74. Tailpiece to his works. Another satire on dealers in dark pictures.*

Prints from Hogarth published since Mr. Nichols's list was printed.

Debates in Palmistry. Etched by Haynes from designs in the possession of Mr. S. Ireland. Henry Fox Lord Holland: and

James Caulfield Earl of Charlemont. By ditto from ditto.

The Shrimp-girl, a head, by Bartolozzi.

Two plates of Taylor, the boxer, wrestling with Death; by Livesay.

Mr. Benjamin Read Mr. Gabriel Hunt. Hogarth; by ditto.

and

Members of a club with

1762. The second remained after his death in Mrs. Hogarth's hands. It is supposed that Hogarth was employed by Lord Bute's administration to publish this caricature of the opposition to the peace, then meditated. The second part is in the collection made by C. Rogers, Esq.]

• On this print which he called Finis, and represents the destruction of all things, the following epigram, ascribed to Charles Churchill the poet, was printed in the General Advertiser in 1778, from the Muse's Mirrour;

On Hogarth's print of Bathos, or the Art of Sinking
in Painting.

All must old Hogarth's gratitude declare,

Since he has nam'd old Chaos for his heir;

And whilst his works hang round the Anarch's throne,

The connoisseurs will take them for his own.

Nine prints to Hogarth's Tour, from drawings by Hogarth and Scott; by ditto.*

These last fourteen prints were published by subscription by Mrs. Hogarth, in April 1782. Some few copies of the Tour were printed by Mr. Nichols in the preceding year. It was a party of pleasure down the river into Kent undertaken by Mr. Hogarth, Mr. Scott, and three of their friends, in which they intended to have more humour than they accomplished, as is commonly the case in such meditated attempts. The Tour was described in verse by one of the company, and the drawings executed by the two painters, but with little merit, except in the views taken by Mr. Scott.

Hogarth, in his portrait-conversations, was imitated by Phillips, a young man, who acquired great business. He was son of a painter in oil, who died in 1741, aged about sixty. The son died much younger.

*

[" "An account of what seemed most remarkable in five days peregrination of the five following persons, viz. Messieurs Tothall, Scott, Hogarth, Thornhill and Forrest. Begun on Saturday May 27, 1732, and finished the 31st of the same month, London, printed for R. Livesay, 1782, oblong 4to. nine plates." This diary was turned into verse upon the model of Swift, and its main humour depends upon descriptions of such incidents as those, in which he delighted. These five gentlemen were probably much pleased in their tour, which was from Blackwall to Dover, " curis expediti ;"—and much more than their readers, by the detail.]

REMARKS.

It is very probable that there was no collection of Hogarth's works, at the time when these volumes first appeared, equal to that which Mr. W. had made. But a much more complete series has been since collected and dispersed by several auctions. His own, and that of Mr. C. Rogers, remain as they were left; and the King's is preserved in the Royal Library.

It must be allowed, and with regret, that Hogarth was induced to descend from the high station to which his works had elevated him as a MORALIST, although in two instances onlywhen he yielded to the order of a profligate nobleman, to paint for him, two licentious pictures; which were afterwards engraved-and when he sacrificed a firm friendship to the prospect only of being patronised by the premier of the day.

CHAPTER V.

Painters in Enamel and Miniature, Statuaries, and Medallists, in the Reign of George II. JOHN STEPHEN LIOTARD,

OF Geneva,* came over in the last reign, and stayed two years. He painted admirably well in miniature, and finely in enamel, though he seldom

* He was born in 1702, and was designed for a merchant. He went to study at Paris in 1725, and in 1738 accompanied the Marquis de Puisieux to Rome, who was going ambassador to Naples. At Rome he was taken notice of by the Earls of Sandwich and Besborough, then Lord Duncannon, who engaged Liotard to go with them on a voyage to Constantinople. See Museum Florent. vol. X. where Lord Duncannon's name is spelt milord D'un Canon.

practised it. But he is best known by his works in crayons. His likenesses were as exact as possible, and too like to please those who sat to him; thus he had great business the first year, and very little the second. Devoid of imagination, and one would think of memory, he could render nothing but what he saw before his eyes. Freckles, marks of the small-pox, every thing found its place; not so much from fidelity, as because he could not conceive the absence of any thing that appeared to him.* Truth prevailed in all his works, grace in very few or none. Nor was there any ease in his outline; but the stiffness of a bust in all his portraits. Thence, though more faithful to a likeness, his heads want air and the softness of flesh, so conspicuous in Rosalba's pictures.* Her bodies have a different fault; she gave to men an effeminate protuberance about the breasts; yet her pictures have much more genius. The Earls of Harrington and Besborough have some of his most capital works. At Constantinople he became acquainted with the late Lord Edgcumbe,

[Hogarth has introduced him, in several instances, alluding to this want of genius.]

+ [Rosalba Carriera of Venice, an artist of singular talents for portraits, drawn in crayons.]

The Earl of Sefton has purchased those that were in the collection of the late Lord Harrington; one represents Mademoiselle Gaucher, mistress of W. Anne Earl of Albemarle, in a Turkish dress, sitting: the other, a lady at breakfast and her maid.