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PitJ'/iK-'/iftf i\i 7^ondjm<i/! Jln/vi H' (h’/nf Mn/'i7i . 
 
THE 
 
 WORKS 
 
 OF 
 
 WILLIAM HOGARTH; 
 
 CONTAINING 
 
 ONE HUNDRED AND FIFTY-EIGHT 
 
 ENGRAVINGS, 
 
 BY MR. COOKE, AND MR. DAVENPORT, 
 
 WITH 
 
 DESCRIPTIONS, 
 
 IN WHICH ARE POINTED OUT 
 
 BIANY BEAUTIES THAT HAVE HITHERTO ESCAPED NOTICE, 
 
 WITH 
 
 A COMMENT ON THEIR MORAL TENDENCY, 
 
 BY THE 
 
 REV. JOHN TRUSLER. 
 
 IN TWO VOLUMES. 
 
 VOL I. 
 
 A NEW EDITION, REVISED AND CORRECTED. 
 
 LONDON: 
 
 PRINTED FOR THOMAS TEGG, No. 73, CHEAPSIDE; 
 ALSO R. GRIFFIN AND CO. GLASGOW. 
 
 1824. 
 
Plummer and Brewis, Printers, Love Lane, Little Eastcheap, 
 
THE LIFE OF HOGARTH. 
 
 WILLIAM HOGARTH is said to have been the descendant of a 
 family originally from Kirby Thore, in Westmoreland. 
 
 His grandfather was a plain yeoman, who possessed a small tenement 
 in the vale of Bampton, a village about fifteen miles north of Kendal, in 
 that county : and had three sons. 
 
 The eldest assisted his father in farming; and succeeded to his little 
 freehold. 
 
 The second settled in Troutbeck, a village eight mites north west of 
 Kendal, and was remarkable for his talent at provincial poetry. 
 
 Richard Hogarth, the third son, who was educated at St. Bee^s, and 
 had kept a school in the same county, appears to have been a man of some 
 learning. He came early to London, where he resumed his original occu¬ 
 pation of a School Master in Ship Court in the Old Bailey, and was 
 occasionally employed as a corrector of the press. 
 
 Mr. Richard Hogarth married in London ; and our artist, and his 
 sisters, Mary and Anne, are believed to have been the only product of the 
 marriage. 
 
 William Hogarth was born November 10, baptised November 28,1697, 
 in the parish of St. Bartholomew the Great, in London; to which parish, 
 it is said in the Biographia Britannica, he was afterwards a benefactor. 
 
 The school of Hogarth’s father, in 1712, was in the parish of St. Martin, 
 Ludgate. In the register of that parish, therefore, the date of his death, it 
 was natural to suppose, might be found; but that register has been searched 
 to no purpose. 
 
 Hosarth seems to have received no other education than that of a 
 mechanic, and his outset in life was unpropitious. Young Hogarth was 
 bound apprentice to a silversmith (whose name was Gamble) of some 
 eminence; by whom he was confined to that branch of the trade, which 
 consists in engraving arms and cyphers upon the plate. While thus em¬ 
 ployed, he gradually acquired some knowledge of drawing; and, before 
 his apprenticeship expired, he exhibited some talent for caricature. “ He 
 
 a2 
 
THE LIFE OF HOGARTH. 
 
 felt the impulse of genius, and that it directed him to painting, though little 
 apprised at that time of the mode Nature had intended he should pursue.” 
 
 The following circumstance gave the first indication of the talents with 
 which Hogarth afterwards proved himself to be so liberally endowed. 
 
 During his apprenticeship, he set out one Sunday, with two or three 
 companions, on an excursion to Highgate. The weather being hot, they 
 went into a public-house ; where they had not long been, before a quarrel 
 arose between some persons in the same room. One of the disputants 
 struck the other on the head with a quart pot, and cut him very much. The 
 blood running down the man’s face, together with his agony from the wound 
 (which had distorted his features into a most hideous grin,) presented 
 Hogarth with too laughable a subject to be overlooked. He drew out his 
 pencil, and produced on the spot one of the most ludicrous figures that ever 
 was seen. What made this piece the more valuable, was, that it exhibited 
 an exact likeness of the man, with a portrait of his antagonist, and the 
 figures, in caricature, of the principal persons gathered round him. 
 
 On the expiration of his apprenticeship, he entered into the academy 
 in St. Martin’s Lane, and studied drawing from the life; but in this his 
 proficiency was inconsiderable; nor would he ever have surpasssed mediocrity 
 as a painter, if he had not penetrated through external form to character 
 and manners. “ It was character, passions, the soul, that his genius was 
 given him to copy.” 
 
 The engraving of arms and shop-bills seems to have been his first 
 employment by which to obtain a decent livelihood. He was, however, 
 soon engaged in decorating books, and furnished sets of plates for several 
 publications of the time. An edition of Hiidibras afforded him the first 
 subject suited to his genius : yet he felt so much the shackles of other men’s 
 ideas, that he was less successful in this task than might have been expected. 
 In the mean time, he had acquired the use of the brush, as well as of the 
 pen and graver; and, possessing a singular facility in seizing a likeness, he 
 acquired considerable employment as a portrait-painter. Shortly after his 
 marriage, he informs us that he commenced painter of small conversation 
 pieces, from twelve to fifteen inches in height; the novelty of which caused 
 them to succeed for a few years. On of the earliest productions of this 
 kind, which distinguished him as a painter, is supposed to have been a 
 representation of Wanstead Assembly; the figures in it were drawn from 
 the life, and without burlesque. The faces were said to bear great likenesses 
 
THE LIFE OP HOGARTH. 
 
 to the persons so drawn, and to be rather better coloured than some of his 
 more finished performances. Grace, however, was no attribute of his 
 pencil; and he was more disposed to aggravate, than to soften the harsh 
 touches of nature. 
 
 A curious anecdote is recorded of our artist during the early part of 
 his practice as a portrait-painter. A nobleman, who was uncommonly 
 ugly and deformed, sat for his picture, which was executed in his happiest 
 manner, and with singularly rigid fidelity. The peer, disgusted at this 
 counterpart of his dear self, was not disposed very readily to pay for a 
 reflector that would only insult him with his deformities. After some time 
 had elapsed, and numerous unsuccessful applications had been made for 
 payment, the painter resorted to an expedient, which he knew must alarm 
 the nobleman’s pride. He sent him the following card;—“Mr. Hogarth’s 
 
 dutiful respects to Lord -, finding that he does not mean to have the 
 
 picture which was drawn for him, is informed again of Mr. Hogarth’s 
 pressing necessities for the money. If, therefore, his lordship does not 
 send for it in three days, it will be disposed of, with the addition of a tail 
 and some other appendages, to Mr. Hare, the famous wild beast man ; 
 Mr. H. having given that gentleman a conditional promise on his lordship’s 
 refusal.” This intimation had its desired effect; the picture was paid for, 
 and committed to the flames. 
 
 Hogarth’s talents, however, for original comic design, gradually 
 unfolded themselves, and various public occasions produced displays of 
 his ludicrous powers. 
 
 In the year 1730, he clandestinely married the only daughter of 
 Sir James Thornhill, the painter, who was not easily reconciled to her union 
 with an obscure artist, as Hogarth then comparatively was. Shortly after, 
 he commenced his first great series of moral paintings, “ The Harlot’s 
 Pi ‘Ogress some of these were, at Lady Thornhill’s suggestion, designedly 
 placed by Mrs. Hogarth in her father’s way, in order to reconcile him to 
 her marriage. Being informed by whom they were executed. Sir James 
 observed, “The man who can produce such representations as these, can 
 also maintain a wife without a portion.” He soon after, however, relented, 
 and became generous to the young couple, with whom he lived in great 
 harmony until his death, which took place in 1733. 
 
 In 1733 his genius became conspicuously known. The third scene of 
 the Harlot’s Progress introduced him to the notice of the great: at a Board 
 
THE LIFE OP HOGARTH. 
 
 of Treasury, (which was held a day or two after the appearance of that 
 print,) a copy of it was shown by one of the lords, as containing, among 
 other excellencies, a striking likeness of Sir John Gonson, a celebrated 
 magistrate of that day, well known for his rigour towards women of the 
 town. From the Treasury each lord repaired to the print-shop for a copy 
 of it: and Hogarth rose completely into fame. 
 
 Upwards of twelve hundred subscribers entered their names for the 
 plates, which were copied and imitated on fan mounts, and in a variety of 
 other forms; and a pantomime taken from them was represented at the 
 theatre. This performance, together with several subsequent ones of a 
 similar kind, have placed Hogarth in the rare class of original geniuses 
 and inventors. He may be said to have created an entirely new species of 
 painting, which may be termed the moral comic; and may be considered 
 rather as a writer of comedy with a pencil, than as a painter. If catching 
 the manners and follies of an age, livhig as they me—if general satire on 
 vices,—and ridicule familiarized by strokes of nature, and heightened by 
 wit,—and the whole animated by proper and just expressions of the pas¬ 
 sions,—be comedy, Hogarth composed comedies as much as Moliere. 
 
 Soon after his marriage, Hogarth resided at South Lambeth; and 
 being intimate with Mr. Tyers, the then spirited proprietor of Vauxhall 
 Gardens, he contributed much to the improvement of those gardens; and 
 lirst suggested the hint of embellishing them with paintings, some of which 
 were the productions of his own comic pencil. Among the paintings were 
 “ The Four parts of the Hay,"’ either b}^ Hogarth, or after his designs. 
 
 Two years after the publication of his “ Harlot’s Progress,” appeared 
 the “ Rake’s P? vgj'ess/’ which Lord Orford remarks, (though perhaps supe¬ 
 rior,) had not so much success for want of notoriety : nor is the print of 
 the Arrest equal in merit to the others.” The curtain, however, was now 
 arawn aside ; and his genius stood displayed in its full lustre. 
 
 The Rake’s Progress was followed by several works in series, viz. 
 “ Marriage a-la-Mode, Industry and Idleness, the Stages of Cruelty, and 
 Election Prints.” To these may be added, a great number of single comic 
 pieces, all of which present a rich source of amusement:—Such as, “ The 
 IMarch to Finchley, Modern Midnight Conversation, the Sleeping Congre¬ 
 gation, the Gates of Calais, Gin Lane, Beer Street, Strolling Players in a 
 Barn, the Lecture, Laughing Audience, Enraged Musician, &c. &c. which 
 being introduced and described in the* subsequent part of this work, it 
 
THE LIFE OF HOGARTH. 
 
 would far succeed the limits, necessarily assigned to those brief memoirs, 
 here minutely to characterise. 
 
 All the works of this original genius are, in fact, lectures of morality. 
 They are satires of particular vices and follies, expressed with such strength 
 of character, and such an accumulation of minute and appropriate circum¬ 
 stances, that they have all the truth of nature heightened by the attractions 
 of wit and fancy. Nothing is without a meaning, but all either conspires 
 to the great end, or forms an addition to the lively drama of human 
 manners. His single pieces, however, are rather to be considered as 
 studies, not perhaps for the professional artist, but for the searcher into 
 life and manners, and for the votary of true humour and ridicmle. No 
 furniture of the kind can vie with Hogarth’s prints, as a fund of inexhaustible 
 amusement, yet conveying at the same time a fund of important morality. 
 
 Not contented,however, with the just reputation which he had acquired 
 in his proper department, Hogarth attempted to shine in the highest branch 
 of the art,—serious history-painting. “ From a contempt says Lord Orford, 
 “ of the ignorant virtuosi of the age, and from indignation at the impudent 
 tricks of picture-dealers, whom he saw continually recommending and 
 vending vile copies to bubble collectors, and from having never studied, 
 indeed having seen, few good pictures of the great Italian masters, he 
 persuaded himself that the praises bestowed on those glorious works were 
 nothing but the effects of prejudice. He talked this language till he believed 
 it; and having heard it often asserted (as is true) that time gives a mellow¬ 
 ness to colours, and improves them, he not only denied the proposition, 
 but mantained pictures only grew black and worse by age, not distinguishing 
 between the degrees in which the proposition might be true or false: He 
 went farther : he determined to rival the ancients, and unfortunately, chose 
 one of the finest pictures in England as the object of his competition. This 
 was the celebrated Sigismunda of Sir Luke Schaub, now in the possession 
 of the Duke of Newcastle, said to be painted by Correggio, probably by 
 Furino.”—“It is impossible to see the picture,” (continues his lordship,) 
 “or read Dryden’s inimitable tale, and not feel that the same soul 
 animated both. After many essays, Hogarth at last produced his Sigis¬ 
 munda.—but no more like Sigismunda than I to Hercules.” 
 
 Notwithstanding Hogarth professed to decry literature, he felt an 
 inclination to communicate to the public his ideas on a topic connected 
 with his art. His ‘^Analysis of Beauty made its appearance in one volume 
 
THE LIFE OF HOGARTH. 
 
 quarto, in the year 1753. Its leading principle is, that beauty fundamen¬ 
 tally consists in that union of uniformity which is found in the curve or 
 waving line ; and that round swelling figures are most pleasing to the eye. 
 This principle he illustrates by many ingenious remarks and examples, and 
 also by some plates characteristic of his genius. 
 
 In the year 1757, his brother-in-law, Mr. Thornhill, resigned his office 
 of king^s Serjeant painter in favour of Hogarth, who received his appoint¬ 
 ment on the 6th of June, and entered on his functions on the l6th of July, 
 both in the same year. This place was re-granted to him by a warrant of 
 our late gracious sovereign, which bears date the 30th October, 1761, with 
 a salary of ten pounds per annum, payable quarterly. 
 
 This connection with the court, probably induced Hogarth to deviate 
 from the strict line of party neutrality which he had hitherto observed, and 
 to engage against Mr. Wilkes and his friends, in a print published in 
 September, 1762, entitled the Times. This puplication provoked some 
 severe strictures from Wilkes’s pen, in a North Briton, (No. 17.) Hogarth' 
 replied by a caricature of the writer; a rejoiner was put in by Churchill in 
 an angry epistle to Hogarth; (not the brightest of his works;) and in which 
 the severest strokes fell on a defect the painter had not caused, and could 
 not amend, his age;—which, however, was neither remarkable nor decrepit. 
 Much less had it impaired his talents, for, only six months before, he had 
 produced one of his most capital works, a satirical print against the 
 methodists. In revenge for this epistle, Hogarth caricatured Churchill, 
 under the form of a canonical bear, with a club and a pot of porter. 
 
 During this period of warfare, (so virulent and disgraceful to all parties,) 
 Hogarth’shealth visibly declined. In 1762,hecomplainedof an internal pain, 
 the continuance of which produced a general decay of the system, thatproved 
 incurable; and on the 25th of October, 1764, (having been previously con- 
 ve5^ed in a weak and languid state from Chiswick to Leicester Fields) he 
 died suddenly of an aneur3^sm in his chest, in the 67th or 68th year of his 
 age. His remains were interred at Chiswick, beneath a plain but neat 
 mausolemn, with the following elegant inscription by his friend Garrick .—> 
 
 Farewell, great painter of mankind, 
 
 Who reach’d the noblest point of art; 
 
 Whose pictured morals charm the mind. 
 
 And through the eye correct the heart. 
 
 If genius fire thee, reader, stay ; 
 
 If nature touch thee, drop a tear: 
 
 If neither move thee, turn away. 
 
 For Hogarth’s honour’d dust lies here; 
 
HOGARTH’S 
 
 WORKS. 
 
 INDUSTRY AND IDLENESS. 
 
 AS our future welfare depends, in a great measure, on our own 
 conduct in the outset of life; and as we derive our best expectations 
 of success from our own attention and exertion ; it may, with propriety, 
 be asserted, that the good or ill-fortune of mankind, is chiefly attributable 
 to their own early Diligence or Sloth ; either of which, becomes, 
 through habit in the early part of life, both familiar and natural. This 
 Mr. Hogautii has made appear in the following history of the Two 
 Apprentices, by representing a series of such scenes as naturally result 
 from a course of Industry or Idleness; and, which he has illustrated with 
 such texts of Scripture as teach us their analogy with holy writ. Now, as 
 example is far more convincing and persuasive than precept, these prints 
 are, undoubtedly, an excellent lesson to such young men as are brought 
 up to business, by laying before them the inevitable destruction that awaits 
 the slothful, and the reward that generally attends the diligent; both 
 appropriately exemplified in the conduct of these two fellow-'prentices; 
 where the one, by taking good courses, and pursuing those purposes 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 
 proverty, and ends fatally, as shewn in the last of these instructive prints. 
 
 In the chamber of the City of London, where apprentices are bound 
 and enrolled, the twelve prints of this series are introduced, and, with great 
 propriety, ornament the room. 
 
 B 
 
2 
 
 HOGARTH’S WORKS. 
 
 / 
 
 PLATE I. 
 
 THE FELLOW-’PRENTICES AT THEIR LOOMS. 
 
 “The drunkard shall come to poverty, and drowsiness shall clothe a man with rags.” Prov, C7ta;j.xxiii. Ferie21, 
 “ The hand'of the diligent maketh rich.” Proverbs, Chap. x. Verse 4. 
 
 THE first print presents us with a noble and striking contrast in two 
 apprentices at the looms of their master, a silk weaver of Spitalfields : in 
 the one we observe a serene and open countenance, the distinguishing mark 
 of innocence; and in the other a sullen, down-cast look, the index of a 
 corrupt mind and a vicious heart. The industrious youth is diligently 
 employed at his work, and his thoughts taken up with the business he is 
 upon. His book, called, the ’Prentice's Guide, supposed to be given him 
 for instruction, lies open beside him, as if perused with care and attention. 
 The employment of the day seems his constant study; and the interest of 
 his master his continual regard. We are given to understand, also, by the 
 ballads, of the London "Prentice, Whittington the Mayor, &c. that hang behind 
 him, that he lays out his pence on things that may improve his mind, and 
 enlighten his understanding. On the contrary, his fellow-"prentice, with 
 worn-out coat and uncombed hair, overpowered with beer, indicated by 
 the half-gallon pot before him, is fallen asleep; and from the shuttle 
 becoming the plaything of the wanton kitten, we learn how he slumbers 
 on, inattentive alike to his own and his master’s interest. The ballad of 
 Moll Flanders, on the wall behind him, shews that the bent of his mind is 
 towards that which is bad; and his book of instructions lying torn and 
 defaced upon the ground, manifests how regardless he is of any thing 
 tending to his future welfare. His master’s entering the room with angry 
 countenance, and uplifted cane, shews that his indolence and sloth are 
 visited with present chastisement; while a pair of fetters, a cat-o"-nine-tails 
 and a halter, are emblematical of what he may expect in future; whereas 
 on the other side, the golden chain, the sword and mace, are introduced to 
 shew that preferment and honour are the rewards of diligence and industry. 
 
Pubtish^ii by Lon^rrutn. ffurst. S/res.^ Orme.Mircft i^tdoT- 
 

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 INDF3TMY AISTD IDLENESS. 
 
INDUSTRY AND IDLENESS. 
 
 3 
 
 PLATE II. 
 
 THE INDUSTRIOUS ’PRENTICE PERFORMING THE DUTY OF A 
 
 CHRISTIAN. 
 
 “ O how I love thy law; it is my meditation all the day. Psalm, cxix. Verse 97. 
 
 AS the very best of our services are ineffectual, with respect to the 
 end proposed, unless attended with the blessing of heaven, this plate 
 represents to us, the industrious young man performing the duty of a 
 Christian, in the service of his God; by which we are taught, that an 
 attention to our eternal welfare should be a great part of our concern, and 
 go hand in hand with our temporal; in opposition to the general practice 
 of mankind, who vainly think, that to eat, drink, dress and live, is the 
 summum bonum, or chief good on which our thoughts should be constantly 
 employed. We see him, here, attending the public service, in a devout 
 and becoming manner; (joining in that particular part of it, psalm singing, 
 which is too often neglected by those who are even constant attendants on 
 divine worship) not in a lazy, indolent posture, sitting or lounging, as is 
 frequently the custom; but standing up, as a mark of sacred respect to 
 that God whose praises he is chaunting; and, as a proof that his devotion 
 is not only outward, the calmness and serenity of his countenance suffi¬ 
 ciently indicate an inward purity, and that his gestures are the immediate 
 result of a fervent heart; a bright example of piety, and a lively contrast 
 to the man asleep beside him: whose conduct shows us how often people 
 are induced to be present on these solemn occasions, merely through 
 fashion, and that they may not pass for heathens, without the least regard to 
 their spiritual interest; choosing rather to sleep away their salvation, than 
 to sit out, as they profanely call it, the dull and tedious service of the 
 church. Surely those persons who make a convenience of public service, 
 as is the case with many, must imagine the clergy are appointed by the 
 parish to amuse its inhabitants in an idle hour, which they are not permitted 
 to employ in their respective occupations, or they would not pay so little 
 
 B 2 
 
4 
 
 HOGARTH’S WORKS. 
 
 regard to what they hear. His giving a person near him (who is supposed 
 to be his master's daughter) a sight of his book, tell us that he cares not 
 for himself alone, but that while he serves his own soul, he is not unmindful 
 of his neighbour’s. By the hassocks turned without the pew, except one 
 beneath his feet, we learn that while others, carelessly, or inattentively, sit 
 or loll through the petitionary part of the service, he performs it on his 
 knees, intensely adoring the God on whom he rests his confidence, and, as 
 an humble supplicant at the throne of heaven for mercy. The trussed-up 
 figure of the preposterous woman behind him, intimates, that after the 
 manner of many others, she is as much swoln with pride, as corpulency; 
 that she thinks herself of the greatest consequence, which she endeavours 
 to make known, (church being the usual place for such exhibitions) by 
 rivalling her friends in the number of ribbands at her breast, and in the 
 enormous size of her fan ; things full as expressive as the most valuable 
 jewels, being the most costly ornaments within the reach of her pocket. 
 The other figure, that of the pew-opener on the left, denotes the decent 
 behaviour of the devout worshipper; though age and infirmities prevent 
 her from rising, still she is intent on the solemn office, and pays her adora¬ 
 tion to the utmost of her power. Upon the whole we learn from the 
 general tenor of the piece before us, that our well-being in this life, as well 
 the next^ depends upon a conscientious and diligent regard to the duties 
 of a Christian. 
 
I'ublisfu^ Lcngjnim.Jbirst■ Ref-s.&: Orme. July 1.160j. 
 
INDUSTRY AND IDLENESS. 
 
 5 
 
 PLATE III. 
 
 THE IDLE TRENTICE AT PLAY IN THE CHURCH YARD DURING 
 
 DIVINE SERVICE. 
 
 “ Judgments are prepared for scorners, and stripes for the back of fools.” Proverbs, Chap. xix. Verse 29. 
 
 AS a contrast to the preceding plate, of the industrious young man 
 performing the duties of a Christian, is this, representing the idle '’pren¬ 
 tice at play in the church-yard during divine service. As an observance 
 of religion is allowed to be the foundation of virtue, so a neglect of religious 
 duties has ever been acknowledged the forerunner of every wickedness ; 
 the confession of malefactors at the place of execution being a melancholy 
 confirmation of this truth. Here we see him, while others are intent on the 
 holy service, transgressing the laws both of God and man, gambling on a 
 tomb-stone with the off-scouring of the people, the meanest of the human 
 species, shoe-blacks, chimney-sweepers, &c. for none but such would deign 
 to be his companions. Their amusement seems to be the favourite old 
 English game or hustle-cap, and our idle and unprincipled youth is endea¬ 
 vouring to cheat, by concealing some of the half-pence under the board 
 brim of his hat. This is perceived by the shoe-black, and warmly resented 
 by the fellow with the black patch over his eye, who loudly insists on the 
 hat's being fairly removed. The eager anxiety which marks these mean 
 gamblers, is equal to that of two peers playing for an estate. The latter 
 could not have more solicitude for the turn of a die which was to determine 
 who was the proprietor of ten thousand acres, than is displayed in the 
 countenance of young Idle. Indeed, so callous is his heart, so wilfully blind 
 is he to every thing tending to his future welfare, that the tombs, those 
 standing monuments of mortality, cannot move him: even the new-dug 
 grave, the sculls and bones, those lively and awakening monitors, cannot 
 rouse him from his sinful lethargy, open his eyes, or pierce his heart 
 with the least reflection. So hardened is he with vice, and so intent on the 
 pursuit of his evil course. The hand of the bojq employed upon his head. 
 
6 
 
 HOGARTH’S WORKS. 
 
 and that of the shoe-black, in his bosom, are expressive of filth and vermin; 
 and shew that he is within a step of being overspread with the beggarly 
 contagion. His obstinate continuance in his course, until awakened by 
 the blows of the watchful beadle, point out to us, that “ stripes are prepared 
 for the hacks of fools f that disgrace and infamy are the natural attendants 
 of the slothful and the scorner; and that, there are but little hopes of his 
 alteration, until he is over-taken in his iniquity, by the avenging hand of 
 Omnipotence, and feels with horror and amazement, the unexpected and 
 inevitable approach of death. Thus do the obstinate and incorrigible shut 
 their ears against the alarming calls of Providence, and sin away even the 
 possibility of salvation. 
 
 The figures in this print are admirably grouped, and the countenances 
 of the gamblers and beadle strikingly characteristic. 
 
PubUsheti In’ Longman. Hurst. Bsas, Sc Ormr. Julvi.i8oy. 
 
INDUSTRY AND IDLENESS. 
 
 7 
 
 PLATE IV. 
 
 THE INDUSTRIOUS PRENTICE A FAVOURITE, AND ENTRUSTED 
 
 BY HIS MASTER. 
 
 “ Well done thou good and faithful servant; thou has been faithful over a few things, I will make thee ruler 
 
 over many things." Matthew, Chap. xxv. Verse 21. 
 
 THE industrious apprentice, by a discreet and steady conduct, attracts 
 the notice of his master, and becomes a favourite : accordingly, we behold 
 him here (exquisitely continued from the first and second prints) in the 
 counting-house (with a distant view of the looms, and of the quilsters, 
 winding quills for the shuttles, from whence he was removed) entrusted with 
 the books, receiving and giving orders, (the general reward of honesty, care 
 and diligence) as appears from the delivery of some stuffs by a city-porter, 
 from Blackwell-Hall. By the keys in one hand, and the bag in the other, 
 we are shewn that he has behaved himself with so much prudence and 
 discretion, and given such proofs of fidelity, as to become the keeper of 
 untold gold : the greatest mark of confidence he could be favoured with. 
 The integrity of his heart, is visible in his face. The modesty and tran¬ 
 quillity of his countenance, tell us, that though the great trust reposed in 
 him is an addition to his happiness, yet, that he discharges his duty with 
 such becoming diffidence and care, as not to betray any of that pride 
 which attends so great a promotion. The familiar position of his master, 
 leaning on his shoulder, is a further proof of his esteem, declaring, that he 
 dwells, as it were, in his bosom, and possesses the utmost share of his 
 affection; circumstances that must sweeten even a state of servitude, and 
 make a pleasant and lasting impression on the mind. The head-piece to 
 the London Almanack, representing Industry taking Time by the fore-louk, 
 is not the least of the beauties in this plate, as it intimates the danger of 
 delay, and advises us to make the best use of time, whilst we have it in our 
 power; nor will the position of the gloves, on the flap of the escritoire, be 
 unobserved by a curious examiner, being expressive of that union that 
 subsists between an indulgent master and an industrious apprentice. 
 
8 
 
 HOGARTH’S WORKS. 
 
 The strong-beer nose, and pimpled face of the porter, (though they 
 have no connection with the moral of the piece) are a fine caractura, and 
 shew that our author let slip no opportunity of ridiculing the vices and follies 
 of the age, and particularly here, in laying before us the strange infatuation 
 of this class of people, who, because a good deal of labour requires some 
 extraordinary refreshment, will even drink to the deprivation of their reason, 
 and the destruction of their health. The surly mastiff, keeping close to his 
 master, and quarrelling with the house-cat for admittance, though intro¬ 
 duced to fill up the piece, represents the faithfulness of these animals, in 
 general; and is no mean emblem of the honesty and fidelity of the porter, 
 and of that universal harmony that dwells within this house. 
 
 In this print, neither the cat, dog, nor the porter, are well drawn, 
 nor is much regard paid to perspective; but the general design is carried 
 on by such easy and natural gradations, and the consequent success of an 
 attentive conduct, displayed in colours so plain and perspicuous, that these 
 little errors in execution will readily be overlooked. 
 

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INDUSTRY AND IDLENESS. 
 
 9 
 
 PLATE V. 
 
 THE IDLE TRENTICE TURNED AWAY AND SENT TO SEA. 
 
 “ A foolish son is the heaviness of his mother.” Proverbs, Chap, x. Verse 1. 
 
 CORRUPTED by sloth and contaminated by evil company, the idle 
 apprentice, having tired the patience of his master, is sent to sea, in the 
 hope that the being removed from the vices of the town, and the influence 
 of his wicked companions, joined with the hardships and perils of a sea¬ 
 faring life, might effect that reformation of which his friends despaired 
 while he continued on shore. See him then in the ship’s boat, accompanied 
 by his afflicted mother, making towards the vessel in which he is to 
 embark. The disposition of the different figures in the boat, and the 
 expression of their countenances, tell us plainly, that his evil pursuits and 
 incorrigible wickedness are the subjects of their discourse. The waterman 
 significantly directs his attention to* a figure on a gibbet, as emblematical 
 of his future fate, should he not turn from the evil of his ways; and the 
 boy shews him a cat-o’-nine-tails, expressive of the discipline that awaits 
 him on board of ship; these admonitions, however, he notices only by the 
 application of his fingers to his forehead, in the form of horns, jestingly 
 telling them to look at Cuckold’s Point, which they have just past; he then 
 throws his indentures into the water with an air of contempt, that proves 
 how little he is affected by his present condition, and how little he regards 
 the persuasions and tears of a fond mother, whose heart seems ready to 
 burst with grief at the fate of her darling son, and perhaps her only stay ; 
 for her dress seems to intimate that she is a widow. Well then might 
 Solomon say, that, a foolish son is the heaviness of his mother for we here 
 behold her who had often rejoiced in the prospect of her child being a 
 prop to her in the decline of life, lamenting his depravity, and anticipating 
 with horror the termination of his evil course. One would naturally 
 imagine, from the common course of things, that this scene would have 
 awakened his reflection, and been the means of softening the ruggedness 
 of his disposition,—that some tender ideas would have crossed his mind 
 
 c 
 
10 
 
 HOGARTH’S WORKS. 
 
 and melted the obduracy of his heart; but, he continues hardened and 
 callous to every admonition. 
 
 The group of figures, composing this print, has been copied by the 
 ingenious Lavater; with whose appropriate remarks we conclude our 
 present description , “ Observe, (says this great analyst of the human coun¬ 
 
 tenance,) in the annexed group, that unnatural wretch, with the infernal 
 visage, insulting his supplicating mother; the predominant character on 
 the three other villain-faces, though all disfigured by effrontery, is cunning 
 and ironical malignity. Every face is a seal with this truth engraved on it; 
 ‘ Nothing makes a man so ugly as vice; nothing renders the countenance so 
 hideous as villainy ' 
 

 IKIDU S TKY IBT.ENESS, 
 
INDUSTRY AND IDLENESS. 
 
 11 
 
 PLATE VI. 
 
 THE INDUSTRIOUS TRENTICE OUT OF HIS TIME, AND MARRIED 
 
 TO HIS MASTER’S DAUGHTER. 
 
 “ The virtuous woman is a crown to her husband.” Proverbs, Chap. xii. Verse 4. 
 
 WE now return with pleasure to the industrious youth, increasing 
 in happiness, and as a reward for his diligence, taken into partnership by 
 his master (evident from the joint names upon the sign) and married to his 
 daughter; the subject of this plate being finely continued from the second 
 and fourth. By the young man's appearing in his cap and gown at break¬ 
 fast, in company with his amiable spouse, we are to suppose it morning ; 
 and by the congratulations of the mob, (gathered in great numbers, by the 
 report of his benevolence and generosity,) the morning after marriage. 
 Even in this hour of hilarity, in this feast and riot of the senses, he is not 
 inattentive to the distresses of others, nor deaf to the voice of humanity. 
 The natural feelings of his heart, and his desire that others should in some 
 measure partake of his felicity, are visible from the servant's distributing 
 by his desire to the necessitous, and giving to the master drummer gold 
 to gladden the hearts of his comrades. In this group of figures the true 
 spirit of this notion is exquisitely described, in the earnestness with which 
 one of the butchers, standing with his marrow-bone and cleaver, observes, 
 the fortunate receiver for the drums ; and in the anger expressed in the 
 countenance of his fellow, who is elbowing out of the first rank the rutiled 
 French performer on the base-viol, demanding that precedence the English 
 have always enjoyed. The cripple on the left of this was intended for a 
 well-known beggar, called Fhilip-in-tJie-tub, (from his being reduced to 
 this shift we see in order to supply his unhappy loss of limbs) who in the 
 principal towns of Ireland and the Seven-Provinces, as well as those in 
 Great Britain, was a constant attendant at all weddings, as an epithalamist. 
 He is supposed to be here bawling out the old song of Jesse, or the Happy 
 Pair. But whilst our attention is drawn to the moral history of the piece, 
 
 c2 
 
12 
 
 HOGARTH’S WORKS. 
 
 we must not forget the other design of the painter, that of exhibiting to 
 view the extravagance of custom in the assembling of so great a number 
 of drummers, lifers, butchers, &c. who, because in former days the weddings 
 of those who were respected by the parish, were usually celebrated with 
 instruments of joy, (the public congratulations of their poorer neighbours) 
 do now on similar occasions gather round the house, not out of any regard 
 to the persons whose marriage they attend, but merely through a view 
 of obtaining money; and though, perhaps, this practice might in some 
 respect be justifiable, yet when grown to extortion (the common case in 
 latter days) it is criminal, and deserves the watchful care of magistracy 
 and the interposition of the law; for to so great a pitch of insolence are 
 these wretches arrived, that if their extravagant demand is not complied 
 with, from the sounds of congratulation they proceed to those of insult; and 
 from being , as formerly, instruments and marks of respect, they are now 
 become a general nuisance. Such is the pernicious prevalence of some 
 customs supported and encouraged by the ill-judged liberality of the 
 public! 
 
PuhltsTied Lon/jman Ree.v &• Orme ^'oyTi ^iSoj. 
 
INDUSTRY AND IDLENESS. 
 
 13 
 
 PLATE VII. 
 
 THE IDLE ’PRENTICE RETURNED FROM SEA, AND IN A GARRET 
 
 WITH A COMMON PROSTITUTE. 
 
 “The sound of a shaken leaf shall chase him.” Leviticuty Chap. xxvi. Verse 6. 
 
 THE idle apprentice, as appears by this print, is advancing with 
 rapid strides towards his fate. We are to suppose him returned from sea 
 after a long voyage ; and to have met with such correction abroad for his 
 obstinacy, during his absence from England, that though it was found 
 insufficient to alter his disposition, yet it determined him to pursue some 
 other way of life; and what he entered on is here but too evident (from 
 the pistols by the bed-side, and the trinkets his companion is examining, 
 in order to strip him of) to be that of the highway. He is represented in 
 a garret, with a common prostitute, the partaker of his infamy, awaking, 
 after a night spent in robbery and plunder, from one of those broken 
 slumbers which are ever the consequences of a life of dishonesty and 
 debauchery. Though the designs of providence are visible in every thing, 
 yet they are never more conspicuous than in this; that whatever these 
 unhappy wretches possess by wicked and illegal means, they seldom 
 comfortably enjoy. In this scene we have one of the finest pictures 
 imaginable of the horrors of a guilty conscience. Though the door is 
 fastened in the strongest manner with a lock and two bolts, and with the 
 addition of some planks from the flooring, so as to make his retreat as 
 secure as possible; though he has attempted to . drive away thought by 
 the powerful effects of spirituous liquors, plain from the glass and bottle 
 upon the floor, still he is not able to brave out his guilt, or steel his breast 
 against reflection. Behold him roused by the accidental circumstance of 
 a cat’s coming down the chimney, and the falling of a few bricks, which he 
 believes to be the noise of his pursuers ! Observe his starting up in bed, 
 and all the tortures of his mind imprinted in his face! He first stiffens into 
 stone, then all his nerves and muscles relax, a cold sweat seizes him, his 
 
14 
 
 HOGARTH’S WORKS. 
 
 hair stands on end, his teeth chatter, and dismay and horror stalk before 
 his eyes. How different is the countenance of his wretched bed-fellow ! 
 in whom unconcern and indifference to every thing but the plunder are 
 plainly apparent. She is looking at an ear-ring, which, with two watches, 
 an etwee, and a couple of rings, are spread upon the bed, as part of last 
 night’s plunder. The phials on the mantle-piece shew that sickness and 
 disease are ever attendant on prostitution; and the beggarly appearance 
 of the room, its wretched furniture, the hole by way of window, (by the 
 light of which she is examining her valuable acquisition, and against which 
 she had hung her old hoop-petticoat in order to keep out the cold) and the 
 rat’s running across the floor, are just and sufficient indications that misery 
 and want are the constant companions of a guilty life. 
 
/ 
 
tahiLihed fy Loruprian 3arst &£es & Ormt ■ Jan-Ti . 
 
INDUSTRY AND IDLENESS. 
 
 15 
 
 PLATE VIIL 
 
 THE INDUSTRIOUS ’PRENTICE GROWN RICH, AND SHERIFF 
 
 OF LONDON. 
 
 With all thy gettings, get understanding. Exalt her and she shall promote thee ; she shall bring thee 
 honour, when thou dost embrace her.'' Proverbs, Chap. iv. Ferres 7 and 8. 
 
 THE progress of virtue and vice, together with their respective rewards 
 and punishments, have hitherto kept pace with each other ; we have seen 
 the slothful apprentice, the obstinate, the drunken, the abandoned Idle, 
 in the several stages of his life, running the race of lewdness and infamy; 
 we have traced him through the various scenes of his folly, and find him at 
 last so harrassed and tormented with the apprehensions of his guilt, that 
 even the sound of a shaken leaf” can terrify him, and render him a burthen 
 to himself; while his fellow-^prentice, the industrious and honest Goodchild, 
 having trod the paths of innocence and virtue, is happy in the possession of 
 an amiable bride, meets with the respect of all who know him ; loves and 
 is beloved by every neighbour. This print is a farther illustration of the 
 happiness that attends on diligence and industry. We now find his 
 conscientious discharge of the duties of a tradesman, his punctuality and 
 other distinguished qualifications, have recommended him to the notice of 
 the chief magistrate, as a proper person to serve the honourable office of 
 Sheriff of the opulent city of London ; in which exalted situation he is now 
 represented as dining with the different companies at Guildhall. 
 
 Mr. Hogarth, has here, as in most of his pieces, given us a most 
 exquisite proof of his unequalled humour, by introducing a few remarkable 
 characters in their superior excellence of guttling and guzzling ; in which 
 nohle and elevated employ the whole company seem happily engaged; 
 representing to us, at one view, the various ways of laying it in. 
 
 A group on the left side are admirably characteristic ; their whole 
 souls seems absorbed in the pleasures of the table. A divine, true to his 
 
16 
 
 HOGARTH’S WORKS. 
 
 doth, swallows his soup with the highest goilt Not less gratified is the 
 gentleman palating a glass of wine. The man in a black wig is a positive 
 representative of famine; and the portly and oily citizen, with a napkin 
 tucked in his button-hole, has evidently burnt his mouth by extreme 
 eagerness. The backs of those in the distance, he-liung with bags, major 
 perukes, pinners, &c. are most laughablyludicrous. Every person present 
 is so attentive to business, that one may fairly conclude, they live to eat, 
 rather than eat to live. 
 
 Thus, in these public entertainments do some men place their chief 
 delight, studying the indulgence of their palates and the gratification of 
 their luxurious appetites, above every thing; eating to the sound of music ; 
 boasting a refined taste; and proud of those accomplishments which the 
 sensible man despises. Pity it is, they should not now and then experience 
 the necessity to which numbers of people are driven, through the absolute 
 want of a hearty meal! Were this the case, they would not take such pains 
 to feast and pamper a wanton appetite, at the expence of all that is manly, 
 rational, and sober. 
 
 At the door is a crowd of people, supposed to have brought a 
 delinquent to justice: one of these has brought a letter addressed to the 
 worshipful Francis Goodchild, Esq. Sheriff of London, which the beadle 
 takes with the utmost mark of self-consequence, snuffing up his nose, 
 declaring in the plainest terms what vast importance he thinks himself of, 
 and at the same time giving us to understand that no outward mark of 
 significance is sufficient to express the notions a man will sometimes 
 entertain of himself. 
 

 
 i; 
 
 V, 
 
iRDl^STB.'r A:^B IOI.ENESS» 
 
INDUSTRY AND IDLENESS. 
 
 17 
 
 PLATE IX. 
 
 THE IDLE ’PRENTICE BETRAYED BY A PROSTITUTE, AND TAKEN 
 IN A NIGHT CELLAR WITH HIS ACCOMPLICE. 
 
 “ The adultress will hunt for precious life.” Proverbs, Chap. \i. Verse 26. 
 
 FROM the picture of the reward of Diligence, we return to take a 
 further view of the progress of Sloth and Infamy; by following the Idle 
 "'prentice a step nearer to the approach of his unhappy end. We see him 
 in the third plate herding with the worst of the human species, the very 
 dregs of the poor; one of his companions, at that time, being a one-eyed 
 wretch, who seemed hackneyed in the ways of vice. To break this vile 
 connection, he was sent to sea; but, no sooner did he return, than his 
 wicked disposition took its natural course, and every day he lived served 
 only to habituate him to acts of greater criminality. He presently 
 discovered his old acquaintance, who, no doubt, rejoiced to find him so 
 ripe for mischief: with this worthless abandoned fellow, he enters into 
 engagements of the worst kind, even those of robbery and murder. Thus 
 blindly will men sometimes run headlong to their own destruction ! 
 
 About the time when these plates were first published, which was in the 
 year 1747, there was a noted house in Chick Lane, Smithfield, that went 
 by the name of the Blood-Bowl House, so called from the numerous scenes 
 of blood that were almost daily carried on there; it being a receptacle for 
 prostitutes and thieves ; where every species of delinquency was practised ; 
 and where, indeed, there seldom passed a month without the commission of 
 some act of murder. To this subterraneous abode of iniquity (it being a 
 cellar) was our hero soon introduced; where he is now represented in 
 company with his accomplice, and others of the same stamp, having just 
 committed a most horrid act of barbarity, (that of killing a passer-by, and 
 conveying him into a place under ground, contrived for this purpose^ 
 dividing among them the ill-gotten booty, which consists of two watches, a 
 
 D 
 
18 
 
 HOGARTH’S WORKS. 
 
 snufF box, and some other trinkets. In the midst of this wicked enjoyment, 
 if enjoyment it can be called, he is betrayed by his strumpet, (a proof 
 of the treachery of such wretches) into the hands of the high constable and 
 his attendants, who had, with better success than heretofore, traced him 
 to this wretched haunt. The back ground of this print serves rather as a 
 representation of night-cellars in general, those infamous receptacles for the 
 dissolute and abandoned of both sexes, than a further illustration of our 
 artist’s chief design : however, as it was Mr. Hogarth’s intention, in the 
 history before us, to encourage virtue and expose vice, by placing the one 
 in an amiable light, and exhibiting the other in its most heightened scenes 
 of wickedness and impiety, in hopes of deterring the half-depraved youth 
 of this metropolis, from even the possibility of the commission of such 
 actions, by frightening them from these abodes of wretchedness ; as this was 
 manifestly his intention, it cannot be deemed a deviation from the subject. 
 By the skirmish behind, the woman without a nose, the scattered cards 
 upon the floor, &c. we are shewn that drunkenness and riot, disease, 
 prostitution and ruin are the dreadful attendants of sloth, and the general 
 fore-runners of crimes of the deepest die ; and by the halter suspended 
 from the deling, over the head of the sleeper, we are to learn two things, 
 the indifference of mankind, even in a state of danger, and the insecurity 
 of guilt in every situation. 
 
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INDUSTRY AND IDLENESS. 
 
 19 
 
 PLATE X. 
 
 THE INDUSTRIOUS ’PRENTICE ALDERMAN OF LONDON; THE 
 IDLE ONE BROUGHT BEFORE HIM, AND IMPEACHED BY HIS 
 ACCOMPLICE. 
 
 “Thou shalt do no unrighteousness in judgment.” Leviticus, Chap. xix. Verse 15. 
 
 “.The wicked is snared in the work of his own hands.” Psalms, Chap. ix. Verse 16. 
 
 IMAGINE now this depraved and atrocious youth hand-cuffed, and 
 dragged from his wicked haunt, through the streets to a place of security, 
 amidst the scorn and contempt of a jeering populace ; and thence brought 
 before the sitting magistrate, (who, to heighten the scene and support 
 the contrast, is supposed to be his fellow'prentice, now chosen an 
 alderman) in order to be dealt with according to law. See him then at 
 last, having run his course of iniquity, fallen into the hands of justice, 
 being betrayed by his accomplice ; a further proof of the perfidy of man, 
 when even partners in vice are unfaithful to each other. This is the only 
 print among the set, excepting the first, where the two principal characters 
 are introduced; in which Mr. Hogarth has shewn his great abilities, as 
 well in description, as in a particular attention to the uniformity and con¬ 
 nection of the whole. He is now at the bar, with all the marks of guilt 
 imprinted on his face. How, if his fear will permit him to reflect, must 
 he think on the happiness and exaltation of his fellow-'prentice on the one 
 hand, and of his own misery and degradation on the other; at one instant, 
 he condemns the persuasions of his wicked companions; at another, his 
 own idleness and obstinacy : however, deeply smitten with his crime, he 
 sues the magistrate, upon his knees, for mercy, and pleads in his cause the 
 former acquaintance that subsisted between them, when they both dwelt 
 beneath the same roof, and served the same common master: but here 
 was no room for lenity, murder was his crime, and death must be his 
 punishment; the proofs are incontestible, and his mittimus is ordered, 
 which the clerk is drawing out. Let us next turn our thoughts upon 
 the alderman, in whose breast a struggle between mercy and justice is 
 
 D 2 
 
20 
 
 HOGARTH’S WORKS. 
 
 beautifully displayed. Who can behold the magistrate, here, without 
 praising the man ? How fine is the painter’s thoughts of reclining the head 
 on one hand, while the other is extended to express the pity and shame he 
 feels that human nature should be so depraved. It is not the golden chain 
 or scarlet robe that constitutes the character, but the feelings of the heart. 
 To shew us that application for favour, by the ignorant, is often idly made 
 to the servants of justice, who take upon themselves on that account a 
 certain state and consequence, not inferior to magistracy, the mother of 
 our delinquent is represented in the greatest distress, as making interest 
 with the corpulent self-swoln constable, who with an unfeeling concern 
 seems to say Make yourself easy, for he must he hanged” and to convince 
 us that bribery will even find its way into courts of judicature, here is a 
 woman in some other cause, feeing the swearing clerk, who has stuck his 
 pen behind his ear that his hands might be both at liberty ; and how much 
 more his attention is engaged to the money he is taking, than to the 
 administration of the oath, may be known from the ignorant treacherous 
 witness being suffered to lay his left hand upon the book; strongly 
 expressive of the sacrifice, even of sacred things, to the inordinate thirst 
 of gain. 
 
 From Newgate (the prison to which he was committed ; where, during 
 his continuance he lay chained in a dismal cell, deprived of the cheerfulness 
 of light, fed upon bread and water, and left without a bed to rest on) the 
 prisoner was removed to the bar of judgment, and condemned to die by the 
 laws of his country. 
 

 falttis/utlhy Lon^man^UarsUBdUSii:Ot'me., MarcKi^iSo^. 
 
INDUSTRY AND IDLENESS. 
 
 21 
 
 PLATE XI. 
 
 THE IDLE ’PRENTICE EXECUTED AT TYBURN. 
 
 “ When fear cometh as desolation, and their destruction cometh as a whirlwind : when distress cometh upon 
 them, then shall they call upon God, but he will not answer.” Proverbs, Chap. i. Verse 7 and 8.” 
 
 THUS after a life of sloth, wretchedness and vice, does our delinquent 
 terminate his career. Behold him, on the dreadful morn of execution; 
 drawn in a cart (attended by the sheriff’s officers on horseback, with his 
 coffin behind him,) through the public streets to Tyburn, there to receive 
 the just reward of his crimes, a shameful ignominious death. The ghastly 
 appearance of his face, and the horror painted on his countenance, plainly 
 shew the dreadful situation of his mind; which, we mnst imagine, to be 
 agitated with shame, remorse, confusion and terror. The careless position of 
 tlie Ordinary at the coach window, is intended to show how inattentive those 
 appointed to that office are of their duty, giving room for heresy, which 
 is excellently expressed by the itinerant preacher in the cart, instructing 
 from a book of Westley’s. Mr. Hogarth has in this print, digressing 
 from the history and moral of the piece, taken an opportunity of giving 
 us a humorous representation of an execution, or a Tyburn Fair; such 
 days being made holidays, produce scenes of the greatest riot, disorder 
 and uproar; being generally attended by hardened wretches who go there, 
 not so much to reflect upon their own vices, as to commit those crimes 
 which must in time inevitably bring them to the same shameful end. In 
 confirmation of this, see how earnestly one boy watches the motions of the 
 man selling his cakes, while he is picking his pocket; and another waiting 
 to receive the booty! We have here interspersed before us a deal of low 
 humour, but such as is common on occasions like this. In one place we 
 observe an old bawd turning up her eyes and drinking a glass of gin, the 
 very picture of hypocrisy ; and a man indecently helping up a girl into 
 the same cart: in another, a soldier sunk up to his knees in a bog, and 
 two boys laughing at him, are well imagined. Here we see one almost 
 
22 
 
 HOGARTH’S WORKS. 
 
 squeezed to death among the horses; there, another trampled on by the 
 mob. In one part is a girl tearing the face of a boy for oversetting her 
 barrow; in another, a woman beating a fellow for throwing down her child. 
 Here we see a man flinging a dog among the crowd by the tail; there a 
 woman crying the dying speech of Thomas Idle, printed the day befc' ^ his 
 execution ; and many other things too minute to be pointed out: two or 
 three more, however, we must not omit taking notice of, one of which is 
 the letting of a pigeon, bred at the gaol, fly from the gallery, which hastes 
 directly home, an old custom, to give an early notice to the keeper and 
 others, of the turning off or death of the criminal: another, the skeleton's 
 hanging on the outside of the plate, as emblematical of a murderer's being 
 hung in chains ; and the last, that of the executioner smoking his pipe at 
 the top of the gallows, whose position of indifference betrays an unconcern 
 that nothing can reconcile with the shocking spectacle, but that of use 
 having rendered his wretched office familiar to him; whilst it declares a 
 truth, which every character in this plate seems to confirm, that a sad and 
 distressful object loses its power of affecting by being frequently seen. 
 
FaJflisTitd ty Zonfinaji.Siirj-t R£Af ic Crrru.Aay.if^iBo^. 
 
INDUSTRY AND IDLENESS. 
 
 2S 
 
 PLATE XII. 
 
 THE INDUSTRIOUS ’PRENTICE LORD MAYOR OP LONDON. 
 
 Length of days is in her right hand, and in her left hand riches and honour.’' Proverbs, Chap. iii. Verse 16- 
 
 HAVING seen the ignominious end of the idle apprentice, nothing 
 remains but to represent the completion of the other’s happiness ; who is 
 now exalted to the highest honour, that of Lord Mayor of London; the 
 greatest reward that ancient and noble city can bestow on diligence and 
 integrity. Our artist has here, as in the last plate, given a loose to his 
 humour, in representing more of the low part of the Lord Alayor’s show, 
 than the magnificent; yet the honour done the city, by the presence of 
 the Prince and Princess of Wales is not forgot. The variety of comic 
 characters in this print, serves to shew what generally passes on such 
 public processions as these, when the people collect to gratify their childish 
 curiosity and indulge their wanton disposition, or natural love of riot. 
 The front of this plate exhibits the oversetting of a board, on which some 
 girls had stood, and represents them sprawling upon the ground ; on the 
 left, at the back of the scaffold, is a fellow saluting a fair nymph, and 
 another enjoying the joke: near him is a blind man straggled in among 
 the crowd, and joining in the general hollow : before him is a militia-man, 
 so completely intoxicated as not to know what he is doing; a figure of 
 infinite humour. Though Mr. Hogarth has here marked out two or three 
 particular things, yet his chief intention was to ridicule the city militia? 
 which was at this period composed of undisciplined men, of all ages, sizes, 
 and height; some fat, some lean, some tall, some short, some crooked, 
 some lame, and in general so unused to muskets that they knew not how 
 to carry them. One, we observe, is firing his piece and turning his head 
 another way, at whom the man above is laughing, and at which the child is 
 frightened. The boy on the right, crying, “a full and true account of the 
 ghost of Thomas Idle,” which is supposed to have appeared to the Mayor, 
 preserves the connection of the whole work. With respect to theconu/copVe, 
 
24 
 
 HOGARTH’S WORKS. 
 
 or horns of plenty, on the outside of the plate, they are introduced as 
 symbolical of that abundance that fills the hands of the diligent. 
 
 Thus have we seen by a series of events, the prosperity of the one, 
 and the dowfall of the other ; the riches and honour that crown the head 
 of industry, and the ignominy and destruction that await the slothful. 
 After this it would be unnecessary to say which is the most eligible path to 
 tread. Lay the roads but open to the view, and the traveller will take the 
 right of course ; give but the boy this history to peruse, and his future 
 welfare is almost certain. 
 
THE RAKE’S PROGRESS. 
 
 OF all the follies in human life, there is none greater, than that of 
 extravagance, or profuseness; it being constant labour, without the least 
 ease or relaxation. It bears, indeed, the colour of that which is com¬ 
 mendable, and would fain be thought to take its rise from laudable motives, 
 searching, indefatigably, after true felicity ; now, as there can be no true 
 felicity without content, it is this which every man is in constant hunt 
 after; the learned, for instance, in his industrious quest after knowledge; 
 the merchant, in his dangerous voyages ; the ambitious, in his passionate 
 pursuit of honour; the conqueror, in his earnest desire of victory; the 
 politician, in his deep-laid designs; the wanton, in his pleasing charms of 
 beauty; the covetous, in his unwearied heaping-up of treasure; and, the 
 prodigal, in his general and extravagant indulgence.—Thus far it may be 
 well;—but, so mistaken are we in our road, as to run on in the very 
 opposite tract, which leads directly to our ruin. Whatever else we indulge 
 ourselves in, is attended with some small degree of relish, and has some 
 trifling satisfaction in the enjoyment; but, in this, the farther we go, the 
 more we are lost; and when arrived at the mark proposed, we are as far 
 from the object we hunt, as when we first set out. Here, then, are we 
 inexcusable, in not attending to the secret dictates of reason, and in 
 stopping our ears at the timely admonitions of friendship. Headstrong 
 and ungovernable, we pursue our course without intermission; thoughtless 
 and unwary, we see not the dangers that lie immediately before us; but, 
 hurry on, even without sight of our object, till we bury ourselves in that 
 gulph of woe, where perishes at once, health, wealth and virtue; and 
 whose dreadful labyrinths admit of no return. 
 
 E 
 
26 
 
 HOGARTH’S WORKS. 
 
 Struck with the foresight of that misery, attendant on a life of 
 debauchery, which is, in fact, the offspring of prodigality, our author has, 
 .in the scenes before us, attempted the reformation of the worldling, by 
 stopping him, as it were in his career, and opening to his view the many 
 sad calamities awaiting the prosecution of his proposed scheme of life ; he 
 has, in hopes of reforming the prodigal, and at the same time deterring 
 the rising generating, whom Providence may have blessed with earthly 
 wealth, from entering into so iniquitous a course, exhibited the life of a 
 young man, hurried on, through a succession of profligate pursuits, for the 
 few years nature was able to support itself; and this from the instant he 
 might be said to enter into the world, till the time of his leaving it. But, 
 as the vice of avarice is equal to that of prodigality, and, the ruin of children 
 is often owing to the indiscretion of their parents, he has opened the piece 
 with a scene, which at the same time that it exposes the folly of the youth, 
 shews us the imprudence of the father, who is supposed to have hurt the 
 principles of his son, in depriving him of the necessary use of some portion 
 of that gold he had with penurious covetousness been hoarding up, for the 
 sole purpose of lodging in his coffers. 
 

 
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TublMxed bt Longman LLarst IXees &■' Chmic iSo6. 
 
THE RAKE’S PROGRESS. 
 
 27 
 
 PLATE I. 
 
 Oh, vanity of age untoward ! 
 
 “ Ever spleeny, ever froward ! 
 
 “ Why these bolts and massy chains, 
 
 “ Squint suspicions, jealous pains? 
 
 “ Why, thy toilsome journey o’er, 
 
 “ Lay’st thou up an useless store ^ 
 
 “ Hope, along with Time is flown; 
 
 “ Nor canst thou reap the field thou’st sown. 
 “ Hast thou a son? In time be wise; 
 
 “ He views thy toil with other eyes. 
 
 “ Needs must thy kind paternal care, 
 
 “ Lock’d in thy chests, be buried there ? 
 
 “ Whence, then, shall flow that friendly ease, 
 “ That social converse, heartfelt peace, 
 
 “ Familiar duty without dread, 
 
 “ Instruction from example bred, 
 
 “ Which youthful minds with freedom mend, 
 
 “ And with father mix the friend. 
 
 “ Uncircumscrib’d by prudent rules, 
 
 “ Or precepts of expensive schools; 
 
 “ Abus’d at home, abroad despis’d, 
 
 ‘ Unbred, unletter’d, unadvis’d ; 
 
 “ The headstrong course of life begun, 
 
 “ What comfort from thy darling son?” 
 
 Hoadley. 
 
 THE history opens then representing a scene crowded with all the 
 monuments of avarice, and laying before us a most beautiful contrast, such 
 as is too general in the world, to pass unobserved; nothing being more 
 common than for a son to prodigally squander away that substance his 
 father had, with anxious solicitude, his whole life been amassing.—Here, 
 we see the young heir, at the age of nineteen or twenty, raw from the 
 university of Oxford, just arrived at home, upon the death of his father. 
 Eager to know the possessions he is master of, the old wardrobes, where 
 things have been rotting time out of mind are instantly wrenched open; 
 the strong chests are unlocked; the parchments, those securities of treble 
 interest, on which this avaricious monster lent his money, tumbled out; 
 and the bags of gold, which had long been hoarded, with griping care, now 
 
 E 2 
 
28 
 
 HOGARTH’S WORKS. 
 
 exposed to the pilfering hands of those about him. To explain every little 
 mark of usury and covetousness, such as the mortgages, bonds, indentures, 
 See. the piece of candle stuck on a save-all, on the mantle-piece ; the 
 rotten furniture of the room, and the miserable contents of the dusty 
 wardrobe, would be unnecessary: we shall only notice the more striking 
 articles. From the vast quantity of papers, falls an old written journal, 
 where, among other memorandums, we find the following, viz. “May the 
 5th, 1721 . Put off my bad shilling."" Hence, we learn, the store this 
 penurious miser set on this trifle : that so penurious is the disposition of the 
 miser, that notwithstanding he may be possessed of many large bags of 
 gold, the fear of losing a single shilling is a continual trouble to him. In 
 one part of the room, a man is hanging it with black cloth ; too general a 
 custom on these occasions among people of fortune, who through 
 ostentation and a false notion of grandeur, will often expend as much in 
 one day as would maintain a small family for years. On which are 
 placed escutcheons, by way of dreary ornament; these escutcheons contain 
 the arms of the covetous, viz. three vices, hard screwed, with the motto, 
 Beware. On the floor>lie a pair of old shoes, which this sordid wretch 
 is supposed to have long preserved for the weight of iron in the nails, and 
 
 has been sealing with leather cut from the covers of an old Family Bible; 
 
 * 
 
 an excellent piece of satire, intimating, that such men would sacrifice even 
 their God to the lust of money. From these and some other objects too 
 striking to pass unnoticed, such as the gold falling from the breaking 
 cornish ; the jack and spit, those utensils of original hospitality, locked up, 
 through fear of being used; the clean and empt}^ chimney, in which a fire 
 is now just going to be made for the first time; and the emaciated figure 
 of the cat, strongly mark the natural temper of the late miserly inhabitant, 
 who could starve in the midst of plenty.—But see the mighty change!— 
 A^iew the hero of our piece, left to himself, upon the death of his father, 
 possessed of a goodly inheritance. Mark how his mind is affected! — 
 determined to partake of the mighty happiness he falsely imagines others 
 of his age and fortune enjoy; see him running headlong into extrava¬ 
 gance, withholding not his heart from any joy; but implicitly pursuing 
 the dictates of his will.—How is he caught by every splendid shew and 
 glittering appearance !—Diversion’s joyful train welcomes his approach, 
 
THE RAKE’S PROGRESS. 
 
 29 
 
 and Vanity, in the mask of Happiness, embraces him ; Beauty opens all 
 her charms before him; and Mirth shakes him by the hand.—Now, his 
 ear dances to music’s soft vibrations ; his senses are exquisitely charmed, 
 and his spirits are upon the wing. He is, as Solomon says, in the midst 
 of men singers, and woman-singers, he becomes for awhile the admiration 
 of the women and the envy of the men; and is seemingly placed in the 
 very centre of felicity. To commence this delusive swing of pleasure, his 
 first application is to the taylor, whom we see here taking his measure, in 
 order to trick out his pretty person; but so bewitching is the sight of gold 
 as to draw this man’s attention more than even the business he was sent 
 for. In the interim enters a poor girl (with her mother) whom our hero 
 has seduced, under professions of love and promises of marriage ; in hopes 
 of meeting with that kind welcome she had the greatest reason to expect; 
 but he, corrupted with the wealth of which he is now the master, forgets 
 every engagement he once made, finds himself too rich to keep his word; 
 and as if gold would atone for a breach of honour, is offering money to 
 her mother, as an equivalent for the nonfulfilling of his promise. Not the 
 sight of the ring, given as a pledge of his fidelity ; not a view of the many 
 afiectionate letters he at one time wrote to her, of which her mother’s 
 lap is full; not the tears, nor even the pregnant condition of the wretched 
 girl, could awaken in him one spark of tenderness ; but, hard hearted and 
 unfeeling, like the generality of wicked men, he suffers her to weep away 
 her woes in silent sorrow, and curse with bitterness her deceitful betrayer. 
 One thing more we shall take notice of which is, that this unexpected visit, 
 attended with abuse from the mother, so alarms the attention of our youth, 
 as to give the old pettifogger behind him an opportunity of robbing him. 
 Hence we see, that one ill consequence is generally attended with 
 another; and that mifortunes, according to the old proverb, seldom come 
 alone. 
 
30 
 
 HOGARTH’S WORKS. 
 
 PLATE II. 
 
 “ Prosperity (with harlot’s smiles, 
 
 “ Most pleasing when she most beguiles) 
 
 “ How soon, great foe, can all thy train 
 “ Of false, gay, frantic, loud, and vain, 
 
 “ Enter the unprovided mind, 
 
 “ And memory in fetters bind ? 
 
 “ Load faith and love with golden chain, 
 
 “ And sprinkle Lethe •o'er the brain 1 
 “ Pleasure, on her silver throne, 
 
 “ Smilling comes, nor comes alone; 
 
 “ Venus comes with her along, 
 
 “ And smooth Lyceus, ever young ; 
 
 ♦ 
 
 “ And in their train, to fill the press, 
 
 “ Come apish Dance and swoln Excess, 
 
 “ Mechanic Honour, vicious Taste, 
 
 “ And Fashion in her changing vest. 
 
 Hoadlev. 
 
 WE are next to consider our hero as launched into the world. Having 
 first performed the last office with respect to his father, that of attending 
 him to the grave; and in a manner very different to the appearance he 
 made while living, burying him with the utmost pomp and parade; and, 
 having equipped himself with all the necessaries to constitute him a man of 
 taste, he plunges at once into all the fashionable excesses and enters with 
 spirit into the character he assumes. 
 
 The avarice of the penurious father then, in this print, is contrasted by 
 the giddy profusion of his prodigal son. We view him now at his levee, 
 attended by masters of various professions, supposed to be here offering 
 their interested services. The foremost figure is readily known to be a 
 dancing-master; behind him are two men, who at the time when these 
 prints were first published, were noted for teaching the arts of defence, by 
 different weapons; and who are here drawn from the life ; one of whom 
 is a Frenchman, teacher of the small sword, making a thrust with his foil; 
 the other, an Englishman, master of the quarter-staff; the vivacity of the 
 

 o 
 
 fy Lorurnuui Hurst Rees ir ihitie yov^i^^iSoO. 
 
THE RAKE’S PROGRESS. 
 
 31 
 
 first, and the cold contempt visible in the face of the second, beautifully 
 describe the natural disposition of the two nations; namely, the boyish 
 levity of the one, and the manly solidity of the other. On the left of which 
 last stands an improver of gardens, drawn also from the life, offering a 
 plan for that purpose. A taste for gardening must be acknowledged to have 
 been the ruin of numbers, it being a passion that is seldom, if ever satisfied, 
 and attended with the greatest expence. The more improvements we 
 make, the more we are desirous of making; nor can we be induced to 
 desist till such time as we can support our extravagance no longer. In 
 the chair sits a professor of music, at the harpsichord, running over the 
 keys, waiting to give his pupil a lesson ; behind whose chair hangs a list of 
 the presents, one Farinelli, an italian singer, received the next day after 
 his first performance at the Opera House ; among which, there is notice 
 taken of one, which he received from the hero of our piece, thus ; “a gold 
 snuff-box, chased, with the story of Orpheus, charming the brutes, by 
 J. Rakewell, Esq.^^ By these mementos of extravagance and pride, (for 
 gifts of this kind proceed oftener from ostentation, than generosity,) and, 
 by the engraved frontispiece to a poem, dedicated to our fashionable spend¬ 
 thrift, lying on the floor, which represents the ladies of Britian sacrificing 
 their hearts to the idol Farinelli, crying out, with the greatest earnestness, 
 “one G—d, one Farinelli,” we are given to understand, that dissipation 
 and luxury hath ever spread the politer world, that they are desirous of 
 supporting their general character, even at the expense of their good sense 
 and reason; that they rashly run into the greatest inconsistencies; that 
 they revel without pleasure; hear without ears; see without eyes; 
 admire without taste ; commend without knowledge, and adore without 
 love ; and that they are eager to sacrifice their fortunes to the fashion of 
 the times. The principal figure in this plate is that of him with one hand 
 on his breast, the other on his sword, whom we may easily discover to be a 
 bravo; he is represented as having brought a letter of recommendation, 
 as one disposed to undertake all sorts of service. This character is rather 
 Italian than English; but is here introduced to fill up the list of persons 
 generally engaged in the service of the votaries of extravagance and 
 fashion. Our author would have it imagined, in the interval between the 
 first scene and this, that the young man, whose history he is painting, had 
 
32 
 
 HOGARTtrS WORKS. 
 
 now given himself up to every fashionable extravagance; and among 
 others, he had imbibed a taste for cock-fighting and horse-racing; two 
 amusements which the man of fashion can no ways dispense with; 
 notwithstanding they have been the ruin of thousands. This is evident, 
 from his rider bringing in a silver punch-bowl, which one of his horses is 
 supposed to have won ; and his saloon being ridiculously ornamented with 
 the portraits of celebrated cocks. "Tis not that there can be any great 
 pleasure in such sort of diversion; it only furnishing opportunities of keeping 
 up the spirit of gaming, in laying considerable bets on such a cock or such 
 a horse. The figures in the back part of this plate represent taylors, 
 peruke-makers, milliners, and such other persons as generally fill the 
 antichamber of a man of quality, except one, who is supposed to be a poet, 
 and has written some panegyric on the person whose levee he attends, 
 and who waits for that approbation he already vainly anticipates. Upon 
 the whole, the general tenor of this scene is to teach us, that the man of 
 fashion is too often exposed to the rapacity of his fellow creatures, and is 
 commonly a dupe to the more knowing part of the world. 
 
}i4bliihed by Limamart Hurst Bets &■ ih'me JLti 
 
THE RAK&S PROGRESS.' 
 
 33 
 
 PLATE III. 
 
 “ O vanity of youthful blood, 
 
 “ So by misuse to poison good! 
 
 “ Woman, fram’d for social love, 
 
 “ Fairest gift of powers above, 
 
 “ Source of every household blessing; 
 
 ‘ All charms in innocence possessing : 
 
 “ But, turn’d to vice, all plagues above; 
 
 “ Foe to thy being, foe to love! 
 
 “ Guest divine, to outward viewing^ 
 
 “ Ablest minister of ruin! 
 
 “ And thou, no less of gift divine, 
 
 “ Sweet poison of misus’d wine ! 
 
 “ With freedom led to ev’ry part, 
 
 “ And secret chamber of the heart, 
 
 “ Dost thou thy friendly host betray 
 “ And shew thy riotous gang the way 
 “ To enter in, with covert treason, 
 
 “ O’erthrow the drowsy guard of reason, 
 
 “ To ransack the abandon’d place, 
 
 “ And revel there with wild excess!’' 
 
 THIS plate exhibits our licentious prodigal engaged in one of his 
 midnight festivities. To confirm this, see him now at such an hour of 
 night, when sober and considerate people are taking their rest, in order to 
 rub through the day with satisfaction, revelling at a tavern, supposed to be 
 the Rose, in Drury Lane, (a house noted at that time for the reception of 
 abandoned women, and such persons as took more delight in lewd and 
 licentious enjoyment, than in the more rational entertainment of mutual 
 conversation,) with a number of those ragged unfortunate girls, (we say 
 ragged, though some of them are artful enough to conceal their being so 
 by keeping on their cloaks,) of which the streets of London in an evening 
 are full. Behold him here, after having in the buck^s phrase, heat the rounds, 
 overset a constable of the night, and knocked down a watchman, evident 
 from the staff and broken lanthorn, which he is supposed to have brought 
 off with him in triumph, together with his naked sword, which he was not 
 able to re-sheath. Behold this deluded son of dissipation in a state of 
 
 F 
 
34 
 
 HOGARTH’S WORKS. 
 
 beastial intoxication, in consort with the major part of his company 
 ajbsolutely drunk, and to that degree, as not to know his right hand from 
 his left; intimated by the buckling of his sword belt. In this absence of 
 reason and unguarded situation, (for such surely it may be called, when 
 we are either mad or stupid with the fumes of liquor,) he is robbed of his 
 watch, and of every thing of value, by the girl whose hand is in his bosom. 
 One would naturally imagine, that a man the next day, upon the 
 return of his senses, when his blood is in some respect cooled, and the 
 fumes of his night’s debauch evaporated, would see the folly of his steps, 
 consider the treatment he met with, detest such abandoned company, and 
 resolve to avoid it for the future ; but on the contrary, so rash and 
 inconsiderate is youth, as not to regard the precipice before it; so stupid 
 and insensible, as not to be awakened even by the scourgings of pain. 
 Had our debauchee indulged himself with a few minutes serious reflection, 
 it is presumed he would not have returned to that vice by which he was 
 then a sufferer, (plain by the box of pills lying on the floor, supposed to 
 have fallen from his pocket;) no, he acts like the silly moth that flutters 
 about the candle, though it frequently singes its wings it will not desist; 
 but obstinately bent on its own destruction, continues on its idle round till 
 it approaches too near the flame ever to escape again, and meets its death 
 untimely and unthought of. In the early part of the evening the company 
 is supposed, from the covering of the floor, and the destruction of the 
 furniture, viz. the torn pictures, and the broken looking-glass, to have been 
 at high romps ; tired however at last with such wild sort of merriment, they 
 are now seated in order to indulge their loose inclinations, glut their 
 insatiable throats with liquor, and feast their ears with sounds of seeming- 
 harmony : a little ragged wench, whose action declares the pitch of her 
 imagination, being called in for that purpose, to bawl out ballads of 
 obscenity, and two blind street musicians to accompany her. To increase 
 this uproar, two of the company are at high words, one of whom is spouting 
 wine in her companion’s face, the other in return threatening her with a 
 knife: behind them is another, in excess of anger at being neglected, 
 wantonly putting a candle to a map of the world, swearing she will fire the 
 globe and expire in its flames; intimating the wicked disposition of these 
 creatures, who care not what extensive mischief they occasion, so they can 
 
THE RAKE’S PROGRESS. 
 
 3o 
 
 revenge themselves and gratify their licentious humour. In the front is a 
 woman stripping herself, in order to exhibit some indecent postures ; a 
 filthy talent she was celebrated for; the large dish the man is bringing in, 
 being designed as an apparatus of one of her positions. By such kinds of 
 studied libidinous entertainment, if entertainment it can be called, the 
 debauchee gives a loose to his desires, and indulges himself at the expence 
 of every thing that is decent, rational, and manly. 
 
36 
 
 HOGARTH’S WORKS. 
 
 PLATE IV. 
 
 “ O vanity of youthful blood, 
 
 ^ “ So by misuse to poison good! 
 
 “ Reason awakes, and views unbarr’d 
 “ The sacred gates he wish’d to guard; 
 
 “ Approaching, see the harpy Law, 
 
 “ And Poverty, with icy paw, 
 
 “ Ready to seize the poor remains 
 “ That vice has left of all his gains. 
 
 “ Cold penitence, lame after-thought, 
 
 “ With fear, despair, and horror fraught, 
 
 “ Call back his guilty pleasufes dead, 
 
 “ Whom he hath wrong’d, and whom betray’d.” 
 
 BY such excesses at those, which we have witnessed, 'tis no wonder our 
 hero should at last be reduced, for wealth profusely spent wastes as liquor 
 from a leaking cask : as a proof of this, see him stopt in his career by the 
 hand of a sheriff’s officer; arrested as he is going to court, it being the 
 birth-day of the late Queen, which happened on the first of March, the 
 day sacred to the tutelar saint of Wales. This sufficiently appears by the 
 significant strut of the Welchman, proud of the enormous leek, which in 
 honour of the day, he carries in his hat. By the shallow importance of his 
 face, we learn the disposition of that people, who vainly boast of what they 
 have no pretensions to, and signalize themselves in empty pride and 
 senseless particularity; for no other motive could sure induce him to 
 wear his sword on the wrong side. During this unexpected disaster of 
 our fashionable spendthrift, the young woman he formerly seduced, and 
 whom Providence had made the mistress of a little money, in the millinery 
 way, very opportunely passes by, and with a heart full of tenderness and 
 affection, gives him a convincing proof of her continued love, returns his 
 baseness with unremitted kindness,—pays the debt and sets him at liberty. 
 Hence we perceive the virtuous constancy of the female sex, whose affec¬ 
 tion, when once rooted, the severest treatment can hardly alienate; and on 
 the contrary, the fickle disposition and killing cruelty of the other, which 
 prides itself in the ruin of virgin innocence, and glories in acts of studied 
 
p/.nn. 
 
 
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THE RAKE’S PROGRESS. 
 
 37 
 
 barbarity. In this view of St. James’s, we have at the same time that of 
 Whites^ a house, against which, for its continued iniquity, heaven seems 
 now to direct its severest vengeance. By way of contrast, and to shew 
 us that the true spirit of gaming subsists as well in low life, as in the higher 
 ranks, our author has humourously represented an assembly of shoe-blacks, 
 chimney-sweepers, postillions, and others, gaming with the greatest earnest¬ 
 ness : and distinguished it in opposition to that of Whites, by the name of 
 Black’s. He has brought to our view, also, the various ways of gaming 
 among the lower class of people, such as the tricking cups and balls, the 
 pricking in the belt, the throwing of dice, and playing at cards. One is 
 supposed to have lost his cloaths, and is proposing to play for his basket 
 and brushes ; an evident proof of the madness of such persons, who will 
 often enter so far into the vice in question, as to play away every thing they 
 possess, and strip themselves naked even of a maintainance. To carry 
 on and perfect this scene, as a contrast to that of the Chocolate-house 
 before mentioned, our author has given us a little smutty politician with 
 his pipe in his mouth, conning over the Farthing-post. The figure of the 
 lamp-lighter, spilling the oil, through inattention to his business, on our 
 hero’s head, a circumstance too common, though here conveniently intro¬ 
 duced, is calculated only to enrich the piece and support its humour, it 
 being ever our author’s aim to make his prints as well entertaining as 
 instructive. 
 
38 
 
 HOGARTH’S WORKS. 
 
 PLATE V. 
 
 “ New to the school of hard mishap, 
 
 “ Driven from the ease of fortune’s lap, 
 
 “ What schemes will nature not embrace 
 “ T’ avoid less shame of dread distress? 
 
 “ Gold can the charms of youth bestow, 
 
 “ And mask deformity with shew; 
 
 “ Gold can avert the sting of shame, 
 
 “ In winter’s arms create a flame: 
 
 ‘‘ Can couple youth with hoary age, 
 
 “ And make antipathies engage.” 
 
 THIS unexpected arrest, which we have witnessed, is only the fore¬ 
 runner of like misfortunes to our hero, being, as it were, the beginning of his 
 sorrows. Unable now to discharge his just debts, the showers of distress 
 are coming heavy on him ; nor has he any other means of sheltering him¬ 
 self from the impending storm, than by an union with an old rich widow, 
 to whom he has made his addresses under the mask of hypocrisy. 
 
 Behold him then, in this plate, at the altar, embracing the happy 
 opportunity of recruiting his wasted fortune, by a marriage with this 
 deformed and withered sybil, ordinary even to a proverb, and possessed but 
 of one eye; youth and beauty, though they were the least of his aim, were 
 the reigning object of hers. Amazing folly of the sex, who pay no regard 
 either to decency or discretion, so they indulge their vanity and satisfy 
 • their inclinations !—With respect to the men, money is their only idol; 
 domestic happiness being least regarded, (though we cannot but observe 
 his inward inclinations, by his amorous leer upon the girl behind, even in 
 the most solemn part of the matrimonial service, which his affected bride 
 imagines to be directed to herself, and which she returns with a squint of 
 ' satisfaction.) As this wedding was designed to be a private one, they are 
 
 supposed to have retired for that purpose to the church of St. Mary--le-hone; 
 
 . but secret as he thought to keep it, it did not fail to reach the ears of 
 
 p the unfortunate young woman, whom he had formerly seduced, and who 
 
 ^ is here represented as entering with her child and mother, in order to forbid 
 
 the solemnization. They are, however, opposed by the pew-opener, lest 
 

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THE RAKE’S PROGRESS. 
 
 39 
 
 through an interruption of the ceremony, she should lose her customary 
 fee, and a battle consequently ensues ; a manifest token of the small regard 
 paid to these sacred places. With respect to the dogs, they are introduced 
 only as a droll emblem of the subject in hand ; being one of the pug-breed, 
 paying his court to a one-eyed bitch. On one of the pews are the 
 following lines:— 
 
 THESE : PEWES I VNSCRVD : AND : TAN : IN : SVNDER 
 
 IN : STONE : THERS : GRAVEN : WHAT I IS : VNDER 
 
 TO : WIT : A ; valt : por : bvrial . there : is 
 
 WHIICH : EDWARD : FORSET 1 MADE *. FOR : HIM : AND : HIS 
 
 By the orthography of which, and its wretched metre, we are taught 
 the folly and vanitj?" of mankind, in immortalizing their names at the loss 
 of their good sense and reputation. The only thing further to be taken 
 notice of, is the poor's box, whose perforation is humourously represented 
 as covered with a web, where a spider is supposed to have been a long time 
 settled, not finding so good a resting place before; and it is probable she 
 might have continued there much longer, had not the overseer, in private, 
 searched the box, with a view of stealing its contents. Hence, we are 
 given to understood, that dissipation so far prevails, as to drive humanity 
 from the heart; and that so selfish are we grown, as to have no feeling for 
 the distresses of our fellow-creatures ; a matter, which, while it disgraces 
 the Christian, even degrades the man. 
 
40 
 
 . HOGARTH’S WORKS. 
 
 PLATE VI. 
 
 “ Gold, thou bright son of Phoebus, source 
 “ Of universal intercourse ; 
 
 “ Of weeping Virtue soft redress; 
 
 “ And blessing those who live to bless: 
 
 “ Yet oft behold this sacred trust, 
 
 “ The tool of avaricious lust; 
 
 “ No longer bond of human kind, 
 
 “ But bane of every virtuous mind. 
 
 “ What chaos such misuse attends, 
 
 “ Friendship stoops to prey on friends ; 
 
 “ Health that gives a relish to deliglit, 
 
 “ Is wasted with the wasting night; 
 
 “ Doubt and mistrust is thrown on Heaven, 
 
 “ And all its power to chance is given. 
 
 “ Sad purchase of repentant tears, 
 
 “ Of needless quarrels, endless fears, V 
 
 “ Of hopes of moments, pangs of years! ) 
 
 “ Sad purchase of a tortur’d mind, 
 
 “ To an imprison’d body join’d.” 
 
 FLUSHED now with money, and once more master of a fortune, one 
 would naturally imagine our hero would have endeavoured to avoid those 
 rocks on which he split before, and be careful not to reduce himself to the 
 distressing situation he was so lately in ; on the contrary, however, he hurries 
 into his usual extravagance, with this difference only, that before, he never 
 cherished a single thought of gain ; whereas, he now seems to make it his 
 chief study; in hopes of adding to his wealth, he rashly takes the most 
 effectual step to lessen it. 
 
 View him then in pursuit of his favorite scheme, at a gaming-table, at 
 midnight, in company with gamesters, highwaymen, and sharpers ; for at 
 these public tables all sorts of people are admitted, that have money to play 
 with ; behold him, after a run of ill-luck, upon his knees, in a desperate 
 fit of phrenzy, gnashing his teeth, and imprecating divine vengeance on 
 his head. On his right hand sits a highwayman, by the fire-side, (which is 
 covered with a grate, to prevent such accidents as may accrue from the 
 rage of the company) vexed to his soul to think he should have lost in a 
 
FublLi'fuui /’I Lofhinuw /lurjft.Rifs.l'Oniu-. Ma/iii t**iSot^ 
 
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THE RAKE'S PROGRESS. 
 
 41 
 
 short space of time, that, in the obtaining of which he had hazarded his life; 
 and so absorbed is he in reflection, as not even to observe the boy who 
 is jogging him, and bawling to him to take his water. Behind him stands 
 one who has met with the same fate, biting his nails with anger. At the 
 small table sits an usurer, a common attendant on these occasions, lending 
 money to one of the gamblers at an exorbitant interest. Behind him sits 
 another loser, ready to beat his brains for madness, and cursing his ill- 
 fortune with bitterness. Behind him further back, is another, in a mood 
 of the greatest rashness, striking, with his naked sword, at the person 
 supposed to have won his money, whose murder he would certainly have 
 accomplished, if not prevented by the intervention of another. To add to 
 this scene of horror and confusion, they are suddenly alarmed by the watch¬ 
 man, with the cry of fire, which is discovered to issue from the wainscot of 
 the room they are in : a noble emblem of the place, intimating, that, the 
 hope of the gamester is but as smoke, and that his pernicious vice is as 
 destructive as fire itself. 
 
 Prom this incident we also learn that so perfectly engrossed is the 
 attention of the persons present, that had it not been for the timely entrance 
 of this man, they would probably have been all burnt before the fire was 
 discovered. Upon the whole, the general tenor of this plate is to create in 
 us an abhorrence of the vice in question, by representing, in its true light, 
 the dreadful consequences of a passion for gaming. Admitting that for 
 awhile we have an uncommon share of good luck, still the satisfaction 
 we enjoy on that account, when the tables turn, will in no measure com¬ 
 pensate for the bitterness and vexation that attend our loss ; nay, it often 
 throws us into a fit of desperate discontent, when even murder shall become 
 the sequel, and heighten the catastrophe. 
 
 G 
 
42 
 
 HOGARTH^ WORKS. 
 
 PLATE VII. 
 
 “ Happy the man whose constant thought 
 “ (Though in the school of hardship taught,) 
 
 “ Can send remonstrance back to fetch 
 “ Treasures from life’s earliest stretch ; 
 
 “ Who, self-approving, can review 
 “ Scenes of past virtues, which shine through 
 “ The gloom of age, and cast a ray 
 “ To gild the evening of his day ! 
 
 “ Not so the guilty wretch confin’d: 
 
 “ No pleasures meet his conscious mind; 
 
 “ No blessings brought from early youth, 
 
 “ But broken faith, and wrested truth; 
 
 “ Talents idle and unus’d, 
 
 “ And every trust of Heaven abus’d. 
 
 “ In seas of sad reflection lost, 
 
 “ From horrors still to horrors toss’d, 
 
 “ Reason the vessel leaves to steer, 
 
 “ And gives the helm to mad Despair.'’ 
 
 BY a very natural transition Mr. Hogarth has passed his hero from 
 a gaming-house into a prison; the inevitable consequence of extravagance. 
 He is here represented in a most distressing situation, without a coat to his 
 back, without money, without a friend to help him. Beggared by a course 
 of ill-luck, the common attendant on the gamester, having first made away 
 with every valuable he was master of, and having now no other resource 
 left to retrieve his wretched circumstances, he at last, vainly promising 
 himself success, commences author, and attempts, though inadequate to 
 the task, to write a play, which is lying on the table, just returned with an 
 answer from the manager of the theatre, to whom he had offered it, that his 
 piece would by no means do. Struck speechless with this disastrous 
 occurrence, all his hopes vanish, and his most sanguine expectations are 
 changed into dejection of spirit. To heighten his distress, he is approached 
 by his wife, and bitterly upbraided for his perfidy in concealing from her 
 his former connections (with that unhappy girl, who is here present with 
 her child, the innocent off-spring of her amours, fainting at the sight of his 
 misfortunes, being unable to relieve him farther) and plunging her into 
 those difficulties she never shall be able to surmount. To add to his 
 
PHbUihed hrI-crti/ma/i Wur.tt t-Ik'/ne Sept^z^j3o8 
 

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THE RAKE’S PROGRESS. 
 
 43 
 
 misery, we see the under turnkey pressing him for his prison fees, or 
 garnish-money, and the boy refusing to leave the beer he ordered without 
 being first paid for it. Among those assisting the fainting mother, one of 
 whom we observe clapping her hand, another applying the drops, is a man 
 crusted over, as it were, with the rust of a goal, supposed to have started 
 from his dream, having been disturbed by the noise at a time when he was 
 settling some affairs of state; to have left his great plan unfinished, and to 
 have hurried to the assistance of distress. We are told, by the papers 
 falling from his lap, one of which contains a scheme for paying the national 
 debt, that his confinement is owing to that itch of politics some persons are 
 troubled with, who will neglect their own affairs, in order to busy themselves 
 in that which no ways concerns them, and which they in no respect under¬ 
 stand, though their immediate ruin shall follow it: nay, so infatuated do we 
 find him, so taken up with his beloved object, as not to bestow a few 
 minutes on the decency of his person. In the back of the room is one who 
 owes his ruin to an indefatigable search after the philosopher's stone. 
 Strange and unaccountable!—Hence we are taught by these characters as 
 well as by the pair of human wings on the tester of the bed, that scheme- 
 ing is the sure and certain road to beggary : and that more owe their 
 misfortunes to wild and romantic notions, than to any accident they meet 
 with in life. 
 
 In this upset of his life, and aggravation of distress, we are to suppose 
 our prodigal almost driven to desperation. Now, for the first time, he feels 
 the severe effects of pinching cold and griping hunger. At this melancholy 
 season, reflection finds a passage to his heart ; and he now revolves in his 
 mind the folly and sinfulness of his past life;—considers within himself how 
 idly he has wasted the substance he is at present in the utmost need of;— 
 looks back with shame on the iniquity of his actions, and forward with 
 horror on the rueful scene of misery that awaits him; until his brain, torn 
 with excruciating thought, loses at once its power of thinking, and falls a 
 sacrifice to merciless despair. 
 
44 
 
 HOGARTH’S WORKS. 
 
 PLATE VIIL 
 
 “ Madness! thou chaos of the brain, 'k 
 
 “ What art, that pleasure giv’st and pain ? > 
 
 “ Tyranny of fancy’s reign! J 
 
 “ Mechanic fancy ! that can build 
 “ Vast labyrinths and mazes wild, 
 
 “ With rule disjointed, shapeless measure, 
 
 “ Fill’d with horror, fill’d with pleasure! 
 
 “ Shapes of horror, that would even 
 “ Cast doubt of mercy upon Heaven ; 
 
 “ Shapes of pleasure, that but seen, 
 
 “ Would split the shaking sides of Spleen. 
 
 “ O vanity of age! here see 
 “ The stamp of Heaven effac’d by thee! 
 
 “ The headstrong course of youth thus run, 
 
 “ From comfort from this darling son? 
 
 “ His rattling chains with terror hear, 
 
 “ Behold death grappling with despair! 
 
 “ See him by thee to ruin sold, 
 
 “ And curse thyself, and curse tliy gold!” 
 
 SEE him then in the scene before us, raving in all the dismal horrors of 
 hopeless insanity, as moved from one place of confinement to another, namely, 
 the hospital of Bethlehem, the senate of mankind, where each man may find 
 a representative; there we behold him trampling on the first great law of 
 nature, tearing himself to pieces with his own hands, and chained by the 
 leg, to prevent any further mischief he might either do to himself or others. 
 Madness, sad blemish of our nature !—Was it not for this charitable 
 institution, what dreadful consequences would ensue!—How would the poor 
 distracted being, when the restraints of fear and shame were fled, and when 
 stubborn self-will had lost its guard, how would it waste in endless ravings ; 
 exist a torment to itself, and a terror to mankind ! But beneath this 
 friendly roof, nursed by the tender interposing hand of humanity, we often 
 see the shattered senses resume their former powers, and useless members 
 restored once more to society. Still even in this doleful place we behold 
 our hero followed by his former mistress, and are hence shewn the 
 wonderful effects of love and friendship ; which will stand firm and unshaken 
 
Puhtisivfd hv Longman,Eiirst R^s. ScOrm^.ilarch I'HSofi 
 
V 
 
THE RAKES PROGRESS. 
 
 45 
 
 in tbe storms of distress, and will not desert us even amid the soul- 
 distracting tempest of adversity. Our artist in this scene of horror, has 
 taken an opportunity of pointing out to us the various causes of mental 
 blindness ; for such surely it maybe called, when the intuitive faculties are 
 either destroyed or impaired. In one of the inner rooms of this gallery. 
 No. 54, is a despairing wretch imploring heaven for mercy, whose brain is 
 crazed with lip-labouring superstition ; the most dreadful enemy of human 
 kind, which attended with ignorance, error, penance and indulgence, too 
 often deprives its unhappy votaries of their senses. The next in view, is 
 one man drawing lines upon a wall, in order if possible to find out the 
 longitude, and another before him looking through a paper by way of 
 telescope ; by these expressive figures we are given to understand, that such 
 is the misfortune of man, while perhaps the aspiring soul is pursuing some 
 lofty and elevated conception, soaring to an uncommon pitch, and teeming 
 with some grand discovery, the ferment often proves too strong for the 
 feeble brain to support; the intenseness of thought disconcerts the slender 
 fibres ; the thin partitions and inclosures which keep the ideas separate and 
 ranged in a beautiful order, are burst asunder by the force of the labouring 
 imagination, and lays the whole magazine of notions and images in wild 
 confusion. This melancholy group is completed by the crazy taylor, who 
 is staring at the mad astronomer with a sort of wild astonishment, wondering 
 through excess of ignorance, what discoveries the heavens can possibly 
 afford; proud of his profession, he has fixed a variety of patterns in his hat 
 by way of ornament; has coveredhis poor weak head with shreds, andmakes 
 his measure the constant object of his attention. It may probably be 
 wondered at, why so trifling a character should be here introduced, among 
 others whose insanity is supposed to be owing to passions of a more exalted 
 nature; but the wonder will immediately cease, when it is known that a cer¬ 
 tain nobleman some few years since, had such an unaccountable passion for 
 cutting out and making up of clothes, as to keep several men for that pur¬ 
 pose in his house, with whom and in which employ he spent the major part 
 of his time and fortune. He was of opinion, that a taylor should be born 
 such, that he ought to be master of the various rules of proportion; man 
 being a beautiful animal, and his form not designed to be destroyed by the 
 lacerating hands of a mangling cloth-cutter. Behind this man, stands 
 
46 
 
 HOGARTH’S WORKS. 
 
 another playing on the violin, with his book upon his head, intimating, that 
 too great a love for music had been the cause of his distraction. On the 
 stairs sits another crazed by love, (evident from the picture of his beloved 
 object round his neck, and the words “charming Betty Careless’' upon the 
 bannisters, which he is ‘supposed to scratch upon every wall and every 
 wainscot,) and wrapt up so close in melancholy pensiveness, as not even to 
 observe the dog that’s flying at him. Our author would insinuate by the 
 handkerchief round his neck, that love seldom if ever works this unhappy 
 effect upon the truly brave, the sensible and manly; but preys thus only 
 on the fribble, the ignorant and effeminate. Behind him, and in the other 
 inner room, No. 55, are two persons maddened with ambition, which is a 
 kind of dropsy ; the more we drink the more we covet. These men though 
 under the influence of the same passion, are actuated by different notions; 
 one is” for papal dignity ; the other for regal ; one imagines himself Pope 
 and saying mass; the other fancies himself a King, is encircled with the 
 emblem of royalty, sceptres being little else than straw, and crowns than 
 chaff, and is casting contempt on his imaginary subjects by an act of the 
 greatest disdain. To brighten this distressful scene, and draw a smile from 
 him whose rigid reasoning might condemn the bringing into public view 
 this blemish of humanity, are two women introduced walking in the 
 gallery, (a customary thing at Bedlam) as curious spectators of this 
 melancholy sight; one of whom is supposed in a whisper to bid the other 
 observe the naked man, which she takes an opportunity of doing by a leer 
 through the sticks of her fan. An admirable lesson to the prude, who is 
 here taught that fallacies of all kinds are odious, more particularly here, 
 which seldom fails to bring the laugh upon itself. To complete the whole, 
 is a draught of the halfpenny reversed, (struck in the, year 1763) against 
 the wall, representing Britannia also crazed; an emblem of the disposition 
 of the times, which were then so extremely unaccountable, as to savour 
 strongly of madness ; nor are they so much altered since, but that at present 
 the satire is equally seasonable. 
 
 Thus imagining the hero of our piece to expire raving mad, the story 
 is finished, and little remains but to close it with a proper application. 
 Reflect then, ye parents, on this tragic tale; consider with yourselves, that 
 
THE RAKE’S PROGEESS. 
 
 47 
 
 the ruin of a child is too often owing to the imprudence of a father. Had 
 the young man whose story we have related, been taught the proper use of 
 money; had his parent given him some insight into life, and graven as it 
 were upon his heart the precepts of religion, possessing him with an 
 abhorrence of vice; had he instilled into his mind the duties of a son, a 
 husband and a father ; and with the liberal education he was giving him, 
 shewn him the claim society had to his best services; had he done this, 
 instead of studying how to enrich himself at the expence of all that was 
 good and virtuous, our youth would in all probability have taken a contrary 
 course, lived a credit to his friends, and an honour to his country; but raw 
 and inexperienced in the ways of life, he idly imagined he was accountable 
 to no one for his conduct, that there was no true pleasure but in the 
 gratification of his passions, and that his treasures were inexhaustible; led 
 thus unthinkingly into a track of wickedness and profusion, he soon made 
 a shipwreck of his virtue, and fell an early sacrifice to ignorance and 
 error. 
 
 Having through the course of these pages made such reflections on the 
 particular incidents that occurred, as renders it unnecessary to say more, 
 we shall only beg leave to address ourselves, by way of conclusion, to such 
 persons as this history alludes to, namely, gentlemen whom fortune has 
 placed in an exalted station. Let me tell you then from the mouth of an 
 experienced moralist, that you cannot without unpardonable guilt and 
 reproach, waste and fool away your life and fortune. You ought to reflect, 
 that you owe more to God and your country than others do. To God, to 
 providence, you owe it that you are born to those fortunes which others 
 toil for. Oh!—consider you are masters of that time which others are 
 forced to devote to their wants and necessities, and that you are placed at 
 first in those advantageous heights, which others climb to by slow and 
 tedious steps. Your guilt is therefore greater than the poorer man is 
 capable of; while you invade the honour of that God, from whom alone 
 you derived yours; while you dethrone him who raised you, and employ 
 all your power and treasure against that being from whom you received 
 them. And as you owe to God, so do you to your country more than other 
 men. You are those who should be the support and ornament of it; you 
 
48 
 
 HOGARTH’S WORKS. 
 
 are placed in higher orbs, not that like meteors, your ominous blaze should 
 be the gaze and terror of the multitude ; but that like stars, you might 
 lighten and beautify, animate and impregnate the inferior world. If your 
 virtues do not more distinguish you from the crowd than your fortunes, 
 you are exposed, not honoured by the eminence of your station; and you 
 debauch and betray your poor country, by your sin and folly, which your 
 example, your wisdom, your courage, and your bounty, with all those other 
 great virtues which persons of your rank should shine with, should protect, 
 enrich, and raise to the highest reputation of virtue and power. Reflect 
 well on this and shudder. 
 
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Bubliah^ iy LonffTna/i',Hur^t,R£AffOrrm,Oct-i'^iSoq 
 
THE ELECTION. 
 
 PLATE I. 
 
 AN ELECTION ENTERTAINMENT. 
 
 FEW scenes in life are more full of humour than those of a Country 
 Election: being crowded with such variety of grotesque characters, as 
 seldom fail to draw a smile even from the most grave and rigid philosopher; 
 and though in these before us our artist has been rather lavish, still they 
 are no more than natural, and perhaps there has been no election for a 
 century back, without exhibiting some such scenes of drollery as is here 
 exhibited. Nor are these scenes without their lessons of morality, for 
 where bribery, hypocrisy and venality are in view, there must we observe 
 the tottering Christian and the falling man; and thence we may draw this 
 judicious conclusion, that when designing hypocrisy unbar the gates of 
 bribery, then will the dirty sons of shameless venality rush like a torrent 
 through the golden portals, beating down all that is just and honest in their 
 way. 
 
 Our artist commences his humourous piece with an entertainment at 
 an inn in the county-town, opened by one of the candidates for the 
 reception of his friends, some time before the poll, in order to secure his 
 interest; for there is nothing an Englishman loves so much as his belly; 
 and such is the idle notion of the world, that a man is more or less a 
 gentleman, the more or less free he spends his money. To preserve the 
 connection of this piece, we are to suppose it a general election for knights 
 of the shire, when two members of the whig party are chosen in opposition 
 
 H 
 
50 
 
 HOGARTH’S WORKS. 
 
 to two of the tory. But as when the court and country are put in different 
 scales, the weight of the first, at least in appearance, makes the second kick 
 the beam, those in the tory interest are obliged to wear the faces of the 
 whig, in order to carry the point in question. Such is the case of the party 
 present; evident by the slashed picture of the king, which they are supposed 
 to have demolished, through a pretended aversion to the court; and the 
 flag, on which is painted “give us our eleven days,” alluding to the 
 alteration of the stile in the year 1752, which gave great displeasure 
 throughout England; these things, with some others, such as the foppish 
 dress of the candidate, the name of the person next him (one of his agents) 
 viz. Sir Commodity Taxem, known by the address of a letter just presented 
 him by the leering cobler, who has him by the hand, and whom hesolicits, 
 thinking he has taken him in for some service, and by the motto on the 
 butcher’s favour, (who is pouring gin on the broken head of another,) 
 namely “For our Country.” By these, and other circumstances, it is past 
 doubt that the party present are tories under false colours. To confirm 
 this, see the opposite party throwing in bricks and stones at the window, 
 one of which has knocked down an attorney from his seat, who was 
 emplo 5 ^ed in casting up the votes. Without is a flag carried by the mob, 
 bearing these words, “Marry and multiply in spite of the devil and the 
 court,” and the effigy of a Jew, on whose breast is written “No Jews,” 
 alluding to those two unpopular acts that passed about the same time. To 
 revenge this riotous proceeding without, observe a man throwing a stool 
 out in return, and another emptying a vessel of urine on their heads. For 
 on such occasions, the greater the riot the more the merriment; the 
 wounds and sufferings of the mob, being considered only as trophies and 
 honours of the time. It is very well known, that at these seasons, all sorts 
 of decency and distinction are laid aside, and that drunkenness and 
 condescension are the greatest virtues. As a proof of this, see here an 
 assembly of all ranks of people ; view the condescending candidate paying 
 his respects to a female voter, an old toothless jade, who in obedience to 
 the word of command, viz “Kiss him Moll,” (from the man above her, who 
 is shedding the fiery ashes on the member’s wig,) is not only doing that, 
 but taking other indecent liberties with him, while the girl is endeavouring 
 to rob him of his ring. Before this woman is one Abd Squat, a dealer in 
 
THE ELECTION. 
 
 51 
 
 ribbons, gloves and stockings, brought as presents on the occasion, for 
 which he has received a promissory note of fifty pounds, paj^able in six 
 months, which he does not seem to relish. At the middle of this table on 
 the farther side, sits a crooked object, ridiculing one of the fidlers, for his 
 enormous length of chin, not considering his own deformity even in that 
 very part; a striking instance of the folly of such persons as condemn in 
 others, what is too conspicuous in themselves. In front, is a boy making 
 punch in a mashing tub, intimating the great quantity of liquor that is 
 swallowed at such meetings, of some kind of which, one of the corporation 
 behind the young woman near the window, seems to have got his fill. But 
 this entertainment does not consist in drinking only, eating to excess is 
 also part of it, as is shewn by a parson and an alderman, (of all classes of 
 men known to be the greatest gutlers,) voraciously cramming themselves 
 to the destruction of their health. Though the dishes are removed from 
 table, we see this gutling divine feasting luxuriously on the remains of a 
 haunch of venison, even when all the rest have done, indulging his palate, 
 by heating it in a chaffing dish of coals, though he is almost fainting with 
 the heat. 
 
 We cannot avoid relating here, what we once heard at a country 
 election, it being extremely applicable to the occasion, shewing us what 
 part the pulpit-gentry bear, at these times of public rejoicing. An 
 occasional rustic attendant at a public house, whose name was Nicodemus, 
 and whose business it was to serve out the liquors, having stepped without 
 the door, in the morning of the election-day, to view the entry of the 
 pollers into town, was soon followed by a brother waiter, who called out 
 with the utmost vociferation, “ Nicodemus, — Nicode — mus” and on being 
 answered, ‘Tiere here,” replied, “more rum and tobacco for the clar—gy.” 
 
 With respect to the alderman, behold him after dinner, gorged with 
 oysters, dying with one upon his fork, and a barber surgeon vainly 
 attempting to recover him by bleeding. Behind this maffis chair, is a 
 puritan, with uplifted hands refusing to take a bribe, and his wife abusing 
 him for so doing. “Curse your squeamish conscience,” says she, “is not 
 your wife and children starving? have they clothes to their backs, or 
 
 H 2 
 
52 
 
 HOGARTH’S WORKS. 
 
 stockings to their feet?—take it,—or by all that’s just, you rue the 
 consequence.” Beneath the window, is an old gentleman afflicted with the 
 gravel. On his right hand, sits a droll genius making game of him, twisting 
 his handkerchief into the representation of a face, and moving it with infinite 
 humour, while he chaunts the song of *‘An old woman cloathed in grey” His 
 hand represents the face of an old woman, which with the motion of the 
 thumb, and the humour of the performer, fails not to draw upon the object 
 of ridicule the laugh of the company. In this room, we may imagine a 
 variety of noises, loud and boisterous, which is encreased, in order to keep 
 the spirits upon the wing, by the addition of a few gut-scrapers, and a 
 north country bag-piper. The only thing in this plate, further to be noticed 
 is the elector’s coat of arms against the wainscot; mz. three guineas, 
 proper, with the motto, speak and have; whose crest is a bawling 
 mouth; hence are we taught, that in elections, honesty is shut out of doors ; 
 that gold is the most prevailing argument, and that on these occasions, he 
 who can make the most noise, is the best instrument for party, and is sure 
 to gain the greatest share of money, and temporary favour. 
 
 Though this scene is exhibiting within doors, there are others equally 
 interesting without. Here votes are called together, as birds to a net, by a 
 decoy; abroad the fowler is upon the hunt, canvassing from parish to 
 parish, of which the reader will have some idea from the following plate. 
 
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 CANVASSING- FOB VOTES 
 
THE ELECTION. 
 
 35 
 
 PLATE 11. 
 
 CANVASSING FOR VOTES. 
 
 IN this print we are introduced to the opposite party, in an active 
 canvass in a country village, prodigally scattering money among the 
 inhabitants: for at these times nothing paves the way like gold, which, as a 
 celebrated writer observed, is the strongest argument and a most wonderful 
 clearer of the understanding; dissipating every doubt and scruple in an 
 instant; accommodates itself to the meanest capacities; silences the loud 
 and clamorous; and brings over the most obstinate and inflexible. Philip 
 of Macedon refuted by it all the wisdom of Athens, confounded their 
 statesmen, struck their orators dumb, and at length argued them out of all 
 liberties. No wonder then it should have the same effect upon a people 
 to whom money is a God, and who considers the accumulation of wealth 
 (as is the now prevailing opinion of the world) to be the sole object of a 
 Christianas view. Mark then an agent for one of the candidates making 
 interest with the ladies; “gain but the women' has been an old saying, 
 “ you are sure of the men;” see him offering them presents from the box of a 
 travelling Jew, in which there is such variety that they know not what to 
 accept, so wavering and undetermined is the female choice in general. In 
 order to gain their favour, which is oftener effected by baubles and sights 
 than by any degree of patriotism, he is supposed to entertain the village 
 with a puppet-show, for admission to which a porter has just brought from 
 the printer's some quires of tickets, together with a quantity of bills usually 
 distributed on these occasions, requesting of the electors their vote and 
 interest. The cloth bearing the insignia of this exhibition is hoisted to the 
 sign post, and is allusive to the subject we are upon; the lower part of 
 which represents Punch profusely throwing money to the populace, while 
 the upper part offers a view of the treasury loading a waggon with money, 
 in order to secure a parliamentary interest. In this piece Mr. Hogarth has 
 
54 
 
 HOGARTH’S WORKS. 
 
 taken an opportunity of ridiculing the clumsiness and absurdity of the 
 building of the Horse Guards, in the heaviness of its steeple, which he has 
 made to resemble a butt; and the lowness of the gateway by taking off the 
 coachman’s head, as he passed through it, when his majesty went first to the 
 House of Lords, after it was finished; making the man in reality, as he is 
 customarily called, the King’s Body Coachman. In the front of this piece 
 stands a country freeholder, beset on both sides by emissaries of different 
 parties, presenting cards of invitation to dinner, in order to curry favour; one 
 of whom, viz. he in the cap, is supposed to be an attendant at the Crown, 
 the other the master of the Royal Oak ; both are offering bribes, but one a 
 much larger than the other; and the determination of the farmer is 
 sufficiently known by the cast of his eye, which expressly declares that 
 though his necessity obliges him to take a fee from both, his conscience 
 bids him vote for him that gives the most. The woman counting her money, 
 which the grenadier eyes with so much wishfulness, is mistress of the inn; 
 and is introduced to shew us that the general attention of all ranks of people 
 is fixed upon that saint-seducing object, money ; she sits upon the head of 
 an old ship, fixed at the door, as is commonly seen at public-houses, which 
 represents a lion ready to devour a flower-de-luce, (the French arms;) 
 emblematical of the natural animosity that constantly subsists between 
 England and France. As this scene would be imperfect without some 
 eating and drinking, which is the very life of parliamenteering, our author 
 has given us two men hard at it, in the larder; one tearing a fowl to pieces 
 with his teeth, and the other playing away upon a buttock of beef. On the 
 opposite side of this plate are two ale-house politicians, a barber and a 
 cobler, who, with a total ignorance of men and measures, are settling the 
 affairs of state, and planning sieges with half-pence and pieces of tobacco^ 
 pipe. During the barber’s supposed harangue, which we are to imagine 
 was graced with numerous hesitations, variety of blunders and nonsense of 
 seeming moment, see the one-eyed cobler, snuffing the snuff of self conse¬ 
 quence, and whiffing his tobacco with an importance. To set forth the surly 
 pride of one of these members of shoes on a time of election, permit us to 
 relate a little anecdote, that happened in a borough town not far from 
 London. In the course of the canvass, the member, who in order to save 
 appearances, had kissed the voters wives with guineas in his mouth, applied 
 
THE ELECTION. 
 
 55 
 
 for a vote to a low bred surly chap of the same stamp with this man before 
 us. He began his application with professions of esteem and enquiries of 
 health ; and closed it with saying, ‘‘ he flattered himself, that he had always 
 lived in such repute, as to have the voice of every one there, and among 
 the rest, that of his and on being asked, “what he meant by slobbering 
 the women folk,"" replied “"twas his customary method of expressing his 
 joy in seeing them."" “ Why don’t you then,’" says the- cobler, “ express 
 your joy in seeing me the same way?"" This was no sooner complied with, 
 than the rough hewn freeman slips the guinea from his mouth to his pocket, 
 and turns upon his heel with a laugh of derision, telling the squire, “ that 
 he might now kiss his —, for that he had promised his vote to t’other man.’" 
 But to return to our subject; as in the first plate, the persons present wore 
 only the cloak of reality, in this they shew themselves absolutely in earnest. 
 The people having here assembled to break the windows, tear down the 
 sign, (which one is sawing through on the top) and demolish the house, 
 opened by the contrary party; and so resolute are they in their deter¬ 
 minations, as even to dare the discharge of a gun; so headstrong and 
 ungovernable is an English mob, that the more they are opposed the 
 greater ravage they make. We are however to understand that their 
 inveteracy here is actuated by a two-fold principle, that of a spirit of 
 opposition, and their abhorrence of excise (this riot being at the office of 
 excise,) a law which though it may be particularly necessary, has been 
 and still continues to be extremely unpopular. 
 
 In this state of tumult and dissipation the time is spent "till the day of 
 election, when every agent is supposed to head his party, and march into 
 town with a formal procession; the bells ringing, music playing, streamers 
 flying, and people shouting. It is almost impossible to conceive the noise, 
 the hurry, the bustle and joyous confusion of the populace, each party 
 striving to be the loudest, and endeavouring by all the acts of opposition to 
 suppress the other. Now all business is superseded by enjoyment, fighting 
 and feasting is the employment of the day, all distinction is laid aside, and 
 the beggar is as great as the lord. Having then made all the interest 
 possible, and secured every vote in their power, the next step is to poll 
 them. 
 
56 
 
 HOGARTH’S WORKS. 
 
 PLATE III. 
 THE POLLING. 
 
 IN this print we are presented with both parties at the hustings, availing 
 themselves of every possible advantage, and to swell the number of votes, 
 polling the mained, the sick, the halt and the blind. The tory interest is 
 distinguished by the orange-coloured flag and is that on the right, where 
 they are swearing a pensioned officer, who has lost the major part of his 
 person in the service of his country, and who is here supposed under a 
 necessity of voting for the court, in order to secure his little pay; so 
 ungrateful is the state in general, as to take notice of and reward but a few, 
 except its interest is immediately concerned. An oath however light of it 
 may be made, is one of the most sacred acts of man, being a solemn 
 appeal to heaven for the truth of the cause in question: whoever 
 therefore is so presumptive as to take a false one, or so rash as not to 
 consider what they are about, is sure to draw upon themselves the anger 
 of the Almighty, and lay themselves open to the vengeance of the God of 
 Truth ; an act of this sort being a public affront, and a bare-faced mockery 
 of his justice. Yet notwithstanding this, it is commonlj'' looked upon 
 merely as ceremonial, which the laws of this kingdom have enjoined in 
 |udicial matters, and as such does not always answer the wise design. As 
 a proof how little the solemnity of an oath, the most sacred act of man, is 
 apt to affect us on these occasions, take notice that on the officer’s laying 
 his wooden stump upon the book, the swearing clerk bursts into a fit of 
 laughter, which he endeavours to stifle with his hand, and which is not a 
 little encreased by the two councellors disputing the legality of the oath. 
 By which last we are given to understand that these black-robed gentry of 
 the bar, so hackney’d are they in the ways of quibbling, will harangue longer 
 and louder in a case of this sort than when truth is on their side and 
 integrity before them. On the other side see the whigs distinguished by 
 

 htblishcd BurjiC Re/v S:Orm^ Jart*.i^iA>d 
 
THE ELECTION. 
 
 57 
 
 the blue flag and favours, polling a man who has lost the use of his limbs 
 and senses by the palsy, the latter of which is in some measure, assisted by 
 the whispers of one behind him, who is directing him whom to vote for. 
 By the shackle on this man s leg, and the paper in his pocket, whose title 
 is “ The Sixth Letter to the People of England,” we learn that he came 
 into disgrace for being the author of that publication. Behind him is 
 another freeholder, brought almost dying from his bed. So great is the 
 opposition, and so hard run are they supposed to be, as to be under the 
 necessity of procuring of votes, even at the risk of life. Hence have we a 
 further proof of the general craving after money, when a man shall run 
 such great lengths to obtain it, though it is more than probable, the step 
 he takes may occasion his death; and though he has the greatest reason to 
 think he shall not live to enjoy it. On these occasions each party 
 endeavours to lessen the other in the eyes of the public ; nor do they stick 
 at any thing in order to accomplish it. It is something very astonishing, 
 that gentlemen, men who pride themselves in that appellation, should 
 descend to such wretched shifts in order to support their cause; things I 
 am confident they would loudly condemn in others; but such is the self 
 partiality of mankind, as to view their own failings through the diminished 
 sight of the telescope, when at the same time, they will shuffle to themselves, 
 that end which shall greatly magnify the failings of others. In this view 
 of things, we are to suppose all manner of calumnies and invectives being 
 thrown out by the one party against the other; and lest they should not 
 spread sufficiently, which is seldom if ever known to be the case, they are 
 committed to press, and distributed up and down among the people. 
 Witness those ballads, bearing the print of a gibbet, (an emblem of the 
 contents) which the woman is crying, and which a cluster of men are 
 reading with so much glee. Among the numerous strokes of humour which 
 might be pointed out in this scene, we must not omit to notice the two magis¬ 
 trates, in opposite interests, attending the poll; one of whom seems not to 
 like the account of it, and the other so sure within himself of the success 
 he anticipates, as to be lost in the pleasing reverie. This fully appears by 
 his inattention to that person on his right, who is sketching off his face on 
 paper. 
 
 X 
 
58 
 
 HOGARTH’S WOKRS. 
 
 Regretting the sad situation of England under these scenes of 
 venal corruption, Mr. Hogarth has introduced Britannia in her chariot, 
 which is breaking down, and her life in danger, through the indiscretion 
 and obstinacy of her coachman, who is at cards with the footman on the 
 box, and who in contempt to all the cries and calls of his mistress, is 
 determined to play on, let the consequence be what it will. An admirable 
 stroke at the interested motives of venal statesmen. Let these statesmen 
 however reflect, that they are answerable to the public for their conduct, 
 who have entrusted them with their properties and lives; and that if they 
 make a wrong use of the power committed to their hands, though they 
 may chance to escape an examination in this life, they most assuredly will 
 meet with a severe one in the next. 
 
ht/>bsh£il by Lm^rum. Ibrrst,Rf€S' it Prrne. 
 
THE ELECTION. 
 
 59 
 
 ' PLATE IV. 
 
 CHAIRING THE MEMBER. 
 
 THE whig party having obtained the victory, this plate presents them 
 chairing their members; for though one only is in sight, the shadow against 
 the court-house, declares the other not a great way off. A tumultuous 
 procession of this kind never fails of producing a general confusion. 
 They are here supposed to have just passed a farmer’s yard, hurrying pigs, 
 geese, and every other thing before them; and as one accident seldom 
 comes alone, behold the sow having just overset a woman, who is near 
 being trampled on by the mob. To add to this scene of uproar, out runs a 
 thresher from the barn in defence of his pigs, and rashly strikes with his 
 flail at the first person in his way, a bold courageous tar, who repays him 
 smartly in his own coin. The necessity this poor man is reduced to, of 
 leading about a dancing bear for maintenance, is a most severe reflection 
 on the ingratitude of the government, who will suffer an honest seaman, who 
 has undergone the greatest hardships, nay lost his limbs in the defence of 
 the nation, to stroll about the country begging, as it were, the charity of his 
 fellow subjects, and depending on strangers for that relief he is supposed 
 to be denied by those who were very particularly indebted to him. This 
 winnower of corn, in raising his flail accidently strikes one of the carriers 
 on his temples, stuns him with the blow, and deprives him of his strength; 
 which had near proved fatal to the member by a sudden overthrow, had it 
 not been prevented by the immediate assistance of another. An accident 
 so unexpected, frightens a young lady looking over the church-yard wall, 
 who seems by her fainting to have a greater concern in the gentleman’s 
 misfortune, than we might at first be aware of. To increase the confusion, 
 
 I 2 
 
60 
 
 HOGARTH’S WORKS. 
 
 behold the bear falling foul of the tubs of garbage, the monkey squealing, 
 and his piece taking fire. The action of the Chimney Sweeper on the wall, 
 must be allowed a fine stroke of moral humour. “AvasV says he, “my 
 lads,"" to the thresher and the sailor, “avast, death, (imitating its ghastly 
 grin) has put on its spectacles, and watches an opportunity to lay you by 
 the heels,'' intimating, that unless they speedily desist, the loss of life may 
 be the dreadful consequence. Against the church is a sun-dial, with the 
 motto, WE must; a pun, alluding to the name of the time-piece it is onJ 
 viz. “We must die — all.” Mr. Hogarth has in this taken an opportunity 
 of transmitting to future ages the excessive ignorance of a certain monied 
 man of good family, who thinking it extremely smart, had it immediately 
 painted upon his clock in the front of his house. A convincing proof that 
 it is not always in the power of education to impart sense. To shew us that 
 fighting and feasting are the usual attendants of tumultuous rejoicing he 
 has thrown into this piece a woman beating her husband for leaving his 
 business, who by his thread round his neck, and the scissars by his side, is 
 supposed to be a taylor. Why taylors should be represented as the most 
 cowardly and hen-pecked of mortals, unless it be that working with a 
 needle unmans them, we are at a loss to determine; but such is the general 
 contempt that profession lies under, as in all cases of meanness to be the 
 butt of ridicule. 
 
 In one corner of this plate is a soldier, whom we are to 
 understand by his being stripped, as well by his broken sword and his 
 Avounds, to have been also fighting, and who is noAV comforting himself 
 Avith a quid of the best Virginia. With respect to feasting, see tAvo men 
 carrying out a barrel of beer to the populace, another licking the dregs of 
 an empty cask, and to complete the whole, a dinner of many covers 
 conveying to the best house in the place, that of the attorney's (knoAvn by a 
 clerk writing in an upper room,) for the entertainment of those whom feasting 
 at a public-house Avould have been disagreeable : among these, a groupe of 
 whom Ave see at the Avindow, is a certain popular nobleman, (distinguishable 
 by the ribbon) Avho is universally known to busy himself greatly at these 
 
THE ELECTION. 
 
 61 
 
 seasons, establishing an interest by making court to the lowest of the 
 people. 
 
 One other thing more we shall notice, which is the introduction 
 of a French cook, who is looking on the naked soldier with an eye of 
 contempt. A striking declaration of the insincerity of modern popularity, 
 who while she roars out “England for ever,^^ betrays, in her luxurious 
 appetite, a dislike of her country, in the loathing of its natural food, and a 
 craving for the unsubstantial dainties of the French. Thus in these, as in 
 all other scenes of life, hypocrisy is the reigning principle, and the tongue 
 is a constant traitor to the heart. 
 
THE FOUR TIMES OF THE DAY. 
 
 PLATE 1. 
 
 MORNING, 
 
 THE just analogy between Painting and Poetry has been matter of 
 long observation; each art equally affecting the passions, through the 
 channel of different senses ; indeed, so great is their similarity, that they, in 
 some sort, partake of each other’s peculiar properties. In poetry we see 
 with our ears, and in painting we hear with our eyes. Poets have been 
 frequently luxurious in the rural descriptions of the different parts of the 
 day, and by a faithful delineation of nature, have pleased the imagination 
 and delighted the understanding. Our author, in the prosecution of his 
 studies in the sister art, has, in his turn, given us a humorous representation 
 of such scenes as occur at those particular times in the metropolis; which 
 may serve as a burlesque to the other, and will give those who have not an 
 opportunity of being present, some idea of what passes beyond the circle 
 of their own immediate knowledge. 
 
 The place from whence this scene is taken is Covent Garden; the time, 
 break of day, or Morning; and the season. Winter, (evident from the icicles 
 and snow upon the tops of the houses;) yet, cold as it is, we have here an 
 old maid going to seven o’clock prayers, whose half-starved, shivering 
 servant behind her, carrying her prayer-book, presents a fine constrast to his 
 stiff mistress, who is dressed in a single lappet-head, and without a hand- 
 
J'lii'ti-fiMi fy' J.oni/ntttn JIunft irOrrnt Jan.2 . 
 
THE FOUR TIMES OP THE DAY. 
 
 63 
 
 kerchief; a manifest token of her vanity and pride, in adorning her person 
 at the expence of her health. Regardless of the beggar, who is supplicating 
 her benevolence, the sibyl pursues her walk, and seems to view with stern 
 disdain the two girls who are amorously beset by a couple of rakes just 
 issued from Tom King^s coffee-house ; the entrance of which presents a 
 noble scene of confusion to the lovers of such sport. On the left of this 
 plate are two boys “creeping like snails unwillingly to school,'’ with their 
 satchels on their backs; and a little further back is Dr. Rock, exhibiting 
 his medicines for sale, and imposing upon the credulity of the people. 
 The only thing further to be noticed in this plate is the clock in front of the 
 church, which seems to be greatly decayed, by the figure of Time above; 
 beneath is written this motto. Sic transit gloria muncli, “ Thus passes the 
 glory of the worldintimating the frailty and instability of life, which 
 posts away like the fleeting hours, and in time crumbles into nothing. 
 
64 
 
 HOGARTH'S WORKS. 
 
 PLATE IL 
 NOON. 
 
 IN this second plate we have a representation of Noon, with a view of 
 the French congregation coming out of the chapel in Hog-lane, St. Giles’s, 
 it being supposed to be on Sunday. This plate presents us with an agreeable 
 contrast between the finery of some of the congregation and the beggarly 
 situation of the place, not a little heightened by the group of figures on the 
 other side of the way, and the dead cat lying in the kennel, supposed to 
 have been lately stoned to death by the cruelty of the neighbouring boys. 
 Our author has here taken an opportunity of ridiculing the folly of the 
 French fashions, with respect to dress; it being customary in France, at 
 this period, for people to go extremely gay themselves, and at the same time 
 to dress up their children like old men and women. Frequently would you 
 see a girl of seven years of age in a sack, or suit of cloaths ; and a boy of 
 five in a sword and full-trimmed coat, with a bag to his hair that covered his 
 back. So strange were their notions, and so ridiculous their manners!—On 
 the opposite side are two houses, a cook’s and a distiller’s, (such being shops 
 of the greatest business in that part of the town) humourously distinguished 
 by their contrasted signs ; the one having a head without a body, called the 
 Baptist’s Head ; the other a body without ahead, commonly known by the 
 name of The Good Woman. As a further contrast to this last sign, observe 
 the termagent quarrelling with her husband, and, in the heat of passion, 
 throwing their dinner out of window! and so boisterous are they, as to 
 attract a number of passers-by. The group on the left consists of a boy 
 roaring for the mishap he has met with, in breaking the dish, and throwing 
 down the pudding he was conveying from the baker’s, the remains of which 
 a hungry girl is collecting and devouring; and of a servant wench, kissed 
 by a black in her way home with a smoking pye, while the gravy of her dish 
 
Ptihhshrii bv fjonamaji. /hu'Jt. ScOnnt Jarv't^iSo^. 
 
 
THE FOUR TIMES OF THE DAY. 
 
 (j5 
 
 is poured upon the luckless urchin beneath. In the group on the right 
 are two old hypocritical women saluting each other with a kiss of 
 seeming friendship, though we may infer from their looks that they would 
 destroy each other in their hearts; this characteristic of the French, 
 is a lively picture of many among ourselves, who, being rivals in pride 
 and ambition, will, to serve their own purposes, caress those whom 
 they despise. 
 
66 
 
 HOGARTH'S WORKS. 
 
 PLATE III. 
 EVENING. 
 
 IN the description of Evening we have the return of a family after 
 their Sunday afternoon’s walk to some tea-house or place of entertainment, 
 in the out-shirts of London. The spot from whence this scene is taken, 
 is that of the house known by the sign of Sir Hugh Middleton, at the New 
 River head, near Sadler’s Wells; where we see several people smoking 
 and sweltering themselves, refreshingly and agreeably, it being supposed to 
 be in the heat of summer. This house was formerly in great repute, though 
 dwindled now into little better than an ale-house. The family here repre¬ 
 sented are citizens, and imagined to be so much jaded by the heat, and 
 length of way, as to render their evening recreations toilsome and laborious; 
 for, as Doctor Johnson observes, an ardent pursuit of pleasure generally 
 defeats its own purpose ; and when we have wasted days and nights, and 
 exhausted our strength in the chase, it eludes our grasp, and vanishes from 
 our view. Without any profound skill in the science of physiognomy, it 
 is not difficult to discover that the lady is absolute master of her husband’s 
 person and his property, as well as honour: the first of which is visible 
 by his carrying the child, the second by the money theyhave been spending, 
 and the last our author has artfully contrived to shew, by fixing a cow so 
 judiciously behind, as to make the horns appear just above his head. 
 The spaniel before, and the children behind, seeming to partake also of this 
 w^earisome recreation, (for by the servant’s loosening the girl’s shoe, we find 
 she is as tired as the boy,) convince us that satisfaction is oftener sought 
 than found, and that we commonly weary ourselves in the vain and 
 laborious pursuit of pleasure. 
 
 Simplicity and submissiveness are stamped on the husband’s coun¬ 
 tenance. His eldest son, quaintly dressed with a cockade in his hat, is 
 
EVENING. 
 
THE FOUR TIMES OP THE DAY. 
 
 67 
 
 taking his evening's ride on papa's cane ; the girl behind has all the 
 embryon features of a shrew. 
 
 r 
 
 In the early impressions of this plate the face and neck of the 
 woman were covered with red, in order to shew her extreme heat; as 
 the man's hands were tinged with blue, to intimate that he was by trade 
 a dyer. 
 
68 
 
 HOGARTH'S WORKS. 
 
 PLATE IV. 
 NIGHT. 
 
 THE last plate in tins set is a description of Night, and that a night 
 of rejoicing, viz. the 29th of May; evident from the bonfires, the oaken 
 bough upon the barber’s pole, and the oak leaves fixed in the freemasons’ 
 hats. The scene is taken from the narrow part of Charing Cross, as it 
 formerly stood before the way was widened, looking from Whitehall, and 
 exhibits the Rummer Tavern on one side, and the Cardigan’s Head on the 
 other ; at that time two noted bagnios. We see here the Salisbury flying 
 coach, just set out from the inn, overturning, and its passengers in the 
 utmost fright, encreased by the entrance of a burning serpent into the coach, 
 thrown by some unlucky boy. Though on these nights of festivity such 
 things are countenanced, many and great are the accidents that have 
 attended them, houses set on fire, people burnt and limbs broken. On the 
 other side, a waiter is leading home a freemason in his apron, an ensign of 
 Iris order, overpowered with liquor; and by a cut on his face, is shewn to 
 have been in a fray ; and he is scarcely out of one dilemma, before he is 
 in another, for a maid, from a window in the Rummer Tavern, is showering 
 her favours upon his head. On the right of this man is the house of a 
 barber surgeon, illuminated with candles, whose sign is a hand drawing a 
 tooth, the head in exquisite pain; beneath is written “ Shaving, bleeding, and 
 teeth drawn with a touch.” “ Ecce sigmim” behold the sign. An emblem of 
 the operator’s abilities. And through the window we have a view of the 
 joint operation of shaving and bleeding, by a drunken ’prentice. Beneath 
 is a beggar’s bagnio, a place where such poor wretches as cannot find a 
 better lodging, are obliged to resort to in common. Though dark, we are 
 able to discern these poor creatures by the light of the boy’s link, which he 
 is blowing in order to kindle a squib. Many are tlie hardships the poor in 
 
PabUshzd. by Lim^nan.Hwst. Rees iSr Ofmt.July I'Sidoj. 
 
THE FOUR TIMES OF THE DAY. 
 
 69 
 
 London are reduced to, which the opulent have no idea of; for besides the 
 want of necessary food, they are frequently in distress for a night's lodging, 
 even in the coldest and worst of weather. Each parish indeed provides in 
 some measure for its own poor, but there are many objects at such distances 
 from their respective parishes, as to be wholly out of the reach of their 
 assistance ; constrained therefore through want of this necesssary care, they 
 are often obliged to throw off every sense of virtue and honour, and become 
 little better than the brutes of the creation; a circumstance that calls 
 loudly for the attention of the public, as well in relation to its own safety, 
 as with respect to the care it is indebted to the necessitous; want being 
 found to nurse up vice, till it grows and ripens into villainy. Behind is a 
 nightman, employed in his profession ; and further back, a family carrying 
 off tlieir goods by stealth, fearing they should fall a prey to their 
 landlord. 
 
 Upon the whole, though there are many other circumstances to be 
 met with in London streets, that might serve to distinguish the various parts 
 of the day ; yet these which Mr. Hogarth has noticed, seem to be the most 
 striking, and are sufficient to declare him a proficient in his art, and well 
 skilled in the knowledge of the town. 
 
THE INVASION. 
 
 PLATE I. 
 FRANCE. 
 
 “ With lantern jaws, and croaking gnt, 
 
 “ See how the half-starved Frenchmen strut, 
 
 “ And call us English dogs! 
 
 “ But soon we’ll teach these bragging foes, 
 
 “ That beef and beer give heavier blows, 
 
 “ Than soup and roasted frogs. 
 
 “ The priests inflam’d with righteous hopes, 
 
 “ Prepare their axes, wheels and ropes, 
 
 “ To bend the stiff-necked sinner! 
 
 “ But §hould they sink in coming over, 
 
 “ Old Nick may fish ’twixt France and Dover, - 
 
 “ And catch a glorious dinner.” 
 
 THE settled enmity between England and France, together with the 
 dastardly disposition of the one, and the brave spirit of the other, have given 
 occasion for frequent triumph on our side, and dejection of spirit on theirs. 
 This print and its companion were published in the year 1756, when a w’^ar 
 broke out between this country and France. The scene before us represents 
 the embarkation of the French troops, in order to invade England! 
 And we observe their unwillingness to go, by the necessity the officers are 
 under, of goading them on with the point of their halberts! The fore-ground 
 of this plate exhibits a forlorn cabaret^ or ale-house, whose sign is a wooden 
 shoe, with a board, on which is written, “ Soup-meagre a la sabot royal,"" 
 Soup-meagre at the royal wooden shoe. A broth made of herbs and fat, (far 
 unlike the rich gravy soups of England,) meat being there to the poor a 
 
\ 
 
 ^nhhshf'd In- Lit^/ium TTur^ Hr-e.r H' Onne July 2<*i8o- 
 
9 
 
THE INVASION. 
 
 71 
 
 great rarity, as is intimated by the neck bones of* beef, void of flesh, 
 hanging within the window; by the weak emaciated figures of the meagre 
 Frenchmen, and by the general joy they show at the sight of their colours, 
 on which is written in large letters, Vengeance avec le bon bier et bon 
 beuf d^Angleterre Vengeance with the good beer and good beef of England ; 
 and to which, by way of encouragement, the officer who is humbly 
 roasting frogs before the fire, is pointing. Though the soldiers relish 
 not this expedition, the clergy seem greatly to enjoy it, eager for an 
 opportunity to exercise their studied persecution: This we are given 
 to understand by a sledge of instruments preparing to be put on board, 
 which contains scourges, gibbets, wheels, and other engines of torture, 
 intended for a British inquisition. Among these are an image of St. 
 Anthony, and a plan of a monastery purposed to be built at Blackfriars. 
 The merciless disposition of popish bigotry is also well shewn, by the secret 
 satisfaction the priest enjoys in feeling the sharpness of the persecuting 
 axe. One thing more we learn from the plate before us, which is, that 
 notwithstanding the British subjects were but a handful, in comparison with 
 those of France, yet by our native provvess, and the justness of our cause, 
 we had, by continued success reduced their men to so small a number, that 
 they were glad to make shift with real invalids, whilst their women were 
 obliged to manure the land themselves. 
 
72 
 
 HOGARTH’S WORKS. 
 
 PLATE 11. 
 ENGLAND. 
 
 “ See John the Soldier, Jaek the Tar, 
 
 “ With sword and pistol arm’d for war, 
 
 “ Shonld Mounseer dare come here; 
 
 “ The hungry slaves have smelt our food, 
 
 “ They long to taste our flesh and blood, 
 
 “ Old England’s beef and beer! 
 
 “ Britons to arms ! and let ’em eome, 
 
 “ Be you but Britons still, strike home, 
 
 “ And lion-like attack ’em, 
 
 “No power can stand the deadly stroke, 
 
 “ That’s given from hands and hearts of oak, 
 “ With liberty to back’em.” 
 
 AS a contrast to the last plate, we have here the jovial sons of liberty 
 at their general rendezvous! Observe the stout-hearted peasant enlisting in 
 defence of his country! Lest the shortness of his stature should exclude 
 him from the service, he is deceiving the serjeant by rising on his toes, 
 ambitious of bearing the honourable name of soldier. See also here a 
 well-built ale-house, the scene of joy and noble living, known by the sign 
 of the late gallant Duke of Cumberland, who, by his warlike genius, 
 became a terror to his foes. Beneath this sign is written not ‘ Soup-meagre 
 a la sabot royal,’ but, “Roast and boiled every day.'’^ Before the door is a 
 table spread, on which is a buttock of beef, and a half-gallon pot of stingo. 
 At this festive board, mirth takes the lead, and valour crowns the feast. 
 This we learn from the song, “ Britannia rules the waves” upon the table, 
 and by the boy lying at his ease and playing “ God save the King” upon 
 his fife ; but more particularly from the collected attention of the soldier 
 and sailor to the horrid ugly figure of the French king, which a grenadier 
 is daubing on the wall: his putting into his mouth the words, “You take 
 
.Pnbhj'hed bf Zonpruun Tlis'st K^.* Sr Omie . Si. 
 

THE INVASION. 
 
 73 
 
 a my fine ships, you be de pirate, you be de teef, me send my grand 
 armes and hang you all,” produces from the tar a roar of approbation, 
 and a more particular attention from the soldier, giving their girls an 
 opportunity of indulging a wicked thought, by measuring the breadth of 
 the painter's shoulders. 
 
 The mirth, good humour, and air of content, delineated on the 
 countenances of the figures introduced in this print, present a striking 
 contrast to the lank and meagre personages we contemplated in the 
 preceding one. 
 
SOUTHWARK FAIR. 
 
 THE tumultuous scenes of life, to such as have discernment, are found 
 to be crowded with infinite humour. As a proof of this, we need only 
 refer to the lord-mayor's shew in this work, the execution scene, the March 
 to Finchley, the election prints, and this before us; where every one that is 
 the least acquainted with them, must allow each group to be droll, real and 
 natural. The subject of the plate under consideration, is that of the 
 Borough Fair, a fair held some time since in the Borough of Southwark, 
 though now suppressed, on account of the ill consequences attending such 
 meetings in very populous trading places. Fairs were originally designed 
 as general markets, though now through the licentiousness of the times, 
 they are reduced to little else than seasons of dissipation, riot and 
 intemperance. This of the Borough was ever composed of the inhabitants 
 of town and country, and therefore of all fairs, was one that afforded the 
 greatest variety. A view of the scene, of which the following print is a 
 faithful representation, will affirm this truth. 
 
 The principal group on the left, consists of the fall of a scaffold, on 
 which was assembled a strolling company, pointed out by the paper 
 lanthorn hanging in front, to be that belonging to Cibber and Bullock, 
 ready dressed to exhibit “ The Fall of Bajazet." Here we see merry- 
 andrews, monkeys, queens and emperors, sinking in one general confusion; 
 and that the crash may appear the greater, the stand beneath is humourously . 
 supposed to consist of earthenware and china. Notwithstanding this fatal 
 overthrow, few below are seen to notice it, through a collected attention to 
 other objects : witness the boys and woman gambling at the box and dice, 
 the upright monkey, and the little bagpiper dancing his wooden figures. 
 Thus frequently are our thoughts so much engaged, as to render us often 
 
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THE FAIR. 
 
 75 
 
 insensible of our danger. Above this scaffold hangs a painting, the subject 
 of which is the stage mutiny ; whose figures are as follow. On one side is 
 Pistol, (strutting and crying out “ Fistol’s alive”) Faktaff, Justice Shallow, 
 and many other characters of Shakespear. On the other, the manager 
 bearing in his hand a paper, on which is written, it cost £6,000; a scene 
 painter having laid his brushes aside and taken up a cudgel, and a woman 
 holding up an ensign, bearing the words, “ Well starve ^em out.” In the 
 corner is a man, quiet and snug, hugging a bag of money, laughing at the 
 folly of the rest; and behind a monkey perched upon a sign iron, supposed 
 to be that of the Rose Tavern in Drury Lane, squeaking out, “ I a?n a 
 gentleman.” These paintings are in general designed to shew what is 
 exhibited within; but this alludes to a dispute that arose (at the time when 
 this print was published, which was in the year 1733) between the players 
 and the patentee of Drury Lane Theatre, when young Cibber, the son of 
 the Laureat, was at the head of the faction. As these places are crowded 
 with exhibitions of different kinds, in order to amuse the idle, and fill the 
 pockets of their respective proprietors, we must consider the whole as 
 directed to one point of view. Above, on one side, is an equilibrist swinging 
 on a slack rope; and on the other, a man flying from the tower to the ground, 
 by means of a groove fastened to his breast, slipping over a line strained 
 from one place to the other. It may be remembered on this subject, that 
 a prelate being asked permission for a rope to be fixed to the steeple of a 
 cathedral church for that purpose, replied, the man might fly to the church 
 whenever he pleased, but he should not give his consent to any onek flying 
 from it. At the back of this plate is Lee and Harper’s great booth, where 
 by the picture of the wooden horse, we are told, is represented, “The Siege 
 of Troy.'' The next paintings consist of the fall of Adam and Eve, and a 
 scene in Punch's opera. Beneath is a mountebank, exalted on a stage, 
 eating fire to attract the public attention; while his merry-andrew behind 
 is distributing his medicines. Further back is a shift and hat, carried upon 
 poles, designed as prizes to the best runner or wrestler. In front is a group 
 of strollers parading the fair, in order to collect an audience for their next 
 exhibition; in which is a female drummer, at that time well known, and 
 remarked for her beauty, which we observe has caught the eyes of two 
 countrymen, one old, the other young. Behind these men is a buskined 
 
 L 2 
 
76 
 
 HOGARTH’S WORKS. 
 
 hero, beset by a Marshalsea Court officer and his follower. These ill- 
 looking fellows are well described. To the right is a Savoyard exhibiting 
 her farthing show; and behind a player at back sword, riding a blind horse 
 round the fair triumphantly, in all the boast of self-important heroism, 
 affecting terror in his countenance, glorying in his scars, and challenging 
 the world to open combat: a folly for which the English are remarkable. 
 To this man a fellow is directing the attention of a country gentleman, 
 taking that opportunity to rob him of his handkerchief. Next him is an 
 artful villain decoying a couple of unthinking country girls to their ruin. 
 Further back is a man kissing a wench in the crowd; and above, a juggler 
 performing some dexterity of hand. Indeed it would be tedious to enter 
 into an enumeration of the vaxious matter of this plate ; it is sufficient to 
 remark that it presents us with an endless collection of spirited and 
 laughable characters, in which is strikingly pourtrayed the degeneracy of 
 the times. 
 
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PubLis?t^d by Lonpm^n.Hurst.Ree^' ic Orme. March 
 
THE FARMER’S RETURN. 
 
 THE interlude of the Farmer’s Return was written by Garrick, in 
 which piece he is here represented in the character of the Farmer. This 
 interlude made its appearance soon after the coronation, and in it the 
 author displayed his accustomed theatrical management, and knowledge 
 of the town; the fashions and follies of the times are caught in the happiest 
 manner, and the bauble of a coronation, with the imposture of the Cock Lane 
 Ghost, are inimitably described by our Roscius, in the character in which 
 he is here delineated. The piece was addressed to Mr Hogarth, and the 
 preface speaks the high opinion which the author entertained of the artist’s 
 merit and friendship. 
 
 The original of this sketch was in black chalk, and was evidently 
 drawn from nature. 
 
THE MARCH TO FINCHLEY. 
 
 AS there was no extraordinary scene or particular occurrence to which 
 our author was not attentive, so there was no instruction or entertainment 
 that could be drawn from such scenes that he ever omitted. By this he 
 became the Phoenix of his time, and one of the most useful members of 
 society. He was remarkable for a peculiar sagacity in descrying a number 
 of little circumstances that escaped the generality of spectators, which 
 served to compose, enrich, and diversify his paintings. The uncommon 
 qualification is very conspicuous in the plate before us, the general subject 
 of which is, the march of the foot-guards to their place of rendezvous on 
 Finchley Common, in their way to Scotland, against the rebels, in the 
 year 1745. 
 
 The spot this scene represents is Tottenham Court Turnpike, from 
 whence we have a view of Hampstead and Flighgate, two delightful villages, 
 situated on eminences, about a mile distant from each other. These 
 serve to fill up the back part of the plate. The first object that presents 
 itself below these hills, is a body of soldiers marching in tolerable order, 
 with their baggage-waggon beside them. This regularity is indeed less 
 observed in front, occasioned in part by the interruption they meet with, 
 owing to the narrowness of the passage through the gate, and the silence 
 allowed to the sons of liberty on quitting their homes. A young grenadier, 
 of good mein, is the principal object of the first group ; he is accompanied, 
 or rather seized on and beset by two women, of different cast, disposition, 
 and character. We are to understand they are both with child, and are 
 claiming him for the father. One attempts to melt him with tears, the other 
 to alarm him with threats ; and so obstreperous is the latter, that the serjeant 
 behind finds himself obliged to interfere. They are engaged also in different 
 
ly.i’ij/ 
 
THE MARCH TO FINCHLEY. 
 
 79 
 
 pursuits, one being a ballad singer, the other a news carrier; the former 
 selling prints in favour of government, the latter against it. This we learn 
 from the song of “God save the King/’ and the picture of the Duke of 
 Cumberland, among other things, in the basket of the former ; the Remem¬ 
 brancer, the London Evening Post, and the Jacobite Journal, in possession 
 of the other; nay, we are further told, by the cross on the news-carrier’s cloak, 
 that as these women differ in other matters, so do they in religion, one being 
 a Roman Catholic, the other a Protestant. On the left of this group is a 
 young officer kissing a milk girl; which gives an arch wag an opportunity 
 of robbing her of her milk, which he is pouring into his hat, and of which 
 a chimney-sweeper’s boy appears very desirous to partake. This incident 
 attracts the attention of a pastry-cook behind, who seems to enjoy the piece 
 of roguery, at which the man beside him points, at the same time that he 
 is stealing one of the pies from his head. Thus, in laughing at another, we 
 often draw the laugh on ourselves. Behind Jhe pastry-cook is a man 
 carrying a barrel of strong beer, which a soldier has artfully pierced with 
 a gimblet, in order to fill his canteen, while another is keeping guard lest 
 any should interrupt him. The last is comfortably drunk. A little further 
 back is a priggish lieutenant, bringing up the rear of the company before 
 him, stalking in all the pride of military march, coveting the notice of the 
 women. On the right of the principal group is a Frenchman, represented 
 as a man of some importance, in order to render him more ridiculous. He 
 is whispering to a Scotchman, to whom he is communicating the contents 
 of a letter he has just received, which we are to suppose relate to the 
 event that occasions this march. Behind the Frenchman is an ale-house 
 in front of which is a drummer, who by beating on his drum, endeavours 
 to shake off the thoughts of leaving his family, who in vain attempt to 
 affect him by their tender farewell. On his right is a fifer, adding his noise 
 to that of the drum; this lad, by the sweetness of his figure, is a beautiful 
 contrast to the squalidness of the objects about him. There are in many 
 parts in this excellent picture, objects, perhaps, less proper to describe 
 than to paint. Whence is it, that the ear is more offended with indelicacy 
 than the eye? Because we can look on certain objects in a picture, and 
 pretend not to see them ; but it is not so easy to listen and pretend not to 
 hear. The object we are going to take notice of, is, however, not too gross 
 
80 
 
 HOGARTH’S WORKS. 
 
 to be mentioned; it being that of a soldier, to whom a journey to Montpelier 
 would be much more beneficial than this to Scotland; love having given 
 him a wound more real than that of which the Martillas and Coridons so 
 much complain of in romances. He is represented in excess of pain, 
 reading a bill of Dr. Rock's, posted up against the house. His improper 
 situation obliges the girl, whom curiosity of seeing the crowd has drawn 
 to the window, to cover her eyes with her hand; but whether she does this 
 effectually, shall be left to the spectator, who may imagine what he pleases. 
 In the group on the right of this plate, opposite to that of the drummer, is 
 another soldier exceedingly drunk, to whom his comrade (who has snatched 
 up a hen from her brood of chickens, and conveyed it into his pouch) is 
 in vain endeavouring to give a draught of water; a sort of female suttler 
 offers him a glass of gin with more success, which the infant on her back, 
 who seems too well accustomed to this liquor, is trying to get at; for so 
 general is the use of it, among the lower class of people, become, as to be 
 the comforting cordial of every age. Behind the group last mentioned, at 
 some distance, is a grenadier handling a child, that is watching the linen, 
 very rudely; her action of defence gives us to understand that he is carrying 
 matters a little too far. This gives another, before him, an opportunity of 
 carrying off a shift, that was hung up to dry, the property of the publican, 
 whose house is three stories high, and whose windows are full of women of 
 the town. Their different degrees of rank are well described by the different 
 manner in which they are dressed, which humourously agrees with the 
 particular story in which the painter has placed them. In one window is 
 an old procuress, lifting up her hypocritical eyes and praying their safe 
 return; in a second, an artful jade pretending to refuse a letter which an 
 officer below is conveying to her, with all the seeming protestations of 
 sincerity, on the point of his spontoon ; in a third is one handing a glass of 
 spirits to another; and in a fourth, one, apparently of better disposition 
 tlian the rest, casting a piece of money into the hat of a poor cripple below. 
 On the other side, behind, are two fellows stripped, and boxing; a circum¬ 
 stance we seldom miss seeing wherever there is a crowd. In this contest 
 more seem engaged than the two men who are fighting. Here, we see a 
 woman, supposed to be the wife of one of them, eager to get in, to part 
 them, but kept back ; there, a fellow encouraging the other, who appears 
 
THE MARCH TO FINCHLEY. 
 
 81 
 
 to flag through the loss of an eye. But the principal figure is the cobler 
 above, near the sign post, who is finely described with double fists, ready 
 to fly at him who seems the victor; or in the bruiser’s phrase, to take up the 
 conqueror. In short, to give a particular description of every minute object 
 in this print, would be an almost endless task, and to throw , out any 
 reflection on the various matter would be needless. Let it suffice to say, 
 that we have here a faithful representation of nature, which speaks for 
 itself, and so largely enriched with the true us comica, or spirit of humour, 
 that the more we examine it, the greater pleasure we have; and the longer 
 we view it, the more beauties we find. 
 
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VIEW AT CHISWICK. 
 
 THIS view of Mu. Ranby^’s House, at Chiswick, was etched by 
 Hogarth, in 1750. It was not at first designed for sale, but afterwards 
 regularly published by Mrs. Hogarth in 1781. 
 

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OrLLrV’ER FKESEJNTIili TO THE <>EEI5N OF BABILARY. 
 
GULLIVER PRESENTED. 
 
 THIS print of the presentation of Gulliver to the Queen of Babilary, 
 designed by Mr. Hogarth, and engraved by Mr. Gerard Vandergucht, is 
 the frontispiece to the “Travels of Mr. John Gulliver, son of Captain 
 Samuel Gulliver,^" a translation from the French by Mr. Lockman. 
 Mr. Nichols observes, “this is a wretched design; but there is as much 
 “merit in the print, as in the work to which it belongs.” 
 
THE DISTRESSED POET. 
 
 NOTWITHSTANDING it has ever been the universal opinion, that 
 the encouragement of literature would be productive of the greatest 
 advantages to a nation; yet such is the general dissipation of mankind, 
 that we cannot be prevailed on to stand forth in its cause. A man ma}?- 
 rack his brains for years together in search of truth, and when found it shall 
 be totally disregarded. Business and pleasure so engage the people, that 
 learning is no other than a drug, and an author the greatest object of 
 contempt. The uncommon scarcity indeed of men of sound learning, and 
 the multitude of scribblers that at present infest the age, have given 
 sufficient cause for this general contempt; but yet it must be acknowledged 
 as very extraordinary, that distress should ever attend a writer, and poverty 
 be as it were entailed upon him. To represent then on the one hand, the 
 low ebb to which literature is arrived, and on the other, to expose the vanity 
 and folly of such men as undertake to write upon subjects they are wholly 
 unacquainted with, and to give us an insight into the distress they by this 
 means bring upon themselves, was the design of Mr. Hogarth in the piece 
 before us; how far, or how well he has succeeded, we shall leave the spectator 
 to determine. 
 
 This plate describes in the strongest colours, the distress of an author, 
 without friends to patronize him. His living in one room, and that room 
 a garret, and appropriated to all the common offices of life, is a convincing 
 argument of his extreme penury. His being reduced to the necessity of 
 sitting without his breeches while they are mending; without a shirt, till 
 that he Avears be dry ; his Avant of a night-cap, evident b}^ his covering his 
 head Avith the only Avig he is master of, and above all, the empty safe are 
 confirmations of the fact. The confusion and litter of the place tell us, that 
 to maintain a decent appearance Avithout doors, engages the Avhole attention 
 
V 
 
THE DISTRESSED POET. 
 
 85 
 
 of his wife. This is manifest by his shirt and shams hanging to dry, which 
 she is supposed to have washed over night; and her mending his breeches 
 paying no regard to her crying infant. A melancholy proof of the lordly 
 ascendency of some husbands, who imagine their wives’ attention should be 
 turned to them only : and of the ridiculous fondness of some wives, in 
 studying to adorn the object of their affections, at the expence of the quiet 
 and reputation of their families ! The other ornaments of his person, viz. 
 the tye-wig, the sword, and full-trimmed coat, plainly denote how anxious 
 a man, who rises above the generality of his fellow-creatures on account of 
 some liberal endowment, is, that he may appear above them also with 
 respect to dress. The long cloak hung against the w'ainscot, shews us, that 
 the wife, by adjusting the minutim of her family, is obliged to neglect her 
 own person, and cover her rags as the philosopher did his coals, (when he 
 fetched them himself,) with his cloak. But on the other hand, we are 
 taught by the same means, how essential it is, that a man of this profession 
 should keep up appearances; as his success in life in a great measure 
 depends upon the favours of the great, he can have no hopes of that favour 
 but from personal attendance, and that attendance supported by a 
 gentleman-like appearance. This often puts him to the sad necessity of 
 laying out the major part of his substance on his back, while his wufe and 
 children are perhaps pinched with cold and perishing with hunger. The 
 scene here is supposed to be in the morning : the entrance of the milk-girl, 
 with open mouth, and her presenting the tally chalked with long arrears, 
 heighten the distress. But while we admire the connection of the piece 
 Ave must not omit to observe the countenance of the vufe, (a fine contrast 
 to that of the girl’s,) whom Ave are to imagine struck almost speechless at 
 the thoughts of so large a debt to pay, and not a farthing to discharge it. 
 The abusive language of the wench, and the crying of the child confuse the 
 father’s brain, Avho has risen early, in order to finish a poem on “ The 
 Comfortable Enjo^^ment of Riches,” (a subject of Avhich he can have but 
 little idea,) Avhich hunger urges him to get done by dinner time. Though 
 Ave may gather from this print Avhat little regard is paid to men of merit, 
 and at Iioav low an ebb literature is ; yet in the second place Ave may learn, 
 (Avhich indeed IMr. Hogarth more particularly alluded to) by the author’s 
 face, declaring him on a knotty point; by “ Bysches Art of Poetry” laying 
 
86 
 
 HOGARTH’S WORKS. 
 
 open before him, denoting his capacity but shallow; by his small collection 
 of books, “ The Sketch of the Gold Mines, the Grub Street Journal,"' and 
 the beggary that surrounds him, how apt men are to mistake their talents, 
 to set genius and nature at nought, fancy themselves master of every subject, 
 and thus through confidence, conceit or self-opinion, waste that precious 
 time in fruitless attempts, which if well employed, would enable them to 
 pass through life with ease and comfort, and procure them a decent 
 provision. For as Swift says, “ it is an uncontrouled truth, that no man 
 ever made an ill figure who understood his own talents, nor a good one who 
 mistook them." The greatest inattention to material things, (owing to the 
 unexpected entrance of the girl, who has put all into confusion) is seen, by 
 the cat's being suffered to suckle her kittens on our hero's best and only 
 coat, and the hungry dog to carry away the provisions of the day. How 
 strangely mistaken are the notions of some men ! how great and palpable 
 the folly of the world ! 
 
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CREDULITY AND SUPERSTITION. 
 
 “ Believe not every spirit, but try the spirits, whether they are of God; because many false prophets are gone 
 
 “ into the world.” 1 Jo/in, Chap. iv. Verse 1. 
 
 AS there is nothing in this world, but what has, at one time or other 
 been abused, so it is the unhappy case of religion to share the same fate. 
 For though the progress of philosophy and science has contributed to dispel 
 the mists of ignorance, yet the annals of our own times have furnished 
 melancholy proofs of credulity, superstition, and enthusiasm. To shew 
 the absurdity of these things, to laugh the notions of them out of countenance, 
 and to expose the fanaticism of the age, Mr. Hogarth published this plate, 
 in the year 1762; in which he has given us a group of very laughable 
 characters, and entered into the subject with infinite humour. 
 
 By the thermometer on the right, which is fixed in a human heart, our 
 satirist would intimate, that lukewarmness in religion is the foundation of all 
 this excess. He has set it upright on two books, viz. Wesley’s Sermons, 
 and GlanviP on Witches, to shew us that credulity aud superstition are the 
 ground-work of fanaticism. The blood in this tube, in its ascending state, 
 rises from lukewarm to love., which he would have understood to be heat of 
 constitution ; from love to lust, which by placing a glory round the word, 
 he would have considered as the enthusiast’s greatest good below. But, as 
 the heat increases, it proceeds from lust to ecstacy ; from ecstacy to convulsion 
 Jits; from convulsionjits to madness; and thence to raving, which is represented 
 in the clouds, attended with cherubs, sounding the trumpet of joy; as 
 
 * An author, who wrote, some years since, in favour of witchcraft. 
 
88 
 
 HOGARTirS WORKS. 
 
 when once the unhappy mortal is got to that pitch, he is arrived at his 
 unhappy end, and the completion of his teacher's wishes. In this descending 
 state, when the blood loses its power of acting, it falls from lukewarm to 
 lowness of spirits ; thence to sorrow; from sorrow to agony, the utmost stretch 
 of the senses; from agony to settled grief; thence to despair; from despair 
 to madness; and from madness to suicide; one of these two extremes being 
 the general consequence of enthusiasm. The upper part of this thermometer 
 is decorated with a representation of the appearance of the Cock Lane 
 Ghost knocking to the girl in bed, (one of the many instances of the 
 credulity of the English,) and the drummer of Tedworth, another well- 
 known story. The power of a spell was once universally believed, and is 
 frequently so, in country places, to this day. This is excellently set forth by 
 the poor bewitched shoe-black, vomiting up hob-nails, crooked pins, and 
 other things.* In this woman's hands is put a bottle, in which she is 
 represented as having attempted to confine the spirit, which being of an 
 aerial nature, has found its way out by forcing the cork. Her basket 
 stands upon a book of Demonology, written by King James the First; a 
 proof that these idle notions existed as well among the great and learned, 
 as among the poor and illiterate. Within her basket we observe one of 
 
 Mr. W-d's Journals ; by this we are taught that she is a blind follower 
 
 of that teacher. But the most astonishing thing of all is, that of the noted 
 rabbit woman^j who, some years since, made the people believe that she 
 brought forth rabbits instead of children; and so far imposed on their 
 credulity, as to bring even some of the physical tribe to espouse her cause. 
 We see her, here, laying in the foreground of this plate, in all the seeming 
 throes of labour, with some friendly hand giving her a glass of comfort, 
 which she has broken with her teeth. 
 
 Mr. Hogarth would give us to understand by the general tenor 
 of this print, that the chief principle of these teachers, whom he here 
 
 * Bewitched persons are said to fall frequently into violent fits, and vomit needles, pins, stones, stubs, 
 wool and straw. 
 
 t One Mary Toft, of Godaiming, in Surrey, who in the year 1726, pretended that she bred rabbits within 
 her, and so far imposed on Mr. John Howard, Surgeon, at Guildford, and Mr. St. Andre, Surgeon to the 
 King, as to prevail on them to espouse her cause. Nay, to such length did she carry the matter, as to 
 draw the attention of hi^ majesty himself, who sent down Sir Richard Manningham, one of his physicians, to 
 inquire into it, when he presently discovered it to be an imposture. 
 
CREDULITY AND SUPERSTITION. 
 
 89 
 
 satirizes, is interest: this we may learn from the checquered habit of the 
 preacher, whom he supposes to change his outside form as ready and 
 often as the Proteus of Pantomime. From the person of the clerk, (who 
 by his squinting will be readily known) represented as a voracious harpy, 
 with eager wings and griping talons, and from the descending cherub, 
 which our author has humourously painted with a post boy's cap upon his 
 head, as a messenger, express from the other regions, bearing in his mouth 
 a letter, addressed to St. Money Trap, he would teach us, that lucre is 
 their only object; but, if from nothing else, we might gather it from his 
 representing the poor’s box as a mouse trap, intimating their collecting of 
 money, under the notion of charity, which, when they have once in 
 possession, they take care to secure. In order to this (says he in colours, 
 which are equally expressive as words) they preach up excess of love, 
 establish love feasts, and recommend holy kisses among the faithful brethren, 
 hold up the rod of terror, and thunder damnation with the utmost vocifera¬ 
 tion. The first of these things he has set forth, by an extract of one of 
 
 'VV-d’s Hymns, from page 130, hanging from the clerk’s desk, which 
 
 contains these words. 
 
 Only LOVE to us be giv'n, 
 
 Lord ! we ask no other heav’n. 
 
 By painting a glory round the word love, as round the word lust in the 
 thermometer, he would have it understood that they mean one and the same 
 thing, and that this thing is the ultimate object of the enthusiast’s desire ; 
 farther confirmed by the male and female votaries, beneath the pulpit. 
 The second is described by the holding out in one hand the figure of a 
 witch, giving suck to a cat,*^ dying on a broomstick, and the devil bearing 
 a gridiron in the other, as emblematical of the lost sinner broiling over the 
 flames of hell. The third is represented by the crack in the sounding 
 board, occasioned by the loudness of his voice, and the scale of vociferation 
 hanging beside him, the lower note of which resembles the roaring of a 
 bull, greatly distant from the natural tone, and is contiguous to the bawling 
 mouth above, bellowing out, blood, blood, blood, blood. Considered in this 
 
 • It being said that the familiar with whom a witch converses, sucks her right breast, in shape of a little 
 dun cat, as smooth as a mole, which, when it has sucked, the witch is in a kind of a trance. 
 
 N 
 
90 
 
 HOGARTH’S WORKS. 
 
 light, with great propriety, is that text of scripture, written upon his book, 
 “ I speak as a fool,” it being evidently the height of folly to attempt to 
 convince a weak mind by terror! And such must the congregation be in 
 general, or they would not hug themselves in their fond conceits ; which 
 they apparently do, in setting so much value upon those figures of a ghost, 
 we see up and down among them, and which they are supposed to idolize 
 as much as the Roman Catholics do the figure of the cross. Nay, that our 
 author designed to draw a parallel between them, is manifest, not only 
 from this, but also from the head of the minister, which he describes as 
 shaven in a circle, in imitation of the heads of some particular orders of 
 priests abroad ; so, that by his wig falling off, he is, as it were, discovered 
 to be a Jesuit in disguise. To inform us that enthusiasm gains the most 
 ground among the poor and illiterate, whose credulity is greatest, he has 
 introduced a man (who, by the altar and sacrificing knife before him, 
 appears to be a Jew, for sects are generally formed of a mixture of other 
 persuasions) killing a louse, strongly characteristic of the state of his 
 congregation; and has decorated the pulpit with three figures, alluding to 
 three known stories of apparations, (expressive of the Peoples’s weakness) 
 Mrs. V eal, Julius Caesar,* and Sir George Villiers.-^- Those, on whom 
 threats and terrors will not make an impression, are often brought over by 
 cant and tears: this, says our author, has often produced wonderful effects ; 
 working by sympathy and persuasion ; besides it declares the sincerity of 
 the preacher. See, then, the clerk with piteous face, and a crying cherub 
 on either hand, whining out the hymns in dolorous tone ! We have here 
 exhibited, in one view, the various effects of superstition ; it melting some 
 into tears, lulling others into a settled grief, and driving others to madness. 
 Behold then, behind, a poor despairing wretch, frightened out of his senses, 
 by an itinerant lay preacher beside him, pointing to the branch above, 
 which is here humourously described as a horrid infernal head with horns ; 
 whose rotundity serves to represent a globe of hell, as newly drawn by 
 R-ds 1:1 The front of this is disposed into a face; round one of the 
 
 * The first of these stories may be found in the preface to a book, called “ Drelincourt upon Death;” 
 the second in the “ Roman History.” 
 
 t Father to the Duke of Buckingham, who was stabbed by one Felton, at Portsmouth. It is said Sir 
 George appeared after he was dead, to one who had been his servant, charging him to inform his son of the 
 design laid to destroy him, which took place as he foretold it, through the duke’s obstinacy, in not avoiding it. 
 
 I A clergyman of the same way of thinking with Mr. W—tf—d. 
 
CREDULITY AND SUPERSTITION. 
 
 91 
 
 eyes is written Molten Lead Lake; round the other, Bottomless Pit; down 
 the nose, Pitch and Tar Rwers; on the line across the face. Horrid Zone ; 
 on one cheek, Parts unknown ; on the other Brimstone Ocean ; round the 
 mouth. Eternal Damnation Gulph ; and, on the little sphere above, Desarts 
 of New Purgatory. But to shews us, that even amidst all this terror, the 
 hearts of some are so extremely callous, and so far buried in the lethargy 
 of sin, as no alarm can awaken, Mr. Hogarth has represented one of this 
 congregation asleep, and the devil taking that opportunity to whisper him 
 in the ear; and to complete the whole, and inform us that it is such 
 schism in the church that brings religion into contempt, he has drawn 
 a Turk looking in at the window, and smiling at their amazing folly. 
 If this be Christianity, says he. Great Prophet! I thank thee that I am a 
 Mahomedan. 
 
FRONTISPIECE AND TAIL-PIECE TO ARTISTS’ 
 
 CATALOGUE. 
 
 THESE two prints were designed by Hogarth, and engraved by 
 Mr. Charles Grignion. for the Artist’s Catalogue of Pictures, exhibited at 
 Spring Gardens, in I 76 I ; and so great was the demand for the catalogues, 
 with these illustratrations, that the two plates were soon worn down, and 
 Mr. Grignion was employed to engrave others from the same drawings, of 
 which the prints here represented are faithful copies. 
 
 FRONTISPIECE. 
 
 Erected in the cleft of a rock, we have here a building, intended for a 
 reservoir of water; and by the bust of his late l^.Iajesty being placed in a 
 niche of an arch, which is lined with a shell, and surmounted by a crown, 
 we must suppose it a royal reservoir. The mouth of a mask of the British 
 lion, is made the water-spout for conveying a stream into a garden-pot, 
 which a figure of Britannia holds in her right hand, and with her spear in 
 the left, is employed in watering three young trees, the trunks of which 
 are entwined together, and inscribed Tainting^ — Sculpture^ — Architecture. 
 These promising saplings, are planted upon a gentle declivity ; Painting is 
 on the highest ground, and Sculpture on the lowest. It is worthy of remark, 
 that the fructifying stream which issues from the watering-pot, falls short 
 of the surface on which is planted the tree inscribed Painting, and goes 
 beyond the root of that termed Sculpture; so that Architecture, which is 
 much the loftiest and most healthy tree, will have the principal benefit of 
 the water. If the tree Painting is attentively inspected, it will be found 
 stunted in its growth, withered at the top, and blest with only one flourishing 
 
S^f/arth piTLrt 
 
 Feontisfiec:e to 
 
 r.Owk .fcalpt 
 
 AISTI.STS CATALOOTE 17G1. 
 
 titblifhed by Conprruzn■ Uuntt./ioat. X' Ormr. March 2fi6c~. 
 
} 
 
 ruhkshed. by T^ngman^Ifurst.KeAs.ii Or/nt,.¥arcA 
 
FRONTISPIECE AND TAIL-PIECE TO ARTISTS’ CATALOGUE. 93 
 
 branch, which, if viewed with an eye to what the artist has previously 
 written, seems intended for portrait painting. The tree, which is the symbol 
 for Sculpture, appears to bend and withdraw itself from the reservoir; one 
 branch, from the centre of the trunk, is probably funereal, and intended to 
 intimate sepulchral monuments. The top, being out of sight, is left to the 
 imagination. 
 
 TAIL-PIECE. 
 
 As a contrast to Britiannia nurturing the trees, that are introduced in 
 the last print, a travelling monkey, in full dress, is in this industriously 
 watering three withered and sapless stems, of what might once have been 
 flowering shrubs; and are inscribed Exoticks. These wretched remnants 
 of things which were, are carefully placed in labeled flower pots ; on the 
 first is written obiit 1502 ; on the second, obiit 1660; and on the third, obiic 
 1606. Still adhering to the hieroglyphics in his frontispiece, Hogarth 
 introduces these three dwarfish importations of decayed nature, to indicate 
 the state of those old damaged pictures, which are venerated merely for 
 their antiquity, and exalted above all modern publications, from the name 
 of a great master, rather than any instrinsic merit. To heighten the ridicule, 
 he has given his monkey a magnifying glass, that will draw forth hidden 
 beauties, which to common optics are invisible. 
 
TICKET FOR THE LONDON HOSPITAL. 
 
 THIS ticket was designed by Mr. Hogarth, and engraved by 
 Mr. C. Grignion. It represents Christ and his Disciples, with persons at a 
 distance carried to an Hospital. “ Inasmuch as ye have done it unto one 
 of the least of these my brethren, ye have done unto me.” St. Matthew 
 Chap. XXV. Verse 40. As the charitable foundation of the London 
 Hospital was instituted in 1740, it is probable this ticket was engraved 
 soon afterwards. 
 
BEER-STREET AND GIN-LANE. 
 
 PLATE I. 
 
 BEER-STREET. 
 
 “ Beer, happy product of our isle, 
 
 “ Can sinewy strength impart; 
 
 “ When wearied with fatigue and toil, 
 
 “ Can cheer each manly heart. 
 
 “ Labour and art, upheld by thee, 
 
 “ Successfully advance ; 
 
 “ We quaff the balmy juice with glee, 
 
 “ And water leave to France. 
 
 “ Genius of health; thy grateful taste, 
 
 “ Rivals the cup of Jove ; 
 
 “ And warms each English, generous breast, 
 “ With liberty and love.” 
 
 AS all countries have their peculiar manners, customs, fashions and 
 the like ; so are they no less particular in their food, especially their 
 liquors. Italy, Spain and Portugal excel in wines ; France in wines and 
 brandy ; Holland in geneva ; the East Indies in arrack ; the West in rum, 
 and England in beer. And as most provinces in other kingdoms boast 
 their peculiar sorts of wines or spirits, so do most counties here their 
 respective malt liquor. Some brew their amber, some their brown. 
 Nottingham, Burton and Dorchester are as renowned in England, as 
 Bourdeaux, Champaigne and Burgundy in France. But what principally 
 
96 
 
 HOGARTH’S WORKS. 
 
 bears the bell with us, is the porter brewed in London ; a wholesome 
 cordial, that taken in moderation, recruits the spirits of the working man, 
 and renews that strength which labour impairs. Pity ^tis it should be 
 burthened with any tax! Such however is the natural depravity of men, 
 that (fond of new things, not contented with the old,) when English gin first 
 received birth from the still in imitation of that of Holland, gin-drinking 
 among the lower class became the fashion; that fashion in time grew up 
 into habit, and introduced into this metropolis wretchedness, disease and 
 death. Sensible of the prevailing custom and shuddering at the unhappy 
 consequences, Mr. Hogarth designed these two prints, (and published them 
 in the year 1751) as a contrast, setting forth the fattening, healthy qualities 
 of the one, and the emaciating deadly properties of the other. 
 
 In this print our artist offers to our view, a representation of John Bull 
 in his happiest moments : a general cessation of work, and all parties 
 regaling themselves with a refreshing draught of this cheering liquor, porter. 
 On the left we have a group of jovial tap-house politicians,—a butcher, a 
 drayman, and a cooper. The drayman is deceitfully whispering some soft 
 things to a servant maid, who is all attention to what she hears; this we 
 may gather from the appearance of her eyes and hands ; and by her having 
 the key of the street door with her, she is supposed to have stept out of 
 some neighbouring house at dinner time, for a tankard of porter, which the 
 family is waiting for; thus while this figure serves to fill the piece, her 
 loitering by the way gives us a lively representation of the generality of 
 servants, who pay little or no regard to their duty, but neglect their business 
 and waste their time. The butcher is nearly splitting his sides with 
 laughter to see the girl so easily imposed on; whilst the cooper behind, 
 with a pipe in his mouth, a full pot in one hand, and a shoulder of mutton 
 in the other, is enjoying the determination, that where good eating and 
 drinking is, there must true happiness and jollity reside. On the table 
 before them, is the Daily Advertiser, and George the Second’s Speech, on 
 Tuesday, the 29th of November, 1748, which our author has introduced 
 here by way of commemoration, it being much admired; and to heighten 
 our idea of the present festive enjoyment, it being at a time when the tumult 
 of war was subsided, and this country as at present, blessed with a happy 
 
liEER-STREET AND GIN-LANE. 
 
 97 
 
 peace. On the right is a city porter, supposed to have just set down his 
 load, in order to recruit his spirits with a heartening draught. This load 
 Air. Hogarth has humourously made to consist of a parcel of books, 
 consigned to Mr. Fastem, the trunkmaker, in St. Paul’s Church Yard, as 
 being fit for nothing but waste paper. The books in sight are in folio, as 
 follow: Lauder on Alilton ; Alodern Tragedies, vol. 12; Hill on Royal 
 Societies; Turnbull on Ancient Painting and Politics, vol. 9999- In the 
 midst of this plate are two fish women, laden with British herrings, which 
 at the time these prints were published, became very plentiful under the 
 protection of the British fishery. Behind are some paviours at work ; 
 further back is a dame of quality in a sedan, going to court, it being- 
 supposed by the flag displayed on the steeple, to be a birth day; and so 
 corpulent is she, that was it not for a draught of porter by the way, her 
 chairmen would not be able to carry her. In painting this lady, our artist 
 has not forgot to ridicule the enormous size of the hoop in those days, 
 which when pulled up on each side, resembled the wheels of a carriage. 
 Though Mr. Hogarth has thought proper in this print, to shew the advantage 
 almost every individual receives from the drinking this valuable liquor, yet 
 he has given us a painter (painting a sign, viz. the barley-mow) in all the 
 appearance of want, though happy and smiling under it. Whether he 
 intended the leanness and tattered condition of this man as a contrast to 
 the corpulent, tight dressed figures of the men below, or whether he meant 
 to draw a compliment upon himself, by lowering his own profession while 
 he raises those of others, is immaterial; let it suffice to say, it completes 
 the group by making it pyramidical; thus it pleases the eye and perfects 
 the piece. But let us carry our observation still farther, and in a garret 
 window we see three journeymen tailors, who seem to partake of the general 
 joy the bricklayers shew, on the roof of the next house, at the arrival of 
 their expected beer. This house is an ale-house, the landlord of which is 
 supposed to be growing rich, by his repairing it, in opposition to his 
 neighbour, Nicholas Pinch the pawnbroker, who finds it difficult to live 
 for want of trade; see this man’s house quite decayed, ready to fall over 
 his head, intimated by the sign, props, and rat-trap in the chamber; and 
 observe him taking in a half-pint of beer through a hole in the door, 
 
 o 
 
98 
 
 HOGARTH’S WORKS. 
 
 not daring to open it, or shew his face abroad; such professions thriving 
 only on the miseries of others, and starving when the public prosper. 
 
 The general design of this print, was, if possible, to depreciate the 
 pernicious custom of gin-drinking, whose destructive quality is represented 
 ill the next, and to shew mankind if they must needs have recourse to 
 strong liquors, that of beer is by much the most wholesome. 
 
Soparth 
 
 GIN LANE, 
 
 T Cock jcuip ® 
 
 Pubtuhrd hr Ltmpman.Bu7vt.Rea.*.SeC*Tme.yor iSc^ 
 
BEER-STREET AND GIN-LANE. 
 
 99 
 
 PLATE II. 
 
 GIN-LANE. 
 
 “ Gin, cursed fiend ! with fury fraught, 
 “ Makes human race a prey: 
 
 “ It enters by a deadly draught, 
 
 “ And steals our life away. 
 
 “ Virtue and Truth, driv’n to despair, 
 
 “ Its rage compels to fly! 
 
 “ But cherishes, with hellish care, 
 
 “ Theft, murder, perjury. 
 
 “ Damn’d cup ! that on the vitals preys, 
 “ That liquid fire contains ; 
 
 Which madness to the heart conveys, 
 
 “ And rolls it through the veins." 
 
 AS a contrast to the last print, we observe in this the pernicious effects 
 of British spirits becoming general among the poor. Here the scene of 
 health and gladness is vanished, and that of disease and wretchedness 
 introduced ! How shudders the heart at the ghastly sight! How turns the 
 eye from the pallid view! But as we learn to live by looking on the dead, 
 'tis hoped this appearance of horror will teach us a lesson of temperance. 
 May it create in mankind an abhorrence of the deadly evil, and make them 
 timely avoid the destruction that attends it!—Let us then probe the wound 
 in order to its cure. As we remarked in Beer Street, the houses to be 
 fair and good-conditioned, excepting that of the pawnbroker’s, which was 
 ready to fall, so we perceive the houses here in general, old and ruinous, 
 excepting that of Master Gripe’s, By this we are taught, that poverty is 
 the usual attendant on gin-drinking, and that where this vice prevails, none 
 are known to thrive, but such as feed upon the property of others. This 
 
 o2 
 
100 
 
 HOGARTH’S WORKS. 
 
 abominable liquor is among the vulgar very justly called by the name of 
 Strip-me-naked, it being found to waste the substance of those poor wretches 
 that accustom themselves to the drinking it, by a continual drain, not 
 leaving them at last the bare necessaries of life ; for this infatuating poison 
 leads them, and almost obliges them to repair the gnawings of one dram, 
 by the burning aid of a second. See them, in order to support this endless 
 expence, hastening to the pawnbroker’s, whilst they have ought to pledge ! 
 Take notice of this miscreant examinino; the articles, lest he should lend too 
 much upon them! Remark his grinding disposition in his countenance ! 
 Finely is this idea heightened by the boys below ; they 'are both supposed 
 accustomed to the fatal drench, as indeed are all the people present. One 
 is stupified, and fast asleep; giving the snail (an emblem of sloth) an 
 opportunity of crawling over him ; the other tormented with raging hunger^ 
 and having nothing to eat, is gnawing a bare bone, which the greedy cur, 
 (equally emblematical) is tearing from him. It may probably be wondered 
 at, why these beggarly lean offices should have so long been distinguished 
 by the sign of three balls, disposed in so particular a manner; but a moment’s 
 consideration will convince us of the propriety, it being universally 
 allowed to be two to one, that things once lodged in these houses are ever 
 got out again. As a proof that this custom of drinking gin, is encouraged 
 among the poorer people, and prevails among all ages of them; before the 
 house of Kilhnaji, the distiller, is a woman pouring this deadly poison 
 down her infant’s throat; two charity girls, drinking to each other in the 
 same ; and one drenching her mother, who is already so much intoxicated, 
 as to be under a necessity of being wheeled home in a barrow. The 
 customary use of this liquor is as destructive as a pestilence, destroying 
 numbers of people yearly, bringing on death by various ways. Some it 
 fills with diseases ; others it throws into a decline ; some it drives to despair, 
 and others to madness. A picture of which, we have in the drunken beast 
 upon the steps ; whose legs are broken out in ulcers ; she is taking of snuff, 
 careless of her infant, who is falling from her arms into the area of a gin- 
 cellar, over whose entrance is humourously written a public invitation, viz. 
 
 Drunk for a penny; dead drunk Jar twopence; clean straw for nothing.” 
 Though rather foreign to'our purpose, yet led to it by the figure before us, 
 we cannot help taking notice of another bad custom among the poor, that 
 
BEER-STREET AND GIN-LANE. 
 
 101 
 
 of snuff-taking, which some will do in great quantities, wasting sixpence or 
 more a week, in that useless pernicious drug, while their children are crying 
 for bread and they have none to give ; of the second we have a represen¬ 
 tation in the man at the bottom of the steps, a retail vendor of gin and 
 ballads, who is supposed to have just expired, worn away by the frequent 
 use of it; and in the woman at the back of this plate, whom two men are 
 putting into a shell, by order of the beadle of the parish, whose chief 
 attention seems fixed upon the care of her child beside it: of the third, is 
 the barber hanging in his chamber above, murdered by his own hands ; 
 and of the fourth, are the cripple fighting, and the madman behind dancing 
 with a pair of bellows on his head, and a spit in his hand, on which he has 
 spitted an infant, in the absence of its mother. These with the rest, are 
 most melancholy instances of the dreadful consequence of the sin of 
 drunkenness, which, however it may escape the punishment of human 
 justice, will most assuredly meet with the vengeance of divine. 
 
THE BENCH. 
 
 CHARACTER, CARICATURA, AND OUTRE. 
 
 IT having been universally acknowledged that Mr. Hogarth was one 
 of the most ingenious painters of his age, and a man possessed of a vast 
 store of humour, which he has sufficiently shewn and displayed in his 
 numerous productions ; the general approbation his works receive, is not 
 to be wondered at. But, as owing to the false notions of the public, not 
 thoroughly acquainted with the true art of painting, he has been often called 
 a caricaturer; when, in reality, caricatura was no part of his profession, he 
 being a true copier of nature; so to set this matter right, and give the world 
 a just definition of the words, character, carcatura, and outre, in which 
 humorous painting principally consists, and to shew their difference of 
 meaning, he, in the year 1758, published this print; but, as it did not 
 quite answer his purpose, giving an illustration of the word character only, 
 he added, in the year 1764, the group of heads above, which he never 
 lived to finish, though he worked upon it the day before his death. The 
 lines between inverted commas, are our author's own works, and are 
 engraved at the bottom of the plate. 
 
 “ There are hardly any two things more essentially different than 
 “ character and charicatura; nevertheless, they ere usually confounded, 
 “ and mistaken for each other; on which account, this explanation is 
 “ attempted. 
 
THE BENCH. 
 
 103 
 
 “ It has ever been allowed, that when a character is strongly marked 
 “ in the living face, it may be considered as an index of the mind, to 
 ‘‘ express which, with any degree of justness, in painting, requires the 
 ‘‘ utmost efforts of a great master. Now that, which has of late years got 
 ‘‘ the name of caricatura, is, or ought to be, totally divested of every stroke 
 “ that hath a tendency to good drawing; it may be said to be a species of 
 “ lines that are produced, rather by the hand of chance, than of skill; for, 
 “ the early scrawlings of a child, which do but barely hint the idea of a 
 “ human face, will always be found to be like some person or other ; and 
 “ will often form such a comical resemblance, as, in all probability, the 
 “ most eminent caricaturers of these times will not be able to equal, with 
 “ design; because their ideas of objects are so much more perfect than 
 “ children’s, that they will, unavoidably, introduce some kind of drawing; 
 “ for, all the humorous effects of the fashionable manner of caricaturing, 
 “ chiefly depend on the surprise we are under, at finding ourselves 
 “ caught with any sort of similitude in objects absolutely remote in their 
 kind. Let it be observed, the more remote in their nature, the 
 “ greater is the excellence of these pieces. As a proof of this, I remember 
 “ a famous caricatiira of a certain Italian singer, that struck at first sight, 
 “ which consisted only of a straight perpendicular stroke, with a dot 
 “ over. 
 
 “ As to the French word outre, it is different from the rest, and signifies 
 “ nothing more than the exaggerated out-lines of a figure, all the parts 
 “ of which may be, in other respects, a perfect and true picture of nature. 
 “ A giant or a dwarf may be called a common man, outre. So any part, 
 “ as a nose, or a leg, made bigger, or less than it ought to be, is that 
 “ outre, which is all that is to be understood by this word, injudiciously 
 “ used to the prejudice of character.” See Excess, Analysis of Beauty, 
 “ chap. 6. 
 
 To prevent these distinctions being looked upon as dry and unenter¬ 
 taining, our author has, in this group of faces, ridiculed the want of capacity 
 among some of our judges, or dispensers of the law, whose shallow discern¬ 
 ment, natural disposition, or wilful inattention, is here perfectly described 
 
104 
 
 HOGARTH’S WORKS. 
 
 ill their faces. One is amusing himself, in the course of trial, with other- 
 business ; another, in all the pride of self-importance, is examining a 
 former deposition, wholly inattentive to that before him ; the next is 
 buried in thoughts quite foreign to the subject, and the senses of the last 
 are locked fast in,sleep.—On what a tottering basis must the laws of a 
 country stand, when so little regard is paid either to the character or 
 ability of their protectors! 
 

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MOSES BEFORE PHAROAH’S DAUGHTER. 
 
 “ And the child grew, and she brought him unto Pharoah’s daughter, and he became her son, and she called 
 
 his name Moses.” Exodus, Chap. ii. Verse 27. 
 
 THIS picture, among the many at the Foundling Hospital, was one 
 designed both to decorate and recommend that noble charity ; and surely, 
 Mr. Hogarth could not have pitched upon a subject more applicable to 
 the occasion. Every one must know the design of this charitable house of 
 compassion, which is calculated for the maintenance of exposed and 
 deserted infants; an institution of so political and merciful a nature, as to 
 be, in all respects, worthy the royal sanction with which it is honoured. 
 Let the spectator keep this in view, and call to mind the story of Moses, 
 who was hid by his parents for three months, from the wrath of Pharoah, 
 who had commanded every male child of the Hebrew women to be cast 
 into the river, and he must acknowledge their similitude. When they could 
 hide him no longer, his mother put him into a basket, made for that purpose, 
 laid him in the flags by the river side, and thus left him to the mercy of 
 providence. It chanced that Pharoah’s daughter came down to the place, 
 in order to wash herself, and seeing the basket, directed one of her maidens 
 to bring it to her. When the child was brought, it cried, and thus exited 
 her compassion: upon which, his sister Miriam, who had, unknown to her 
 mother, stood by and watched him, and at that time had not quitted the 
 place, proposed to the princess, to procure a Hebrew nurse for it: the 
 royal maid consenting, she fetched its own mother, whom the princess 
 considering only as a nurse, bade instantly to take it, telling her, she would, 
 herself reward her for her trouble. Some time after, when the child was 
 
 p 
 
106 
 
 HOGARTH’S WORKS. 
 
 grown a little older, this great and amiable personage had him brought to 
 her, and adopted him as her son. This last circumstance forms the subject 
 of the print before us ; where, on one side, we observe the illustrious fair 
 one seated in all the pride of eastern magnificence, and with a gracious 
 countenance, (royalty’s greatest glory) holding out her compassionate 
 hand, inviting the infant to her. On the other side, we see the mother- 
 nurse receiving, with tears in her eyes, her stipulated wages, distressed at 
 the thoughts of parting with her dearest child. The benevolence of the 
 princess, the wonder and concern of her attendants, the self-importance of 
 her treasurer, the innocent alarm of her boy, and the grief of its mother, 
 are shewn in their respective faces, and present us with so fine a group of 
 expressions, as can scarcely be equalled. Reflect now on the Foundling 
 Hospital, and see in this History of Moses, the princely design of that 
 merciful house of refuge, where the deserted helpless babe is rescued from 
 the jaws of destruction; where it is brought up to be useful to society, to 
 bless its heavenly benefactors, and to know its divine Creator. The 
 Hebrew woman, here, parting with her infant, though not directly similar, 
 must awaken in us the idea of a necessitous parent, perhaps a mournful 
 widow, with a disappointed wounded heart, and with all that distress, woe, 
 and despair that attend the lot of exclusion, carrying back, to an empty 
 abode, her famishing child; when nothing but extreme want and necessity 
 could so far have prevailed over parental affection, and the ties of nature, 
 as to induce her to take the tender young creature from her bosom, and 
 resign it, she knows not to whom, under public care. 
 
GATES OF CALAIS 
 
ROAST BEEF AT THE GATE OF CALAIS. 
 
 “ 0 the Roast Beef of Old England, kc.” 
 
 THE scene before us is supposed to be taken from the landing of a 
 surloin of beef at the gate of Calais, which is here represented as it stands. 
 By the direction fixed to it, namely, for Madam Grandsire, at Calais, we 
 learn, it is going to the English inn, in that city. Though luxury in France 
 is no stranger, particularly to the upper class of people, (witness the 
 corpulency of the full-bred friar,) yet, by the secret pleasure the priest 
 receives at the sight of so large and noble a joint, we are taught how rare 
 so substantial a dish is, even among them. The general consternation it 
 causes among the soldiery, is very expressive of their poor living, and the 
 French cook sinking under the weight of it, a manifest token of their 
 debilitated condition, brought on by feeding on soup-meagre. This is 
 further shewn by the scanty messes they were about to devour, when their 
 attention was summoned to something more important. On the right of 
 this plate are two men carrying a kettle, one of whom is expressing his 
 surprise to his comrade, at the stability of English food in general. Behind 
 this man is an Irishman, (a prisoner of war) distinguished by his vulgar 
 face and short stature ; but, at the same time our author has marked out 
 that country by these defects, he has taken an opportunity of paying it a 
 compliment for its bravery, by painting this man's hat with a hole in it, 
 made, as is supposed, by a musket ball, in the heat of action. In the fore¬ 
 ground is a Scotchman, (a prisoner also) scarred in the service, (this plate 
 being published during the war between France and England) sitting on 
 the ground, deploring his unhappy situation, with his dinner of bread and 
 
 p 2 
 
108 
 
 HOGARTH’S WORKS. 
 
 onions beside him. On the other side are three old women, who get their 
 living by selling herbs, admiring the face of a scate, it being so much like 
 their own. However poor these Frenchmen are in pocket, they are very 
 attentive to their dress; shewn by the bags to their hair, and the centinefs 
 paper ruffles, though his shirt his out at the elbows, and he is obliged to 
 fasten up his breeches with a skewer; remarkable instances of their pride 
 and vanity. Through the gateway we have a distant view of the carrying 
 of the Host,* and the people on their knees, adoring it as it passes. 
 
 When Mr. Hogarth was at Calais, and sketching the gate, he was 
 seized as a spy, and carried before the Commandant; but when it was 
 known who he was, he was speedily set at liberty. This circumstance 
 occasioned his introducing himself here, with the guard clapping him upon 
 the shoulder. Upon the whole, this excellent picture is, with great justice, 
 reckoned one of the best performances of our inimitable artist; and shews 
 his acquaintance with the true spirit of satire. 
 
 * A religious ceremony, of carrying the consecrated wafer to the houses of the sick, in hopes of re¬ 
 establishing health. 
 
tabUshcd bi ' Loiifprum. ffw'.S't. Reef. & C)rmc ,, *‘iBoo - 
 
THE SLEEPING CONGREGATION. 
 
 IN this sleeping congregation we have a striking instance of the 
 effects of modern oratory. The scene is taken from a country church, the 
 congregation consisting chiefly of the lower class of people, and the ill- 
 judging minister supposed to be addresssing them in language they cannot 
 comprehend. Which we are to imagine not his own, his vacant face declaring 
 an empty head, and the rising pimples, that he spends more of his time 
 over the bottle than his study. With great humour he is represented as 
 preaching on Matthew, Chap. ix. Verse 28. Come unto me, all ye that 
 labour, and are heavy laden, and Twill give you rest behaving, in an eminent 
 degree, the happy talent of quieting a restless body by slumber. The 
 piece before us shews how inattentive the generality of mankind are to 
 matters of the greatest importance; and from the prayer book (dropping 
 from the hand of the dozing women) being open at the matrimonial service, 
 we are taught how readily they forego improvement, and prevent serious 
 reflection, by amusing themselves with what they think entertaining. With 
 great propriety is that text of scripture written against the pulpit, “ I am 
 “ afraid of you lest I have bestowed upon you labour in vain.” Galatians, Chap. iv. 
 Ver 'se 11 . The hum-drum drawling manner of the indolent preacher is 
 evident from its effects upon his hearers. Instead of being full of his 
 subject, possessed with the spirit of it, and labouring under the weight of 
 those conceptions which it inspires; instead of pressing upon the audience 
 with a torrent of tender and manly eloquence, so as to animate the cold, 
 rouse the lethargic, and bend the stubborn; we see him seated in his 
 pulpit, poring over a discourse, which he delivers in so yawning a tone, 
 that one would suppose him talking in his sleep : nay, by his handkerchief 
 beside him, in continual use, we see that coughing, hawking and spitting, 
 the defects of other men's rhetoric, are the flowers, the figures, and orna- 
 
110 
 
 HOGARTH’S WORKS. 
 
 ments of his. The common method of hurrying over the sermon, lest 
 dinner should wait; and the fear of exceeding their customary time, 
 (expressive to the greatest degree of the degeneracy of the clergy) is 
 denoted by the hour glass beside him, as a monitor, lest he should dwell a 
 little longer than ordinary. By the figure of the clerk, we may observe of 
 how much consequence that officer of the church would fain be thought; 
 and, by the screwing up of his face, we are given to understand that one 
 chief part of religious deportment, is supposed by the ignorant and 
 superstitious, to consist in outward appearance and fantastical grimace. 
 And as a further proof that the distortion of his face is merely affectation, 
 see him amorously leering on the naked bosom of the female near him. 
 This piece is an excellent satire on the slovenly, indecent method of our 
 modern clergy, and the spreading lukewarmness of men's minds on matters 
 of religion. 
 
SIMON LORD LOVAT. 
 
 LORD LOVAT was bom in the year l667 ; his father was the 
 tvventy-second person who had enjoyed the title of Lovat, in lineal descent. 
 His mother was dame Sybilla Macleod, daughter of the chief of the clan 
 of the Macleods, so famous for its unalterable loyalty to its princes. This 
 portrait of his lordship was drawn from life, at St. Alban's, whither our 
 artist went for the purpose of taking it. He is painted in the act of counting 
 the rebel forces with his fingers, and the likeness is said to be a most 
 faithful one. 
 
 Lord Lovat 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 plain 
 private 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 a numerous body of retainers always attending. His 
 own constant residence, and the place where he always received his com¬ 
 pany, even at dinner, was 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 inferior part 
 of the family, consisting of a very great number of persons, took up their 
 abode. 
 
 From his own account, as (published in his memoirs) Lord Lovat 
 seems to have been a man devoid of any fixed principle, except that of self- 
 interest; and on his conduct during the rebellion of 1745, Sir William Young 
 has the following observations:— 
 
112 
 
 HOGARTH’S WORKS. 
 
 “ Your lordships have already done national justice on some of the 
 “ principal traitors who appeared in open arms against his majesty, by the 
 “ ordinary courses of the 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! Atrocious impiety!" 
 
 Lord Lovat was executed in 1745; he suffered the execution of his 
 sentence with fortitude. He was beheaded by the maiden, (an implement 
 of death appropriated to state criminals in North Britain,) of which the 
 guillotine (which was so destructively employed during the French revolu¬ 
 tion) is an improvement. 
 

 
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PERSEUS AND ANDROMEDA. 
 
 THIS frontispiece to Perseus and Andromeda was executed in 1730, 
 and represents Perseus and Medusa dead, and Pegasus. The other print, 
 intended as an embellishment to the same work, represents the descent of 
 Perseus. 
 
COLUMBUS BREAKING THE EGG. 
 
 THE design of this print is to ridicule that spirit of detraction which 
 refuses the deserved meed to real merit, and to useful discoveries; for 
 such is the envious and ungrateful disposition of some men, that they see 
 no merit in any thing; and so far from encouraging ingenuity, do not 
 allow it its just praise : nay, they study to deprive it of the little it may 
 chance to meet with. Whatever discovery is made, according to them, 
 was known by many before. Sensible of this prevailing folly, and by way 
 of disarming the envy of his cotemporaries, Mr. Hogarth humourously 
 engraved the plate under consideration, as head-piece to his receipt for 
 the subscription-money of his Analysis of Beauty; a treatise, in which 
 are detailed some judicious discoveries in the art of painting, (particularly 
 that of the serpentine line being the line of beauty) that do honour to his 
 memory, and will ever serve as a standing testimony of his superior skill. 
 
 Christianus Columbus, a Genoese, in the year 1499} venturing round 
 the globe, in search of undiscovered land, under the patronage of Ferdinand 
 and Isabella, King and Queen of Spain, fell in with the vast continent of 
 America. Upon his return to Spain, instead of meeting with that praise to 
 which his great undertaking entitled him, and which the service he had 
 done the Spaniards demanded, they ungratefully made light of it, and con¬ 
 sidered it but as what could have been equally done by others. It was, 
 said they, but to sail in such and such a latitude, and land stood right 
 before him. To convince them of their ignorant mode of thinking, and 
 expose them to the reproach of self-conviction, he is supposed, at a public 
 entertainment, upon removal of the covers, to have proposed to some of 
 these envious boasters, (the company present) their setting up an egg upon 
 its smaller end. They are here represented as having been a long time 
 
tublu^'hed fy Lonffm/m. Qit/vt, Orme, ZTcy ''i 7 . 
 
COLUMBUS BREAKING THE EGG. 
 
 employed in attempting it, but to no purpose. At last Columbus, to 
 convince them it was readily to be done, if they knew but how to set about 
 it, strikes the egg against the table, flattens its end, and sets it up; saying 
 at the same time, “Now gentlemen you can all do it.” The effect this 
 produces upon their minds, is visible in their faces, and serves to shew the 
 absurdity of people’s crying out there is no art in doing a simple thing, 
 when, in reality, simple things frequently require great readiness of 
 thought and solidity of judgment. With respect to the eels, they allude 
 to the serpentine line, or line of beauty; which our author has described 
 in that manner, as most consonant with the eggs, they being both eatables; 
 and by this means preserved a consistency on the table, and an analogy 
 between the treatment of Columbus and that which he expected to meet 
 with himself. 
 
THE GOOD SAMARITAN. 
 
 THIS and the following painting, of the Pool of Bethesda, decorate 
 the staircase of St. Bartholomew’s Hospital. The print from this painting 
 was originally engraved by Ravenet and Delatre, 1772. 
 
 In the Grub-Street Journal for July 14, 1737, appeared the following 
 paragraph: “Yesterday the scaffolding was taken down from before the 
 “ picture of The Good Samaritan, painted by Mr. Hogarth, on the 
 “ Staircase in St. Bartholomew’s Hospital, which is esteemed a very 
 “ curious piece.” 
 
 Hogarth paid his friend Lambert for painting the landscape in this 
 picture, and afterwards cleaned the whole at his own expence. To the 
 imaginary merits of his coadjutor, the Analysis, page 26, bears the 
 following testimony: “The sky always gradates one way or other, and the 
 “ rising or setting sun exhibits it in great perfection ; the imitating 
 “ of which was Claud de Lorain’s peculiar excellence, and is now 
 “ Mr. Lambert’s.” 
 
hjblifhed by Lorupnan, Burst-Sers. ^ O'nnc, May I'^hjSop. 
 


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fuhbsJu-d 2>yZt'TUjmtJn.Btast.JitrSyi: Sirp’^t**dioy. 
 
THE POOL OF BETHESDA. 
 
 THIS print was engraved by Ravenot and Picot, in the same year 
 Avith the preceding. There was likewise a small print from this paintings 
 executed by Ravenet, in 1748. Mr. Walpole justly observes, that “ the 
 “ burlesque turn of our artist’s mind mixed itself with his most serious 
 compositions; and that, in The Pool of Bethesda, a servant of a rich 
 “ ulcerated lady, beats back a poor man (perhaps woman) who sought the 
 “ same celestial remedy.” To this remark we may add, that the figure of 
 the Priest, in The Good Samaritan, is supremely comic, and rather resem¬ 
 bles some purse-proud Burgomaster, than the character it was designed to 
 represent. 
 
 On the top of the staircase at St. Bartholomew’s Hospital, and just 
 under the cornice, is the following inscription : “ The Historical Paintings 
 “ of this Staircase Avere painted and given by William Hogarth, and the 
 “ ornamental paintings at his expence, a. d. 1736.” Both pictures, which 
 appear of an oblong square in the engravings, in the originals are sur¬ 
 rounded with scroll-work, Avhich cuts off the corners of them, &c. All 
 these ornaments, together Avith the compartments carved at the bottom, were 
 the work of Mr. Richards. The late Mr. Alderman Boydell had the latter 
 engraved on separate plates, appended to those above them, on which 
 sufficient space had not been left. Hogarth requested that these pictures 
 might never be varnished. They appear therefore to disadvantage, the 
 
118 
 
 HOGARTH’S WORKS. 
 
 decorations about them having, within these few years past, been highly 
 glazed. 
 
 The Pool of Bethesda has suffered much from the sun; and ,The 
 Good Samaritan, when cleaned, about the year 1780, was pressed so 
 hard against the straining frame, that several creases were made in the 
 canvass. 
 

WOMA??- SWEASmG A CIIIL® TO A GRAVE CITIZEN. 
 
A WOMAN SWEARING HER CHILD TO A 
 
 GRAVE CITIZEN. 
 
 “ Here Justiee triumphs in his elhow chair, 
 
 “ And makes his market of the trading fair; 
 
 “ His ofBce shelves with parish laws are grac’d, 
 
 “ But spelling-books and guides between ’em plac’d. 
 “ Here pregnant madam screens the real sire, 
 
 “ And falsely swears her bastard child for hire, 
 
 “ Upon a rich old lecher; who denies 
 “ The fact, and vows the naughty hussy lies. 
 
 “ His wife enrag’d, exclaims against her spouse, 
 
 “ And swears she’ll he reveng’d upon his brows ; 
 
 “ The jade, the justice, and churchwardens agree, 
 
 “ And force him to provide security.” 
 
 THESE lines, engraven under the original print, in some degree 
 describe the ceremony it represents. The original picture, from which it 
 is taken, was one of our artist’s early productions. 
 
 Picart, in his fourth volume of The Religious Ceremonies of all 
 Nations, has introduced a copy of this print, accompanied with the 
 following explanation : 
 
 “ Many other customs might find a place here, and delight their 
 “ readers by their comical singularity, but we dare not crowd in too great 
 “ a number of those trifles, as not being properly religious ceremonies; 
 “ which therefore, ’till approved of by the church, or the governor of it, 
 “ prescribed by ecclesiastical laws or formularies, we shall omit, except 
 “ two or three of the most remarkable. The first is what the description 
 “ here annexed calls the breeding woman’s oath; a custom not to be met 
 “ with in other countries, which is so fantastical, or rather unjust, that it 
 
120 
 
 HOGARTH’S WORKS. 
 
 “ would be a prejudice to the laws of England if we were to judge of their 
 “ equity by that practice. Suppose any of these girls, which may be called 
 “ amphibious (being neither wives nor virgins,) is found to be with child. 
 “ She does not, or will not pretend to know the father of this child. In 
 “ order to free herself from the trouble of maintaining it when born, she 
 “ looks out for some rich man, upon whom she intends to father it. Gene- 
 “ rally they say she pitches upon some good citizen, though she does not 
 “ know him, or may be has never seen him. Then she goes before a 
 “justice of the peace,—summons the pretended father to appear before 
 “ him, and in his presence swears upon the Bible, which the clerk holds to 
 “ her, that she owns and declares that such a one, whom she has summoned 
 “ to appear, is the father of the child. How far the equivocal expressions 
 “ and restrictions of that oath may excuse her from perjury, let a good 
 “ casuist be the judge. However, the man thus named and sworn to by 
 “ this formality of law, is obliged to pay an arbitrary fine, and to agree 
 “ upon a sum of money for the maintenance of the child.'’ 
 

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 PutUsIud by ! oTujTTum. Burst Rees. S: Or/ne. Sept^ i "^iSoS. 
 
MR. GARRICK IN THE CHARACTER OF 
 RICHARD THE THIRD. 
 
 DRAMATIC performances, when judiciously chosen, conducted with 
 decorum, and well represented, have been ever considered as conducive to 
 the good of society, in their improvement of the mind, their open correction 
 of vice, and public commendation of virtue. In theatrical exhibitions the 
 follies of the age are exposed, and its virtues appear in all their lustre. 
 By these means men have been led to avoid the one, and embrace the other. 
 Hence it frequently happens that society reaps a benefit, which it would 
 not probably meet with from the most prudent counsels, and experienced 
 lessons of the wise and aged. For this purpose then in populous cities, the 
 sanction of government has been granted to these public amusements, and 
 inspectors of plays appointed, that nothing might be exhibited, tending to 
 corrupt the heart or hurt the morals of the people. Under such good 
 regulations are our plays in London, that there cannot be a finer school, 
 and happy are the public when provided with an able instructor; for such 
 we call an experienced player, who feels the character he represents, and 
 gives its instructive parts their due weight. While men therefore admire 
 the performer for his excellence, they should equally honour him for his 
 importance, and the real service his labours are of to the community ; for, 
 to this school of instruction we flock, through inclination, and listen to 
 what we are there taught with great attention. Here are the passions 
 roused, reflection is set to work, and the heart is wrought upon; the mind 
 gives way to conviction, and impressions are made that are not easily 
 effaced. Let us then pride ourselves in the existence of a Garrick, and let 
 us tell it with pleasure to succeeding ages, that he may have been equalled 
 but was never exceeded. 
 
 R 
 
122 
 
 HOGARTH’S WORKS. 
 
 The character before us, in which Mr. Garrick is represented, is that 
 of Shakspear’s Richard the Third. Those who are acquainted with this 
 prince’s conduct, need not be told that he was naturally bold, courageous 
 and enterprizing; that when business called him to the field, he shook oft' 
 every degree of indulgence, and applied his mind to the exigency of affairs. 
 This may suffice for his being stripped no otherwise than of his armour, 
 having retired to his tent in order to repose himself upon his bed, and 
 lessen the fatigues of the preceding day. See him then hastily rising, at 
 dead of night, in the utmost horror from his own thoughts, being terrified 
 in his sleep by the dreadful phantoms of an affrighted imagination, seizing 
 on his sword, (a poor protection against an inward alarm!) by wa}^- of 
 defence, against the foe his disordered fancy presents to him. So great is 
 his agitation, that every nerve and muscle is in action, and even the ring is 
 forced from his finger. When the heart is affected, how great is its influence 
 on the human frame!—it communicates its sensibility to the extremest 
 parts of the body, from the centre to the circumference; as distant water 
 is put in motion by circles, spreading from the place of its disturbance. 
 The paper on the floor containing these words, 
 
 “ Jockey of Norfolk, be not so bold; 
 
 “ For Dicken tby master is bought and is sold,” 
 
 brought him by the Duke of Norfolk, saying he found it in his tent; and 
 lying here unattended to, as a mark of contempt, plainly informs us, that 
 however a man may steel himself against the arrows of conscience, still 
 they will find a way to his breast, and shake the sinner, even in his greatest 
 security. And indeed we cannot wonder, when we reflect on the many 
 murders he was guilty of, deserving the severest punishment; for providence 
 has wisely ordained that sin shall be its own tormentor, otherwise, in many 
 cases, the offender would in this life, escape unpunished, and the design of 
 heaven be frustrated. But Richard, though he reached a throne, and by 
 that means was exempt from the sufferings of the subject, yet he could not 
 divest himself of his nature, but was forced to give way to the workings of 
 the heart, and bear the tortures of a distracted mind. The expression in 
 his face is a master-piece of execution, and was a great compliment paid 
 by Mr. Hogarth to his friend Mr. Garrick ; yet not unmerited, as all that 
 
GARRICK IN THE CHARACTER OF RICHARD THE THIRD. 123 
 
 have seen him in the part, must acknowledge the greatness of the actor. 
 Without the tent we have a distant view of the camp, and of the royal 
 guard warming themselves by some blazing wood ; objects, with others in 
 this print, designed to fill up and enrich the piece, whose moral tenor 
 informs us that conscience is armed with a thousand stings, from which 
 royalty itself is not secure; that of all tormentors, reflection is the worst; 
 that crowns and sceptres are baubles, compared with self-approbation: 
 and that nought is productive of solid happiness, but inward peace and 
 serenity of mind. 
 
FRONTISPIECE TO KIRBY’S PERSPECTIVE. 
 
 THIS frontispiece appeared in 1754, and was engraved by Sullivan, 
 Motto .—“ Whoever maketh a design without the knowledge of perspective, 
 will be liable to such absurdities as are shewn in this frontispiece/' 
 
 The plate, after the first quantity of impressions had been taken from 
 it, was retouched, but very little to its advantage. The late Mr. Samuel 
 Ireland had the original sketch. 
 

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PIT TICKET. 
 
 AS there are few scenes in life, expressing the folly of mankind, that 
 Mr. Hogarth has not taken an opportunity of exposing, so this, among the 
 rest, is worthy of our notice, being, like that of horse racing, one of the 
 fashionable diversions, calculated to support that spirit of gaming, for 
 which this country is distinguished. Exclusive of this, we are persuaded 
 it can afford very little entertainment, unless we delight in cruelty, and find 
 pleasure in giving pain. 
 
 Take notice then of this group of gamblers, of all ranks, as well 
 noblemen, as butchers, chimney-sweepers, shoe-blacks, post-boys, thieves, 
 and blackguards of all denominations; we say noblemen, for to what 
 meanness will not men submit to gratify their reigning passion ? Read in 
 their faces the disposition of their hearts. Observe him in the middle, see 
 him lost in the enjoyment of his favourite amusement; eager to bet, and 
 full of cash, he is the ready dupe of every one who pleases to take advantage 
 of his weakness. In this confused state of mind, one villain is purloining a 
 bank note from him; behind him is another, wishing to do the same, and 
 grudging his neighbour the happy opportunity. The next but one above 
 the last noticed is a blind man, who, with that old sporter on the other side, 
 (supposed to have lost his hearing, and the use of his limbs by age,) is 
 introduced by way of intimation, that so bigotted are we to our particular 
 inclinations, that although we have not power to indulge them, still are 
 we desirous to partake of the enjoyment, though it be even but a taste. 
 Next the pit, on the left of this plate, is one man registering the bets; 
 another with a bag containing a favourite cock, for a by battle ; and near 
 him another, with the utmost eagerness bawling out “ Ginger against Pye, 
 “ for that piece, who says done V’ Above, without the pit, is a Frenchman, 
 
126 
 
 HOGARTH’S WORKS. 
 
 turning up his nose at this insipid entertainment, and dropping his snufF in 
 the eyes of the man below him. Indeed many of our diversions have met, 
 and do still meet with the contempt of foreigners, who from such vulgar 
 and low-bred amusements, have too justly looked upon us with an eye of 
 disdain, and considered us a rough and unpolished people. That picture 
 hanging against the wall, is the portrait of one Nan Rawlins, a noted 
 woman, who lived by gaming, and who for that purpose made it her business 
 constantly to attend horse-racing and cock-fighting, and all sorts of public 
 diversion. In the middle of the pit is the shadow of a man drawn up in a 
 basket to the ceiling, (there being no room to introduce the figure) a 
 punishment inflicted on such persons as bet more money than they can 
 pay; he is represented as offering his watch to redeem his liberty. On 
 this side of the pit are a number of persons at the same employ, betting 
 and taking their bets ; among whom is one overpowered with liquor, 
 looking with concern on his almost empty purse, and condemning himself 
 for his folly in playing it away. 
 
 Upon the whole, the moral tenor of this piece is to create in us a 
 disgust of such vulgar entertainment, and an abhorrence of that merriment 
 which disgraces the gentleman and degrades the man. 
 
II 
 
GITSTATUS LOMB YISC0U:K'T kc. 
 
 FuhUjiied hy Lon^manMu7VC,IU&f &• Qrm£.Jxuf 
 
LORD BOYNE. 
 
 THIS portrait of Lord Viscount Boyne is etched from an original 
 painting in oil, by Hogarth; from which two very indifferent mezzotint o 
 prints were engraved and published in Ireland, the one by Miller, the other 
 by Ford. The scarcity of these prints, we presume, not their excellence, 
 has raised them in price, from five thirteens Irish, or five shillings and five 
 pence English, to the enormous price of five guineas. 
 
 Gustavus, the second Lord Viscount Boyne, was born in 1710, and 
 was very early removed to London by his mother, who placed him at 
 Westminster School. On the death of his grandfather, l6th September, 
 1723, he succeeded to the title and estates of the family, together with a 
 very large fortune, expressly bequeathed to him by his grandfather, on 
 condition that he chose Sir Ralph Gore and his uncle, Henry Hamilton, as 
 his guardians, which he accordingly did. After visiting the courts of 
 foreign princes, he returned from his travels in October, 1731, and took 
 his seat in the Irish House of Lords in December following. In 1735, he 
 was chosen a Member of the English House of Commons, for Newport, in 
 the Isle of Wight. In 1736 he was sworn of the Privy Council; and in 
 1737 , appointed a Commissioner of the Revenue of Ireland, on which 
 occasion he vacated his seat in the House of Commons, but was immediately 
 re-chosen. He died, unmarried, the 18th of April, 1746, and was buried 
 at Stackallen. His successor in the title was his first cousin Frederick, 
 eldest son of his uncle. 
 
THE TIMES. 
 
 PLATE I. • 
 
 PREVIOUSLY to the publication of this print, Mr. Wiles jwho was 
 then at Aylesbury, was informed that it was political, and that Lord Temple, 
 Mr. Pitt, Mr. Churchill, and himself, were the leading characters held up 
 to ridicule. Under the impression which this intelligence conveyed, he 
 sent Mr. Hogarth a remonstance, stating the ungenerous tendency of such 
 a proceeding; which would be more glaringly unfriendly, as the two last 
 mentioned gentlemen and the artist, had always lived upon terms of strict 
 intimacy. This produced a reply, in which Mr. Hogarth asserted, that 
 neither Mr. Wilkes nor Mr. Churchill were introduced, but Lord Temple 
 and Mr. Pitt were, and that the print should be published in a few days. 
 To this it was answered, that Mr. Wilkes would hardly deem it worth 
 while to notice any reflections on himself, but if his friends were attacked, 
 it would wound him in the most sensible part,—and well as he was able,— 
 he should revenge their case. This was a direct declaration of war : the 
 black flag was hoisted on both sides ;—the print, however, was soon after 
 published, and on the Saturday following, in No. 17 of the North Briton, 
 commenced a most unmerciful attack on our artist. But as to detail the 
 particulars of this attack is not now our province, we shall proceed to the 
 print before us. 
 
 In this print the globe, which must here be considered as the world, 
 though it appears to be no more than a tavern sign, is represented on fire, , 
 and Mr. Pitt, exalted on stilts, which are held by the surrounding multitude, 
 blowing up the flames with a pair of large bellows. His attendants are 
 composed of butchers, with marrow-bones and cleavers, a hallooing mob 
 
PuJ)2L?ked by Lonjjrthin. Hurst.R£es& (.^rrnr^Auf ■ 
 

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THE TIMES. 
 
 129 
 
 armed with clubs, and a trio of London Alderman, in the act of adoration. 
 From the neck of this idol of the populace, is suspended a Cheshire cheese, 
 with 3,000/. on it. This alludes to what he said in Parliament—that he 
 would sooner live on a Cheshire cheese and a shoulder of mutton, than 
 submit to the enemies of Great Britain. Lord Bute, attended by English 
 soldiers, sailors, and Highlanders, manages an engine for extinguishing the 
 flames; but is impeded by the Duke of Newcastle, with a wheel-barrow 
 full of Monitors and North Britons, for the purpose of feeding the blaze. 
 The respectable body under Mr. Pitt are the Aldermen of London, wor¬ 
 shipping the idol they had set up ; whilst the musical King of Prussia, who 
 alone is sure to gain by the war, is amusing himself with a violin amongst 
 his miserable country women. The picture of the Indian alludes to the 
 advocates for retaining our West Indian conquests, which, it was said, 
 would only increase excess and debauchery. The breaking down of the 
 Newcastle Arms, and the drawing up the patriotic ones, refer to the 
 resignation of that Noble Duke, and the appointment of his successor. 
 The Dutchman smoaking his pipe, and a Fox peeping out behind him, 
 and waiting the issue ; the waggon, with the treasures of the Hermione ; 
 the unnecessary march of the militia, signified by the Norfolk jig; the dove 
 with the olive-branch, and the miseries of war ; are sufficiently intelligible, 
 and need no explanation. 
 
 The first impressions of this print may be known by the following 
 distinction. The smoke just over the dove is left white ; and the whole of 
 the composition has a brilliancy and clearness not to be found in the 
 copies worked off after the plate was re-touched. 
 
 s 
 
JOHN WILKES, ESQ. 
 
 DRAWN FROM THE LIFE, AND ETCHED IN AQUA-FORTIS, 
 
 BY WILLIAM HOGARTH. 
 
 Published according to Act of Parliament, May 16, 1763. 
 
 THIS print is a fine caracatura, and no faint likeness of John Wilkes, 
 who was then Member for the Borough of Aylesbury, in the County of 
 Buckingham; a man, who stood forth as the leader of a party, formed 
 against the administration. The views with which he acted are now 
 publicly known, and he lies under that disgrace he gathered for himself: 
 Liberty, he roared out on all occasions, being the bell-weather of his flock. 
 With an eye to this, Mr. Hogarth has represented him as having been 
 twirling the cap of liberty (a fool’s cap) upon the end of a stick ; for a 
 fool’s cap it proved to him, it having banished him his country, entailed 
 upon him beggary, and made him the laugh of a jeering populace. On 
 the table, beside him, are two papers of the North Briton, of which he 
 acknowledged himself the author; viz. No. 46 and 17, the first of which 
 was burnt by the common hangman. 
 
 This print of Wilkes, which as we have before observed, must he 
 allowed to be an excellent compound caricatura, or a caricatura of what 
 nature had already caricatured, is said to have been viewed by him with 
 pleasant and philosophic indifference, he frequently jocosely saying to his 
 friends it grew every day into a stronger likeness. He declared himself 
 very little concerned about the case of his soul, as he was only tenant for 
 life, and that the best apology for his person was, that he did not make 
 himself. Equally memorable was Mr. Wilkes’s reply to a friend who 
 
Publu‘^hi’t} h\ Lcmwtim Jlurst 3t'tsI'^nru: July . 
 
V 
 
JOHN WILKES ESQ. 
 
 131 
 
 requested him to sit to Sir Joshua Reynolds, and have his portrait placed 
 in Guildhall, being then so popular a character, that the Court of Aldermen 
 would willingly have paid the expence. “No,’^ replied he, “No! they 
 “ shall never have a delineation of my face, that will carry to posterity so 
 “ damning a proof of what it was. Who knows but a time may come 
 “ when some future Horace Walpole will treat the world with another 
 “ quarto volume of historic doubts, in which he may prove that the 
 “ numerous squinting portraits on tobacco papers and halfpenny ballads, 
 “ inscsribed with the name of John Wilkes, are weak invention of the 
 “ enemy^ for that I was not only unlike them, but if any inference can be 
 “ drawn from the partiality of the fair sex, the handsomest man of the age 
 “ I lived in.” 
 
 In defence of Wilkes, rose Mr. Charles Churchill, who called himself 
 Im friend ! one who, indeed, possessed extraordinary talents as a writer, 
 but who was as remarkable for vitiousness of character : if he had any 
 discretion, it was that of joining the popular side ; but that can hardly 
 be called a discretion, when, had he lived a few years longer, he would 
 probably have experienced the same fate with his cotemporary, Wilkes. 
 This man, a minister once he called himself, though he afterwards 
 wisely laid that sacred office aside, which he could only disgrace; this 
 man, took up the pen against Mr. Hogarth, and in an epistle to him, 
 which he published, charged him with envying every man that had any 
 degree of excellence, and with being a friend to no one: this naturally drew 
 on him Mr. Hogarth's resentment, and was the occasion of his publishing 
 the following print. 
 
THE BRUISER, CHARLES CHURCHILL, 
 
 (ONCE THE REVEREND) 
 
 IN THE CHARACTER OP A RUSSIAN HERCULES. 
 
 “ But he had a club, ' 
 
 “ This dragon to drub, 
 
 “ Or he had ne’er done it, I warrant ye.” 
 
 , Dragon of Wantley'. 
 
 IN order to enter into the spirit of this print, the reader must be told 
 that the person it was designed to represent, was stout, lusty, and broad- 
 shouldered, equally rough in his person as in his manners, and one who 
 prided himself in being frank and open ; who, consequently, among the 
 politer part of mankind, was considered bearish. This, added to the received 
 notion, that robustness proceeds from coarseness of living, and carries with 
 it a stamp of vulgarity, determined our artist to hold him forth in the 
 character of a bear, or “ a Russian Hercules, (yet no small likeness of the 
 “ man) regaling himself’ with a pot of porter, “ after having killed the 
 “ monster caricatura^ that sorely galled his virtuous friend, the heaven-horn 
 “ Wilkes whilst his secret enjoyment of that delicious drink is here 
 admirably described, by his hugging the pot, and by the drops falling from 
 his mouth. "The band about his neck, alludes to his profession ; and being 
 described as torn, intimates his having been in some fray; the ruffles 
 about his paws are intended to ridicule his general custom of wearing 
 them. With his left paw he holds a knotted club, which, by the letters 
 N. B. above, he would have us understand to be the North Briton, a -weekly 
 publication he and his friend Mr. Wilkes were engaged in : a production 
 Mr. Hogarth evidently considered as containing little else than falsehood, 
 by writing on this club, infamous fallacy ; and describing its knots as so many 
 notorious injurious lies. By way of enriching the piece, this picture is raised 
 
Puliksheti by L<7}i^uj7t Hurst Hers k Or~nie S'ot . 
 
THE BRUISER, CHARLES CHURCHILL. 
 
 133 
 
 from the floor, on which lie a painter’s pallet, and an engraver’s tool, 
 emblems of our author’s joint profession ; by two books, one of which is 
 intituled A New Way to Pay Old Debt, a Comedy, by Massinger ; and on the 
 other is written Great George-Street,* List of the Subscribers to the North 
 Briton, with a begging box over it, are intimated that these papers were 
 written merely for support. On one side is Trump, a faithful dog of 
 Mr, Hogarth’s, contemptuously treating the epistle that gave rise to this 
 print; on the other, a political painting, which may serve as a postcript to 
 our artists’ first print of The Times. It represents Mr. Pitt, aftewards Earl 
 of Chatham, sitting at his ease, with a millstone hanging over his head, on 
 which is written 3,0001.; firing a mortar-piece, levelled at a dove bearing 
 an olive-branch, (the symbol of peace) perched on the standard of England, 
 He is attended on each hand by the two giants of Guildhall, vvith pipes in 
 their mouths, referring to the support he met with from the City ofLondon ; 
 particularly that of a wealthy American.^* One of these giants is putting 
 a crown on the hero’s head, as if aiming at supreme power ; the other is 
 holding in his hand a shield, containing the Austrian Arms, which Mr. Pitt 
 is spurning from his feet. On the other side is Mr. Hogarth leading 
 Wilkes and Churchill in a string; the first is described as a monkey, riding 
 on a hobby-horse, with the cap of liberty on the top of it, and the North 
 Briton in his hand; the second as a muzzled bear, ruffled, with a band 
 about his neck,:]: he flogging them and making them dance to the scrapings 
 of a fiddler, designed to represent Earl Temple, who patronized them in 
 the year 1763, when this print was published ; and who, for his unmeaning 
 face, has ever been described without a feature. It would be folly to 
 animadvert on the subject of this painting, the circumstances being well 
 known, (it being a temporary matter) and now out of date. Suffice it to 
 say, it at that time answered our author’s purpose, and was much admired 
 by the public. 
 
 * The place where Mr. Wilkes resided. 
 
 t Alderman Beckford. 
 
 I Mr. Churchill, though a clergyman, generally appeared in ruffles, and a laced hat. 
 
THE TIMES. 
 
 PLATE II. 
 
 By his first print of The Times our artist, observes Mr. Ireland, roused 
 two very formidable adversaries, and they treated him with as much cere¬ 
 mony as two deputies from the Bow-street magistrates would an incendiary, 
 or an assassin. They did not consider him as a man whose conduct it was 
 needful to investigate, or whose opinions it was necessary to confute, but 
 as a criminal, whose aggravated crimes had outraged every law of society, 
 and whom they would therefore drag to the place of execution. To defend 
 himself from these furious assailants, he had no shield but a copper-plate, 
 no weapons but a pencil and a burine. The use he made of them may be 
 seen in the two last prints, but though this print was engraved during the 
 time of the contest, it was not published while he lived. Whether a sudden 
 change in politics,—a supposed ambiguity in part of his design,—or the 
 advice of judicious or timid friends, induced him to suppress his work, 
 cannot now be ascertained ; but whatever were the reasons, his widow’s 
 respect for his memory induced her to adopt the same conduct. She 
 retained a reverence for even the dust of her husband, and dreaded its 
 being raked from the sepulchre where he had been quietly inurned, mixed 
 with the poisonous aconite of party, and by sacrilegious hands cast into 
 the agitated cauldron of politics. If we add to this the specimen of political 
 candour which she had experienced in her own person, can we wonder that 
 she cautiously avoided whatever could be tortured into a provocation to 
 the renewal of hostilities.—From these considerations she never suffered 
 more than one impression to be taken, and that was struck off at the earnest 
 request of Lord Exeter. 
 
^ibfishfd LoTipman Murxt £eea'd' <'*/y?u' Oct i ^iSot) 
 
THE TIMES. 
 
 135 
 
 In withholding this plate from the public she acted prudently ; in 
 attempting to describe it, we should be thought to act otherwise. To enter 
 into a discrimination of characters who now live, or step upon ashes which 
 are not yet cold, is liable to invidious construction. 
 
 The judicious Mr. Ireland also observes of this plate, “ that though 
 “ several of the figures are marked in a style so obstrusive that they cannot 
 “ be mistaken, there are others where I can only guess at the originals. 
 “ From those who were engaged in the politics of that day, I have sought 
 “ information, but their communications have been neither important, nor 
 “ consistent with each other. They generally ended in an acknowledge- 
 “ ment, ‘ that in thirty years they had forgotten much which they once 
 “ knew, and which, if now recollected, would materially elucidate."' To 
 “ this was added, what I am compelled to admit, that parts of the print 
 “ are obscure."” 
 
 The exact time when this print was engraved is not positively ascer¬ 
 tained, but it is conjectured to have been some time in the year 1762. A 
 small part of the sky was left unfinished, and in that state still remains, as 
 the present proprietors would not suffer any other engraver to draw a line 
 on the copper-plate of Hogarth. 
 
HYMEN AND CUPID. 
 
 THIS plate, representing Hymen and Cupid, with a view of a 
 magnificent villa at a distance, was intended as a Ticket for Sigismunda, 
 which Hogarth proposed to be raffled for. It is often marked with ink 
 ,£2 2s. 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 1763. Mr. Nichols observes of this plate, that 
 had he not seen many copies marked by the hand of Hogarth, he should 
 have supposed it to be only a Ticket for a Concert or Music Meeting. 
 
hihb'jhi'd hy Lonomnn Burst Rcm k Ormi Aiui-1*^i8oq. 
 
V 
 
FubUi}ud by Lcnprmm.Surst.Sms k OmuJiarvh 
 
SARAH MALCOLM. 
 
 THIS woman was executed on Wednesday the 7th of March, 1733, 
 for the murder of Mrs. Lydia Duncombe, Elizabeth Harrison, and Ann 
 Pi ice. The portrait of this murderess was painted by Hogarth, to whom 
 she sat for her picture two days before her execution, having previously 
 dressed herself in red for that purpose. 
 
 The circumstances attending the conviction and execution of this 
 woman are briefly these : 
 
 On Sunday, February 4th, 1733, Mrs. Lydia Duncombe, (aged 60,) 
 and Elizabeth Harrison, her companion, were found strangled, and Ann 
 Price (her maid, aged 17,) with her throat cut, at Mrs. Duncombe^s 
 apartments in Tanfield Court, in the Inner Temple. Sarah Malcolm (who 
 was a chare-woman) was on the same evening apprehended on the 
 information of Mr, Kerrel, who had chambers on the same staircase, and 
 who had found some bloody linen under his bed, and a silver tankard in a 
 close-stool, which she had concealed there. 
 
 On her examination before Sir Richard Brocas, she confessed to 
 sharing in the produce of the robbery, but declared herself innocent of the 
 murders ; asserting upon oath, that Thomas and James Alexander, and 
 Mary Tracy, were the principal parties in the whole transaction. Notwith¬ 
 standing this, the coroneFs jury brought in their verdict of wilful'murder 
 against Sarah Malcolm only, it not then appearing that any other person was 
 concerned. Her confession they considered as a mere subterfuge, no one 
 knowing such people as she pretended were her accomplices. 
 
 T 
 
138 
 
 HOGARTH^S WORKS. 
 
 A few daj^s after, a boy about seventeen years of age was hired as a 
 servant by a person who kept the Red Lion alehouse at Bridewell Bridge; 
 and hearing it said, in his master's house, that Sarah Malcolm had given 
 information against one Thomas Alexander, his brother James, and Mary 
 Tracy, said to his master, “ My name is James Alexander, and I have a 
 brother named Thomas, and my mother nursed a woman where Sarah 
 Malcolm lived." Upon this acknowledgement, the master sent to Alstone, 
 turnkey of Newgate ; and the boy being confronted with Malcolm, she 
 immediately charged him with being concealed under Mrs. Buncombe's 
 bed, previously to letting in Tracy and his brother, by whom and himself 
 the murders were committed. On this evidence he was detained; and 
 frankly telling where his brother and Tracy were to be found, they also 
 were taken into custody, and brought before Sir Richard Brocas: here 
 Malcolm persisted in her former asseverations ; but the magistrate thought 
 her unworthy of credit, and would have discharged them, but being advised 
 by some persons present to act with more caution, committed them all to 
 Newgate. Their distress was somewhat alleviated by the gentlemen of the 
 Temple Society, who, fully convinced of their innocence, allowed each of 
 them one shilling per diem during the time of their confinement. 
 
 Though Malcolm's presence of mind seemed to have forsaken her at 
 the time when she lurked about the Temple, without making any attempt 
 to escape, leaving the produce of her theft in situations that rendered 
 discovery inevitable, she by the time of trial recovered her recollection, 
 made a most acute and ingenious defence, and cross-examined the witnesses 
 like one bred up to the bar. The circumstances were, however, so clear as 
 to leave no doubt in the minds of the court, and the jury brought in their 
 verdict, guilty. 
 
 On Wednesday the 7th of March, about ten in the morning, she was 
 taken in a cart from Newgate to the place of execution, facing Mitre- 
 Court, Fleet-Street, and there suflered death on a gibbet erected for the 
 occasion. She was neatly dressed in a crape mourning gown, white apron, 
 sarcenet hood, and black gloves; carried her head aside with an air of 
 affectation, and was said to be painted. She was attended by Dr. Middleton 
 
SARAH MALCOLM. 
 
 139 
 
 of St. Bride’s, her friend Mr. Peddington, and Guthrie, the Ordinary of 
 Newgate. She appeared devout and penitent, and earnestly requested 
 Peddington would print a paper she had given him* the night before, which 
 contained ,—not a confession of the murder, but protestations of her inno¬ 
 cence, and a recapitulation of what-she had before said relative to the 
 Alexanders, &c. This wretched woman, though only twenty-five years of 
 age, was so lost to all sense of her situation, as to rush into eternity with a 
 lie upon her lips. She much wished to see Mr. Kerrel, and acquitted him 
 of every imputation thrown out at her trial. 
 
 After she had conversed some time with the ministers, and the execu¬ 
 tioner began to do his duty, she fainted away; but recovering, was in a 
 short space afterwards executed. Her corpse was carried to an Under¬ 
 taker’s on Snow-Hill, where multitudes of people resorted, and gave money 
 to see it: among the rest, a gentleman in deep mourning kissed her, and 
 gave the attendants half-a-crown. 
 
 Professor Martin dissected this notorious murderess, and afterwards 
 presented her skeleton, in a glass case, to the Botanic Gardens, at 
 Cambridge, where it still remains. 
 
 Besides the present portrait, Hogarth executed a full length one of 
 this atrocious offender ; from which it should seem probable that the artist 
 painted her twice. There is also a figure of her cut on wood in the 
 Gentleman’s Magazine for March 1733, slightly differing from our 
 engraving. 
 
 * This paper he sold for twenty pounds! and the substance of it was printed in the Gentleman’s 
 Magazine for 1733, p. 137. 
 
THE PAINTER’S ROOM. 
 
 : r r t 
 
 IN this print, which was engraved in 1800 , we have a representation 
 of Hogarth's Painting Room, with portraits of Sir Godfiltey Kneller, 
 Sir James Thornhill, Hogarth, Rysbrack, and Roubilliac. The original 
 is in the possession of Mr. Nichols. 
 
,&£rsl, lUe^ Onn£,yoi'.i*Ti/jo^. 
 
A. 
 
 } 
 
 
 
 4 
 
>IAS9UERAI>E AT SOl^IEB-SET HOUSE, 
 
MASQUERADE AT SOMERSET-HOUSE. 
 
 THIS print was engraved and published by T. Cook, in 1804, from 
 an original picture in the collection of Roger Palmer, Esq. 
 
 This plate exhibits some well-known portraits, among which is one 
 of a late great Personage, and his illustrious Uncle, the hero of Culloden. 
 
FUNERAL TICKET. 
 
 THE date of this plate is uncertain. For the same purpose our 
 artist’s contemporary, Coypel, likewise engraved a plate, which is still 
 in use. 
 
 s - * 
 
 Such is the scarcity of the original of this print, by Hogarth, (of 
 which probably, many hundred impressions were taken) that we know 
 of only two others extant, one of which is in the collection of Lord 
 Orford. 
 
 It is in works of humour that our artist’s talents at a more advanced 
 period stand pre-eminent. Yet in this early production, which in its 
 nature does not admit of much humourous exertion, we find some traces of 
 it; particularly in the face and attitude of the clerk who heads the 
 procession, and in whom we cannot help noticing a species of grimace, 
 which rather oversteps the modesty of nature; while the clergyman, who 
 precedes the persons supporting of the pall, is, if we may judge by his 
 round and smirking set of features, perfectly pleased with his situation, and 
 more desirous of captivating the living with his own sweet person, than of 
 properly, or even decently discharging his duty as a companion of the dead. 
 It is a kind of face that would not at any rate, or under any conduct, 
 according to Sable’s opinion in Steele’s Grief a-la-mode, have been thought 
 worthy of so conspicuous a situation, at least he would not have been paid 
 for it. In selecting his mourners for the funeral, he says, “You that are 
 “ to be mourners in this house put on your sad looks—this fellow has a 
 “ good mortal face—place him near the corpse—That wainscot face must 
 “ be a’top of the stairs :—let’s have no laughing now on any provocation : 
 “ look yonder at that hale well-looking puppy! You ungrateful scoundrel. 
 
f^thhshcti hi Lonornan, Ihmrt.Rcc^.^ Orme. July iSo^. 
 

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FUNERAL TICKET. 
 
 143 
 
 “ did not I pity you, take you of a great man's service, and shew you the 
 “ pleasure of receiving wages ? Did not I give you ten, then fifteen, now 
 “ twenty shillings a week to be sorrowful? And the more I give you, I think, 
 “ the gladder you are."—By the mournful gestures of those that follow, 
 they appear well selected, and have enough of the mortal face to get a living 
 in any of the families of death, and it may be that amongst some of them 
 there was “that within which passeth shew." 
 
CAPTAIN CORAM. 
 
 CAPTx4IN THOMAS CORAM was the founder of the Foundling 
 Hospital: in the records of which the name of William Hogarth stands 
 enrolled as one of its earliest governors. The original print is whole length. 
 The Captain has the seal of the Charter in his hand. Before him is a 
 globe ; at a distance a prospect of the sea. 
 
 This is perhaps the best of all Hogarth’s Portraits, and is thus 
 described in “The Scandalizade,” a satire published about 1749 : 
 
 “Lo! old Captain Coram, so round in his face, 
 
 “ And a pair of good chaps plump’d up in good case, 
 
 “ His amiable locks hanging grey on each side 
 “ To his double-breast coat o’er his shoulders so wide,” &c. 
 
 / 
 
 This benevolent old gentleman was born in the year 1668; being bred 
 to the sea, he passed the first part of his life as master of a vessel trading to 
 the Colonies. While he resided in the vicinity of Rotherhithe, his avocations 
 obliged him to go early into the city, and to return late; he frequently saw 
 deserted infants exposed to the inclemency of the seasons, and through the 
 indigence or cruelty of their parents, left to casual grief, or untimely death. 
 This naturally excided his compassion, and led him to project the esta¬ 
 blishment of an Hospital for the reception of exposed and deserted young 
 children : in which humane design he laboured more than seventeen years, 
 and at last, by his unwearied application, obtained the Royal Charter, 
 bearing date the 17th of October, 1739, for its incorporation. He was 
 highly instrumental in promoting another good design, the procuring a 
 bounty upon naval stores imported from the Colonies to Georgia and Nova 
 Scotia. Another charitable plan which he lived to make some progress in 
 though not to complete, was a scheme for uniting the Indians in North 
 
c: 
 
 TAIK THOMAS CORAM. 
 
 Puhh.s-lwd hr Lotuptum 
 
 
 \-Biu'sC-Rees. <£• Onne. Marc/i i^iSod. 
 
CAPTAIN CORAM. 
 
 145 
 
 America more closely with the British Government, by an establishment 
 for the education of Indian girls. Indeed he spent a great part of his life 
 in serving the public, and with so total a disregard to his private interest, 
 that in old age he was himself supported by a pension of somewhat more 
 than a hundred pounds a year"*, raised for him at the solicitation of Sir 
 Sampson Gideon and Dr. Brocklesby, by the voluntary subscriptions of 
 public-spirited persons, at the head of whom was H. R. H. Frederick Prince 
 of Wales. On application being made to this venerable and good old man, 
 to know whether a subscription being opened for his benefit would not 
 offend him, he gave this noble answer : “I have not wasted the little wealth 
 “ of which I was formerly possessed in self-indulgence, or vain expences ; 
 ‘•and am not ashamed to confess, that in this, my old age, I am poor.’' 
 This singularly humane, persevering, and memorable man, died at his 
 lodgings near Leicester-square, March 29, 1751, and was interred, pursuant 
 to his own desire, in the vault under the Chapel of the Foundling Hospital; 
 where an epitaph records his virtues, as Hogarth’s portrait has preserved 
 his honest countenance. 
 
 * Upon the death of Coram, this pension was continued to poor old Leveridge, for whose volume of songs 
 Hogarth had in 1727, engraved a title-page and frontispiece; and whto>, at the age of ninety, had scarcely any 
 other prospect than that of parish subsistence. 
 
 U 
 
ANALYSIS OF BEAUTY. 
 
 TWO PLATES. 
 
 OUR artist, in his own portrait, engraved as a frontispiece to his 
 works, in 1745> having drawn a serpentine line on a painter^s palette, and 
 denominated it the line of beauty^ found himself frequently involved in 
 disputes, and called upon to explain the qualities of this line ; he therefore 
 determined to commence author, and in 1753 published a treatise, entitled 
 the Analysis of Beauty, in order to shew that the line of beauty is serpentine, 
 as well as to fix the fluctuating ideas of taste, by establishing a standard of 
 beauty. 
 
 “ I now offer to the public,” says Mr. Hogarth, in his introduction 
 to this treatise, which the two prints here presented were intended to illus¬ 
 trate, “ a short essay, accompanied with two explanatory prints, in which 
 “ I shall endeavour to show what the principles are in nature by which we 
 “ are directed to call the forms of some bodies beautiful, others ugly, some 
 “ graceful, and others the reverse ; by considering more minutely than has 
 “ hitherto been done, the nature of those lines, and their different combina- 
 “ tions, which serve to raise in the mind the ideas of all the variety of forms 
 “ imaginable. At first, perhaps, the whole design, as well as the prints, 
 “ may seem rather intended to trifle and confound, than to entertain and 
 “ inform : but I am persuaded that when the examples in nature, referred 
 to in this essay, are dul}?- considered and examined upon the principles 
 “ laid down in it, it will be thought worthy of a careful and attentive 
 “ perusal : and the prints themselves too will, I make no doubt, be examined 
 “ as attentively, when it is found, that almost every figure in them (how 
 
ij 
 
 Fuhh^Titd Lcm^TTian.Bio\ft,T{c£j ^ OTyne.March I'^FiSoj. 
 
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 I 
 
 PubKahed bt' Zrt^pruui. &ovC.]U^, &• Orme. 
 
ANALYSIS OF BEAUTY. 
 
 147 
 
 “ oddly soever they may seem to be grouped together) is referred to singly 
 “ in the essay, in order to assist the reader's imagination, when the original 
 “ examples in art, or nature, are not themselves before him." 
 
 “ And in this light I hope my prints will be considered, and that the 
 “ figures referred to in them will never be imagined to be placed there by 
 “ me as examples themselves of beauty or grace, but only to point out to 
 “ the reader what sorts of objects he is to look for and examine in nature, 
 “ or in the works of the greatest masters. My figures therefore, are to be 
 “ considered in the same light with those a mathematician makes with his 
 his pen, which may convey the idea of his demonstration, though not a 
 “ line in them is either perfectly straight, or of that perpendicular curvature 
 “ he is treating of. Na 3 r, so far was I from aiming at grace, that I purposely 
 “ chose to be least accurate where most beauty might be expected, that no 
 “ stress might be laid on the figures to the prejudice of the work itself: for, 
 “ I must confess, I have but little hopes of having a favourable attention 
 “ given to my design in general, by those who have already had a more 
 “ fashionable introduction into the mysteries of the arts of painting and 
 “ sculpture. Much less do I expect, or in truth desire the countenance 
 “ of that set of people, who have an interest in exploding any kind of 
 “ doctrine that may teach us to see with our own eyes. 
 
 “Therefore I would fain have such of my readers be assured, that 
 “ however they may have been awed and over-borne by pompous terms of 
 “ art, hard names, and the parade of seemingly magnificent collections of 
 “ pictures and statues, they are in a much fairer way, ladies as well as 
 “ gentlemen, of gaining a perfect knowledge of the elegant and beautiful, 
 “ in artificial as well as natural forms, by considering them in a systematical 
 “ but, at the same time, familiar way, than those who have been prepossessed 
 “ by dogmatic rules, taken from the performances of art only : na^^ I will 
 “ venture to say, sooner and more rationally than even a tolerable painter, 
 “ who has imbibed the same prejudices." 
 
 “In Plate I. Fig 19/' observes Mr. Nichols, “the fat personage drest 
 in a Roman habit, and elevated on a pedestal, was designed, as Hogarth 
 
 u 2 
 
148 
 
 HOGARTH S WORKS. 
 
 himself acknowledged, for a ridicule on Quin in the character of Coriolanus. 
 Essex the Dancing-master is also represented in the act of endeavouring 
 to reduce the graceful attitude of Antinous to modern stiffness. Fig. 20 
 was likewise meant for the celebrated Desnoyer, dancing in a grand ballet. 
 
 “ Respecting Plate I. there are no variations. In its companion the 
 changes repeatedly made as to the two principal figures are more numerous 
 than I at first observed. It may, however, be sufficient for me to point 
 out some single circumstances in each, that may serve as a mark of distinc¬ 
 tion. In the first, the principal female has scarce any string to her neck¬ 
 lace ; in the second it is lengthened; and still more considerably increased 
 in the third. In the first and second editions also of this Plate, between 
 the young Lord and his partner (and just under the figure of the man who 
 is pointing out the stateliness of some of King Henry Vlllths proportions 
 to a lady,) is a vacant easy chair. In the third impression this chair is 
 occupied b}'' a person asleep. I have been lately assured that this country- 
 dance was originally meant to have formed one of the scenes in the 
 Happy Marriage. The old gentleman hastening away his daughter, while 
 the servant is putting on his spatterdashes, seems to countenance the 
 supposition ; and having examined the original sketch in oil, which was 
 in the late Mr. Samuel Ireland’s possession, I observe that the dancing- 
 room is terminated by a large old-fashioned bow window, a circumstance 
 perfectly consistent with the scenery of the wedding described in the 
 Analysis. 
 
 “ I may add, that in this Picture, the couple designed for specimens 
 of grace, appear not where they stand in the print, but at the upper end of 
 the room : and so little versed was our painter with the etiquette of a wed¬ 
 ding-ball, that he has represented the bride dancing with the bridegroom. 
 
 “ When Hogarth shewed the original painting, from which this dance 
 has been engraved, to my informant, he desired him to observe a pile of 
 hats in the corner, all so characteristic of their respective owners, that they 
 might with ease be picked out, and given to the parties for whom they 
 were designed.” 
 
 O 
 
ANALYSIS OF BEAUTY. 
 
 149 
 
 “ Mr. Walpole observes, that Hogarth’s ^samples of grace in a 5 '^oung 
 ‘Lord and Lady are strikingly stiff and affected. They are a Bath beau 
 and a county beaut 5 ^’ The print is found in three different states. In 
 the original plate the principal figure represented the late King, then 
 Prince ; but Hogarth was desired to alter it. The present figure was 
 taken from the last Duke of Kingston ; yet, though like him, it is stiff, and 
 far from graceful.” 
 
HUMOURS OF OXFORD. 
 
 THIS frontispiece to the Comedy of the^ Humours of Oxford, by 
 James Miller, was designed by Hogarth, and engraved by Vanderguchl. 
 The Comedy was acted at Drury-Lane, and published in 1729* The 
 frontispiece represents the Vice-Chancellor, attended by his beadle, sur¬ 
 prising two Fellows of a College, one of them much intoxicated, at a tavern. 
 
FuhUshtd- by Lonffnum ■ Ibjrst. Reej ^ Orme If ay 'i 7, 
 
■ 1 
 
i^iblis?i£d bj Longman. Skirst, Re^j. £■ {?rm£. X^ch. i'^.^2.S<>o. 
 
TIME BLACKENING A PICTURE. 
 
 THIS print formed the Subscription Ticket for our artists’ plate of 
 Sigismunda. It appeared in 1761, and was intended as a Satire on 
 Connoisseurs. 
 
 END OP VOLUME I. 
 
 Plumraer and Brewis, Printers, Love Lane, Little Easjcheap. 
 



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