"More reasons, not necessary to enumerate, struck me as strong objections to this practice, and led me to wish that I could find the shorter path; fix forms and characters in my mind, and, instead of copying the lines, try to read the language, and, if possible, find the grammar of the art, by bringing into one focus the various observations I had made, and then trying by my power on the canvas how far my plan enabled me to combine and apply them to practice.
"For this purpose I considered what various ways, and to what different purposes, the memory might be applied, and fell upon one which I found most suitable to my situation and idle disposition.
"Laying it down first as an axiom, that he who could by any means acquire and retain in his memory perfect ideas of the subjects he meant to draw, would have as clear a knowledge of the figure as a man who can write freely hath of the twenty-four letters of the alphabet and their infinite combinations (each of these being composed of lines), and would consequently be an accurate designer.
"This I thought my only chance for eminence, as I found that the beauty and delicacy of the stroke in engraving was not to be learnt without much practice, and demanded a larger portion of patience than I felt myself disposed to exercise. Added to this, I saw little probability of acquiring the full command of the graver in a sufficient degree to distinguish myself in that walk; nor was I, at twenty years of age, much disposed to enter on so barren and unprofitable a study as that of merely making fine lines. I thought it still more unlikely, that by pursuing the common method and copying old drawings, I could ever attain the power of making new designs, which was my first and greatest ambition. I therefore endeavoured to habituate myself to the exercise of a sort of technical memory; and by repeating in my own mind the parts of which objects were composed, I could by degrees combine and put them down with my pencil. Thus, with all the drawbacks which resulted from the circumstances I have mentioned, I had one material advantage over my competitors, viz. the early habit I thus acquired of retaining in my mind's eye, without coldly copying it on the spot, whatever I intended to imitate.[9] Sometimes, but too seldom, I took the life for correcting the parts I had not perfectly enough remembered, and then I transferred them to my compositions.
"My pleasures and my studies thus going hand in hand, the most striking objects that presented themselves, either comic or tragic, made the strongest impression on my mind; but had not I sedulously practised what I had thus acquired, I should very soon have lost the power of performing it.
"Instead of burdening the memory with musty rules, or tiring the eyes with copying dry and damaged pictures, I have ever found studying from nature the shortest and safest way of attaining knowledge in my art.[10] By adopting this method I found a redundancy of matter continually occurring. A choice of composition was the next thing to be considered, and my constitutional idleness[11] naturally led me to the use of such materials as I had previously collected; and to this I was further induced by thinking that, if properly combined, they might be made the most useful to society, in painting, although similar subjects had often failed in writing and preaching.
"To return to my narrative: the instant I became master of my own time, I determined to qualify myself for engraving on copper. In this I readily got employment; and frontispieces to books, such as prints to Hudibras, in twelves, etc., soon brought me into the way. But the tribe of booksellers remained as my father had left them when he died about five years before this time,[12] which was of an illness occasioned partly by the treatment he met with from this set of people, and partly by disappointment from great men's promises; so that I doubly felt this usage, which put me upon publishing on my own account. But here again I had to encounter a monopoly of printsellers equally mean and destructive to the ingenious; for the first plate I published, called the 'Taste of the Town,' in which the reigning follies were lashed, had no sooner begun to take a run, than I found copies of it in the print-shops, vending at half price, while the original prints were returned to me again; and I was thus obliged to sell the plate for whatever these pirates pleased to give me, as there was no place of sale but at their shops.
"Owing to this and other circumstances, by engraving, until I was near thirty, I could do little more than maintain myself; but even then I was a punctual paymaster."
The print here alluded to, I apprehend to be that now entitled the "Small Masquerade Ticket," or "Burlington Gate," published in 1724, in which the follies of the town are very severely satirized by the representation of multitudes, properly habited, crowding to the masquerade,[13] opera, pantomime of Doctor Faustus, etc., while the works of our greatest dramatic writers are trundled through the streets in a wheel-barrow, and cried as waste paper for shops.