[1]The face of this female has likewise been changed on the last plate. In the intermediate ones it remains as originally designed. To give the same character two different casts of countenance, was surely an incongruity without excuse.
[1]The face of this female has likewise been changed on the last plate. In the intermediate ones it remains as originally designed. To give the same character two different casts of countenance, was surely an incongruity without excuse.
[2]The inscription on this bill is—"London, bought ofWilliam Tothall, Woollen-draper inCovent-Garden." See the corner figure looking over the music in theRehearsal of the Oratorio of Judith; and note88above.
[2]The inscription on this bill is—"London, bought ofWilliam Tothall, Woollen-draper inCovent-Garden." See the corner figure looking over the music in theRehearsal of the Oratorio of Judith; and note88above.
[3]Of whom a separate portrait, byEllis, had been published byOverton. Figgdied in the year 1734. As the taste of the publick is much changed about the importance of thenobleScience of Defence, as it was called, and as probably it will never again revive, it may afford some entertainment to my readers, to see the terms in which this celebrated prize-fighter is spoken of by a professor of the art. "Figgwas theAtlasof the Sword; and may he remain the gladiating statue! In him strength, resolution, and unparalleled judgement, conspired to form a matchless master. There was a majesty shone in his countenance, and blazed in all his actions, beyond all I ever saw. His right leg bold and firm, and his left, which could hardly ever be disturbed, gave him the surprising advantage already proved, and struck his adversary with despair and panic. He had that peculiar way of stepping in I spoke of, in a parry; he knew his arm, and its just time of moving; put a firm faith in that, and never let his adversary escape his parry. He was just as much a greater master than any other I ever saw, as he was a greater judge of time and measure."Captain John Godfrey's Treatise upon the Useful Science of Defence, 4to, 1747, p. 41. "Mr.Figg," saysChetwood, History of the Stage, p. 60, "informed me once, that he had not bought a shirt for more than twenty years, but had sold some dozens. It was his method, when he fought in his amphitheatre (his stage bearing that superb title), to send round to a select number of his scholars, to borrow a shirt for the ensuing combat, and seldom failed of half a dozen of superfine Holland from his prime pupils (most of the young nobility and gentry made it a part of their education to march under his warlike banner). This champion was generally conqueror, though his shirt seldom failed of gaining a cut from his enemy, and sometimes his flesh, though I think he never received any dangerous wound. Most of his scholars were at every battle, and were sure to exult at their great master's victories, every person supposing he saw the wounds his shirt received. Mr.Figgtook his opportunity to inform his lenders of linen of the chasms their shirts received, with a promise to send them home. But, said the ingenious courageousFigg, I seldom received any other answer than D-mn you, keep it!" A Poem by Dr.Byrom, on a battle betweenFiggandSutton, another prize-fighter, is in the 6th Volume ofDodsley'sCollection of Poems.
[3]Of whom a separate portrait, byEllis, had been published byOverton. Figgdied in the year 1734. As the taste of the publick is much changed about the importance of thenobleScience of Defence, as it was called, and as probably it will never again revive, it may afford some entertainment to my readers, to see the terms in which this celebrated prize-fighter is spoken of by a professor of the art. "Figgwas theAtlasof the Sword; and may he remain the gladiating statue! In him strength, resolution, and unparalleled judgement, conspired to form a matchless master. There was a majesty shone in his countenance, and blazed in all his actions, beyond all I ever saw. His right leg bold and firm, and his left, which could hardly ever be disturbed, gave him the surprising advantage already proved, and struck his adversary with despair and panic. He had that peculiar way of stepping in I spoke of, in a parry; he knew his arm, and its just time of moving; put a firm faith in that, and never let his adversary escape his parry. He was just as much a greater master than any other I ever saw, as he was a greater judge of time and measure."Captain John Godfrey's Treatise upon the Useful Science of Defence, 4to, 1747, p. 41. "Mr.Figg," saysChetwood, History of the Stage, p. 60, "informed me once, that he had not bought a shirt for more than twenty years, but had sold some dozens. It was his method, when he fought in his amphitheatre (his stage bearing that superb title), to send round to a select number of his scholars, to borrow a shirt for the ensuing combat, and seldom failed of half a dozen of superfine Holland from his prime pupils (most of the young nobility and gentry made it a part of their education to march under his warlike banner). This champion was generally conqueror, though his shirt seldom failed of gaining a cut from his enemy, and sometimes his flesh, though I think he never received any dangerous wound. Most of his scholars were at every battle, and were sure to exult at their great master's victories, every person supposing he saw the wounds his shirt received. Mr.Figgtook his opportunity to inform his lenders of linen of the chasms their shirts received, with a promise to send them home. But, said the ingenious courageousFigg, I seldom received any other answer than D-mn you, keep it!" A Poem by Dr.Byrom, on a battle betweenFiggandSutton, another prize-fighter, is in the 6th Volume ofDodsley'sCollection of Poems.
[4]Fieldinghas introduced this porter, under the name ofLeathersides, intoThe Covent-Garden Tragedy, acted in 1732.Leath.Two whores, great Madam, must be straight prepar'd,A fat one for the Squire, and for my Lord a lean.Mother.Thou,Leathersides, best know'st such nymphs to find,To thee their lodgings they communicate.Go thou procure the girl.
[4]Fieldinghas introduced this porter, under the name ofLeathersides, intoThe Covent-Garden Tragedy, acted in 1732.
Leath.Two whores, great Madam, must be straight prepar'd,A fat one for the Squire, and for my Lord a lean.Mother.Thou,Leathersides, best know'st such nymphs to find,To thee their lodgings they communicate.Go thou procure the girl.
Leath.Two whores, great Madam, must be straight prepar'd,A fat one for the Squire, and for my Lord a lean.Mother.Thou,Leathersides, best know'st such nymphs to find,To thee their lodgings they communicate.Go thou procure the girl.
[5]The cleanliness of theEnglishseems to have made a similar impression on the mind of M.De Grosley, who, in his "Tour toLondon," observes, that "The plate, hearth-stones, moveables, apartments, doors, stairs, the very street-doors, their locks, and the large brass knockers, are every day washed, scowered, or rubbed. Even in lodging-houses, the middle of the stairs is often covered with carpeting, to prevent them from being soiled. All the apartments in the house have mats or carpets; and the use of them has been adopted some years since by theFrench;" and that "The towns and villages upon the road have excellent inns, but somewhat dear; at these anEnglishlord is as well served as at his own house, and with a cleanliness much to be wished for in most of the best houses ofFrance. The innkeeper makes his appearance only to do the honours of his table to the greatest personages, who often invite him to dine with them."
[5]The cleanliness of theEnglishseems to have made a similar impression on the mind of M.De Grosley, who, in his "Tour toLondon," observes, that "The plate, hearth-stones, moveables, apartments, doors, stairs, the very street-doors, their locks, and the large brass knockers, are every day washed, scowered, or rubbed. Even in lodging-houses, the middle of the stairs is often covered with carpeting, to prevent them from being soiled. All the apartments in the house have mats or carpets; and the use of them has been adopted some years since by theFrench;" and that "The towns and villages upon the road have excellent inns, but somewhat dear; at these anEnglishlord is as well served as at his own house, and with a cleanliness much to be wished for in most of the best houses ofFrance. The innkeeper makes his appearance only to do the honours of his table to the greatest personages, who often invite him to dine with them."
[6]The chief of these, who wears something that seems to have been a tie-wig, was painted from aFrenchboy, who cleaned shoes at the corner ofHog-Lane.
[6]The chief of these, who wears something that seems to have been a tie-wig, was painted from aFrenchboy, who cleaned shoes at the corner ofHog-Lane.
[7]In the collection of Mr.Steevensonly.
[7]In the collection of Mr.Steevensonly.
[8]He had meditated, however, some additional improvements in the same plate. When he had inserted the storm, he began to consider the impropriety of turning the girl out in the midst of it with her head uncovered; and therefore, on a proof of this print, from which he designed to have worked, he sketched her hat in withIndianink.
[8]He had meditated, however, some additional improvements in the same plate. When he had inserted the storm, he began to consider the impropriety of turning the girl out in the midst of it with her head uncovered; and therefore, on a proof of this print, from which he designed to have worked, he sketched her hat in withIndianink.
[9]It appears, on examination of the Registers, &c. thatTho. SiceandTho. Hornare not fictitious names. Such people were really churchwardens when the repairs in 1725 were made. The following inscription on the pew, denoting a vault beneath, is also genuine, and, as far as can be known at present, was faithfully copied in regard to its obsolete spelling.THESE PEWES VNSCRVD AND TANE IN SVNDERIN STONE THERS GRAVEN WHAT IS VNDERTO WIT A VALT FOR BURIAL THERE ISWHICH EDWARD FORSET MADE FOR HIM AND HIS.Part of these words, in raised letters, at present form a pannel in the wainscot at the end of the right-hand gallery, as the church is entered from the street.—No heir of theForsetfamily appearing, their vault has been claimed and used by his Grace the Duke ofPortland, as lord of the manor. The mural monument of theTaylors, composed of lead gilt over, is likewise preserved. It is seen, inHogarth'sprint, just under the window. The bishop of the diocese, when the new church was built, gave orders that all the ancient tablets should be placed, as nearly as possible, in their former situations.
[9]It appears, on examination of the Registers, &c. thatTho. SiceandTho. Hornare not fictitious names. Such people were really churchwardens when the repairs in 1725 were made. The following inscription on the pew, denoting a vault beneath, is also genuine, and, as far as can be known at present, was faithfully copied in regard to its obsolete spelling.
THESE PEWES VNSCRVD AND TANE IN SVNDERIN STONE THERS GRAVEN WHAT IS VNDERTO WIT A VALT FOR BURIAL THERE ISWHICH EDWARD FORSET MADE FOR HIM AND HIS.
THESE PEWES VNSCRVD AND TANE IN SVNDERIN STONE THERS GRAVEN WHAT IS VNDERTO WIT A VALT FOR BURIAL THERE ISWHICH EDWARD FORSET MADE FOR HIM AND HIS.
Part of these words, in raised letters, at present form a pannel in the wainscot at the end of the right-hand gallery, as the church is entered from the street.—No heir of theForsetfamily appearing, their vault has been claimed and used by his Grace the Duke ofPortland, as lord of the manor. The mural monument of theTaylors, composed of lead gilt over, is likewise preserved. It is seen, inHogarth'sprint, just under the window. The bishop of the diocese, when the new church was built, gave orders that all the ancient tablets should be placed, as nearly as possible, in their former situations.
[10]OldManners, brother to the lateDuke of Rutland.
[10]OldManners, brother to the lateDuke of Rutland.
[11]The old Duke ofDevonshirelost the great estate ofLeicesterabbey to him at the gaming-table.Mannerswas the only person of his time who had amassed a considerable fortune by the profession of a gamester.
[11]The old Duke ofDevonshirelost the great estate ofLeicesterabbey to him at the gaming-table.Mannerswas the only person of his time who had amassed a considerable fortune by the profession of a gamester.
[12]"The first print of this capital work is an excellent representation of a young heir, taking possession of a miser's effects. The passion of avarice, which hoards every thing, without distinction, what is and what is not valuable, is admirably described.—Thecomposition, though not excellent, is not unpleasing. The principal group, consisting of the young gentleman, the taylor, the appraiser, the papers, and chest, is well shaped: but the eye is hurt by the disagreeable regularity of three heads nearly in a line, and at equal distances.—Thelightis not ill disposed. It falls on the principal figures: but the effect might have been improved. If the extreme parts of the mass (the white apron on one side, and the memorandum-book on the other) had been in shade, thereposehad been less injured. The detached parts of a group should rarely catch a strong body of light.—We have no striking instances ofexpressionin this print. The principal figure is unmeaning. The only one, which displays the truevis comicaofHogarth, is the appraiser fingering the gold. You enter at once into his character.—The young woman might have furnished the artist with an opportunity of presenting a graceful figure; which would have been more pleasing. The figure hehasintroduced, is by no means an object of allurement.—Theperspectiveis accurate, but affected. So many windows, and open doors, may shew the author's learning; but they break the back ground, and injure the simplicity of it."The second print introduces our hero into all the dissipation of modish life. We became first acquainted with him, when a boy of eighteen. He is now of age; has entirely thrown off the clownish school-boy; and assumes the man of fashion. Instead of the country taylor, who took measure of him for his father's mourning, he is now attended byFrenchbarbers,Frenchtaylors, poets, milleners, jockies, bullies, and the whole retinue of a fine gentleman.—Theexpression, in this print, is wonderfully great. The dauntless front of the bully; the keen eye, and elasticity of the fencing-master; and the simpering importance of the dancing-master, are admirably expressed. The last is perhaps a littleoutré. The architect[A]is a strong copy from nature.—Thecompositionseems to be entirely subservient to the expression. It appears, as ifHogarthhad sketched, in his memorandum-book, all the characters which he has here introduced; but was at a loss how to group them; and chose rather to introduce them in detached figures, as he had sketched them, than to lose any part of the expression by combining them.—Thelightis ill distributed. It is spread indiscriminately over the print; and destroys thewhole—We have no instance ofgracein any of the figures. The principal figure is very deficient. There is no contrast in the limbs; which is always attended with a degree of ungracefulness.—Theexecutionis very good. It is elaborate, and yet free.—The satire on operas, though it may be well directed, is forced and unnatural."The third plate carries us still deeper into the history. We meet our hero engaged in one of his evening amusements. This print, on the whole, is no very extraordinary effort of genius.—Thedesignis good; and may be a very exact description of the humours of a brothel.—Thecompositiontoo is not amiss. But we have few of those masterly strokes which distinguish the works ofHogarth. The whole is plain history. The lady setting the world on fire is the best thought: and there is some humour in furnishing the room with a set ofCæsars; and not placing them in order.—Thelightis ill managed. By a few alterations, which are obvious, particularly by throwing the lady dressing into the shade, the disposition of it might have been tolerable. But still we should have had an absurdity to answer, whence comes it? Here is light in abundance; but no visible source.—Expressionwe have a little through the whole print. That of the principal figure is the best. The ladies have all the air of their profession; but no variety of character.Hogarth'swomen are, in general, very inferior to his men. For which reason I prefer theRake's Progressto theHarlot's. The female face indeed has seldom strength of feature enough to admit the strong markings of expression."Very disagreeable accidents often befall gentlemen of pleasure. An event of this kind is recorded in the fourth print; which is now before us. Our hero going, in full dress, to pay his compliments at court on St.David'sday, was accosted in the rude manner which is here represented.—Thecompositionis good. The form of the group, made up of the figures in action, the chair, and the lamp-lighter, is pleasing. Only, here we have an opportunity of remarking, that a group is disgusting when the extremities of it are heavy. A group in some respect should resemble a tree. The heavier part of the foliage (thecupas the landscape painter calls it) is always near the middle; the outside branches, which are relieved by the sky, are light and airy. An inattention to this rule has given a heaviness to the group before us. The two bailiffs, the woman, and the chairman, are all huddled together in that part of the group which should have been the lightest; while the middle part, where the hand holds the door, wants strength and consistence. It may be added too, that the four heads, in the form of a diamond, make an unpleasing shape. All regular figures should be studiously avoided.—Thelighthad been well distributed, if the bailiff holding the arrest, and the chairman, had been a little lighter, and the woman darker. The glare of the white apron is disagreeable.—We have, in this print, some beautiful instances ofexpression. The surprise and terror of the poor gentleman is apparent in every limb, as far as is consistent with the fear of discomposing his dress. The insolence of power in one of the bailiffs, and the unfeeling heart, which can jest with misery, in the other, are strongly marked. The self-importance too of the honestCambrianis not ill portrayed; who is chiefly introduced to settle the chronology of the story.—In point ofgrace, we have nothing striking.Hogarthmight have introduced a degree of it in the female figure: at least he might have contrived to vary the heavy and unpleasing form of her drapery.—Theperspectiveis good, and makes an agreeable shape.—I cannot leave this print without remarking thefalling band-box. Such representations of quick motion are absurd; and every moment the absurdity grows stronger. You cannot deceive the eye. The falling bodymustappearnotto fall. Objects of that kind are beyond the power of representation."Difficulties crowd so fast upon our hero, that at the age of twenty-five, which he seems to have attained in the fifth plate, we find him driven to the necessity of marrying a woman, whom he detests, for her fortune. Thecompositionhere is very good; and yet we have a disagreeable regularity in the climax of the three figures, the maid, the bride, and the bride-groom.—Thelightis not ill distributed. The principal figure too isgraceful; and there is strongexpressionin the seeming tranquillity of his features. He hides his contempt of the object before him as well as he can; and yet he cannot do it. She too has as much meaning as can appear thro' the deformity of her features. The clergyman's face we are all well acquainted with, and also his wig; tho' we cannot pretend to say, where we have seen either. The clerk too is an admirable fellow.—Theperspectiveis well understood; but the church is too small;[B]and the wooden post, which seems to have no use, divides the picture very disagreeably.—The creed lost, the commandments broken, and the poor's-box obstructed by a cobweb, are all excellent strokes of satirical humour."The fortune, which our adventurer has just received, enables him to make one push more at the gaming-table. He is exhibited, in the sixth print, venting curses on his folly for having lost his last stake.—This is upon the whole, perhaps, the best print of the set. The horrid scene it describes was never more inimitably drawn. Thecompositionis artful, and natural. If the shape of the whole be not quite pleasing, the figures are so well grouped, and with so much ease and variety, that you cannot take offence.—In point of light, it is more culpable. There is not shade enough among the figures to balance the glare. If the neck-cloth and weepers of the gentleman in mourning had been removed, and his hands thrown into shade, even that alone would have improved the effect.—Theexpression, in almost every figure, is admirable; and the whole is a strong representation of the human mind in a storm. Three stages of that species of madness, which attends gaming, are here described. On the first shock, all is inward dismay. The ruined gamester is representing leaning against a wall, with his arms across, lost in an agony of horror. Perhaps never passion was described with so much force. In a short time this horrible gloom bursts into a storm of fury: he tears in pieces what comes next him; and, kneeling down, invokes curses upon himself. He next attacks others; every one in his turn whom he imagines to have been instrumental in his ruin.—The eager joy of the winning gamesters, the attention of the usurer, the vehemence of the watchman, and the profound reverie of the highwayman, are all admirably marked. There is great coolness too expressed in the little we see of the fat gentleman at the end of the table. The figure opposing the mad-man is bad: it has a drunken appearance; and drunkenness is not the vice of a gaming table.—The principal figure isill-drawn. Theperspectiveis formal; and theexecutionbut indifferent: in heightening his expression,Hogarthhas lost his spirit."The seventh plate, which gives us the view of a jail, has very little in it. Many of the circumstances, which may well be supposed to increase the misery of a confined debtor, are well contrived; but the fruitful genius ofHogarth, I should think, might have treated the subject in a more copious manner. The episode of the fainting woman might have given way to many circumstances more proper to the occasion. This is the same woman, whom the rake discards in the first print; by whom he is rescued in the fourth; who is present at his marriage; who follows him into jail; and, lastly, toBedlam. The thought is rather unnatural, and the moral certainly culpable.—Thecompositionis bad. The group of the woman fainting is a round heavy mass: and the other group is very ill-shaped. Thelightcould not be worse managed, and, as the groups are contrived, can hardly be improved.—In the principal figure there is greatexpression; and the fainting scene is well described. A scheme to pay off the national debt, by a man who cannot pay his own; and the attempt of a silly rake, to retrieve his affairs by a work of genius; are admirable strokes of humour."The eighth plate brings the fortune of our hero to a conclusion. It is a very expressive representation of the most horrid scene which human nature can exhibit.—Thecompositionis not bad. The group, in which the lunatic is chained, is well managed; and if it had been carried a little further towards the middle of the picture, and the two women (who seem very oddly introduced) had been removed, both the composition, and the distribution of light, had been good.—Thedrawingof the principal figure is a more accurate piece of anatomy than we commonly find in the works of this master. Theexpressionof the figure is rather unmeaning; and very inferior to the strong characters of all the other lunatics. The fertile genius of the artist has introduced as many of the causes of madness, as he could well have collected; but there is some tautology. There are two religionists, and two astronomers. Yet there is variety in each; and strongexpressionin all the characters. The self-satisfaction, and conviction, of him who has discovered the longitude; the mock majesty of the monarch; the moody melancholy of the lover; and the superstitious horror of the popish devotee; are all admirable.—Theperspectiveis simple and proper."I should add, that these remarks are made upon the first edition of this work. When the plates were much worn, they were altered in many parts. They have gained by the alterations, in point ofdesign; but have lost in point ofexpression."[A]Thearchitect. Mr.Gilpinmeans—thegardener.[B]I am authorized to observe, that this is no fault in our artist. The old church atMarybonewas so little, that it would have stood within the walls of the present one, leaving at the same time sufficient room for a walk round it.
[12]"The first print of this capital work is an excellent representation of a young heir, taking possession of a miser's effects. The passion of avarice, which hoards every thing, without distinction, what is and what is not valuable, is admirably described.—Thecomposition, though not excellent, is not unpleasing. The principal group, consisting of the young gentleman, the taylor, the appraiser, the papers, and chest, is well shaped: but the eye is hurt by the disagreeable regularity of three heads nearly in a line, and at equal distances.—Thelightis not ill disposed. It falls on the principal figures: but the effect might have been improved. If the extreme parts of the mass (the white apron on one side, and the memorandum-book on the other) had been in shade, thereposehad been less injured. The detached parts of a group should rarely catch a strong body of light.—We have no striking instances ofexpressionin this print. The principal figure is unmeaning. The only one, which displays the truevis comicaofHogarth, is the appraiser fingering the gold. You enter at once into his character.—The young woman might have furnished the artist with an opportunity of presenting a graceful figure; which would have been more pleasing. The figure hehasintroduced, is by no means an object of allurement.—Theperspectiveis accurate, but affected. So many windows, and open doors, may shew the author's learning; but they break the back ground, and injure the simplicity of it.
"The second print introduces our hero into all the dissipation of modish life. We became first acquainted with him, when a boy of eighteen. He is now of age; has entirely thrown off the clownish school-boy; and assumes the man of fashion. Instead of the country taylor, who took measure of him for his father's mourning, he is now attended byFrenchbarbers,Frenchtaylors, poets, milleners, jockies, bullies, and the whole retinue of a fine gentleman.—Theexpression, in this print, is wonderfully great. The dauntless front of the bully; the keen eye, and elasticity of the fencing-master; and the simpering importance of the dancing-master, are admirably expressed. The last is perhaps a littleoutré. The architect[A]is a strong copy from nature.—Thecompositionseems to be entirely subservient to the expression. It appears, as ifHogarthhad sketched, in his memorandum-book, all the characters which he has here introduced; but was at a loss how to group them; and chose rather to introduce them in detached figures, as he had sketched them, than to lose any part of the expression by combining them.—Thelightis ill distributed. It is spread indiscriminately over the print; and destroys thewhole—We have no instance ofgracein any of the figures. The principal figure is very deficient. There is no contrast in the limbs; which is always attended with a degree of ungracefulness.—Theexecutionis very good. It is elaborate, and yet free.—The satire on operas, though it may be well directed, is forced and unnatural.
"The third plate carries us still deeper into the history. We meet our hero engaged in one of his evening amusements. This print, on the whole, is no very extraordinary effort of genius.—Thedesignis good; and may be a very exact description of the humours of a brothel.—Thecompositiontoo is not amiss. But we have few of those masterly strokes which distinguish the works ofHogarth. The whole is plain history. The lady setting the world on fire is the best thought: and there is some humour in furnishing the room with a set ofCæsars; and not placing them in order.—Thelightis ill managed. By a few alterations, which are obvious, particularly by throwing the lady dressing into the shade, the disposition of it might have been tolerable. But still we should have had an absurdity to answer, whence comes it? Here is light in abundance; but no visible source.—Expressionwe have a little through the whole print. That of the principal figure is the best. The ladies have all the air of their profession; but no variety of character.Hogarth'swomen are, in general, very inferior to his men. For which reason I prefer theRake's Progressto theHarlot's. The female face indeed has seldom strength of feature enough to admit the strong markings of expression.
"Very disagreeable accidents often befall gentlemen of pleasure. An event of this kind is recorded in the fourth print; which is now before us. Our hero going, in full dress, to pay his compliments at court on St.David'sday, was accosted in the rude manner which is here represented.—Thecompositionis good. The form of the group, made up of the figures in action, the chair, and the lamp-lighter, is pleasing. Only, here we have an opportunity of remarking, that a group is disgusting when the extremities of it are heavy. A group in some respect should resemble a tree. The heavier part of the foliage (thecupas the landscape painter calls it) is always near the middle; the outside branches, which are relieved by the sky, are light and airy. An inattention to this rule has given a heaviness to the group before us. The two bailiffs, the woman, and the chairman, are all huddled together in that part of the group which should have been the lightest; while the middle part, where the hand holds the door, wants strength and consistence. It may be added too, that the four heads, in the form of a diamond, make an unpleasing shape. All regular figures should be studiously avoided.—Thelighthad been well distributed, if the bailiff holding the arrest, and the chairman, had been a little lighter, and the woman darker. The glare of the white apron is disagreeable.—We have, in this print, some beautiful instances ofexpression. The surprise and terror of the poor gentleman is apparent in every limb, as far as is consistent with the fear of discomposing his dress. The insolence of power in one of the bailiffs, and the unfeeling heart, which can jest with misery, in the other, are strongly marked. The self-importance too of the honestCambrianis not ill portrayed; who is chiefly introduced to settle the chronology of the story.—In point ofgrace, we have nothing striking.Hogarthmight have introduced a degree of it in the female figure: at least he might have contrived to vary the heavy and unpleasing form of her drapery.—Theperspectiveis good, and makes an agreeable shape.—I cannot leave this print without remarking thefalling band-box. Such representations of quick motion are absurd; and every moment the absurdity grows stronger. You cannot deceive the eye. The falling bodymustappearnotto fall. Objects of that kind are beyond the power of representation.
"Difficulties crowd so fast upon our hero, that at the age of twenty-five, which he seems to have attained in the fifth plate, we find him driven to the necessity of marrying a woman, whom he detests, for her fortune. Thecompositionhere is very good; and yet we have a disagreeable regularity in the climax of the three figures, the maid, the bride, and the bride-groom.—Thelightis not ill distributed. The principal figure too isgraceful; and there is strongexpressionin the seeming tranquillity of his features. He hides his contempt of the object before him as well as he can; and yet he cannot do it. She too has as much meaning as can appear thro' the deformity of her features. The clergyman's face we are all well acquainted with, and also his wig; tho' we cannot pretend to say, where we have seen either. The clerk too is an admirable fellow.—Theperspectiveis well understood; but the church is too small;[B]and the wooden post, which seems to have no use, divides the picture very disagreeably.—The creed lost, the commandments broken, and the poor's-box obstructed by a cobweb, are all excellent strokes of satirical humour.
"The fortune, which our adventurer has just received, enables him to make one push more at the gaming-table. He is exhibited, in the sixth print, venting curses on his folly for having lost his last stake.—This is upon the whole, perhaps, the best print of the set. The horrid scene it describes was never more inimitably drawn. Thecompositionis artful, and natural. If the shape of the whole be not quite pleasing, the figures are so well grouped, and with so much ease and variety, that you cannot take offence.—In point of light, it is more culpable. There is not shade enough among the figures to balance the glare. If the neck-cloth and weepers of the gentleman in mourning had been removed, and his hands thrown into shade, even that alone would have improved the effect.—Theexpression, in almost every figure, is admirable; and the whole is a strong representation of the human mind in a storm. Three stages of that species of madness, which attends gaming, are here described. On the first shock, all is inward dismay. The ruined gamester is representing leaning against a wall, with his arms across, lost in an agony of horror. Perhaps never passion was described with so much force. In a short time this horrible gloom bursts into a storm of fury: he tears in pieces what comes next him; and, kneeling down, invokes curses upon himself. He next attacks others; every one in his turn whom he imagines to have been instrumental in his ruin.—The eager joy of the winning gamesters, the attention of the usurer, the vehemence of the watchman, and the profound reverie of the highwayman, are all admirably marked. There is great coolness too expressed in the little we see of the fat gentleman at the end of the table. The figure opposing the mad-man is bad: it has a drunken appearance; and drunkenness is not the vice of a gaming table.—The principal figure isill-drawn. Theperspectiveis formal; and theexecutionbut indifferent: in heightening his expression,Hogarthhas lost his spirit.
"The seventh plate, which gives us the view of a jail, has very little in it. Many of the circumstances, which may well be supposed to increase the misery of a confined debtor, are well contrived; but the fruitful genius ofHogarth, I should think, might have treated the subject in a more copious manner. The episode of the fainting woman might have given way to many circumstances more proper to the occasion. This is the same woman, whom the rake discards in the first print; by whom he is rescued in the fourth; who is present at his marriage; who follows him into jail; and, lastly, toBedlam. The thought is rather unnatural, and the moral certainly culpable.—Thecompositionis bad. The group of the woman fainting is a round heavy mass: and the other group is very ill-shaped. Thelightcould not be worse managed, and, as the groups are contrived, can hardly be improved.—In the principal figure there is greatexpression; and the fainting scene is well described. A scheme to pay off the national debt, by a man who cannot pay his own; and the attempt of a silly rake, to retrieve his affairs by a work of genius; are admirable strokes of humour.
"The eighth plate brings the fortune of our hero to a conclusion. It is a very expressive representation of the most horrid scene which human nature can exhibit.—Thecompositionis not bad. The group, in which the lunatic is chained, is well managed; and if it had been carried a little further towards the middle of the picture, and the two women (who seem very oddly introduced) had been removed, both the composition, and the distribution of light, had been good.—Thedrawingof the principal figure is a more accurate piece of anatomy than we commonly find in the works of this master. Theexpressionof the figure is rather unmeaning; and very inferior to the strong characters of all the other lunatics. The fertile genius of the artist has introduced as many of the causes of madness, as he could well have collected; but there is some tautology. There are two religionists, and two astronomers. Yet there is variety in each; and strongexpressionin all the characters. The self-satisfaction, and conviction, of him who has discovered the longitude; the mock majesty of the monarch; the moody melancholy of the lover; and the superstitious horror of the popish devotee; are all admirable.—Theperspectiveis simple and proper.
"I should add, that these remarks are made upon the first edition of this work. When the plates were much worn, they were altered in many parts. They have gained by the alterations, in point ofdesign; but have lost in point ofexpression."
[A]Thearchitect. Mr.Gilpinmeans—thegardener.
[A]Thearchitect. Mr.Gilpinmeans—thegardener.
[B]I am authorized to observe, that this is no fault in our artist. The old church atMarybonewas so little, that it would have stood within the walls of the present one, leaving at the same time sufficient room for a walk round it.
[B]I am authorized to observe, that this is no fault in our artist. The old church atMarybonewas so little, that it would have stood within the walls of the present one, leaving at the same time sufficient room for a walk round it.
[13]Afterwards twice lord mayor ofLondon. See p.44.
[13]Afterwards twice lord mayor ofLondon. See p.44.
[14]The same as that introduced in Plate II.
[14]The same as that introduced in Plate II.
1. Two prints of Before and After. The two pictures, from which these prints are taken, were painted at the particular request of a certain vicious nobleman, whose name deserves no commemoration. The hero of them is said to have been designed for Chief JusticeWilles. Hogarthrepented of having engraved them; and almost every possessor of his works will wish they had been with-held from the public, as often as he is obliged to shew the volume that contains them to ladies. To omit them, is to mutilate the collection; to pin the leaves, on which they are pasted, together, is a circumstance that tends only to provoke curiosity; and to display them, would be to set decency at defiance. The painterwho indulges himself, or his employers, in such representations, will forfeit the general praise he might have gained by a choice of less offensive subjects. We have an artist of no common merit, who has frequently disgraced his skill by scenes too luxuriant to appear in any situation but a brothel; and yet one of the most meretricious of his performances, but a few years ago, was exhibited by the Royal Academy. These prints, however, display almost the only instance in whichHogarthcondescended to execute a subject proposed to him; for I am assured by one who knew him well, that his obstinacy on these occasions has often proved invincible. LikeShakspeare's Tully,
"——he would never follow any thingThat other men began."
"——he would never follow any thingThat other men began."
In the later impressions from these plates, the scroll-work on the head-cloth, &c. of the bed, is rendered indistinct, by an injudicious attempt to strengthen the engraving. Mr.S. Irelandhas the first sketch in oil of "Before."[1]
[1]The originals of both are at the earl ofBesborough'sseat atRoehampton.
[1]The originals of both are at the earl ofBesborough'sseat atRoehampton.
2. The Sleeping Congregation. The preacher was designed as the representative of Dr.Desaguliers. This print was first published in 1736. It was afterwards retouched andimproved[1]by the author in 1762, and is found in three different states. In the first,Dieu & Mon Droitis wanting under the King's Arms; the angel with one wing and two pair ofthighs, that supports this motto, is smoking a pipe; and the lion has not his present magnificent genitals. In the second, the words already mentioned are added; the angel's pipe is obliterated; the insignia of the lion's sex rendered ostentatiously conspicuous; and the lines of the triangle under the angel are doubled. The other distinctions are chiefly such as a reiteration of engraving would naturally produce, by adding strength to the fainter parts of the composition. Changes of this slender kind are numberless in all the repaired prints of our artist. There is also a pirated copy of this plate. It is not ill executed, but in size is somewhat shorter than its predecessor, and has no price annexed. In the original picture, in the collection of SirEdward Walpole, the clerk's head is admirably well painted, and with great force; but he is dozing, and not leering at the young woman near him, as in the print.
[1]I wish, for the sake of some future edition of the present work, theseimprovementscould be ascertained. To me they are invisible, like those in the re-publishedMarch to Finchley.
[1]I wish, for the sake of some future edition of the present work, theseimprovementscould be ascertained. To me they are invisible, like those in the re-publishedMarch to Finchley.
3. The Distressed Poet.[1]In a back ground, a picture ofPopethreshingCurll. Over the head ofPopewe read,Pope's Letters; out of his mouth comesVeni, vidi, vici; and underCurlllies a letter, directed—to Curll. The distressed bard is composingPoverty, a poem. At the bottom of the plate are the following lines fromThe Dunciad, I. iii.
Studious he sate, with all his books around,Sinking from thought to thought, a vast profund!Plung'd for his sense, but found no bottom there;Then writ, and flounder'd on in mere despair.
Studious he sate, with all his books around,Sinking from thought to thought, a vast profund!Plung'd for his sense, but found no bottom there;Then writ, and flounder'd on in mere despair.
In the subsequent impressions, datedDecember15, 1740, the triumphs ofPopeare changed to a view of the gold mines ofPeru; and our hero of the garret is employed in celebrating the praise ofRiches. The lines already quoted are effaced. The original painting is at lordGrosvenor'shouse atMilbank, Westminster.
[1]InThe Craftsman, March12, 1736-7, occurs, "This day is published, price 3s. a print representing aDistressed Poet. Also, five etchings, of different characters of heads in groups, viz. a Chorus of Singers; a pleased Audience at a Play; Scholars at a Lecture; and Quacks in Consultation; price 6d. each. To be had either bound together with all Mr.Hogarth'slate engraved works (except the Harlot's Progress), or singly, at theGolden Head, inLeicester Fields; and at MrBakewell's, printseller, next theHorn Tavern, Fleet-street." AndApril2 and 9, 1737, "Just published, price 3s. A print representing aDistressed Poet. Designed and engraved by Mr.Hogarth. Also four etchings, viz. A pleased Audience; a Chorus of Singers; Scholars at a Lecture; and a Consultation of Quacks, price 6d. each. To be had at theGolden Head, inLeicester Fields; and at Mr.Bakewell's, print-seller, next theHorn Tavern, inFleet-street. Where may be had, bound or otherwise, all Mr.Hogarth'slate engraved works, viz. AMidnight Conversation; Southwark Fair; theRake's Progress,in eight prints; a sleepy Congregation in a Country Church; Before and After, two prints."
[1]InThe Craftsman, March12, 1736-7, occurs, "This day is published, price 3s. a print representing aDistressed Poet. Also, five etchings, of different characters of heads in groups, viz. a Chorus of Singers; a pleased Audience at a Play; Scholars at a Lecture; and Quacks in Consultation; price 6d. each. To be had either bound together with all Mr.Hogarth'slate engraved works (except the Harlot's Progress), or singly, at theGolden Head, inLeicester Fields; and at MrBakewell's, printseller, next theHorn Tavern, Fleet-street." AndApril2 and 9, 1737, "Just published, price 3s. A print representing aDistressed Poet. Designed and engraved by Mr.Hogarth. Also four etchings, viz. A pleased Audience; a Chorus of Singers; Scholars at a Lecture; and a Consultation of Quacks, price 6d. each. To be had at theGolden Head, inLeicester Fields; and at Mr.Bakewell's, print-seller, next theHorn Tavern, inFleet-street. Where may be had, bound or otherwise, all Mr.Hogarth'slate engraved works, viz. AMidnight Conversation; Southwark Fair; theRake's Progress,in eight prints; a sleepy Congregation in a Country Church; Before and After, two prints."
4. Right Hon.FrancesLadyByron. Whole length, mezzotinto.W. Hogarth pinxit. J. Faber fecit.The most beautiful impressions of this plate were commonly taken off in a brown colour.
5. The same, shortened into a three-quarters length.
6. Consultation of Physicians. Arms of the Undertakers. In this plate, amongst other portraits, isthe well-known one of Dr.Ward[1](who was calledSpot Ward, from the left side of his facebeing marked of a claret colour); and that of the elderTaylor,[2]a noted oculist, with an eye on the head of his cane; Dr.Pierce Dod,[3]Dr.Bamber;[4]and other physicians of that time. The figure with a bone in its hand, between the two demi-doctors (i. e.TaylorandWard), is said to have been designed for Mrs.Mapp, a famous masculine woman, who was called the bone-setter, or shape-mistress. I am told, that many of her advertisements may be found inMist's Journal, and still more accounts of her cures in the periodical publications of her time. Her maiden name wasWallin. Her father was also a bone-setter atHindon, Wilts; but quarrelling with him, she wandered about the country, calling herselfcrazy Sally. On her success in her profession she married,August11, 1736,[5]oneHill Mapp, a servant to Mr.Ibbetson, mercer onLudgate-Hill. In most cases her success was rather owing to the strength of her arms, and the boldness of her undertakings, than to any knowledge of anatomy or skill in chirurgical operations. The following particulars relative to her are collectedfrom theThe Grub-street Journal, &c. and serve at least to shew, that she was a character considerable enough to deserve the satire ofHogarth.
August19, 1736, "We hear that the husband of Mrs.Mapp, the famous bone-setter atEpsom, ran away from her last week, taking with him upwards of 100 guineas, and such other portable things as lay next hand."
"Several letters fromEpsommention, that the footman, whom the female bone-setter married the week before, had taken a sudden journey from thence with what money his wife had earned; and that her concern at first was very great: but soon as the surprize was over, she grew gay, and seemed to think the money well disposed of, as it was like to rid her of a husband. He took just 102 guineas."
The following verses were addressed to her inAugust1736.
"Of late, without the least pretence to skill,Ward'sgrown a fam'd physician by a pill;[6]Yet he can but a doubtful honour claim,While envious Death oft blasts his rising fame.Next travell'dTaylorfill'd us with surprize,Who pours new light upon the blindest eyes;Each journal tells his circuit thro' the land;Each journal tells the blessings of his hand:And lest some hireling scribbler of the townInjures his history, he writes his own.We read the long accounts with wonder o'er;Had he wrote less, we had believ'd him more.Let these, OMapp!thou wonder of the age!With dubious arts endeavour to engage:While you, irregularly strict to rules,Teach dull collegiate pedants they are fools:By merit, the sure path to fame pursue;For all who see thy art, must own it true."
"Of late, without the least pretence to skill,Ward'sgrown a fam'd physician by a pill;[6]Yet he can but a doubtful honour claim,While envious Death oft blasts his rising fame.Next travell'dTaylorfill'd us with surprize,Who pours new light upon the blindest eyes;Each journal tells his circuit thro' the land;Each journal tells the blessings of his hand:And lest some hireling scribbler of the townInjures his history, he writes his own.We read the long accounts with wonder o'er;Had he wrote less, we had believ'd him more.Let these, OMapp!thou wonder of the age!With dubious arts endeavour to engage:While you, irregularly strict to rules,Teach dull collegiate pedants they are fools:By merit, the sure path to fame pursue;For all who see thy art, must own it true."
September2, 1736, "OnFridayseveral persons, who had the misfortune of lameness, crowded toThe White-hart Inn, inWhite-chapel, on hearing Mrs.Mappthe famous bone-setter was there. Some of them were admitted to her, and were relieved as they apprehended. But a gentleman, who happened to come by, declared Mrs.Mappwas atEpsom, on which the woman thought proper to move off."
September9, 1736. "Advertisement.
"Whereas it has been industriously (I wish I could say truly) reported, that I had found great benefit from a certain female bone-setter's performance, and that it was to a want of resolutionto undergo the operation, that I did not meet with a perfect cure: this is therefore to give notice, that any persons afflicted with lameness (who are willing to know what good or harm others may receive, before they venture on desperate measures themselves) will be welcome any morning to see the dressing of my leg, which was sound before the operation, and they will then be able to judge of the performance, and to whom I owe my present unhappy confinement to my bed and chair.
"Thomas Barber, Tallow-chandler,Saffron-hill."
September16, 1736. "OnThursday, Mrs.Mapp'splate of ten guineas was run for atEpsom. A mare, called 'Mrs.Mapp,' won the first heat; when Mrs.Mappgave the rider a guinea, and swore if he won the plate she would give him 100; but the second and third heat was won by a chestnut mare."
"We hear that the husband of Mrs.Mappis returned, and has been kindly received."
September23, 1736. "Mrs.Mappcontinues making extraordinary cures: she has now set up an equipage, and onSundaywaited on her Majesty."
Saturday, October16, 1736. "Mrs.Mapp, the bone-setter, with Dr.Taylor, the oculist, was at the play-house, inLincoln's-Inn Fields,to see a comedy called 'The Husband's Relief, with the Female Bone-setter and Worm Doctor;' whichoccasioned a full house, and the following epigram:
"'WhileMappto th'actors shew'd a kind regard,On one sideTaylorsat, on the otherWard:When their mock persons of the Drama came,BothWardandTaylorthought it hurt theirfame;Wonder'd howMappcou'd in good humour be—Zoons! cries the manly dame, it hurts not me;Quacks without art may either blind or kill;But[7]demonstrationshews that mine isskill.'
"'WhileMappto th'actors shew'd a kind regard,On one sideTaylorsat, on the otherWard:When their mock persons of the Drama came,BothWardandTaylorthought it hurt theirfame;Wonder'd howMappcou'd in good humour be—Zoons! cries the manly dame, it hurts not me;Quacks without art may either blind or kill;But[7]demonstrationshews that mine isskill.'
"And the following was sung upon the stage:
"'You surgeons ofLondon, who puzzle your pates,To ride in your coaches, and purchase estates,Give over, for shame, for your pride has a fall,And the doctress ofEpsomhas outdone you all.Derry down, &c."'What signifies learning, or going to school,When a woman can do, without reason or rule,What puts you to nonplus, and baffles your art?For petticoat-practice has now got the start."'In physics, as well as in fashions, we find,The newest has always the run with mankind;Forgot is the bustle 'boutTaylorandWard;NowMapp'sall the cry, and her fame's on record."'Dame Nature has given her a doctor's degree,She gets all the patients, and pockets the fee;So if you don't instantly prove it a cheat,She'll loll in her chariot, whilst you walk the street.Derry down, &c.'"
"'You surgeons ofLondon, who puzzle your pates,To ride in your coaches, and purchase estates,Give over, for shame, for your pride has a fall,And the doctress ofEpsomhas outdone you all.Derry down, &c."'What signifies learning, or going to school,When a woman can do, without reason or rule,What puts you to nonplus, and baffles your art?For petticoat-practice has now got the start."'In physics, as well as in fashions, we find,The newest has always the run with mankind;Forgot is the bustle 'boutTaylorandWard;NowMapp'sall the cry, and her fame's on record."'Dame Nature has given her a doctor's degree,She gets all the patients, and pockets the fee;So if you don't instantly prove it a cheat,She'll loll in her chariot, whilst you walk the street.Derry down, &c.'"
October19, 1736,London Daily Post."Mrs.Mapp, being present at the acting ofThe Wife's Relief, concurred in the universal applause of a crowded audience. This play was advertised by the desire of Mrs.Mapp, the famous bone-setter fromEpsom."
October21, 1736, "OnSaturdayevening there was such a concourse of people at the Theatre-royal inLincoln's-Inn Fields, to see the famous Mrs.Mapp, that several gentlemen and ladies were obliged to return for want of room. The confusion at going out was so great, that several gentlemen and ladies had their pockets picked, and many of the latter lost their fans, &c. Yesterday she was elegantly entertained by Dr.Ward, at his house inPall-Mall."
"OnSaturdayand yesterday Mrs.Mappperformed several operations atThe Grecian Coffee-house, particularly one upon a niece of SirHans Sloane, to his great satisfaction and her credit. The patient had her shoulder-bone out for about nine years."
"OnMondayMrs.Mappperformed two extraordinary cures; one on a young lady ofThe Temple, who had several bones out from the knees to her toes, which she put in their proper places: and the other on a butcher, whose knee-pans were so misplaced that he walked with his knees knocking one against another. Yesterday she performed several other surprizing cures; and about one set out forEpsom, and carried with her several crutches, which she calls trophies of honour."
November18, 1736, "Mrs.Mapp, the famous bone-setter, has taken lodgings inPall-Mall, near Mr.Joshua Ward's, &c."
November25, 1736,
"In this bright age three wonder-workers rise,Whose operations puzzle all the wise.To lame and blind, by dint of manual slight,Mappgives the use of limbs, andTaylorsight.But greaterWard, &c."
"In this bright age three wonder-workers rise,Whose operations puzzle all the wise.To lame and blind, by dint of manual slight,Mappgives the use of limbs, andTaylorsight.But greaterWard, &c."
December16, 1736, "OnThursday, Polly Peachum(MissWarren, that was sister to the famous Mrs.Mapp) was tried atThe Old Baileyfor marrying Mr.Nicholas; her former husband, Mr.Somers, being living, &c."
December22, 1737, "Died last week, at her lodgings nearThe Seven Dials, the much-talked-of Mrs.Mapp, the bone-setter, so miserably poor, that the parish was obliged to bury her."
The plate is thus illustrated by the engraver: "The Company of Undertakers beareth Sable, an Urinal proper, between twelve Quack Heads of the second, and twelve Cane Heads, Or, Consultant. On a Chief,[8]Nebulæ,[9]Ermine, one compleat Doctor[10]issuant, checkie, sustaining in his right hand a baton of the second. On his dexter and sinister sides twodemi-doctors issuant of the second, and two Cane Heads issuant of the third; the first having one eye couchant, towards the dexter side of the escutcheon; the second faced per pale proper and gules, guardant, with this motto—Et plurima mortis imago."
[1]Joshua Wardwas one of the younger sons of an ancient and respectable family settled atGuisboroughinYorkshire, where he was born some time in the last century. He seems, from every description of him, to have had small advantages from education, though he indisputably possessed no mean natural parts. The first account we have of him is, that he was a associated in partnership with a brother namedWilliam, as a dry-salter, inThames-street. After they had carried on this business some time, a fire broke out in an adjoining house, which communicated itself to their warehouses, and entirely destroyed all their property. On this occasion Mr.Ward, with a gentleman from the country who was on a visit to him, escaped over the tops of the houses in their shirts. In the year 1717 he was returned member forMarlborough; but, by a vote of the House of Commons, datedMay13, was declared not duly elected. It is imagined that he was in some measure connected with his brotherJohn Ward(who is stigmatized by Mr.Pope, Dunciad III. 34.) in secreting and protecting illegally the property of some of theSouth Seadirectors. Be this as it may, he soon after fled fromEngland, resided some years abroad, and has been frequently supposed to have turnedRomanCatholic. While he remained in exile, he acquired that knowledge of medicine and chemistry, which afterwards was the means of raising him to a state of affluence. About the year 1733 he began to practise physic, and combated, for some time, the united efforts of Wit, Learning, Argument, Ridicule, Malice, and Jealousy, by all of which he was opposed in every shape that can be suggested. At length, by some lucky cures, and particularly one on a relation of SirJoseph JekylMaster of the Rolls, he got the better of his opponents, and was suffered to practise undisturbed. From this time his reputation was established: he was exempted, by a vote of the House of Commons, from being visited by the censors of the college of physicians, and was even called in to the assistance of KingGeorgethe Second, whose hand he cured, and received, as a reward, a commission for his nephew the late GeneralGansel. It was his custom to distribute his medicines and advice, and even pecuniary assistance, to the poor, at his house,gratis; and thus he acquired considerable popularity. Indeed, in these particulars his conduct was entitled to every degree of praise. With a stern outside, and rough deportment, he was not wanting in benevolence. After a continued series of success, he diedDec.21, 1761, at a very advanced age, and left the secret of his medicines to Mr.Page, member forChichester, who bestowed them on two charitable institutions, which have derived considerable advantages from them. His will is printed inThe Gentleman's Magazine, 1762, p. 208.
[1]Joshua Wardwas one of the younger sons of an ancient and respectable family settled atGuisboroughinYorkshire, where he was born some time in the last century. He seems, from every description of him, to have had small advantages from education, though he indisputably possessed no mean natural parts. The first account we have of him is, that he was a associated in partnership with a brother namedWilliam, as a dry-salter, inThames-street. After they had carried on this business some time, a fire broke out in an adjoining house, which communicated itself to their warehouses, and entirely destroyed all their property. On this occasion Mr.Ward, with a gentleman from the country who was on a visit to him, escaped over the tops of the houses in their shirts. In the year 1717 he was returned member forMarlborough; but, by a vote of the House of Commons, datedMay13, was declared not duly elected. It is imagined that he was in some measure connected with his brotherJohn Ward(who is stigmatized by Mr.Pope, Dunciad III. 34.) in secreting and protecting illegally the property of some of theSouth Seadirectors. Be this as it may, he soon after fled fromEngland, resided some years abroad, and has been frequently supposed to have turnedRomanCatholic. While he remained in exile, he acquired that knowledge of medicine and chemistry, which afterwards was the means of raising him to a state of affluence. About the year 1733 he began to practise physic, and combated, for some time, the united efforts of Wit, Learning, Argument, Ridicule, Malice, and Jealousy, by all of which he was opposed in every shape that can be suggested. At length, by some lucky cures, and particularly one on a relation of SirJoseph JekylMaster of the Rolls, he got the better of his opponents, and was suffered to practise undisturbed. From this time his reputation was established: he was exempted, by a vote of the House of Commons, from being visited by the censors of the college of physicians, and was even called in to the assistance of KingGeorgethe Second, whose hand he cured, and received, as a reward, a commission for his nephew the late GeneralGansel. It was his custom to distribute his medicines and advice, and even pecuniary assistance, to the poor, at his house,gratis; and thus he acquired considerable popularity. Indeed, in these particulars his conduct was entitled to every degree of praise. With a stern outside, and rough deportment, he was not wanting in benevolence. After a continued series of success, he diedDec.21, 1761, at a very advanced age, and left the secret of his medicines to Mr.Page, member forChichester, who bestowed them on two charitable institutions, which have derived considerable advantages from them. His will is printed inThe Gentleman's Magazine, 1762, p. 208.
[2]I was assured by the late Dr.Johnson, thatWardwas the weakest, andTaylorthe most ignorant, of the whole empiric tribe. The latter once asserted, that when he was atSt. Petersburg, he travelled as far asArchangelto meet PrinceHerculaneum. NowArchangelbeing the extreme point fromEuropean Asia, had the tale been true, the oculist must have marched so far backwards out of the route of PrinceHeraclius, whose name he had blundered intoHerculaneum.The present likeness of our oculist, however, we may suppose to have been a strong one, as it much resembles a mezzotinto byFaber, from a picture painted atRomeby the ChevalierRiche. Under it is the following inscription: "Joannes Taylor, Medicus in Optica expertissimus multisque in Academiis celeberrimis Socius." EightLatinverses follow, which are not worth transcription.Taylormade presents of this print to his friends. It is now become scarce.
[2]I was assured by the late Dr.Johnson, thatWardwas the weakest, andTaylorthe most ignorant, of the whole empiric tribe. The latter once asserted, that when he was atSt. Petersburg, he travelled as far asArchangelto meet PrinceHerculaneum. NowArchangelbeing the extreme point fromEuropean Asia, had the tale been true, the oculist must have marched so far backwards out of the route of PrinceHeraclius, whose name he had blundered intoHerculaneum.
The present likeness of our oculist, however, we may suppose to have been a strong one, as it much resembles a mezzotinto byFaber, from a picture painted atRomeby the ChevalierRiche. Under it is the following inscription: "Joannes Taylor, Medicus in Optica expertissimus multisque in Academiis celeberrimis Socius." EightLatinverses follow, which are not worth transcription.Taylormade presents of this print to his friends. It is now become scarce.
[3]One of the physicians toSt. Bartholomew'sHospital. He diedAugust6, 1754. His merits were thus celebrated by Dr.Theobald, a contemporary physician:"O raro merito quem juncta scientia dudumIllustrem sacris medico stellam addidit orbiAuspiciis, pura nunquam non luce corusce!Utcunque incolumem virtutum aversa tueriGens humana solet, non ni post fata coronaDonandam merita, potitus melioribus astris,Invidia major, tu præsens alter haberisHippocrates, pleno jam nunc cumulatus honore.Te seu, corporea tandem compage soluta,Accipiet, doctis clarescentem artibus, altaCoisphæra senis; seu tu venerabilis aureoRomani Celsirite 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, almasAdvolet, angelicis immixta cohortibus, arces!Hic potius Musas, thematis dulcedine captas,Delecta, atque audi laudes velApollinedignas."
[3]One of the physicians toSt. Bartholomew'sHospital. He diedAugust6, 1754. His merits were thus celebrated by Dr.Theobald, a contemporary physician:
"O raro merito quem juncta scientia dudumIllustrem sacris medico stellam addidit orbiAuspiciis, pura nunquam non luce corusce!Utcunque incolumem virtutum aversa tueriGens humana solet, non ni post fata coronaDonandam merita, potitus melioribus astris,Invidia major, tu præsens alter haberisHippocrates, pleno jam nunc cumulatus honore.Te seu, corporea tandem compage soluta,Accipiet, doctis clarescentem artibus, altaCoisphæra senis; seu tu venerabilis aureoRomani Celsirite 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, almasAdvolet, angelicis immixta cohortibus, arces!Hic potius Musas, thematis dulcedine captas,Delecta, atque audi laudes velApollinedignas."
"O raro merito quem juncta scientia dudumIllustrem sacris medico stellam addidit orbiAuspiciis, pura nunquam non luce corusce!Utcunque incolumem virtutum aversa tueriGens humana solet, non ni post fata coronaDonandam merita, potitus melioribus astris,Invidia major, tu præsens alter haberisHippocrates, pleno jam nunc cumulatus honore.Te seu, corporea tandem compage soluta,Accipiet, doctis clarescentem artibus, altaCoisphæra senis; seu tu venerabilis aureoRomani Celsirite 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, almasAdvolet, angelicis immixta cohortibus, arces!Hic potius Musas, thematis dulcedine captas,Delecta, atque audi laudes velApollinedignas."