5. A just View of the British Stage, or three heads better than one, scene Newgate, by M. D. V—to.[1] This print represents the rehearsing a new farce, that will include the two famous entertainments Dr. Faustus and Harlequin Shepherd.[2] To which will be added, Scaramouch Jack Hall the Chimney-sweeper's Escape from Newgate through the Privy, with the comical Humours of Ben Johnson's Ghost, concluding with the Play Dance, performed in the air by the figures A. B. C. [Wilks, Booth, and Cibber] 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 upon Jack Hall will be made of chewed Gingerbread, to prevent Offence. Vivat Rex. Price Sixpence. Such is the inscription on the plate; but I may add, that the ropes already mentioned are no other than halters, suspended over the heads of the three managers;[3] and that labels issuing from their respective mouths have the following characteristic words. The airy Wilks, who dangles the effigy of Punch, is made to exclaim—"Poor R-ch! faith I pitty him." The laureat Cibber, with Harlequin for his playfellow, invokes the Muses painted on the cieling—"Assist, ye sacred Nine;" while the solemn Booth, letting down the image of Jack Hall into 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 of Jack Shepherd, in confinement; and over the forica is suspended a parcel of waste paper, consisting of leaves torn from The Way of the World—Hamlet—Macbeth, and Julius Cæsar. Ben Jonson's Ghost, 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 the What d' ye call it] entertainment. The countenances of Tragedy and Comedy, on each side of the stage, are hoodwinked by the bills for Harlequin Dr. Faustus and Harlequin 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 Ingenio is the motto over the curtain. In Mr. Walpole's catalogue the description of this plate is, "Booth, Wilks, and Cibber, contriving a pantomime. A satire on farces. No name."

1726.

1. Frontispiece to Terræ-filius. W. Hogarth fec. This work was printed in two volumes 12°, at Oxford, and is a satire on the Tory principles of that University. It was written by Nicholas Amherst, author of The Craftsman, and was originally published in one volume.

2. Twelve prints for Hudibras; the large set. W. Hogarth inv. pinx. et sculp. Under the head of Butler: "The basso relievo of the pedestal represents the general design of Mr. Butler, in his incomparable poem of Hudibras; viz. Butler's Genious in a Car lashing around Mount Parnassus, in the persons of Hudibras and Ralpho, Rebellion, Hypocrisy, and Ignorance, the reigning vices of his time." This set of prints was published by subscription, by P. Overton and J. Cooper. Mr. S. Ireland has seven of the original drawings; three others are known to be preserved in Holland; 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 of Beaufort's sale in Wiltshire. The printed title to them is, "Twelve excellent and most diverting Prints; taken from the celebrated Poem of Hudibras, wrote by Mr. Samuel Butler. Exposing the Villany and Hypocrisy of the Times. Invented and Engraved on Twelve Copper-plates, by William Hogarth, and are humbly dedicated to William Ward, Esq. of Great Houghton in Northamptonshire; and Mr. Allan Ramsay, of Edinburgh.

"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 thy Hudibras.

"Printed and sold by Philip Overton, Print and Map-seller, at the Golden Buck near St. Dunstan's Church in Fleet-street; and John Cooper, in James-street, Covent Garden, 1726."

Allan Ramsay subscribed for 30 sets. The number of subscribers in all amounts to 192. On the print of Hudibras and the Lawyer is W. 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 the Committee, 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 representing Hudibras and Ralpho, engraved by Pine. The original drawing for it by Hogarth is in the possession of Mr. Betew, Silversmith, in Compton-street, Soho.

3. Seventeen small prints for Hudibras, with Butler's head. There certainly must have been some mistake concerning this portrait. It never could have been designed for the author of Hudibras; but more strongly resembles John Baptist Monnoyer, the flower-painter. There is a print of him by White, from a picture of Sir Godfrey Kneller. This I suppose to have been the original of Hogarth's small Butler.

The same designs engraved on a larger scale, and with some slight variations, by J. Mynde, for Grey's edition of Hudibras, published in 1744.

Previous, however, to both, appeared another set of plates, eighteen in number, for an edition in eighteens of this celebrated poem. To these it is manifest that Hogarth was 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 for R. Chiswel, J. Tonson, T. Horne, and R. Willington, 1710."

Copies from the smaller plates are likewise inserted in Townly's translation of Hudibras into French, with the English on the opposite page. He was, I believe, an officer in the Irish brigade. The following is the title-page to his work. "Hudibras, Poeme ecrit dans les tems des troubles d'Angleterre; et traduit en vers François, avec des remarques et des figures. 3 tom. 12mo. A Londres, 1757." It seems rather to have been printed at Paris. The plates have no name subscribed to them.

4. Cunicularii, or the Wise Men of Godliman in Consultation.

"They held their talents most adroit
For any mystical exploit." Hudib.

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

"To the Hon^ble. Sir Hans Sloane. To be left at the Grecian Coffe House, in Devereux Court near Temple Bar London.

"Sir, The report of a woman's breeding of rabbits has almost alarmed England, and in a manner persuaded several people of sound judg^t of 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

"Y^r humble Servant,

"Onslow.

"Clandon, Dec. 4th, 1726."

Soon after, Mr. St. André also addressed this note to Sir Hans Sloane:

"Sir, I have brought the woman from Guilford to y^e Bagnio in Leicester-fields, where you may if you please have the opportunity of seeing her deliver'd. I am S^r Your Hum Serv^t

"St. André.[1]

"To Sir Hans Sloane in Bloomsbury Square."

In the plate already mentioned, figure A represents St. 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 Sir Richard Manningham, C Mr. Sainthill a celebrated surgeon here in London, D is Howard the surgeon at Guildford, 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 of Hogarth.

In Mist'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 on by her. 'Tis given gratis no where, but only up one pair of stairs at the sign of the celebrated Anodyne Necklace recommended by Doctor Chamberlen for Children's teeth, &c."

The original drawing from which the plate promised in Mist's Journal was taken, remained in the possession of Mr. James Vertue, and was probably designed by his brother George. It was sold in 1781 in the collection of George Scott, Esq. of Chigwell in Essex, 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 likewise
The make of these rabbits, their growth and their size.
He preserv'd them in spirits, and—a little too late
Preserv'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. André appears in the habit of a Merry-Andrew. The general title of it is, "The Doctors in Labour; or a new Whim-wham from Guilford. Being a representation of the frauds by which the Godliman woman carried on her pretended Rabbit breeding; also of the simplicity of our Doctors, by which they assisted to carry on that imposture, discovered their skill, and contributed to the mirth of his Majesty's liege subjects."

In Mist's Journal for Saturday, Dec. 17, 1726, is also the following paragraph, which shews that the playhouse joined in the general ridicule of St. André. "Last week the entertainment called The Necromancer was performed at the Theatre in Lincoln's-Inn Fields, wherein a new Rabbit-scene was 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 of Saturday, 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 by Laguerre, and scraped by Faber. She has a rabbit on her lap, and displays a countenance expressive of the utmost vulgarity. In Hogarth's comic 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 in Red-Lion-Square, laid a wager of ten guineas with St. 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 from The Weekly Miscellany, for April 19, 1740, that a few days before, "The celebrated Rabbit-woman of Godalmin in Surry was committed to Guildford Gaol, for receiving stolen goods."

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

1727.

1. Music introduced to Apollo by Minerva. 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 to Priapus. 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 wit in this print." The attentive observer will find, that Hogarth has transplanted several circumstances from hence into the first plate to the Analysis 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 of Heidegger appears 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]

Concerning John 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 of Zurich in Switzerland, where he married, but left his country in consequence of an intrigue. Having had an opportunity of visiting the principal cities of Europe, 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 years old, he came to England on a negotiation from the Swiss at Zurich; 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 'the Swiss Count.'[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 in English, and performed at the Queen's theatre in the Haymarket. The music, however, was Italian; that is to say, airs selected from sundry of the foreign operas by Bononcini, Scarlatti, Stefani, Gasparini, and Albinoni. Most of the songs in 'Thomyris' were excellent, those by Bononcini especially: Valentini, Margarita, and Mrs. Tofts sung in it; and Heidegger by 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 of the 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 to George II. 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 in The 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 5000 l. which he spent with much liberality: particularly in the maintenance of perhaps a somewhat too luxurious table; 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 we have good authority for saying in honour to his memory, that he walked from Charing-Cross to Temple-bar, and back again; and when he came home, wrote down every sign on each side the Strand.

"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 to joke upon his own ugliness; and he once laid a wager with the earl of Chesterfield, that, within a certain given time, his lordship would not be able to produce so hideous a face in all London. After strict search, a woman was found, whose features were at first sight thought stronger than Heidegger'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!' Jolly bowed and retired, wrote a letter, and sent it by a servant to Heidegger; saying, 'his grace wished to see him the next morning on particular business.' Heidegger attended, and Jolly was there to meet him; and in consequence, as soon as Heidegger's visit was over, Jolly received the cash.

"The late facetious duke of Montagu (the memorable author of the bottle-conjuror at the theatre in The Haymarket) gave an entertainment at The 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. Heidegger was invited, and in a few hours after dinner 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's daughter 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 of Yarmouth), the duke made application to Heidegger's valet 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 false Heidegger ordered them to strike up 'Charly over the Water.' The whole company were instantly thunderstruck, and all the courtiers, not in the plot, were thrown into a stupid consternation. Heidegger flew 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. While Heidegger stayed 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, imitating Heidegger, damned them for blockheads, had he not just told them to play 'Charly over 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 of Cumberland, who could hardly contain himself, interposed. The company were thrown into great confusion. 'Shame! Shame!' resounded from all parts, and Heidegger once more flew in a violent rage to that part of the theatre facing the gallery. Here the duke of Montagu, 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 false Heidegger to do the same. The scene now became truly comic in the circle before the king. Heidegger had no sooner made a genteel apology for the insolence of his musicians, but the false Heidegger advanced, and, in a plaintive tone, cried out, 'Indeed, Sire, it was not my fault, but that devil's in my likeness.' Poor Heidegger turned 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; but Heidegger swore 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 of Europe, had the greatest ingenuity; to the surprise of all present, he claimed that character for the Swiss, and appealed to himself for the truth of it. 'I was born a Swiss, said he, 'and came to England without a farthing, where I have found means to gain 5000 l. a year, and to spend it. Now I defy the most able Englishman to go to Switzerland, and either to gain that income, or to spend it there.' He died Sept. 4, 1749, at the advanced age of 96 years, at his house at Richmond in Surrey, where he was buried. He left behind him one natural daughter, Miss Pappet, who was married Sept. 2, 1750, to Captain (afterwards Sir Peter) Denis.[11] Part of this lady's fortune was a house at the north west corner of Queen-square, Ormond-street, which Sir Peter afterwards sold to the late Dr. Campbell, and purchased a seat in Kent, pleasantly situated near Westram, then called Valence, but now (by its present proprietor, the earl of Hillsborough) Hill Park."

3. Frontispiece to a Collection of Songs, with the Music by Mr. Leveridge, in two vols. 8vo. London, engraved and printed for the author, in Tavistock-street, Covent-Garden, 1727. This design consists of a Bacchus and a Venus in 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 be Hogarth's.

2. Rich's Glory, or his Triumphant Entry into Covent Garden. W. H. I. E^t. SULP. Price Sixpence.

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

This plate represents the removal of Rich and his scenery, authors, actors, &c. from Lincoln's-Inn Fields to the New House; and might therefore be as probably referred to the year 1733, when that event happened. The scene is the area of Covent 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 in Perseus and Andromeda) riding with his mistress in a chariot driven by Harlequin, and drawn by Satyrs. But let the verses at bottom explain our artist's meaning:

Not with more glory through the streets of Rome,
Return'd great conquerors in triumph home,
Than, proudly drawn with Beauty by his side,
We see gay R—-[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.
No sensible and pretty play 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.
Quin th' Old Bachelour, a Hero Ryan shows,
Who stares and stalks majestick as he goes.
Walker,[4] in his lov'd character we see
A Prince, tho' once a fisherman was he,
And Massanelo nam'd; in this he prides,
Tho' fam'd for many other parts besides.
Then Hall,[5] who tells the bubbled countrymen
That Carolus is Latin for Queen Anne.
Did ever mortal know so clean a bite?
Who else, like him, can copy Serjeant Kite!
To the Piazza let us turn our eyes,
See Johnny Gay on 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 the Man of Taste, Mr. Pope was apparently designed. He is represented, in his tye-wig, at one corner of the Piazza, wiping his posteriors with the Beggar'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's Life of Gay, that Pope did not think the Beggar's Opera would 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 his Intelligencer against the attacks of Dr. Herring,[7] then preacher to the Society of Lincoln's-Inn, afterwards archbishop of Canterbury. Hogarth might be wanton in his satire; might have founded it on idle report; or might have sacrificed truth to the prejudices of Sir James Thornhill, whose quarrel, on another occasion, he is supposed to have taken up, when he ridiculed The Translator of Homer in a view of "The Gate of Burlington-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 of Hogarth, if the initials of his name had been wanting at the bottom of the plate.