a physician, of St. Alban's, who attended Lovat while he rested there. Mr. Rodd states, in his Catalogue: "The short stay of Lord Lovat at St. Alban's, allowed the artist but scanty opportunity of providing the materials for a complete picture; hence some carpenter was employed on the instant to glue together some deal-board, and plane one side, which is evident from the back being in the usual rough state in which the plank leaves the saw-pit. The painting, from the thinness of the priming ground, bears evident proof of the haste with which the portrait was accomplished. In the upper corner are satirical heraldic insignia, allusive to the artist's idea of his future destiny." This picture is engraved in Hone's Table Book, vol. i. p. 238. It should here be stated that Nichols says: "Hogarth met Lord Lovat at Barnet," not St. Alban's.

Hogarth etched Lovat's portrait in aquafortis. When the plate was finished, a print-seller offered its weight in gold for it. The second impressions are marked, Price One Shilling. The impressions could not be taken off fast enough to meet the demand, though the rolling-press was at work all night for a week together: it produced at the rate of about twelve pounds per day for several weeks.

HOGARTH FIRST SEES DR. JOHNSON.

Johnson was a frequent visitor at the house of Richardson, the novelist, in Salisbury-court,* Fleet-street, whither, one day, came Hogarth, soon after the execution of Dr. Cameron, for having taken arms for the house of Stuart, in 1745-6; and being a warm partisan of George the Second, he observed to Richardson, that certainly there must have been some very unfavourable circumstances lately discovered in this particular case, which had induced the King to approve of an execution for rebellion so long after the time when it was committed, as this had the appearance of putting a man to death in cold blood, and was very unlike his Majesty's usual clemency. While he was talking, he perceived a person standing at a window in the room, shaking his head, and rolling himself

*In Salisbury-court (now square,) Richardson wrote his Pamela, and printed his own novels; his printing-office being at the top of the court, now No. 76, Fleet-street. Goldsmith was once Richardson's "reader." Richardson was visited here by Hogarth, Dr. Johnson, Dr. Young: Secker, Archbishop of Canterbury; and Mrs. Barbauld, when a playful child. Curiosities of London, p. 306.

about in a very ridiculous manner. He concluded that he was an idiot, whom his relations had put under the care of Mr. Richardson, as a very good man. To his great surprise, however, this figure stalked forward, to where he and Mr. Richardson were sitting, and all at once took up the argument, bursting out into an invective against George the Second, as one who, upon all occasions, was unrelenting and barbarous : mentioning many instances; particularly that when an officer of high rank had been acquitted by a court-martial, George the Second had with his own hand struck his name off the list. In short, he displayed such a power of eloquence, that Hogarth looked at him with astonishment, and actually imagined that this idiot had been at the moment inspired. Neither Hogarth nor Johnson were made known to each other at this interview.

"INDUSTRY AND IDLENESS."

In 1747, Hogarth gave to the world his twelve Plates alternating the results of Industry and Idleness, exemplified in the lives of two City Apprentices. He had been an apprentice himself, and knew from experience how hard it is to climb the ladder of life. Hogarth's own account of these prints is as follows:

*

Industry and Idleness, exemplified in the conduct of two fellowprentices; where the one boy taking good courses, and pursuing those points for which he was put apprentice, becomes a valuable man and ornament to his country; whilst the other, giving way to idleness, naturally falls into poverty, and most commonly ends fatally, as is expressed in the last print. As these prints were intended more for use than ornament, they were done in a way that might bring them within the purchase of those whom they might most concern; and lest any part should be mistaken, a description of each print is engraved thereon These twelve prints were calculated for the instruction of young people, and everything addressed to them is fully described in words as well as figures; yet to foreigners a translation of the mottoes, the intention of the story, and some little description of each print may be necessary. To this may be added a slight account of our customs, as boys being usually bound for seven years, &c. Suppose the whole story was made into a kind of tale, describing in episode the nature of a night-cellar, a marrow-bone concert, a Lord Mayor's show, &c. These prints I have found sell much more rapidly at Christmas than at any other season.*

The hint for this series of prints, (says Nichols,) was evidently taken from the old comedy of Eastward Hoe, by Jonson,

* In 1851, the Christmas pantomime at Drury-lane Theatre was Harlequin Hogarth; or the Two London 'Prentices.

Chapman, and Marston, reprinted in Dodsley's collection of Old Plays.

Walpole considers that these plates have more merit in their intention than their execution; but he allows that the scenes of Bedlam and the gaming-house are inimitable representations of our serious follies, or unavoidable woes; the concern shown by the Lord Mayor, when the companion of his childhood is brought before him as a criminal, is a touching picture, and big with humane admonition and reflection.

Hogarth's clever suggestion that the story of the two Apprentices should be wrought into a tale, does not appear to have been worked out; but in the following year appeared an explanation of the Moral of these Prints, sold for one shilling, at Addison's Head, in Fleet-street, and described in the titlepage as "a more proper present to be given to the Chamber of London, at the binding and enrolling an apprentice, than any other book whatever."

There are several portraits in these Plates. In Plate 1 is a figure of Philip in the Tub, a well-known beggar and cripple, who was a constant epithalamist at weddings in London. In Plate 8, the scene is Fishmongers' Hall, and the clergyman over his soup is Mr. Platell, curate of Barnet. In Plate 11 is Tiddy Doll, the well-known vendor of gingerbread. All the passages of Scripture applicable to the different scenes were selected for Hogarth by his friend, the Rev. Arnold King.

9. A scene in the Blood Bowl-house, in Chick-lane, West Smithfield, a notorious haunt of thieves and prostitutes: it was subsequently "the Red Lion tavern," and looked over the open Fleet-ditch: it remained true to Hogarth's picture until 1844, when it was demolished, in forming the new Victoria-street. Nichols, however, tells us that "Blood Bowlhouse, where seldom passed a month without the commission of a murder," was in Blood Bowl-alley, down by the fishmonger's, near Water-lane, Fleet-street.

5. Cuckolds' Point, on the Rotherhithe bank of the Thames. "That's what you'll come to, my friend," says a waterman to the Idle Apprentice, pointing at the same time to a pirate hanging in chains near Executiondock. The reply of the Idle Apprentice is he holds two of his fingers to his forehead by way of horns-" Cuckolds' Point, you

12. The City Procession on Lord Mayor's Day entering Cheapsidethe seats erected on the occasion and the canopied balcony at Saddlers' Hall, hung with tapestry, containing Frederick Prince of Wales, and his Princess, as spectators of the same. The state coach is the predecessor of the present civic coach.

In the Collection at Strawberry Hill were the studies with the pen, and worked with India-ink, for these Prints, which in many instances differ from them.

Some very appropriate use has been made of the Industry

and Idleness plates. Thus, in the Chamberlain's Office, at the Guildhall of London, in the very room where City apprentices sign their indentures, suggestively hangs a set of fine impressions of Hogarth's speaking plates. Their good seed has been extended to schools. Mr. John Adams, the schoolmaster, of Edmonton, had a set of these prints framed and hung up in the school-room; and once a month, after reading a lecture upon their examples of vice and virtue, Adams rewarded those boys who had conducted themselves well, and caned those who had behaved ill.

THE GATE OF CALAIS, AND THE ROAST BEEF OF OLD ENGLAND.

Soon after the peace of Aix-la-Chapelle, Hogarth paid a visit to France: his impressions on landing he tells in his own natural way. "The first time an Englishman goes from Dover to Calais, he must be struck with the different face of things at so little a distance. A farcical pomp of war, pompous parade of religion, and much bustle with very little business. To sum up all, poverty, slavery, and innate insolence, covered with an affectation of politeness, give you even here a true picture of the manners of the whole nation; nor are the priests less opposite to those of Dover, than the two shores. The friars are dirty, sleek, and solemn; the soldiery are lean, ragged, and tawdry; and as to the fish-women, their faces are absolute leather.

"As I was sauntering about, and observing them near the gate, which it seems was built by the English, when the place was in our possession, I remarked some appearance of the arms of England on the front. By this and idle curiosity, I was prompted to make a sketch of it, which being observed, I was taken into custody; but not attempting to conceal any of my sketches or memorandums, which were found to be merely those of a painter for his private use, without any relation to fortification, it was not thought necessary to send me back to Paris.* I was only closely confined to my own lodgings till the wind changed for England."

Walpole thus chronicles this incident in a letter to Sir Horace Mann, dated Dec. 15, 1748: "Hogarth has run a great risk since the Peace; he went to France, and was so imprudent as to be taking a sketch of the drawbridge at Calais. He was seized and carried to the governor, where he was forced to prove his vocation by producing several caricatures of the French, particularly a scene of the shore, with an im

* It has been said that Hogarth never went further into France than Calais; this proves he had reached Paris.-J. Ireland.

mense piece of beef landing for the Lion d'Argent, the English inn at Calais, and several hungry friars following it. They were much diverted with his drawings, and dismissed him." This is not quite correct; for, when the wind suited, he was put on board in a manner calculated to embitter his feelings. Two guards accompanied him, and after having insolently twirled him round and round like a top, on the deck, told him he might proceed on his voyage without further molestation. He arrived at Dover deeply incensed; he then proceeded to the house of his friend, Mr. Gostling, at Canterbury, where he slept that night.

From the evidence of Hayman, the painter, and Cheere, the sculptor, who accompanied Hogarth to France, his conduct, while there, was very indiscreet. He was dissatisfied with all he saw; was clamorously rude in the streets.

A tattered

bag, or a pair of silk stockings with holes in them, drew from him a torrent of imprudent observation: he was advised to be more cautious, but he laughed at such admonition, and treated the offerer of it as unworthy of residence in a free country.

Hogarth had no sooner reached home than he set about avenging the affront which had been offered to him,-by a design which he called "The Roast Beef of Old England." Walpole observes that in this piece, though it has great merit, "the caricatura is carried to excess ;" it is certainly not one of his happiest productions. The gate of Calais is the background. A lean French cook appears staggering under the weight of a vast piece of roast beef, while two soldiers bear off a great kettle of soup maigre, the painter in these two dishes characterising the two countries. A well-fed monk looks longingly at the beef; and a melancholy and miserable Highlander browsing on a bit of bread and an onion is intended for one of the many that fled from England after the Rebellion of 1745. Hogarth is seated, sketching the scene, and a Frenchman arrests him by laying his hand on his shoulder; the likeness is good, and was afterwards copied for watch-papers. Pine, the engraver, sat for the fat friar, and received from that circumstance the name of “Friar Pine," which he retained till his death.* He desired to sit, certainly not with a view to being turned into derision ;" and being much laughed at and annoyed, he strove to prevail on

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* John Pine, who published in 1739 "The Tapestry Hangings of the House of Lords," which, nearly a century after, were destroyed by fire.