CHAPTER III.

OF ACADEMIES. HOGARTH'S OPINION OF THAT NOW DENOMINATED ROYAL; AND OF THE SOCIETY FOR THE ENCOURAGEMENT OF ARTS, MANUFACTURES, AND COMMERCE, GIVING PREMIUMS FOR PICTURES AND DRAWINGS.

Among Hogarth's loose papers I found the rough draft of a letter (addressed but not directed) to a nobleman, declaring his disapprobation of a scheme by which certain projectors were endeavouring to establish a Royal Academy, and stating that he had a plan which would be much more useful. I do not know that he ever sent the epistle, or admitting he did, that it was honoured with an answer. But as I think it probable he had given the subject some consideration, with the hope of bringing his project to bear, and that in the following pages relative to the Royal Academy he has stated what he meant to have said to the Peer, I have inserted it:—

"My Lord,—Mr. Martin has informed me that when some of my thoughts relative to the establishment of a public academy are put into writing, you will peruse them. I have made a rough sketch, but to fit it for inspection will require much time, which it will be needless to take till I have your Lordship's opinion on two or three leading points on which the whole will turn, and which I cannot with propriety commit to paper. A verbal statement of them will not take up more than half an hour; and if, when known, they are not concurred in, I will not take up your Lordship's time by arguing on their propriety. But I am vain enough to think, that though I must say strong, and perhaps startling things, with regard to myself and others, I can prove every position which I shall advance.

"I have reason to believe that another project is in hand: this the author will naturally defend in opposition to mine, but it shall not create controversy; for being now upwards of sixty years of age, and in a very poor state of health, I would rather lose a favourite point than break a night's rest.

"Mr. Ramsey, if I judge right, is no stranger to the plan I allude to, and I know his opinion differs from mine, and am firmly persuaded his interest will induce him to support it.—I am, my Lord, etc.,

"W. H."

"Much has been said about the immense benefit likely to result from the establishment of an academy in this country; but as I do not see it in the same light with many of my contemporaries, I shall take the freedom of making my objections to the plan on which they propose forming it; and as a sort of preliminary to the subject, state some slight particulars concerning the fate of former attempts at similar establishments.

"The first place of this sort was in Queen Street, about sixty years ago; it was begun by some gentlemen-painters of the first rank, who in their general forms imitated the plan of that in France, but conducted their business with far less fuss and solemnity; yet the little that there was, in a very short time became the object of ridicule. Jealousies arose, parties were formed, and the president and all his adherents found themselves comically represented as marching in ridiculous procession round the walls of the room. The first proprietors soon put a padlock on the door; the rest, by their right as subscribers, did the same, and thus ended this academy.

"Sir James Thornhill, at the head of one of these parties, then set up another in a room he built at the back of his own house,—now next the playhouse,—and furnished tickets gratis to all that required admission; but so few would lay themselves under such an obligation, that this also soon sunk into insignificance. Mr. Vanderbank headed the rebellious party, and converted an old Presbyterian meeting-house into an academy, with the addition of a woman figure, to make it the more inviting to subscribers. This lasted a few years; but the treasurer sinking the subscription money, the lamp, stove, etc. were seized for rent, and that also dropped.

"Sir James dying, I became possessed of his neglected apparatus; and thinking that an academy conducted on proper and moderate principles had some use, proposed that a number of artists should enter into a subscription for the hire of a place large enough to admit thirty or forty people to draw after a naked figure. This was soon agreed to, and a room taken in St. Martin's Lane. To serve the society, I lent them the furniture which had belonged to Sir James Thornhill's academy; and as I attributed the failure of that and Mr. Vanderbank's to the leading members assuming a superiority which their fellow-students could not brook, I proposed that every member should contribute an equal sum to the establishment, and have an equal right to vote in every question relative to the society. As to electing presidents, directors, professors, etc., I considered it as a ridiculous imitation of the foolish parade of the French Academy, by the establishment of which Louis XIV. got a large portion of fame and flattery on very easy terms. But I could never learn that the arts were benefited, or that members acquired any other advantages than what arose to a few leaders from their paltry salaries, not more I am told than £50 a year; which, as must always be the case, were engrossed by those who had most influence, without any regard to their relative merit.[31] As a proof of the little benefit the arts derived from this Royal Academy, Voltaire asserts that, after its establishment, no one work of genius appeared in the country: the whole band, adds the same lively and sensible writer, became mannerists and imitators.[32] It may be said in answer to this, that all painting is but imitation. Granted; but if we go no further than copying what has been done before, without entering into the spirit, causes, and effects, what are we doing? If we vary from our original, we fall off from it, and it ceases to be a copy; and if we strictly adhere to it, we can have no hopes of getting beyond it; for 'if two men ride on a horse, one of them must be behind.'

"To return to our own academy. By the regulations I have mentioned of a general equality, etc., it has now subsisted near thirty years, and is, to every useful purpose, equal to that in France, or any other; but this does not satisfy. The members, finding his present Majesty's partiality to the arts, met at the Turk's Head in Gerard Street, Soho, laid out the public money in advertisements to call all sorts of artists together, and have resolved to draw up and present a ridiculous address to King, Lords, and Commons to do for them what they have (as well as it can be) done for themselves. Thus to pester the three great estates of the empire, about twenty or thirty students, drawing after a man or a horse, appears, as it must be acknowledged, foolish enough; but the real motive is, that a few bustling characters, who have access to people of rank, think they can thus get a superiority over their brethren, be appointed to places, and have salaries as in France, for telling a lad when an arm or a leg is too long or too short.

"Not approving of this plan, I opposed it; and having refused to assign to the society the property which I had before lent them, I am accused of acrimony, ill-nature, and spleen, and held forth as an enemy to the arts and artists. How far their mighty project will succeed, I neither know nor care; certain I am it deserves to be laughed at, and laughed at it has been.[33] The business rests in the breast of Majesty, and the simple question now is, whether he will do what Sir James Thornhill did before him, i.e. establish an academy with the little addition of a royal name, and salaries for those professors who can make most interest and obtain the greatest patronage. As his Majesty's beneficence to the arts will unquestionably induce him to do that which he thinks most likely to promote them, would it not be more useful if he were to furnish his own gallery with one picture by each of the most eminent painters among his own subjects? This might possibly set an example to a few of the opulent nobility; but even then it is to be feared that there never can be a market in this country, for the great number of works which, by encouraging parents to place their children in this line, it would probably cause to be painted. The world is already glutted with these commodities, which do not perish fast enough to want such a supply.

"In answer to this and other objections which I have sometimes made to those who display so much zeal for increasing learners, and crowding the profession, I am asked if I consider what the arts were in Greece, what immense benefits accrued to the city of Rome from the possession of their works, and what advantages the people of France derive from the encouragement given by their Royal Academy? It is added, why cannot we have one on the same principles? That we may not be led away by sounds without meaning, let us take a cursory view of these things separately, and in the same order that they occurred.

"The height to which the arts were carried in Greece was owing to a variety of causes, concerning some of which we can now only form conjectures. They made a part of their system of government, and were connected with their modes of worship. Their temples were crowded with deities of their own manufacture, and in places of public resort were depicted such actions of their fellow-citizens as deserved commemoration; which, being displayed in a language legible to all, incited the spectator to emulate the virtues they represented. The artists who could perform such wonders were held in an estimation of which we can hardly form an idea; and could we ascertain the rewards they received, I think it would be found that they were most liberally paid for their works, and might therefore devote much more time than we can afford to rendering them perfect.

"With all this, even there, the arts had but a slow rise; and when they had attained their highest state of perfection, the Romans (having previously plundered and butchered their own neighbours) attacked and conquered the Greeks, and robbed them also of their portable treasures, particularly their statues and pictures.[34] To sculpture and painting, war is a most destructive enemy; the rage of conquest, civil broils, and intestine quarrels, necessarily put a stop to the exercise of the imitative arts, which lay in a dormant state until they were revived by the introduction of a new religion; this, in the magnificent style it was there brought forward, called upon sculpture and painting for their auxiliary aid. The admirable specimens that during the perturbed period above alluded to had been hidden in the earth, were now restored to light, eagerly sought for, and in some cases appropriated to purposes diametrically opposite to their pagan origin.[35] Even those that were mutilated were held in the most enthusiastic admiration. The 'Torso,' and many other inimitable specimens, prove that their admiration was just. The contemplation of such works would naturally produce imitators, who in time rivalled, but never could equal, their originals. These remains of ancient grandeur being thus added to their new productions, and both interwoven, forming a sort of ornamental fringe to their gaudy religion, Rome became a kind of puppet-show to the rest of Europe; and, whatever it might be to their visitors, was certainly very advantageous to themselves. The arts are much indebted to Popery, and that religion owes much of its universality to the arts.

"France, ever aping the magnificence of other nations, has in its turn assumed a foppish kind of splendour sufficient to dazzle the eyes of neighbouring states, and draw vast sums of money from this country. We cannot vie with these Italian and Gallic theatres of art, and to enter into competition with them is ridiculous; we are a commercial people, and can purchase their curiosities ready made, as in fact we do, and thereby prevent their thriving in our native clime. If I may be permitted to compare great things with small, this nation labours under similar disadvantage to the playhouse in Goodman's Fields, which, though it might injure, could never rival the two established theatres, so much more properly situated, in any degree material to itself.

"In Holland, selfishness is the ruling passion; in England, vanity is united with it. Portrait-painting therefore ever has, and ever will succeed better in this country than in any other.[36] The demand will be as constant as new faces arise; and with this we must be contented, for it will be vain to attempt to force what can never be accomplished, or at least can never be accomplished by such institutions as Royal Academies on the system now in agitation. Upon the whole, it must be acknowledged that the artists and the age are fitted for each other. If hereafter the times alter, the arts, like water, will find their level.

"Among other causes that militate against either painting or sculpture succeeding in this nation, we must place our religion; which, inculcating unadorned simplicity, does not require—nay, absolutely forbids—images for worship, or pictures to excite enthusiasm. Paintings are considered as pieces of furniture, and Europe is already overstocked with the works of other ages. These, with copies countless as the sands on the sea-shore, are bartered to and fro, and quite sufficient for the demands of the curious, who naturally prefer scarce, expensive, and far-fetched productions to those which they might have on low terms at home. Who can be expected to give forty guineas for a modern landscape, though in ever so superior a style, when he can purchase one which, for little more than double the sum, shall be sanctioned by a sounding name, and warranted original by a solemn-faced connoisseur? This considered, can it excite wonder that the arts have not taken such deep root in this soil as in places where the people cultivate them from a kind of religious necessity, and where proficients have so much more profit in the pursuit? Whether it is to our honour or disgrace, I will not presume to say, but the fact is indisputable, that the public encourage trade and mechanics rather than painting and sculpture. Is it then reasonable to think that the artist, who, to attain essential excellence in his profession, should have the talents of a Shakspeare, a Milton, or a Swift, will follow this tedious and laborious study merely for fame, when his next-door neighbour, perhaps a porter-brewer or an haberdasher of smallwares, can without any genius accumulate an enormous fortune in a few years, become a lord mayor or a member of Parliament, and purchase a title for his heir? Surely no; for as very few painters get even moderately rich, it is not reasonable to expect that they should waste their lives in cultivating the higher branch of the art until their country becomes more alive to its importance, and better disposed to reward their labours.

"These are the true causes that have retarded our progress; and for this shall a nation, which has in all ages abounded in men of sound understanding and the brightest parts, be branded with incapacity by a set of pedantic dreamers, who seem to imagine that the degrees of genius are to be measured like the degrees on a globe, determine a man's powers from the latitude in which he was born, and think that a painter, like certain tender plants, can only thrive in a hothouse? Gross as are these absurdities, there will always be a band of profound blockheads ready to adopt and circulate them, if it were only upon the authority of the great names by which they are sanctioned.[37]

"To return to our Royal Academy. I am told that one of their leading objects will be sending young men abroad to study the antique statues, etc. Such kind of studies may sometimes improve an exalted genius, but they will not create it; and whatever has been the cause, this same travelling to Italy has, in several instances that I have seen, seduced the student from nature, and led him to paint marble figures,—in which he has availed himself of the great works of antiquity, as a coward does when he puts on the armour of an Alexander; for with similar pretensions and similar vanity, the painter supposes he shall be adored as a second Raphael Urbino.

"The fact is, that everything necessary for the student in sculpture or painting may at this time be procured in London. Of the 'Venus' and the 'Gladiator' we have small casts; and even the 'Torso,' by which Michael Angelo asserted he learned all he knew of the art, has been copied in a reduced size, and the cast, by which the principle may be clearly seen, is sold for a few shillings. These small casts, if quite correct, are full as useful to the student as the originals; the parts are easier comprehended, they are more portable to place in different lights, and of an even colour, while the old Parian marbles are apt to shine, dazzle, and confound the eye. If this be doubted, let a plaster figure be smoked and oiled, and the true dimensions of the muscles can be no more distinguished than those of a sooty chimney-sweeper.

"After all, though the best statues are unquestionably in parts superlatively fine, and superior to nature, yet they have invariably a something that is inferior.

"As to pictures, there are enough in England to seduce us from studying nature, which every man ought to do if he aims at any higher rank than being an imitator of the works of others; and to such servile spirits I will offer no advice.

"In one word, I think that young men by studying in Italy have seldom learnt much more than the names of the painters; though sometimes they have attained the amazing power of distinguishing styles,[38] and knowing by the hue of the picture the hard name of the artist,—a power which, highly as they pride themselves upon it, is little more than knowing one handwriting from another. For this they gain great credit, and are supposed vast proficients because they have travelled. They are gravely attended to by people of rank, with whom they claim acquaintance, and talk of the antique in a cant phraseology made up of half or whole Italian, to the great surprise of their hearers, who become gulls in order to pass for connoisseurs,—wonder with a foolish face of praise, and bestow unqualified admiration on the marvellous bad copies of marvellous bad originals which they have brought home as trophies, and triumphantly display to prove their discernment and taste.

"Neither England nor Italy ever produced a more contemptible dauber than the late Mr. Kent; and yet he gained the prize at Rome, in England had the first people for his patrons, and, to crown the whole, was appointed Painter to the King. But in this country such men meet with the greatest encouragement, and soonest work their way into noblemen's houses and palaces.[39]

"To conclude, I think that this ostentatious establishment can answer no one valuable purpose to the arts, nor be of the least use to any individual, except those who are to be elected professors and receive salaries for the kind superintendence they will exercise over such of their brethren as have not so much interest as themselves.[40]

"Many of the objections which I have to the institution of this Royal Academy apply with equal force to the project of the Society for the encouragement of Arts, Manufactures, and Commerce, for distributing premiums for drawings and pictures; subjects of which they are totally ignorant, and in which they can do no possible service to the community.

"It is extremely natural for noblemen, or young people of fortune who have travelled and seen fine pictures and statues, to be planet-struck with a desire of being celebrated in books, like those great men of whom they have read in the lives of the painters, etc.; for it must be recollected that the popes, princes, and cardinals who patronized these painters, have been celebrated as creators of the men who created those great works:

'Shar'd all their honours, and partook their fame.'

"The 'Dilettanti' had all this in prospect when they offered to establish a drawing-school, etc. at their own expense; for here they expected to be paramount. But when those painters who projected the scheme presumed to bear a part in the direction of the school, the 'Dilettanti' kept their money, and rejected them with scorn,—the whole castle fell to the ground, and has been no more heard of.[41]

"This society of castle-builders have a similar idea. They wish first to persuade the world that no genius can deserve notice without being first cultivated under their direction, and will ultimately neither foster nor encourage any artist that has not been brought up by themselves.

"The sounding title of a society for the encouragement of arts, manufactures, and commerce, with two or three people of rank at their head, attracted a multitude of subscribers. Men when repeatedly applied to were unwilling to refuse two guineas a year; people of leisure, tired of public amusements, found themselves entertained with formal speeches from men who had still more pleasure in displaying their talents for oratory. Artificers of all descriptions were invited, and those who were not bidden strained every nerve to become members, and appear upon the printed list as promoters of the fine arts. By this means they were consulted in their several professions, and happy was he who could assume courage enough to speak, though ever so little to the purpose.

"The intention of this great society is unquestionably laudable; their success in subscriptions astonishing. How far their performances have been equal to their promises, it is not my business to inquire; but as, while I had the honour of being a member, my opinion was frequently asked on some points relating to my own profession, I venture to lay it before the reader with the same frankness that I then gave it.

"When the society was in its infancy they gave premiums for children's drawings, and for this—'Let children lisp their praise.'[42] It was asserted that we should thus improve our own manufactures, and gravely asked by these professed encouragers of the commerce of their country, if the French children being instructed in drawing did not enable that people to give a better air to all the articles they fabricated. I answered positively, NO; and added, that thus trumpeting their praise was a degradation of our own country, and giving to our rivals a character which they had no right to. Were this point debated, French superiority would be supported by fashionable ladies, travelled gentlemen, and picture-dealers. In opposition to them, would be those who are capable of judging for themselves, the few that are not led away by popular prejudices, and the first artists in the kingdom. These, I am conscious, would be a minority, but composed of men that ought to have weight, and whose opinion and advice should have been taken before the plan was put in execution.

"Of the immense improvement that is to take place in our manufactures from boys of almost every profession being taught to draw, I form no very sanguine expectations.

"To attain the power of imitating the forms of letters with freedom and precision in all their due proportions and various elegant turns, as Snell has given them, requires as much skill as to copy different forms of columns and cornices in architecture, and might with some show of propriety be said to demand a knowledge of design; yet common sense and experience convince us that the proper place for acquiring a fine hand is a writing-school. As measuring is but measuring, I do not think that a tailor would make a suit of clothes fit better from having been employed twice seven years in taking the dimensions of all the bits of antiquity that remain in Greece.[43] How absurd would it be to see periwig-makers and shoemakers' boys learning the art of drawing, that they might give grace to a peruke or a slipper! If the study of Claude's landscapes would benefit the carver of a picture-frame, or the contemplation of a finely-painted saucepan by Teniers or Bassan would be an improvement to a tinman, it would be highly proper for this society to encourage them in the practice of the arts. But as this is not the case, giving lads of all ranks a little knowledge of everything is almost as absurd as it would be to instruct shopkeepers in oratory, that they may be thus enabled to talk people into buying their goods, because oratory is necessary at the bar and in the pulpit. As to giving premiums to those that design flowers, etc. for silks and linens, let it be recollected that these artisans copy the objects they introduce from nature,—a much surer guide than all the childish and ridiculous absurdities of temples, dragons, pagodas, and other fantastic fripperies which have been imported from China.

"As from all these causes (and many more might be added) it appears that a smattering in the arts can be of little use except to those who make painting their sole pursuit, why should we tempt such multitudes to embark in a profession by which they never can be supported? For historical pictures there never can be a demand:[44] our churches reject them; the nobility prefer foreign productions; and the generality of our apartments are too small to contain them. A certain number of portrait-painters, if they can get patronized by people of rank, may find employment; but the majority even of these must either shift how they can amongst their acquaintance, or live by travelling from town to town like gipsies. Yet, as many will be allured by flattering appearances, and form vague hopes of success, some of the candidates must be unsuccessful; and men will be rendered miserable who might have lived comfortably enough by almost any manufactory, and will wish that they had been taught to make a shoe, rather than thus devoted to the polite arts.[45] When I once stated something like this to the society, a member humanely remarked, that the poorer we kept the artists, the cheaper we might purchase their works."

These two societies, of whose projects and practice Hogarth seems to have entertained very similar opinions, became for a short time so far connected, that where one held their meetings the other exhibited their pictures. The donations in painting which Hogarth and several other artists had made to the Foundling Hospital had much engaged the public attention; and the painters finding the effects they produced, determined to try the fate of an exhibition of their work; in consequence of which, on the 27th of February 1760, Mr. Hayman, then chairman of the committee of artists, wrote a letter to the society for encouragement of arts, requesting permission for the painters to exhibit at their great room opposite Beaufort Buildings in the Strand; and in the following May they accordingly made their first Exhibition. This proved very attractive; and, from the money paid for admission, they were soon enabled to relieve not only the indigent of their own body, but also aliens; and to establish themselves into a regular institution by the name of "A Society of Artists, associated for the relief of the distressed and decayed of their own body, their widows, and children." For these humane purposes they agreed to form a fund. As far as this plan went it had Hogarth's approbation; and for their Exhibition Catalogue of 1761 he made two designs, which were engraved by Mr. Charles Grignion, and of which the following are copies:—

FRONTISPIECE
TO THE CATALOGUE OF THE ARTISTS' EXHIBITION, 1761.

"Et spes et ratio studiorum in Cæsare tantum."[46]—Juv.

FRONTISPIECE TO ARTISTS' CATALOGUE

Erected in the cleft of a rock, we have here a building intended for a reservoir of water; and by the bust of his present Majesty being placed in a niche of an arch, which is lined with a shell and surmounted by a crown, we must suppose it a royal reservoir. The mouth of a mask of the British lion is made the water-spout for conveying a stream into a garden-pot, which a figure of Britannia holds in her right hand, and, with her spear in the left, is employed in sprinkling three young trees, the trunks of which are entwined together, and inscribed, "Painting, Sculpture, Architecture." These promising saplings are planted upon a gentle declivity. Painting is on the highest ground, and Sculpture on the lowest. It is worthy of remark that the fructifying stream which issues from the watering-pot falls short of the surface on which is planted the tree inscribed Painting, and goes beyond the root of that termed Sculpture; so that Architecture, which is much the loftiest and most healthy tree, will have the principal benefit of the water. If the tree of Painting is attentively inspected, it will be found stunted in its growth, withered at the top, and blest with only one flourishing branch, which, if viewed with an eye to what the artist has previously written, seems intended for portrait-painting. The tree which is the symbol for Sculpture appears to bend and withdraw itself from the reservoir;[47] one branch from the centre of the trunk is probably funereal, and intended to intimate sepulchral monuments. The top, being out of sight, is left to the imagination.

Those who wish to inquire how far this allegorical and sylvan symbol has proved prophetic of the unequal encouragement now given to the different branches of the arts, may go to Somerset House, contemplate the building, pay their shilling, and walk through the rooms of the Royal Academy during the time of their annual exhibition!

TAIL-PIECE
TO THE ARTISTS' CATALOGUE.

"Esse quid hoc dicam? vivis quod fama negatur!"[48]—Mart.

TAILPIECE TO ARTISTS' CATALOGUE

As a contrast to Britannia nurturing the trees that are introduced in the last print, a travelling monkey in full dress is in this industriously watering three withered and sapless stems of what might once have been flowering shrubs, and are inscribed "Exotics." These wretched remnants of things which were, are carefully placed in labelled flower-pots: on the first is written, "Obiit 1502;" on the second, "Obiit 1600;" and on the third, "Obiit 1606." Still adhering to the hieroglyphics in his frontispiece, Hogarth introduces these three dwarfish importations of decayed nature to indicate the state of those old and damaged pictures which are venerated merely for their antiquity, and exalted above all modern productions, from the name of a great master, rather than any intrinsic merit. To heighten the ridicule, he has given his monkey a magnifying glass that will draw forth hidden beauties, which to common optics are invisible.

So great was the demand for the catalogues with the illustrative prints of Hogarth, that the two first done were soon worn down, and Mr. Grignion was employed to engrave others from the same drawings. Beneath those that were first made there are no mottoes; and the word obiit is written obit. This was perhaps a mistake of either the painter or writing engraver, though I think it barely possible that the former might mean to pun on the connoisseurs being bubbled by dealers in old pictures—O! BIT.

The opinion Hogarth has, in the preceding pages, given of the taste and judgment of the public in his own day may at first sight seem rather harsh, but was in a degree justified by the scandalous inattention with which the town received his six inimitable pictures of "Marriage à la Mode;" they were, on the 6th of June 1750, sold by a kind of auction to Mr. Lane of Hillingdon for one hundred and twenty guineas! Being in Carlo Maratt frames that cost the artist four guineas each, his real remuneration for painting this admirable series was but a few shillings more than one hundred pounds.[49] Such are the rewards of genius. Low as this sum was, a Mr. Perry, being eleven months afterwards erroneously informed that still less had been the highest sum offered, and that they were not sold, wrote the following letter with an increased bidding. This gentleman's name is inserted in Hogarth's subscription book as a subscriber for four sets of "The Elections," with this remarkable memorandum:—"4th April 1754.—The whole eight guineas paid at the time of subscribing." Out of near six hundred names, I find only two (viz. Henry Raper, Esq., and Mr. Perry) who paid more than half the money in the first subscription.

To Mr. Hogarth.

"Dear Sir,—I was this day informed by a friend of mine in the city that seventy-five pounds only was bid for your pictures of 'Marriage à la Mode;' and this I hope will excuse my bidding you so small a sum as one hundred and twenty pounds for them; so much are they worth of my money; with a promise never to sell them to any picture-trader or connoisseur-monger so long as you or I shall live.

"If in this foolish and grossly-imposed on generation there should not be found one man wiser than myself, I must insist on having this bidding deposited in your cabinet.—I am, dear Sir, your most obedient servant,

Car. Perry.

"May 15, 1751."