NA 
 
 7332 
 
 H72 
 
 F5^ 
 
 1921 
 
CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 FINE ARTS LIBRARY 
 
The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924079642777 
 
MSNELL UNIVERSITY LIBRARY 
 
 3 1924 079 642 m 
 
f. 
 
 
 Copyright, 1911 
 W. 6 J. Sloane 
 
 Printed for W. 6 ]. Sloane and pro- 
 dnced at the Printing Crafts Build- 
 ing, Trhich is near the Pennsylvania 
 Station in New York, hj the Robert 
 L. Stillson Company. 
 
The Fifiings of A 
 
 FAMOUS 
 
 ENGLISH 
 
 HOUSE 
 
 Known as The Hogarth Houfe 
 
 P'XISTING in the once fashionable locality 
 of Soho in London. 
 
 'T'HE wall and ceiling paintings are the Joint 
 ^ work of England's two greatest artists — Sir 
 James Thornhill, Sergeant-Painter to George 
 L and William Hogarth. Sergeant-Painter to 
 George IL 
 
 A LTHOUGH several efforts have been made to 
 place these most famous examples of Georgian 
 architectural fittings on permanent exhibition, the 
 honor of offering them in America has come to 
 
 W. 6 J. SLOANE 
 
 FIFTH AVENUE AND 47TH STREET 
 NEW YORK 
 
THE FAMOUS HOGARTH HOUSE 
 
Th e 
 
 HOGARTH HOUSE 
 
 iN this house Sir Isaac Newton was a 
 visitor and probably sat for his portrait. 
 In this house Sir James Thornhill, the 
 best decorative painter of his time, 
 and William Hogarth, the best man in 
 his own moral satiric field of any time, 
 worked together upon the frescoes of 
 the grand staircase. A house of red brick and stone with 
 an Ionic doorway and curved pediment exquisitely simple, 
 rooms in the best Augustan taste, a marvelous staircase, 
 and the frescoes, it stood in Soho, then fashionable, and 
 was displaced only recently to make way for a modern 
 office building. An effort, which failed, was made to buy 
 its interior fittings for the British nation. Now the stair- 
 case, walls, mouldings, fireplaces, frescoes, all most care- 
 fully removed and reset, are on exhibition in the display 
 rooms of W. 6 J. Slofine, at Fifth Avenue and 47th 
 
 [Street.] 
 

 
 
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 THE MAIN STAIRCASE 
 
 The above illustration conveys only a suggestion of the beauty and picturesque charm 
 of the frescoes, which were painted by Hogarth and Thornhill and are more fully 
 described in the text. 
 
Street, New York. They arc ready to be incorporated in a 
 house of the proper style; they deserve, the frescoes in 
 particular, to have a house built about them. 
 
 Seventy-five Dean Street was the home until 1724, or 
 a little earlier, of Sir James Thornhill, Sergeant-Painter 
 to George I, but more Justly celebrated for his excellent 
 decorative and historical paintings in great English houses. 
 He was one of the first in England to advocate a British 
 Academy of Art, an incorporator of the first academy for 
 the study of painting, and later the conductor of a school 
 where Hogarth studied. 
 
 William Hogarth, engraver, maker of satiric sketches, 
 painter, author of The Harlot's Progress, The Rake's 
 Progress, Marriage a la Mode, pictures so rich in the 
 life of their times, so imaginative and so telling that they 
 are as good literature as they are painting, Hogarth is, 
 with Pope and Addison, Goldsmith, Fielding, and Dr. 
 Johnson, one of the indispensable figures of the eighteenth 
 century. His pictures have become as much a part of the 
 history of human nature as Bos well's "Life of Johnson/' 
 or "Tom Jones." "Draw them," wrote Dean Swift to 
 Hogarth of the fools that surrounded him. "Draw them so 
 that we may trace ALL the soul in every face." This is 
 what Hogarth did, unfailingly, except when the pompous 
 historic fashion of the time occasionally misled him; and 
 while his reputation as the prime satiric draughtsman of 
 his or any day has not declined, his reputation as a master 
 of color in pure painting has even increased. He was 
 
 [indisputably] 
 
WILLIAM HOGARTH 
 
 Painted in 1745 by Himself 
 
 " The bloe-eyed head in its Montero cap disregards the famous inscription on the palette. 'The 
 Line of Beauty.' A demand for the solution of this enigma inspired him to write his book. 'The 
 Analysis of Beauty'." — From Dobson's "William Hogarth." 
 
indisputably one of the greatest geniuses in an age which 
 marked in some respects the highwater mark of European 
 taste and intelligence. 
 
 As an impatient and ambitious youth, Hogarth attended 
 Sir James Thornhill's art school. In 1729 he ran off 
 with his daughter, whose picture (or Lady Thornhill's) 
 is probably included in the frescoes of the house, and 
 married her, with the approval of Lady Thornhill. Sir 
 James regarded this match with a novice, the son of an 
 indigent schoolmaster, as anything but fortunate. He was 
 furious, and remained so until some two years later the 
 first paintings of The Harlot's Progress were left in 
 his way. He recognized genius, learned the author, and 
 was reconciled. "Very well," he said, "the man who 
 can furnish representations like these, can also maintain a 
 wife without a portion." The rest was not difficult. 
 
 This story is necessary in order to place in its proper 
 setting the extraordinary interest of the fittings of 75 
 Dean Street. Thornhill had moved some years before to 
 the Middle Piazza in Covent Garden, but apparently he 
 still owned his old home, and perhaps resided again there. 
 He died in 1734, having some time before or after the 
 clandestine marriage painted Jointly with Hogarth a picture 
 of the House of Commons. In the same period, working 
 together on the pictures, they painted the four frescoes of 
 the stairway hall at 75 Dean Street. The grandiose plan 
 of the frescoes is probably Thornhill's, but some of the 
 figures arc unmistakably Hogarth's, the Hogarth who then, 
 
 [or] 
 
SIR JAMES THORNHILL 
 From a Proof of an Old Engraving 
 
or a little later, was engaged upon The Rake's Progress. 
 It is not at all improbable that in the years between 1724 
 and 1729, when Hogarth was an occasional attendant at 
 his future father-in-law's school, they decorated this 
 house together. There is a tradition that 75 Dean Street 
 was made Mrs. Hogarth's dowry. 
 
 Here is a description of the pictures as an English artist saw 
 them when they were in place at 75 Dean Street. (From 
 "A Century of the Painters of the English School." by Richard 
 Redgrave and Samuel Redgrave, 1866, pp. 24-25:) 
 
 "Entering this house from the front door, now closed, you are opposite the 
 bottom of a flight of stairs occupying three sides of the hall, the fourth side,, on the 
 frst floor, forming a passage or gallery leading past the front room to two apartments 
 lighted from the back of the house. Up to the height of the gallery t1ie lower 
 floor has been painted to imitate channelled stonework, terminating on the first floor 
 level with a richly ornamented stone stringing: above that level, on the wall opposite 
 the gallery, is a painted representation of a colonnaded corridor, having two arched 
 openings between coupled columns with an ornamented balustrade, and a third arched 
 opening between columns opposite the windows. The other side of the corridor is 
 represented as open to the sky: above the entablature which the columns support is 
 a covered ceiling, and in the center an oval perspective of a balustrade, opening also 
 to the sky, with figures looking over it towards the spectator. But the principal 
 interest in the work is concentrated on groups^^ of figures looking out from the arched 
 openings below, of small life size, painted with a free hand and much skill, and of 
 the Thornhill period. They call to mind some of the figures in Hogarth's pictures; 
 one lady especially may have been Lady Thornhill, from the likeness to Mrs. 
 Hogarth, and all have, more or less, the* appearance of portraits, while they are very 
 unlike, in treatment and execution, the works by Thornhill's hand at Greenwich and 
 at Hampton Court. One of the figures is a black servant with a turban, such as we 
 see in the Marriage a la Mode. Mrs. S. C. Hall also describes these pictures 
 in "Pilgrimages to English Shrines." 
 
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A Description of the Fittings of 
 
 75 DEAN STREET 
 
 [Reprinted from The Architectural Review, March, 1913] 
 
 HE plain square house in Dean Street," as 
 Mr. James Bone writes, "is built in a some- 
 what heavy, phlegmatic style, appropriate 
 to a century of bag-wigs,, heavy odes, and 
 strapped and buttoned Grenadiers who had 
 fought at Minden.'* But it is not the ex- 
 terior of this building which marks it out 
 for peculiar consideration among the Georgian houses of London. 
 It IS because it is a casket containing admirable craftwork of the 
 eighteenth century, in a fine state of preservation, and also wall 
 paintings from the hand of one of the greatest native English 
 painters. And that is why it is a "comely and deeply interesting 
 memorial of old London unsurpassed of its kind." 
 
 "There are twenty rooms in the house, most of which are 
 panelled; those of the ground and first floors are ornate as well. 
 The hall gives direct into the dining room, which runs through 
 from front to back, thus receiving its light from two sides. It 
 IS in reality two rooms, in which the dividing wall is replaced 
 by pillars, and there is a fireplace in each part. These fireplaces, 
 of reddish marble, are quite dissimilar and possess great merit in 
 design. They project in the usual way and form ample chimney 
 breasts, but what is extremely uncommon is that the internal 
 angles on each side arc filled in with Doric pillars surmounted 
 by a complete entablature in the same style. This entablature 
 only embraces the wide breast and the pillars running out against 
 the panelling on each side. The cornice alone runs round the 
 
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DAVID GARRICK AND HIS WIFE 
 From the Original Painting by William Hogarth, at Windsor Castle 
 
walls as the crowning member to the deal panelling. The fireplaces 
 of the withdrawing rooms on the first floor, of white marble 
 with entablatures of verde anticco, are appropriately more ornate 
 in design, yet possessing a reserve of elegance in harmony with 
 the rest of these rooms. The pillars and pilasters at the sides of 
 the mantel breasts arc of the Ionic order, the whole entablature 
 being continued around the rooms. This Soho house never pre- 
 tended, of course, to rank as one of the great London mansions, 
 yet It would be difficult to find a more beautiful room in any house 
 than the front drawing room. The panelling is simple, being 
 spaced out in the wide fashion of the eighteenth century, and the 
 front wall is almost taken up entirely by the three windows. 
 But the chimney-piece at once stamps the room as noble. Above 
 the moulded marble jambs of the fireplace there is a space for a 
 picture, unfortunately gone now. with all the gay life and beauty 
 on. which it must have looked smilingly down. Then there is 
 the bold entablature with its supporting pillars. In the back 
 room the pillars are replaced by pilasters, and the plain jambs of 
 the fireplace by one of more elaborate design. At the back of 
 this room there is a little powdering room, a replica of which 
 will be found on every floor. 
 
 "Of the Dean Street stair, Mr. James Bone writes: The 
 finely modulated handrail descends graciously from the landing to 
 end in a handsome swirl at the foot, while the twisted balusters, 
 ending their procession down the treads, circle round its sup- 
 porting newel like a figure in a dance.' Nothing more dexterous 
 in joinery was ever contrived than a lively and ramping handrail 
 such as this, which 'wreathes* in the most beautiful curves. 
 Two of the spiral balusters rest on each of the steps, which on the 
 outer end, for ornament, have been carved into a general triangular 
 shape, with acanthus foliage. This grand stair reaches only to 
 the first floor, the higher levels being served by a back stairs." 
 

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