Part 19

"O raro merito quem juncta scientia dudum Illustrem sacris medico stellam addidit orbi Auspiciis, pura nunquam non luce corusce! Utcunque incolumem virtutum aversa tueri Gens humana solet, non ni post fata corona Donandam merita, potitus melioribus astris, Invidia major, tu præsens alter haberis _Hippocrates_, pleno jam nunc cumulatus honore. Te seu, corporea tandem compage soluta, Accipiet, doctis clarescentem artibus, alta _Coi_ sphæra senis; seu tu venerabilis aureo _Romani Celsi_ rite effulgebis in orbe; O sit adhuc tarda illa dies, sit tarda, precamur, Illa dies, nostris et multum ferior annis, Cum tua mens, membris seducta fluentibus, almas Advolet, angelicis immixta cohortibus, arces! Hic potius Musas, thematis dulcedine captas, Delecta, atque audi laudes vel _Apolline_ dignas."

[4] A celebrated anatomist, physician, and man-midwife, to whose estate the present _Gascoyne_ family succeeded, and whose surname has been given as a Christian name to two of them.

[5] Some indifferent verses on this event were printed in _The Gentleman's Magazine_, 1736, p. 484.

[6] General _Churchill_ was "the primary puffer of _Ward's_ pill at court;" and Lord Chief Baron _Reynolds_ soon after published "its miraculous effects on a maid servant," as I learn by some doggrel verses of Sir _William Browne_, addressed to "Dr. _Ward_, a Quack, of merry memory," under the title of "The Pill-Plot. On _The Daily Courant's_ miraculous Discovery, upon the ever-memorable 28th day of _November_ 1734, from the Doctor himself being a Papist, and distributing his Pills to the poor _gratis_, by the hands of the Lady _Gage_ also a Papist, that the Pill must be beyond all doubt a deep-laid Plot, to introduce popery."

[7] "This alludes to some surprizing cures she performed before Sir _Hans Sloane_ at _The Grecian Coffee-house_ (where she came once a week from _Epsom_ in her chariot with four horses): viz. a man of _Wardour-street_, whose back had been broke nine years, and stuck out two inches; a niece of Sir _Hans Sloane_ in the like condition; and a gentleman who went with one shoe heel six inches high, having been lame twenty years of his hip and knee, whom she set strait, and brought his leg down even with the other." _Gent. Mag._ 1756, p. 617.

[8] A chief betokeneth a senator, or honourable personage borrowed from the _Greeks_, and is a word signifying a head; and as the head is the chief part of a man, so the chief in the escutcheon should be a reward of such only whose high merits have procured them chief place, esteem, or love amongst men.

[9] The bearing of clouds in armes (saith _Upton_) doth import some excellencie.

[10] Originally printed _docter_, but afterwards altered in this print.

* * * * *

1737.

1. The Lecture. "Datur vacuum." The person reading is well known to be the late Mr. _Fisher_, of _Jesus College, Oxford_, and Registrar of that University. This portrait was taken with the free consent of Mr. _Fisher_; who died _March_ 18, 1761. There are some impressions in which "Datur vacuum" is not printed, that leaf being entirely blank; published _January_ 20, 1736-7; the other _March_ 3, 1736. _Hogarth_ at first marked these words in with a pen and ink.

2. _Æneas_ in a Storm. The following advertisement appeared in _The London Daily Post, January_ 17, 1736-7.

"This day is published, price sixpence, a hieroglyphical print called _Æneas in a Storm_.

"Tanta hæc mulier potuit suadere malorum.

"Sold by the booksellers and printsellers in town and country. Of whom may be had, a print called _Tartuff's Banquet_, or _Codex's_ Entertainment. Price one shilling.

"--populus me sibilat, at mihi plaudo Ipse domi."

The same paper mentions the King's arrival at _Loestoff_ on the 16th of _January_, and afterwards at _St. James's_ on the 17th.

The author of this print, whoever he was, did not venture to put his name to so ludicrous a representation of the tempest which happened on King _George_ the Second's return from _Hanover_. His Majesty is supposed to have kicked his hat overboard. This, it seems, was an action customary to him when he was in a passion. To the same circumstance _Loveling_ has alluded in his Sapphic Ode ad _Carolum B----_.[1]

Concinet majore poeta plectro _Georgium_,[2] quandoque calens furore Gestiet circa thalamum ferire Calce galerum.

I have been told, that Mr. _Garrick_, when he first appeared in the character of _Bayes_, taking the same liberty, received instantly such a message from one of the stage boxes, as prevented him from practising so insolent a stroke of mimickry a second time.

In spite of the confidence with which this plate has been attributed to _Hogarth_, I by no means believe it was his performance. It more resembles the manner of _Vandergucht_, who was equally inclined to personal satire, however his talents might be inadequate to his purposes. Witness several scattered designs of his in the very same style of engraving. I may add, that he always exerted his talents in the service of the Tory faction. Besides, there is nothing in the plate before us which might not have been expected from the hand of any common artist. The conceit of the blasts issuing from the posteriors of the _Æolian_ tribe, is borrowed from one of the prints to _Scarron's Travesty of Virgil_; and the figure of _Britannia_ is altogether insipid and unworthy of _Hogarth_. Our artist also was too much accustomed to sailing parties, and too accurate an observer of objects on _The Thames_, not to have known that our Royal Yachts are vessels without three masts, &c.

[1] _Bunbury_.

[2] The author had here left a blank, which I have ventured to fill up with the royal name.

* * * * *

1738.

1. The Four Parts of the Day.[1] _Invented, painted, engraved, and published by W. Hogarth._ Mr. _Walpole_ observes that these plates, "except the last, are inferior to few of his works." We have been told that _Hogarth's_ inclination to satire once cost him a legacy. It seems that the figure of the Old Maid, in the print of _Morning_, was taken either from an acquaintance or relation of his. At first she was well enough satisfied with her resemblance; but some designing people teaching her to be angry, she struck the painter out of her will, which had been made considerably in his favour. This story we have heard often related by those whom, on other occasions, we could readily believe. In the same print is a portrait of Dr. _Rock_, who formerly attended _Covent-Garden_ market every morning.

To the propriety of _Hogarth's_ having introduced a scene of riot within _King's Coffee-house_, the following quotation from _The Weekly Miscellany_ for _June_ 9, 1739, bears sufficient testimony: "_Monday_ Mrs. _Mary King_ of _Covent-Garden_ was brought up to the King's Bench Bar at _Westminster_, and received the following sentence, for keeping a disorderly house; viz. to pay a fine of £.200, to suffer three months imprisonment, to find security for her good behaviour for three years, and to remain in prison till the fine be paid." As it was impossible she could carry on her former business, as soon as the time of her imprisonment was ended, she retired with her savings, built three houses on _Haverstock_ hill, near _Hampstead_, and died in one of them, _September_ 1747. Her own mansion was afterwards the last residence of the celebrated _Nancy Dawson_;[2] and the three together are still distinguished by the appellation of _Moll King's Row_. Perhaps the use of the mirror in reversing objects was not yet understood by our engravers, for in _Hogarth's_ painting the late Mr. _West's_ house (now _Lowe's_ Hotel) is properly situated on the left of _Covent-garden_ church. In the print it appears on the contrary side.

The _Crying Boy_ in _Noon_ was sketched by _Hogarth_ from a picture by _N. Poussin_ of the Rape of the _Sabines_, at Mr. _Hoare's_ at _Stourhead_. The school boy's kite lodged on the roof of a building, was introduced only to break the disagreeable uniformity of a wall.

Our artist, in the scene of _Evening_, inserted the little girl with the fan, as an after-thought, some friend having asked him what the boy cried for. He therefore introduced the girl going to take the play-thing from her brother. Nothing is more common than to see children cry without reason. The circumstance, however, shews that this great Genius did not always think himself above advice, as some have alledged to have been the case with him. In the early impressions of this plate, the face and neck of the woman are coloured with red, to express heat; and the hand of her husband is tinged with blue, to intimate that he was by trade a _Dyer_. The purchasers of the plate, intituled _Evening_, are hereby cautioned against imposition. In a modern copy of it, sold to the late Mr. _Ingham Foster_, the face of the woman had been washed over with vermilion, that it might pass (as it chanced to do) for a first impression. In the true ones, and none but these, the face and bosom were _printed_ off with red, and the hand with blue ink. Only the traces of the graver, therefore, ought to be filled by either colour, and not the whole surface of the visage, &c. as in the smeary counterfeit. I have been told that a few copies of plate III. were taken off before the fan was inserted, but have not hitherto met with one of them. In _Night_, the drunken Free-mason has been supposed to be Sir _Thomas de Veil_; but Sir _John Hawkins_ assures me, it is not the least like him. The _Salisbury Flying-Coach_ implies a satire on the right honourable inventor of that species of carriage. The two first of these pictures were sold to the Duke of _Ancaster_, for 57 Guineas; the remaining pair to Sir _William Heathcote_ for 64.

[1] _Hogarth_ advertises in _The London Daily Post, January_ 20, 1737-8, five copper plates, viz. Morning, Noon, Evening and Night, and a Company of Strolling Actresses dressing in a barn, for _one guinea_, half to be paid at the time of subscribing, half on the delivery. After the subscription, to be raised to five shillings a plate.

[2] A hornpipe dancer at _Covent Garden_. She was mistress to _Shuter_ the comedian, &c. &c. &c.

2. Strolling Actresses[1] dressing in a Barn. _Invented, painted, engraved, and published by W. Hogarth_. Mr. _Walpole_ observes that this piece, "for wit and imagination, without any other end," is the best of all our artist's works. Mr. _Wood_ of _Littelton_ has the original, for which he paid only 26 Guineas.

Dr. _Trusler_, in his explanation of this plate, is of opinion, that some incestuous commerce among the performers is intimated by the names of _Oedipus_ and _Jocasta_ appearing above the heads of two figures among the theatrical lumber at the top of the barn. But surely there is no cause for so gross a supposition. Painted prodigies of this description were necessary to the performance of _Lee's Oedipus_. See Act II. where the following stage direction occurs; "The cloud draws, that veiled the heads of the figures in the sky, and shews them crowned, with the names of _Oedipus_ and _Jocasta_ written above, in great characters of gold." The magazine of dragons, clouds, scenes, flags, &c. or the woman half naked, was sufficient to attract the notice of the rustick peeping through the thatch he might be employed to repair. Neither is the position of the figures at all favourable to the Doctor's conceit. Incest was also too shocking an idea to have intruded itself among the comic circumstances that form the present representation. When this plate was retouched a second time, a variety of little changes were made in it. In the two earliest impressions the actress who personates _Flora_, is greasing her hair with a tallow candle, and preparing to powder herself, after her cap, feathers, &c. were put on. This solecism in the regular course of dress is removed in the third copy, the cap and ornaments being there omitted. The coiffure of the female who holds the cat, is also lowered; and whereas at first we could read in the play-bill depending from the truckle-bed, that the part of _Jupiter_ was to be performed by Mr. _Bilk-village_, an additional shade in the modern copy renders this part of the inscription illegible. Several holes likewise in the thatch of the barn are filled up; and the whole plate has lost somewhat of its clearness. The same censure is due to the reparations of the _Harlot's_ and _Rake's Progresses_. Had _Hogarth_ lived, he would also have gradually destroyed much of that history of dress, &c. for which his designs have been justly praised by Mr. _Walpole_. In the first and last scenes of the _Rake's Progress_, he began to adorn the heads of his females in the fashion prevalent at the time he retraced the plates. In short, the collector, who contents himself with the later impressions of his work, will not consult our artist's reputation. Those who wish to be acquainted with the whole extent of his powers, should assemble the first copies, together with all the varieties of his capital works.

[1] I know not why this print should have received its title only from its female agents. Not to dwell on the _Jupiter_ pointing with _Cupid's_ bow to a pair of stockings, whoever will examine the linen[A] of the weeping figure receiving a dram-glass from the _Syren_, and look for the object that attracts her regard, may discover an indication that the other sex has also a representative in this theatrical parliament.

[A] Non sic præcipiti carbasa tensa noto.

* * * * *

1739.

1. Several children of _The Foundling Hospital_; the boys with mathematical instruments; the girls with spinning wheels. Over the door of the house they come out of, are the King's-arms. A porter is bringing in a child, followed by Capt. _Coram_, whose benevolent countenance[1] is directed towards a kneeling woman. On the right hand is a view of a church; near it a woman lifting a child from the ground; at a little distance another infant exposed near a river. In the back of the picture, a prospect of ships sailing. _W. Hogarth inv. F. Morellon la Cave sculp. London._

This is prefixed to an engraved Power of Attorney, from the trustees of _The Foundling Hospital_, to those gentlemen who were appointed to receive subscriptions towards the building, &c. The whole together is printed on a half sheet.

[1] See p. 261.

* * * * *

1741.

1. The Enraged Musician, _Designed, engraved, and published by W. Hogarth._ "Mr. _John Festin_,[1] the first hautboy and _German_ flute of his time, had numerous scholars, to each of whom he devoted an hour every day. At nine in the morning he attended Mr. _Spencer_, grandfather to the earl of that name. If he happened to be out of town on any day, he devoted that hour to another. One morning at that hour he waited on Mr. _V----n_, afterwards Lord _V----n_. He was not up. Mr. _Festin_ went into his chamber, and opening the shutter of a window, sat down in it. The figure with the hautboy was playing under the window. A man, with a barrow full of onions, came up to the player, and sat on the edge of his barrow, and said to the man, 'if you will play the _Black Joke_, I will give you this onion.' The man played it. When he had so done, the man again desired him to play some other tune, and then he would give him another onion. 'This,' said _Festin_ to me, 'highly angered me; I cried out, Z----ds, sir, stop here. This fellow is ridiculing my profession: he is playing on the hautboy for onions.' Being intimate with Mr. _Hogarth_, he mentioned the circumstance to him; which, as he said, was the origin of 'The enraged Musician.' The fact may be depended upon. Mr. _Festin_[2] was himself the Enraged Performer." The story is here told just as he related it to a clergyman, in whose words the reader now receives it.

Of this print[3] it has been quaintly said, that it deafens one to look at it. Mr. _Walpole_ is of opinion that it "tends to farce." _Rouquet_ says of it, "Le Musicien est un _Italien_ que les cris de _Londres_ font enrager." The wretched figure playing on a hautbois, was at that time well known about the streets. For variations, see the horse's head, originally white, but now black.--Sleeve of the child with a rattle, at first smaller, as well as of a lighter hue--the milk-woman's face, cloak, &c. boy's dragg, cutler's hatchet, dog, &c. &c. more darkened than in the first impressions. These, however, can scarcely be termed varieties, as they were occasioned only by retouching the plate, and adding a few shadows.

_Hogarth_, however, made several alterations and additions in this plate when it appeared to be finished. He changed in some measure all the countenances, and indeed the entire head and limbs of the chimney-sweeper, who had originally a grenadier's cap on. Miss had also a _Doll_, significantly placed under the trap composed of bricks, near which some sprigs from a tree are set in the ground, the whole contrivance being designed by some boy for the purpose of taking birds; but when occupied by Miss's Play-thing, became emblematic of the art of catching men. What relates, however, to this young lady from a boarding-school, was gross enough without such an amplification. The play-bill, sow-gelder, cats, dragg, &c. were not introduced, nor the pewterer's advertisement, nor the steeple in which the ringers are supposed. It is remarkable that the dustman was without a nose. The proofs of the plate in this condition are scarce. I have seen only one of them.[4] Mr. _S. Ireland_ has the original sketch.

[1] "Mr. _Festin_ has not been dead ten years. He was brother to the _Festin_ who led the band at _Ranelagh_."

[2] In the second edition of these anecdotes, I had said "the musician was undoubtedly _Castrucci_;" though one gentleman assured me it was _Veracini_. The error is here acknowledged, to shew the danger of receiving information upon trust. In the first edition, I had fallen into a less pardonable mistake, by supposing it was _Cervetto_, whom I described to be then lately dead. But "_Hogarth's_ musician," as a friend on that occasion suggested to me, "is represented with a violin; whereas _Cervetto's_ instrument was the violoncello; but, however that may be, he is now certainly living. He lodges at _Friburg's_ snuff-shop, in _The Haymarket_, and may be seen every day at _The Orange Coffeehouse_, although he completed his 101st. year in _November_ 1781." This extraordinary character in the musical world came to _England_ in the hard frost, and was then an old man. He soon after was engaged to play the bass at _Drury-lane_ theatre, and continued in that employment till a season or two previous to Mr. _Garrick's_ retiring from the stage. He died _June_ 14, 1783, in his 103d year. One evening when Mr. _Garrick_ was performing the character of Sir _John Brute_, during the drunkard's muttering and dosing till he falls fast asleep in the chair (the audience being most profoundly silent and attentive to this admirable performer), _Cervetto_ (in the orchestra) uttered a very loud and immoderately-lengthened yawn! The moment _Garrick_ was off the stage, he sent for the musician, and with considerable warmth reprimanded him for so ill-timed a symptom of somnnolency, when the modern _Naso_, with great address, reconciled _Garrick_ to him in a trice, by saying, with a shrug, "I beg ten tousand pardon! but I alvays do so ven I am _ver much please_!" Mr. _Cervetto_ was distinguished among his friends in the galleries by the name of _Nosey_. See _Gentleman's Magazine_, 1783, p. 95.

[3] _London Daily Post, November_ 24, 1740. "Shortly will be published, a new print called _The Provoked Musician_, designed and engraved by Mr _William Hogarth_; being a companion to a print representing a _Distressed Poet_, published some time since. To which will be added, a _Third on Painting_, which will compleat the set; but as this subject may turn upon an affair depending between the right honourable the L--d _M---r_ and the author, it may be retarded for some time."

Query to what affair does _Hogarth_ allude? _Humphrey Parsons_ was then Lord Mayor.

[4] In the collection of Mr. _Crickitt_.

* * * * *

1742.

1. _Martin Folks_, Esq. half length. _W. Hogarth pinxit & sculpsit_. An engraving. To some impressions of this print, which are not proofs, the name of _Hogarth_ is wanting.

2. The same, half length mezzotinto. _W. Hogarth pinx._ 1741; _J. Faber fecit._ 1742. The original of both is now in the meeting-room of the Royal Society, in _Somerset Place_.

3. Charmers of the Age.[1] "_A sketch. No name._" It was intended to ridicule Mons. _Desnoyer_[2] and Signora _Barberini_, the two best dancers that ever appeared in _London_. This plate exhibits the internal prospect of a theatre. The openings between the side scenes are crowded with applauding spectators. The two performers are capering very high. A sun over head (I suppose the emblem of public favour) is darting down its rays upon them. The representatives of Tragedy and Comedy are candle-holders on the occasion. Underneath is the following inscription: "The prick'd lines show the rising height." There are also a few letters of direction, so situated as to convey no very decent innuendo. The whole is but a hasty outline, executed, however, with spirit, and bitten uncommonly deep by the aqua fortis. I ascribe it to _Hogarth_ without hesitation. Of this print there is a copy by _Livesay_.

All the three pieces of our artist that satirize the stage, &c. are peculiarly scarce. We may suppose them, therefore, to have been suppressed by the influence of the managers for the time being, who were not, like our present ones, become callous through the incessant attacks of diurnal criticks in the news-papers.

[1] _Hogarth_ designed to have published this print, with some explanation at the bottom of it in 1741-2.--See the inscription almost effaced, a circumstance to which the copier did not attend.

[2] I learn from _The Grub-street Journal_ for _October_ 17, 1734, that Monsieur _Desnoyer_ was just arrived from _Poland_, together with Mademoiselle _Roland_ from _Paris_ (this lady is still alive). Again, from the same paper, _August_ 19, 1756, that "Monsieur _Desnoyer_, the famous dancer at _Drury-lane_, is gone to _Paris_, by order of Mr. _Fleetwood_, to engage Mademoiselle _Sallee_ for the ensuing winter." In some future expedition, we may suppose, he prevailed on Signora _Barberini_ to come over for the same purpose.

4. Taste in High Life. A beau, a fashionable old lady, a young lady, a black boy, and a monkey. Painted by Mr. _Hogarth_. It was sold by Mr. _Jarvis_, in _Bedford-street, Covent-Garden. Published May 24th, [no year]._ The original picture is in the possession of Mr. _Birch_, surgeon, _Essex-street_, in _The Strand_.

It displays (as we learn from an inscription on the pedestal under a _Venus_ dressed in a hoop-petticoat) the reigning modes of the year 1742. It was painted for the opulent Miss _Edwards_, who paid our artist sixty guineas for it. Her reason for choosing such a subject was rather whimsical. By her own singularities having incurred some ridicule, she was desirous, by the assistance of _Hogarth_, to recriminate on the publick. As he designed after her ideas, he had little kindness for his performance, and never would permit a print to be taken from it. The present one was from a drawing made by connivance of her servants. The original was purchased by the father of its present owner, at her sale at _Kensington_.