Chapter 5

[39]This idea originally occurred inColley Cibber's Apology. From thence it was transplanted byLloydinto his celebrated poem intituledThe Actor. Lying thus in the way ofGarrick, he took it up for the use of theprologuealready quoted. Lastly, Mr.Sheridan, in his beautifulMonody, condescended to borrow it, only because it spared him the labour of unlocking the richer storehouse of his own imagination.I may however remark thatCibber, when he suggested this mortifying reflection, had more reason on his side than some of his successors who have indulged themselves in the same dolorous strain of complaint. To whatever oblivion the celebrated actors of the last age have been resigned, the pencil ofHogarth, Dance, Zoffani,andReynolds, had left Mr.Garricknot the slightest reason to be apprehensive that, in his own particular case, the art and the artist would alike be forgotten. Meanwhile, let our heroes of the stage be taught to moderate their anxiety for posthumous renown, by a recollection that their peculiar modes of excellence will, at least, be as well preserved to futurity as those of the lordsChathamandMansfield, whose talents, perhaps, might support an equal claim to perpetuation.

I may however remark thatCibber, when he suggested this mortifying reflection, had more reason on his side than some of his successors who have indulged themselves in the same dolorous strain of complaint. To whatever oblivion the celebrated actors of the last age have been resigned, the pencil ofHogarth, Dance, Zoffani,andReynolds, had left Mr.Garricknot the slightest reason to be apprehensive that, in his own particular case, the art and the artist would alike be forgotten. Meanwhile, let our heroes of the stage be taught to moderate their anxiety for posthumous renown, by a recollection that their peculiar modes of excellence will, at least, be as well preserved to futurity as those of the lordsChathamandMansfield, whose talents, perhaps, might support an equal claim to perpetuation.

[40]Dr.M.once observed toJ. N.in a letter on this subject, "In the 13th chapter I was somewhat puzzled with theflatandround, or theconcaveandconvex, appearing the reverse; till the sun happily shining in upon the cornice, I had a fair example of what he intended to express. The next chapter, with regard tocolouring, did not go on quite so smooth; for, if I satisfiedhim, I was not satisfiedmyselfwith his peculiar principles; nor could I relish his laying the blame on thecolourmen, &c."

[41]One exception to this remark occurs in theGentleman's Magazinefor 1754, p. 14; where the reviewer of the Analysis observes, that it is "a book written with that precision and perspicuity which can only result from a perfect knowledge of his subject in all its extent. His rules are illustrated by near two hundred figures, engraved by himself; the knowledge which it contains is universally useful, and as all terms of art are avoided, the language will be universally understood. The player and the dancing-master, whom others consider as patterns of just action and genteel deportment, are not less instructed than the statuary and the painter; nor is there any species of beauty or elegance that is not here investigated and analysed."A book, by which the author has discovered such superiority, could scarce fail of creating many enemies; those who admit his Analysis to be just, are disposed to deny that it is new. Though in the year 1745, having drawn a serpentine line on a painter's pallet, with these words under it, 'the line of beauty,' as a frontispiece to his prints, noEgyptianhieroglyphic ever produced greater variety of speculation; both painters and sculptors then came to enquire the meaning of a symbol, which they soon pretended to have been their old acquaintance; though the account they could give of its properties were scarce so satisfactory as that of a day-labourer, who constantly uses thelever, could give of that instrument, as a mechanical power. The work, however, will live when these cavils are forgotten; and except the originals, of which it is pretended to be a copy, are produced, there is no question but that the name of the author will descend to posterity with that honour which competitors only can wish to withhold."It should be observed, however, that the general decision onHogarth'sperformance may be just. Certain we are, that it has not been reversed by the opinion of the First of our Modern Painters.

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

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

[42]TheAnalysisitself however affords sufficient specimens of inaccuracy in spelling. Thus we have (pref. p. xix.)Syclameninstead ofCyclamen; (p. 44.) calcidonian for Chalcedonian; (p. 65.) nuckles forknuckles; (p. 97.) Irish-stitch for Iris-stitch, &c. &c. In the sheets that contain these errors, it is easy to conceive thatHogarthmust have been his own corrector of the press.

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

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

[45]See anoteonMarriage-a-la-Mode(under the year 1745); from whence it sufficiently appears, thatindelicacies, &c. had been imputed toHogarth'sperformances, and that, therefore, when he advertised the six plates ofMarriage-a-la-Mode, he thought it necessary to assure the public that noindelicacy, indecency,orpersonality, would be found in any of these representations.

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

[47]This pun reminds us of a similar one fromGarthtoRowe, who making repeated use of his snuff-box, theDoctorat last sent it to him with the twoGreekletters written on the lid, Φ, ρ, (Phi, Ro). At this the sourDenniswas so provoked, as to declare, that "a man who could make such a vile pun, would not scruple to pick a pocket."

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

[49]When this ample, nay, redundant, apology by Dr.Joseph Wartonfirst made its appearance,Hogarthwas highly delighted with as much of it as he understood. But, not knowing the import of the word ΗθΟΣ [Greek: Ethos], he hastened to his friends for information. All, in their turn, sported with his want of skill in the learned languages; first telling him it was Greek for one strange thing, and then for another, so that his mind remained in a state of suspence; as, for aught he knew to the contrary, some such meaning might lie under these crooked letters, as would overset the compliments paid him in the former parts of the paragraph. No short time, therefore, had passed before he could determine whether he ought to retract or continue his charge against his adversary: but it was at last obliterated. For several months afterwards, however, poorHogarthnever praised his provision or his wine, without being asked what proportion of the ΗθΟΣ [Greek: Ethos] he supposed to be in either.

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

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

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

[53]He painted the heart from an injected one provided for him byCæsar Hawkinsthe surgeon; and, on the authority of repeated inspection, I venture to affirm, that the fingers ofSigismundaare unstained with blood, and that neither of her hands is employed in rending ornaments from her head, or any other part of her person. In this instance Mr.Walpole'smemory must have failed him, as I am confident that his misrepresentation was undesigned. It is whispered (we know not with how much truth) that Mrs.H.was hurt by this description of the picture, and that she returned no thanks for the volume that contains it, when it was sent to her as a present by its author. It should seem that she still designs to dispose of this ill-fated performance, and thinks that its reputation required no additional blast.I have reprinted this note, without correction, that I might thereby obtain the fairer opportunity of doing justice to Mr.Walpole, concerning the faithfulness of whose memory I had ventured to express a doubt. Genuine information is not always to be had; nor shall I hesitate a moment to apologize for the fallaciousness of mine. The fingers ofSigismundawereoriginallystained with blood. This indelicate and offensive circumstance was pointed out by some intelligent friend toHogarth, who reluctantly effaced it.A correspondent, however, on reading this work, has furnished an additional reason why the lady already mentioned may be offended by the severity of Mr.Walpole'sstrictures onSigismunda. "It has been whispered that CountGuiscard'swidow was a copy from thedaughter of Sir James Thornhill. If this circumstance be true, the very accomplished Critick ofStrawberry Hillwill own at least that her wrath andJuno'shad the same provocation, 'Judiciam Paridis, spretæque injuria formæ.' Impartiality, however, obliges us to add, that Mrs.Hogarth, though in years, is still a very fine woman; and that Mr.Walpole'sidea of what a picture ofSigismundaought to express, is poetically conceived, and delivered with uncommon elegance and force of language. Thesober grief, thedignity of suppressed anguish, theinvoluntary tear, thesettled meditation on the fate she meant to meet, and theamorous warmth turned holy by despair, are words that fill the place of colours, supply all the imperfections ofHogarth'sdesign, and succeed even where aFurinoor aCorreggiomay have failed."

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

A correspondent, however, on reading this work, has furnished an additional reason why the lady already mentioned may be offended by the severity of Mr.Walpole'sstrictures onSigismunda. "It has been whispered that CountGuiscard'swidow was a copy from thedaughter of Sir James Thornhill. If this circumstance be true, the very accomplished Critick ofStrawberry Hillwill own at least that her wrath andJuno'shad the same provocation, 'Judiciam Paridis, spretæque injuria formæ.' Impartiality, however, obliges us to add, that Mrs.Hogarth, though in years, is still a very fine woman; and that Mr.Walpole'sidea of what a picture ofSigismundaought to express, is poetically conceived, and delivered with uncommon elegance and force of language. Thesober grief, thedignity of suppressed anguish, theinvoluntary tear, thesettled meditation on the fate she meant to meet, and theamorous warmth turned holy by despair, are words that fill the place of colours, supply all the imperfections ofHogarth'sdesign, and succeed even where aFurinoor aCorreggiomay have failed."

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

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

[56]Sigismunda, however, though she missed of judicious admirers, had, at least, the good fortune to meet with a flatterer in the late Mr.Robert Lloyd, whose poem intituledGenius, Envy,andTime,addressed toWilliam Hogarth, esq. has the following lines.Timeis the speaker."WhileSigismunda'sdeep distressWhich looks the soul of wretchedness,When I, with slow and softening pen,Have gone o'er all the tints agen,Shall urge a bold and proper claim,To level half the ancient fame;While future ages, yet unknown,With critic air shall proudly ownThyHogarthfirst of every climeFor humour keen, or strong sublime, &c."It is but justice, on one hand, to add, that whenLloydwrote this eulogium, he was not yet enlisted under the banners of fashion; but impartiality, on the other hand, requires we should observe that, having, likeHogarth, seen few pictures by the best masters, he was treating of an art he did not understand.The authors of theMonthly Revieware of opinion, thatMr. Walpolespeaks too contemptuously ofSigismunda, and that there is no ground for the insinuation that the person for whom it was painted thought meanly of it. "We have in our possession (say they) a letter toHogarthfrom the noble person referred to, in which he expresses himself in the following terms;—I really think the performance so striking and inimitable, that the constantly having it before one's eyes, would be often occasioning melancholy ideas to arise in one's mind, which, a curtain being drawn before it, would not diminish in the least." Surely this epistle, if genuine, was ironical. Or shall we suppose that, afterwards, his lordship only saw the picture through the disgusting medium of the price? Mr.Wilkes'sopinion of the piece will be best conveyed in his own words, which are therefore copied in note65, below.Dr.Morell, an intimate friend of Mr.Hogarth, who was applied to for information, returned for answer: "His excellencies, as well as his foibles, are so universally known, that I cannot add to the former, and would not, if I could, to the latter. I should think we lived in a very ill-natured world, if the whims and follies in a man's life were to be exposed, and his oddities and mistakes,ubi plura nitent, seriously condemned. But the unhappy affair ofSigismundarequires animadversion. And I will venture to say that even thisSigismundawould not have deserved so many hard things as have been said of it, if Mr.Hogarthhad timely and properly observed the caution—Manum de Tabula. But it was so altered, upon the criticism of one Connoisseur or another; and especially when, relying no longer upon strength of genius, he had recourse to thefeignedtears andfictitiouswoe of a female friend; that, when it appeared at the exhibition, I scarce knew it again myself, and from a passable picture it became little better than the wretched figure here represented. In my opinion, I never saw a finer resemblance of flesh and blood, while the canvas was warm, I meanwet; but, like that of real flesh, as soon as it was chilled, the beauty wore off. And this, he said, could not be helped, as no colours, but those of pure nature, asultramarine, &c. would keep their natural brightness. But it is granted that colouring was not Mr.Hogarth'sforte; and the subject we are upon is a disagreeable one."

"WhileSigismunda'sdeep distressWhich looks the soul of wretchedness,When I, with slow and softening pen,Have gone o'er all the tints agen,Shall urge a bold and proper claim,To level half the ancient fame;While future ages, yet unknown,With critic air shall proudly ownThyHogarthfirst of every climeFor humour keen, or strong sublime, &c."

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

The authors of theMonthly Revieware of opinion, thatMr. Walpolespeaks too contemptuously ofSigismunda, and that there is no ground for the insinuation that the person for whom it was painted thought meanly of it. "We have in our possession (say they) a letter toHogarthfrom the noble person referred to, in which he expresses himself in the following terms;—I really think the performance so striking and inimitable, that the constantly having it before one's eyes, would be often occasioning melancholy ideas to arise in one's mind, which, a curtain being drawn before it, would not diminish in the least." Surely this epistle, if genuine, was ironical. Or shall we suppose that, afterwards, his lordship only saw the picture through the disgusting medium of the price? Mr.Wilkes'sopinion of the piece will be best conveyed in his own words, which are therefore copied in note65, below.

Dr.Morell, an intimate friend of Mr.Hogarth, who was applied to for information, returned for answer: "His excellencies, as well as his foibles, are so universally known, that I cannot add to the former, and would not, if I could, to the latter. I should think we lived in a very ill-natured world, if the whims and follies in a man's life were to be exposed, and his oddities and mistakes,ubi plura nitent, seriously condemned. But the unhappy affair ofSigismundarequires animadversion. And I will venture to say that even thisSigismundawould not have deserved so many hard things as have been said of it, if Mr.Hogarthhad timely and properly observed the caution—Manum de Tabula. But it was so altered, upon the criticism of one Connoisseur or another; and especially when, relying no longer upon strength of genius, he had recourse to thefeignedtears andfictitiouswoe of a female friend; that, when it appeared at the exhibition, I scarce knew it again myself, and from a passable picture it became little better than the wretched figure here represented. In my opinion, I never saw a finer resemblance of flesh and blood, while the canvas was warm, I meanwet; but, like that of real flesh, as soon as it was chilled, the beauty wore off. And this, he said, could not be helped, as no colours, but those of pure nature, asultramarine, &c. would keep their natural brightness. But it is granted that colouring was not Mr.Hogarth'sforte; and the subject we are upon is a disagreeable one."

[57]The first sketch in oil forSigismunda, and a drawing from the finished picture, are in the possession of Mr.Samuel Ireland.

[58]At the Club of Artists, it was not unusual to reproachHogarthwith want of due attention to the Ancients, whom he always affected to despise. It accidentally happened that Mr.Basire, whilst this plate was in hand, was employed likewise in engraving, for the Society of Antiquaries, two plates of an antique bronze from the collection of Mr.Hollis, so remarkably grotesque, that Mr.Hogarthvery readily consented that his plate should be postponed, and declared, "he could not have imagined that the Ancients had possessed so much humour."

[59]Some subscriptions were actually received, and the money returned. The munificient Mr.Hollis, who was one of the subscribers, refused to take back what he had paid; and it was given by Mr.Basireto a public charity.

[60]Two other little pieces are ascribed to him; the distich under the subscription-ticket for hisSigismunda, 1761,'To Nature and yourself appeal;Nor learn of others how to feel.'And the following well-known Epigram:"Your servant, Sir," says surlyQuin,"Sir, I am yours," repliesMacklin,"Why, you're the veryJewyou play,Your face performs the task well.""And you areSir John Brute, they say,And an accomplishedMaskwell."SaysRich, who heard the sneering elves,And knew their horrid hearts;"Acting too much your very selves,You overdo your parts."[A][A]The censure contained in these poor lines is eminently unjust.Macklinis known to have been an anxious and affectionate parent, andQuina benevolent and liberal friend.

[60]Two other little pieces are ascribed to him; the distich under the subscription-ticket for hisSigismunda, 1761,

'To Nature and yourself appeal;Nor learn of others how to feel.'

And the following well-known Epigram:

"Your servant, Sir," says surlyQuin,"Sir, I am yours," repliesMacklin,"Why, you're the veryJewyou play,Your face performs the task well.""And you areSir John Brute, they say,And an accomplishedMaskwell."SaysRich, who heard the sneering elves,And knew their horrid hearts;"Acting too much your very selves,You overdo your parts."[A]

[A]The censure contained in these poor lines is eminently unjust.Macklinis known to have been an anxious and affectionate parent, andQuina benevolent and liberal friend.

[61]On what account I know not, but he had then forborn painting for more than a year.

[62]See hereafter, note65.

[63]In the Beauties of all the Magazines, 1773, p. 440, is a droll "Epistle fromJacob Henriques, born anno Domini, &c. to MessieursHogarthandChurchillgreeting."

[64]For this the Satirist unmercifully apologizes in the conclusion of his poem, which may be seen in the Catalogue, under the year 1763, in anoteon N° 2.

[65]As much of this paper as relates to our artist is here subjoined:"The humourous Mr.Hogarth, thesupposedauthor of theAnalysis of Beauty, has at last entered the list of politicians, and given us a print ofThe Times. Words are man's province, saysPope; but they are not Mr.Hogarth'sprovince. He somewhere mentions his being indebted to a friend for a third part of thewording: that is his phrase. We all titter the instant he takes up apen, but we tremble when we see thepencilin his hand. I will do him the justice to say, that he possesses the rare talent of gibbetting in colours, and that in most of his works he has been a very good moral satirist. His forte is there, and he should have kept it. When he has at any time deviated fromhis own peculiar walk, he has never failed to make himself perfectly ridiculous. I need only make my appeal to any one of hishistoricalorportraitpieces, which are now considered as almost beneath all criticism. The favouriteSigismunda, the labour of so many years, the boasted effort of his art, was nothuman. If the figure had a resemblance of any thing ever on earth, or had the least pretence to meaning or expression, it was what he had seen, or perhaps made, in real life, his own wife in an agony of passion; but of what passion no connoisseur could guess. All his friends remember what tiresome discourses were held by him day after day about the transcendent merit of it, and how the great names ofRaphael, Vandyke,and others, were made to yield the palm of beauty, grace, expression, &c. to him, for this long laboured, yet still,uninteresting, single figure. The value he himself set on this, as well as on some other of his works, almost exceeds belief; yet from politeness or fear, or some other motives, he has actually been paid the most astonishing sums, as the price, not of his merit, but of his unbounded vanity."The darling passion of Mr.Hogarthis to shew thefaultyanddarkside of every object. He never gives us in perfection thefair face of nature, but admirably well holds out her deformities to ridicule. The reason is plain. All objects are painted on hisretinain a grotesque manner, and he has never felt the force of what theFrenchcallla belle nature. He never caught a single idea of beauty, grace, or elegance; but, on the other hand, he never missed the least flaw in almost any production of nature or of art. This is his true character. He has succeeded very happily in the way of humour, and has miscarried in every other attempt. This has arisen in some measure from his head, but much more from his heart. AfterMarriage à la Mode, the public wished for a series of prints of ahappymarriage.Hogarthmade the attempt, but the rancour and malevolence of his mind made him very soon turn with envy and disgust from objects of so pleasing contemplation, to dwell and feast a bad heart on others of a hateful cast, which he pursued, for he found them congenial, with the most unabating zeal, and unrelenting gall."I have observed some time hissetting sun. He has long been verydim, and almostshorn of his beams. He seems so conscious of this, that he now glimmers withborrowed light. John Bull's house in flameshas been hackney'd in fifty different prints; and if there is any merit in the figure on stilts, and the mob prancing around, it is not to be ascribed toHogarth, but toCallot. That spiritedItalian, whom theEnglishpainter has so carefully studied, has given us in theBalli di Sfessania di Jacomo Callot, the very same ideas, but infinitely more ludicrous in the execution. The piece isSmaraolo cornuto. Ratsa di Boio. The Timesmust be confessed destitute of every kind of original merit. The print at first view appears too much crouded with figures; and is in every part confused, perplexed, and embarrassed. Thestory is not well told to the eye; nor can we any where discover the faintest ray of that genius, which with a few strokes of the pencil enabled us to penetrate into the deepest recesses of thought, and even caprice, in arake, aharlot, and aprofligate young man of quality."I own too that I am grieved to see the genius ofHogarth, which should take in all ages and countries, sunk to a level with the miserable tribe of party-etchers, and now, in his rapid decline, entering into the poor politics of the faction of the day, and descending into low personal abuse, instead of instructing the world, as he could once, by manly moral satire. Whence can proceed so surprizing a change? Is it the frowardness of old age? Or is it that envy and impatience of resplendent merit in every way, at which he has always sickened? How often has he been remarked to droop at the fair and honest applause given even to a friend, though he had particular obligations to the very same gentleman! What wonder then that some of the most respectable characters of the age become the objects of his ridicule? It is sufficient that the rest of mankind applaud; from that moment he begins the attack, and you never can be well with him, till he hears an universal outcry against you, and till all your friends have given you up. There is besides a silly affectation of singularity, joined to a strong desire of leading the rest of the world: when that is once found impracticable, the spleen engendered on such an occasion is discharged at a particular object, or ends in a general misanthropy. The public never had the least share ofHogarth'sregard, or even good-will.Gainandvanityhave steered his little bark quite through life. He has never been consistent but with respect to those two principles. What a despicable part has he acted with regard to the society ofArts and Sciences! How shuffling has his conduct been to the whole body ofArtists! Both these useful societies have experienced the most ungenteel and offensive behaviour from him. There is at this hour scarcely a single man of any degree of merit in his own profession, with whom he does not hold a professed enmity. It is impossible the least degree of friendship could ever subsist in this intercourse of the arts with him; for his insufferable vanity will never allow the least merit in another, and no man of a liberal turn of mind will ever condescend to feed his pride with the gross and fulsome praise he expects, or to burn the incense he claims, and indeed snuffs like a most gracious god. To this he joins no small share of jealousy; in consequence of which, he has all his life endeavoured to suppress rising merit, and has been very expert in every mean underhand endeavour, to extinguish the least spark of genuine fire. Rut allgeniuswas not born, nor will die, with Mr.Hogarth: and notwithstanding all his ungenerous efforts to damp or chill it in another, I will trust to a discerning and liberal spirit in theEnglishnation, to patronize and reward all real merit. It will in the end rise superior to the idle laugh of the hour, which these triflers think it the highest praise to be able to raise. For my part, I scarcely know a more profligate principle, than the indiscriminately sacrificing every thing, however great or good, to the dangerous talent of ridicule; and a man, whose sole object isdummodo risum excutiat, ought to be avoided as the worst pest of society, as theenemymost to be feared, I mean a treacherousfriend. Such a man will go all lengths to raise a laugh at your expence, and your whole life will be made miserable from his ambition of diverting the company for half an hour."I love to trace the ideas of a Genius, and to mark the progress of every art. Mr.Hogarthhas heard much of thecobwebsof the law, and thespinning fine spider-webs, &c. This is thrown on paper, and the idea carefully treasured. LordHardwickebeing at the head of the law, and deservedly in as high esteem with his countrymen as any man who ever held the seals, unspotted in life, and equally revered by prince and people, becomes an excellent subject for the satirical pencil of a malevolent painter. He is accordingly emblematically represented by Mr.Hogarthas a great spider in a large, thick web, with myriads of the carcases offlies, clientsI suppose, sucked to death by the gloomy tyrant. Mr.Hogarthhad heard of Mr.Pitt'sbeingaboveall his fellow-citizens, and of his superior virtue havingraisedhim to an envied and dangerousheightof grandeur. Now this he has taken literally, and, with the kind aid ofCallot, has put Mr.Pitton stilts, and made the peoplelook upto him; which, after all this insipid ridicule, they will continue to do, as a kind of tutelar deity, from whom they expect that security and those blessings they despair of from others. As to the conceit of thebellows, to signify, I suppose, Mr.Pitt'sendeavours to blow up the flames of war and discord, it is at once very poor and very false. His whole conduct the last session in parliament, and out of the house ever since, has demonstrated the contrary:neque vero hocorationesolum, sed multo magisvitâetmoribuscomprobavit.Cic. de Fin."LordTempleis a nobleman of fine parts and unsullied honour, who has shewn a thorough disinterestedness, a great love of liberty, and a steady attachment to the public, in every part of his conduct through life. It was impossible such a character could be missed by the poisonous shafts of envy, which we see pointed at all superior virtue.... Mr.Hogarth'swit on this noble lord is confined to the wretched conceits of theTemple Coffee-house, and asquirtto signify theplaying onthe ministry. I really believe this wit is all Mr.Hogarth'sown."When a man of parts dedicates his talents to the service of his country, he deserves the highest rewards: when he makes them subservient to base purposes, he merits execration and punishment. Among theSpartans, music and poetry were made to serve the noblest purposes of theLacedemonianstate. A manly courage and great contempt of death were inspired by them; and the poet, musician, soldier, and patriot, were often the same good citizen, who despised the lowmechanic lucreof the profession, and was zealous only for the glory of his country. In the year 1746, when theGuardswere ordered to march toFinchley, on the most important service they could be employed in, the extinguishing aScottishrebellion, which threatened the intire ruin of the illustrious family on the throne, and, in consequence, of our liberties, Mr.Hogarthcame out with a print to make them ridiculous to their countrymen and to allEurope; or perhaps it rather was to tell theScotsin his way how little the Guards were to be feared, and that they might safely advance. That the ridicule might not stop here, and that it might be as offensive as possible to his ownsovereign, he dedicated the print to the king ofPru[s]ia[A]as an encourager of arts. Is this patriotism! In oldRome, or in any of theGrecianstates, he would have been punished as a profligate citizen, totally devoid of all principle. InEnglandhe is rewarded, and madeserjeantpainter to that very king's grandson. I think the term means the same as what is vulgarly calledhouse-painter; and indeed he has not been suffered tocaricaturethe royal family. The post of portrait-painter is given to aScotsman, oneRamsay. Mr.Hogarthis only to paint the wainscot of the rooms, or, in the phrase of the art, may be called theirpannel-painter. But how have theGuardsoffended Mr.Hogarth, for he is again attacking them inThe Times? LordHarrington'ssecond troop of grenadier guards is allowed to be very perfect in every part of military discipline; andHogarth'sfriend, the king ofPrussia, could have shewn him the real importance of it. He had heard them much applauded, and therefore must abuse them. The ridicule ends however in airs composed byHarrington, and in a piece ofclock-work; but he ought to have known, that thoughl'homme machineis not sound philosophy, it is the true doctrine of tactics."TheMilitiahas received so many just testimonies of applause, both from their king and country, that the attack of envy and malevolence was long expected. But I dare say this poor jester will have Mr.George Townshend'sfree consent to vent his spleen upon him and the gentlemen ofNorfolk. I believe he may ever go on in this way almost unnoticed; at one time ridiculing theGuardsfor adisorderly, and at another theMilitiafor an exact andorderlymarch. Mr.Townshendwill still have the warm applause of his country, and the truest satisfaction, that of an honest heart, for his patriot labours in establishing this great plan of internal defence, aMilitia, which has delivered us from the ignominy offoreign hirelings, and the ridiculous fears of invasion, by a brave and well-disciplined body ofEnglishmen, at all times ready and zealous for the defence of their country, and of its laws and constitution."[A]This is the orthography of Mr.Hogarth. See theprint.

[65]As much of this paper as relates to our artist is here subjoined:

"The humourous Mr.Hogarth, thesupposedauthor of theAnalysis of Beauty, has at last entered the list of politicians, and given us a print ofThe Times. Words are man's province, saysPope; but they are not Mr.Hogarth'sprovince. He somewhere mentions his being indebted to a friend for a third part of thewording: that is his phrase. We all titter the instant he takes up apen, but we tremble when we see thepencilin his hand. I will do him the justice to say, that he possesses the rare talent of gibbetting in colours, and that in most of his works he has been a very good moral satirist. His forte is there, and he should have kept it. When he has at any time deviated fromhis own peculiar walk, he has never failed to make himself perfectly ridiculous. I need only make my appeal to any one of hishistoricalorportraitpieces, which are now considered as almost beneath all criticism. The favouriteSigismunda, the labour of so many years, the boasted effort of his art, was nothuman. If the figure had a resemblance of any thing ever on earth, or had the least pretence to meaning or expression, it was what he had seen, or perhaps made, in real life, his own wife in an agony of passion; but of what passion no connoisseur could guess. All his friends remember what tiresome discourses were held by him day after day about the transcendent merit of it, and how the great names ofRaphael, Vandyke,and others, were made to yield the palm of beauty, grace, expression, &c. to him, for this long laboured, yet still,uninteresting, single figure. The value he himself set on this, as well as on some other of his works, almost exceeds belief; yet from politeness or fear, or some other motives, he has actually been paid the most astonishing sums, as the price, not of his merit, but of his unbounded vanity.

"The darling passion of Mr.Hogarthis to shew thefaultyanddarkside of every object. He never gives us in perfection thefair face of nature, but admirably well holds out her deformities to ridicule. The reason is plain. All objects are painted on hisretinain a grotesque manner, and he has never felt the force of what theFrenchcallla belle nature. He never caught a single idea of beauty, grace, or elegance; but, on the other hand, he never missed the least flaw in almost any production of nature or of art. This is his true character. He has succeeded very happily in the way of humour, and has miscarried in every other attempt. This has arisen in some measure from his head, but much more from his heart. AfterMarriage à la Mode, the public wished for a series of prints of ahappymarriage.Hogarthmade the attempt, but the rancour and malevolence of his mind made him very soon turn with envy and disgust from objects of so pleasing contemplation, to dwell and feast a bad heart on others of a hateful cast, which he pursued, for he found them congenial, with the most unabating zeal, and unrelenting gall.

"I have observed some time hissetting sun. He has long been verydim, and almostshorn of his beams. He seems so conscious of this, that he now glimmers withborrowed light. John Bull's house in flameshas been hackney'd in fifty different prints; and if there is any merit in the figure on stilts, and the mob prancing around, it is not to be ascribed toHogarth, but toCallot. That spiritedItalian, whom theEnglishpainter has so carefully studied, has given us in theBalli di Sfessania di Jacomo Callot, the very same ideas, but infinitely more ludicrous in the execution. The piece isSmaraolo cornuto. Ratsa di Boio. The Timesmust be confessed destitute of every kind of original merit. The print at first view appears too much crouded with figures; and is in every part confused, perplexed, and embarrassed. Thestory is not well told to the eye; nor can we any where discover the faintest ray of that genius, which with a few strokes of the pencil enabled us to penetrate into the deepest recesses of thought, and even caprice, in arake, aharlot, and aprofligate young man of quality.

"I own too that I am grieved to see the genius ofHogarth, which should take in all ages and countries, sunk to a level with the miserable tribe of party-etchers, and now, in his rapid decline, entering into the poor politics of the faction of the day, and descending into low personal abuse, instead of instructing the world, as he could once, by manly moral satire. Whence can proceed so surprizing a change? Is it the frowardness of old age? Or is it that envy and impatience of resplendent merit in every way, at which he has always sickened? How often has he been remarked to droop at the fair and honest applause given even to a friend, though he had particular obligations to the very same gentleman! What wonder then that some of the most respectable characters of the age become the objects of his ridicule? It is sufficient that the rest of mankind applaud; from that moment he begins the attack, and you never can be well with him, till he hears an universal outcry against you, and till all your friends have given you up. There is besides a silly affectation of singularity, joined to a strong desire of leading the rest of the world: when that is once found impracticable, the spleen engendered on such an occasion is discharged at a particular object, or ends in a general misanthropy. The public never had the least share ofHogarth'sregard, or even good-will.Gainandvanityhave steered his little bark quite through life. He has never been consistent but with respect to those two principles. What a despicable part has he acted with regard to the society ofArts and Sciences! How shuffling has his conduct been to the whole body ofArtists! Both these useful societies have experienced the most ungenteel and offensive behaviour from him. There is at this hour scarcely a single man of any degree of merit in his own profession, with whom he does not hold a professed enmity. It is impossible the least degree of friendship could ever subsist in this intercourse of the arts with him; for his insufferable vanity will never allow the least merit in another, and no man of a liberal turn of mind will ever condescend to feed his pride with the gross and fulsome praise he expects, or to burn the incense he claims, and indeed snuffs like a most gracious god. To this he joins no small share of jealousy; in consequence of which, he has all his life endeavoured to suppress rising merit, and has been very expert in every mean underhand endeavour, to extinguish the least spark of genuine fire. Rut allgeniuswas not born, nor will die, with Mr.Hogarth: and notwithstanding all his ungenerous efforts to damp or chill it in another, I will trust to a discerning and liberal spirit in theEnglishnation, to patronize and reward all real merit. It will in the end rise superior to the idle laugh of the hour, which these triflers think it the highest praise to be able to raise. For my part, I scarcely know a more profligate principle, than the indiscriminately sacrificing every thing, however great or good, to the dangerous talent of ridicule; and a man, whose sole object isdummodo risum excutiat, ought to be avoided as the worst pest of society, as theenemymost to be feared, I mean a treacherousfriend. Such a man will go all lengths to raise a laugh at your expence, and your whole life will be made miserable from his ambition of diverting the company for half an hour.

"I love to trace the ideas of a Genius, and to mark the progress of every art. Mr.Hogarthhas heard much of thecobwebsof the law, and thespinning fine spider-webs, &c. This is thrown on paper, and the idea carefully treasured. LordHardwickebeing at the head of the law, and deservedly in as high esteem with his countrymen as any man who ever held the seals, unspotted in life, and equally revered by prince and people, becomes an excellent subject for the satirical pencil of a malevolent painter. He is accordingly emblematically represented by Mr.Hogarthas a great spider in a large, thick web, with myriads of the carcases offlies, clientsI suppose, sucked to death by the gloomy tyrant. Mr.Hogarthhad heard of Mr.Pitt'sbeingaboveall his fellow-citizens, and of his superior virtue havingraisedhim to an envied and dangerousheightof grandeur. Now this he has taken literally, and, with the kind aid ofCallot, has put Mr.Pitton stilts, and made the peoplelook upto him; which, after all this insipid ridicule, they will continue to do, as a kind of tutelar deity, from whom they expect that security and those blessings they despair of from others. As to the conceit of thebellows, to signify, I suppose, Mr.Pitt'sendeavours to blow up the flames of war and discord, it is at once very poor and very false. His whole conduct the last session in parliament, and out of the house ever since, has demonstrated the contrary:neque vero hocorationesolum, sed multo magisvitâetmoribuscomprobavit.Cic. de Fin.

"LordTempleis a nobleman of fine parts and unsullied honour, who has shewn a thorough disinterestedness, a great love of liberty, and a steady attachment to the public, in every part of his conduct through life. It was impossible such a character could be missed by the poisonous shafts of envy, which we see pointed at all superior virtue.... Mr.Hogarth'swit on this noble lord is confined to the wretched conceits of theTemple Coffee-house, and asquirtto signify theplaying onthe ministry. I really believe this wit is all Mr.Hogarth'sown.

"When a man of parts dedicates his talents to the service of his country, he deserves the highest rewards: when he makes them subservient to base purposes, he merits execration and punishment. Among theSpartans, music and poetry were made to serve the noblest purposes of theLacedemonianstate. A manly courage and great contempt of death were inspired by them; and the poet, musician, soldier, and patriot, were often the same good citizen, who despised the lowmechanic lucreof the profession, and was zealous only for the glory of his country. In the year 1746, when theGuardswere ordered to march toFinchley, on the most important service they could be employed in, the extinguishing aScottishrebellion, which threatened the intire ruin of the illustrious family on the throne, and, in consequence, of our liberties, Mr.Hogarthcame out with a print to make them ridiculous to their countrymen and to allEurope; or perhaps it rather was to tell theScotsin his way how little the Guards were to be feared, and that they might safely advance. That the ridicule might not stop here, and that it might be as offensive as possible to his ownsovereign, he dedicated the print to the king ofPru[s]ia[A]as an encourager of arts. Is this patriotism! In oldRome, or in any of theGrecianstates, he would have been punished as a profligate citizen, totally devoid of all principle. InEnglandhe is rewarded, and madeserjeantpainter to that very king's grandson. I think the term means the same as what is vulgarly calledhouse-painter; and indeed he has not been suffered tocaricaturethe royal family. The post of portrait-painter is given to aScotsman, oneRamsay. Mr.Hogarthis only to paint the wainscot of the rooms, or, in the phrase of the art, may be called theirpannel-painter. But how have theGuardsoffended Mr.Hogarth, for he is again attacking them inThe Times? LordHarrington'ssecond troop of grenadier guards is allowed to be very perfect in every part of military discipline; andHogarth'sfriend, the king ofPrussia, could have shewn him the real importance of it. He had heard them much applauded, and therefore must abuse them. The ridicule ends however in airs composed byHarrington, and in a piece ofclock-work; but he ought to have known, that thoughl'homme machineis not sound philosophy, it is the true doctrine of tactics.

"TheMilitiahas received so many just testimonies of applause, both from their king and country, that the attack of envy and malevolence was long expected. But I dare say this poor jester will have Mr.George Townshend'sfree consent to vent his spleen upon him and the gentlemen ofNorfolk. I believe he may ever go on in this way almost unnoticed; at one time ridiculing theGuardsfor adisorderly, and at another theMilitiafor an exact andorderlymarch. Mr.Townshendwill still have the warm applause of his country, and the truest satisfaction, that of an honest heart, for his patriot labours in establishing this great plan of internal defence, aMilitia, which has delivered us from the ignominy offoreign hirelings, and the ridiculous fears of invasion, by a brave and well-disciplined body ofEnglishmen, at all times ready and zealous for the defence of their country, and of its laws and constitution."

[A]This is the orthography of Mr.Hogarth. See theprint.

[66]The present LordCamden.

[67]This gave rise to a catchpenny, intituled, "Pug'sReply to ParsonBruin; or, a Political Conference, occasioned by an Epistle toWilliam Hogarth, Esq;" 4to.

[68]"Which was probably accelerated by this unlucky (we had almost said unnatural) event; forWilkes, Churchill,andHogarth, had been intimate friends, and might have continued such as long as they lived, had not the dæmon of politics and party sown discord among them, and dissolved their union."

[69]—the friend——Dr.Morell. The conduct of this gentleman cannot fail to put the reader in mind ofSir Fretful Plagiary'scomplaint in Mr. Sheridan'sCritic: "—if it is abuse, why one is always sure to hear of it from one damn'd good-naturedfriendor another."

[70]"While thinking figures from the canvas start,AndHogarthis theGarrickof his art,"is a couplet inSmart's Hilliad.The compliment from theHilliadto Mr.Hogarth, Mr.Smartobserves, "is reciprocal, and reflects a lustre on Mr.Garrick, both of them having similar talents, equally capable of the highest elevation, and of representing the ordinary scenes of life with the most exquisite humour."

[70]

"While thinking figures from the canvas start,AndHogarthis theGarrickof his art,"

is a couplet inSmart's Hilliad.

The compliment from theHilliadto Mr.Hogarth, Mr.Smartobserves, "is reciprocal, and reflects a lustre on Mr.Garrick, both of them having similar talents, equally capable of the highest elevation, and of representing the ordinary scenes of life with the most exquisite humour."

[71]The pyramid, &c. This stroke of satire was retorted onHogarth, and employed to express his advanced age and declining abilities; while theCheshirecheese, with 3000l.on it, seemed to imply that he himself merited an annual pension.I received this explanation from an ingenious friend.—The late Mr.Rogersexplained it thus: "Mr.Pittis represented in it sitting at his ease [in the position of the great SirIsaac NewtoninWestminster-Abbey], with a mill-stone hanging over his head, on which is written 3000l.in allusion to his saying, thatHanoverwas a mill-stone round the neck ofEngland, on account of the expences attending it; and his afterwards adding himself to the public expences by accepting a pension of 3000l.a year. He is firing a mortar-piece levelled at a Dove bearing an olive-branch (the symbol of peace) perched on the standard ofEngland; and is supported by the City ofLondon, denoted by the two Giants inGuildhall. Hogarthis floggingWilkesandChurchill, and making them dance to the scrapings of a fidler; designed to represent a Nobleman [EarlTemple], who patronized them in 1763, and who, for his unmeaning face, has ever been described without a feature. SeeTrusler'sPreface, p. vii."

I received this explanation from an ingenious friend.—The late Mr.Rogersexplained it thus: "Mr.Pittis represented in it sitting at his ease [in the position of the great SirIsaac NewtoninWestminster-Abbey], with a mill-stone hanging over his head, on which is written 3000l.in allusion to his saying, thatHanoverwas a mill-stone round the neck ofEngland, on account of the expences attending it; and his afterwards adding himself to the public expences by accepting a pension of 3000l.a year. He is firing a mortar-piece levelled at a Dove bearing an olive-branch (the symbol of peace) perched on the standard ofEngland; and is supported by the City ofLondon, denoted by the two Giants inGuildhall. Hogarthis floggingWilkesandChurchill, and making them dance to the scrapings of a fidler; designed to represent a Nobleman [EarlTemple], who patronized them in 1763, and who, for his unmeaning face, has ever been described without a feature. SeeTrusler'sPreface, p. vii."

[72]It may be worth observing, that in "Independence," a poem which was not published byChurchilltill the last week ofSeptember, 1764, he considers his antagonist as a departed Genius:"Hogarthwould draw him (Envy must allow)E'en to the life,was Hogarth living now."How little did the sportive Satirist imagine that the power of pleasing was so soon to cease in both!Hogarthdied in four weeks after the publication of this poem; andChurchillsurvived him but nine days. In some lines which were printed inNovember1764, the compiler of these Anecdotes took occasion to lament that"——Scarce had the friendly tear,ForHogarthshed, escap'd the generous eyeOf feeling Pity, when again it flow'dForChurchill'sfate. Ill can we bear the lossOf Fancy's twin-born offspring, close ally'dIn energy of thought, though different pathsThey sought for fame! Though jarring passions sway'dThe living artists, let the funeral wreathUnite their memory!"

[72]It may be worth observing, that in "Independence," a poem which was not published byChurchilltill the last week ofSeptember, 1764, he considers his antagonist as a departed Genius:

"Hogarthwould draw him (Envy must allow)E'en to the life,was Hogarth living now."

How little did the sportive Satirist imagine that the power of pleasing was so soon to cease in both!Hogarthdied in four weeks after the publication of this poem; andChurchillsurvived him but nine days. In some lines which were printed inNovember1764, the compiler of these Anecdotes took occasion to lament that

"——Scarce had the friendly tear,ForHogarthshed, escap'd the generous eyeOf feeling Pity, when again it flow'dForChurchill'sfate. Ill can we bear the lossOf Fancy's twin-born offspring, close ally'dIn energy of thought, though different pathsThey sought for fame! Though jarring passions sway'dThe living artists, let the funeral wreathUnite their memory!"

[73]TheMonthly Reviewerunintentionally readssupper, instead ofdinner. As to this article of minute intelligence, whether it be true or false, it was communicated by Mrs.Lewis.

[74]Mr.Walpoleonce invitedGraythe Poet andHogarthto dine with him; but what with the reserve of the one, and a want of colloquial talents in the other, he never passed a duller time than between these representatives ofTragedyandComedy, being obliged to rely entirely on his own efforts to support conversation.

[75]The most solid praise, perhaps, that ever was given to our artist, was a legacy of 100l."for the great pleasure the testator had received from his works."

[76]Originally begun for a portrait of Mrs.Cholmondeley, but altered, after one or two sittings, to the Queen.

[77]See p.9.

[78]To whom, in case of Mrs.Hogarth'smarrying again, he gave the plates of Marriage à la Mode, and of the Harlot's and Rake's Progress.

[79]Whilst the Marshal was a prisoner inEngland, MonsieurCoetlagonopened a subscription at two guineas, one to be paid on subscribing, the other on the delivery of "A Dictionary of Arts and Sciences," in two large folio volumes. Many of the nobility, as well as gentry subscribed; but very few of them made good their second payments, or had the work; and the author dedicated it (in gratitude, it is supposed, for the generous patronage he received from theEnglish) to MarshalBelleisle; whose place of confinement was inThe Round ToweratWindsor Castle; where the large dining-room is still ornamented with a variety of humourousFrenchengravings; and a small library ofFrenchbooks.

[80]In the year 1768 was published a work, intituled, "HogarthMoralised. Being a complete Edition ofHogarth'sWorks. Containing near Fourscore Copper-Plates, most elegantly engraved. With an Explanation, pointing out the many Beauties that may have hitherto escaped Notice, and a Comment on their Moral Tendency, &c. With the Approbation ofJane Hogarth, Widow of the late Mr.Hogarth."The history of the work is as follows: The Rev.John Truslerengaged with some engravers in this design, afterHogarth'sdeath, when they could carry it into execution with impunity. Mrs.Hogarth, finding her property would be much affected by it, was glad to accept an offer they made her, of entering into partnership with them; and they were very glad to receive her, knowing her name would give credit to the publication, and that she would certainly supply many anecdotes to explain the plates. Such as are found in the work are probably all hers. The other stuff was introduced by the editor to eke out the book. We are informed, that, when the undertaking was completed, in order to get rid of her partners, she was glad to buy out their shares, so that the whole expence which fell on her amounted to at least 700l.

The history of the work is as follows: The Rev.John Truslerengaged with some engravers in this design, afterHogarth'sdeath, when they could carry it into execution with impunity. Mrs.Hogarth, finding her property would be much affected by it, was glad to accept an offer they made her, of entering into partnership with them; and they were very glad to receive her, knowing her name would give credit to the publication, and that she would certainly supply many anecdotes to explain the plates. Such as are found in the work are probably all hers. The other stuff was introduced by the editor to eke out the book. We are informed, that, when the undertaking was completed, in order to get rid of her partners, she was glad to buy out their shares, so that the whole expence which fell on her amounted to at least 700l.

[81]"They abound," says an excellent judge, "in true humour; and satire, which is generally well-directed: they are admirable moral lessons, and afford a fund of entertainment suited to every taste: a circumstance, which shews them to be just copies of nature." We may consider them too as valuable repositories of the manners, customs, and dresses of the present age. What amusement would a collection of this kind afford, drawn from every period of the history ofBritain!—How far the works ofHogarthwill bear a critical examination, may be the subject of a little more enquiry. In designHogarthwas seldom at a loss. His invention was fertile, and his judgement accurate. An improper incident is rarely introduced; a proper one rarely omitted. No one could tell a story better; or make it, in all its circumstances, more intelligible. His genius, however, it must be owned, was suited only to low, or familiar subjects. It never soared above common life: to subjects naturally sublime, or which from antiquity, or other accidents, borrowed dignity, he could not rise. In composition we see little in him to admire. In many of his prints, the deficiency is so great, as plainly to imply a want of all principle; which makes us ready to believe, that when we do meet with a beautiful group, it is the effect of chance. In one of his minor works, the Idle Prentice, we seldom see a crowd more beautifully managed, than in the last print. If the sheriff's officers had not been placed in a line, and had been brought a little lower in the picture, so as to have formed a pyramid with the cart, the composition had been unexceptionable: and yet the first print of this work is so striking an instance of disagreeable composition, that it is amazing, how an artist, who had any idea of beautiful forms, could suffer so unmasterly a performance to leave his hands. Of the distribution of lightHogarthhad as little knowledge as of composition. In some of his pieces we see a good effect; as in the execution just mentioned; in which, if the figures at the right and left corners had been kept down a little, the light would have been beautifully distributed on the fore-ground, and a little fine secondary light spread over part of the crowd: but at the same time there is so obvious a deficiency in point of effect, in most of his prints, that it is very evident he had no principles. Neither wasHogartha master in drawing. Of the muscles and anatomy of the head and hands he had perfect knowledge; but his trunks are often badly moulded, and his limbs ill set on. I tax him with plain bad drawing; I speak not of the niceties of anatomy, and elegance of outline: of these indeed he knew nothing; nor were they of use in that mode of design which he cultivated: and yet his figures, upon the whole, are inspired with so much life and meaning, that the eye is kept in good humour, in spite of its inclination to find fault. The author of the Analysis of Beauty, it might be supposed, would have given us more instances of grace, than we find in the works ofHogarth; which shews strongly that theory and practice are not always united. Many opportunities his subjects naturally afford of introducing graceful attitudes; and yet we have very few examples of them. With instances of picturesque grace his works abound. Of his expression, in which the force of his genius lay, we cannot speak in terms too high. In every mode of it he was truly excellent. The passions he thoroughly understood, and all the effects which they produce in every part of the human frame: he had the happy art also of conveying his ideas with the same precision with which he conceived them.—He was excellent too in expressing any humorous oddity, which we often see stamped upon the human face. All his heads are cast in the very mould of nature. Hence that endless variety, which is displayed through his works: and hence it is, that the difference arises between his heads, and the affected caricaturas of those masters, who have sometimes amused themselves with patching together an assemblage of features from their own ideas. Such areSpagniolet's; which, though admirably executed, appear plainly to have no archetypes in nature.Hogarth's, on the other hand, are collections of natural curiosities. TheOxford-heads, the physicians-arms, and some of his other pieces, are expressly of this humorous kind. They are truly comic; though ill-natured effusions of mirth: more entertaining thanSpagniolet's, as they are pure nature; but less innocent, as they contain ill-directed ridicule.—But the species of expression, in which this master perhaps most excels, is that happy art of catching those peculiarities of air, and gesture, which the ridiculous part of every profession contract; and which, for that reason, become characteristics of the whole. His counsellors, his undertakers, his lawyers, his usurers, are all conspicuous at sight. In a word, almost every profession may see, in his works, that particular species of affectation which they should most endeavour to avoid. The execution of this master is well-suited to his subjects, and manner of treating them. He etches with great spirit; and never gives one unnecessary stroke. For myself, I greatly more value the works of his own needle, than those high-finished prints on which he employed other engravers. For as the production of an effect is not his talent; and as this is the chief excellence of high finishing; his own rough manner is certainly preferable; in which we have most of the force and spirit of his expression. The manner in none of his works pleases me so well as in a small print of a corner of a play-house. There is more spirit in a work of this kind, struck off at once, warm from the imagination, than in all the cold correctness of an elaborate engraving. If all his works had been executed in this style, with a few improvements in the compositions, and the management of light, they would certainly have been a much more valuable collection of prints than they are. The Rake's Progress, and some of his other works, are both etched and engraved by himself: they are well done; but it is plain he meant them as furniture. As works designed for a critick's eye, they would certainly have been better without the engraving, except a few touches in a very few places. The want of effect too would have been less conspicuous, which in his highest-finished prints is disagreeably striking."Gilpin, Essay on Prints,p. 165.

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