The old steward's attitude and countenance clearly indicate that he foresees the gulf into which an united torrent of dissipation will inevitably plunge this infatuated pair. He has brought a great number of bills for payment: to one, and only one, is a receipt, which, being dated January 4, 1744, determines the time when vulgar tradesmen are extremely troublesome to men of rank.
Of the paintings in this stately saloon, that of which we see only a part is properly concealed by a curtain. The four cartoons, very judiciously placed in the same line, are, I believe, intended for the four evangelists. Next to that which is opposite the chandelier is a faint representation of another picture. The lines are ambiguous, but seem intended to represent a ship in a storm: a very proper emblem of the wreck which is likely to succeed the negligence and dissipation of this noble family. A marble head, in a cut wig, perhaps intended for one of the Cæsars, with the nose broken, to show that it is a genuine antique, decorates the centre of the chimney-piece. In most of the other grotesque and fantastic ornaments,
"Gay china's unsubstantial forms supply
The place of beauty, strength, simplicity;
Each varied colour of the brightest hue,
The green, the red, the yellow, and the blue,
In every part the dazzled eyes behold,
Here streak'd with silver, there enrich'd with gold."
A painting over the chimney-piece represents Cupid playing upon the bagpipes. Both subject and frame prove the classical taste of the proprietor. The ornaments round a clock are equally elegant and peculiarly appropriate. It is encompassed by a kind of grove, with a cat on the summit and a Chinese pagoda at the bottom. If the branches were tenanted by the feathered tribe, it would be no more than we see every day; it would be vulgar nature. To make it uncommonly grand, and peculiarly magnifique, they are occupied by two fishes.[7]
The crowned chandelier, candlesticks, chairs, footstool, chimney-piece, and grate, are evidently made from the designs of William Kent.[8] To that fashionable architect they are indebted for the plan of the stupendous saloon, which has an air of grandeur and magnificence that is not often seen in Mr. Hogarth's works. It produces such a sensation as Pope describes on seeing Timon's villa, "Where all cry out, what sums are thrown away!"