Part 10

The history of the work is as follows: The Rev. _John Trusler_ engaged with some engravers in this design, after _Hogarth's_ death, when they could carry it into execution with impunity. Mrs. _Hogarth_, finding her property would be much affected by it, was glad to accept an offer they made her, of entering into partnership with them; and they were very glad to receive her, knowing her name would give credit to the publication, and that she would certainly supply many anecdotes to explain the plates. Such as are found in the work are probably all hers. The other stuff was introduced by the editor to eke out the book. We are informed, that, when the undertaking was completed, in order to get rid of her partners, she was glad to buy out their shares, so that the whole expence which fell on her amounted to at least 700 _l._

[81] "They abound," says an excellent judge, "in true humour; and satire, which is generally well-directed: they are admirable moral lessons, and afford a fund of entertainment suited to every taste: a circumstance, which shews them to be just copies of nature." We may consider them too as valuable repositories of the manners, customs, and dresses of the present age. What amusement would a collection of this kind afford, drawn from every period of the history of _Britain!_--How far the works of _Hogarth_ will bear a critical examination, may be the subject of a little more enquiry. In design _Hogarth_ was seldom at a loss. His invention was fertile, and his judgement accurate. An improper incident is rarely introduced; a proper one rarely omitted. No one could tell a story better; or make it, in all its circumstances, more intelligible. His genius, however, it must be owned, was suited only to low, or familiar subjects. It never soared above common life: to subjects naturally sublime, or which from antiquity, or other accidents, borrowed dignity, he could not rise. In composition we see little in him to admire. In many of his prints, the deficiency is so great, as plainly to imply a want of all principle; which makes us ready to believe, that when we do meet with a beautiful group, it is the effect of chance. In one of his minor works, the Idle Prentice, we seldom see a crowd more beautifully managed, than in the last print. If the sheriff's officers had not been placed in a line, and had been brought a little lower in the picture, so as to have formed a pyramid with the cart, the composition had been unexceptionable: and yet the first print of this work is so striking an instance of disagreeable composition, that it is amazing, how an artist, who had any idea of beautiful forms, could suffer so unmasterly a performance to leave his hands. Of the distribution of light _Hogarth_ had as little knowledge as of composition. In some of his pieces we see a good effect; as in the execution just mentioned; in which, if the figures at the right and left corners had been kept down a little, the light would have been beautifully distributed on the fore-ground, and a little fine secondary light spread over part of the crowd: but at the same time there is so obvious a deficiency in point of effect, in most of his prints, that it is very evident he had no principles. Neither was _Hogarth_ a master in drawing. Of the muscles and anatomy of the head and hands he had perfect knowledge; but his trunks are often badly moulded, and his limbs ill set on. I tax him with plain bad drawing; I speak not of the niceties of anatomy, and elegance of outline: of these indeed he knew nothing; nor were they of use in that mode of design which he cultivated: and yet his figures, upon the whole, are inspired with so much life and meaning, that the eye is kept in good humour, in spite of its inclination to find fault. The author of the Analysis of Beauty, it might be supposed, would have given us more instances of grace, than we find in the works of _Hogarth_; which shews strongly that theory and practice are not always united. Many opportunities his subjects naturally afford of introducing graceful attitudes; and yet we have very few examples of them. With instances of picturesque grace his works abound. Of his expression, in which the force of his genius lay, we cannot speak in terms too high. In every mode of it he was truly excellent. The passions he thoroughly understood, and all the effects which they produce in every part of the human frame: he had the happy art also of conveying his ideas with the same precision with which he conceived them.--He was excellent too in expressing any humorous oddity, which we often see stamped upon the human face. All his heads are cast in the very mould of nature. Hence that endless variety, which is displayed through his works: and hence it is, that the difference arises between his heads, and the affected caricaturas of those masters, who have sometimes amused themselves with patching together an assemblage of features from their own ideas. Such are _Spagniolet's_; which, though admirably executed, appear plainly to have no archetypes in nature. _Hogarth's_, on the other hand, are collections of natural curiosities. The _Oxford-heads_, the physicians-arms, and some of his other pieces, are expressly of this humorous kind. They are truly comic; though ill-natured effusions of mirth: more entertaining than _Spagniolet's_, as they are pure nature; but less innocent, as they contain ill-directed ridicule.--But the species of expression, in which this master perhaps most excels, is that happy art of catching those peculiarities of air, and gesture, which the ridiculous part of every profession contract; and which, for that reason, become characteristics of the whole. His counsellors, his undertakers, his lawyers, his usurers, are all conspicuous at sight. In a word, almost every profession may see, in his works, that particular species of affectation which they should most endeavour to avoid. The execution of this master is well-suited to his subjects, and manner of treating them. He etches with great spirit; and never gives one unnecessary stroke. For myself, I greatly more value the works of his own needle, than those high-finished prints on which he employed other engravers. For as the production of an effect is not his talent; and as this is the chief excellence of high finishing; his own rough manner is certainly preferable; in which we have most of the force and spirit of his expression. The manner in none of his works pleases me so well as in a small print of a corner of a play-house. There is more spirit in a work of this kind, struck off at once, warm from the imagination, than in all the cold correctness of an elaborate engraving. If all his works had been executed in this style, with a few improvements in the compositions, and the management of light, they would certainly have been a much more valuable collection of prints than they are. The Rake's Progress, and some of his other works, are both etched and engraved by himself: they are well done; but it is plain he meant them as furniture. As works designed for a critick's eye, they would certainly have been better without the engraving, except a few touches in a very few places. The want of effect too would have been less conspicuous, which in his highest-finished prints is disagreeably striking." _Gilpin, Essay on Prints,_ p. 165.

[82] To whom _Hogarth_ bequeathed ten guineas for a ring.

[83] It having been requested in the Catalogue of this exhibition (which was in _Bow-Street, Covent-Garden_) that all remarks on the artists, or their performances, might be sent to _The St. James's Chronicle_; the compiler of these Anecdotes transmitted a few hasty lines, which were printed in that paper _April_ 29, 1762. They are not worth transcribing: but a short extract will preserve the ASSUMED names of some of the artists--

"And _Masmore, Lester's, Ward's_, and _Fishbourne's_ name, With thine, _Vandyck_, shall live to endless fame; In your collection Wit and Skill combine, And Humour flows in every well-chose Sign."

[84] She is still living, and has been loud in abuse of this work, a circumstance to which she owes a niche in it.

[85] Among the compliments _Hogarth_ was disposed to pay his own genius, he asserted his ability to take a complete likeness in three quarters of an hour. This head of Mr. _Welsh_ was painted within the compass of the time prescribed, but had afterwards the advantage of a second sitting.

[86] Mr. _Walpole_ is now possessed of the portrait of his brother Sir _Edward_.

[87] This, and the preceding article, are now in the possession of _Peter Coxe_, esq. of _College Hill_, in the city, executor to Mr. _Forrest_, and brother to the Rev. _William Coxe_, who has obliged the world with his Travels through _Poland, Russia,_ &c.

[88] The following brief Memoirs of Mr. _William Tothall_, F. A. S. were communicated by Dr. _Ducarel_, who was personally acquainted with Mr. _Tothall_, and received the intelligence in a letter from the Rev. Mr. _Lyon_, Minister of _St. Mary's_ at _Dover_, to whom the particulars in it were related by Captain _Bulstrode_ of that town.

"_Dover, June_ 11, 1781.

"Sir,

"The following narrative of your friend _Tothall_ may be depended upon, as Captain _Bulstrode_ informs me he frequently heard it from _Tothall_ himself. His father was an apothecary in _Fleet-street_; but dying, as Captain _Bulstrode_ thinks, while his son was young, and in but indifferent circumstances (as his mother afterwards practised as a midwife), he was taken by an uncle, who was a fishmonger. He lived with his uncle some time; but, not approving of the business, ran away from him, and entered on board a merchant-ship going to _The West Indies_. He also went several times to _Newfoundland_. During the time of his being in _The West Indies_, though so early in life, he was indefatigable in the collecting of shells, and brought home several utterly unknown in _England_. He continued at sea till he was almost 30 years of age. In one of his voyages he was taken by the _Spaniards_, and marched a considerable way up the country, without shoe or stocking, with only a woollen cap on his head, and a brown waistcoat on, with a large staff in his hand. He had afterwards his picture drawn in this dress. He continued a prisoner till exchanged.

"When he was about 30 years of age, he went as shopman to a woollen-draper at the corner of _Tavistock Court, Covent Garden,_ with whom he continued some years; and his master, finding him a faithful servant, told him, 'as he dealt only in cloth, and his customers were taylors, he would lend him money to buy shalloons and trimmings, and recommend him to his chapmen, if he liked to take the trouble and the profit of the branch upon himself.' He readily accepted the proposal.

"About the same time an acquaintance in _The West Indies_ sent him a puncheon of rum. Before he landed it, he consulted his master what he should do with it; who advised him to sell it out in small quantities, and lent him a cellar in his house. He followed this advice; and, finding the profits considerable, wrote to his correspondent in _The West Indies_ to send him another supply; and from this time he commenced rum, brandy, and shalloon merchant.

"I cannot learn how long he continued in this way; but his master having acquired a fortune, and being desirous of retiring from business, left him in possession of his whole stock at prime cost, and he was to pay him as he sold it. He now commenced woollen-draper, and continued in this business till he acquired a sum sufficient, as he thought, to retire upon; and he left his business to his shopman, the late Mr. _Job Ray_, on the same conditions his master left it to him.

"During his residence in _Covent Garden_, he became a member of the club at the _Bedford Coffee-house_, and of course contracted an acquaintance with _Hogarth, Lambert,_ and other men eminent in their way; and _Hogarth_ lived some time in his house on the footing of a most intimate friend.

"On quitting his business (being troubled with an asthmatical complaint) he came and settled at _Dover_; where, soon becoming connected with certain persons in the smuggling branch, he fitted out a bye-boat, which was designed (as is supposed) to promote their business; but in this branch Fortune, which had hitherto smiled upon his endeavours, now frowned upon his attempts. The vessel, in going over with horses either to _Ostend_ or _Flushing_, was lost. This, with some other losses, so reduced him, that he was rather straitened in his circumstances, and he could not live as he had done previous to the losses he sustained.

"His residence was near the Rope-walk at _Dover_ (since pulled down), where his old friend _Hogarth_ frequently visited him: but being in a decline, and his asthma increasing, he bought a very small cottage at _West Langdon_, about three miles from _Dover_, to which he used to go on horseback. Digging in a very small garden belonging to this cottage, he had the good fortune to find some valuable fossils; which to a man of his taste was a singular treasure. He died _January_ 9, 1768, at the age of 70 (possessed of about 1500 _l._), and was buried at _St. Mary's Church_ at _Dover_. His collection of shells and fossils were sold by auction at _Longford's_, the following year.

"The foregoing is the substance of what I have gathered from Capt. _Bulstrode_. If there should be any other particular which you are desirous of knowing, I shall be happy to make the inquiry, and to communicate it; and am, Sir, your most obedient humble servant,

"J. LYON."

[89] _William Gostling_, M. A. a minor canon of _Canterbury_ cathedral for fifty years, and vicar of _Stone_ in the isle of _Oxney, Kent_, well known to all lovers of antiquity by his truly original "Walk in and about _Canterbury_," first printed in 1774, of which there have been three editions. He died _March_ 9, 1777, in the 82d year of his age. Of his father, who was first a minor canon of _Canterbury_, and afterwards one of the priests of the chapel-royal and sub-dean of _St. Paul's_, there are several anecdotes, communicated by his son, in Sir _John Hawkins's_ "History of Music." To which may be added what King _Charles_ II. is reported to have said of him, "You may talk as much as you please of your nightingales, but I have a _Gostling_ who excels them all." Another time, the same merry monarch presented him with a silver egg filled with guineas, saying, "that he had heard that eggs were good for the voice."

[90] See the Catalogue, under the year 1782.

CATALOGUE OF HOGARTH'S PRINTS.[1]

I am now engaged in an undertaking, which from its nature will be imperfect. While _Hogarth_ was yet an apprentice, and worked on his master's account, we may suppose he was not at liberty to affix his name to his own performances. Nay, afterwards, when he appeared as an independent artist, he probably left many of them anonymous, being sometimes obliged to measure out his exertions in proportion to the scanty prices paid for them. For reasons like these, we may be sure that many of his early plates must have eluded search; and, if gradually discovered, will serve only to swell the collections they will not adorn.--The judicious connoisseur, perhaps, would be content to possess the pictures of _Raffaelle_, without aiming at a complete assemblage of the Roman _Fayence_ that passes under his name.

In settling the dates of his pieces there is also difficulty. Sometimes, indeed, they have been inferred from circumstances almost infallible; as in respect to the _Rabbit-breeder_,&c. which would naturally have been published in the year 1726. On other occasions they are determined within a certain compass of time. Thus the _Ticket for Milward_, then a player at _Lincoln's-Inn Fields_, must have preceded 1733, when he removed with _Rich_ to _Covent Garden_; and it is equally sure, that _Orator Henley christening an Infant_, and _A Girl swearing a child to a grave citizen_, came out before 1735, in which year we know that _J. Y. Schley_, one of _Picart's_ coadjutors, had re-engraved them both for the use of the fourth volume of the _Religious Ceremonies_, published at _Amsterdam_ in 1736. But how are we to guess at the period that produced _Sancho at Dinner_, or _The Discovery_?

The merits and demerits of his performances would prove deceitful guides in our researches. As our artist grew older, he did not regularly advance in estimation; for neither the frontispieces to _Tristram Shandy_, the _Times_, the _Bathos_, or the _Bear_, can be said to equal many of his earliest productions.--Under such difficulties is the following chronological list of our author's pieces attempted.

The reader is likewise entreated to observe, that throughout the annexed catalogue of plates, variations, &c. _J. N._ has mentioned only such as he has seen. Alike unwilling to deceive or be deceived, he has suppressed all intelligence he could not authenticate from immediate inspection. He might easily have enlarged his work by admitting particulars of doubtful authority, sometimes imperfectly recollected by their several communicators, and sometimes offered as sportive impositions on an author's credulity. Of this weakness every one possesses some; but perhaps no man more than he who ambitiously seeks opportunities to improve on the labours of another. _J. N._ is sure, however, that Mr. _Walpole_, whom none can exceed in taste and judgment, will be little concerned about the merits of a performance that founds its claim to notice only on the humbler pretences of industry and correctness.

[1] It is proper to acknowledge, that all such short strictures and annotations on these performances as are distinguished by being printed both in _Italics_ and between inverted commas, are copied from the list of _Hogarth's_ works published by Mr. _Walpole_.

* * * * *

1720.

1. _W. Hogarth_, engraver, with two figures and two _Cupids, April_ 28, 1720.

* * * * *

1721.

1. An emblematic print on the _South Sea. W. Hogarth inv. & sc. Sold by Mrs. Chilcot in Westminster-hall, and B. Caldwell, Printseller in Newgate-street. "Persons riding on wooden horses. The Devil cutting Fortune into collops. A man broken on the wheel, &c. A very poor performance."_ Under it are the following verses:

See here the causes why in _London_ So many men are made and undone; That arts and honest trading drop, To swarm about the Devil's shop (A), Who cuts out (B) Fortune's golden haunches, Trapping their souls with lots and chances, Sharing 'em from blue garters down To all blue aprons in the town. Here all religions flock together, Like tame and wild fowl of a feather, Leaving their strife religious bustle, Kneel down to play at pitch and hustle (C): Thus when the shepherds are at play; Their flocks must surely go astray; The woeful cause that in these times (E) Honour and Honesty (D) are crimes That publickly are punish'd by (G) Self-Interest and (F) Vilany; So much for mony's magic power, Guess at the rest, you find out more. _Price One Shilling._[1]

It may be observed, that _London_ always affords a set of itinerant poets, whose office it is to furnish inscriptions for satirical engravings. I lately overheard one of these unfortunate sons of the Muse making a bargain with his employer. "Your print," says he, "is a taking one, and why won't you go to the price of a half-crown Epigram?" From such hireling bards, I suppose, our artist purchased not a few of the wretched rhimes under his early performances, unless he himself be considered as the author of them.

Of this print emblematic of the _South Sea_, there are, however, two impressions. The second, printed for _Bowles_, has been retouched.

[1] For some further account of this design, see the article _Man of Taste_, under the year 1732, N° 7.

2. The Lottery.[1] _W. Hogarth inv. & sculp. Sold by Chilcot and Caldwell. "Emblematic, and not good."_ This plate is found in four different states. In one there is no publisher's name under the title. Another was _sold by Chilcot, &c._ A third was printed and sold by S. _Sympson_, in _Maiden-lane_, near _Covent Garden_. A fourth was printed for _John Bowles_, in whose possession the plate, which he has had retouched, remains. The following explanation accompanies this plate: "1. Upon the pedestal, National Credit leaning on a pillar, supported by Justice. 2. _Apollo_ shewing _Britannia_ a picture representing the Earth receiving enriching Showers drawn from herself (an emblem of state lotteries). 3. Fortune drawing the blanks and prizes. 4. Wantonness drawing the numbers. 5. Before the pedestal, Suspence turned to and fro by Hope and Fear. 6. On one hand, Good Luck being elevated is seized by Pleasure and Folly, Fame persuading him to raise sinking Virtue, Arts, &c. 7. On the other hand, Misfortune oppressed by Grief, _Minerva_ supporting him points to the sweets of Industry. 8. Sloth hiding his head in the curtain. 9. On the other side, Avarice hugging his money. 10. Fraud tempting Despair with money at a trap-door in the pedestal." _Price One Shilling._--Had not _Hogarth_, on this occasion, condescended to explain his own meaning, it must have remained in several places inexplicable.

[1] It appears, from the following notice in the _General Advertiser, Dec._ 12, 1751, that this and the foregoing print were re-published by _Bowles_ during the life of _Hogarth_.

"Lately reprinted, designed, and engraved by Mr. _William Hogarth_.

"Two Prints on the Lottery. One of them showing the drawing of the Lottery by Wantonness and Fortune; and by suitable emblems represents the suspence of the adventurers, the situation of the fortunate and unfortunate.

"The other print is a burlesque representation of the folly and madness which inspires all ranks of people after lottery-gaming, with the pernicious consequences thereof. _Price One Shilling._

"Sold by _J. Bowles_, at the _Black-horse_, in _Cornhill_."

* * * * *

1723.

1. Fifteen plates to _Aubry de la Motraye's_ "Travels through _Europe, Asia,_ and Part of _Africa_." _W. Hogarth sculp._ on fourteen of them; viz. plates V. IX. X.[1] XI. XV. XVII. b. XVIII. XXVI. XXX.[2] XXXII. XXXIII. 1. XXXIII. 2. XXXV. XXXVIII. One of these (viz. XXX.) contains a portrait of _Charles_ the XIIth of _Sweden_. Several of the pictures, from which the Seraglio, &c. were engraved, are still in being, and are undoubtedly authentic, being painted in _Turkey_, and brought home by _De la Motraye_, at his return from his travels. They were sold about twenty-five years ago at _Hackney_, for a mere trifle, together with the plates to the present work. The latter, in all probability, are destroyed. This book was originally published in _English_ at _London_, 1723; afterwards in _French_ at _The Hague_, in 1727; and again in _English_[3] at _London_, revised by the author; with the addition of two new cuts, in 1730. In the _French_ edition, Plate V. Tom. I. is engraved by _R. Smith_, instead of _Hogarth_, so that this intermediate copy contains only fourteen plates by him. It is probable also, that some other anonymous ones, in all the editions, were by the same engraver. His reputation, indeed, will save more than it loses by the want of his signature to establish their authenticity.

[1] At the bottom of this plate, in one copy of the _English_ edition, the name of _Hogarth_, though erased, is sufficiently legible.