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engraved by M'Ardell : a brilliant proof of this head, (says J. T. Smith,) in its finest possible condition, in my humble opinion surpasses anything in mezzotinto now extant." Sir Joshua Reynolds said that M'Ardell's prints would immortalize him, and that they would perpetuate his (Sir Joshua's) pictures when their colours should be faded and forgotten.

Hogarth says of this work: "The portrait which I painted with most pleasure, and in which I particularly wished to excel, was that of Captain Coram for the Foundling Hospital; and," (he adds in allusion to his detractors as a portraitpainter,) "if I am so wretched an artist as my enemies assert, it is somewhat strange that this, which was one of the first I painted the size of life, should stand the test of twenty years' competition, and be generally thought the best portrait in the place, notwithstanding the first painters in the kingdom exerted all their talents to vie with it." *

In 1741, when the Governors opened their house in Hatton Garden, near the Charity School, Hogarth painted an emblematic shield, which was put up over the doorway: this sign has not been preserved, but it is thought to have been of similar character, if not actually the same, as the Arms of the Hospital presented to the Governors, by the Authorities of the Heralds' College, in 1747, and stated to have been designed by Hogarth: it is technically described as follows:

"Party per fesse, Azure and Vert," a young child lying naked, and exposed, extending its right hand proper. In chief a Crescent Argent between two Mullets of six points Or; and for a Crest on a Wreath of the Colours, a Lamb Argent, holding in its mouth a Sprig of Thyme proper, supported on the dexter side by a terminal figure of a Woman full of Nipples proper, with a Mantle Vert, the term Argent being the emblem of Liberty, represented by Britannia holding in her right hand upon a staff proper, a Cap Argent, and habited in a Vert Azure, girt with belt Or, the under garment Gules." Motto, "Help."

The idea of embellishing the walls of the new Hospital originated with Hogarth, associated with Ryebrack the sculptor, Zincke the enameller, and Jacobson the architect, as a Committee, to meet annually on the 5th of November. Among the painters who presented pictures were Hayman, Wills,

* The rival portraits here alluded to, are George the Second, Patron of the Foundation, by Shackleton; Lord Dartmouth, one of the VicePresidents, by Mr. Reynolds (afterwards Sir Joshua); Taylor White, Treasurer of the Hospital, in crayons, by Cotes; Mr. Milner and Mr. Jacobson, by Hudson; Dr. Mead, by Ramsay; Mr. Emmerson, by Highmore; and Francis Fanquier, by Wilson.

Highmore, Hudson, Ramsay, Lambert, Wilson, Pyne, &c. The Committee meetings grew into an annual dinner at the Hospital, at which the leading artists and patrons of the arts were usually present. Meanwhile the donations in paintings provided an attractive exhibition: a visit to the Foundling became a fashionable morning lounge in the reign of George II.; and the pictures to this day represent the state of British art previously to the epoch when George III. first countenanced the historical talent of West; and the éclat thus excited in favour of the Arts suggested the annual exhibition of the united Artists, which was the precursor of the Royal Academy.

Hogarth was not only the principal contributor, but the leader of his brother artists in all that related to the embellishment of the Hospital. On May 1st, 1750, the subscription for his picture of The March to Finchley being closed, and 1,843 chances subscribed for, Hogarth gave the remaining 167 chances to the Hospital, and the fortunate number for the picture being among these tickets, the prize picture was delivered to the Governors, and to this day hangs in the Committee-room. It is related in the Gentleman's Magazine, that "a Lady was the possessor of the fortunate number, and intended to present it to the Foundling Hospital; but that some person having suggested that a door would be opened to scandal, were any of her sex to make such a present, it was given to Hogarth, on the condition that it should be presented in his own name.”

Hogarth next presented his picture of Moses before Pharaoh's Daughter, which he painted for the Hospital, according to a conjoint agreement between Hayman, Highmore, Wills, and himself, that they should each fill up one of the compartments of the court-room with pictures uniform in size, and of appropriate subjects from Scripture. The Hospital thus received from Hogarth a picture in each of the styles of painting which he had attempted.

It is singular that Hogarth, who, throughout his life, had uniformly opposed the establishment of a Public Academy of Arts, should, by encouraging and concentrating at the Foundling Hospital an exhibition of the works of British artists, have himself promoted the consummation of the object which he had all along deprecated.

Charles Lamb has remarked that Hogarth seemed to take particular delight in children; and that this characteristic was

not the mere ideality of a painter, but emanated from his generous heart, is proved by the following circumstance. It was the practice of the Hospital to nurse the infant children of the establishment in the country; and in or about 1760, the Governors, at the request of Hogarth, sent several of the poor infants to Chiswick, where the painter resided, he engaging, along with Mrs. Hogarth, to see them properly taken care of; and the annexed is a copy of his bill for the maintenance and clothing of two of these children, who were returned to the Hospital by Mrs. Hogarth, at her husband's death in 1764:

FOUNDLING HOSPITAL.

Paid by Mr. Wm. Hogarth for the nursing of Susan Wyndham and Mary Woolaston from the 30th October, 1760, to the 1st of October, 1762, twelve pounds-and for their shoes and stockings six shillings and sixpence.

Total 127. 68. 6d.

Recd the contents pr Wm Hogarth.

Hogarth was associated with John Wilkes in the same work of benevolence at the Foundling Hospital, and frequently met him at the same board as Governors; but after the quarrel between them, they ceased to attend in their places, as if each was afraid of meeting the other, even within the walls of Charity herself."

"THE MARCH TO FINCHLEY."

This celebrated picture hangs in the Committee-room of the Foundling Hospital. In the eomposition, Hogarth supposes the approach of Prince Charles, in the fatal 'Fortyfive, to summon the heroes of London to the field; and the character of the contest is expressed in the central group of the composition, where a handsome young grenadier stands, in ludicrous indecision, between his Catholic and Protestant doxies.

The scene is laid at Tottenham Court turnpike; the King's Head, Adam and Eve, and turnpike-house, in full view; beyond which are discovered parties of the Guards, with baggage, &c., marching towards Highgate-and a beautiful prospect of the country; the sky finely painted. The picture, considered together, affords a view of a military march; but the rear, in its confusion, is the humorous foreground. Very minute accounts of this painting were written by Mr. Justice Welsh, the intimate friend and companion of Hogarth; and by Mr. Bonnell Thornton, the well-known Essayist. These

are much too long for quotation; but we may notice that a baggage-waggon, with its load of women, babies, knapsacks, and camp-kettles-accompanied by disorderly soldiers, their wives, children, and sweethearts-occupy the middle way. The episodal groupes are very effective. Among the characters is the gentleman encouraging the boxers: this is Lord Albemarle Bertie. A little looker-on, with clenched fists, is Jockey James, a frequent attendant on boxing-matches. The pieman, grenadier, chimney-sweep, and fifer, are said to be portraits the latter was noticed by the Duke of Cumberland, and was promoted to a pair of colours.

:

The painting was disposed of by a lottery, as already described. It was engraved in 1750 by Luke Sullivan: a finished print, in 1825, was sold for 367. 15s.

This print of English soldiery is oddly dedicated to the King of Prussia. Before publication it was inscribed to George II., and the print was taken to St. James's Palace, for royal approbation. But the King expected a much more heroic scene, and could not appreciate the painter's humour. His first question addressed to the lord in waiting was— "Pray, who is this Hogarth?" "A painter, your majesty." "I hate bainting and boetry! Neither the one nor the other ever did any good! Does the fellow mean to laugh at my Guards?" "The picture, an' please your majesty, must undoubtedly be considered as 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, mortified at such a reception of what he justly considered his principal work, immediately altered the inscription, inserting, instead of the King of England, the King of Prussia, an encourager of the arts and sciences!

It was then objected that an English print should be inscribed to a foreign potentate, when Hogarth replied, "We'll soon remedy that," and directed the printer to take off a few impressions, covering the dedication with fan-paper. John Ireland received three of these impressions without the dedication, from Mrs. Lewis, who, at the time of their being taken, and until Mrs. Hogarth's death, lived with her in Leicestersquare.

A description of the original picture was published soon after it was granted: it opened with this sly shaft at the old masters :

E

"As you desire my sentiments on Mr. Hogarth's Picture, I shall begin with pointing out what is most defective. Its first and greatest Fault then is its being too new, and having too great a resemblance to the Objects it represents; if this appears a Paradox, you ought to take particular care of confessing it. This Picture has got too much of that Lustre, of that despicable Freshness which we discover in Nature, and which is never seen in the Cabinets of the Curious. Time has not yet obscured it with that venerable Smoak, that sacred cloud, which will one day conceal it from the profane eyes of the Vulgar, that its beauties may only be seen by those who are initiated into the Mysteries of Art. These are its most remarkable faults, and I am now going to give you an idea of the subject, &c. Mr. Hogarth, who lets no opportunity escape him of observing the Pictorial Scenes which numerous Assemblies frequently furnish, has not failed to represent them on the Spot where he has drawn the scene of his Picture. The Painter is remarkable for a particular sagacity in seizing a thousand little circumstances which escape the observation of the greatest part of the Spectators; and it is a Collection of a Number of these Circumstances which has composed, enriched, and diversified his work. The scene is placed," &c.

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Time

A visit to the Foundling Hospital will enable the reader to compare the picture as it now is, with this criticism upon its merits when it was fresh from the master's easel. has dealt gently with this fine work, for Hogarth painted with a safer medium than that used by his immediate successors; but he still is quietly engaged in the process of "smoking," which the critic has anticipated, and the painter himself, in one of his well-known subjects, symbolised.

PORTRAIT OF LORD LOVAT.

This Rebel Lord of 1745 was painted by Hogarth, who also engraved some small prints of Lovat's trial. He was a man of parts, but of infamous character. He had the folly, at the age of eighty, to enter into the Rebellion, upon a promise from the Pretender, that he would make him Duke of Fraser. He was taken in Scotland, and brought to London to be tried. Hogarth met Lovat at St. Alban's, where he rested two or three days: here Hogarth certainly drew his portrait. "I took this likeness," said he, "when Simon Fraser was relating on his fingers the numbers of the rebel forcessuch a chieftain had so many men, &c. He received me with much cordiality-embraced me when I entered, and kissed me, though he was under the hands of the barber. muscles of his neck appeared of unusual strength-more so than I had ever seen.'

The

In 1827, Mr. Horatio Rodd had on sale a portrait of Lord Lovat, 30 in. by 25, which was brought from Dr. Webster,