RAKE'S PROGRESS.
Plate III.—Tavern Scene.—In the second state of this plate, Pontac's head is introduced in the place of a mutilated Cæsar. Pontac was a celebrated purveyor at this time. In the "Hind and Panther" transversed, Pontac's eating-house is mentioned with epicurean honours:
"When at Pontac's he may regale himself."
It was chiefly frequented as a chop-house, but every other luxury might be had there.
Plate VIII.—The maniac chained to the floor of his cell in this print is noticed by Mr. Ireland as being a copy from one of Cibber's figures over the gate of Bedlam. He might have added, that the person of the Rake himself, whose expression of madness Mr. Mortimer so much admired, is, as to features, a copy of the companion figure over the same gate. This plagiarism, if it may be so called, was to the credit of Hogarth's taste; for with all his own amazing powers of expression, he could scarcely have hoped to equal such inimitable representations. Time, and an injudicious attempt, some years since, at restoration, have wofully injured these masterpieces of Cibber's chisel.
It may be observed of this print (the inside of Bedlam), in addition to what has been before said, that the scene portrayed is not only a most faithful representation of those doleful regions, but that most of the persons are certainly intended as real portraits. One at least may, with every appearance of probability, be added to the list of names of those already identified—the man sitting by the figure inscribed "Charming Betty Careless," who is supposed to have gone mad for love. Such a person was actually confined there for that malady some years previous, whose history so exactly corresponds with Hogarth's representation, and whom he must have remembered, that it can scarcely be doubted but he had him in his eye. The portrait of the person alluded to is thus described in a modern biographical work: "William Ellis. Printed and sold by Sutton Nichols, in Aldersgate Street, Æt. 45, 1709." Sitting on the rails of Moorfields. Printed with his life and character written by himself, etc. This poor maniac lost his reason through love for his Betty, who seems to have been a real character. Ellis is represented with a chaplet of laurel on his right, and a Cupid drawing his bow on the left. Under the chaplet is inscribed—
"Tell her I burn with noble vestal fire,
Tell her she's all I wish or can desire."
And under the Cupid, amongst others, these lines:
"My years of minority I spent at school;
But love—that sweet passion—my reason would rule;
And yielding obedience to its potent sway,
The charming dear Betty my heart stole away.
Deny'd her enjoyment, at last I grew mad,
And nothing but Betty, dear Betty, I cry'd:
Such charms has that phœnix, she shall be my bride.
But Bedlam became my sad portion and lot,
By loving a fair one that knew of it not."
The eight paintings of "The Rake's Progress," which had been originally purchased of Hogarth by Francis Beckford, Esq., for £88, 4s., were, at the sale of William Beckford, Esq. of Fonthill, in 18—, sold by the elder Mr. Christie for the sum of 850 guineas. The buyer was Colonel Fullarton, M.P.