must at the same time be allowed that there is some latitude in this respect, since they admit of so many various interpretations, more perhaps than the Artist himself had any idea of, each person explaining them his own way.

Independently of the principal interest and satire of his plates, Hogarth abounds in sly, and apparently unintended traits of humour; there is such a prodigality of wit in his compositions, that they afford a varied and inexhaustible fund of interest. As instances of this bye-play-this redundancy of his spirit-may be mentioned, Crebillon's novel of the "Sopha," significantly thrown upon the piece of furniture of that name in the Countess's Dressing-room in Marriage-à-la-mode-the picture of St. Luke in the 5th plate of the same series-the Goose flying over the Member's Head, in the Chairing scene-the Halfpenny nailed up in Bedlam-the Prelate killing Time at a Masquerade-and, the Strolling Actresses, passim. Not even a piece of paper, however apparently insignificant, was suffered to be idle, but such little scraps were made to contribute some stroke of satire or of wit-thus, such inscriptions as "Freeman's Best," and "Kirton's Best," with many other similar instances, will be found on examination to possess a significancy that bestows on them a value and importance.

Even a motto in Hogarth is replete with as much drollery and humour, as an entire page in many an author, to whom, nevertheless, dulness is not to be imputed. What, for example, can be happier than that which he has selected for the "Undertakers' Arms "—" Et Plurima Mortis Imago?" Independently, too, of their own positive merits, his prints would possess no inconsiderable value, were it only for

recording so faithfully the manners and the fashions of the age to which they belong; and for preserving the likenesses of many contemporary characters,- that too more expressively than would have been done by mere portraits. If he sometimes exceeds the limits of propriety, it is where he introduces too many accessaries and details to be either consistent with probability, or advantageous to the general effect, the composition being thereby crowded, and frittered away. In this respect, some of his pieces require a certain degree of conventional concession on the part of the spectator, that he will overlook this species of improbability, and rather regard such subjects as generalities, and as delineations of classes of events, than as the representations of individual incidents. Examples of this occur in the "Stages of Cruelty," "Gin Lane," &c. where circumstances are crowded together in the most improbable manner.

With regard to the mechanical execution of his Engravings, it is by no means of a superior description, for Hogarth seems to have been less solicitous to captivate the eye, than to inform the mind, and to depict in a forcible and energetic manner the follies which he exposed to derision-the vices which he held forth to abhorrence. But in estimating his merits and his deficiencies in this respect, it behoves us to take into account the wretched state of the Arts at the time when he flourished, and the extraordinary progress which those of Engraving and Design have since made. There is now a certain general air of elegance displayed in the most common-place prints, and in the productions of very moderate Artists, that forms a striking contrast with those of sixty or seventy years ago. Such book-embellishments as those designed by Hogarth for Milton and Don

Quixote, would not now be tolerated. It is, indeed, somewhat remarkable that his subjects from Hudibras, Don Quixote, and Tristram Shandy-works which we might suppose would have been illustrated by him in the happiest manner, as productions most consonant to his own particular bent of genius, dissappoint us when compared with his original compositions; they have, in short, nothing of that raciness and generous flavour which springs from immediate inspiration. It is not so extraordinary that he should have completely failed in embodying the sublime conceptions of Milton, as that he should have attempted what was so diametrically opposite to his talent, and what must baffle the utmost powers of Painting.

Before concluding, it may not be improper briefly to advert to our Artist's predilection for Alterations. In some of his plates these are considerable, and of an important nature; for, like all men of genius, the fertility of his mind continually created new ideas. Such discrepancies, therefore, in many instances between the early and later impressions from the same copper, should not induce any one to suppose that the altered engravings are spurious copies, since the variations were made by Hogarth himself, who frequently, after a very few impressions had been taken from a plate, effaced some parts, and substituted others. Of course the scarce impressions taken from the plate in its first state, are highly prized by curious collectors, not for any greater intrinsic merit they possess, but in consequence of the incidental and adventitious value conferred upon them by their rarity.

That the Works of such a man as William Hogarth should have obtained universal approbation, and be held in venera

158 GENIUS AND WORKS OF HOGARTH.

tion by his countrymen, as reflecting honour on his native land, is most natural; yet, in some instances, admiration and zeal seem to have overstepped their due bounds. To affect to discern something valuable in all his minor productions is somewhat indiscreet; for, like other men of genius, he occasionally produced what would never have been worth either preserving or recording, had it not been for the association of his name; and what is considered to be as the dross, not the sterling metal of his genius. Much, however, is pardonable to that curiosity respecting an eminent individual, which induces us to examine every thing connected with him, although even certain of not meeting with any thing to increase our admiration.

Hogarth was one of those Great Men, whose works are destined to survive all the changes of taste, and all the caprices of fashion for valuable and interesting as they would be, did they do no more than preserve a faithful picture of contemporary manners, they are to be still more highly estimated, for containing those strokes of Nature, and of genuine Wit, that are intelligible in every country, and in every age. In dignity of subject, in grandeur of composition, in the technical beauties of execution, in design, in chiaro-scuro, in exactness of imitation, in elegance, and in gracefulness, Hogarth has been excelled by several; but no Artist has ever yet produced works that rival, in expression and in character, those of the great Ethic Painter, of whom England is so justly proud :-works that will always continue to be admired in proportion to the care with which they are studied.

159

CHRONOLOGICAL CATALOGUE

OF

HOGARTH'S PRINTS;

WITH AN ACCOUNT OF THE

VARIATIONS AND PRINCIPAL COPIES.

The articles marked with the initial [B.] are included in Baldwin's Edition of "The Genuine Works of Hogarth," folio, 1822; -of those marked with [N.] there are reduced copies in Nichols's "Works of Hogarth," in 3 vols. 4to. ;-of those marked with [M.] there are reduced copies in Major's Edition of "Trusler's Hogarth Moralized;"—and of those marked with [s.1.] there are copies in Samuel Ireland's "Graphic Illustrations of Hogarth."

About 1717.

[s.I.] "The Rape of the Lock."

"Sir Plume, of amber snuff-box justly vain,
And the nice conduct of a clouded cane,
With earnest eyes and round unthinking face,
He first the snuff-box open'd, then the case,

And thus broke out-'My Lord! why, what the devil?
'Z-ds! d-n the Lock !-'fore Gad, you must be civil!
Plague on't! 'tis past a jest-nay, prithee, pox!

Give her the hair ;'—he spoke and rapp'd his box.” POPE.