1 publishing the first print of ',the ,times4' ,in the ensuing pages it shall be my endeavour to vindicate myself from these aspersions1 and each of the subjects taken in the order they occurred shall be occasionally interspersed with some thoughts by the way on the state of the arts1 institution of a ,royal ,academy1 ,society of ,arts1 etc41 as being remotely1 if not immediately1 connected with my own pursuits4 ,though small whole lengths and prints of familiar conversations were my principal pursuit1 yet by those who were partial to me ,i was sometimes employed to paint portraits as large as life1 and for this ,i was most barbarously abused4 ,my opponents acknowledged1 that in the particular branches to which ,i had devoted my attention ,i had some little merit2 but as neither history nor portrait were my province1 nothing but what they were pleased to term extreme vanity could induce me to attempt either one or the other2 for it would be interfering in that branch of which ,i had no knowledge1 and in which ,i had therefore no concern4 ,at this ,i was rather piqued1 and1 as well as ,i could1 defended my conduct and explained my motives4 ,some part of this defence it will be necessary to repeat2 and it will also be proper to recollect1 that after having had my plates pirated in almost all sizes1 ,i1 in #agce1 applied to ,parliament for redress1 and obtained it in so liberal a manner as hath not only answered my own purpose1 but made prints a considerable article in the commerce of this country2 there being now more business of this kind done here than in ,paris1 or anywhere else1 and as well4 ,the dealers in pictures and prints found their craft in danger by what they called a new-fangled innovation4 ,their trade of living and getting fortunes by the ingenuity of the industrious has1 ,i know1 suffered much by my interference2 and if the detection of this band of public cheats and oppressors of the rising artists be a crime1 ,i confess myself most guilty4 ,to put this matter in a fair point of view1 it will be necessary to state the situation of the arts and artists at this period4 ,in doing which1 ,i shall probably differ from every other author1 as ,i think the books hitherto written on the subject have had a tendency to confirm prejudice and error1 rather than diffuse information and truth4 ,my notions of painting differ not only from those who have formed their opinions from books1 but from those who have taken them upon trust4 ,i am therefore under the necessity of submitting to the public what may possibly be deemed peculiar opinions1 but without the least hope of bringing over either men whose interests are concerned1 or who implicitly rely upon the authority of a tribe of picture dealers and puny judges that delight in the marvellous1 and determine to admire what they do not understand2 but ,i have hope of succeeding a little with such as dare to think for themselves1 and can believe their own eyes4 ,as introductory to the subject1 let us begin with considering that branch of the art which is termed still life--a species of painting which ought to be held in the lowest estimation4 ,whatever is or can be perfectly fixed1 from the plainest to the most complicated object1 from a bottle and glass to a statue of the human figure1 may be denominated still life4 ,ship and landscape painting ought unquestionably to come into the same class2 for if copied exactly as they chance to appear1 the painters have no occasion of judgment2 yet with those who do not consider the few talents necessary1 even this tribe sometimes pass for very capital artists4 ',well painted1 and finely pencilled6' are phrases perpetually repeated by coach and sign painters4 ,merely well painted or pencilled is chiefly the effect of much practice2 and we frequently see that those who are in these particulars very excellent cannot advance a step further4 ,as to portrait-painting1 the chief branch of the art by which a painter can procure himself a tolerable livelihood1 and the only one by which a lover of money can get a fortune2 a man of very moderate talents may have great success in it1 as the artifice and address of a mercer is infinitely more useful than the abilities of a painter4 ,by the manner in which the present race of professors in ,england conduct it1 that also becomes still life as much as any of the preceding4 ,admitting that the artist has no further view than merely copying the figure1 this must be admitted to its full extent2 for the sitter ought to be still as a statue1 and no one will dispute a statue being as much still life as fruit1 flowers1 a gallipot1 or a broken earthen pan4 ,it must1 indeed1 be acknowledged they do not seem ashamed of the title1 for their figures are frequently so executed as to be as still as a post4 ,posture and drapery1 as it is called1 is usually supplied by a journeyman1 who puts a coat1 etc4 on a wooden figure like a jointed doll1 which they call a layman1 and copies it in every fold as it chances to come2 and all this is done at so easy a rate1 as enables the principal to get more money in a week than a man of the first professional talents can in three months4 ,if they have a sufficient quantity of silks1 satins1 and velvets to dress their layman1 they may thus carry on a very profitable manufactory without a ray of genius4 ,there is a living instance well known to the connoisseurs in this town1 of one of the best copiers of pictures1 particularly those by ,rubens1 who is almost an idiot4#ah ,mere correctness1 therefore1 if in still life1 from an apple or a rose1 to the face1--nay1 even the whole figure1 if you take it merely as it presents itself1--requires only an exact eye and an adroit hand4 ,their pattern is before them1 and much practice with little study is usually sufficient to bring them into high vogue4 ,by perpetual attention to this branch only1 one should imagine they would attain a certain stroke--quite the reverse2 for though the whole business lies in an oval of four inches long1 which they have before them1 they are obliged to repeat and alter the eyes1 mouth1 and nose1 three or four times before they can make it what they think right4 ,the little praise due to their productions ought1 in most cases1 to be given to the drapery-man1 whose pay is only one part in ten1 while the other nine1 as well as all the reputation1 is engrossed by the master phiz-monger for a proportion which he may complete in five or six hours2 and even this1 little as it is1 gives him so much importance in his own eyes1 that he assumes a consequential air1 sets his arms akimbo1 and1 strutting among the historical artists1 cries1 ',how we apples swim6' ,for men who drudge in this mechanical part merely for gain1 to commence dealers in pictures is natural4 ,in this1 also1 great advantage may accrue from the labour and ingenuity of others4 ,they stand in the catalogue of painters2 and having little to study in their own way1 become great connoisseurs1 not in the points where real perfection lies1 for there they must be deficient1 as their ideas have been confined to the oval2 but their great inquiry is1 how the old masters stand in the public estimation1 that they may regulate their prices accordingly1 both in buying and selling4 ,you may know these painter-dealers by their constant attendance at auctions4 ,they collect under pretence of a love for the arts1 but sell1 knowing the reputation they have stamped on the commodity they have once purchased1 in the opinion of the ignorant admirer of pictures1 drawings1 and prints1 which1 thus warranted1 almost invariably produce them treble their original purchase money1 and treble their real worth4 ,unsanctioned by their authority1#ai and unascertained by tradition1 the best preserved and highest finished picture 7though it should have been painted by ,raphael7 will not1 at a public auction1 produce five shillings2 while a despicable1 damaged1 and repaired old canvas1 sanctioned by their praise1 shall be purchased at any price1 and find a place in the noblest collections4 ,all this is very well understood by the dealers1 who1 on every occasion where their own interest is concerned1 are wondrously loquacious in adoring the mysterious beauties6 spirited touches6 brilliant colours6 and the ,lord knows what1 of these ancient worn-out wonders6 ,but whoever should dare to hint that 7admitting them to be originally painted by ,raphael7 there is little left to admire in them1 would be instantly stigmatized as vilifying the great masters1 and1 to invalidate his judgment1 accused of envy and self-conceit4 ,by these misrepresentations1 if he has an independent fortune1 he only suffers the odium2 but if a young man1 without any other property than his talents1 presumes boldly to give an opinion1 he may be undone by his temerity2 for the whole herd will unite and try to hunt him down4 ,such is the situation of the arts and artists at this time4 ,credulity1--an implicit confidence in the opinions of others1--and not daring to think for themselves1 leads the whole town into error1 and thus they become the prey of ignorant and designing knaves4 ,with respect to portrait-painting1 whatever talents a professor may have1 if he is not in fashion1 and cannot afford to hire a drapery-man1 he will not do2 but if he is in vogue1 and can employ a journeyman and place a layman in the garret of his manufactory1 his fortune is made1 and1 as his two coadjutors are kept in the background1 his own fame is established4 ,if a painter comes from abroad1 his being an exotic will be much in his favour2 and if he has address enough to persuade the public that he had brought a new discovered mode of colouring1 and paints his faces all red1 all blue1 or all purple1 he has nothing to do but to hire one of these painted tailors as an assistant1 for without him the manufactory cannot go on1 and my life for his success4 ,vanloo1#bj a ,french portrait-painter1 being told that the ,english were to be cajoled by any one who had a sufficient portion of assurance1 came to this country1 set his trumpeters to work1 and by the assistance of puffing monopolized all the people of fashion in the kingdom4 ,down went at once 991--991--991--991--991-- etc4 etc4 etc41#ba painters who before his arrival were highly fashionable and eminent1 but by this foreign interloper were driven into the greatest distress and poverty4 ,by this inundation of folly and fuss1 ,i must confess ,i was much disgusted1 and determined to try if by any means ,i could stem the torrent1 and 'by opposing end it4' ,i laughed at the pretensions of these quacks in colouring1 ridiculed their productions as feeble and contemptible1 and asserted that it required neither taste nor talents to excel their most popular performances4 ,this interference excited much enmity1 because1 as my opponents told me1 my studies were in another way4 ,you talk1 added they1 with ineffable contempt of portrait-painting2 if it is so easy a task1 why do not you convince the world by painting a portrait yourself8 ,provoked at this language1 ,i one day at the ,academy in ,st4 ,martin's ,lane put the following question3 ,supposing any man at this time were to paint a portrait as well as ,vandyke1 would it be seen or acknowledged1 and could the artist enjoy the benefit or acquire the reputation due to his performance8 ,they asked me in reply if ,i could paint one as well8 and ,i frankly answered1 ',i believed ,i could4'#bb ,my query as to the credit ,i should obtain if ,i did1 was replied to by ,mr4 ,ramsay1 and confirmed by the president and about twenty members present3 ',our opinions must be consulted1 and we will never allow it4' ,piqued at this cavalier treatment1 ,i resolved to try my own powers2 and if ,i did what ,i attempted1 determined to affirm that ,i had done it4 ,in this decided manner ,i had a habit of speaking2 and if ,i only did myself justice1 to have adopted half words would have been affectation4 ,vanity1 as ,i understand it1 consists in affirming you have done that which you have not done1 not in frankly asserting what you are convinced is truth4 ,a watchmaker may say1 ',the watch which ,i have made for you is as good as ,quare1 or ,tompion1 or any other man could have made4' ,if it really is so1 he is neither called vain nor branded with infamy1 but deemed an honest and fair man for being as good as his word4 ,why should not the same privilege be allowed to a painter8 ,the modern artist1 though he will not warrant his works as the watchmaker1 has the impudence to demand twice as much money for painting them as was charged by those whom he acknowledges his superiors in the art4 ,of the mighty talents said to be requisite for portrait-painting ,i had not the most exalted opinion1 and thought that1 if ,i chose to practise in this branch1 ,i could at least equal my contemporaries1 for whose glittering productions ,i really had not much reverence4 ,in answer to this there are who will say with ,peachum in the play1 ',all professions be-rogue one another2' but let it be taken into the account that men with the same pursuits are naturally rivals1 and when put in competition with each other must necessarily be so1--what racer ever wished that his opponent might outrun him8 what boxer ever chose to be beat in pure complaisance to his antagonist8 ,the artist who pretends to be pleased and gratified when he sees himself excelled by his competitor must have lost all reverence for truth1 or be totally dead to that spirit which ,i believe to be one great source of excellence in all human attempts2 and if he is so polite and civil as to confess superiority in one he knows to be his inferior1 he must be either a fool or an hypocrite1 perhaps both4 ,if he has temper enough to be silent1 it is surely sufficient2 but this ,i have seldom seen1 even amongst the most complaisant and liberal of the faculty4 ,those who will honestly speak their feelings must confess that all this is natural to man4 ,one of the highest gratifications of superiority arises from the pleasure which attends instructing men who do not know so much as ourselves2 but when they verge on being rivals1 the pleasure in a degree ceases4 ,hence the story of ,rubens advising ,vandyke to paint horses and faces1 to prevent1 as it is said1 his being put in competition with himself in history-painting4 ,had either of these great artists lived in ,england at this time1 they would have found men of very moderate parts--mere face painters--who1 if they chanced to be in vogue1 might with ease get a thousand a year1 when they with all their talents would scarcely have found employment4 ,to return to my dispute with ,mr4 ,ramsay on the abilities necessary for portrait-painting3 as ,i found the performances of professors in this branch of the art were held in such estimation1 ,i determined to have a brush at it4 ,i had occasionally painted portraits2 but as they required constant practice to take a likeness with facility1 and the life must not be rigidly followed1 my portraitures met with a fate somewhat similar to those of ,rembrandt4 ,by some they were said to be nature itself1 by others declared most execrable2 so that time only can decide whether ,i was the best or the worst face painter of my day1 for a medium was never so much as suggested4 ,the portrait which ,i painted with most pleasure1 and in which ,i particularly wished to excel1 was that of ,captain ,coram1 for the ,foundling ,hospital2 and if ,i am so wretched an artist as my enemies assert1 it is somewhat strange that this1 which was one of the first ,i painted the size of life1 should stand the test of twenty years' competition1 and be generally thought the best portrait in the place1 notwithstanding the first painters in the kingdom exerted all their talents to vie with it4#bc ,to this ,i refer ,mr4 ,rams-eye#bd and his quick-sighted and impartial coadjutors4 ,,captain ,,thomas ,,coram was born in the year #affh1 bred to the sea1 and passed the first part of his life as master of a vessel trading to the colonies4 ,while he resided in the vicinity of ,rotherhithe1 his avocations obliging him to go early into the city and return late1 he frequently saw deserted infants exposed to the inclemencies of the seasons1 and through the indigence or cruelty of their parents left to casual relief or untimely death4 ,this naturally excited his compassion1 and led him to project the establishment of an hospital for the reception of exposed and deserted young children2 in which humane design he laboured more than seventeen years1 and at last1 by his unwearied application1 obtained the ,royal ,charter1 bearing date the #agth of ,october #agci1 for its incorporation4 ,he was highly instrumental in promoting another good design1 viz4 the procuring a bounty upon naval stores imported from the colonies to ,georgia and ,nova ,scotia4 ,but the charitable plan which he lived to make some progress in1 though not to complete1 was a scheme for uniting the ,indians in ,north ,america more closely with the ,british ,government1 by an establishment for the education of ,indian girls4 ,indeed1 he spent a great part of his life in serving the public1 and with so total a disregard to his private interest1 that in his old age he was himself supported by a pension of somewhat more than an hundred pounds a year1#be raised for him at the solicitation of ,sir ,sampson ,gideon and ,dr4 ,brocklesby1 by the voluntary subscriptions of public-spirited persons1 at the head of whom was the late ,frederick ,prince of ,wales4 ,on application being made to this venerable and good old man to know whether a subscription being opened for his benefit would not offend him1 he gave this noble answer3 ,i have not wasted the little wealth of which ,i was formerly possessed in self-indulgence or vain expenses1 and am not ashamed to confess that in this my old age ,i am poor4 ,this singularly humane1 persevering1 and memorable man died at his lodgings near ,leicester ,square1 ,march #bi1 #agea1 and was interred1 pursuant to his own desire1 in the vault under the chapel of the ,foundling ,hospital1 where an historic epitaph records his virtues1 as ,hogarth's portrait has preserved his honest countenance4 ,hogarth thus resumes his narrative3-- ,for the portrait of ,mr4 ,garrick in ,richard ,,iii4 ,i was paid two hundred pounds#bf 7which was more than any ,english artist ever received for a single portrait71 and that1 too1 by the sanction of several painters who had been previously consulted about the price1 which was not given without mature consideration4 ,notwithstanding all this1 the current remark was1 that portraits were not my province1 and ,i was tempted to abandon the only lucrative branch of my art1 for the practice brought the whole nest of phiz-mongers on my back1 where they buzzed like so many hornets4 ,all these people have their friends1 whom they incessantly teach to call my women harlots1 my ',essay on ,beauty' borrowed1#bg and my composition and engraving contemptible4 ,this so much disgusted me1 that ,i sometimes declared ,i would never paint another portrait1 and frequently refused when applied to2 for ,i found by mortifying experience1 that whoever would succeed in this branch must adopt the mode recommended in one of ,gay's fables1 and make divinities of all who sit to him4#bh ,whether or not this childish affectation will ever be done away1 is a doubtful question3 none of those who have attempted to reform it have yet succeeded2 nor1 unless portrait-painters in general become more honest1 and their customers less vain1 is there much reason to expect they ever will4 ,though thus in a state of warfare with his brother artists1 he was occasionally gratified by the praise of men whose judgment was universally acknowledged1 and whose sanction became an higher honour1 from its being neither lightly nor indiscriminately given4 ,the following letter from the facetious ,mr4 ,george ,faulkner notices the estimation in which the author of ,the ,battle of the ,books held the painter of ,the ,battle of the ,pictures3-- ,to ,mr4 ,william ,hogarth1 at his house in ,leicester ,fields1 ,london4 ,,sir1--,i was favoured with a letter from ,mr4 ,delany1 who tells me that you are going to publish three prints4#bi ,your reputation here is sufficiently known to recommend anything of yours1 and ,i shall be glad to serve you4 ,the duty on prints is ten per cent4 in ,ireland4 ,you may send me fifty sets1 provided you will take back what ,i cannot sell4 ,i desire no other profit than what you allow in ,london to those who sell them again4 ,i have often the favour of drinking your health with ,doctor ,swift1 who is a great admirer of yours1 and hath made mention of you in his poems with great honour1#cj and desired me to thank you for your kind present1 and to accept of his service4--,i am1 ,sir1 your most obedient and most humble servant1 ,,george ,,faulkner4 ,,dublin1 ,nov4 #ae1 #agdj4 ,hogarth about this time painted the portrait of ,dr4 ,benjamin ,hoadley1 ,bishop of ,winchester1 which1 though rather ,french1 is in a grand style4 ,concerning it1 ,dr4 ,john ,hoadley wrote the following whimsical epistle to the artist3-- ,to ,mr4 ,wm4 ,hogarth4 ,,dear ,,billy4--,you were so kind as to say you would touch up the ,doctor if ,i would send it to town4 ,lo6 it is here4 ,i am at ,alresford for a day or two1 to shear my flock and to feed 'em 7money1 you know1 is the sinews of war72 and having this morning taken down all my pictures1 in order to have my room painted1 ,i thought ,i might as well pack up ,dr4 ,benjamin1 and send him packing to ,london4 ,my love to him1 and desire him1 when his wife says he looks charmingly1 to drive immediately to ,leicester ,fields 7,square ,i mean1 ,i beg your pardon71 and sit an hour or two1 or three1 in your painting-room4 ,do not set it by and forget it now1--don't you4 ,my humble service waits upon ,mrs4 ,hogarth1 and all good wishes upon your honour2 and ,i am1 dear ,sir1 your obliged and affectionate ,j4 ,,hoadley4 ,illustration3 7end of section floral icon7 ,,chapter ,,iii4 ,,of ,,academies4 ,,hogarth',s ,,opinion ,,of ,,that ,,now ,,denominated ,,royal2 ,,and ,,of ,,the ,,society ,,for ,,the ,,encouragement ,,of ,,arts1 ,,manufactures1 ,,and ,,commerce1 ,,giving ,,premiums ,,for ,,pictures ,,and ,,drawings4 ,among ,hogarth's loose papers ,i found the rough draft of a letter 7addressed but not directed7 to a nobleman1 declaring his disapprobation of a scheme by which certain projectors were endeavouring to establish a ,royal ,academy1 and stating that he had a plan which would be much more useful4 ,i do not know that he ever sent the epistle1 or admitting he did1 that it was honoured with an answer4 ,but as ,i think it probable he had given the subject some consideration1 with the hope of bringing his project to bear1 and that in the following pages relative to the ,royal ,academy he has stated what he meant to have said to the ,peer1 ,i have inserted it3-- ,,my ,,lord1--,mr4 ,martin has informed me that when some of my thoughts relative to the establishment of a public academy are put into writing1 you will peruse them4 ,i have made a rough sketch1 but to fit it for inspection will require much time1 which it will be needless to take till ,i have your ,lordship's opinion on two or three leading points on which the whole will turn1 and which ,i cannot with propriety commit to paper4 ,a verbal statement of them will not take up more than half an hour2 and if1 when known1 they are not concurred in1 ,i will not take up your ,lordship's time by arguing on their propriety4 ,but ,i am vain enough to think1 that though ,i must say strong1 and perhaps startling things1 with regard to myself and others1 ,i can prove every position which ,i shall advance4 ,i have reason to believe that another project is in hand3 this the author will naturally defend in opposition to mine1 but it shall not create controversy2 for being now upwards of sixty years of age1 and in a very poor state of health1 ,i would rather lose a favourite point than break a night's rest4 ,mr4 ,ramsey1 if ,i judge right1 is no stranger to the plan ,i allude to1 and ,i know his opinion differs from mine1 and am firmly persuaded his interest will induce him to support it4--,i am1 my ,lord1 etc41 ,w4 ,h4 ,much has been said about the immense benefit likely to result from the establishment of an academy in this country2 but as ,i do not see it in the same light with many of my contemporaries1 ,i shall take the freedom of making my objections to the plan on which they propose forming it2 and as a sort of preliminary to the subject1 state some slight particulars concerning the fate of former attempts at similar establishments4 ,the first place of this sort was in ,queen ,street1 about sixty years ago2 it was begun by some gentlemen-painters of the first rank1 who in their general forms imitated the plan of that in ,france1 but conducted their business with far less fuss and solemnity2 yet the little that there was1 in a very short time became the object of ridicule4 ,jealousies arose1 parties were formed1 and the president and all his adherents found themselves comically represented as marching in ridiculous procession round the walls of the room4 ,the first proprietors soon put a padlock on the door2 the rest1 by their right as subscribers1 did the same1 and thus ended this academy4 ,sir ,james ,thornhill1 at the head of one of these parties1 then set up another in a room he built at the back of his own house1--now next the playhouse1--and furnished tickets gratis to all that required admission2 but so few would lay themselves under such an obligation1 that this also soon sunk into insignificance4 ,mr4 ,vanderbank headed the rebellious party1 and converted an old ,presbyterian meeting-house into an academy1 with the addition of a woman figure1 to make it the more inviting to subscribers4 ,this lasted a few years2 but the treasurer sinking the subscription money1 the lamp1 stove1 etc4 were seized for rent1 and that also dropped4 ,sir ,james dying1 ,i became possessed of his neglected apparatus2 and thinking that an academy conducted on proper and moderate principles had some use1 proposed that a number of artists should enter into a subscription for the hire of a place large enough to admit thirty or forty people to draw after a naked figure4 ,this was soon agreed to1 and a room taken in ,st4 ,martin's ,lane4 ,to serve the society1 ,i lent them the furniture which had belonged to ,sir ,james ,thornhill's academy2 and as ,i attributed the failure of that and ,mr4 ,vanderbank's to the leading members assuming a superiority which their fellow-students could not brook1 ,i proposed that every member should contribute an equal sum to the establishment1 and have an equal right to vote in every question relative to the society4 ,as to electing presidents1 directors1 professors1 etc41 ,i considered it as a ridiculous imitation of the foolish parade of the ,french ,academy1 by the establishment of which ,louis ,,xiv4 got a large portion of fame and flattery on very easy terms4 ,but ,i could never learn that the arts were benefited1 or that members acquired any other advantages than what arose to a few leaders from their paltry salaries1 not more ,i am told than #ej a year2 which1 as must always be the case1 were engrossed by those who had most influence1 without any regard to their relative merit4#ca ,as a proof of the little benefit the arts derived from this ,royal ,academy1 ,voltaire asserts that1 after its establishment1 no one work of genius appeared in the country3 the whole band1 adds the same lively and sensible writer1 became mannerists and imitators4#cb ,it may be said in answer to this1 that all painting is but imitation4 ,granted2 but if we go no further than copying what has been done before1 without entering into the spirit1 causes1 and effects1 what are we doing8 ,if we vary from our original1 we fall off from it1 and it ceases to be a copy2 and if we strictly adhere to it1 we can have no hopes of getting beyond it2 for 'if two men ride on a horse1 one of them must be behind4' ,to return to our own academy4 ,by the regulations ,i have mentioned of a general equality1 etc41 it has now subsisted near thirty years1 and is1 to every useful purpose1 equal to that in ,france1 or any other2 but this does not satisfy4 ,the members1 finding his present ,majesty's partiality to the arts1 met at the ,turk's ,head in ,gerard ,street1 ,soho1 laid out the public money in advertisements to call all sorts of artists together1 and have resolved to draw up and present a ridiculous address to ,king1 ,lords1 and ,commons to do for them what they have 7as well as it can be7 done for themselves4 ,thus to pester the three great estates of the empire1 about twenty or thirty students1 drawing after a man or a horse1 appears1 as it must be acknowledged1 foolish enough2 but the real motive is1 that a few bustling characters1 who have access to people of rank1 think they can thus get a superiority over their brethren1 be appointed to places1 and have salaries as in ,france1 for telling a lad when an arm or a leg is too long or too short4 ,not approving of this plan1 ,i opposed it2 and having refused to assign to the society the property which ,i had before lent them1 ,i am accused of acrimony1 ill-nature1 and spleen1 and held forth as an enemy to the arts and artists4 ,how far their mighty project will succeed1 ,i neither know nor care2 certain ,i am it deserves to be laughed at1 and laughed at it has been4#cc ,the business rests in the breast of ,majesty1 and the simple question now is1 whether he will do what ,sir ,james ,thornhill did before him1 i4e4 establish an academy with the little addition of a royal name1 and salaries for those professors who can make most interest and obtain the greatest patronage4 ,as his ,majesty's beneficence to the arts will unquestionably induce him to do that which he thinks most likely to promote them1 would it not be more useful if he were to furnish his own gallery with one picture by each of the most eminent painters among his own subjects8 ,this might possibly set an example to a few of the opulent nobility2 but even then it is to be feared that there never can be a market in this country1 for the great number of works which1 by encouraging parents to place their children in this line1 it would probably cause to be painted4 ,the world is already glutted with these commodities1 which do not perish fast enough to want such a supply4 ,in answer to this and other objections which ,i have sometimes made to those who display so much zeal for increasing learners1 and crowding the profession1 ,i am asked if ,i consider what the arts were in ,greece1 what immense benefits accrued to the city of ,rome from the possession of their works1 and what advantages the people of ,france derive from the encouragement given by their ,royal ,academy8 ,it is added1 why cannot we have one on the same principles8 ,that we may not be led away by sounds without meaning1 let us take a cursory view of these things separately1 and in the same order that they occurred4 ,the height to which the arts were carried in ,greece was owing to a variety of causes1 concerning some of which we can now only form conjectures4 ,they made a part of their system of government1 and were connected with their modes of worship4 ,their temples were crowded with deities of their own manufacture1 and in places of public resort were depicted such actions of their fellow-citizens as deserved commemoration2 which1 being displayed in a language legible to all1 incited the spectator to emulate the virtues they represented4 ,the artists who could perform such wonders were held in an estimation of which we can hardly form an idea2 and could we ascertain the rewards they received1 ,i think it would be found that they were most liberally paid for their works1 and might therefore devote much more time than we can afford to rendering them perfect4 ,with all this1 even there1 the arts had but a slow rise2 and when they had attained their highest state of perfection1 the ,romans 7having previously plundered and butchered their own neighbours7 attacked and conquered the ,greeks1 and robbed them also of their portable treasures1 particularly their statues and pictures4#cd ,to sculpture and painting1 war is a most destructive enemy2 the rage of conquest1 civil broils1 and intestine quarrels1 necessarily put a stop to the exercise of the imitative arts1 which lay in a dormant state until they were revived by the introduction of a new religion2 this1 in the magnificent style it was there brought forward1 called upon sculpture and painting for their auxiliary aid4 ,the admirable specimens that during the perturbed period above alluded to had been hidden in the earth1 were now restored to light1 eagerly sought for1 and in some cases appropriated to purposes diametrically opposite to their pagan origin4#ce ,even those that were mutilated were held in the most enthusiastic admiration4 ,the ',torso1' and many other inimitable specimens1 prove that their admiration was just4 ,the contemplation of such works would naturally produce imitators1 who in time rivalled1 but never could equal1 their originals4 ,these remains of ancient grandeur being thus added to their new productions1 and both interwoven1 forming a sort of ornamental fringe to their gaudy religion1 ,rome became a kind of puppet-show to the rest of ,europe2 and1 whatever it might be to their visitors1 was certainly very advantageous to themselves4 ,the arts are much indebted to ,popery1 and that religion owes much of its universality to the arts4 ,france1 ever aping the magnificence of other nations1 has in its turn assumed a foppish kind of splendour sufficient to dazzle the eyes of neighbouring states1 and draw vast sums of money from this country4 ,we cannot vie with these ,italian and ,gallic theatres of art1 and to enter into competition with them is ridiculous2 we are a commercial people1 and can purchase their curiosities ready made1 as in fact we do1 and thereby prevent their thriving in our native clime4 ,if ,i may be permitted to compare great things with small1 this nation labours under similar disadvantage to the playhouse in ,goodman's ,fields1 which1 though it might injure1 could never rival the two established theatres1 so much more properly situated1 in any degree material to itself4 ,in ,holland1 selfishness is the ruling passion2 in ,england1 vanity is united with it4 ,portrait-painting therefore ever has1 and ever will succeed better in this country than in any other4#cf ,the demand will be as constant as new faces arise2 and with this we must be contented1 for it will be vain to attempt to force what can never be accomplished1 or at least can never be accomplished by such institutions as ,royal ,academies on the system now in agitation4 ,upon the whole1 it must be acknowledged that the artists and the age are fitted for each other4 ,if hereafter the times alter1 the arts1 like water1 will find their level4 ,among other causes that militate against either painting or sculpture succeeding in this nation1 we must place our religion2 which1 inculcating unadorned simplicity1 does not require--nay1 absolutely forbids--images for worship1 or pictures to excite enthusiasm4 ,paintings are considered as pieces of furniture1 and ,europe is already overstocked with the works of other ages4 ,these1 with copies countless as the sands on the sea-shore1 are bartered to and fro1 and quite sufficient for the demands of the curious1 who naturally prefer scarce1 expensive1 and far-fetched productions to those which they might have on low terms at home4 ,who can be expected to give forty guineas for a modern landscape1 though in ever so superior a style1 when he can purchase one which1 for little more than double the sum1 shall be sanctioned by a sounding name1 and warranted original by a solemn-faced connoisseur8 ,this considered1 can it excite wonder that the arts have not taken such deep root in this soil as in places where the people cultivate them from a kind of religious necessity1 and where proficients have so much more profit in the pursuit8 ,whether it is to our honour or disgrace1 ,i will not presume to say1 but the fact is indisputable1 that the public encourage trade and mechanics rather than painting and sculpture4 ,is it then reasonable to think that the artist1 who1 to attain essential excellence in his profession1 should have the talents of a ,shakspeare1 a ,milton1 or a ,swift1 will follow this tedious and laborious study merely for fame1 when his next-door neighbour1 perhaps a porter-brewer or an haberdasher of smallwares1 can without any genius accumulate an enormous fortune in a few years1 become a lord mayor or a member of ,parliament1 and purchase a title for his heir8 ,surely no2 for as very few painters get even moderately rich1 it is not reasonable to expect that they should waste their lives in cultivating the higher branch of the art until their country becomes more alive to its importance1 and better disposed to reward their labours4 ,these are the true causes that have retarded our progress2 and for this shall a nation1 which has in all ages abounded in men of sound understanding and the brightest parts1 be branded with incapacity by a set of pedantic dreamers1 who seem to imagine that the degrees of genius are to be measured like the degrees on a globe1 determine a man's powers from the latitude in which he was born1 and think that a painter1 like certain tender plants1 can only thrive in a hothouse8 ,gross as are these absurdities1 there will always be a band of profound blockheads ready to adopt and circulate them1 if it were only upon the authority of the great names by which they are sanctioned4#cg ,to return to our ,royal ,academy4 ,i am told that one of their leading objects will be sending young men abroad to study the antique statues1 etc4 ,such kind of studies may sometimes improve an exalted genius1 but they will not create it2 and whatever has been the cause1 this same travelling to ,italy has1 in several instances that ,i have seen1 seduced the student from nature1 and led him to paint marble figures1--in which he has availed himself of the great works of antiquity1 as a coward does when he puts on the armour of an ,alexander2 for with similar pretensions and similar vanity1 the painter supposes he shall be adored as a second ,raphael ,urbino4 ,the fact is1 that everything necessary for the student in sculpture or painting may at this time be procured in ,london4 ,of the ',venus' and the ',gladiator' we have small casts2 and even the ',torso1' by which ,michael ,angelo asserted he learned all he knew of the art1 has been copied in a reduced size1 and the cast1 by which the principle may be clearly seen1 is sold for a few shillings4 ,these small casts1 if quite correct1 are full as useful to the student as the originals2 the parts are easier comprehended1 they are more portable to place in different lights1 and of an even colour1 while the old ,parian marbles are apt to shine1 dazzle1 and confound the eye4 ,if this be doubted1 let a plaster figure be smoked and oiled1 and the true dimensions of the muscles can be no more distinguished than those of a sooty chimney-sweeper4 ,after all1 though the best statues are unquestionably in parts superlatively fine1 and superior to nature1 yet they have invariably a something that is inferior4 ,as to pictures1 there are enough in ,england to seduce us from studying nature1 which every man ought to do if he aims at any higher rank than being an imitator of the works of others2 and to such servile spirits ,i will offer no advice4 ,in one word1 ,i think that young men by studying in ,italy have seldom learnt much more than the names of the painters2 though sometimes they have attained the amazing power of distinguishing styles1#ch and knowing by the hue of the picture the hard name of the artist1--a power which1 highly as they pride themselves upon it1 is little more than knowing one handwriting from another4 ,for this they gain great credit1 and are supposed vast proficients because they have travelled4 ,they are gravely attended to by people of rank1 with whom they claim acquaintance1 and talk of the antique in a cant phraseology made up of half or whole ,italian1 to the great surprise of their hearers1 who become gulls in order to pass for connoisseurs1--wonder with a foolish face of praise1 and bestow unqualified admiration on the marvellous bad copies of marvellous bad originals which they have brought home as trophies1 and triumphantly display to prove their discernment and taste4 ,neither ,england nor ,italy ever produced a more contemptible dauber than the late ,mr4 ,kent2 and yet he gained the prize at ,rome1 in ,england had the first people for his patrons1 and1 to crown the whole1 was appointed ,painter to the ,king4 ,but in this country such men meet with the greatest encouragement1 and soonest work their way into noblemen's houses and palaces4#ci ,to conclude1 ,i think that this ostentatious establishment can answer no one valuable purpose to the arts1 nor be of the least use to any individual1 except those who are to be elected professors and receive salaries for the kind superintendence they will exercise over such of their brethren as have not so much interest as themselves4#dj ,many of the objections which ,i have to the institution of this ,royal ,academy apply with equal force to the project of the ,society for the encouragement of ,arts1 ,manufactures1 and ,commerce1 for distributing premiums for drawings and pictures2 subjects of which they are totally ignorant1 and in which they can do no possible service to the community4 ,it is extremely natural for noblemen1 or young people of fortune who have travelled and seen fine pictures and statues1 to be planet-struck with a desire of being celebrated in books1 like those great men of whom they have read in the lives of the painters1 etc42 for it must be recollected that the popes1 princes1 and cardinals who patronized these painters1 have been celebrated as creators of the men who created those great works3 ',shar'd all their honours1 and partook their fame4' ,the ',dilettanti' had all this in prospect when they offered to establish a drawing-school1 etc4 at their own expense2 for here they expected to be paramount4 ,but when those painters who projected the scheme presumed to bear a part in the direction of the school1 the ',dilettanti' kept their money1 and rejected them with scorn1--the whole castle fell to the ground1 and has been no more heard of4#da ,this society of castle-builders have a similar idea4 ,they wish first to persuade the world that no genius can deserve notice without being first cultivated under their direction1 and will ultimately neither foster nor encourage any artist that has not been brought up by themselves4 ,the sounding title of a society for the encouragement of arts1 manufactures1 and commerce1 with two or three people of rank at their head1 attracted a multitude of subscribers4 ,men when repeatedly applied to were unwilling to refuse two guineas a year2 people of leisure1 tired of public amusements1 found themselves entertained with formal speeches from men who had still more pleasure in displaying their talents for oratory4 ,artificers of all descriptions were invited1 and those who were not bidden strained every nerve to become members1 and appear upon the printed list as promoters of the fine arts4 ,by this means they were consulted in their several professions1 and happy was he who could assume courage enough to speak1 though ever so little to the purpose4 ,the intention of this great society is unquestionably laudable2 their success in subscriptions astonishing4 ,how far their performances have been equal to their promises1 it is not my business to inquire2 but as1 while ,i had the honour of being a member1 my opinion was frequently asked on some points relating to my own profession1 ,i venture to lay it before the reader with the same frankness that ,i then gave it4 ,when the society was in its infancy they gave premiums for children's drawings1 and for this--',let children lisp their praise4'#db ,it was asserted that we should thus improve our own manufactures1 and gravely asked by these professed encouragers of the commerce of their country1 if the ,french children being instructed in drawing did not enable that people to give a better air to all the articles they fabricated4 ,i answered positively1 ,,no2 and added1 that thus trumpeting their praise was a degradation of our own country1 and giving to our rivals a character which they had no right to4 ,were this point debated1 ,french superiority would be supported by fashionable ladies1 travelled gentlemen1 and picture-dealers4 ,in opposition to them1 would be those who are capable of judging for themselves1 the few that are not led away by popular prejudices1 and the first artists in the kingdom4 ,these1 ,i am conscious1 would be a minority1 but composed of men that ought to have weight1 and whose opinion and advice should have been taken before the plan was put in execution4 ,of the immense improvement that is to take place in our manufactures from boys of almost every profession being taught to draw1 ,i form no very sanguine expectations4 ,to attain the power of imitating the forms of letters with freedom and precision in all their due proportions and various elegant turns1 as ,snell has given them1 requires as much skill as to copy different forms of columns and cornices in architecture1 and might with some show of propriety be said to demand a knowledge of design2 yet common sense and experience convince us that the proper place for acquiring a fine hand is a writing-school4 ,as measuring is but measuring1 ,i do not think that a tailor would make a suit of clothes fit better from having been employed twice seven years in taking the dimensions of all the bits of antiquity that remain in ,greece4#dc ,how absurd would it be to see periwig-makers and shoemakers' boys learning the art of drawing1 that they might give grace to a peruke or a slipper6 ,if the study of ,claude's landscapes would benefit the carver of a picture-frame1 or the contemplation of a finely-painted saucepan by ,teniers or ,bassan would be an improvement to a tinman1 it would be highly proper for this society to encourage them in the practice of the arts4 ,but as this is not the case1 giving lads of all ranks a little knowledge of everything is almost as absurd as it would be to instruct shopkeepers in oratory1 that they may be thus enabled to talk people into buying their goods1 because oratory is necessary at the bar and in the pulpit4 ,as to giving premiums to those that design flowers1 etc4 for silks and linens1 let it be recollected that these artisans copy the objects they introduce from nature1--a much surer guide than all the childish and ridiculous absurdities of temples1 dragons1 pagodas1 and other fantastic fripperies which have been imported from ,china4 ,as from all these causes 7and many more might be added7 it appears that a smattering in the arts can be of little use except to those who make painting their sole pursuit1 why should we tempt such multitudes to embark in a profession by which they never can be supported8 ,for historical pictures there never can be a demand3#dd our churches reject them2 the nobility prefer foreign productions2 and the generality of our apartments are too small to contain them4 ,a certain number of portrait-painters1 if they can get patronized by people of rank1 may find employment2 but the majority even of these must either shift how they can amongst their acquaintance1 or live by travelling from town to town like gipsies4 ,yet1 as many will be allured by flattering appearances1 and form vague hopes of success1 some of the candidates must be unsuccessful2 and men will be rendered miserable who might have lived comfortably enough by almost any manufactory1 and will wish that they had been taught to make a shoe1 rather than thus devoted to the polite arts4#de ,when ,i once stated something like this to the society1 a member humanely remarked1 that the poorer we kept the artists1 the cheaper we might purchase their works4 ,these two societies1 of whose projects and practice ,hogarth seems to have entertained very similar opinions1 became for a short time so far connected1 that where one held their meetings the other exhibited their pictures4 ,the donations in painting which ,hogarth and several other artists had made to the ,foundling ,hospital had much engaged the public attention2 and the painters finding the effects they produced1 determined to try the fate of an exhibition of their work2 in consequence of which1 on the #bgth of ,february #agfj1 ,mr4 ,hayman1 then chairman of the committee of artists1 wrote a letter to the society for encouragement of arts1 requesting permission for the painters to exhibit at their great room opposite ,beaufort ,buildings in the ,strand2 and in the following ,may they accordingly made their first ,exhibition4 ,this proved very attractive2 and1 from the money paid for admission1 they were soon enabled to relieve not only the indigent of their own body1 but also aliens2 and to establish themselves into a regular institution by the name of ,a ,society of ,artists1 associated for the relief of the distressed and decayed of their own body1 their widows1 and children4 ,for these humane purposes they agreed to form a fund4 ,as far as this plan went it had ,hogarth's approbation2 and for their ,exhibition ,catalogue of #agfa he made two designs1 which were engraved by ,mr4 ,charles ,grignion1 and of which the following are copies3-- ,,frontispiece ,,to ,,the ,,catalogue ,,of ,,the ,,artists' ,,exhibition1 #agfa4 ,et spes et ratio studiorum in ,csare tantum4#df--;,,juv4 ,illustration3 ,,frontispiece ,,to ,,artists' ,,catalogue ,erected in the cleft of a rock1 we have here a building intended for a reservoir of water2 and by the bust of his present ,majesty being placed in a niche of an arch1 which is lined with a shell and surmounted by a crown1 we must suppose it a royal reservoir4 ,the mouth of a mask of the ,british lion is made the water-spout for conveying a stream into a garden-pot1 which a figure of ,britannia holds in her right hand1 and1 with her spear in the left1 is employed in sprinkling three young trees1 the trunks of which are entwined together1 and inscribed1 ,painting1 ,sculpture1 ,architecture4 ,these promising saplings are planted upon a gentle declivity4 ,painting is on the highest ground1 and ,sculpture on the lowest4 ,it is worthy of remark that the fructifying stream which issues from the watering-pot falls short of the surface on which is planted the tree inscribed ,painting1 and goes beyond the root of that termed ,sculpture2 so that ,architecture1 which is much the loftiest and most healthy tree1 will have the principal benefit of the water4 ,if the tree of ,painting is attentively inspected1 it will be found stunted in its growth1 withered at the top1 and blest with only one flourishing branch1 which1 if viewed with an eye to what the artist has previously written1 seems intended for portrait-painting4 ,the tree which is the symbol for ,sculpture appears to bend and withdraw itself from the reservoir2#dg one branch from the centre of the trunk is probably funereal1 and intended to intimate sepulchral monuments4 ,the top1 being out of sight1 is left to the imagination4 ,those who wish to inquire how far this allegorical and sylvan symbol has proved prophetic of the unequal encouragement now given to the different branches of the arts1 may go to ,somerset ,house1 contemplate the building1 pay their shilling1 and walk through the rooms of the ,royal ,academy during the time of their annual exhibition6 ,,tail-,,piece ,,to ,,the ,,artists' ,,catalogue4 ,esse quid hoc dicam8 vivis quod fama negatur6#dh--,,mart4 ,illustration3 ,,tailpiece ,,to ,,artists' ,,catalogue ,as a contrast to ,britannia nurturing the trees that are introduced in the last print1 a travelling monkey in full dress is in this industriously watering three withered and sapless stems of what might once have been flowering shrubs1 and are inscribed ,exotics4 ,these wretched remnants of things which were1 are carefully placed in labelled flower-pots3 on the first is written1 ,obiit #aejb2 on the second1 ,obiit #afjj2 and on the third1 ,obiit #afjf4 ,still adhering to the hieroglyphics in his frontispiece1 ,hogarth introduces these three dwarfish importations of decayed nature to indicate the state of those old and damaged pictures which are venerated merely for their antiquity1 and exalted above all modern productions1 from the name of a great master1 rather than any intrinsic merit4 ,to heighten the ridicule1 he has given his monkey a magnifying glass that will draw forth hidden beauties1 which to common optics are invisible4 ,so great was the demand for the catalogues with the illustrative prints of ,hogarth1 that the two first done were soon worn down1 and ,mr4 ,grignion was employed to engrave others from the same drawings4 ,beneath those that were first made there are no mottoes2 and the word obiit is written obit4 ,this was perhaps a mistake of either the painter or writing engraver1 though ,i think it barely possible that the former might mean to pun on the connoisseurs being bubbled by dealers in old pictures--,o6 ,,bit4 ,the opinion ,hogarth has1 in the preceding pages1 given of the taste and judgment of the public in his own day may at first sight seem rather harsh1 but was in a degree justified by the scandalous inattention with which the town received his six inimitable pictures of ,marriage la ,mode2 they were1 on the #fth of ,june #agej1 sold by a kind of auction to ,mr4 ,lane of ,hillingdon for one hundred and twenty guineas6 ,being in ,carlo ,maratt frames that cost the artist four guineas each1 his real remuneration for painting this admirable series was but a few shillings more than one hundred pounds4#di ,such are the rewards of genius4 ,low as this sum was1 a ,mr4 ,perry1 being eleven months afterwards erroneously informed that still less had been the highest sum offered1 and that they were not sold1 wrote the following letter with an increased bidding4 ,this gentleman's name is inserted in ,hogarth's subscription book as a subscriber for four sets of ,the ,elections1 with this remarkable memorandum3--#dth ,april #aged4--,the whole eight guineas paid at the time of subscribing4 ,out of near six hundred names1 ,i find only two 7viz4 ,henry ,raper1 ,esq41 and ,mr4 ,perry7 who paid more than half the money in the first subscription4 ,to ,mr4 ,hogarth4 ,,dear ,,sir1--,i was this day informed by a friend of mine in the city that seventy-five pounds only was bid for your pictures of ',marriage la ,mode2' and this ,i hope will excuse my bidding you so small a sum as one hundred and twenty pounds for them2 so much are they worth of my money2 with a promise never to sell them to any picture-trader or connoisseur-monger so long as you or ,i shall live4 ,if in this foolish and grossly-imposed on generation there should not be found one man wiser than myself1 ,i must insist on having this bidding deposited in your cabinet4--,i am1 dear ,sir1 your most obedient servant1 ,,car4 ,,perry4 ,may #ae1 #agea4 ,illustration3 7end of section floral icon7 ,,chapter ,,iv4 ,,the ,,motives ,,by ,,which ,,hogarth ,,was ,,induced ,,to ,,publish ,,his ,,analysis ,,of ,,beauty2 ,,the ,,abuse ,,it ,,drew ,,upon ,,him1 ,,and ,,his ,,vindication ,,of ,,himself ,,and ,,the ,,volume4 ,,he ,,is ,,elected ,a ,,member ,,of ,,the ,,imperial ,,academy ,,at ,,augsburg1 ,,and ,,appointed ,,serjeant ,,painter ,,to ,,the ,,king4 ,hogarth finding his prints were become sufficiently numerous to form a handsome volume1 in the year #agdeej engraved his own portrait as a frontispiece4 ,in one corner of the plate he introduced a painter's palette1 on which was a waving line inscribed ,the ,line of ,beauty4 ,this created much curious speculation1 and1 as he himself expresses it1 ,the bait soon took1 and no ,egyptian hieroglyphic ever amused more than it did for a time4 ,painters and sculptors came to me to know the meaning of it1 being as much puzzled with it as other people1 till it came to have some explanation2 then1 indeed1 but not till then1 some found it out to be an old acquaintance of theirs1#ea though the account they could give of its properties was very near as satisfactory as that which a day-labourer1 who constantly uses the lever1 could give of that machine as a mechanical power4 ,they knew it as ,falstaff did ,prince ,henry--by instinct6 ,this crooked line drew upon him a numerous band of opponents1 and involved him in so many disputes1 that he at length determined to write a book1 explain his system1 and silence his adversaries4 ,when his intentions were known1 those who acknowledged his claim to superiority as an artist were apprehensive that1 by thus wandering out of his sphere and commencing author1 he would lessen his reputation4 ,those who ridiculed his system presumed that he would thus overturn it2 and the few who envied and hated the man1 rejoiced in sure and certain hope that he would write himself into disgrace4 ,all this he laughed at1 and in the following little epigram whimsically enough describes his own feelings3-- ,what6 a book1 and by ,hogarth6 then twenty to ten1 ,all he's gained by the pencil he'll lose by the pen4 ,perhaps it may be so2 howe'er1 miss or hit1 ,he will publish1--here goes1--it's double or quit4 ,notwithstanding this pleasantry preceding the publication1 he frankly acknowledges that the uncharitable spirit with which he was in consequence assailed1 and the squabbles it drew him into with those of his own profession1 and the dabblers in the arts1 gave him greater uneasiness than was balanced by its general success4 ,thus does he express himself3-- ,my preface and introduction to the ,analysis contain a general explanation of the circumstances which led me to commence author2 but this has not deterred my opponents from loading me with much gross and1 ,i think1 unmerited obloquy2 it therefore becomes necessary that ,i should try to defend myself from their aspersions4 ,among many other high crimes and misdemeanours of which ,i am accused1 it is asserted that ,i have abused the great masters4 ,this is so far from being just1 that when the truth is fairly stated it may possibly appear that the professional reputation of these luminaries of the arts is more injured by the wild and enthusiastic admiration of those who denominate themselves their fast friends1 than by men who are falsely classed as their enemies4 ,let us put a case3 suppose a brilliant landscape had been so finely painted by a first-rate artist1 that the trees1 water1 sky1 etc4 were boldly though tenderly relieved from each other1 and the eye of the spectator might1 as it were1 travel into the scenery2 and suppose this landscape1 by the heat of the sun1 the ravages of time1 or the still more fatal ravages of picture-cleaners1 was shorn of its beams and deprived of all its original brightness2 let me ask whether the man who will affirm that this almost obliterated1 unharmonious1 spotty1 patchwork piece of antiquity is in the state that it first came out of the artist's hands1 does not abuse the painter8#eb and whether he who asserts that though it might once have been bright and clear it is now faded1 does not thus place the defects to the proper account1 and consequently defend him8 ,so far from attempting to lower the ancients1 ,i have always thought1 and it is universally admitted1 that they knew some fundamental principles in nature which enabled them to produce works that have been the admiration of succeeding ages2 but ,i have not allowed this merit to those leaden-headed imitators1 who1 having no consciousness of either symmetry or propriety1 have attempted to mend nature1 and in their truly ideal figures gave similar proportions to a ,mercury and a ,hercules4 ,this1 and many other opinions which ,i have ventured to advance1 has roused a nest of hornets from whose stings ,i would wish to guard myself1 as ,i am conscious that they will try to condemn all my works by my own rules4 ,to disappoint these insects ,i have1 in my explanatory prints1 done the ,antinous1 ,venus1 etc4 in a slighter style than the other figures1 to show that they are introduced as mere references to the originals2 and ,i will not now attempt to paint my ,goddess of ,beauty4#ec ,who can tell how long the artist was employed in giving such exquisite grace to the ,grecian ,venus8 he might perhaps think that a single super-excellent statue would confer immortality1 and was sufficient for a whole life4 ,can any one expect to see equal perfection in that which is done in little1 and in a short space of time8 ,with respect to beauty1 though men felt its effects1 yet both artists and others appeared to me to be totally ignorant of its principles1 and contented themselves with bestowing undistinguishing praise1 and giving us cold and servile copies of the fine models of antiquity1 without making any inquiry into the system by which they were produced4 ,the few who wished to learn the principles found themselves so bewildered and confounded by the vague and contradictory opinions which they had heard and read concerning beauty and grace1 that they began to suspect the whole to be an illusion1 and that neither one nor the other existed except in fancy and imagination4 ,this should excite less surprise1 from its having sometimes happened in a matter of an infinitely higher and more important nature2 and were it politically right1 it is possible that a small octavo might be written1 which would start as many folios of theological controversy as would fill ,westminster ,hall1 though the whole put together might be mere lumber1 and of no more use than waste paper4 ,but this by the by4 ,to return into my own path1 and resume the reasons that induced me to tread it in a new character4 ,in doing this1 it will be proper to give a succinct statement of the strange way in which this subject has been treated by preceding writers4 ,the first attempts that were made to fix true ideas of taste upon a surer basis1 were by natural philosophers1 who1 in their amplified contemplations on the universal beauty displayed in the harmony and order of nature1 very soon lost themselves2 an event that1 from the way in which they set out1 was inevitable3 for1 if ,i may be permitted to adopt an allegorical figure1 it necessarily led them into the wide road of ,order and ,regularity1 which they unexpectedly found crossed and intersected by many other paths that led into the ,labyrinths of ,variety2 where1 not having passed through the ,province of ,painting1 they became confused1 and could never find their way4 ,to explaining the order and usefulness of nature they might be equal2 but of her sportiveness and fancy they were totally ignorant4 ,to extricate themselves from these difficulties1 they ascended the ,mound of ,moral ,beauty1 contiguous to the open field of ,divinity1 where1 rambling and ranging at large1 they lost all remembrance of their former pursuit4 ,these gentlemen having failed1 it was next suggested that the deeply read and travelled man was the only person fully qualified to undertake the task of analyzing beauty4 ,but here let it be observed1 that a few things well seen1 and thoroughly understood1 are more likely to furnish proper materials for this purpose than the cursory view of all that can be met with in a hasty journey through ,europe4 ,nature is simple1 plain1 and true in all her works2 and those who strictly adhere to her laws1 and closely attend to her appearances in their infinite varieties1 are guarded against any prejudiced bias from truth2 while those who have seen many things that they cannot well understand1 and read many books which they do not fully comprehend1 notwithstanding all their pompous parade of knowledge1 are apt to wander about it and about it1 perpetually perplexing themselves and their readers with the various opinions of other men4 ,the knowledge necessary for writing a work on the arts1 differs as much from that acquired by the simple traveller1 as the art of simpling doth from the science of botany4 ,taking the grand tour to see and pick up curiosities1 which the travellers are taught nicely to distinguish from each other by certain cramp marks and hard names1 may1 with no great impropriety1 be termed 'going a simpling2' but with this special difference1 that your 'field simpler' never picks up a nettle for a marsh-mallow1--a mistake which your 'tour simpler' is very liable to4 ,as to those painters who have written treatises on painting1 they were in general too much taken up with giving rules for the operative part of the art to enter into physiological disquisitions on the nature of the objects4 ,with respect to myself1 ,i thought ,i was sufficiently grounded in the principles of my profession to throw some new lights on the subject2 and though the pen was to me a new instrument1 yet1 as the mechanic at his loom may possibly give as satisfactory an account of the materials and composition of the rich brocade he weaves as the smooth-tongued mercer surrounded with all his parade of showy silks1 ,i trusted that ,i might make myself tolerably understood by those who would take the trouble of examining my book and prints together2 for as one who makes use of signs and gestures to convey his meaning in a language of which he has little knowledge1 ,i have occasionally had recourse to my pencil4 ,for this ,i have been assailed by every profligate scribbler in town1 and told that though 'words are man's province1' they are not my province2 and that though ,i have put my name to the ,analysis of ,beauty1 yet 7as ,i acknowledge having received some assistance from two or three friends7 ,i am only the supposed author4 ,by those of my own profession ,i am treated with still more severity2 pestered with caricature drawings1 and hung up in effigy in prints2 accused of vanity1 ignorance1 and envy2 called a mean and contemptible dauber2 represented in the strangest employments1 and pictured in the strangest shapes1--sometimes under the hieroglyphical semblance of a satyr1 and at others under the still more ingenious one of an ass4#ed ,not satisfied with this1 finding that they could not overturn my system1 they endeavoured to wound the peace of my family4 ,this was a cruelty hardly to be forgiven3 to say that such malicious attacks and caricatures did not discompose me1 would be untrue1 for to be held up to public ridicule would discompose any man2 but ,i must at the same time add that they did not much distress me4 ,i knew that those who venture to oppose received opinions must in return have public abuse3 so that1 feeling ,i had no right to exemption from the common tribute1 and conscious that my book had been generally well received1 ,i consoled myself with the trite observation that every success or advantage in this world must be attended by some sort of a reverse2 and that though the worst writers and worst painters have traduced me1 by the best ,i have had more than justice done me4 ,the partiality with which the world has received my works1 and the patronage and friendship with which some of the best characters in it have honoured the author1 ought to excite my warmest gratitude1 and demands my best thanks4 ,it enables me to despise this cloud of insects2 for happily1 though their buzzing may tease1 their stings are not mortal4 ,that these hard blows of his adversaries were felt1 and felt keenly1 appears from the whole tenor of his language2 but his mortifications were in a degree balanced4 ,the annexed letter1 from a man of ,warburton's literary fame1 was a flattering testimony to his talents1 though a gentleman to whom ,i read it observed1 that the ,doctor might be as much actuated by a fear of his satire as admiration of his abilities4 ,it enclosed a #aj bank note4 ,by his friend ,rouquet he was informed that his book was eagerly expected in ,paris1 and told in a note from the ,vice-,chancellor of ,cambridge1 that it would have a place in the ,university library3-- ,for ,mr4 ,hogarth4 ,,dear ,,sir1--,i was pleased to find by the public papers that you have determined to give us your original and masterly thoughts on the great principles of your profession4 ,you ow#ee this to your country1 for you are both an honour to your profession and a shame to that worthless crew professing vertu#ee and connoisseurship1 to whom all that grovel in the splendid poverty of wealth and taste are the miserable bubbles4 ,i beg you would give me leave to contribute my mite towards this work1 and permit the enclosed to entitle me to a subscription for two copies4 ,i am1 dear ,sir 7with a true sense of your superior talents71 your very affectionate humble servant1 ,w4 ,,warburton4 ,p4 ,p41 ,march #bh1 #ageb4 ,to ,mr4 ,hogarth4 ,,dear ,,sir1--,i expected to have been in ,england about this time1 but find myself disappointed by the tediousness of the progress of what ,i have begun2 and business coming in very smartly1 ,i believe ,i shall stay here some months longer than ,i proposed at first1 therefore shall indulge myself with the pleasure of writing these till ,i enjoy that of your conversation4 ,i have a thousand observations to impart to you when we meet--some that will please you1 some that you will think inaccurate1 but all such as will not allow us time to yawn when we see one another4 ,first1 ,i hope you are in perfect health1 and the next news ,i want to hear is1 when your book is to be published4 ,i have raised some expectations about it amongst artists and virtuosi here1 and hope to have the first that shall come over1 that ,i may boast of your friendship1 by being the first usher of a performance which ,i am sure will make many people wish they were acquainted with you4 ,the humbug virtu is much more out of fashion here than in ,england4 ,free-thinking1 upon that and other topics1 is1 if possible1 more prevalent here than amongst you4 ,old paintings and old stories fare much alike4 ,a dark picture is become a damned picture1 as the soul of the dealer2 and1 consequently1 modern performances are much encouraged1--and mine amongst them1--for ,i have met with a reception much beyond what ,i expected1 or they deserved4 ,this circumstance has made ,paris more agreeable to me than it would have been without it4 ,i pass my time in it very swiftly1 perpetually employed in a great variety of unavoidable business4 ,the days succeed one another with great rapidity4 ,nevertheless1 ,i think ,i don't enjoy so good a health as in ,england1 though ,i was often ill there2 but the hurry ,i have been in this six months1 which cannot be described1 may be the reason of it4 ,i am afflicted with a continual headache1 which ,i have not been subject to this five-and-twenty years1 and which1 if it should not abate1 will occasion my return before business will well admit4 ,i suppose you have before this time some spring days at ,ivy ,hall4 ,i shall have no country air this year1 but am going to lodge in the most open part of the town1 which ,i hope will do instead1 that is1 upon the ,quay de ,conti1 next to ,college ,mazarine1 where ,i shall be in three weeks ready to receive the answer that ,i beg you will favour me with4--,i am1 ,sir1 your humble servant1 ,,rouquet4 ,,paris1 ,march #bb1 #agec4 ,to ,mr4 ,hogarth1 in ,leicester ,fields4 ,,cambridge1 ,nov4 #bh1 #agec4 ,,sir1--,i return you thanks for your book1 which came to my hand last night1 and for which ,i will find a place in the ,university library4 ,i have read it over with pleasure1 and have no doubt but that many others will do the same1 as there can be no one here to whom ,mr4 ,hogarth's name will not be an inducement to inquire into anything that comes from his hand4--,i am1 ,sir1 your most obedient humble servant1 ,p4 ,,yonge4 ,hogarth presented another copy to the ,royal ,society2 and by several of his books that were sent abroad1 he found that1 however captiously the work had been treated by some of his own countrymen1 it had its admirers on the ,continent4 ,from ,mr4 ,reiffsten of ,cassel1 in consequence of this publication1 he received a letter couched in most complimentary terms1 inviting him to become a counsellor and member of the ,imperial ,academy at ,augsburg1--an invitation which1 by his reply1 he appears to have accepted4 ,an ,italian translation of his ,analysis was published at ,leghorn1 dedicated1 ,all' illustrissime ,signora ,diana ,molineux ,dama ,inglese4 ,it had been previously done into ,german by ,mr4 ,mylins1 a new edition of whose translation is thus pompously announced by ,mr4 ,c4 ,f4 ,vok1 in a written paper ,i found among ,hogarth's manuscripts3-- ,advertisement for a ,new ,edition of ,mr4 ,hogarth's ,analysis of ,beauty4 ,if ever a work met with great applause and deserved still more1 it was certainly ,mr4 ,hogarth's ,analysis of ,beauty4 ,the literary journals and newspapers have amply and handsomely noticed it4 ,the author made the beauty of forms1 which was the object of his art1 at the same time the subject of his philosophical meditations1 and fell at last upon a system which was meant to ascertain in some degree the various conceptions of mankind concerning the agreeable1 and to banish from the learned as well as the vulgar the absurd proverb1 that men neither can nor ought to dispute about ,taste4 ',tis therefore to him we are indebted if the word beautiful1 to which people daily fix a thousand different ideas1 becomes for the future as much an object of reflection as it has hitherto been of sensation4 ,yet this work does not contain empty and fruitless speculations1 which1 when they are not of practical use1 justly merit the name of whim and chimera2 but its utility is equally extensive with its subject1 viz4 the beauty of forms1 and all arts and sciences that have a relation to it will borrow new light from the performance4 ,the philosopher1 the naturalist1 the antiquarian1 the orator 7both in the pulpit and on the stage71 the painter1 the statuary1 the dancing-master1 must consider it as a book essentially necessary to them2 and not only to them1 but also to those persons who are vain of being thought connoisseurs1 yet often form such contradictory and inadequate judgment of what relates to the imitation of natural beauty1 that they but too plainly betray their want of fixed and determinate ideas4 ,one may venture to affirm that the utility of ,mr4 ,hogarth's system will soon extend itself into the empire of fashion2 for even there1 where nothing reigned but occasional caprice1 now something of certainty may take its place by the assistance of this theory4 ,mr4 ,mylins when in ,england translated it into ,german1 under the author's inspection2 his translation was printed in ,london1 and contains only twenty-two sheets in quarto1 and the two prints1 yet was it sold for five dollars4 ,mr4 ,vok proposes taking subscriptions of one dollar for his edition1 which is not to be sold under two dollars to non-subscribers4 ,he further promises to annex a short description of ,mr4 ,hogarth's prints1 translated from the ,french1 and engages that the work shall be ready in six weeks from the time of his proposals1 which he dates from ,berlin1 #ast ,july #aged4 ,mr4 ,reiffsten's ,letter to ,mr4 ,hogarth4 ,,sir1--,an universal reputation1 and undisputed title to superiority1 cannot but draw upon you the importunities of those who are ambitious of an acquaintance with men of genius4 ,ever since my first perusing the ,analysis of ,beauty1 in which the author is no less to be admired than the artist1 ,i have been on the watch for a favourable opportunity of contributing my share1 though ever so small1 to the thanks of the public4 ,in that ingenious and elaborate composition you are allowed by all men of taste to have dispelled the mist and cleared the difficulties that had previously attended a problem in painting1 of exquisite nicety and the greatest moment4 ,the most eminent masters and most sagacious theorists had travelled in the dark1 or wandered through mazes in a fruitless search after beauty4 ,to you alone it was reserved to unravel her windings1 reveal her charms to open view1 and fix her hidden though genuine excellence4 ,at length1 sir1 the opportunity ,i had so long coveted seems to offer itself1 of course4 ,it is owing to the erection of an ,imperial ,academy at ,augsburg1 for the study and improvement of arts and letters4 ,i am commissioned as a deputy from the whole body to interpret their sentiments1 and to inform you how highly they value and respect your uncommon talents and capacity4 ,proud of the acquisition of one no less distinguished in the republic of letters than in the commonwealth of arts1 they earnestly desire you would accept the diploma of counsellor and honorary member of their ,academy4 ,it is ready to be drawn up1 and will not fail being despatched so soon as they are sure of your approbation2 which1 'tis hoped1 will not be refused by one who has deserved so well of all lovers of taste and genius4 ,but before you take this step it is but natural you should ask in what consists the ,academy of which you are solicited to become a member1 and whose existence1 probably enough1 is not so much as suspected in ,england4 ,to obviate so proper an inquiry1 suffer me1 sir1 to acquaint you in a few words with its origin1 constitution1 and design4 ,about three or four years since1 some artists of ,augsburg formed themselves into a society1 in order to promote and encourage the imitative arts1 especially painting and engraving4 ,they applied to the ,emperor for protection1 which was graciously granted4 ,soon after they published1 at their own expense1 a few select pieces2 but finding that the polite arts cannot be brought to perfection without the help of literature1 and that to excel an artist must be something of a scholar himself1 or be assisted by men of learning1 they associated those to their body by whom they might be furnished with instructions in writing upon the two above-mentioned branches1 and a correspondence both within the empire and abroad properly carried on4 ,having thus far met with success1 they began to extend their views1 and endeavoured to fix an institution for teaching methodically the art of drawing or designing--an establishment much wanted here in ,germany4 ,this scheme being laid before the ,imperial ,court1 the society obtained an ample charter and considerable privileges4 ,it was incorporated under the denomination of 'an ,academy of ,arts and ,letters1' and the ,emperor was pleased to illustrate it with his own name4 ,he conferred the honour of knighthood upon the president1 and the title of imperial counsellor on the director1 empowering the members to choose those officers themselves2 and1 moreover1 to appoint counsellors and professors to direct the teaching publicly the learned languages and the liberal arts1 with several other concessions concerning the printing and publishing of their works4 ,to crown their hopes1 a common stock was still wanting for the supply of unavoidable expenses1 such as salaries to masters and teachers1 charges of the press1 etc4 ,on this account they had recourse to a tontine1--a kind of lottery1 consisting of annuities for life1--which has met with tolerable success1 and will produce a capital sufficient to defray all necessary disbursements4 ,but till this end be compassed1 the ,academy confines itself to the publishing 7by means of artist members7 plates engraved after the original paintings of the best masters2 and by the help of such members as are men of letters1 a journal or periodical pamphlet1 consisting of memoirs or essays concerning those arts whose foundation is laid in designing4 ,the first part1 by way of specimen1 is to come out before the close of this year1 and it will be regularly continued every month in the next4 ,the chief materials are to be compiled by members settled at ,rome1 ,paris1 ,dresden1 ,stuttgard1 ,copenhagen1 ,cassel1 etc4 ,how happy should we think ourselves1 sir1 if1 not only suffering your name to be joined in our lists to those of ,mengs1 ,lelio1 ,meilens1 ,de ,marcii1 ,wille ,schmid1 ,preissler1 etc41 you would1 like those artists1 assist us with your pen1 and give us a sketch of the present improved state of the imitative arts in ,great ,britain6 ,what can be conceived more conducive to form and refine our taste1 elevate our ideas1 and kindle our emulation1 than to be informed by yourself1 with your manner of operating in those unparalleled originals1 whose striking beauties and glowing expressions we closely study in the printed copies2 and to be favoured at least with some hints of those pieces we still expect from your warm and masterly pencil8 ,but ,i have too much reason to apprehend that1 for a first letter1 this will appear tedious2 a favourable answer ,i shall look upon as a permission to explain myself more at large4 ,in hopes of receiving it1 ,i remain1 with the highest esteem and regard1 ,sir1 etc4 etc4 etc4 ,i4 ,f4 ,,reiffsten4 ,,cassel1 ,march #beth1 #ageg4 ,my address is1 ,governor of the ,payes4 ,mr4 ,hogarth's ,answer4 ,,sir1--,on the receipt of your polite letter1 dated ,cassel1 ,march #beth1 ,i was most agreeably surprised1 nor could ,i help being much elated1 at finding the very handsome invitation therein given to me to become a member of so worthy and respectable a corporation as the ,imperial ,society of ,augsburg2 on which account let me request it as a favour that you will be so good as to pay my proper compliments to the gentlemen belonging to it1 and at the same time assure them that ,i with eagerness accept the honour they are pleased to confer upon me1 and that they may depend upon my best endeavours to merit their good opinion1 by strictly obeying to the utmost of my power such commands as they may think fit to honour me with1 tending to the advancement of the laudable design they wisely began1 and have since so successfully carried on4 ,with respect to the kind opinion you are pleased to entertain of me and my performances1 ,i sincerely return you thanks4 ,and believe me1 ,sir1 the above valuable mark of distinction1 which must always tend greatly to my reputation1 is still the more grateful to me1 as it may occasionally be the means of my corresponding with you1--a happiness much to be coveted by1 ,sir1 etc4 etc41 ,,wm4 ,,hogarth4 ,,london1 ,april #ah1 #ageg4 ,a ,monsieur ,reiffsten4 ,in addition to the high and sounding title of ,counsellor and ,honorary ,member of the ,imperial ,academy at ,augsburg1 conferred upon ,hogarth in the ,german diploma1 he was1 on the #fth of ,june #ageg1 still further dignified by being appointed ,serjeant ,painter to the ,king of ,great ,britain1 and entered on the duties of his office on the #afth of the following ,july4 ,on the demise of ,george the ,second1 his post necessarily became vacant2 his present ,majesty's warrant for reinstating him is in my possession4 ,i have annexed a copy1 which shows that the salary was ten pounds per annum1 payable quarterly4 ,in one of his manuscripts ,i find the following memorandum of the interest by which he obtained the place1 and its annual profits3-- ,having1 just after my brother's death1 obtained1 by means of my friend ,mr4 ,manning and the ,duke of ,devonshire1 which might not have exceeded one hundred a year to me for trouble and attendance2 but by two portraits at more than eighty pounds each1 the last occasioned by his present ,majesty's accession1 and some other things1 it has for these last five years been1 one way or other1 worth two hundred pounds per annum4 ,who these portraits were1 or for whom they were painted1 ,i know not4 ,by his manner of expressing himself1 ,i should suppose that they were royal1 and1 as is customary1 presented to some of the ambassadors1 in which case they were probably sent to the ,continent4 ,,george ,r4 ,whereas the ,king1 our late royal grandfather1 of glorious and happy memory1 by his letters patent1 under his ,great ,seal of ,great ,britain1 and bearing date the sixth day of ,june1 in the thirtieth year of his reign1 did grant unto ,william ,hogarth1 ,esq41 the office of ,serjeant ,painter of all his said late ,majesty's works1 as well belonging to his royal palaces or houses as to his great wardrobe1 or otherwise to hold the said office to the said ,william ,hogarth during his said late ,majesty's pleasure3 ,and by the force of a statute made in the sixth year of the reign of ,queen ,anne1 the said ,william ,hogarth did continue in the said office for the space of six months1 computed next after the demise of his said late ,majesty1 and he the said ,william ,hogarth still continues therein1 by or under our royal proclamation1 in such behalf issued3 ,,and ,,whereas our gracious intentions are to re-grant the said office to the said ,william ,hogarth1 our will and pleasure is1 that you forthwith prepare a ,bill for our royal signature1 to pass our ,great ,seal of ,great ,britain1 to revoke and determine the said recited letters patent of our said late royal grandfather1 and to remove and discharge the said ,william ,hogarth from the office whereunto he was thereby appointed2 and to contain our grant unto our trusty and well-beloved1 the said ,william ,hogarth1 of the office of ,serjeant ,painter of all our works1 as well belonging to all our royal palaces or houses as to our great wardrobe1 or otherwise1 to hold and exercise and enjoy the said office to the said ,william ,hogarth1 during our pleasure by himself1 or his sufficient deputy or deputies1 together with the yearly fee or salary of ten pounds1 payable at the receipt of our ,exchequer1 out of any of our revenues there applicable to the uses of our civil government1 unto the said ,william ,hogarth1 for the exercise and execution of the said office1 and to commence from the time to which he was last paid thereupon1 by virtue of or under the letters patent before recited1 and to be computed payable and paid from such the commencement thereof by the day1 or for the quarter1 as the case may require1 to and for the then next ensuing usual quarterly day of payment in the year2 and from thenceforth quarterly1 at the four most usual quarterly days of payment in the year1 by even and equal portions during his continuance in the said office2 and together with all other fees1 liveries1 profits1 commodities1 and advantages to the said office belonging1 or in any wise appertaining1 and in as full1 ample1 and beneficial manner and form to all intents and purposes as he the said ,william ,hogarth held1 exercised1 and enjoyed1 or might have held1 exercised1 and enjoyed in the said office1 by virtue of or under the said recited letters patent of our said royal grandfather2 and you are to insert in the said ,bill all such apt clauses1 directions1 authorities1 and powers as were contained in the said former grant of the said office1 and such others as you shall think necessary for our service1 and for making our grant hereby intended to the said ,william ,hogarth most firm1 valid1 and effectual2 and for so doing this shall be your warrant4 ,given at our ,court at ,st4 ,james's1 the #cjth day of ,october #agfa1 in the second year of our reign4 ,by his ,majesty's command1 ,,holles ,,newcastle4 ,,north4 ,,james ,,oswald4 ,to our ,attorney or ,solicitor ,general4 ,william ,hogarth1 ,esq41 ,serjeant ,painter of his ,majesty's ,works4--,office renewed4 ,the following oracular prediction ,i found among his papers1 in the handwriting of his friend ,townley3-- ,from an old ,greek ,fragment4 ,there was an ancient oracle delivered at ,delphos which says that the source of beauty should never again be rightly discovered till a person should arise whose name was perfectly included in the name of ,pythagoras2 which person should again restore the ancient principle on which all beauty is founded4 ,,pythagoras4 ,,hogarth4 ,,the ,,vase4 ,is man no more than this8 consider him well4--,,shakspeare4 ,illustration3 ,,the ,,vase4 ,as ,dr4 ,townley1 in the foregoing mythological fragment1 chooses to suppose that in the ,greek particles which compounded the name of ,pythagoras were to be found the letters ,h ,o ,g ,a ,r ,t ,h2 ,hogarth1 with a whimsicality somewhat similar1 sported an opinion that the first man who made a well-formed vase took another man for his model4 ,in page #gh of his ,analysis1 he remarks that the exact cross of two equal lines cutting each other in the middle1 as fig4 #fi1 would confine the figure of a man drawn conformably to them1 to the disagreeable character of his being as broad as he is long4 ,and the two lines crossing each other1 to make the height and breadth of a figure1 will want variety a contrary way1 by one line being very short in proportion to the other1 and are therefore also incapable of producing a figure of tolerable variety4 ,to prove this1 it will be very easy for the reader to make the experiment by drawing a figure or two 7though ever so imperfectly71 confined within these limits4 ,there is a medium between these1 proper for every character1 which the eye will easily and accurately determine4 ,thus1 if the lines1 fig4 #gj1 were to be the measure of the extreme length or breadth1 set out either for the figure of a man or a vase1 the eye soon sees the longest of these is not quite sufficiently so in proportion to the other for a genteel man1 and yet it would make a vase too taper to be elegant2 no rule or compasses would decide this matter either so quickly or so precisely as a good eye4 ,i apprehend that ,hogarth intended to have introduced this vase into the second print of his ,analysis1 but found he had not room2 for1 on the same piece of paper with the drawing1 he thus continues the subject3 ,we cannot wonder that many writers should have imagined that the different orders of architecture have been taken from the human form1 since both are governed by the same principles of fitness1 strength1 and beauty4#ef ,the general opinion that the ,corinthian capital was taken from a basket and dock leaves1 may be supported on the same grounds4 ,this leads him to one of his favourite ideas1 a new order of architecture4 ,,hints ,,for ,a ,,new ,,capital4 ,illustration3 ,,designs ,,for ,,capitals4 ,three of the examples are selected from the most grotesque and ridiculous objects2 the other two from flowers2 and the ,bohemian feathers seem slight essays to prove what he frequently advanced1 that though he considered the ancient orders with reverence1 yet being the productions of men1 men might without heresy venture to vary from them4 ,he remarks3 ,that churches1 palaces1 prisons1 common houses1 and summer houses might be built more in distinct characters than they are1 by contriving orders suitable to each2 whereas1 were a modern architect to build a palace in ,lapland or the ,west ,indies1 ,palladio must be his guide1 nor would he dare to stir a step without his book4 ,this architects peremptorily assert is the only rule1 nor dare they deviate from the established orders4 ,should you press them hard for a reason1 they will tell you no man has yet been able to equal what has been already done2 which though ,i admit1 yet have ,i ventured to assert1 and now repeat1 that the most beautiful order in the architecture of the ancients will perfectly agree with the rules of composition laid down in the ,analysis1 and that new orders1 adapted to various purposes1 may be still invented4 ,i cannot help thinking it is possible that a man who understood drawing1 though he had never seen a column1 might1 by applying the straight and waving line1 and correcting simplicity by variety1 produce one with equal beauty to any of them4 ,in architecture1 after ,,fitness hath been strictly and geometrically complied with1 all the additional members or parts may1 by attention to the proper rules of composition1 be continually varied and yet be pleasing4 ,for example1 if the capitals composed of the confined shapes of hats and wigs can be rendered tolerable1 what might not be done by selecting the elegant varieties which are displayed in feathers1 flowers1 shells1 etc48#eg ,,round ,,and ,,square ,,heads4 ,illustration3 ,,square ,,round ,,heads4 ,the five heads in the annexed plate are copied from sketches in my possession1 and all of them seem to have been intended for the illustration of his ,analysis1 in which he remarks1 that the particular expressions of a face or movement of a feature which becomes one person shall be disagreeable in another1 just as such expressions or turns happen to fall in with the lines of beauty or the reverse2 for this reason there are pretty frowns and disagreeable smiles3 the lines that form a pleasing smile about the corners of the mouth have gentle windings1 as fig4 #a1eh but lose their beauty in the full laugh2 the expression of excessive laughter1 oftener than any other1 gives a sensible face a silly or disagreeable look1 as it is apt to form regular plain lines about the mouth 7like a parenthesis71 which sometimes appear like crying4 ,in what we call plain lines there is this constant and remarkable effect1 that as they are more or less conspicuous in any kind of character or expression in the face1 they bring along with them certain degrees of a foolish or a ridiculous aspect4 ,the inimitable ,butler knew this1 and describes the beard of ,hudibras1 fig4 #b3 ',in cut and dye so like a tile1 ,a sudden view it would beguile4' ,to set this in an outrd light1 see fig4 #d1ei a face almost as square as a die2 and fig4 #e1 as truly round as a globe4 ,the effect of the latter is rather ridiculous than ugly4 ,sir ,plume's empty look1 described in the ',rape of the ,lock1' would not be near so vacant without the idea of roundness3 ',with round unthinking face4' ,the dialogue between ,cleopatra and the ,messenger1 relative to the person of ,octavia1 proves that ,shakspeare1 who seems to have seen through all nature1 saw this in the same light4#fj ,to ,no4 #c he thus alludes in his ,analysis1 p4 #abh1 but has not engraved it in his explanatory plate1 though it would certainly have been a better example than his old man's head1 fig4 #ih3-- ,human nature can hardly be represented more debased than in the character of the ,silenus1 where the bulging line runs through all the features of the face1 as well as the other parts of this swinish body2 whereas1 in the satyr of the wood1 though the ancients have joined the brute with the man1 we still see preserved an elegant display of serpentine lines that renders it graceful4 ,his manuscript continues3-- ,the fine airs and graceful turns and windings of such a head were produced by adhering to this line2 and it was this ,mr4 ,pope conceived of ,raphael and ,guido in his epistle to ,mr4 ,jarvis1 the king's painter1 or he meant nothing3 ',each heavenly piece unwearied we compare1 ,match ,raphael's grace with thy loved ,guido's air1 ,carracci's strength1 ,correggio's softer line1 ,paulo's free stroke1' etc4 ,we must not seek for examples in any of the works ,mr4 ,pope recommends1 for whatever was painted by his friends had his unqualified praise4#fa ,he would have said the same of ,mr4 ,kent4 ,poets are the fountains of flattery1 as kings are the fountains of honour4 ,the former can with as much ease make one man an inspired painter1 as the latter can create another right honourable1 without either of the parties producing their credentials4#fb ,,hercules1 ,,henry ,,viii41 ,,and ,a ,,french ,,dancing-,,master4 ,illustration3 ,,hercules1 ,,henry #h,,th ,a ,,french ,,dancing ,,master4 ,in ,hogarth's manuscript of the ,analysis1 facing the chapter on ,fitness1 ,i found a red-chalk sketch of these three figures1 which 7with slight variations7 he has introduced in his illustrative prints4 ,they are copied as an example of the manner in which he sketched his first thoughts3 they seem placed together to contrast the easy and natural turn of the ,hercules with the stiff and artificial attitudes assumed by the other two figures1 in both of which uniformity is the leading principle4 ,relative to this1 ,hogarth1 in p4 #bj of the ,analysis1 puts the following query3-- ,if uniform objects were agreeable1 why is there such care taken to contrast and vary all the limbs of a statue8 ,were the eye pleased with uniformity1 the picture of ,henry ,,viii4 would be preferable to the finely contrasted figures of ,guido and ,correggio2 and the ,antinous' easy sway must submit to the stiff and straight figure of the dancing-master4 ,the ',hercules' by ,glycon 7fig4 #a7 hath all its parts finely fitted for purposes of the utmost strength that the texture of the human form will bear4 ,the back1 breast1 and shoulders have huge bones1 and muscles adequate to the supposed active strength of its upper parts2 but as less strength was required for the lower parts1 the judicious sculptor1 contrary to all modern rule of enlarging every part in proportion1 lessened the size of the muscles gradually down towards the feet1 and for the same reason made the neck larger in circumference than any part of the head2 otherwise the figure would have been burdened with an unnecessary weight1 which would have been a drawback from his strength1 and1 in consequence of that1 from his characteristic beauty4 ,these seeming faults1 which show the superior anatomical knowledge as well as judgment of the ancients1 are not to be found in the leaden imitations near ,hyde ,park4 ,the bluff and boisterous ,henry ,,viii4 is described in the same volume as forming a complete ,x with his legs and arms2 and the pert and prim dancing-master is so accomplished a person1 that were he to see his scholar in the easy and gracefully-turned attitude of the ,antinous1 he would cry shame6 tell him he looked as crooked as a ram's horn1 and bid him hold up his head1 as he himself did4 ,this figure is said to be intended for ,essex the dancing-master4 ,the very different position in which these three strongly contrasted characters place their legs and feet is worthy of observation4 ,,charles ,i41 ,,italian ,,jupiter1 ,,etc4 ,illustration3 ,i4 ,,charles ,i4 ,,ii4 ,,henrietta ,,maria4 ,,iii4 ,,grotesque ,,ornament4 ,,iv4 ,,italian ,,jupiter4 ,these figures1 as well as the preceding1 are copied from sketches in the ,,ms4 of the ,analysis2 the ,italian ,jove1 grasping a thunderbolt1 is intended for ,monsieur ,desnoyer dancing in a grand ballet4 ,a reduced copy of the figure is in the first plate to the ,analysis1 placed as a companion to ,quin in the character of ,brutus2 and it must be acknowledged that the ,english actor1 in a wig which ,gorgon's self might own1 is as fair a representative of a ,roman general as the dancer is of a deity4 ,the figures #a and #b are from ,vandyke's portraits of ,charles ,i4 and ,henrietta ,maria4 ,the former is copied from one of that great painter's portraits1 and almost wholly made up of straight lines2 the latter1 though drawn with an easy and elegant air1 ,hogarth considers as not composed on the principle of the waving line1 which he says ,vandyke seems never to have thought of4 ,thus does he characterize that artist in the page that faced the sketches3-- ,rubens knew the waving line1 but his contours are rather overcharged4 ,vandyke1 his scholar1 perhaps for fear of running into what he might think gross in his master's manner1 imitated nature just as it chanced to present itself2 and having an exact eye1 produced portraits which abound with delicacy and simplicity2 but when nature flagged he was tame1 not knowing that principle which might have raised his ideas4 ,his best works are1 however1 marked with grace4 ,no4 #c is intended to represent one of those clumsy1 grotesque ornaments with which our cathedrals abound1 where a winged figure1 perched in the niche of an arch behind a shield1 seems intended as a guardian angel to the dust of the deceased hero1 whose armorial bearing is sometimes displayed in the front4 ,the last engraving which ,i have taken from the manuscript of the ,analysis1 makes an easy and elegant form2 and ,i have ventured to introduce it in the title-page to this volume4 ,the original drawing is on the same leaf with two sketches of an ill-shaped candlestick and torch thistle 7,nos4 #dj and #db71 in the first plate to the ,analysis4 ,i think it may be denominated ,the ,dolphin ,candlestick1 as it is composed of dolphins and snakes1 so twisted as to combine his favourite serpentine line1 and crowned with the iris and lily4 ,in his ,,ms41 after remarking that our furniture and utensils are generally as tasteless and inelegant as straight and unvaried lines can make them1--and producing as examples the ill-shaped candlesticks1 etc41 which are engraved in his first plate1--he concludes by observing1 ,it is said in vindication of such forms1 that they are adhered to for the sake of simplicity2 but this might be preserved1 and yet some portion of beauty introduced1 did they combine their little variations by the proper rules4 ,let the ',dolphin ,candlestick1' composed of serpentine lines varying with each other1 be compared with ,no4 #dj1 plate ,i1 which is made up of plain unvaried parts1 and it will show1 in a much clearer view than can be expressed by words1 the necessity of variety to constitute beauty4 ,nature gives us a few examples of tasteless forms in the torch thistle1 and some other ill-shaped exotics to be found in green-houses1 which form a striking contrast to such flowers as the ,chalcedonian iris and lily1 whose enchanting beauty proceeds from their variety--these two flowers united form a nozzle to the candlestick above alluded to4 ,notwithstanding ,hogarth's perpetual reference to the line of grace and analysis of the line of beauty1 he has been generally said to be totally incapable of imparting either one or the other to his figures4 ,mr4 ,nichols1 in his ,anecdotes1 insists on his notorious deficiency in what is styled the graceful1 and in page #dh quotes ,mr4 ,garrick's opinion to corroborate his own4 ,the writer of the ,north ,briton1 ,no4 #ag1 boldly asserts that he never caught a single idea of beauty1 grace1 or elegance4 ,mr4 ,walpole1 who is generally candid and liberal in his praise1 declares him totally devoid of the principle1 and1 quoting the first plate of his ,analysis as an example1 concludes the sentence by remarking1 that the two figures of a young lord and lady1 which are added as samples of grace1 are strikingly stiff and affected4 ,i do not know that the artist intended them to be otherwise2 he has not referred to them as models in his book1 and1 it is but fair to think1 meant them as leading figures1 less outr in their forms1 but nearly as affected in their graces1 as the other dancers4 ,his object seems to be1 exemplifying grace by what it is not rather than by what it is4 ,whatever were his motives for thus amplifying awkwardness in the ,wandsworth assembly1#fc the annexed design1 which may be considered as its contrast1 he has either composed on a different principle1 or1 by a most happy and singular accident1 grouped some very easy and elegant forms with much taste4 ,,the ,,dance ,illustration3 ,,the ,,dance4 ,was designed and engraved in the year #agbc for the first volume of ,de la ,mottraye's ,travels4 ,in p4 #aei1 this tedious writer tells us1 in some very ill-arranged sentences1 that the ,greek women in the isle of ,scio1 where the scene is laid1 have a striking pre-eminence over those of any other island in the ,archipelago for beauty as well as gaiety1 and1 some say1 likewise for complaisance4 ,they verify the proverb1 ,merry as a ,greek1 dance every ,sunday or holiday in the open air1 and in ring1 as represented in the print2 and on such occasions wine is not spared4#fd ,he describes fig4 #a as a chief woman of ,smyrna1 and fig4 #g as her daughter2 fig4 #d as a ,greek woman of ,constantinople1 and fig4 #c as a country girl of ,scio1 in a habit peculiar to that place4 ,from these slender materials the artist made his design in a style which proves 7notwithstanding the total deficiency of taste alleged by his biographers71 that at this early period of his life he had the power of delineating figures with some portion of grace4 ,it may possibly be asked1 why examples of this do not more frequently occur in his other works8 ,to which ,i can only answer1 that his scenes were almost invariably laid in his own country1 where he painted objects as he saw them2 and whatever grace the ,grecian habit might give to the beauties of ,scio1 the ,germanic garb1 in which the beauties of ,britain then disguised themselves1 ,chastely conceal'd each charm from every eye4 ,mr4 ,benjamin ,wilson the painter1 in the letter that follows1 puts a query concerning a disputed point in perspective1 which was adopted by ,hogarth1 in support of his friend ,kirby1 who1 in the epistle that succeeds it1 after returning his acknowledgments for the drawing that ,sullivan engraved for his book1 requests the author of the ,analysis to give him some supplementary support in his doctrine of parallel columns1 etc41 for the volume he was then printing on perspective4 ,this ,hogarth did not then comply with2 but when ,mr4 ,highmore1 a short time afterwards1 attacked the system and its author in the preface of a pamphlet1 ,hogarth1 in support of both1 and to ridicule the erroneous principles of his opponent1 wrote ,kirby some whimsical strictures1 which have been already published in the ,graphic ,illustrations4 ,as they are immediately connected with the letter which is subjoined1 ,i have inserted them in a note1 and added such extracts from ,highmore's and ,kirby's prefaces as may elucidate the subject in debate1 and enable the reader to draw his own conclusions3-- ,to ,wm4 ,hogarth1 ,esq41 ,chiswick4 ,,dear ,,sir1--,when you come to town1 ,i shall be very glad to show you further advantages which ,i have gathered from your excellent ,analysis4 ,i assure you ,i think myself greatly indebted to you1 and know of no method to repay you1 but to acknowledge it as ,i improve1 that the world may have one instance of your invariable principles being true4 ,an odd appearance was mentioned to me lately1 which it seems is a fact4 ,a parallelogram1 viewed obliquely at a given distance1 forms a different representation when seen through a telescope than it does when viewed with the naked eye4 ,in the one case the remote end of the parallelogram appears larger than the near end1 whilst in the other case it appears smaller than the near end4 ,q4 ,do your disputants 7in relation to the columns7 suppose a given point8 ,if so1 they will not regard the eye as you do4 ,excuse haste4--,i am1 ,sir1 etc41 ,b4 ,,wilson4 ,for ,mr4 ,hogarth4 ,,ipswich1 ,may #c;d1 #agec4 ,,dear ,,sir1--,ever since ,i received the favour of your drawing1 ,i have been in expectation of having my ,preface printed1 but have been continually disappointed1 which was the reason of my not returning you my most hearty thanks for the above favour long before this time1 and therefore ,i hope your goodness will excuse it4 ,the design which you have favoured me with is the best that can be thought of for its intended purpose1 as it tends to recommend the study of perspective by exposing the mistakes of those artists who are ignorant of it in such a striking manner as is peculiar to the genius of ,mr4 ,hogarth4 ,i intend to have it engraved by ,mr4 ,sullivan1 and shall send it to him as soon as ,i know how to direct to him1 unless any other person is more agreeable to you for that purpose4 ,i have enclosed my ,preface for your inspection1 and one page of the work itself as a specimen of the paper and letter1 and shall be glad if they please you4 ,my intention in the three last paragraphs#fe will be obvious at first sight1 and ,i hope you will not think them unnecessary4 ,but1 good sir1 give me leave to ask you 7for you have given me much assurance by your friendship1 and particularly by your promise71 have you thought any more of what we have so often discoursed upon in relation to parallel columns1 etc48 ,i am more and more convinced of the justness of your reasoning upon that subject1 and shall think myself prodigiously honoured if you annex something of that kind to my work2 for then ,i shall have you both in my front and rear1 and shall not be afraid even of the d--l himself when ,i am so guarded4 ,if the little witlings despise the study of perspective1 ,i'll give 'em a thrust with my frontispiece which they cannot parry2 and if there be any that are too tenacious of mathematical rules1 ,i'll give them a cross-buttock with the ',dissertations1' and crush them into as ill-shaped figures as those they would draw by adhering too strictly to the rules of perspective4 ,i have nothing more to add but my humble thanks for all your favours2 and ,i shall be glad to know if you intend doing anything as you proposed4 ,and am1 with compliments to ,lady ,thornhill1 ,mrs4 ,hogarth1 etc41 your most obliged and obedient humble servant1 ,,jos4 ,,kirby4 ,p4,s4--,i cannot fix the time when my work will be published1 but it is printing with the utmost expedition4 ,for another of ,mr4 ,kirby's publications ,hogarth designed a frontispiece1 which was engraved by ,mr4 ,woollet1 and is prefixed to ,the ,perspective of ,architecture1 deduced from the principles of ,doctor ,brook ,taylor1 begun by order of his present ,majesty when ,prince of ,wales4 ,i have annexed a copy4 ,,frontispiece ,,to ,,the ,,perspective ,,of ,,architecture4 ,illustration3 ,,frontispiece ,,to ,,the ,,perspective ,,of ,,architecture4 ,it is thus explained by ,mr4 ,malton in the appendix to his ,treatise on ,perspective3-- ,here is a curious frontispiece1 designed by ,mr4 ,hogarth1 but not in the same ludicrous style as the former 7i4e4 the frontispiece to ,kirby's ,perspective73 it were to be wished that he had explained its meaning2 for1 being symbolical1 the meaning of it is not so obvious as the other 7that on false perspective74 ,to me it conveys the idea which ,milton so poetically describes of the angel ,uriel gliding down to ,paradise on a sunbeam2 but the young gentleman has dropped off before he had arrived at his journey's end1 with ,palladio's book of architecture on his knees4 ,a ray of light from the sun1 rising over a distant mountain1 is directed to a scroll on the ground on which are two or three scraps of perspective1 over which1 supported by a large block of stone1 is the upper part of a sceptre broke off2 the shaft1 very obliquely and absurdly inclined1 somewhat resembling the ,roman fasces1 and girt above with the ,prince of ,wales' coronet as an astragal1 through which the fasces rise and swell into a crown adorned with embroidered stars2 this is the principal object1 but most vilely drawn4 ,the ray passes through a round temple at a considerable distance1 which is also falsely represented1 the curves being1 for the distance1 too round1 and consequently the diminution of the columns is too great4 ,it appears to pass over a piece of water3 on this side the ground is fertile and luxuriant with vegetation1 abounding with trees and shrubs2 on the other side it is rocky and barren4 ,what is indicated by this seems to be1 that where the arts are encouraged by the rays of royal favour1 they will thrive and flourish2 but where they are neglected1 and do not find encouragement1 they will droop and languish4#ff ,on the ray from the sun rising over a distant mountain1 etc41 so facetiously treated by ,mr4 ,malton1 some light is thrown in a manuscript chapter of the ,analysis1 where ,hogarth1 describing painters' colours1 remarks that-- ,sir ,isaac ,newton's theory of light and colours1 though excellent in itself1 is an inquiry of so different a nature from ours1 that were we to take this great philosopher as our guide1 he would not assist but mislead us1 as he did ,dr4 ,brook ,taylor1 the ingenious author of the best book on perspective that ever was written4 ,the ,doctor printed an appendix to this work1 which he entitled1 ,a ,new ,theory for ,mixing ,colours1 taken from ,sir ,isaac ,newton's optics2 but his project1 though ingenious in speculation1 is altogether impracticable in painting4 ,this observation ,hogarth follows by the annexed remarks on those visionaries who had puzzled the doctrine of colours with minute and unnecessary divisions1 and adopted a strange notion that these divisions were governed by the same laws as music3-- ,both ,albert ,durer and ,lomazzo1 who wrote on painting1 had this conceit2 and so much was ,pre ,castle1 a ,french theoretical doctor1 impressed with the idea1 that with infinite pains and trouble he contrived a harpsichord to play harmonious composition of colours6 ,on this he wrote a book1 and built a system in which prism colours were his notes2 these the keys of his instrument were to produce at pleasure4 ,but surely he could not have been drawn into such an absurdity without having first persuaded himself that colours and sounds were of the same nature1 and that the like disposition of them both would answer the same purpose1 i4e4 that a jig in notes would be a jig in colours4#fg ,i should not be much surprised if some native of that nation of taste contrived an instrument for cookery on a similar plan4#fh ,this would without doubt be adopted in ,england1 where it must unquestionably have great encouragement4 ,how pleasant would it be to mark ,monsieur de ,quisiney at his harpsichord1 composing a grand festino for the entertainment of foreign ministers2 and would the inventor compose a banquet for an installation1 or a feast for a ,lord ,mayor's day1 it would ensure him the hearts of both courtiers and citizens4 ,what delight would it afford to a certain eminent composer to see his two favourite sciences thus united6#fi ,the fact is1 that though compositions of music and colours may illustrate each other in their principles1 they very essentially differ in their effects4 ,the notes on a scale in music will range similar to the colours in a rainbow1 or to those separated by the prism1 but their operations are precisely opposite4 ,for example1 let all the keys of an harpsichord be pressed down at one stroke1 and the ear will be offended with harsh1 jarring1 and confused sounds2 but if you run your fingers along them in succession1 it produces a sort of harmony4 ,in colours it is directly the reverse2 for though the varied hues of the rainbow strike the eye agreeably at first sight1 yet were flickering colours to follow each other in quick succession1 the optic nerve would suffer pain in proportion as the tints were more or less vivid1 and played in quick or slow time4 ,these observations are followed by some hints on easy deportment1 and succeeded by the following desultory thoughts1 which in his manuscript ,hogarth entitles ,a ,supplementary ,chapter on ,dress3-- ,dress is so copious a topic1 that it would afford sufficient matter for a large volume4 ,the amazing force and folly of fashion is placed in a most ridiculous point of view in an old book called the ,artificial ,changeling1 where the author not only describes the uncouth1 wild1 and extravagant mode of clothing the body in different ages and countries1 but also states many detestable and barbarous customs of whole nations1 who mould and torture the human frame to destroy its original form4 ,some of the customs that he enumerates are1 ,i believe1 still practised1 particularly in ,china1 where the feet of the females are bandaged to prevent their growing2 and among the ,hottentots1 where1 to improve their children's faces1 they break the gristles of their noses4 ,such is the force of habit1 that the eye is soon reconciled1 and these horrid disproportions and deformities are considered as beauties4 ,in this country1 fancy and the love of change1 to which we may sometimes add public and private interest1 have generally given the lead to fashion2 nor is it to be objected to1--sumptuary laws are not consonant to the spirit of a free people4 ,in dress nothing need be restrained except the folly 7,i had almost said wickedness7 of changing the form or colour of nature4#gj ,as to the fashion of men's dresses1 if they are not rendered inconvenient1 it is of little consequence3 the tailors may contrive them as they will4#ga ,but for the sex to whom nature has been so bountiful to disguise their enchanting forms1 and sacrifice ease1 elegance1 and grace on the shrine of fashion1 is defying symmetry and thwarting nature1 which1 in their capricious variations1 they should sometimes suffer to take fancy by the hand4 ,the principles laid down for sculpture1 etc41 will apply to dress2 and fitness1 propriety1 and convenience being first established1 it should be rendered pleasing4 ,attention to a few plain and simple rules would be conducive to its being made so4 ,for a degree of uniformity there is a necessity1 as without it our habits would be neither commodious nor comfortable2 but when uniformity can be corrected by taste1 or rendered less obtrusive by slight variations1 the appearance will be more graceful and becoming4 ,thus1 feathers1 jewels1 and flowers should usually be worn on one side of the head4 ,painters describe this disposition of ornament1 etc4 by the word picturesque1 and have contrived what they call a fancy dress4 ,this is wholly at their own disposal1 and they profess to combine in it all the principles of beauty4 ,but1 unhappily1 should their figures walk across the room1 these fantastic garments would drop from their shoulders4 ,were they contrived with a little attention to common sense1 they might have their uses4 ,such a succedaneum would not only keep their works out of the reach of ill-natured critics1 by covering false anatomy1 etc41 but give an artist such latitude for light and shadow as might enable him to shine in the grand historical style2 though in painting the manners of the present day1 where dress forms a part of the character1 he might be totally at a loss4 ,on the same ground that ,i think it more difficult to delineate scenes built on real life than to display such as originate in fiction1 ,i believe it an easier task to write tragedy than comedy3 ,i mean true comedy1 not a ,dutch droll4 ,dress is in some cases an index to the mind1 and characters in improper habits would destroy the illusion at the best performed play4 ,simplicity1 little as it is attended to1 is the most attractive principle of beauty4 ,by this ,i mean that the habit should not be divided into too many parts1 like an old-fashioned furbelowed and flounced petticoat3 this preposterous mode confounds the eye1 and gives an idea of rags and tatters4 ,the plain unadorned dress of a country girl is often more engaging than the richest court habit1 in which beauty is frequently obscured1 overwhelmed1 and buried by gaudy and heavy ornaments that totally destroy the effect they are intended to produce4 ,yet here1 as in composition1 simplicity must be corrected by intricacy1 to prevent its degenerating into meanness4 ,parts of every dress should be loose1 and at liberty to play into folds1 some of which will move with the figure2 nay1 it sometimes produces grace to contrive things to rest in winding forms1 as is demonstrated by the figure of a sphinx4 ,quantity1 as ,i have before remarked1 adds dignity2 robes of state are always made large and full2 the long sweeping trains of queens have a majestic effect4 ,to attain this1 the ladies endure great fatigue1 and encumber themselves with an enormous hoop petticoat1 as much as they would by carrying a pair of panniers on their hips4 ,while they preserve the figure of the pyramid1 this produces some degree of dignity1 but excess renders it ridiculous4 ,the horse-grenadier1 mounted1 caparisoned with his sword and other accoutrements1 gives a good example of the noble effect of quantity1 so combined as to come within pyramidal lines4 ,what a contrast would it produce1 to see the little jockey fitted1 trimmed1 and pared down for a race1 riding by the side of him6 ,hogarth concludes with a remark1 which intimates that he had originally intended to have inserted the preceding chapter in his ,analysis1 but altered his plan and reserved it for his intended ,supplement3-- ,the even and uniform colour of the hair1 by encompassing the face as a frame doth a picture1 contrasts with harmonious colour its variegated and enclosed composition1 and adds more or less beauty thereto1 according to the manner it is disposed4 ,this graceful ornament may1 with some propriety1 be called the head-dress1 and comes under that class2 but as dress in general is a matter of no small importance to a great part of the world1 it deserves to be treated more copiously than this volume will admit of4 ,it shall therefore be deferred till a more convenient opportunity offers1 when the ,supplement shall be published4 ,illustration3 7end of section floral icon7 ,,chapter ,v4 ,,hogarth',s ,,inducement ,,to ,,painting ,,the ,,picture ,,of ,,sigismunda4 ,,his ,,correspondence ,,with ,,lord ,,grosvenor ,,on ,,this ,,subject1 ,,contrasted ,,by ,,two ,,letters ,,from ,,lord ,,charlemont1 ,,for ,,whom ,,he ,,had ,,previously ,,painted ,,an ,,interesting ,,scene4 ,,origin ,,of ,,the ,,quarrel ,,with ,,wilkes ,,and ,,churchill1 ,,which ,,gave ,,rise ,,to ,,the ,,print ,,of ,,the ,,bear1 ,,etc42 ,,and ,,the ,,artist',s ,,death4 ,the particulars relative to the picture of ,sigismunda1 ,hogarth has himself inserted in his subscription-book1 on the leaves of which he has pasted his correspondence with ,lord ,charlemont and ,lord ,grosvenor1 and a proof print of ,mac,ardell's copy from ,correggio's picture4 ,in a little blue memorandum book he resumes the subject1 and concludes with a narrative of his quarrel with ,wilkes and ,churchill1 which ends with the word ,finis4 ,in these and some other loose papers1 after having stated the professional injury which he had sustained from his opponents asserting1 and the public believing1 that he could not paint portraits1 he continues3-- ,being thus driven out of the only profitable branch of my profession1 ,i at first thought of attaching myself to history-painting2 but in this there was no employment1 for in forty years ,i had only two orders of any consequence for historical pictures4 ,this was rather mortifying2 and being1 by the profits of my former productions and the office of serjeant painter1 tolerably easy in my circumstances1 and thoroughly sick of the idle quackery of criticism1 ,i determined to quit the pencil for the graver4 ,in this humble walk ,i had one advantage2 the perpetual fluctuations in the manners of the times enabled me to introduce new characters1 which being drawn from the passing day1 had a chance of more originality and less insipidity than those which are repeated again1 and again1 and again from old stories4 ,added to this1 the prints which ,i had previously engraved were now become a voluminous work1 and circulated not only through ,england1 but over ,europe4 ,these being secured to me by an ,act which ,i had previously got passed1 were a kind of an estate2 and as they wore1 ,i could repair and re-touch them1 so that in some particulars they became better than when first engraved4#gb ,while ,i was making arrangements to confine myself entirely to my graver1 an amiable nobleman 7,lord ,charlemont7 requested that1 before ,i bade a final adieu to the pencil1 ,i would paint him one picture2 the subject to be my own choice1 and the reward--whatever ,i demanded4 ,the story ,i pitched upon was a young and virtuous married lady1 who1 by playing at cards with an officer1 loses her money1 watch1 and jewels2 the moment when he offers them back in return for her honour1 and she is wavering at his suit1 was my point of time4#gc ,the picture was highly approved of1 and the payment was noble2 but the manner in which it was made1 by a note enclosed in one of the following letters1 was to me infinitely more gratifying than treble the sum3-- ,from ,lord ,charlemont to ,mr4 ,hogarth4 ,,mount ,,street1 #aith ,aug4 #agei4 ,,dear ,,sir1--,i have been so excessively busied with ten thousand troublesome affairs1 that ,i have not been able to wait upon you according to my promise1 nor even to find time to sit for my picture4 ,as ,i am obliged to set out for ,ireland to-morrow1 we must defer that till my return1 which will be in the latter end of ,january1 or in the beginning of ,february at furthest4 ,i am still your debtor1 more so indeed than ,i ever shall be able to pay2 and did intend to have sent you before my departure what trifling recompense my abilities permit me to make you4 ,but the truth is1 having wrong calculated my expenses1 ,i find myself unable for the present even to attempt paying you4 ,however1 if you be in any present need of money1 let me know it1 and as soon as ,i get to ,ireland ,i will send you1 not the price of your picture1 for that is inestimable1 but as much as ,i can afford to give for it4--,sir1 ,i am1 with the most sincere wishes for your health and happiness1 your most obedient humble servant1 ,,charlemont4 ,to ,mr4 ,hogarth4 ,,dublin1 #bith ,january #agfj4 ,,dear ,,sir1--,enclosed ,i send you a note upon ,nesbitt for one hundred pounds2 and considering the name of the author1 and the surprising merit of your performance1 ,i am really much ashamed to offer such a trifle in recompense for the pains you have taken1 and the pleasure your picture has afforded me4 ,i beg you would think that ,i by no means attempt to pay you according to your merit1 but according to my own abilities4 ,were ,i to pay your deserts1 ,i fear ,i should leave myself poor indeed4 ,imagine that you have made me a present of the picture1 for literally as such ,i take it1 and that ,i have begged your acceptance of the enclosed trifle4 ,as this is really the case1 with how much reason do ,i subscribe myself1 ,your most obliged humble servant1 ,,charlemont4 ,this elevating circumstance had its contrast1 and brought on a train of most dissatisfactory circumstances1 which by happening at a time when ,i thought myself1 as it were1 landed1 and secure from tugging any longer at the oar1 were rendered doubly distressing4 ,a gentleman 7now a nobleman7 seeing this picture1 pressed me with much vehemence to paint another for him upon the same terms4 ,to this ,i reluctantly assented2 and as ,i had been frequently flattered for my power of giving expression1 ,i thought the figure of ,sigismunda weeping over the heart of her lover would enable me to display it4 ,impressed with this idea1 ,i fixed upon this very difficult subject4 ,my object was dramatic1 and my aim to draw tears from the spectator1--an effect ,i have often witnessed at a tragedy2 and it therefore struck me that it was worth trying if a painter could not produce the same effect1 and touch the heart through the eye1 as the player does through the ear4#gd ,thus far ,i have been gratified3 ,i have more than once seen the tear of sympathy trickle down the cheek of a female while she has been contemplating the picture4 ,as four hundred pounds had a short time before been bid for a picture of ',sigismunda1' painted by a ,french master1 but falsely ascribed to ,correggio1 four hundred pounds was the price at which ,i rated this4#ge ,by any other of my pursuits ,i could have got twice the sum in the time ,i devoted to it2 nor was it more than half what a fashionable face-painter would have gained in the same period4 ,upon these grounds ,i put it at this sum2 see the letter1 and see the answer4 ,it ended by my keeping the picture in my painting-room1 and his ,lordship keeping his money in his pocket4 ,had it been ,charlemont6 ,this transaction having given rise to many ridiculous falsehoods1 the following unvarnished tale will set the whole in its true light3-- ,january #agfd4 ,the picture of ',sigismunda' was painted at the earnest request of ,sir ,richard ,grosvenor 7now ,lord ,grosvenor7 in the year #agei1 at a time when ,mr4 ,hogarth had fully determined to leave off painting1 partly on account of ease and retirement1 but more particularly because he had found by thirty years' experience that his pictures--except in an instance or two1 mentioned in the note#gf--;had not produced him one quarter of the profit that arose from his engravings4 ,however1 the flattering compliments1 as well as generous offers1 made him by the above gentleman 7who was immensely rich71 prevailed upon the unwary artist to undertake this difficult subject1 which being seen and fully approved of by his ,lordship whilst in hand1 was1 after much time1 and the utmost efforts1 finished4 ,but how6 the painter's death 7as usual7 can only positively determine4 ,the price required for it was therefore not on account of its value as a picture1 but proportioned to the value of the time it took in painting4 ,this nobleman in the interim fell into the clutches of the dealers in old pictures2 the treatment a man who painted new ones was to expect where these gentry once get a footing#gg so much alarmed the artist1 that he thought it best to set his ,lordship at full liberty to take or reject the picture by writing the following letter1 and putting him in mind of the agreement which was made when the work was undertaken3-- ,mr4 ,hogarth's ,letter to ,sir ,richard ,grosvenor4 ,,sir1--,i have done all ,i can to the picture of ',sigismunda4' ,you may remember you was pleased to say you would give me what price ,i should think fit to set upon any subject ,i would paint for you2 and at the time that you made this generous offer1 ,i in return made it my request that you would use no ceremony in refusing the picture when done1 if you should not be thoroughly satisfied with it4 ,this you promised should be as ,i pleased1 which ,i now entreat you will comply with1 without the least hesitation1 if you think four hundred too much money for it4#gh ,one more favour ,i have to beg1 which is1 that you will determine on this matter as soon as you can conveniently1 that ,i may resolve whether ,i shall go about another picture for ,mr4 ,hoare the banker1 on the same conditions1 or stop here4--,i am1 etc4 ,june #ac1 #ageg4 ,sir ,richard ,grosvenor to ,mr4 ,hogarth4 ,,sir1--,i should sooner have answered yours of the #acth instant1 but have been mostly out of town4 ,i understand by it that you have a commission from ,mr4 ,hoare for a picture4 ,if he should have taken a fancy to the ',sigismunda1' ,i have no sort of objection to your letting him have it2 for ,i really think the performance so striking and inimitable1 that the constantly having it before one's eyes would be too often occasioning melancholy ideas to arise in one's mind1 which a curtain's being drawn before it would not diminish in the least4--,i am1 ,sir1 your most obedient servant1 ,,richard ,,grosvenor4 ,,grosvenor ,,square1 ,sunday morning1 ,june #ag4 ,mr4 ,hogarth's ,reply4 ,,sir ,,richard1--,as your obliging answer to my letter in regard to the picture of ',sigismunda' did not seem to be quite positive1 ,i beg leave to conclude you intend to comply with my request if ,i do not hear from you within a week4--,i am1 etc4 ,w4 ,h4 ,his ,lordship not thinking fit to take any further notice of the affair1 here it must have ended2 but things having been represented in favour of his ,lordship1 and much to ,mr4 ,hogarth's dishonour1 the foregoing plain tale is therefore submitted to such as may at any time think it worth while to see the whole truth in what has been so publicly talked of4 ,to vindicate his fame1 ,hogarth at one time determined to have the picture engraved1 and ,mr4 ,ravenet undertaking it1 a subscription for the print was begun ,march #b;d1 #agfa2gi but1 some time afterwards1 finding that ,mr4 ,ravenet was under articles not to work for any one except ,mr4 ,boydell for three years then to come1 the subscription was put a stop to1 and the money returned to the subscribers1 there being no other engraver at leisure capable of doing it as it should be done4 ,january #b1 #agfd4 ,all efforts to this time to get the picture finely engraved proving in vain1 ,mr4 ,hogarth humbly hopes his best endeavours to engrave it himself will be acceptable to his friends4 ,,correggio',s ,,sigismunda4 ,mute1 solemn sorrow1 free from female noise4 --,,dryden',s ,sigismunda4 ,on the comparative merit of the two pictures of ,sigismunda there have been various opinions4 ,by the foregoing narrative it appears that ,hogarth never paid so much attention to any preceding production2 but in works of imagination success is not always proportionate to labour1 and his performance might not be equal to his exertions4 ,be that as it may1 this was the criterion by which he estimated its worth2 and by the political disputes in which he was afterwards engaged with ,wilkes and ,churchill1 this estimation was turned against himself4 ,his opponents discovered his parental partiality for ,sigismunda2 and to wound the artist in his most vulnerable part1 they mangled her without mercy4 ,mr4 ,walpole's critique did not appear until after ,hogarth's death2 but when he gravely states ,hogarth's performance to be more ridiculous than anything the artist had ever ridiculed1 it ceases to be criticism4 ,the best reply to so extravagant an assertion1 is the original picture now in the possession of ,messrs4 ,boydell1 which1 though not well coloured1 and rather ,french1 is marked with mind1 and would probably have been better had it not been so often altered on the suggestions of different critical friends4 ,mr4 ,walpole contrasts it with that painted by ,correggio 7or ,furino71 on which1 at the expense of the poor ,english artist1 he bestows most extravagant and unqualified praise2 asserting that it is impossible to see the picture1 or read ,dryden's inimitable tale1 and not feel that the same spirit animated both poet and painter4 ,that the reader may form his own opinion by comparison1 ,i have annexed a copy from ,mac,ardell's admirable print2 and as both sides ought to be heard1 ,i have subjoined the following remarks from the ,monthly ,register of ,literature1 vol4 ii41 in which is a critique 7possibly written by ,mr4 ,joshua ,kirby71 as extravagant in the abuse of this picture as ,mr4 ,walpole is in its praise4 ,it is here stated that these observations were written for private use by a professional man whose name is well known as the author of a treatise on painting and perspective2 it begins with some remarks on ,miss ,edwards' sale in #agdf1 and concludes with several strictures on ,sir ,luke ,schaub's in ,april #agef3 ,sir ,luke's pictures 7only #agh7 sold for #gghd6 a lucky collection for his heir1 but unlucky for ,sir ,luke's reputation as a judge of painting4 ,after several severe remarks on some of the preceding lots1 the writer observes of ,no4 #ei1--',sigismunda ,weeping over the ,heart of ,tancred1' called a ,correggio1--that this picture is an undoubted copy2 nothing in the character of ,sigismunda but sorrow to recommend it4 ,the painter might take it from his cook-maid1 there being nothing elegant or delicate in her appearance4 ,the virtuosi ran it up to #djj2 but ,sir ,thomas ,sebright1 at the desire of the proprietor1 bought it in for #djd1 #es4 ,he soon discovered his mistake1 for in reality it was worth no more than ten guineas4 ,though ,i cannot consent to view this picture through the medium of ,mr4 ,walpole's overcharged panegyric1 which gives to the artist a power that is not in the art1 and seems heightened for the pure purpose of sinking ,hogarth by the contrast2 yet ,i by no means meet this indiscriminate and unfounded censure4 ,it is many years since ,i saw the picture in the ,duke of ,newcastle's collection1 and ,i then thought it sublimely conceived and finely coloured4 ,mac,ardell's print gives a faithful representation of the character1 and the annexed head is a correct copy4 ,hogarth still bearing in mind this transaction1 in which he thought himself very ill-used1 continues his narrative1 and concludes with a recital of the circumstances which occasioned his quarrel with ,mr4 ,wilkes1 etc42 this much hurt his feelings1 and in the progress of it ,i have ever thought he was unjustly and most inhumanly treated3-- ,as the most violent and virulent abuse thrown on ',sigismunda' was from a set of miscreants1 with whom ,i am proud of having been ever at war1 ,i mean the expounders of the mysteries of old pictures1 ,i have been sometimes told they were beneath my notice4 ,this is true of them individually2 but as they have access to people of rank1 who seem as happy in being cheated as these merchants are in cheating them1 they have a power of doing much mischief to a modern artist4 ,however mean the vendor of poisons1 the mineral is destructive2 to me its operation was troublesome enough4 ,ill-nature spread so fast1 that now was the time for every little dog in the profession to bark1 and revive the old spleen which appeared at the time of the ,analysis4#hj ,the anxiety that attends endeavouring to recollect ideas long dormant1 and the misfortunes which clung to this transaction1 coming at a time when nature demands quiet1 and something besides exercise to cheer it1 added to my long sedentary life1 brought on an illness which continued twelve months4 ,but when ,i got well enough to ride on horseback ,i soon recovered4 ,this being at a period when war abroad and contention at home engrossed every one's mind1 prints were thrown into the background2 and the stagnation rendered it necessary that ,i should do some timed thing1 to recover my lost time and stop a gap in my income4 ,this drew forth my print of ',the ,times1' a subject which tended to the restoration of peace and unanimity1 and put the opposers of these humane objects in a light which gave great offence to those who were trying to foment destruction in the minds of the populace4 ,one of the most notorious among them1 till now rather my friend and flatterer1 attacked me in a ,north ,briton1 in so infamous and malign a style1 that he himself1 when pushed even by his best friends1 was driven to so poor an excuse as to say1 'he was drunk when he wrote it4' ,being at that time very weak1 and in a kind of slow fever1 it could not but seize on a feeling mind4 ,my philosophical friends advise me to laugh at the nonsense of party writing--who would mind it8--but ,i cannot rest myself3 ',who steals my gold steals trash2 'tis something1 nothing2 ',twas mine1 'tis his1 and has been slave to thousands3 ,but he that filches from me my good name1 ,robs me of that which not enriches him1 ,and makes me poor indeed4' ,such being my feelings1 my great object was to return the compliment1 and turn it to some advantage4 ,this renowned patriot's portrait drawn1 like as ,i could as to features1 and marked with some indications of his mind1 fully answered my purpose4 ,the ridiculous was apparent to every eye4 ,a ,brutus6 a saviour of his country with such an aspect6 was so arrant a farce1 that1 though it gave rise to much laughter in the lookers-on1 galled both him and his adherents to the bone4 ,this was proved by the papers being every day crammed with invectives against the artist1 till the town grew absolutely sick of thus seeing me always at full length4 ,churchill1 ,wilkes' toad-eater1 put the ,north ,briton into verse in an epistle to ,hogarth2 but as the abuse was precisely the same1 except a little poetical heightening1 which goes for nothing1 it made no impression1 but perhaps in some measure effaced or weakened the black strokes of the ,north ,briton4 ,however1 having an old plate by me1 with some parts ready1 such as the background and a dog1 ,i began to consider how ,i could turn so much work laid aside to some account2 so patched up a print of ,master ,churchill in the character of a ,bear4 ,the pleasure and pecuniary advantage which ,i derived from these two engravings1 together with occasionally riding on horseback1 restored me to as much health as can be expected at my time of life4 ,thus have ,i gone through the principal circumstances of a life which1 till lately1 passed pretty much to my own satisfaction1 and1 ,i hope1 in no respect injurious to any other man4 ,this ,i can safely assert1 ,i have invariably endeavoured to make those about me tolerably happy1 and my greatest enemy cannot say ,i ever did an intentional injury2 though1 without ostentation1 ,i could produce many instances of men that have been essentially benefited by me4 ,what may follow1 ,god knows4--,,finis4 ,such is the candid and dispassionate appeal which this unequalled artist and excellent man makes to his contemporaries and to posterity4 ,in ,october #agfd1 he died of an aneurism at his house in ,leicester ,fields4 ,his remains were removed to his family vault at ,chiswick4 ,the epitaph by ,dr4 ,johnson1 and that written by ,mr4 ,garrick and inscribed on his monument1 are in the first volume of ,hogarth ,illustrated4 ,in the ,public ,ledger of ,november #ai1 #agfd1 his friend ,doctor ,townley paid the following tribute to his talents and virtues3-- ,,to ,,the ,,memory ,,of ,,william ,,hogarth1 ,,who ,,was ,,such ,,am ,,accurate ,,observer ,,of ,,mankind ,,that ,,no ,,character ,,escaped ,,him1 ,,and ,,so ,,happy ,,in ,,expressing ,,his ,,conceptions ,,by ,,the ,,strength ,,of ,,his ,,pencil1 ,,that1 ,,as ,,his ,,own ,,times ,,never ,,produced ,a ,,rival1 ,,posterity ,,will ,,scarce ,,ever ,,see ,,an ,,equal ,,to ,,him4 ,,his ,,thoughts ,,were ,,so ,,constantly ,,employed ,,in ,,the ,,cause ,,of ,,truth ,,and ,,virtue1 ,,that ,,he ,,may ,,be ,,justly ,,ranked ,,amongst ,,the ,,best ,,moral ,,authors4 ,,whilst ,,he ,,faithfully ,,followed ,,nature ,,through ,,all ,,her ,,varieties1 ,,and ,,exposed ,,with ,,inimitable ,,skill ,,the ,,infinite ,,follies ,,and ,,vices ,,of ,,the ,,world1 ,,he ,,was ,,himself ,,an ,,example ,,of ,,many ,,virtues2 ,,and ,,when1 ,,with ,,universal ,,admiration ,,and ,,applause1 ,,he ,,had ,,reproved1 ,,instructed1 ,,and ,,delighted ,,the ,,age ,,wherein ,,he ,,lived1 ,,he ,,resigned ,,the ,,uncommon ,,gifts ,,which ,,he ,,possessed1 ,,and ,,paid ,,the ,,great ,,debt ,,he ,,owed ,,to ,,nature1 ,,oct4 #bg1 #agfd4 ,,description ,,of ,,the ,,prints1 ,,etc4 ,with talents equally honourable to himself1 his country1 and the age in which he lived1 ,hogarth did not leave his widow possessed of much more than arose from the sale of his prints4 ,but during the twenty-five years which she survived him1 she had the higher and more exalted gratification of finding that his reputation increased1 and his fame acquired stability by time4 ,in the year #aghj1 the late ,horace ,lord ,orford published his ,anecdotes1 in which he has introduced ,hogarth's catalogue and character4 ,the volume printed at ,strawberry ,hill1 he 7with the preceding part of the work7 presented to ,mrs4 ,hogarth4 ,the books were accompanied with the following handsome apology for his strictures on the genius of her husband3#ha-- ,to ,mrs4 ,hogarth4 ,,berkeley ,,square1 ,october #d1 #aghj4 ,mr4 ,walpole begs ,mrs4 ,hogarth's acceptance of the volume that accompanies this letter1 and hopes she will be content with his endeavours to do justice to the genius of ,mr4 ,hogarth4 ,if there are some passages less agreeable to her than the rest1 ,mr4 ,walpole will regard her disapprobation only as marks of the goodness of her heart1 and proofs of her affection to her husband's memory2 but she will1 he is sure1 be so candid as to allow for the duty an historian owes to the public and himself1 which obliges him to say what he thinks1 and which when he obeys1 his praise is corroborated by his censure4 ,the first page of his ,preface will more fully make his apology2#hb and his just admiration of ,mr4 ,hogarth1 ,mr4 ,w4 flatters himself1 will1 notwithstanding his impartiality1 still rank him in ,mrs4 ,hogarth's mind as one of her husband's most zealous and sincere friends4 ,in nine years after the receipt of this letter1 ,mrs4 ,hogarth died1 bequeathing her property to her relation1 ,mrs4 ,mary ,lewis of ,chiswick1 by whose kindness and friendship ,i am in possession of the manuscripts which form the basis of the foregoing sheets1 the following most singular and curious print of ,enthusiasm ,delineated1 etc4 etc4 etc4 ,,enthusiasm ,,delineated1 ,,contrasted ,,with ,,the ,,print ,,entitled ,a ,,medley2 ,,to ,,which ,,hogarth ,,afterwards ,,altered ,,the ,,plate4#hc ,idolatry is not only an accounting and worshipping that for ,god which is not ,god1 but it is also a worshipping the true ,god in a way unsuitable to ,his nature1 and particularly by the mediation of images and corporeal resemblances4--,,south4 ,such was the opinion of ,dr4 ,south1 and such the opinion of ,hogarth1 when he designed this very extraordinary print1 the intention of which is to give a lineal representation of the strange effects resulting from literal and low conceptions of sacred beings1 as also of the idolatrous tendency of pictures in churches1 and prints in religious books1 etc4 ,to exemplify this1 he has parodied the productions of several eminent masters1 whose works1 having been generally painted under the direction of cardinals1 popes1 etc41 are chiefly on religious subjects2 and by the artists absurdly attempting to represent what are not properly objects of sight1 that which they intended to be sublime is rendered in the highest degree ridiculous4 ,to burlesque the idolatrous symbols with which they have peopled their canvas1 place the popish doctrine of transubstantiation#hd in its true point of view1 unmask hypocrisy1 and check the progress of those enthusiastic delusions which ,bishop ,lavington properly terms ,religion run ,mad1#he are the author's leading objects4 ,to effect these purposes1 he has delineated what we may fairly denominate a powerful preacher1 who from his countenance1 and what is hinted at in the scale of vociferation at his left hand1 seems treating his congregation with a bull roar4 ,he may be considered as either a ,methodistical ,papist or a ,popish ,methodist1 for his shaven crown intimates that he is a ,jesuit2 and the harlequin's jacket underneath his gown denotes the versatility of his religious professions4 ,this ,proteus of the pulpit poises a puppet in each hand2 that in the left represents the devil grasping a gridiron2 in his right he holds the triple figure with the triangular emblem1 by which ,raphael and some other painters have profanely presumed to personify the ,deity4#hf ,exemplifying sacred mysteries by these absurd theorems is surely open to the severest satire2 and to heighten his ridicule1 the artist has1 by adding three legs to the triangle1 rendered it a complete trivet1 and given to his jesuitical and theatrical declaimer 7who1 as his text intimates1 speaks as a fool7 a pointed antithesis1--,if you do not believe in this trivet1 you shall broil on that gridiron4 ,dangling on pegs around the pulpit1 and to be exhibited as there shall be occasion1 are six other puppets1 copied from the absurd misrepresentations which some of the old masters have made of ,adam and ,eve1 ,peter and ,paul1 ,moses and ,aaron4 ,adam and ,eve are a little caricatured1 but evidently intended to hint at the dry designs of ,albert ,durer4 ,adam1 though naked1 has the air of a first-rate coxcomb4 ,eve1 encircled with a zone of fig leaves1 has neither grace in her step nor dignity in her gesture4 ,peter1 displaying his ponderous key1 and pulling off ,paul's black periwig1 is copied from ,rembrandt1 and to him referred in ,hogarth's inscription4 ,paul1 with a beard of ,hudibrastic cut and dye1 being low of stature1 is elevated by high-heeled shoes1 and armed with two swords3 that in his hand1 massy as the weapon wielded by ,john a ,gaunt2 the other1 which1 like the dagger of ,hudibras1 might serve as its page1 tucked to his side4 ,moses and ,aaron1 one bearing the tables and the other an incense pot1 are retreating to the other side4 ,the ,jewish lawgiver's having made many ordinances concerning food1 may be hinted at by his being crowned with a porridge pot2 the two feet may serve for horns4 ,the bells on the hem of ,aaron's garments are sufficiently obvious1 and1 as saith ,master ,thomas ,goodwin1 in his ,civil and ,ecclesiastical ,rites--,by the bells are typed the sound of his doctrine4 ,the nobleman in a pew beneath1 unquestionably refers to some known character2 but for whom it is meant ,i am unable to determine4 ,he may either be a peer who was at that time very constant in his attendance at the ,tabernacle1 or a wolf who has found his way into the fold1 and is prowling among the lambs of the flock4 ,his face presents the index of a mind in which hypocrisy is united with another passion1 and is in an eminent degree characteristic4 ,the holy fervour#hg of the female1 who1 seduced by the tender touches of an earthly lover1 lets her celestial model fall to the ground1 is equally remarkable4 ,a ragged figure#hh in the same pew1 dropping his tears into a bottle1 we know1 by his rueful countenance1 his handcuffs1 and the letter ,t marked on his cheek1 to be a repentant thief4 ,a tattered and coal-black proselyte at the foot of the reading-desk1 inspired with the epidemical enthusiasm of the place1 is embracing the idolatrous image of her adoration1 which in colour is similar to herself4 ,as sculptors and painters have thought fit to denominate a child's head1 with duck wings1 ,cherubin2#hi ,hogarth1 to one of these infantine fancies1 has whimsically enough added a pair of duck's feet4 ,the well-fed figure in the desk may perhaps be meant as an overcharged portrait of ,whitfield4 ,the fainting female in the corner of the print was intended for ,mrs4 ,douglas of the ,piazza1 who1 after a most licentious life1 became a rigid devotee1 and was ,sam4 ,foote's original for ,mother ,cole4 ,the ,jew1 with an insect between his nails1 has a fine air of head4 ,on the book open before him is a print of ,abraham offering up ,isaac4#ij ,the figures in the background it is not necessary to enumerate3 they are sighing1 weeping1 groaning6 ,the four most obtrusive convey a severe satire on transubstantiation4 ,a ,turk looking through the window1 is evidently laughing at their absurdities1 and thanking ,mahomet that he has been early initiated in the ,koran4 ,a dog1 with ,whitfield on his collar1 seated upon a hassock1 and howling in concert with the preacher1 is admirably designed4 ,the figure of a pigeon impressed on the ,methodist's brain1 is intended to intimate that if the ,holy ,spirit gets into the head instead of the heart1 it will create that confusion of intellect described in the mental thermometer which rises out of it1 and which is crowned by a dove on the point of a triangle4 ,thus did this great artist express his ,first ,thought1 but afterwards erased1 or essentially altered every figure except two1 and on the same piece of copper3 we find his variations so multifarious as to render it nearly a new print1 which he entitled ,,credulity1 ,,superstition1 ,,and ,,fanaticism4 ,a ,,medley4 ,the preacher and the devil1 except in a few shadows added to a handkerchief1 are left as in the first state1 and these are the only figures that are so left2 from them and the background it is positively ascertained that the first and second engravings are on the same copperplate4 ,raphael's strange symbol of the ,deity the artist has struck out1 and in the place of it inserted a witch upon a broomstick2 instead of the puppets representing ,adam and ,eve1 ,peter and ,paul1 ,moses and ,aaron1 we have ,mrs4 ,veale's ghost1 ,julius ,csar's apparition1 and the shade of ,sir ,george ,villiers4 ,the nobleman1 and lady dropping her deified image in the pew beneath the pulpit1 are discarded1 and a pair of vulgar and uninteresting characters put in their room4 ,the handcuffed felon is obliterated1 and his place supplied by two figures1 one weeping1 the other asleep4 ,the ragged woman hugging a model is altered to the boy of ,bilson2 and on the hassock1 where was the howling dog1 is a shoeblack's basket1 with ,whitfield's ,journal placed upon ,king ,james's ,demonology4 ,the characters of cherubin and seraph are changed2 and though the duck's wings are left1 the legs are lopped off4 ,in the place of the corpulent and consequential clerk1 the artist has inserted a meagre and moon-eyed monster1 with wings that either grow out of his shoulders1 or appertain to a foul fiend planted behind him and acting as his prompter4 ,mother ,douglas is beaten out of the copper1 and in her room ,hogarth has introduced ,mrs4 ,tofts and her rabbits1 one of the popular impositions of his own day4 ,the smelling-bottle applied to recover ,mrs4 ,douglas from fainting1 is with ,mrs4 ,tofts very properly changed to a dram glass4 ,the ,jew is altered1 and altered for the worse3 the print of ,abraham and ,isaac1 in a book before him1 is obliterated1 and a knife inscribed bloody1 and laid upon an altar1 supplies its place4 ,in the characters of the common people of the congregation there are several variations2 the models which some of them held in their arms are totally changed4 ,the pigeon in the ,methodist's brain is discarded2 in the place of the inscription in the top division of the thermometer he has inserted the ,cock ,lane ghost2 and instead of the glory1 which in the ,first ,thought crowned the whole1 we have the ,tedworth ,drummer1 a tale which1 had it not given the subject for ,addison's comedy1 would have been long since forgotten4 ,on the scale of vociferation and the chandelier1 the names of ,w--d and ,romaine are only to be found in the present state of the plate2 in the scale of the thermometer there are numerous alterations4 ,in ,the ,medley1 the artist has made an addition1 and placed ,wesley's ,sermons and ,glanville's book ,on ,witches as supporters to the ,methodist's brain4 ,to do this1 and introduce the rabbits on the foreground1 he has brought his work so near the bottom of his plate as not to leave room for a title1 which1 with the quotation from ,st4 ,john1 ,believe not every spirit1 etc41 is1 in the present state of the plate1 engraven on another piece of copper4 ,many little variations besides those ,i have noted will appear by a comparison of the two designs2 one is worthy of particular attention4 ,in the print of ,enthusiasm ,delineated1 the inscriptions on the thermometer1 etc41 are evidently from the burin of ,hogarth2 in the print of ,the ,medley1 every inscription1 even those which in each impression contain the same words1 are the work of a writing engraver1 from which ,i am inclined to believe1 that in the first state the artist never trusted the plate out of his own hands4 ,with respect to the comparative merit of the two prints1 ,i think of the ,first ,thought what ,mr4 ,walpole in his ,anecdotes asserts of the ,second1 that for useful and deep satire1 it is the most sublime of all his works4 ,it forms one great whole2 and the skill with which he has appropriated the absurd symbols of painters1 and combined the idolatrous emblems of ,popery with the mummery of modern enthusiasts1 presents a trait of his genius hitherto unknown2 displays the powers of his mind on subjects new to his pencil1 and shows an extent of information and depth of thought that is not to be found in any of his other works4 ,in ,the ,medley the artist has changed his ground1 attacked follies of another description1 and in the place of ,enthusiasm introduced ,credulity1 ,superstition1 and ,fanaticism4 ,in his management of them he has shown much genius1 and by his transition from one object to another1 and the many metamorphoses of his characters1 displayed a power of assimilating1 aptness of appropriating1 and versatility of pencil hardly to be paralleled1 and proved that his invention was inexhaustible4 ,with all this1 it must be acknowledged that some of the local credulities which he has there depicted were of so temporary and trifling a nature1 that even now they are hardly recollected by any other circumstances than having been introduced in this print4 ,ten or twelve figures engraved on the background are not in the ,first ,thought3 two of them1 viz4 a crazed convert terrified by a lay preacher1 are admirably descriptive2 but as to the residue of this half-price audience1 met together to be miserable1 they add to the number without much increasing the force1 destroy the pyramid1 and hurt the general effect2--if they are intended to stand on the floor1 they are too high2 if on benches1 too low4 ,the effect of this print is further injured by the alteration of the clerk4 ,in the first state1 his ample breadth of face and black periwig render him a leading character1 and give him the rank of principal figure4 ,the thin-visaged1 hungry harpy in ,the ,medley has no importance1 neither is there any principal figure in that print4 ,a little cherub ,mercury1 crowned with a postilion's cap1 and bearing in his mouth a letter directed to ,st4 ,moneytrap1 is an afterthought1 and only to be found in the second impression4 ,if ,i am asked what were the artist's inducements for making so many alterations1 ,i can account for it in no other way than by supposing some friend suggested that the satire would be mistaken1 and that there might be those who would suppose his arrows were aimed at religion1 though every shaft is pointed at the preposterous masquerade habit in which it has been frequently disguised4 ,considering the time that must have been employed in beating out the old figures1 the trouble of polishing the copper1 etc41 it seems rather extraordinary that he should not have wholly discarded his plate of the ,first ,thought1 and taken another piece of copper for the second4 ,it is probable that the alterations were made by degrees1 and before the author was fully satisfied with his design1 became much more numerous than he had at first intended4#ia ,,taste ,,in ,,high ,,life ,,in ,,the ,,year #agdb4 ,illustration3 ,,taste ,,in ,,high ,,life4 ,the picture from which this print was copied1 ,hogarth painted by the order of ,miss ,edwards1 a woman of large fortune1 who1 having been laughed at for some singularities in her manners1 requested the artist to recriminate on her opponents1 and paid him sixty guineas for his production4 ,it is professedly intended to ridicule the reigning fashions of high life in the year #agdb4 ,to do this the painter has brought into one group an old beau and an old lady of the ,chesterfield school1 a fashionable young lady1 a little black boy1 and a full-dressed monkey4 ,the old lady1 with a most affected air1 poises between her finger and thumb a small tea-cup1 with the beauties of which she appears to be highly enamoured4 ,the gentleman1 gazing with vacant wonder at that and the companion saucer which he holds in his hand1 joins in admiration of its astonishing beauties6 ,each varied colour of the brightest hue1 ,the green1 the red1 the yellow1 and the blue1 ,in every part their dazzled eyes behold1 ,here streak'd with silver--there enrich'd with gold4 ,this gentleman is said to be intended for ,lord ,portmore1 in the habit he first appeared at ,court on his return from ,france4 ,the cane dangling from his wrist1 large muff1 long queue1 black stock1 feathered chapeau1 and shoes1 give him the air of ,an old and finish'd fop1 ,all cork at heel1 and feather all at top4 ,the old lady's habit1 formed of stiff brocade1 gives her the appearance of a squat pyramid1 with a grotesque head at the top of it4 ,the young one is fondling a little black boy1 who on his part is playing with a petite pagoda4 ,this miniature ,othello has been said to be intended for the late ,ignatius ,sancho1 whose talents and virtues were an honour to his colour4 ,at the time the picture was painted he would have been rather older than the figure2 but as he was then honoured by the partiality and protection of a noble family1 the painter might possibly mean to delineate what his figure had been a few years before4 ,the little monkey1 with a magnifying glass1 bag-wig1 solitaire1 laced hat1 and ruffles1 is eagerly inspecting a bill of fare1 with the following articles pour dinner3 cocks' combs1 ducks' tongues1 rabbits' ears1 fricasey of snails1 grande d'uts beurre4#ib ,in the centre of the room is a capacious china jar2 in one corner a tremendous pyramid composed of packs of cards2 and on the floor1 close to them1 a bill inscribed1 ,lady ,basto ,dr to ,john ,pip1 for cards--#cjj4 ,the room is ornamented with several pictures2 the principal represents the ,medicean ,venus on a pedestal1 in stays and high-heeled shoes1 and holding before her a hoop petticoat somewhat larger than a fig-leaf2 a ,cupid paring down a fat lady to a thin proportion1 and another ,cupid blowing up a fire to burn a hoop petticoat1 muff1 bag1 and queue wig1 etc4 ,on the dexter side is another picture representing ,monsieur ,desnoyer1 operatically habited1 dancing in a grand ballet1 and surrounded by butterflies1 etc41 inscribed ,insects1 and evidently of the same genus with this deity of dance4 ,on the sinister is a drawing1 denominated ,exotics1 consisting of queue and bag-wigs1 muffs1 solitaires1 petticoats1 ,french-heeled shoes1 and other fantastic fripperies4 ,beneath this is a lady in a pyramidical habit walking the park2 and1 as the companion picture1 we have a blind man walking the streets4 ,the fire-screen is adorned with a drawing of a lady in a sedan chair-- ,to conceive how she looks1 you must call to your mind ,the lady you've seen in a lobster confin'd1 ,or a pagod in some little corner enshrin'd4 ,as ,hogarth made this design from the ideas of ,miss ,edwards1 it has been said that he had no great partiality for his own performance1 and that1 as he never would consent to its being engraved1 the drawing from which the print is copied was made by the connivance of one of her servants4#ic ,be that as it may1 his ridicule on the absurdities of fashion1--on the folly of collecting old china1--cookery1--card-playing1 etc41 is pointed1 and highly wrought4 ,at the sale of ,miss ,edwards' effects at ,kensington1 the original picture was purchased by the father of ,mr4 ,birch1 surgeon1 of ,essex ,street1 ,strand4 ,,farinelli1 ,,cuzzoni1 ,,and ,,senesino1 ,,in ,,the ,,characters ,,of ,,ptolemy1 ,,cleopatra1 ,,and ,,julius ,c,,sar4 ,to banish nature and to vary art1 ,to fix the ear but never reach the heart1 ,to mangle sense and dress up meagre sound1 ,while the same tasteless unison goes round2 ,and still the point of excellence to place ,in execution1 cadence1 and grimace2 ,to ravish with unnatural sounds the ear1 ,while beaux applaud and belles with rapture hear1#id ,the song we raise4 ,illustration3 ,,farinelli1 ,,cuzzoni1 ,,senesino4 ,this dignified heroine and the two heroes--of a class-- ,by their smooth chins and simple simper known1 are here the representatives of the majesty of ,egypt1 a morsel for a monarch1 and the foremost man of all this world2#ie they were the three principal performers in ,handel's opera of ,ptolomeo1 performed in the year #agbh4 ,there have been some suspicions of its not being ,hogarth's design1 and from the characters more than bordering on caricature1 etc41 ,i once inclined to that opinion2 but from the general spirit of the satire1 and the same figures being introduced in nearly the same attitudes in the first print ,hogarth ever published 7see p4 #bb71 there is little doubt of its being his production4 ,the position 7for it can hardly be called an attitude7 in which the painter has placed ,farinelli1 is fully warranted by the writer of a pamphlet1 entitled ,reflections on ,theatrical ,expression in ,tragedy1 etc41 published in #agee4 ,these ,reflections are admirably contrasted by the exaggerated compliment with which the author of the ,divine ,legation honours the divine ,senesino4 ,the two quotations follow3-- ,i shall therefore1 in my further remarks on this article1 go back to the old ,italian theatre1 when ,farinelli drew everybody to the ,haymarket4 ,what a pipe6 what modulation6 what ecstasy to the ear6--but1 heavens6 what clumsiness6 what stupidity6 what offence to the eye6 ,reader1 if of the city1 thou mayst probably have seen in the fields of ,islington or ,mile-,end1 or if thou art in the environs of ,st4 ,james's1 thou must have observed in the park1 with what ease and agility a cow1 heavy with calf1 has rose up at the command of the milkwoman's foot4 ,thus from the mossy bank sprung up the divine ,farinelli4 ,then with long strides1 advancing a few paces1 his left hand settled upon his hip in a beautiful bend1 like that of an old-fashioned caudle-cup1 his right hand remained immoveable across his manly breast till numbness called its partner to supply its place1 when it relieved itself in the position of the other handle to the caudle-cup1 etc4--,reflections1 etc4 ,with respect to the other genius of ,italian song1 ,mr4 ,nichols very justly observes that his dignity must have been wonderful1 or the following passage in ,dr4 ,warburton's ,inquiry into the ,causes of ,prodigies and ,miracles 7printed in #agbg7 affords a most notorious example of the bathos3-- ,observe1 says he 7p4 #fj71 ,sir ,walter ,raleigh's great manner of ending the first part of the ,history of the ,world3 ',by this1 which we have already set down1 is seen the beginning and end of the three first monarchies of the world1 whereof the founders and erectors thought that they never could have ended2 that of ,rome1 which made the fourth1 was also at this time almost at the highest4 ,we have left it flourishing in the middle of the field1 have rooted up or cut down all that kept it from the eyes and admiration of the world2 but after some continuance it shall begin to lose the beauty it had1 the storms of ambition shall beat the great boughs and branches one against another1 her leaves shall fall off1 her limbs wither1 and a rabble of barbarous nations enter the field and cut her down4' ,what strength of colouring6 what grace1 what nobleness of expression6 with what a majesty does he close his immortal labour6 ,it puts one in mind of the so much admired exit of the late famed ,italian singer6 7,senesino4#if7 ,what a climax6 ,a ,,woman ,,swearing ,,her ,,child ,,to ,a ,,grave ,,citizen4 ,here ,justice triumphs in his elbow chair1 ,and makes his market of the trading fair2 ,his office shelves with parish laws are grac'd1 ,but spelling-books and guides between 'em plac'd4#ig ,here pregnant madam screens the real sire1 ,and falsely swears her bastard child for hire ,upon a rich old leecher1 who denies ,the fact1 and vows the naughty hussif lies4 ,his wife enrag'd1 exclaims against her spouse1 ,and swears she'll be reveng'd upon his brows2 ,the jade1 the justice1 and churchward'ns agree1 ,and force him to provide security4 ,illustration3 ,,woman ,,swearing ,a ,,child4 ,these curious rhymes1 engraven under the original print1 in a degree describe the plot of the play1 and the characters of the performers in this religious ceremony2 for as such does ,picart class a copy which he has introduced in the fourth volume of his work1#ih accompanied with the following explanation3-- ,many other customs might find a place here1 and delight the readers by their comical singularity1 but we dare not crowd in too great a number of those trifles1 as not being properly religious ceremonies2 which therefore1 till approved of by the church1 or by the governor of it1 prescribed by ecclesiastical laws or formularies1 we shall omit1 except two or three of the most remarkable4 ,the first is what the description here annexed calls the breeding woman's oath1--a custom not to be met with in other countries1--which is so fantastical1 or rather unjust1 that it would be a prejudice to the laws of ,england if we were to judge of their equity by that practice4 ,suppose any of these girls1 which may be called amphibious 7being neither wives nor virgins71 is found to be with child4 ,she does not1 or will not1 pretend to know the father of this child4 ,in order to free herself from the trouble of maintaining it when born1 she looks out for some rich man1 upon whom she intends to father it4 ,generally they say she pitches upon some good citizen1 though she does not know him1 or maybe has never seen him4 ,then she goes before a ,justice of the ,peace1 summons the pretended father to appear before him1 and in his presence swears upon the ,bible1 which the clerk holds to her1 that she owns and declares that such a one whom she has summoned to appear is the father of the child4 ,how far the equivocal expressions and restrictions of that oath may excuse her from perjury1 let a good casuist be the judge4 ,however1 the man thus named and sworn to by this formality of law is obliged to pay an arbitrary fine1 and to agree upon a sum of money for the maintenance of the child4--,picart's ,religious ,ceremonies1 p4 #hc4 ,the original picture from which this print was engraven was one of ,hogarth's early productions1 and is in the possession of the ,rev4 ,mr4 ,whalley1 at ,ecton1 ,northamptonshire4 ,in the disposition of the figures1 etc41 it has a more than accidental resemblance to a picture by ,heemskirk1 which was in the possession of ,mr4 ,watson1 surgeon1 ,rathbone ,place1 where all the male figures are monkeys2 all the females1 cats2 and which in the year #aggb was engraved in mezzotinto by ,dickinson1 and entitled ,the ,village ,magistrate4 ,a small copy from ,hogarth's print is introduced as the headpiece to a tale printed in ,banks' ,works1 vol4 i4 p4 #bdh1 entitled ,the ,substitute ,father4 ,,the ,,foundlings4 ,no mother's care ,shielded our infant innocence with prayer2 ,no father's guardian hand our youth maintain'd1 ,call'd forth our virtues1 and from vice restrain'd2 ,but strangers1--pitying strangers1--hear our cry1 ,and with parental care each want supply4 ,illustration3 ,,the ,,foundlings4 ,the last print represented what ,mr4 ,picart chose to call a religious ceremony1--in this we have a scene which may properly be so denominated2 for surely rescuing deserted1 unoffending1 and helpless innocence from destruction1 providing an asylum for childhood1 initiating youth in habits of industry1 and rendering those whose parents were unable to protect them useful members of society1 is a religious as well as a political institution4 ,cold on ,canadian hills or ,minden's#ii plain1 ,perhaps the mother mourn'd her soldier slain1 ,bent o'er her babe1 her eye dissolv'd in dew1 ,the big drop mingling with the milk it drew2 ,gave the sad presage of his future years1 ,the child of misery1 baptiz'd in tears4 ,hogarth1 by presenting some of his works to the ,foundling ,hospital1 was in fact an early benefactor to the charity4 ,he made the annexed design for the use of this institution2 it was engraved by ,f4 ,morellon la ,cave1 as the headpiece to a power of attorney from the trustees of the charity to those gentlemen who were appointed to receive subscriptions towards the building1 etc4 ,illustration3 ,,captain ,,thomas ,,coram4 ,the artist has made his old friend ,captain ,coram a principal figure2 and as this excellent and venerable man was in fact the founder of the charity1 it is with great propriety he is introduced4 ,before him the beadle of the ,hospital carries an infant1 whose mother1 having dropped a dagger with which she might have been momentarily tempted to destroy her child1 kneels at his feet2 while he1 with that benevolence with which his countenance was so eminently marked1 bids her be comforted1 for her babe will be nursed and protected4 ,on the dexter side of the print is a new-born infant1 left close to a stream of water1 which runs under the arch of a bridge4 ,near a gate1 on a little eminence in the pathway above1 a woman leaves another child to the casual care of the next person who passes by4 ,in the distance is a village with a church4 ,in the other corner are three boys coming out of a door with the king's arms over it2 as emblems of their future employments1 one of them poises a plummet1 a second holds a trowel1 and a third1 whose mother is fondly pressing him to her bosom1 has in his hand a card for combing wool4 ,the next group1 headed by a lad elevating a mathematical instrument1 are in sailors' jacket and trousers2 those on their right hand1 one of whom has a rake1 are in the uniform of the school4 ,the attributes of the three little girls in the foreground--a spinning-wheel1 sampler1 and broom--indicate female industry and ingenuity4 ,it must be admitted that the scene here represented is a painter's anticipation1 for the charter was not granted until ,october #agci1 and this design was made only three years afterwards2 but the manner in which the charity has been since conducted has realized the scene4 ,,frontispiece ,,to ,,terr ,,filius4 ,illustration3 ,,terr ,,filius4 ,the work to which this is a frontispiece was written by ,nicholas ,amhurst1 author of the ,craftsman1 and published in the year #agbf4 ,the leading object of this writer is to satirize the ,tory principles of the ,university of ,oxford2 but as the book does not abound in subjects for the pencil1 ,hogarth has selected a scene described in ,no4 #cc1 published #hth ,may #agba1 which contains ,advice to all gentlemen schoolboys1 etc41 who are designed for the ,university of ,oxford4 ,in the part which forms the subject for this print1 the writer thus cautions them3-- ,have a particular regard how you speak of those gaudy things which flutter about ,oxford in prodigious numbers in summer time1 called ',toasts2' take care how you reflect on their parentage1 their condition1 their virtue1 or their beauty1--ever remembering that ',hell has no fury like a woman scorn'd2' especially when they have spiritual bravoes on their side1 to revenge their cause on every audacious contemner of ,venus and her altars4 ,not long ago a bitter lampoon was published on the most celebrated of these petticoat professors4 ,as soon as it came out the town was in an uproar1 and a very severe sentence was passed upon the author of this anonymous libel1 to discover whom no pains were spared4 ,all the disgusted ill-natured fellows in the ,university were1 one after another1 suspected upon this occasion4 ,at last1 ,i know not how1 it was peremptorily fixed upon one1 whether justly or not ,i cannot say2 but the parties offended resolved to make an example of somebody for such an enormous crime1 and one of them 7more enraged than the rest7 was heard to declare1 'that right or wrong1 that impudent scoundrel 7mentioning his name7 should be expelled by ,g--2 and that she had interest enough with the ,president and ,senior ,fellows of his ,college to get his business done4' ,accordingly1 within a year after this1 he was 7almost unanimously7 expelled from his fellowship1 in the presence of some of the persons injured1 who came thither to see the execution4 ',felix quam faciunt aliena pericula cautum' was the thesis pitched upon by the excluding doctors for the under-graduates to moralize upon1 in a public exercise upon this occasion2 and as it is a very wholesome maxim1 ,i leave it1 my little lads1 to your serious meditation4 ,to the figures introduced in this print the original artist has given a spirit worthy of ,callot2 and the copy hereto annexed has been thought correct and animated4 ,,the ,,sepulchre4 ,illustration3 ,,the ,,sepulchre4 ,it has been frequently and truly remarked1 that in either historical or serious subjects ,hogarth did not excel2 but to prove that even in this walk he was considerably above mediocrity1 and that the reader may be enabled to judge for himself1 ,i have selected the annexed print1 which forms one compartment of the altar-piece to ,st4 ,mary ,redcliffe's1 ,bristol1 for the painting of which he received five hundred pounds4 ,the centre division1 which is much the largest1 represents the ,ascension4 ,the rays emanating from the ascending ,deity1 and beaming through the interstices of the surrounding clouds1 are tenderly and brilliantly touched4 ,in the foreground1 ,st4 ,thomas on one knee1 with his hands clasped together1 is eagerly looking up with an expression of wonder and astonishment4 ,on the other side is ,st4 ,peter1 in a reclining posture4 ,near the centre1 ,st4 ,john1 with a group made up of the other ,apostles1 attentively listening to the two men in white1 who appeared on this occasion4 ,the background is on one side closed with tremendous rocks2 on the other1 under the skirts of low-hung clouds in the distance1 appears part of the magnificent city of ,jerusalem1 illuminated by a flash of lightning1 which1 darting from a darkened sky1 casts a livid gloom over the whole4 ,the compartment on the right hand represents the rolling of the stone and sealing the sepulchre in the presence of the high priest2 the exertion displayed in this is happily contrasted by the tenderness and elegant softness displayed in the companion picture here copied1 where the ,marys approach the empty sepulchre4 ,the angel1 speaking and pointing up to heaven with an expression which explains itself--to singular beauty1 sweetness1 and benevolence1 unites great elevation of character1 and the native dignity of a superior being4 ,the foregoing remarks1 with some little variations1 are extracted from an article in the ,critical ,review for ,june #agef1 which1 being written while the artist was living1 were possibly seen and approved by himself4 ,the writer concludes by remarking1 that the purchasing such a picture for their church does great honour to the opulent city for which it was painted1 and is the likeliest means to raise a ,british ,school of ,artists2 though it would be a just subject of public regret if ,mr4 ,hogarth should abandon a branch of painting in which he stands alone1 unrivalled and inimitable1 to pursue another in which so many have already excelled4 ,from the ,sealing the ,sepulchre and this print there are two large mezzotintos by ,j4 ,jenner4 ,the centre compartment has not been engraved4 ,,the ,,politician4 ,a politician should 7as ,i have read7 ,be furnished in the first place with a head6 ,illustration3 ,,the ,,politician4 ,one of our old writers gives it as his opinion1 that there are only two subjects which are worthy the study of a wise man1 i4e4 religion and politics4 ,for the first1 it does not come under inquiry in this print2 but certain it is1 that too sedulously studying the second has frequently involved its votaries in many most tedious and unprofitable disputes1 and been the source of much evil to many well-meaning and honest men4 ,under this class comes the ,quidnunc here portrayed2 it is said to be intended for a ,mr4 ,tibson1 laceman in the ,strand1 who paid more attention to the affairs of ,europe than to those of his own shop4 ,he is represented in a style somewhat similar to that in which ,schalcken painted ,william the ,third1#ajj--;holding a candle in his right hand1 and eagerly inspecting the ,gazetteer of the day4 ,deeply interested in the intelligence it contains concerning the flames that rage on the ,continent1 he is totally insensible of domestic danger1 and regardless of a flame which1 ascending to his hat1 ,threatens destruction to his three-tail'd wig4 ,from the tie-wig1 stockings1 high-quartered shoes1 and sword1 ,i should suppose it was painted about the year #agcj1 when street robberies were so frequent in the metropolis that it was customary for men in trade to wear swords2 not as now 7#ahjc71 to preserve their religion and liberty from foreign invasion1 but to defend their own pockets from domestic collectors4 ,the original sketch ,hogarth presented to his friend ,forrest2 it was etched by ,sherwin1 and published #agge4 ,,the ,,matchmaker4 ,wanted immediately--,a ,,husband4 --,vide the daily papers4 ,illustration3 ,,the ,,match ,,maker4 ,the two agreeable persons here introduced formed part of a group in an unfinished picture painted by ,hogarth4 ,they were some years since engraved on two copperplates2 but as ,i thought that was placing still further apart the hands of those twain whom the holy service of matrimony was soon to unite1 ,i have here brought them into one1 and in this we are presented with the bride and that useful agent of ,hymen1 denominated a ,matchmaker4 ,we see nothing of the bridegroom but his hand and arm2 from which1 the countenance of the lady1 and the character of the go-between1 we may fairly infer he is young1 and regret that the artist did not complete the trio1 and place him as a contrast to the antiquated virgin with whom he is to be united4 ,by the beauty spots on her face1 she wishes to conceal the ravages of time2 and from her laced lappets1 cuffs1 robings1 and brocaded silk1 we may suppose she is rich4 ,as to the share which the venerable person who provides her with a husband is to have for his reward--it depends upon the bargain4 ,i have been told that in this masquerade matrimony1 the master of the ceremonies1 or lord of the bedchamber 7which the reader pleases71 is paid by both the contracting parties4 ,some of my readers may possibly imagine that the tribe of ,matchmakers1 like the race of wolves1 is extinct in ,england2 but this is so far from being the case1 that there is now in the neighbourhood of ,piccadilly a regular office1#aja where any gentleman or gentlewoman1 first paying a stipulated sum for entrance money1 may disclose their virtuous wishes1 and be provided with partners for life1--or as long as they can agree4 ,,the ,,man ,,of ,,taste4 ,illustration3 ,,the ,,man ,,of ,,taste4 ,the circumstance on which this print is built is thus described by ,dr4 ,johnson3-- ,mr4 ,pope published in #agca a poem called ,false ,taste1 in which he very particularly and severely criticises the house1 the furniture1 the gardens1 and the entertainments of ,timon1 a man of great wealth and little taste4 ,by ,timon he was universally supposed1 and by the ,earl of ,burlington1 to whom the poem is addressed1 was privately said1 to mean the ,duke of ,chandos1 a man perhaps too much delighted with pomp and show1 but of a temper kind and beneficent1 and who had consequently the voice of the public in his favour4 ,a violent outcry was therefore raised against the ingratitude and treachery of ,pope1 who was said to have been indebted to the patronage of ,chandos for a present of a thousand pounds1 and who gained the opportunity of insulting him by the kindness of his invitation4 ,the receipt of the thousand pounds ,pope publicly denied2 but from the reproach which the attack on a character so amiable brought upon him1 he tried all means of escaping4 ,the name of ,cleland was employed in an apology#ajb by which no man was satisfied2 and he was at last reduced to shelter his temerity behind dissimulation1 and endeavoured to make that disbelieved which he never had confidence openly to deny4 ,he wrote an exculpatory letter to the ,duke1 which was answered with great magnanimity by a man who accepted his excuse without believing his professions4 ,he said1 that to have ridiculed his taste or his buildings had been an indifferent action in another man1 but that in ,pope1 after the reciprocal kindness that had been exchanged between them1 it had been less easily excused4--,johnson's ,life of ,pope4 ,soon after the publication of the poem alluded to1 ,hogarth made this design1 which presents a view of ,burlington ,gate4 ,on the front1 as a crooked compliment to the noble proprietor1 he has inscribed the word ,taste2 and as a standing proof of the projector being entitled to the appellation1 placed a statue of his grand favourite ,william ,kent triumphantly brandishing his palette and pencils on the summit1 with two reclining figures representing ,raphael and ,michael ,angelo for his supporters4#ajc ,standing on a scaffold board beneath them1 ,mr4 ,pope1 in the character of a plasterer1 is whitewashing the front1 and whirling his brush with a spirit that produces a shower of liquid pearl which dismays and defiles the passengers beneath2 the principal of these1 intended for the ,duke of ,chandos1 holds his hat over his head to shelter himself in his retreat4 ,the torrent is not confined to his ,grace's person1 but lavishly scattered over his carriage and attendants1 among whom is a blackamoor in the way of being whitewashed4 ,the clergyman1 whom ,i believe intended for the duke's chaplain1#ajd is escaping round the carriage4 ,an old military character1 who as well as the chaplain is got out of the poet's vortex1 is rubbing off the stains which he has previously contracted4 ,climbing a ladder reared against the scaffold1 we have ,lord ,burlington doing the office of a labourer1 and arrayed in a tie-wig1 with a pair of compasses#ajf suspended to the riband of his order1 and carrying to his little active workman a hand-hawk1 on which is a portion of what ,i am told the bricklayers call fine stuff1 to mix up more whitening for beautifying the front of his own gate1 and defiling the garments of every passenger4 ,this1 it must be acknowledged1 our poetical plasterer performs with distinguished dexterity3 he at the same time covers the corrosions in the front1 dashes a plenteous shower on those that come near it1 and so kicks the bottom of a pail which hangs to his short ladder1 that a copious stream flows on the head of a gentleman beneath4 ,this double distribution of flattery and satire is amply exemplified in the ,epistle to ,lord ,burlington2 where the poet1 by contrasting the feeble and imperfect efforts of those he abuses with the superior and superlative genius of the peer1#ajg elevates the powers of his own patron1 and sinks those of all his competitors4 ,the print from which this is copied was prefixed to a pamphlet1 entitled ,a ,miscellany of ,taste1 by ,mr4 ,pope1 etc41 containing his epistles1 with notes1 etc4 ,there are two other engravings from the same design1 one larger and one smaller than the print annexed4 ,in the former of these1 ,mr4 ,pope has a tie-wig on4#aji ,,henry ,,fielding4 ,illustration3 ,,henry ,,fielding4 ,this admirable writer was born at ,sharpham ,park1 in ,somersetshire1 near ,glastonbury1 ,april #bb1 #agjg4 ,his father1 ,edmund ,fielding1 served in the wars under the ,duke of ,marlborough1 and arrived at the rank of lieutenant-general at the latter end of ,george ,i4 or beginning of ,george ,,ii4 ,he was grandson to an ,earl of ,denbigh1 and nearly related to the ,duke of ,kingston1 and many other noble families4 ,his mother was the daughter of ,judge ,gould1 the grandfather of ,sir ,henry ,gould1 one of the ,barons of the ,exchequer4 ,henry received the first rudiments of his education from the ,rev4 ,mr4 ,oliver1 to whom we may judge he was not under very considerable obligations1 from the humorous and striking portrait given of him afterwards1 under the name of ,parson ,trulliber1 in ,joseph ,andrews4 ,from ,mr4 ,oliver's care he was removed to ,eton school1 where he had the advantage of being early known to many of the first people in the kingdom1--namely1 ,lord ,lyttelton1 ,mr4 ,fox1 ,mr4 ,pitt1 ,sir ,charles ,hanbury ,williams1 and the late ,mr4 ,winnington4 ,at this great seminary of education he gave distinguished proofs of strong and peculiar powers2 and when he left the place1 was said to be uncommonly versed in the ,greek authors1 and an early master of the ,latin classics3 for both which he retained a strong predilection in all the subsequent periods of his life4 ,thus accomplished1 he went from ,eton to ,leyden1 and there continued to show an eager thirst for knowledge1 and to study the civilians with unwearied assiduity for two years2 when1 remittances failing1 he was obliged to return to ,london1 not then quite twenty years old4 ,the comedy called ,don ,quixote in ,england1 was planned at ,leyden1 and completed on his return to ,london2 where1 from some cause or other1 he was induced to bring it on the stage before it was properly wrought up1 so that by this first essay he gained no dramatic reputation4 ,nor were his other productions for the playhouse much more popular2 for though he wrote eight comedies and fifteen farces1 they have not generally proved what are termed stock plays2#aaj and yet from several of them1 particularly ,pasquin1 succeeding and successful writers for the stage have borrowed some of their best speeches4 ,he died at ,lisbon1 to which place he went for the recovery of his health1 in the year #aged1 aged #dg4 ,of his talents1 he has left memorials that will never die while the ,english nation retains a taste for genuine and ,cervantic humour3 his features posterity would have only known by description1 had not his friend ,hogarth1 to whom he had often promised to sit1 made this drawing2 for1 singular as it may seem1 though this admirable writer lived on intimate terms with the best artists of the day1 no portrait of him was ever painted4 ,many strange stories have been told of the manner in which the drawing was made1 such as1 the hint being taken from a shade which a lady cut with scissors2 of ,mr4 ,garrick having put on a suit of his old friend's clothes1 and making up his features and assuming his attitude for the painter to copy1 etc4 etc4 ,these are trifling tales to please children1 and echoed from one to another1 because the multitude love the marvellous4 ,the simple fact is1 that the painter of the ,distressed ,poet1 and the author of ,tom ,jones1 having talents of a similar texture1 lived in habits of strict intimacy2 and ,hogarth being told1 after his friend's death1 that a portrait was wanted as a frontispiece to his works1 sketched this from memory4 ,the drawing was engraved by ,mr4 ,basire1 and is said1 by those who knew the original1 to be a faithful resemblance4 ,this print is copied from a proof ,i had from ,mrs4 ,lewis1 and taken before the ornaments were inserted4#aaa ,,simon ,,lord ,,lovat4 ,illustration3 ,,simon1 ,,lord ,,lovat4 ,simon ,lord ,lovat was born in the year #affg2 his father was the twenty-second person who had enjoyed the title of ,lovat in lineal descent4 ,his mother was ,dame ,sybilla ,macleod1 daughter of the ,chief of the clan of the ,macleods1 so famous for its unalterable loyalty to its princes4 ,buchanan relates a marvellous story of the family at the battle of ,loch ,lochlie1 #aedd4 ,in this battle ,lord ,lovat1 his four brothers1 his three sons1 and the whole clan of the ,frazers1 were cut to pieces2 but if we are to believe this tale1 the clan was afterwards restored by a kind of miracle4 ,the passage is curious3-- ,about this time1 by the instigation1 as it is thought1 of the ,earl of ,huntly1 a battle was fought in which almost the whole clan of the ,frazers was exterminated4 ,there was an old quarrel between the ,frazers and the ,macdonalds1 which had been rendered illustrious by the many bloody engagements to which it had given birth4 ,huntly1 in the meantime1 was deeply irritated that the ,frazers alone1 among so many neighbouring clans1 should reject his protection4 ,he had just collected the neighbouring islanders1 and made an incursion upon the estates of the ,earl of ,argyll2 and while every other clan had exerted its whole force in his favour1 there was scarcely an individual in the whole clan of ,frazer that had not ranged himself under the enemy's standard4 ,for this time1 however1 the feud was composed without an engagement2 and the forces of each party having disbanded themselves1 returned to the respective clans4 ,the ,macdonalds meantime1 instructed by the ,earl of ,huntly1 collected their whole force1 and1 having taken their enemy by surprise1 engaged in a most obstinate battle4 ,the unfortunate clan1 overpowered by the greatest inequality of numbers1 were killed to a man4 ,thus a family the most numerous1 and who had often deserved well of the ,scottish weal1 had wholly perished1 unless1 as it seems just to believe1 the ,divine ,providence had not interfered in their favour4 ,of the heads of the clan1 eighty persons had left their wives pregnant at home1 and each of them in her turn was delivered of a male child1 who all attained safe to man's estate4--,buchanan1 lib4 xv4 p4 #ecb4 ,pity but they had been twins6 ,thus much may suffice for the character of his progenitors2 as to his own1#aab he wrote a narrative in ,french stating his conduct1 connections1 treatment at the ,court of ,st4 ,germains1 etc4 ,these memoirs1#aac which are brought no further than the year #agae1 were translated and printed several years ago2 but1 for some political or family reasons1 not published until #agig4 ,they contain many curious particulars of his life1 much of which1 both then and in every subsequent period1 had great need of an apology4 ,on his tergiversation in the rebellion of #agde1 ,sir ,william ,young1 one of the managers appointed for conducting the prosecution1 makes the following observations3--,your ,lordships have already done national justice on some of the principal traitors who appeared in open arms against his ,majesty by the ordinary course of law2 but this noble ,lord1 who in the whole course of his life has boasted of his superior cunning in wickedness1 and his ability to commit frequent treasons with impunity1 vainly imagined that he might possibly be a traitor in private1 and rebel only in his heart1 by sending his son and his followers to join the ,pretender1 and remaining at home himself1 to endeavour to deceive his ,majesty's faithful subjects2 hoping he might be rewarded for his son's services if successful1 or his son alone be the sufferer for his offences if the undertaking failed4 ,diabolical cunning6 ,atrocious impiety6--,state ,trials1 vol4 iv4 p4 #fbg4 ,these are hard and heavy accusations2 but the fact is1 that whoever becomes the biographical advocate of ,lord ,lovat will find it useful to adopt the plan recommended to the writer who wished to draw a fair character of that all-accomplished statesman1 ,william ,pulteney1 ,earl of ,bath3 ,leave a blank here and there1 in each page1 ,to enrol the fair deeds of his youth6 ,when you mention the acts of his age1 ,leave a blank for his honour and truth4 ,notwithstanding all this1 his conduct previous to execution was manly and spirited4 ,when advised by his friends to throw himself at his ,majesty's feet and petition for mercy1 he absolutely refused1 said that he was old and infirm1 and his life not worth asking4 ,when informed that an engine was to be made for his execution like that called the ,maiden1 provided long since for state criminals in ,scotland1 he commended the contrivance1 observing that1 as his neck was short1 the executioner would be puzzled to find it out with his axe2 and if such a machine were used1 it would get the name of ,lord ,lovat's ,maiden4#aad ,when he was brought from ,scotland to be tried in ,london1 ,hogarth having previously known him1 went to meet him at ,st4 ,albans for the purpose of taking his portrait1 and at the ,white ,hart in that town found the hoary peer under the hands of his barber4 ,the old nobleman rose to salute him 7according to the ,scotch and ,french fashion7 with so much eagerness1 that he left a large portion of the lather from his beard on the face of his old friend4 ,he is drawn in the attitude of enumerating by his fingers the rebel forces1 ,such a general had so many men1 etc42 and ,i am informed the portrait is in air1 character1 and feature1 a most faithful resemblance of the original4 ,,nine ,,prints ,,for ,,don ,,quixote4 ,the first of these prints is copied from a plate in ,jarvis' quarto translation of this inimitable work2 it has neither painter nor engraver's name1 but carries indisputable marks of the pencil and burin of ,hogarth4 ,the second is from an unfinished print in my possession1 which ,i think by the same artist4 ,the six which follow were designed for ,lord ,carteret's ,spanish edition1 published in the year #agch2 but as they are etched in a bold and masterly style1 ,i suppose the noble peer did not think they were pretty enough to embellish his volume1 and therefore laid them aside for ,vandergucht's engravings from ,vanderbank's designs4 ,hogarth's six plates remaining in the hands of ,mr4 ,tonson1 his ,lordship's publisher1 were at his death bought by ,mr4 ,dodsley1 from whom they were purchased by ,messrs4 ,boydell1 in whose possession they now remain4 ,while in ,dodsley's hands1 references to the chapters and corresponding pages in ,jarvis' translation were engraved under each4 ,the last scene1 representing ,sancho's ,feast1 is copied from an incomparable print engraved at an early period of ,hogarth's life1 and published by ,overton and ,hoole1 price one shilling4 ,the subject of this is exactly consonant to ,hogarth's genius1 and was probably selected by the artist to show how happily he could enter into the spirit of a writer whose turn of mind seems so congenial to his own4 ,had ,cervantes been an ,englishman1 ,i think he would have contemplated our national follies through the same medium that they were seen by ,hogarth1 and probably selected similar scenes as subjects for his satire4 ,he lived in an age and country where one gigantic folly ,in proud pre-eminence stalk'd through the land6 ,he touched the phantom with his pen1 and it vanished2 but as folly is in some cases the parent of virtue1 may not chivalry and romance1 ridiculous as they are in the eye of reason1 give birth to an ardour of spirit which aggrandizes and elevates a nation8 ,to a sedate and saturnine people1 a spice of absurdity may have its use1 were it only to give motion to those virtues which without it might stagnate4 ,divested of that frenzy1 which at the same time that it ruffles and impairs their reason1 awakes and rouses their spirits1 a whole nation1 like a man-of-war becalmed1 may be undulated by ineffectual motion1 until they drop into a sort of mental stupor1 unmarked by any other distinctions than those that arise from stately indolence1 haughty solemnity1 and supercilious dignity4 ,i will not presume to say that ,spain is exactly in this situation2 but if it were1 other causes may have contributed to the change4 ,if such are to be the consequences of a nation's becoming wise1 a tincture of folly is rather to be desired than dreaded4 ,as to the hero of this admirable tale1 the ,knight of the ,sorrowful ,countenance1 who has been the cause of more laughter than either the ,knights of ,arthur's ,round ,table1 or any other knights ancient or modern1 how can we sufficiently admire him6 ,a paragon of patience and perseverance1 unconquerable fortitude and proud honour1 who in his lucid intervals reasoned like a philosopher1 and was invariably actuated by the most exalted motives2 deemed himself bound to defend the weak against the strong1 chastise indolence1 redress injuries1 and free those who were in bonds6 ,that this ardent1 heroic1 and dignified character1 with motives so pure1 an heart so excellent1 and virtues that elevate1 adorn1 and irradiate human nature1 should be led by an enthusiasm which fevered his imagination into absurdities that expose him to derision1 and1 like ,samson1 brought forth to make sport for the multitude1 is mortifying to humanity2 and ,i must confess1 that with me1 the laugh which the author's irresistible humour invariably excites is accompanied by a pitying sigh for the hero of this history1 who is1 after all1 so superlatively happy in his ideal importance1 that there is a degree of cruelty in destroying the illusion4 ,the adage1 ,you think you are happy because you are wise2 ,i think ,i am wise because ,i am happy1 is not easily confuted4#aae ,but this admirable romance carries me further than ,i intended4 ,i was led into it by considering the comparative merit of ,cervantes and ,hogarth1 in doing which1 it is proper to observe that the motley follies of ,england 7diametrically opposite to those of ,spain7 are changeable as an ,april day4 ,our ,english moralist 7for surely he is worthy of the title7 transferred them to his canvas or copper1 and exposed them by pointed ridicule4 ,but his satiric histories had a higher and still more useful direction4 ,they were calculated to encourage industry1 and promote humanity in the lower orders of society1 by exhibiting the baneful consequences of idleness and cruelty2 and to check the ostentatious follies of those in a higher rank1 by pointing out the happiness attendant on the practice of virtue1 and the consequent misery of dissipation1 sensuality1 and vice4 ,i hope the warmest admirers of ,cervantes will not be offended if ,i venture to assert that these were objects of more national and individual importance than was the extirpation of knight-errantry4 ,both these great men may be considered as universal classics2 for while ,cervantes delights the learned and the illiterate in his own country1 and is translated and eagerly read in ,france1 ,italy1 ,germany1 and ,england1 while the artists of all these nations emulate each other in delineating the scenes he has described1 and every age and rank peruse ,don ,quixote with pleasure1--the fame of ,hogarth is not bounded by the shores of ,albion1 but takes as wide a circuit through ,europe1 and his pictured stories are contemplated with admiration by men of every clime4#aaf ,could their congenial spirits witness the tribute posterity pay to their talents1 how would they be gratified6 ,large as is their portion of fame1 they were little favoured by fortune4 ,hogarth1 after a long life of persevering industry1 died comparatively poor4 ,as to the maimed hero of ,spain1 when the learned ,don ,gregorio ,mayans y ,siscar1 at the request of ,lord ,carteret1 collected materials for his life1 he could neither learn where he was born nor where he died4 ,sevilla1 ,madrid1 ,esquivias1 ,toledo1 ,lucena1 and ,alcazor de ,san ,juan1 contended for the honour of his birth1 whom living they had suffered to languish in a prison4 ,he was born in ,alcala de ,henares1 in the year #aedg1 and died at ,madrid1 ,april #bc1 #afaf1 on the same nominal day with ,shakspeare2 so that ,spain and ,england lost their two great luminaries at the same period1 nor have succeeding centuries produced a successor worthy of ascending either of their vacant thrones4 ,from the similarity of their genius1 it was reasonable to expect that ,hogarth would excel in delineating the scenes described by ,cervantes2 and though our great painter of nature succeeded better in subjects drawn from the rich storehouse of his own mind than in those described by others1 yet in the portraits of the knight1 and knight companions1 he has adhered very closely to their leading characteristics1 which are thus depicted by ,cervantes3-- ,the age of our gentleman bordered upon fifty years2 he was of a robust constitution1 spare-bodied1 of a meagre visage1 and a very keen sportsman4 ,rozinant was so long and lank1 so thin and lean1 so like one labouring with an incurable consumption1 as did clearly show with what propriety his master so entitled him4 ,sancho ,panza1 or ,canzas1 was so called1 because he had a great belly1 a short stature1 and thick legs4#aag ,to attempt a description of the nine following prints in any other words than those of ,cervantes1 would be absurd and vain2 to suppose that the greatest part of my readers had not perused ,don ,quixote1 would be an insult on their taste4 ,i will therefore take it for granted that the following scenes are in their recollection4 ,the few that have not read this admirable romance have a pleasure to come2 as an inducement to their embracing it1 ,i will insert little more than a reference to the page in ,shelton1 whose quaint old ,english has perhaps more serious ,cervantic humour than either ,jarvis' or ,smollett's modern translations4 ,my edition is that of #afge4 ,,plate ,i4 ,,the ,,first ,,sally ,,in ,,quest ,,of ,,adventures4 ,illustration3 ,,don ,,quixote ,,plate ,i4 ,the original from which this plate is copied is in ,jarvis' quarto translation1 without either painter's or engraver's name2 but the style of the etching1 and air of the figures1 indisputably determine the artist4 ,it represents our heroic candidate for fame1 before he had received the honour of knighthood1 at the door of an inn1 which he considered as a castle2 the host holding his horse's bridle1 and two young female travellers looking with astonishment at his figure4 ,in the distance is a swineherd blowing his horn1 which our adventurer mistakes for a trumpet sounded by a dwarf on the battlements1 to announce his approaching the portico of the castle4--,vide ,shelton1 p4 #c4 ,,plate ,,ii4 ,,the ,,innkeeper4 ,illustration3 ,,don ,,quixote ,,plate ,,ii4 ,the original of this print is in my possession1 and was designed to represent the innkeeper conferring the order of knighthood on ,don ,quixote1 but for some cause1 not now known1 never finished4 ,the artist probably intended that it should form a part of the series begun for ,lord ,carteret1 but the other six being discarded1 never completed his design2 though a slight outline of the ,don kneeling to receive his new honours is discernible in the corner of the print4 ,mine host1 though a large man1 is a less portly personage than the author describes4 ,this print is not in any of the catalogues of ,hogarth's works1 but the style leaves little doubt of the artist4 ,in the plate from ,vanderbank1 in ,jarvis' quarto1 representing the whole scene1 the innkeeper has a more than accidental resemblance to this figure4 ,,plate ,,iii4 ,,the ,,funeral ,,of ,,chrysostom4 ,illustration3 ,,don ,,quixote ,,plate ,,iii4 ,the stern attention which our ,don gives to the ,shepherdess ,marcella1 who is vindicating herself to those that surround the corpse1 well expresses his determination to defend her cause1 and protect her from insult4 ,the shepherd in a similar attitude to the soldier in ,vandyke's ,belisarius1 and ,sancho blubbering with his finger in his eye1 are well-imagined2 but the figure of ,marcella is affected and stiff1 and the shepherd on her right hand has more city pertness than rural simplicity4 ,vanderbank has taken this scene for one of the prints in ,jarvis' translation1 and by placing ,marcella where she ought to be1 on the summit of the rock1 rendered his design more picturesque than ,hogarth's4--,vide ,shelton1 p4 #aj4 ,,plate ,,iv4 ,,the ,,innkeeper',s ,,wife ,,and ,,daughter ,,administering ,,chirurgical ,,assistance ,,to ,,the ,,poor ,,knight ,,of ,,la ,,mancha4 ,illustration3 ,,don ,,quixote ,,plate ,,iv4 ,don ,quixote's adventure with the ,yanguessian carriers having terminated in his being most bountifully beaten1 he is here represented in the hay-loft of a very sorry inn1 attended by the hostess and her daughter1 ,maritornes1 and his faithful squire2 the two former administering comfort to his sufferings1 the third holding a candle2 and the last1 with a most rueful countenance1 bewailing his own unfortunate participation in the buffetings of his lord and master4 ,the picture which ,cervantes draws of ,maritornes1 ,hogarth has well transferred to the copper4 ,thus is she portrayed3-- ,from head to heel she was not seven palms#aah high1 and burdened with shoulders that forced her to look down more than she wished4 ,added to this1 she was broad-faced1 flat-pated1 saddle-nosed1 blind of one eye1 and could scarcely see out of the other4 ,the hostess could not have been better marked by the pencil of ,teniers2 the owl perched over her head should not be overlooked4 ,that1 as well as the rope hung to a beam1 cracked walls1 etc4 etc41 added to the miserable figure of the knight reclined on his hard pallet1 display variety of wretchedness4 ,i do not recollect to have seen a print in which the light is more judiciously distributed2 in this and every other particular1 ,i think it much superior to the same scene designed by ,vanderbank in ,jarvis' quarto translation4--,vide ,shelton1 p4 #bi4 ,,plate ,v4 ,,don ,,quixote ,,seizes ,,the ,,barber',s ,,basin ,,for ,,mambrino',s ,,helmet4 ,illustration3 ,,don ,,quixote ,,plate ,v4 ,in this print the face and figure of the fierce knight is spirited2 the terror and astonishment of the discomfited barber well expressed1 and the triumphant shout of ,sancho in the distance admirably characteristic4 ,notwithstanding this1 ,i think that ,vanderbank's design for ,jarvis1 where the squire is brought into the foreground1 contemplating the glittering prize1 is a better chosen point of time4 ,to ,sancho he has given a mixture of cunning and simplicity which ,i have seldom seen so happily displayed2 and taken as a whole1 it is perhaps a superior plate to ,hogarth's4--,vide ,shelton1 p4 #db4 ,,plate ,,vi4 ,,don ,,quixote ,,releases ,,the ,,galley ,,slaves4 ,illustration3 ,,don ,,quixote ,,plate ,,vi4 ,the moment taken in this busy scene is when our valorous knight1 after having unhorsed one of the guards1 is engaged with the other2 while ,sancho1 willing to bear his part in the adventure1 helps to extricate ,gines de ,passamonte from his bonds4 ,in this1 as in some other of ,hogarth's designs1 the artist not having taken the trouble of reversing his drawing1 the figures are left-handed4 ,the character of ,sancho1 and two or three of the slaves1 is admirable4 ,i think the whole design much superior to ,vanderbank's in ,jarvis' translation1 where the scene is chosen after the discomfiture of the ,guards2 for to two or three of the thieves ,vanderbank has given the countenances of apostles4 ,his whole print is tame1 feeble1 and spiritless4--,vide ,shelton1 p4 #dg4 ,,plate ,,vii4 ,,the ,,first ,,interview ,,of ,,the ,,valorous ,,knight ,,of ,,la ,,mancha ,,with ,,the ,,unfortunate ,,knight ,,of ,,the ,,rock4 ,illustration3 ,,don ,,quixote ,,plate ,,vii4 ,this interview1 which took place in the mountains of ,sierra ,morena1 ,cervantes thus describes3-- ,cardenio approached with a grave pace1 and in a hoarse voice saluted them with great courtesy4 ,don ,quixote returned his greeting with no less complaisance1 and pressed him strongly in his arms1 as if they had been long acquainted4 ,the ,knight of the ,rock1 after he had been thus embraced1 retreated a few steps1 and1 laying his hand on the ,don's shoulder1 perused his face with such earnestness1 as though he were desirous of recollecting if he had ever seen him before1 and no less admired ,don ,quixote's strange figure than himself was admired by our heroic knight-errant4 ,this is the point of time which ,hogarth has chosen2 and the wild eye of ,cardenio1 the placid benevolence of ,don ,quixote1 and the shrewdness of the goatherd1 are well opposed4 ,from the air1 attitude1 and action of ,sancho1 ,i should have imagined the period to be after he had been mauled by the madman1 did not the two knights so strongly determine it to be before4 ,in ,vanderbank's design of the same subject 7vide ,jarvis' quarto71 the figure of ,sancho is tolerable1 but the ,don is vapid and ill-drawn2 and ,cardenio's head1 like that of ,medusa1 looks as if it were encircled with snakes4--,vide ,shelton1 p4 #ea4 ,,plate ,,viii4 ,,the ,,curate ,,and ,,barber ,,disguising ,,themselves ,,to ,,convey ,,don ,,quixote ,,home4 ,illustration3 ,,don ,,quixote ,,plate ,,viii4 ,don ,quixote's old neighbours1 the curate and barber1 being desirous of checking his wandering disposition1 are here disguising themselves for an interview1 in which they hoped to bring him home1 where they trusted he might again live as an old ,christian ought to do4 ,in pursuance of this plan1 the barber procured an ample beard made from the tail of a pied ox2 and the curate assumed the habit of a distressed virgin1 and framed a tale of having been wronged by a naughty knight1 to punish whom the ,don was to be entreated to follow wherever this afflicted fair one should lead4 ,the dressing-room for this masquerade is the kitchen of an inn2 out of the door1 astride on a bench1 inhaling copious draughts from a leathern bottle1 ,sancho gives some life to a little landscape in the distance4--,vide ,shelton1 p4 #fj4 ,,plate ,,ix4 ,,sancho',s ,,feast4 ,sancho's dread doctor and his wand were there4 ,illustration3 ,,don ,,quixote ,,plate ,,ix4 ,though ,don ,quixote is the ostensible hero of this admirable history1 ,i have sometimes thought that ,sancho was the author's favourite character4 ,he is here represented as ,governor of ,barataria1 and seated in the spacious hall of a sumptuous palace1 surrounded with all the pompous parade of high rank1 and encircled by numerous attendants4#aai ,a band of musicians in an adjoining gallery strike up a symphony to gratify his ear1 and a table is spread with every dainty to feast his eye and fret his soul2 for however magnificent the appendages of this mock monarch1 the instant he attempts to taste the solid comforts of government1 the loaves and fishes evade his grasp1 are touched by the black rod1 and vanish6 ,in plenty starving1 tantaliz'd in state1 he curses the gaudy unsubstantial pageant1 vows vengeance on the ,doctor1 and swears that he will offer up both him and every physical impostor in the island as a sacrifice to his injured and insulted appetite4 ,hogarth has here caught the true spirit of the author1 and given to this scene the genuine humour of ,cervantes4 ,the rising choler of our ,governor is admirably contrasted by the assumed gravity of ,doctor ,pedro ,rezio4 ,the starch and serious solemnity of a straight-haired student who officiates as chaplain1 is well opposed by the broad grin of a curl-pated blackamoor4 ,the suppressed laughter of a man who holds a napkin to his mouth forms a good antithesis to the open chuckle of a fat cook4 ,sancho's two pages bear a strong resemblance to the little punch-maker in the ,election ,feast1 and though well conceived1 might have had more variety2 they present a front and back view of the same figure4 ,to two females on the ,viceroy's right hand there may be a similar objection4 ,the original print was designed and engraved at a very early period of ,hogarth's life4 ,as it was finished with more neatness than any of the eight which he afterwards etched for the same work1 the copy is attempted in a similar style4 ,in the drawing1 ,sancho was originally portrayed with a full face2 but ,hogarth1 judiciously thinking a profile would be preferable1 fixed a bit of paper over his first thought1 and altered it to the state in which it is here engraved4 ,the design that ,vanderbank made from the same scene is cold and uninteresting2 in another by ,hayman1 prefixed to ,smollett's coarse translation1 ,sancho is fat enough for ,falstaff1 and the ,doctor looks like a fellow dressed up to play the part of a conjuror in a puppet-show4--,vide ,shelton1 p4 #bba4 ,,heidegger ,,in ,a ,,rage4 ,illustration3 ,,heidegger ,,in ,a ,,rage4 ,the spirited sketch from which this is copied has been thought the work of ,p4 ,mercier2 but some of my subscribers thinking it bore a strong resemblance to ,hogarth1 ,i at their request submitted it to public opinion4 ,it arose from the following circumstance3-- ,the late ,duke of ,montagu invited ,heidegger to a tavern1 where he was made drunk1 and fell asleep2 in that situation a mould of his face was taken1 from which was made a mask2 and the ,duke provided a man of the same stature to appear in a similar dress1 and wear it to personate ,heidegger on the night of the next masquerade1 when ,george the ,second 7who was apprised of the plot7 was to be present4 ,on his ,majesty's entrance1 ,heidegger1 as was usual1 bade the music play ,god save the ,king2 but no sooner was his back turned1 than the impostor1 assuming his voice and manner1 ordered them to play ,charley over the ,water4 ,on this ,heidegger raged1 stamped1 swore1 and commanded ,god save the ,king4 ,the instant he retired1 the impostor returned and ordered them to resume ,charley4 ,the musicians thought their master drunk1 but durst not disobey4 ,the scene now became truly comic4 ,shame6 shame6 resounded from all parts of the theatre4 ,heidegger offered to discharge his band1 when the impostor advanced and cried out in a plaintive tone1 ,sire1 the whole fault lies with that devil in my likeness4 ,this was too much3 poor ,heidegger turned round1 grew pale1 but could not speak4 ,the ,duke1 seeing it take so serious a turn1 ordered the fellow to unmask4 ,heidegger retired in great wrath1 seated himself in an arm-chair1 furiously commanded his attendants to extinguish the lights1 and swore he would never again superintend the masquerade1 unless the mask was defaced and the mould broken in his presence4 ,for this purpose the man on his knee has a mallet stuck in his girdle4 ,,the ,,large ,,masquerade ,,ticket4 ,illustration3 ,,masquerade ,,ticket4 ,as the first print which ,hogarth published on his own account1 usually denominated ,the ,small ,masquerade ,ticket1 represents a large company eagerly pressing to the door of a masquerade1 we have here the interior of the room crowded with a countless multitude of grotesque characters1 celebrating the orgies of the place1 which1 in the following references engraved under the original print1 are thus described3-- ,a1 a sacrifice to ,priapus4 ,b1 a pair of ,lecherometors1 showing ye company's inclinations as they approach 'em4 ,invented for the use of ladys and gentlemen by ye ingenious ,mr4 ,h----r 7,heidegger74 ,this titular divinity of the gardens being thus considered as the god of their idolatry1 his ,term is entitled to the first notice4 ,the arched niche in which it is placed is terminated by a goat's head1 ornamented with a pair of branching antlers1 and decorated with festooned curtains4 ,beneath is an altar1 the base of which is relieved with rams' heads and flowers2 and three pair of stags' horns are fixed to the top4 ,as a companion to it1 the united statues of a ,venus and ,cupid1 both of them masked1 are placed on the opposite side of the print4 ,cupid1 who is a very well-drawn and spirited little figure1 has bent his bow to shoot at random1 and ,venus seems contemplating the rise and fall of the mercury in one of those instruments which the reference informs us is to show the inclinations of all that approach it4 ,the niche in which these divinities are placed is not only decorated with curtains1 but crowned with cooing doves4 ,an altar beneath has on it three or four bleeding hearts1 which1 being close to the blaze1 are in the way of being broiled4 ,on the base are queue-wigs1 bag-wigs1 etc4 ,this may suffice for the presiding deities of the diversion2 the head of their high priest1 the renowned ,heidegger1 master of the mysteries and manager in chief1 is placed on the front of a large dial1 fixed lozenge-fashion at the top of the print1 and ,i believe intended to vibrate with the pendulum1 the ball of which hangs beneath1 and is labelled ,nonsense4 ,on the minute finger is written ,impertinence1 and on the hour hand1 ,wit3 which seems to intimate nonsense every second1 impertinence every minute1 and wit once an hour6 ,the time is half-past one--the witching hour of night2 #agbg1 the date of the year this print was published1 is on the corners of the clock4 ,recumbent on the upper line of this print1 and resting against the sides of the dial1 the artist has placed our ,british lion and unicorn renverse 7such1 ,i think1 is the term in heraldry71 lying on their backs1 and each of them playing with its own tail2 the lion sinister1 and the unicorn dexter4 ,the supporters of our regal arms being thus ludicrously introduced1 may perhaps allude to the encouragement ,george the ,second gave to ,heidegger1 who at that period might be said to ,teach kings to fiddle1 and make senates dance2 and who1 by thus kindly superintending the pleasures of our nobles1 gained an income of #ejjj a year1 and1 as he frequently boasted1 laid out the whole in this country4 ,beneath is a framed picture of a ,bacchanalian scene2 and on each side1 shelves with pyramids of jellies1 sweetmeats1 etc41 inscribed ,provocatives4 ,on two labels placed before them is written1 ,supper below4 ,a pair of instruments1 somewhat similar to the mental thermometer in ,the ,medley1 are fixed on each side3 on that next to ,venus and ,cupid is written1 cool1 warm1 dry1 changeable1 hot1 moist1 fixt2 on the other1 expectation1 hope1 hot desire1 extreme hot1 moist1 sudden cold4 ,the motley crew who make up the crowd it is not easy to describe1 for every one present assumes a false character4 ,here tottering old age essays to prance ,with feeble feet1 and joins th' imperfect dance2 ,there1 supercilious youth assumes the air ,and reverend mien which hoary sages wear4 ',tis thus1 like ,proteus1 ,folly joys to range1 ,her name to vary1 and her shape to change4 ,here are priests of all persuasions--,brahmins1 friars1 drones1 monks1 and monkeys not a few4 ,a figure of ,time with his scythe1 eagerly pressing towards the altar with rams' heads1 is arrested in his course by a sort of slaughterman1 with a mask1 shaven crown1 and short apron1 who violently grasps his wing with one hand1 and with the other lifts up a hatchet1 which with fatal force he aims at his head4 ,for sanctuary1 this feeble figure lays hold of one of the horns of the altar1 but is frustrated in his attempt to reach the steps by a bishop1 who1 with his sacrificing knife1 coolly stabs him to the heart2 while a monkey1 in the habit of a chorister1 holds a basin to catch the blood1 the fumes from which he snuffs up with ineffable delight4 ,this ,i apprehend to be a metaphorical view of a prelate killing ,time at a masquerade4 ,next to this group is a ,mother ,shipton1 hooking on the arms of a clown2 and near them a harlequin endeavouring to draw the attention of a graceful columbine from a turban'd ,turk1 who attempts to seduce her from her party-coloured gallant4 ,a female1 with the mask of a monkey's head1 salutes a nun in a black veil2 and while an old ,capuchin1 with the face of an ape1 whispers soft things to a young girl1 a fellow somewhat like ,tiddy-doll draws up her head-dress to a point1 like a fool's cap4 ,a man in the right-hand corner1 solicitous to give a glass of wine to one of the sisterhood1 lifts up her veil for the purpose of her drinking it4#abj ,,addenda4 ,,addenda4 ,,an ,,emblematic ,,print ,,on ,,the ,,south ,,sea4 ,illustration3 ,,the ,,south ,,sea ,,bubble4 ,the two prints here given are selected as two of the earliest avowed productions of ,hogarth4 ,the allegory in both is somewhat obscure2 but the figures are in the manner of ,callot1 and in a spirited and masterly style4 ,they were both published in #agba1 and are a proof that at this early period the admirable vein of satire which he possessed was directed against the vices and follies of the age4 ,in the first of them we see 7to use an expression of ,mr4 ,walpole7 the ,devil cutting ,fortune into collops1 to gratify the avaricious hopes of the adventurers in the ,south ,sea ,bubble2 and persons ascending the ladder to ride upon wooden horses2 alluding to the desperate game which was played by the ,south ,sea ,directors in ,england in the year #agbj1 to the utter destruction of many opulent families4 ,the little figure with his hand in the pocket of a fat personage was supposed by ,mr4 ,steevens to have been intended for ,pope1 who profited by the ,south ,sea scheme2 and the fat man to be meant for ,gay1 who was a loser in that iniquitous project4 ,mr4 ,john ,law1 a native of ,edinburgh1 was the projector of this bubble2 and was also author of the famous ,mississippi scheme in ,france1 by which he ruined thousands4 ,to escape popular vengeance he fled to ,venice1 where he died in poverty in #agbi4 ,,the ,,lottery4 ,illustration3 ,,the ,,lottery4 ,under the print of ,the ,lottery1 the artist has given a full description of his own ideas1 which otherwise1 at this distance of time1 it would have been difficult to elucidate4 ,,masquerades ,,and ,,operas--,,burlington ,,gate4 ,illustration3 ,,masquerades ,,operas1 ,,burlington ,,gate4 ,this satirical performance of ,hogarth1 which is commonly called ,the ,small ,masquerade ,ticket1 is supposed to have been invented and drawn at the instigation of ,sir ,james ,thornhill1 out of revenge1 because ,lord ,burlington had preferred ,mr4 ,kent before him to paint for ,george the ,second at his palace at ,kensington2 and the leader of the figures hurrying to a masquerade1 crowned with a cap and bells1 and a garter round his right leg1 has been said to be intended for that monarch1 who was very partial to those nocturnal amusements1 and bestowed a thousand pounds towards their support4 ,the purse with a label #ajjj1 which the satyr holds immediately before him1 gives some probability to the supposition4 ,the kneeling figure on the show-cloth1 pouring gold at the feet of ,cuzzoni the ,italian singer 7who is drawing the money towards her with a rake71 represents the ,earl of ,peterborough2 and on the label is written1 ,pray accept #hjjj4 ,mr4 ,heidegger1 the regulator of the masquerade1 is also exhibited at a window1 with the letter ,h under him4 ,of the three figures in the centre of the plate1 the middle one is ,lord ,burlington1 a nobleman of considerable taste in painting and architecture4 ,on one side of him is ,mr4 ,campbell the architect2 on the other1 some artist now unknown4 ,on a board is a display of the words1 ,long ,room3 ,fawkes' dexterity of hand4 ,on the opposite corner is the figure of ,harlequin1 pointing to a label1 on which is written1 ,dr4 ,faustus is here4 ,this was a pantomime performed to crowded houses throughout two seasons4 ,in this print all the figures have a strong resemblance to those of ,callot2 and the follies of the town are very severely satirized by the representation of multitudes1 properly habited1 crowding to the masquerade1 opera1 and pantomime2 whilst the works of our greatest dramatic writers are trundled through the streets in a wheel-barrow1 and cried as waste paper for shops2 among these may be distinguished ,shakspeare1 ,ben ,jonson1 ,dryden1 ,congreve1 ,otway1 ,farquhar1 and ,addison4 ,in the first copy of this print1 instead of ,ben ,jonson's name on a label1 we have ,pasquin1 ,no ,,xi4 ,this was a periodical paper published in #agbb-c2 and the number specified is particularly severe on operas1 etc4 ,as a further illustration of the taste of the times1 the artist has given a view of ,burlington ,gate1 with a figure1 ,i believe1 intended to represent the then fashionable artist ,william ,kent1 on the summit1 brandishing his palette and pencils1 and placed in a more elevated situation than either ,michael ,angelo or ,raphael1 who1 seated beneath1 become the two supporters to this favourite of ,lord ,burlington4 ,some verses 7and those not always the same7 engraved on a separate piece of copper are found under the first impressions4 ,for example1 under the earliest impressions of #agbd3 ,could now dumb ,faustus1 to reform the age1 ,conjure up ,shakspeare's or ,ben ,jonson's ,ghost1 ,they'd blush for shame1 to see the ,english stage ,debauch'd by fool'ries1 at so great a cost4 ,what would their manes say1 should they behold ,monsters and masquerades1 where useful plays ,adorn'd the fruitful theatre of old1 ,and rival wits contended for the bays8 ,under another impression3 ,long has the stage productive been ,of offsprings it could brag on1 ,but never till this age was seen ,a windmill and a dragon4 ,o ,congreve6 lay thy pen aside1 ,shakspeare1 thy works disown1 ,since monsters grim1 and nought beside1 ,can please this senseless town4 ,i have been the more particular in describing this plate1 as it appears to have been the first which ,hogarth published on his own account1 and respecting which he pathetically says3 ,i had to encounter a monopoly of printsellers1 equally mean and destructive to the ingenious2 for the first plate ,i published1 called ',the ,taste of the ,town1' in which the reigning follies were lashed1 had no sooner begun to take a run1 than ,i found copies of it in the print-shops vending at half price1 while the original prints were returned to me again2 and ,i was thus obliged to sell the plate for whatever these pirates pleased to give me1 as there was no place of sale but their shops4 ,owing to this and other circumstances1 by engraving1 until ,i was near thirty1 ,i could do little more than maintain myself2 but even then ,i was a punctual paymaster4 ,,beggars' ,,opera ,,burlesqued4 ,illustration3 ,,beggars' ,,opera ,,burlesqued4 ,this plate seems at once to represent the exhibition of ,the ,beggars' ,opera1 and the rehearsal of an ,italian one4 ,in the former1 all the characters are drawn with the heads of different animals3 as ,polly with a cat's2 ,lucy with a sow's2 ,macheath with that of an ass2 ,lockit1 and ,mr4 and ,mrs4 ,peachum1 with those of an ox1 a dog1 and an owl4 ,in the latter1 several noblemen appear conducting the chief female singer forward on the stage2 and perhaps are offering her money1 or protection from a figure that is rushing towards her with a drawn sword4 ,harmony1 flying in the air1 turns her back on the ,english playhouse1 and hastens towards the rival theatre4 ,musicians stand in front of the former1 playing on the ,jew's harp1 the salt-box1 the bladder and string1 bagpipes1 etc4 ,on one side are people of distinction1 some of whom kneel1 as if making an offer to ,polly1 or paying their adorations to her4 ,to these are opposed a butcher1 etc41 expressing similar applause4 ,apollo and one of the muses are fast asleep beneath the stage4 ,a man is indelicately seated under a wall hung with ballads1 and showing his contempt of such compositions by the use he makes of them4 ,a sign of the star1 a gibbet1 and some other circumstances less intelligible1 appear in the background4 ,,twelve ,,prints ,,of ,,hudibras4 ,illustration3 ,,frontispiece ,,to ,,hudibras ,,plate ,i4 ,illustration3 ,,hudibras1 ,,plate ,,ii4 ,illustration3 ,,hudibras1 ,,plate ,,iii4 ,illustration3 ,,hudibras1 ,,plate ,,iv4 ,illustration3 ,,hudibras1 ,,plate ,v4 ,illustration3 ,,hudibras1 ,,plate ,,vi4 ,illustration3 ,,hudibras1 ,,plate ,,vii4 ,illustration3 ,,hudibras1 ,,plate ,,viii4 ,illustration3 ,,hudibras1 ,,plate ,,ix4 ,illustration3 ,,hudibras1 ,,plate ,x4 ,illustration3 ,,hudibras1 ,,plate ,,xi4 ,illustration3 ,,hudibras1 ,,plate ,,xii4 ,this well-imagined series of plates was designed by ,hogarth1 and engraved by himself1 for the matchless poem of ,butler4 ,each plate is illustrated by an appropriate quotation from the facetious satirist2 and as our ingenious artist formed his designs from an attentive perusal of the poem1 his engravings1 and the extracts selected under each of them1 reciprocally explain each other4 ,his ',hudibras1' says ,mr4 ,walpole1 was the first of his works that marked him as a man above the common2 yet1 adds the critic1 somewhat too fastidiously1 what made him then noticed now surprises us1 to find so little humour in an undertaking so congenial to his talents4 ,the original title ran thus3 ,twelve excellent and most diverting ,prints1 taken from the celebrated ,poem of ,hudibras1 wrote by ,samuel ,butler2 exposing the villany and hypocrisy of the times4 ,invented and engraved on twelve copperplates by ,william ,hogarth2 and are humbly dedicated to ,william ,ware1 ,esq41 of ,great ,houghton1 in ,northamptonshire1 and ,mr4 ,allan ,ramsay1 of ,edinburgh4 ,what excellence can brass or marble claim8 ,these papers better do secure thy fame2 ,thy verse all monuments does far surpass1 ,no mausoleum's like thy ',hudibras4' ,allan ,ramsay subscribed for thirty sets1 and the number of subscribers amounted to one hundred and ninety-two4 ,the original plates were afterwards purchased by ,mr4 ,philip ,overton4 ,they subsequently passed into the hands of the late ,mr4 ,robert ,sayer2 and it is certain that ,hogarth often lamented the having parted with his property in them without ever having had an opportunity to improve them4 ,in the first of these plates is a portrait inscribed1 ,mr4 ,samuel ,butler1 born #afab1 ,author of ,hudibras1 died #afhj4 ,the basso-relievo of the pedestal represents ,butler's ,genius in a car1 lashing round ,mount ,parnassus1 in the persons of ,hudibras and ,ralpho1 ,rebellion1 ,hypocrisy1 and ,ignorance1 the reigning vices and follies of the time4 ,in the scene of the ,committee 7,plate ,,ix471 one of the members has his gloves on his head4 ,i am told1 says ,mr4 ,steevens1 this whimsical custom once prevailed among our sanctified fraternity2 but it is in vain1 ,i suppose1 to ask the reason why4 ,this doubt1 however1 has since produced from a respectable divine an intimation that he has frequently heard his father1 who died some years ago at an advanced age1 notice the custom of placing the gloves on the head at church as not uncommon in cold weather4 ,in the earliest impressions of ,plate ,,xi41 the words ,down with the ,rumps are not inserted on the scroll4 ,,just ,,view ,,of ,,the ,,british ,,stage4 ,illustration3 ,,just ,,view ,,of ,,the ,,british ,,stage4 ,mr4 ,walpole1 in his ,catalogue1 thus describes this plate3 ,booth1 ,wilkes1 and ,cibber1 contriving a ,pantomime2 a ,satire on ,farces4 ,though the inscription engraved under it is sufficiently explanatory1 it may be added that ,mr4 ,devoto was scene-painter either to ,drury ,lane or ,lincoln's-,inn ,fields1 and also to ,goodman's ,fields ,theatre2 that the ropes mentioned in the inscription are no other than halters1 suspended over the heads of the three managers2 and that the labels issuing from their respective mouths convey the following characteristic words4 ,the airy ,wilkes1 who dangles the effigies of ,punch1 exclaims1 ,poor ,r--ch6 faith1 ,i pitty him4 ,the ,laureate ,cibber1 who is amusing himself with playing with harlequin1 invokes the muse painted on the ceiling3 ,assist1 ye sacred ,nine6 ,and the solemn ,booth1 letting down the figure of ,jack ,hall into the forica1 is most tragically exclaiming1 with an oath1 ,ha6 this will do4 ,at the same instant ,ben ,jonson's ghost is rising through the stage1 and insulting a pantomime statue fallen from its base4 ,over the figure of ,hall is suspended a parcel of waste paper1 consisting of leaves torn from ,the ,way of the ,world1 ,hamlet1 ,macbeth1 and ,julius ,csar4 ,a fiddler is seen hanging by a cord in the air1 and performing1 with a scroll before him1 which proclaims1 ,music for the ,what meaning perhaps the ,what d'ye call it entertainment4 ,a pamphlet on the table exhibits a print of ,jack ,sheppard in confinement4 ,a dragon is also preparing to fly2 a dog thrusts his head out of the kennel2 a flask acquires motion by machinery1 etc4 ,the countenances of ,tragedy and ,comedy1 on each side of the stage1 are concealed by the bills for ,harlequin ,dr4 ,faustus1 ,harlequin ,shepherd1 etc4 ,vivetur ingenio is the motto over the curtain4 ,,examination ,,of ,,bambridge4 ,illustration3 ,,bambridge ,,on ,,trial ,,for ,,murder4 ,this very fine picture1 ,hogarth himself tells us1 was painted in #agbi for ,sir ,archibald ,grant of ,monymusk1 ,bart41 at that time ,knight of the ,shire for ,aberdeen1 and one of the ,committee represented in the painting1--many of whom attended daily1 and some of them twice a day4 ,that every other figure in this print is a genuine portrait1 there cannot be the least doubt1 though at this distant period it is not possible to identify the particular persons2 they are all1 however1 to be found in the following list of the names of the ,committee3-- ,james ,oglethorpe1 ,esq41 ,chairman4 ,finch4 ,the ,right ,hon4 ,morpeth4 the ,lords ,inchequin4 ,percival4 ,limerick4 ,sir ,robert ,sutton4 ,sir ,robert ,clifton4 ,sir ,abraham ,elton4 ,sir ,edward ,knatchbull4 ,sir ,humphrey ,herries4 ,hon4 ,james ,bertie4 ,sir ,gregory ,page4 ,sir ,archibald ,grant4 ,sir ,james ,thomhill4 ,gyles ,earle1 ,esq4 ,general ,wade4 ,humphrey ,parsons1 ,esq4 ,hon4 ,robert ,byng4 ,edward ,houghton1 ,esq4 7,judge-,advocate47 ,captain ,vernon4 ,charles ,selwyn1 ,esq4 ,velters ,cornwall1 ,esq4 ,thomas ,scawen1 ,esq4 ,francis ,child1 ,esq4 ,william ,hucks1 ,esq4 ,stampe ,brooksbank1 ,esq4 ,charles ,withers1 ,esq4 ,john ,la ,roche1 ,esq4 ,mr4 ,thomas ,martin4 ,the scene1 says ,mr4 ,walpole1 is the ,committee4 ,on the table are the instruments of torture4 ,a prisoner in rags1 half-starved1 appears before them2 the poor man has a good countenance1 that adds to the interest4 ,on the other hand is the inhuman gaoler4 ,it is the very figure that ,salvator ,rosa would have drawn for ,iago in the moment of detection4 ,villany1 fear1 and conscience are mixed in yellow and livid on his countenance2 his lips are contracted by tremor1 his face advances as eager to lie1 his legs step back as thinking to make his escape2 one hand is thrust precipitately into his bosom1 the fingers of the other are catching uncertainly at his button-holes4 ,if this was a portrait1 it is the most striking that ever was drawn2 if it was not1 it is still finer4 ,this ,committee was first appointed1 ,feb4 #be1 #agbh-i1 to examine into the state of the gaols within the kingdom2 and the persons here represented under examination were--,thomas ,bambridge1 then ,warden of the ,fleet ,prison1 and ,john ,huggins1 his predecessor in that office4 ,both were declared notoriously guilty of great breaches of trust1 extortions1 cruelties1 and other high crimes and misdemeanours4 ,it was the unanimous resolution of the ,committee1 ,that ,thomas ,bambridge1 the acting ,warden of the ,prison of the ,fleet1 hath wilfully permitted several debtors to the ,crown in great sums of money1 as well as debtors to divers of his ,majesty's subjects1 to escape2 hath been guilty of the most notorious breaches of his trust1 great extortions1 and the highest crimes and misdemeanours in the execution of his said office2 and hath arbitrarily and unlawfully loaded with irons1 put into dungeons1 and destroyed1 prisoners for debt under his charge1 treating them in the most barbarous and cruel manner1 in high violation and contempt of the laws of this kingdom4 ,bambridge was in consequence disqualified by ,act of ,parliament2 and he cut his throat twenty years after4 ,it was also resolved1 ,that ,john ,huggins1 ,esq41 late ,warden of the ,prison of the ,fleet1 did1 during the time of his wardenship1 wilfully permit several considerable debtors in his custody to escape2 and was notoriously guilty of great breaches of his trust1 extortions1 cruelties1 and other high crimes and misdemeanours1 in the execution of the said office2 and he was for some time committed to ,newgate1 but afterwards lived in credit to the age of ninety4 ,,king ,,henry ,,viii4 ,,and ,,anna ,,bulleyn4 ,illustration3 ,,henry ,,the ,,eighth ,,anne ,,boleyne4 ,this plate1 copied from a painting in the portico of the old great room in ,vauxhall ,gardens1 has very idly been imagined to contain the portraits of ,frederick ,prince of ,wales1 and the beautiful but unfortunate ,lady ,vane2 but the stature and faces both of the lady and ,henry are totally unlike their supposed originals4 ,,crowns1 ,,mitres1 ,,maces1 ,,etc4 ,illustration3 ,,crowns1 ,,mitres1 ,,maces c4 ,this plate forms so important a feature in the annals of ,hogarth1 that it requires his own elucidation3-- ,after having had my plates pirated in almost all sizes1 ,i applied to ,parliament for redress1 and obtained it in so liberal a manner1 as hath not only answered my own purpose1 but made prints a considerable article in the commerce of this country1 there being now more business of that kind done here than at ,paris1 or anywhere else1 and as well4 ,the statute1 which took place ,june #bd1 #agce1 was drawn up by our artist's friend ,mr4 ,huggins1 who took for his model the eighth of ,queen ,anne in favour of literary property4 ,but it was not so accurately executed as entirely to remedy the evil2 for1 in a cause founded on it1 which came before ,lord ,hardwicke in ,chancery1 that excellent lawyer determined that no assignee1 claiming under an assignment from the original inventor1 could take any benefit by it4 ,hogarth1 immediately after the passing of the ,act1 published this print with the following inscription3-- ,in humble and grateful acknowledgment of the grace and goodness of the ,,legislature1 manifested in the ,,act ,,of ,,parliament for the ,encouragement of the ,arts of ,designing1 ,engraving1 etc41 obtained by the ,endeavours1 and almost at the sole ,expense1 of the ,designer of this ,print in the ,year #agce2 by which1 not only the ,professors of those ,arts were rescued from the ,tyranny1 ,frauds1 and ,piracies of ,monopolizing ,dealers1 and legally entitled to the ,fruits of their own ,labours2 but ,genius and ,industry were also prompted by the most noble and generous ,inducements to exert themselves4 ,emulation was excited2 ,ornamental ,compositions were better understood2 and every ,manufacture1 where ,fancy has any concern1 was gradually raised to a pitch of ,perfection before unknown2 insomuch1 that those of ,,great ,,britain are at present the most elegant and the most in ,esteem of any in ,,europe4 ,the royal ,crown at the top is darting its rays on mitres1 coronets1 the ,chancellor's great seal1 the ,speaker's hat1 etc4 etc42 and on a scroll is written1 ,an ,act for the ,encouragement of the ,arts of ,designing1 ,engraving1 and ,etching1 by vesting the properties thereof in the inventors and engravers1 during the time therein mentioned4 ,the plate was afterwards used as a receipt for the subscriptions to his four prints of ,the ,election4 ,in #agfg1 three years after ,hogarth's death1 his widow stated1 in a petition to the ,house of ,commons1 that she was informed that a ,bill was depending in the ,house to amend an ,act made in the eighth year of the reign of his late ,majesty1 for the encouragement of the arts of designing1 engraving1 and etching3 that her late husband was the inventor1 engraver1 and publisher of various designs--moral1 humorous1 and historical2 the sole property whereof was vested in him by the said ,act for the term of fourteen years2 that her chief support arose from the sale of her late husband's works2 that1 since his decease1 many persons had copied1 printed1 and published several of those works1 and still continued to do so2 and that the sale of those spurious copies1 both at home and for exportation1 had already been a great prejudice to the petitioner1 and1 unless timely prevented1 would deprive her of her chief support and dependence2 and praying that provision might be made for vesting in her the property of her said husband's works4 ,the petition was thought reasonable2 and a clause was added to the ,bill for vesting in1 and securing to1 ,jane ,hogarth1 widow1 the property in certain prints4 ,,the ,,royal ,,masquerade4 ,illustration3 ,,royal ,,masquerade1 ,,somerset ,,house4 ,this very interesting scene1 which may be dated early in #agee1 is thus anticipated by ,mr4 ,walpole1 in a letter to ,mr4 ,richard ,bentley1 ,dec4 #bd1 #aged3--,the ,russian ambassador is to give a masquerade for the birth of the little great prince 7the ,czar1 ,paul ,i474 ,the ,king lends him ,somerset ,house3 he wanted to borrow the palace over against me1 and sent to ask it of the cardinal-nephew 7,henry ,earl of ,lincoln1 nephew to the ,duke of ,newcastle1 to whose title he succeeded71 who replied1 ',not for half ,russia6' ,the print abounds with real portraits of personages of the first distinction1 of whom several may be identified by the following extract from the ,gentleman's ,magazine1 vol4 xxv4 p4 #hi3--;,feb4 #f4--,the ,russian ambassador gave a most magnificent ball at ,somerset ,house4 ,his ,majesty came a little after eight1 dressed in a black domino1 tie-wig1 and gold-laced hat4 ,her ,royal ,highness the ,princess of ,wales was in a blue and silver robe1 and her head greatly ornamented with jewels4 ,the ,prince of ,wales was in a pink and silver dress4 ,prince ,edward in a pink satin waistcoat1 with a belt adorned with diamonds4 ,princess ,augusta in a rich gold stuff4 ,the ,duke 7of ,cumberland7 was in a ,turkish dress1 with a large bunch of diamonds in his turban4 ,a noble lady shone in the habit of a nymph1 embroidered over with stars studded with brilliants to the amount of #ajj1jjj4 ,in short1 the dresses of the whole assembly were the richest that could possibly be devised upon such an occasion2 and the whole entertainment1 particularly the desert1 was the most elegant that expense could furnish4 ,few exhibitions of this kind have equalled it1--none excelled it4 ,the number of persons were above a thousand4 ,the original painting formed part of the fine collection of the late ,roger ,palmer1 ,esq41 on whose death it devolved1 with the rest of a very ample property1 to his only sister1 ,elizabeth1 wife of the brave and benevolent ,captain ,joseph ,budworth1 who assumed the name and arms of ,palmer4 ,,rich',s ,,triumphant ,,entry4 ,illustration3 ,,rich',s ,,triumphant ,,entry4 ,this plate represents the removal of ,rich1 and his scenery1 authors1 actors1 etc41 from ,lincoln's-,inn ,fields to the new house4 ,the scene is the area of ,covent ,garden1 across which1 leading toward the door of the theatre1 is a long procession1 consisting of a cart loaded with thunder and lightning1 performers1 etc42 and at the head of them ,mr4 ,rich 7invested with the skin of the famous dog in ,perseus and ,andromeda7 riding with his mistress in a chariot driven by harlequin1 and drawn by satyrs4 ,some indifferent verses1 which accompanied the original publication1 allude to ,walker and ,hall1 the original ,macheath and ,lockit1 and conclude thus3 ,to the ,piazza let us turn our eyes1 ,see ,johnny ,gay on ,porter's shoulders rise1 ,whilst a bright ,man of ,taste his works despise4 ,another author wheels his work with care1 ,in hopes to get a market at this fair1 ,for such a day he sees not every year4 ,by the ,man of ,taste1 ,mr4 ,pope was apparently designed4 ,he is represented in his tie-wig1 at a dark corner of the ,piazza1 amusing himself 7not very delicately7 with the ,beggars' ,opera4 ,the letter ,p is over his head2 his little sword is significantly placed1 and the peculiarity of his figure is well preserved4 ,the reason why our artist has assigned such an employment to him1 we can only guess4 ,it seems1 indeed1 from ,dr4 ,johnson's ,life of ,gay1 that ,pope did not think the ,beggars' ,opera would succeed4 ,swift1 however1 was of the same opinion2 and yet the former supported the piece on the first night of exhibition1 and the latter defended it in his ,intelligencer against the attacks of ,dr4 ,herring1 then ,preacher to the ,society of ,lincoln's-,inn1 and afterwards ,archbishop of ,canterbury4 ,hogarth might be wanton in his satire1 might have founded it on an idle report1 or might have sacrificed truth to the prejudice of ,sir ,james ,thornhill1 whose quarrel on another occasion he is supposed to have taken up1 when he ridiculed the translator of ,homer1 in a view of ,the ,gate of ,burlington ,house4 ,,the ,,pool ,,of ,,bethesda1 ,,and ,,the ,,good ,,samaritan4 ,illustration3 ,,the ,,pool ,,of ,,bethesda4 ,illustration3 ,,the ,,good ,,samaritan4 ,these magnificent prints are placed among the early productions of ,hogarth1 as the paintings from which they are copied were completed in #agcg2 and in #agdh a small copy of the ,pool of ,bethesda was engraved by ,ravenet1 as a frontispiece to ,stackhouse's ,family ,bible4 ,mr4 ,walpole observes1 that the burlesque turn of our artist's mind mixed itself with his most serious compositions2 and that1 in the ',pool of ,bethesda1' a servant of a rich ulcerated lady beats back a poor man 7perhaps woman7 who sought the same celestial remedy4 ,to this ,i may add1 that the figure of the priest1 in the ,good ,samaritan1 is supremely comic1 and rather resembles some purse-proud burgomaster1 than the character it was designed to represent4 ,in the ,pool of ,bethesda is introduced1 as ,i was assured by ,dr4 ,ducarel1 a faithful portrait of ,nell ,robinson1 a celebrated courtezan1 at whose shrine both ,hogarth and the ,doctor had in early life occasionally paid their devoirs4 ,on the subject of these two very fine prints1 it will not only be candid1 but amusing and instructive1 to transcribe ,hogarth's own unvarnished remarks3-- ,as ,i could not bring myself to act like some of my brethren1 and make the painting of small conversation pieces a sort of manufactory to be carried on by the help of background and drapery painters1 it was not sufficiently profitable to pay the expenses my family required4 ,i therefore turned my thoughts to a still more novel trade1 the painting and engraving modern moral subjects1 a field not broken up in any country or any age4 ,the reasons which induced me to adopt this mode of designing were1 that ,i thought both writers and painters had1 in the historical style1 totally overlooked that intermediate species of subjects1 which may be placed between the sublime and grotesque4 ,i therefore wished to compose pictures on canvas1 similar to representations on the stage2 and further hope that they will be tried by the same test1 and criticised by the same criterion4 ,let it be observed1 that ,i mean to speak only of those scenes where the human species are actors2 and these1 ,i think1 have not often been delineated in a way of which they are worthy and capable4 ,in these compositions1 those subjects that will both entertain and improve the mind bid fair to be of the greatest public utility1 and must therefore be entitled to rank in the highest class4 ,if the execution is difficult 7though that is but a secondary merit71 the author has a claim to a higher degree of praise4 ,if this be admitted1 comedy1 in painting as well as writing1 ought to be allotted the first place1 as most capable of all these perfections1 though the sublime1 as it is called1 has been opposed to it4 ,ocular demonstration will carry more conviction to the mind of a sensible man than all he would find in a thousand volumes2 and this has been attempted in the prints ,i have composed4 ,let the decision be left to every unprejudiced eye2 let the figures in either pictures or prints be considered as players1 dressed either for the sublime--for genteel comedy1 or farce--for high or low life4 ,i have endeavoured to treat my subjects as a dramatic writer2 my picture is my stage1 and men and women my players1 who1 by means of certain actions and gestures1 are to exhibit a dumb show4 ,before ,i had done anything of much consequence in this walk1 ,i entertained some hopes of succeeding in what the puffers in books call the great style of history-painting2 so that1 without having had a stroke of this grand business before1 ,i quitted small portraits and familiar conversations1 and1 with a smile at my own temerity1 commenced history-painter2 and on a great staircase at ,st4 ,bartholomew's ,hospital1 painted two ,scripture stories1 ',the ,pool of ,bethesda' and ',the ,good ,samaritan1' with figures seven feet high4 ,these ,i presented to the charity2 and thought they might serve as a specimen1 to show that1 were there an inclination in ,england for encouraging historical pictures1 such a first essay might prove the painting them more easily attainable than is generally imagined4 ,but as religion1 the great promoter of this style in other countries1 rejected it in ,england1 ,i was unwilling to sink into a portrait-manufacturer2 and1 still ambitious of being singular1 dropped all expectations of advantage from that source1 and returned to the pursuit of my former dealings with the public at large4 ,this ,i found was most likely to answer my purpose1 provided ,i could strike the passions1 and1 by small sums from many1 by the sale of prints which ,i could engrave from my own pictures1 thus secure my property to myself4 ,while these pictures were in progress1 it was announced that among the governors of ,st4 ,bartholomew's ,hospital was lately chosen ,mr4 ,william ,hogarth1 the celebrated painter1 who1 we are told1 designs to paint the staircase of the said hospital1 and thereby become a benefactor to it by giving his labours gratis4 ,and a newspaper of ,july #ad1 #agcg1 says1 ,yesterday the scaffolding was taken down from before the picture of ',the ,good ,samaritan1' which is esteemed a very curious piece4 ,hogarth paid his friend ,lambert for painting the landscape in this picture2 and to the imaginary merits of his coadjutor1 the ,analysis1 p4 #bf1 thus bears testimony3 ,the sky always gradates one way or other1 and the rising or setting sun exhibits it in great perfection2 the imitating of which was ,claude de ,lorraine's peculiar excellence1 and it is now ,mr4 ,lambert's4 ,both pictures1 which appear of an oblong square in the engravings1 in the originals are surrounded with scroll-work which cuts off the corners of them1 etc4 ,all these ornaments1 together with compartments carved at the bottom1 were the work of ,mr4 ,richards4 ,these the late ,mr4 ,alderman ,boydell caused to be engraved on separate plates1 and appended to those above them1 on which sufficient space had not been left4 ,hogarth requested that these paintings might never be varnished4 ,they appear1 therefore1 to disadvantage1 the decorations about them having1 within these few years past1 been highly glazed4 ,the ,pool of ,bethesda has suffered much from the sun2 and ,the ,good ,samaritan1 when cleaned about the year #aghj1 was pressed so hard against the straining frame1 that several creases were made in the canvas4 ,,martin ,,folkes1 ,,esq4 ,illustration3 ,,martin ,,folkes ,,esq,,re ,this elegant scholar was a mathematician and antiquary of much celebrity in the philosophical annals of literature4 ,in #agac1 at the early age of #bd1 he was elected a ,fellow of the ,royal ,society1 and in #agda was elected ,president4 ,mr4 ,folkes was also an early ,member of the ,society of ,antiquaries1 having been elected in #agai-bj2 and his communications to both societies were numerous and valuable4 ,his knowledge in ancient and modern coins was very extensive2 and the most important work he produced1 was ,the ,history of the ,english ,gold and ,silver ,coin1 from the ,conquest to his own time4 ,algernon1 the famous ,duke of ,somerset1 who had been many years ,president of the ,society of ,antiquaries1 dying ,february #i1 #agdi-ej1 ,mr4 ,folkes1 who was then one of the ,vice-,presidents1 was immediately chosen to succeed his ,grace2 and was continued ,president by the ,charter of ,incorporation of that ,society1 ,november #b1 #agea4 ,but he was soon disabled from presiding in person either in that or the ,royal ,society1 being seized1 on the #bfth of ,september the same year1 with a palsy1 which deprived him of the use of his left side4 ,on the #cjth of ,november #agec1 he resigned the ,presidentship of the ,royal ,society2 but continued ,president of the ,society of ,antiquaries till his death4 ,after having languished nearly three years1 a second attack of his disorder1 on the #beth of ,june #aged1 put an end to his life on the #bhth of that month4 ,the original portrait is preserved in the meeting-room of the ,royal ,society4 ,,bishop ,,hoadley4 ,illustration3 ,,bishop ,,hoadley4 ,this portrait is in grand style1 though rather in the ,french manner4 ,the painting1 and the plate engraved from it by ,baron1 were carefully preserved in the ,bishop's family4 ,dr4 ,benjamin ,hoadley1 a prelate of considerable eminence1 was born ,november #d1 #afgf2 educated at ,catharine ,hall1 ,cambridge2 elected ,lecturer of ,st4 ,mildred1 ,poultry1 #agja2 ,rector of ,st4 ,peter-le-,poor in #agjd1 and of ,streatham in #agaj2 ,king's ,chaplain1 ,february #af1 #agae-af2 ,bishop of ,bangor1 ,march #ah following2 translated to ,hereford in #agba1 to ,salisbury in #agbc1 and in #agcd to ,winchester1 which he held nearly twenty-seven years1 till on ,april #ag1 #agfa1 at his house at ,chelsea1 in the same calm he had enjoyed amidst all the storms that blew around him1 he died1 full of years and honours1 beloved and regretted by all good men1 in the #heth year of his age4 ,few writers of eminence have been so frequently or so illiberally traduced2 yet fewer still have had the felicity of living till a nation became their converts1 and of knowing that sons have blushed their fathers were their foes4 ,his useful labours1 which will ever be esteemed by all lovers of the natural1 civil1 and religious rights of ,englishmen1 were collected in #aggc1 in three folio volumes4 ,the ,bishop had two sons3 ,benjamin ,hoadley1 ,m4,d41 ,f4,r4,s41 ,physician to ,frederick ,prince of ,wales1 and to ,george the ,second2 of high rank in his profession2 and well known by many valuable writings1 more especially by his comedy of ,the ,suspicious ,husband4 ,he died1 in his father's lifetime1 in #ageg4 ,the other son1 the ,rev4 ,dr4 ,john ,hoadley1 ,chancellor of ,winchester1 was also a most amiable man1 and an elegant poet4 ,he was the editor of his father's collected works1 introduced by a well-digested biographical memoir4 ,he died ,march #aj1 #aggf2 and with him the name of ,hoadley became extinct4 ,his relict1 who long survived him1 possessed several original paintings by ,hogarth1 which were afterwards the property of the late ,mr4 ,archdeacon ,d',oyley4 ,,mr4 ,,ranby',s ,,house ,,at ,,chiswick4 ,illustration3 ,m,r ,,ranby',s ,,house ,,at ,,chiswick4 ,this view1 etched by ,hogarth in #agdh without any inscription1 was first published by his widow in #agha4 ,,hymen ,,and ,,cupid4 ,illustration3 ,,hymen ,,cupid4 ,this neat plate was engraved as a ticket for the masque of ,alfred1 performed in #agdh1 at ,cliveden ,house1 before the ,prince and ,princess of ,wales1 on the ,princess ,augusta's birthday4 ,it was afterwards intended as a receipt for ,sigismunda4 ,,false ,,perspective4 ,illustration3 ,,false ,,perspective4 ,early in #agec1 ,hogarth presented to his friend ,mr4 ,joshua ,kirby this whimsical satirical design2 which arose from the mistakes of ,sir ,edward ,walpole1 who was learning to draw without being taught perspective3 an anecdote recorded by ,mr4 ,steevens1 on ,sir ,edward's own authority4 ,to point out in a strong light the errors which would be likely to happen from the want of acquaintance with those principles1 ,hogarth's design was produced4 ,a traveller is represented on an eminence1 lighting his pipe from a candle presented to him by a woman from a chamber-window at the distance of at least a mile4 ,we are also astonished at the representation near it1 of a crow seated on the spray of a tree1 without incommoding by its weight the tender sprouts issuing from its branches2 and our astonishment increases when we recollect that this tree1 if weighed in the balance with the bird1 would hardly be found to preponderate4 ,the tree on which the feathered animal is so securely stationed is1 however1 of a much greater height and magnitude than those which are nearer1 and which gradually diminish as they approach the foreground4 ,the sheep1 taking example from the trees1 are very large at a distance1 but regularly become minute by their proximity1 the nearest being almost invisible4 ,both ends of the church1 the top1 and the whole extent of one side of it1 are clearly seen4 ,to take the view which ,hogarth has represented1 we must1 at the same time1 be above1 at each end1 and in front of that parochial erection2 but he has not been so complaisant as to favour us with the sight of the road on the bridge1 which the vessel seems determined to sail over1 while the waggon and horses appear floating on the other side4 ,a fellow in a boat1 nearly under the bridge1 is attempting to shoot a swan on the other side of it2 though1 as he is situated1 he cannot possibly have a view of the object whose destruction he pretends to be aiming at4 ,the waggon and horses1 which are supposed to be on the bridge1 are more distant than the tree which grows on the further side4 ,many other absurdities are visible in this curious perspective view1 which are too obvious to escape observation3 such as the signpost extending to a house at the distance of half a mile1 and the remote row of trees concealing part of the nearer sign of the half-moon2 the angler's line interfering with another belonging to his patient brother1 though at a considerable distance from each other2 and the tops and bottoms of the barrels being equally visible4 ,the favour of this communication was gratefully acknowledged by ,kirby1 who in #aged prefixed it to ,dr4 ,brook ,taylor's ,method of ,perspective made easy both in ,theory and ,practice1 with a dedication to ,hogarth1 who subsequently furnished him with a serious design for the plate which is described at page #acb4 ,,the ,,farmer',s ,,return4 ,illustration3 ,,the ,,farmer',s ,,return4 ,the little drama by ,mr4 ,garrick1 in which this exquisite frontispiece first appeared1 was thus prefaced3 ,the following interlude was prepared for the stage1 merely with a view of assisting ,mrs4 ,pritchard at her benefit2 and the desire of serving so good an actress is a better excuse for its defects than the few days in which it was written and represented4 ,notwithstanding the favourable reception it has met with1 the author would not have printed it1 had not his friend ,mr4 ,hogarth flattered him most agreeably1 by thinking the farmer and his family not unworthy of a sketch of his pencil4 ,to him1 therefore1 this trifle1 which he has so much honoured1 is inscribed1 as a faint testimony of the sincere esteem which the writer bears him1 both as a man and an artist4 ,the original drawing was given to ,mr4 ,garrick1 and was in the possession of his widow during her life4 ,the receipt for ,the ,march to ,finchley1 which accompanies this plate1 has been already described4 ,illustration3 ,,inhabitants ,,of ,,the ,,moon4 ,illustration3 ,rec'd4 of #gs #f;d being the whole ,payment for a ,print ,representing a ,march to ,finchly in the ,year #agdf which ,i promise to deliver when finished on sight hereof4 ,n4,b4 ,each ,print will be half a ,guinea after the ,subscription is over4 ,illustration3 ,a4 absolute ,gravity4 ,b4 ,conatus against absolute ,gravity4 ,c4 partial ,gravity4 ,d4 comparative ,gravity4 ,e4 horizontal1 or good sense4 ,f4 ,wit4 ,g4 comparative ,levity1 or ,coxcomb4 ,h4 partial ,levity1 or pert ,fool4 ,i4 absolute ,levity1 or stark ,fool4 ,,tristram ,,shandy4 ,illustration3 ,,frontispieces ,,to ,,tristram ,,shandy4 ,for this popular work of his friend ,lawrence ,sterne1 ,hogarth furnished two frontispieces2 one in #agei1 for the second volume2 the other in #agfa1 for the fourth4 ,the first of these is taken from the chapter in which ,corporal ,trim is represented reading a sermon to ,tristram's father1 ,uncle ,toby1 and ,dr4 ,slop1 the latter of whom is fallen asleep1 and who was intended for ,dr4 ,john ,burton1 a physician of great eminence at ,york1 well known as an able and industrious antiquary1 and also as a sturdy ,jacobite4 ,the second frontispiece represents the christening1 so humorously described in the fourteenth chapter of the fourth volume of ,tristram ,shandy4 ,,four ,,heads ,,from ,,the ,,cartoons4 ,illustration3 ,,heads ,,from ,,raffaelle',s ,,cartoons4 ,these heads were copied from the cartoons at ,hampton ,court2 and ,mr4 ,walpole1 speaking of ,sir ,james ,thornhill's attention to these celebrated pictures1 has the following remark3 ,he made copious studies of the heads1 hands1 and feet1 and intended to publish an exact account of the whole for the use of students2 but his work never appeared4 ,as this plate was found among others engraved by ,hogarth1 it might probably have been one of his early performances4 ,his widow1 in #agha1 directed a few impressions to be taken from it2 which were sold in ,leicester ,square4 ,,the ,,shrimp-,,girl4 ,illustration3 ,,the ,,shrimp ,,girl4 ,in this portrait from the life1 first published in #aghb1 from the original sketch in oil1 are united the talents of ,hogarth and ,bartolozzi2 but the plate1 which is executed in the dotted manner then so much in fashion1 should have been etched1 or engraved1 like those excellent performances by ,bartolozzi after the drawings of ,guercino2 as spirit1 rather than delicacy1 is the characteristic of our artist's shrimp-girl4 ,,lord ,,holland4 ,illustration3 ,,the ,,right ,,hon4 ,,henry ,,fox4 ,,lord ,,holland4 ,this is a serious portrait1 from a drawing by ,hogarth in #ageg1 of that celebrated nobleman1 whom he afterwards introduced in the second plate of ,the ,times1 as the powerful antagonist of ,lord ,bute4 ,the public life of this great statesman is too well known to need recital here4 ,let it suffice to say1 that in #agef he resigned the office of ,secretary at ,war to ,mr4 ,pitt2 and in the following year was appointed ,paymaster of the ,forces1 which he retained until the commencement of the reign of ,king ,george ,,iii4 ,may #f1 #agfb1 his lady was created ,baroness ,holland2 and ,april #af1 #agfc1 he himself was advanced to a peerage1 by the title of ,baron ,holland of ,foxley1 ,wilts4 ,in the latter part of his life he amused himself by building1 at a vast expense1 a fantastic villa at ,kingsgate1 and died ,july #a1 #aggd1 in his #fith year4 ,,earl ,,of ,,charlemont4 ,illustration3 ,,the ,,right ,,hon4 ,,james ,,caulfield4 ,,earl ,,of ,,charlemount4 ,james ,caulfield1 son of ,james ,viscount ,charlemont1 was born ,august #ah1 #agbh2 succeeded to his hereditary honours1 ,april #ba1 #agcd2 and in ,december #aghb1 was raised to an earldom4 ,he was ,f4,r4,s41 ,f4,s4,a41 and ,,ll4,d42 and died ,august #d1 #agii1 aged #gj4 ,,the ,,house ,,of ,,commons4 ,illustration3 ,,the ,,house ,,of ,,commons4 ,this fine print exhibits an inside view of the ,house of ,commons1 from an original painting taken in #agbf or #agbg1 and now in the possession of the ,earl of ,onslow4 ,the prominent portraits are those of the ,right ,hon4 ,arthur ,onslow1 the then ,speaker2 ,sir ,robert ,walpole1 the ,prime ,minister2 ,sidney ,godolphin1 ,esq41 ,father of the ,house2 ,colonel ,onslow2 ,sir ,james ,thornhill2 ,sir ,joseph ,jekyll2 ,edward ,stables1 ,esq41 ,clerk of the ,house2 ,mr4 ,askew1 ,clerk-,assistant1 and several others in the background4 ,,debates ,,on ,,palmistry4 ,illustration3 ,,debates ,,on ,,palmistry4 ,the figures employed in the study of palmistry seem to have been designed for physicians and surgeons of an hospital1 who are debating on the most commodious method of receiving a fee1 inattentive to the complaints of a lame female who solicits assistance4 ,a spectre1 resembling the royal ,dane1 comes out behind1 perhaps to intimate that physic and poison will occasionally produce similar effects4 ,a glass-case containing skeletons is open2 a crocodile hangs overhead2 and an owl1 emblematic of this sapient consistory1 is perched on a high stand4 ,mr4 ,steevens conjectured that this might have been a repented effort of hasty spleen against the officers of ,st4 ,bartholomew's1 who might not have treated some recommendation of a patient from our artist with all the respect and attention to which he thought it was entitled3 but this is mere supposition4 ,,the ,,staymaker4 ,illustration3 ,,the ,,stay ,,maker4 ,the humour in this print is not very striking4 ,the male staymaker seems to be taking professional liberties with a female in the very room where her husband sits1 who is playing with one of his children presented to him by a nurse1 perhaps with a view to call off his attention from what is going forward4 ,the hag shows her pretended love for the infant by the mode in which she is kissing him4 ,a maidservant holds a looking-glass for the lady1 and peeps significantly at the operator from behind it4 ,a boy with a cockade on1 and a little sword by his side1 appears to observe the familiarities already mentioned1 and is strutting up fiercely towards the staymaker1 while a girl is spilling some liquor in his hat4 ,,charity ,,in ,,the ,,cellar4 ,illustration3 ,,charity ,,in ,,the ,,cellar4 ,the original picture from which this print was engraved1 was painted for the late ,lord ,boyne4 ,it represents a convivial party assembled in a cellar over a hogshead of claret1 who1 it is said1 resolved not to separate till they had drunk all the wine it contained4 ,whether such a circumstance really gave rise to the picture or not1 it is unnecessary to inquire4 ,it is too well known that the habit of drinking to excess1 among all classes of society1 existed at the time of ,hogarth to such a degree as to draw the particular attention of this distinguished painter to it2 and it is not perhaps too much to say1 that the most distinguished preachers1 or most able moral writers1 have not done more to drive this odious and degrading vice from society than has been effected by the valuable pencil of ,hogarth4 ,the individuals here represented were members of a society well known by the name of the ,hell-fire ,club4 ,in the centre is the portrait of ,sir ,philip ,hoby1 seated on the cask4 ,behind him1 with his hand held up1 is that of ,mr4 ,de ,grey1 and below him is the portrait of ,lord ,j4 ,cavendish1 who has drawn a spigot from the cask to let the wine flow into a bowl4 ,opposite to him ,lord ,sandwich is represented kneeling down to draw in the intoxicating draught2 and behind him 7extended on a form7 is also ,lord ,galway4 ,the grouping of the four centre figures is an ingenious imitation of a statue of ,charity which is seen in the cellar4 ,the position of the bottles brings the comparison still nearer1 and is one of those little incidents for which ,hogarth was so particularly distinguished from all other painters1 in omitting nothing that might carry out his intention and make himself understood4 ,the devotedness of this group to the object for which they are assembled is extremely well portrayed4 ,the positions of the figures are easy1 and the principle of observing the pyramidal form 7so often insisted upon as necessary to beauty in the grouping of figures7 is here strikingly exemplified4 ,it is impossible to show a more unconquerable love for the intoxicating draught than is expressed in the portrait of ,lord ,galway4 ,unable to stand1 he has placed himself on his back in such a manner that the liquor from the cask above him is flowing into his mouth2 and he has perhaps been represented by ,hogarth as thus persevering in the fatal habit1 in order to show the excess to which it was then carried1 and is a forcible point in the painter's composition4 ,the picture is now in the possession of the present ,lord ,boyne1 and the print from it1 which we have added to our present edition1 is not to be found in any other of the collected works of ,hogarth4 ,,six ,,tickets4 ,illustration3 ,,six ,,tickets4 ,the several designs collected in this plate require no particular description4 ,they are given as specimens of the facility with which ,hogarth descended to minor subjects1 at the same time embellishing them with strokes of his peculiar vein of pleasantry and humour2 and each of them sufficiently evinces the purpose it was intended to recommend4 #a4 ,for the ,mock ,doctor4 #b4 ,for ,pasquin4 #c4 ,for the ,beggars' ,opera4 #d4 ,for ,joe ,miller4 #e4 ,thomas ,figg1 the noted prize-fighter4 #f4 ,the ,ram ,inn at ,cirencester4 ,illustration3 7end of section floral icon7 ,,notes4 ,the following hints are offered principally with a view to assist in identifying such characters in ,hogarth's prints as are unnoticed1 or but slightly described1 in the preceding volumes4 ,a key to the whole 7for many of the figures not yet recognised were undoubtedly meant by the artist as portraits7 would1 to the other merits of these inimitable compositions1 add the important one of making them an assemblage of the similitudes of the leading remarkables of his day4 ,,southwark ,,fair4 ,,vol4 ,i4 ,p4 #afb4 ,although ,hogarth1 from a fear of creating himself enemies1 disclaimed individual portrait in his compositions1 particularly of characters in the higher walks of life1 he was evidently not so scrupulous in indulging his satire when representing more familiar scenes2 and accordingly his ,harlot's ,progress1 ,four ,times of the ,day1 ,industry and ,idleness1 ,march to ,finchley1 etc41 are found to be less peopled with ideal personages than the ,marriage la ,mode1 and some others4 ,southwark ,fair was an annual assemblage of remarkables1 whose follies and peculiarities he could hold up to the derision of the public without the danger of retaliation2 and he has availed himself of the opportunity by bringing together a number of persons then well known on the town1 and placing them in the most ludicrous situations4 ,this ,fair1 the humours of which an ingenious author truly observes1 will never be forgotten while ,hogarth's inimitable print of it exists1 was anciently called ,our ,lady ,fair1 and lasted fourteen days4 ,like most others in the kingdom1 it was originally established for the purposes of trade2 but having become in process of time a mere scene of low riot and debauchery1 its duration was shortened to three days2 and it was at length totally abolished as a nuisance to the neighbourhood1 and an encouragement to vice and dissipation4 ,it was held at the top of ,blackman ,street1 on the open space opposite the walls of the ,king's ,bench prison1 and began yearly a fortnight after ,bartholomew ,tide4 ,the following characters in this print have been identified1 in addition to others before noticed3 ,middle group4--,the person whom the bailiffs are arresting1 and who is supposed to have been playing 7not ,alexander the ,great1 but the part of ,paris7 in the ,siege of ,troy 7announced for representation on one of the neighbouring show-cloths71 was intended for ,walker1 afterwards the famous ,macheath in the ,beggars' ,opera1 whose portrait it exactly resembles4 ,it is introduced in this place with strict propriety1 as we learn that ,walker kept a great theatrical booth in ,southwark ,fair1 as did ,penkethman4 ,he also acted1 says one of his biographers1 in the same way at ,bartholomew ,fair1 where ,booth saw him playing the part of ,paris in the ,siege of ,troy4#aba ,the painter probably placed him in the ridiculous situation we see him1 on account of his known extravagancy and consequent embarrassments1 which often procured him a visit from the bailiffs4 ,figg1 the prize-fighter1 who in another part of the print is making his triumphal entry on a blind horse1 and brandishing his sword in defiance1 was a native of ,thame in ,oxfordshire1 and attained so high a celebrity as a master of the noble science of defence1 that we find him praised in the ,tatler1 ,guardian1 ,craftsman1 and almost all the periodical works of the time4 ,the mezzotinto portrait of him by ,faber represents him exactly as here--with a bald head and open collar4 ,his own school was in ,oxford ,road1 but he was probably accustomed to exhibit his skill at fairs1 or he may be introduced here merely as a well-known character4 ,the ,bear ,garden1 a famous place for prize-fighting1 anciently stood in this neighbourhood1 and had then been but recently demolished4 ,the manner of the combatants at this place1 parading the streets previous to their encounters1 as described by a ,french traveller in #afgb1 and the way in which ,figg is represented1 strictly agree4 ,commonly1 says he1 when any fencing-masters belonging to the ,bear ,garden are desirous of showing their courage and their great skill1 they issue mutual challenges2 and before they engage1 parade the town on horseback1 with drums and trumpets sounding1 to inform the public there is a challenge between two brave masters of the science of defence1 and that the battle will be fought on such a day4 ,figg's public challenges were the very acme of bombast4 ,this extraordinary character died in the year #agcd4 ,miller1 the tall man1 whose effigies are exhibited on a show-cloth1 was a native of ,saxony1 and probably came into ,england in the reign of ,george ,i4 ,this gigantic personage was eight feet high1 the stature1 within a few inches1 of the late ,o',brien4 ,he died in #agcd1 aged #fj4 ,boitard engraved a portrait of him the year before his death4 ,the two jugglers in senatorial wigs1 who are displaying their magic wonders with cups and balls1 etc41 seem to have been intended likewise for two real characters 7,fawkes and ,neve71 the ,breslaw and ,katterfelto of their day4 ,fawkes is most certainly introduced in the print of ,burlington ,gate1 where1 on a board1 the ,long ,room is announced1 and ,fawkes' dexterity of hand4 ,portraits of these worthies still exist1 and bear a sufficient resemblance to identify them with their representatives in the plate4 ,neve in a wood print prefixed to his ,merry ,companion1 teaching tricks in legerdemain2 and ,fawkes in a large sheet print by ,sutton ,nichols1 where he stands in the midst of his performances4 ,fawkes was no indifferent wit4 ,when ,breslaw1 a more modern performer of the same kind1 was at ,canterbury1 the former requested permission to display his cunning a little longer1 promising ,mr4 ,mayor that if he was indulged with permission1 he would give such a night 7naming a particular one7 for the benefit of the poor4 ,the benevolent magistrate acceded to the proposition1 and he had a crowded house4 ,hearing nothing about the money collected on the specified evening1 the ,mayor waited on the man of trick1 and in a delicate way expressed his surprise4 ,mr4 ,mayor1 ,i have distributed the money myself4 ,still more surprised1 ,pray1 ,sir1 to whom8 ,to my own company2 none can be poorer4 ,this is a trick4 ,we live1 ,sir1 by tricks4 ,,marriage ,a ,,la ,,mode4 ,,vol4 ,,ii4 ,p4 #bh4 ,,plate ,,iii4--,the ,procuress at the ,quack's in this print is said to be designed for the once celebrated ,betty ,careless1 and the remark is countenanced by the initials ,b4 ,c4 on her bosom4 ,this woman1 by a very natural transition1 from being one of the most fashionable of the ,cyprian corps1 became lady abbess of a brothel2 and1 after frequent arrests and imprisonments1 was buried from the poorhouse of ,st4 ,paul's1 ,covent ,garden1 ,april #bb1 #ageb4 ,fielding1 in his ,amelia1 says3 ,it is impossible to conceive a greater appearance of modesty1 innocence1 and simplicity1 than what nature had displayed in the countenance of that girl1--meaning her whom he in another place calls the inimitable ,betsy ,careless4 ,ib4 ,plate ,,iv4--,a card on the floor in this print is inscribed3 ,count ,basset desire to no how ,lade ,squander sleep last nite8 ,a fashionable foreign adventurer1 of the name of ,count ,basset1 occurs as one of the characters in the ,provoked ,husband1 or a ,journey to ,london1 which might have suggested the hint for this name4 ,but1 query1 whether a real person8 or the artist might have meant to satirize the game of ,basset4 ,n4,b4--,the set of prints of ,marriage la ,mode is said to have furnished the idea for the comedy of the ,clandestine ,marriage4 ,,harlot',s ,,progress4 ,,vol4 ,i4 ,pp4 #ajb-aad4 ,,plate ,,ii4--,the commentators on ,hogarth do not seem to have assigned a satisfactory reason for the particular subjects of the two paintings which ornament the ,harlot's apartment in this plate1 viz4 ,david dancing before the ,ark1 and ,jonah sitting under a ,gourd4 ,one supposes them merely intended to convey a ridicule on the old masters1 or placed here to satirize the impropriety of adorning rooms with inappropriate subjects4 ,another1 as stories selected at random1 but having a reference to the nation of the ,harlot's ,jew keeper4 ,but as ,hogarth's incidents have all a meaning1 a better reason must be sought for4 ,they undoubtedly conceal a moral applicable to the two principal figures in the print4 ,david's known breach of chastity in the affair of ,uriah's wife1 and uncovering himself when dancing before the ark1 in the eyes of the handmaids of his servants1 as one of the vain fellows shamelessly uncovereth himself1 which his wife charges him with on that occasion1 evidently typify the backsliding ,jew2 while ,jonah sitting under the shelter of his gourd1 which sprang up in the night1 and which the worm destroyed in the morning1 as ingeniously points out the girl's upstart grandeur1 and the frail nature of her protection1 which even now a worm 7her infidelity to her keeper7 is rapidly undermining4 ,plate ,v4--,dr4 ,misaubin1 or ,mizenbank as ,trusler calls him 7the lean doctor in this print71 was a notorious foreign quack of the day1 whose ignorant consequence ,fielding thus laughably exposes in one of his introductory chapters in ,tom ,jones3--,the learned ,dr4 ,misaubin used to say1 that the proper direction to him was1 ',to ,dr4 ,misaubin1 in the world1' intimating that there were few people in it to whom his great reputation was not known4 ,and1 perhaps1 upon a nice examination into the matter1 we shall find that this circumstance bears no inconsiderable part among the many blessings of human grandeur4 ,watteau painted the portrait of this ,esculapius1 from which a print was engraved by ,pond4 ,the likeness strikingly resembles ,hogarth's representation1 and is inscribed ,prenez des pillules4 ,the similitude of his opponent ,dr4 ,rock1 though not authenticated in the same manner1 is1 from the testimony of those who recollect him1 equally correct4 ,this great man is said to have been originally a porter2 for which his strong1 squat figure excellently adapted him4 ,an anecdote1 in some degree confirmed1 is told of him1 that passing one day by the end of ,fleet ,market1 with his gold-laced hat and cane1 a brother porter1 who knew his origin1 and was resting his load near the spot1 said1 ,dr4 ,rock1 you once carried a knot as well as myself4 ,yes2 and had ,i been as great a dunce as you1 replied the pill merchant1 ,i should have carried a knot still4 ,,rake',s ,,progress4 ,,vol4 ,i4 ,pp4 #acb-aed4 ,,plate ,,iii4--,tavern ,scene4--,in the second state of this plate1 ,pontac's head is introduced in the place of a mutilated ,csar4 ,pontac was a celebrated purveyor at this time4 ,in the ,hind and ,panther transversed1 ,pontac's eating-house is mentioned with epicurean honours3 ,when at ,pontac's he may regale himself4 ,it was chiefly frequented as a chop-house1 but every other luxury might be had there4 ,plate ,,viii4--,the maniac chained to the floor of his cell in this print is noticed by ,mr4 ,ireland as being a copy from one of ,cibber's figures over the gate of ,bedlam4 ,he might have added1 that the person of the ,rake himself1 whose expression of madness ,mr4 ,mortimer so much admired1 is1 as to features1 a copy of the companion figure over the same gate4 ,this plagiarism1 if it may be so called1 was to the credit of ,hogarth's taste2 for with all his own amazing powers of expression1 he could scarcely have hoped to equal such inimitable representations4 ,time1 and an injudicious attempt1 some years since1 at restoration1 have wofully injured these masterpieces of ,cibber's chisel4 ,it may be observed of this print 7the inside of ,bedlam71 in addition to what has been before said1 that the scene portrayed is not only a most faithful representation of those doleful regions1 but that most of the persons are certainly intended as real portraits4 ,one at least may1 with every appearance of probability1 be added to the list of names of those already identified--the man sitting by the figure inscribed ,charming ,betty ,careless1 who is supposed to have gone mad for love4 ,such a person was actually confined there for that malady some years previous1 whose history so exactly corresponds with ,hogarth's representation1 and whom he must have remembered1 that it can scarcely be doubted but he had him in his eye4 ,the portrait of the person alluded to is thus described in a modern biographical work3 ,william ,ellis4 ,printed and sold by ,sutton ,nichols1 in ,aldersgate ,street1 t4 #de1 #agji4 ,sitting on the rails of ,moorfields4 ,printed with his life and character written by himself1 etc4 ,this poor maniac lost his reason through love for his ,betty1 who seems to have been a real character4 ,ellis is represented with a chaplet of laurel on his right1 and a ,cupid drawing his bow on the left4 ,under the chaplet is inscribed-- ,tell her ,i burn with noble vestal fire1 ,tell her she's all ,i wish or can desire4 ,and under the ,cupid1 amongst others1 these lines3 ,my years of minority ,i spent at school2 ,but love--that sweet passion--my reason would rule2 ,and yielding obedience to its potent sway1 ,the charming dear ,betty my heart stole away4 ,deny'd her enjoyment1 at last ,i grew mad1 ,and nothing but ,betty1 dear ,betty1 ,i cry'd3 ,such charms has that phnix1 she shall be my bride4 ,but ,bedlam became my sad portion and lot1 ,by loving a fair one that knew of it not4 ,the eight paintings of ,the ,rake's ,progress1 which had been originally purchased of ,hogarth by ,francis ,beckford1 ,esq41 for #hh1 #ds41 were1 at the sale of ,william ,beckford1 ,esq4 of ,fonthill1 in #ah--1 sold by the elder ,mr4 ,christie for the sum of #hej guineas4 ,the buyer was ,colonel ,fullarton1 ,m4,p4 ,,idle ,,and ,,industrious ,,apprentice4 ,,vol4 ,i4 ,p4 #bhd4 ,,plate ,,viii4--,speaking of the disposition of a crowd in a picture1 ,mr4 ,gilpin says3--,i do not recollect having seen a crowd better managed than ,hogarth has managed one in the last print of his ',idle ',prentice4' ,in combining the multifarious company which attends the spectacle of an execution1 he hath exemplified all the observations ,i have made4 ,i have not the print before me1 but ,i have often admired it in this light2 nor do ,i recollect observing anything offensive in it1 which is rare in the management of such a multitude of figures4--,observation on the ,wye1 p4 #abc4 ,,the ,,times4 ,,vol4 ,,ii4 ,p4 #ahj4 ,the wild ,indian painted on a show-cloth1 with the inscription underneath1 ,alive from ,america1 is meant as a satire on ,alderman ,beckford1 for whose recent uncourtly speech to ,majesty 7see the ,guildhall ,statue7 the painter has represented him as a savage4 ,,four ,,times ,,of ,,the ,,day4 ,,vol4 ,i4 ,pp4 #bbb-bbf4 ,,plate ,,ii4--,noon4--,the boy who has had the misfortune to break the baked pudding1 a commentator on ,hogarth asserts was the late ,mr4 ,henderson the player1 who often sportively assured his friends that he stood to ,hogarth for the sketch when he was with ,fournier the drawing-master4 ,but this is impossible1 as the prints in the receipt are promised to be delivered by ,lady-day #agch1 several years before ,henderson was born4 ,a correspondent has assured us that he has repeatedly heard his grandfather1 an individual unknown to the public1 refer to that figure in the print as a portrait of himself1 asserting that he had just such an accident when a boy on the very spot1 and was at that period remarkable for such a head of hair 7which was of a very light colour7 as is shown in the print4 ,but query4--,with more certainty we may venture to suggest1 that the idea of the woman throwing the shoulder of mutton out of the window is borrowed from the old song3 ,now ,john he was no great eater1 and ,joan she was no great glutton1 ,so the better to pamper their stomachs1 they bought them a shoulder of mutton3 ,but ,joan in an angry mood took the shoulder of mutton in hand1 ,and out of the window she threw it1--poor ,john1 he was at a stand1 etc4 ,plate ,,iii4--,evening4--,the scene of this picture is laid at ,islington1 near ,sadlers ,wells1 which was then a famous place for tea-drinking1 and the antitype for low dissipation of the late ,dog and ,duck4 ,the view represents it correctly previous to its being rebuilt in its present form1 and exactly similar to a small copperplate delineation of it over an old song1 called ,a ,song in praise of ,sadlers ,wells1 in which its various amusements are described4 ,the adjoining alehouse window1 in which we behold a group enveloped in their own smoke1 is the ,sir ,hugh ,middleton's ,head1 a sign still remaining4 ,a celebrated knot of drinkers and smokers actually met at this place about the period alluded to1 at the head of which was old ,rosamond1 the proprietor of the ,wells2 and it is not improbable but that ,hogarth might have known and meant to satirize this fraternity4 ,the portraits of these gentlemen are still preserved in a large painting at the very same public-house1 under the name of the ,sadlers ,wells ,club4 ,,enraged ,,musician4 ,,vol4 ,i4 ,p4 #bjf4 ,cervetto1 well known by the name of ,nosee1 has been generally supposed to be intended by the character of the musician2 but there are others who apply it to ,dr4 ,arne2 for though not a strict likeness of that great composer1 the figure and face bear so near a resemblance 7and he was extremely remarkable7 as fully to authorize the application4 ,the known irritability of the ,doctor in musical business might not have been the only cause of ,hogarth's placing him in this ludicrous situation2 his habits of intrigue1 and singularly plain person1 made him so fair an object for caricature1 that one of his portraits1 printed with a song of his composing1 has ironically written under it1 ,beauty and ,virtue4 ,this song1 with the portrait1 was eagerly purchased up1 and is now very scarce4 ,some years since ,mr4 ,colman got up a little interlude at the ,haymarket ,theatre from the idea of this print1 called ,ut ,pictura ,poesis1 or the ,enraged ,musician1 when the character of the musician was purposely given to a performer who was thought in figure and face to resemble ,dr4 ,arne4 ,,sigismunda4 ,,vol4 ,i4 ,p4 #ge4 ,this celebrated picture1 which1 at the time of first publishing the preceding volumes1 was in the possession of ,messrs4 ,boydell ,co41 but has since been in other hands1 was advertised to be sold by auction1 with other effects1 by ,mr4 ,jacques1 ,may #ab1 #ahab1 on the premises1 ,great ,james ,street1 ,bedford ,row1 and was to be seen by applying for tickets for that purpose to the auctioneer4 ,,the ,,beggars' ,,opera4 ,,vol4 ,,ii4 ,p4 #bib4 ,in addition to the value of this print as a collection of portraits1 it may be observed that it contains the only known representation of the inside of the ,lincoln's-,inn ,fields ,theatre4 ,this playhouse was opened under the management of ,betterton1 with the comedy of ,love for ,love1 which had a very considerable run4 ,the ,beggars' ,opera1 however1 was of still superior attraction1 and it carried all before it4 ,after continuing open with various success for several seasons1 the ,lincoln's-,inn ,fields playhouse finally closed1 on the removal of the company to the new theatre in ,covent ,garden1 and the building 7the exterior of which is still entire7 is now occupied as ,spode's pottery warehouse4 ,,sleepy ,,congregation4 ,,vol4 ,i4 ,p4 #aib4 ,the clergyman preaching is supposed to represent ,dr4 ,desaguliers4 ,but why ,hogarth has assigned him this post of honour1 does not appear4 ,this gentleman was the son of a ,french ,protestant clergyman2 was educated at ,cambridge1 and held the donative of ,whitchurch1 in ,middlesex4 ,he was the first lecturer on experimental philosophy in the capital1 and published his lectures in two vols4 #dto4 ,he died at his lodgings at the ,bedford ,coffeehouse1 ,covent ,garden1 ,feb4 #bi1 #agdd1 and was buried1 ,march #bf1 at the ,savoy4 ,he is spoken of as a man of considerable talents1 but possibly might have had a peculiarly inanimate mode of delivering his sermons1 which occasioned ,hogarth's satire4 ,the original painting from which this print was engraved was lately in the possession of the late ,john ,follett1 ,esq41 of the ,temple1 ,london4 ,it differs in some little particulars from the print4 ,illustration3 7end of section floral icon7 ,,chronological ,,list ,,of ,,hogarth',s ,,works1 ,,with ,,the ,,variations1 ,,etc4 #agbj4 #a4 ,w4 ,hogarth1 engraver1 with two figures and two ,cupids1 ,april ye #bj4 #agbj4 ,i have seen a print on which was written1 in ,hogarth's hand1 ,near the ,black ,bull1 ,long ,lane4 ,of this card there is a modern copy4 #agba4 #a4 ,an ,emblematic ,print on the ,south ,sea2 ,w4 ,hogarth1 inv4 et sc4 ,sold by ,mrs4 ,chilcot in ,westminster ,hall1 and ,b4 ,caldwell1 printseller1 in ,newgate ,street4 ,second state--,printed for ,bowles4 ,third state--,without any publisher's name4 ,some wretched stanzas are engraved beneath the print4 #b4 ,the ,lottery2 ,w4 ,hogarth1 inv4 et sculp4 ,sold by ,chilcot and ,caldwell1 price #as4 ,second state--,printed for ,chilcot4 ,third state--,for ,sympson4 ,and in a fourth--,for ,bowles--price #as4 is erased4 ,an explanation with references is engraved beneath4 ,the allegory of both these prints is obscure1 but the figures are in the manner of ,callot1 and in a spirited and masterly style4 #agbc4 ,eighteen plates to ,aubry de la ,mottraye's ,travels4 ,hogarth's name on fourteen of them4 ,as these prints have such references as are hardly intelligible1 and as ,mr4 ,nichols' numbers and mine do not exactly agree1 ,i have given a slight hint of the subject of each4 #e4 ,vas mirabile ex integro ,smaragdo1 ,geno1 etc4 ,tom4 i4 ,no4 #i4--,tiara ,patriarchalis ,grca4 ,tom4 i4 ,no4 #aj4--;,a ,lady and ,black in a ,bath4 ,no name legible4 ,tom4 i4 ,no4 #aa4--;,dance of ,elegant ,female ,figures4 ,vide p4 #abe4 ,no4 #ae4--;,a ,procession4 ,tom4 i4 ,no4 #ag4--;,a ,group of ,figures in ,turbans4 ,tom4 i4 ,no4 #ah4--;,a ,scene in the ,seraglio4 ,tom4 ii4 ,no4 #c4--,park of the ,artillery4 ,tom4 ii4 ,no4 #e4--;,bender4--,portrait of ,charles ,,xii4 ,tom4 ii4 ,no4 #h4--;,head of ,charles ,,xii41 etc4 ,tom4 ii4 ,no4 #i1 ,plate ,i4--,fodina ,argentea ,sahlensis4 ,tom4 ii4 ,no4 #i1 ,plate ,i4--,ditto4 ,tom4 ii4 ,no4 #aa4--;,fodina ,terrea ,danmorensis4 ,tom4 ii4 ,no4 #ad4--;,a ,lapland ,hut1 with ,reindeer1 etc4 ,to this catalogue1 ,i think we may add ,no4 #ac1 ,tom4 i41 and ,tom4 i4 ,no4 #af1 as well as the figures at the comers of ,tom4 ii4 ,no4 #bf ,a1 and those in ,tom4 ii4 ,c1 of which there is a modern copy under the name of ,the ,five ,muscovites4 #agbd4 #a4 ,seven small prints to the new ,metamorphosis of ,lucius ,apuleius of ,medaura2 printed for ,sam4 ,briscoe1 #abmo1 #b vols42 one of the plates without ,hogarth's name4 ,the hints for these figures are taken from the prints in a translation1 #b vols4 octavo1 printed for the same bookseller in #agjh4 ,a most contemptible modern imposition sometimes appears under the title of ,an ,eighth ,apuleius4 #b4 ,masquerades and ,operas--,burlington ,gate2 ,w4 ,hogarth1 inv4 et sculp4 ,vide p4 #bb4 ,in the early impressions1 the name of ,pasquin1 ,no4 #aa1 is inserted as a label on a book in a wheel-barrow1 where we have now ,ben ,jonson4 ,eight lines engraved on a separate piece of copper are sometimes found under the first impression3 they begin-- ,could now dumb ,faustus1 to reform the age1 etc4 ,beneath them is1 price #as4 ,to the second impression-- ,o how refined1 how elegant we're grown6 etc4 ,the print is sometimes found without any lines4 ,in this ,hogarth's name is inserted within the frame of the plate4 ,to the copy there are also eight lines1 beginning-- ,long has the stage productive been1 etc4 #agbe4 #a4 ,five ,small ,prints for the translation of ,cassandra1 in #e vols4 duodecimo2 ,w4 ,hogarth1 inv4 et sculp4 #b4 ,fifteen ,headpieces for the ,roman ,military ,punishments1 by ,john ,beaver1 ,esq41 engraved in the style of ,callot4 ,the ,plate to chap4 xvii41 ,pay stopped wholly or in part1 etc41 differs from that sold with the set4 ,at the bottom of the former1 in the book we read1 ,w4 ,hogarth1 invent4 sculpt42 the latter has1 ,w4 ,hogarth1 invent4 et fec4 ,the former has a range of tents behind the pay-table4 ,these are omitted in the latter1 which likewise exhibits an additional soldier1 attendant on measuring out the corn1 etc4 ,a little figure of a ,roman ,general in the title-page may possibly be by ,hogarth1 though his name is not to it4 #c4 ,a ,copy from ,kent's ,altar-,piece1 vide p4 #bc4 ,this was usually printed on blue paper4 ,in the original the word wings is terminated with a long 4 ,in a modern copy this error is corrected4 #d4 ,a ,scene in ,handel's opera of ,ptolomeo4 ,vide p4 #ahd4 ,there is a copy of the same size4 #e4 ,booth1 ,wilkes1 and ,cibber1 contriving a ,pantomime4 #agbf4 #a4 ,frontispiece to ,terr-filius4 ,vide p4 #aic4 #b4 ,twenty-six ,figures on two large sheets2 engraved for a ,compendium of ,military ,discipline1 by ,j4 ,blackwell4 ,no engraver's name4 #c4 ,twelve ,prints for ,hudibras--the large set4 ,in ,plate ,,ii 7the earliest impressions7 the words1 ,down with the ,rumps1 are not inserted on the scroll4 ,printed and sold by ,p4 ,overton1 near ,st4 ,dunstan's ,church1 in ,fleet ,street1 and ,j4 ,cooper1 in ,james ,street1 ,covent ,garden4 ,now printed for ,sayer1 ,fleet ,street4 ,a ,print representing ,hudibras and ,sidrophel1 and taken off in colours1 was in #aghb engraved by ,t4 ,gaugain4 #c4 ,seventeen ,small ,prints for ,hudibras1 with ,butler's head4 ,the portrait is evidently copied from ,white's mezzotinto of ,john ,baptist ,monnoyer4 ,the same designs on a large scale1 with some slight variations1 were engraved by ,j4 ,mynde for ,grey's edition of ,hudibras1 published in #agbd4 ,hogarth has evidently taken the hints for his figures1 grouping1 etc41 from a small edition of this poem published in #agaj4 ,copies are inserted in ,townley's translation of ,hudibras into ,french1 published in #ageg4 ,many of them were copied by ,ross1 with violent alterations1 for ,dr4 ,nashe's splendid edition of ,hudibras1 published in #agie4 #d4 ,cunicularii1 or the ,wise ,men of ,godliman in ,consultation4 ,a burlesque on the ,believers in ,mrs4 ,tofts1 the rabbit-breeder4 #agbg4 #a4 ,music introduced to ,apollo by ,minerva2 ,hogarth1 fecit4 ,frontispiece to some book of music1 or ticket for a concert4 #b4 ,large ,masquerade ,ticket4 ,vide ,frontispiece and p4 #bcj4 ,in the earliest impressions1 the word ,provocatives has instead of ,v the open vowel ,u4 ,it was afterwards amended1 but the mark remains4 #c4 ,frontispiece to ,leveridge's ,songs2 no engraver's name4 ,mr4 ,molteno informs me he has seen an impression of this1 with the sky partly erased1 and a player's ticket engraved in the place4 ,the title-page to this work is1 ,i believe1 also by ,hogarth4 #agbh4 #a4 ,head of ,hesiod1 from the bust at ,wilton2 for ,cook's translation4 ,rich's ,glory1 or his ,triumphant ,entry into ,covent ,garden4 ,w4 ,h4 ,et ,,sulp4 ,contemptible6 ,of this there is a modern copy4 #c4 ,the ,beggars' ,opera4 ,the title over the print in letters disproportionably large4 #d4 ,the same2 the lines under it engraved in a different manner4 ,sold at the print shop in the ,strand1 etc4 #e4 ,a copy of the same1 under the title of ,the ,opera ,house1 or the ,italian ,eunuchs' ,glory1 etc4 #agbi4 #a4 ,henry ,eighth and ,anne ,bullen2 with lines by ,allan ,ramsay1 beginning-- ,here struts old pious ,harry1 once the ,great4 #b4 ,the same plate without any verses4 ,there is a coarse copy1 ,i think engraved on pewter4 ,the original picture was painted for the portico at ,vauxhall4 #c4 ,frontispiece to ,miller's ,comedy of the ,humours of ,oxford2 engraved by ,vandergucht4 #agcj4 #a4 ,two ,prints for ,perseus and ,andromeda4 #b4 ,gulliver presented to the ,queen of ,babilary2 engraved by ,vandergucht4 ,frontispiece to ,lockman's translation of ,john ,gulliver's ,travels4 ,a wretched design4 #agca4 #a4 ,frontispiece to ,molire's ,l',avare4 #b4 ,to ,le ,cocu ,imaginaire2 prefixed to ,molire's ,plays in ,french and ,english4 #c4 ,frontispiece to ,fielding's ,tom ,thumb2 engraved by ,vandergucht4 ,grotesque1 and good4 #d4 ,frontispiece to ,mitchell's ,opera of the ,highland ,fair2 engraved by ,vandergucht4 #agcb4 #a4 ,sarah ,malcolm1 executed ,march #gth1 #agcb1 etc42 ,w4 ,hogarth 7ad vivum71 pinxit et sculpsit4 #b4 ,an engraved copy of ditto4 #c4 ,ditto mezzotinto4 #d4 ,part graven and part mezzotinto4 #e4 ,another copy1 with the addition of a clergyman holding a ring4 #f4 ,a wooden cut in the ,gentleman's ,magazine for ,march #agcc4 #g4 ,a small copy from a small whole length1 in the possession of ,josiah ,boydell1 ,esq4 ,the first1 ,hogarth sculpsit1 is very scarce4 #h4 ,the ,man of ,taste4 ,pope with a tie-wig on4 #i4 ,the same in a smaller size2 ,pope in a cap4 ,prefixed to a pamphlet entitled ,a ,miscellany of ,taste1 by ,mr4 ,pope1 etc4 ,vide p4 #bja4 #aj4 ,the same1 in a still smaller size1 coarsely engraved4 #agcc4 #a4 ,the ,laughing ,audience4 ,subscription-ticket to the ,rake's ,progress1 and ,southwark ,fair1 which were originally delivered to subscribers at a guinea and a half4 ,the receipt was afterwards cut off4 ,of this print there is a coarse copy4 #b4 ,southwark ,fair4 ,the show-cloth1 representing the ,stage ,mutiny1 is copied from an etching by ,john ,laguerre4 ,the paint-pot and brushes1 which ,hogarth has added to the figure with a cudgel in his hand1 has been said to allude to ,john ,ellis the painter2 is it not quite as probable that it alludes to ,jack ,laguerre8 #c4 ,judith and ,holofernes4 ,engraved by ,vandergucht4 ,frontispiece to the ,oratorio of ,judith1 by ,william ,huggins1 ,esq4 #d4 ,boys ,peeping at ,nature4 ,subscription-ticket to the ,harlot's ,progress4 ,the receipt was afterwards erased1 and the following receipt1 very neatly engraved1 supplied its place3 ,received ----1 #agcg1 half a guinea1 being the first payment for five large prints--one representing a ,strolling ,company of ,actresses dressing themselves in a barn2 and the other four--,morning1 ,noon1 ,evening1 and ,night2 which ,i promise to deliver on ,lady-day next1 on receiving half a guinea more4 ,n4,b4--,they will be twenty-five shillings after the subscription is over4 ,a modern copy of this receipt in aquatinta was published in #agha4 #b4 ,another print on the same subject1 with considerable variations1 designed as a receipt for ,moses brought to ,pharaoh's ,daughter1 and ,st4 ,paul before ,felix1 for which he afterwards substituted the burlesque ,paul4 ,in one of ,hogarth's ,,mss41 introductory to his intended description of his prints1 ,i find the following notices of the pictures of the ,harlot's and ,rake's ,progresses3 ,mr4 ,rouquet's account of my prints finishes with a description of the ,march to ,finchley4 ,the picture was disposed of by lottery 7the only way a living painter has any chance of being paid for his time7 for three hundred pounds2 by the like means most of my former pictures were sold4 ,those of the ,harlot's and ,rake's ,progress have1 it seems1 been since destroyed by fire1#abb with many other fine pictures1 at the country house of the gentleman who bought them4#abc ,it is reported1 and very remarkable if true1 that a most magnificent clock-work organ1 being left exposed to the conflagration1 was heard in the midst of the flames to play several pleasing airs4 #agcc and #agcd4 ,the ,harlot's ,progress1 in six plates4 ,plate #a4 ,second state--,feet to the old woman4 ,shadow thrown by one house upon another4 ,london added to the letter the parson is reading4 ,cross put in the centre of the margin1 as indeed it is to the second state of the five that follow4 ,plate #b4 ,the shadows on the black boy's drapery1 etc4 are so sudden that he looks like a magpie4 ,i have a copy of this print1 of the same size1 and well engraved2 the situation of the figures reversed1 with the strange variations of a shepherd and shepherdess1 in the two pictures that were of ,jonah and ,david1 in the original4 ,plate #c4 ,a sort of sugar dish placed near the punch-bowl1 in the first state1 is in the second changed to a bottle4 ,in a set of wretched copies1 possibly made from the original pictures1 and exhibited at ,christie's in the year #agib1 the woman dangling a watch is painted without stockings4 ,plate #d4 ,second state--,damages in the ceiling stopped up3 shadow added on the wall close to the hoop petticoat3 the dog much blacker4 ,in a print in my possession1 the cross is inserted before any of these variations were made4 ,plate #e4 ,second state--,dr4 ,rock's name inscribed on the paper3 cap of the woman near the dying figure lowered4 ,plate #f4 ,the mask on the bottle inscribed ,nants1 has a most ludicrous appearance4 ,the shadows1 especially that on the forehead of the girl near the clergyman1 are much heightened in the second state4 #b4 ,rehearsal of the ,oratorio of ,judith4 ,ticket for a ,modern ,midnight ,conversation4 ,the singers of the different parts of bass1 tenor1 and treble1 may be easily distinguished2 and it is worthy of remark1 that the notes before them are in the same key with the performers' voices4 ,the receipt was afterwards cut off the plate4 #c4 ,a ,midnight ,modern ,conversation4 ,second state--,the right hand and skirt of a man fallen on the ground stronger shadowed1 and the lines over a vessel in the corner intersected4 #agce4 #a4 ,the ,rake's ,progress1 in eight plates4 ,plate #a4 ,first state--,a book ,memdum #agba1 ,may #c;d4 ,my son ,tom came from ,oxford4 #dth1 dined at the ,french ,ordinary4 #eth of ,june1 put off my bad shilling4 ,second state--,the book erased to insert the cover of a ,bible as the sole of a shoe4 ,the girl's face altered for the worse4 ,woollen-draper's shop-bill omitted4 ,plate #b4 ,first state--,prosperity with ,horlots smile4 ,second state--,altered to ,harlots4 ,plate #c4 ,first state--,dated ,june ye #bdth1 #agce4 ,second state--,june #beth1 and a laced hat put on the head of the girl sitting next to the ,rake4 ,pontac's head introduced in the place of a mutilated ,csar4 ,plate #d4 ,second state--,shoeblack stealing the cane1 erased1 and his place supplied by a group of gambling boys4 ,this design is unquestionably much improved by the alterations4 ,plate #e4 ,second state--,the right foot of the bridegroom1 which gave a tottering awkwardness to the figure1 omitted4 ,the maidservant's face altered4 ,the hand of the figure looking out of the gallery blackened4 ,in this print the artist has introduced a portrait of his favourite dog ,trump4 ,plate #f4 ,second state--,rays round the candle stronger4 ,in the original sketch1 the principal figure was not1 as now1 upon his knees1 but seated4 ,plate #g4 ,in the very earliest impressions1 ,plate #g is not inserted in the margin4 ,plate #h4 ,second state--,head of the woman with a fan altered1 and affectedly turning away from the mad monarch4 ,a halfpenny1 with a figure of ,britannia1 #agfc1 fixed against the wall1 to intimate what the artist thought the state of the nation4 ,retouch'd by the author1 #agfc4 ,it should seem that the man sitting by the figure inscribed ,charming ,betty ,careless1 went mad for love4 ,dr4 ,monro1 ,i am told1 asserts that not more than one or two men have become mad from love in the course of a hundred years4 ,shakspeare has not1 as ,i recollect1 drawn one man mad from that cause4 ,i find by ,hogarth's memorandum that the original pictures were sold to ,francis ,beckford1 ,esq41 for #ahd1 #afs4 #agcf4 #a4 ,two prints of ,before and ,after4 ,see p4 #bf4 #b4 ,the ,sleeping ,congregation4 ,first state--,dieu et mon droit1 under the king's arms1 not inserted3 the angel has a pipe in his mouth4 ,second state--,the above motto added1 the angel's pipe effaced1 and the lines of the triangle doubled4 ,third state--,inscribed on the side of the print3 ,retouched and improved1 ,april #ba1 #agfb1 by the author4 #c4 ,the ,distressed ,poet4 ,first state--,pope thrashing ,curl1 and four lines from the ,dunciad inscribed under the print4 ,second state--,in the place of ,pope1 etc41 view of the gold mines of ,peru2 and the four lines from the ,dunciad erased4 ,this has been conjectured to be a portrait of ,lewis ,theobald1 and in #agid a copy of the head with his name annexed to it was published for ,richardson4 ,the original picture is in the collection of ,lord ,grosvenor4 #d4 ,right ,honourable ,frances ,lady ,byron4 ,whole-length mezzotinto by ,faber4 ,the best impressions are usually in brown ink4 ,the plate was afterwards cut down to a half-length4 #e4 ,arms of the ,undertakers' ,company4 ,the three figures at top are ,dr4 ,ward1 ,chevalier ,taylor1 and ,mrs4 ,mapp1 the bone-setter2 though it has been said1 that the figure supposed to be ,mrs4 ,mapp was intended for ,sir ,hans ,sloane4 ,first state--,one compleat ,docter1 etc4 ,second state--,the spelling corrected4 #agcg4 #a4 ,the ,lecture1 ,datur vacuum4 ,in the early impressions1 the words datur vacuum are not printed4 ,hogarth sometimes wrote them in with a pen4 neas in a ,storm4 #agch4 #a4 ,the four parts of the ,day4 ,morning4 ,the sky singularly muddy to express snow4 ,the figure of the shivering boy was1 in #agci1 copied by ,f4 ,sykes1 and is strangely enough christened by collectors1 ,the ,half-starved ,boy4 ,noon4 ,in the second state--,shadows heightened4 ,evening4 ,in early impressions the man's hands are printed in blue1 and the woman's face and neck in red2 but they have been sometimes so stamped in later impressions1 where the rail-post is crossed with intersecting lines1 and the clearness of the water much injured4 ,in ,hogarth's first design 7engraved by ,baron71 the little girl with the fan was omitted2 but the artist thinking his delineation would be improved by it1 afterwards inserted it with his own burin4 ,i have seen three impressions in this state2 one of them1 then thought to be unique1 was purchased at ,greenwood's ,rooms1 at ,mr4 ,gulston's sale1 by ,mr4 ,thane1 for the late ,mr4 ,g4 ,stevens1 at the price of #dg4 ,night4 ,the ,salisbury flying coach has been thought to be a burlesque on a late noble peer1 who delighted in driving his own horses4 ,i find by ,hogarth's memorandum1 that ,sir ,william ,heathcote purchased the picture of ,morning for twenty guineas1 and that of ,night for #bg1 #fs4 ,noon was sold for #ch1 #ags41 and ,evening for #ci1 #ahs41 to the ,duke of ,ancaster4 #b4 ,strolling ,actresses dressing in a ,barn4 ,second state--,the woman holding a cat has her coiffure lowered1 and the female greasing her hair with a candle is divested of her feathers4 ,head of the sable goddess ,night blacker1 and her hair more woolly4 ,damages in the roof of the barn repaired2 all the shallows darker4 ,by an account in one of ,hogarth's books1 the original picture was first sold to ,francis ,beckford1 ,esq41 for #bg1 #fs4 ,by him1 though at so low a price1 returned6 and afterwards sold for the same sum to ,mr4 ,wood of ,littleton1 in whose possession it still remains4 #agci4 #a4 ,the ,foundlings4 ,engraved by ,morrellon la ,cave4 ,vide p4 #aia4 #agda4 ,the ,enraged ,musician4 ,mr4 ,cricket has an impression1 taken before the man blowing a horn1 cats1 steeple1 play-bill1 or drag were introduced4 ,in this very curious1 and ,i believe unique print1 the dustman is without a nose1 the chimney-sweeper has a grenadier's cap on1 and a doll is placed under the trap1 composed of bricks1 etc4 ,in the early impressions1 the horse's head is white2 in its present state1 black3 and the dog1 drag1 hatchet1 etc4 considerably darker than when first engraved4 #agdb4 #a4 ,martin ,folks1 ,esq41 half-length2 ,w4 ,hogarth1 pinxit et sculpsit4 ,in early impressions1 the name of ,w4 ,hogarth1 etc4 is not inserted4 #b4 ,the same1 in mezzotinto1 engraved by ,faber4 ,the original picture from which both these prints are taken is in the meeting-room of the ,royal ,society1 ,somerset ,place4 #c4 ,the ,charmers of the ,age4 ,a sketch1 no name4 ,of this there is a spirited modern copy4 #d4 ,taste in ,high ,life4 ,vide p4 #ahf4 #agdc4 #a4 ,benjamin ,hoadley1 ,bishop of ,winchester2 engraved by ,baron4 ,a small oval from the same picture was1 in #agei1 engraved by ,sherlock4 #b4 ,captain ,thomas ,coram2 a three-quarters mezzotinto2 admirably engraved by ,m',ardell4 #c4 ,coarsely copied in the ,london ,magazine4 ,a copy of the full-length picture in the ,foundling ,hospital was1 in #agig1 engraved by ,nutter1 and published by ,mr4 ,cribb of ,holborn4 ,vide p4 #dg4 #e4 ,characters and ,caricaturas2 subscription-ticket to ,marriage la ,mode4 ,for a further explanation of the difference betwixt ,character and ,caricatura1 see ye ,preface to ,joh ,andrews4 ,received ,april ----1 of ----1 half a guinea1 being the first payment for six prints called ,marriage la ,mode1 which ,i promise to deliver when finished1 on receiving half a guinea more4 ,n4,b4--,the price will be one guinea and an half after the time of subscribing4 ,on this print ,hogarth makes the following remark3-- ,being perpetually plagued1 from the mistakes made among the illiterate1 by the similitude in the sound of the words character and caricatura1 ,i1 ten years ago1 endeavoured to explain the distinction by the above print2 and as ,i was then publishing ,marriage la ,mode1 wherein were characters of high life1 ,i introduced the great number of faces there delineated 7none of which are exaggerated71 varied at random1 to prevent1 if possible1 personal application when the prints should come out4 ',we neither this nor that ,sir ,fopling call1 ,he's knight o' th' shire1 and represents you all4' ,this1 however1 did not prevent a likeness being found for each head1 for a general character will always bear some resemblance to a particular one4 #agde4 #a4 ,marriage la ,mode1 in six plates4 ,plate #a4 ,the coronet impressed on the dog in the print is not in the picture4 ,i have this series of prints in the state they were left by the original engravers1 and all of them1 though delicately engraved1 are in some degree spotty4 ,in the second state of ,plate #a1 there are evident marks of the burin of ,hogarth in the faces of the ,citizen and ,peer2 and each of the characters1 especially the latter1 is improved4 ,the ,french portrait he has designedly thrown more out of harmony than it was at first2 the fringe to the canopy over the nobleman is much darker2 a shadow thrown on the building seen out of the window1 and on the light parts of the two dogs4 ,third state--,all the shadows blacker4 ,engraved by ,g4 ,scotin4 ,guido's ,judith1 which forms the subject of one of the pictures1 ,hogarth copied from a print engraved by ,dupuis4 ,plate #b4 ,first state--,a lock of hair on the forehead of the lady1 generally inserted with ,indian ink1 but sometimes left without4 ,second state--,lock of hair engraved1 and shadows on the carpet1 etc4 stronger4 ,engraved by ,b4 ,baron4 ,plate #c4 ,in the original picture1 an alembic under the table is seen through the cloth4 ,in the second state of the print1 the character of the nobleman's face is altered2 the bow under his chin is broader1 and the shadows on the sole of his right shoe considerably strengthened4 ,girl's cloak and woman's apron darker than at first4 ,third state--,i discover no alterations1 except the shadows being darkened4 ,engraved by ,b4 ,baron4 ,plate #d4 ,one of the newspapers of ,march #agih1 in a critique upon the opera1 remarked1 that in playing upon the pianoforte1 the celebrated ,dusek displayed a brilliancy of finger which no eulogium could do justice to6 ,this is lofty language1 and might be very properly applied to the figure of ,carestini in this print1 for that mountain of mummy displays a glittering ring upon every finger of his left hand4 ,his face1 as well as that of the ,countess1 is in the third impression essentially altered2 the curtains1 frames1 etc4 are also of a much darker hue4 ,engraved by ,s4 ,ravenet4 ,plate #e4 ,second state--,all the lights1 figures on the tapestry1 etc41 are kept down1 and the whole print brought to a more still and sombre hue4 ,woman's eye1 eyebrow1 and neck strengthened3 nostril made wider4 ,counsellor's leg and thigh intersected with black lines1 instead of the delicate marks and dots first inserted4 ,third state--,bears evident marks of a coarser burin than that of ,ravenet4 ,engraved by ,r4 ,f4 ,ravenet4#abd ,mr4 ,nichols states that this background was engraved by ,ravenet's wife2 but ,i am informed by ,mr4 ,charles ,grignion1 who at that period knew the family intimately1 that she could not engrave4 ,that1 concerning the background of this print1 ,ravenet had a violent quarrel with ,hogarth2 who1 thinking the figures in the tapestry1 etc4 too obtrusive1 obliged him to bring them to a lower tone 7without any additional remuneration71 a process that must have taken him up a length of time1 which no man but an engraver can form an idea of4 ,plate #f4 ,with a slight alteration1 the crying old woman would be very like one of the laughing old women in the ,laughing ,audience4 ,second state--,the whole of the print rendered less brilliant1 but more in harmony4 ,drapery of the dying woman improved4 ,third state--,the shadows of this1 as of the other five1 were rendered still stronger by the last alterations1 made a short time before ,hogarth's death4 ,of the original pictures1 now in ,mr4 ,angerstein's collection1 ,i have already spoken4 ,if considered in the various relations of invention1 composition1 drawing1 colouring1 character1 and moral tendency1 ,i do not think it will be easy to point out any series of six pictures1 painted by any artist of either ancient or modern times1 from which they will not bear away the palm4 ,among ,mr4 ,lane's papers was found a written description of ,marriage la ,mode1 which the family believe to be ,hogarth's explanation1 either copied from his own handwriting1 or given verbally to ,mr4 ,lane at the time he purchased the pictures4 ,this was copied and inserted in the second edition of ,hogarth ,illustrated1 and may be had gratis by any of the purchasers of the first4 ,messrs4 ,boydell have employed ,mr4 ,earlom to engrave the whole series1 in the same size as the original pictures4 #b4 ,a small portrait of ,archbishop ,herring1 surrounded with a trophy1 placed as a headpiece to the printed speech addressed to the ,clergy of ,york1 ,september #bdth1 #agde4 ,william ,hogarth1 pinx42 ,c4 ,mosely1 sculp4 #c4 ,the same head was afterwards cut off the plate1 and printed without the speech4 ,a larger portrait was in the year #agej engraved by ,baron4 #d4 ,the ,battle of the ,pictures4 ,ticket to admit persons to bid for his works at an auction4 #e4 ,mask and ,palette4 ,subscription-ticket to ,garrick in ,richard ,,iii4 ,a copy from this was published in #agha4 #agdf4 #a4 ,simon ,lord ,lovat4 ,vide p4 #bji4 ,the second impressions are marked price #as4 ,of this there have been several copies2 ,i have one of the head in a watch paper4 ,lavater has introduced this print in his ,essays on ,physiognomy4 #b4 ,mr4 ,garrick in the character of ,richard ,,iii4 ,engraved by ,wm4 ,hogarth and ,c4 ,grignion4 ,mr4 ,charles ,grignion 7whose professional talents have for more than half a century been an honour to the arts7 informed me that ,hogarth etched the head and hand1 but finding the head too large1 he erased it and etched it a second time1 when seeing it wrong placed upon the shoulders1 he again rubbed it out1 and replaced it as it now stands1 remarking--,i never was right until ,i had been wrong4 #c4 ,subscription-ticket to the ,march to ,finchley1 which was originally published at #gs4 #f;d4 ,among a stand of various weapons1 bagpipes1 etc41 the artist has introduced a pair of scissors cutting out the ,arms of ,scotland4 #agdg4 #a4 ,the ,stage ,coach1 or ,country ,inn ,yard4 ,in the very earliest impressions1 a flag behind the wheel of the coach is without an inscription4 ,in the second1 ,no ,old ,baby2 which words1 in the present state of the plate1 are done away1 and the flag obliterated4 #b4 ,industry and ,idleness1 in twelve plates1 designed and engraved by ,wm4 ,hogarth4 ,plate #a4 ,in the very early impressions1 ,plate #a is not inserted4 ,second state--,shadows strengthened4 ,plate #b4 ,second state--,shadows on the organ1 etc4 deeper4 ,plate #c4 ,second state--,lines stronger4 ,plate #d4 ,second state--,lines strengthened4 ,the cat in this print is vilely drawn4 ,plate #e4 ,tender lines in the offing worn out1 broader lines in the faces4 ,lavater has introduced a small outline of this print in his ,essays on ,physiognomy4 ,plate #f4 ,first state--,goodchild and ,west1 instead of ,west and ,goodchild1 to which the sign was afterwards altered4 ,plate #g4 ,second state--,darker shadows behind the broken cup1 and bottles on the chimney-piece1 etc4 ,plate #h4 ,second state--,shadows strengthened4 ,the head of the fat ,citizen in a tie-wig has been copied in a larger size by ,bartolozzi4 ,the scene is laid in ,fishmonger's ,hall1 where the effigies of ,sir ,william ,walworth still remain1 with the following quaint and memorable inscription beneath3-- ,brave ,walworth1 knight1 ,lord ,maior1 that slew ,rebellious ,tyler in his alarms2 ,the king therefore did give in lieu1 ,the dagger to the city arms4 ,plate #i4 ,second state--,character of the woman taking a bribe altered2 the whole print more black4 ,plate #aj4 ,second state--,shadows heightened4 ,plate #aa4 ,second state--,shadows in the parson's face1 pigeon1 etc41 stronger4 ,plate #ab4 ,second state--,coachman's coat darker1 and a stripe of lace down the arm obliterated4 ,the mass of figures that surround the coach made much darker4 ,in the original they come too forward1 but the characters are now hurt by the intersecting lines4 ,of these twelve plates there are tolerably correct copies of the same size4 ,the following memoranda relative to this series1 which ,i found among ,hogarth's papers1 seems addressed to some one whom he intended to continue ,rouquet's descriptions3-- ,the effects of ,idleness and ,industry1 exemplified in the conduct of two fellow-'prentices4 ,these twelve prints were calculated for the instruction of young people2 and everything addressed to them is fully described in words as well as figures4 ,yet to foreigners a translation of the mottoes1#abe the intention of the story1 and some little description of each print1 may be necessary4 ,to this may be added1 a slight account of our customs--as boys being usually bound for seven years1 etc4 ,considering the persons they were intended to serve1 ,i have endeavoured to render them intelligible1 and cheap as possible4#abf ,fine engraving is not necessary for such subjects1 if what is infinitely more material1 viz4 character and expression1 is properly preserved4 ,suppose the whole story were made into a kind of tale1 describing in episode the nature of a night-cellar1 a marrow-bone concert1 a ,lord ,mayor's show1 etc4 ,these prints ,i have found sell much more rapidly at ,christmas than at any other season4 #c4 ,jacobus ,gibbs ,architectus2 ,w4 ,hogarth1 delin42 ,j4 ,m',ardell1 fecit4 ,partly mezzotinto1 partly graved4 ,no date4 #d4 ,ditto1 engraved by ,baron4 #e4 ,ditto1 by ditto4 #f4 ,another copy1 with the addition of ,architectus1 ,a4,m4 and ,f4,r4,s41 was published #agej4 ,of the last print ,i have an impression where the background is completed1 but nothing more of the head than the bare outline4 ,this is a curiosity somewhat similar to a picture without a horse by ,wouvermans4 ,besides these1 there is a small profile of ,gibbs in a circle1 which ,i do not think ,hogarth's1--at least it is uncertain4 #g4 ,arms of the ,foundling ,hospital1 printed on the tops of the indenture4 #h4 ,the same in a smaller size1 employed as a vignette to ,psalms1 ,hymns1 and ,anthems1 and also to an account of the institution of the hospital1 etc4 ,of the original pen-and-ink drawing there is a modern copy4 #i4 ,a ,wooden ,cut--headpiece to the ,jacobites' ,journal2 a newspaper set up and supported by ,henry ,fielding4 ,this print 7of which there is a modern copy in aquatinta7 was prefixed to six or seven of the earliest papers1 and then set aside4 ,mine is dated #b;d ,january #agdg4 ,no4 #e4 #agdh4 #a4 ,view of ,mr4 ,ranby's ,house at ,chiswick2 etched by ,hogarth1 without any inscription4 ,afterwards published for ,jane ,hogarth1 etc41 #ast ,may #agha4 #b4 ,hymen and ,cupid2 two figures1 with the view of a magnificent villa in the distance4 ,no inscription4 ,this was engraved as a ticket for the ,masque of ,alfred1 performed at ,cliveden ,house before the ,prince and ,princess of ,wales on the ,princess ,augusta's birthday4 ,it was afterwards intended to be used as a receipt to the ,sigismunda2 on the earliest impressions1 #b1 #bs4 is usually written4 #agdi4 ,the ,gate of ,calais2 engraved by ,c4 ,mosely4 ,the original picture is in the possession of the ,earl of ,charlemont4 ,of this print ,hogarth thus writes3--,after the ,march to ,finchley1 the next print ,i engraved was the ,roast ,beef of ,old ,england1#abg which took its rise from a visit ,i paid to ,france the preceding year4 ,the first time an ,englishman goes from ,dover to ,calais1 he must be struck with the different face of things at so little a distance4 ,a farcical pomp of war1 pompous parade of religion1 and much bustle with very little business4 ,to sum up all1 poverty1 slavery1 and innate insolence1 covered with an affectation of politeness1 give you even here a true picture of the manners of the whole nation4 ,nor are the priests less opposite to those of ,dover than the two shores4 ,the friars are dirty1 sleek1 and solemn2 the soldiery are lean1 ragged1 and tawdry2 and as to the fishwomen1 their faces are absolute leather4 ,as ,i was sauntering about and observing them1 near the gate which1 it seems1 was built by the ,english when the place was in our possession1 ,i remarked some appearance of the arms of ,england on the front4 ,by this and idle curiosity ,i was prompted to make a sketch of it1 which being observed1 ,i was taken into custody2 but not attempting to cancel any of my sketches or memorandums1 which were found to be merely those of a painter for his private use1 without any relation to fortification1 it was not thought necessary to send me back to ,paris4#abh ,i was only closely confined to my own lodgings till the wind changed for ,england1 where ,i no sooner arrived than ,i set about the picture2 made the gate my background2 and in one corner introduced my own portrait1#abi which has generally been thought a correct likeness1 with the soldier's hand upon my shoulder4 ,by the fat friar who stops the lean cook that is sinking under the weight of a vast sirloin of beef1 and two of the military bearing off a great kettle of soup maigre1 ,i meant to display to my own countrymen the striking difference between the food1 priests1 soldiers1 etc4 of two nations so contiguous1 that in a clear day one coast may be seen from the other4 ,the melancholy and miserable ,highlander1 browsing on his scanty fare1 consisting of a bit of bread and an onion1 is intended for one of the many that fled from this country after the rebellion in #agde4 #b4 ,portrait of ,john ,palmer1 ,esq42 ,w4 ,hogarth1 pinx42 ,b4 ,baron1 sculp4 ,a small head inserted under a view of the church of ,ecton1 ,northamptonshire4 #c4 ,head of ,hogarth in a cap1 with a pug dog1 and a palette with the line of beauty1 etc42 inscribed ,gulielmus ,hogarth se ipse pinxit et sculpsit1 #agdi4 ,the same portrait in mezzotinto4 7,the engraving was copied from a picture now in the collection of ,j4 ,j4 ,angerstein1 ,esq41 from which another copy1 engraved by ,benjamin ,smith1 was in #agie published by ,messrs4 ,boydell4 ,in this the three books are lettered ,shakspeare1 ,swift1 ,milton's ,paradise ,lost1 and the line on the palette inscribed1 ,the ,line of ,beauty and ,grace47 ,in the year #agfc ,hogarth erased his own head from the plate1 and in its place inserted ,the ,bruiser1 ,c4 ,churchill 7once the ,revd4671 in the character of a ,russian ,hercules1 regaling himself after having killed the monster ,caricatura1 that so sorely galled his virtuous friend the heaven-born ,wilkes4 ,first state--,three of the upper knots on the club are left white 7white lies71 and a line inscribed the line of ,beauty1 drawn on the palette4 ,second state--,the knots shaded1 and a political print introduced on the palette4 ,third state--,the letters ,n4 ,b41 and the word ,infamous inscribed on the club2 and ,dragon of ,wantley added at the end of ,i warrant ye4 ,price #as4 #f;d4 instead of #as4 ,in the year #ageh ,hogarth published a full-length of his own portrait1 painting the ,comic ,muse2 inscribed ,w4 ,hogarth1 serjeant painter to his ,majesty1--,engraved by ,w4 ,hogarth4 ,this being a mistake of the writing engraver1 the painter altered it to the face engraved by ,w4 ,hogarth4 ,third impression--,the face engraved by ,w4 ,hogarth omitted4 ,fourth state--,serjeant painter1 etc4 scratched over with the graver4 ,present state--,the face retouched4 ,comedy also has the face and mask marked with black2 and on the pillar is written1 ,comedy1 #agfd4 ,no other inscription beneath the print but ,w4 ,hogarth1 #agfd4 ,the original small whole-length picture from which it is copied was sold by ,greenwood after ,mrs4 ,hogarth's death4 ,the companion portrait of ,mrs4 ,hogarth is in the possession of ,mrs4 ,lewis of ,chiswick4 ,a portrait of ,hogarth was in #agha engraved in mezzotinto by ,charles ,townley from a picture painted by ,weltdon1 and finished by ,hogarth1 now in the possession of ,james ,townley1 ,esq4 ,a portrait1 copied from that in the ,gate of ,calais1 ,i have seen prefixed to a dull pamphlet1 published in #agha1 entitled ,a ,dissertation on ,mr4 ,hogarth's six ,prints lately published1 viz4 ,gin ,lane1 ,beer ,street1 and the ,four ,stages of ,cruelty4 ,i have a small engraving of his head1 ,i believe done for the ,universal ,magazine1 in which he looks like a village schoolmaster4 ,an etching of his head by ,s4 ,ireland was prefixed to a catalogue of ,hogarth's works1 sold by ,christie1 in ,may #agig4 ,two small portraits have been engraved for watch-papers4 ,a head in the dotted style has been engraved for ,mr4 ,jeffrey1 ,pall ,mall1 but is not published4 #agej4 ,the ,march to ,finchley2 engraved by ,luke ,sullivan4 ,dedicated to the ,king of ,prusia3 thus was the word spelt in the prints delivered to the subscribers4 ,a few early impressions were dated #cjth ,december #agej2 but the #cjth being that year on a ,sunday1 it was altered to the #cast4 ,a print in the collection of ,dr4 ,ford is inscribed ,printed and published by ,wm4 ,hogarth1 instead of ,printed for ,wm4 ,hogarth1 and published1 etc4 ,in the etching1 of which very few were struck off1 the woman to whom an officer presents a letter on the point of a pike1 turns her head the contrary way to what she does in the print4 ,second impression--,the spelling of ,prussia corrected2 bunch of grapes at the ,adam and ,eve enlarged2 catching lights given to the laced hats in the group beneath it2 belt added to the ,duke of ,cumberland's portrait4 ,third state--,retouched and improved by ,wm4 ,hogarth2 and republished ,june #abth1 #agfa4 ,i have an early impression of this print in which the dedication to the ,king of ,prussia does not appear1 and it might pass for a proof4 ,on inquiry ,i find that1 upon one of ,hogarth's fastidious friends objecting to its being dedicated to a foreign potentate1 he replied1 ,if you disapprove of it1 you shall have one without any dedication2 and took off a few impressions1 covering the dedication with fan paper4 ,sullivan was so eccentric a character1 that while he was employed in engraving this print1 ,hogarth held out every possible inducement to his remaining at his house in ,leicester ,square night and day2 for if once ,luke quitted it1 he was not visible for a month4 ,it has been said1 but ,i know not on what authority1 that for engraving it he was paid only one hundred pounds4 ,in the original picture1 which is in the ,foundling ,hospital1 the old man to whom a ,frenchman is giving a letter has a plaid waistcoat4 #agea4 #a4 ,beer ,street4 ,in the first state--,the blacksmith is lifting up a ,frenchman2 in the second--,the ,frenchman is properly discarded1 and a shoulder of mutton supplies his place4 #b4 ,gin ,lane4 ,i have been told that in a print in the collection of ,lord ,exeter there are numerous though trifling variations2 but ,i never saw it4#acj ,of their intentions1 ,hogarth gives the following account3--,when these two prints were designed and engraved1 the dreadful consequences of gin-drinking appeared in every street4 ,in ,gin ,lane1 every circumstance of its horrid effects is brought to view in terrorem4 ,idleness1 poverty1 misery1 and distress1 which drives even to madness and death1 are the only objects that are to be seen2 and not a house in tolerable condition but the pawnbroker's and gin-shop4 ,beer ,street1 its companion1 was given as a contrast1 where that invigorating liquor is recommended in order to drive the other out of vogue4 ,here all is joyous and thriving3 industry and jollity go hand in hand4 ,in this happy place the pawnbroker's is the only house going to ruin2 and even the small quantity of porter that he can procure is taken in at the wicket1 for fear of further distress4 #c4 ,the ,four ,stages of ,cruelty-- ,plate #a4 ,shadows strengthened4 ,plate #b4 ,shadows heightened4 ,plate #c4 ,the whole print somewhat darker4 ,plate #d4 ,this1 and the five last-mentioned prints1 were1 on common paper1 marked price #as42 on superior paper1 #as4 #f;d4 ,the stamp by which the artist marked the #f;d4 was cut by himself on a halfpenny1 now in my possession4 ,of ,plates #c and #d there are wooden cuts1 which were engraved under ,hogarth's inspection4 ,the motives by which ,hogarth was induced to make the designs1 he thus describes3-- ,the leading points in these as well as the two preceding prints1 were made as obvious as possible1 in the hope that their tendency might be seen by men of the lowest rank4 ,neither minute accuracy of design nor fine engraving were deemed necessary1 as the latter would render them too expensive for the persons to whom they were intended to be useful2 and the fact is1 that the passions may be more forcibly expressed by a strong1 bold stroke1 than by the most delicate engraving4 ,to expressing them as ,i felt them1 ,i have paid the utmost attention2 and as they were addressed to hard hearts1 have rather preferred leaving them hard1 and giving the effect1 by a quick touch1 to rendering them languid and feeble by fine strokes and soft engraving1 which require more care and practice than can often be attained1 except by a man of a very quiet turn of mind4 ,masson1 who gave two strokes to every particular hair that he engraved1 merited great admiration2 but at such admiration ,i never aspired1 neither was ,i capable of obtaining it if ,i had4 ,the prints were engraved with the hope of1 in some degree1 correcting that barbarous treatment of animals1 the very sight of which renders the streets of our metropolis so distressing to every feeling mind4 ,if they have had this effect1 and check the progress of cruelty1 ,i am more proud of having been the author than ,i should be of having painted ,raphael's ,cartoons4 ,the ,french1 among their other mistakes respecting our tragedies1 etc41 assert that such scenes could not be represented except by a barbarous people4 ,whatever may be our national character1 ,i trust that our national conduct will be an unanswerable refutation4#aca #d4 ,paul before ,felix2 designed and scratched in the true ,dutch taste by ,wm4 ,hogarth4 ,under the second impression1 designed and etched in the ridiculous manner of ,rembrandt by ,wm4 ,hogarth4 ,the drowsy angel was 7,i have been told7 intended as a portrait of ,luke ,sullivan4 ,the advocate is said to be designed for ,dr4 ,king4 ,see ,worlidge's ,view of ,lord ,westmoreland's ,installation4 ,second state--,a little devil sawing off the leg of the apostle's stool4 ,this very whimsical print was originally given as a receipt to the ,pharaoh's ,daughter and the serious ,paul before ,felix1 and sealed with a palette and pencils1 engraven on a small ring which ,hogarth usually wore1 and which ,mrs4 ,lewis has since presented to me4 ,the early proofs are usually stained with bister4 ,hogarth always gave the print to such of his friends as wished for it2 but finding demands too frequent1 cut the engraved receipt from the copper1 and sold it at #es4 ,from this print in its first state he took a few reverses4 #ageb4 #a4 ,paul before ,felix4 ,and as he reasoned of righteousness1 temperance1 and judgment to come1 ,felix trembled4 ,engraved by ,wm4 ,hogarth1 from his original painting in ,lincoln's-,inn ,hall1 and published as the ,act directs1 ,feb4 #e1 #ageb4 #b4 ,the same subject1 with fewer figures1 and those reversed on the plate4 ,this1 though not good1 is1 in arrangement1 design1 and engraving1 much superior to the preceding4 ,the same text and inscription1 from his original painting1 etc41 is continued1 though that first mentioned is the copy from the picture in ,lincoln's-,inn ,hall4 ,published ,feb4 #e1 #ageb4 ,engraved by ,luke ,sullivan4 ,in the second state--,a quotation from ,dr4 ,warton's ,essay on the ,genius and ,writings of ,pope was inserted in one corner of the margin2 but the critique which it contained being founded in a mistake1 which the ,doctor in the second edition very liberally retracted1 ,hogarth1 in some of the succeeding impressions1 covered the quotation with paper when the print was taken off1 and afterwards entirely effaced it from the copper4 ,in the present state of the plate1 the date of publication and name of the engraver are taken out4 #c4 ,moses brought to ,pharaoh's ,daughter4 ,from the original painting in the ,foundling ,hospital2 engraved by ,willm4 ,hogarth and ,luke ,sullivan4 ,published ,feb4 #e1 #ageb1 according to ,act of ,parliament2 ,w4 ,hogarth1 pinxt4 ,the second state has the same quotation from ,dr4 ,warton as the preceding print1 and for the same cause it was afterwards effaced from the copper4 ,third impression2 ,w4 ,hogarth1 pinxt41 and published according to1 etc41 effaced1 and its place supplied by published as the ,act directs1 ,feb4 #e1 #ageb4 ,columbus breaking the ,egg4 ,ticket to the ,analysis4 ,recd4 ,novr4 #cj1 #ageb1 of ,nathl4 ,garland1 ,esq41 five shillings1 being the first payment for a short tract in quarto1 called the ,analysis of ,beauty1 wherein forms are considered in a new light1 etc4 #agec4 ,the receipt cut off and inscribed1 designed and etched by ,wm4 ,hogarth1 ,decr4 #a1 #agec4 #b4 ,analysis of ,beauty1 two plates4 ,plate #a4 ,in an impression in the possession of ,mr4 ,baker1 ,,et ,,tu ,,brute is engraved on the pedestal on which ,quin stands in the character of ,brutus4 ,in the second state1 though this inscription is erased1 on close inspection some of the letters are still visible4 ,plate #b4 ,first state--,a vacant chair under the figure of ,henry ,,viii4 ,the principal figure is said to be a portrait of the ,duke of ,kingston4 ,second state--,altered to a portrait of his present ,majesty3 the position of the right hand1 etc4 changed2 the riband to the necklace of the principal female figure lengthened1 and a sleeping figure put in the vacant chair4 ,in the present state--,the necklace riband is made still longer4 #c4 ,frontispiece to ,kilby's ,perspective2 engraved by ,sullivan4 #aged4 ,,election ,,entertainments1 ,,etc4 ,hogarth's subscription-book1 with the names of all1 and autographs of most of the subscribers1 is in my possession2 and by this it appears that the subscription to the first print of an ,election ,entertainment1 or to the complete set1 commenced #bhth ,march #aged4 ,from this time to the #cast of ,may in the same year1 there were #dfa subscribers to the first print1 and #abg to the complete set4 ,the leading names on the list are the ,prince of ,wales1 the ,princess-,dowager of ,wales1 and ,prince ,edward2 but the first person that has any money annexed to his signature is the ,right ,hon4 ,henry ,fox1 afterwards ,lord ,holland4 ,the subscription for the remaining three prints was opened #bdth ,feb4 #agee1 and closed #bhth ,august #agef4 ,to this there were only #afe subscribers1 so that there were #bif names to the first print who did not continue to subscribe to the other three4 ,as a receipt to these prints1 he gave the following engraving1 with emblematical devices of ,crowns1 ,mitres1 etc41 published in the year #agcf1 as a headpiece to an inscription expressing his gratitude to the ,legislature for passing the ,act to protect prints from piracy1 etc43-- ,crowns1 ,mitres1 ,maces1 etc4 ,received #dth ,may #aged1 of ,mr4 ,king1 #es41 being the first payment for a print representing an ,election ,entertainment1 which ,i promise to deliver when finished on the receipt of five shillings and sixpence more4 ,wm4 ,hogarth4 ,n4,b4--,the price will be raised when the subscription is over4 ,second state--,receipt for one guinea1 being the first payment for the four prints4 ,in this1 the receipt for #es4 appears to have been covered with paper while the impressions were taken off1 and that for a guinea1 engraved on another piece of copper1 stamped beneath4 ,third state--,receipt for #aes41 being the first payment for three prints representing the polling1 etc4 ,,four ,,prints ,,of ,,an ,,election4 ,plate #a4 ,an ,election ,entertainment4 ,it has been said that ,hogarth attempted to finish this plate without taking a single proof from it1 to examine the effect as he proceeded in his work4 ,be that as it may1 the little alterations are more numerous than in any of his other prints2 and that in the inscription1 stating the whole to be engraved by ,hogarth1 being so often inserted and repeatedly effaced1 ,i am unable to account for4 ,first state--,painted1 and the whole engraved by ,wm4 ,hogarth1 ,published #bdth ,feb4 #agee1 and ,inscribed to the ,right ,honourable ,henry ,fox1 etc4 etc4 etc4 ,seven cut lemons on a piece of paper close to the punch-tub2 four hats in the corner2 ,for our ,country1 on the riband in the striped cap of the butcher pouring out gin4 ,a salt-cellar and a bit of bread near the fork upon the table4 ,second state--,the two words1 the whole1 in the inscription1 scratched over with black lines2 the drapery1 stockings1 etc4 on the table before ,richard ,slim made much darker2 the hand of the fat old woman1 close to the candidate1 removed from under her apron1 and hanging down by her side1 by which the shoulder1 elbow1 etc4 are thrown out of drawing2 her countenance less clear1 and a single tooth1 very conspicuous in the first impression1 is here removed4 ,shadow on the top of the wainscot in the left corner effaced4 ,half a casement near the painting of a landscape changed to a window-shutter2 the king's head1 frame1 and background behind it1 lighter2 the salt-cellar and bit of bread removed from the table2 lemons taken out1 and the tub1 pail1 and foreground below them much lighter2 the boy's napkin darker4 ,the butcher's cap1 in which was ,for our ,country1 has now ,,pro ,,patria1 and is not striped2 the open-back chair in which he was seated in the first state1 is here filled up to a cushion back4 ,the words1 sure votes and doubtful1 in the attorney's book1 are re-engraved4 ,both leaves are shadowed1 and the centre line from top to bottom1 which in the first state was with the sure votes1 is here transferred to the doubtful4 ,two pearly drops are trickling from the parson's forehead4 ,four windows are added to a house seen out of the open casement2 a pair of scissors suspended to the ,methodist tailor's apron-string1 and the pen1 stuck under the wig of the fellow who offers him a bribe1 which in the first state was with the feather outwards1 is now properly altered to the quill outwards4 ,there are several other little variations in the shadows which seem generally intended to bring the print into harmony2 and ,i think have their effect1 for it is more still1 and in better keeping than in the first state4 ,third state--,the cross strokes of the graver on the words the whole1 in the inscription1 nearly burnished out4 ,one hat added in the corner1 and another placed on the bench near the scabbard and gloves4 ,the face1 knot1 etc4 of the little girl near the candidate darkened2 and the hair of the fellow smoking him much shadowed1 and rendered less woolly4 ,character of face of the boy pouring punch altered1 and hair made much darker4 ,fourth state--,the words the whole again inserted2 the ,w is different1 and engraving not so good as in the first state3 the shadow on the top of the wainscot1 close to the landscape1 again restored4 ,a strong shadow on the lower part of the round table in the corner burnished down4 ,fifth1 which is the present state--,the words the whole again completely effaced by black lines4 ,the masses somewhat stronger1 and the shadows on the round table in the corner1 especially on the edge1 made darker4 ,i have this print in all the states here described1 and believe that the third and fourth are very uncommon4 ,on the butcher with ,,pro ,,patria in his cap1 and his wounded companion1 ,hogarth makes the following remark3-- ,these two patriots1 who1 let what party will prevail1 can be no gainers1 yet spend their time1 which is their fortune1 for what they suppose right1 and for a glass of gin lose their blood1 and sometimes their lives1 in support of the cause1 are1 as far as ,i can see1 entitled to an equal portion of fame with many of the emblazoned heroes of ancient ,rome2 but such is the effect of prejudice1 that though the picture of an antique wrestler is admired as a grand character1 we necessarily annex an idea of vulgarity to the portrait of a modern boxer4 ,an old blacksmith in his tattered garb is a coarse and low being2 strip him naked1 tie his leathern apron round his loins1 chisel out his figure in freestone or marble1 precisely as it appears--he becomes elevated1 and may pass for a philosopher1 or a ,deity4 ,plate #b4 ,canvassing for ,votes4 ,engraved by ,c4 ,grignion1 published #bjth ,february #ageg1 and inscribed to ,sir ,charles ,hanbury ,williams4 ,in this admirable print ,i discover no variations1 except that the lion's teeth are1 in the second impression1 removed2 and the lines throughout having been re-entered1 are somewhat darker than in the first state4 ,plate #c4 ,the ,polling4 ,engraved by ,hogarth and ,le ,cave1 published #bjth ,february #ageh1 and inscribed to the ,hon4 ,sir ,ed4 ,walpole4 ,in an etching 7touched in the shadows by ,hogarth7 which ,i have of this plate1 the blind voter going up the steps has not any bandage over his eyes4 ,the cockade of the sick figure just before him is not of sufficient length for the words true blue now inserted1 and probably an afterthought4 ,the fellow before him with a pipe in his mouth1 in the print is without a nose1 but in the etching has a very large one2 while the man to whom this old smoker is presenting tobacco1 and who in the print has so speculative and carbuncled a proboscis1 has1 in the etching1 scarcely any nose at all4 ,the book in the pocket of ,dr4 ,shebeare is so much intersected as not to admit of the inscription1 afterwards added1 of 7the #fth letter to the71 without the strokes being burnished out4 ,second impression--,milicia ,bill1 awkwardly inscribed on the maimed voter's skirt1 intended to appear as a paper hanging out of his pocket4 ,plate #d4 ,chairing the ,members4 ,engraved by ,w4 ,hogarth and ,f4 ,aviline2 published #ast ,january #ageh1 and inscribed to the ,hon4 ,george ,hay1 one of the ,lords ,commissioners of the ,admiralty4 ,second impression--,the word ,,indintur 7indenture7 written on the scroll hanging out of the attorney's window4 #agef4 #a4 ,france and ,england1 in two plates1 designed and etched by ,hogarth1 and published ,march #h1 #agef4 ,in the very early impressions of these prints1 the titles ,france and ,england are not inserted4 #ageh4 ,the ,bench1 designed and engraved by ,w4 ,hogarth1 and published #dth ,september #ageh4 ,this plate1 in its first state1 exhibits the inside of the ,court of ,common ,pleas1 the king's arms at top4 ,portraits of the following judges are beneath it3--,hon4 ,william ,noel2 ,sir ,john ,willes1 ,lord ,chief ,justice2 ,hon4 ,mr4 ,justice1 afterwards ,earl ,bathurst2 ,sir ,edward ,clive4 ,over the print is written ,character2 under it1 ,of the different meanings of the words ,character1 ,caricatura1 and ,outr1 in painting and drawing4 ,this is followed by a long explanatory inscription engraved on another piece of copper4 ,the original picture1 which is somewhat different from the print1 was once the property of ,sir ,george ,hay1 and is now in the possession of ,mr4 ,edwards4 ,present state of the plate--,the word ,character is effaced1 and the king's arms discarded1 and its place supplied by eight caricatured heads1 on which the artist worked the day before he died4 ,below the inscription is inserted-- ,the unfinished group of heads in the upper part of this print was added by the author in ,october #agfd1 and was intended as a further illustration of what is here said concerning character1 caricatura1 and outr4 ,he worked upon it the day before his death1 which happened the #bfth of that month4 ,the mistakes which ,hogarth's friends frequently made in the meaning of the words character1 caricatura1 etc41 seem to have dwelt much on his mind4 ,in one of his ,,mss4 he has given the following thoughts on the subject3-- ,i have ever considered the knowledge of character1 either high or low1 to be the most sublime part of the art of painting or sculpture1 and caricatura as the lowest--indeed1 as much so as the wild attempts of children when they first try to draw3 yet so it is1 that the two words1 from being similar in sound1 are often confounded4 ,when ,i was once at the house of a foreign face-painter1 and looking over a legion of his portraits1 ,monsieur1 with a low bow1 told me that he infinitely admired my caricatures6 ,i returned his cong1 and assured him that ,i equally admired his4 ,i have often thought that much of this confusion might be done away1 by recurring to the three branches of the drama1 and considering the difference between comedy1 tragedy1 and farce4 ,dramatic dialogue1 which represents nature as it really is1 though neither in the most elevated nor yet the most familiar style1 may fairly be denominated comedy3 for every incident introduced might have thus happened2 every syllable have been thus spoken1 and so acted in common life4 ,tragedy is made up of more extraordinary events4 ,the language is in a degree inflated1 and the action and emphasis heightened4 ,the performer swells his voice1 and assumes a consequence in his gait2 even his habit is full and ample1 to keep it on a par with his deportment4 ,every feature of his character is so much above common nature1 that were people off the stage to act1 speak1 and dress in a similar style1 they would be thought fit for ,bedlam4 ,yet with all this1 if the player does not o'erstep the proper bounds1 and1 by attempting too much1 become swoln1 it is not caricatura1 but elevated character4 ,i will go further1 and admit1 that with the drama of ,shakspeare1 and action of ,garrick1 it may be a nobler species of entertainment than comedy4 ,as to farce1 where it is exaggerated1 and outr1 ,i have no objection to its being called caricature1 for such is the proper title4 #agei4 #a4 ,the ,cockpit4 ,designed and engraved by ,wm4 ,hogarth1 and published ,november #e1 #agei4 #b4 ,frontispiece to ,tristram ,shandy1 vol4 #b2 engraved by ,s4 ,ravenet4 #c4 ,another copy1 by the same engraver1 in which a hat and cloak are introduced1 and the faces of his father and uncle ,toby much inferior to the former plate4 ,a print for the #dth volume1 representing the christening1 was published in #agfa4 ,f4 ,ravanet1 sculp4--for thus is the name here written4 ,a print of the same size was engraved from the same design by ,j4 ,ryland4 ,the original drawings are in the possession of ,mrs4 ,nicol4 #agfj4 #a4 ,frontispiece to ,brook ,taylor's ,perspective of ,architecture4 ,w4 ,hogarth1 #agfj2 ,w4 ,woollet1 sculp4 ,vide p4 #acb4 #b4 ,mr4 ,huggins1 a small circular plate4 ,hogarth1 pinx42 ,major1 sculp4 ,engraved for a translation of ,dante1 of which a specimen only was published4 #agfa4 #a4 ,frontispiece to the catalogue of pictures exhibited at ,spring ,gardens2 engraved by ,grignion4 ,vide p4 #gg4 #b4 ,another print from this design1 by the same engraver4 #c4 ,tail-piece to the catalogue4 ,the word obiit spelt obit4 ,vide p4 #gi4 ,in a second plate this error is corrected4 #d4 ,hogarth's ,gate of ,calais2 and ,relapse1 or ,virtue in ,danger1 and three portraits1 were in this exhibition4 #e4 ,time ,smoking a ,picture4 ,subscription-ticket to ,sigismunda4 ,i have seen an impression of this print without the name ,crates in the inscription4 #f4 ,the ,five ,orders of ,periwigs1 as they were worn at the late coronation1 measured architectonically4 ,second impression--,the spelling in the word advertisement corrected1 by an e inserted on the neck of the ,duchess of ,northumberland4 ,this is a pointed ridicule on ,stewart's ,antiquities of ,athens1 in which the measurements of all the members of the ,greek architecture are given with minute accuracy4 ,hogarth's opinion of his labours may be gathered from the following fragment1 which he wrote concerning this print3-- ,there is no great difficulty in measuring the length1 breadth1 or height of any figures1 where the parts are made up of plain lines4 ,it requires no more skill to take the dimensions of a pillar or cornice1 than to measure a square box2 and yet the man who does the latter is neglected1 and he who accomplishes the former is considered as a miracle of genius2 but ,i suppose he receives his honours for the distance he has travelled to do his business4 #g4 ,frontispiece to the ,farmer's ,return from ,london2 engraved by ,j4 ,basire4 ,of this plate there is an admirable copy with the same name1 and a vile imitation without any name4 ,enthusiasm ,delineated4 ,a reduced copy and description of this very singular print1 which was the first thought for the ,medley1 is in p4 #afi4 ,a copy of the same size was published by the editor of this volume in #agif4 #agfb4 #a4 ,credulity1 ,superstition1 and ,fanaticism3 ,a ,medley4 ,designed and engraved by ,wm4 ,hogarth1 and published ,march #ae1 #agfb4 ,vide p4 #age4 #b4 ,the ,times1 ,plate #a2 designed and engraved by ,w4 ,hogarth1 and published ,sept4 #g1 #agfb4 ,in the first impression--,a figure of ,henry ,,viii4 is exalted on stilts1 and blowing up the flames2 in the second--,the monarch is erased1 and ,mr4 ,pitt1 afterwards ,lord ,chatham1 introduced in his place4 ,the ,times1 ,plate #b1 was engraved soon after1 but withheld from the public until ,mrs4 ,hogarth's death1 when the plate was purchased by ,messrs4 ,boydell1 and published ,may #bi1 #agij4 ,part of the sky is left unfinished4 #c4 ,t4 ,morell1 ,s4 ,t4 ,p4 ,s4 ,s4 ,a42 ,w4 ,hogarth1 delin42 ,james ,basire1 sculp4 ,some impressions are without either the inscription of ,thesaurus or tat4 #fj4 ,a correct copy has the same painter and engraver's name4 #d4 ,henry ,fielding1 tatis #dh2 ,w4 ,hogarth1 delin42 ,james ,basire1 sculp4 ,a few impressions were taken off before the frame and ornaments were inserted4 ,the copy in p4 #bjf is taken from one of them in my possession4 #agfc4 #a4 ,john ,wilkes1 ,esq41 drawn from the life1 and etched in aquafortis by ,william ,hogarth4 ,price #as4 #d4 ,the ,weighing ,house4 ,frontispiece to ,clubbe's ,physiognomy2 ,w4 ,hogarth1 del42 ,luke ,sullivan1 sculp4 ,another copy1 without either painter or engraver's name1 which the late ,w4 ,ryland told me was engraved by him1 and the heads afterwards touched upon by ,hogarth4 ,prefixed to ,clubbe's works1 in two vols4 ,a small copy was engraved for an octavo edition of the same pamphlet4 #agfd4 ,the ,bathos4 ,designed and engraved by ,wm4 ,hogarth1 and published ,march #c1 #agfd4 #agfg4 ,satan1 ,sin1 and ,death3 ,milton's ,paradise ,lost1 ,b4 #b4 ,engraved by ,c4 ,townley1 and intended to have been published ,april #ae1 #agfg2 but when a few impressions were taken off1 the plate was destroyed4 ,one of the copies of this strange and incomprehensible print is in the possession of ,mr4 ,bellamy1 ,charlotte ,row4 ,a print of a smaller size1 with some variations1 has been since engraved by ,ogbourne1 and ,i have seen one of a larger size1 of a similar description1 without any name4 ,the ,good ,samaritan4 ,engraved by ,ravenet and ,delatre1 and published ,feb4 #bd1 #aggb1 by ,j4 ,boydell4 ,hogarth's first sketch is in the possession of ,mr4 ,bellamy4 ,the ,pool of ,bethesda4 ,engraved by ,ravenet and ,picot as a companion to the preceding print4 ,these engravings were copied from the pictures in ,st4 ,bartholomew's ,hospital4 ,a small copy of the latter was1 in #agdh1 engraved by ,ravenet for ,s4 ,austen1 as a frontispiece to ,stackhouse's ,bible4 #agge4 ,the ,politician2 etched by ,j4 ,k4 ,sherwin1 and published by ,jane ,hogarth1 #aggd1 ,oct4 #ca4 ,vide p4 #aig4 ,in the early impressions the figure #e and #cast ,october1 are usually inserted with a pen4 #agha4 #a4 ,a small and slight etching1 conjectured to be ,solsull1 a maker of punches for engravers4 ,s4 ,j4 fecu41 #agha4 #b4 ,four ,heads from the ,cartoons at ,hampton ,court2 an early etching by ,hogarth1 published by ,mrs4 ,hogarth1 ,may #ad1 #agha4 ,the ,matchmaker4 ,vide p4 #aii4 #aghb4 #a4 ,the ,staymaker4 #b4 ,debates in ,palmistry4 #c4 ,portrait of ,henry ,fox1 ,lord ,holland4 #d4 ,portrait of ,james ,caulfield1 ,earl of ,charlemont4 ,the four last articles are slightly etched by ,joseph ,haynes1 from very bald and unfinished sketches by ,hogarth4 ,the plates are in the possession of ,mr4 ,jeffrey1 ,pall ,mall4 #e4 ,the ,shrimp ,girl4 ,engraved in the dotted style by ,bartolozzi4 ,had this unrivalled artist etched this print in the manner he did ,guercino's drawings1 he would have transferred the true spirit of the original4 ,as it is1 we have ,hogarth translated into ,italian4 ,it was published by ,mrs4 ,hogarth in #aghb1 by subscription1 with the five following prints engraved by ,livesay4 #f and #g4 ,portraits of ,gabriel ,hunt and ,benjamin ,read4 #h1 #i1 and #aj4 ,three plates from sketches by ,hogarth1 designed for the monument and epitaph of ,george ,taylor4 #aa4 ,nine prints for ,hogarth's ,tour1 from drawings by ,scott1 etc41 engraved by ,livesay1 accompanied with nine pages of letterpress4 #ab4 ,hogarth's ,crest4 ,a spiral shell painted on his carriage1 and since his death copied by ,livesay4 #ac4 ,eta ,beta ,py4 ,prefixed to the title of the second edition of ,mr4 ,nichols' ,anecdotes4 #ad4 ,an ,old ,parson's ,head1 most admirably marked2 engraved in the dotted style4 #aghe4 ,the four which follow were etched by ,s4 ,ireland4 #a4 ,orator ,henley ,christening a ,child4 ,from an unfinished sketch by ,hogarth4 #b4 ,a ,small ,landscape4 #c4 ,head of a ,female ,moor4 #d4 ,head of ,diana4 ,the ,portrait of a ,young ,girl1 from a picture in the possession of ,mrs4 ,hogarth1 was about this time very delicately engraved by ,martha ,knight1 ,brompton4 #agij4 #a4 ,the ,beggars' ,opera4 ,engraved by ,blake1 and published by ,messrs4 ,boydell1 from a picture in the collection of the ,duke of ,leeds4 #b4 ,sealing the ,sepulchre3 from the ,altar-piece in ,st4 ,mary ,redcliffe's1 ,bristol2 engraved in a large mezzotinto by ,j4 ,jenner4 #c4 ,the ,sepulchre2 engraved from the same altar-piece as a companion1 with the title of ,the ,resurrection4 ,vide p4 #aie4 #agib4 #a4 ,the ,indian ,emperor1 or ,conquest of ,mexico2 from the original picture in the collection of ,lord ,holland2 engraved by ,r4 ,dodd1 and published by ,messrs4 ,boydell4 #b4 ,sigismunda4 ,engraved by ,benj4 ,smith1 and published by ,messrs4 ,boydell1 who possess the original picture1 from which there was an etching by ,basire in ,hogarth's lifetime2 and from the sketch a print in mezzotinto was a few years since engraved by ,dunkarton4 ,,prints ,,of ,,uncertain ,,date4 ,some of the following prints are insignificant enough1 others are curious1 but all derive their principal value from being the work of ,hogarth4 ,i have noted the prices at which a few of them sold1 and think it probable that ,no4 #cj produced more money at ,mr4 ,gulston's sale than the artist received for engraving the twenty-nine preceding prints3-- ,coats of ,arms4 #a4 ,a ,gryffon with a ,flag4 ,a crest4 #b4 ,lord ,aylmer's ,coat of ,arms4 ,a copy sold for #g1 #ajs4 in ,mr4 ,gulston's sale4 #c4 ,lord ,radnor's ,coat of ,arms4 #d4 ,a large ,coat of ,arms1 with ,terms of the ,four ,seasons4 #e4 ,a ,coat of ,arms1 with two ,slaves as trophies4 #f4 ,another with two ,boys as ,terms4 #g4 ,foreign ,coat of ,arms2 supporters1 a ,savage and ,angel4 #h4 ,the ,duchess of ,kendal's ,arms4 ,vide p4 #bh4 ,a copy sold in ,mr4 ,gulston's sale for #d4 #i4 ,another1 for a silver tea-table1 larger1 but not so neatly engraved4 ,sold in the same sale for #f4 #aj4 ,another4 #aa4 ,with a male shield1 probably a mistake of the engraver's4 #ab4 ,a ,coat of ,arms1 engraved on a silver tea-table4 #ac4 ,the same ornaments left1 and ,sir ,gregory ,page's arms inserted in their place4 ,at ,sir ,gregory's sale1 the table was purchased by ,mr4 ,morrison1 who1 after taking off twenty-five impressions1 melted the plate4 #ad4 ,the ,chudleigh ,arms4 ,motto3 ,aut vincam1 aut peribo4 #ae4 ,arms of ,gore1 engraved on a silver waiter4 #af4 ,arms of ,john ,holland1 herald painter2 a book plate4 ,in the second impressions the lion is of a smaller size1 and eight fleur-de-lis instead of the seven originally inserted4 #ag4 ,arms of ,george ,lambart4 ,said to have been a book-plate for ,lambert the painter4 ,if it was so1 it is passing strange that the name should be thus spelt4 ,shop-bills4 #ah4 ,a large ,angel1 holding a palm in his left hand3 a shop-bill for ,ellis ,gamble1 at the ,golden ,angel1 ,cranbourn ,street1 ,leicester ,fields1 has sold for #g1 #gs4 #ai4 ,a contracted copy of the above4 #bj4 ,another1 somewhat different1 in the collection of ,mr4 ,walpole4 #ba4 ,a ,turk's ,head3 a shop-bill for ,john ,barker1 goldsmith1 ,lombard ,street4 ,of the head there is a modern copy4 #bb4 ,a shop-bill for ,mrs4 ,holt1 at the ,italian ,warehouse in the ,strand2 with the ,duke of ,tuscany's and the ,florence arms2 and views of ,naples1 ,venice1 ,genoa1 and ,leghorn at the four corners4 ,a copy sold in ,mr4 ,gulston's sale for #f1 #fs4 #bc4 ,shop-bill1 for his sisters1 ,mary and ,ann ,hogarth1 at the ,king's ,arms1 joining to the ,little ,britain gate4 ,people in a shop1 etc41 has sold for #h1 #hs4 ,tickets1 etc4 #bd4 ,a ,ticket for the benefit of ,spiller the player4 #be4 ,a ,ticket for the benefit of ,millward4 #bf4 ,ticket for a burial4 ,sold in ,gulston's sale for #e1 #gs4 #f;d4 #bg4 ,a ,ticket for the school at ,tiverton1 ,devonshire4 #bh4 ,the ,great ,seal of ,england4 #bi4 ,impression from a tankard belonging to a club of artists1 who1 as ,i have been told1 met at the sign of a ,shepherd and his ,flock1 ,clare ,market4 ,this design is in a good taste4 ,on the dexter side1 as a supporter1 a man making a drawing2 and on the sinister1 a man modelling a figure4 ,in the centre is a ,shepherd and his ,flock1 etc4 ,a copy sold in ,mr4 ,gulston's sale for #aj4 ,miscellaneous4 #cj4 ,a small oval print of the ,rape of the ,lock1 engraved on a snuff-box4 ,vide p4 #be4 ,sold1 ,feb4 #g1 #aghf1 at ,mr4 ,gulston's sale for #cc4 #ca4 ,an ,emblematic ,print1 representing ,agriculture1 etc4 #cb4 ,a ,hieroglyphic ,print1 representing ,royalty1 ,episcopacy1 and ,law1 composed of emblematic attributes1 etc41 abounds in wit and satire4 ,of this there is a good copy by ,samuel ,ireland4 #cc4 ,two small prints for books #ast and #c;d of ,milton's ,paradise ,lost4 ,w4 ,hogarth1 inv4 et sculp4 ,these two prints were in ,mr4 ,gulston's sale sold for sixteen guineas2 but the original plate of that for book #c;d has been lately discovered1 and is now in the possession of ,mr4 ,vincent4 #cd4 ,a ,woman swearing a ,child to a grave ,citizen4 ,w4 ,hogarth1 pinx42 ,j4 ,sympson1 jun41 fecit4 ,vide p4 #ahh4 ,another copy is in ,picart's ,religious ,ceremonies4 #ce4 ,orator ,henley ,christening a ,child4 ,john ,sympson1 jun41 fecit4 ,the impressions are usually taken off in green4 ,a copy of this also is in ,picart's ,religious ,ceremonies4 #cf4 ,the ,mystery of ,masonry brought to light by the ,gormagons4 ,hogarth1 inv4 et sculp4 ,the second impression published for ,sayer4 #cg4 ,the ,political ,glyster1 ,nahtanoi ,tfiws 7,swift's name spelt backwards71 engraved on one corner1 and on the other1 ,dr4 ,o',garth1 sculp4 ,it was originally inscribed1 the punishment inflicted on ,samuel ,gulliver1 etc42 but when the plate came into the hands of ,mr4 ,sayer1 he added the present retrograde and ridiculous inscription4 #ch4 ,six small prints1 engraved for an early edition of ,king's ,pantheon4 ,,nine ,,prints ,,for ,,don ,,quixote4 #ci4 ,plate #a4--;,is inserted without either painter or engraver's name1 is in ,jarvis' quarto translation4 ,vide p4 #bbj4 #dj4 ,plate #b4--,was probably engraved for ,lord ,carteret's ,don ,quixote1 but not introduced2 one figure only being finished1 and the plate cut4 ,vide p4 #bba4 #da4 ,plate #c4--;,engraved for the same work1 but never inserted4 ,vide p4 #bbb4 #db4 ,plate #d4--;,had the same fate4 ,vide p4 #bbb4 #dc4 ,plate #e4--,was equally unfortunate4 ,vide p4 #bbd4 #dd4 ,plate #f4--,not approved4 ,vide p4 #bbd4 #de4 ,plate #g4--,not inserted4 ,vide p4 #bbe4 #df4 ,plate #h4--,not introduced2 but with the other five came into the hands of ,mr4 ,dodsley1 who sold a few of the first impressions1 and afterwards inserted references corresponding with ,jarvis' translation4 ,vide p4 #bbf4 #dg4 ,plate #i4--,sancho's ,feast4 ,vide p4 #bbg4 #dh4 ,the ,master of the ,vineyard1 engraved for ,horneck's ,happy ,ascetic4 #di4 ,gustavus1 ,lord ,viscount ,boyne1 etc4 ,whole-length mezzotinto1 engraved in ,ireland4 ,w4 ,hogarth1 pinx42 ,ford1 fecit4 ,the original picture is in the possession of ,mr4 ,bellamy4 ,a copy of the print sold in ,gulston's sale for #b1 #acs4 #ej4 ,mr4 ,pine 7the mezzotinto engraver71 in the manner of ,rembrandt1 both his hands resting upon a cane4 ,printed for ,george ,pulley1 etc4 #ea4 ,another head of ,mr4 ,pine2 mezzotinto by ,m',ardell4 ,i am much inclined to think that this is an alteration of the ,plate ,no4 #ej4 ,be that as it may1 it is in every respect superior4 ,repaired copies1 with the inscription erased1 are sometimes sold as ,proofs4 #eb4 ,daniel ,lock1 ,esq41 ,f4,s4,a41 mezzotinto4 ,w4 ,hogarth1 pinx42 ,j4 ,m',ardell1 fecit4 ,price #as4 #f;d4 #ec4 ,ticket for the ,london ,hospital1 with ,richmond ,arms4 #ed4 ,the same1 larger1 without the ,arms1 by ,grignion4 #ee4 ,another1 with a view of the ,london ,hospital4 #ef4 ,the ,london ,infirmary for charitably relieving sick and diseased manufacturers1 seamen1 etc4 ,a blank certificate for pupils in surgery and anatomy4 #eg4 ,a ,witch on a ,broomstick4 ,frontispiece to a pamphlet written by ,dr4 ,gregory ,sharpe1 but never published1 inscribed ,front-is-piss4 #eh4 ,the ,discovery1 or a ,black ,woman in ,bed4 ,a copy from ,hogarth's ,piquet1 or ,virtue in ,danger1 has been engraved by ,cheesman1 and will be shortly published4 ,the portraits of five gentlemen who met to drink a hogshead of claret1 which they finished before they separated2 of a nobleman and gentleman fighting with a watchman2 and an etching1 copied from a small picture on the back of a copperplate1 have been some years advertised4 ,a portrait of ,sir ,alexander ,schomberg1 engraved by ,townley from a portrait by ,hogarth4 ,a work1 consisting of copies1 the same size as the original prints1 and modestly entitled ,hogarth ,restored1 is now publishing in numbers4 ,the twelve originals of ,industry and ,idleness1 ,hogarth published at twelve shillings4 ,in this ,restoration1 the twelve copies amount to thirty6 ,an ,illustration of ,hogarth1 in the ,german language1 by ,j4 ,c4 ,lichtenberg1 with reduced copies from the prints1 by ,j4 ,ripenhausen1 has been published at ,gottingen1 in numbers at #aes4 each4 ,the same plates are used for a work1 also publishing at ,gottingen1 on a similar plan1 with the illustrations in ,french4 ,many of the following articles1 and others not worth enumeration1 imputed trash and libel not his own1 have been foisted into auctioneers' catalogues1 sold for large sums1 warranted originals1 and ,,ascribed ,,to ,,hogarth4 #a4 ,coat of ,arms1 from a large silver tea-table4 ,under the ,arms are a ,shepherd and his ,flock4 #b4 ,shop-bill for ,peter de la ,fontaine4 #c4 ,the ,oratory4 ,orator ,henley on a scaffold4 #d4 ,a ,ticket for ,h4 ,fielding4 ,scene ,pasquin4 #e4 ,a ,ticket for ,h4 ,fielding4 ,scene the ,mock ,doctor4 #f4 ,a ,ticket for ,james ,figg the prize-fighter4 #g4 ,a ,ticket for the benefit of ,joe ,miller4 #h4 ,the ,gin-drinkers4 #i4 ,jack in ,office2 a ,ticket-porter1 etc4 #aj4 ,the complicated ,richardson4 ,nauseous6 #aa4 ,pug the ,painter4 ,sometimes ascribed to ,hogarth4 #ab4 ,st4 ,mary's ,chapel1 #ab at ,night4 ,probably ,vandergucht's4 ,sold as ,hogarth's in ,gulston's sale for #c1 #ds4 #ac4 ,farinelli1 ,cuzzoni1 and ,heidegger3 said to be designed by the ,countess of ,burlington1 and etched by ,goupy4 #ad4 ,frontispiece to eight views in ,richmond gardens4 #ae4 ,frontispiece to ,love in a ,hollow ,tree4 #af4 ,ten prints to ,butler's posthumous works2 published in #agcj4 ,the same designs were published in #b vols4 twelves1 in #agag4 ,some of them are much like ,hogarth4 #ag4 ,samuel ,butler1 author of ,hudibras4 ,coarsely engraved in an oval4 #ah4 ,thomas ,pellet1 ,m4,d41 ,president of the ,college of ,physicians4 ,w4 ,hogarth1 pinx42 ,c4 ,hall1 sculp4 #ai4 ,william ,bullock1 the comedian4 ,w4 ,hogarth1 pinx42 ,c4 ,hall1 sculp4 #bj4 ,a scene of a pantomime entertainment lately exhibited1 designed by a ,knight of ,malta4 ,satire on the royal incorporated artists4 ,an etched outline of a larger size1 with some additions1 was afterwards published1 and inscribed ,no4 #b4 #ba4 ,the ,calves' ,head ,club4 ,i think1 designed and engraved by ,vandergucht4 #bb4 ,rape of the ,smock4 ,a palpable imposition4 #bc4 ,lovat's ,ghost on ,pilgrimage4 ,a mezzotinto copy was published ,may #a1 #aghh4 #bd4 ,four small prints of ,lord ,lovat's ,trial1 etc4 #be4 ,a dotted print of ,jenny ,cameron4 #bf4 ,two figures1 designed for ,lord ,melcombe and ,lord ,winchelsea4 ,hogarth1 inv42 ,f4 ,b4 7,f4 ,bartolozzi71 sculp42 designed by ,lord ,townshend4 #bg4 ,north and ,south of ,great ,britain4 ,w4 ,hogarth1 del42 ,f4 ,b4 7,bartolozzi71 sculp4 ,really designed by ,sandby4 #bh4 ,inside of an ,opera ,house1 scene a prison1 sold as ,hogarth's at ,gulston's sale1 ,march #a1 #aghf1 for #b1 #ds4 #bi4 ,the ,scotch ,congregation4 #cj4 ,the ,search ,night4 ,j4 ,fielding1 sculp4 ,two cards were afterwards engraved from the same design4 #ca4 ,hogarth's cypher1 with his name under it4 ,a plate for books4 #cb4 ,a living ,dog is better than a dead ,lion2 or1 the ,vanity of ,human ,glory3 a design for the monument of ,general ,wolfe1 #agfj4 #cc4 ,the ,five ,muscovites4 ,copied from ,de la ,mottraye's ,travels4 ,a full-length print of a ,savoyard ,girl has been lately engraved from a picture painted by ,hogarth4 ,,prints ,,published ,,to ,,ridicule ,,the ,,analysis1 ,,times1 ,,etc4 #a4 ,a ,new ,dunciad2 done with a view of fixing the fluctuating ideas of taste1 etc4 #b4 ,a ,mountebank demonstrating to his admiring audience that crookedness is most beautiful4 #c4 ,the ,author run mad4 #d4 ,an ,author sinking under the weight of his ,analysis4 #e4 ,the ,analyst1 etc4 etc4 in his own ,taste4 ,a vile1 nauseous1 and vulgar print4 #f4 ,pugg's ,graces1 etched from his original daubing4 #g4 ,the ,temple of ,ephesus in ,flames1 etc42 inscribed ,a self-conceited ,dauber1 etc41 and extremely well etched4 #h4 ,burlesque sur le ,burlesque1 with a ,french inscription3 a large print4 #i4 ,the second edition1 with an ,english inscription1 and some slight variations4 #aj4 ,burlesque of the ,burlesque ,paul2 magic lantern1 etc4 #aa4 ,the ,painter's ,march from ,finchley4 ,dedicated to the ,king of the ,gypsies1 as an encourager of ,art1 etc4 #ab4 ,the ,butifyer1 a touch upon the ,times1 ,plate #a4 #ac4 ,the ,times1 ,plate #b4 #ad4 ,the ,times1 ,plate #a1 #agfb4 ,hogarth's head1 with the body of an ass1 at the top of a ballad4 #ae4 ,the ,raree ,show1 a political contrast to the ,times4 #af4 ,the ,boot and the ,blockhead4 #ag4 ,the ,vision1 or ,m----n--st--l ,monster4 #ah4 ,john ,bull's ,house in ,flames4 #ai4 ,the ,bruiser ,triumphant1 with a curtain inscribed1 ,a ,harlot blubbering over a ,bullock's ,heart4 #bj4 ,tit for ,tat4 #ba4 ,the ,bear and ,pugg3 a small print4 #bb4 ,the ,snarling ,cur chastised4 #bc4 ,the ,hungry ,tribe of ,scribblers and ,etchers4 #bd4 ,the ,grand ,triumvirate1 or ,champions of ,liberty2 with three foolish acrostics of ,wilkes1 ,bute1 and ,hogarth4 ,i had nearly forgotten two curiosities1 which1 though received in all the catalogues1 and unquestionably genuine1 can hardly be classed as prints4 ,one is entitled ,hogarth's ,cottage1 engraved for ,mr4 ,camfield1 a surgeon1 on a breeches button the size of a half-crown1 from ,hogarth's design1 of which an etched copy by ,s4 ,ireland was published ,march #a1 #aghf4 ,the other1 being impressions taken from nine quadrille fish1 was published in #agib1 with the title of-- ,pisces1 one of the signs of the ,zodiac4 ,to enter into the spirit of the last article1 the reader must be informed that ,hogarth never played at cards2 and that while his wife and a party of friends were so employed1 he occasionally took the quadrille fish1 and cut upon them scales1 fins1 heads1 etc41 so as to give them some degree of character4 ,three of these little aquatic curiosities which remained in the possession of ,mrs4 ,lewis1 she presented to me1 and ,i have ventured to insert them as ,a ,,tail-,,piece4 ,illustration ,,footnotes3 #a ,the ,dedication1 of which ,i have prefixed a fac-simile1 was written for that work4 #b ,i am authorized to say that during her life ,mrs4 ,hogarth never parted with any of his papers1 except a loose leaf or some such trifle1 which in one or two instances she gave to such as wished to possess a little specimen of ,hogarth's handwriting4 #c ,the printed sheets were occasionally corrected by his friend ,townley1 etc4 ,the ,editor will have great pleasure in showing the ,,mss4 to any gentleman who will do him the honour of inspecting them4 #d ,rouquet's book was written in ,french1 and describes the ,harlot's and ,rake's ,progress1 ,marriage la ,mode1 and ,march to ,finchley4 #e ,when ,i wrote the two former volumes of ,hogarth ,illustrated1 ,i had not seen the ,,mss4 which ,i now lay before the reader1 nor did ,i know that there were any such papers4 ,his own declaration corroborates the following conjecture relative to his early bias to the arts3--,young ,hogarth had an early predilection for the arts1 and his future acquirements give us a right to suppose he must have studied the curious sculptures which adorned his father's spelling-books1 though he neglected the letterpress2 and when he ought to have been storing his memory with the eight parts of speech1 was examining the allegorical apple-tree which decorates the grammar4--,hogarth ,illustrated1 vol4 i4 p4 #bg4 #f ,the dictionary here alluded to1 ,mrs4 ,lewis of ,chiswick presented to the ,editor of this volume4 ,it is a thick quarto1 containing an early edition of ,littleton's ,dictionary1 and also ,robertson's ,phrases1 with numerous corrections to each1 and about #djj pages of manuscript close written4 ,on the marginal leaf is inscripted in ,hogarth's handwriting1 ,the manuscript part of this dictionary was the work of ,mr4 ,richard ,hogarth4 ,another volume of this work is in the possession of ,j4 ,bindley1 ,esq41 of the ,stamp ,office4 #g ,hogarth's father came to the metropolis in company with ,dr4 ,gibson1 the late ,bishop of ,london's brother1 and was employed as corrector of the press1 which in those days was not considered as a mean employment4 #h ,by ,sir ,james ,thornhill1 afterwards his father-in-law4 #i ,though averse1 as he himself expresses it1 to coldly copying on the spot any objects that struck him1 it was usual with him when he saw a singular character1 either in the street or elsewhere1 to pencil the leading features and prominent markings upon his nail1 and when he came home1 to copy the sketch on paper1 and afterwards introduce it in a print4 ,several of these sketches ,i have seen1 and in them may be traced the first thoughts for many of the characters which he afterwards introduced in his works4 #aj ,as this was the doctrine ,i preached as well as practised1 an arch brother of the pencil once gave it this turn1 that the only way to draw well1 was not to draw at all2 and1 on the same principle1 he supposed that if ,i wrote an essay on the art of swimming1 ,i should prohibit my pupil from going into the water until he had learnt4 #aa ,if ,hogarth calls himself idle1 who shall dare to denominate himself industrious8 #ab ,hudibras was published in #agbf1 so that his father probably died about the year #agba1 leaving two daughters1 ,mary and ,anne1 besides his son ,william1 who1 on the leaf of an old memorandum book in my possession1 after mentioning the time of his own birth and baptism1 thus continues3 ,mary ,hogarth was born ,november #ajth1 #afii4 ,ann ,hogarth1 two years after in the same month4 ,taken from the ,register at ,great ,st4 ,bartholomew's4 #ac ,the leader of the figures hurrying to a masquerade1 crowned with a cap and bells1 and a garter round his right leg1 has been supposed to be intended for ,george ,,ii41 who was very partial to these nocturnal amusements1 and is said to have bestowed a thousand pounds towards their support4 ,the purse with the label #ajjj1 which the satyr holds immediately before him1 gives some probability to the supposition4 ,the kneeling figure on the show-cloth1 pouring gold at the feet of ,cuzzoni1 the ,italian singer 7with the label1 ,pray accept #hjjj71 has been said to be designed for ,lord ,peterborough4 #ad ,as this print1 to heighten the burlesque1 was almost invariably impressed on blue paper1 ,i have stamped the annexed copy on the same colour4 #ae ,it has been truly observed that comedy exhibits the character of a species1--farce of an individual4 ,of the class in which ,hogarth has a right to be placed1 there can be little doubt3 he wrote comedies with a pencil4 #af ,for these pictures he was elected a governor of the hospital4 ,on the top of the staircase1 beneath the cornice1 is the following inscription3 ,the historical paintings of this staircase were painted and given by ,mr4 ,william ,hogarth1 and the ornamental paintings at his expense1 ,a4,d4 #agcf4 #ag ,the ,reformed religion is1 in almost all its branches1 rather a drawback than an assistance to art4 ,thus are its effects described by ,mr4 ,barry3 ,where religion is affirmative and extended1 it gives a loose and enthusiasm to the fancy1 which throws a spirit into the air and manners1 and stamps a diversity1 life1 quickness1 sensibility1 and expressive significance over everything they do4 ,in another place it is more negative and contracted3 being formed in direct opposition to the first1 its measures were regulated accordingly2 much pains were taken to root out and to remove everything that might give wing to imagination1 and so to regulate the outward man by a torpid inanimate composure1 gravity1 and indifference1 that it may attend to nothing but mere acts of necessity1 everything else being reputed idle and vain4 ,they have had as few words as buttons1 the tongue spoke almost without moving the lips1 and the circumstances of a murder were related with as little emotion as an ordinary mercantile transaction4--,barry on the ,arts1 p4 #bad4 #ah ,hogarth may possibly allude to ,ranelagh ,barret1 who1 ,i learn from ,mr4 ,walpole1 was thus employed2 and1 being countenanced by ,sir ,robert ,walpole1 copied several of his collection1 and others for the ,duke of ,devonshire and ,dr4 ,mead4 ,he was indefatigable1--executed a vast number of works1--succeeded greatly in copying ,rubens1 and died in #agfh4 ,his pictures were sold by auction in the ,december of that year4 #ai ,in part of this violent philippic ,hogarth may possibly glance at the late ,president of the ,royal ,academy1 whom1 it has been said1 but ,i think unjustly1 he envied4 ,in ,sir ,joshua's very early pictures there is not much to envy2 they gave little promise of the taste and talents which blaze in his later works4 #bj ,vanloo came to ,england with his son in the year #agcg4--,walpole's ,anecdotes4 #ba ,i am not sufficiently versed in the palette biography of the day to know who are the painters that these stars1 etc4 etc4 etc4 allude to4 ,abb le ,blanc1 in his letter to the ,abb du ,bos on the state of painting and sculpture in ,england1 notices the whole body in the following very flattering terms3 ,the portrait painters are at this day more numerous and worse in ,london than ever they have been4 ,since ,mr4 ,vanloo came hither1 they strive in vain to run him down2 for nobody is painted but by him4 ,i have been to see the most noted of them2 at some distance one might easily mistake a dozen of their portraits for twelve copies of the same original4 ,some have the head turned to the left1 others to the right2 and this is the most sensible difference to be observed between them4 ,moreover1 excepting the face1 you find in all the same neck1 the same arms1 the same flesh1 the same attitude2 and to say all1 you observe no more life than design in those pretended portraits4 ,properly speaking1 they are not painters2 they know how to lay colours on the canvas1 but they know not how to animate it4 ,nature exists in vain for them2 they see her not1 or if they see her1 they have not the art of expressing her4 #bb ,sir ,francis ,bacon somewhere remarks1 that in the flight of ,fame she will make but slow progress without some feathers of ostentation4 #bc ,the rival portraits here alluded to are3 ,george the ,second1 patron of the foundation1 by ,shackleton2 ,lord ,dartmouth1 one of the vice-presidents1 by ,mr4 ,reynolds 7afterwards ,sir ,joshua72 ,taylor ,white1 treasurer of the ,hospital1 in crayons1 by ,coates2 ,mr4 ,milner and ,mr4 ,jackson1 by ,hudson2 ,dr4 ,mead1 by ,ramsay2 ,mr4 ,emmerson1 by ,highmore2 and ,francis ,fauquier1 ,esq41 by ,wilson4 ,to say that it is superior to these is but slight praise2 independent of this relative superiority1 it will not be easy to point out a better painted portrait4 ,the head1 which is marked with uncommon benevolence1 was in #agci engraved in mezzotinto by ,m',ardell4 #bd ,thus does ,hogarth pun upon the name of ,mr4 ,ramsay1 who he seems to think peered too closely into his prints1 though he acknowledges that1 in a book entitled ,the ,investigator1 ,ramsay has treated him with more candour than any of his other opponents4 #be ,upon the death of ,coram this pension was continued to poor old ,leveridge1 for whose volume of songs ,hogarth had1 in #agbg1 engraved a title-page and frontispiece1 and who at the age of ninety had scarcely any other prospect than that of a parish subsistence4 #bf ,how very inferior was this to the portrait of ,coram6 ,but the genuine benevolence and simplicity which beams in the countenance of the friend and protector of helpless infancy is not calculated to strike the million so forcibly as the dramatic perturbation of a guilty tyrant4 ,in this1 as in some other cases1 the purchaser seems to have paid for the player rather than the picture4 ,it was painted for the late ,mr4 ,duncombe1 of ,duncombe ,park1 ,yorkshire4 #bg ,by both the artists and connoisseurs of his own day he was accused of having stolen the ideas contained in his ,essay from ,lomazzo4 ,several prints which were published in support of this opinion will be noticed4 #bh ,the fable here alluded to is entitled1 ,a ,painter who pleased everybody and nobody3 ,so very like a painter drew1 ,that every eye the picture knew4-- ,his honest pencil touch'd with truth1 ,and mark'd the date of age and youth2 ,but see the consequence3 ,in dusty piles his pictures lay1 ,for no one sent the second pay4 ,finding the result of truth so unpropitious to his fame and fortune1 he changed his practice3 ,two bustos fraught with every grace1 ,a ,venus1 and ,apollo's1 face ,he placed in view2--resolved to please1 ,whoever sat1 he drew from these4 ,this succeeded to a tittle3 ,through all the town his art they prais'd1 ,his custom grew1 his price was rais'd4 #bi ,the ,distressed ,poet1 ,enraged ,musician1 and a companion print on painting which1 though advertised1 was never published1 are the three here alluded to4 #cj ,in his description of the ,legion ,club1 after portraying many of the characters with most pointed severity1 ,swift thus exclaims3 ,how ,i want thee1 humorous ,hogarth6 ,thou1 ,i hear1 a pleasant rogue art6 ,were but you and ,i acquainted1 ,every monster should be painted4 ,you should try your graving tools ,on this odious group of fools2 ,draw the beasts as ,i describe them2 ,form their features while ,i gibe them2 ,draw them like1 for ,i assure ye1 ,you will need no caricatura4 ,draw them so that we may trace ,all the soul in every face4 #ca ,the designer of a print which was published in #agec1 and intended to burlesque some of the figures in the ,analysis of ,beauty1 seems to have believed that ,hogarth intended to have published his objections to the establishment of the academy4 ,the print is entitled ,pugg's ,graces1 and the artist is represented with the legs of a satyr1 and painting ,moses before ,pharaoh's ,daughter4 ,one of his hoofs rests on three books1 the lowest of which is labelled ,analysis of ,beauty4 ,a little lower in the print is an open volume1 on one page of which is written1 ,reasons against a ,public ,academy1 #agec2 and on the other1 ,no ,salary4 #cb ,louis ,,xiv4 founded an academy for the ,french at ,rome2 but ,poussin and ,le ,sueur1 painters who have done the most credit to ,france1 were prior to the establishment4 #cc ,the late ,sir ,robert ,strange seems to have entertained an opinion somewhat similar3--,academies1 under proper regulations1 are no doubt the best nurseries of the fine arts4 ,but when the establishment of the ,royal ,academy at ,london is impartially examined1 it will not1 ,i am afraid1 reflect that credit we wish upon the annals of its royal founder4--,strange's ,inquiry1 p4 #fa4 #cd ,of the estimation in which they were held1 and the taste with which they were contemplated by the ,romans1 we may form some judgment by a general assuring a soldier1 to whom he gave in charge a statue which was the work of ,praxiteles1 that if he broke it1 he should get another as good made in its place4 #ce ,transmigrations of heathen deities into apostles1 etc41 have been too frequent to need particular enumeration4 #cf ,sir ,godfrey ,kneller knew this1 and made the most of his labours4 ,he used to say1 in his own vindication1 that historical painting only revived the memory of the dead1 who could give no testimony of their gratitude2 but when he painted the living1 he gained what enabled him to live from their bounty4 #cg ,the president ,montesquieu1 the ,abbs ,winckelmann1 ,du ,bos1 and ,le ,blanc1 have gravely asserted1 that from the coldness of our climate1 and other causes equally curious1 we can never succeed in anything that requires genius4 #ch ,their mode of judging subjects them to continual imposition2 for what is called manner is easily copied by the lowest performer3 he only fails in beauty1 delicacy1 and spirit6 #ci ,one specimen of ,mr4 ,kent's talents in painting is in page #ci4 ,mr4 ,walpole's description of some of his other pictures1 and the history of his patronage1 amply illustrate ,hogarth's opinion of the artist's abilities in that branch4 #dj ,how far the present situation of the ,royal ,academy and the arts has fulfilled or contradicted this opinion1 ,i will not presume to determine4 #da ,mr4 ,strange1 in his ,inquiry into the ,rise and ,establishment of the ,royal ,academy of ,arts of ,london1 places the causes of this disagreement in a point of view somewhat different from ,mr4 ,hogarth's narrative2 but in their account of the consequences the narrators precisely agree3-- ,a society1 composed of a number of the most respectable persons in this country1 commonly known by the name of the ',dilettanti1' made the first step towards an establishment of this nature4 ,that society having accumulated a considerable fund1 and being really promoters of the fine arts1 generously offered to appropriate it to support a public academy4 ,general ,gray1 a gentleman distinguished by his public spirit and fine taste1 was deputed by that society to treat with the artists4 ,i was present at their meeting4 ,on the part of our intended benefactors1 ,i observed that generosity and benevolence which are peculiar to true greatness2 but on the part of the majority of the leading artists1 ,i was sorry to remark motives1 apparently limited to their own views and ambition to govern1 diametrically opposite to the liberality with which we were treated4 ,after various conferences1 the ',dilettanti' finding that they were to be allowed no share in the government of the academy1 or in the appropriating their own fund1 the negotiation ended4--,strange's ,inquiry1 p4 #fb4 #db ,this society was first projected by ,mr4 ,william ,shipley1 who was very active in his endeavours to establish it4 ,their original proposal was1 to give premiums for the revival and advancement of those arts and sciences which are at a low ebb amongst us2 as poetry1 painting1 tapestry1 architecture1 etc4 ,the plan1 in the latter end of the year #agec1 was laid before ,dr4 ,hales and ,mr4 ,baker1 by whom it was introduced to ,lord ,romney and ,lord ,folkestone1 who warmly patronized the institution4 ,in ,march #aged1 they met at ,rathmell's ,coffeehouse1 ,henrietta ,street1 ,covent ,garden4 ,their first premium for the best drawing by boys and girls under fourteen years of age was #ae2 but as the subscribers were then too few in number to raise the proposed sum1 the two above-named noblemen made good a considerable deficiency4 ,they next met at the ,circulating ,library1 in ,crane ,court1 ,fleet ,street1 and on the #ajth of ,january #agee at ,peele's ,coffeehouse1 where the first premium of #e for the best drawing by boys under the age of fourteen was adjudged to ,mr4 ,richard ,cosway4 #dc ,swift's ,laputa tailor made all his clothes by mathematical rules1 and there was no objection to them1--except that they never fitted those for whom they were made4 #dd ,little did ,hogarth imagine that a man lived in his own time1 who1 by a great commercial enterprise1 should awaken the spirit of the nation to historical and poetical paintings from the drama of ,shakspeare4 ,this drama has been a school for the representation of all the passions1 and opened to the artist a new mine of rich materials for displaying the mirror of life in the colours of nature4 ,the ,shakspeare ,gallery has been followed by undertakings of a similar description1 and1 all united1 have afforded a patronage to the arts which had been vainly sought for among the nobility1 and given to such painters as had the power1 a fair opportunity of confuting the visionary assertion1 that it was not possible for an ,englishman to paint a good historical picture4 #de ,how far ,hogarth's prediction has been fulfilled1 by the repentance of some painters who may have been thus dragged into the temple of taste1 those painters only can determine4 #df ,the hope of the arts is in the patronage of the sovereign4 #dg ,a great personage once remarked that sculpture was too cold and chilling for this climate4 #dh ,what shall we say of these1 if fame is denied to the living8 #di ,on ,mr4 ,lane's death they became the property of his nephew1 ,colonel ,cawthorn2 and on the #eth of ,february #agig1 were sold by auction at ,christie's room1 and purchased by ,mr4 ,angerstein for one thousand guineas4 ,it has frequently been the fate of painters1 as well as poets1 to have their works disregarded until the authors were out of the hearing of praise or censure4 ,young1 in his ,love of ,fame1 speaking of the value which a writer's death gave to his productions1 neatly enough concludes with an allusion to ,tonson the bookseller3 ,this truth sagacious ,tonson knew full well1 ,and starv'd his authors that their works might sell4 #ej ,such is the date both in his ,,ms4 and the preface to the ,analysis1 though under the print he has engraven1 ,se ipse pinxit et sculpsit1 #agdi4 ,it is probable that in the first instance he meant to speak of the painting it was taken from1 which is now in the possession of ,mr4 ,angerstein4 #ea ,to this he evidently alludes in giving the well-known story of ,columbus breaking the egg as a subscription-receipt to his ,analysis of ,beauty4 #eb ,sir ,joshua ,reynolds1 whose lectures are1 generally speaking1 the best rules conveyed in the best language1 in his discourse1 read ,december #aath1 #agfi1 acknowledges that old pictures celebrated for their colouring are often so changed by dirt and varnish1 that we ought not to wonder if they do not appear equal to their reputation in the eyes of unexperienced painters or young students4 ,but he asserts that an artist whose judgment is matured by long observation considers rather what the picture once was than what it is at present4 ,he has acquired a power by habit of seeing the brilliancy of tints through the cloud by which it is obscured4 ,don ,quixote1 through the cloud of dirt and deformity which obscured a vulgar country wench1 discovered the brilliant beauties of that peerless princess1 the ,lady ,dulcinea del ,toboso6 ,such is the power of enchantment4 #ec ,i do not know what ,hogarth here alludes to2 perhaps to some figure that he had threatened to paint as an exemplification of his system4 #ed ,in this notice of the writers by whom he was attacked1 he particularly alludes to the ,north ,briton1 ,no4 #ag4 ,as to the crooked compliments paid him by his brethren in art1 they were numerous indeed4 ,among his papers ,i found a tolerably spirited drawing in pen and ink1 entitled ,a ,christmas ,gambol from ,leicester ,square to ,westminster ,hall1 representing the artist with ass's ears1 stripped1 and tied to a cart's tail1 and an old fellow with a long wig and cat-o'-nine-tails in his hand1 lashing his naked back1 and exclaiming1 ,you'll write books1 will ye6 ,a barber's block1 fixed on a straight pole1 is stuck at the head of the cart1 and labelled1 ,perpendicular and beautiful blockhead4 ,the horse is led by a vulgar drayman1 whose locks being so dishevelled as to form a kind of glory1 are inscribed1 ,lines of beauty4 ,over the head of the painter is this motto3 ',twere better a millstone had been tied about thy neck1 and 7,,thou7 cast into the sea4 ,the following specimen of polite satire and curious orthography crowns the whole3-- ,n4,b4--,speedily will be published1 an apology1 in quarto1 called ,beauty's ,defiance to ,charicature2 with a very extraordinary frontispiece1 a just portraiture 7printed on fool's-cap paper71 and descriptive of the punishment that ought to be inflicted on him that dare give false and unnatural descriptions of beauty1 or charicature great personages2 it being an illegal as well as a mean practice2 at the same time flying in the face of all regular bred gentlemen painters1 sculptures1 architects--in fine--arts and sciences4 ,numerous prints were published in ridicule of his system and himself4 ,in a set of engravings1 entitled ,the ,new ,dunciad1 done with a view of fixing the fluctuating ideas of taste1 dedicated to his friend ,beauty's ,analyzer1 ,i find several prints with mottoes1 which1 in most vile and vulgar phrase1 ridiculed both author and book4 ,some of them are not destitute of humour2 but all would ere now have been consigned to oblivion1 had not they been occasionally collected as relatives to ,hogarth4 ,one of them is entitled ,pugg's ,graces1 etched from his ,,original daubing4 ,in this the artist is represented at his easel1 with ,lomazzo in his pocket1 and with a satyr's feet 7one of which rests on some copies of his ,analysis71 and painting the picture of ,pharaoh's ,daughter4 ,he is accompanied by a fat and a lean connoisseur2 the former shows evident marks of admiration1 but the latter holds the ,analysis in his left hand1 and appears rather puzzled4 ,a figure in the background1 who1 to show that he is a judge1 is arrayed in a gown1 a band1 and ample periwig1 shows evident marks of disgust4 ,three naked and most filthy female figures1 one of them fat as was ,bright of ,malden1 and another tall and thin as a splinter of the ,monument1 are intended to represent ,pugg's graceless ,graces4 ,one of these beauties rests her foot on a box inscribed1 ,for the ,march presented to the ,foundling ,hospital1 with a gilded frame for the admiration of the public4 ,the other is seated on a chest of drawers1 on which are written under the word ,,folly1 ,bid for by ,pugg's friends1 #ej1 #ajj1 #abj4 ,this most pointed piece of wit evidently alludes to the auction of ,marriage la ,mode1 which has been already noticed4 ,on the upper part of the print is a head1 entitled ,a modern cherubin1 with a bag-wig on1 and a stick bent into a waving line in his mouth1 a satyr holding a medallion1 on which is a head with a cap and bells1 and many other curious allusions to the serpentine line4 ,on the floor are a pair of stays1 a pair of boots1 a pair of candlesticks1 etc4 etc41 allusive to the prints to the ,analysis4 ,beneath is a grotesque figure of a devil1 with a little incubus1 masks1 etc41 holding in his hand a piece of paper1 which seems a leaf of the book1 and is inscribed1 ,to be continued4 ,a4 ,c4 ,invt4 et ,sculp4--,published according to ,act of ,parliament1 #agec-d4 ,on the back of this delicate satire is printed the following address3-- ,,to ,,the ,,public4 ,i propose to publish by subscription an ,analysis of the ,sun1 in which ,i will show the constituent parts of which it is composed1 and of which it ought to have been composed4 ,i will compute exactly its magnitude and quantity of matter1 both as it is1 and as it ought to have been constructed4 ,as to the supposed motion of the sun or earth1 ,i shall prove that ,ptolemy and ,copernicus were neither of them right in any part of their conjectures2 and that consequently ,kepler1 ,des ,cartes1 ,cassini1 ,leibnitz1 and ,sir ,isaac ,newton are absolutely wrong4 ,i will likewise refute that vulgar error1 that the sun1 with respect to our earth1 is the cause of light and heat2 and ,i will show how they are caused4 ,i will prove that the figure of our earth is an inverted 4 ,and lastly1 ,i will demonstrate that their systems show nothing of my line of beauty4 ,this work will be printed on a new invented fool's-cap paper1 at half a guinea to subscribers2 but to those who do not subscribe1 it will be fifteen shillings4 ,subscriptions will be taken in by the etcher of this plate1 and at my house1 at the sign of the ,harlot's ,head in ,leicester ,fields4 ,n4,b4--,it will be in vain for astronomers1 foreign or domestic1 to crowd my house for information in their art2 ,i grant them leave to subscribe1 which is all the favour they are to expect from me4 ,w4 ,h4 ,in a well-etched print which1 on a monumental stone placed in the corner1 the engraver has chosen to denominate ,a self-conceited arrogant dauber1 grovelling in vain to undermine the ever-sacred temple of the best painters1 sculptors1 architects1 etc41 in imitation of the impious ,herostratus1 who with sacrilegious flame destroyed the temple of ,diana to perpetuate his name to posterity4 ,we have here a very rich and well-imagined column1 the base ornamented with historical bas-relief2 and between a serpent1 which is spirally twisted round a circular pillar1 are portraits of painters1 sculptors1 etc4 ,at the bottom of this1 on his knees1 and still with satyr's legs and feet1 and a pen stuck in his hat1 the artist has represented ,hogarth2 who1 attended by a well-dressed connoisseur in the character of his torch-bearer1 accompanied by his favourite dog1 and armed with his palette knife1 is grubbing up whatever he can find under it4 ,no4 #c1 the inscription informs us1 is ,a satyr ready to lash the scribbler away2 and by the same authority we learn that ,no4 #d are ,geese1 which being placed close to this emulator of the fame of ,erostratus1 greedily swallows whatever he can rake up with his palette knife1 etc4 etc4 etc4 ,the print is enriched with cypress trees1 capitals1 well-formed vases1 and superb edifices2 the whole 7for it is a night scene7 is lighted up by the temple of ,diana in flames4 ,beneath it is the waving line in a small triangle1 and the following verses3-- ,the vile ,ephesian1 to obtain ,a name--a temple fires2 ,observe1 friend ,h--g--th1 'twas in vain1 ,he had not his desires4 ,you might with reason1 sure1 expect ,your fate would be the same2 ,men first thy labours will neglect1 ,next quite forget thy name4 ,one nauseous delineation is entitled1 ,the ,artist in his own ,taste2 and another1 ,the ,author run mad4 ,in one he is represented as ,a mountebank1 demonstrating to his admiring audience that crookedness is most beautiful2 and in another of a larger size1 entitled ,the ,burlesquer ,burlesqued1 depicted with satyr's legs1 painting what the designer calls ,a history piece1 suitable to the painter's capacity1 from a ,dutch manuscript4 ,this history piece is a copy of the ,dutch delineation of ,abraham sacrificing ,isaac1 by pointing a blunderbuss at his head1 with an angel hovering over the figures1 etc4 ,the lives of ,rembrandt1 ,rubens1 ,vandyke1 and other eminent painters1 are ingeniously imagined to be torn in pieces to make a window-blind for the author of the ,analysis of ,beauty2 which book1 with allusions to it1 are displayed in different parts of the print1 and in a storied border at the bottom it appears to be selling for waste paper4 ,of this engraving1 the satire of which is principally levelled at the burlesque ,paul before ,felix1 there are two editions2 the first1 for the more extensive circulation of ,hogarth's fame1 and the benefit of such foreigners as do not understand ,english1 has an explanation in ,french4 #ee ,the ,doctor's orthography is adhered to4 #ef ,mr4 ,emlyn1 of ,windsor1 who in #aghb published ,a ,proposition for a ,new ,order in ,architecture1 thus divides them3 ,the ,doric was composed on the system of manly figure and strength1 of robust and ,herculean proportions2 the ,ionic1 on the model of the easy1 delicate1 and simple graces of female beauty1 to which the ,corinthian on a similar design adapted a system of more artificial and complicated elegance4 #eg ,among ,hogarth's papers ,i found the following notice1 in which he evidently glances at ,athenian ,stuart3-- ,now in hand1 and will be published in about two months' time1 a short addenda or supplement to the ,analysis of ,beauty1 wherein1 by the doctrine of varying lines1 it will plainly be shown that a man who had never seen or heard of ,roman architecture might1 by adhering to these lines1 produce new and original forms4 ,the number of pompous and expensive books of architecture which have been lately published1 consist of little more than examples of the variations that were made among the ancients2 and nice and useless disputes about which were the most elegant1 without assigning any other reason for their choice than the authority of the columns they have measured1 which gives them no other merit than that of mere pattern drawers4 #eh ,this quotation is from p4 #acj1 and refers to two heads in the second plate1 ,nos4 #ajh and #i1 one of which has a slight tendency to a smile1 and the other has a broad grin4 ,the head here copied1 in point of character1 comes between them4 #ei ,this is copied from the ,,ms4 of the ,analysis1 where he had made the drawings of the ,round and ,square ,heads1 which he evidently intended to have introduced in his plate4 #fj ,cleop4 ,bear'st thou her face in mind8 ,is't long or round8 ,mess4 ,round even to faultiness4 ,cleop4 ,for the most part1 they are foolish that are so4 #fa ,this truth is amply verified in the epistle above quoted3 ,oh1 lasting as thy colours may they shine1 ,free as thy stroke1 yet faultless as thy line6 ,new graces yearly like thy works display1 ,soft without weakness1 without glaring gay2 ,led by some rule that guides but not constrains1 ,and finish'd more through happiness than pains4 ,in what light can we consider the character painted by the bard when we compare it with the pictures painted by the artist8 ,it has been truly said1 that the poet has enshrined the feeble talents of the painter in the lucid amber of his glowing lines4 ,the conclusion of his epitaph on ,sir ,godfrey ,kneller affords another notable example3-- ,living1 great ,nature fear'd he might outvie ,her works2 and dying1 fears herself may die4 #fb ,were the head of the ,satyr of the ,wood 7,no4 #c7 close shaved1 and dignified with a clerical periwig1 it would bear a strong resemblance to ,sir ,joshua ,reynolds' portrait of the author of ,tristram ,shandy4 #fc ,which he is said to have caricatured in this plate4 #fd ,sing--we will drink nothing but ,lipari wine4--,rehearsal4 #fe ,the last paragraph in his preface1 p4 #aj1 begins as follows3-- ,that perspective is an essential requisite to a good painter1 is attested by all our most eminent artists1 and confirmed by almost every author who has wrote upon painting4 ,nay1 the very term 'painting' implies perspective2 for to draw a good picture is to draw the representation of nature as it appears to the eye2 and to draw the perspective representation of any object1 is to draw the representation of that object as it appears to the eye4 ,therefore the terms 'painting' and 'perspective' seem to be synonymous1 though ,i know there is a critical difference between the words4 ,i would not be understood to mean that a person is always to follow the rigid rules of perspective1 for there are some cases in which it may be necessary to deviate from them2 but then he must do it with modesty1 and for some good reason1 as we have shown in the course of this work4 ,nor would ,i be thought to desire the artist to make use of scale or compasses upon all occasions1 and to draw out every line and point to a mathematical exactness1 as the design of this work is quite the reverse3 it is to teach the general rules of perspective1 and to enforce the practice of it by easy and almost self-evident principles2 to assist the judgment and to direct the hand1 and not to perplex either by unnecessary lines or dry theorems4 ,the publication of this drew forth ,mr4 ,highmore1 who1 in the preface of a pamphlet with the following title1 now become very scarce1 gave his decided opposition to the system3-- ,a ,critical ,examination of those two ,paintings on the ceiling of ,whitehall1 in which ,architecture is introduced1 so far as relates to the ,perspective1 together with the discussion of a question which has been the subject of debate among painters4 ,written many years since1 but now first published1 by ,j4 ,highmore4 ,printed for ,nourse1 #aged4 ,the question ,mr4 ,highmore professes to discuss is by himself stated as follows1 viz43-- ,whether a range of columns1 standing on a line parallel to the picture1 ought to be painted according to the strict rules of perspective2 that is1 whether those columns1 in proportion as they recede from the centre of the picture1 should be drawn broader than that directly opposite to the eye1 as the rules require2 or whether 7because they really in nature appear less1 in proportion as they are more distant7 they ought not to be made less1 or at most1 equal to each other in the picture8444 ,mr4 ,kirby says1 p4 #gj of his first part3 ',since the fallacies of vision are so many and great1 etc41 it seems reasonable not to comply with the strict rules of mathematical perspective1 in some particular cases 7as in this before us71 but to draw the representations of objects as they appear to the eye1' etc4 ,but ,i would ask1 ,how8 ,by guess1 or by some rule8 ,and if by any1 by what rule are they to be drawn contrary to1 or different from1 the strict mathematical perspective rules8 ,in reply to these and many other strictures contained in the preface1 ,hogarth wrote some remarks to ,mr4 ,kirby1 in which he asks1 ,whether an oval or egg can be the true representation of a sphere or ball8 or whether buildings should be drawn by any such rule as would make them appear tumbling down1 and be allowed to be truly represented1 because the designer of them is able to show how a spectator may1 in half an hour's time1 be placed at such a point as would make them all appear upright8 as by a like trick or contrivance the oval may be foreshortened so as to appear a circle4 ,he further asks1 ,would a carpenter allow fourteen inches to be the true representation of a foot-rule1 since in no situation whatever can the eye possibly see it so8 ,again3 ,did ever any history-painter widen or distort his figures as they are removed from the centre of his picture8 ,or would he draw a file of musqueteers in that manner1 when the last man in the rank would be broader than high8 ,why would he then serve a poor column or pedestal thus1 when1 poor dumb things1 they cannot help themselves8 ,and are all objects exempt from the rules of perspective except buildings8 ,did ,highmore ever so much as dream of an intervening plane when he had been drawing a family piece with four or five people in a row1 so as to distort the bodies and forms of those who had the misfortune to be placed nearest to the side of the frame8 ,and what satisfaction would it be to his customers to tell them they were only disposed by the true rules of perspective1 and might be seen in their proper shape again if they would give themselves the trouble of looking through a pin hole at a certain distance1 which1 by learning perspective1 they might be able to find in half an hour's time2 or1 to save themselves that trouble1 they might get a painter to lug them about till their eye was brought to the proper point4 ,he then observes1 that he would not have the intervening plane wholly rejected1 but that it should be laid aside when it begins to do mischief1 or is of no use2 for it is no doubt as necessary to painters of architecture as scaffolding is to builders2 but1 like the latter1 is always to be taken away when the work comes to be finished2 and every defect that either may have occasioned must be corrected by the eye1 which is capable to judge of the most complicated objects1 perspectively true1 where the dry mathematics of the art are left far behind as incapable of lending the least assistance4 ,these things our mathematicians are strangers to1--therefore1 in my opinion1 have rated them too high4 ,dr4 ,swift thought mere ,philos a ridiculous sort of people1 as appears by a song of his on two very remarkable ones--,whiston and ,ditton4 ,i forget it particularly1 but it was about the longitude being mist on by ,whiston1 and not better hit on by ,ditton3 sing ,whiston1 etc4 etc4 ,ditton has wrote a good book on speculative perspective4 ,hogarth then alludes to ,highmore's critique on ,rubens' ceiling at ,whitehall1 and asks1 ,what is it but what almost every child knows1 even without the knowledge of perspective8 viz4 that parallel lines always meet in a point1 and that he has with penetration discovered4 ,oh1 wonderful discovery6 that ,rubens1 unskilfully1 has kept them parallel in his column1 to embellish which he has tacked two fibs3 one1 that the error was owing to the drawing them as they would appear to the eye2 the other1 that the historical figures are truly in perspective2 whereas ,king ,james1 the principal1 has a head widened or distorted1 though it goes off from the eye almost as much as he would have the side columns1 which are the subjects of controversy4 #ff ,though ,mr4 ,malton's description is built on fancy as much as ,mr4 ,hogarth's design1 it must be acknowledged that some of his criticism is just4 ,with respect to the column1 nothing either elevated or grand has yet been produced by violently deviating from the first models4 ,mr4 ,emlyn1 in the year #aghb1 published a proposition for a sixth order1 which in some points resembles ,hogarth's4 ,the plan of his column is to represent the particular character of our ,english chivalry in its most illustrious order--the order of the ,garter3 it is to be composed of the single trunks of trees2 his capitals are to be copied from the plumage of the knights' caps1 with the ,ionic volutes interwoven and bound together in the front1 with the star of the order between them4 ,the fluting of the trunk is cabled1 and the cables hollow and filled with the ,english arrow1 the feathered end rising out of each of them4 ,the ornament of the frieze over the columns is a plume of three ostrich feathers1 etc4 etc4 etc4 ,sir ,joshua ,reynolds1 in his discourse delivered ,december #aj1 #aggf1 gives the following strong reasons against any new order succeeding3-- ,though it is from the prejudice we have in favour of the ancients1 who have taught us architecture1 that we had adopted likewise their ornaments2 and though we are satisfied that neither nature nor reason are the foundation of those beauties which we imagine we see in that art2 yet if any one1 persuaded of this truth1 should therefore invent new orders of equal beauty1 which we will suppose to be possible1 yet they would not please2 nor ought he to complain1 since the old has that great advantage of having custom and prejudice on its side4 ,in this case we leave what has every prejudice in its favour1 to take that which will have no advantage over what we have left1 but novelty1 which soon destroys itself1 and at any rate is but a weak antagonist against custom4 #fg ,on our own stage we have seen dances in which the ingenious composer thought he represented the four seasons1 the four elements1 and the five senses4 ,these jigs conveyed about as much meaning as dancing odes or dancing sermons4 #fh ,mr4 ,rouquet1 enamel painter to the ,king of ,france1 in his book on ,the ,present ,state of the ,arts in ,england1 printed for ,nourse in #agee1 after enumerating chasing1 engraving1 painting1 sculpture1 architecture1 etc41 as arts that are practised in ,england1 concludes with a chapter on the ,art of ,cookery1 which he thus gravely introduces3-- ,there is an art1 the only one that can justly pretend to unite pleasure with absolute utility2 but this art1 born in servitude1 to which it is still condemned1 notwithstanding its extreme importance1 is reckoned ignoble1 for which reason some perhaps will be surprised at seeing me give it a place in this work2 ,i mean the art of preparing aliments4 #fi ,this is a palpable hit at ,handel4 ,in a caricatured portrait1 entitled ,the ,charming ,brute1 this great composer is delineated sitting on a hogshead with the profile of a boar1 a bill of fare1 and other emblems of voluptuousness scattered round him4 ,published ,march #ba1 #aged4 ,motto on a scroll1 ,i am myself alone1 and under the print these lines3-- ,the figure's odd1 yet who would think1 ,within this tomb of meat and drink ,there dwells the soul of soft desires1 ,and all that harmony inspires8 ,can contrast such as this be found ,upon the globe's extensive round8 ,there can6 yon hogshead is his seat1 ,his sole diversion is to eat4 ,when ,handel had once a large party to dinner1 the cloth being removed1 he introduced plain port4 ,having drank four or five glasses with his guests1 he suddenly started up--exclaimed--,i have a thought6 and stalked out of the room1 to which after a short absence he returned4 ,having drank a few more glasses he uttered the same sentence--again retreated1 and again returned4 ,it was naturally supposed that he wished to commit to paper some idea that struck him at the moment1 and passed over2 but1 when in less than an hour he a third time started--growled out--,i have a thought6 and a third time left the company1 one of the gentlemen privately followed1 and traced him into another apartment1 where1 on looking through the keyhole1 he saw this great master of music kneel down to a hamper of champagne1 that he might more conveniently reach out a flask1 which having nearly finished1 he returned to his friends6 #gj ,in ,hogarth's time the forms of nature were tortured and disguised by stiff stays3 the ladies of the present day are not guilty of this error4 ,as to the bloom of ,circassia1 the less that is said about it the better4 #ga ,however unimportant ,hogarth thought the cut of a coat1 certain adepts in the art1 about two years since1 published a half-guinea book1 on the scientific acquisitions necessary to make a perfect tailor6 ,this day is published1 price #ajs4 #f;d41 ,the ,tailor's ,complete ,guide1 or a ,comprehensive ,analysis of ,beauty and ,elegance of ,dress2 containing rules for cutting out garments of every kind1 and fitting any person with the greatest accuracy and precision4 ,also plain directions how to avoid the errors of the trade in misfitting1 and pointing out the method of rectifying what may be done amiss2 to which is added a description to cut out and make the patent plastic habits and clothes without the usual seams1 now in the highest estimation with the nobility and gentry1 according to the patent granted by his ,majesty2 the whole concerted and devised by a society of adepts in the profession4 999999 ,this work was undertaken solely for the benefit of the trade1 to instruct the rising generation1 and perfectly to complete them in the art and science of cutting out clothes4 ,the copperplates consist of each separated part1 which will on the first view convince the uninformed mind that with a little attention he may be a complete tailor4 #gb ,hogarth might conceive that1 by rendering the habits of his early figures more conformable to the fashion of the times1 when they were altered he improved them4 ,collectors are of a different opinion1 though it must be acknowledged that1 in ,plate ,,iv4 of ,the ,rake's ,progress1 the humour is much heightened by introducing a group of vulgar minor gamblers in the place of the shoeblack4 #gc ,the picture was exhibited at ,spring ,gardens in the year #agfa1 with the title of ,piquet1 or ,virtue in ,danger1 and is still in the collection of the nobleman for whom it was painted4 ,it may fairly be considered as a moral lesson against gaming4 ,the clock denotes five in the morning4 ,the lady has lost her money1 jewels1 a miniature of her husband1 and the half of a #ejj bank note1 which1 by a letter lying on the floor1 she appears to have recently received from him4 ,in fine1 all is lost except her honour2 and in this dangerous moment she is represented perplexed1 agitated1 and irresolute4 ,a print of it has lately been finely engraved by ,mr4 ,cheesman4 #gd ,in the little memorandum book from which ,i extracted this1 ,hogarth has inserted the following note 7without the translation7 from ,horace4 ,i do not produce it as a proof that he was a ,latin scholar1 but suppose that the lines were pointed out by some literary friend1 and he thus applied them3-- ,segnius irritant animos dimissa per aures1 ,quam qu sunt oculis commissa fidelibus4 ,what we hear1 ,with weaker passion will affect the ear1 ,than when the faithful eye beholds the part4 --,,francis4 #ge ,the artist requested his widow would not sell it during her lifetime for less than #ejj4 ,she abided by his injunction4 ,since her death it was put up to auction at ,greenwood's rooms1 and purchased by ,messrs4 ,boydell3 it is in their possession now4 ,i some years since saw a picture of ,lucretia1 by ,domenichino1 in the collection of ,mr4 ,welbore ,ellis ,agar1 which in air1 attitude1 and expression1 bore a strong resemblance to ,hogarth's ,sigismunda4 #gf ,the ,altar-piece to ,st4 ,mary ,redcliffe's1 ,bristol1 for which he received five hundred pounds1 and the ,paul before ,felix1 painted for ,lincoln's-,inn ,hall4 #gg ,that this picture was much abused is certain1 but it is equally certain that the painter had occasionally some consolatory compliments4 ,robert ,lloyd1 in one of his fables1 asserts that ,sigismunda ,shall urge a bold and proper claim ,to level half the ancient fame4 ,a writer in the ,public ,advertiser1 ,march #g1 #agfa1 honours it with the following stanzas3-- ,upon seeing the picture of ',sigismunda1' painted by ,hogarth4 ,antiquity1 be dumb6 no longer boast ,arts yet unrivall'd or invention lost3 ,from ,greece1 whose taste was fashion'd into law1 ,from far-fam'd ,greece1 one instance let us draw4 ,atrides' grief ,timanthes strove to paint1 ,but found his art was foil'd1 his colours faint3 ,a veil conceal'd the inexpressive face1 ,and what was want of power was call'd 'a grace4' ,in ,sigismund the mind no want supplies1 ,the painter trusts his genius to your eyes2 ,passion's warm tints beneath his pencil glow1 ,and from the canvas starts the living woe4 ,at length be just--throw prejudice aside2 ,the modern shows--what the ,greek could but hide4 ,then from the ancient take the palm away1 ,and crown the greatest ,artist of his day4 --,,howard4 #gh ,n4,b4--,at ,sir ,luke ,schaub's sale1 ,sir ,richard ,grosvenor bid four hundred pounds for a less picture1 said to be a ,correggio1 but really painted by an obscure ,french artist4 #gi ,it appears by the subscription-book that it closed ,march #bf4 ,during this time there were fifty subscribers at half a guinea each2 the receipts were given on the print of ,time ,smoking a ,picture4 ,the first name is that of ,dr4 ,garnier1 for two prints2 the last1 who also subscribes for two prints1 is ,mr4 ,thomas ,hollis4 ,this gentleman would not receive back the guinea he had paid1 and it was given to a public charity4 ,among the names are the late ,philip ,thicknesse1 ,dr4 ,hunter1 ,samuel ,curteis of ,wapping1 and ,david ,garrick2 against each of the subscriptions is marked1 ,money returned4 ,under the direction of ,hogarth1 ,mr4 ,basire made an etching from ,sigismunda1 but it was never finished4 ,a drawing in oil was made from it by ,mr4 ,edwards1 and it was a few years since engraved in mezzotinto by ,dunkerton4 ,mr4 ,ridley engraved it for ,messrs4 ,boydell1 and a reduced copy is in the first volume of ,hogarth ,illustrated4 #hj ,the chosen band who then directed the storm1 having dragged poor ,sigismunda into their political vortex1 the cannibal caricaturists of the day tore her in pieces as a carcase for the hounds1 and rioted over her mangled remains4 ,one of these political slaughtermen1 in a print entitled ,the ,bruiser ,triumphant1 describes ,sigismunda in the character of a harlot blubbering over a bullock's heart4 ,in another1 elegantly inscribed ,tit for ,tat1 ,hogarth is represented painting ,wilkes' portrait1 and a bloated and filthy figure displayed in the background baptized ,sigismunda4 ,many other wretched and contemptible squibs were hurled about on the same occasion4 ,besides this public abuse1 some of the anonymous versifiers of the day1 who were not yet important enough to figure in a newspaper or flutter in a magazine1 condescended to notice his political errors1 and for the gratification of the artist transmitted their effusions to ,leicester ,fields4 ,the following stanzas ,i found among his other papers1 addressed ,to the ,author of the ,times4 ,why1 ,billy1 in the vale of life1 ,show so much rancour1 spleen1 and strife8 ,why1 ,billy1 at a statesman's whistle1 ,drag dirty loads and feed on thistle8 ,did any of the long-ear'd tribe ,e'er swallow half so mean a bribe8 ,pray have you no sinister end1 ,thus to abuse the nation's friend8 ,his country's and his monarch's glory1 ,who prais'd no man as ,whig or ,tory4 ,his country is his dearest mother1 ,and every honest man his brother4 ,not so your patron can appear1 ,he buys up scrip1 and stops the arrear2 ,his practice still1 in every station1 ,to serve himself and starve the nation4 ,then1 ,billy1 in the vale of life1 ,desist from all this noise and strife2 ,for though the hint perhaps is bold1 ,i tell thee thou art growing old4 ,read coolly1 o'er thy evening glass1 ,toledo's bishop in ,gil ,blas4 ,christening the author of the ,north ,briton his country's and his monarch's glory1 leads us to suspect that the ingenious gentleman who fabricated the above rhymes had some little portion of party prejudice4 ,the ,quaker who wrote the annexed letter and epigram1 which1 as well as the verses that follow1 were amongst ,hogarth's manuscripts1 was moved by a very different spirit3-- ,of the eighth month1 the #bjth day1 #agfc4 ,,friend ,,hogarth1--,i am one of those people1 by a sort of disrespectful appellation1 called ,quakers2 for we strive to abound in the milk of human kindness1 and prefer the dove to the serpent4 ,i know thee not but by thy works and fame as an ingenious artist in thine own way4 ,i have seen thy compositions and handy works1 and think them not only ingenious1 but moral1 and even more than dramatic1 perfectly epic2 so that ,i think thou deservest the character of the ,epic painter1 which ,i hereby bestow upon thee1 and by which thou shalt be distinguished in future generations2 for if ,i do not much mistake the matter1 thy name will be had in honour when thine adversaries shall have perished1--,i would have said1 and shall stink1--but that they do already4 ,i have hereby sent thee an epigram1 such as my spirit dictated to me4 ,i fear it hath too much in it of the gall of bitterness4 ,but ,i will tell thee1 friend ,hogarth1 ,i am a man of some small property and authority1 having cattle under me2 and when the brutes are poisoned1 ,i cure them with wormwood4 ,let not thy noble spirit that is in thee be diverted from its true and masterly turn of exposing licentiousness1 vice1 hypocrisy1 faction1 and apostasy4--,thine in all brotherly and good wishes1 ,,ephraim ,,knox4 ,,an ,,epigram4 ,to the ,rev4 ,charles ,churchill1 ,esquire1 etc4 ,thou boast'st1 vain ,churchill1 with thy gray goose quill1 ,thou'st kill'd1 or surely wilt poor ,hogarth kill4 ,alas6 he 7with the world7 will only smile ,at self-importance in a frippery style4 ',churchill1 stand forth6'--,i call thee not my friend2-- ,the sober dictates of my lines attend4 ,wast thou1 like ,hogarth1 in thine own way good1 ,thou in the reading-desk might'st yet have stood2 ,though poor1--perhaps a reputable curate1-- ,sad6 that thy stubborn heart is yet obdurate4 ,without fair hope of pension or of place1 ,to make a shipwreck of divinest grace6 --,,ephraim ,,knox4 ,to ,mr4 ,hogarth4 ,,brighthelmstone1 ,july #i1 #agfc4 ,,sir1--,you see the effects of the salt waters here2 they incline us to scribble by way of amusement4 ,i have sent you the following stanzas1 which you may print or do what you please with3-- ,to the ,rev4 ,c4 ,churchill4 ,non ut pictura poesis4 ,dear ,churchill1 what ill-fated hour ,has put thee into ,hogarth's power8 ,this railing shows how much you're hurt1 ,while ,hogarth nothing meant but sport2 ,transmitting unto future times ,what might not live in ,churchill's rhymes1-- ,the perfect hero1 poet1 sage6 ,the pride1 the wonder of the age6 ,that form1--which eating ,peers admired1-- ,which heaven-born liberty inspir'd6 ,which keeps our ministers in awe1 ,and is from justice screen'd by law6 ,the sad resource to which you're driven1 ,appears by your appeal to heaven3 ,a place ne'er thought on once before1-- ,withdraw th' appeal and give it o'er4 ,you must proceed by different ways2 ,your only court's the ,common ,pleas4 ,horace was wrong when once he said1 ,hogarth and he were of a trade4 ,no varying verse1 howe'er divine1 ,can match with ,raphael's stronger line4 ,the pencil1 like contracted light1 ,strikes with superior force the sight4 ,churchill1 be wise3 in time retire1 ,while ,hogarth yet suspends his fire2 ,there's something in thee like a spell1 ,though we can't love1--we wish thee well4 ,you ne'er can wish to purchase shame1 ,by driving on a losing game3 ,his feeble hand1 though you despise it1 ,will make you tremble1 should he rise it3 ,already has his fancy hit on ,a frontispiece for the ,north ,briton2 ,where in full view the virtuous pair ,shall thus their various merits share4 ,thy rose and ,bible thrown aside1 ,and the long cassock's tatter'd pride2 ,his liberal hand shall in their stead ,place nettles circling round thy head1 ,entwin'd with thistles fully blown1 ,to wear these honours all thy own6 ,next1 round thy friend1 and all in taste1 ,see every social virtue plac'd2 ,fair ,truth and modest ,candour joined1-- ,those softer emblems of the mind2 ,faction expiring by his pen1 ,and ,loyalty restor'd again2 ,whilst he regards not this or that1 ,secure of ,t---- and of ,p----4 ,the piece thus finish'd for our view1 ,the lines correct1 the likeness true1 ,hogarth1 ensur'd of future fame1 ,shall consecrate to ,churchill's name4 #ha ,i think the reader will agree with me1 that such assertions as the following demanded an apology3-- ,his 7,hogarth's7 works are his history4 ,as a painter he had but slender merit2 in colouring he proved no greater a master3 his force lay in expression1 not in tints and chiaroscuro4--,anecdotes of ,painting1 vol4 iv4 p4 #afj4 ,how was it possible for ,mr4 ,walpole to have written the foregoing lines after having seen the pictures of ,marriage la ,mode8 #hb ,the last volume was not published till ,october #i1 #aghj1 though printed in #agga4--;,advertisement to vol4 iv4 #hc ,the reader is referred to ,vol4 ,,ii4 ,plate #gj1 where the picture is given in its perfected state4 #hd ,archbishop ,tillotson remarks in one of his sermons1 that ,hocus ,pocus is derived from ,hoc est ,corpus4 #he ,this new dispensation 7,methodism7 is a composition of enthusiasm1 superstition1 and imposture4 ,when the blood and spirits run high1 inflaming the brain and imagination1 it is most properly enthusiasm1 which is religion run mad4 ,when low and dejected1 causing groundless terrors1 or the placing the great duty of man in little observances1 it is superstition1 which is religion scared out of its senses4 ,when any fraudulent dealings are made use of1 and any wrong projects carried on under the mask of piety1 it is imposture1 and may be termed religion turned hypocrite4--,lavington's ,enthusiasm of ,methodists and ,papists ,compared1 vol4 i4 p4 #gi4 #hf ,mahomet being once asked1 ,what is this ,alla1 whom thou declarest unto the people8 with much more exalted and sublime ideas1 replied1 ,it is he who derives being from himself2 from whom all others derive their being2 and to whom there is no likeness in the whole extent of space4 #hg ,bishop ,lavington1 after quoting many of the legends of ,st4 ,catherine and ,st4 ,teresa1 and the journals of modern ,methodists1 which in a very similar style describe their divine love1 concludes as follows3-- ',tis true indeed1 as the legendaries own1 that ,st4 ,catherine was slandered as a fond and light woman1 and ,st4 ,teresa kept such bad company1 that most persons concluded celestial visions were not compatible with her kind of life2 but all this may be reconciled2 for these excesses of the spiritual and carnal affections are nearer allied than is generally thought1 arising from the same irregular emotions of the blood and animal spirits2 and the patient is hurried on either way1 according to the nature of the object2 and ,i am much mistaken1 and so is history too1 if some of the warmest and most enthusiastic pretenders to the love of ,god have not entertained the same violence of passion 7not quite so spiritual7 for their neighbours4--,lavington's ,enthusiasm of ,papists and ,methodists ,compared1 vol4 i4 p4 #eg4 #hh ,let it not be supposed that because the female mendicant and her handcuffed neighbour are half naked1 they are in any degree ashamed4 ,among the ,papists there are religious orders who profess to prefer food1 bed1 and raiment of the vilest sort for their greater spiritual proficiency2 and ,st4 ,philip ,nerius was such a lover of poverty1 that he frequently besought ,almighty ,god to bring him to such a state as to stand in need of a penny1 and find nobody that would give him one4--,lavington's ,enthusiasm1 etc4 #hi ,what renders this still more curious is1 that the word signifies oxen4 #ij ,when this circumstance was once mentioned to ,dr4 ,rundle1 as a striking instance of ,abraham's obedience1 the ,doctor in reply said1 that however it might be generally understood1--if he had been a ,justice of ,peace in ,abraham's parish1 he would have committed him till he found sufficient bail for his good behaviour4 ,some good-natured friend repeated this speech to ,queen ,caroline1 and it retarded ,rundle's promotion for many years4 #ia ,of the plate in its first state there are only two impressions1 both of them in the possession of the ,editor1 who has published a correct copy of the same size1 which may be had from him or from ,messrs4 ,boydell4 ,on the margin of these two prints ,hogarth has inserted slight pen-and-ink sketches of ,a ,monk as a ,windmill1 the ,hopper of a ,mill1 etc4 ,these are copied in the annexed plate of reference1 and in a degree elucidated by the following passage in ,burnet's ,travels through ,switzerland1 etc41 p4 #bcb3-- ,over a popish altar at ,worms is a picture one would think invented to ridicule transubstantiation4 ,there is a windmill1 and the ,virgin throws ,christ into the hopper1 and he comes out at the eye of the mill all in wafers1 which some priest takes up to give to the people4 ,this is so coarse an emblem1 that one would think it was too gross even for ,laplanders2 but a man that can swallow transubstantiation will digest this likewise4 ,of painters presuming to explain the ,trinity by a triangle1 ,hogarth and ,swift thought alike3 ,if ,god should please to reveal unto us this great mystery of the ,trinity1 or some other mysteries in our holy religion1 we should not be able to understand them unless ,he would bestow on us some new faculties of the mind4--,,swift4 #ib ,for eating and drinking we know the best rules1 ,our fathers and mothers were blockheads and fools2 ',tis dress1 cards1 and dancing1 alone should engage ,this highly enlighten'd and delicate age4 #ic ,since the publication of the first edition of this volume1 a print of a larger size has been copied from the picture by ,mr4 ,t4 ,philips4 #id ,these raptures were expensive4 ,the lavish profusion which our people of rank then displayed in their presents to this band of quavering exotics is scarcely credible4 ,the ,daily ,advertiser gives a list of some of the contributors1 and states ,farinelli's share at more than #bjjj a year2 to which if we add his salary #aejj and casual presents1 his annual income must have been more than four thousand pounds6 #ie ,see ,shakspeare's ,julius ,csar and ,antony and ,cleopatra4 #if ,of this gentleman there is a tolerably good mezzotinto print1 engraved by ,kirkall from a picture by ,goupy1 with the following curious inscription from the ,italian3-- ,renown'd ,sienna gave him birth and name1 ,kind ,heaven his voice1 and harmony his fame4 ,while here the great and fair their tribute bring1 ,the deaf may wonder whence his merits spring1 ,but all think ,fortune just that hear him sing4 ,there is a portrait of ,carlo ,broschi ,detto ,farinelli1 ,amiconi pinxit4 ,c4 ,grignion sculp4 small circle4 #ig ,art of ,spelling1 ,the ,complete ,justice1 etc4 ,this austere magistrate has been said to be intended for ,sir ,thomas ,de ,veil1 who raised himself from the rank of a common soldier to a station in which he made a considerable figure2 but ,de ,veil wrote ,french and ,english1 and was both intelligent and active4 #ih ,religious ,ceremonies of all ,nations1 published at ,amsterdam in #agce4 ,he entitles this print1 ,le ,serment de la ,fille qui se trouve enceinte4 ,on the same page he has introduced a copy from ,sympson's print of orator ,henley christening a child1 and calls it ,le ,baptme ,domestique4 #ii ,the gates of this charity were for several years open to the orphans of those who fell in the battles of their country4 ,a great number of the children who became orphans by the battle of ,minden were admitted into this ,hospital4 #ajj ,when ,schalcken once painted a portrait of ,king ,william1 he requested his ,majesty to hold the candle2 this the monarch did till the tallow ran down upon his fingers4 ,to justify this piece of ill-breeding1 the painter drew his own portrait in the same situation4 #aja ,the conductors of this office have printed proposals1 stating their terms1 etc42 but the business is sometimes transacted by individuals1 through the medium of the public prints4 ,the following advertisements are copied from the daily papers3-- ,,matrimony4 ,a gentleman of honour and property having in his disposal at present a young lady of good family1 with a fortune of sixty thousand pounds on her marrying with his approbation1 would be very happy to treat with a man of fortune and family1 who may think it worth his while to give the advertiser a gratuity of five thousand pounds4 ,direct1 etc4 ,,matrimony4 ,a gentleman who hath filled two succeeding seats in ,parliament1 is near sixty years of age1 lives in great splendour and hospitality1 and from whom a considerable estate must pass if he dies without issue1 hath no objection to marry any single lady1 provided the party be of genteel birth1 polite manners1 and five1 six1 seven1 or eight months advanced in her pregnancy4 ,address to ---- ,brecknock1 ,esq41 etc4--,pub4 ,adv41 ,april #af1 #aggf4 #ajb ,the apology here alluded to was made in a letter to the author of the ,beggars' ,opera1 dated ,december #af1 #agca1 and ushered into the world as written by a ,mr4 ,cleland1 who had a few years before sent a letter to the publisher of the ,dunciad1 explaining the author's motives for writing the poem1 and subjoining a list of the books in which he had been abused1 etc4 ,this ,pope printed2 and this1 as well as the letter to ,mr4 ,gay1 it was universally believed was written by ,pope4 ,in a note to the letter to ,gay1 printed in the same volume with the ,dunciad1 the poet1 after giving ,mr4 ,cleland a very high character for diligence1 punctuality1 etc41 concludes3 and yet for all this1 the public will not allow him to be the author of this letter4 #ajc ,hogarth has introduced these three figures in rather a better style1 in his print of ,the ,small ,masquerade ,ticket1 or ,burlington ,gate4 #ajd ,mr4 ,pope has honoured this dignified divine with a slight stroke in the ,epistle to ,lord ,burlington1 and note on the lines-- ,to rest1 the cushion and soft ,dean invite1 ,who never mentions hell to ears polite4#aje #aje ,a reverend ,dean1 preaching at ,court1 threatened the sinner with punishment in a place he thought it not decent to name in so polite an assembly4--,p4 #ajf ,to this architectural ornament he has an unquestionable right4 ,his ,lordship 7besides other buildings7 designed the ,dormitory at ,westminster ,school1 the ,assembly ,room at ,york1 ,lord ,harrington's at ,petersham1 and ,general ,wade's in ,cork ,street4 ,the latter1 though ill-contrived and inconvenient1 had so beautiful a front1 that ,lord ,chesterfield said1 ,as the ,general could not live in it at his ease1 he had better take a house over against it1 and look at it4 #ajg ,yet shall 7my ,lord7 your just1 your noble rules1 ,fill half the land with imitating fools1 ,who random drawings from your sheets shall take1 ,and of one beauty many blunders make4 ,his ,lordship was then publishing copies from the designs of ,palladio and ,inigo ,jones4 ,the elegant but ill-natured stanzas which allude to the ,duke of ,chandos1 beginning1 ,at ,timon's villa let us pass a day1 everybody knows4 ,the delicately turned compliments to ,lord ,burlington display the poet's art2 his precepts on ornamental gardening prove his taste and judgment4 ,i cannot resist the temptation of recalling six or eight lines to the reader's recollection1 were it only to subjoin ,dr4 ,warburton's curious note1 which admirably illustrates the remark that ,a perfect judge will read each work of wit ,with the same spirit that its author writ3-- ,consult the ,genius of the place in all2#ajh ,that tells the waters or to rise or fall2 ,or helps the ambitious hill the heavens to scale1 ,or scoops in circling theatre the vale2 ,calls in the country1 catches opening glades1 ,joins willing woods1 and varies shades from shades4 ,now breaks or now directs th' intending lines1 ,paints as you plant1 and as you work designs4 #ajh ,,the ,,note6 ,first1 the ,genius of the place 'tells the waters1' or only simply gives directions3 then he 'helps the ambitious hill1' or is a fellow-labourer3 then again1 he 'scoops the circling theatre1' or works alone1 or in chief4 ,afterwards1 rising fast in our idea of dignity1 he 'calls in the country1' alluding to the orders of princes in their progress1 when accustomed to display all their state and magnificence4 ,his character then grows sacred1 'he joins willing woods1' a metaphor taken from one of the offices of the priesthood1 till at length he becomes a divinity1 and creates1 and presides over the whole4--,warburton's edit4 of ,pope1 #ageb1 vol4 iii4 p4 #bhe4 ,would the reader wish a better specimen of the ,bishop's taste6 #aji ,an artist in the year #agfb stole ,hogarth's thunder1 and aimed the bolt at the head of him who had forged it4 ,in a print entitled ,the ,butifyer1 or a ,touch upon the ,times1 he is represented in the character of a shoeblack1 blackening a great jack-boot1 and bespattering the surrounding crowd4 ,beneath is inscribed1 ,with what judgment ye judge1 shall ye be judged4--,matt4 chap4 vii4 ver4 #b2 and1 ,in justice to ,mr4 ,hogarth1 the engraver of this plate declares to the public he took the hint of ',the ,butifyer' from a print of ,mr4 ,pope whitewashing ,lord ,burlington's gate1 and at the same time bespattering the rest of the nobility4 #aaj ,fielding and ,hogarth had in some respects similar powers and similar want of success in things for which they seemed peculiarly gifted4 ,admirable as was the dialogue of the comic characters in ,fielding's novels1 he was unable to give them stage effect2 and though ,hogarth saw nature in all her varieties1 and gave to every face the index of their mind1 he rarely succeeded in historical pictures4 #aaa ,this etching is so nearly a fac-simile of the original1 that when it was brought home ,hogarth mistook it for his own drawing1 which1 considering of no value1 he threw into the fire1 whence it was snatched by ,mrs4 ,lewis1 though not before the paper was scorched4 ,hogarth made a very whimsical design for ,fielding's tragedy of tragedies1 ,tom ,thumb the ,great4 ,it was engraved by ,vandergucht1 and is prefixed to the play published by ,lowndes1 etc4 #aab ,mr4 ,king1 in his ,observations on ,ancient ,castles1 observes that ,lord ,lovat was one of the last chieftains that preserved the rude manners and barbarous authority of the early feudal ages4 ,he resided in a house which would be esteemed but an indifferent one for a very private plain country gentleman in ,england1 as it had properly only four rooms on a floor1 and those not large4 ,here1 however1 he kept a sort of court1 and several public tables1 and a numerous body of retainers always attending4 ,his own constant residence1 and the place where he always received company1 even at dinner1 was the very same room where he lodged2 and his lady's sole apartment was her bedroom2 and the only provision for the lodging of the servants and retainers was a quantity of straw1 which they spread every night on the floors of the lower rooms1 where the whole inferior part of the family1 consisting of a very great number of persons1 took up their abode6--,archologia1 vol4 iv4 #aac ,by a book on the table1 inscribed ,memoirs1 ,hogarth seems to allude to the manuscript4 #aad ,in the name by which the old peer supposed the ,maiden was to be distinguished in a future age1 he was mistaken4 ,the ,guillotine is an improvement of the ,maiden2 so that1 though ,france has been the first to bring it into universal practice1 ,scotland is entitled to the whole honour of the invention4 #aae ,the mad peer in ,pope's imitation of ,horace was not very grateful to the d--d doctor3 ,who1 from a patriot of distinguished note1 ,blister'd and bled him to a single vote4 #aaf ,a complete set of reduced copies from his prints are now publishing at ,gottingen1 with illustrations in the ,german and ,french languages4 #aag ,jarvis and ,smollett have strangely translated it spindle-shanked1 which by no means accords with the rest of his figure4 #aah ,jarvis oddly enough translates it seven feet4 #aai ,let it not be said in objection that many of the attendants are idle lookers on1 and most of them laughing at their governor2 for ,i am told a similar practice has sometimes prevailed in more regular governments4 #abj ,the original and scarce print from which this was copied1 ,i owe to the kindness of ,sir ,james ,lake1 ,bart41 who did me the honour of presenting it to me4 #aba ,noble's ,contin4 to ,grang41 ,b4 iii4 p4 #dah4 #abb ,in this circumstance the artist must have been misinformed4 ,at the fire he mentions1 five of the ,harlot's ,progress were burnt2 the sixth is now in the possession of ,lord ,charlemont4 ,the eight of the ,rake's ,progress were not destroyed4 #abc ,francis ,beckford1 ,esq41 to whom ,i find1 by one of ,hogarth's memorandums1 they were sold for #hh1 #ds4 #abd ,the ,r must have been a mistake of the writing-engraver4 ,ravenet's christened names were ,simon ,francis4 #abe ,the mottoes were selected by the ,reverend ,arnold ,king4 #abf ,the twelve prints were originally published at #abs4 #abg ,so does he express himself in the ,,ms41 though the ,roast ,beef was published ,march #f1 #agdi1 and the ,march1 ,december #ca1 #agej4 #abh ,it has been said that ,hogarth never went farther into ,france than ,calais2 this proves he had reached ,paris4 #abi ,this was afterwards copied for a watch-paper4 #acj ,about eight years after the publication of these prints1 when there was an ,act in contemplation relative to the distilleries1 ,hogarth received the following anonymous letter3-- ,december #ab1 #agei4 ,,sir1--,when genius is made subservient to public good1 it does honour to the possessor1 as it is expressive of gratitude to his ,creator1 by exerting itself to further the happiness of ,his creatures4 ,the poignancy and delicacy of your ridicule has been productive of more reformation than more elaborate pieces would have effected4 ,on the apprehension of opening the distillery1 methinks ,i hear all good men cry1 ,fire6--it is therefore the duty of every citizen to try to extinguish it4 ,rub up1 then1 ,gin ,lane and ,beer ,street1 that you may have the honour and advantage of bringing the two first engines to the fire2 and work them manfully at each corner of the building2 and instead of the paltry reward of thirty shillings allowed by ,act of ,parliament1 receive the glorious satisfaction of having extinguished those fierce flames which threaten a general conflagration to human nature1 by pouring liquid fire into the veins of the now brave ,britons1 whose robust fabrics will soon fall in when these dreadful flames have consumed the inside timbers and supporters4--,i am1 ,sir1 yours1 etc41 ,,an ,,englishman4 #aca ,humanity and tenderness of mind were the leading characteristics of my most valued and most regretted friend ,mortimer3 he would not have trod on a worm2 yet in painting subjects from which the common eye would revolt1 he had the greatest delight4 ,,transcriber',s ,,note ,italic text is denoted by underscores4 ,a superscript is denoted by 2 for example ,m,r1 ye4 ,obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources4 ,footnotes have been moved to the end of the book text4 ,some ,footnotes are very long4 ,one occurrence of the #c-star asterism symbol is denoted by 9999994 ,one occurrence of the old long-form s is denoted by 4 ,footnotes #aje and #ajh are referenced from the prior ,footnotes #ajd and #ajg1 and not from the text itself4 ,footnote #ee is referenced by two anchors in the same paragraph4 ,for consistency and to follow the intent of the publisher1 the ,plate illustrations have been moved to the beginning of the section describing them4 ,in most cases this was only one or two paragraphs earlier than the original book layout4 ,quotations of ,hogarth himself1 and all letters1 have been indented in the main text 7but not the ,addenda1 ,notes1 or ,footnotes74 ,all other quotations have not4 ,the original text was not completely consistent in its use of vertical whitespace to end letters and ,hogarth quotations4 ,three illustrations listed in the ',list of ,plates' have no description in the text1 and have been placed after ',the ,farmer's ,return' section4 ,the three are3 ',inhabitants of the ,moon' ',receipt for ,print of ,march to ,finchley' ',gravity'4 ,the item numbering in the ',chronological ,list' at the end of the book is sometimes inconsistent or incorrect4 ,this has been left unchanged4 ,except for those changes noted below1 all misspellings in the text1 and inconsistent or archaic usage1 have been retained4 ,for example1 face-painter1 face painter2 ,boleyne1 ,bulleyn2 dissatisfactory2 confuting2 unascertained2 personate4 ,pg vii1 ',,martin ,,foulkes1 ,,esq4' replaced by ',,martin ,,folkes1 ,,esq4'4 ,pg #ch ,footnote #ah1 'countenanced by by ,sir' replaced by 'countenanced by ,sir'4 ,pg #ajb1 'acquintance with men' replaced by 'acquaintance with men'4 ,pg #ajg1 ',a ,monsieur ,monsieur ,reiffsten' replaced by ',a ,monsieur ,reiffsten'4 ,pg #agj ,footnote #he1 ',enthasiasm of ,methodists' replaced by ',enthusiasm of ,methodists'4 ,pg #bcc1 'jellies1 sweatmeats' replaced by 'jellies1 sweetmeats'4 ,pg #bhi1 ',grostesque1 and good' replaced by ',grotesque1 and good'4 ,pg #bib1 ',june ye ' subscript replaced by ',june ye ' superscript4 ,pg #cjb1 ',churchil 7once' replaced by ',churchill 7once'4 ,pg #cad1 ',vide #age' replaced by ',vide p4 #age'4 ,pg #caf1 ',vide #aii' replaced by ',vide p4 #aii'4 ,pg #cbj1 'mezzottinto by' replaced by 'mezzotinto by'4