Chapter 11

[4]A celebrated anatomist, physician, and man-midwife, to whose estate the presentGascoynefamily succeeded, and whose surname has been given as a Christian name to two of them.

[5]Some indifferent verses on this event were printed inThe Gentleman's Magazine, 1736, p. 484.

[6]GeneralChurchillwas "the primary puffer ofWard'spill at court;" and Lord Chief BaronReynoldssoon after published "its miraculous effects on a maid servant," as I learn by some doggrel verses of SirWilliam Browne, addressed to "Dr.Ward, a Quack, of merry memory," under the title of "The Pill-Plot. OnThe Daily Courant'smiraculous Discovery, upon the ever-memorable 28th day ofNovember1734, from the Doctor himself being a Papist, and distributing his Pills to the poorgratis, by the hands of the LadyGagealso a Papist, that the Pill must be beyond all doubt a deep-laid Plot, to introduce popery."

[7]"This alludes to some surprizing cures she performed before SirHans SloaneatThe Grecian Coffee-house(where she came once a week fromEpsomin her chariot with four horses): viz. a man ofWardour-street, whose back had been broke nine years, and stuck out two inches; a niece of SirHans Sloanein the like condition; and a gentleman who went with one shoe heel six inches high, having been lame twenty years of his hip and knee, whom she set strait, and brought his leg down even with the other."Gent. Mag.1756, p. 617.

[8]A chief betokeneth a senator, or honourable personage borrowed from theGreeks, and is a word signifying a head; and as the head is the chief part of a man, so the chief in the escutcheon should be a reward of such only whose high merits have procured them chief place, esteem, or love amongst men.

[9]The bearing of clouds in armes (saithUpton) doth import some excellencie.

[10]Originally printeddocter, but afterwards altered in this print.

1. The Lecture. "Datur vacuum." The person reading is well known to be the late Mr.Fisher, ofJesus College, Oxford, and Registrar of that University. This portrait was taken with the free consent of Mr.Fisher; who diedMarch18, 1761. There are some impressions in which "Datur vacuum" is not printed, that leaf being entirely blank; publishedJanuary20, 1736-7; the otherMarch3, 1736.Hogarthat first marked these words in with a pen and ink.

2.Æneasin a Storm. The following advertisement appeared inThe London Daily Post, January17, 1736-7.

"This day is published, price sixpence, a hieroglyphical print calledÆneas in a Storm.

"Tanta hæc mulier potuit suadere malorum.

"Sold by the booksellers and printsellers in town and country. Of whom may be had, a print calledTartuff's Banquet, orCodex'sEntertainment. Price one shilling.

"—populus me sibilat, at mihi plaudoIpse domi."

The same paper mentions the King's arrival atLoestoffon the 16th ofJanuary, and afterwards atSt. James'son the 17th.

The author of this print, whoever he was, did not venture to put his name to so ludicrous a representation of the tempest which happened on KingGeorgethe Second's return fromHanover. His Majesty is supposed to have kicked his hat overboard. This, it seems, was an action customary to him when he was in a passion. To the same circumstanceLovelinghas alluded in his Sapphic Ode adCarolum B——.[1]

Concinet majore poeta plectroGeorgium,[2]quandoque calens furoreGestiet circa thalamum ferireCalce galerum.

I have been told, that Mr.Garrick, when he first appeared in the character ofBayes, taking the same liberty, received instantly such a message from one of the stage boxes, as prevented him from practising so insolent a stroke of mimickry a second time.

In spite of the confidence with which this plate has been attributed toHogarth, I by no means believe it was his performance. It more resembles the manner ofVandergucht, who was equally inclined to personal satire, however his talents might be inadequate to his purposes. Witness several scattered designs of his in the very same style of engraving. I may add, that he always exerted his talents in the service of the Tory faction. Besides, there is nothing in the plate before us which might not have been expected from the hand of any common artist. The conceit of the blasts issuing from the posteriors of theÆoliantribe, is borrowed from one of the prints toScarron's Travesty of Virgil; and the figure ofBritanniais altogether insipid and unworthy ofHogarth. Our artist also was too much accustomed to sailing parties, and too accurate an observer of objects onThe Thames, not to have known that our Royal Yachts are vessels without three masts, &c.

[1]Bunbury.

[2]The author had here left a blank, which I have ventured to fill up with the royal name.

1. The Four Parts of the Day.[1]Invented, painted,engraved, and published by W. Hogarth.Mr.Walpoleobserves that these plates, "except the last, are inferior to few of his works." We have been told thatHogarth'sinclination to satire once cost him a legacy. It seems that the figure of the Old Maid, in the print ofMorning, was taken either from an acquaintance or relation of his. At first she was well enough satisfied with her resemblance; but some designing people teaching her to be angry, she struck the painter out of her will, which had been made considerably in his favour. This story we have heard often related by those whom, on other occasions, we could readily believe. In the same print is a portrait of Dr.Rock, who formerly attendedCovent-Gardenmarket every morning.

To the propriety ofHogarth'shaving introduced a scene of riot withinKing's Coffee-house, the following quotation fromThe Weekly MiscellanyforJune9, 1739, bears sufficient testimony: "MondayMrs.Mary KingofCovent-Gardenwas brought up to the King's Bench Bar atWestminster, and received the following sentence, for keeping a disorderly house; viz. to pay a fine of £.200, to suffer three months imprisonment, to find security for her good behaviour for three years, and to remain in prison till the fine be paid." As it was impossible she could carry on her former business, as soon as the time of her imprisonment was ended, she retired with her savings, built three houses onHaverstockhill, nearHampstead, and died in one of them,September1747. Her own mansion was afterwards the last residence of the celebratedNancy Dawson;[2]and the three together are still distinguished by the appellation ofMoll King's Row. Perhaps the use of the mirror in reversing objects was not yet understood by our engravers, for inHogarth'spainting the late Mr.West'shouse (nowLowe'sHotel) is properly situated on the left ofCovent-gardenchurch. In the print it appears on the contrary side.

TheCrying BoyinNoonwas sketched byHogarthfrom a picture byN. Poussinof the Rape of theSabines, at Mr.Hoare'satStourhead. The school boy's kite lodged on the roof of a building, was introduced only to break the disagreeable uniformity of a wall.

Our artist, in the scene ofEvening, inserted the little girl with the fan, as an after-thought, some friend having asked him what the boy cried for. He therefore introduced the girl going to take the play-thing from her brother. Nothing is more common than to see children cry without reason. The circumstance, however, shews that this great Genius did not always think himself above advice, as some have alledged to have been the case with him. In the early impressions of this plate, the face and neck of the woman are coloured with red, to express heat; and the hand of her husband is tinged with blue, tointimate that he was by trade aDyer. The purchasers of the plate, intituledEvening, are hereby cautioned against imposition. In a modern copy of it, sold to the late Mr.Ingham Foster, the face of the woman had been washed over with vermilion, that it might pass (as it chanced to do) for a first impression. In the true ones, and none but these, the face and bosom wereprintedoff with red, and the hand with blue ink. Only the traces of the graver, therefore, ought to be filled by either colour, and not the whole surface of the visage, &c. as in the smeary counterfeit. I have been told that a few copies of plate III. were taken off before the fan was inserted, but have not hitherto met with one of them. InNight, the drunken Free-mason has been supposed to be SirThomas de Veil; but SirJohn Hawkinsassures me, it is not the least like him. TheSalisbury Flying-Coachimplies a satire on the right honourable inventor of that species of carriage. The two first of these pictures were sold to the Duke ofAncaster, for 57 Guineas; the remaining pair to SirWilliam Heathcotefor 64.

[1]Hogarthadvertises inThe London Daily Post, January20, 1737-8, five copper plates, viz. Morning, Noon, Evening and Night, and a Company of Strolling Actresses dressing in a barn, forone guinea, half to be paid at the time of subscribing, half on the delivery. After the subscription, to be raised to five shillings a plate.

[2]A hornpipe dancer atCovent Garden. She was mistress toShuterthe comedian, &c. &c. &c.

2. Strolling Actresses[1]dressing in a Barn.Invented, painted, engraved, and published by W. Hogarth.Mr.Walpoleobserves that this piece, "for wit and imagination, without any other end," is the best of all our artist's works. Mr.WoodofLitteltonhas the original, for which he paid only 26 Guineas.

Dr.Trusler, in his explanation of this plate, is of opinion, that some incestuous commerce among the performers is intimated by the names ofOedipusandJocastaappearing above the heads of two figures among the theatrical lumber at the top of the barn. But surely there is no cause for so gross a supposition. Painted prodigies of this description were necessary to the performance ofLee's Oedipus. See Act II. where the following stage direction occurs; "The cloud draws, that veiled the heads of the figures in the sky, and shews them crowned, with the names ofOedipusandJocastawritten above, in great characters of gold." The magazine of dragons, clouds, scenes, flags, &c. or the woman half naked, was sufficient to attract the notice of the rustick peeping through the thatch he might be employed to repair. Neither is the position of the figures at all favourable to the Doctor's conceit. Incest was also too shocking an idea to have intruded itself among the comic circumstances that form the present representation. When this plate was retouched a second time, a variety of little changes were made in it. In the two earliest impressions the actress who personatesFlora, is greasing her hair with a tallow candle, and preparing to powder herself, after her cap, feathers, &c. were put on. This solecism in theregular course of dress is removed in the third copy, the cap and ornaments being there omitted. The coiffure of the female who holds the cat, is also lowered; and whereas at first we could read in the play-bill depending from the truckle-bed, that the part ofJupiterwas to be performed by Mr.Bilk-village, an additional shade in the modern copy renders this part of the inscription illegible. Several holes likewise in the thatch of the barn are filled up; and the whole plate has lost somewhat of its clearness. The same censure is due to the reparations of theHarlot'sandRake's Progresses. HadHogarthlived, he would also have gradually destroyed much of that history of dress, &c. for which his designs have been justly praised by Mr.Walpole. In the first and last scenes of theRake's Progress, he began to adorn the heads of his females in the fashion prevalent at the time he retraced the plates. In short, the collector, who contents himself with the later impressions of his work, will not consult our artist's reputation. Those who wish to be acquainted with the whole extent of his powers, should assemble the first copies, together with all the varieties of his capital works.

[1]I know not why this print should have received its title only from its female agents. Not to dwell on theJupiterpointing withCupid'sbow to a pair of stockings, whoever will examine the linen[A]of the weeping figure receiving a dram-glass from theSyren, and look for the object that attracts her regard, may discover an indication that the other sex has also a representative in this theatrical parliament.[A]Non sic præcipiti carbasa tensa noto.

[A]Non sic præcipiti carbasa tensa noto.

1. Several children ofThe Foundling Hospital; the boys with mathematical instruments; the girls with spinning wheels. Over the door of the house they come out of, are the King's-arms. A porter is bringing in a child, followed by Capt.Coram, whose benevolent countenance[1]is directed towards a kneelingwoman. On the right hand is a view of a church; near it a woman lifting a child from the ground; at a little distance another infant exposed near a river. In the back of the picture, a prospect of ships sailing.W. Hogarth inv. F. Morellon la Cave sculp. London.

This is prefixed to an engraved Power of Attorney, from the trustees ofThe Foundling Hospital, to those gentlemen who were appointed to receive subscriptions towards the building, &c. The whole together is printed on a half sheet.

[1]See p.261.

1. The Enraged Musician,Designed, engraved, and published by W. Hogarth."Mr.John Festin,[1]the first hautboy andGermanflute of his time, had numerous scholars, to each of whom he devoted an hour every day. At nine in the morning he attended Mr.Spencer, grandfather to the earl of that name. If he happened to be out of town on any day, he devoted that hour to another. One morning at that hour he waited on Mr.V——n, afterwards LordV——n. He was not up. Mr.Festinwent into his chamber, and opening the shutter of a window, sat down in it. The figure with the hautboy was playing under the window. A man, with a barrow full of onions, came up to the player, and sat on the edge of his barrow, and said to the man, 'if you will play theBlack Joke, I will give you this onion.' The man played it.When he had so done, the man again desired him to play some other tune, and then he would give him another onion. 'This,' saidFestinto me, 'highly angered me; I cried out, Z——ds, sir, stop here. This fellow is ridiculing my profession: he is playing on the hautboy for onions.' Being intimate with Mr.Hogarth, he mentioned the circumstance to him; which, as he said, was the origin of 'The enraged Musician.' The fact may be depended upon. Mr.Festin[2]was himself theEnraged Performer." The story is here told just as he related it to a clergyman, in whose words the reader now receives it.

Of this print[3]it has been quaintly said, that it deafens one to look at it. Mr.Walpoleis of opinion that it "tends to farce."Rouquetsays of it, "Le Musicien est unItalienque les cris deLondresfont enrager." The wretched figure playing on a hautbois, was at that time well known about the streets. For variations, see the horse's head, originally white, but now black.—Sleeve of the child with a rattle, at first smaller, as well as of a lighter hue—the milk-woman's face, cloak, &c. boy's dragg, cutler's hatchet, dog, &c. &c. more darkened than in the first impressions. These, however, can scarcely be termed varieties, as they were occasioned only by retouching the plate, and adding a few shadows.

Hogarth, however, made several alterations and additions in this plate when it appeared to be finished. He changed in some measure all the countenances, and indeed the entire head and limbs of the chimney-sweeper, who had originally a grenadier's cap on. Miss had also aDoll, significantly placed under the trap composed of bricks, near which some sprigs from a tree are set in the ground, the whole contrivance being designed by some boy for the purpose of taking birds; but when occupied by Miss's Play-thing, became emblematic of the art of catching men. What relates, however, to this young lady from a boarding-school, was gross enough without such an amplification. The play-bill, sow-gelder, cats, dragg, &c. were not introduced, nor the pewterer's advertisement, nor the steeple in which the ringers are supposed. It is remarkable that the dustman was without a nose. The proofs of the plate in this condition are scarce. I have seen only one of them.[4]Mr.S. Irelandhas the original sketch.

[1]"Mr.Festinhas not been dead ten years. He was brother to theFestinwho led the band atRanelagh."

[2]In the second edition of these anecdotes, I had said "the musician was undoubtedlyCastrucci;" though one gentleman assured me it wasVeracini. The error is here acknowledged, to shew the danger of receiving information upon trust. In the first edition, I had fallen into a less pardonable mistake, by supposing it wasCervetto, whom I described to be then lately dead. But "Hogarth'smusician," as a friend on that occasion suggested to me, "is represented with a violin; whereasCervetto'sinstrument was the violoncello; but, however that may be, he is now certainly living. He lodges atFriburg'ssnuff-shop, inThe Haymarket, and may be seen every day atThe Orange Coffeehouse, although he completed his 101st. year inNovember1781." This extraordinary character in the musical world came toEnglandin the hard frost, and was then an old man. He soon after was engaged to play the bass atDrury-lanetheatre, and continued in that employment till a season or two previous to Mr.Garrick'sretiring from the stage. He diedJune14, 1783, in his 103d year. One evening when Mr.Garrickwas performing the character of SirJohn Brute, during the drunkard's muttering and dosing till he falls fast asleep in the chair (the audience being most profoundly silent and attentive to this admirable performer),Cervetto(in the orchestra) uttered a very loud and immoderately-lengthened yawn! The momentGarrickwas off the stage, he sent for the musician, and with considerable warmth reprimanded him for so ill-timed a symptom of somnnolency, when the modernNaso, with great address, reconciledGarrickto him in a trice, by saying, with a shrug, "I beg ten tousand pardon! but I alvays do so ven I amver much please!" Mr.Cervettowas distinguished among his friends in the galleries by the name ofNosey. SeeGentleman's Magazine, 1783, p. 95.

[3]London Daily Post, November24, 1740. "Shortly will be published, a new print calledThe Provoked Musician, designed and engraved by MrWilliam Hogarth; being a companion to a print representing aDistressed Poet, published some time since. To which will be added, aThird on Painting, which will compleat the set; but as this subject may turn upon an affair depending between the right honourable the L—dM—-rand the author, it may be retarded for some time."Query to what affair doesHogarthallude?Humphrey Parsonswas then Lord Mayor.

Query to what affair doesHogarthallude?Humphrey Parsonswas then Lord Mayor.

[4]In the collection of Mr.Crickitt.

1.Martin Folks, Esq. half length.W. Hogarth pinxit & sculpsit. An engraving. To some impressions of this print, which are not proofs, the name ofHogarthis wanting.

2. The same, half length mezzotinto.W. Hogarth pinx.1741;J. Faber fecit.1742. The original of both is now in the meeting-room of the Royal Society, inSomerset Place.

3. Charmers of the Age.[1]"A sketch. No name." It was intended to ridicule Mons.Desnoyer[2]and SignoraBarberini, the two best dancers that ever appeared inLondon. This plate exhibits the internal prospect of a theatre. The openings between the side scenes are crowded with applauding spectators. The two performers are capering very high. A sun over head (I suppose the emblem of public favour) is darting down its rays upon them. The representatives of Tragedy and Comedy are candle-holders on the occasion. Underneath is the following inscription: "The prick'd lines show the rising height." There are also a few letters of direction, so situated as to convey no very decent innuendo. The whole is but a hasty outline, executed, however, with spirit, and bitten uncommonly deep by the aqua fortis. I ascribe it toHogarthwithout hesitation. Of this print there is a copy byLivesay.

All the three pieces of our artist that satirize the stage, &c. are peculiarly scarce. We may supposethem, therefore, to have been suppressed by the influence of the managers for the time being, who were not, like our present ones, become callous through the incessant attacks of diurnal criticks in the news-papers.

[1]Hogarthdesigned to have published this print, with some explanation at the bottom of it in 1741-2.—See the inscription almost effaced, a circumstance to which the copier did not attend.

[2]I learn fromThe Grub-street JournalforOctober17, 1734, that MonsieurDesnoyerwas just arrived fromPoland, together with MademoiselleRolandfromParis(this lady is still alive). Again, from the same paper,August19, 1756, that "MonsieurDesnoyer, the famous dancer atDrury-lane, is gone toParis, by order of Mr.Fleetwood, to engage MademoiselleSalleefor the ensuing winter." In some future expedition, we may suppose, he prevailed on SignoraBarberinito come over for the same purpose.

4. Taste in High Life. A beau, a fashionable old lady, a young lady, a black boy, and a monkey. Painted by Mr.Hogarth. It was sold by Mr.Jarvis, inBedford-street, Covent-Garden. Published May 24th, [no year].The original picture is in the possession of Mr.Birch, surgeon,Essex-street, inThe Strand.

It displays (as we learn from an inscription on the pedestal under aVenusdressed in a hoop-petticoat) the reigning modes of the year 1742. It was painted for the opulent MissEdwards, who paid our artist sixty guineas for it. Her reason for choosing such a subject was rather whimsical. By her own singularities having incurred some ridicule, she was desirous, by the assistance ofHogarth, to recriminate on the publick. As he designed after her ideas, he had little kindness for his performance, and never would permit a print to be taken from it. The present one was from a drawing made by connivance of her servants. The original was purchased by the father of its present owner, at her sale atKensington.

The figure of the beau holding the china-saucer is said to have been that of LordPortmore, dressed as he first appeared at court after his return fromFrance. The young female was designed for a celebrated courtezan, who was theKitty Fisherof hertime. Her familiarity with the black boy alludes to a similar weakness in a noble duchess, who educated two brats of the same colour. One of them afterwards robbed her, and the other was guilty of some offence equally unpardonable. The pictures with which the room is adorned, contain many strokes of temporary satire. See theVenuswith stays, a hoop, and high-heel'd shoes;Cupidburning all these parts of dress, together with a modish wig, &c.; a secondCupidparing down a plump lady to the fashionable standard; and [in a framed picture classed with a number of insects] the figure ofDesnoyerthe dancing-master in a grand ballet. The ridicule on the folly of collecting old china, &c. &c. are alike circumstances happily introduced, and explanatory of the fashions then in vogue. The colouring is better than that in most ofHogarth'spictures. The plate is now the property of Mr.Sayer.

1.Benjamin Hoadly, bishop ofWinchester. W. Hogarth pinx. B. Baron sculp.The plate belongs to Mrs.Hoadly.

2. CaptainThomas Coram, who obtained the charter[1]forThe Foundling Hospital. Mezzotinto; a three-quarters. The first print published byM'Ardell. The original is a whole length. The captain has the seal of the charter in his hand. Before him is a globe; at a distance a prospect of the sea. This isperhaps the best of allHogarth'sportraits, and is thus described in theScandalizade, a satire published about 1749.

"Lo! old CaptainCoram,[2]so round in the face,And a pair of good chaps plump'd up in good case,His amiable locks hanging grey on each sideTo his double-breast coat o'er his shoulders so wide," &c.

[1]In which the name ofWilliam Hogarthstands enrolled as one of the earliest governors of the charity.

[2]Mr.Coramwas bred to the sea, and spent the first part of his life as master of a vessel trading to our colonies. While he resided in that part of the metropolis which is the common residence of seafaring people, business often obliging him to come early into the city and return late; he had frequent occasions of seeing young children exposed, through the indigence or cruelty of their parents. This excited his compassion so far, that he projectedThe Foundling Hospital; in which humane design he laboured 17 years, and at last, by his sole application, obtained the royal charter for it.[A]He died at his lodgings nearLeicester-Square, March29, 1751, in his 84th year: and was interred under the chapel of theFoundling Hospital, where the following inscription perpetuates his memory:"CaptainThomas Coram,whose Name will never want a Monumentso long as this Hospital shall subsist, was born aboutthe year 1668; a Man eminent in that most eminentVirtue, the Love of Mankind;little attentive to his private Fortune, and refusingmany Opportunities of encreasing it, his Time and Thoughtswere continually employed in endeavours to promote thepublic Happiness,both in this Kingdom and elsewhere, particularlyin the Colonies of North America; and his Endeavourswere many Times crowned with the desired Success. Hisunwearied Solicitation, for above Seventeen Years together,(which would have battled the Patience and Industry of anyMan less zealous in doing Good)and his Application to Persons of Distinction of both Sexes,obtained at Length the Charter of the Incorporation(bearing Date the 17th ofOctober, 1739)For the Maintenance and Educationof Exposed and Deserted Young Children,by which many Thousands of Lives may be preserved to thePublic, and employed in a frugal and honest Course ofIndustry. He died the 29th ofMarch, 1731, in the84th Year of his Age, poor in worldly Estate, rich in goodWorks; was buried, at his own Desire, in the Vaultunderneath this Chapel;(the first here deposited)at the East End thereof; many of the Governorsand other Gentlemen attending the Funeral, to doHonour to his Memory.Reader, thy Actions will shew whether thou art sincerein the Praises thou may'st bestow on him; and if thou hastVirtue enough to commend his Virtues, forget not toadd also the Imitation of them."[A]For his other charitable projects, see Biog. Dict. 1784, vol. IV. p. 120.

"CaptainThomas Coram,whose Name will never want a Monumentso long as this Hospital shall subsist, was born aboutthe year 1668; a Man eminent in that most eminentVirtue, the Love of Mankind;little attentive to his private Fortune, and refusingmany Opportunities of encreasing it, his Time and Thoughtswere continually employed in endeavours to promote thepublic Happiness,both in this Kingdom and elsewhere, particularlyin the Colonies of North America; and his Endeavourswere many Times crowned with the desired Success. Hisunwearied Solicitation, for above Seventeen Years together,(which would have battled the Patience and Industry of anyMan less zealous in doing Good)and his Application to Persons of Distinction of both Sexes,obtained at Length the Charter of the Incorporation(bearing Date the 17th ofOctober, 1739)For the Maintenance and Educationof Exposed and Deserted Young Children,by which many Thousands of Lives may be preserved to thePublic, and employed in a frugal and honest Course ofIndustry. He died the 29th ofMarch, 1731, in the84th Year of his Age, poor in worldly Estate, rich in goodWorks; was buried, at his own Desire, in the Vaultunderneath this Chapel;(the first here deposited)at the East End thereof; many of the Governorsand other Gentlemen attending the Funeral, to doHonour to his Memory.Reader, thy Actions will shew whether thou art sincerein the Praises thou may'st bestow on him; and if thou hastVirtue enough to commend his Virtues, forget not toadd also the Imitation of them."

[A]For his other charitable projects, see Biog. Dict. 1784, vol. IV. p. 120.

3. The same engraving, for theLondon Magazine.

4. Characters and Caricaturas, "to show that Leonardo da Vinci exaggerated the latter." The subscription-ticket to Marriage à la Mode.

1. Marriage à la Mode.[1]Six plates. In 1746was published, "Marriage à la Mode: an Humourous Tale, in Six Canto's, in Hudibrastic Verse; being an Explanation of the Six Prints lately published by the ingenious Mr.Hogarth. London: printed forWeaver Bickerton, inTemple-Exchange Passage, inFleet-Street, 1746. Price One Shilling." Of this pamphlet it will be sufficient to extract the Preface and the arguments of the several Canto's; the poem itself (if such it may be called) being extended to the length of 59 pages.

"The prints of Marriage à la Mode, being the latest production of that celebrated Artist who had before obliged the town with several entertaining pieces, have, ever since their publication, been very justly admired; the particular vein of humour, that runs through the whole of his works, is more especially preserved in this.

"If the Comic Poet who draws the characters of the age he lives in, by keeping strictly up to their manners in their speeches and expressions; if satirizing vice and encouraging virtue in dialogue, to render it familiar, is always reckoned amongst the liberal arts; and the authors, when dead, dignified with busts and monuments sacred to their memory; sure the master of the pencil, whose traits carry, not only a lively image of the persons and manners, but whose happy genius has found the secret of so disposing the several parts, as to convey a pleasing and instructive moral through the history he represents, may claim a rank in theforemost class, and acquire, if the term is allowable, the appellation of the Dramatic Painter.

"The Modish Husband, incapable of relishing the pleasures of true happiness, is here depicted in his full swing of vice, 'till his mistaken conduct drives his wife to be false to his bed, and brings him to a wretched end; killed in revenging the loss of that virtue which he would never cherish. The Lady is equally represented as a true copy of all the fine ladies of the age, who, by indulging their passions, run into all those extravagances, that at last occasion a shameful exit. If the gentlemen of the long robe, who ought to know the consequences, are guilty of committing such a breach of hospitality as is here described, they are properly reprimanded: the penurious Alderman, and the profligate old Nobleman, are a fine contrast; the Quack Doctor, theItalianSinger, &c. are proofs of the Inventor's judgement and distinction, both in high and low life.

"Though these images are pleasing to the eye, yet many have complained that they wanted a proper explanation, which we hope will plead an excuse for publication of the following Canto's, as the desire to render these pieces more extensive may atone for the many faults contained in this poem, for which theHudibrasticstyle was thought most proper."

The ARGUMENTS.CANTO I."The joys and plagues that wedlock brings,The Limner paints, the Poet sings;How the old dads weigh either scale,And set their children up to sale;How, void of thought, the Viscount wedsThe nymph, who such a marriage dreads;And, whilst himself the Fop admires,M——ywith love her soul inspires."CANTO II."The wedding o'er, the ill-match'd pairAre left at large, their fate to share;All public places he frequents,Whilst she her own delight invents;And, full of love, bewails her doom,When drunk i'th' morning he comes home;The pious stew'rd, in great surprize,Runs from them with uplifted eyes."CANTO III."My Lord now keeps a common Miss,Th' effects describ'd of amorous bliss,Venereal taints infect their veins,And fill them full of aches and pains;Which to an oldFrenchDoctor drives 'em,Who with his pill, a grand p—x gives 'em;A scene of vengeance next ensues,With which the Muse her tale pursues."CANTO IV."Fresh honours on the Lady wait,A Countess now she shines in state;The toilette is at large display'd,Where whilst the morning concert's play'd,She listens to her lover's call,Who courts her to the midnight-ball."CANTO V."The dismal consequence behold,Of wedding girls ofLondonmould;The Husband is depriv'd of life,In striving to detect his Wife;The Lawyer naked, in surprize,Out of the Bagnio window flies:Whilst Madam, leaping from the bed,Doth on her knee for pardon plead."CANTO VI."The Lawyer meets his just reward,Nor from the triple tree is spar'd;The Father takes my Lady home,Where, when she hears her Lover's doom,To desperate attempts she flies,And with a dose of poison dies."

In these plates only a single variation is detected. In the very first impressions of the second of them (perhaps a few only were taken off) a lock of hair on the forehead of the lady is wanting. It was added by our artist, afterBaronhad finished the plate. In the early copies he inserted it withIndianink. A passage in theAnalysis[2]will perhaps account for this supplemental ornament: "A lock of hair falling cross the temples, and by that means breaking the regularity of the oval, has an effect too alluring to be strictly decent." The room represented in this plate is adorned with amelangeof pictures on wanton and devotional subjects.

Mr.Walpolehas remarked, that the works ofHogarthhave little obscurity. This position is true in general, thoughMarriage à la Modemay supply an exception to it; no two persons, perhaps, having hitherto agreed in their explanation of Plate the third.[3]

When this set of plates was to be engraved,Ravenet, a young artist, then just coming into employ, was recommended to Mr.Hogarth; and a hard bargainwas made.Ravenetwent through two of the plates, but the price proved far inadequate to thelabour. He remonstrated, but could obtain no augmentation. When theSigismundawas to be engraved,Mr.Ravenetwas in a different sphere of life. The painter, with many compliments, solicited his assistance as an engraver, butRavenetindignantly declined the connexion.

In the fourth of these plates[4]are the following portraits: Mrs.Lane(afterwards LadyBingley) adoringCarestini; her husbandFox Laneasleep.Rouquetonly calls him "Un gentilhomme campagnard, fatigué d'une course après quelque renard ou quelque cerf, s'endort." This idea seems to be countenanced by the whip in his hand. The same explainer adds, speaking of the two next figures, "Ici on voit en papillotes un de ces personages quipassent toute leur vie à tâcher de plaire sans y reüssir; la, un eventail au poing, on reconnoît un de ces hérétiques en amour, un sectateur d'Anacreon." The former of these has been supposed to represent MonsieurMichel, thePrussianambassador.Weidemanis playing on theGermanflute.—The pictures in the room are properly suited to the bed-chamber of a profligate pair—JupiterandIo, Lotwith his Daughters,Ganymedeand the Eagle, and the Young Lawyer who debauches the Countess. The child's coral, hanging from the back of the chair she sits in, serves to shew she was already a mother; a circumstance that renders her conduct still more unpardonable. Some of her new-made purchases, exposed on the floor, bear witness to the warmth of her inclinations. These will soon be gratified at the fatal masquerade, for which her paramour is offering her a ticket.

The pompous picture on the right hand of the window in the nobleman's apartment, Plate I. also deserves attention. It appears to be designed as a ridicule on the unmeaning flutter ofFrenchportraits, some of which (particularly those ofLouisXIV.) are painted in a style of extravagance equal at least to the present parody byHogarth. This ancestor of our peer is invested with several foreign orders. At the top of one corner of the canvas, are two winds blowing across each other, while the hero's drapery is flying quite contrary directions. A comet is likewise streaming over his head. In his hand he grasps the lightning ofJove, and reposes on a cannon goingoff, whose ball is absurdly rendered an object of sight. A smile, compounded of self-complacency and pertness, is the characteristic of his face.

On the cieling of this magnificent saloon is a representation ofPharaohand his Host drowned in the Red Sea. The pictures underneath are not on the most captivating subjects—DavidkillingGoliath—Prometheusand the Vulture—the Murder of theInnocents—JudithandHolofernes—St.Sebastianshot full of Arrows—CaindestroyingAbel—and St.Laurenceon the Gridiron.

Among such little circumstances in this plate as might escape the notice of a careless spectator, is the Thief in the Candle, emblematic of the mortgage on his Lordship's estate.

When engravings on a contracted scale are made from large pictures, a few parts of them will unavoidably become so small, as almost to want distinctness. It has fared thus with a number of figures that appear before the unfinished edifice,[5]seen through a window in the first plate of this work.Hogarthdesigned them for the lazy vermin of his Lordship's hall, who, having nothing to do, are sitting on the blocks of stone, or staring at the building;[6]for thusRouquethas described them, "Une troupe de lacquais oisifs, qui sont dans le cour de ce batiment, acheve de caracteriser le faste ruineux qui environne le comte." The same illustratorproperly calls theCitizenEchevin (i. e. sheriff) ofLondon, on account of the chain he wears.

Plate II. From the late Dr.DucarelI received the following anecdote; but there must be some mistake in it, asHerringwas not archbishop till several years after the designs forMarriage à la Modewere made.

"Edward Swallow, butler to ArchbishopHerring, had an annuity of ten pounds given to him in his Grace's will. For the honesty and simplicity of his physiognomy, this old faithful servant was so remarkable, thatHogarth, wanting such a figure inMarriage à la Mode, accompanied the late dean ofSarum, Dr.Thomas Greene, on a public day, toLambeth, on purpose to catch the likeness. As they were coming away, he whispered, 'I have him!' And he may now be seen to the life preserved in the old steward, in Plate II. with his hands held up, &c."

In Plate V. the back ground, which is laboured with uncommon delicacy (a circumstance that will be remarked by few except artists), was the work of Mr.Ravenet'swife.Solomon'swise judgement is represented on the tapestry. WhenRavenet'stwo plates were finished,Hogarthwanted much to retouch the faces,[7]and many disputes happened between him and the engraver on this subject. The first impressions, however, escaped without correction. Those who possess both copies, may discover evident marksofHogarth'shand in the second. See particularly the countenance of the dying nobleman, which is fairly ploughed up by his heavier burin.

I have been told that our artist took the portrait of the female, who is so placed, that the legs of a figure in the tapestry supply the want of her own, from a coarse picture of a woman calledMoll Flanders.

Plate the sixth of this set, affordsRouquetan opportunity of illustrating the following remark, which he had made at the outset of his undertaking: "Ce qu'unAngloislit, pour ainsi dire, en jettant les yeux sur ces estampes, va exiger de vous la lecture de plusieurs pages." Speaking of our citizen's parsimony, says he—"Voyez-vous ces pipes conservées dans le coin d'un armoire? Vous ne devineriez pas, vous qui n'êtes pas jamais venu enAngleterre, qu'elles sont aussi une marque d'economie; mais il faut vous dire que les pipes sont si communes ici, qu'on ne fume jamais deux fois dans la même. La païsan, l'artizan le plus vil prend une pipe gratis dans le premier cabaret où il arrête: il continue son chemin en achevant de la fumer, et la jette à ses pieds."

AsRouquetobserves, "Ce qui sert à garnir cet apartement ne contribue pas à l'orner. Tout y indique une économie basse." The scarcity of the real dinner—the picture exhibiting plenty of provision—the starved dog—the departing physician—the infected and ricketty condition of the child who isbrought to take a last kiss of its dying mother—are circumstances too striking to be overlooked.

The Daily Advertiserof 1750 affords the following illustration of our artist's history: "Mr.Hogarthproposes to publish by subscription two large prints, one representingMosesbrought toPharaoh'sdaughter; the otherPaulbeforeFelix; engraved after the pictures of his painting which are now hung up inThe Foundling HospitalandLincoln's-Inn Hall. Five Shillings to be paid at the time of subscribing, and Five Shillings more on the delivery of the print. On the first payment a receipt will be given, which receipt will contain a new print (in the trueDutchtaste) ofPaulbeforeFelix. Note, The above two prints will be Seven Shillings and Six Pence each after the subscription is over; and the receipt-print will not be sold at a less price than One Guinea each. Subscriptions are taken in till the 6th ofJunenext, and no longer, atThe Golden-HeadinLeicester-Fields, where the drawings may be seen; as likewise the author's six pictures ofMarriage-à-la-Mode, which are to be disposed of in the following manner: That every bidder sign a note with the sum he intends to give. That such note be deposited in the drawer of a cabinet, which cabinet shall be constantly kept locked by the saidWilliam Hogarth; and in the cabinet, through a glass door, the sums bid will be seen on the face of the drawer, but the names of the bidders may be concealed till the time of bidding shall be expired.That each bidder may, by a fresh note, advance a further sum if he is outbid, of which notice shall be sent him. That the sum so advanced shall not be less than Three Guineas. That the time of bidding shall continue till twelve o'clock the 6th ofJunenext, and no longer. That no dealer in pictures will be admitted a bidder.

"As (according to the standard of judgement, so righteously and laudably established by picture-dealers, picture-cleaners, picture-frame-makers, and other connoisseurs) the works of a painter are to be esteemed more or less valuable as they are more or less scarce, and as the living painter is most of all affected by the inferences resulting from this and other considerations equally uncandid and edifying; Mr.Hogarth, by way of precaution, not puff, begs leave to urge, that, probably, this will be the last suit or series of pictures he may ever exhibit, because of the difficulty of vending such a number at once to any tolerable advantage, and that the whole number he has already exhibited of the historical or humourous kind does not exceed fifty, of which the three sets calledThe Harlot's Progress, The Rake's Progress,and that now to be sold, make twenty; so that whoever has a taste of his own to rely on, not too squeamish for the production of a Modern, and courage enough to own it, by daring to give them a place in his collection (till Time, the supposed finisher, but real designer of paintings, has rendered them fit for those moresacred repositories where Schools, Names, Heads, Masters, &c. attain their last stage of preferment), may from hence be convinced that multiplicity at least of his (Mr.Hogarth's) pieces will be no diminution of their value."

Mr.Lane, ofHillingdonnearUxbridge, bought the six original pictures for 120 guineas, atHogarth'sauction.[8]

Back to Index Next