The Project Gutenberg eBook of Biographical Anecdotes Of William Hogarth, by John Nichols.

[3] In the third plate of this work, the figure of the female unclasping a penknife, is said to have been designed for the once celebrated Betty Careless. This remark is supposed to be countenanced by the initials E. C. on her bosom. From being in a state to receive company, this woman had been long reduced to show it, and, after repeated confinements in various prisons, was buried from the poor's house of St. Paul, Covent Garden, April 22, 1752, about seven years after this set of prints had been published. Such a representation of her decline from beauty, as may be given in the plate before us, is justified by various passages in Loveling's poems, Latin and English, written about the year 1738, and published in 1741. Thus in his ode, "Ad Sextum,"

Carlesis turpis macies decentem
Occupat vultum——

Again more amply in his Elegiac Epistle, "Ad Henricum:"

Nympha Coventini quæ gloria sulferat Horti,
Cui vix vidisset Druria vestra parem,
Exul, inops, liquit proprios miseranda Penates,
Fortunæ extremas sustinuitque vices,
Nunc trahit infaustam tenebroso in carcere vitam,
Et levat insolito mollia membra toro.
Carlesis, ah! quantum, quantum mutaris ab illâ,
Carlese, quæ Veneris maxima cura fuit!
Æde tua risêre olim Charitesque Jocique,
Hic fuerant Paphiæ currus & arma Deæ;
Arsèrunt Cives, arsit Judæus Apella,
Et te Bellorum deperiêre chori.
Jam sordes, pallensque genas, & flaccida mammas,
Non oculi, quondam qui micuere, micant.
Heu! ubi formosæ referentes lilia malæ!
Labra ubi purpureis quæ rubuére rosis!
Te puer Idalius, te fastiditque juventus
Tam marcescentem, dissimilemque tui.
Siccine tam fidam curas Erycina ministram?
Hæccine militiæ praemia digna tuæ?
O Venus! ô nimium, nimiumque oblita tuarum!
Carlesis an meruit sortis acerba pati?
Quæ posthàc arisve tuis imponet honorem,
Ardebit posthàc vel tua castra sequi?
Omnigenas æquo circumspice lumine mœchas
Quas tua pellicibus Druria dives alit,
Quæ cellas habitant, vicos peditesve peragrant,
Aut quæ Wappinios incoluêre lares;
Invenienda fuit nusquam lascivior, artus
Mobilior, sacris vel magis apta tuis.
Carlesis ah nostris & flenda & fleta Camœnis!
Accedat vestris nulla medela malis?
Te vereor miseram fortuna tenaciter anget,
Nec veniet rebus mollior aura tuis.

Again in his Ode, "Ad Carolum B......."

-----------------relinquent
Carlesis quondam miseræ Penates
Douglasa & Johnson, duo pervicacis
Fulmina linguæ.

Again in a "Copy of Verses on Betty Close's coming to Town, &c."

Roberts will curse all whores—
From worn-out Careless to fair Kitty Walker.

Again in an Ode intituled "Meretrices Britannicæ."

Alma scortorum Druriæque custos
Orta Neptuno! tibi cura pulchræ;
Carlesis satis data, tu secundà
Carlesis regnes.

These lines will serve to enforce the moral of The Harlot's Progress, while they aim at the illustration of a single circumstance in Marriage à la Mode; where if this female is introduced at all, it seems to be in the character of an opulent procuress, either threatening the peer for having diseased her favourite girl, or preparing to revenge herself on the quack whose medicines had failed to eradicate his lordship's disorder. That heroine must have been notorious, who could at once engage the pencil of Hogarth and the pens of Loveling and Fielding, who in the sixth chapter of the first book of Amelia has the following story: "I happened in my youth to sit behind two ladies in a side-box at a play, where, in the balcony on the opposite side was placed the inimitable Betty Careless, in company with a young fellow of no very formal, or indeed sober, appearance. One of the ladies, I remember, said to the other—'Did you ever see any thing look so modest and so innocent as that girl over the way? What pity it is such a creature should be in the way of ruin, as I am afraid she is, by her being alone with that young fellow!' Now this lady was no bad physiognomist; for it was impossible to conceive a greater appearance of modesty, innocence, and simplicity, than what nature had displayed in the countenance of that girl; and yet, all appearances notwithstanding, I myself (remember, critic, it was in my youth) had a few mornings before seen that very identical picture of those engaging qualities in bed with a rake at a bagnio, smoaking tobacco, drinking punch, talking obscenity, and swearing and cursing with all the impudence and impiety of the lowest and most abandoned trull of a soldier." We may add, that one of the mad-men in the last plate of The Rake's Progress has likewise written "charming Betty Careless" on the rail of the stairs, and wears her portrait round his neck. Perhaps between the publication of The Rake's Progress and Marriage à la Mode, she sunk from a wanton into a bawd. Mrs. Heywood's Betsey Thoughtless was at first entitled Betsey Careless, but the name was afterwards changed for obvious reasons.

The London Daily Post, Nov. 28, 1735, contains the following advertisement from this notorious female:

"Mrs. Careless, from the Piazza in Covent-Garden, not being able to make an end of her affairs so soon as she expected, intends on Monday next to open a coffee-house in Prujean's-Court, in The Old Bailey, where she hopes her friends will favour her with their company, notwithstanding the ill situation of the place; since her misfortunes oblige her still to remain there.

"N. B. It is the uppermost house in the court, and coaches and chairs may come up to the door."

Again in The London Daily Post, Oct. 21, 1741, Mrs. Careless advertises The Beggar's Opera, at the theatre in James-Street, Haymarket, for her benefit, Oct. 27. At the bottom of the advertisement she says, "Mrs. Careless takes this benefit because she finds a small pressing occasion for one: and as she has the happiness of knowing she has a great many friends, hopes not to find an instance to the contrary by their being absent the above-mentioned evening; and as it would be entirely inconvenient, and consequently disagreeable, if they should, she ventures to believe they won't fail to let her have the honour of their company." In the bill of the day she says—"N. B. Mrs. Careless hopes her friends will favour her according to their promise, to relieve her from terrible fits of the vapours proceeding from bad dreams, though the comfort is they generally go by the contraries.

"Tickets to be had at Mrs. Careless's Coffee-house, the Playhouse-Passage, Bridges-Street."

Would the public, at this period of refinement, have patiently endured the familiar address of such a shameless, superannuated, advertising strumpet?

The reader will perhaps smile, when, after so much grave ratiocination, and this long deduction of particulars, he is informed that the letters are not E. C. but F. C. the initials of Fanny Cock, daughter to the celebrated auctioneer of that name, with whom our artist had had some casual disagreement.

The following, somewhat different, explanation has also been communicated to me by Charles Rogers, esq. who says it came from Sullivan, one of Hogarth's engravers: "The nobleman threatens to cane a quack-doctor for having given pills which proved ineffectual in curing a girl he had debauched; and brings with him a woman, from whom he alledges he caught the infection; at which she, in a rage, is preparing to stab him with her clasp knife. This wretch is one of the lowest class, as is manifest by the letters of her name marked with gunpowder on her breast. She, however, is brought to the French barber-surgeon for his examination and inspection, and for which purpose he is wiping his spectacles with his coarse muckender."

The explanation given by Rouquet, however, ought not to be suppressed, as in all probability he received it from Hogarth. "Il falloit indiquer la mauvaise conduite du héros de la piece. L'auteur pour cet effet l'introduit dans l'appartement d'un empirique, où il ne peut guères se trouver qu'en consequence de ses débauches; il fait en même tems rencontrer chez cet empirique une de ces femmes qui perdues depuis long-tems, font enfin leur métier de la perte des autres. Il suppose un démêlé entre cette femme et son héros, dont le sujet paroît être la mauvaise santé d'un petite fille, du commerce de laquelle il ne s'est pas bien trouvé. La petite fille au reste fait ici contraste par son âge, sa timidité, sa douceur, avec le caractère de l'autre femme, qui paroît un composé de rage, de fureur, et de tous les crimes qui accompagnent d'ordinaire les dernières débauches chez celles de son sexe.

"L'empirique et son appartement sont des objets entièrement épisodiques. Quoique jadis barbier,[A] il est aujourdhui, si l'on en juge par l'etalage, non seulment chirurgien, mais naturaliste, chimiste, mechanicien, medecin, apoticaire; et vous remarquerez qu'il est François pour comble de ridicule. L'auteur pour achever de le caracteriser suivant son idée, lui fait inventer des machines extrèmement composées pour les opérations les plus simples, comme celles de remettre un membre disloqué, ou de déboucher une bouteille.

"Je ne deciderai pas si l'auteur est aussi heureux dans le choix des objets de sa satire, quand il les prend parmi nous, que lorsqu'il les choisit parmi ceux de sa nation; mais il me semble qu'il doit mieux connoître ceux-ci; et je crois que cette planche vous en paroîtra un exemple bien marqué. Il tourne ici en ridicule ce que nous avons de moins mauvais; que deviendroit le reste s'il étoit vrai qu'il nous connût assez pour nous depeindre?"

[A] This circumstance seems to be implied by the broken comb, the pewter bason, and the horn so placed as to resemble a barber's pole, all which are exhibited either above, or within the glass case, in which the skeleton appears whispering a man who had been exsiccated by some mode of embalming at present unknown. About the time of the publication of this set of prints, a number of bodies thus preserved were discovered in a vault in Whitechapel church.—Our Quack is likewise a virtuoso. An ancient spur, a high-crowned hat, old shoes, &c. together with a model of the gallows, are among his rarities.—On his table is a skull, rendered carious by the disease he is professing to cure.—These two last objects are monitory as well as characteristic.

[4] Scotin engraved the first and sixth; Baron the second and third; Ravenet the fourth and fifth.

[5] The blunders in architecture in this unfinished nobleman's seat, on the same account, are seen to disadvantage.

[6] This edifice seems at a stand for want of money, no workman appearing on the scaffolds, or near them.

[7] In his advertisement for this set of plates, he had engaged to engrave all the faces with his own hand. See note 1 above.

[8] The account given in a former edition of this volume concerning the sale of the original pictures of Marriage-à-la-mode, being somewhat erroneous, I am happy in the present opportunity of acknowledging my obligations to Mr. Lane abovementioned, who has corrected my mistakes by a communication of the following particulars relative to the purchase:

"Some time after they had been finished, perhaps six or seven years, during which period Mr. Hogarth had been preparing and publishing prints from them, in the year 1750 he advertised the sale of the originals by a kind of auction not carried on by personal bidding, but by a written ticket on which every one was to put the price he would give, with his name subscribed to it. These papers were to be received by Mr. Hogarth for the space of one month; and the highest bidder, at twelve o'clock on the last day of the month, was to be the purchaser: and none but those who had in writing made their biddings were to be admitted on the day that was to determine the sale. This nouvelle method of proceeding probably disobliged the public; and there seemed to be at that time a combination against poor Hogarth, who perhaps, from the extraordinary and frequent approbation of his works, might have imbibed some degree of vanity, which the town in general, friends and foes, seemed resolved to mortify. If this was the case (and to me it is very apparent), they fully effected their design; for on the memorable sixth of June 1750, which was to decide the fate of this capital work, about eleven o'clock Mr. Lane, the fortunate purchaser, arrived at the Golden Head: when, to his great surprize, expecting (what he had been a witness to in 1745, when Hogarth disposed of many of his pictures) to have found his painting-room full of noble and great personages, he only found the painter and his ingenious friend Dr. Parsons, secretary to the Royal Society, talking together, and expecting a number of spectators at least, if not of buyers. Mr. Hogarth then produced the highest bidding, from a gentleman well known, of £120. Nobody coming in, about ten minutes before twelve, by the decisive clock in the room, Mr. Lane told Mr. Hogarth he would make the pounds guineas. The clock then struck twelve, and Hogarth wished Mr. Lane joy of his purchase, hoping it was an agreeable one. Mr. Lane answered, Perfectly so. Now followed a scene of disturbance from Hogarth's friend the Doctor, and, what more affected Mr. Lane, a great appearance of disappointment in the painter, and truly with great reason. The Doctor told him, he had hurt himself greatly by fixing the determination of the sale at so early an hour, when the people at that part of the town were hardly up. Hogarth, in a tone and manner that could not escape observation, said, Perhaps it may be so! Mr. Lane, after a short pause, declared himself to be of the same opinion, adding, that the artist was very poorly rewarded for his labour, and, if he thought it would be of service to him, would give him till three o'clock to find a better purchaser. Hogarth warmly accepted the offer, and expressed his acknowledgements for the kindness in the strongest terms. The proposal likewise received great encomiums from the Doctor, who proposed to make it public. This was peremptorily forbidden by Mr. Lane, whose concession in favour of our artist was remembered by him to the time of his death.—About one o'clock, two hours sooner than the time appointed by Mr. Lane, Hogarth said he would no longer trespass on his generosity, but that, if he was pleased with his purchase, he himself was abundantly so with the purchaser. He then desired Mr. Lane to promise that he would not dispose of the pictures without previously acquainting him of his intention, and that he would never permit any person, under pretence of cleaning, to meddle with them, as he always desired to take that office on himself. This promise was readily made by Mr. Lane, who has been tempted more than once by Hogarth to part with his bargain at a price to be named by himself. When Mr. Lane bought the pictures, they were in Carlo Marratt frames which cost the painter four guineas apiece."

The memory of this occurrence ought always to attend the work which afforded Mr. Lane an opportunity of displaying so much disinterested generosity.

Another correspondent begins the same story as follows—A little time before the auction, Hogarth publickly declared, that no picture-dealer should be allowed to bid. He also called on his friends, requesting them not to appear at the sale, as his house was small, and the room might be over crowded. They obeyed his injunctions. Early in this mortifying day he dressed himself, put on his tye-wig, strutted away one hour, and fretted away two more, no bidder appearing, &c. &c.

2. A small print of Archbishop Herring, at the head of the speech he made to the clergy of York, September 24, 1745. William Hogarth pinx. C. Moseley sculp.

4. The Battle of the Pictures. "Ticket to admit persons to bid for his works at an auction." On the plate called The Battle of the Pictures is written, "The bearer hereof is entitled (if he thinks proper) to be a bidder for Mr. Hogarth's pictures, which are to be sold on the last day of this month [February, 1744-5.]."

5. A festoon, with a mask, a roll of paper, a palette, and a laurel. Subscription ticket for Garrick in Richard the Third. A very faithful copy from this receipt was made by R. Livesay, 1781. It is to be sold at Mrs. Hogarth's house in Leicester-square.

1746.

1. Simon Lord Lovat.[1] Drawn from the life, and etched in aquafortis by William Hogarth.—Hogarth said himself, that Lord Lovat's portrait was taken (at the White-Hart, at St. Alban's) in the attitude of relating on his fingers the numbers of the rebel forces.—"Such a general had so many men, &c." and remarked, that the muscles of Lovat's neck appeared of unusual strength, more so than he had ever seen. When the painter entered the room, his lordship, being under the barber's hands, received his old friend with a salute, which left much of the lather on his face.—The second impressions are marked, Price One Shilling. When Hogarth had finished this plate, a printseller offered its weight in gold for it. The impressions could not be taken off so fast as they were wanted, though the rolling-press was at work all night for a week together. For several weeks afterwards he is said to have received at the rate of 12 l. per day.

[1] "This powerful laird, it has been observed, was one of the last Chieftains that preserved the rude manners and barbarous authority of the early feudal ages. He resided in a house which would be esteemed but an indifferent one for a very private, plain country gentleman in England; as it had, properly, only four rooms on a floor, and those not large. Here, however, he kept a sort of court, and several public tables; and had a numerous body of retainers always attending. His own constant residence, and the place where he received company, even at dinner, was in the very same room where he lodged; and his lady's sole apartment was her bed-room; and the only provision for the lodging of the servants, and retainers, was a quantity of straw, which they spread every night, on the floors of the lower rooms, where the whole inferior part of the family, consisting of a very great number of persons, took up their abode." See Mr. King's observations on ancient Castles, in the Archæologia, vol. IV.

Sir William Young, one of the managers appointed by the Commons of Great Britain, for conducting the prosecution against this Nobleman for High Treason, in the year 1745, makes the following observation: "Your Lordships have already done national justice on some of the principal traitors, who appeared in open arms against his Majesty, by the ordinary course of law; but this noble Lord, who, in the whole course of his life, has boasted of his superior cunning in wickedness, and his ability to commit frequent treasons with impunity, vainly imagined that he might possibly be a traitor in private, and rebel only in his heart, by sending his son and his followers to join the Pretender, and remaining at home himself, to endeavour to deceive his Majesty's faithful subjects; hoping he might be rewarded for his son's services, if successful; or his son alone be the sufferer for his offences, if the undertaking failed: diabolical cunning! monstrous impiety!" See State Trials, vol. IX. p. 627.

2. Mr. Garrick[1] in the character of Richard III. Painted by Wm. Hogarth; engraved by Wm. Hogarth and C. Grignion. The late Mr. Duncombe, of Duncombe Park in Yorkshire, gave 200 l. for the original picture, which is now in the possession of his family. The expression of the countenance is happily hit off, but the figure is abundantly too large and muscular. This print was afterwards, by Hogarth's permission, copied for a watch-paper.

[1] "Mr. Garrick had several of Hogarth's paintings; and the latter designed for him, as president of the Shakespeare club, a mahogany chair richly carved, on the back of which hangs a medal of the poet carved by Hogarth out of the mulberry-tree planted at Stratford by Shakespeare." Anecdotes of Painting, vol. IV. p. 180. edit. 8vo, 1782.

3. A stand of various weapons, bag-pipes, &c. and a pair of scissars cutting out the arms of Scotland. A subscription-ticket for the March to Finchley; of which the original price was only 7 s. 6 d. It was to be raised to 10 s. 6 d. on closing the subscription. The additional three shillings afforded the subscriber a chance for the original picture.

1747.

1. Stage-coach. An election procession in the yard. Designed and engraved by William Hogarth. In this plate there is a variation. The early impressions have a flag behind the wheel of the coach, inscribed no old baby, which was the cry used by the opponents of the honourable John Child Tylney (then Viscount Castlemain and now Earl Tylney[1]) when he stood member for the county of Essex, against Sir Robert Abdy and Mr. Bramston. The figure still carries a horn-book, and a rattle in its hands. At the election, a man was placed on a bulk with an infant in his arms, and exclaimed, as he whipt the child, "What, you little Child, must you be a member?" The family name was changed from Child to Tylney by an act of parliament in 1735. In this disputed election, it appeared from the register-book of the parish where Lord Castlemain was born, that he was but 20 years of age. Some pains have been taken to ascertain the particular inn-yard in which the scene is laid, but without success, so many of the publick-houses between Whitechapel and Chelmsford in Essex having been altered, or totally rebuilt.

[1] Since dead.—Inter Socraticos notissima fossa cinædos.

2. Industry and Idleness, in twelve plates.[1] Mr. Walpole observes, that "they have more merit in the intention than execution." At first they were printed off on very thin paper. Plate V. The scene is Cuckold's Point, below London Bridge. Plate VI. In a few first impressions, "Goodchild and West" is written under the sign, instead of "West and Goodchild." Hogarth had inadvertently placed the name of the junior partner first. Some mercantile friend, however, pointing out the mistake, when as yet only a few copies were taken off, our artist corrected it, to avoid the criticisms of Cheapside and Cornhill. In this plate is a figure of Philip in the Tub, a well-known beggar and cripple, who was a constant epithalamist at weddings in London, and had visited Ireland and The Seven Provinces. The French clergyman in Plate VIII. was designed for Mr. Platell, curate of Barnet. Plate XI. The scene is in a cellar of a noted house that went by the name of "The Blood Bowl House," from the various scenes of blood that were there almost daily exhibited, and where there seldom passed a month without the commission of a murder. Blood Bowl-alley is down by the fishmonger's, near Water-lane, Fleet-street; and I am assured, that the house and event, that gave rise to the name, were there. In Plate XI. is Tiddy Doll, the well-known vender of gingerbread. Just behind him, in a cart, to bring away the body of the criminal, is his mother. Though her face is concealed, she is distinguished by her excess of sorrow, and the black hood she has worn throughout the foregoing representations of her. Plate XII. Frederick Prince of Wales, and the Princess of Wales, in the balcony. The standards of the Blacksmiths' and Stationers' Companies appear in the procession. The flag, at the corner of one of the stands, belongs to the Pinners and Needlers. The hint for this series of prints was evidently taken from the old comedy of Eastward-hoe, by Jonson, Chapman, and Marston, reprinted in Dodsley's Collection of Old Plays. "The scenes of Bedlam and the gaming-house," as Mr. Walpole well observes, "are inimitable representations of our serious follies, or unavoidable woes; and the concern shown by the lord-mayor, when the companion of his childhood is brought before him as a criminal, is a touching picture, and big with humane admonition and reflection." The late comedian Mr. James Love (otherwise Dance, and brother to the painter of that name) dramatized this series of prints; and Mr. King, now deputy-manager of Drury-lane, performed the character of the Good 'Prentice.

These Plates were retouched by Hogarth; but, as usual, whatever they gained in respect to force, they lost in the article of clearness. They offer no variations, except such as are occasioned by his having thrown a few of the figures into shade, that others might appear more prominent. Dr. Ducarel informed me, that the passages of Scripture applicable to the different scenes were selected for Mr. Hogarth, by his friend the Rev. Mr. Arnold King.

In the following year was published, price one shilling (being an explanation of the moral of twelve celebrated prints lately published, and designed by the ingenious Mr. Hogarth), "The Effects of Industry and Idleness, illustrated in the Life, Adventures, and various Fortunes of Two Fellow 'Prentices of the City of London: shewing the different Paths, as well as Rewards of Virtue and Vice; how the good and virtuous 'Prentice, by gradual Steps of Industry, rose to the highest Pitch of Grandeur; and how, by contrary Pursuits, his Fellow-'Prentice, by Laziness and Wickedness, came to die an ignominious Death at the Gallows. ¶ This little book ought to be read by every 'Prentice in England, to imprint in their hearts these two different examples, the contrary effects each will produce on their young minds being of more worth than a hundred times the price, i. e. an abhorrence of the vice and wickedness they perceive in the one boy, and, on the contrary, an endeavour after an imitation of the actions of the other. And is a more proper present to be given to the Chamber of London, at the binding and enrolling an apprentice, than any other book whatever. Printed by Charles Corbett, at Addison's Head in Fleet street."

[1] The following description of Hogarth's design is copied from his own hand-writing: "Industry and Idleness exemplified in the conduct of two Fellow 'Prentices: where the one, by taking good courses, and pursuing points for which he was put apprentice, becomes a valuable man and an ornament to his country; the other, by giving way to idleness, naturally falls into poverty, and ends fatally, as is expressed in the last print. As the prints were intended more for use than ornament, they were done in a way that might bring them within the purchase of whom they might most concern; and, lest any print should be mistaken, the description of each print is engraved at top."

4. Jacobus Gibbs, architectus. W. Hogarth delin. J. M^c Ardell fec. Partly mezzotinto, partly graved. No date.

5. To this period may be referred the arms of The Foundling Hospital, printed off on the tops of the indentures; together with

6. The same, but smaller; employed as a frontispiece to "Psalms, Hymns, and Anthems; for the Use of the Children of the Hospital for the Maintenance and Education of exposed and deserted Young Children."

They are both classed here, because the original drawing (see under the year 1781) is dated in 1747.

1748.

1. A monk leading an ass with a Scotch man and woman on it, &c. A wooden cut. Head-piece to the "Jacobite's Journal." This was a news-paper set up and supported by Henry Fielding, and carried on for a few months with some success. The wooden-cut was only prefixed to six or seven of the papers. Being faintly executed, it was soon worn out, and has lately been copied in aqua tinta by Mr. Livesay.

2. Pool of Bethesda, from the picture [1] he painted for St. Bartholomew's Hospital. Engraved by Ravenet for S. Austen, as a frontispiece for Stackhouse's Bible. In this plate, I am assured by an old acquaintance of Mr. Hogarth, is a faithful portrait of Nell Robinson, a celebrated courtezan, with whom, in early life, they had both been intimately acquainted.

[1] Of this picture Mr. S. Ireland has a large sketch in oil.

1749.

1.[1] The Gate of Calais.[2] Engraved by C. Mosley and W. Hogarth. "His own head sketching the view. He was arrested when he was making the drawing, but set at liberty when his purpose was known." See above, p. 49. Mr. Walpole also observes, that in this piece, though it has great merit, "the caricatura is carried to excess." Mr. Pine the engraver sat for the portrait of the Friar, a circumstance of which he afterwards repented;[3] for, thereby obtaining the nick-name of Friar Pine, and being much persecuted and laughed at, he strove to prevail on Hogarth to give his Ghostly father another face. Indeed, when he sat to our artist, he did not know to what purpose his similitude would afterwards be applied. The original picture is in the possession of the Earl of Charlemont. Soon after it was finished, it fell down by accident, and a nail ran through the cross on the top of the gate. Hogarth strove in vain to mend it with the same colour, so as to conceal the blemish. He therefore introduced a starved crow, looking down on the roast-beef, and thus completely covered the defect.

The figure of the half-starved French centinel has since been copied at the top of more than one of the printed advertisements for recruits, where it is opposed to the representation of a well-fed British soldier. Thus the genius of Hogarth still militates in the cause of his country.

A copy of this print was likewise engraved at the top of a Cantata, intituled, The Roast Beef of Old England. As it is probable that the latter was published under the sanction of our artist, I shall, without scruple, transcribe it.

Printed for R. Sayer, at the Golden Buck in Fleet-street; and J. Smith, at Hogarth's Head in Cheapside.

At the end of a pamphlet which I shall have occasion to mention under the year 1755, was announced, as speedily to be published under the auspices of our artist, "A Poetical Description of Mr. Hogarth's celebrated print, The Roast Beef of Old England, or the French surprized at the Gate of Calais."