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

10. Hogarth's Crest, exhibiting the Line of Beauty. Cyprus and Variety subjoined by way of mottoes; but my readers will anticipate me when I observe that the universe contains no place in which Hogarth had so little interest as in the Cyprian isle, where Venus was attended by the Graces. Hogarth's original sketch, which he delivered to Mr. Catton the coach-painter for the purpose of having it transferred on his carriage, is now in the possession of Mr. Livesay.

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

1785.

1. Orator Henley Christening a Child. Etched by Sam^l Ireland from an original sketch in oil—in his possession—by Hogarth.—To Francis Grose, Esq; F. A. S. an encourager and promoter of the arts, this etching, from his favourite Hogarth, is inscribed by his obliged friend and servant, Sam^l Ireland.

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

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warmest thanks of every collector of the works of Hogarth.—May a hope be added, that he will favour us with yet other unpublished designs of the same master?

Prints of uncertain Date.

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

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

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

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

Mary and Ann Hogarth.

from the Old Frock-shop near the corner of The
Long Walk, facing The Cloysters, Removed to y^e
Kings Arms joyning to y^e Little Britain-gate, near
Long Walk. Sells y^e best and most Fashionable
Ready Made Frocks, sutes of Fustian, Ticken and
Holland, stript Dimmity and Flañel Wastcoats, blue
and canvas Frocks, and bluecoat Boys Dra^rs.

Likewise Fustians, Tickens, Hollands, white stript
Dĩ̃mitys, white and stript Flañels in y^e piece.

By wholesale or Retale, at Reasonable Rates.

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

3. A Turk's head. "A shop bill," for John Barker, goldsmith, at the Morocco Ambassador's head in Lombard-Street.—A copy of this has been made.

4. A shop-bill, with emblems of Trade. Grand Duke of Tuscany's arms at the top; those of Florence within the plate. At the four corners, views of Naples, Venice, Genoa, and Leghorne.

At Mrs. Holt's,
Italian Warehouse,

at the two Olive Posts in y^e broad part of The
Strand almost opposite to Exeter Change are sold all
Sorts of Italian Silks, as Lustrings, Sattins, Padesois,
Velvets, Damasks, &c. Fans, Legorne Hats, Flowers,
Lute and Violin Strings, Books of Essences, Venice
Treacle, Balsomes, &c. And in a Back Warehouse
all Sorts of Italian Wines, Florence Cordials, Oyl,
Olives, Anchovies, Capers, Vermicelli, Bolognia Sausidges,
Parmesan Cheeses, Naple Soap, &c.

Ellis Gamble
Goldsmith,
at the Golden-Angel in Cranbourn-street,
Leicester-Fields.
Makes Buys and Sells all Sorts
of Plate, Rings and Jewels
&c.

Ellis Gamble
Orfeure,
a l'Enseigne de l'Ange d'Or
dans Cranbourn-Street, Leicester-Fields.
Fait, Achete,
& vend toutes sortes d'Argenterie,
Bagues & Bijouxs, &c.

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

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

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

16. Minerva, sitting and holding the arms of Holland, four Cupids round her. "Done for the books of John Holland, herald-painter."

Of this there are two plates. The Fleurs de Lys in the one are more numerous and crowded than in the other.

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

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

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

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

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

[1] In justice, however, to one of these designs, I transcribe part of a letter that appeared in The Gentleman's Magazine for March 1782.

"Twickenham, March 12.

"Mr. Urban,

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

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

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

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

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

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

20. Impression from a coat of arms engraved on a silver dish made by Delemery; purchased, at some distance of time, by Sir Gregory Page, Bart. who erased the original arms from the escutcheon, and had his own put in. The dish was afterwards bought at Christie's at a sale of Sir Gregory's plate; and when 25 impressions only had been taken from it, was cut to pieces by R. Morrison, 1781. I wish some of these discoveries of Hogarth's engravings had been made by people who had no immediate view to their own profit, and the sale of their acquisitions. Too many of our collectors are become dealers.

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

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

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

This ticket (as is already observed) must have been issued before 1733, when the Theatre in Lincolns-Inn-Fields was shut up, and all the actors, Milward among the rest, removed to Covent Garden.

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

I should suspect that this plate was published about 1742, when the Procession [3] of Scald Miserables had been produced [4] to parody the cavalcade of the Free Masons, who ever afterwards discontinued their annual procession. Hogarth was always ready to avail himself of any popular subject that afforded a scope to ridicule. Among Harry Carey's Poems, however, 1729, third edition, is the following;

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

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

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

[2] Who would not laugh, &c. Parody on the concluding couplet of Pope's character of Addison.

[3] The contrivers of the Mock Procession were at that time said to be Paul Whitehead, esq. and his intimate friend (whose real Christian name was Esquire) Carey, of Pall Mall, surgeon to Frederic Prince of Wales. The city officers did not suffer this procession to go through Temple-Bar, the common report then being, that its real intent was to affront the annual procession of the Free Masons. The Prince was so much offended at this piece of ridicule, that he immediately removed Carey from the office he held under him.

[4] The print, representing a View of Somerset-House and of The Strand, is 3 feet 11½ inches in length, and ten inches in width; and is intituled, "A Geometrical View of the grand Procession of the scald-miserable Masons, designed as they were drawn up over against Somerset-House in The Strand, on the Twenty-seventh of April, An° 1742. Invented and engraved by A. Benoist, at his Lodgings, at Mr. Jordan's, a Grocer, the North East Corner of Compton-street, So-ho; and sold by the Printsellers of London and Westminster.—Note, A. Benoist teaches Drawing abroad.

"N° 1. The grand Swoard Bearer, or Tyler, carrying the Swoard of State (a Present of Ishmael Abiff to old Hyram King of the Saracens) to his Grace of Wattin, Grand Master of the Holy Lodge of St. John of Jerusalem in Clerkenwell.

"2. Tylers or Guarders.

"3. Grand Chorus of Instruments.

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

"5. Two famous Pillars, Jachin and Boaz.

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

"7. The Entered Prentice's Token.

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

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

"10. A Master Mason's Lodge.

"11. Grand Band of Musick.

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

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

A different, but a smaller, print of this Mock Procession was printed in May 1742, with the following memoranda, viz. "The great Demand there has been for The Westminster Journal, of the 8th instant, occasion'd reprinting the following piece.

"From my own Apartments in Spring Gardens.

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

"T. Touchit.

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

After the print follows: "A Key, or Explanation of the solemn and stately Procession of the Scald-Miserable Masons, as it was martial'd on Tuesday the 27th past, by their Scald-Pursuivant Black Mantle—set forth by Order of the Grand Master Poncy."—Printed by J. Mechell, at The Kings Arms in Fleet-street, and sold by the Pamphlet-shops, &c. Price Two-pence.

Extracts from The London Daily Post, March 20, 1740-1, &c. "Yesterday some mock Free-Masons marched through Pall-Mall and The Strand, as far as Temple-Bar, in procession; first went fellows on jack-asses, with cows horns in their hands; then a kettle-drummer on a jack-ass, having two butter-firkins for kettle-drums; then followed two carts drawn by jack-asses, having in them the stewards with several badges of their order; then came a mourning coach drawn by six horses, each of a different colour and size, in which were the grand master and wardens; the whole attended by a vast mob. They stayed without Temple Bar till the Masons came by, and paid their compliments to them, who returned the same with an agreeable humour that possibly disappointed the witty contriver of this mock scene, whole misfortune is, that though he has some wit, his subjects are generally so ill chosen, that he loses by it as many friends as other people of more judgement gain."

Again, April 28, 1742. "Yesterday being the annual feast of the ancient and honourable society of Free and Accepted Masons, they made a grand procession from Brook-street to Haberdashers Hall, where an elegant entertainment was provided for them, and the evening was concluded with that harmony and decency peculiar to the society."

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

Again, May 3, 1744. "Yesterday several of the mock masons were taken up by the constable empowered to impress men for his Majesty's service, and confined till they can be examined by the justices."

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

27. The Oratory.[1] Orator Henley on a scaffold, a monkey (over whom is written Amen) by his side. A box of pills and the Hyp Doctor lying beside him. Over his head, "The Oratory. Inveniam viam, aut faciam."[2] Over the door. "Ingredere ut proficias."[3] A Parson receiving the money for admission. Under him, "The Treasury." A Butcher stands as porter. On the left hand, Modesty in a cloud; Folly in a coach; and a gibbet prepared for Merit; people laughing. One marked The Scout,[4] introducing a Puritan Divine. A Boy easing nature. Several grotesque figures, one of them (marked Tee-Hee) in a violent fit of laughter. I discover no reason for regarding this as a production of Hogarth, though his name, cut from the bottom of one of his smaller works, was fraudulently affixed to an impression of it belonging to the late worthy Mr. Ingham Foster, whose prints were sold at Barford's, in March 1783. Hogarth, whose resources, both from fancy and observation, were large, was never, like the author of this plate, reduced to the poor necessity of peopling his comic designs with Pierot, Scaramouch, and the other hackneyed rabble of French and Italian farces.

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

[2] The motto on the medals which Mr Henley dispersed as tickets to his subscribers. See Note on Dunciad, III. 199.

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

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

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

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

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

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

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

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

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

While Picart was preparing his Religious Ceremonies, he wrote to some friend here, to supply him with representations illustrative of his subject. His correspondent, either through ignorance or design, furnished him with the two preceding plates by Hogarth. Picart has engraved the former with a few variations, and the latter with the utmost fidelity. The one is called by him Le Serment de la Fille qui se trouve enceinte; the other, Le Baptême domestique. The first contains a supposed portrait of Sir Thomas de Veil. For the conversion of a civil into a religious ceremony, let the Frenchman, or his purveyor, be answerable. The lines under Hogarth's performance are as follows:

Hogarth's picture is in the possession of the Rev. Mr. Whalley, at Ecton, Northamptonshire.

Mr. Whalley is the nephew of John Palmer, whose portrait is mentioned among the works of Hogarth. See p. 295. This picture too is at Ecton. The foregoing print (as already observed, p. 121.) must have been published before the year 1735.

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

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

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

"W. Hogarth pinx. Ford fecit. The R^t. Hon^ble. Gustavus Lord Visc^t. Boyne, Baron of Stackallen, one of his Majesty's most Hon^ble. Priuy Council, one of the Com^rs. of the Revenue of Ireland, &c.

"To the R^t. Hon^ble. the Earl of Kildare this plate is humbly dedicated by his Lordship's most obedient humble serv^t. Mich. Ford.

"Published and sold by Mich. Ford, Painter and Print-seller on Cork Hill. Price 5^s. 5.^d. [i. e. five thirteens."]

Mr. Walpole's is probably a later or a retouched impression from the same plate, after it had fallen into the hands of one Andrew Miller, who effaced the name of Ford, and substituted his own.

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

31. Mr. Pine (the celebrated engraver), in the manner of Rembrandt. Mezzotinto (about the year 1746), by M'Ardell, Price 2 s. The original was in the possession of the late Mr. Ranby the surgeon.

There is a second head of Mr. Pine, a mezzotinto; both his hands leaning on a cane. Printed for George Pulley, at Rembrandt's Head, the corner of Bride-court, Fleet-street.

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

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

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

33. Daniel Lock, Esq. F. S. A. formerly an architect. He retired from business with a good fortune, lived in Surrey-street, and was buried in the chapel of Trinity College, Cambridge. Mezzotinto. W. Hogarth pinx. J. M'Ardell fecit. Price 1 s. 6 d.

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

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

35. Original of the same, in a smaller size, with the Duke of Richmond's arms as president.

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

When Lord Carteret, about the year 1737, was seeking artists to design, &c. plates for his Spanish edition of this famous novel, published in 1738, Hogarth, of course, was not overlooked. His performances, however, gave so little satisfaction to his noble employer, that they were paid for, and then laid aside in favour of Vandrebank's drawings, afterwards engraved by Vandergucht. The plates remaining in the hands of Mr. Tonson, his lordship's publisher, at his death, were bought by Mr. Dodsley, who, finding they exhibited no descriptions that could render them welcome to the possessors of any copy of Don Quixote whatever, had the titles of the chapters, &c. to which they belong, together with references to the corresponding pages in Jarvis's translation, engraved under each of them. The subjects of them are, I. Funeral of Chrysostom, and Marcella vindicating herself; vol. I. p. 71. II. The Inn-keeper's wife and daughter taking care of the Don after being beaten and bruised, p. 129. III. Don Quixote releases the galley slaves, p. 129. IV. The unfortunate Knight of the Rock meeting Don Quixote, p. 140. V. Don Quixote seizes the barber's bason for Mambrino's helmet, p. 155. VI. The Curate and Barber disguising themselves to convey Don Quixote home, p. 166. Tonson had several specimens of plates, both in quarto and octavo sizes, executed for editions of Shakspeare, but they shared the same fate with the others prepared for Don Quixote.

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

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

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

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

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

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

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

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

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

* 45. Arms of Chudleigh; motto "Aut vincam, aut peribo." Done for Major L'Emery, whilst Hogarth was apprentice.

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

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

"London. Printed for the Author; and are to be sold at his house in Well-Court in Queen-Street, near Cheapside, 1726."

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

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

1785.

Prints of uncertain Date.