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ries consequent to her situation, and dies in the morning of life. Her variety of wretchedness forms such a picture of the way in which Vice rewards her votaries, as ought to warn the young and inexperienced from entering this path of infamy. The whole story affords a valuable lesson to youth, and proves this great, this important truth, that

A DEVIATION FROM VIRTUE IS A DEPARTURE FROM HAPPINESS.

Sir James Thornhill's opinion of the Harlot's Progress may be inferred from the following circumstance. Mr. Hogarth had without consent married his daughter: Sir James, considering him as an obscure artist, was much displeased with the connexion. To give him a better opinion of his son-in-law, a common friend, one morning, privately conveyed the six pictures of the Harlot's Progress into his drawingroom. The veteran painter eagerly inquired who was the artist; and being told, cried out, " Very well! very well indeed! The man who can paint such pictures as these, can maintain a wife without a portion." This was the remark of the moment; but he afterwards considered the union of his daughter with a man of such abilities an honour to his family, was reconciled, and generous.

In 1735, he published the Rake's Progress. In the last series of prints, Mr. Hogarth delineated, with a master's hand, the miseries attendant upon a female's deviation from virtue. In this, he presents to us the picture of a young man, thoughtless, extravagant, and licentious; and in colours equally impressive, paints the destructive consequences of his wicked conduct. In the first plate we see him refuse his promised hand to a female whom he had seduced. In the fourth, she releases him from the harpy fangs of a bailiff.-She is present at his marriage. In the hope of relieving his distress, she follows him to a prison. The last scene of all, which ends this strange eventful history! is in a madhouse; but in this scene, dreary and horrid as are its accompaniments, wishing to sooth his misery and alleviate his woe, he is attended by the faithful and kind-hearted girl, whom he so basely betrayed. What a return for deceit and desertion! That warm and tender friend, who in the most trying situations retains her enthusiastic fondness, and in every change of fortune

preserves unabated love, ought to be embraced as the first benison of Heaven, the completion of earthly happiness! Let man but draw such a prize in the lottery of life, and glide down the stream of existence with such a partner, and neither the cold averted eye of a summer friend, nor the frowns of an adverse fortune, should ever produce a pang, or excite a murmur.

Southwark Fair. A natural, and highly ludicrous, representation of the plebeian amusements in the year 1733, when the fair was held at the top of Blackman-street, in the Borough, on the open space opposite the wall of the King's Bench Prison, and began yearly a fortnight after Bartholomewtide.

A Midnight Modern Conversation. The company consists of eleven, and on the chimney-piece, floor, and table, are twenty-three empty flasks. These, added to a bottle which the apothecary holds in his hand, prove that this select society have not lost a moment. The overflowing bowl, full goblets, and charged glasses, prove that they think "Tis too early to part," though the dial points to four in the morning! "What have we with day to do?

Sons of care, sons of care, 'twas made for you."

Let us for a moment reflect upon the vice it is intended to satirize; and, considered in a moral point of view, it may have as good an effect as the sight of an intoxicated slave had upon the young men of Sparta: this people sometimes made a slave drunk, that their sons, disgusted by the sight, might avoid the practice.

The distressed Poet. Poor fellow! he is spinning a poem upon Riches. Of their use he probably knows but very little; and of their abuse, if judg meat can be formed from externals, he certainly knows less. Seated upon the side of his bed, without a shirt, but wrapped in an old night-gown, enchanted, impressed, inspired with his subject, while his wife is by the fireside mending that part of his dress in the pockets of which the affluent keep their gold, he is disturbed by a nymph of the Lactarium. Her shrillsounding voice awakes one of the little loves in bed, whose chorus disturbs his meditations. A link of the golden chain is broken! a thought is lost!-to recover it, his hand becomes a substitute for the barber's comb, enraged at the noise, he tortures his head for the

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The sounds terrific, he with horror hears; His fiddle throws aside, and stops his ears." Of the dramatis persona, who perform the vocal parts, the first is a fellow bawling, Dust, ho! Dust, ho! Dust! Next to him, a man bellowing, Flounda,a,a,rs! A milk-maid, in a note pitched at the very top of her voice, is crying, BE LOUW!-a ballad-singer, with a child in her arms, crying-a parrot screaming-on the roof of a house two cats, performing what an amateur of music might perhaps call a bravura duet ;-near them appears, "A sweep, shrill twittering on the chimneytop."

A little French drummer singing to his rub-a-rub, and the agreeable yell of a dog, complete the vocal performers.

OF THE INSTRUMENTAL.

A fellow blowing a horn; a dustman rattling his bell; a paviour, who to every stroke of his rammer adds a loud HAUGH! a man grinding a butcher's cleaver, with such earnestness and force, that it elicits sparks of fire; a dog bark ing; a man piping harsh discords upon a hautboy; a girl whirling a rattle'; a boy beating his drum; another dragging a tile over a rough pavement; the church bells ringing; and men working in a pewterer's shop; conclude the catalogue of this harmonious band. The whole of this bravura scene is admirably represented. A person quaintly enough observed, that it deaf. ens one to look at this print.

Industry and Idleness. Exemplified in the conduct of two fellow-apprentices; as a contrast to an idle and vicious character, who is brought to consequent misery and shame, his fellow-apprentice is depicted moral, attentive, and industrious; and, by regular and natural gradations, attains the highest dignities of the greatest city in Europe. This is making the pencil an instrument in the cause of virtue, holding up the mirror of morality and truth, and shewing the fair

reward of industry and integrity to be happiness, honour, and independence; and the inevitable consequences of idleness and vice, to be poverty, misery, and shame.

O the Roast Beef of Old England! at the Gate of Calais. The thought on which this whimsical print is founded originated in Calais, to which place Mr. Hogarth, accompanied by some of his friends, made an excursion in the year 1747. Ignorant of the cus toms of France, and considering the gate of Calais merely as a piece of ancient architecture, Hogarth began to make a sketch. This was soon observed; he was seized as a spy, who intended to draw a plan of the fortification, and escorted by a file of musqueteers to Mons. le Commandant. His sketch-book was examined leaf by leaf, and found to contain drawings that had not the most distant relation to tactics. Notwithstanding this favourable circumstance, the governor, with great politeness, assured him, that had not a treaty between the nations been actually signed, he should have been under the disagreeable necessity of hanging him upon the ramparts: as it was, he must be permitted the privilege of providing him a few military attendants, who should do themselves the honour of waiting upon him, while he resided in the dominions of the Grand Monarque. Two centinels were then ordered to escort him to his hotel, from thence they conducted him to the vessel; nor did they quit the prisoner, until he was a league from shore; when, seizing him by the shoulders, and spinning him round upon the deck, they said he was now at liberty to pursue his voyage without further molestation. So mortifying an adventure he did not like to hear recited, but has in this print recorded the circumstance which led to it. In one corner he has given a portrait of himself, making the drawing; and, to shew the moment of arrest, the hand of a serjeant is upon his shoulder.

Marriage à la Mode. A young nobleman, for attempting to revenge the violation of his wife's virtue, which be never cherished, is killed by her paramour, who for this murder suffers an ignominious death: and the lady, distracted at the reflexion of having been the cause of their lives terminating in so horrid a manner, makes her own quietus with a dose of laudanum. This is painting to the understanding, ap

pealing to the heart, and making the pencil an advocate in the cause of mo'rality.

Beer Street, and Gin Lane. In the first print we see healthy and happy beings, inhaling copious draughts of a liquor, which seems perfectly congenial to their mental and corporeal powers; in the second, a group of emaciated wretches, who, by swallowing liquid fire, have consumed both.

The March to Finchley. When King George the Second saw this print, his first question was addressed to a nobleman in waiting-" Pray, who is this Hogarth ""A painter, my liege.”"I hate bainting and boetry too! neither the one, nor the other, ever did any good! Does the fellow mean to laugh at my guards ?"—" The picture, and please your Majesty, must undoubtedly be considered a burlesque." "What a Bainter burlesque a soldier? he deserves to be picketed for his insolence! Take his trumpery out of my sight."-The print was returned to the artist, who, completely mortified at such a reception of what he very properly considered as his first work, immediately altered the inscription, inserting instead of the King of England, the King of Prussia, as an encourager of the arts. Notwithstand ing this circumstance, King George the Second, afterwards, in the year 1757, gave Hogarth an appointment with the title of Serjeant Painter to the King of

Great Britain.

Portrait of John Wilkes, Esq. Enraged by the publication of Mr. Wilkes's Portrait, Mr. Charles Churchill wrote a most virulent and vindictive satire, which he entitled an Epistle to William Hogarth. In revenge, Hogarth published a print of The Bruiser, Charles Churchill, once the Reverend, in the character of a Russian Hercules. It represents Mr. Churchill in the character of a bear, hugging a foaming tankard of porter, and, like another Hercules, armed with a knotted club, From the two letters N. B. inscribed on the club, it appears that the painter considered Churchill as a writer in the North Briton; and from the words infamous fallacy, Lye the 1st, 2d, 3d, 4th, &c. on each of the knots, that be also considered him as a poet who did not pay the strictest regard to truth. Hogarth's favourite dog, Trump, is contemptuously treating, and trampling upon, the Epistle to his master.

Before this quarrel ended, Hogarth died, and Churchill survived him but nine days.

In addition to the before-mentioned prints, he also published, the Battle of the Pictures; Sigismunda; Time smoking a Picture; Sleeping Congre galion; the Four Times of the Day; Strolling Actresses dressing in a Barn; Mr. Garrick in the Character of Richard the Third; The Country Inn Yard, or the Stage Coach; Four Stages of Cruelty; Paul before Felix; Moses before Pharoah's Daughter; Four Prints of an Election; the Invasion of France and England; the Cock Pit; Credulity, Superstition, and Fanaticism, a Medley; the Times; the Laughing Audience; the Public Lecture; Rehearsal of the Oratorio of Judith; the Company of Undertakers; Group of Heads; Columbus breaking the Egg; the Five Orders of Periwigs: the Bench; Portrait of Captain Thomas Coram; the Politician; Nine Prints for Don Quixote, &c.; and, last of all, a print entitled,

Finis, or the End. A concluding plate seemed necessary; and we are told, that a few months before he was seized with that malady which deprived society of one of its greatest ornaments, he had in contemplation a LAST ENGRAVING.—, After a dinner, with a few social friends, at his own table, enjoying "The feast of reason, and the flow of soul," the board crowned with wine, and each glass circulating convivial cheerfulness, he was asked, 66 What will be the subject of your next print?"-" THE END OF ALT THINGS!" was his reply." If that should be the case," added one of his friends, "Your business will be finished, for there will be an end of the painter."-With a look that conveyed a consciousness of approaching dissolution, and a deep sigh, he answered, "There will so; and therefore, the sooner my work is done the better."With this impulse, he next day began this plate; and seeming to consider it as A TERMINUS OF HIS FAME, never

turned to the right or left, until he arrived at the end of his journey. The aim of this OMEGA to his own alphabet was two-fold; to bring together every object which denoted the end of time, and throw a ridicule upon the bathos and profundity of the ancient masters.

At one period of his life, Mr. Hogarth commenced author, and published his Analysis of Beauty.

To traverse continents in search of

antique paintings, explore caverns for mutilated sculpture, and measure the proportions of a statue with mathematical precision, was not the boast of William Hogarth. He may be denominated the biographical dramatist of domestic life. The Temple of Nature was his academy, and his topography the map of the human mind.

He frequently drew sketches of heads upon his nail, and when he went home copied them on paper, from whence they were transferred to his plates.

His conversation was lively and cheerful, mixed with a quickness of retort that did not gain him friends. Severe in his satire on those who were present; but of the absent he was usually the advocate; and has sometimes boasted that he never uttered a sentence concerning any man living, that he would not repeat to his face. In the relations of husband, brother, friend, and master, he was kind, generous, sincere, and indulgent. In diet abstemious, but in his hospitalities, though devoid of ostentation, liberal and free

hearted. Not parsimonious, yet frugal, but so comparatively small were the rewards then paid to artists, that, after the labour of a long life, he left a very inconsiderable sum to his widow, with whom he must have received a large portion of what was bequeathed.

Finding his health in a declining state, Hogarth had some years before purchased a small house at Chiswick. To this he retired during the summer months; but so active a mind could never rust in idleness, even there he pursued his profession, and employed the last years of his life in retouching, and superintending some repairs, and alterations, in his plates.

From this place, he, on the 25th October 1764, returned to Leicestersquare; and, though weak and languid, retained his usual flow of spirits; but being, on the same night, taken suddenly ill, died the next day of an aneurism.

His remains were removed to Chiswick, where is erected a plain, but neat, pyramidical monument; of which, the following is a sketch of the north side.

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On the north side, in basso-relievo, are the laurel wreath, rest-stick, pallette with the line of Beauty, pencils, a book inscribed, Analysis of Beauty, a mask, port-folio decorated with oak leaves and acorns, under which are the following admirable lines, by his friend Mr. Garrick.

Farewell, great Painter of Mankind!

Who reach'd the noblest point of art, Whose pictur'd morals charm the Mind, And through the Eye correct the Heart. If genius fire thee, Reader, stay,

If Nature touch thee, drop a tear; If neither move thee, turn away,

For HOGARTH's honour'd dust lies here.

South Side.

HERE LIETH THE BODY OF MRS. ANNE HOGARTH, SISTER, TO WILLIAM HOGARTH, ESQ. SHE DIED AUGUST 13TH, 1771. AGED 70 YEARS.

ALSO THE BODY OF MARY LEWIS, SPINSTER, DIED 25TH MARCH, 1808, AGED 85 YEARS.

East Side.

HERE LIETH THE BODY
OF WILLIAM HOGARTH ESQ.

WHO DIED OCTOBER 26TH, 1764,
AGED 67 YEARS.

MRS. JANE HOGARTH, WIFE OF WILLIAM HOGARTH, ESQ. OBIT 18TH NOVEMBER, 1789. ETAT: 80 YEARS.

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GENTLEMEN OF THE GRAND JURY, CONGRATULATE you and the Isle that we have only five prisoners in the calendar, and the greater part of them would have been tried at the Sessions, if they had fallen before the Assizes. Having from long experience, been acquainted with your knowledge of your duties as Grand Jurymen, I have no occasion to make any particular animadversion upon the crimes upon which the prisoners stand charged; as I can still with truth and much satisfaction, declare, that in the course of the last eighteen years, there has never been a single commitment by the Magistrates, finding of the Grand Jury, or a verdict of a Petty Jury, which has not met with my perfect approbation; and, I can most justly and boldly pronounce, that in the course of that period, with the exception of one Assizes, fewer

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