The authors of the Monthly Review are of opinion, that Mr. Walpole speaks too contemptuously of Sigismunda, and that there is no ground for the insinuation that the person for whom it was painted thought meanly of it. "We have in our possession (say they) a letter to Hogarth from the noble person referred to, in which he expresses himself in the following terms;—I really think the performance so striking and inimitable, that the constantly having it before one's eyes, would be often occasioning melancholy ideas to arise in one's mind, which, a curtain being drawn before it, would not diminish in the least." Surely this epistle, if genuine, was ironical. Or shall we suppose that, afterwards, his lordship only saw the picture through the disgusting medium of the price? Mr. Wilkes's opinion of the piece will be best conveyed in his own words, which are therefore copied in note [65], below.
Dr. Morell, an intimate friend of Mr. Hogarth, who was applied to for information, returned for answer: "His excellencies, as well as his foibles, are so universally known, that I cannot add to the former, and would not, if I could, to the latter. I should think we lived in a very ill-natured world, if the whims and follies in a man's life were to be exposed, and his oddities and mistakes, ubi plura nitent, seriously condemned. But the unhappy affair of Sigismunda requires animadversion. And I will venture to say that even this Sigismunda would not have deserved so many hard things as have been said of it, if Mr. Hogarth had timely and properly observed the caution—Manum de Tabula. But it was so altered, upon the criticism of one Connoisseur or another; and especially when, relying no longer upon strength of genius, he had recourse to the feigned tears and fictitious woe of a female friend; that, when it appeared at the exhibition, I scarce knew it again myself, and from a passable picture it became little better than the wretched figure here represented. In my opinion, I never saw a finer resemblance of flesh and blood, while the canvas was warm, I mean wet; but, like that of real flesh, as soon as it was chilled, the beauty wore off. And this, he said, could not be helped, as no colours, but those of pure nature, as ultramarine, &c. would keep their natural brightness. But it is granted that colouring was not Mr. Hogarth's forte; and the subject we are upon is a disagreeable one."
[57] The first sketch in oil for Sigismunda, and a drawing from the finished picture, are in the possession of Mr. Samuel Ireland.
[58] At the Club of Artists, it was not unusual to reproach Hogarth with want of due attention to the Ancients, whom he always affected to despise. It accidentally happened that Mr. Basire, whilst this plate was in hand, was employed likewise in engraving, for the Society of Antiquaries, two plates of an antique bronze from the collection of Mr. Hollis, so remarkably grotesque, that Mr. Hogarth very readily consented that his plate should be postponed, and declared, "he could not have imagined that the Ancients had possessed so much humour."
[59] Some subscriptions were actually received, and the money returned. The munificient Mr. Hollis, who was one of the subscribers, refused to take back what he had paid; and it was given by Mr. Basire to a public charity.
[60] Two other little pieces are ascribed to him; the distich under the subscription-ticket for his Sigismunda, 1761,
'To Nature and yourself appeal;
Nor learn of others how to feel.'
And the following well-known Epigram:
"Your servant, Sir," says surly Quin,
"Sir, I am yours," replies Macklin,
"Why, you're the very Jew you play,
Your face performs the task well."
"And you are Sir John Brute, they say,
And an accomplished Maskwell."
Says Rich, who heard the sneering elves,
And knew their horrid hearts;
"Acting too much your very selves,
You overdo your parts."[A]
[A] The censure contained in these poor lines is eminently unjust. Macklin is known to have been an anxious and affectionate parent, and Quin a benevolent and liberal friend.