HOGARTH’S PICTURES AT VAUXHALL GARDENS.
Soon after his marriage, Hogarth had summer lodgings at South Lambeth, and became intimate with Jonathan Tyers, then proprietor of Vauxhall Gardens. On passing the tavern one morning, Hogarth saw Tyers, and observing him to be very melancholy, “How now, Master Tyers; why so sad this morning?” said the painter. “Sad times, Master Hogarth,” replied Tyers, “and my reflections were on a subject not likely to brighten a man’s countenance: I was thinking, do you know, which was likely to prove the easiest death, hanging or drowning.” “Oh,” said Hogarth, “is it come to that?” “Very nearly, I assure you,” said Tyers. “Then,” replied Hogarth, “the remedy you think of applying is not likely to mend the matter; don’t hang or drown to-day. I have a thought that may save the necessity of either, and will communicate it to you to-morrow morning; call at my house in Leicester Fields.” The interview took place, and the result was the concocting and getting up the first “Ridotto al Fresco,” which was very successful; one of the new attractions being the embellishment of the pavilions in the gardens by Hogarth’s pencil. Thus he drew the Four Parts of the Day, which Hayman copied; and the two scenes of Evening and Night, with portraits of Henry VIII. and Anne Boleyn. Hayman was one of the earliest members of the Royal Academy, and was, when young, a scene-painter at Drury Lane Theatre.
Hogarth was at this time in prosperity, and assisted Tyers more essentially than by the few pieces he painted for the gardens; and for this Tyers presented the painter with a gold ticket of admission for himself and friends, which was handed down to Hogarth’s descendants—the medal being for the admission of six persons, or “one coach,” as it was termed.