Part 12

5. A just View of the _British_ Stage, or three heads better than one, scene _Newgate_, by _M. D. V--to_.[1] This print represents the rehearsing a new farce, that will include the two famous entertainments _Dr. Faustus_ and _Harlequin Shepherd_.[2] To which will be added, _Scaramouch Jack Hall_ the Chimney-sweeper's Escape from _Newgate_ through the Privy, with the comical Humours of _Ben Johnson's Ghost_, concluding with the Play Dance, performed in the air by the figures A. B. C. [_Wilks, Booth,_ and _Cibber_] assisted by ropes from the Muses. Note, there are no Conjurors concerned in it, as the Ignorant imagine. The Bricks, Rubbish, &c. will be real; but the Excrements upon _Jack Hall_ will be made of chewed Gingerbread, to prevent Offence. _Vivat Rex. Price Sixpence._ Such is the inscription on the plate; but I may add, that the _ropes_ already mentioned are no other than _halters_, suspended over the heads of the three managers;[3] and that labels issuing from their respective mouths have the following characteristic words. The airy _Wilks_, who dangles the effigy of _Punch_, is made to exclaim--"Poor _R-ch_! faith I pitty him." The laureat _Cibber_, with _Harlequin_ for his playfellow, invokes the Muses painted on the cieling--"Assist, ye sacred Nine;" while the solemn _Booth_, letting down the image of _Jack Hall_ into the forica, is most tragically blaspheming--"Ha! this will do, G-d d-m me." On a table before these gentlemen lies a pamphlet, exhibiting a print of _Jack Shepherd_, in confinement; and over the forica is suspended a parcel of waste paper, consisting of leaves torn from _The Way of the World--Hamlet--Macbeth_, and _Julius Cæsar. Ben Jonson's_ Ghost, in the mean while, is rising through the stage, and p----g on a pantomimic statue tumbled from its base. A fidler is also represented hanging by a cord in the air, and performing, with a scroll before him, that exhibits--_Music for the What_--[perhaps the _What d' ye call it] entertainment_. The countenances of Tragedy and Comedy, on each side of the stage, are hoodwinked by the bills for _Harlequin Dr. Faustus_ and _Harlequin Shepherd_, &c. &c. There is also a dragon preparing to fly; a dog thrusting his head out of his kennel; a flask put in motion by machinery, &c. _Vivetur Ingenio_ is the motto over the curtain. In Mr. _Walpole's_ catalogue the description of this plate is, "_Booth, Wilks, and Cibber, contriving a pantomime. A satire on farces. No name._"

[1] Mr. _Devoto_ was scene-painter to _Drury-Lane_ or _Lincoln's-Inn Fields_, and also to _Goodman's Fields_ Theatre. There is a mezzotinto of him with the following title: "_Johannes Devoto_ Historicus Scenicusque Pictor." _Vincenso Damini_ pinxit. _J. Faber_ fecit, 1736.

[2] Dr. _Faustus_ and _Harlequin Shepherd_ were pantomimes contrived by _Thurmond_ the dancing-master, and acted at _Drury-Lane_ in 1725.

[3]--_Halters_, &c.; The same idea is introduced in the 9th plate of the apprentices.

* * * * *

1726.

1. Frontispiece to _Terræ-filius. W. Hogarth fec._ This work was printed in two volumes 12°, at _Oxford_, and is a satire on the Tory principles of that University. It was written by _Nicholas Amherst_, author of _The Craftsman_, and was originally published in one volume.

2. Twelve prints for _Hudibras_; the large set. _W. Hogarth inv. pinx. et sculp._ Under the head of _Butler_: "The basso relievo of the pedestal represents the general design of Mr. _Butler_, in his incomparable poem of _Hudibras_; viz. _Butler's_ Genious in a Car lashing around Mount _Parnassus_, in the persons of _Hudibras_ and _Ralpho_, Rebellion, Hypocrisy, and Ignorance, the reigning vices of his time." This set of prints was published by subscription, by _P. Overton_ and _J. Cooper_. Mr. _S. Ireland_ has seven of the original drawings; three others are known to be preserved in _Holland_; and two more were lately existing in this kingdom. The plates, as has been mentioned already in p. 11, are now the property of Mr. _Sayer_, whose name, as publisher, is subjoined. The Rev. Mr. _Bowle_, F. A. S. had a set with the list of the subscribers, which he purchased at the Duke of _Beaufort's_ sale in _Wiltshire_. The printed title to them is, "Twelve excellent and most diverting Prints; taken from the celebrated Poem of _Hudibras_, wrote by Mr. _Samuel Butler_. Exposing the Villany and Hypocrisy of the Times. Invented and Engraved on Twelve Copper-plates, by _William Hogarth_, and are humbly dedicated to _William Ward_, Esq. of _Great Houghton_ in _Northamptonshire_; and Mr. _Allan Ramsay_, of _Edinburgh_.

"What excellence can Brass or Marble claim! These Papers better do secure thy Fame: Thy Verse all Monuments does far surpass, No Mausoleum's like thy _Hudibras_.

"Printed and sold by _Philip Overton_, Print and Map-seller, at the _Golden Buck_ near _St. Dunstan's Church_ in _Fleet-street_; and _John Cooper_, in _James-street, Covent Garden_, 1726."

_Allan Ramsay_ subscribed for 30 sets. The number of subscribers in all amounts to 192. On the print of _Hudibras_ and the _Lawyer_ is _W. Hogart delin. et sculp._ a proof that our artist had not yet disused the original mode in which he spelt his name. In the scene of the _Committee_, one of the members has his gloves on his head. I am told this whimsical custom once prevailed among our sanctified fraternity; but it is in vain, I suppose, to ask the reason why. In plate XI. (earliest impressions) the words "Down with the Rumps" are wanting on the scroll.--Memorandum. At the top of the proposals for this set of Prints, is a small one representing _Hudibras_ and _Ralpho_, engraved by _Pine_. The original drawing for it by _Hogarth_ is in the possession of Mr. _Betew_, Silversmith, in _Compton-street, Soho_.

3. Seventeen small prints for _Hudibras_, with _Butler's_ head. There certainly must have been some mistake concerning this portrait. It never could have been designed for the author of _Hudibras_; but more strongly resembles _John Baptist Monnoyer_, the flower-painter. There is a print of him by _White_, from a picture of Sir _Godfrey Kneller_. This I suppose to have been the original of _Hogarth's_ small _Butler_.

The same designs engraved on a larger scale, and with some slight variations, by _J. Mynde_, for _Grey's_ edition of _Hudibras_, published in 1744.

Previous, however, to both, appeared another set of plates, eighteen in number, for an edition in _eighteens_ of this celebrated poem. To these it is manifest that _Hogarth_ was indebted for his ideas of several of the scenes and personages both in his larger and smaller performances on the same subject. That the collector may know the book when he meets with it, the following is a transcript of the title-page. "_Hudibras._ In three Parts. Written in the time of the late Wars. Corrected and amended, with Additions. To which is added, Annotations to the third Part, with an exact Index to the whole; never before printed. Adorned with cuts. London. Printed for _R. Chiswel, J. Tonson, T. Horne,_ and _R. Willington_, 1710."

Copies from the smaller plates are likewise inserted in _Townly's_ translation of _Hudibras_ into _French_, with the _English_ on the opposite page. He was, I believe, an officer in the _Irish_ brigade. The following is the title-page to his work. "_Hudibras_, Poeme ecrit dans les tems des troubles d'_Angleterre_; et traduit en vers _François_, avec des remarques et des figures. 3 tom. 12mo. A _Londres_, 1757." It seems rather to have been printed at _Paris_. The plates have no name subscribed to them.

4. _Cunicularii_, or the Wise Men of _Godliman_ in Consultation.

"They held their talents most adroit For any mystical exploit." HUDIB.

This print was published in the year 1726, i. e. about the same time that Lord _Onslow_ wrote the following letter:

"To the Honble. Sir _Hans Sloane_. To be left at the _Grecian_ Coffe House, in _Devereux Court_ near _Temple Bar London_.

"Sir, The report of a woman's breeding of rabbits has almost alarmed _England_, and in a manner persuaded several people of sound judgt of that truth. I have been at some pains to discover the affair, and think I have conquerd my poynt, as you will se by the Depotition taken before me, which shall be published in a day or two. I am

"Yr humble Servant,

"ONSLOW.

"_Clandon, Dec._ 4_th_, 1726."

Soon after, Mr. _St. André_ also addressed this note to Sir _Hans Sloane_:

"Sir, I have brought the woman from _Guilford_ to ye Bagnio in _Leicester-fields_, where you may if you please have the opportunity of seeing her deliver'd. I am Sr Your Hum Servt

"ST. ANDRÉ.[1]

"To Sir _Hans Sloane_ in _Bloomsbury Square_."

In the plate already mentioned, figure A represents _St. André_. [He has a kitt under his arm, having been at first designed by his family for a fencing and dancing-master, though he afterwards attached himself to music of a higher order than that necessary for one of the professions already mentioned.] B is Sir _Richard Manningham_, C Mr. _Sainthill_ a celebrated surgeon here in _London_, D is _Howard_ the surgeon at _Guildford_, who was supposed to have had a chief hand in the imposture. The rest of the characters explain themselves.

Perhaps my readers may excuse me, if I add a short account of another design for a print on the same subject; especially as some collectors have been willing to receive it as a work of _Hogarth_.

In _Mist's Weekly Journal, Saturday, Jan._ 11th, 1726-7, was the following advertisement:

"The Rabbit affair made clear in a full account of the whole matter; with the pictures engraved of the pretended Rabbit-breeder herself, _Mary Tofts_, and of the Rabbits, and of the persons who attended her during her pretended deliveries, shewing who were and who were not imposed on by her. 'Tis given gratis no where, but only up one pair of stairs at the sign of the celebrated Anodyne Necklace recommended by Doctor _Chamberlen_ for Children's teeth, &c."

The original drawing from which the plate promised in _Mist's_ Journal was taken, remained in the possession of Mr. _James Vertue_, and was probably designed by his brother _George_. It was sold in 1781 in the collection of _George Scott_, Esq. of _Chigwell_ in _Essex_, together with eight tracts relative to the same imposture, for three guineas, and is now in the collection of Mr. _Gough_.

_St. André's Miscarriage_, a ballad, published in 1727, has the following stanza on this subject:

"He dissected, compar'd, and distinguish'd likewise The make of these rabbits, their growth and their size. He preserv'd them in spirits, and--a little too late Preserv'd (_Vertue sculpsit_) a neat copper plate."

There is also a copper-plate, consisting of twelve compartments, on the same story. It exhibits every stage throughout this celebrated fraud. _St. André_ appears in the habit of a _Merry-Andrew_. The general title of it is, "The Doctors in Labour; or a new Whim-wham from _Guilford_. Being a representation of the frauds by which the _Godliman_ woman carried on her pretended Rabbit breeding; also of the simplicity of our Doctors, by which they assisted to carry on that imposture, discovered their skill, and contributed to the mirth of his Majesty's liege subjects."

In _Mist's_ Journal for _Saturday, Dec._ 17, 1726, is also the following paragraph, which shews that the playhouse joined in the general ridicule of _St. André_. "Last week the entertainment called _The Necromancer_ was performed at the Theatre in _Lincoln's-Inn Fields_, wherein a new _Rabbit-scene_ was introduced by way of episode; by which the Public may understand as much of that affair, as by the present controversy among the Gentlemen of the faculty, who are flinging their bitter pills at one another, to convince the world that none of them understand any thing of the matter." I am told by one of the spectators still alive, that in this new scene, _Harlequin_, being converted into a woman, pretended to be in labour, and was first delivered of a large pig, then of a sooterkin, &c. &c.

From the same paper of _Saturday, Jan._ 21, 1727, we learn, that "The pretended Rabbit-breeder, in order to perpetuate her fame, has had her picture done in a curious mezzotinto print by an able hand." It was painted by _Laguerre_, and scraped by _Faber_. She has a rabbit on her lap, and displays a countenance expressive of the utmost vulgarity. In _Hogarth's_ comic representation, the remarkable turn-up of the nose is preserved. This, perhaps, was the only feature in her face that could not be altered by the convulsions of her pretended agony, or our artist would have given her resemblance with greater exactness.

Mr. _Dillingham_, an apothecary in _Red-Lion-Square_, laid a wager of ten guineas with _St. André_, that in a limited time the cheat would be detected. The money was paid him, and he expended it on a piece of plate, with three rabbits engraved by way of arms.

I learn from _The Weekly Miscellany_, for _April_ 19, 1740, that a few days before, "The celebrated Rabbit-woman of _Godalmin_ in _Surry_ was committed to _Guildford Gaol_, for receiving stolen goods."

In _The Gazetteer, or Daily London Advertiser, Jan._ 21, 1763, was this paragraph, which closes the story of our heroine: "Last week died at _Godalming_ in _Surry, Mary Tofts,_ formerly noted for an imposition of breeding Rabbits."

[1] Both these letters are in _The British Museum_. See MS. Sloan. 3312. XXVI. G. and MS. Sloan. 3316. XXVI. G.

* * * * *

1727.

1. Music introduced to _Apollo_ by _Minerva. Hogarth fecit. "Frontispiece to some book of music, or ticket for a concert."_ I can venture to affirm, on unquestionable authority, that this print is a mere copy from the frontispiece to a more ancient book of music. The composer's name has escaped my memory.

2. Masquerade Ticket. A. a sacrifice to _Priapus_. B. a pair of Lecherometers shewing the companys inclinations as they approach em. Invented for the use of ladies and gentlemen, by the ingenious Mr. _H----r [Heidegger]._ Price One Shilling. "_There is much wit in this print._" The attentive observer will find, that _Hogarth_ has transplanted several circumstances from hence into the first plate to the _Analysis of Beauty_, as well as into his Satire on the Methodists. See the ornaments of an altar composed of a concatenation of different periwigs, and the barometers expressing the different degrees of animal heat. At the corners of the dial on the top of this print is the date of the year (1727), and the face of _Heidegger_ appears under the figure XII. In the earliest impressions, the word Provocatives has, instead of V the open vowel U. This incorrectness in spelling was afterwards amended, though in a bungling manner, the round bottoms of the original letters being still visible.[1]

Concerning _John James Heidegger_, whose face has been more than once introduced by our artist, the reader may express some curiosity. The following account of him is therefore appended to the foregoing article.

"This extraordinary man, the son of a clergyman, was a native of _Zurich_ in _Switzerland_, where he married, but left his country in consequence of an intrigue. Having had an opportunity of visiting the principal cities of _Europe_, he acquired a taste for elegant and refined pleasures, which, united to a strong inclination for voluptuousness, by degrees qualified him for the management of public amusements. In 1708, when he was near 50 years old, he came to _England_ on a negotiation from the _Swiss_ at _Zurich_; but, failing in his embassy, he entered as a private soldier in the guards for protection.[2] By his sprightly, engaging conversation, and insinuating address, he soon worked himself into the good graces of our young people of fashion; from whom he obtained the appellation of 'the _Swiss_ Count.'[3] He had the address to procure a subscription, with which in 1709 he was enabled to furnish out the opera of '_Thomyris_,'[4] which was written in _English_, and performed at the Queen's theatre in the _Haymarket_. The music, however, was _Italian_; that is to say, airs selected from sundry of the foreign operas by _Bononcini, Scarlatti, Stefani, Gasparini,_ and _Albinoni_. Most of the songs in '_Thomyris_' were excellent, those by _Bononcini_ especially: _Valentini, Margarita,_ and Mrs. _Tofts_ sung in it; and _Heidegger_ by this performance alone was a gainer of 500 guineas.[5] The judicious remarks he made on several defects in the conduct of our operas in general, and the hints he threw out for improving the entertainments of the royal theatre, soon established his character as a good critic. Appeals were made to his judgement; and some very magnificent and elegant decorations, introduced upon the stage in consequence of his advice, gave such satisfaction to _George_ II. who was fond of operas, that, upon being informed to whose genius he was indebted for these improvements, his majesty was pleased from that time to countenance him, and he soon obtained the chief management of the Opera-house in _The Haymarket_. He then set about improving another species of diversion, not less agreeable to the king, which was the masquerades, and over these he always presided at the king's theatre. He was likewise appointed master of the revels. The nobility now caressed him so much, and had such an opinion of his taste, that all splendid and elegant entertainments given by them upon particular occasions, and all private assemblies by subscription, were submitted to his direction.[6]

"From the emoluments of these several employments, he gained a regular considerable income, amounting, it is said, in some years, to 5000 _l._ which he spent with much liberality: particularly in the maintenance of perhaps a somewhat too luxurious table; so that it may be said, he raised an income, but never a fortune. His foibles, however, if they deserve so harsh a name, were completely 'covered' by his 'charity,' which was boundless.[7]

"That he was a good judge of music, appears from his opera: but this is all that is known of his mental abilities;[8] unless we add, what we have good authority for saying in honour to his _memory_, that he walked from _Charing-Cross_ to _Temple-bar_, and back again; and when he came home, wrote down every sign on each side the _Strand_.

"As to his person, though he was tall and well made, it was not very pleasing, from an unusual hardness of features.[9] But he was the first to joke upon his own ugliness; and he once laid a wager with the earl of _Chesterfield_, that, within a certain given time, his lordship would not be able to produce so hideous a face in all _London_. After strict search, a woman was found, whose features were at first sight thought stronger than _Heidegger's_; but, upon clapping her head-dress upon himself, he was universally allowed to have won the wager. _Jolly_, a well-known taylor, carrying his bill to a noble duke, his grace, for evasion said, 'Damn your ugly face, I never will pay you till you bring me an uglier fellow than yourself!' _Jolly_ bowed and retired, wrote a letter, and sent it by a servant to _Heidegger_; saying, 'his grace wished to see him the next morning on particular business.' _Heidegger_ attended, and _Jolly_ was there to meet him; and in consequence, as soon as _Heidegger's_ visit was over, _Jolly_ received the cash.

"The late facetious duke of _Montagu_ (the memorable author of the bottle-conjuror at the theatre in _The Haymarket_) gave an entertainment at _The Devil-tavern, Temple-bar_, to several of the nobility and gentry, selecting the most convivial, and a few hard-drinkers, who were all in the plot. _Heidegger_ was invited, and in a few hours after dinner was made so dead drunk that he was carried out of the room, and laid insensible upon a bed. A profound sleep ensued; when the late Mrs. _Salmon's_ daughter was introduced, who took a mould from his face in plaster of Paris. From this a mask was made, and a few days before the next masquerade (at which the king promised to be present, with the countess of _Yarmouth_), the duke made application to _Heidegger's_ valet de chambre, to know what suit of cloaths he was likely to wear; and then procuring a similar dress, and a person of the same stature, he gave him his instructions. On the evening of the masquerade, as soon as his majesty was seated (who was always known by the conductor of the entertainment and the officers of the court, though concealed by his dress from the company), _Heidegger_, as usual, ordered the music to play 'God save the King;' but his back was no sooner turned, than the false _Heidegger_ ordered them to strike up '_Charly_ over the Water.' The whole company were instantly thunderstruck, and all the courtiers, not in the plot, were thrown into a stupid consternation. _Heidegger_ flew to the music-gallery, swore, stamped, and raved, accused the musicians of drunkenness, or of being set on by some secret enemy to ruin him. The king and the countess laughed so immoderately, that they hazarded a discovery. While _Heidegger_ stayed in the gallery, 'God save the King' was the tune; but when, after setting matters to rights, he retired to one of the dancing-rooms, to observe if decorum was kept by the company, the counterfeit stepping forward, and placing himself upon the floor of the theatre, just in front of the music-gallery, called out in a most audible voice, imitating _Heidegger_, damned them for blockheads, had he not just told them to play '_Charly_ over the Water.' A pause ensued; the musicians, who knew his character, in their turn thought him either drunk or mad; but, as he continued his vociferation, '_Charly_' was played again. At this repetition of the supposed affront, some of the officers of the guards, who always attended upon these occasions, were for ascending the gallery, and kicking the musicians out; but the late duke of _Cumberland_, who could hardly contain himself, interposed. The company were thrown into great confusion. 'Shame! Shame!' resounded from all parts, and _Heidegger_ once more flew in a violent rage to that part of the theatre facing the gallery. Here the duke of _Montagu_, artfully addressing himself to him, told him, 'the king was in a violent passion; that his best way was to go instantly and make an apology, for certainly the music were mad, and afterwards to discharge them.' Almost at the same instant, he ordered the false _Heidegger_ to do the same. The scene now became truly comic in the circle before the king. _Heidegger_ had no sooner made a genteel apology for the insolence of his musicians, but the false _Heidegger_ advanced, and, in a plaintive tone, cried out, 'Indeed, Sire, it was not my fault, but that devil's in my likeness.' Poor _Heidegger_ turned round, stared, staggered, grew pale, and could not utter a word. The duke then humanely whispered in his ear the sum of his plot, and the counterfeit was ordered to take off his mask. Here ended the frolick; but _Heidegger_ swore he would never attend any public amusement, if that witch the wax-work woman did not break the mould, and melt down the mask before his face.[10]