The Works of William Hogarth: In a Series of Engravings Part 5

The French sentinel is so situated, as to give some idea of a figure hanging in chains: his ragged s.h.i.+rt is trimmed with a pair of paper ruffles. The old woman, and a fish which she is pointing at, have a striking resemblance. The abundance of parsnips, and other vegetables, indicate what are the leading articles in a Lenten feast.

Mr. Pine, the painter, sat for the friar, and from thence acquired the t.i.tle of Father Pine. This distinction did not flatter him, and he frequently requested that the countenance might be altered, but the artist peremptorily refused.

[Ill.u.s.tration: GATE OF CALAIS.

"O THE ROAST BEEF OF OLD ENGLAND."]

THE POLITICIAN.

"A politician should (as I have read) Be furnish'd in the first place with a head."

One of our old writers gives it as his opinion, that "there are onlie two subjects which are worthie the studie of a wise man," i.e. religion and politics. For the first, it does not come under inquiry in this print,--but certain it is, that too sedulously studying the second, has frequently involved its votaries in many most tedious and unprofitable disputes, and been the source of much evil to many well-meaning and honest men. Under this cla.s.s comes the Quidnunc here pourtrayed; it is said to be intended for a Mr. Tibson, laceman, in the Strand, who paid more attention to the affairs of Europe, than to those of his own shop.

He is represented in a style somewhat similar to that in which Schalcken painted William the third,--holding a candle in his right hand, and eagerly inspecting the Gazetteer of the day. Deeply interested in the intelligence it contains, concerning the flames that rage on the Continent, he is totally insensible of domestic danger, and regardless of a flame, which, ascending to his hat,--

"Threatens destruction to his three-tail'd wig."

From the tie-wig, stockings, high-quartered shoes, and sword, I should suppose it was painted about the year 1730, when street robberies were so frequent in the metropolis, that it was customary for men in trade to wear swords, not to preserve their religion and liberty from foreign invasion, but to defend their own pockets from "domestic collectors."

The original sketch Hogarth presented to his friend Forrest; it was etched by Sherwin, and published in 1775.

[Ill.u.s.tration: THE POLITICIAN.]

TASTE IN HIGH LIFE,

IN THE YEAR 1742.

The picture from which this print was copied, Hogarth painted by the order of Miss Edwards, a woman of large fortune, who having been laughed at for some singularities in her manners, requested the artist to recriminate on her opponents, and paid him sixty guineas for his production.

It is professedly intended to ridicule the reigning fas.h.i.+ons of high life, in the year 1742: to do this, the painter has brought into one group, an old beau and an old lady of the Chesterfield school, a fas.h.i.+onable young lady, a little black boy, and a full-dressed monkey.

The old lady, with a most affected air, poises, between her finger and thumb, a small tea-cup, with the beauties of which she appears to be highly enamoured.

The gentleman, gazing with vacant wonder at that and the companion saucer which he holds in his hand, joins in admiration of its astonis.h.i.+ng beauties!

"Each varied colour of the brightest hue, The green, the red, the yellow, and the blue, In every part their dazzled eyes behold, Here streak'd with silver--there enrich'd with gold."

This gentleman is said to be intended for Lord Portmore, in the habit he first appeared at Court, on his return from France. The cane dangling from his wrist, large m.u.f.f, long queue, black stock, feathered chapeau, and shoes, give him the air of

"An old and finish'd fop, All cork at heel, and feather all at top."

The old lady's habit, formed of stiff brocade, gives her the appearance of a squat pyramid, with a grotesque head at the top of it. The young one is fondling a little black boy, who on his part is playing with a pet.i.te paG.o.da. This miniature Oth.e.l.lo has been said to be intended for the late Ignatius Sancho, whose talents and virtues were an honour to his colour. At the time the picture was painted, he would have been rather older than the figure, but as he was then honoured by the partiality and protection of a n.o.ble family, the painter might possibly mean to delineate what his figure had been a few years before.

The little monkey, with a magnifying gla.s.s, bag-wig, solitaire, laced hat, and ruffles, is eagerly inspecting a bill of fare, with the following articles _pour diner_; c.o.c.ks' combs, ducks' tongues, rabbits'

ears, fricasee of snails, _grande d'oeufs buerre_.

In the centre of the room is a capacious china jar; in one corner a tremendous pyramid, composed of packs of cards, and on the floor close to them, a bill, inscribed "Lady Basto, D^{r} to John Pip, for cards,--300."

The room is ornamented with several pictures; the princ.i.p.al represents the Medicean Venus, on a pedestal, in stays and high-heeled shoes, and holding before her a hoop petticoat, somewhat larger than a fig-leaf; a Cupid paring down a fat lady to a thin proportion, and another Cupid blowing up a fire to burn a hoop petticoat, m.u.f.f, bag, queue wig, &c. On the dexter side is another picture, representing Monsieur Desnoyer, operatically habited, dancing in a grand ballet, and surrounded by b.u.t.terflies, insects evidently of the same genus with this deity of dance. On the sinister, is a drawing of exotics, consisting of queue and bag-wigs, m.u.f.fs, solitaires, petticoats, French heeled shoes, and other fantastic fripperies.

Beneath this is a lady in a pyramidical habit walking the Park; and as the companion picture, we have a blind man walking the streets.

The fire-screen is adorned with a drawing of a lady in a sedan-chair--

"To conceive how she looks, you must call to your mind The lady you've seen in a lobster confined, Or a paG.o.d in some little corner enshrined."

As Hogarth made this design from the ideas of Miss Edwards, it has been said that he had no great partiality for his own performance, and that, as he never would consent to its being engraved, the drawing from which the first print was copied, was made by the connivance of one of her servants. Be that as it may, his ridicule on the absurdities of fas.h.i.+on,--on the folly of collecting old china,--cookery,--card playing, &c. is pointed, and highly wrought.

At the sale of Miss Edwards's effects at Kensington, the original picture was purchased by the father of Mr. Birch, surgeon, of Ess.e.x-street, Strand.

[Ill.u.s.tration: TASTE IN HIGH LIFE.]

THE HARLOT'S PROGRESS.

PLATE I.

"The snares are set, the plot is laid, Ruin awaits thee,--hapless maid!

Seduction sly a.s.sails thine ear, And _gloating, foul desire_ is near; Baneful and blighting are their smiles, Destruction waits upon their wiles; Alas! thy guardian angel sleeps, Vice clasps her hands, and virtue weeps."

The general aim of historical painters, says Mr. Ireland, has been to emblazon some signal exploit of an exalted and distinguished character.

To go through a series of actions, and conduct their hero from the cradle to the grave, to give a history upon canva.s.s, and tell a story with the pencil, few of them attempted. Mr. Hogarth saw, with the intuitive eye of genius, that one path to the Temple of Fame was yet untrodden: he took Nature for his guide, and gained the summit. He was the painter of Nature; for he gave, not merely the ground-plan of the countenance, but marked the features with every impulse of the mind. He may be denominated the biographical dramatist of domestic life. Leaving those heroic monarchs who have blazed through their day, with the destructive brilliancy of a comet, to their adulatory historians, he, like Lillo, has taken his scenes from humble life, and rendered them a source of entertainment, instruction, and morality.

This series of prints gives the history of a Prost.i.tute. The story commences with her arrival in London, where, initiated in the school of profligacy, she experiences the miseries consequent to her situation, and dies in the morning of life. Her variety of wretchedness, forms such a picture of the way in which vice rewards her votaries, as ought to warn the young and inexperienced from entering this path of infamy.

The first scene of this domestic tragedy is laid at the Bell Inn, in Wood-street, and the heroine may possibly be daughter to the poor old clergyman who is reading the direction of a letter close to the York waggon, from which vehicle she has just alighted. In attire--neat, plain, unadorned; in demeanor--artless, modest, diffident: in the bloom of youth, and more distinguished by native innocence than elegant symmetry; her conscious blush, and downcast eyes, attract the attention of a female fiend, who panders to the vices of the opulent and libidinous. Coming out of the door of the inn, we discover two men, one of whom is eagerly gloating on the devoted victim. This is a portrait, and said to be a strong resemblance of Colonel Francis Chartres.

The old procuress, immediately after the girl's alighting from the waggon, addresses her with the familiarity of a friend, rather than the reserve of one who is to be her mistress.

Had her father been versed in even the first rudiments of physiognomy, he would have prevented her engaging with one of so decided an aspect: for this also is the portrait of a woman infamous in her day: but he, good, easy man, unsuspicious as Fielding's parson Adams, is wholly engrossed in the contemplation of a superscription to a letter, addressed to the bishop of the diocese. So important an object prevents his attending to his daughter, or regarding the devastation occasioned by his gaunt and hungry Rozinante having s.n.a.t.c.hed at the straw that packs up some earthenware, and produced

"The wreck of flower-pots, and the crash of pans!"

From the inn she is taken to the house of the procuress, divested of her home-spun garb, dressed in the gayest style of the day; and the tender native hue of her complexion incrusted with paint, and disguised by patches. She is then introduced to Colonel Chartres, and by artful flattery and liberal promises, becomes intoxicated with the dreams of imaginary greatness. A short time convinces her of how light a breath these promises were composed. Deserted by her keeper, and terrified by threats of an immediate arrest for the pompous paraphernalia of prost.i.tution, after being a short time protected by one of the tribe of Levi, she is reduced to the hard necessity of wandering the streets, for that precarious subsistence which flows from the drunken rake, or profligate debauchee. Here her situation is truly pitiable! Chilled by nipping frost and midnight dew, the repentant tear trickling on her heaving bosom, she endeavours to drown reflection in draughts of destructive poison. This, added to the contagious company of women of her own description, vitiates her mind, eradicates the native seeds of virtue, destroys that elegant and fascinating simplicity, which gives additional charms to beauty, and leaves, in its place, art, affectation, and impudence.

Neither the painter of a sublime picture, nor the writer of an heroic poem, should introduce any trivial circ.u.mstances that are likely to draw the attention from the princ.i.p.al figures. Such compositions should form one great whole: minute detail will inevitably weaken their effect. But in little stories, which record the domestic incidents of familiar life, these accessary accompaniments, though trifling in themselves, acquire a consequence from their situation; they add to the interest, and realise the scene. In this, as in almost all that were delineated by Mr.

Hogarth, we see a close regard paid to things as they then were; by which means his prints become a sort of historical record of the manners of the age.

[Ill.u.s.tration: THE HARLOT'S PROGRESS.