Part 3
The ingenious Abbé _Du Bos_ has often complained, that no history-painter of his time went through a series of actions, and thus, like an historian, painted the successive fortune of an hero, from the cradle to the grave. What _Du Bos_ wished to see done, _Hogarth_ performed. He launches out his young adventurer a simple girl upon the town, and conducts her through all the vicissitudes of wretchedness to a premature death. This was painting to the understanding and to the heart; none had ever before made the pencil subservient to the purposes of morality and instruction; a book like this is fitted to every soil and every observer, and he that runs may read. Nor was the success of _Hogarth_ confined to his persons. One of his excellencies consisted in what may be termed the furniture[30] of his pieces; for as in sublime and historical representations the fewer trivial circumstances are permitted to divide the spectator's attention from the principal figures, the greater is their force; so in scenes copied from familiar life, a proper variety of little domestic images contributes to throw a degree of verisimilitude on the whole. "The Rake's levee-room," says Mr. _Walpole_, "the nobleman's dining-room, the apartments of the husband and wife in Marriage Alamode, the Alderman's parlour, the bed-chamber, and many others, are the history of the manners of the age."
It may also be observed, that _Hogarth_, both in the third and last plate of the _Harlot's Progress_, has appropriated a name to his heroine which belonged to a well-known wanton then upon the town. The _Grub-street Journal_ for _August_ 6, 1730, giving an account of several prostitutes who were taken up, informs us that "the fourth was _Kate Hackabout_ (whose brother was lately hanged at _Tyburn_), a woman noted in and about the hundreds of _Drury, &c_."
In 1735 our artist lost his mother, as appears by the following extract from an old Magazine: "_June_ 11, 1735. Died Mrs. _Hogarth_, mother to the celebrated painter, of a fright from the fire which happened on the 9th, in _Cecil Court, St. Martin's Lane_, and burnt thirteen houses;[31] amongst others, one belonging to _John Huggins_, esq. late Warden of _The Fleet_, was greatly damaged."
The "Rake's Progress" (published in the same year, and sold at _Hogarth's_ house, the _Golden Head_ in _Leicester Fields_), though "perhaps superior, had not," as Mr. _Walpole_ observes, "so much success, from want of novelty; nor is the print of the arrest equal in merit to the others.[32]
"The curtain, however," says he, "was now drawn aside, and his genius stood displayed in its full lustre. From time to time our artist continued to give those works that would be immortal, if the nature of his art will allow it. Even the receipts for his subscriptions had wit in them. Many of his plates he engraved himself, and often expunged faces etched by his assistants, when they had not done justice to his ideas. Not content with shining in a path untrodden before, he was ambitious of distinguishing himself as a painter of history; and in 1736 presented to the hospital of _St. Bartholomew_, of which he had been appointed a governor,[33] a painting of the _Pool of Bethesda_, and another of the _Good Samaritan_. But the genius that had entered so feelingly into the calamities and crimes of familiar life, deserted him in a walk that called for dignity and grace. The burlesque turn of his mind mixed itself with the most serious subjects. In the _Pool of Bethesda_, a servant of a rich ulcerated lady beats back a poor man that sought the same celestial remedy; and in his _Danae_ [for which the Duke of _Ancaster_ paid 60 guineas] the old nurse tries a coin of the golden shower with her teeth, to see if it is true gold. Both circumstances are justly thought, but rather too ludicrous. It is a much more capital fault that _Danae_ herself is a mere nymph of _Drury_. He seems to have conceived no higher degree of beauty." Dr. _Parsons_ also, in his Lectures on Physiognomy, 410. p. 58, says, "Thus yielded _Danae_ to the Golden Shower, and thus was her passion painted by the ingenious Mr. _Hogarth_."
The novelty and excellence of _Hogarth's_ performances soon tempted the needy artist and print-dealer to avail themselves of his designs,[34] and rob him of the advantages which he was entitled to derive from them. This was particularly the case with the "Midnight Conversation," the "Harlot's" and "Rake's" Progresses,[35] and the rest of his early works. To put a stop to depredations like these on the property of himself and others, and to secure the emoluments resulting from his own labours, as Mr. _Walpole_ observes, he applied to the legislature, and obtained an act of parliament, 8 _George_ II. chap. 3°, to vest an exclusive right in designers and engravers, and to restrain the multiplying of copies of their works without the consent of the artist.[36]
This statute was drawn by his friend Mr. _Huggins_,[37] who took for his model the eighth of Queen _Anne_, in favour of literary property; but it was not so accurately executed as entirely to remedy the evil; for, in a cause founded on it, which came before Lord _Hardwicke_ in Chancery, that excellent Lawyer determined that no assignee, claiming under an assignment from the original inventor, could take any benefit by it. _Hogarth_, immediately after the passing the act, published a small print, with emblematical devices, and the following inscription expressing his gratitude to the three branches of the legislature:
"In humble and grateful acknowledgment Of the grace and goodness of the LEGISLATURE, Manifested In the ACT of PARLIAMENT for the Encouragement Of the Arts of Designing, Engraving, &c. Obtained By the Endeavours, and almost at the sole Expence, Of the Designer of this Print in the Year 1735; By which Not only the Professors of those Arts were rescued From the Tyranny, Frauds, and Piracies Of Monopolizing Dealers, And legally entitled to the Fruits of their own Labours; But Genius and Industry were also prompted By the most noble and generous Inducements to exert themselves; Emulation was excited, Ornamental Compositions were better understood; And every Manufacture, where Fancy has any concern, Was gradually raised to a Pitch of Perfection before unknown; Insomuch, that those of GREAT-BRITAIN Are at present the most Elegant And the most in Esteem of any in EUROPE."
This plate he afterwards made to serve for a receipt for subscriptions, first to a print of an "Election Entertainment;" and afterwards for three prints more, representing the "polling for members for parliament, canvassing for votes, and chairing the members." The royal crown at the top of this receipt is darting its rays on mitres, coronets, the Chancellor's great seal, the Speaker's hat, &c. &c. and on a scroll is written, "An Act for the Encouragement of the Arts of Designing, Engraving, and Etching, by vesting the Properties thereof in the Inventors and Engravers, during the Time therein mentioned." It was "Designed, etched, and published as the Act directs, by _W. Hogarth, March_ 20, 1754." After _Hogarth's_ death, the legislature, by Stat. 7 _Geo._ III. chap. 38. granted to his widow a further exclusive term of twenty years in the property of her husband's works.
In 1736 he had the honour of being distinguished in a masterly poem of a congenial Humourist. The Dean of _St. Patrick's_, in his "Description of the Legion Club," after pourtraying many characters with all the severity of the most pointed satire, exclaims,
"How I want thee, humorous _Hogarth!_ Thou, I hear, a pleasant rogue art! Were but you and I acquainted, Every monster should be painted: You should try your graving tools On this odious group of fools; Draw the beasts as I describe them; Form their features, while I gibe them; Draw them like, for I assure ye, You will need no _caricatura_. Draw them so, that we may trace All the soul in every face."
An elegant compliment was soon after paid to _Hogarth_ by _Somervile_, the author of _The Chace_, who dedicates his _Hobbinol_ to him as to "the greatest master in the burlesque way." Yet _Fielding_, in the Preface to _Joseph Andrews_, says, "He who should call the ingenious _Hogarth_ a burlesque painter, would, in my opinion, do him very little honour, for sure it is much easier, much less the subject of admiration, to paint a man with a nose, or any other feature of a preposterous size, or to expose him in some absurd or monstrous attitude, than to express the affections of men on canvas. It hath been thought a vast commendation of a painter, to say his figures seem to breathe; but surely it is a much greater and nobler applause, that they appear to think."[38]
_Vincent Bourne_, that classical ornament of _Westminster School_, addressed the following copy of hendecasyllables
"Ad GULIELMUM HOGARTH, Παρουνετικόν [Greek: Parounetikon]
"Qui mores hominum improbos, ineptos, Incidis, nec ineleganter, æri, Derisor lepidus, sed & severus, Corrector gravis, at nec invenustus; Seu pingis meretricios amores, Et scenas miseræ vicesque vitæ; Ut tentat pretio rudem puellam Corruptrix anus, impudens, obesa; Ut se vix reprimit libidinosus Scortator, veneri paratus omni: Seu describere vis, facete censor, Bacchanalia sera protrahentes Ad confinia crastinæ diei, Fractos cum cyathis tubos, matellam Non plenam modò sed superfluentem, Et fortem validumque combibonem Lætantem super amphorâ repletâ; Jucundissimus omnium ferêris, Nullique artificum secundus, ætas Quos præsens dedit, aut dabit futura. Macte ô, eja age, macte sis amicus Virtuti: vitiique quod notâris, Pergas pingere, & exhibere coràm, Censura utilior tua æquiorque Omni vel satirarum acerbitate, Omni vel rigidissimo cachinno."
By printed proposals, dated _Jan_. 25, 1744-5, _Hogarth_ offered to the highest bidder "the six pictures called _The Harlot's Progress_, the eight pictures called _The Rake's Progress_, the four pictures representing _Morning, Noon, Evening,_ and _Night,_ and that of _A Company of Strolling Actresses dressing in a Barn_; all of them his own original paintings, from which no other copies than the prints have ever been taken." The biddings were to remain open from the first to the last day of _February_, on these conditions: "1. That every bidder shall have an entire leaf numbered in the book of sale, on the top of which will be entered the name and place of abode, the sum paid by him, the time when, and for which picture.--That, on the last day of sale, a clock (striking every five minutes) shall be placed in the room; and when it hath struck five minutes after twelve, the first picture mentioned in the sale-book will be deemed as sold; the second picture when the clock hath struck the next five minutes after twelve; and so on successively till the whole nineteen pictures are sold. 3. That none advance less than gold at each bidding. 4. No person to bid on the last day, except those whose names were before entered in the book.--As Mr. _Hogarth's_ room is but small, he begs the favour that no persons, except those whose names are entered in the book, will come to view his paintings on the last day of sale."
The pictures were sold for the following prices:
Six Harlot's Progress, at 14 guineas each £.88 4 0 Eight Rake's Progress, at 22 guineas each 184 16 0 Morning, 20 guineas 21 0 0 Noon, 37 guineas 38 17 0 Evening, 38 guineas 39 18 0 Night, 26 guineas 27 6 0 Strolling Players, 26 guineas 27 6 0 -------- 427 7 0
At the same time the six pictures of _Marriage à-la-mode_ were announced as intended for sale as soon as the plates then taking from them should be completed. This set of Prints may be regarded as the ground-work of a novel called "The Marriage Act," by Dr. _Shebbeare_, and of "The Clandestine Marriage." In the prologue to that excellent comedy, Mr. _Garrick_ thus handsomely expressed his regard for the memory of his friend:
"Poets and painters, who from nature draw Their best and richest stores, have made this law: That each should neighbourly assist his brother, And steal with decency from one another. To-night, your matchless _Hogarth_ gives the thought, Which from his canvas to the stage is brought. And who so fit to warm the poet's mind, As he who pictur'd morals and mankind? But not the same their characters and scenes; Both labour for one end, by different means: Each, as it suits him, takes a separate road, Their one great object, _Marriage à la Mode!_ Where titles deign with cits to have and hold, And change rich blood for more substantial gold! And honour'd trade from interest turns aside, To hazard happiness for titled pride. The painter dead, yet still he charms the eye; While _England_ lives, his fame can never die: But he, 'who struts his hour upon the stage,' Can scarce extend his fame for half an age; Nor pen nor pencil can the actor save, The art, and artist, share one common grave."[39]
_Hogarth_ had projected a _Happy Marriage_, by way of counterpart to his _Marriage à la Mode_. A design for the first of his intended six plates he had sketched out in colours; and the following is as accurate an account of it as could be furnished by a gentleman who, long ago enjoyed only a few minutes' sight of so imperfect a curiosity.
The time supposed was immediately after the return of the parties from church. The scene lay in the hall of an antiquated country mansion. On one side, the married couple were represented sitting. Behind them was a group of their young friends of both sexes, in the act of breaking bride-cake over their heads. In front appeared the father of the young lady, grasping a bumper, and drinking, with a seeming roar of exultation, to the future happiness of her and her husband. By his side was a table covered with refreshments. Jollity rather than politeness was the designation of his character. Under the screen of the hall, several rustic musicians in grotesque attitudes, together with servants, tenants, &c. were arranged. Through the arch by which the room was entered, the eye was led along a passage into the kitchen, which afforded a glimpse of sacerdotal luxury. Before the dripping-pan stood a well-fed divine, in his gown and cassock, with his watch in his hand, giving directions to a cook, drest all in white, who was employed in basting a haunch of venison.
Among the faces of the principal figures, none but that of the young lady was completely finished. _Hogarth_ had been often reproached for his inability to impart grace and dignity to his heroines. The bride was therefore meant to vindicate his pencil from so degrading an imputation. The effort, however, was unsuccessful. The girl was certainly pretty; but her features, if I may use the term, were uneducated. She might have attracted notice as a chambermaid, but would have failed to extort applause as a woman of fashion. The parson, and his culinary associate, were more laboured than any other parts of the picture. It is natural for us to dwell longest on that division of a subject which is most congenial to our private feelings. The painter sat down with a resolution to delineate beauty improved by art; but seems, as usual, to have deviated into meanness; or could not help neglecting his original purpose, to luxuriate in such ideas as his situation in early life had fitted him to express. He found himself, in short, out of his element in the parlour, and therefore hastened, in quest of ease and amusement, to the kitchen fire. _Churchill_, with more force than delicacy, once observed of him, that he only painted the _backside_ of nature. It must be allowed, that such an artist, however excellent in his walk, was better qualified to represent the low-born parent, than the royal preserver of a foundling.
The sketch already described (which I believe is in Mrs. _Garrick's_ possession) was made after the appearance of _Marriage à la Mode_, and many years before the artist's death. Why he did not persevere in his plan, during such an interval of time, we can only guess. It is probable that his undertaking required a longer succession of images relative to domestic happiness, than had fallen within his notice, or courted his participation. _Hogarth_ had no children; and though the nuptial union may be happy without them, yet such happiness will have nothing picturesque in it; and we may observe of this truly natural and faithful painter, that he rarely ventured to exhibit scenes with which he was not perfectly well acquainted.
Let us, however, more completely obviate an objection that may be raised against the propriety of the foregoing criticism. Some reader may urge, that perhaps, all circumstances considered, a wedding celebrated at an old mansion-house did not require the appearance of consummate beauty, refined by the powers of education. The remark has seeming justice on its side; but _Hogarth_ had previously avowed his intent to exhibit a perfect face, divested of vulgarity; and succeeded so well, at least in his own opinion, that he carried the canvas, of which we are now speaking, in triumph to Mr. _Garrick_, whose private strictures on it coincided with those of the person who furnishes this additional confirmation of our painter's notorious ignorance in what is styled--THE GRACEFUL. From the account I have received concerning a design for a previous compartment belonging to the same story, there is little reason to lament the loss of it. It contained no appeal either to the fancy or to the heart. An artist, who, representing the marriage ceremony in a chapel, renders the clerk, who lays the hassocks, the principal figure in it, may at least be taxed with want of judgement.
Soon after the peace of _Aix la Chapelle_, he went over to _France_, and was taken into custody at _Calais_, while he was drawing the gate of that town, a circumstance which he has recorded in his picture, intituled, "O the Roast Beef of _Old England_!" published _March_ 26, 1749. He was actually carried before the governor as a spy, and, after a very strict examination, committed a prisoner to _Grandsire_, his landlord, on his promising that _Hogarth_ should not go out of his house till it was to embark for _England_. This account, I have good authority for saying, he himself gave to his friend Mr. _Gostling_ at _Canterbury_, at whose house he lay the night after his arrival.
The same accident, however, has been more circumstantially related by an eminent _English_ engraver, who was abroad when it happened. _Hayman_, and _Cheere_ the statuary, were of the same party.
While _Hogarth_ was in _France_, wherever he went, he was sure to be dissatisfied with all he saw. If an elegant circumstance either in furniture, or the ornaments of a room, was pointed out as deserving approbation, his narrow and constant reply was, "What then? but it is _French_! Their houses are all gilt and b--t." In the streets he was often clamourously rude. A tatter'd bag, or a pair of silk stockings with holes in them, drew a torrent of imprudent language from him. In vain did my informant (who knew that many _Scotch_ and _Irish_ were often within hearing of these reproaches, and would rejoice at least in an opportunity of getting our painter mobbed) advise him to be more cautious in his public remarks. He laughed at all such admonition, and treated the offerer of it as a pusillanimous wretch, unworthy of a residence in a free country, making him the butt of his ridicule for several evenings afterwards. This unreasonable pleasantry was at length completely extinguished by what happened while he was drawing the Gate at _Calais_; for though the innocence of his design was rendered perfectly apparent on the testimony of other sketches he had about him, which were by no means such as could serve the purpose of an engineer, he was told by the Commandant, that, had not the peace been actually signed, he should have been obliged to have hung him up immediately on the ramparts. Two guards were then provided to convey him on shipboard; nor did they quit him till he was three miles from the shore. They then spun him round like a top, on the deck; and told him he was at liberty to proceed on his voyage without farther attendance or molestation. With the slightest allusion to the ludicrous particulars of this affair, poor _Hogarth_ was by no means pleased. The leading circumstance in it his own pencil has recorded.
Soon after this period he purchased a little house at _Chiswick_; where he usually passed the greatest part of the summer season, yet not without occasional visits to his dwelling in _Leicester Fields_.
In 1753, he appeared to the world in the character of art author, and published a quarto volume, intituled, "The Analysis of Beauty, written with a view of fixing the fluctuating Ideas of Taste." In this performance he shews, by a variety of examples, that a curve is the line of beauty, and that round swelling figures are most pleasing to the eye; and the truth of his opinion has been countenanced by subsequent writers on the subject.
Among the letters of Dr. _Birch_ is the following short one, sent with the "Analysis of Beauty," and dated _Nov._ 25, 1753; "Sir, I beg the favour of you to present to the Royal Society the enclosed work, which will receive great honour by their acceptance of it. I am, Sir, your most obedient humble servant, WM. HOGARTH."