Part 5

William Hogarth, who has been called “The Painting Moralist,” was born in London, in 1697. His father was a fine scholar, and his chief dependence was from the produce of his pen; and the son testifies to “the cruel treatment his father met with from booksellers and printers.” In his anecdotes of himself, he says: “Besides the natural turn I had for drawing, rather than learning languages, I had before my eyes the precarious situation of men of classical education.... It was, therefore, conformable to my own wishes that I was taken from school, and served a long apprenticeship to a silver-plate engraver.” It was during his apprenticeship, about the year 1717, he executed a small oval illustration of Pope’s _Rape of the Lock_, which was much praised, and brought the young artist many admirers. The following year, his apprenticeship having expired, he entered the Academy in St. Martin’s Lane, and studied drawing from the life. He supported himself by engraving for the booksellers, and by all accounts a very hard time he had of it. In 1721, his father died “of an illness,” the son says, “occasioned partly by the treatment he received from this sort of people (booksellers), and partly by disappointment from great men’s promises.” And in another place he complains, “But here, again, I had to encounter a monopoly of printsellers, equally mean and obstructive to the ingenious; for the first plate I published, called the _Taste of the Town_, in which the reigning follies were lashed, had no sooner begun to take a run, than I found copies of it in the print-shops, vending at half-price; and I was thus obliged to sell the plate for whatever these pirates pleased to give me, as there was no place of sale but at their shops.” And thus, until nearly thirty years of age, this great genius earned hardly enough to maintain himself. It was in the year 1723 that the artist first turned his attention to the stage, and discovered his real genius in his satirical talents. After one or two caricatures his genius was quickly recognised, and his adverse circumstances were at an end. In 1726 he invented and engraved the set of twelve large prints for _Hudibras_. He married, in 1729, the daughter of Sir James Thornhill, the painter, though without Sir James’s consent; but, after two years, seeing the rising reputation of the young painter, and at the earnest entreaties of others, the offended parent forgave the couple. Being reconciled with Sir James, Hogarth took up his brush and began portrait painting. About this time he says of himself: “I married and commenced painter of small conversation-pieces, from twelve to fifteen inches high. This, having novelty, succeeded for a few years. But though it gave somewhat more scope for the fancy, it was still but a less kind of drudgery; and as I could not bring myself to act like some of my brethren, and make it a sort of manufactory, to be carried on by the help of backgrounds and drapery painters, it was not sufficiently profitable to pay the expenses my family required. I therefore turned my thoughts to a still more novel mode--to painting and engraving modern moral subjects--a field not broken up in any country or any age.” His first painting is said to have been a representation of Wanstead Assembly, painted for Lord Castlemaine; which, meeting with much favourable notice, led him to painting portraits. This part of the profession was not at all suited to the artist’s peculiar genius; though Nichols says of Hogarth’s attempts: “He was not, however, lucky in all his resemblances, and has sometimes failed where a crowd of other artists have succeeded.” After surprising the country with the production of his great genius as an artist for many years, in 1753 he appeared in the character of author, and published a quarto volume entitled, “The Analysis of Beauty, written with a view of fixing the fluctuating Ideas of Taste.” Wherein he shows, by a variety of examples, that a curve is the line of beauty, and round swelling figures are most pleasing to the eye. Walpole, commenting upon this production from the pen of the artist, observes: “It has many sensible hints and observations; but it did not carry the conviction, nor meet the universal acquiescence he expected. As he treated his contemporaries with scorn, they triumphed over this publication, and irritated him to expose him. Many wretched burlesque prints came out to ridicule his system. There was a better answer to it in one of the two prints that he gave to illustrate his hypothesis. In the ball, had he confined himself to such outlines as compose awkwardness and deformity, he would have proved half his affection; but he has added two samples of grace in a young lord and lady, that are strikingly stiff and affected. They are a Bath beau and a country beauty.” It should be added that neither as artist nor author did Hogarth ever receive flattery from the pen of the courtly Walpole. Hogarth died on the 25th October, 1764.

_WILKES AND CHURCHILL._

In Mr. Thomas Wright’s work, “England under the House of Hanover,” that writer thus describes the caricature drawn upon the artist by his quarrel with Wilkes and Churchill:--

“They hold him up now as the pensioned dauber of the unpopular Lord Bute, and the calumniator of the friends of liberty. In one entitled, ‘The Beautifyer: a Touch upon the Times,’ Hogarth is represented upon a huge platform, daubing an immense _boot_ (the constant emblem of the obnoxious minister), while, in his awkwardness he bespatters Pitt and Temple, who happen to be below. This is a parody on Hogarth’s own satire on Pope. Beneath the scaffold is a tub full of Auditors, Monitors, etc., labelled ‘The Charm: Beautifying Wash.’ A print entitled ‘The Bruiser Triumphant,’ represents Hogarth as an ass, painting the Bruiser, while Wilkes comes behind, and places horns on his head,--an allusion to some scandalous intimations in the _North Briton_. Churchill, in the garb of a parson, is writing Hogarth’s life. A number of other attributes and allusions fill the picture.

“A caricature entitled ‘Tit for Tat’ represents Hogarth painting Wilkes, with the unfortunate picture of Sigismunda in the distance. Another, ‘Tit for Tat, Invt. et del. by G. O’Garth,--according to act or order is not material,’ represents the painter partly clad in Scotch garb, with the line of beauty on his palette, glorifying a boot surmounted by a thistle. The painter is saying to himself, ‘Anything for money: I’ll gild this Scotch sign, and make it look glorious; and I’ll daub the other sign, and efface its beauty, and make it as black as a Jack Boot.’ On another easel is a portrait of Wilkes, ‘Defaced by order of O’Garth, and in the foreground ‘a smutch-pot to sully the best and most exalted characters.’ In another print, ‘Pug, the snarling cur,’ is being severely chastised by Wilkes and Churchill. In another he is baited by the bear and dog; and in the background is a large panel, with the inscription, ‘Panel-painting.’ In one print, Hogarth is represented going for his pension of £300 a year, and carrying as his vouchers the prints of ‘The Times,’ and Wilkes, ‘I can paint an angel black, and the devil white, just as it suits me.’ ‘An answer to the print of John Wilkes, Esq.,’ represents Hogarth with his colour-pot, inscribed ‘Colour to blacken fair characters;’ he is treading on the cap of liberty with his cloven foot; and an inscription says, ‘£300 per annum for distorting features.’

“Several other prints equally bitter against him, besides a number of caricatures against the Government, under the fictitious names of O’Garth, Hoggart, Hog-ass, etc., must have assisted in irritating the persecuted painter.”

_GARRICK’S GENEROSITY._

The following anecdote of the mode by which the great actor became possessed of some of Hogarth’s celebrated pictures has been vouched as genuine: the pictures consisted of _The Entertainment_, _The Canvass_, _The Poll_, and _The Chairing_. “When Hogarth had finished them, he went to Garrick, with whom he was on very intimate terms, and told him he had completed them; adding, ‘It does not appear likely that I shall find a purchaser, as I value them at two hundred guineas; I therefore intend to dispose of them by a raffle among my friends, and I hope you will put down your name.’ Garrick told him he would consider of it, and call on him the next day. He accordingly did so, and having conversed with Hogarth for some time, put down his name for five or ten guineas, and took his leave. He had scarcely got into the street, when (as Mrs. Garrick, from whom the story is derived, stated) he began a soliloquy to the following effect: ‘What have I been doing? I have just put down my name for a few guineas at Mr. Hogarth’s request, and as his friend; but now he must still go to another friend, and then to another: to how many must he still apply before he gets a sufficient number? This is mere begging; and should such a man as Hogarth be suffered to beg? Am I not his friend?’ The result was, that he instantly turned back, and purchased those fine pictures at the price of 200 guineas, which the artist himself had fixed.” Hogarth’s principal object in painting them, like his other great works, was for the purpose of copying them by engravings. They were published by subscription at two guineas the set. For the first plate of _The Entertainment_ he had 461 subscribers at 10_s._ 6_d._; and for the three others only 165 subscribers; so that there were 296 names to the first who did not subscribe to the other three.

_CARICATURE._

On a lady expressing a wish to Hogarth to learn the secret of caricature, he replied, with much earnestness, “Alas! young lady, it is not a faculty to be envied. Take my advice and never draw caricature: by the long practice of it I have lost the enjoyment of beauty. I never see a face but distorted; I never have the satisfaction to behold the human face divine.”

_WILKES._

Writing to his friend Churchill, Wilkes says: “I take it for granted you have seen Hogarth’s print against me. Was ever anything so contemptible? I think he is fairly _felo de se_. I think not to let him off in that manner, although I might safely leave him to your notes. He has broken into my pale of private life, and set that example of illiberality which I wished--of that kind of attack which is ungenerous in the first instance, but justice in the return.”

_HOGARTH’S CONCEIT._

At a dinner party Hogarth was told that Mr. John Freke had asserted that Dr. Maurice Greene was as eminent in musical composition as Handel. “That fellow Freke,” said Hogarth, “is always shooting his bolt absurdly, one way or another. Handel is a giant in music; Greene only a light Florimel kind of composer.” “Aye,” rejoined the other, “but at the same time Mr. Freke declared you were as good a portrait painter as Vandyke.” “_There_ he was right,” replied the artist; “and so, by G--, I am,--give me my time, and let me choose my subject.”

_AN UGLY SITTER._

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. He sent him 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. It was sent home and committed to the flames.

[Illustration]

_HOPPNER (JOHN), R.A._

John Hoppner was born in London, in the year 1759. In the earlier part of his life, it was his good fortune to associate with some of the most brilliant characters of the age. He applied himself closely to the study of the works of Sir Joshua Reynolds, and was, in many points, successful in imitating that celebrated portrait-painter’s beauties. On his first using the brush, he is described as possessing much confidence, with little ability.

Edward Dayes, in his “Modern Artists,” in estimating the works of Hoppner, says:--

“This artist is the best of all the imitators of Sir Joshua, and would deserve great praise, were his pictures his own; but so far is that from being the case, that they are composed from the prints of Reynolds; and the attitudes of the sitters made to answer as well as circumstances will permit. It is truly astonishing that any one can lose sight of the charms of that great mistress of the art, Nature, and tread servilely in the footsteps of any man, however exalted his rank. The loss of ambition is a sure sign of the decline of the arts; as, where every one is content to follow, no one will get before. When a great man appears, weak minds are apt to seek for the rules of art in his works, instead of applying to Nature: this is precisely the case of this artist; he has not a wish, or an inquiry to make, that does not end in Reynolds,--forgetting the old proverb, that when two men ride on a horse, one must be behind. His colouring is clear and bright, his handling free; his small pictures are by far the best.”

Hoppner died in Charles Street, St. James’s Square, on the 23rd January, 1810.

_AN ECCENTRIC CUSTOMER._

The following humorous anecdote is given in the _Literary Gazette_, 1826, as related by Hoppner, to his friend Coombe: A loyal banker dropped in upon the painter, to _negociate_ for a family picture. It happened in the memorable epoch of “_life and property men_,” when London was to be thatched with silver, and paved with gold. “Well, sir, your most obedient, Mister Painter,” said the squire banker, looking around, “Sir, yours,” returned the painter, bowing low. The banker was a fine, portly, pompous-looking citizen, a good subject to his Majesty, and no bad subject as a sitter, though it happened that he sat not. “Well, Mister Painter, sir, you have some fine pieces here, sir. Pray sir, a--what may be the value of that?” pointing to a whole length of an admiral. “My price for that is two hundred guineas.” “So!” ejaculated the banker; “a fine, noble-looking fellow, ’pon my word--very heroical indeed! Ah! Mister Painter, they are our great _wooden walls_, our prime _bull-works_. This is the land for such seamen--old England, hey, sir! and those who don’t like it, why let ’em leave it: that’s my toast, sir. But to the point, sir: my business is to negociate, look you, for a large family piece,--myself, my wife, and my boys and girls; a fine family, as you shall see, sir,--the same number as his Majesty’s, God bless him! Now, what is your charge for such a collection?--_group_, I think you painters call it.” “I cannot exactly answer that, within five hundred pounds or so,” replied the painter. “Wheugh-h-h!” whistled the banker. “What, sir, five hundred pounds?” “Such a subject requires study, sir, great studying--as how----” “Pooh! pooh! study, Mister Painter? true, sir, but you have not studied _Cocker_, sir, hey? ha, ha, ha!” “Why, sir, such a work requires consideration. I should like first to be allowed to see your family, sir--and then--how to dispose of so many persons--how to employ them, and--and--” “Oh, my good sir, I’ll save you that trouble; that is already settled, my good sir:--we are to be painted on our lawn, with a harpsichord, and all singing _God save the King_.”

_THE ALDERMAN’S LADY._

From a volume of the _Literary Gazette_, 1826, we extract the following: “There are faces,” Hoppner observed, “without features, and features without faces.” An alderman’s lady says, “La! Mr. Hoppner, Sir John looks too grave.” “Why, madam, ’tis the only way to make a sitter escape looking like a fool.” “But why not make Sir John smile?” “A _smile_ in painting is a _grin_, and a _grin_ is a _growl_, and a growl is a bite--and I’ll not alter it,” said the half-mad, irritable painter; “and if ever I paint another subject, short of a Lord Mayor, I’ll be d--d!”

_A COOL SITTER._

Hoppner was commissioned to paint a certain pompous personage, one of the cabinet of the king. The great man could not condescend to attend any painter; so it was to be taken at the great man’s house. It was to be a _whole length_. “Well, sir,” quoth the Right Honourable, as Mr. H. made his bow, “I have no time, _sar_, to give to your art, a--unless you can take a scheme of me at my breakfast.” The repast was already laid,--a steaming urn, coffee-pot, toast, rolls, muffins, chickens, and ham. The limner spread his arcana, and commenced to paint, as the great man commenced his _déjeûné_ by supplying his appetite with half a muffin, and a cut from the wing of a pullet, together with a slice of ham. This accomplished, and sipping his tea, without condescending to notice the artist, he seized the newspaper, took his reading-glass from his bosom, began dictating to his private secretary, gave orders to his cook for dinner, dictated again, sipped his tea; and with the cup hiding his chin, and the newspaper his cheek, pompously exclaimed, “I desire, Master Hoppner, that you proceed.” “I am going,” replied the indignant artist, who, stalking out of the room, left the great man all astounded at the haughty demeanour of a portrait painter.

[Illustration]

_IBBETSON (JULIUS CÆSAR)._

Julius Cæsar Ibbetson was born at Scarborough, in Yorkshire, in 1759; was apprenticed to a ship painter at Hull, and at an early age came to London, and practised his art. He painted landscapes, cattle, and some historical pieces. Benjamin West appropriately called him the Berghem of England; yet, like many other men of great ability, his genius was no match for poverty. Mr. Redgrave, in “A Century of Painters of the English School,” says: “He was one of the jolly companions of George Morland: like him he lived from hand to mouth; was employed by an inferior class of picture dealers, and made them his pot companions.” He published a whimsical book entitled “Humbugalogia,” in which he fully exposed the ignorance and tricks of professed picture dealers. Among other rather coarse, but very forcible, illustrations which it contained, was one to the following effect: “These people say they have a great love for the fine arts. Yes; just such a love as a butcher has for a fat ox.” After quitting London, this clever artist resided for some years in the lake districts of Westmoreland, which he left to settle at Masham. In 1817, whilst engaged in painting a favourite hunter of Lady Milbank’s, he took cold, which settled on his lungs, and terminated his existence on the 13th October, 1817.

_THE TOPER’S REPLY._

According to “Notes and Queries” (vol. viii. N.S., p. 96), there is a local tradition that whilst Ibbetson was residing at Ambleside, he used often to ramble as far as the picturesque valley of Troutbeck, which is about four miles from Ambleside, to indulge in the double enjoyment of the sweet scenery around, and the “home brewed” within the humble ale-house there; and that, in commendation of the latter, he painted a sign with two faces, each “looking the character” admirably: the one being that of a stout, jolly-faced toper with rubicund nose, and the other that of a thin, white-faced, lantern-jawed teetotaler; and with labels from their mouths thus inscribed:--

“Thou mortal man, who liv’st by bread, What is it makes thy nose so red?”

And,

“Thou silly oaf, with nose so pale, It is with drinking Birket’s ale.”

The painting has been supplanted by its title in plain letters, “The Mortal Man,” but the old people say they still remember the sign, and that it is now preserved in Carlisle.

_THE RECOGNITION._

Ibbetson’s abilities attracted the notice of M. de Loutherbourg, who introduced him to Mons. Desenfans, of pictorial memory. An invitation to breakfast placed Ibbetson and Loutherbourg in Mons. Desenfans’ parlour, the walls of which were covered with _chefs d’œuvre_ of art; and the judgment of the young painter was tried on the merits of the several masters. When coming to one which seemed to attract Ibbetson’s particular regard, Mons. Desenfans observed: “That, Mr. Ibbetson, is a very beautiful example of David Teniers.” There was a pause, Mons. Desenfans requested Ibbetson’s opinion; whose answer, after another pause, was: “That picture, sir?--that picture I painted!” Here was confusion worse confounded. The collector had been taken in: his judgment had been committed. The murder, however, was out; marks and circumstances proved the fact beyond doubt. The good-natured Loutherbourg endeavoured to “take up his mangled matter at the best:”--“He had frequently been deceived.” Nay, he went further, and told how, in his younger days, he had himself manufactured a few old masters. Whether or not this apology mended the business, we know not; but certain it is that poor Ibbetson was never again asked to breakfast with Mons. Desenfans.

[Illustration]

_INMAN (HENRY)._

Henry Inman was born at Utica, New York, 20th October, 1801. His parents were English. His father removed to the city of New York, in 1812, at which early date Inman’s taste for drawing was manifested, and cultivated to a certain extent at the day-school he attended. The arrival of Wertmuller’s picture of _Danæ_, about the year 1814, first suggested the art to him as a profession. It was exhibited at Mr. Jarvis’s rooms, in Murray Street, and Inman gives the following account of his second visit to it:--