Chapter 7

[1]Berenstadt; a castrato engaged byHandelin the operas.

5. A just View of theBritishStage, or three heads better than one, sceneNewgate, byM. D. V—to.[1]This print represents the rehearsing a new farce, that will include the two famous entertainmentsDr. FaustusandHarlequin Shepherd.[2]To which will be added,Scaramouch Jack Hallthe Chimney-sweeper's Escape fromNewgatethrough the Privy, with the comical Humours ofBen Johnson's Ghost, concluding with the Play Dance, performed in the air by the figures A. B. C. [Wilks, Booth,andCibber] assisted by ropes from the Muses. Note, there are no Conjurors concerned in it, as the Ignorant imagine. The Bricks, Rubbish, &c. will be real; but the Excrements uponJack Hallwill be made of chewed Gingerbread, to prevent Offence.Vivat Rex. Price Sixpence.Such is the inscription on the plate; but I may add, that theropesalready mentioned are no other thanhalters, suspended over the heads of the three managers;[3]and that labels issuing from theirrespective mouths have the following characteristic words. The airyWilks, who dangles the effigy ofPunch, is made to exclaim—"PoorR-ch! faith I pitty him." The laureatCibber, withHarlequinfor his playfellow, invokes the Muses painted on the cieling—"Assist, ye sacred Nine;" while the solemnBooth, letting down the image ofJack Hallinto the forica, is most tragically blaspheming—"Ha! this will do, G-d d-m me." On a table before these gentlemen lies a pamphlet, exhibiting a print ofJack Shepherd, in confinement; and over the forica is suspended a parcel of waste paper, consisting of leaves torn fromThe Way of the World—Hamlet—Macbeth, andJulius Cæsar. Ben Jonson'sGhost, in the mean while, is rising through the stage, and p——g on a pantomimic statue tumbled from its base. A fidler is also represented hanging by a cord in the air, and performing, with a scroll before him, that exhibits—Music for the What—[perhaps theWhat d' ye call it]entertainment. The countenances of Tragedy and Comedy, on each side of the stage, are hoodwinked by the bills forHarlequin Dr. FaustusandHarlequin Shepherd, &c. &c. There is also a dragon preparing to fly; a dog thrusting his head out of his kennel; a flask put in motion by machinery, &c.Vivetur Ingeniois the motto over the curtain. In Mr.Walpole'scatalogue the description of this plate is, "Booth, Wilks, and Cibber, contriving a pantomime. A satire on farces. No name."

[1]Mr.Devotowas scene-painter toDrury-LaneorLincoln's-Inn Fields, and also toGoodman's FieldsTheatre. There is a mezzotinto of him with the following title: "Johannes DevotoHistoricus Scenicusque Pictor."Vincenso Daminipinxit.J. Faberfecit, 1736.

[2]Dr.FaustusandHarlequin Shepherdwere pantomimes contrived byThurmondthe dancing-master, and acted atDrury-Lanein 1725.

[3]—Halters, &c.; The same idea is introduced in the 9th plate of the apprentices.

1. Frontispiece toTerræ-filius. W. Hogarth fec.This work was printed in two volumes 12°, atOxford, and is a satire on the Tory principles of that University. It was written byNicholas Amherst, author ofThe Craftsman, and was originally published in one volume.

2. Twelve prints forHudibras; the large set.W. Hogarth inv. pinx. et sculp.Under the head ofButler: "The basso relievo of the pedestal represents the general design of Mr.Butler, in his incomparable poem ofHudibras; viz.Butler'sGenious in a Car lashing around MountParnassus, in the persons ofHudibrasandRalpho, Rebellion, Hypocrisy, and Ignorance, the reigning vices of his time." This set of prints was published by subscription, byP. OvertonandJ. Cooper. Mr.S. Irelandhas seven of the original drawings; three others are known to be preserved inHolland; and two more were lately existing in this kingdom. The plates, as has been mentioned already in p.11, are now the property of Mr.Sayer, whose name, as publisher, is subjoined. The Rev. Mr.Bowle, F. A. S. had a set with the list of the subscribers, which he purchased at the Duke ofBeaufort'ssale inWiltshire. The printed title to them is, "Twelve excellent and most diverting Prints; taken from the celebrated Poem ofHudibras, wrote by Mr.Samuel Butler. Exposing the Villany and Hypocrisy of the Times. Invented and Engraved on Twelve Copper-plates, byWilliamHogarth, and are humbly dedicated toWilliam Ward, Esq. ofGreat HoughtoninNorthamptonshire; and Mr.Allan Ramsay, ofEdinburgh.

"What excellence can Brass or Marble claim!These Papers better do secure thy Fame:Thy Verse all Monuments does far surpass,No Mausoleum's like thyHudibras.

"Printed and sold byPhilip Overton, Print and Map-seller, at theGolden BucknearSt. Dunstan's ChurchinFleet-street; andJohn Cooper, inJames-street, Covent Garden, 1726."

Allan Ramsaysubscribed for 30 sets. The number of subscribers in all amounts to 192. On the print ofHudibrasand theLawyerisW. Hogart delin. et sculp.a proof that our artist had not yet disused the original mode in which he spelt his name. In the scene of theCommittee, one of the members has his gloves on his head. I am told this whimsical custom once prevailed among our sanctified fraternity; but it is in vain, I suppose, to ask the reason why. In plate XI. (earliest impressions) the words "Down with the Rumps" are wanting on the scroll.—Memorandum. At the top of the proposals for this set of Prints, is a small one representingHudibrasandRalpho, engraved byPine. The original drawing for it byHogarthis in the possession of Mr.Betew, Silversmith, inCompton-street, Soho.

3. Seventeen small prints forHudibras, withButler'shead. There certainly must have been somemistake concerning this portrait. It never could have been designed for the author ofHudibras; but more strongly resemblesJohn Baptist Monnoyer, the flower-painter. There is a print of him byWhite, from a picture of SirGodfrey Kneller. This I suppose to have been the original ofHogarth'ssmallButler.

The same designs engraved on a larger scale, and with some slight variations, byJ. Mynde, forGrey'sedition ofHudibras, published in 1744.

Previous, however, to both, appeared another set of plates, eighteen in number, for an edition ineighteensof this celebrated poem. To these it is manifest thatHogarthwas indebted for his ideas of several of the scenes and personages both in his larger and smaller performances on the same subject. That the collector may know the book when he meets with it, the following is a transcript of the title-page. "Hudibras.In three Parts. Written in the time of the late Wars. Corrected and amended, with Additions. To which is added, Annotations to the third Part, with an exact Index to the whole; never before printed. Adorned with cuts. London. Printed forR. Chiswel, J. Tonson, T. Horne,andR. Willington, 1710."

Copies from the smaller plates are likewise inserted inTownly'stranslation ofHudibrasintoFrench, with theEnglishon the opposite page. He was, I believe, an officer in theIrishbrigade. The following is the title-page to his work. "Hudibras, Poeme ecritdans les tems des troubles d'Angleterre; et traduit en versFrançois, avec des remarques et des figures. 3 tom. 12mo. ALondres, 1757." It seems rather to have been printed atParis. The plates have no name subscribed to them.

4.Cunicularii, or the Wise Men ofGodlimanin Consultation.

"They held their talents most adroitFor any mystical exploit."Hudib.

This print was published in the year 1726, i. e. about the same time that LordOnslowwrote the following letter:

"To the Honble. SirHans Sloane. To be left at theGrecianCoffe House, inDevereux CourtnearTemple Bar London."Sir, The report of a woman's breeding of rabbits has almost alarmedEngland, and in a manner persuaded several people of sound judgtof that truth. I have been at some pains to discover the affair, and think I have conquerd my poynt, as you will se by the Depotition taken before me, which shall be published in a day or two. I am"Yrhumble Servant,"Onslow."Clandon, Dec.4th, 1726."

"To the Honble. SirHans Sloane. To be left at theGrecianCoffe House, inDevereux CourtnearTemple Bar London.

"Sir, The report of a woman's breeding of rabbits has almost alarmedEngland, and in a manner persuaded several people of sound judgtof that truth. I have been at some pains to discover the affair, and think I have conquerd my poynt, as you will se by the Depotition taken before me, which shall be published in a day or two. I am

"Yrhumble Servant,

"Onslow.

"Clandon, Dec.4th, 1726."

Soon after, Mr.St. Andréalso addressed this note to SirHans Sloane:

"Sir, I have brought the woman fromGuilfordto yeBagnio inLeicester-fields, where you may ifyou please have the opportunity of seeing her deliver'd. I am SrYour Hum Servt"St. André.[1]"To SirHans SloaneinBloomsbury Square."

"Sir, I have brought the woman fromGuilfordto yeBagnio inLeicester-fields, where you may ifyou please have the opportunity of seeing her deliver'd. I am SrYour Hum Servt

"St. André.[1]

"To SirHans SloaneinBloomsbury Square."

In the plate already mentioned, figure A representsSt. André. [He has a kitt under his arm, having been at first designed by his family for a fencing and dancing-master, though he afterwards attached himself to music of a higher order than that necessary for one of the professions already mentioned.] B is SirRichard Manningham, C Mr.Sainthilla celebrated surgeon here inLondon, D isHowardthe surgeon atGuildford, who was supposed to have had a chief hand in the imposture. The rest of the characters explain themselves.

Perhaps my readers may excuse me, if I add a short account of another design for a print on the same subject; especially as some collectors have been willing to receive it as a work ofHogarth.

InMist's Weekly Journal, Saturday, Jan.11th, 1726-7, was the following advertisement:

"The Rabbit affair made clear in a full account of the whole matter; with the pictures engraved of the pretended Rabbit-breeder herself,Mary Tofts, and of the Rabbits, and of the persons who attended her during her pretended deliveries, shewing who were and who were not imposed onby her. 'Tis given gratis no where, but only up one pair of stairs at the sign of the celebrated Anodyne Necklace recommended by DoctorChamberlenfor Children's teeth, &c."

The original drawing from which the plate promised inMist'sJournal was taken, remained in the possession of Mr.James Vertue, and was probably designed by his brotherGeorge. It was sold in 1781 in the collection ofGeorge Scott, Esq. ofChigwellinEssex, together with eight tracts relative to the same imposture, for three guineas, and is now in the collection of Mr.Gough.

St. André's Miscarriage, a ballad, published in 1727, has the following stanza on this subject:

"He dissected, compar'd, and distinguish'd likewiseThe make of these rabbits, their growth and their size.He preserv'd them in spirits, and—a little too latePreserv'd (Vertue sculpsit) a neat copper plate."

There is also a copper-plate, consisting of twelve compartments, on the same story. It exhibits every stage throughout this celebrated fraud.St. Andréappears in the habit of aMerry-Andrew. The general title of it is, "The Doctors in Labour; or a new Whim-wham fromGuilford. Being a representation of the frauds by which theGodlimanwoman carried on her pretended Rabbit breeding; also of the simplicity of our Doctors, by which they assisted to carry on that imposture, discoveredtheir skill, and contributed to the mirth of his Majesty's liege subjects."

InMist'sJournal forSaturday, Dec.17, 1726, is also the following paragraph, which shews that the playhouse joined in the general ridicule ofSt. André. "Last week the entertainment calledThe Necromancerwas performed at the Theatre inLincoln's-Inn Fields, wherein a newRabbit-scenewas introduced by way of episode; by which the Public may understand as much of that affair, as by the present controversy among the Gentlemen of the faculty, who are flinging their bitter pills at one another, to convince the world that none of them understand any thing of the matter." I am told by one of the spectators still alive, that in this new scene,Harlequin, being converted into a woman, pretended to be in labour, and was first delivered of a large pig, then of a sooterkin, &c. &c.

From the same paper ofSaturday, Jan.21, 1727, we learn, that "The pretended Rabbit-breeder, in order to perpetuate her fame, has had her picture done in a curious mezzotinto print by an able hand." It was painted byLaguerre, and scraped byFaber. She has a rabbit on her lap, and displays a countenance expressive of the utmost vulgarity. InHogarth'scomic representation, the remarkable turn-up of the nose is preserved. This, perhaps, was the only feature in her face that could not be altered by the convulsions of her pretended agony,or our artist would have given her resemblance with greater exactness.

Mr.Dillingham, an apothecary inRed-Lion-Square, laid a wager of ten guineas withSt. André, that in a limited time the cheat would be detected. The money was paid him, and he expended it on a piece of plate, with three rabbits engraved by way of arms.

I learn fromThe Weekly Miscellany, forApril19, 1740, that a few days before, "The celebrated Rabbit-woman ofGodalmininSurrywas committed toGuildford Gaol, for receiving stolen goods."

InThe Gazetteer, or Daily London Advertiser, Jan.21, 1763, was this paragraph, which closes the story of our heroine: "Last week died atGodalminginSurry, Mary Tofts,formerly noted for an imposition of breeding Rabbits."

[1]Both these letters are inThe British Museum. See MS. Sloan. 3312. XXVI. G. and MS. Sloan. 3316. XXVI. G.

1. Music introduced toApollobyMinerva. Hogarth fecit. "Frontispiece to some book of music, or ticket for a concert."I can venture to affirm, on unquestionable authority, that this print is a mere copy from the frontispiece to a more ancient book of music. The composer's name has escaped my memory.

2. Masquerade Ticket. A. a sacrifice toPriapus. B. a pair of Lecherometers shewing the companys inclinations as they approach em. Invented for the use of ladies and gentlemen, by the ingenious Mr.H——r [Heidegger].Price One Shilling. "There is much witin this print." The attentive observer will find, thatHogarthhas transplanted several circumstances from hence into the first plate to theAnalysis of Beauty, as well as into his Satire on the Methodists. See the ornaments of an altar composed of a concatenation of different periwigs, and the barometers expressing the different degrees of animal heat. At the corners of the dial on the top of this print is the date of the year (1727), and the face ofHeideggerappears under the figure XII. In the earliest impressions, the word Provocatives has, instead of V the open vowel U. This incorrectness in spelling was afterwards amended, though in a bungling manner, the round bottoms of the original letters being still visible.[1]

ConcerningJohn James Heidegger, whose face has been more than once introduced by our artist, the reader may express some curiosity. The following account of him is therefore appended to the foregoing article.

"This extraordinary man, the son of a clergyman, was a native ofZurichinSwitzerland, where he married, but left his country in consequence of an intrigue. Having had an opportunity of visiting the principal cities ofEurope, he acquired a taste for elegant and refined pleasures, which, united to a strong inclination for voluptuousness, by degrees qualified him for the management of public amusements. In 1708, when he was near 50 yearsold, he came toEnglandon a negotiation from theSwissatZurich; but, failing in his embassy, he entered as a private soldier in the guards for protection.[2]By his sprightly, engaging conversation, and insinuating address, he soon worked himself into the good graces of our young people of fashion; from whom he obtained the appellation of 'theSwissCount.'[3]He had the address to procure a subscription, with which in 1709 he was enabled to furnish out the opera of 'Thomyris,'[4]which was written inEnglish, and performed at the Queen's theatre in theHaymarket. The music, however, wasItalian; that is to say, airs selected from sundry of the foreign operas byBononcini, Scarlatti, Stefani, Gasparini,andAlbinoni. Most of the songs in 'Thomyris' were excellent, those byBononciniespecially:Valentini, Margarita,and Mrs.Toftssung in it; andHeideggerby this performance alone was a gainer of 500 guineas.[5]The judicious remarks he made on several defects in the conduct of our operas in general, and the hints he threw out for improving the entertainments ofthe royal theatre, soon established his character as a good critic. Appeals were made to his judgement; and some very magnificent and elegant decorations, introduced upon the stage in consequence of his advice, gave such satisfaction toGeorgeII. who was fond of operas, that, upon being informed to whose genius he was indebted for these improvements, his majesty was pleased from that time to countenance him, and he soon obtained the chief management of the Opera-house inThe Haymarket. He then set about improving another species of diversion, not less agreeable to the king, which was the masquerades, and over these he always presided at the king's theatre. He was likewise appointed master of the revels. The nobility now caressed him so much, and had such an opinion of his taste, that all splendid and elegant entertainments given by them upon particular occasions, and all private assemblies by subscription, were submitted to his direction.[6]

"From the emoluments of these several employments, he gained a regular considerable income, amounting, it is said, in some years, to 5000l.which he spent with much liberality: particularly in the maintenance of perhaps a somewhat too luxurioustable; so that it may be said, he raised an income, but never a fortune. His foibles, however, if they deserve so harsh a name, were completely 'covered' by his 'charity,' which was boundless.[7]

"That he was a good judge of music, appears from his opera: but this is all that is known of his mental abilities;[8]unless we add, what wehave good authority for saying in honour to hismemory, that he walked fromCharing-CrosstoTemple-bar, and back again; and when he came home, wrote down every sign on each side theStrand.

"As to his person, though he was tall and well made, it was not very pleasing, from an unusual hardness of features.[9]But he was the first tojoke upon his own ugliness; and he once laid a wager with the earl ofChesterfield, that, within a certain given time, his lordship would not be able to produce so hideous a face in allLondon. After strict search, a woman was found, whose features were at first sight thought stronger thanHeidegger's; but, upon clapping her head-dress upon himself, he was universally allowed to have won the wager.Jolly, a well-known taylor, carrying his bill to a noble duke, his grace, for evasion said, 'Damn your ugly face, I never will pay you till you bring me an uglier fellow than yourself!'Jollybowed and retired, wrote a letter, and sent it by a servant toHeidegger; saying, 'his grace wished to see him the next morning on particular business.'Heideggerattended, andJollywas there to meet him; and in consequence, as soon asHeidegger'svisit was over,Jollyreceived the cash.

"The late facetious duke ofMontagu(the memorable author of the bottle-conjuror at the theatre inThe Haymarket) gave an entertainment atThe Devil-tavern, Temple-bar, to several of the nobility and gentry, selecting the most convivial, and a few hard-drinkers, who were all in the plot.Heideggerwas invited, and in a few hours afterdinner was made so dead drunk that he was carried out of the room, and laid insensible upon a bed. A profound sleep ensued; when the late Mrs.Salmon'sdaughter was introduced, who took a mould from his face in plaster of Paris. From this a mask was made, and a few days before the next masquerade (at which the king promised to be present, with the countess ofYarmouth), the duke made application toHeidegger'svalet de chambre, to know what suit of cloaths he was likely to wear; and then procuring a similar dress, and a person of the same stature, he gave him his instructions. On the evening of the masquerade, as soon as his majesty was seated (who was always known by the conductor of the entertainment and the officers of the court, though concealed by his dress from the company),Heidegger, as usual, ordered the music to play 'God save the King;' but his back was no sooner turned, than the falseHeideggerordered them to strike up 'Charlyover the Water.' The whole company were instantly thunderstruck, and all the courtiers, not in the plot, were thrown into a stupid consternation.Heideggerflew to the music-gallery, swore, stamped, and raved, accused the musicians of drunkenness, or of being set on by some secret enemy to ruin him. The king and the countess laughed so immoderately, that they hazarded a discovery. WhileHeideggerstayed in the gallery, 'God save the King' was the tune; but when,after setting matters to rights, he retired to one of the dancing-rooms, to observe if decorum was kept by the company, the counterfeit stepping forward, and placing himself upon the floor of the theatre, just in front of the music-gallery, called out in a most audible voice, imitatingHeidegger, damned them for blockheads, had he not just told them to play 'Charlyover the Water.' A pause ensued; the musicians, who knew his character, in their turn thought him either drunk or mad; but, as he continued his vociferation, 'Charly' was played again. At this repetition of the supposed affront, some of the officers of the guards, who always attended upon these occasions, were for ascending the gallery, and kicking the musicians out; but the late duke ofCumberland, who could hardly contain himself, interposed. The company were thrown into great confusion. 'Shame! Shame!' resounded from all parts, andHeideggeronce more flew in a violent rage to that part of the theatre facing the gallery. Here the duke ofMontagu, artfully addressing himself to him, told him, 'the king was in a violent passion; that his best way was to go instantly and make an apology, for certainly the music were mad, and afterwards to discharge them.' Almost at the same instant, he ordered the falseHeideggerto do the same. The scene now became truly comic in the circle before the king.Heideggerhad no sooner made a genteel apology for the insolence ofhis musicians, but the falseHeideggeradvanced, and, in a plaintive tone, cried out, 'Indeed, Sire, it was not my fault, but that devil's in my likeness.' PoorHeideggerturned round, stared, staggered, grew pale, and could not utter a word. The duke then humanely whispered in his ear the sum of his plot, and the counterfeit was ordered to take off his mask. Here ended the frolick; butHeideggerswore he would never attend any public amusement, if that witch the wax-work woman did not break the mould, and melt down the mask before his face.[10]

"Being once at supper with a large company, when a question was debated, which nationalist ofEurope, had the greatest ingenuity; to the surprise of all present, he claimed that character for theSwiss, and appealed to himself for the truth of it.'I was born aSwiss, said he, 'and came toEnglandwithout a farthing, where I have found means to gain 5000l.a year, and to spend it. Now I defy the most ableEnglishmanto go toSwitzerland, and either to gain that income, or to spend it there.' He diedSept.4, 1749, at the advanced age of 96 years, at his house atRichmondinSurrey, where he was buried. He left behind him one natural daughter, MissPappet, who was marriedSept.2, 1750, to Captain (afterwards SirPeter) Denis.[11]Part of this lady's fortune was a house at the north west corner ofQueen-square, Ormond-street, which SirPeterafterwards sold to the late Dr.Campbell, and purchased a seat inKent, pleasantly situated nearWestram, then calledValence, but now (by its present proprietor, the earl ofHillsborough)Hill Park."

[1]In this print our artist has likewise imitated the manner ofCallot.

[2]SeeN° 48, among the prints of uncertain date.

[3]See SirJohn Hawkins'sHistory of Music, Vol. V. p. 142. He is twice noticed under this title in the "Tatler," Nos. 12. and 18.; and in Mr.Duncombe's"Collection of Letters of several eminent Persons deceased," is a humourous dedication of Mr.Hughes's"Vision ofChaucer," to "theSwissCount."

[4]There was another opera of the same name, byPeter Motteux, in 1719.

[5]"Thomyris" and "Camilla" were both revived in 1726; but neither of them then succeeded.

[6]J. N.has been favoured with the sight of an amethyst snuff-box set in gold, presented toHeideggerin 1731, by the duke ofLorrain, afterwards emperor ofGermany, whichHeideggervery highly valued, and bequeathed to his executorLewis Way, esq. ofRichmond, and which is now (1785) in the possession of his sonBenjamin Way, esq.

[7]After a successful masquerade, he has been known to give away several hundred pounds at a time. "You know poor objects of distress better than I do," he would frequently observe to Mr.Way, "Be so kind as to give away this money for me." This well-known liberality, perhaps, contributed much to his carrying on that diversion with so little opposition as he met with.

[8]Pope(Dunciad, I. 289.) calls the bird which attended on the goddess"———————a monster of a fowl,Something betwixt aHeideggerand owl."and explainsHeideggerto mean "a strange bird fromSwitzerland, and not (as some have supposed) the name of an eminent person, who was a man of parts, and, as was said ofPetronius, Arbiter Elegantiarum."The author ofThe Scandalizadehas also put the following description of our hero into the mouth ofHandel:"Thou perfection, as far as e'er nature could run,Of the ugly, quothH—d-l, in th' ugliest baboon,Human nature's, and even thy Maker's disgrace,So frightful thy looks, so grotesque is thy face!With a hundred deep wrinkles impress'd on thy front,Like a map with a great many rivers upon't;Thy lascivious ridottos, obscene masquerades,Have unmaided whole scores ev'ry season of maids."Fieldingalso has introduced him in the Puppet-show, with which theAuthor's Farce(acted at theHaymarket1729), concludes, under the title ofCount Ugly."Nonsense.Too late, O mighty Count, you came.Count.I ask not for myself, for I disdainO'er the poor ragged tribe of bards to reign.Me did my stars to happier fates prefer,Sur-intendant des plaisirs d'Angleterre.If masquerades you have, let those be mine,But on the Signor let the laurel shine.Tragedy.What is thy plea? Half written?Count.No nor read.Put it from dulness any may succeed,To that and nonsense I good title plead,Nought else was ever in my masquerade."

[8]Pope(Dunciad, I. 289.) calls the bird which attended on the goddess

"———————a monster of a fowl,Something betwixt aHeideggerand owl."

and explainsHeideggerto mean "a strange bird fromSwitzerland, and not (as some have supposed) the name of an eminent person, who was a man of parts, and, as was said ofPetronius, Arbiter Elegantiarum."

The author ofThe Scandalizadehas also put the following description of our hero into the mouth ofHandel:

"Thou perfection, as far as e'er nature could run,Of the ugly, quothH—d-l, in th' ugliest baboon,Human nature's, and even thy Maker's disgrace,So frightful thy looks, so grotesque is thy face!With a hundred deep wrinkles impress'd on thy front,Like a map with a great many rivers upon't;Thy lascivious ridottos, obscene masquerades,Have unmaided whole scores ev'ry season of maids."

Fieldingalso has introduced him in the Puppet-show, with which theAuthor's Farce(acted at theHaymarket1729), concludes, under the title ofCount Ugly.

"Nonsense.Too late, O mighty Count, you came.Count.I ask not for myself, for I disdainO'er the poor ragged tribe of bards to reign.Me did my stars to happier fates prefer,Sur-intendant des plaisirs d'Angleterre.If masquerades you have, let those be mine,But on the Signor let the laurel shine.Tragedy.What is thy plea? Half written?Count.No nor read.Put it from dulness any may succeed,To that and nonsense I good title plead,Nought else was ever in my masquerade."

[9]In a Dedication to "The Masquerade, a Poem, inscribed to CountHeidegger," (which is the production of Mr.Fielding, though foisted into the works of Dr.Arbuthnot,) the facetious writer says, "I cannot help congratulating you on that gift of Nature, by which you seem so adapted to the post you enjoy. I mean that natural masque, which is too visible a perfection to be here insisted on——and, I am sure, never fails of making an impression on the most indifferent beholder. Another gift of Nature, which you seem to enjoy in no small degree, is that modest confidence supporting you in every act of your life. Certainly, a great blessing! For I always have observed, that brass in the forehead draws gold into the pocket. As for what mankind calls virtues, I shall not compliment you on them: since you are so wise as to keep them secret from the world, far be it from me to publish them; especially since they are things which lie out of the way of your calling. Smile then (if you can smile) on my endeavours, and this little poem, with candour——for which the author desires no more gratuity than a ticket for your next ball." There is a mezzotinto ofHeideggerbyJ. Faber, 1742, (other copies dated 1749) from a painting byVanloo, a striking likeness, now (1785) in the possession ofPeter Crawford, esq. ofCold Bath Fields.

[10]To this occurrence the following imperfect stanzas, transcribed from the hand-writing ofPope, are supposed to relate. They were found on the back of a page containing some part of his translation, either of the "Iliad" or "Odyssey," in theBritish Museum.XIII."Then he went to the side-board, and call'd for much liquor,And glass after glass he drank quicker and quicker;So thatHeideggerquoth,Nay, faith on his oath,Of two hogsheads of Burgundy,Satandrank both.Then all like a —— the Devil appear'd,And strait the whole tables of dishes he clear'd;Then a friar, then a nun,And then he put onA face all the company took for his own.Even thine, O falseHeidegger!who wert so wickedTo let in the Devil——"

XIII."Then he went to the side-board, and call'd for much liquor,And glass after glass he drank quicker and quicker;So thatHeideggerquoth,Nay, faith on his oath,Of two hogsheads of Burgundy,Satandrank both.Then all like a —— the Devil appear'd,And strait the whole tables of dishes he clear'd;Then a friar, then a nun,And then he put onA face all the company took for his own.Even thine, O falseHeidegger!who wert so wickedTo let in the Devil——"

[11]Who diedJune12, 1778, being then vice-admiral of the red. See Memoirs of him in Gent. Mag. 1780, p. 268.

3. Frontispiece to a Collection of Songs, with the Music by Mr.Leveridge, in two vols. 8vo.London, engraved and printed for the author, inTavistock-street, Covent-Garden, 1727. This design consists of aBacchusand aVenusin the Clouds, and a figure with musical instruments, &c. on the earth, soliciting their attention, &c. The ornaments round the engraved title-page seem likewise to beHogarth's.

1. Head ofHesiod, from the bust atWilton. The frontispiece toCook'stranslation ofHesiod, in 2 vols. 4to. printed byN. BlandfordforT. Green.

2.Rich'sGlory, or his Triumphant Entry intoCovent Garden. W. H. I. Et. SULP. Price Sixpence.

The date of the print before us has been conjectured from its reference to theBeggar's Opera, andPerseusandAndromeda,[1]both of which were acted in the year already mentioned.

This plate represents the removal ofRichand his scenery, authors, actors, &c. fromLincoln's-Inn Fieldsto theNew House; and might therefore be as probably referred to the year 1733, when that event happened. The scene is the area ofCovent Garden, across which, leading toward the door of the Theatre, is a long procession, consisting of a cart loaded with thunder and lightning; performers, &c. and at the head of them Mr.Rich(invested with the skin of the famous dog inPerseusandAndromeda) riding with his mistress in a chariot driven byHarlequin, and drawn by Satyrs. But let the verses at bottom explain our artist's meaning:

Not with more glory through the streets ofRome,Return'd great conquerors in triumph home,Than, proudly drawn with Beauty by his side,We see gayR—-[2]in gilded chariot ride.He comes, attended by a num'rous throng,Who, with loud shouts, huzza the Chief along.Behold two bards, obsequious, at his wheels,Confess the joy each raptur'd bosom feels;Conscious that wit by him will be receiv'd,And on his stage true humour be retriev'd.Nosensibleandprettyplay will fall[3]Condemn'd by him as not theatrical.The players follow, as they here are nam'd,Dress'd in each character for which they're fam'd.Quinth'Old Bachelour, aHero Ryanshows,Whostaresand stalks majestick as he goes.Walker,[4]in his lov'd character we seeA Prince, tho' once a fisherman was he,AndMassanelonam'd; in this he prides,Tho' fam'd for many other parts besides.ThenHall,[5]who tells the bubbled countrymenThatCarolusisLatinforQueen Anne.Did ever mortal know so clean a bite?Who else, like him, can copySerjeant Kite!To thePiazzalet us turn our eyes,SeeJohnny Gayon porters shoulders rise,Whilst a bright Man of Tast his works despise.[6]Another author wheels his works with care,In hopes to get a market at this fair;For such a day he sees not ev'ry year.

By theMan of Taste, Mr.Popewas apparently designed. He is represented, in his tye-wig, at one corner of thePiazza, wiping his posteriors with theBeggar's Opera. The letter P is over his head. His little sword is significantly placed, and the peculiarity of his figure well preserved.

The reason why our artist has assigned such an employment to him, we can only guess. It seems, indeed, from Dr.Johnson'sLife ofGay, thatPopedid notthinktheBeggar's Operawould succeed.Swift, however, was of the same opinion; and yet the former supported the piece on the first night of exhibition, and the latter defended it in hisIntelligenceragainst the attacks of Dr.Herring,[7]then preacher to the Society ofLincoln's-Inn, afterwards archbishop ofCanterbury. Hogarthmight be wanton in his satire; might have founded it on idle report; ormight have sacrificed truth to the prejudices of SirJames Thornhill, whose quarrel, on another occasion, he is supposed to have taken up, when he ridiculedThe Translator of Homerin a view of "The Gate ofBurlington-house."

There are besides some allusions in the verses already quoted, as well as in the piece they refer to, which I confess my inability to illustrate. Those who are best acquainted with the theatric and poetical history of the years 1728, &c. would prove the most successful commentators on the present occasion; but not many can possibly be now alive who were at that period competent judges of such matters.

This print, however, was not only unpublished, but in several places is unfinished. It was probably suppressed by the influence of some of the characters represented in it. The style of composition, and manner of engraving, &c. &c. would have sufficiently proved it to be the work ofHogarth, if the initials of his name had been wanting at the bottom of the plate.

[1]ThePerseusandAndromeda, for whichHogarthengraved the plates mentioned in p.170, was not published till 1730; but there was one under the same title atDrury-Lanein 1728. As both houses took each other's plans at that time, perhaps theLincoln's-Inn Fields Perseusmight have been acted before it was printed.

[2]Rich.

[3]Nosensibleandprettyplay, &c. This refers toCibber'sdecision on the merits of some piece offered for representation, and, we may suppose, rejected. In a copy of verses addressed toRichon the building ofCovent GardenTheatre, are the following lines, which seem to allude to the rejection already mentioned:"Poets no longer shall submit their playsTo learnedCibber'sgilded withered bays;To such a judge the labour'd scene present,Whomsensibleandprettywon't content:But to thy theatre with pleasure bearThe comic laughter and the tragic tear."

"Poets no longer shall submit their playsTo learnedCibber'sgilded withered bays;To such a judge the labour'd scene present,Whomsensibleandprettywon't content:But to thy theatre with pleasure bearThe comic laughter and the tragic tear."

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