66 That it was not more liberal, might arise from the old man finding erudition answer little purpose to himself, and knowing that, in a mechanic employment, it is rather a drawback than an assistance. Perhaps Hogarth had not much bias towards what is generally termed learning. "He must," says Mr. Ireland, "have been early attentive to the appearance of the passions, and feeling a strong impulse to attempt their delineation, left "their names and derivations to the profound pedagogue, the accurate grammarian, or more sage and solemn lexicographer. While these “labourers in the forest of science dug for the root, enquired into the "circulation of the sap, and planted brambles and birch round the tree "of knowledge, Hogarth had an higher aim; an ambition to display, in "the true tints of nature, the rugged character of the bark, the varied in"volutions of the branches, and the minute fibres of the leaves." 66 He had certainly an early predilection for the arts; of this his father was convinced, and therefore placed him with an engraver. Engraving on silver plate seemed likely to afford a permanent subsistence, required some taste for drawing, and had a remote alliance with the arts. Without much hesitation, he was apprenticed to a Mr. Ellis Gamble, a silversmith, in Cranbourn Alley, Leicester Fields. This vender of plate had two or three rare artizans, whose employment was to engrave cyphers, and armorial symbols, not only on the articles their master sold, but on others that he might be employed to mark in silver or other metals. In the attic story of this school of science, it may be fairly conjectured his first essays were the initials on tea-spoons; the mystery of cyphering was doubtless the next object of his attention: heraldic monsters, as hydras, dragons, and gorgons, to embellish massy tankards, and ponderous two-handed cups, he was afterwards instructed to delineate; but tired of the brood that people the fields of heraldry, he listened to the voice of genius, which whispered him to " read the mind's "construction in the face, to study and delineate MAN.” The first token of his turn for the satirical was, a representation of a fray at a public house in the environs of London. The scene was so truly ridiculous as to attract the young Tyro's notice; he seized his pencil, drew his first group of portraits from the life, and gave with such a strong resemblance of each, such a grotesque variety of character as evades all description. The loss of this coup d'essai is much to be regretted. At the expiration of his apprenticeship, he bade adieu to lions, unicorns, and dragons, and endeavoured to attain such knowledge of drawing as would enable him to delineate the human figure, and transfer his burin from silver to copper-plate. In this attempt he had many difficulties to encounter: engraving on copper was on so different a principle from that of silver, that he found it necessary to unlearn what he had already learned. In his first efforts he had little more assistance than could be acquired by casual communications, or imitating the works of others: those of Callot are said to have been his first models; and shop-bills were his first performances. That a young artist, just emancipated from the obscurity of a silversmith's garret, should be for a time unknown, we naturally suppose; but exalted talents like his soon became noticed and encouraged. He complimented Sir James Thornhill, by ridiculing his rival; and soon after, without the formal ceremony of asking consent, took his daughter to wife. The knight was at first offended at this smuggled union, but a reconciliation speedily took place. The Harlot's Progress, published by Hogarth, in 1734, established his character as a painter of domestic history. When his wife's father saw the designs, their originality of idea, regularity of narration, and fidelity of scenery, convinced him that such talents would force themselves into notice, and, when known, must be distinguished and patronized. But, as Mr. Walpole justly observes, "the history of an artist must be sought in his works;" to those, therefore, we refer our readers for ample information. Hogarth was below the middle size, had a bright penetrating eye, and an air of spirit and vivacity: his conversation was lively and cheerful, mixed with a quickness of retort which sometimes gave offence. Though extremely satirical to his friends who were present, he was generally an advocate for an absent individual, who might occasionally become the subject of conversation; always disdaining the idea of uttering a syllable of any one that he would not avow and repeat to his face. As a husband, brother, friend, and master, he was indulgent, generous, and sincere; and, though frugal, kind and liberal. Mr. Nichols, who cannot be accused of partiality in his favour, says of him, "our artist was liberal, hospitable, "and the most punctual of paymasters." Finding his health declining, Hogarth purchased a house at Chiswick, to which he retired during several of the summer months; but his active disposition would not suffer him to be indolent, he there continued to exercise his professional abilities. On the 25th of October, 1764, he returned to his house in Leicester Square, where he died on the same night, of an aneurism. His remains were removed to Chiswick, where, on a plain neat pyramidical monument, are the following inscriptions: On the front, in basso-relievo, is the comic mask, laurel wreath, rest-sticks, pallette, pencils, a book inscribed Analysis of Beauty, and the following admirable lines, written by his friend Mr. Garrick. Farewell, great painter of mankind, Who reach'd the noblest point of art; 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. C INDUSTRY AND IDLENESS. DESCRIPTION OF PLATE I. THE FELLOW-'PRENTICES AT THEIR LOOMS. PROVERBS, CHAPTER XXIII. VERSE 21. "The drunkard shall come to Poverty, and drowsiness shall cloath a man with rags.” THE above text is a judicious illustration of the Painter's design, in the first representation of the IDLE 'PRENTICE. All the passages of Scripture, applied to the different scenes in this Set of Engravings, were selected for Mr. Hogarth by his friend the Reverend Mr. Arnold King. The text applied to the industry of the amiable contrasted character, is well chosen : 66 PROVERBS, CHAPTER X. VERSE 4. The following description of Hogarth's design is copied from his own hand-writing: " Industry and Idleness exemplified in the conduct of two "Fellow 'Prentices; where the one by taking good courses, and pursuing points for which he was put apprentice, becomes a valuable man, and an ornament to his country: the other, by giving way to idleness, na"turally falls into poverty, and ends fatally, as is expressed in the last "print.-Lest any print should be mistaken, the description of each is engraved at top." 66 The two heroes of our history are first introduced to us at the looms of |