Chapter I: Front Matter

TRANSCRIBER'S NOTE

Italic text is denoted by _underscores_.

A superscript is denoted by ^; for example M^R, y^e.

Obvious typographical errors and punctuation errors have been
corrected after careful comparison with other occurrences within
the text and consultation of external sources.

Footnotes have been moved to the end of the book text. Some Footnotes
are very long.

More detail can be found at the end of the book.

HOGARTH'S WORKS:

WITH

_LIFE AND ANECDOTAL DESCRIPTIONS OF HIS PICTURES._

THIRD SERIES.

The no Dedication

Not Dedicated to any Prince in Christendom
for fear it might be thought an
Idle piece of Arrogance.

Not Dedicated to any man of quality
for fear it might be thought too assuming.

Not Dedicated to any learned body
of Man, as either of the universityes, or the
Royal Society, for fear it might be thought
an uncommon piece of Vanity.

Nor Dedicated to any one particular Friend
for fear of offending another.

Therefore Dedicated to nobody.
But if for once we may suppose
Nobody to be every body, as Every body
is often said to be nobody, then is this work
Dedicated to every body.

by their most humble
and devoted W: Hogarth.

HOGARTH'S WORKS:

WITH

_LIFE AND ANECDOTAL DESCRIPTIONS OF HIS PICTURES_.

BY

JOHN IRELAND AND JOHN NICHOLS, F.S.A.

_THE WHOLE OF THE PLATES REDUCED IN EXACT
FAC-SIMILE OF THE ORIGINALS._

Third Series.

London:

CHATTO AND WINDUS, PUBLISHERS.
(_SUCCESSORS TO JOHN CAMDEN HOTTEN._)

LIST OF PLATES

DESCRIBED IN THE THIRD SERIES.

PAGE

FAC-SIMILE AUTOGRAPH--"THE NO DEDICATION," _Frontispiece to
face Title._

DOLPHIN CANDLESTICK, _Title Page._

Do. (described), 123

KENT'S ALTAR-PIECE, 24

THE RAPE OF THE LOCK, 26

ARMS OF THE DUCHESS OF KENDAL, 28

FRONTISPIECE TO ARTISTS' CATALOGUE, 78

TAIL-PIECE TO Do., 78

THE VASE, 114

Do. (described), 112

HINTS FOR A NEW CAPITAL, 114

ROUND AND SQUARE HEADS, 114

Do. (described), 116

HERCULES, HENRY VIII., AND A FRENCH DANCING-MASTER, 114

Do. (described), 119

CHARLES I., HENRIETTA MARIA, ITALIAN JUPITER, ETC., 124

THE DANCE, 124

FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE, 132

TASTE IN HIGH LIFE, 180

FARINELLI, CUZZONI, AND SENESINO, 184

A WOMAN SWEARING HER CHILD TO A GRAVE CITIZEN, 188

THE FOUNDLINGS, 192

CAPTAIN THOMAS CORAM, 192

FRONTISPIECE TO TERRÆ FILIUS, 194

THE SEPULCHRE, 194

THE POLITICIAN, 198

THE MATCHMAKER, 200

THE MAN OF TASTE, 202

HENRY FIELDING, 206

SIMON LORD LOVAT, 210

NINE PLATES FOR DON QUIXOTE:

PLATE I. The First Sally in Quest of Adventure, 220

PLATE II. The Innkeeper, 220

PLATE III. The Funeral of Chrysostom, 222

PLATE IV. The Innkeeper's Wife and Daughter administering
Chirurgical Assistance to the poor Knight of
La Mancha, 222

PLATE V. Don Quixote seizes the Barber's Basin for
Mambrino's Helmet, 224

PLATE VI. Don Quixote releases the Galley Slaves, 224

PLATE VII. First Interview of Don Quixote with the
Knight of the Rock, 226

PLATE VIII. The Curate and Barber disguising themselves
to convey Don Quixote home, 226

PLATE IX. Sancho's Feast, 228

HEIDEGGER IN A RAGE, 230

LARGE MASQUERADE TICKET, 230

THE SOUTH SEA BUBBLE, 238

THE LOTTERY, 238

MASQUERADES AND OPERAS--BURLINGTON GATE, 238

BEGGARS' OPERA BURLESQUED, 242

TWELVE PLATES OF BUTLER'S HUDIBRAS, 242

JUST VIEW OF THE BRITISH STAGE, 246

EXAMINATION OF BAMBRIDGE, 246

HENRY VIII. AND ANNA BULLEYN, 248

CROWNS, MITRES, MACES, ETC., 246

Do. (described), 249

THE ROYAL MASQUERADE, 252

RICH'S TRIUMPHANT ENTRY, 254

MR. RANBY'S HOUSE AT CHISWICK, 254

Do. (described), 262

HYMEN AND CUPID, 254

Do. (described), 263

THE POOL OF BETHESDA, 256

THE GOOD SAMARITAN, 256

MARTIN FOLKES, Esq., 260

BISHOP HOADLEY, 262

FALSE PERSPECTIVE, 264

INHABITANTS OF THE MOON, 264

RECEIPT FOR PRINT OF MARCH TO FINCHLEY, 264

THE FARMER'S RETURN, 266

GRAVITY, 266

FRONTISPIECES TO TRISTRAM SHANDY, 266

FOUR HEADS FROM THE CARTOONS, 268

THE SHRIMP-GIRL, 268

LORD HOLLAND, 268

EARL OF CHARLEMONT, 268

THE HOUSE OF COMMONS, 270

DEBATES ON PALMISTRY, 270

THE STAYMAKER, 270

CHARITY IN THE CELLAR, 270

SIX TICKETS, 272

ADVERTISEMENT.

The manuscripts from which the principal parts of this volume are compiled were written by the late Mr. Hogarth; had he lived a little longer, he would have methodized and published them.[1] On his decease, they devolved to his widow, who kept them sacred and entire[2] until her death, when they became the property of her relation and executrix, Mrs. Lewis, of Chiswick, by whose kindness and friendship they are now in my possession.

This is the fair and honest pedigree of the Papers, which may be thus divided:--

I. Hogarth's life, comprehending his course of study, correspondence, political quarrels, etc.

II. A manuscript volume, containing the autographs of the subscribers to his "Elections," and intended print of "Sigismunda;" and letters to and from Lord Grosvenor relative to that picture.

III. The manuscript of the _Analysis of Beauty_, corrected by the author, with the original sketches, and many remarks omitted in the printed copy.

IV. A supplement to the _Analysis_, never published; comprising a succinct history of the arts in his own time, his account of the institution of the Royal Academy, etc.

V. Sundry memoranda relative to the subject of his satire in several of his prints.

These manuscripts being written in a careless hand, generally on loose pieces of paper, and not paged, my first endeavour was to find the connection, separate the subjects, and place each in its proper class. This, in such a mass of papers, I found no very easy task; especially as the author, when dissatisfied with his first expression, has frequently varied the form of the same sentence two or three times: in such instances I have selected that which I thought best constructed. Every paper has been attentively examined, and is to the best of my judgment arranged as the author intended. I have incorporated Hogarth's account of the Arts, Academy, etc., with his narrative of his own life; and to keep distinct the various subjects on which he treats, divided the whole into chapters. Where from negligence or haste he has omitted a word, I have supplied it with that which the context leads me to believe he would have used. Where the sentences have been very long, I have occasionally broken them into shorter paragraphs, and sometimes tried to render the style more perspicuous, by the retrenchment of redundant expressions; but in every case the sense of the author is faithfully adhered to.

As he has usually given the progress of his life, opinions, etc. in the first person, I have adopted the same rule; and to distinguish my own remarks from Hogarth's narrative, the beginning of each sentence written by him is marked with inverted commas. His correspondence is regulated by the dates of the letters; and the copies from sketches in the MS. _Analysis_ are placed in the chapter which contains Hogarth's account of that publication.

In the papers which relate to the subject of his satire in some of his prints, he appears to have projected more than his life allowed him to perform; the few remarks which he made are inserted in the Appendix.

Prints are in general designed to illustrate books, but the Editor's part of this volume is written to illustrate Prints. He is apprehensive that the whole will stand in need of much indulgence, but certain that the errors, whatever they may be, do not originate in a want of diligence. To his thanks for the flattering reception of the first Edition, and rapid sale of the first and second Editions of the two preceding volumes, he has only to add his reasons for bringing forward this third. When they were published, he had neither seen the MSS., nor ever heard that Hogarth had written anything for the press, except the _Analysis of Beauty_. When he some time after obtained the papers, he considered them as a very valuable acquisition, and was vain enough to think that by arranging them he could compile a volume which would gratify the admirers of Hogarth; and in the hope that the life, opinions, criticisms, and correspondence of this great and original genius will excite and gratify curiosity, he respectfully submits the following pages to the candour and indulgence of the public.

J. I.

HOGARTH.