Chapter 17

[1]Vol. IV. 8vo. p. 192.

10.Hogarth'sCrest, exhibiting the Line of Beauty.CyprusandVarietysubjoined by way of mottoes; butmy readers will anticipate me when I observe that the universe contains no place in whichHogarthhad so little interest as in theCyprianisle, whereVenuswas attended by the Graces.Hogarth'soriginal sketch, which he delivered to Mr.Cattonthe coach-painter for the purpose of having it transferred on his carriage, is now in the possession of Mr.Livesay.

11. The card of invitation mentioned in p.63. is introduced in thetitle-pageof the present publication. It is engraved byJ. Cary, a young artist, whose abilities, more particularly in the line of map-engraving, will soon raise him into notice.

12. An Old Man's Head with a band. In the dotted stile. Published byLivesay.

1. OratorHenleyChristening a Child. Etched bySamlIrelandfrom an original sketch in oil—in his possession—byHogarth.—ToFrancis Grose, Esq; F. A. S. an encourager and promoter of the arts, this etching, from his favouriteHogarth, is inscribed by his obliged friend and servant,SamlIreland.

2. A Landscape. Etch'd bySamlIreland, from an original picture in his possession, said to be the only landscape ever painted byHogarth.—To the Right Honourable the Earl ofExeter, an admirer ofHogarth, and encourager of the arts, this etching is inscribed by his Lordship's most obliged and obedient servant.S. Ireland.

The very considerable degree of skill and fidelity, displayed in the execution of these two plates, entitlesthe gentleman who etched them to the warmest thanks of every collector of the works ofHogarth.—May a hope be added, that he will favour us with yet other unpublished designs of the same master?

Before Mr.Walpole'senumeration of the following shop-bills, coats of arms, &c. made its appearance, perhaps few of them were known to our collectors. Concerning the genuineness of some of these unimportant engravings, no doubt can be entertained; but whence is it inferred thatallof them were his productions? Do we receive them merely on the faith of Mr.Pond? or are they imputed to our artist for any other reason, or on the strength of any other testimony? I am assured, by a gentleman who possesses the chief of them, and is well acquainted withHogarth'smanner, that from mere external evidence several of these could not have been authenticated.

It is natural, however, to suppose that most of them (ifHogarth's) were the fruits of his apprenticeship.[1]As such, therefore, they should be placed at the beginning of every collection.

[1]Let it be remembered likewise, that being bound apprentice to the single branch of engraving arms and cyphers, the majority of his works, whether on base metal or silver, must have been long since melted down. During the minority ofHogarth, the forms in which plate was made, could contribute little to its chance of preservation. Pot-bellied tankards, and salvers scalloped like old-fashioned minced-pies, were the highest efforts of that period.

1. People in a shop under the King's arms:MaryandAnn Hogarth. "A shop-bill" for his two sisters, who for many years kept a linen-draper's, or rather what is called a slop-shop.

MaryandAnn Hogarth.from the Old Frock-shop near the corner ofTheLong Walk, facingThe Cloysters, Removed to yeKings Armsjoyning to yeLittle Britain-gate, nearLong Walk. Sells yebest and most FashionableReady Made Frocks, sutes of Fustian, Ticken andHolland, stript Dimmity and Flañel Wastcoats, blueand canvas Frocks, and bluecoat Boys Drars.Likewise Fustians, Tickens, Hollands, white striptDĩ̃mitys, white and stript Flañels in yepiece.By wholesale or Retale, at Reasonable Rates.

2. His own cypher, with his name under it at length; "a plate he used for his books." I have reason to think it was neither designed nor engraved byHogarth.

3. ATurk'shead. "A shop bill," forJohn Barker, goldsmith, at theMoroccoAmbassador's head inLombard-Street.—A copy of this has been made.

4. A shop-bill, with emblems of Trade. Grand Duke ofTuscany'sarms at the top; those ofFlorencewithin the plate. At the four corners, views ofNaples, Venice, Genoa,andLeghorne.

At Mrs.Holt's,ItalianWarehouse,at the two Olive Posts in yebroad part ofTheStrandalmost opposite toExeter Changeare sold allSorts ofItalianSilks, as Lustrings, Sattins, Padesois,Velvets, Damasks, &c. Fans, Legorne Hats, Flowers,Lute and Violin Strings, Books of Essences, VeniceTreacle, Balsomes, &c. And in a Back Warehouseall Sorts ofItalianWines,FlorenceCordials, Oyl,Olives, Anchovies, Capers, Vermicelli,BologniaSausidges,ParmesanCheeses,NapleSoap, &c.

5. A large angel, holding a palm in his left hand. "A shop-bill" for

Ellis GambleGoldsmith,at theGolden-AngelinCranbourn-street,Leicester-Fields.Makes Buys and Sells all Sortsof Plate, Rings and Jewels&c.Ellis GambleOrfeure,a l'Enseigne de l'Ange d'OrdansCranbourn-Street, Leicester-Fields.Fait, Achete,& vend toutes sortes d'Argenterie,Bagues & Bijouxs, &c.

6. A smaller angel. This is a contracted copy from the preceding, was another shop-bill for our Artist's Master, and has the same inscription as that already given.

7. Another small angel "almost the same as the preceding," in the collection of Mr.Walpole.

8. A large oval coat of arms, with terms of the four seasons.

9. A coat of arms, with two slaves and trophies. Plate for books.

10. Another coat of arms, and two boys as terms.

11. A foreign coat of arms; supporters a savage and an angel. Ditto.

12. LordAylmer'scoat of arms.

13. Two ditto of the Duchess ofKendal; one of them, an impression from a silver tea table.

14. The Earl ofRadnor'sarms, from a silver cup and cover.

15. A grifon, with a flag. A crest.

16.Minerva, sitting and holding the arms ofHolland, fourCupidsround her. "Done for the books ofJohn Holland,herald-painter."

Of this there are two plates. TheFleurs de Lysin the one are more numerous and crowded than in the other.

17. A ticket for a burial.

For the same purpose our artist's contemporaryCoypellikewise engraved a plate, which is still in use.

18. Two small forMilton. W. Hogarth inv. & sculp.

It is so singular, that only plates referring to the first and third books ofParadise Lostshould be discovered with our artist's name subscribed to them, that I almost suspect they were not executed for any edition of that work, but rather for some oratorio or operatical performance founded thereon, though neither performed nor printed. An example of two prints byHogarthto a single dramatic piece, we have already met with inPerseus and Andromeda.

If the first of the present designs was made for the first book ofParadise Lost, one might almost swear thatHogarthhad never read it, or he could not have fallen into the strange absurdities and incoherences that his engraving displays. We have on one side a Dæmon exalted in a kind of pulpit, at the foot of which another infernal spirit lies bound in chains, while a cannon is pointed at his head. At a distance, in the centre of an arcade adorned with statues, is a throne with a personage seated on it. Over his head are little beings supporting an emblem ofeternity. Stars, &c. appear above them. Whether this dignified character was designed for "a spirit of health, or goblin damn'd," it would be difficult from his figure and attributes to determine. Perhaps several works of fancy might be named, with which the present representation would as naturally connect as with the first book ofMilton'sPoem.

The following plate exhibits two celestial characters of equal age. They sit aloft in the clouds, and listen to a concert of angels playing on various instruments, and, among the rest, on a clumsy organ. A ray of light darts down on a distant orb, designed, I suppose, for the new-created world, towards which the figure of a little being, scarce bigger than a bird, though meant forSatan, is seen directing its flight.[1]

A bookseller of common sagacity would have been justified in rejecting these designs, if prepared forMilton. Indeed, had I not been taught by Mr.Walpole'scatalogue that such was their destination, I should not hastily have conjectured that the former of them had the least reference to the Poet'sPandæmonium. Let it be remembered, however, that these must have been among the earliest ofHogarth'sperformances, and, like his prints forDon Quixote, were in all probability thrown aside, as unsuited to the purpose for which they were engraved. I have been told, indeed, that a couple of plates, by our artist, to the comedy ofThe Spanish Friar, are still existing.[2]IfHogarth, therefore, was once employed in preparing cuts to the plays ofDryden, the designs already mentioned might have been intended for two different scenes inThe State of Innocence, or the Fall of Man.

[1]In justice, however, to one of these designs, I transcribe part of a letter that appeared inThe Gentleman's MagazineforMarch1782."Twickenham, March12."Mr. Urban,"Throughout Mr.Nichols'sexcellent but unequal account ofHogarthand his works, there is no decision I am so much inclined to controvert, as that respecting the first of the two plates toMilton. Perhaps the critic had only seen some imperfect copy of thePandæmonium, or formed his idea of it on the vague description of those who who had considered it with less attention than it really deserves. In my opinion, our artist's arrangement of the infernal senate affords a happy instance of his power to exhibit scenes of picturesque sublimity. The ample space within the arcade, containing myriads of subordinate spirits; the vault above, illuminated by supernatural fires; the magnificence and elevation ofSatan'sthrone; his superior stature, and the characteristic symbols over the seats of his peers; are circumstances entitled to a more flattering reception than they have met with. That this print has likewise absurdities, I am ready to allow: yet aVoltairemight ask whether most of them are not inseparable from its subject. I wish, for the sake of those who acknowledge the genius ofHogarthonly in familiar combinations, that the plate in question were less rare. Our connoisseurs in general might then decide on its merits. The only known impression of it, as well as of its companion, is in the collection of Mr.Walpole,[A]who once indulged me with a sight of them both."I am content, however, that the second of these plates should be abandoned to the austerities of criticism. The architecture in the skies is every way unsuitable to its place. The characters of the Almighty and our Redeemer have little, if any, discrimination of attributes or years. They appear swinging on a festoon composed of tiny cherubs, clustered together like a swarm of bees. The Father rests his arm on one of these childish satellites; and the Son holds another by the wing, likeDomitiancatching a fly. Beneath, is a concert of angels, who perform on different instruments, and among others (as Mr.Nichols'sbook expresses it) on a clumsy organ.Lucifer, approaching the new-created world, appears but as an insect, flying towards an apple. This part ofHogarth'ssubject is beyond the compass of any design on a contracted scale.Satanmight be delineated in the act of alighting on a promontory, a part of the earth; but when its complete orb is exhibited on a slip of paper measuring about six inches by four, the enterprizing fiend must be reduced to very insignificant dimensions. Such a circumstance may therefore succeed in a poet's comprehensive description, but will fail on any plate designed for the ornament of a little volume."Let me add, that these two are the neatest and most finished of all the engravings byHogarth. The second might have been mistaken for one of the smaller works ofPicart. Perhaps the high price demanded for the plates, was the reason why a series of them was not continued through the other books ofParadise Lost."[A]These two plates are also in the collection of Mr.Steevens.

[1]In justice, however, to one of these designs, I transcribe part of a letter that appeared inThe Gentleman's MagazineforMarch1782.

"Twickenham, March12.

"Mr. Urban,

"Throughout Mr.Nichols'sexcellent but unequal account ofHogarthand his works, there is no decision I am so much inclined to controvert, as that respecting the first of the two plates toMilton. Perhaps the critic had only seen some imperfect copy of thePandæmonium, or formed his idea of it on the vague description of those who who had considered it with less attention than it really deserves. In my opinion, our artist's arrangement of the infernal senate affords a happy instance of his power to exhibit scenes of picturesque sublimity. The ample space within the arcade, containing myriads of subordinate spirits; the vault above, illuminated by supernatural fires; the magnificence and elevation ofSatan'sthrone; his superior stature, and the characteristic symbols over the seats of his peers; are circumstances entitled to a more flattering reception than they have met with. That this print has likewise absurdities, I am ready to allow: yet aVoltairemight ask whether most of them are not inseparable from its subject. I wish, for the sake of those who acknowledge the genius ofHogarthonly in familiar combinations, that the plate in question were less rare. Our connoisseurs in general might then decide on its merits. The only known impression of it, as well as of its companion, is in the collection of Mr.Walpole,[A]who once indulged me with a sight of them both.

"I am content, however, that the second of these plates should be abandoned to the austerities of criticism. The architecture in the skies is every way unsuitable to its place. The characters of the Almighty and our Redeemer have little, if any, discrimination of attributes or years. They appear swinging on a festoon composed of tiny cherubs, clustered together like a swarm of bees. The Father rests his arm on one of these childish satellites; and the Son holds another by the wing, likeDomitiancatching a fly. Beneath, is a concert of angels, who perform on different instruments, and among others (as Mr.Nichols'sbook expresses it) on a clumsy organ.Lucifer, approaching the new-created world, appears but as an insect, flying towards an apple. This part ofHogarth'ssubject is beyond the compass of any design on a contracted scale.Satanmight be delineated in the act of alighting on a promontory, a part of the earth; but when its complete orb is exhibited on a slip of paper measuring about six inches by four, the enterprizing fiend must be reduced to very insignificant dimensions. Such a circumstance may therefore succeed in a poet's comprehensive description, but will fail on any plate designed for the ornament of a little volume.

"Let me add, that these two are the neatest and most finished of all the engravings byHogarth. The second might have been mistaken for one of the smaller works ofPicart. Perhaps the high price demanded for the plates, was the reason why a series of them was not continued through the other books ofParadise Lost."

[A]These two plates are also in the collection of Mr.Steevens.

[2]These are in the collection of the Earl ofExeter, and are said to have the name of our artist fallaciously affixed to them. I speak, however, with uncertainty.

19. A coat of arms from a large silver tea table. Under these arms are a shepherd and his flock, exactly the same as those on the tankard, N°25. A shepherd and shepherdess also are the supporters. This has been ascribed toHogarth, but I suspect it to be a copy, and am told indeed that it was engraved byPelitreau.

20. Impression from a coat of arms engraved on a silver dish made byDelemery; purchased, at some distance of time, by SirGregory Page, Bart. who erased the original arms from the escutcheon, and had his own put in. The dish was afterwards boughtatChristie'sat a sale of SirGregory'splate; and when 25 impressions only had been taken from it, was cut to pieces byR. Morrison, 1781. I wish some of these discoveries ofHogarth'sengravings had been made by people who had no immediate view to their own profit, and the sale of their acquisitions. Too many of our collectors are become dealers.

21. Small oval print for the Rape of the Lock. This was not designed for any edition of it. A few impressions only were taken off from the lid of a snuff-box engraved by Mr.Hogarth, as it is believed, for some gentleman characterized byPopein his celebrated mock-heroic poem. It is one of the poorest ofHogarth'sperformances.

22. An emblematic print, representing Agriculture and Arts. "It seems to be a ticket for some society."

23. A ticket for the benefit ofMilwardthe tragedian. A scene inThe Beggar's Opera; "Pitt 3s." inserted with a pen between "Theatre" and "Royal," in a scroll at the bottom of it. I have seen an impression of it, under which is engraved, "Lincolns-Inn Fields, Tuesday, Aprill23.A Bold Stroke for a Wife, with Entertainments, for the benefit of Mr.Milward." This careless, but spirited little engraving, has more ofHogarth'smanner than several other more laboured pieces, which of late have been imputed to him.—Let the connoisseur judge.

This ticket (as is already observed) must have been issued before 1733, when the Theatre inLincolns-Inn-Fieldswas shut up, and all the actors,Milwardamong the rest, removed toCovent Garden.

24. The Mystery of Masonry brought to Light by theGormagons.

A.Chin Quaw-Kypo'Done from ye Original.1stEmperor of China.Painted at Pekin by Matt-chauter,B.The sage Confucius.Grav'd by Ho-geC.In Chin presentand sold by ye PrintsellersOecumenical Volgi.of London Paris and Rome.D.The Mandarin Hangchi.Hogarth inv. et sculp.

To the earliest impressions of this plate, the name ofSayer(for whom it has since been retouched) is wanting. "Stolen fromCoypel's Don Quixote." Underneath, these verses:

From Eastern climes, transplanted to our coasts,Two oldest orders that creation boastsHere meet in miniature, expos'd to viewThat by their conduct men may judge their due.TheGormagons, a venerable race,Appear distinguish'd with peculiar grace:What honour! wisdom! truth! and social love!Sure such an order had its birth, above.But mark Free Masons! what a farce is this?How wild their mystery! what aBumthey kiss![1]Who would not laugh,[2]who such occasions had?Who should not weep, to think the world so mad?

I should suspect that this plate was published about 1742, when the Procession[3]ofScald Miserableshad been produced[4]to parody the cavalcade of theFreeMasons, who ever afterwards discontinued their annual procession.Hogarthwas always ready to availhimself of any popular subject that afforded a scope to ridicule. AmongHarry Carey'sPoems, however, 1729, third edition, is the following;

"The Moderator between the Free-Masons and Gormogons."The Masons and the GormogonsAre laughing at one another,While all mankind are laughing at them;Then why do they make such a pother?"They bait their hook for simple gulls,And truth with bam they smother;But when they've taken in their culls,Why then 'tis—Welcome Brother!"

The particular disputes between the parties referred to by this poem, it is not easy to ascertain. Perhaps the humourous writer alludes to some schism or dissention now forgotten. Mr.Gray, in one of his letters to Mr.Walpole, says, "I reckon next week to hear you are a Free Mason, or aGormogonat least." 4to edition, p. 188.

I learn fromMasonry Dissected, &c. a pamphlet published in 1730, bySamuel Prichard, late member of a Constituted Lodge, that "From the Accepted Mason sprang the real Masons, and from both sprang theGormogons, whose grand master theVolgideduces his original from theChinese, whose writings, if to be credited, maintain the hypotheses of the Pre-adamites, and consequently must be more antique than Masonry."—This circumstance will account for theChinesenames and habits in our artist's plate.

[1]On this occasion the print exhibits a trait of humour that may hitherto have escaped observation. To render the part presented for salutation more tempting, it has patches on, such as women wore at the time when the plate was published.

[2]Who would not laugh, &c. Parody on the concluding couplet ofPope'scharacter ofAddison.

[3]The contrivers of the Mock Procession were at that time said to bePaul Whitehead, esq. and his intimate friend (whose real Christian name wasEsquire)Carey, ofPall Mall, surgeon toFredericPrince ofWales. The city officers did not suffer this procession to go throughTemple-Bar, the common report then being, that its real intent was to affront the annual procession of the Free Masons. The Prince was so much offended at this piece of ridicule, that he immediately removedCareyfrom the office he held under him.

[4]The print, representing a View ofSomerset-Houseand ofThe Strand, is 3 feet 11½ inches in length, and ten inches in width; and is intituled, "A Geometrical View of the grand Procession of the scald-miserable Masons, designed as they were drawn up over againstSomerset-HouseinThe Strand, on the Twenty-seventh ofApril, An° 1742. Invented and engraved byA. Benoist, at his Lodgings, at Mr.Jordan's, a Grocer, the North East Corner ofCompton-street, So-ho; and sold by the Printsellers ofLondonandWestminster.—Note,A. Benoistteaches Drawing abroad."N° 1. The grand Swoard Bearer, or Tyler, carrying the Swoard of State (a Present ofIshmael Abiffto oldHyramKing of theSaracens) to his Grace ofWattin, Grand Master of the Holy Lodge ofSt. John of JerusaleminClerkenwell."2. Tylers or Guarders."3. Grand Chorus of Instruments."4. The Stewards, in three Gutt Carts, drawn by Asses."5. Two famous Pillars,JachinandBoaz."6. Three great Lights: the Sun Hieroglyphical to rule the Day, the Moon Emblematical to rule the Night; a Master Mason Political to rule his—Lodge."7. The Entered Prentice's Token."8. The Letter G famous in Masonry for differencing the Fellow Craft's Lodge from that of Prentices."9. The Funeral of a Grand Master, according to the Rites of the Order, with the 15 loving Brethren."10. A Master Mason's Lodge."11. Grand Band of Musick."12. Two Trophies; one being that of a Black-shoe Boy and Link Boy, the other that of a Chimney Sweeper."13. The Equipage of the Grand Master, all the Attendants wearing Mystical Jewels."A different, but a smaller, print of this Mock Procession was printed inMay1742, with the following memoranda, viz. "The great Demand there has been forThe Westminster Journal, of the 8th instant, occasion'd reprinting the following piece."From my own Apartments inSpring Gardens."Though I do not belong to the Fraternity mentioned in the following piece, and therefore am little concerned in the annual disputes, I think it my duty, as a Watchman of the city ofWestminster, to preserve the memory of the late extraordinary Cavalcade, the like to which hath never happened since I have been in office. As more solemn processions have of late years been very rare, it cannot surely be taken amiss, either by theFree Masons, or theScald-Miserables, that I give so much distinction to this."T. Touchit."The Free Mason's Downfall, or the Restoration of the Scald-Miserables."After the print follows: "A Key, or Explanation of the solemn and stately Procession of the Scald-Miserable Masons, as it was martial'd onTuesdaythe 27th past, by theirScald-PursuivantBlack Mantle—set forth by Order of the Grand MasterPoncy."—Printed byJ. Mechell, atThe Kings ArmsinFleet-street, and sold by the Pamphlet-shops, &c. Price Two-pence.Extracts fromThe London Daily Post, March20, 1740-1, &c. "Yesterday some mock Free-Masons marched throughPall-MallandThe Strand, as far asTemple-Bar, in procession; first went fellows on jack-asses, with cows horns in their hands; then a kettle-drummer on a jack-ass, having two butter-firkins for kettle-drums; then followed two carts drawn by jack-asses, having in them the stewards with several badges of their order; then came a mourning coach drawn by six horses, each of a different colour and size, in which were the grand master and wardens; the whole attended by a vast mob. They stayed withoutTemple Bartill the Masons came by, and paid their compliments to them, who returned the same with an agreeable humour that possibly disappointed the witty contriver of this mock scene, whole misfortune is, that though he has some wit, his subjects are generally so ill chosen, that he loses by it as many friends as other people of more judgement gain."Again,April28, 1742. "Yesterday being the annual feast of the ancient and honourable society of Free and Accepted Masons, they made a grand procession fromBrook-streettoHaberdashers Hall, where an elegant entertainment was provided for them, and the evening was concluded with that harmony and decency peculiar to the society.""Some time before the society began their cavalcade, a number of shoe-cleaners, chimney-sweepers, &c. on foot and in carts, with ridiculous pageants carried before them, went in procession toTemple-Bar, by way of jest on the Free-Masons, at the expence, as we hear, of one hundred pounds sterling, which occasioned a great deal of diversion."Again,May3, 1744. "Yesterday several of the mock masons were taken up by the constable empowered to impress men for his Majesty's service, and confined till they can be examined by the justices."

"N° 1. The grand Swoard Bearer, or Tyler, carrying the Swoard of State (a Present ofIshmael Abiffto oldHyramKing of theSaracens) to his Grace ofWattin, Grand Master of the Holy Lodge ofSt. John of JerusaleminClerkenwell.

"2. Tylers or Guarders.

"3. Grand Chorus of Instruments.

"4. The Stewards, in three Gutt Carts, drawn by Asses.

"5. Two famous Pillars,JachinandBoaz.

"6. Three great Lights: the Sun Hieroglyphical to rule the Day, the Moon Emblematical to rule the Night; a Master Mason Political to rule his—Lodge.

"7. The Entered Prentice's Token.

"8. The Letter G famous in Masonry for differencing the Fellow Craft's Lodge from that of Prentices.

"9. The Funeral of a Grand Master, according to the Rites of the Order, with the 15 loving Brethren.

"10. A Master Mason's Lodge.

"11. Grand Band of Musick.

"12. Two Trophies; one being that of a Black-shoe Boy and Link Boy, the other that of a Chimney Sweeper.

"13. The Equipage of the Grand Master, all the Attendants wearing Mystical Jewels."

A different, but a smaller, print of this Mock Procession was printed inMay1742, with the following memoranda, viz. "The great Demand there has been forThe Westminster Journal, of the 8th instant, occasion'd reprinting the following piece.

"From my own Apartments inSpring Gardens.

"Though I do not belong to the Fraternity mentioned in the following piece, and therefore am little concerned in the annual disputes, I think it my duty, as a Watchman of the city ofWestminster, to preserve the memory of the late extraordinary Cavalcade, the like to which hath never happened since I have been in office. As more solemn processions have of late years been very rare, it cannot surely be taken amiss, either by theFree Masons, or theScald-Miserables, that I give so much distinction to this.

"T. Touchit.

"The Free Mason's Downfall, or the Restoration of the Scald-Miserables."

After the print follows: "A Key, or Explanation of the solemn and stately Procession of the Scald-Miserable Masons, as it was martial'd onTuesdaythe 27th past, by theirScald-PursuivantBlack Mantle—set forth by Order of the Grand MasterPoncy."—Printed byJ. Mechell, atThe Kings ArmsinFleet-street, and sold by the Pamphlet-shops, &c. Price Two-pence.

Extracts fromThe London Daily Post, March20, 1740-1, &c. "Yesterday some mock Free-Masons marched throughPall-MallandThe Strand, as far asTemple-Bar, in procession; first went fellows on jack-asses, with cows horns in their hands; then a kettle-drummer on a jack-ass, having two butter-firkins for kettle-drums; then followed two carts drawn by jack-asses, having in them the stewards with several badges of their order; then came a mourning coach drawn by six horses, each of a different colour and size, in which were the grand master and wardens; the whole attended by a vast mob. They stayed withoutTemple Bartill the Masons came by, and paid their compliments to them, who returned the same with an agreeable humour that possibly disappointed the witty contriver of this mock scene, whole misfortune is, that though he has some wit, his subjects are generally so ill chosen, that he loses by it as many friends as other people of more judgement gain."

Again,April28, 1742. "Yesterday being the annual feast of the ancient and honourable society of Free and Accepted Masons, they made a grand procession fromBrook-streettoHaberdashers Hall, where an elegant entertainment was provided for them, and the evening was concluded with that harmony and decency peculiar to the society."

"Some time before the society began their cavalcade, a number of shoe-cleaners, chimney-sweepers, &c. on foot and in carts, with ridiculous pageants carried before them, went in procession toTemple-Bar, by way of jest on the Free-Masons, at the expence, as we hear, of one hundred pounds sterling, which occasioned a great deal of diversion."

Again,May3, 1744. "Yesterday several of the mock masons were taken up by the constable empowered to impress men for his Majesty's service, and confined till they can be examined by the justices."

24.Sancho, at the magnificent feast, &c. starved by his Physician. On the top of this plate are the following words: "This original print was invented and engraved byWilliam Hogarth. Price 1s." At bottom we read,W. Hogarth inv. & sculp. Printed for H. Overton and J. Hoole.Perhaps this design was meant as a rival to that ofCoypelon the same subject; or might be intended by way of specimen of a complete set of plates forDon Quixote. Mr.S. Irelandhas the original drawing.

25. Impression from a tankard belonging to a club of artists, who met weekly atThe Bull's HeadinClare-Market. Of this societyHogarthwas a member. A shepherd and his flock are here represented.

26. The Gin Drinkers. This may have been one ofHogarth'searly performances; and, if such, is to be considered as a rude fore-runner of hisGin-Lane. But I do not vouch for its authencity.

27. The Oratory.[1]OratorHenleyon a scaffold, a monkey (over whom is writtenAmen) by his side. A box of pills and the Hyp Doctor lying beside him. Over his head, "TheOratory.Inveniam viam, aut faciam."[2]Over the door. "Ingredere ut proficias."[3]A Parson receiving the money for admission. Under him, "The Treasury." A Butcher stands as porter. On the left hand, Modesty in a cloud; Folly in a coach; and a gibbet prepared for Merit; people laughing. One markedThe Scout,[4]introducing a Puritan Divine. A Boy easing nature. Several grotesque figures, one of them (markedTee-Hee) in a violent fit of laughter. I discover no reason for regarding this as a production ofHogarth, though his name, cut from the bottom of one of his smaller works, was fraudulentlyaffixed to an impression of it belonging to the late worthy Mr.Ingham Foster, whose prints were sold atBarford's, inMarch1783.Hogarth, whose resources, both from fancy and observation, were large, was never, like the author of this plate, reduced to the poor necessity of peopling his comic designs withPierot, Scaramouch, and the other hackneyed rabble ofFrenchandItalianfarces.

Underneath a second impression of it, is the following inscription:

"An extempore Epigram, made at the Oratory:"O Orator! with brazen face and lungs,Whose jargon's form'd of ten unlearned tongues,Why stand'st thou there a whole long hour haranguing,When half the time fits better men for hanging!"Geo. B—k—h[5]jun. Copper-scratcherand Grub-Street invent. sculp.

[1]There are such coincidences between this print and that ofThe Beggar's Opera, as incline me to think they were both by the same hand.

[2]The motto on the medals which MrHenleydispersed as tickets to his subscribers. See Note onDunciad, III. 199.

[3]This inscription is over the outer door of St.Paul'sschool.

[4]On what personage the name ofScoutwas bestowed, I am unable to inform the reader, though I recollect having seen the same figure in several other prints, particularly one from which it appears that he was at last murdered.

[5]B—k—h.Perhaps this was an intended mistake forB—k—m.

28. OratorHenleychristening a child.John Sympson jun. fecit.Mezzotinto (commonly of a greenish colour), with the following verses under it:

BeholdVilarialately brought to bed,Her cheeks now strangers to their rosy red;Languid her eyes, yet lovely she appears!And oh! what fondness her lord's visage wears!The pamper'd priest, in whose extended armsThe female infant lies, with budding charms,Seeming to ask the name e'er he baptise,Casts at the handsome gossips his wanton eyes,While gay SirFopling, an accomplish'd ass,Is courting his own dear image in the glass:TheMidwifebusied too, with mighty care,Adjusts the cap, shews innocency fair.Behind her stands theClerk, on whose grave faceSleekAbigalcannot forbear to gaze:But master, without thought, poor harmless child,Has on the floor theholy-waterspill'd,Thrown down the hat; the lap-dog gnaws the rose;And at the fire theNurseis warming cloaths.One guest enquires theParson'sname;—saysFriendly,Why, dont you know, Sir?—'tisHyp-Doctor[1]H——y.

Sold by J. Sympson, at the Dove in Russel-Court, Drury-Lane.An original sketch in oil, on the same subject, is in the possession of Mr.S. Ireland.[2]

[1]He wrote a periodical paper under that title.

[2]See p.415. for an etching from it.

29. A woman swearing a child to a grave citizen.[1]W. Hogarth pinx. J. Sympson jun. sculp. Sold by J. Sympsonengraver and print-seller, atThe DoveinRussel-Court, Drury-Lane. This Mr.Walpoleobserves to be a very bad print. Perhaps he had only seen some wretched impression, or copy of it (for there are two, the one in a small size, the other large, but fit for no other purpose than to adorn the walls of a country Inn), and therefore spoke withcontempt of a performance which hardly deserves so unfavourable a character. This entire design, however, is stolen from a picture ofHeemskirk, which has been since engraved in mezzotinto byW. DickinsonofNew Bond-street, and publishedMarch 10, 1772. The original picture is in the possession of Mr.Watson, surgeon, inRathbone Place.

The title given to this plate by the ingenious engraver, isThe Village Magistrate. All the male figures are monkies; all the female ones, cats.Hogarthhas likewise been indebted to its companion—The Constable of the Night. Few impressions from these plates having been hitherto sold, they are both in excellent condition, and the former of them exhibits an indisputable instance ofHogarth'splagiarism.

WhilePicartwas preparing hisReligious Ceremonies, he wrote to some friend here, to supply him with representations illustrative of his subject. His correspondent, either through ignorance or design, furnished him with the two preceding plates byHogarth. Picarthas engraved the former with a few variations, and the latter with the utmost fidelity. The one is called by himLe Serment de la Fille qui se trouve enceinte; the other,Le Baptême domestique. The first contains a supposed portrait of SirThomas de Veil. For the conversion of acivilinto areligiousceremony, let theFrenchman, or his purveyor, be answerable. The lines underHogarth'sperformance are as follows:

Here Justice triumphs in his elbow chair,And makes his market of the trading fair;His office-shelves with parish laws are grac'd,But spelling-books, and guides between 'em placedHere pregnant madam screens the real fire,And falsely swears her bastard child for hireUpon a rich old letcher, who deniesThe fact, and vows the naughty Hussif lies;His wife enrag'd, exclaims against her spouse,And swears she'll be reveng'd upon his brows;The jade, the justice, and church ward'ns agree,And force him to provide security.

Hogarth'spicture is in the possession of the Rev. Mr.Whalley, atEcton, Northamptonshire.

Mr.Whalleyis the nephew ofJohn Palmer, whose portrait is mentioned among the works ofHogarth. See p.295. This picture too is atEcton. The foregoing print (as already observed, p.121.) must have been published before the year 1735.

[1]A copy of this forms the head-piece to a tale printed inBanks'sWorks, vol, I. p. 248, intituled, "The Substitute Father."

30. Right Hon.GustavusLord ViscountBoyne, &c. &c. Whole length, mezzotinto.W. Hogarth pinx. Andrew Miller fecit."A very bad print, done in Ireland."

I have since met with an early impression of this mezzotinto. The inscription, dedication, &c. underneath it, are as follows:

"W. Hogarth pinx. Ford fecit.The Rt. Honble.GustavusLord Visct.Boyne, Baron ofStackallen, one of his Majesty's most Honble. Priuy Council, one of the Comrs. of the Revenue ofIreland, &c.

"To the Rt. Honble. the Earl ofKildarethis plate is humbly dedicated by his Lordship's most obedient humble servt.Mich. Ford.

"Published and sold byMich. Ford, Painter and Print-seller onCork Hill. Price 5s. 5.d. [i. e. five thirteens."]

Mr.Walpole'sis probably a later or a retouched impression from the same plate, after it had fallen into the hands of oneAndrew Miller, who effaced the name ofFord, and substituted his own.

This scarce print will undoubtedly suffer from comparison with the works ofSmith, M'Ardell, Earlom, Jones,&c. and yet perhaps it is the best mezzotinto thatIrelandhas hitherto produced. It must be confessed, however, thatHogarth'swhole-length figure of LordBoyneis equally void of grace, meaning, and proportion; but these defects have no connection with the labours ofFord, which would have appeared to more advantage had they been exerted on a better subject.

31. Mr.Pine(the celebrated engraver), in the manner ofRembrandt. Mezzotinto (about the year 1746), byM'Ardell, Price2s.The original was in the possession of the late Mr.Ranbythe surgeon.

There is a second head of Mr.Pine, a mezzotinto; both his hands leaning on a cane. Printed forGeorge Pulley, atRembrandt's Head, the corner ofBride-court, Fleet-street.

I have called this "a second head," but know not which of the two was first published.

In the first edition of the present work I had described this plate as an unfinished one, but have since met with it in a perfect state.

32. A View of Mr.Ranby'shouse atChiswick. Etched by Hogarth.This view, I am informed, was taken in 1750, but was not designed for sale.

33.Daniel Lock, Esq. F. S. A. formerly an architect. He retired from business with a good fortune, lived inSurrey-street, and was buried in the chapel ofTrinity College, Cambridge. Mezzotinto.W. Hogarth pinx. J. M'Ardell fecit. Price1s.6d.

34. Christ and his disciples; persons at a distance carried to an hospital. "In as much as ye have done it unto one of the least of these my brethren, ye have done it unto me."St. Matt.xxv. ver. 40.W. Hogarth inv. C. Grignion sculp.Ticket forThe London Hospital.

As this charitable foundation was instituted in 1740, probably the ticket was engraved soon afterwards.

35. Original of the same, in a smaller size, with the Duke ofRichmond'sarms as president.

36. Another, almost the same as N° 34, but with a view ofThe London Hospital.

37. Six prints forDon Quixote. W. Hogarth inv. & sculp.

When LordCarteret, about the year 1737, was seeking artists to design, &c. plates for hisSpanishedition of this famous novel, published in 1738,Hogarth, of course, was not overlooked. His performances, however, gave so little satisfaction to his noble employer, that they were paid for, and then laid aside in favour ofVandrebank'sdrawings, afterwardsengraved byVandergucht. The plates remaining in the hands of Mr.Tonson, his lordship's publisher, at his death, were bought by Mr.Dodsley, who, finding they exhibited no descriptions that could render them welcome to the possessors of any copy ofDon Quixotewhatever, had the titles of the chapters, &c. to which they belong, together with references to the corresponding pages inJarvis'stranslation, engraved under each of them. The subjects of them are, I. Funeral ofChrysostom, andMarcellavindicating herself; vol. I. p. 71. II. The Inn-keeper's wife and daughter taking care of the Don after being beaten and bruised, p. 129. III.Don Quixotereleases the galley slaves, p. 129. IV. The unfortunate Knight of the Rock meetingDon Quixote, p. 140. V.Don Quixoteseizes the barber's bason forMambrino'shelmet, p. 155. VI. The Curate and Barber disguising themselves to conveyDon Quixotehome, p. 166.Tonsonhad several specimens of plates, both in quarto and octavo sizes, executed for editions ofShakspeare, but they shared the same fate with the others prepared forDon Quixote.

38. An oval, with two figures representingHymenandCupid. A view of a magnificent villa at a distance. This print was intended as a ticket forSigismunda, whichHogarthproposed to be raffled for. It is often marked with ink 2l.2s.The number of each ticket was to have been inserted on the scroll hanging down from the knee of the principal figure. Perhaps none of them were ever disposed of. Thisplate, however, must have been engraved about 1762 or 3. Had I not seen many copies of it marked by the hand ofHogarth, I should have supposed it to have been only a ticket for a concert or music-meeting.

39. Four heads from the cartoons atHampton-Court. An etching.

Mr.Walpole, in hisAnecdotes of Painting, &c. vol. IV. p. 22. speaking of SirJames Thornhill'sattention to these celebrated pictures, has the following remark: "He made copious studies of the heads, hands, and feet, and intended to publish an exact account of the whole, for the use of students: but his work never appeared."

As this plate was found among others engraved byHogarth, it might probably have been one of his early performances. His widow has directed a few impressions to be taken from it, and they are sold at her house inLeicester-square.

40. A Scene in a Pantomime Entertainment lately exhibited; designed by a Knight ofMalta. A satire on the Royal Incorporated Society of Artists ofGreat Britain. No name.

This design is difficult to be explained, as it alludes to some forgotten dissentions among the artists before the Royal Academy was founded. SirWilliam Chambers, Kirby, Rookerthe Engraver and Harlequin,Liotard, remarkable for having adopted theTurkishdress, and others, are introduced in it. The hat and head ofHogarthalso appear on one of thenecks of a Hydra. It is hardly credible, therefore, that he should have rendered himself an object of his own satire. A mere etched outline of the same design, with additions, was afterwards published, and is marked plate II. It is larger than the original plate, and must be considered as a slight temporary sketch, of which the author is uncertain.

41. A Ticket-porter carrying a load of chamber-pots to some place of public resort, from the entrance of which three grenadiers are keeping off the crowd. At the bottom is written.

"Jackin an Office, orPeter Necessary, with Choice of Chamber-pots.

"A Ticket for the——————————Price 6d."

Of the following articles the 49th, and 53d, are the undoubted productions ofHogarth. Some of the rest may admit of dispute. Those marked * I have not yet seen in any collection but that of Mr.S. Ireland.

* 42. Arms ofGeorge Lambart[Lambert] the painter, an intimate friend of our artist.

* 43. Arms ofGore, engraved on a silver waiter.

* 44. Arms of a Duke ofKendal. N. B. There never was aDukeofKendal, but an infant son ofJamesII. The arms mentioned are certainly those of the Dutchess ofKendal. The male shield must be a mistake.

* 45. Arms ofChudleigh; motto "Aut vincam, aut peribo." Done for MajorL'Emery, whilstHogarthwas apprentice.

46. The Great Seal ofEngland, from a large silver table. This was given to Mr.S. Irelandby a Mr.Bonneau, who took off the impression before the year 1740.

47. Twenty-six figures, on two large sheets, engraved for "A Compendium of Military Discipline, as it is practised by the Honourable the Artillery Company of the City ofLondon, for the initiating and instructing Officers of the Trained Bands of the said City, &c. Most humbly dedicated to his Royal HighnessGeorgePrince ofWales, Captain General of the Honourable the Artillery Company. ByJohn Blackwell, Adjutant and Clerk to the said Company.

"London. Printed for the Author; and are to be sold at his house inWell-CourtinQueen-Street, nearCheapside, 1726."

48.Farinelli, Cuzzoni,andHeydegger. CuzzoniandFarinelliare singing a duet. The latter is in the character of a prisoner, being chained by his little finger.Heydeggersits behind, and is supposed to utter the eight following lines, which are engraved under the plate:

Thou tuneful scarecrow, and thou warbling bird,No shelter for your notes these lands afford.This town protects no more the singsong strain,Whilst Balls and Masquerades triumphant reign.Sooner than midnight revels ere should fail,And ore Ridottos Harmony prevail;The cap (a refuge once) my head shall grace,And save from ruin this harmonious face.[1]

I am told, however, that this plate was designed by the last Countess ofBurlington, and etched byGoupy. I may add, that the figures in it, though slightly done on the whole, consist of more than a single stroke, being retouched and heightened by the burin in several places. On the contrary,Hogarth'splate, intituledThe Charmers of the Age, only offers an etched outline, which at once afforded the extent of his design, leaving no room for improvement. The former print exhibits traces of perseverance and assiduity; the latter is an effort of genius that completes its purpose without elaboration.

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