1750.
1. Thomas Herring, Archbishop of Canterbury. W. Hogarth p. B. Baron sculp. Of this picture (which is preserved in Lambeth-Palace) the Archbishop, in a letter to Mr. Duncombe, says, "None of my friends can bear Hogarth's picture;" and Mr. Duncombe, the son, in a note to this epistle, observes, that "this picture (as appears by the print engraved by Baron in 1750) exhibits rather a caricature than a likeness, the figure being gigantic, the features all aggravated and outrés, and, on the whole, so far from conveying an idea of that os placidum, moresque benigni, as Dr. Jortin expresses it, that engaging sweetness and benevolence, which were characteristic of this prelate, that they seem rather expressive of a Bonner, who could burn a heretic.
"Lovat's hard features Hogarth might command;
A Herring's sweetness asks a Reynolds' hand."
Hogarth however made the following observation while the Archbishop was sitting to him: "Your Grace, perhaps, does not know that some of our chief dignitaries in the church have had the best luck in their portraits. The most excellent heads painted by Vandyck and Kneller, were those of Laud and Tillotson. The crown of my works will be the representation of your Grace."
2. Jacobus Gibbs, Architectus, A. M. and F. R. S. Hogarth delin. Baron sculp. The same face as that in [1747], but in an octagon frame, which admits more of the body to be shewn, as well as some architecture in the back ground. There is also a smaller head of Gibbs, in a circle, &c. but whether engraved by Baron from a picture by Hogarth, or any other hand, is uncertain. Perhaps it was designed as a vignette for some splendid edition of Gibbs's works.
3. The March to Finchley,[1] dedicated to the King of Prussia[2][as "an Encourager of the Arts,">[ "in resentment for the late king's sending for the picture to St. James's, and returning it without any other notice." This print is engraved by Luke Sullivan but afterwards, as we learn from a note at the bottom of it, was "Retouched and improved by Wm. Hogarth, and republished June 12, 1761." The improvements in it, however, remain to be discovered by better eyes than mine.
I am authorized to add, that soon after the lottery described in a note at the beginning of this article, our artist waited on the treasurer to the Foundling Hospital, acquainting him that the trustees were at liberty to dispose of the picture by auction. Scarce, however, was the message delivered, before he changed his mind, and never afterwards would consent to the measure he had originally proposed. The late Duke of Ancaster offered the hospital 300 l. for it. The following complete explanation of it is in The Student, vol. II. p. 16. It is supposed to have been written by the ingenious Mr. Bonnel Thornton.
"The scene of this representation is laid at Tottenham Court Turnpike; the King's-Head, Adam and Eve, and the Turnpike-house, in full view; beyond which are discovered parties of the guards, baggage, &c. marching towards Highgate, and a beautiful distant prospect of the country; the sky finely painted. The picture, considered together, affords a view of a military march, and the humours and disorders consequent thereupon.
"Near the center of the picture, the painter has exhibited his principal figure, which is a handsome young grenadier, in whose face is strongly depicted repentance mixed with pity and concern; the occasion of which is disclosed by two females putting in their claim for his person, one of whom has hold of his right arm, and the other has seized his left. The figure upon his right hand, and perhaps placed there by the painter by way of preference (as the object of love is more desirable than that of duty), is a fine young girl in her person, debauched, with child, and reduced to the miserable employ of selling ballads, and who, with a look full of love, tenderness, and distress, casts up her eyes upon her undoer, and with tears descending down her cheeks, seems to say——sure you cannot——will not leave me! The person and deportment of this figure well justifies the painter's turning the body of the youth towards her. The woman upon the left is a strong contrast to this girl; for rage and jealousy have thrown the human countenance into no amiable or desirable form. This is the wife of the youth, who, finding him engaged with such an ugly slut, assaults him with a violence natural to a woman whose person and beauty is neglected. To the fury of her countenance, and the dreadful weapon her tongue, another terror appears in her hand, equally formidable, which is a roll of papers, whereon is wrote, The Remembrancer; a word of dire and triple import; for while it shews the occupation the amiable bearer is engaged in, it reminds the youth of an unfortunate circumstance he would gladly forget: and the same word is also a cant expression, to signify the blow she is meditating. And here, I value myself upon hitting the true meaning, and entering into the spirit of the great author of that celebrated Journal called The Remembrancer, or, A weekly slap on the face for the Ministry.
"It is easily discernible that the two females are of different parties. The ballad of God save our noble King, and a print of the Duke of Cumberland, in the basket of the girl, and the cross upon the back of the wife, with the implements of her occupation, sufficiently denote the painter's intention: and, what is truly beautiful, these incidents are applicable to the march.
"The hard-favoured serjeant directly behind, who enjoys the foregoing scene, is not only a good contrast to the youth, but also, with other helps, throws forward the principal figure.
"Upon the right of the grenadier is a drummer, who also has his two Remembrancers, a woman and a boy, the produce of their kinder hours; and who have laid their claim by a violent seizure upon his person. The figure of the woman is that of a complainant, who reminds him of her great applications, as well in sending him clean to guard, as other kind offices done, and his promises to make her an honest woman, which he, base and ungrateful, has forgot, and pays her affection with neglect. The craning of her neck shews her remonstrances to be of the shrill kind, in which she is aided by the howling of her boy. The drummer, who has a mixture of fun and wickedness in his face, having heard as many reproaches as suit his present inclinations, with a bite of his lip, and a leering eye, applies to the instrument of noise in his profession, and endeavours to drown the united clamour; in which he is luckily aided by the ear-piercing fife near him.
"Between the figures before described, but more back in the picture, appears the important but meagre phiz of a Frenchman, in close whisper with an Independent. The first I suppose a spy upon the motion of the army, the other probably drawn into the croud, in order to give intelligence to his brethren, at their next meeting, to commemorate their noble struggle in support of Independency. The Frenchman exhibits a letter, which he assures him contains positive intelligence, that 10000 of his countrymen are landed in England, in support of liberty and independency. The joy with which his friend receives these glorious tidings, causes him to forget the wounds upon his head, which he has unluckily received by a too free and premature declaration of his principles.
"There is a fine contrast in the smile of innocency in the child at the woman's back, compared with the grim joy of a gentleman by it; while the hard countenance of its mother gives a delicacy to the grenadier's girl.
"Directly behind the drummer's quondam spouse, appears a soldier pissing against a shed; and some distortions in his countenance indicate a malady too indelicate to describe; this conjecture is aided by a bill of Dr. Rock's for relief in like cases. Directly over him appears a wench at a wicket, probably drawn there to have a view of the march; but is diverted from her first intention by the appearance of another object directly under her eye, which seems to ingross her whole attention.
"Behind the drummer under the sign of the Adam and Eve are a group of figures; two of which are engaged in the fashionable art of bruising: their equal dexterity is shewn, by sewed-up peepers on one side, and a pate well-sconced on the other. And here the painter has shewn his impartiality to the merit of our noble youths, (whose minds, inflamed with love of glory, appear, not only encouragers of this truly laudable science, but many of them are also great proficients in the art itself,) by introducing a youth of quality, whose face is expressive of those boisterous passions necessary for forming a hero of this kind; and who, entering deep into the scene, endeavours to inspire the combatants with a noble contempt of bruises and broken bones. An old woman, moved by a foolish compassion, endeavours to force through the croud and part the fray, in which design she is stopped by a fellow, who prefers fun and mischief to humanity. Above their heads appears a little man[3] of meagre frame, but full of spirits, who enjoys the combat, and with fists clenched, in imagination deals blow for blow with the heroes. This figure is finely contrasted, by a heavy sluggish fellow just behind. The painter, with a stroke of humour peculiar to himself, has exhibited a figure shrinking under the load of a heavy box upon his back, who, preferring curiosity to ease, is a spectator, and waits in this uneasy state the issue of the combat. Upon a board next the sign, where roots, flowers, &c. were said to be sold, the painter has humorously altered the words, and wrote thereon, Tottenham-Court Nursery; alluding to a bruising-booth in this place, and the group of figures underneath.
"Passing through the turnpike, appears a carriage laden with the implements of war, as drums, halberts, tent-poles, and hoop-petticoats. Upon the carriage are two old women-campaigners, funking their pipes, and holding a conversation, as usual, in fire and smoke. These grotesque figures afford a fine contrast to a delicate woman upon the same carriage, who is suckling a child. This excellent figure evidently proves, that the painter is as capable of succeeding in the graceful style as in the humorous. A little boy laes at the feet of this figure; and the painter, to shew him of martial breed, has placed a small trumpet in his mouth.
"The serious group of the principal figures, in the center, is finely relieved by a scene of humour on the left. Here an officer has seized a milk-wench, and is kissing her in a manner excessively lewd, yet not unpleasing to the girl, if her eye is a proper interpreter of her affections: while the officer's ruffles suffer in this action, the girl pays her price, by an arch soldier, who in her absence of attention to her pails, is filling his hat with milk, and, by his waggish eye, seems also to partake of the kissing scene. A chimney-sweeper's boy with glee puts in a request to the soldier, to supply him with a cap full, when his own turn is served; while another soldier points out the fun to a fellow selling pyes, who, with an inimitable face of simple joy, neglects the care of his goods, which the soldier dexterously removes with his other hand. In the figure of the pye-man, the pencil has exceeded description——here the sounding epithets of prodigious—excellent—wonderful—and all the other terms used by Connoisseurs (when speaking of the beauties of an old picture, where the objects must have lain in eternal obscurity, if not conjured out to the apprehension of the spectator, by the magic of unintelligible description) are too faint to point out its real merit.
"The old soldier divested of one spatter-dash, and near losing the other, and knocked down by all-potent gin, upon calling for t'other cogue, his waggish comrade, supporting him with one hand, endeavours to pour water into his mouth with the other, which the experienced old one rejects with disdain, puts up his hand to his wife who bears the arms and gin-bottle, and who, well acquainted with his taste, is filling a quartern. And here the painter exhibits a sermon upon the excessive use of spirituous liquors, and the destructive consequences attending it: for the soldier is not only rendered incapable of his duty, but (what is shocking to behold) a child begot and conceived in gin, with a countenance emaciated, extends its little arms with great earnestness, and wishes for that liquor, which it seems well acquainted with the taste of. And here, not to dwell wholly upon the beauties of this print, I must mention an absurdity discovered by a professed connoisseur in painting—'Can there,' says he, 'be a greater absurdity than the introducing a couple of chickens so near such a croud—and not only so—but see—their direction is to go to objects it is natural for 'em to shun—is this is knowledge of nature?—absurd to the last degree!'——And here, with an air of triumph, ended our judicious critic. But how great was his surprize, when it was discovered to him, that the said chickens were in pursuit of the hen, which had made her escape into the pocket of a sailor.
"Next the sign-post is an honest tar throwing up his hat, crying 'God bless King George.' Before him is an image of drunken loyalty; who, with his shirt out of his breeches, and bayonet in his hand, vows destruction on the heads of the rebels. A fine figure of a speaking old woman, with a basket upon her head, will upon view tell you what she sells. A humane soldier perceiving a fellow hard-loaded with a barrel of gin upon his back, and stopped by the croud, with a gimblet bores a hole in the head of the cask, and is kindly easing him of a part of his burthen. Near him, is the figure of a fine gentleman in the army. As I suppose the painter designed him without character, I shall therefore only observe, that he is a very pretty fellow, and happily the contemplation of his own dear person guards him from the attempts of the wicked women on his right hand. Upon the right hand of this petit maitre is a licentious soldier rude with a girl, who screams and wreaks her little vengeance upon his face, whilst his comrade is removing off some linen which hangs in his way.
"You will pardon the invention of a new term—I shall include the whole King's Head in the word Cattery, the principal figure of which is a noted fat Covent Garden lady,[4] who, with pious eyes cast up to heaven, prays for the army's success, and the safe return of many of her babes of grace. An officer offers a letter to one of this lady's children, who rejects it; possibly not liking the cause her spark is engaged in, or, what is more probable, his not having paid for her last favour. Above her, a charitable girl is throwing a shilling to a cripple, while another kindly administers a cordial to her companion, as a sure relief against reflection. The rest of the windows are full of the like cattle; and upon the house-top appear three cats, just emblems of the creatures below, but more harmless in their amorous encounters."
There is likewise another explanation in The Old Woman's Magazine, vol. I. p. 182. To elucidate a circumstance, however, in this justly celebrated performance, it is necessary to observe, that near Tottenham Court Nursery was the place where the famous Broughton's amphitheatre for boxing was erected. It has been since taken down, having been rendered useless by the justices not permitting such kind of diversions. This will account for the appearance of the Bruisers at the left hand corner of the print. One of Hogarth's ideas in this performance also needs the assistance of colouring, to render it intelligible. The person to whom the Frenchman is delivering a letter, was meant for an old Highlander in disguise, as appears from the plaid seen through an opening in his grey coat; a circumstance in the print that escaped me, till after I had seen the picture, and perused Rouquet's explanation of this particular circumstance, which I shall add in his own words, with his reflections at the end of it. "A droite du principal group paroit une figure de François, qu'on a voulu representer comme un homme de quelque importance, afin de lui donner plus de ridicule; il parle à un homme dont la nation est indiquée par l'etoffe de sa veste, qui est celle dont s'habillent les habitans des montagnes d'Ecosse: le François semble communiquer à l'Ecossois des lettres qu'il vient de reçevoir, & qui ont rapport à l'evenement qui donne lieu à cette marche. Les Anglois ne se réjouissent jamais bien sans qu'il en coute quelque chose aux François; leur theatre, leur conversation, leurs tableaux, et sur tout ceux de notre peintre, portent toujours cette glorieuse marque de l'amour de la patrie; les romans même sont ornés de traits amusans sur cet ancien sujet; l'excellent auteur de Tom Jones a voulu aussi lâcher les siens. Mais le pretendu mépris pour les François dont le peuple de ce pais-ci fait profession, s'explique selon moi d'une façon fort équivoque. Le mépris suppose l'oubli; mais un objet dont on médit perpetuèllement est un objet dont on est perpetuèllement occupé: la satire constitue une attention qui me feroit soupconner qu'on fait aux François l'honneur de les haïr un peu."
All the off tracts from the faces in the original picture of the March to Finchley, in red chalk on oiled paper, are still preserved.
This representation may be said to contain three portraits, all of which were acknowledged by the artist: a noted French pye-man; one of the young fifers then recently introduced into the army by the Duke of Cumberland; and a chimney-sweeper with an aspect peculiarly roguish. The two latter were hired by Hogarth, who gave each of them half a crown, for his patience in sitting while his likeness was taken. Among the portraits in the March to Finchley (says a correspondent) that of Jacob Henriques may also be discovered. I wish it had been pointed out.
With this plate (of which the very few proofs in aqua-fortis, as well as the finished ones, are highly valuable) no unfair stratagems have been practised, that a number of the various impressions, taken off at different times, might be mistaken for the earliest. On copper nothing is more easy than to cover, alter, efface, or re-engrave an inscription, as often as temporary convenience may require a change in it.[5] Witness, the several copies of The Lottery, three of which exhibit the names of three different publishers: the fourth has none at all.
The possessors of this March to Finchley need not vehemently lament their want of the original. The spirit of it is most faithfully transfused on the copper. As to the colouring, it will hardly delight such eyes are are accustomed to the pictures of Steen or Teniers. To me the painting of the March to Finchley appears hard and heavy, and has much the air of a coloured print.
I should not, on this occasion, omit to add, that Mr. Strange, in his Inquiry into the Rise and Establishment of the Royal Academy of Arts in London, observes, that "the donations in painting which several artists presented to The Foundling Hospital," first led to the idea of those Exhibitions which are at present so lucrative to our Royal Academy, and so entertaining to the publick. Hogarth must certainly be considered as a chief among these benefactors.
[1] General Advertiser, April 14, 1750. Mr Hogarth is publishing, by subscription, a print representing the march to Finchley in the year 1746, engraved on a copper-plate, 22 inches by 17. The price 7 s. 6 d.
Subscriptions are taken in at The Golden Head in Leicester-Fields, till the 30th of this instant, and not longer, to the end that the engraving may not be retarded.
Note. Each print will be half a Guinea after the Subscription is over.
In the Subscription-book, are the particulars of a proposal whereby each subscriber of three shillings, over and above the said seven shillings and sixpence for the print, will, in consideration thereof, be entitled to a chance of having the original picture, which shall be delivered to the winning subscriber as soon as the engraving is finished.
General Advertiser, May 1, 1750.
Yesterday Mr. Hogarth's subscription was closed. 1843 chances being subscribed for, Mr. Hogarth gave the remaining 157 chances to The Foundling Hospital. At two o'clock the box was opened, and the fortunate chance was N° 1941, which belongs to the said Hospital; and the same night Mr. Hogarth delivered the picture to the Governors.
[2] PRUSIA, in the earliest impressions. I have been assured that only twenty-five were worked off with this literal imperfection, as Hogarth grew tired of adding the mark ~ with a pen over one S, to supply the want of the other. He therefore ordered the inscription to be corrected before any greater number of impressions were taken. Though this circumstance was mentioned by Mr. Thane, to whose experience in such matters some attention is due, it is difficult to suppose that Hogarth was fatigued with correcting his own mistake in so small a number of the first Impressions. I may venture to add, that I have seen, at least, five and twenty marked in the manner already described: and it is scarce possible, considering the multitudes of these plates dispersed in the world, that I should have met with all that were so distinguished.
[3] The real or nick name of this man, who was by trade a cobler, is said to have been Jockey James.
[4] This figure is repeated in the last print but one of Industry. and Idleness, and was designed for Mother Douglas of the Piazza.
[5] Proofs were anciently a few impressions taken off in the course of an engraver's process. He proved a plate in different states, that he might ascertain how far his labours had been successful, and when they were complete. The excellence of such early impressions, worked with care, and under the artist's eye, occasioning them to be greedily sought after, and liberally paid for, it has been customary among our modern printsellers to take off a number of them, amounting, perhaps, to hundreds, from every plate of considerable value; and yet their want of rareness has by no means abated their price. On retouching a plate, it has been also usual, among the same conscientious fraternity, to cover the inscription, which was immediately added after the first proofs were obtained, with slips of paper, that a number of secondary proofs might also be created. This device is notorious, and too often practised, without discovery, on the unskilful purchaser. A new print, in short, is of the same use to a crafty dealer, as a fresh girl to a politic bawd. In both instances le fausse pucelage is disposed of many times over.