It should be observed that, being founded on a private occurrence, this print was never designed for general circulation. Mr. Highmore the manager of Drury-Lane, who bought Cibber's share in the patent, is the Hero of it. A few copies only were distributed among Hogarth's particular friends, and the gentlemen whose portraits it contains. At the bottom of the plate there is no descriptive title. The Discovery was that by which Mrs. Hogarth mentioned it when she recollected the very laughable circumstance here commemorated by her husband's pencil.
* 50. The Cottage. An impression from a breeches-button, the size of a crown-piece; a sketch made for Mr. Camfield, a surgeon, on a subject that will not bear explanation. There is a copy of this little plate by Mr. S. Ireland.
51. Pug the Painter. This has been usually understood as a satire on Hogarth, rather than a design by him. Mr. Ireland once told me it was etched by Dawes, and that our artist gave a copy of it, as his own design, to Mr. Kirby. But I am assured with superior confidence by another gentleman, that the true author of it is to be sought among those artists whom Hogarth had provoked by his contemptuous treatment of their works. If Pug was not designed as his representative, why is the animal exhibited in the act of painting the ridiculous figure of the Priest in The Good Samaritan?
52. A Head in an oval, coarsely engraved, and subscribed "Samuel Butler Author of Hudibras." Several connoisseurs, beside Mr. Thane who possesses the plate, conceive it to be an undoubted work of Hogarth. For what purpose it was executed, and why suppressed (for no one has hitherto met with even a proof from it) it is vain to enquire. I am silent on the subject, heartily wishing that throughout this work I had had the opinions of more friends to record, and had offered fewer sentiments of my own.
53. "A very rare hieroglyphic print; representing Royalty, Episcopacy, and Law, composed of emblematic attributes, and no human features or limbs; with attendants of similar ingredients. Beneath is this inscription. Some of the principal inhabitants of the Moon, as they were discovered by a telescope, brought to the greatest perfection since the last eclipse; exactly engraved from the objects, whereby the Curious may guess at their Religion, Manners, &c. Price Six-pence."
A kind of scaffold above the clouds is the theatre of this representation. Monarchy, Episcopacy, and Law, appear characteristically seated. Their faces are—a Crown-piece—a Jew's Harp, and—a Mallet. The monarch holds a globe and sceptre, with crescents on the tops of them. Instead of a collar of esses, he wears a string of bubbles; his side is ornamented with a pointed star; and a circle, the emblem of perpetuity, is embroidered on the cloth under his throne. Episcopacy is working at a pump (a type I suppose of the Church) by the assistance of a bell-rope. The Bible is fastened to the handle of the pump, and out of the nose of it issues money that falls into a chest discriminated by an armorial escutcheon, containing a knife and fork, properly emblazoned, with a mitre by way of crest. The lid of the coffer leans against a pillar, that serves also to support a triple pile of cushions. Over the top of the pump (which is fashioned much like a steeple) is a weathercock on a small pyramid supported by balls; and below it, through a circular opening, a little bell appears to ring. Under the sacerdotal robe, a cloven foot peeps out. Law sustains a sword; and behind him appears a dagger thrust through the bottom of a sieve. The attendants on Monarchy are of various materials. The bodies and legs of such as seem designed for soldiers, are composed of circular fire-screens resembling shields. The trunks of the courtiers are large looking-glasses, the sconces with candles in them serving for hands and arms. The face of the chief of these is the reverse of a sixpence; and a key significantly appended to his sash, at once denotes his sex and office. Under the figure of law are a male and female modishly drest. Her head is a tea-pot, her neck a drinking-glass, and her body a fan half spread. On the oval that forms the countenance of her paramour, is a coat of arms with supporters. His right honourable legs are fan-sticks, and he seems in the act of courtship. How this couple are immediately connected with Law, is not very clearly pointed out. Hogarth, however, we may suppose, had planned some explanation of his hieroglyphics, as the letters a, b, c, d, e, f, g, are placed over some of them, and beneath others.
From the form of the perukes exhibited in this design, I should suppose it was made above forty years ago. Other circumstances in it need no decyphering.
* 54. The Master of the Vineyard. St. Matthew chap. xxi. v. 28. "Son, go work to-day in my Vineyard."
* 55. The London Infirmary for charitably relieving sick and diseased Manufacturers and Seamen in the Merchants' service, their Wives and Children. A blank certificate for Pupils in Surgery and Anatomy, printed on a half sheet, folio.