Part 8

[27] "_Pope_ published in 1731 a poem called _False Taste_, in which he very particularly and severely criticises the house, the furniture, the gardens, and the entertainments of _Timon_, a man of great wealth and little taste. By _Timon_ he was universally supposed, and by the Earl of _Burlington_, to whom the poem is addressed, was privately said to mean the Duke of _Chandos_; a man perhaps too much delighted with pomp and shew, but of a temper kind and beneficent, and who had consequently the voice of the publick in his favour. A violent outcry was therefore raised against the ingratitude and treachery of _Pope_, who was said to have been indebted to the patronage of _Chandos_ for a present of a thousand pounds, and who gained the opportunity of insulting him by the kindness of his invitation. The receipt of the thousand pounds _Pope_ publickly denied; but from the reproach which the attack on a character so amiable brought upon him, he tried all means of escaping. The name of _Cleland_ was employed in an apology, by which no man was satisfied; and he was at last reduced to shelter his temerity behind dissimulation, and endeavour to make that disbelieved which he never had confidence openly to deny. He wrote an exculpatory letter to the Duke, which was answered with great magnanimity, as by a man who accepted his excuse without believing his professions. He said, that to have ridiculed his taste, or his buildings, had been an indifferent action in another man; but that in _Pope_, after the reciprocal kindness that had been exchanged between them, it had been less easily excused." _Dr. Johnson, in his Life of Pope._

[28] That Sir _John Gonson_ took a very active part against the Ladies of Pleasure, is recorded by more than one of their votaries: In "A View of the Town, 1735," by Mr. _T. Gilbert_, a fellow of _Peter House Cambridge_, and an intimate companion of _Loveling_,[A] I meet with these lines:

"Though laws severe to punish guilt were made, What honest man is of these laws afraid? All felons against judges will exclaim, As harlots startle at a _Gonson's_ name."

The magistrate entering with his myrmidons was designed as the representative of this gentleman, whose vigilance on like occasions is recorded in the following elegant Sapphic Ode, by Mr. _Loveling_. This gentleman was educated at _Winchester-school_, became a commoner of _Trinity College, Oxford_, was ordained deacon, lived gaily, and died young. His style, however, appears to have been formed on a general acquaintance with the language of _Roman_ poetry; nor do any of his effusions betray that poverty of expression so conspicuous in the poems of _Nicholas Hardinge_, esq. who writes as if _Horace_ was the only classic author he had ever read.

Ad _Johannem Gonsonum_, Equitem.

Pellicum, _Gonsone_, animosus hostis, Per minus castas _Druriæ_ tabernas Lenis incedens, abeas _Diones_ Æquus alumnis! Nuper (ah dictu miserum!) _Olivera_ Flevit ereptas viduata mœchas, Quas tuum vidit genibus minores Ante tribunal. Dure, cur tantâ in _Veneris_ ministras Æstuas irâ? posito furore Huc ades, multà & prece te vocantem Gratior audi! Nonne sat mœchas malè feriatas Urget infestis fera sors procellis? Adderis quid tu ulterior puellis Causa doloris? Incolunt, eheu! thalamos supernos, Nota quæ sedes fuerat Poetis; Nec domum argento gravis, ut solebat, Dextra revertit. Nympha quæ nuper nituit theatro, Nunc stat obscuro misera angiportu, Supplici vellens tunicam rogatque Voce _Lyæum_. Te voco rebus _Druriæ_ mentis; Voci communi _Britonum_ Juventus Te vocat, nunc ô! dare te benignum Incipe votis. Singulum tunc dona feret lupanar: Liberum mittet _Rosa_ Lusitanum, Gallici _Haywarda_ et generosa mittet Munera _Bacchi_. Sive te forsan moveat libido, Aridis pellex requiescet ulnis, Callida effœtas renovare lento Verbere vires.

The same poet, speaking of the exhilarating effects of Gin, which had just been an object of Parliamentary notice, has the following stanza:

Utilis mœchae fuit & Poetæ; Sprevit hinc Vates Dolopum catervas, Mœcha _Gonsonum_ tetricâ minantem Fronte laborem.

Thus, between the poet and the painter, the fame of our harlot-hunting Justice is preserved. But as a slave anciently rode in the same chariot with the conqueror, the memory of a celebrated street-robber and highwayman will descend with that of the magistrate to posterity, _James Dalton's_ wig-box being placed on the tester of the Harlot's bed. I learn from the _Grubstreet Journal_, that he was executed on the 12th of _May_, 1730. Sir _John Gonson_ died _January_ 9, 1765. He was remarkable for the charges which he used to deliver to the grand juries, which are said to have been written by Orator _Henley_. The following puffs, or sneers, concerning them, are found in the first number of the _Grubstreet Journal_, dated _January_ 8, 1730. "Yesterday began the General Quarter Sessions, &c. when Sir _John Gonson_, being in the chair, gave a most _incomparable, learned,_ and _fine_ charge to the Grand Jury." _Daily Post_.

"The _Morning Post_ calls Sir _John's_ charge _excellent, learned_ and _loyal_. The _Evening Post_ calls it an _excellent lecture_ and _useful charge_."

Three of these performances had been published in 1728.[B] Sir _John's_ name is also preserved in Mr _Pope's_ works:

"Talkers I've learn'd to bear: _Motteux_ I knew; _Henley_ himself I've heard, and _Budgell_ too. The Doctor's wormwood style, the hash of tongues A pedant makes, the storm of _Gonson's_ lungs." Fourth Sat. of Dr. _Donne_ versified.

[A] In the collection of _Loveling's_ Poems, 1741, are two by _Gilbert. Loveling_ also addressed a poem, not printed in his works, "_Gilberto suo_," and in _Gilbert's_ Poems, published 1747, is "A familiar Epistle to my friend _Ben Loveling_."

[B] One charge by Sir _John Gonson_ is in the Political State, vol. XXXV. p. 50; and two others in vol. XXXVI. pp 314. 333.

[29] It was customary in _Hogarth's_ family to give these fans to the maids.

[30] Among the small articles of furniture in the scenes of _Hogarth_, a few objects may speedily become unintelligible, because their archetypes, being out of use, and of perishable natures, can no longer be found. Such is the _Dare for Larks_ (a circular board with pieces of looking-glass inserted in it), hung up over the chimney-piece of the _Distress'd Poet_; and the _Jews Cake_ (a dry tasteless biscuit perforated with many holes, and formerly given away in great quantities at the Feast of Passover), generally used only as a fly-trap, and hung up as such against the wall in the sixth plate of the _Harlot's Progress_. I have frequently met with both these articles in mean houses.

[31] The fire began at the house of Mrs. _Calloway_, who kept a brandy-shop. This woman was committed to _Newgate_, it appearing among other circumstances, that she had threatened "to be even with the landlord for having given her warning, and that she would have a bonfire on the 20th of _June_, that should warm all her rascally neighbours."

[32] _Hogarth_ attempted to improve it, but without much success. The additional figures are quite episodical. See the Catalogue.

[33] In _Seymour's_ history of _London_, vol. II. p. 883. is the following notice of our artist:

"Among the Governors of _St. Bartholomew's Hospital_, was lately chosen Mr. _William Hogarth_ the celebrated printer, who, we are told, designs to paint the stair-case of the said hospital, and thereby become a benefactor to it, by giving his labour gratis."

[34] He bought up great quantities of the copies of his works; and they still remain in possession of his widow. The "Harlot's" and the "Rake's" Progress, in a smaller size than the original, were published, with his permission, by _Thomas Bakewell_, a printseller, near the _Horn Tavern, Fleet-street_.

[35] Of the _Harlot's Progress_ I have seen no less than eight piratical imitations.

[36] _Lord Gardenston_, one of the lords of session in _Scotland_, on delivering his opinion in the court of session upon the question of literary property, in the cause of _Hinton_ and _Donaldson_ and others, all booksellers, in _July_ 1773 thus introduced the works of _Hogarth_: "There is nothing can be more similar than the work of engraving is to literary composition. I will illustrate this proposition by the works of Mr _Hogarth_, who, in my humble opinion, is the only true original artist which this age has produced in _England_. There is hardly any character of an excellent author, which is not justly applicable to his works. What composition, what variety, what sentiment, what fancy, invention, and humour, we discover in all his performances! In every one of them an entertaining history, a natural description of characters, and an excellent moral. I can read his works over and over, _Horace's_ characteristic of excellency in writing, _decies repetita placebit_; and every time I peruse them, I discover new beauties, and feel fresh entertainment: can I say more in commendation of the literary compositions of a _Butler_ or a _Swift_? There is great authority for this parallel; the legislature has considered the works of authors and engravers in the same light; they have granted the same protection to both; and it is remarkable, that the act of parliament for the protection of those who invent new engravings, or prints, is almost in the same words with the act for the protection and encouragement of literary compositions." This is taken from a 4to pamphlet, published in 1774 by _James Boswell_, esq. advocate, one of the counsel in the cause.

[37] "That _Huggins_ penned the statute, I was told by Mr. _Hogarth_ himself. The determination of Lord _Hardwicke_ was thus occasioned. _Jefferys_, the printseller at the corner of _St. Martin's Lane_, had employed an artist to draw and engrave a print representing the _British_ Herring Fishery; and, having paid him for it, took an assignment of the right to the property in it accruing to the artist by the act of parliament. The proprietors of one of the magazines pirated it in a similar size, and _Jefferys_ brought his bill for an injunction, to which the defendants demurred: and, upon argument of the demurrer, the same was allowed, for the reason abovementioned, and the bill dismissed. _Hogarth_ attended the hearing; and lamented to me that he had employed _Huggins_ to draw the act, adding, that, when he first projected it, he hoped it would be such an encouragement to engraving and printselling, that printsellers would soon become as numerous as bakers' shops; which hope, notwithstanding the above check, does at this time seem to be pretty nearly gratified." _For this note my readers are indebted to Sir_ John Hawkins.

[38] "What Caricatura is in painting," says _Fielding_, "Burlesque is in writing; and in the same manner the comic writer and painter correlate to each other. And here I shall observe, that as in the former the painter seems to have the advantage; so it is in the latter infinitely on the side of the writer: for the Monstrous is much easier to paint than describe, and the Ridiculous to describe than paint. And though perhaps this latter species doth not in either science so strongly affect and agitate the muscles as the other; yet it will be owned, I believe, that a more rational and useful pleasure arises to us from it."

[39] This idea originally occurred in _Colley Cibber's Apology_. From thence it was transplanted by _Lloyd_ into his celebrated poem intituled _The Actor_. Lying thus in the way of _Garrick_, he took it up for the use of the _prologue_ already quoted. Lastly, Mr. _Sheridan_, in his beautiful _Monody_, condescended to borrow it, only because it spared him the labour of unlocking the richer storehouse of his own imagination.

I may however remark that _Cibber_, when he suggested this mortifying reflection, had more reason on his side than some of his successors who have indulged themselves in the same dolorous strain of complaint. To whatever oblivion the celebrated actors of the last age have been resigned, the pencil of _Hogarth, Dance, Zoffani,_ and _Reynolds_, had left Mr. _Garrick_ not the slightest reason to be apprehensive that, in his own particular case, the art and the artist would alike be forgotten. Meanwhile, let our heroes of the stage be taught to moderate their anxiety for posthumous renown, by a recollection that their peculiar modes of excellence will, at least, be as well preserved to futurity as those of the lords _Chatham_ and _Mansfield_, whose talents, perhaps, might support an equal claim to perpetuation.

[40] Dr. _M._ once observed to _J. N._ in a letter on this subject, "In the 13th chapter I was somewhat puzzled with the _flat_ and _round_, or the _concave_ and _convex_, appearing the reverse; till the sun happily shining in upon the cornice, I had a fair example of what he intended to express. The next chapter, with regard to _colouring_, did not go on quite so smooth; for, if I satisfied _him_, I was not satisfied _myself_ with his peculiar principles; nor could I relish his laying the blame on the _colourmen_, &c."

[41] One exception to this remark occurs in the _Gentleman's Magazine_ for 1754, p. 14; where the reviewer of the Analysis observes, that it is "a book written with that precision and perspicuity which can only result from a perfect knowledge of his subject in all its extent. His rules are illustrated by near two hundred figures, engraved by himself; the knowledge which it contains is universally useful, and as all terms of art are avoided, the language will be universally understood. The player and the dancing-master, whom others consider as patterns of just action and genteel deportment, are not less instructed than the statuary and the painter; nor is there any species of beauty or elegance that is not here investigated and analysed.

"A book, by which the author has discovered such superiority, could scarce fail of creating many enemies; those who admit his Analysis to be just, are disposed to deny that it is new. Though in the year 1745, having drawn a serpentine line on a painter's pallet, with these words under it, 'the line of beauty,' as a frontispiece to his prints, no _Egyptian_ hieroglyphic ever produced greater variety of speculation; both painters and sculptors then came to enquire the meaning of a symbol, which they soon pretended to have been their old acquaintance; though the account they could give of its properties were scarce so satisfactory as that of a day-labourer, who constantly uses the _lever_, could give of that instrument, as a mechanical power. The work, however, will live when these cavils are forgotten; and except the originals, of which it is pretended to be a copy, are produced, there is no question but that the name of the author will descend to posterity with that honour which competitors only can wish to withhold."

It should be observed, however, that the general decision on _Hogarth's_ performance may be just. Certain we are, that it has not been reversed by the opinion of the First of our Modern Painters.

[42] The _Analysis_ itself however affords sufficient specimens of inaccuracy in spelling. Thus we have (pref. p. xix.) _Syclamen_ instead of _Cyclamen_; (p. 44.) calc_i_donian for C_h_alc_e_donian; (p. 65.) nuckles for _k_nuckles; (p. 97.) Iris_h_-stitch for Iris-stitch, &c. &c. In the sheets that contain these errors, it is easy to conceive that _Hogarth_ must have been his own corrector of the press.

[43] It is so extraordinary for an illiterate person to ridicule inaccuracy of spelling, that this might probably be a real blunder.

[44] Some account of this work will be given in a future page.

[45] See a note on _Marriage-a-la-Mode_ (under the year 1745); from whence it sufficiently appears, that _indelicacies_, &c. had been imputed to _Hogarth's_ performances, and that, therefore, when he advertised the six plates of _Marriage-a-la-Mode_, he thought it necessary to assure the public that no _indelicacy, indecency,_ or _personality_, would be found in any of these representations.

[46] The exigence of this card having been doubted, it is engraved in our title-page, from the original now in _Charles Street, Grosvenor Square_, in the possession of Dr. _Wright_.

[47] This pun reminds us of a similar one from _Garth_ to _Rowe_, who making repeated use of his snuff-box, the _Doctor_ at last sent it to him with the two _Greek_ letters written on the lid, Φ, ρ, (_Phi, Ro_). At this the sour _Dennis_ was so provoked, as to declare, that "a man who could make such a vile pun, would not scruple to pick a pocket."

[48] The cat spitting at the dog is a circumstance in the fourth plate of _Industry and Idleness_, where it is naturally introduced. The dog attends on a porter who is bringing in goods; and the warehouse cat, who considers this animal as an invader, is preparing to defend her person and premises.

[49] When this ample, nay, redundant, apology by Dr. _Joseph Warton_ first made its appearance, _Hogarth_ was highly delighted with as much of it as he understood. But, not knowing the import of the word ΗθΟΣ [Greek: Ethos], he hastened to his friends for information. All, in their turn, sported with his want of skill in the learned languages; first telling him it was Greek for one strange thing, and then for another, so that his mind remained in a state of suspence; as, for aught he knew to the contrary, some such meaning might lie under these crooked letters, as would overset the compliments paid him in the former parts of the paragraph. No short time, therefore, had passed before he could determine whether he ought to retract or continue his charge against his adversary: but it was at last obliterated. For several months afterwards, however, poor _Hogarth_ never praised his provision or his wine, without being asked what proportion of the ΗθΟΣ [Greek: Ethos] he supposed to be in either.

[50] An engraving from this picture may be expected from Mr. _Livesay_.

[51] A polite gentleman, of great learning, and much esteemed. He had some good pictures, and a very fine library, in the great house at _Peckham_ (formerly inhabited by Lord _Trevor_), which, together with a considerable estate there, was bequeathed to him by his aunt Mrs. _Hill_.

[52] See the names of the purchasers, and prices of this collection, in the _Gentleman's Magazine_, 1758, p. 225.

[53] He painted the heart from an injected one provided for him by _Cæsar Hawkins_ the surgeon; and, on the authority of repeated inspection, I venture to affirm, that the fingers of _Sigismunda_ are unstained with blood, and that neither of her hands is employed in rending ornaments from her head, or any other part of her person. In this instance Mr. _Walpole's_ memory must have failed him, as I am confident that his misrepresentation was undesigned. It is whispered (we know not with how much truth) that Mrs. _H._ was hurt by this description of the picture, and that she returned no thanks for the volume that contains it, when it was sent to her as a present by its author. It should seem that she still designs to dispose of this ill-fated performance, and thinks that its reputation required no additional blast.

I have reprinted this note, without correction, that I might thereby obtain the fairer opportunity of doing justice to Mr. _Walpole_, concerning the faithfulness of whose memory I had ventured to express a doubt. Genuine information is not always to be had; nor shall I hesitate a moment to apologize for the fallaciousness of mine. The fingers of _Sigismunda_ were _originally_ stained with blood. This indelicate and offensive circumstance was pointed out by some intelligent friend to _Hogarth_, who reluctantly effaced it.

A correspondent, however, on reading this work, has furnished an additional reason why the lady already mentioned may be offended by the severity of Mr. _Walpole's_ strictures on _Sigismunda_. "It has been whispered that Count _Guiscard's_ widow was a copy from the _daughter of Sir James Thornhill_. If this circumstance be true, the very accomplished Critick of _Strawberry Hill_ will own at least that her wrath and _Juno's_ had the same provocation, '_Judiciam Paridis, spretæque injuria formæ_.' Impartiality, however, obliges us to add, that Mrs. _Hogarth_, though in years, is still a very fine woman; and that Mr. _Walpole's_ idea of what a picture of _Sigismunda_ ought to express, is poetically conceived, and delivered with uncommon elegance and force of language. The _sober grief_, the _dignity of suppressed anguish_, the _involuntary tear_, the _settled meditation on the fate she meant to meet_, and the _amorous warmth turned holy by despair_, are words that fill the place of colours, supply all the imperfections of _Hogarth's_ design, and succeed even where a _Furino_ or a _Correggio_ may have failed."

[54] This circumstance was ridiculed in a grotesque print, called _A Harlot blubbering over a bullock's heart. By William Hogart._

[55] "Many causes may vitiate a writer's judgement of his own works. On that which has cost him much labour he sets a high value, because he is unwilling to think that he has been diligent in vain; what has been produced without toilsome efforts is considered with delight, as a proof of vigorous faculties and fertile invention; and the last work, whatever it be, has necessarily most of the grace of novelty. _Milton_, however it happened, had this prejudice, and had it to himself." Dr. JOHNSON.

[56] _Sigismunda_, however, though she missed of judicious admirers, had, at least, the good fortune to meet with a flatterer in the late Mr. _Robert Lloyd_, whose poem intituled _Genius, Envy,_ and _Time,_ addressed to _William Hogarth_, esq. has the following lines. _Time_ is the speaker.

"While _Sigismunda's_ deep distress Which looks the soul of wretchedness, When I, with slow and softening pen, Have gone o'er all the tints agen, Shall urge a bold and proper claim, To level half the ancient fame; While future ages, yet unknown, With critic air shall proudly own Thy _Hogarth_ first of every clime For humour keen, or strong sublime, &c."

It is but justice, on one hand, to add, that when _Lloyd_ wrote this eulogium, he was not yet enlisted under the banners of fashion; but impartiality, on the other hand, requires we should observe that, having, like _Hogarth_, seen few pictures by the best masters, he was treating of an art he did not understand.

The authors of the _Monthly Review_ are of opinion, that _Mr. Walpole_ speaks too contemptuously of _Sigismunda_, and that there is no ground for the insinuation that the person for whom it was painted thought meanly of it. "We have in our possession (say they) a letter to _Hogarth_ from the noble person referred to, in which he expresses himself in the following terms;--_I really think the performance so striking and inimitable, that the constantly having it before one's eyes, would be often occasioning melancholy ideas to arise in one's mind, which, a curtain being drawn before it, would not diminish in the least._" Surely this epistle, if genuine, was ironical. Or shall we suppose that, afterwards, his lordship only saw the picture through the disgusting medium of the price? Mr. _Wilkes's_ opinion of the piece will be best conveyed in his own words, which are therefore copied in p. 81.