A DESCRIPTIVE CATALOGUE OF THE WORKS OF HOGARTH, PLACED IN THE GALLERY OF I THE BRITISH INSTITUTION • FOR EXHIBITION; SELECTED AND ABRIDGED FROM mr. Ireland's illustrations, and me. nicholls's biographical anecdotes of hogarth, BY Mr. YOUNG, KEEPER OF THE BRITISH GALLERY. LONDON: PRINTED BY WILLIAM BULMER, AND CO. CLEVELAND-ROW, st. james's. 1814. PRICE ONE SHILLING. Digitized by the Internet Archive in 2014 https://archive.org/details/descriptivecatalOOyoun DESCRIPTIVE CATALOGUE, $». J^ornj 3&oom, West Side. THE RAKE'S PROGRESS. No. 45. PICTURE I. This Picture most forcibly contrasts two opposite passions; the unthinking negligence of youth, and the sordid rapacity of age. It represents a young man taking possession of a rich miser's effects. Every thing valuable or not valuable appears to have been hoarded: whether it be a chest of old plate, or an old coat ; a worn-out boot, or the caul of a periwig. The thread-bare garments are hung up ; the rusty spur is put into the closet ; and even a spectacle-frame, without glasses, is thought worthy of preservation. The crutch and walking-stick lean unheeded against the wall. The remnant of candle stuck in a save-all; the jack taken down as an useless piece of furniture, with the spit, hoisted into a high cupboard, give strong indications of the manner in which this votary of Mammon existed. The appearance of a half-starved cat, — the iron-bound chests, and the hidden gold falling from the breaking cornice, give additional marks of a suspicious and sordid disposi- tion. A Picture of the Miser counting his gold, with the armorial bearings of avarice, three vices hard ciewed, are highly suitable to the place. An old shoe soled with the cover of a Bible, and the little memorandum, May 5th, 1721, put off my bad shilling, are CO intended to indicate, that extreme avarice destroys all reverence for religion, and eradicates every principle of honesty. The principal figure from his unmeaning vacancy of face, ap- pears to have been formed by nature for a dupe. Ignorant of the value of money, and negligent in his nature, he leaves his bag of untold gold in the reach of an old and greedy pettyfogging attorney, who is seizing the opportunity of plundering his employer. The young woman with a wedding ring, being pregnant, and accom- panied by her mother with an apron-full of letters, clearly intimates that this is meant as a visit to intreat the promised hand of her se- ducer. He violates every former protestation, refuses her marriage, and attempts to bribe her into silence, while the mother appears to be loading him with reproaches. No. 44. PICTURE II. Three years have eltpsed, and our giddy spendthrift throwing off the awkwardness of a rustic, assumes the character, and apes the manners, of a modern fine gentleman. He is attended by a French tailor; a millinerandaParisiandancing-master; by Dubois, a French- man famous for a knowledge of the art of defence, Trigg the prize- fighter, and a teacher of music. He has also at his levee, a blower of the French-horn; old Bridgeman an improver of gardens, and a bravo; which intimates that Thomas Rakewell, Esq., in addition to his other excellent qualities, is a coward. A Jockey is presenting a silver cup, inscribed, " won at Epsom by silly Tom." On the back of the musician's chair hangs a list of presents, which Farinelli, an Italian singer, received after his performance of a favourite character at the Opera House. Among others, a gold snuffbox, chased with the story of Orpheus charming the brutes, from T. Rakewell, Esq. The taste of our Prodigal for cock-fighting is pointed out, by the portraits of two fighting-cocks being hung up as the ornaments of his saloon. The figures in the back-ground [ * 3 consist of such persons as are general attendants in the anti-cham- ber of a dissipated man of fashion A poet, who has written a panegyric in honour of his patron's exalted character, waits for the approbation and reward he already vainly anticipates. No. 45. PICTURE III. This picture exhibits our licentious Prodigal in one of his mid- night festivities. He may be supposed to have beat the rounds , overset a constable ; and conquered a watchman ; whose staff and lantern he has brought into the room as trophies of his prowess. In this situation, he is robbed of his watch and money, by the girl whose hand is in his bosom, who conveys her acquisition to an ac- complice standing behind the chair. Two of the ladies are quar- relling ; and one of them delicately spouts a glass of wine in the face of her opponent, who grasps a razor in her hand in a posture of defiance. Another holds a lighted candle to a map of the globe. Leather-coat, a noted porter belonging to the Rose Tavern, is repre- sented with a large pewter dish in his hand, which fo rmany years served as a sign to the shop of a pewterer on Snow-Hill. On this utensil, the posture- woman who is undressing, used to wheel herself round, and display other feats of activity. The room is furnished with a set of Roman emperors; but not in the order in which they reigned. All of them have been decol- lated, except Nero ; whose manners had too great a similarity to their own to admit of his suffering so degrading an insult. The shattered mirror ; the broken wine glasses; broken chair; broken cane ; the mangled fowl with a fork stuck in its breast, and every accompaniment shew that this has been a night of riot and mischief. No. 46. PICTURE IV. Dressed in the first style of fashion, Rakewell is going to court, and arrested as he is getting out of a sedan chair. A boy at the B C 6 ] same time is picking his pocket, and a lamp-lighter pouring oil upon his magnificent apparel. The unfortunate girl whom he had so basely deserted is now a milliner: seeing his distress, with all the tenderness of unabated love, she flies to his relief, and ge- nerously gives her purse for the liberation of her worthless favourite. The high-born haughty Welshman, with an enormous leek, fixes the day to be the 1st of March, which was observed at court. The back-ground exhibits a view of St. James's Palace, and White's chocolate-house, the rendezvous of the first gamesters in London. In one corner of the picture is represented an assembly, composed of shoe-blacks, chimney-sweepers, &c. who, aping the vices of their superiors, are engaged at cards, dice, cups and balls. One of these minor gamblers is naked, and having staked and lost his cloaths, is now throwing for his stock in trade, a basket, brushes, and blacking. This last was painted from a French boy that cleaned shoes at the corner of Hog-Lane. The chimney-sweeper peeping at the post boy's cards, and informing his adversary that he has two honours, by holding up two of his fingers, is a fine stroke of humour, as the inscription Black's being on a post, is an excellent antithesis when contrasted to White's, which is on the other side. No. 47. PICTURE V. Our hero now appears marrying an old woman to recruit his ex- hausted finances. The ceremony passes in Marybone church, which was then considered at such a distance from London as to become the usual resort of those who wished to be privately married. The unfortunate object of his seduction is again introduced, with her child and mother, endeavouring to enter the church and forbid the banns, but is opposed by an old pew-opener with a bunch of keys. Hogarth's favourite dog Trump, paying his addresses to a one- eyed quadruped of his own species, is a happy parody upon the unnatural union going on in the church. The Commandments are broken ; the Creed is destroyed by the damps of the church ; and EH the poors box is covered with a cobweb ! These three high- wrought strokes of satirical humour were perhaps never equalled. The branches of evergreen which decorate the pews determine this union to have taken place about the time of Christmas. No. 48. PICTURE VI. Rakewell is now exhibited at the gaming-table; with a counte- nance convulsed with agony, he is imprecating vengeance upon his own head. One of the most conspicuous characters appears, from the pistols in his pocket, to be a highwayman : he is a losing game- ster, and so absorbed in reflection, that neither the boy who brings him a glass of water, nor the watchman's cry oi'Jire can arouse him from his reverie. Two persons are represented at the table in the agony of repentance, and another is represented with a drawn sword threatening to destroy a miserable being whom he supposes to have cheated him. In the back-ground, are two associates, eagerly dividing the profits of the evening. In the corner is a nobleman giving a note to an usurer, supposed to be old Man- ners, who won the great estate of Leicester Abbey. The fire burst- ing out in the midst of this confusion, is intended 10 commemorate such an accident which took place at White's chocolate house, St. James's street, on the 3d of May, 1 733. No. 49. PICTURE VII. Our improvident spendthrift is now lodged in a prison. The state of his finances is displayed by the turnkey's demand for fees not being answered ; and the boy refusing to leave a tankard unless he is paid for it. By a letter upon the table we learn, that his play " will not do," and his wife appears to be violently reproach- ing him for having dissipated her fortune. The poor girl whom he deserted is come with her child to soothe his sufferings, but the C 8 3 agonizing scene is too much for her, and she sinks on the floor of the prison. Over the group are a large pair of wings with which some one intended to escape from his confinement, but finding them inade- quate to the execution of his project, has placed them upon the tester of his bed. A chemist in the back ground is watching the moment of projection. — The bed and gridiron, the poor remnants of our miserable spendthrift's wrecked property, are brought here, as necessary in his degraded situation. No. 50. PICTURE VIII. Exhibits our hero in a madhouse, attended by the faithful and kind-hearted female whom he so basely betrayed. His figure is copied from one of Gibber's over the gate of Bedlam. In the cell are the portraits of three saints, who taught the necessity of pro- pagating the religion of mercy by the sword and the wheel. Near him are two astronomers ; one drawing lines upon the wall to represent the firing of bombs, by which he proposes to discover the longitude ; the other, with a paper rolled up, to imitate a telescope. A mad musician, a crazy tailor, and a mimic monarch, complete this congregation of calamity. Two women, impelled by curiosity, are represented as walking in the back ground. This picture is a faithful representation of the inside of Bedlam, and most of the persons are real portraits. In the year 1 745 the foregoing eight pictures were sold by auc- tion, at Mr. Hogarth's, in Leicester-fields, and produced twenty- two guineas each. They were purchased by Colonel Fullarton, at Mr. Beckford's sale, for 850 guineas ; and by the present proprietor for 5 70 guineas. C 9 ] No. 76. THE BEGGAR'S OPERA. This picture is taken from the third act : the scene is laid in New- gate, and the point of time is when Captain Macheath sings, " Which way shall I turn me? how shall I decide?" PERFORMERS. Macheath, Mr. Walker; Lockit, Mr. Hall; Peachum, Mr. Hippesley; Lucy, Mrs Eggleton ; Polly, Miss Fei after- wards Duchess of Bolton. AUDIENCE. Duke of Bolton ; Major Pounceford ; Sir Robert Fagg; Mr, Rich, the manager; Mr. Cock, the auctioneer; Mr. Gay ; L idy Jane Cook; Anthony Henley, Esq.; Lord Gage; SirCon)ers D'Arcy ; and Sir Thomas Robinson. In addition to the value of this picture as containing a collection of portraits, it has the only known representation of the inside of Lincoln's Inn Fields Theatre : the exterior is still entire, and is now occupied as Spode's pottery warehouse. No. 77. THE POLITICIAN. The quidnunc pourtrayed here is intended for a Mr. Tibson, laceman, in the Strand, who paid more attention to the affairs of Europe than to his own shop. He is reading the Gazetteer of the day, and so interested in the intelligence it contains, that he appears insensible to the danger he incurs by the flames reaching his hat. This picture was painted about the year 1730, when street robberies were so frequent, that tradesmen wore swords to protect their property. C C 10 ] COMMITTEE of the HOUSE of COMMONS. No. 90. The scene is the Committee of the House of Commons, appointed in 1 730, to inquire into the cruelties exercised in the Fleet Prison. The Chairman General Oglethorpe. The prominent person in the fore-ground is Sir William Wyndham ; Sir Andrew Fountain on the Chairman's left hand, and Lord Perceval behind him. The instruments of torture are exhibited on the table. A pri- soner in rags, and half starved, appears before theCommittee; and on the other hand is Bambridge, the Warden of the Fleet, and Huggins, his predecessor. Both were declared "guilty of extor- tions, cruelties, and other high crimes and misdemeanors/' and were committed to Newgate. This picture was painted in 1731. No. too. THE DISTRESSED POET, Seated upon the side of his bed without a shirt, but wrapped in an old night gown, is disturbed by the appearance of a boisterous woman demanding payment of the milk-tally. He possesses, by anticipation, the mines of Peru, a view of which hangs over his head. Upon the table is seen Byshe's Art of Poetry ; and on the floor, the Grub-street Journal. To shew that he is master of the profound, and will envelope his subject in a cloud, his pipe and tobacco-box are close to him. His wife is mending that part of his dress in the pockets of which the affluent keep their gold ; and a dog stealing the remnant of mutton incautiously left upon a chair, adds to the family distress. The sloping roof and projecting chimney are indications of a garret. The whole furniture of the room shows poverty and wretchedness. The open door declares their cupboard to be unfurnished, and tenanted by a hungry and [ 11 ] solitary mouse. The propriety of scenery is evinced by the crack- ing plaistering of the walls, and the broken windows and uneven floor of the miserable habitation. No. 105. THE LADY'S LAST STAKE. A young married lady is exhibited who has lost her property to a handsome young officer of her own age. A letter from her husband, enclosing her a note of £"500. is on the ground : this, together with her watch, the miniature of her husband, and all her jewels, appears to be among the losses of the night. The officer is represented in the act of returning his gains, with the hope of exchanging them for a softer acquisition, and a more deli- cate plunder. The Artist has caught his heroine during the moment of hesitation and struggle with herself. On the chimney-piece is a watch-case, and Cupid representing a figure of Time over it; with this motto, " Kane." This, together with the horns of the moon, requires no explanation. The candles nearly burnt out, and the cards partly scattered on the ground and thrown into the fire, are indications of the scene that has passed. MARRIAGE A-LA-MODE. No. 107. PICTURE I. The portly nobleman, with conscious dignity of high birth, dis- plays his genealogical tree, the root of which is William Dui:e of Normandy. He considers the merits of his progenitors as united in his own person, and an alliance with his son as the acme of honor. The prudent citizen pays no regard to this heraldical blazonry, but devotes his whole attention to the marriage settle- [ 12] ment. The young Viscount turns from his bride for the superior gratification of admiring his own person. The Lady is playing with her wedding-ring, and repays his coldness with sullen con- tempt Her gallant, an insidious lawyer, appears at her right hand. The two pointers in a corner, chained together against their incli- nations are emblematical of the ceremony which has lately passed. The ceiling of the apartment is decorated with a painting of Pharoah and his host drowned in the Red Sea. The fluttering hero is intended lor one of the Peer's high-born ancestors; he is in the character of Jupiter ; and while one hand holds up his robe, the other grasps a thunder-bolt. A comet is taking its rapid progress over his head ; and in one corner of the picture two of the family of Boreas are in- troduced blowing contrary ways: immediately behind him is a can- non, represented in the moment of explosion, and the ball is seen in its progress. By this parody it was Hogarth's meaning to bur- lesque many of the French portraits. The next picture represents Goliah slain by David. Beneath is Judith: one hand grasps the sword with which she decollated Holofernes ; and the other rests upon his bleeding head. The adjoining picture is St. Sebastian, pierced with arrows. On the other side of the room is Prometheus and the Vulture; that beneath it represents Gain slaying Abel. St. Laurence upon the gridiron is placed under a painting of Herod's cruelty. A Medusa's head is the ornament of a chandelier over the sopha on which the bride and bridegroom sit. The thief in the candle is emblematical of the mortgage on his lordship's estate, and to shew that it was running to waste through negligence and extravagance. The painter intended by the improprieties and vio- lations of the unfinished building seen out of the window, to hint at the absurdities of the then fashionable architect, Kent. No. 108. PICTURE II. The Peer returns home, from the dissipation of the night, at noon ; and finds his ladyjust arisen, and seated, en dishabille, at her break- C '3 ] fast ; a cap and riband bang out of bis pocket, by which it may be inferred, that part of his night has been passed in the company of a female. The Viscountess has been contemplating her face in a mirror, and is scarcely recovered from the fatigue of a rout, which, by the cards, instruments, and music-book upon the floor, together with the confusion of every thing in the room, we con- clude has been the amusement of the evening. An ungartered servant is yawning in the back-ground, and one of the chairs is in great danger from the blaze of an expiring candle. The figure of the old steward was taken from Edward Swallow, butler to Arch- bishop Herring, who was remarkable for the honesty and simplicity of his physiognomy. He has brought a great number of bills for payment, on one of which only is a receipt. Of the paintings in this saloon, four are intended for the Evangelists. Opposite to the chandelier is a faint resemblance of a ship in a storm, an emblem of the wreck which is likely to succeed the negligence and dissipa- tion of this noble family. A marble head in a cut wig, with the nose broken to show that it is a genuine antique, decorates the centre of the chimney-piece. The subject of the picture in a ponderous frame, serving as a kind of pediment to the chimney-piece, is Cupid play- ing upon the bagpipes. The ornaments round the clock are equally appropriate; on the summit is a cat, and at tbe bottom a Chinese pagoda; and to make up the climax of absurdity, the branches are occupied by two fishes. No, 109. PICTURE III. In the last picture, the husband appears to have dissipated his fortune: in this, he has destroyed his health. He is here exhibited in the house of a needy quack, who vends poisons under the name of drugs; the enraged nobleman lifts up his cane in a threatening style against both surgeon and procuress for having deceived him by a false bill of health; while the latter unclasps her knife with the intention of revenging the attack on her reputation. In the D [ 14 J doctor's museum, an horn of the sea unicorn resembles a barber's pole; this, with the pewter bason and the broken comb point out the former profession of the quack. A dried body in the glass case, is placed between a skeleton and the sage's wig-block, to serve as the symbol of a consultation of physicians. By two machines, con- structed upon most complicated principles, we discover that ouv doctor studies mechanics. A folio treatise describes the use of one to be for re-setting the collar-bone; and that of the other for draw- ing a cork. No. 110. PICTURE IV. Our heroine, by the old peer's death, is become a countess. She is represented at her morning levee, attended by her paramour and Carestini, the Italian singer. That this exotic is encouraged only in compliance to the fashion of the day, is intimated by the attention she pays to the advocate. He is pointing to a masquerade revel, which is painted on the screen ; and by shewing her a ticket of admission, it is plain that they are making an assignation for the evening. A little black boy is examining a collection of china ornaments, and with a very significant leer, points to the horns of Acteon. The fantastic group of Hydras and Gorgons is an admi- rable specimen of the absurd and shapeless monsters which were the taste of the time ; and numerous cards of invitation are scat- tered on the floor. They afford a specimen of polite literature^ No. 111. PICTURE V. The peer, suspecting the fidelity of his wife, traces the two votaries of vice to a bagnio, and is stabbed by the miscreant, who is making a retreat through the window. She appears kneeling at her dying husband's feet, imploring forgiveness. The constable and watchman are seen entering the room. The counsellor's mask is on the floor, grinning horribly at the fatal catastrophe. Doin:nos> stays, shoes, Sec. are scattered round the room, to shew the negii- t '5 3 gence of the ill fated countess when unattended by her femme de chambre. Over the door is a picture of St. Luke ; being the patron, of painters, he is exhibited as making a sketch of the transaction. On the hangings is a representation of Solomon's judgment. The portrait of a nymph of Brury, with a butcher's steel in one hand and a squirrel perched upon the other, is so hung, that the Her- culean limbs of one of the Jewish soldiers may be supposed to be. a representation of the lady's, con.inued below the frame. No. 112. PICTURE VI. The heroine is now seen in the house of her father, where she has taken a dose of laudanum. Close to the phial, which lies on the floor, is Counsellor Silvcrtongue's last dying speech : the records of their fate meeting the eye at the same instant, shew, that as they were partners in wickedness, they are companions in death. The avaricious father, seeing his daughter at the point of death, is drawing her diamond ring from her finger. The gold chain with which he is decorated denotes, that he is sheriff of London ; and the gown hung up near the clock, that he. is an alderman. From his sleek appearance it may be inferred, that he is a constant attendant at city feasts; and the hungry appearance of the greyhound, who is taking advantage of the general confusion and seizing a brawn's head, added to the appearance of a solitary egg, points out in what manner his own table is furnished. A rickety child shews some tenderness for its expiring mother; and the apo- thecary exhibits disappointment at his patient's dying before she had taken his draught, the label of which hangs out of his pocket : the back of the physician is seen, who is retreating when he finds that the lady had left the world in an irregular way. The view through an open window marks the situation of the merchant's house to be London-bridge in its original state, loaded with houses.. Every ornament in the citizen's parlour is appropriate to the, man. The style of his pictures ; his clock ; a cobweb over the w.ia- C 16 ] dow; a repaired chair, and the form of his hat, are highly charac- teristic. The scantiness of his table is contrasted by the plenty exhibited in the picture over the old nurse's head, where iron pots, brass pans, cabbages, and lanterns are indiscriminately huddled together, for the purpose of shewing the high finishing of the Flemish artists. The humour of this school is displayed in the adjoining picture of a fellow wittily lighting his tobacco-pipe by the red nose of his companion. The pipe and bottle placed under the day-book and ledger, and the whole crowned by a broken punch-bowl, intimate that the citizen united business with plea- sure. A clock marks the hour to be a little after eleven, which was the citizen's hour of dinner. No. 113. CAPTAIN THOMAS CORAM Was bred to the sea, and passed the first part of his life as master of a vessel, trading to our colonies. His avocations requiring him to go into the city at an early hour, and to return late, he fre- quently saw infants deserted and exposed through the indigence or cruelty of their parents : this excited his compassion, and led him to project the establishment of the Foundling Hospital ; and after an unwearied application of seventeen years, he obtained the Royal Charter on the 1 7th of October, 1139, for its incorpo- ration. His time and thoughts were so much engaged in works of benevolence, and with so total a disregard to his private inter- est, that he was himself supported by a small pension raised for him at the solicitation of Sir Sampson Gideon and Dr. Brocklesby, by several spirited individuals, the head of whom was the late Frederick Prince of Wales. On application being made to this venerable and excellent man to know whether a subscription being opened for his benefit would not oITend him ; his answer de- serves to be recorded ; " I have not wasted the tittle wealth of which " / was formerly possessed, in self -indulgence, vr vain expences, [ » ] " and am not ashamed to confess ', that in my old age I am poor,*' He died at his lodgings near Leicester Square, March 29th, 1751, in the eighty-fourth year of his age, and was interred in the vault under the chapel of the Foundling Hospital. No. in. THE GATE OF CALAIS. Hogarth went to France in 1747, after the peace of Aix la Cha- pelle, and was taken into custody at Calais, while he was making a study for this picture. Being carried before the Governor, he underwent a very strict examination ; but nothing having been found among his papers of a suspicious nature, he was committed a prisoner to his landlord, on the promise that the painter should not go out of his house till he embarked for England. This un- pleasant occurence did not tend to diminish those prejudices which the extreme partiality of our Artist for his native country had implanted in his mind; and he has consequently character- ized the dress and manners of France with too much severity. A meagre French cook is seen bearing a sirloin of beef, on which a friar casts a longing eye. A half-starved soldier, shirtless aud pale, gazes with wonder at the British food ; while a Hibernian, his fellow guard, and a Scotsman, appear to be no less affected by the uncommon sight. The centinel is so placed as to give some idea of a figure hanging in chains. An old woman and a fish which she is pointing to, have a most striking resemblance ; and the abundance of parsnips and other vegetables explains what form the principal part of a French feast. The fat friar is known to be a portrait of the late Mr. Pyne, the painter, who was after- wards addressed by his intimates as Father Pyne. E [ 18 ]■ No. 118. PORTRAIT OF SARAH MALCOLM, WHO WAS EXECUTED ON THE 7TH OF MARCH, 1733, FOR MURDER. On Sunday the 4th of February, 1 733, Mrs. Duncombe, a widow lady, upwards of eighty years old; Elizabeth Harrison, another elderly person, who was her companion: and Anne Price, her servant, about seventeen years of age, and residing in the Inner Temple, were found murdered in their beds. The maid servant, who was supposed to be murdered first, had her throat cut from ear to ear ; but by her cap being off, and her hair much entangled, it was thought she had struggled. The companion appeared to have been strangled; and Mrs. Duncombe, who was found lying across the bed with a gown on, was probably smothered. A trunk in the room was broken open and rifled. A Mr. Kerrel, who had chambers on the same staircase, came home about one o'clock in the morning, and to his surprise found Malcolm, who was his laundress, in his room, Being asked how she came there at such an unseasonable hour, and if she had heard of any one being taken up for the murder, she said no one had been taken up, but that a gentleman who had chambers beneath, and had been absent two or three days, was suspected. Mr. Kerrel replied, you were Mrs. Duncombe's laundress, and no one who knew her shall come into these chambers until her murderer is discovered. After she was gone, Mr. Kerrel observed several bundles upon the floor, containing linen, and a silver pint tankard with the handle bloodied. The watchman was immediately sent in search of her; and although her lodging was in Shoreditch, he found the infatuated wretch silting between two other watchmen at the Temple-gate. On her examination she confessed to sharing the produce of the robbery, but declared herself innocent of the [ 19 ] murders ; asserting that two men, whom no one knew, were the principal parties in the whole transaction. Notwithstanding this, the coroner's jury brought in a verdict of wilful murder against Sarah Malcolm, no other person appearing to have been con- cerned. Although her presence of mind seems to have forsaken her when she lurked about theTemple, without making any attempt to escape, and by leaving the produce of her theft in situations that ren- dered discovery inevitable ; she afterwards recovered her recollec- tion, and made an acute and ingenious defence, cross-examining the witnesses with all the artifice of a counsel. She was found guilty, and ordered for execution in Fleet-street, facing Mitre- court. She came to the spot dressed in mourning, carried her head aside with an air of affectation, and was said to be painted. Notwithstanding her devout and penitent appearance, she re- quested that a' paper which she gave to a Mr. Pedington, might be printed, containing protestations of her innocence. After she had conversed some time with the ministers, and the executioner began to do his duly, she fainted away ; but recover- ing, was in a short space of time executed. Multitudes of people resorted to the undertakers, in Snow Hill, and gave money to see her body ; among the rest, a gentleman, in deep mourning, kissed her, and gave the attendants half a crown. This portrait was painted in Newgate after her condemnation: she was after her execution dissected by Professor Martyn, who presented her skeleton, in a glass case, to the Botanic garden at Cambridge, where it still lemains. [ so 3 TASTE IN HIGH LIFE, IN THE YEAR 1742. No. 125. This picture was painted by order of Miss Edwards, a woman of large fortune, who paid the artist sixty guineas for it. To ridi- cule the fashions in the year 17 42, the painter has brought into one group, an old beau; an old lady of the Chesterfield school; a fashionable young lady ; a black boy, and a monkey. The old lady is admiring a small tea cup; and the gentleman is gazing with admiration at that, and the companion saucer, which he holds in his hand. The gentleman is intended for Lord Porf- more, in the dress he first appeared at court on his return from France. The black boy, who is fondled by the young lady, is said to be taken from the late Ignatius Sancho. The monkey with a magnifying glass, bag-wig, solitaire, laced hat, and ruffles, is in- specting a bill of fare, on which appears the following articles: cocks' combs, ducks' tongues, rabbits' ears, fricasee of snails, kc. A tremendous pyramid, composed of packs of cards, is on the floor, and close to them a bill inscribed, <{ Lady Baslo Dr. to *' John Pi[j,for cards, £300." Of the pictures which ornament the room, the principal represents the Venus de Medicis, on a pedestal, in stays and high-heeled shoes, and holding before her a hooped petticoat: a Cupid is paring down a fat lady to a thin proportion ; and another Cupid is blowing up a fire to burn a hoop petticoat, muff, bag and queue, wig, kc. On the right side is a picture representing Monsieur Desnoyer dancing in a grand ballet, and surrounded by butterflies, kc. : on the left side is a picture of exotics, consisting of queue, bag wigs, muffs, solitaii^ petticoats, French-heeled shoes, and other fripperies. Beneath this, a lady in a pyramidical habit walking in the Park; and a blind man walking in the streets, by way of companion. The fire- screen exhibits a lady in a sedan chair. [ *I ] FOUR PICTURES OF AN ELECTION. No. 132. PICTURE I. AN ELECTION ENTERTAINMENT. The scene is laid in a country town, at an inn, which is kept open for the friends of the court candidate. All the party, except the divine and the mayor, have ended their repast. The accom- plished gentleman who aspires to the honour of a seat in the British senate, is lending an attentive ear to a disgusting old beldam. The gallant knight shews her every attention, and has stretched his arm half round her waist : and while a little girl, dazzled with the splendor of his brilliant ring, attempts to make it a prize, a fellow who stands upon a chair behind him strikes the baronet's head against that of the old woman, and shakes the ashes out of his tobacco pipe upon his powdered hair. The next group forms a trio, and is made up by a grinning cobler; a dirty-faced barber, and a mawkish gentleman; whrse hand Crispin grasps with a zeal that almost cracks the bones : the barber pinches his arm, and blows the hot fumes from a short tobacco-pipe into his eye. A group behind is composed of an officer; a drunken counsellor; and a young woman ; over whose head the advocate, flourishing a bumper of wine, roars out an obscene toast. At a table a little beneath, sits an oily divine (Dr. Cosserat), holding his periwig in his right hand, and wiping his forehead with his left. Behind the doctor is a Scotch bag-piper, enjoying the luxury of scratching ; and a female, called Fiddling Nan, who was remarkable for playing at fairs and country hops. A third votary of St. Cecilia holds his musical instrument under his arm, while he drinks a glass of burgundy with another, who appears much gratified by finding a chin of more extravagant length than his own. Two country fellows are delighted, beyond measure, at a person (Sir John Parnell, nephew to the poet) making F [ 22 3 the representation of a face, by wrapping a napkin round his hand, and singing " An old woman clothed in grey," Sec. This face bears a strong resemblance to the poor gouty old fellow on his left hand, whose violent contortions lead us to suspect that he feels some disagreeable internal emotion. Behind is a fellow, pouring the contents of a vessel through a window, amongst a crowd of the opposite party, in return for a shower of stones they are hurling into the room. At the upper end of the table sits the mayor : he has ate oysters until his breath is stopped, and is under the hands of a barber-surgeon : notwithstanding the suspension of his vital powers, he grasps a fork on which he has impaled an oyster. Immediately behind him, an electioneering agent offers a bribe to a puritanic tailor, who refuses the money in defiance to the threats of his wife. On an opposite chair is an unfortunate lawyer, who, while casting up the sure and doubt- ful votes, is struck in the forehead with a stone, and falls prostrate , on the floor. A champion of the same party (said to be Teague Carter, an Oxford bruiser), having met with a similar accident, is taken in hand by a patriotic butcher, who pours gin into the wound. A little boy is seen filling a mashing tub with punch ; and Mr. Abel Squat is reading a promissory note for fifty pounds from the candidate, at six months date, offered in payment for ribands, gloves, Sec. presented to the voters' wives and daughters. A band of assailants from the opposite party appear at the door, flourishing their cudgels; and a party of Jacobites, to shew their respect for revo- lution principles, have mangled the portrait of King William the Third. On a flag which lies on the ground, is written, Give us our eleven days ; this alludes to the alteration of the style in 1752, which excited a great clamour. In the tobacco tray is a paper of Kirton's best : this man was a tobacconist in Fleet-street, and injured his circumstances and destroyed his constitution, by his active zeal in the Oxfordshire election of 1 754 : a slip from the Act against bribery and corruption is torn to light pipes with. A C ^ ] procession in the street following an effigy, on which is inscribed, no Jews, closes the busy scene, with the following curious mottos on their flags : Liberty and property; No excise ; and, Marry and multiply, in spite of the Devil. No. 133. PICTURE II. CANVASSING FOR VOTES. In the centre group, a rustic freeholder is represented between two innkeepers, each of whom is dropping money into his hands. From the arch and significant glance of his eye, we see that conscience obliges him to vote for the best paymaster. Two coun- try men in the Royal Oak larder are voraciously devouring a fowl, and slashing away at a buttock of beef. Seated upon an old stern of a ship, which represents the British lion swallowing the lily of France, is the buxom landlady, counting the money she has received for her interest in the borough : a grenadier watches her with an eagerness which seems to indicate a desire of dividing the spoil. A barber and cobler are engaged in a political dispute at the door of the Porto Bello alehouse; the former is describing with pieces of broken tobacco-pipes the exploits of Admiral Vernon with six ships only ; but advancing opinions contrary to Crispin's creed, a wager is proposed, and the cobler finally sweeps the cash from the table into his pocket. A fellow mounted on a cross-beam at the end of the Crown sign-post, is exercising his hand-saw, totally negligent of his own situation, and forgetting that when the Ciown drops, he must fall to the ground. To accelerate this ope- ration, two zealous coadjutors are pulling a rope which is tied to the beam. The landlord, enraged at this wanton attack upon his castle, opens the window, and discharges a blunderbuss among the assailants. A view of the Treasury is painted on the upper part of a shew cloth before the sign of the Royal Oak ; and a stream of gold is pomed into a bag, to defray the expenses of the approaching elections. Next to this is a view of the Horse Guards, to the cupola of which the artist has given the form of a beer barrel. From the [ 24 ] want of proportion in the centre arch, the state coach could not pass until the ground was lowered. To satirize this violation of the laws of Palladio, the royal carriage is represented on the point of entering the arch, and the King's body coachman without a head. Beneath is Mr. Punch with a barrowful of guineas, which he tosses up with a wooden ladle, to the great delight of two country free- holders who attempt to catch them in their hats. The old woman behind them is Mrs. Punch. No. 146. PICTURE III. POLLING THE VOTES. The lame, the blind, and the sick hasten to the hustings to give their independent votes. An old soldier is tendering his oath, and appears to be entitled to more respect than is paid to him by the brawling advocate, who puts in a protest against his vote, because having lost his right arm he cannot comply with the letter of the law by laying his right hand upon the book. A deaf ideot is brought to give his vote, attended by a man in fetters, who is sup- posed to be Dr. Shebbeare, who was put in the pillory and confined in prison for publishing a letter addressed to the people of England, in which he abused George the First, and the present Royal family. The doctor is roaring in his ear the name of the candidate to whom he is to give his vote. Behind him are two fellows, carrying a man in a blanket: the late Dr. Barrowby persuaded this man that, being much better, he might venture with him in his chariot to the hustings to poll for Sir George Vandeput. He expired in less than an hour after his return. A blind man and a cripple are slowly and cautiously ascending the steps that lead to the hustings. In the group is an artist drawing the profile of one of the candidates. The constable, fatigued by double duty, is asleep. A female is dis- playing a libel on one of the candidates, who is represented on a gibbet at the top of the ballad. In the left corner is a view of Britannia's chariot oversetting, while the coachman and footman [ 25 ] are playing at cards and dice on the box. On a bridge in the back ground, is a carriage with colours fix ing, and a cavalcade of the worthy and independent electors, advancing to give their votes. No. H7. PICTURE IV. CHAIRING THE MEMBER. Our successful candidate, who is said to be intended for a por- trait of the late Bubb Doddington, is now exhibited seated in his arm chair. Under him a thresher who has received an insult from a sailor, is in the act of revenging it. The end of the flail comes in contact with the skull of one of the bearers of the new member, who is in danger of losing his seat of honour. A nervous lady, ter- rified at his impending danger, falls back in a swoon ; and two little chimney sweepers are placing a pair of gingerbread spectacles on a death's head. At an opposite corner a naked soldier is pre- paring to dress himself after an encounter a la Mendoza. On the other side of the rails is a French cook, an English cook, and a half- roasted woman cook carrying three covers lor the lawyer's table. Near them is a cooper inspecting a vessel that has been reported leaky, and must speedily be filled with home-brewed ale for the populace. Coming out of a street behind, is a procession composed of rejoicing electors hailing the success of the other candidate, whose shadow appears on the wall of the court house. In the first floor of the house, which is known to be the lawyer's from a parch- ment label hanging out of the upper window, and the appearance of a clerk writing, is a group of the defeated party glorying in their security, and highly delighted with the confusion below. One of these, distinguished by a riband, is said to be intended for the late Duke of Newcastle. By the ruined house adjoining the attorney's, Hogarth means to intimate, that nothing can thrive in the neigh- bourhood of such vermin. G L 56 ] No. ho. THE MARCH TO FINCHLEY. The scene is laid at Tottenham-court Turnpike. The principal figure is a handsome young grenadier, for whose person two females are putting in their claim. The figure on his right is a young girl with child, reduced to the employ of selling hallads : the figure upon the left is his wife, who assaults him with a violence natural to a woman whose person is neglected. The two ladies are of different parties; the ballad of God save the King, and a print of the Duke of Cum- berland, are in the basket of the girl ; and a cross appears on the back of the wife. Upon the right, a drummer appears in the same per- plexed situation as the grenadier. Between the figures described appears a Frenchman in close whisper with an Independent : the Frenchman exhibits a letter which contains intelligence that ten thousand of his countrymen are landed in England. Under the Adam and Eve, a figure is exhibited shrinking under the load of a heavy burden; but who preferring curiosity to rest, is the spectator of a box- ing match. The grenadier; the French pyeman; the young fifer, and chimney-sweeper, were painted from the life. The group of vari- ous figures in the centre is finely relieved by a scene of humour on the left: an officer is kissing a milk-maid; his ruffles suffer in the action, and an arch soldier is filling his hat with milk. While the pyeman's attention is directed to the soldier, emptying the milk pails, his goods are very adroitly removed. The drunken old soldier with one spatterdash is calling for more gin, and rejects with disdain the water which his comrade is pouring into his mouth; while his wife, better acquainted with his taste, is filling a quartern. Two chickens are here introduced in pursuit of a hen which appears to have found a resting place in the pocket of one of the soldiers. A sailor is throwing up his hat, and crying God save KingGeorge; and before him is exhibited an image of drunken loyalty. A humane soldier seeing a fellow heavily laden with a [ 27 ] barref of gin, is kindly drawing off part of his burden. One of the principal figures looking from the windows of the King's Head, is a noted fat Covent Garden lady; an officer offers a letter to one of this lady's children, who rejects it. Above her a charitable girl is throwing a shilling to a beggar ; while another administers a cordial to her companion, as a relief against reflection. Upon the house- top appear three cats, just emblems of the creatures below. This Picture was presented by the artist to the Foundling Hospital. THE FOUR TIMES OF THE DAY. No 181. MORNING. The scene is laid in Covent Garden market. An old maid appears going to morning service, with a shivering foot-boy carrying her prayer-book: two girls are engaged with some drunken beaux at the door of Tom King's Coffee-house: On the opposite side of the Picture, two boys are seen going unwillingly to school. The lan- tern opposite to the woman with a basket on her head shews that she rises before day light. Near her Dr. Rock is addressing an admiring audience. In one hand appears a bottle, and in the other a board with the King's arms on it, to intimate that his practice is sanctioned by letters patent. The snow upon the ground, and the isicles hanging from the pent house, determine the season to be winter; and a shop for spirituous liquors is very properly intro- duced at a little distance. The hand of the dial points to a few minutes before seven : the marks of the little shoes and pattens in the snow, and the various productions of the season in the market, are inserted. No. 182. NOON. The scene is laid at the door of a French chapel in Hog-lane, a part of the town at that time peopled by French refugees. An affected flighty Frenchwoman with her fop of a husband, and a boy habited [ 28 ] a-la-mode de Paris, are coming out of church. The woman with a demure countenance seems considering how she can pick the pocket of the beau ; and two old women who are joining in a chaste salute, form the principal figures on this side of the Pictuie. — The little boy with a woollen night-cap shaped like a beehive, and pressed over a venerable periwig, and the decrepid old man, were taken from characters known at the time. The lady at the window above the sign of the Baptist's head has had a disagreement with her hus- band ; and is throwing their Sunday's dinner into the street. The girl bringing a pie from the bakehouse, and the black, want no explana- tion. Symptoms of good living appear in the lower part of the Pic- ture : the dish containing the baked pudding is broken, and a poor girl is feasting on the smoking ruins. A head without a body is hung out as the sign of an eating house ; and a body without a head at a distiller's. By the dial of St. Giles's church, it is only half past eleven : at this early hour there was then as much good eating as there is now at five in the afternoon. A number of pewter mea- sures are hung up before the doors of different distillers, to shew that drinking was prevalent. The dead cat and choaked kennels mark the state of the streets at this period. No. 190. EVENING. The scene is laid on the side of the new river at Sadler's Wells, of which it is a representation previous to its being re-built in its present form. An amiable pair, with the hopes of the family, are exhibited on their way to the tea-gardens. The hands of the man are tinged with bJue, to intimate that he was a dyer; and the face and neck of the woman are red, to express extreme heat. The mean- ing of the cow's horns cannot be mistaken ; and Venus and Adonis are very properly painted on the lady's fan. The woman milking the cow, shows that the hour is five in the afternoon. The cow and dog are much inconvenienced by heat : the former is whisking off the flies, and the latter looks at the river, in which he sees his own C 29 3 shadow. A remarkably hot summer is intimated by the luxuriant state of a vine, which creeps along an alehouse window Opposite Sadler's Wells is seen the sign of Sir Hugh Middleton's head, which still remains; at the window are seen a group enveloped in their own smoke: the portraits of these gentlemen are still preserved in a large picture at the same public house, under the name of the Sadler's Wells Club. No. 191. NIGHT. The wounded free-mason who has drunk his bumpers, being unable to find his way home, is under the care of a waiter. This is intended for Sir Thomas de Veil. A servant from a window of the tavern is showering her favours upon his head. The waiter who is supporting his worship, seems, from the patch upon his forehead, to have been in a recent affray. The Salisbury flying coach driving over a bonfire and being over- set, is intended as a burlesque upon a peer who was accustomed to drive his own carriages over hedges, ditches, and rivers. The butcher and little fellow assisting the terrified passengers, are possi- bly, free and accepted masons. The joint operation of shaving and bleeding is performing by a drunken 'prentice on a greasy oilman. In the distance an unfortunate tenant is removing his furniture out of the reach of his landlord's execution. By the oaken boughs on the sign, and the oak leaves in the free-mason's hats, the rejoicing night appears to be the twenty-ninth of May, the anniversary of the restoration; and the scene is laid in sight of the equestrian statue of Charles the First. The original pictures of Morning and Noon were sold to the Duke of Ancaster, for fifty-seven guineas; evening and night to Sir W. Heathcote, for sixty-four guineas. C 30 ] No. 187. THE CONQUEST OF MEXICO, Acted at Mr. Conduit's, Master of the Mint, before William Duke of Cumberland, and four Princesses, daughters of King George the Second ; their governess, Lady Deloraine ; also, the Duke and Duchess of Richmond, the Duke of Montague, kc. PERFORMERS. Cortex, by Lord Lempster; Cydaria, Lady Caroline Lenox; Almeria, Lady Sophia Fermor; Alibech, Miss Conduit, after- wards Lady Lymington; J. Hill/Prompter. N. B. Miss Conduit was niece of Sir Isaac Newton, whose bust is over the chimney-piece. London : Printed by W. BuIiikt, and Co. Cleveland row, St. Jaires's. 7?