Mark, too, that Leicester Fields were then as now the favourite resort of foreigners. Green Street, Bear Street, Castle Street, Panton Street, formed a district called, as was a purlieu in Westminster too, by the Sanctuary, “Petty France.” Theodore Gardelle, the murderer, lived about Leicester Fields. Legions of high-dried Mounseers, not so criminal as he, but peaceable, honest, industrious folk enough, peered out of the garret windows of Petty France with their blue, bristly gills, red nightcaps, and filthy indoor gear. They were always cooking hideous messes, and made the already unwholesome atmosphere intolerable with garlic. They wrought at water-gilding, clock-making, sign-painting, engraving for book illustrations—although in this department the Germans and Dutch were dangerous rivals. A very few offshoots from the great Huguenot colony in Spitalfields were silk-weavers. There were then as now many savoury, tasting and unsavoury-smelling French ordinaries; and again, then as now, some French washerwomen and clearstarchers. But the dwellers in Leicester Fields slums and in Soho were mainly Catholics frequenting the Sardinian ambassador’s chapel in Duke Street, Lincoln’s Inn Fields. French hairdressers and perfumers lived mostly under Covent Garden Piazza, in Bow Street and in Long Acre. Very few contrived to pass Temple Bar. The citizens appeared to have as great a horror of them as of the players, and so far as they could, by law, banished them their bounds, rigorously. French dancing, fencing, and posture masters, and quack doctors, lived at the court end of the town, and kept, many of them, their coaches. Not a few of the grinning, fantastic French community were spies of the magnificent King Louis. Sunday was the Frenchmen’s great day, and the Mall in St. James’s park their favourite resort and fashionable promenade. It answered for them all the purposes which the old colonnade of the Quadrant was wont to serve, and which the flags of Regent Street serve now. On Sunday the blue, bristly gills were clean shaven, the red nightcaps replaced by full-bottomed wigs, superlatively curled and powdered. The filthy indoor gear gave way to embroidered coats of gay colours, with prodigious cuffs, and the skirts stiffened with buckram. Lacquer-hilted swords stuck out behind them. Paste buckles glittered in their shoon. Glass rings bedecked their lean paws. They held their tricornes beneath their arms, flourished their canes and inhaled their snuff with the best beaux on town. We are apt to laugh at the popular old caricatures of the French Mounseer, and think those engravings unkind, unnatural, and overdrawn; but just shave me this bearded, moustached, braided and be-ringed Jules, Gustave, or Adolphe who comes swaggering to-day from the back of Sherrard Street or Marylebone Street, round by the County Fire Office into Regent Street; shave me the modern Mounseer quite clean, clap a periwig on his head, a chapeau bras beneath his arm, a sword by his side; clothe his shrunken limbs in eighteenth century costume; or better, see the French comedian in some old comedy at the Français or the Odéon, and you will cry out at once: “There is the Mounseer whom Hogarth, Gilray, Bunbury, and Rowlandson drew.” And yet I owe an apology, here, to the Mounseers; for it was very likely some courteous, albeit grimacing denizen of Petty France who supplied our Hogarth with the necessary French translation of the gold and silver smith’s style and titles to engrave on his shop-card.
I am to be pardoned, I hope, for lingering long in Leicester Fields. I shall have to return to the place often, for William Hogarth much affected it. In Leicester Fields he lived years afterwards when he was celebrated and prosperous. Where Pagliano’s Hotel is now, had he his house, the sign, the “Golden Head,” and not the “Painter’s Head,” as I have elsewhere put it. There he died. There his widow lived for many—many years afterwards, always loving and lamenting the great artist and good man, her husband. It was about Leicester Fields too—nay, unless I mistake, in Cranbourn Alley itself, that old nutcracker-faced Nollekens the sculptor pointed out William to Northcote the painter. “There,” he cried, “see, there’s Hogarth.” He pointed to where stood a little stout-faced sturdy man in a sky-blue coat, who was attentively watching a quarrel between two street boys. It was Mr. Mulready’s “Wolf and the Lamb” story a little before its time. The bigger boy oppressed the smaller; whereupon Hogarth patted the diminutive victim on the head, and gave him a coin, and said with something like a naughty word that he wouldn’t stand it, if he was the small boy: no, not he.
Seven years at cross-hatch and double cypher. Seven years turning and re-turning salvers and tankards on the leathern pad, and every month and every year wielding the graver and burnisher with greater strength and dexterity. What legions of alphabets, in double cypher, he must have “drawn with great correctness;” what dictionary loads of Latin and Norman-French mottoes he must have flourished beneath the coats of arms! Oh, the scutcheons he must have blazoned in the symbolism of lines! Blank for argent, dots for or, horizontal for azure, vertical for gules, close-chequer for sable. The griffins, the lions, the dragons, rampant, couchant, regardant, langued, gorged, he must have drawn! The chevrons, the fesses, the sinoples of the first! He himself confesses that his just notions of natural history were for a time vitiated by the constant contemplation and delineation of these fabulous monsters, and that when he was out of his time he was compelled to unlearn all his heraldic zoology. To the end his dogs were very much in the “supporter” style, and the horses in the illustrations in Hudibras strongly resemble hippogriffs.
He must have been studying, and studying hard, too, at drawing, from the round and plane during his ’prentice years. Sir Godfrey Kneller had a kind of academy at his own house in 1711; but Sir James Thornhill did not establish his till long after Hogarth had left the service of Ellis Gamble. Hogarth tells us that as a boy he had access to the studio of a neighbouring painter. Who may this have been? Francis Hoffmann; Hubertz; Hulzberg, the warden of the Lutheran Church in the Savoy; Samuel Moore of the Custom House? Perhaps his earliest instructor was some High Dutch etcher of illustrations living eastwards to be near the booksellers in Paternoster Row; or perhaps the “neighbouring painter” was an artist in tavern and shop signs. Men of no mean proficiency wrought in that humble but lucrative line of emblematic art in Anna’s “silver age.”
That Hogarth possessed considerable graphic powers when he engraved Ellis Gamble’s shop-card, you have only to glance at the angel holding the palm above the commercial announcement, to be at once convinced. This figure, however admirably posed and draped, may have been copied from some foreign frontispiece. The engraving, however, as an example of pure line, is excellent. We are left to wonder whether it was by accident or by design of quaint conceit that the right hand of the angel has a finger too many.
Of Hogarth’s adventures during his apprenticeship, with the single exception of his holiday excursion to Highgate, when there was a battle-royal in a suburban public-house, and when he drew a capital portrait of one of the enraged combatants, the Muse is dumb. He led, very probably, the life of nineteen-twentieths of the London ’prentices of that period: only he must have worked harder and more zealously than the majority of his fellows. Concerning the next epoch of his life the Muse deigns to be far more explicit, and, I trust, will prove more eloquent on your worships’ behalf. I have done with the mists and fogs that envelop the early part of my hero’s career, and shall be able to trace it now year by year until his death.
FOOTNOTES
[1] According to Tertullian, Asclepiades, the comic cynic, advocated riding on cow-back as the most healthful, and especially the most independent means of locomotion in the world; for, said he, she goes so slowly that she can never get tired. Wherever there is a field, there is her banquet; and you may live on her milk all the way. But I think that the most economical and the merriest traveller on record was the Giant Hurtali (though the Rabbins will have that it was Og, King of Basan), who sat astride the roof of Noah’s ark à la cockhorse, steering that great galleon with his gigantic legs, getting his washing for nothing, and having his victuals handed up to him through the chimney.—See Menage and Le Pelletier; l’Arche de Noé, c. 25.
[2] This “Prusia” occurred in the dedication of the “March to Finchley” to Frederick the Great. His friends quizzed him a good deal about the error, and he undertook to correct it by hand in every proof of the plate sold. But he soon grew tired of making the mark ~ with a pen over the single s, and at last had the offensive “Prusia” burnished out of the copper, and the orthodox “Prussia” substituted. But even then the quizzers were not tired, and showed him a Prussian thaler bearing Frederick’s effigy, and the legend of which spoke of him as Borussiæ Rex. ’Twas the story of the old man and his donkey over again.
[3] Till the legislature deprives the people of their “eleven days,” I am using the old-style calendar.