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 Another Random Document on
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But with an eye of Pity view thy Age;
Thy feeble Age, in which, as in a glass,
We see how men to dissolution pass.
Thou wretched Being, whom, on Reason's plan,
So chang'd, so lost, I cannot call a Man,
What could persuade Thee, at this time of life,
To launch afresh into the Sea of Strife?
Better for Thee, scarce crawling on the earth,
Almost as much a child as at thy birth,
To have resign'd in peace thy parting breath,
And sunk unnotic'd in the arms of Death.
Why would thy grey, grey hairs, resentment brave,
Thus to go down with sorrow to the grave?
Now, by my Soul, it makes me blush to know
My Spirits could descend to such a foe.
Whatever cause the vengeance might provoke,
It seems rank Cowardice to give the stroke.

"Sure 'tis a curse which angry Fates impose,

To fortify man's arrogance, that those,
Who're fashion'd of some better sort of clay,
Much sooner than the common herd decay.
What bitter pangs must humbled Genius feel!
In their last hours, to view a Swift and Steele!
How much ill-boding horrors fill her breast
When She beholds Men, mark'd above the rest
For qualities most dear, plung'd from that height,
And sunk, deep sunk, in second Childhood's night!
Are Men, indeed, such things, and are the best
More subject to this evil than the rest,
To drivel out whole years of Ideot Breath,
And sit the Monuments of living Death?
O, galling circumstance to human pride!
Abasing Thought, but not to be denied!
With curious Art the Brain, too finely wrought;
Preys on herself, and is destroy'd by Thought.
Constant Attention wears the active mind,
Blots out her powers, and leaves a blank behind.
But let not Youth, to insolence allied,
In heat of blood, in full career of pride,
Possess'd of Genius, with unhallow'd rage,
Mock the infirmities of reverend age.
The greatest Genius to this Fate may bow,
 Reynolds, in time, may be like Hogarth now."

3. The same; but on the palette is introduced the political print

described in p. 91. In the second impressions of the plate thus
altered,[1] we find the letters N B added on the club, as well as the
epithet infamous prefixed to the word Fallacy. The shadows on the
political print are likewise changed, and deepened; and the words
"Dragon of Wantley" are added at the end of "I warrant ye."
[1] The first was price 1s.; the second price 1s. 6d.

4. Print Of the Weighing-house to "Clubbe's Physiognomy;" a

humourous pamphlet in quarto, published in 1763, by Mr. Clubbe[1]
(editor of the History and Antiquities of Wheatfield in Suffolk), and
dedicated to Hogarth. W. Hogarth del. L. Sullivan sculp. It was
likewise printed in a collection of this author's works, published at
Ipswich, 2 vols. 12mo. no date, with a new engraving of the plate.
There is also a third engraving of the same design, perhaps
executed in the country, for some octavo edition of Mr. Clubbe's
pamphlet.
[1] I had said in my first edition, that Mr. Clubbe was drowned in the moat that
surrounded his house at Wheatfield; but readily retract that assertion, having been
since informed, that he died a natural death, of old age and infirmities.

5. Frontispiece to a pamphlet written by Dr. Gregory Sharpe, Master

of The Temple, against the Hutchinsonians, but never published. "It
represents a witch sitting on the moon, and watering on a mountain,
whence issue mice, who are devouring Sir Isaac Newton's Optics;
one mouse lies dead on Hutchinson's works, probably to imply being
choaked. The conundrum signifies, Front-is-piss." The few
impressions from this plate that have strayed into the hands of
dealers, were originally presents from Dr. Sharpe to his friends.
 1764.

1. Finis, or the Tail-piece. The Bathos, or manner of sinking in

sublime painting, inscribed to the dealers in dark pictures.[1] Time
breathing out his last, a ruinous tower, and many other allegorical
devices; among the rest, he has introduced his own "Times."[2]
[1] On this print, which he called Finis, and represents the destruction of all
things, the following epigram, ascribed to Charles Churchill the poet, and said to
have been written by him when at Mr. Dell's, in Kew-foot-lane, April 18, 1764, is
printed from The Muse's Mirrour, vol. I. p. 8.

On Hogarth's print of the Bathos, or the Art of Sinking in Painting.

All must old Hogarth's gratitude declare,

Since he has nam'd old Chaos for his heir;
And while his works hang round that Anarch's throne,
The connoisseurs will take them for his own.

Mr. Walpole's Anecdotes, 8vo. vol, IV. p. 191.

[2] A few months before this ingenious artist was seized with the malady which
deprived society of one of its greatest ornaments, he proposed to his matchless
pencil the work he has intituled a tail-piece; the first idea of which is said to have
been started in company, while the convivial glass was circulating round his own
table. "My next undertaking," says Hogarth, "shall be the End of all Things." "If
that is the case," replied one of his friends, "your business will be finished; for
there will be an end of the painter." "There will so," answered Hogarth, sighing
heavily; "and, therefore, the sooner my work is done, the better." Accordingly he
began the next day, and continued his design with a diligence which seemed to
indicate an apprehension (as the report goes) that he should not live till he had
completed it. This, however, he did in the most ingenious manner, by grouping
every thing which could denote the end of all things—a broken bottle—an old
broom worn to the stump—the butt-end of an old musket—a cracked bell—bow
unstrung—a crown tumbled in pieces—towers in ruins—the sign-post of a tavern,
called The World's End, tumbling—the moon in her wane—the map of the globe
burning—a gibbet falling, the body gone, and the chain which held it dropping
down—Phœbus and his horses dead in the clouds—a vessel wrecked—Time, with
his hour-glass and scythe broken; a tobacco-pipe in his mouth, the last whiff of
smoke going out—a play-book opened, with Exeunt omnes stamped in the corner
—an empty purse—and a statute of bankruptcy taken out against Nature.—"So far,
so good," cried Hogarth; "nothing remains but this,"—taking his pencil in a sort of
prophetic fury, and dashing off the similitude of a painter's pallet broken—"Finis,"
exclaimed Hogarth, "the deed is done—all is over."—It is remarkable, that he died
in about a month after this tail-piece. It is also well known he never again took the
pencil in hand.

2. The Bench.[1] The same described under the year 1758; but with
additions. The plate thus varied occurs in two states. In the first of
these we have only "This plate could have been better explained,
had the author lived a week longer." In the second impression of it
we are told, that "The unfinished group of heads, in the upper part
of this print, was added by the author in October 1764; and was
intended as a farther illustration of what is here said concerning
Character, Caracatura, and Outrè. He worked upon it a day before
his death, which happened the 26th of that month." This plate
exhibits the inside of the Common Pleas, with portraits of the
following judges then belonging to that court:
Hon. Sir Edw. Sir John Hon. Mr. Justice
Wm. Noel. Clive. Willes, Ld. (now Earl)
Ch. Justice. Bathurst.
Mr. Edwards's picture on this subject (see p. 367.) differs from both
the plates.
[1] A term peculiarly appropriated to the Court of Common Pleas.

3. Hell-Gate, Satan, Sin, and Death. Milton's Paradise Lost. Book II.
A large print. Engraved by C. Townley, and intended to have been
published April 15, 1767. It was dedicated to the late Mr. Garrick,
who possessed the original (unfinished) picture painted by Hogarth.
The plate was destroyed, and only a few of the prints are now
remaining. The original is in the possession of Mrs. Garrick.
It is impossible to conclude my account of it without observing, that
the united labours of Teniers, Heemskirk, and Callot, could not have
furnished a more absolute burlesque of this noble subject, than
Hogarth, who went seriously to work on it, has here produced. "How
art thou fallen, O Lucifer, thou son of the Morning!" will be the
exclamation of every observer, on seeing this unaccountable
performance, in which Satan and Death have lost their terrors, and
Sin herself is divested of all the powers of temptation.

1772.

1. The Good Samaritan; by Ravenet and Delatre.

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,[1] painted by Mr. Hogarth, on
the Stair Case 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,
p. 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."
[1] Of this picture Mr. S. Ireland has a sketch in oil.

2. The Pool of Bethesda; large, by Ravenet and Picot. A small one,

by Ravenet, has been mentioned under 1748. Both very indifferent.
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 I may add, that the figure of the priest, in
The Good Samaritan, is supremely comic, and rather resembles
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 were painted and given by Mr. 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 surrounded with scroll-work which cuts off the
corners of them, &c. All these ornaments, together with
compartments carved at the bottom, were the work of Mr. Richards.
Mr. 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 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 lately cleaned, was pressed so hard against the straining
frame, that several creases have been made in the canvas.

1775.

1. The Politician [Mr. Tibson, lately a laceman in The Strand], from a

sketch in oil, by Hogarth. Etched by J. K. Sherwin. Published Oct. 31,
1775.

1781.

1. Portrait of Solfull,[1] a maker of punches for engravers. W.

Hogarth del. S. J. fecit aqua fort. Mr. S. Ireland has the original
sketch. This portrait is mentioned by Mr. Walpole under the title of
"Two small heads of men in profile in one plate, etched by Mr.
Ireland, from a sketch in his own collection."
[1] This was etched a second time, Mr. Ireland having accidentally lost his first
plate.

2. Thomas Pellet, M. D. President of the College of Physicians. W.

Hogarth pinxit. C. Hall sculpsit.

3. William Bullock the Comedian. W. Hogarth pinxit. C. Hall sculpsit.

It is by no means certain that these two last portraits were painted
by Hogarth.

4. North and South of Great Britain. W. Hogarth delin. F. B. [i. e.

Francis Bartolozzi] sculp. This little print represents a Scotchman
scrubbing against a sign-post; no sign on it; with Edenborough
castle in the back ground:—and an Englishman reposing on a post,
with a pot of London porter in his hand; the sign of an Ox, with
roast and boild, by way of inscription, over his head; and a view of
St. Paul's at a distance. I do not believe it was designed by our
artist, whose satire was usually of a more exalted kind: neither are
the figures at all in his manner.
A sketch imputed to Hogarth, and engraved by this matchless
Italian, however, carries a double temptation with it, as it unites with
the works of both artists, which are so much the present objects of
pursuit. No man can entertain too high an idea of Barlolozzi's
talents; but yet, being sometimes apt to sacrifice similitude to grace,

Emollit mores, nec finit esset feros.

He therefore is the last person from whom justice to the strong

marked characters of Hogarth could be expected.
Since the above observations were communicated, a new impression
of this plate has appeared with the name of Sandby annexed to it.
The history of so extraordinary a change deserves notoriety. The
publisher was at first assured that the sketch, from which he
designed the engraving, was not the production of Hogarth. He,
however, on his own judgement, pretended to affirm the contrary,
being at least convinced that, during the late rage for collecting the
works of our artist, no name was so likely as his to draw in
purchasers. Having disposed of as many copies as he could in
consequence of hanging out such false colours, he now sets sail
again under those of Sandby, and would probably make a third
voyage with Mr. Bunbury's flag at his mast head, were not our
second Hogarth at hand, to detect the imposture.—The price of this
etching, originally 2 s. 6 d. is now sold at 1 s. though the proprietor
has incurred the fresh expence of decorating it in aqua tinta. Should
it henceforward fail to meet with buyers, I shall not be ready to
exclaim, with Ovid,

Flebam successu posse carere dolo.

The three last published by John Thane, Rupert-street, Haymarket.

5. First sketch of arms for The Foundling Hospital. Wm. Hogarth inv.
1747. Over the Crest and Supporters is written—A Lamb—Nature—
Britannia. In the shield is a naked Infant: the Motto Help.
This is an accurate fac simile from a drawing with a pen and ink by
Hogarth. Published as the Act directs July 31, 1781, by R. Livesay, at
Mrs. Hogarth's, Leicester Fields. The original is in the collection of
the Earl of Exeter.

6. Two Figures, &c. Hogarth inv. F. B. [i. e. Francis Bartolozzi] sculp.

These figures were designed for Lord Melcombe and Lord
Winchelsea. From a drawing with a pen and ink by Hogarth.
Published as the Act directs, 31 July, 1781, by R. Livesay at Mrs.
Hogarth's, Leicester-fields. I am informed, however, that this
drawing was certainly the work of Lord Townshend. The original is in
the collection of the Earl of Exeter.
7. A mezzotinto portrait of Hogarth with his hat on, in a large oval,
"from an original begun by Wheltdon, and finished by himself, late in
the possession of the Rev. Mr. Townley. Charles Townley fec." The
family of Hogarth affect to know nothing of this painting; and say, if
there is such a thing, it was only slightly touched over by him. It
must be confessed that it bears little, if any, resemblance to the
representations of our artist edited by himself. The original is now in
the possession of Mr. James Townley, as has been mentioned in p.
98.

1782.

1. The Staymaker.

2. Debates on Palmistry.
The humour in the first of the two preceding prints is not very
strong, and in the second it is scarce intelligible. The Male
Staymaker seems to be taking professional liberties with a female in
the very room where her husband sits, who is playing with one of
his children presented to him by a nurse, perhaps with a view to call
off his attention from what is going forward. The hag shews her
pretended love for the infant, by kissing its posteriors. A maid-
servant holds a looking-glass for the lady, and peeps significantly at
the operator from behind it. A boy with a cockade on, and a little
sword by his side, appears to observe the familiarities already
mentioned, and is strutting up fiercely towards the Staymaker, while
a girl is spilling some liquor in his hat.
The figures employed in the study of Palmistry seem to be designed
for Physicians and Surgeons of an Hospital, who are debating on the
most commodious method of receiving a fee, unattentive to the
complaints of a lame female who solicits assistance. A spectre,
resembling the Royal Dane, comes out behind, perhaps to intimate
that physick and poison will occasionally produce similar effects. A
glass case, containing skeletons, is open; a crocodile hangs
overhead; and an owl, emblematic of this sapient consistory, is
perched on an high stand. I suspect these two to have been
discarded sketches—the first of them too barren in its subject to
deserve finishing, and the second a repented effort of hasty spleen
against the officers of St. Bartholomew's, who might not have
treated some recommendation of a patient from our artist with all
the respect and attention to which he thought it was entitled. But
this is mere supposition.

3. Portrait of Henry Fox Lord Holland.

4. Portrait of James Caulfield Earl of Charlemont.

The above four articles are all etched by S. Haynes, pupil to the late
Mr. Mortimer, from original drawings in the possession of Mr. S.
Ireland.
The six prints which follow, were published by subscription by Mrs.
Hogarth in April 1782; of these No. 5. was engraved by Bartolozzi,
and the rest by R. Livesay.

5. The Shrimp Girl, a head, from an original sketch in oil, in the

possession of Mrs. Hogarth.
This plate, which is executed in the dotted manner so much at
present in fashion, should have been etched or engraved like those
excellent performances by Bartolozzi after the drawings of Guercino.
Spirit, rather than delicacy, is the characteristic of our artist's Shrimp
Girl.

6. 7. Portraits of Gabriel Hunt and Benjamin Read, in aqua tinta,

from the original drawings in the possession of the late Mr. Forrest.
The drawing of Mr. Hunt was taken in 1733, a period when, from the
number of street-robberies, it was usual to go armed. Hunt's
couteau is stuck in one of his button-holes.
The figure of Ben Read was taken in 1757. Coming one night to the
club after having taken a long journey, he fell asleep there. Hogarth
had got on his roquelaure, and was about to leave the room; but,
struck with the drollery of his friend's appearance, he exclaimed,
"Heavens! what a character!" and, calling for pen and ink, took the
drawing immediately, without sitting down.
To be recorded only as votaries of the bottle and pipe, is no very
flattering mark of distinction to these members of our artist's club.
There is scarce a meaner avenue to the Temple of Fame.

8. Three plates, from the original sketches of Hogarth, designed for

the epitaph and monument of George Taylor. The drawings are the
property of Mr. Morrison.
George Taylor was a famous boxer, who died February 21, 1750. A
writer already quoted speaks of him in these terms: "George Taylor,
known by the name of George the Barber, sprang up surprisingly. He
has beat all the chief boxers but Broughton. He, I think, injudiciously
fought him one of the first, and was obliged very soon to give out.
Doubtless it was a wrong step in him to commence a boxer by
fighting the standing champion: for George was not then twenty,
and Broughton was in the zenith of his age and art. Since that he
has greatly distinguished himself with others; but has never engaged
Broughton more. He is a strong able boxer, who, with a skill
extraordinary, aided by his knowledge of the small and back swords,
and a remarkable judgement in the cross-buttock fall, may contest
with any. But, please or displease, I am resolved to be ingenuous in
my characters. Therefore I am of opinion, that he is not overstocked
with that necessary ingredient of a boxer, called a bottom; and am
apt to suspect that blows of equal strength with his too much affect
him and disconcert his conduct." Godfrey on the Science of Defence,
p. 61.
On Taylor's tombstone in Deptford church-yard is the following
epitaph:

Farewell ye honours of my brow!

Victorious wreaths farewell!
One trip from Death has laid me low,
By whom such numbers fell.
Yet bravely I'll dispute the prize,
Nor yield, though out of breath:
'Tis but a fall—I yet shall rise,
And conquer—even Death.

The idea, however, is all that can merit praise in these rough outlines
by Hogarth. Some graver critics, indeed, may think our artist has
treated the most solemn of all events with too great a degree of
levity.

9. Nine prints of Hogarth's Tour from drawings by Hogarth, &c.

accompanied with nine pages of letter press. The frontispiece of this
work (Mr. Somebody) was designed by Hogarth, as emblematical of
their journey, viz. that it was a short Tour by land and water,
backwards and forwards, without head or tail. The 9th is the tail-
piece (Mr. Nobody) of the same whimsical nature with the first; the
whole being intended as a burlesque on historical writers recording a
series of insignificant events intirely uninteresting to the reader.
"Some few copies of the Tour," says Mr. Walpole,[1] "were printed by
Mr. Nichols in the preceding year. It was a party of pleasure down
the river into Kent, undertaken by Mr. Hogarth, Mr. Scott, and three
of their friends, in which they intended to have more humour than
they accomplished, as is commonly the case in such meditated
attempts. The Tour was described in verse by one of the company,
and the drawings executed by the painters, but with little merit,
except the views taken by Mr. Scott."
I have transcribed this paragraph lest the readers of the truly
valuable work whence it is taken should imagine the Tour printed by
J. N. in 1781, was the same with that published by Mr. Livesay in
1782. The former was the production of the ingenious Mr. Gostling
of Canterbury; the latter was written by one of the company, and,
with the omission of a single glaring indelicacy, and many false
spellings, has been faithfully edited by Mr. Livesay.
[1] Vol. IV. 8vo. p. 192.

10. Hogarth's Crest, exhibiting the Line of Beauty. Cyprus and

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

11. The card of invitation mentioned in p. 63. is introduced in the

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

12. An Old Man's Head with a band. In the dotted stile. Published by
Livesay.

1785.

1. Orator Henley Christening a Child. Etched by Saml Ireland from an

original sketch in oil—in his possession—by Hogarth.—To Francis
Grose, Esq; F. A. S. an encourager and promoter of the arts, this
etching, from his favourite Hogarth, is inscribed by his obliged friend
and servant, Saml Ireland.
2. A Landscape. Etch'd by Saml Ireland, from an original picture in
his possession, said to be the only landscape ever painted by
Hogarth.—To the Right Honourable the Earl of Exeter, an admirer of
Hogarth, and encourager of the arts, this etching is inscribed by his
Lordship's most obliged and obedient servant. S. Ireland.
The very considerable degree of skill and fidelity, displayed in the
execution of these two plates, entitles the gentleman who etched
them to the warmest thanks of every collector of the works of
Hogarth.—May a hope be added, that he will favour us with yet
other unpublished designs of the same master?

Prints of uncertain Date.

Before Mr. Walpole's enumeration of the following shop-bills, coats of

arms, &c. made its appearance, perhaps few of them were known to
our collectors. Concerning the genuineness of some of these
unimportant engravings, no doubt can be entertained; but whence is
it inferred that all of them were his productions? Do we receive them
merely on the faith of Mr. Pond? or are they imputed to our artist for
any other reason, or on the strength of any other testimony? I am
assured, by a gentleman who possesses the chief of them, and is
well acquainted with Hogarth's manner, that from mere external
evidence several of these could not have been authenticated.
It is natural, however, to suppose that most of them (if Hogarth's)
were the fruits of his apprenticeship.[1] As such, therefore, they
should be placed at the beginning of every collection.
[1] Let it be remembered likewise, that being bound apprentice to the single
branch of engraving arms and cyphers, the majority of his works, whether on base
metal or silver, must have been long since melted down. During the minority of
Hogarth, the forms in which plate was made, could contribute little to its chance of
preservation. Pot-bellied tankards, and salvers scalloped like old-fashioned minced-
pies, were the highest efforts of that period.
1. People in a shop under the King's arms: Mary and Ann Hogarth.
"A shop-bill" for his two sisters, who for many years kept a linen-
draper's, or rather what is called a slop-shop.
Mary and Ann Hogarth.

from the Old Frock-shop near the corner of The

Long Walk, facing The Cloysters, Removed to ye
Kings Arms joyning to ye Little Britain-gate, near
Long Walk. Sells ye best and most Fashionable
Ready Made Frocks, sutes of Fustian, Ticken and
Holland, stript Dimmity and Flañel Wastcoats, blue
and canvas Frocks, and bluecoat Boys Drars.

Likewise Fustians, Tickens, Hollands, white stript

Dĩ̃mitys, white and stript Flañels in ye piece.

By wholesale or Retale, at Reasonable Rates.

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

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

4. A shop-bill, with emblems of Trade. Grand Duke of Tuscany's arms

at the top; those of Florence within the plate. At the four corners,
views of Naples, Venice, Genoa, and Leghorne.
At Mrs. Holt's,
Italian Warehouse,
 at the two Olive Posts in ye broad part of The
Strand almost opposite to Exeter Change are sold all
Sorts of Italian Silks, as Lustrings, Sattins, Padesois,
Velvets, Damasks, &c. Fans, Legorne Hats, Flowers,
Lute and Violin Strings, Books of Essences, Venice
Treacle, Balsomes, &c. And in a Back Warehouse
all Sorts of Italian Wines, Florence Cordials, Oyl,
Olives, Anchovies, Capers, Vermicelli, Bolognia Sausidges,
Parmesan Cheeses, Naple Soap, &c.

5. A large angel, holding a palm in his left hand. "A shop-bill" for
Ellis Gamble
Goldsmith,
at the Golden-Angel in Cranbourn-street,
Leicester-Fields.
Makes Buys and Sells all Sorts
of Plate, Rings and Jewels
&c.

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

6. A smaller angel. This is a contracted copy from the preceding,

was another shop-bill for our Artist's Master, and has the same
inscription as that already given.

7. Another small angel "almost the same as the preceding," in the

collection of Mr. Walpole.
8. A large oval coat of arms, with terms of the four seasons.

9. A coat of arms, with two slaves and trophies. Plate for books.

10. Another coat of arms, and two boys as terms.

11. A foreign coat of arms; supporters a savage and an angel. Ditto.

12. Lord Aylmer's coat of arms.

13. Two ditto of the Duchess of Kendal; one of them, an impression

from a silver tea table.

14. The Earl of Radnor's arms, from a silver cup and cover.

15. A grifon, with a flag. A crest.

16. Minerva, sitting and holding the arms of Holland, four Cupids
round her. "Done for the books of John Holland, herald-painter."
Of this there are two plates. The Fleurs de Lys in the one are more
numerous and crowded than in the other.

17. A ticket for a burial.

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

18. Two small for Milton. W. Hogarth inv. & sculp.

It is so singular, that only plates referring to the first and third books
of Paradise Lost should be discovered with our artist's name
subscribed to them, that I almost suspect they were not executed
for any edition of that work, but rather for some oratorio or
operatical performance founded thereon, though neither performed
nor printed. An example of two prints by Hogarth to a single
dramatic piece, we have already met with in Perseus and
Andromeda.
If the first of the present designs was made for the first book of
Paradise Lost, one might almost swear that Hogarth had never read
it, or he could not have fallen into the strange absurdities and
incoherences that his engraving displays. We have on one side a
Dæmon exalted in a kind of pulpit, at the foot of which another
infernal spirit lies bound in chains, while a cannon is pointed at his
head. At a distance, in the centre of an arcade adorned with statues,
is a throne with a personage seated on it. Over his head are little
beings supporting an emblem of eternity. Stars, &c. appear above
them. Whether this dignified character was designed for "a spirit of
health, or goblin damn'd," it would be difficult from his figure and
attributes to determine. Perhaps several works of fancy might be
named, with which the present representation would as naturally
connect as with the first book of Milton's Poem.
The following plate exhibits two celestial characters of equal age.
They sit aloft in the clouds, and listen to a concert of angels playing
on various instruments, and, among the rest, on a clumsy organ. A
ray of light darts down on a distant orb, designed, I suppose, for the
new-created world, towards which the figure of a little being, scarce
bigger than a bird, though meant for Satan, is seen directing its
flight.[1]
A bookseller of common sagacity would have been justified in
rejecting these designs, if prepared for Milton. Indeed, had I not
been taught by Mr. Walpole's catalogue that such was their
destination, I should not hastily have conjectured that the former of
them had the least reference to the Poet's Pandæmonium. Let it be
remembered, however, that these must have been among the
earliest of Hogarth's performances, and, like his prints for Don
Quixote, were in all probability thrown aside, as unsuited to the
purpose for which they were engraved. I have been told, indeed,
that a couple of plates, by our artist, to the comedy of The Spanish
Friar, are still existing.[2] If Hogarth, therefore, was once employed
in preparing cuts to the plays of Dryden, the designs already
mentioned might have been intended for two different scenes in The
State of Innocence, or the Fall of Man.
[1] In justice, however, to one of these designs, I transcribe part of a letter that
appeared in The Gentleman's Magazine for March 1782.
"Twickenham, March 12.
"Mr. Urban,
"Throughout Mr. Nichols's excellent but unequal account of Hogarth and his works,
there is no decision I am so much inclined to controvert, as that respecting the
first of the two plates to Milton. Perhaps the critic had only seen some imperfect
copy of the Pandæmonium, or formed his idea of it on the vague description of
those who who had considered it with less attention than it really deserves. In my
opinion, our artist's arrangement of the infernal senate affords a happy instance of
his power to exhibit scenes of picturesque sublimity. The ample space within the
arcade, containing myriads of subordinate spirits; the vault above, illuminated by
supernatural fires; the magnificence and elevation of Satan's throne; his superior
stature, and the characteristic symbols over the seats of his peers; are
circumstances entitled to a more flattering reception than they have met with.
That this print has likewise absurdities, I am ready to allow: yet a Voltaire might
ask whether most of them are not inseparable from its subject. I wish, for the
sake of those who acknowledge the genius of Hogarth only in familiar
combinations, that the plate in question were less rare. Our connoisseurs in
general might then decide on its merits. The only known impression of it, as well
as of its companion, is in the collection of Mr. Walpole,[A] who once indulged me
with a sight of them both.
"I am content, however, that the second of these plates should be abandoned to
the austerities of criticism. The architecture in the skies is every way unsuitable to
its place. The characters of the Almighty and our Redeemer have little, if any,
discrimination of attributes or years. They appear swinging on a festoon composed
of tiny cherubs, clustered together like a swarm of bees. The Father rests his arm
on one of these childish satellites; and the Son holds another by the wing, like
Domitian catching a fly. Beneath, is a concert of angels, who perform on different
instruments, and among others (as Mr. Nichols's book expresses it) on a clumsy
organ. Lucifer, approaching the new-created world, appears but as an insect,
flying towards an apple. This part of Hogarth's subject is beyond the compass of
any design on a contracted scale. Satan might be delineated in the act of alighting
on a promontory, a part of the earth; but when its complete orb is exhibited on a
slip of paper measuring about six inches by four, the enterprizing fiend must be
reduced to very insignificant dimensions. Such a circumstance may therefore
succeed in a poet's comprehensive description, but will fail on any plate designed
for the ornament of a little volume.
"Let me add, that these two are the neatest and most finished of all the
engravings by Hogarth. The second might have been mistaken for one of the
smaller works of Picart. Perhaps the high price demanded for the plates, was the
reason why a series of them was not continued through the other books of
Paradise Lost."
[A] These two plates are also in the collection of Mr. Steevens.
[2] These are in the collection of the Earl of Exeter, and are said to have the name
of our artist fallaciously affixed to them. I speak, however, with uncertainty.

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

20. Impression from a coat of arms engraved on a silver dish made

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

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

22. An emblematic print, representing Agriculture and Arts. "It

seems to be a ticket for some society."

23. A ticket for the benefit of Milward the tragedian. A scene in The
Beggar's Opera; "Pitt 3 s." inserted with a pen between "Theatre"
and "Royal," in a scroll at the bottom of it. I have seen an
impression of it, under which is engraved, "Lincolns-Inn Fields,
Tuesday, Aprill 23. A Bold Stroke for a Wife, with Entertainments, for
the benefit of Mr. Milward." This careless, but spirited little
engraving, has more of Hogarth's manner than several other more
laboured pieces, which of late have been imputed to him.—Let the
connoisseur judge.
This ticket (as is already observed) must have been issued before
1733, when the Theatre in Lincolns-Inn-Fields was shut up, and all
the actors, Milward among the rest, removed to Covent Garden.

24. The Mystery of Masonry brought to Light by the Gormagons.

A. Chin Quaw-Kypo' Done from ye Original.

1st Emperor of China. Painted at Pekin by Matt-chauter,
B. The sage Confucius. Grav'd by Ho-ge
C. In Chin present and sold by ye Printsellers
Oecumenical Volgi. of London Paris and Rome.
D. The Mandarin Hangchi. Hogarth inv. et sculp.

To the earliest impressions of this plate, the name of Sayer (for

whom it has since been retouched) is wanting. "Stolen from Coypel's
Don Quixote." Underneath, these verses:

From Eastern climes, transplanted to our coasts,

Two oldest orders that creation boasts
Here meet in miniature, expos'd to view
 That by their conduct men may judge their due.

The Gormagons, a venerable race,

Appear distinguish'd with peculiar grace:
What honour! wisdom! truth! and social love!
Sure such an order had its birth, above.

But mark Free Masons! what a farce is this?

How wild their mystery! what a Bum they kiss![1]
Who would not laugh,[2] who such occasions had?
Who should not weep, to think the world so mad?

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

"The Moderator between the Free-Masons and Gormogons.

"The Masons and the Gormogons

Are laughing at one another,
While all mankind are laughing at them;
Then why do they make such a pother?

"They bait their hook for simple gulls,

And truth with bam they smother;
But when they've taken in their culls,
Why then 'tis—Welcome Brother!"

The particular disputes between the parties referred to by this poem,

it is not easy to ascertain. Perhaps the humourous writer alludes to
some schism or dissention now forgotten. Mr. Gray, in one of his
letters to Mr. Walpole, says, "I reckon next week to hear you are a
Free Mason, or a Gormogon at least." 4to edition, p. 188.
I learn from Masonry Dissected, &c. a pamphlet published in 1730,
by Samuel Prichard, late member of a Constituted Lodge, that "From
the Accepted Mason sprang the real Masons, and from both sprang
the Gormogons, whose grand master the Volgi deduces his original
from the Chinese, whose writings, if to be credited, maintain the
hypotheses of the Pre-adamites, and consequently must be more
antique than Masonry."—This circumstance will account for the
Chinese names and habits in our artist's plate.
[1] On this occasion the print exhibits a trait of humour that may hitherto have
escaped observation. To render the part presented for salutation more tempting, it
has patches on, such as women wore at the time when the plate was published.
[2] Who would not laugh, &c. Parody on the concluding couplet of Pope's
character of Addison.
[3] The contrivers of the Mock Procession were at that time said to be Paul
Whitehead, esq. and his intimate friend (whose real Christian name was Esquire)
Carey, of Pall Mall, surgeon to Frederic Prince of Wales. The city officers did not
suffer this procession to go through Temple-Bar, the common report then being,
that its real intent was to affront the annual procession of the Free Masons. The
Prince was so much offended at this piece of ridicule, that he immediately
removed Carey from the office he held under him.
[4] The print, representing a View of Somerset-House and of The Strand, is 3 feet
11½ inches in length, and ten inches in width; and is intituled, "A Geometrical
View of the grand Procession of the scald-miserable Masons, designed as they
were drawn up over against Somerset-House in The Strand, on the Twenty-
seventh of April, An° 1742. Invented and engraved by A. Benoist, at his Lodgings,
at Mr. Jordan's, a Grocer, the North East Corner of Compton-street, So-ho; and
sold by the Printsellers of London and Westminster.—Note, A. Benoist teaches
Drawing abroad.
"N° 1. The grand Swoard Bearer, or Tyler, carrying the Swoard of State (a Present
of Ishmael Abiff to old Hyram King of the Saracens) to his Grace of Wattin, Grand
Master of the Holy Lodge of St. John of Jerusalem in Clerkenwell.
"2. Tylers or Guarders.
"3. Grand Chorus of Instruments.
"4. The Stewards, in three Gutt Carts, drawn by Asses.
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