Hogarth was fond of introducing the pipe into his plates. In the tail-piece to his works, which he prepared a few months before his death, and which he called The Bathos, or Manner of Sinking in Sublime Paintings, the end of everything is represented. Time himself, supported against a broken column, is expiring, his scythe falling from his grasp and a long clay pipe breaking in two as it falls from his lips. This was issued in 1764—Hogarth's last published work. In the plate which shows the execution of Thomas Idle, in the "Industry and Idleness" series, Hogarth depicts the little hangman smoking a short pipe as he sits on the top of the gallows, waiting for his victim. The familiar plate of A Modern Midnight Conversation shows a parson in surplice and wig smoking like a furnace while he ladles punch from a bowl—probably meant for a portrait of the notorious Orator Henley. Most of the other guests are also shown smoking long clay pipes.
Hogarth's subscription ticket for the print of Sigismunda was Time Smoking a Picture (1761). It represents an old man sitting on a fragment of statuary and smoking a long pipe against a picture of a landscape which stands upon an easel before him. Below, on his left, is a large jar labelled "Varnish." The figure of Time is nude and has large wings. Volumes of smoke are pouring against the surface of the picture from both his mouth and the bowl of his long clay pipe. In The Stage-Coach, or Country Inn-yard, is shown an old woman smoking a pipe in the "basket" of the coach. The plate of The Distrest Poet (1736) shows four books and three tobacco-pipes on a shelf. In the second of the "Election" series—the Canvassing for Votes (1755)—a barber and a cobbler, seated at the table in the right-hand corner, are both smoking long pipes. Apparently they are discussing the taking of Portobello by Admiral Vernon in 1739 with only six ships; for the barber is illustrating his talk by pointing with his twisted pipe-stem to six fragments which he has broken from the stem and arranged on the table in the shape of a crescent. In the frontispiece which Hogarth drew in 1762 for Garrick's farce of "The Farmer's Return from London," the worthy farmer, seated in his great chair, holds out a large mug in one hand to be filled with ale, while the other supports his long pipe, which he is smoking with evident enjoyment.
Hogarth himself was a confirmed pipe-lover. When he and Thornhill and their three companions set out from Gravesend for the final stage, up the river, of their famous "Five Days Peregrination," we are told that they hired a boat with clean straw, and laid in a bottle of wine, pipes, tobacco, and light, and so came merrily up the river. The arm-chair in which Hogarth was wont to sit and smoke is still preserved in his house at Chiswick, which has been bought and preserved as a memorial of the moralist-painter; and in the garden of the house may still be seen the remains of the mulberry tree under which Mr. Austin Dobson suggests that Hogarth and Fielding may have sat and smoked their pipes together in the days when George was King.
VIII
SMOKING UNFASHIONABLE (continued):
LATER GEORGIAN DAYS[ToC]
Says the Pipe to the Snuff-box, I can't understand
What the ladies and gentlemen see in your face,
That you are in fashion all over the land,
And I am so much fallen into disgrace.