36. Another, almost the same as N° 34, but with a view of The London Hospital.
37. Six prints for Don Quixote. W. Hogarth inv. & sculp.
When Lord Carteret, about the year 1737, was seeking artists to design, &c. plates for his Spanish edition of this famous novel, published in 1738, Hogarth, of course, was not overlooked. His performances, however, gave so little satisfaction to his noble employer, that they were paid for, and then laid aside in favour of Vandrebank's drawings, afterwards engraved by Vandergucht. The plates remaining in the hands of Mr. Tonson, his lordship's publisher, at his death, were bought by Mr. Dodsley, who, finding they exhibited no descriptions that could render them welcome to the possessors of any copy of Don Quixote whatever, had the titles of the chapters, &c. to which they belong, together with references to the corresponding pages in Jarvis's translation, engraved under each of them. The subjects of them are, I. Funeral of Chrysostom, and Marcella vindicating herself; vol. I. p. 71. II. The Inn-keeper's wife and daughter taking care of the Don after being beaten and bruised, p. 129. III. Don Quixote releases the galley slaves, p. 129. IV. The unfortunate Knight of the Rock meeting Don Quixote, p. 140. V. Don Quixote seizes the barber's bason for Mambrino's helmet, p. 155. VI. The Curate and Barber disguising themselves to convey Don Quixote home, p. 166. Tonson had several specimens of plates, both in quarto and octavo sizes, executed for editions of Shakspeare, but they shared the same fate with the others prepared for Don Quixote.
38. An oval, with two figures representing Hymen and Cupid. A view of a magnificent villa at a distance. This print was intended as a ticket for Sigismunda, which Hogarth proposed to be raffled for. It is often marked with ink 2 l. 2 s. The number of each ticket was to have been inserted on the scroll hanging down from the knee of the principal figure. Perhaps none of them were ever disposed of. This plate, however, must have been engraved about 1762 or 3. Had I not seen many copies of it marked by the hand of Hogarth, I should have supposed it to have been only a ticket for a concert or music-meeting.
39. Four heads from the cartoons at Hampton-Court. An etching.
Mr. Walpole, in his Anecdotes of Painting, &c. vol. IV. p. 22. speaking of Sir James Thornhill's attention to these celebrated pictures, has the following remark: "He made copious studies of the heads, hands, and feet, and intended to publish an exact account of the whole, for the use of students: but his work never appeared."
As this plate was found among others engraved by Hogarth, it might probably have been one of his early performances. His widow has directed a few impressions to be taken from it, and they are sold at her house in Leicester-square.
40. A Scene in a Pantomime Entertainment lately exhibited; designed by a Knight of Malta. A satire on the Royal Incorporated Society of Artists of Great Britain. No name.
This design is difficult to be explained, as it alludes to some forgotten dissentions among the artists before the Royal Academy was founded. Sir William Chambers, Kirby, Rooker the Engraver and Harlequin, Liotard, remarkable for having adopted the Turkish dress, and others, are introduced in it. The hat and head of Hogarth also appear on one of the necks of a Hydra. It is hardly credible, therefore, that he should have rendered himself an object of his own satire. A mere etched outline of the same design, with additions, was afterwards published, and is marked plate II. It is larger than the original plate, and must be considered as a slight temporary sketch, of which the author is uncertain.
41. A Ticket-porter carrying a load of chamber-pots to some place of public resort, from the entrance of which three grenadiers are keeping off the crowd. At the bottom is written.