Part 2

"His apprenticeship was no sooner expired," says Mr. _Walpole_, "than he entered into the academy in _St. Martin's Lane_, and studied drawing from the life, in which he never attained to great excellence. It was character, the passions, the soul, that his genius was given him to copy. In colouring he proved no greater a master: his force lay in expression, not in tints and chiaro scuro."

To a man who by indefatigable industry and uncommon strength of genius has been the artificer of his own fame and fortune, it can be no reproach to have it said that at one period he was not rich. It has been asserted, and we believe with good foundation, that the skill and assiduity of _Hogarth_ were, even in his servitude, a singular assistance to his own family, and to that of his master. It happened, however, that when he was first out of his time, he certainly was poor. The ambition of indigence is ever productive of distress. So it fared with _Hogarth_, who, while he was furnishing himself with materials for subsequent perfection, felt all the contempt which penury could produce. Being one day distressed to raise so trifling a sum as twenty shillings, in order to be revenged of his landlady, who strove to compel him to payment, he drew her as ugly as possible, and in that single portrait gave marks of the dawn of superior genius.[8] This story I had once supposed to be founded on certainty; but since, on other authority, have been assured, that had such an accident ever happened to him, he would not have failed to talk of it afterwards, as he was always fond of contrasting the necessities of his youth with the affluence of his maturer age. He has been heard to say of himself, "I remember the time when I have gone moping into the city with scarce a shilling in my pocket; but as soon as I had received ten guineas there for a plate, I have returned home, put on my sword, and sallied out again, with all the confidence of a man who had ten thousand pounds in his pocket." Let me add, that my first authority may be to the full as good as my second.

How long he continued in obscurity we cannot exactly learn; but the first piece in which he distinguished himself as a painter, is supposed to have been a representation of _Wanstead Assembly_.[9] In this are introduced portraits of the first earl _Tylney_, his lady, their children, tenants, &c. The faces were said to be extremely like, and the colouring is rather better than in some of his late and more highly finished performances.

From the date of the earliest plate that can be ascertained to be the work of _Hogarth_, it may be presumed that he began business, on his own account, at least as early as the year 1720.

His first employment seems to have been the engraving of arms and shop-bills. The next step was to design and furnish plates for booksellers; and here we are fortunately supplied with dates.[10] Thirteen folio prints, with his name to each, appeared in "_Aubry de la Motraye's_ Travels," in 1723; seven smaller prints for "_Apuleius'_ Golden Ass" in 1724; fifteen head-pieces to "_Beaver's_ Military Punishments of the Ancients," and five frontispieces for the translation of _Cassandra_, in five volumes, 12°, 1725; seventeen cuts for a duodecimo edition of _Hudibras_ (with _Butler's_ head) in 1726; two for "_Perseus_ and _Andromeda_," in 1730; two for _Milton_ [the date uncertain]; and a variety of others between 1726 and 1733.

"No symptom of genius," says Mr. _Walpole_, "dawned in those plates. His _Hudibras_ was the first of his works that marked him as a man above the common; yet, what made him then noticed, now surprises us, to find so little humour in an undertaking so congenial to his talents."--It is certain that he often lamented to his friends the having parted with his property in the prints of the large _Hudibras_, without ever having had an opportunity to improve them. They were purchased by Mr. _Philip Overton_,[11] at the _Golden Buck_, near _St. Dunstan's Church_ in _Fleet-Street_; and still remain in the possession of his successor Mr. _Sayer_.

Mr. _Bowles_ at the _Black Horse_ in _Cornhill_ was one of his earliest patrons. I had been told that he bought many a plate from _Hogarth_ by the weight of the copper; but am only certain that this occurrence happened in a single instance, when the elder Mr. _Bowles_ of _St. Paul's Church-yard_ offered, over a bottle, half a crown a pound for a plate just then completed. This circumstance was within the knowledge of Dr. _Ducarel_.--Our artist's next friend in that line was Mr. _Philip Overton_, who paid him a somewhat better price for his labour and ingenuity.

When Mr. _Walpole_ speaks of _Hogarth's_ early performances, he observes, that they rose not above the labours of the people who are generally employed by booksellers. Lest any reader should inadvertently suppose this candid writer designed the minutest reflection on those artists to whom the decoration of modern volumes is confided, it is necessary to observe, that his account of _Hogarth_, &c. was printed off above ten years ago, before the names of _Cipriani, Angelica, Bartolozzi, Sherwin,_ and _Mortimer_ were found at the bottom of any plates designed for the ornament of poems, or dramatic pieces.

"On the success, however, of those plates," Mr. _Walpole_ says, "he commenced painter, a painter of portraits; the most ill-suited employment imaginable to a man whose turn certainly was not flattery, nor his talent adapted to look on vanity without a sneer. Yet his facility in catching a likeness, and the method he chose of painting families and conversations in small, then a novelty, drew him prodigious business for some time. It did not last, either from his applying to the real bent of his disposition, or from his customers apprehending that a satirist was too formidable a confessor for the devotees of self-love." There are still many family pictures by Mr. _Hogarth_ existing, in the style of serious conversation-pieces. He was not however lucky in all his resemblances, and has sometimes failed where a crowd of other artists have succeeded. The whole-length of Mr. _Garrick_ sitting at a table, with his wife behind him taking the pen out of his hand,[12] confers no honour on the painter or the persons represented.[13] He has certainly missed the character of our late _Roscius's_ countenance while undisturbed by passion; but was more lucky in seizing his features when aggravated by terror, as in the tent scene of King _Richard_ III. It is by no means astonishing, that the elegant symmetry of Mrs. _Garrick's_ form should have evaded the efforts of one to whose ideas _la basse nature_ was more familiar than the grace inseparable from those who have been educated in higher life. His talents, therefore, could do little justice to a pupil of Lady _Burlington_.

What the prices of his portraits were, I have strove in vain to discover; but suspect they were originally very low, as the people who are best acquainted with them chuse to be silent on that subject.

In the Bee, vol. V. p. 552. and also in the Gentleman's Magazine, vol. IV. p. 269. are the following verses to Mr. _Hogarth_, on Miss _F's_ picture, 1734.

"To _Chloe's_ picture you such likeness give, The animated canvas seems to live; The tender breasts with wanton heavings move, And the soft sparkling eyes inspire with love: While I survey each feature o'er and o'er, I turn _Idolater_, and paint adore: Fondly I here can gaze without a fear, That, _Chloe_, to my love you'd grow severe; That in your _Picture_, as in _Life_, you'd turn Your eyes away, and kill me with your scorn: No, here at least with transport I can see Your eyes with softness languishing on me. While, _Chloe_, this I boast, with scornful heart Nor rashly censure _Hogarth_, or his _art_, Who all your _Charms_ in strongest _Light_ has laid, And kindly thrown your _Pride_ and _Scorn_ in _Shade_."

At _Rivenhall_, in _Essex_, the seat of Mr. _Western_, is a family picture, by _Hogarth_ of Mr. _Western_ and his mother (who was a daughter of Sir _Anthony Shirley_), Chancellor _Hoadly_, Archdeacon _Charles Plumptre_, the Rev. Mr. _Cole_ of _Milton_ near _Cambridge_, and Mr. _Henry Taylor_ the Curate there,[14] 1736.

In the gallery of the late Mr. _Cole_ of _Milton_, was also a small whole-length picture of Mr. _Western_,[15] by _Hogarth_, a striking resemblance. He is drawn sitting in his Fellow-Commoner's habit, and square cap with a gold tassel, in his chamber at _Clare Hall_, over the arch towards the river; and our artist, as the chimney could not be expressed, has drawn a cat sitting near it, agreeable to his humour, to shew the situation.

"When I sat to him," says Mr. _Cole_, "near fifty years ago, the custom of giving vails to servants was not discontinued. On my taking leave of our painter at the door, and his servant's opening it or the coach door, I cannot tell which, I offered him a small gratuity; but the man very politely refused it, telling me it would be as much as the loss of his place, if his master knew it. This was so uncommon, and so liberal in a man of Mr. _Hogarth's_ profession at that time of day, that it much struck me, as nothing of the sort had happened to me before."

It was likewise Mr. _Hogarth's_ custom to sketch out on the spot any remarkable face which particularly struck him, and of which he wished to preserve the remembrance. A gentleman still living informs me, that being once with our painter at the _Bedford Coffee-house_, he observed him to draw something with a pencil on his nail. Enquiring what had been his employment, he was shewn the countenance (a whimsical one) of a person who was then at a small distance.

It happened in the early part of _Hogarth's_ life, that a nobleman, who was uncommonly ugly and deformed, came to sit to him for his picture. It was executed with a skill that did honour to the artist's abilities; but the likeness was rigidly observed, without even the necessary attention to compliment or flattery. The peer, disgusted at this counterpart of his dear self, never once thought of paying for a reflector that would only insult him with his deformities. Some time was suffered to elapse before the artist applied for his money; but afterwards many applications were made by him (who had then no need of a banker) for payment, without success. The painter, however, at last hit upon an expedient, which he knew must alarm the nobleman's pride, and by that means answer his purpose. It was couched in the following card:

"Mr. _Hogarth's_ dutiful respects to Lord ----; finding that he does not mean to have the picture which was drawn for him, is informed again of Mr. _H's_ necessity for the money; if, therefore, his lordship does not send for it in three days, it will be disposed of, with the addition of a tail, and some other little appendages, to Mr. _Hare_, the famous wild-beast man; Mr. _H._ having given that gentleman a conditional promise of it for an exhibition-picture, on his lordship's refusal."

This intimation had the desired effect. The picture was sent home, and committed to the flames.

To the other anecdotes of this comic Painter may be added the following. Its authenticity must apologize for its want of other merit.

A certain old Nobleman, not remarkably generous, having sent for _Hogarth_, desired he would represent, in one of the compartments on a staircase, _Pharaoh_ and his Host drowned in the _Red Sea_; but at the same time gave our artist to understand, that no great price would be given for his performance. _Hogarth_ agreed. Soon after, he waited on his employer for payment, who seeing that the space allotted for the picture had only been daubed over with red, declared he had no idea of paying a painter when he had proceeded no further than to lay his _ground_. "_Ground!_" said _Hogarth_, "there is no _ground_ in the case, my lord. The red you perceive, is the _Red Sea. Pharaoh_ and his Host are drowned as you desired, and cannot be made objects of sight, for the ocean covers them all."

Mr. _Walpole_ has remarked, that if our artist "indulged his spirit of ridicule in personalities, it never proceeded beyond sketches and drawings," and wonders "that he never, without intention, delivered the very features of any identical person." But this elegant writer, who may be said to have received his education in a Court, perhaps had few opportunities of acquaintance among the low popular characters with which _Hogarth_ occasionally peopled his scenes.[16] The Friend to whom I owe this remark was assured by an ancient gentleman of unquestionable veracity and acuteness of observation, that almost all the personages who attend the levee of the Rake were undoubted portraits; and that, in _Southwark Fair_ and the _Modern Midnight Conversation_, as many more were discoverable. In the former plate he pointed out _Essex_ the dancing-master; and in the latter, as well as in the second plate to the _Rake's Progress, Figg_ the prize-fighter.[17] He mentioned several others by name, from his immediate knowledge both of the painter's design and the characters represented; but the rest of the particulars, by which he supported his assertions, have escaped the memory of my informant. I am also assured, that while _Hogarth_ was painting the _Rake's Progress_, he had a summer residence at _Isleworth_; and never failed to question the company who came to see these pictures, if they knew for whom one or another figure was designed. When they guessed wrong, he set them right.

Mr. _Walpole_ has a sketch in oil, given to him by _Hogarth_, who intended to engrave it. It was done at the time when the House of Commons appointed a committee to inquire into the cruelties exercised on prisoners in the _The Fleet_, to extort money from them. "The scene," he says, "is the committee; on the table are the instruments of torture. A prisoner in rags, half-starved, appears before them; the poor man has a good countenance, that adds to the interest. On the other hand is the inhuman gaoler. It is the very figure that _Salvator Rosa_ would have drawn for _Iago_ in the moment of detection. Villainy, fear, and conscience, are mixed in yellow and livid on his countenance; his lips are contracted by tremor, his face advances as eager to lie, his legs step back as thinking to make his escape; one hand is thrust precipitately into his bosom, the fingers of the other are catching uncertainly at his button-holes. If this was a portrait, it is the most striking that ever was drawn; if it was not, it is still finer." The portrait was that of _Bambridge_[18] the warden of _The Fleet_; and the sketch was taken in the beginning of the year 1729, when _Bambridge_ and _Huggins_ (his predecessor)[19] were under examination. Both were declared "notoriously guilty of great breaches of trust, extortions, cruelties, and other high crimes and misdemeanors;" both were sent to _Newgate_; and _Bambridge_ was disqualified by act of parliament.[20] The son[21] of _Huggins_ was possessed of a valuable painting from this sketch, and also of a scene in the _Beggar's Opera_; both of them full of real portraits. On the dispersion of his effects, the latter was purchased by the Rev. Dr. _Monkhouse_ of _Queen's College, Oxford_. It is in a gilt frame, with a bust of _Gay_ at the top. It's companion, whose present possessor I have not been able to trace out, had, in like manner, that of Sir _Francis Page_, one of the judges, remarkable for his severity;[22] with a halter round his neck.

The Duke of _Leeds_ has also an original scene in the _Beggar's Opera_, painted by _Hogarth_. It is that in which _Lucy_ and _Polly_ are on their knees, before their respective fathers, to intercede for the life of the hero of the piece. All the figures are either known or supposed to be portraits. If I am not misinformed, the late Sir _Thomas Robinson_ (as well known by the name of _Long Sir Thomas_) is standing in one of the side-boxes. _Macheath_, unlike his spruce representative on our present stage, is a slouching bully; and _Polly_ appears happily disencumbered of such a hoop as the daughter of _Peachum_ within our younger memories has worn. His Grace gave 35 _l._ for this picture at Mr. _Rich's_ auction. Another copy of the same scene was bought by the late Sir _William Saunderson_; and is now in the possession of Sir _Henry Gough_. Mr. _Walpole_ has a painting of a scene in the same piece, where _Macheath_ is going to execution. In this also the likenesses of _Walker_, and Miss _Fenton_ afterwards Dutchess of _Bolton_ (the original _Macheath_ and _Polly_), are preserved.

In the year 1726, when the affair of _Mary Tofts_, the rabbit-breeder of _Godalming_, engaged the public attention, a few of our principal surgeons subscribed their guinea a-piece to _Hogarth_, for an engraving from a ludicrous sketch he had made on that very popular subject. This plate, amongst other portraits, contains that of the notorious _St. André_, the anatomist to the royal household, and in high credit as a surgeon. The additional celebrity of this man arose either from fraud or ignorance, perhaps from a due mixture of both. It was supported, however, afterwards, by the reputation of a dreadful crime. His imaginary wealth, in spite of these disadvantages, to the last insured him a circle of flatterers, even though, at the age of fourscore, his conversation was offensive to modest ears, and his grey hairs were rendered still more irreverend by repeated acts of untimely lewdness.[23] A particular description of this plate will be given in the future catalogue of _Hogarth's_ works.

In 1727, _Hogarth_ agreed with _Morris_, an upholsterer, to furnish him with a design on canvas, representing the element of Earth, as a pattern for tapestry. The work not being performed to the satisfaction of _Morris_, he refused to pay for it; and our artist sued him for the money. This suit (which was tried before Lord Chief Justice _Eyre_ at _Westminster, May_ 28, 1728) was determined in favour of _Hogarth_. The brief for the defendant in the cause, is preserved below.[24]

In 1730, Mr. _Hogarth_ married the only daughter of Sir _James Thornhill_,[25] by whom he had no child. This union, indeed, was a stolen one, and consequently without the approbation of Sir _James_, who, considering the youth of his daughter, then barely eighteen, and the slender finances of her husband, as yet an obscure artist,[26] was not easily reconciled to the match. Soon after this period, however, he began his _Harlot's Progress_ (the coffin in the last plate is inscribed _September_ 2, 1731); and was advised by Lady _Thornhill_ to have some of the scenes in it placed in the way of his father-in-law. Accordingly, one morning early, Mrs. _Hogarth_ undertook to convey several of them into his dining-room. When he arose, he enquired from whence they came; and being told by whom they were introduced, he cried out, "Very well; the man who can furnish representations like these, can also maintain a wife without a portion." He designed this remark as an excuse for keeping his purse-strings close; but, soon after, became both reconciled and generous to the young couple.

Our artist's reputation was so far established in 1731, that it drew forth a poetical compliment from Mr. _Mitchell_, in the epistle already quoted.

An allegorical cieling by Sir _James Thornhill_ is at the house of the late Mr. _Huggins_, at _Headley Park, Hants_. The subject of it is the story of _Zephyrus_ and _Flora_; and the figure of a Satyr and some others were painted by _Hogarth_.

In 1732 (the year in which he was one of the party who made _A Tour by land and Water_, which will be duly noticed in the Catalogue) he ventured to attack Mr. _Pope_, in a plate called "The Man of Taste;" containing a view of the Gate of _Burlington-house_; with _Pope_ whitewashing it, and bespattering the Duke of _Chandos's_ coach.[27] This plate was intended as a satire on the translator of _Homer_, Mr. _Kent_ the architect, and the Earl of _Burlington_. It was fortunate for _Hogarth_ that he escaped the lash of the former. Either _Hogarth's_ obscurity at that time was his protection, or the bard was too prudent to exasperate a painter who had already given such proof of his abilities for satire. What must _he_ have felt who could complain of the "pictured shape" prefixed to _Gulliveriana, Pope Alexander's Supremacy and Infallibility examined,_ &c. by _Ducket_, and other pieces, had our artist undertaken to express in colours a certain transaction recorded by _Cibber_?

Soon after his marriage, _Hogarth_ had summer-lodgings at _South-Lambeth_; and being intimate with Mr. _Tyers_, contributed to the improvement of _The Spring Gardens_ at _Vauxhall_, by the hint of embellishing them with paintings, some of which were the suggestions of his own truly comic pencil. Among these were the "Four parts of the Day," copied by _Hayman_ from the designs of our artist. The scenes of "Evening" and "Night" are still there; and portraits of _Henry_ VIII. and _Anne Bullen_ once adorned the old great room on the right hand of the entry into the gardens. For his assistance, Mr. _Tyers_ gratefully presented him with a gold ticket of admission for himself and his friends, inscribed

IN PERPETUAM BENEFICII MEMORIAM.

This ticket, now in the possession of his widow, is still occasionally made use of.

In 1733 his genius became conspicuously known. The third scene of his "Harlot's Progress" introduced him to the notice of the great. At a board of Treasury which was held a day or two after the appearance of that print, a copy of it was shewn by one of the lords, as containing, among other excellencies, a striking likeness of Sir _John Gonson_.[28] It gave universal satisfaction; from the Treasury each lord repaired to the print-shop for a copy of it, and _Hogarth_ rose completely into fame. This anecdote was related to Mr. _Huggins_ by _Christopher Tilson_, esq. one of the four chief clerks in the Treasury, and at that period under-secretary of state. He died _August_ 25, 1742, after having enjoyed the former of these offices fifty-eight years. I should add, however, that Sir _John Gonson_ is not here introduced to be made ridiculous, but is only to be considered as the image of an active magistrate identified.

The familiarity of the subject, and the propriety of it's execution, made the "Harlot's Progress" tasted by all ranks of people. Above twelve hundred names were entered in our artist's subscription-book. It was made into a pantomime by _Theophilus Cibber_; and again represented on the stage, under the title of _The Jew decoyed, or a Harlot's Progress_, in a Ballad Opera. Fan-mounts were likewise engraved, containing miniature representations of all the six plates. These were usually printed off with red ink, three compartments on one side, and three on the other.[29]