Part 13

"Being once at supper with a large company, when a question was debated, which nationalist of _Europe_, had the greatest ingenuity; to the surprise of all present, he claimed that character for the _Swiss_, and appealed to himself for the truth of it. 'I was born a _Swiss_, said he, 'and came to _England_ without a farthing, where I have found means to gain 5000 _l._ a year, and to spend it. Now I defy the most able _Englishman_ to go to _Switzerland_, and either to gain that income, or to spend it there.' He died _Sept._ 4, 1749, at the advanced age of 96 years, at his house at _Richmond_ in _Surrey_, where he was buried. He left behind him one natural daughter, Miss _Pappet_, who was married _Sept._ 2, 1750, to Captain (afterwards Sir _Peter) Denis_.[11] Part of this lady's fortune was a house at the north west corner of _Queen-square, Ormond-street_, which Sir _Peter_ afterwards sold to the late Dr. _Campbell_, and purchased a seat in _Kent_, pleasantly situated near _Westram_, then called _Valence_, but now (by its present proprietor, the earl of _Hillsborough_) _Hill Park_."

[1] In this print our artist has likewise imitated the manner of _Callot_.

[2] See N° 48, among the prints of uncertain date.

[3] See Sir _John Hawkins's_ History of Music, Vol. V. p. 142. He is twice noticed under this title in the "Tatler," Nos. 12. and 18.; and in Mr. _Duncombe's_ "Collection of Letters of several eminent Persons deceased," is a humourous dedication of Mr. _Hughes's_ "Vision of _Chaucer_," to "the _Swiss_ Count."

[4] There was another opera of the same name, by _Peter Motteux_, in 1719.

[5] "_Thomyris_" and "_Camilla_" were both revived in 1726; but neither of them then succeeded.

[6] _J. N._ has been favoured with the sight of an amethyst snuff-box set in gold, presented to _Heidegger_ in 1731, by the duke of _Lorrain_, afterwards emperor of _Germany_, which _Heidegger_ very highly valued, and bequeathed to his executor _Lewis Way_, esq. of _Richmond_, and which is now (1785) in the possession of his son _Benjamin Way_, esq.

[7] After a successful masquerade, he has been known to give away several hundred pounds at a time. "You know poor objects of distress better than I do," he would frequently observe to Mr. _Way_, "Be so kind as to give away this money for me." This well-known liberality, perhaps, contributed much to his carrying on that diversion with so little opposition as he met with.

[8] _Pope_ (Dunciad, I. 289.) calls the bird which attended on the goddess

"--------------a monster of a fowl, Something betwixt a _Heidegger_ and owl."

and explains _Heidegger_ to mean "a strange bird from _Switzerland_, and not (as some have supposed) the name of an eminent person, who was a man of parts, and, as was said of _Petronius_, Arbiter Elegantiarum."

The author of _The Scandalizade_ has also put the following description of our hero into the mouth of _Handel_:

"Thou perfection, as far as e'er nature could run, Of the ugly, quoth _H--d-l_, in th' ugliest baboon, Human nature's, and even thy Maker's disgrace, So frightful thy looks, so grotesque is thy face! With a hundred deep wrinkles impress'd on thy front, Like a map with a great many rivers upon't; Thy lascivious ridottos, obscene masquerades, Have unmaided whole scores ev'ry season of maids."

_Fielding_ also has introduced him in the Puppet-show, with which the _Author's Farce_ (acted at the _Haymarket_ 1729), concludes, under the title of _Count Ugly_.

"_Nonsense._ Too late, O mighty Count, you came. _Count._ I ask not for myself, for I disdain O'er the poor ragged tribe of bards to reign. Me did my stars to happier fates prefer, Sur-intendant des plaisirs d'_Angleterre_. If masquerades you have, let those be mine, But on the Signor let the laurel shine. _Tragedy_. What is thy plea? Half written? _Count_. No nor read. Put it from dulness any may succeed, To that and nonsense I good title plead, Nought else was ever in my masquerade."

[9] In a Dedication to "The Masquerade, a Poem, inscribed to Count _Heidegger_," (which is the production of Mr. _Fielding_, though foisted into the works of Dr. _Arbuthnot_,) the facetious writer says, "I cannot help congratulating you on that gift of Nature, by which you seem so adapted to the post you enjoy. I mean that natural masque, which is too visible a perfection to be here insisted on----and, I am sure, never fails of making an impression on the most indifferent beholder. Another gift of Nature, which you seem to enjoy in no small degree, is that modest confidence supporting you in every act of your life. Certainly, a great blessing! For I always have observed, that brass in the forehead draws gold into the pocket. As for what mankind calls virtues, I shall not compliment you on them: since you are so wise as to keep them secret from the world, far be it from me to publish them; especially since they are things which lie out of the way of your calling. Smile then (if you can smile) on my endeavours, and this little poem, with candour----for which the author desires no more gratuity than a ticket for your next ball." There is a mezzotinto of _Heidegger_ by _J. Faber_, 1742, (other copies dated 1749) from a painting by _Vanloo_, a striking likeness, now (1785) in the possession of _Peter Crawford_, esq. of _Cold Bath Fields_.

[10] To this occurrence the following imperfect stanzas, transcribed from the hand-writing of _Pope_, are supposed to relate. They were found on the back of a page containing some part of his translation, either of the "Iliad" or "Odyssey," in the _British Museum_.

XIII. "Then he went to the side-board, and call'd for much liquor, And glass after glass he drank quicker and quicker; So that _Heidegger_ quoth, Nay, faith on his oath, Of two hogsheads of Burgundy, _Satan_ drank both. Then all like a ---- the Devil appear'd, And strait the whole tables of dishes he clear'd; Then a friar, then a nun, And then he put on A face all the company took for his own. Even thine, O false _Heidegger!_ who wert so wicked To let in the Devil----"

[11] Who died _June_ 12, 1778, being then vice-admiral of the red. See Memoirs of him in Gent. Mag. 1780, p. 268.

3. Frontispiece to a Collection of Songs, with the Music by Mr. _Leveridge_, in two vols. 8vo. _London_, engraved and printed for the author, in _Tavistock-street, Covent-Garden_, 1727. This design consists of a _Bacchus_ and a _Venus_ in the Clouds, and a figure with musical instruments, &c. on the earth, soliciting their attention, &c. The ornaments round the engraved title-page seem likewise to be _Hogarth's_.

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1728.

1. Head of _Hesiod_, from the bust at _Wilton_. The frontispiece to _Cook's_ translation of _Hesiod_, in 2 vols. 4to. printed by _N. Blandford_ for _T. Green_.

2. _Rich's_ Glory, or his Triumphant Entry into _Covent Garden. W. H. I. Et. SULP. Price Sixpence._

The date of the print before us has been conjectured from its reference to the _Beggar's Opera_, and _Perseus_ and _Andromeda_,[1] both of which were acted in the year already mentioned.

This plate represents the removal of _Rich_ and his scenery, authors, actors, &c. from _Lincoln's-Inn Fields_ to the _New House_; and might therefore be as probably referred to the year 1733, when that event happened. The scene is the area of _Covent Garden_, across which, leading toward the door of the Theatre, is a long procession, consisting of a cart loaded with thunder and lightning; performers, &c. and at the head of them Mr. _Rich_ (invested with the skin of the famous dog in _Perseus_ and _Andromeda_) riding with his mistress in a chariot driven by _Harlequin_, and drawn by Satyrs. But let the verses at bottom explain our artist's meaning:

Not with more glory through the streets of _Rome_, Return'd great conquerors in triumph home, Than, proudly drawn with Beauty by his side, We see gay _R---_[2] in gilded chariot ride. He comes, attended by a num'rous throng, Who, with loud shouts, huzza the Chief along. Behold two bards, obsequious, at his wheels, Confess the joy each raptur'd bosom feels; Conscious that wit by him will be receiv'd, And on his stage true humour be retriev'd. No _sensible_ and _pretty_ play will fall[3] Condemn'd by him as not theatrical. The players follow, as they here are nam'd, Dress'd in each character for which they're fam'd. _Quin_ th' _Old Bachelour_, a _Hero Ryan_ shows, Who _stares_ and stalks majestick as he goes. _Walker_,[4] in his lov'd character we see A Prince, tho' once a fisherman was he, And _Massanelo_ nam'd; in this he prides, Tho' fam'd for many other parts besides. Then _Hall_,[5] who tells the bubbled countrymen That _Carolus_ is _Latin_ for _Queen Anne_. Did ever mortal know so clean a bite? Who else, like him, can copy _Serjeant Kite!_ To the _Piazza_ let us turn our eyes, See _Johnny Gay_ on porters shoulders rise, Whilst a bright Man of Tast his works despise.[6] Another author wheels his works with care, In hopes to get a market at this fair; For such a day he sees not ev'ry year.

By the _Man of Taste_, Mr. _Pope_ was apparently designed. He is represented, in his tye-wig, at one corner of the _Piazza_, wiping his posteriors with the _Beggar's Opera_. The letter P is over his head. His little sword is significantly placed, and the peculiarity of his figure well preserved.

The reason why our artist has assigned such an employment to him, we can only guess. It seems, indeed, from Dr. _Johnson's_ Life of _Gay_, that _Pope_ did not _think_ the _Beggar's Opera_ would succeed. _Swift_, however, was of the same opinion; and yet the former supported the piece on the first night of exhibition, and the latter defended it in his _Intelligencer_ against the attacks of Dr. _Herring_,[7] then preacher to the Society of _Lincoln's-Inn_, afterwards archbishop of _Canterbury. Hogarth_ might be wanton in his satire; might have founded it on idle report; or might have sacrificed truth to the prejudices of Sir _James Thornhill_, whose quarrel, on another occasion, he is supposed to have taken up, when he ridiculed _The Translator of Homer_ in a view of "The Gate of _Burlington-house_."

There are besides some allusions in the verses already quoted, as well as in the piece they refer to, which I confess my inability to illustrate. Those who are best acquainted with the theatric and poetical history of the years 1728, &c. would prove the most successful commentators on the present occasion; but not many can possibly be now alive who were at that period competent judges of such matters.

This print, however, was not only unpublished, but in several places is unfinished. It was probably suppressed by the influence of some of the characters represented in it. The style of composition, and manner of engraving, &c. &c. would have sufficiently proved it to be the work of _Hogarth_, if the initials of his name had been wanting at the bottom of the plate.

[1] The _Perseus_ and _Andromeda_, for which _Hogarth_ engraved the plates mentioned in p. 170, was not published till 1730; but there was one under the same title at _Drury-Lane_ in 1728. As both houses took each other's plans at that time, perhaps the _Lincoln's-Inn Fields Perseus_ might have been acted before it was printed.

[2] _Rich._

[3] No _sensible_ and _pretty_ play, &c. This refers to _Cibber's_ decision on the merits of some piece offered for representation, and, we may suppose, rejected. In a copy of verses addressed to _Rich_ on the building of _Covent Garden_ Theatre, are the following lines, which seem to allude to the rejection already mentioned:

"Poets no longer shall submit their plays To learned _Cibber's_ gilded withered bays; To such a judge the labour'd scene present, Whom _sensible_ and _pretty_ won't content: But to thy theatre with pleasure bear The comic laughter and the tragic tear."

[4] The original _Macheath_. He used, however, to perform the heroes, particularly _Alexander_. From these lines it appears that _Massanello_, was a favourite part with him. From _Chetwood's_ History of the Stage, p. 141, I learn that _Walker_ had contracted the two parts of _Durfey's Massanello_ into one piece, which was acted with success at _Lincoln's-Inn Fields_.

[5] The original _Lockit_, who was also celebrated for his performance of Serjeant _Kite_.

[6] The grammar and spelling of this line are truly _Hogarthian_.

[7] "A noted preacher near _Lincoln's-Inn_ playhouse has taken notice of the _Beggar's Opera_ in the pulpit, and inveighed against it as a thing of very evil tendency." _Mist's Weekly Journal, March_ 30, 1728.

3. The Beggar's Opera. The title over it is in capitals uncommonly large.

_Brittons_ attend--view this harmonious stage, And listen to those notes which charm the age. Thus shall your tastes in _sounds_ and _sense_ be shown, And _Beggar's Op'ras_ ever be your own.

No painter or engraver's name. The plate seems at once to represent the exhibition of _The Beggar's Opera_, and the rehearsal of an _Italian_ one. In the _former_, all the characters are drawn with the heads of different animals; as _Polly_, with a Cat's; _Lucy_, with a Sow's; _Macheath_, with an Ass's; _Lockit_, and Mr. and Mrs. _Peachum_, with those of an Ox, a Dog, and an Owl. In the _latter_, several noblemen appear conducting the chief female singer forward on the stage, and perhaps are offering her money, or protection from a figure that is rushing towards her with a drawn sword. Harmony, flying in the air, turns her back on the _English_ playhouse, and hastens toward the rival theatre. Musicians stand in front of the former, playing on the Jew's-harp, the salt-box, the bladder and string, bagpipes, &c. On one side are people of distinction, some of whom kneel as if making an offer to _Polly_, or paying their adorations to her. To these are opposed a butcher, &c. expressing similar applause. _Apollo_, and one of the Muses, are fast asleep beneath the stage. A man is easing nature under a wall hung with ballads, and shewing his contempt of such compositions, by the use he makes of one of them. A sign of the star, a gibbet, and some other circumstances less intelligible, appear in the back ground.

4. The same. The lines under it are engraved in a different manner from those on the preceding plate. Sold at the Print-Shop in _The Strand_, near _Catherine Street_.

5. A copy of the same, under the following title, &c.

The Opera House, or the _Italian_ Eunuch's Glory. Humbly inscribed to those Generous Encouragers of Foreigners, and Ruiners of _England_.

From _France_, from _Rome_ we come, To help Old _England_ to _to_ b' undone.

Under the division of the print that represents the _Italian Opera_, the words--_Stage Mutiny_--are perhaps improperly added.

On the two sides of this print are scrolls, containing a list of the presents made to _Farinelli_. The words are copied from the same enumeration in the second plate of the Rake's Progress.[1]

At the bottom are the following lines:

"_Brittains_ attend--view this harmonious stage, And listen to those notes which charm the age. How sweet the sound where cats and bears With brutish noise offend our ears! Just so the foreign singers move Rather contempt than gain our love. Were such discourag'd, we should find Musick at home to charm the mind! Our home-spun authors must forsake the field, And _Shakespear_ to the _Italian Eunuchs_ yield."[2]

Perhaps the original print was the work of _Gravelot, Vandergucht,_ or some person unknown.[3] The idea of it is borrowed from a _French_ book, called _Les Chats_, printed at _Amsterdam_ in 1728. In this work, facing p. 117, is represented an opera performed by cats, superbly habited. The design is by _Coypel_; the engraving by _T. Otten_. At the end of the treatise, the opera itself is published. It is improbable that _Hogarth_ should have met with this _jeu d'esprit_; and, if he did, he could not have read the explanation to it.

[1] The following paragraph appeared in the _Grub-street Journal_ for _April_ 10, 1735; and to this perhaps _Hogarth_ alluded in the list of donations already mentioned: "His Royal Highness the Prince hath been pleased to make a present of a fine wrought gold snuff-box, richly set with brilliants and rubies, in which was inclosed a pair of brilliant diamond knee buckles, as also a purse of 100 guineas, to the famous Signor _Farinelli_, &c."

[2] These two last lines make part of _Addison's_ Prologue to _Phædra_ and _Hippolytus_, reading only "the soft _Scarlatti_," instead of _Italian Eunuchs_.

[3] At the back of an old impression of it, in the collection of the late Mr. _Rogers_, I meet with the name of _Echerlan_, but am unacquainted with any such designer or engraver.----I have since been told he came over to _England_ to dispose of a number of foreign prints, and was himself no mean caricaturist. Having drawn an aggravated likeness of an _English_ nobleman, whose figure was peculiarly unhappy, he was forced to fly in consequence of a resentment which threatened little short of assassination.

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1729.

1. King _Henry_ the Eighth, and _Anna Bullen_. "_Very indifferent._" This plate has very idly been imagined to contain the portraits of _Frederick_ Prince of _Wales_ and Miss _Vane_;[1] but the stature and faces, both of the lady and _Percy_, are totally unlike their supposed originals. Underneath are the following verses by _Allan Ramsay_:

Here struts old pious _Harry_, once the great Reformer of the _English_ church and state: 'Twas thus he stood, when _Anna Bullen's_ charms Allur'd the amorous monarch to her arms; With his right hand he leads her as his own, To place this matchless beauty on his throne; Whilst _Kate_ and _Piercy_ mourn their wretched fate, And view the royal pair with equal hate, Reflecting on the pomp of glittering crowns, And arbitrary power that knows no bounds. Whilst _Wolsey_, leaning on his throne of state, Through this unhappy change foresees his fate, Contemplates wisely upon worldly things, The cheat of grandeur, and the faith of kings.

Mr. _Charlton_, of _Canterbury_, has a copy of this print, with the following title and verses: "King _Henry_ VIII. bringing to court _Anne Bullen_, who was afterwards his royal consort." _Hogarth design. &. sculp._

See here the great, the daring _Harry_ stands, Peace, Plenty, Freedom, shining in his face, With lovely _Anna Bullen_ joining hands, Her looks bespeaking ev'ry heav'nly grace.

See _Wolsey_ frowning, discontent and sour, Feeling the superstitious _structure_ shake: While _Henry's_ driving off the _Roman_ whore, For _Britain's_ weal, and his _Lutherian's_ sake.

Like _Britain's_ Genius our brave King appears, Despising Priestcraft, Avarice, and Pride; Nor the loud roar of _Babel's_ bulls he fears, The Dagon falls before his beauteous bride.

Like _England's_ Church, all sweetness and resign'd, The comely queen her lord with calmness eyes; As if she said, If goodness guard your mind, You ghostly tricks and trump'ry may despise.

[1] To the fate of this lady Dr. _Johnson_ has a beautiful allusion in his _Vanity of Human Wishes_:

"Yet _Vane_ could tell what ills from beauty spring, And _Sedley_ curs'd the form that _pleas'd a king_."

Perhaps the thought, that suggested this couplet, is found in _Loveling's_ Poems, a work already quoted:

-------nec _Gwynnam_ valebat _Angliaco placuisse regi_.

Mersa est acerbo funere sanguinis _Vanella_ clari: nec grave spiculum Averteret fati _Machaon_, Nec madido _Fredericus_ ore.

2. The same plate without any verses, but with an inscription added in their room. _Ramsay_ seems to have been particularly attached to _Hogarth_. He subscribed, as I have already observed, for thirty copies of the large _Hudibras_.

The original picture was at _Vauxhall_, in the portico of the old great room on the right-hand of the entry into the garden. See p. 29.

3. Frontispiece to the "Humours of _Oxford_," a comedy by _James Miller_; acted at _Drury-Lane_, and published in 8vo, 1729.[1] _W. Hogarth inv. G. Vandergucht sc._ The Vice-chancellor, attended by his beadle, surprizing two Fellows of a College, one of them much intoxicated, at a tavern.

[1] It met with but moderate success in the theatre; but drew on Mr. _Miller_ the resentment of some of the heads of the colleges in _Oxford_, who looked on themselves as satirized in it.

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1730.

1. _Perseus_, and _Medusa_ dead, and _Pegasus_. Frontispiece to _Perseus_ and _Andromeda. W. H. fec._

2. Another print to the same piece, of _Perseus_ descending. Mr. _Walpole_ mentions only one.

3. A half-starved boy. (The same as is represented in the print of _Morning_.) _W. H. pinx. F. Sykes sc. Sykes_ was a pupil of _Thornhill_ or _Hogarth_. This print bears the date of 1730; but I suspect the 0 was designed for an 8, and that the upper part of it is wanting, because the aqua fortis failed; or, that the pupil copied the figure from a sketch of his master, which at that time was unappropriated. No one will easily suspect _Hogarth_ of such plagiarism as he might justly be charged with, could he afterwards have adopted this complete design as his own; neither is it probable that any youth could have produced a figure so characteristic as this; or, if he could, that he should have published it without any concomitant circumstances to explain its meaning. The above title, which some collector has bestowed on this etching, is not of a discriminative kind. Who can tell from it whether he is to look for a boy emaciated by hunger, or shivering with cold? It is mentioned here, only that it may be reprobated. If every young practitioner's imitation of a single figure by _Hogarth_ were to be admitted among his works, they would never be complete.

4. _Gulliver_ presented to the Queen of _Babilary. W. Hogarth inv. Ger. Vandergucht sc. "It is the frontispiece to the Travels of Mr._ John Gulliver," son of Capt. _Lemuel Gulliver_, a translation from the _French_ by Mr. _Lockman_. There is as much merit in this print as in the work to which it belongs.

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1731.

1. Two frontispieces to a translation of two of _Moliere's_ plays, viz. _L'Avare_[1] and _Le Cocû imaginaire_. These are part of a select collection of _Moliere's_ Comedies in _French_ and _English_. They were advertised in _The Grub-street Journal_, with designs by "Monsieur _Coypel_, Mr. _Hogarth_, Mr. _Dandridge_, Mr. _Hamilton_," &c. in eight pocket volumes.

[1] Of this one, Mr. _S. Ireland_ has the original drawing.

2. Frontispiece to "The Tragedy of Tragedies, or the Life and Death of _Tom Thumb_," in three acts;[1] by _Henry Fielding. W. Hogarth inv. Ger. Vandergucht sc. "There is some humour in this print."_

[1] This piece had before made its appearance in 1730 in one act only.

3. Frontispiece to the Opera of _The Highland Fair, or the Union of the Clans_, by _Joseph Mitchell. W. Hogarth inv. Ger Vandergucht sculp._

"Forsan et hæc olim meminisse juvabit." VIRG.

The date of this piece is confirmed by the following paragraph in _The Grub-street journal, March_ 4, 1731: "We hear from the Theatre-Royal in _Drury-lane_, that there is now in rehearsal, and to be performed on _Tuesday, March_ 16, a new _Scots_ Opera, called _The Highland Fair, or Union of the Clans,_ &c." The subject being too local for the _English_ stage, it met with little or no success.

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1732.