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 the victors to Wigan, Warrington, Winwick, and Frodsham, where seven regiments of foot laid down their arms. When Cromwell invaded Scotland in 1650, Hodgson, whose regiment was now commanded by Lambert, took part in the campaign. His description of the battle of Dunbar is the most valuable portion of his ‘Autobiography.’ After Dunbar Hodgson was given the command of a company in Cromwell's regiment of foot, which was sent into Lancashire to assist Colonel Lilburn against the Earl of Derby. Though he did not arrive until after Derby's defeat, his regiment helped to intercept the flight of the Scots after Worcester, and took part in the capture of the Isle of Man (1651). After Cromwell became protector Hodgson wished to leave the army, and the Protector, to enable him to be near his family, removed him into Lambert's regiment of horse as a lieutenant. When the army was reorganised by the parliament in 1659, Hodgson was transferred to the regiment of Colonel Saunders, with the same rank (Commons' Journals, vii. 668, 712), and ordered to join Monck's army in Scotland. But he would not fight against his old commander, General Lambert, and delayed till Monck marched into England and his prospects of further employment ended. Two informations against Hodgson are printed in ‘Depositions from York Castle’ (Surtees Soc., pp. 86, 157). Hodgson acquired Coley Hall by lease for fifteen years, 11 April 1657 (Memoirs, p. 8). In the ‘State Papers’ there is an account of a meeting of ‘a hundred fanatics, ministers, and others’ on 3 July 1660 at Coley Hall, the house of Hodgson, called ‘a great fanatic.’ From Coley Hall he removed to Cromwell Bottom, and thence to Ripon in 1680 (ib. p. 16), and is probably the John Hodgson mentioned by Oliver Heywood as dying at Ripon 24 Jan. 1683–4, ætat. 66. The last date in his diary is 11 Jan. 1683–4. He married, 17 April 1646, a lady named Stanclife, and had issue two sons, Timothy and Eleazar, and three daughters: Sarah, who died in infancy; Martha, who died the widow of William Kitchin in 1672, leaving one child, Elizabeth; and Lydia. His ‘Memoirs … touching his conduct in the Civil Wars, and his troubles after the Restoration,’ was first published with Sir Henry Slingsby's ‘Original Memoirs, written during the great Civil War,’ Edinburgh, 1806, 8vo. Prefixed was a notice by Joseph Ritson, who considered that in point of importance, interest, and even pleasantry, Hodgson's narrative was infinitely superior to Defoe's ‘Memoirs of a Cavalier.’ Carlyle styles the author ‘an honest-hearted, pudding-headed Yorkshire puritan.’ A number of fresh notes, some of value, are given in Turner's edition, Brighouse, 1882.

 HODGSON, JOHN (1779–1845), antiquary, son of Isaac Hodgson and Elizabeth, daughter of William Rawes, was born at Swindale, in the parish of Shap, Westmoreland, on 4 Nov. 1779. His father was a stonemason, but the Hodgsons were an old Westmoreland family. The neighbourhood was well supplied with small endowed schools, generally taught by the clergy, and it was the custom in every family for one son to receive a good education with a view to taking holy orders. Accordingly Hodgson studied at the grammar school of Bampton from the age of seven to nineteen. He learned a good deal of classics, mathematics, chemistry, botany, and geology, and acquired an interest in natural history and local antiquities, through his free rambles in the country. His parents were too poor to make a university education possible, and at the age of twenty he had to earn his own livelihood as the master of the village school at Matterdale, near the lake of Ulleswater. There he enjoyed an endowment of 11l. a year, but soon removed to a better school at Stainton, near Penrith. Early in 1801 he was appointed to the school of Sedgefield in the county of Durham, where the endowment was 20l. The rector of Sedgefield, Mr. (afterwards Viscount) Barrington, a nephew of the Bishop of Durham, and his curates showed much kindness to Hodgson, and helped him by the loan of books. He was offered an appointment as director of some ironworks near Newcastle, with a salary of 300l. a year; but he refused this tempting offer on the ground that he wished ‘to pursue a literary rather than a mercantile life.’ In 1802, however, he had the misfortune to fail in an examination for holy orders. This disappointment, combined with ill-health, led him to leave Sedgefield in 1803 for the mastership of the school at Lanchester, near Durham. There in 1804 he succeeded in passing his examination for ordination, and became curate of the chapelries of Esh and Saltley, two hamlets in the parish of Lanchester, where he still kept his school.

A fine Roman camp at Lanchester attracted Hodgson's attention, and led him to make elaborate studies of Roman antiquities. In 1807 he published a little volume, ‘Poems written at Lanchester,’ not without merit; one of them, ‘Langovicum, a Vision,’ is a poetical account of the Roman camp. The volume was accompanied with antiquarian


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 HODGSON, STUDHOLME (1708–1798), field-marshal, stated to have been a Cumberland man, entered the army as ensign 1st foot guards (in Captain Francis Williamson's company) 2 Jan. 1728, became lieutenant and captain in the regiment 3 Feb. 1741, and captain and lieutenant-colonel in 1747 (Home Office Mil. Entry Book, xiii. f. 389, xviii. f. 213, xxi. f. 315). He was a friend of General Oglethorpe, and was aide-de-camp to the Duke of Cumberland at Fontenoy and Culloden. Henry Conway and others of the staff nicknamed him ‘the old boy,’ on account of his long-standing seniority. When a number of new regiments were added to the army in 1756, Hodgson was appointed to raise the regiment originally numbered as the 52nd, afterwards the 50th foot, and now the royal West Kent regiment, the rendezvous of which was at Norwich; in 1757 he commanded a brigade in the Rochfort expedition. He retained the colonelcy of the 52nd until 1759, in which year he became major-general, and was transferred to the colonelcy of the 5th foot. In 1761 he commanded the expedition against Belle Isle. He arrived off Belle Isle on 25 March, and the famous siege was ended, after a most gallant defence, by the surrender of the castle on 7 June 1761. He received high compliments from the king and Pitt for a service which had a decided influence upon the peace negotiations. He was appointed governor of Fort George and Fort Augustus in 1765, and in 1768 was transferred to the colonelcy 4th king's own foot. Before he left the 5th foot there was founded the regimental ‘order of merit,’ which still exists in that corps (now the Northumberland fusiliers), and is the only institution of the kind now extant in the British army. Hodgson became a general in 1778, was in succession colonel of the 4th Irish or Black Horse, now 7th dragoon guards, and 11th dragoons, now hussars, and on 30 July 1796 was created a field-marshal. Hodgson died at his residence in Old Burlington Street, London, on 20 Oct. 1798, aged 90. There is a portrait of Hodgson in mezzotint engraved in 1759.

Hodgson married Catherine, second daughter of Lieutenant-General Thomas Howard, and sister of Field Marshal Sir George Howard [q. v.] She died 16 April 1798, having had three sons and two daughters. One son, John Hodgson (1757–1846) [q. v.], is separately noticed.

HODGSON, WILLIAM, M.D. (1745–1851), politician and author, born in 1745, was descended from an ancient border family, and in early life studied medicine in Holland, where he developed a taste for botany. On his return to England he attended with success, through a severe illness, a member of Lord Holland's family, but he declined Lord Holland's offer of an appointment. He adopted extreme political views, chiefly derived from the French philosophers, and Franklin and Bolivar were among his warmest friends. On 9 Dec. 1793 he was tried at the Old Bailey on charges of having proposed as a toast ‘The French Republic,’ and of having ‘compared the king to a German hog butcher.’ He was found guilty and was sentenced to be confined in Newgate for two years, to pay a fine of 200l., and to find securities in 400l. for two years longer. After regaining his liberty he relinquished politics for literature and science. He died in Hemmington Terrace, Islington, on 2 March 1851, at the age of 106.

Hodgson published: 1. ‘The Picture of the Times,’ 3rd edit. 1795. 2. ‘The Commonwealth of Reason. By W. Hodgson, now confined in the Prison of Newgate, London, for sedition,’ London, 1795, 8vo. 3. ‘The System of Nature,’ from the French of Mirabaud, London, 1795, 8vo. 4. ‘The Case of W. Hodgson, now confined in Newgate for the payment of 200l. after having suffered two years' imprisonment on a charge of sedition, considered and compared with the existing laws of the country,’ London, 1796, 8vo. 5. ‘Proposals for publishing by subscription a treatise called the Female Citizen, or a Historical … Enquiry into the Rights of Women’ [London, 1796?], small sheet, 8vo. 6. ‘The Temple of Apollo, being a Selection of the best Poems from the most esteemed Authors,’ Lond. 1796, 8vo. 7. ‘Memoranda: intended to aid the English Student in the acquirement of the niceties of French Grammar,’ London, 1817, 12mo. 8. ‘A critical Grammar of the French and English Languages; with tabular elucidations,’ London, 1819, 12mo. 9. ‘Flora's Cabinet’ [1835?] in which the

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 Art. Cantab.,’ a curious poem entitled ‘The Plvrisie of Sorrovv let Blood in the Eye-Veine; or the Muses Teares for the Death of our late Soueraigne Iames King of England,’ 4to, London. His next work was a theological treatise in English on the woman who anointed Christ's feet, called ‘Sancta Peccatrix,’ 12mo [Cambridge, 1630?]. William Wimpew, vicar of Tottenham, Middlesex, addressed the author in some verses at the end of the book as ‘his noble friend and worthy parishioner W. H.’ Hodson also wrote: 1. ‘Credo Resurrectionem Carnis. A Tractate on the Eleventh Article of the Apostles Creed, exactly revised and enlarged’ (2nd edition), 24mo, Cambridge printed, London, 1636, with Hodson's portrait prefixed. 2. ‘The Divine Cosmographer; or a brief Survey of the whole World, delineated in a Tractate on the VIII. Psalme,’ 12mo, Cambridge, 1640.

HODSON, WILLIAM STEPHEN RAIKES (1821–1858), military commander, the third son of the Rev. George Hodson, afterwards archdeacon of Stafford and canon of Lichfield, was born at Maisemore Court, near Gloucester, on 19 March 1821. After a short time spent with a private tutor, the Rev. E. Harland, he went to Rugby, and in 1840 entered Trinity College, Cambridge, taking the degree of B.A. in 1844. He began his military career in Guernsey, where he obtained a commission in the militia; he left it in 1845 to enter the East India Company's service. He landed at Calcutta on 13 Sept. 1845, and after proceeding up the country to Agra, joined the 2nd grenadiers, then forming part of the governor-general's escort, and was at once engaged in the Sikh war, being present at the battles of Mudki, Ferozeshah, and Sobraon. He was soon after transferred to the 1st Bengal European fusiliers, and was introduced to Sir Henry Lawrence by the Hon. J. Thomason, thus beginning a friendship which only ended with their lives. In 1847 he was appointed to the adjutancy of the corps of guides, and it was in the service that this involved that he gained the experience and displayed the powers which afterwards made him an unrivalled partisan leader. For his services in this capacity he received the thanks of the governor-general. When in 1849 the Punjab was annexed, he was transferred to the civil department as assistant commissioner, and was stationed for some time at Umritsur. Thence he went with Sir H. Lawrence into Cashmere, and saw a good deal of Thibet.

On 5 Jan. 1852 he married Susan, widow of John Mitford, esq., of Exbury, Hampshire, and by the first week in March had resumed his duties at Kussowlee as assistant-commissioner; but his heart was with his old corps, the guides, and in September 1852 he was highly gratified to receive from the governor-general the command of the corps. Of his arduous life on the frontiers in this command he has given a very vivid picture in his letters.

Up to this time Hodson's career had been uniformly prosperous; but his rapid rise had made some envious, and his scorn of pretence, his restless energy, and his outspoken criticism of those who neglected their duty, had made him enemies, and a storm burst upon him which at the time threatened to ruin him. There was confusion in the regimental accounts, and charges of dishonesty as well as of harsh treatment of the natives were brought against him. An inquiry was held before a special military court, which terminated its sittings in January 1855. The report was unfavourable, and he was removed from the command of the guides. Against their decision he appealed, and a second inquiry was ordered, and entrusted to Major Reynell Taylor, who, after a long and patient investigation, reported on 13 Feb. 1856. This report fully cleared him of the imputations cast upon him. His words are: ‘The correctness of the whole account was established, and I was satisfied’ (, Life of Reynell Taylor, pp. 214, 215, Lond., 1888). In Colonel Napier's words, ‘the investigation … fully justified the confidence’ he (Napier) had throughout maintained in his honour and uprightness. The second report was only sent in May 1857 to Sir Henry Daly, commandant of the guides, with a minute from Lord Canning expressing dissatisfaction and directing explanations. Daly was soon afterwards wounded, and Hodson, who temporarily took his command, took possession of the report, which was found in his trunk on his death.

Meanwhile Hodson rejoined the 1st fusiliers at Dugshai, practically beginning his military career over again, but discharging regimental duties with a zeal and energy that procured especial commendation. On 10 May 1857 occurred the outbreak at Meerut, followed by the massacre of Delhi. Hodson at once rose again to his proper place, and after going with the 1st fusiliers to Umbala, and then to Kurnal, the commander-in-chief ordered him to raise and command an entire new regiment of irregular horse. This was the body known throughout the mutiny as ‘Hodson's Horse’; it may be said that no single regiment did so much towards saving our Indian empire. Besides this, the intelligence department was put into his hands. In June 1857 he was


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 before Delhi, and there met his old corps of the guides, who received him with extravagant enthusiasm. Of the details of the siege of Delhi, and the important share that he and his Horse had in its capture, his letters give a very clear and interesting account. It was taken on 20 Sept. 1857, and on the following day he obtained (with some difficulty) from General Wilson permission to pursue and seize the king of Delhi. He started with only fifty of his own men for Humayoon's tomb, where the king had gone after leaving his palace. The surrender followed, and Hodson brought the king back into Delhi, handing him over to the commander-in-chief, in spite of the thousands following, any one of whom could have shot him down in a moment. This, the leading the king a captive into his own palace, was perhaps the heaviest blow the rebellion had received.

On the following day (22 Sept. 1857), with a hundred picked men, he started again for Humayoon's tomb, where the Shahzadahs, princes of Delhi, had taken refuge. Hodson demanded their surrender; they came out and were sent away towards the city under a guard. The tomb was crowded with six or seven thousand of the servants and hangers-on of the palace and city. Hodson demanded from these men the instant surrender of their arms. In spite of the small number of his force, they obeyed, and, after leaving the arms and animals with a guard, he went to look after the prisoners. A large native mob had collected, and were turning on the guard. It was no time to hesitate; the question was between the lives of himself and his soldiers and those of the prisoners; and after appealing to the crowd saying that these were the butchers who had murdered and brutally used helpless women and children, he took a carbine from one of his men and shot the princes, one after another. The critical condition of things in India, and the absolute necessity at the moment of immediate action for the safety of his own life and those of his soldiers, gained for Hodson's action the approval at the time of all engaged in the work of putting down the rebellion. Yet he did not escape detraction. ‘The capture of the king and his sons,’ he says himself, ‘however ultimately creditable, has caused me more envy and ill-will than you would believe possible.’

Hodson's Horse was not suffered to lie idle after the fall of Delhi; it was soon after sent towards Cawnpore in charge of a convoy of supplies for the commander-in-chief's army, and went through a great deal of hard fighting and service of all kinds. One of Hodson's most brilliant exploits was his riding from Mynpooree to the commander-in-chief's camp at Meerun-ke-Serai to open communications between the two forces, when he rode seventy-two miles on one horse through a country swarming with enemies.

On 6 March Hodson was before Lucknow. On 11 March he advanced as a volunteer with his friend, Brigadier Napier, who was directing an attack on the begum's palace. While the soldiers were searching for concealed sepoys in the courtyard and buildings adjoining, he looked into a dark room, and was shot from within through the chest. He died the next day, 12 March 1858, and was buried at Lucknow. Sir Colin Campbell wrote of him to his widow as ‘one of the most brilliant officers under my command.’ Sir John Lawrence described him as ‘one of the ablest, most active, and bravest soldiers who have fallen in the war.’ Sir Robert Montgomery wrote: ‘I can find no one like him; many men are as brave, many possess as much talent, many are as cool and accurate in judgment, but not one combines all these qualifications as he did.’ These verdicts are beyond dispute. The accusation made against him, that he had accumulated ‘vast stores of valuables’ by looting, is refuted by the fact that all his property (save horses) was sold at his death for 170l. Moreover, his widow, who was in the receipt of two pensions, died in 1884 in Hampton Court Palace, and her whole property was sworn under 400l.


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 HODY, HUMPHREY (1659–1707), divine, born on 1 Jan. 1659, was son of Richard Hody, rector of Odcombe, Somersetshire. In 1675 he matriculated from Wadham College, Oxford, of which he was admitted scholar in 1677 and fellow in 1685, graduating B.A. in 1679, M.A. in 1682, B.D. in 1689, and D.D. in 1692. He was appointed sub-dean of the college in 1682, humanity lecturer in 1685, catechist in 1686, dean in 1688, sub-warden in 1689, and bursar in 1691 and 1692. In 1690 Stillingfleet, bishop of Worcester, whose son had been Hody's pupil at Wadham, made him his chaplain. He supported the ruling party in a controversy with Henry Dodwell regarding the nonjuring bishops, and was rewarded by being appointed domestic chaplain to Tillotson, archbishop of Canterbury, in May 1694, an office which he continued to hold under Tenison. He was presented by Tenison in 1695 to the rectory of Chartham, Kent, which, before he was collated, he exchanged for the united rectories of St. Michael Royal and St. Martin Vintry, London (, Repertorium, i. 495). On 15 March 1697–8 he was nominated regius professor of Greek in the university of Oxford (, Fasti, ed. Hardy, iii. 516); in November 1701 he became rector of Monks' Risborough, Buckinghamshire (, Buckinghamshire, ii. 420); and on 1 Aug. 1704 he was promoted to the archdeaconry of Oxford (, ii. 516). He died, on his way to Bath, on 20 Jan. 1706–7, and was buried in Wadham College chapel. His widow, Edith Daniel, died on 28 Nov. 1736, and was buried near her husband. Hody had no children.

By his will ten exhibitions were founded in Wadham College, four for the study of Hebrew, and six for the study of Greek. The endowments consisted of an estate at Merriott, Somersetshire, and property in the parish of St. Mary Magdalen, Oxford. To the Bodleian and Wadham College libraries he left such of his books as the authorities might select (will registered in P. C. C. 85, Poley). Mrs. Hody bequeathed various sums of money to Wadham in order that the benefaction of her husband might be made good according to the true intention of his will (cf. her will, registered in P. C. C. 30, Wake).

Hearne, with whose nonjuring views Hody was out of sympathy, complained of his lack of judgment, but spoke highly of his industry, natural parts, and memory, and of his zeal for learning (, Coll. ed. Doble, Oxford Hist. Soc., i. 318, ii. 19). In 1684 Hody published ‘Contra Historiam Aristeæ de LXX Interpretibus dissertatio,’ 8vo, Oxford (another edition, 1685), in which he showed that the so-called letter of Aristeas, containing an account of the production of the Septuagint, was the late forgery of a Hellenist Jew, originally circulated to lend authority to that version. The dissertation was generally regarded as conclusive, although Isaac Vossius published an angry and scurrilous reply to it in the appendix to his ‘Observations on Pomponius Mela’ (1686), pp. 58–72. With H. Aldrich and E. Bernard Hody issued an edition of Aristeas's ‘History,’ 8vo, Oxford, 1692. In 1689 he wrote the ‘Prolegomena’ to the Greek chronicle of John Malala, published at Oxford in 1691, 8vo.

Hody condemned the position taken up by the nonjuring bishops, and was soon involved in a sharp controversy. He translated a Greek treatise ascribed to Nicephorus, which was preserved among the Baroccian MSS. in the Bodleian Library. His translation bore the title ‘The Unreasonableness of a Separation from the New Bishops: or, a Treatise out of Ecclesiastical History, shewing that, although a Bishop was unjustly deprived, neither he nor the Church ever made a Separation, if the Successor was not a Heretick,’ 4to, London, 1691. Hody also translated the book into Latin, with some extracts from the church historians, and called it ‘Anglicani novi Schismatis Redargutio,’ &c., 4to, Oxford, 1691. Among the replies to this was ‘A Vindication of the Deprived Bishops,’ 1692, by Henry Dodwell, who had hitherto been a warm friend. Hody answered his opponents in ‘A Letter … to a Friend concerning a Collection of Canons said to be deceitfully omitted in his edition of the Oxford Treatise against Schism,’ 4to, Oxford, 1692, and ‘The Case of Sees vacant by an unjust or uncanonical deprivation stated,’ 4to, London, 1693. Dodwell retorted with ‘A Defence,’ 1695, which Hody left unnoticed until 1699.

His next work, a learned, whimsical treatise entitled ‘The Resurrection of the (same) Body asserted; from the Traditions of the Heathens, the Ancient Jews, and the Primitive Church. With an Answer to the Objections brought against it,’ 8vo, London, 1694, was answered in 1699 by Nicholas Beare in ‘The Resurrection founded on Justice.’

In 1696, by desire of Tenison, Hody issued some anonymous ‘Animadversions on two Pamphlets lately publish'd by Mr. Collier,’ &c., 4to, London. Collier had defended his conduct in giving absolution to Sir William Parkyns at the place of execution (3 April 1696).

Hody bore a part in the controversy about the convocation, and wrote:
 * 1) ‘Some Thoughts on a Convocation, and the Notion of its Divine Right,’ with reflections on


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 :: Dodwell's ‘Defence’ [anon.], 4to, London, 1699.
 * 1)   ‘A History of English Councils and Convocations, and of the Clergy's sitting in Parliament: in which is also comprehended the History of Parliaments, with an Account of our Ancient Laws. (With Addenda and Appendix),’ 3 pts. 8vo, London, 1701.

In 1705 he published ‘De Bibliorum Textibus Originalibus, Versionibus Græcis et Latina Vulgata lib. iv. … Præmittitur Aristeæ Historia Græce et Latine,’ fol., Oxford, in which he included a revised edition of his work on the Septuagint, and published a reply to the attack of Vossius.

He left in manuscript a work founded on his professorial lectures, which was published in 1742 by Samuel Jebb, M.D., as ‘De Græcis Illustribus, Linguæ Græcæ, Literarumque Humaniorum Instauratoribus, eorum Vitis, scriptis, et Elogiis libri duo,’ 8vo, London. Prefixed to it is an account in Latin of Hody's life, extracted chiefly from a manuscript written by himself in English.

His portrait, by Thomas Forster, was engraved by M. Vandergucht, and prefixed to his ‘De Bibliorum Textibus.’ It also appeared in the ‘Oxford Almanack’ for 1738. The original painting was presented to Wadham by Mrs. Hody.

HODY, JOHN (d. 1441), chief justice of the king's bench, of an old Devonshire family, was son of Thomas Hody, lord of the manor of Kington Magna, near Shaftesbury, Dorset, and king's escheator there under Henry V, by Margaret, daughter of John Cole of Nitheway, Torbay. From 1425 his name often occurs in the year-books, and he must have become a serjeant-at-law before 1436, for in that year he contributed as a serjeant to the equipment of the army sent into France. He represented Shaftesbury in parliament in 1423, 1425, 1428, and 1438, and the county of Somerset in 1434 and 1440. On 13 April 1440 he succeeded Sir John Juyn as chief justice of the king's bench, died in December 1441, and was buried at Woolavington, Somersetshire. Prince says of him that he won golden opinions, and Coke (Institutes, pref.) says he was one of the ‘famous and expert sages of the law’ who assisted Lyttelton. He had estates at Stowell in Somerset and Pillesden in Dorset, the latter acquired through his wife Elizabeth, daughter and heiress of John Jewe, by whom he had five sons, including [q. v.], who became chief baron in 1486, and several daughters.

HODY, WILLIAM (d. 1522?), chief baron of the exchequer, second son of Sir  [q. v.], chief justice of the king's bench, was born before 1441. Perhaps he is the William Hody who represented Totnes in the parliament of 1472 (Members of Parl. Official Returns, i. 360). His name is first mentioned in the year-books in 1476. He was in parliament in 1483, and procured a reversal of the attainder of his uncle, Sir Alexander Hody of Bowre, Somerset, who had been attainted at Edward IV's accession for adherence to the house of Lancaster. In 1485, shortly after the accession of Henry VII, he became attorney-general, and was made a serjeant-at-law at the end of the year. On 29 Oct. 1486 he was appointed chief baron of the exchequer, was still a judge in 1516 (Cal. State Papers, 1515–18, p. 876), and probably died in 1522, when John Fitzjames became chief baron. He married Eleanor, daughter of Baldwyn Mallett of Corypool, Somersetshire, by whom he had two sons, Reginald and John, and two daughters, Joan, who married Richard Warr, and Jane, who married Lawrence Wadham.

HOFLAND, BARBARA (1770–1844), authoress, was born in 1770 at Sheffield, where her father, Robert Wreaks, was an extensive manufacturer. She lost him in her infancy, and was brought up by a maiden aunt. In 1795 she contributed her first literary essay, ‘Characteristics of some leading inhabitants of Sheffield,’ to the ‘Sheffield Courant.’ In 1796 she married T. Bradshawe Hoole, a Sheffield merchant, who died of consumption in two years, leaving her a considerable property, which was soon afterwards lost through the failure of the firm with which it was invested. To support herself and her infant son she published a volume of poems in 1805, for which sympathy rather than appreciation obtained two thousand subscribers. With the proceeds she opened a boarding-school at Harrogate, which proved unsuccessful; but while contending with the difficulties in which it involved her she found time to make herself known as a writer of


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 fiction, and thus to achieve an actual, though precarious, independence. One of her early fictions, ‘The Clergyman's Widow,’ published in 1812 reached a sale of seventeen thousand copies in different editions. After ten years' widowhood she married Thomas Christopher Hofland [q. v.], the artist. The general ill-success of her husband's undertakings compelled her to labour harder than ever. By 1824 she had produced upwards of twenty works of fiction. The first of these published after her removal to London, ‘The Daughter-in-Law,’ fortunately attracted the notice of Queen Charlotte, who accepted the dedication of its successor, ‘Emily.’ Her next production, ‘The Son of a Genius,’ 1816, was able to stand alone, and is probably the only one of her writings that continues to be read. It well deserved this success from its genuine truth to nature, the vivid portrayal of the artistic temperament as she had observed it in her husband, and the artless but touching expression of her affection for her son by her first marriage, whose early death from consumption cast a shadow over her life. She also wrote a spirited pamphlet on the disagreements between George IV and Queen Caroline, and, anticipating some modern developments of journalism, contributed letters of London literary gossip to provincial journals. She died on 9 Nov. 1844.

Mrs. Hofland was a true-hearted, cheerful, and affectionate woman; resigned but intrepid in adversity. Judged by the standard of her time she was also an excellent authoress; but, with two exceptions, her works are so completely in the didactic style of the feminine fiction of her day, as to be almost unreadable in ours. ‘The Son of a Genius,’ however, shows what she could effect when her feeling was sufficiently powerful to break through the crust of conventionality; and ‘The Captives in India,’ which appeared in 1834, is interesting for the very different reason, that Mrs. Hofland, with acknowledgment but no apology, has transferred bodily to her pages Mrs. Fay's fascinating narrative of an Indian captivity by one who had actually endured it. How little justice Mrs. Hofland did herself in most of her writings appears from her lively letters preserved in her friend Miss Mitford's correspondence.

HOFLAND, THOMAS CHRISTOPHER (1777–1843), landscape-painter, was born on 25 Dec. 1777, at Worksop, Nottinghamshire, where his father was a rich manufacturer of cotton-mill machinery. In his youth he devoted himself to field-sports, his father's wealth relieving him of the necessity of seeking any occupation; but his father, who removed to London in 1790, soon afterwards failed and was reduced to poverty. Young Hofland, who had already practised landscape-painting as an amateur, thereupon adopted it as a profession. After studying for a short time under John Rathbone, he exhibited at the Royal Academy in 1799 and several subsequent years up to 1805; during this period he resided with his parents at Kew, and as a volunteer there in the king's own company attracted the notice of his majesty, who employed him to execute botanical drawings, and afterwards offered him the post of draughtsman on a surveying ship, which was declined. From 1805 to 1808 he was engaged in teaching at Derby. In 1808 he removed to Doncaster and afterwards to Knaresborough. There he painted much, exhibited at the Leeds Gallery, and visited the Lake district. At Knaresborough he married in 1808 Mrs. Barbara Hoole, the authoress [see ]. In 1811 Hofland returned to London, where he resided for a few years in Newman Street, contributing to the support of his family chiefly by making copies of celebrated works in the gallery of the British Institution, and at the same time painting many pictures, chiefly views of the Lakes. In 1814 he gained the British Institution prize of one hundred guineas for ‘A Storm off Scarborough,’ which was purchased by the Marquis of Stafford; and the ‘View from Richmond Hill’ which followed added to his reputation and secured a ready sale for his works. An engraving of the latter picture by Charles Heath was published in 1823. In 1816 Hofland and his wife were engaged by the Duke of Marlborough to prepare a description of his seat of White Knights, the text to be written by Mrs. Hofland and the illustrations engraved from pictures by her husband. This work, which was three years in preparation, was issued privately in 1819 at the time of the sale of the celebrated White Knights library. But Hofland was not only unable to obtain any remuneration for his own and his wife's labours, but found himself burdened with the whole expense of the printing and engraving. These liabilities and anxieties weighed upon him for many years and permanently affected his health. He was compelled to engage much in teaching, but continued to paint with great assiduity, and exhibited largely with the Society of British Artists, the British Institution, and the Royal Academy. His subjects were English, chiefly Lake scenery and views on the


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 Thames, which were charmingly and poetically treated. Among his best works were ‘Windsor Castle by Moonlight,’ ‘Llanberris Lake,’ and ‘View of Windermere.’ In May 1821 he held an exhibition of his works in New Bond Street. In 1840, under the patronage of Lord Egremont, he visited Italy, where he spent about nine months, chiefly at Rome and Naples, working with great zeal though in bad health. For two years after his return he lived at Richmond, and painted some pictures from his Italian sketches for Lord Egremont. He removed to Leamington in 1842 in order to obtain special medical advice, and died there of cancer 3 Jan. 1843. Hofland was a foundation member of the Society of British Artists and one of the originators of the Artists' General Benevolent Fund. He was an ardent lover of angling, and in 1839 published ‘The British Angler's Manual,’ an agreeably written and beautifully illustrated work, of which a second edition, enlarged by E. Jesse, was issued in 1848, with a memoir of the author by his son, Thomas Richard Hofland. The latter, who was also a landscape-painter and teacher of drawing, died in 1876. A view of Hampstead Heath by Hofland is in the South Kensington Museum.

 HOG or HOGG, JAMES (1658?–1734), minister of Carnock, the leader of the ‘Marrow men’ in the church of Scotland, was the son of Thomas Hog, minister of Larbert, Stirlingshire (d. 1680?) (cf., Fasti, pt. iv. p. 706). After graduating M.A. at Edinburgh University in 1677 James studied theology in Holland. He was licensed to preach by the presbytery of Edinburgh, and ordained minister of Dalserf parish, in the presbytery of Hamilton, 20 Jan. 1691. He declined on principle to take the oath of allegiance in 1693. Against his own desire he was in 1695 elected a member of the general assembly, but declined to take the requisite oaths. The lord high commissioner thereupon objected to his taking his seat, and Hog, having been publicly and privately entreated either to take the oaths or retire, consented to the latter alternative, on condition that the assembly should ‘attest his diligence.’ Owing to bad health he demitted his charge, 12 Nov. 1696, but in August 1699 he was installed in the parish of Carnock, Fifeshire, and held the charge till his death, 14 May 1734. Hog belonged to the stricter section of the church of Scotland, who cherished the old covenanting traditions, upheld popular rights, and took their stand against the more tolerant methods of thought and discipline that had latterly arisen in the church. Hog originated the ‘Marrow’ controversy by the republication in 1718, with a preface, of the ‘Marrow of Modern Divinity’ [see, the elder; , fl. 1627–1655; and ]. The book was denounced by an act of the assembly in 1720, whereupon Hog and eleven other ministers, entitled on that account the ‘Marrow men,’ and also the ‘twelve apostles,’ presented a protest. The bitter controversy which followed was an indirect cause of the ‘secession’ of 1733. He is eulogised by Ralph Erskine [q. v.] as blest Hog, the venerable sage, The humble witness 'gainst the haughty age. Hog was married, and had two daughters. Besides prefaces to other religious treatises, Hog was the author of a large number of theological pamphlets, a list of which will be found in Hew Scott's ‘Fasti Eccles. Scot.’ vol. ii. pt. ii. p. 580. Among the principal are ‘A Casuistical Essay on the Lord's Prayer,’ 1705; ‘Notes on the Covenant of Works and Grace,’ 1706; ‘The Covenants of Grace and Redemption displayed,’ 1707; ‘Otia Christiana,’ 1708; ‘Letters on the lawfulness of imposing Forms of Prayer,’ 1710; ‘Letters to a Gentleman detecting the Gangrene of some Errors vented at this time,’ 1714; ‘Vindication of the Doctrines of Grace from a charge of Antinomianism,’ 1718; ‘Some missives written to a Gentleman detecting and refuting the Deism of our Time,’ 1718; ‘Explication of Passages excepted against the Marrow,’ 1719; ‘On Covenanting,’ 1727; and ‘On Professor Campbell's Divinity,’ 1731.

 HOG, ROGER,  (1635?–1700), Scottish judge, son of William Hog, advocate, of Bogend, was born in Berwickshire about 1635. He was admitted an advocate on 25 June 1661, and was appointed a lord of session and knighted in November 1677. He took the title of Lord Harcarse. He represented Berwick in the convention of the estates of Scotland held at Edinburgh in June and July 1678 (Members of Parl. Official Return, ii. 582). On 18 Nov. 1678 he suc-


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 ceeded Sir John Lockhart of Castlehill as a lord of justiciary. In February 1686 he was chosen arbitrator by the Duchess of Lauderdale in an arbitration ordered by the king between her and Lord Maitland (, Chronol. Notes, p. 161). In 1688 he was removed from the bench by James for non-compliance with the wishes of the government in his decision of a cause regarding the tutors of the young Marquis of Montrose. One Robert Pitilloch, an advocate, published a pamphlet against him in 1689, accusing him of ‘oppression under colour of law,’ which was reprinted in 1827. He was specifically charged with partiality to his son-in-law, Aytoun of Inchdairnie, Fifeshire. He lived the remainder of his life in retirement, and died in 1700. A ‘Dictionary of Decisions from 1681 to 1692,’ compiled by him, was published in 1757.

HOG, THOMAS (1628–1692), Scottish divine, was born at Tain, Ross-shire, in the beginning of 1628, ‘of honest parents, native Highlanders, somewhat above the vulgar rank’ (, Memoirs of the Life of Mr. Thomas Hog). He was educated at Tain grammar school, and Marischal College, Aberdeen, where he proceeded to the degree of M.A. In 1654 he received license, and became chaplain to John, earl of Sutherland. On 24 Oct. 1654 he was ordained minister of Kiltearn, a parish six miles from Dingwall, on the shore of Cromarty Firth, and entered on the discharge of his duties with great ardour. In the controversy between the resolutionists and protesters, then at its height, he sided warmly with the protesters, and was in consequence deposed in 1661 by the synod of Ross. Hog then retired to Knockgandy in Auldearn, Nairn, where he continued to minister in private. In July 1668 he was delated by the Bishop of Moray for preaching in his own house and ‘keeping conventicles.’ For these offences he was imprisoned for some time in Forres, but was at length liberated at the intercession of the Earl of Tweeddale, upon giving bail to appear when called on. Not having, however, desisted from preaching, ‘letters of intercommuning’ were in August 1675 issued against him, forbidding all persons to harbour or help him in any way. He was arrested in January 1677, and next month was committed to the Tolbooth of Edinburgh, whence he was taken to the Bass Rock. It is said that, at the instigation of Archbishop Sharp, he was confined in the lowest and worst dungeon in the place. In October 1677, owing to some influence exerted on his behalf, he was brought back to the Tolbooth, and in a short time liberated altogether, but forbidden to go beyond ‘the bounds of Kintyre’ ‘under the pain of one thousand merks.’ In 1679 he was again imprisoned in Edinburgh, but was soon liberated. From this time he seems to have laboured without molestation until November 1683, when he was charged before the Scottish privy council with keeping ‘house conventicles.’ As he refused to answer the charge, it was held as confessed, and he was fined in five thousand merks, and banished from Scotland in January 1684. He went to London, and was arrested on suspicion of complicity in Monmouth's plot, but was released in 1685, and fled to Holland, where the Prince of Orange made him one of his chaplains. He returned to Scotland in 1688, and in 1691 was appointed chaplain to the king, and restored to the parish of Kiltearn, as he is said to have predicted thirty years before would be the case. On 4 Jan. 1692 he died, and at his own request was buried underneath the threshold of his church door, with this inscription over the remains: ‘This stone shall bear witness against the parishioners of Kiltearn if they bring an ungodly minister in here.’

HOGAN, JOHN (1800–1858), sculptor, born in 1800 at Tallow, co. Waterford, was the son of a builder, a member of the Irish family of Ui h-Ogain. Hogan's father settled in Cork, and in 1814 placed him in a solicitor's office, which he left on obtaining an engagement from an architect as a draughtsman and carver of models. Hogan carefully studied a collection of casts formed under the direction of Canova from antique statues at Rome, which had been presented to a Cork institution. After working at an anatomy school and executing several wood carvings, Hogan was in 1824 sent at the expense of friends to Rome to complete his art education. William Paulet Carey [q. v.], when on a visit to Cork, interested himself in the collection of funds, and through him Hogan came to know John Fleming Leicester, Lord de Tabley [q. v.], a munificent patron of the arts. At Rome Hogan's first work in marble was an Italian shepherd-boy. This was followed by ‘Eve, after expulsion from Paradise,’ founded on passages in Gesner's ‘Death of Abel.’ The originality and


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 merits of Hogan's ‘Drunken Faun’ were much admired by Thorwaldsen and other eminent sculptors. Subscriptions, renewed in 1825, enabled Hogan to continue his work at Rome. He was elected an honorary member of the academy of the ‘virtuosi del Pantheon,’ and, with the exception of visits to Ireland in 1829 and 1840, he remained in Rome till 1849. The Italian revolutionary movements in that year led him to return to Ireland. He died at Dublin on 27 March 1858. Among his works, besides those already mentioned, was the ‘Dead Christ,’ which was engraved and commended in Italian artistic journals. This and other pieces of Hogan's sculpture were placed in churches at Dublin and Cork. Hogan also executed an allegorical figure of ‘Hibernia’ for Lord Cloncurry. The most important of his public statues were those of Bishop James Doyle, at Carlow; Bishop Brinkley at Cloyne and Dublin; Thomas Drummond, under-secretary for Ireland, and Daniel O'Connell in the city hall, Dublin; Thomas Osborne Davis, now in Mount Jerome cemetery near that city. A portrait of Hogan appeared in the ‘Dublin University Magazine’ in 1850.

HOGARTH, GEORGE (1783–1870), musical critic, was born in Edinburgh in 1783, and became a writer to the signet in his native city, where he associated with Sir Walter Scott, Lockhart, and other literary men (, Noctes Ambrosianæ, No. xxvi. June 1826). He studied music as an amateur, and became a violoncellist and a composer. As a musical critic he soon acquired repute, and was one of the brilliant writers who contributed to the ‘Edinburgh Courant.’ About 1831 he went to London, and was engaged on the ‘Morning Chronicle’ as a writer on political and musical subjects. A large share in the management of that paper ultimately devolved on him, and in the course of his editorial duties he gave encouragement to the first efforts of Charles Dickens by inserting in 1833 the ‘Sketches’ of London life in the ‘Evening Chronicle,’ an offshoot of the ‘Morning Chronicle.’ On the establishment of the ‘Daily News,’ 21 Jan. 1846, with Dickens as editor, Hogarth was appointed the musical critic, a post which he held until 1866. He was also for many years the musical critic to the ‘Illustrated London News,’ besides contributing to periodicals and editing various works, musical and literary. In 1850 he became the secretary of the Philharmonic Society, which post he resigned in 1864. The ‘Household Narrative,’ which was published in connection with ‘Household Words,’ was compiled by Hogarth from 1850 to 1855, when by the interference of the stamp commissioners it was brought to a conclusion. He was an upright, honest man of liberal and kind sympathies, of considerable learning, and a just, outspoken, and generous critic. In January 1870 he fell downstairs at the ‘Illustrated London News’ office, breaking an arm and a leg; from the effect of these injuries he never recovered, dying at the residence of his daughter, Mrs. Roney, 10 Gloucester Crescent, Regent's Park, London, on 12 Feb. 1870, aged 86. He married a daughter of George Thomson of Edinburgh, the biographer of Beethoven. His issue were fourteen children, the best known of whom were William Thomas; James Ballantyne, who died in 1876; Edward, who is dead; Catherine Thomson, who in 1836 married Charles Dickens, and died 22 Nov. 1879; Mary, who died in Charles Dickens's house in 1837, aged 17; Georgina, who edited ‘The Letters of C. Dickens,’ 1870, and is mentioned in Dickens's will as ‘the best and truest friend man ever had;’ Helen Isabella, wife of R. C. Roney, who died at Liverpool 1 Dec. 1890, aged 57.

Hogarth's published works were:  ‘The White Rose of York. A Midsummer Annual,’ edited by G. Hogarth, 1834.  ‘Musical History, Biography, and Criticism, being a General Survey of Music from the earliest period to the present time,’ 1835; a standard work of reference on its special subject.  ‘Memoirs of the Musical Drama,’ 1838, 2 vols.  ‘Songs of C. Dibdin Chronologically Arranged. To which is prefixed a Memoir of the Author by G. Hogarth,’ 1842.  ‘Memoirs of the Opera in Italy, France, Germany, and England,’ 1851, 2 vols.; second edition of No. 3.  A series of papers on the Birmingham musical festival, published in ‘Aris's Birmingham Gazette,’ reprinted in ‘Birmingham Musical Festival,’ 1855.  ‘The Philharmonic Society of London, from its Foundation, 1813, to its Fiftieth Year,’ 1862. His chief musical works were:  ‘A Collection of Psalms and Hymns. By J. Mainzer and G. Hogarth,’ 1843.  ‘How's Illustrated Book of British Songs. Edited by G. Hogarth,’ 1845.  ‘The Musical Herald, a Journal of Music. Edited by G. Hogarth,’ 1846, 2 vols.  ‘The People's Service. Harmonies revised by G. Hogarth,’ 1850. <li> ‘The People's Service of Song. The Harmonies revised by G. Hogarth, edited by J. Curwen,’ 1852. <li> ‘The Sol-Fa edition of the People's Service of<section end=Hogarth, George/> </ol>


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 Song,’ 1852.  ‘School Music arranged for three voices by G. Hogarth. Edited by J. Curwen,’ 1852. He also wrote ballads, songs, and duets.

HOGARTH, WILLIAM (1697–1764), painter and engraver, was born, according to the register of births at Great St. Bartholomew, West Smithfield (Notes and Queries, 6 March 1880), ‘in Barthw Closte, next door to Mr. Downinge's the Printer's, November ye 10th 1697, and was baptized ye 28th Novr 1697.’ He had two sisters, of whom one, Mary, was born 23 Nov. 1699, and also baptised (10 Dec.) at St. Bartholomew, and Ann, born in October 1701, and baptised (6 Nov.) at St. Sepulchre. The family, known indifferently as Hogard, Hogart, or Hogarth, came originally from Kirkby Thore in Westmoreland; and William Hogarth's father, Richard Hogarth, was the third son of a yeoman farmer, who lived in the vale of Bampton, about fifteen miles north of Kendal. His mother's maiden name, as recorded in an old family bible, once in the possession of Mr. H. P. Standly, and sold with his collection in April 1845, was Gibbons. Of the rest of Hogarth's relatives little is known, but he had a literary uncle in Thomas Hogarth (‘Auld’ or ‘Ald Hogart’) of Troutbeck, a rustic dramatist and satirist, some of whose ‘Remnants of Rhyme’ were published at Kendal as late as 1853 from manuscripts ‘preserved by his descendants.’ Richard Hogarth himself was educated at St. Bees, and afterwards kept a school in his native county of Westmoreland. This proving unsuccessful, he came to London. He must have been living in Bartholomew Close in 1697–9 when his first two children were born, but in 1701, when Ann Hogarth was baptised, he was resident in St. John Street, Clerkenwell. Later on he was keeping another school in Ship Court, Old Bailey, which could scarcely have been more fortunate than its provincial predecessor, for he is said to have been also employed as a hack-writer and corrector of the press. It is as a literary man that his son first refers to him. ‘My father's pen,’ he says in the brief autobiographical sketch published by John Ireland in 1798, ‘like that of many other authors, did not enable him to do more than put me in a way of shifting for myself.’ Richard Hogarth was, however, a man of some acquirements. He compiled, but never printed, a Latin dictionary in extension of Littleton. His son possessed the manuscript (part of which afterwards passed into the hands of John Ireland), together with several laudatory letters from the learned, which, unhappily, failed to secure a publisher for the work. There are also some Latin epistles by him in the British Museum, and in 1712 he published a little book called ‘Disputationes Grammaticales.’ ‘As I had naturally a good eye,’ Hogarth's autobiography goes on, ‘and a fondness for drawing, shows of all sorts gave me uncommon pleasure when an infant; and mimickry, common to all children, was remarkable in me. An early access to a neighbouring painter drew my attention from play; and I was, at every possible opportunity, employed in making drawings. I picked up an acquaintance of the same turn, and soon learnt to draw the alphabet with great correctness. My exercises at school were more remarkable for the ornaments which adorned them, than for the exercise itself’ (, iii. 3–4).

Neither the ‘neighbouring painter’ nor the ‘acquaintance of the same turn’ has been identified. But by his own account, and ‘conformable to his own wishes,’ which his father's precarious circumstances had not disposed towards a liberal education, he was taken from school and apprenticed to a silver-plate engraver, Mr. Ellis Gamble, at the sign of the Golden Angel in Cranbourne Street or Alley, Leicester Fields. Here he learned to chase salvers and tankards, speedily becoming skilful in the craft. One of the earliest of his works was his master's shop-card, in which the angel of the sign flourishes a bulky palm branch above the announcement, in French and English, that Mr. Gamble ‘makes, buys, and sells all sorts of plate, rings, and jewels, &c.’ Many of Hogarth's designs for plate are highly prized by collectors, and John Ireland (iii. 25) prints a copy of a coat of arms in his possession, drawn for the Duchess of Kendal, which certainly gave promise of future excellence. During this period also, by a system which he has described in his autobiography, Mr. Gamble's apprentice was diligently training his perceptive faculty and fortifying his already exceptional eye-memory with a view to practising as a designer and line-engraver. ‘Engraving on copper,’ he says, ‘was at twenty years of age my utmost ambition.’

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 have come to an end, and he began business on his own account. With the exception of a snuff-box lid engraved (1717?) with a scene from the ‘Rape of the Lock,’ his earliest work is his own shop-card, embellished with cupids and inscribed ‘W. Hogarth, Engraver, Aprill ye 23rd 1720.’ ‘His first employment,’ says Nichols (Genuine Works, i. 17), ‘seems to have been the engraving of arms and shop-bills.’ From this he proceeded to design plates for the booksellers and printsellers. Two of these, each bearing the words ‘Willm Hogarth, Invt et Sculpsit,’ belong to the year 1721. They are ‘An Emblematical Print on the South Sea’ and ‘The Lottery.’ These were succeeded in 1723 by eighteen plates to the travels of Aubry de la Mottraye; seven plates to Briscoe's ‘Apuleius,’ 1724; a plate entitled ‘Some of the Principal Inhabitants of ye Moon, &c.; or Royalty, Episcopacy, and Law,’ 1724; another known as ‘Masquerades and Operas, Burlington Gate,’ 1724, said to be the first he published on his own account; a frontispiece to the sixth edition of Horneck's ‘Happy Ascetick,’ 1724; five plates for Cotterel's translation of ‘Cassandra,’ 1725; fifteen headpieces for Beaver's ‘Roman Military Punishments,’ 1725; a satire on William Kent's altarpiece for St. Clement Danes, 1725; a frontispiece to Amhurst's ‘Terræ-Filius,’ 1726; twenty-six figures for Blackwell's ‘Compendium of Military Discipline,’ 1726; and twelve large and seventeen small plates to Butler's ‘Hudibras.’ Besides these there are several doubtful works which belong to this period, e.g. ‘A Just View of the British Stage,’ 1725, being a satire upon Booth, Wilks, and Cibber, the patentees of Drury Lane; a plate of the singers Berenstat, Cuzzoni, and Senesino, 1725; ‘Cunicularii,’ a squib upon Mary Tofts, the Godalming rabbit-breeder, and ‘The Punishment Inflicted on Lemuel Gulliver,’ a coarse incident à la Swift, both of which last belong to 1726. Of these earlier works Walpole in his ‘Anecdotes of Painting’ speaks too sweepingly. More than one of them are interesting from their indications of the artist's future career as a designer and satirist. In ‘Masquerades and Operas,’ which he himself calls ‘The Taste of the Town,’ he already declares against foreign singers and fashionable quackeries. In the St. Clement Danes burlesque he gives the coup de grâce to Kent's discredited masterpiece; and in the illustrations to ‘Hudibras’ he begins to manifest his incomparable sense of the grotesque, his perception of character, and his power of composition.

In these last-named designs there is moreover a marked advance in executive skill. The artist's ambition, bounded at first by engraving on copper, was growing wider. He had begun to attend the private art school on the east side of James Street, Covent Garden, established as far back as 1724 by Sir James Thornhill, a fact with which Hogarth's detestation of Sir James's rival, Kent, may perhaps be connected, and he was beginning to dream of success as a painter. In 1727–8 he undertook to execute a design on canvas representing the ‘Element of Earth’ for one Joshua Morris, a tapestry-worker. But Morris, having subsequently been told that Hogarth was ‘an engraver and no painter,’ endeavoured to shuffle out of the commission, whereupon the artist took the case into court, gaining his suit (28 May 1728). Possibly it is due to the considerations arising out of this incident that he now turned his thoughts more deliberately in the direction of oils. At all events about this time, i.e. 1728–9, we find him painting ‘small conversation-pieces from twelve to fifteen inches high.’ These were groups of family portraits connected by some common interest or occupation, and ‘having novelty,’ he says, ‘succeeded for a few years.’ Among the earlier works executed before 1732 may be mentioned ‘The Wanstead Assembly,’ ‘The Committee of the House of Commons examining Bambridge, an infamous Warden of the Fleet Prison’ [see ]; several scenes from the ‘Beggar's Opera;’ a little portrait of Mr. Tibson, a laceman in the Strand, entitled ‘The Politician;’ and a scene from Dryden's ‘Indian Emperor,’ as performed by certain ‘children of quality’ at the house of Mr. Conduit, the master of the mint. A list by himself, including some of these, is printed by John Ireland (iii. 23). His activity as a designer and engraver during this period is less marked. Between 1727 and 1732 his efforts were chiefly frontispieces, e.g. to Leveridge's ‘Songs,’ 1727; to Thomas Cooke's ‘Hesiod,’ 1728; to James Miller's comedy of the ‘Humours of Oxford,’ 1729; to Theobald's ‘Perseus and Andromeda,’ 1730; to Molière; to Fielding's ‘Tragedy of Tragedies,’ 1731 (which perhaps indicates the beginning of his friendship with that author); and to Mitchell's ‘Highland Fair,’ 1731. But the only original satirical prints for this date are the so-called ‘Large Masquerade Ticket,’ 1727, a satire upon Heidegger's popular entertainments, and ‘Taste’ (or the ‘Man of Taste,’ or ‘Burlington Gate’), 1731, prompted by Pope's ‘Epistle to Lord Burlington’ attacking the Duke of Chandos, for whom Hogarth took up the cudgels. Two other doubtful works, a burlesque on the ‘Beggar's Opera,’ and a plate entitled ‘Rich's Glory, or his Triumphant Entry into Covent Garden,’ complete the list.


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 Its brevity suggests that he had other occupations; but he had also satisfied himself that working for the booksellers was not the way to fortune. Moreover he had discovered that his original designs speedily became the prey of the pirate. For example, copies of his ‘Masquerade Ticket,’ he tells us, were sold at half price, while the original impressions were returned upon his hands.

Sir James Thornhill had been one of his witnesses in the Morris suit, and Hogarth and he were apparently on terms of considerable intimacy. This was interrupted by a stolen match between Hogarth and Sir James's only daughter, Jane, a handsome young woman of nineteen or thereabouts. They were married privately on 23 March 1729, at old Paddington Church. Whether they took flight from Covent Garden, from Thornhill's house in Dean Street, Soho (No. 75), or from the little country box at Chiswick, which not long afterwards became Hogarth's own residence, is still debatable. But although she married against her father's will, for it was some time before he was reconciled to her, Jane Thornhill made an admirable wife. Her comely face appears in more than one of her husband's pictures (the ‘Sigismunda’ in the National Gallery is a portrait of her), and she cherished his memory after his death with a fidelity only rivalled by that of Mrs. Garrick for her David.

Of Hogarth's private life at this time, however, little is known. ‘Soon after his marriage,’ says Nichols, ‘he had summer-lodgings at South-Lambeth’ (Genuine Works, i. 46). It was doubtless while in this neighbourhood that he made the acquaintance of Jonathan Tyers, who shortly afterwards opened the ‘New Spring Gardens’ at Vauxhall with the famous ‘Ridotto al Fresco’ of June 1732, from which the real celebrity of that place of entertainment dates. Hogarth is said to have contributed to the success of the gardens by the—for an artist—very appropriate suggestion that they should be embellished by pictures, and many of those which afterwards decorated the old supper-boxes about the Grove were vaguely attributed to his brush. He certainly transferred to Tyers a painting of Henry VIII and Anne Boleyn, which had been engraved in 1729, three years before the gardens were formally opened, and this for a long time hung in the portico of the Rotunda. His later series, ‘The Four Times of the Day’ (1738), was also repeated for Vauxhall by Frank Hayman [q. v.], and something of his hand is to be detected in the contemporary prints of ‘Building Houses with Cards’ and ‘Mademoiselle Catherina’ (a dwarf). But more than one of the paintings which were declared to be by him when, in 1841, the Vauxhall properties were sold, e.g. ‘The Wapping Landlady’ and ‘Jobson and Nell in the Devil to Pay,’ are plainly given to Hayman in the prints of the time, and they, besides, resemble Hayman's work. What Hogarth undoubtedly did for Vauxhall was to design several of the pass-tickets, one of which, in gold, was presented to him by Tyers ‘in perpetuam Beneficii memoriam.’ It admitted ‘a coachful,’ and in 1808 was in the possession of his wife's cousin, Mary Lewis (Genuine Works, i. 47).

Shortly after Hogarth's marriage he must have set to work upon the paintings for the first of those ‘modern moral subjects,’ in which he aimed at ‘composing pictures on canvas, similar to representations on the stage’—in other words, at connecting a sequence of imaginary ‘conversation-pieces’ by a progressive story—‘a field,’ he further says, ‘not broken up in any country or any age.’ Borrowing a hint from Bunyan, he christened his first effort ‘A Harlot's Progress,’ and traced the career of his heroine from her first false step to her tragic end. From the date on her coffin in plate vi. (2 Sept. 1731), it has been conjectured that the paintings were completed not long after his marriage. According to the received tradition, their ability was instrumental in appeasing his still hostile father-in-law. Lady Thornhill, who from the first had been on the side of the runaways, caused them to be conveyed into her husband's dining-room. He eagerly inquired the artist's name, and on learning it, rejoined that the man who could furnish such representations could also maintain a wife without a portion—a speech which was the forerunner of reconciliation. Meanwhile, Hogarth began the engravings, and in March 1732 advertisements in the ‘Daily Journal’ and ‘Daily Post,’ repeated in subsequent numbers, announced that they were then printing, and would be delivered to subscribers (of whom there were soon some twelve hundred on the books) on 10 April following. The little subscription-ticket which he etched was entitled ‘Boys Peeping at Nature.’ When at length the set were issued they met with immediate success. Theophilus Cibber turned them into a pantomime, which was acted at Drury Lane in 1733; they were later made into a ballad-opera, entitled ‘The Jew Decoy'd,’ 1735, and they prompted a poem called ‘The Lure of Venus,’ 1732, by Joseph Gay (Captain J. D. Breval [q. v.]). Besides these they gave rise to endless squibs and pamphlets, and were freely transferred to fan-mounts and chinaware. Lastly they were shamelessly pirated.


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 In November 1732 one E. Kirkall or Kirkhall, in particular, published a set of reversed mezzotint copies in green ink, with descriptive verses.

A few weeks after the issue of the prints of ‘A Harlot's Progress’ to the subscribers took place one of the rare incidents which brighten Hogarth's busy life. In May 1732 he set out with four companions—his brother-in-law, John Thornhill, Ebenezer Forrest [q. v.], an attorney, William Tothall, a draper in Tavistock Street, and Samuel Scott, the landscape-painter—on a five-days' jaunt from the Bedford Arms Tavern in Covent Garden to the Island of Sheppey. Their experiences, which were much those of a party of overgrown boys on a holiday, are recorded in a manuscript account by Forrest, with illustrations by Hogarth, Scott, and Thornhill, drawn up for the edification of the members of the Bedford Arms Club, and now in the print room of the British Museum. It is entitled ‘An Account of what seem'd most remarkable in the five days' peregrination of the five following persons, vizt Messieurs Tothall, Scott, Hogarth, Thornhill, and Forrest. Begun on Saturday, May the 27th, 1732, and finish'd on the 31st of the same month. Abi tu et fac similiter. Inscription on Dulwich Colledge Porch.’ This prose tour was afterwards turned into Hudibrastic verse by the Rev. William Gostling [q. v.], a minor canon of Canterbury Cathedral, and Nichols printed twenty copies of it in 1781. The original prose version, with facsimiles of the drawings, was published by R. Livesay in 1782. It is also to be found in the third volume of the ‘Genuine Works,’ 1817, pp. 113–31, and in September 1887 supplied the theme for a set of charming illustrations by Mr. Charles Green in the ‘Graphic’ newspaper, with text by Mr. Joseph Grego.

Towards the middle of 1732 Hogarth had lodgings at Isleworth (Genuine Works, i. 26). In 1733, according to the rate-books, he took a house, the last but two on the east side of Leicester Square, then Leicester Fields. Part of Archbishop Tenison's school now occupies its site, but it is distinguishable in contemporary prints, e.g. in those of Maurer and Bowles of 1753. Hogarth occupied it as a town residence until his death. It was known in those days of unnumbered houses as the Golden Head, its sign being a bust of Vandyck, which the painter had himself carved out of cork and gilded; and as it was rated to the poor in 1756 at 60l. per annum, must have been fairly commodious. In March 1733 he painted and engraved a portrait of Sarah Malcolm, the murderess, who was executed in Fleet Street on the 7th. It is a confirmation of his alleged reconciliation with his wife's father that Sir James Thornhill is said to have been present when the picture was painted. Thornhill died not long afterwards, in May 1734, but apparently before his son-in-law had yet become really famous, because in his obituary notice Hogarth is only spoken of as ‘admired for his curious Miniature Conversation Paintings.’ His death led to a modification of his drawing-school, to which Hogarth thus refers: ‘Sir James dying,’ he says, ‘I became possessed of his neglected apparatus; and thinking that an academy conducted on proper and moderate principles had some use, I proposed that a number of artists should enter into a subscription for the hire of a place large enough to admit of thirty or forty persons to draw after a naked figure. This was soon agreed to, and a room taken in St. Martin's Lane. … The academy has now,’ he says in 1762, ‘subsisted nearly thirty years; and is, to every useful purpose, equal to that in France, or any other’ (, iii. 66, 69).

The engravings of ‘A Harlot's Progress’ were followed by the popular drinking-scene known as ‘A Midnight Modern Conversation,’ the advent of which had been heralded in 1732 by a little subscription-plate representing the rehearsal of William Huggins's oratorio of ‘Judith,’ and described as ‘A Chorus of Singers.’ But Hogarth was by this time already well advanced with a second ‘Progress,’ that of a rake. From an advertisement in the ‘Country Journal’ for 29 Dec. 1733, it is probable that the paintings, eight in number, were already finished, for he was busily engaged in transferring them to copper. The ticket for the subscription, then announced, was the admirable etching of ‘A pleased Audience at a Play,’ commonly called ‘The Laughing Audience,’ 1733. It was also the subscription-ticket to another plate, known popularly as ‘Southwark Fair,’ which was executed in 1733, but was kept back until 25 June 1735, for the same reason that deferred the issue of ‘A Rake's Progress.’

This was the coming into operation of the act 8 Geo. II, cap. 13, vesting in designers the exclusive right to their own designs. It is frequently spoken of as ‘Hogarth's Act,’ and was, in fact, the result of an appeal made to parliament by the artist and his colleagues to protect them against piracy. As already stated, ‘A Harlot's Progress’ had been shamelessly copied, and before he could complete the plates of ‘A Rake's Progress,’ the fraudulent imitator, under pretence of viewing the original pictures at the artist's house, where they were exhibited, had contrived to carry away enough to enable him to put forth plagiarised copies (Genuine Works, 1808, i.


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 82–5). The above-mentioned act, which came into force on 24 June, to a great extent remedied the evil at which it was levelled, and with this originates the ‘Published as the Act directs,’ now so familiar upon engravings. Hogarth commemorated his success by a jubilant inscription on a plate entitled ‘Crowns, Mitres,’ &c., afterwards used as a subscription-ticket to a later series; and, as a further blow at the pirate, he authorised the sale of reduced copies of ‘A Rake's Progress’ by a Fleet Street printseller, Mr. Bakewell. His minor prints for 1734 are unimportant, being confined to a frontispiece for Henry Carey's ‘Chrononhotonthologos,’ and a print of Cuzzoni, Farinelli, and Heidegger. But in 1735 an engraver named Sympson engraved one of his paintings, the subject of which was ‘A Woman swearing a Child to a grave Citizen.’ In 1735 also he lost his mother, long his near neighbour in St. Martin's Lane. She died of fright caused by a fire which broke out in June of that year in Cecil Court (Gent. Mag. v. 333).

By this time the circulation and imitation of Hogarth's ‘pictur'd Morals’ had considerably extended his reputation. Vincent Bourne of Westminster wrote him hendecasyllabics; Somerville dedicated ‘Hobbinol’ to him; Swift, in the terrible ‘Legion Club’ of 1736, apostrophised him as ‘hum'rous Hogart;’ and he was shortly to receive from a more congenial spirit, the author of ‘Joseph Andrews,’ the noble commendation that his figures did more than seem to breathe, ‘they appeared to think.’ Yet, by a curious perversion of ambition, his desires for distinction lay rather in the direction of history-painting as practised by Thornhill and Hayman, than in that ‘cast of style’ which he had so successfully followed. His own words here best explain his views. ‘Before I had done anything of much consequence in this walk,’ he says (and by ‘this walk’ he must be understood to refer to one or both of the ‘Progresses’), ‘I entertained some hopes of succeeding in what the puffers in books call the great style of history-painting; so that, without having had a stroke of this grand business before, I quitted small portraits and familiar conversations, and, with a smile at my own temerity, commenced history-painter, and on a great staircase at St. Bartholomew's Hospital painted two Scripture stories, the “Pool of Bethesda” and the “Good Samaritan,” with figures seven feet high. These I presented to the Charity, and thought they might serve as a specimen to show that were there an inclination in England for encouraging historical pictures, such a first essay might prove the painting them more easily attainable than is generally imagined. But as religion, the great promoter of this style in other countries, rejected it in England, I was unwilling to sink into a portrait manufacturer; and, still ambitious of being singular, dropped all expectations of advantage from that source, and returned to the pursuit of my former dealings with the public at large’ (, iii. 29–31).

The date of the ‘Pool of Bethesda’ and the ‘Good Samaritan,’ still to be seen upon the staircase at St. Bartholomew's, is 1736. As may be inferred from the foregoing quotation, the public did not accept these works at the painter's valuation, and they were not engraved until some years after his death. Between ‘A Rake's Progress’ and his next great tragic drama, the ‘Marriage à-la-Mode,’ he executed nothing very important, though for some time before April 1745, when the engravings of that series appeared, he must have been occupied in elaborating the original oils. But one or two of the more popular of his smaller works belong to this decade. The delightful little print of ‘The Distrest Poet’ (3 March), ‘The Company of Undertakers; or a Consultation of Physicians’ (same date), and ‘The Sleeping Congregation’ (26 Oct.), all belong to 1736. In 1738 (25 March) appeared ‘The Four Times of the Day,’ already referred to as having been repeated by Hayman for the alcoves at Vauxhall Gardens, and the admirable ‘Strolling Actresses dressing in a Barn.’ They were followed in 1741 (30 Nov.) by ‘The Enraged Musician,’ the plate of which, says Fielding (Voyage to Lisbon, 1755, p. 50), is ‘enough to make a man deaf to look at.’ Besides these works, Hogarth at the same period painted portraits of Captain Coram of the Foundling Hospital, 1739; of Frances, lady Byron; of Martin Folkes, president of the Royal Society, 1741; of Dr. Benjamin Hoadly, bishop of Winchester; and of Gustavus, viscount Boyne. A ticket for Fielding's benefit in ‘Pasquin,’ 25 April 1736, some plates for Jarvis's ‘Don Quixote,’ and one or two more or less doubtful caricatures complete the list for 1735–44. The portrait of Coram and a little headpiece (‘The Foundlings’) to a power of attorney which he executed for the Foundling Hospital in 1739, testify to his active interest in the establishment of that famous charity. He appears as a ‘governor and guardian’ in its charter of incorporation, and he aided it with his money, his graver, and his brush. With him, it is said, originated the proposal to decorate it with pictures, a suggestion which not only made it a fashionable morning lounge under George II, but is even credited with the honour of sug-


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 gesting indirectly the later establishment of the Royal Academy.

Although, as we have seen, Hogarth's prints did not want for purchasers, his original pictures remained unsold. Early in 1745, ‘still,’ to use his own phrase, ‘ambitious of being singular,’ he disposed of them by an auction of his own devising, the details of which are given in the ‘Genuine Works,’ 1808, i. 116–18. The ticket to view them at the Golden Head was as original as the scheme of sale. Already, à propos of some aspersions which had been cast upon his late father-in-law's paintings at Greenwich Hospital, he had printed in the ‘St. James's Evening Post’ of 7 June 1737 an energetic protest against the sham masterpieces—‘the Holy Families, Madonnas, and other dismal dark subjects’—which the picture-jobbers of his day so persistently imported from the continental ‘high art’ factories; and in the ‘Battle of the Pictures,’ by which he invited the attention of purchasers to his own performances, he depicts a spirited engagement between the ‘black masters,’ as he styled them, and the Hogarthian forces—a conflict in which, as may be guessed, the latter are easily victorious. But the traditions of connoisseurship were, nevertheless, too much against the independent satirist, and his unique gallery brought miserable prices. ‘A Harlot's Progress’ fetched 88l. 4s.; ‘A Rake's Progress’ 184l. 16s.; ‘The Strolling Actresses’ 27l. 6s.; and ‘The Four Times of the Day’ 127l. 1s.; making for nineteen pieces but a total of 427l. 7s. With every allowance for the eccentricity of the artist, and the unconventional character of the transaction, the amount realised is still difficult to comprehend.

We are now nearing his greatest work. In April 1743 he had advertised the forthcoming engravings of the famous ‘Marriage à-la-Mode,’ and in the ‘Battle of the Pictures’ he had given a hint of the same series by exhibiting one of them viciously assaulted by a copy of the ‘Aldobrandini Marriage.’ His announcement laid stress upon the fact that in these ‘modern occurrences in high life,’ care would be taken ‘that there may not be the least objection to the decency or elegancy of the whole work, and that none of the characters represented shall be personal,’ an assurance which seems to imply that objections on these grounds had been taken to some of his former efforts. The plates, six in number, were issued in April 1745, the subscription-ticket being the etching called ‘Characters and Caricaturas.’ In accordance with the artist's promise, they were ‘engrav'd by the best masters in Paris,’ G. Scotin executing plates i. and vi., B. Baron plates ii. and iii., and S. E. Ravenet plates iv. and v. Fifty years later (1795–1800) they were again reproduced in mezzotint by B. Earlom. For a description of this excellent social study the reader must go to the commentators; or, better still, to the paintings themselves, which, fortunately, have found a final asylum in the National Gallery. As in the case of the previous series, Hogarth, unwarned by experience, again resorted to an auction after his own fashion, in order to dispose of the original canvases. The bidding was to be by written tickets, and the highest bidder at noon on 6 June 1751 was to be the purchaser. Picture dealers were rigorously excluded. The result of these sagacious arrangements was disastrous, only one bidder, a Mr. Lane of Hillingdon, near Uxbridge, putting in an appearance. The highest offer having been announced as 120l., Mr. Lane made it guineas, at the same time magnanimously offering the artist some hours' delay to find a better purchaser. No one else presented himself, and Mr. Lane became the possessor of the artist's best work, and the finest pictorial satire of the century, for the modest sum of 126l., which included ‘Carlo Maratti frames’ that had cost Hogarth four guineas apiece. It may be added that the plates were described in Hudibrastic verse in 1746; that they prompted Dr. John Shebbeare's novel of the ‘Marriage Act’ in 1754; and that they are credited by the authors with suggesting Colman and Garrick's farce of the ‘Clandestine Marriage’ in 1766. Hogarth also meditated a companion series depicting ‘A Happy Marriage.’ But after some tentative essays, he abandoned his project, doubtless because the subject presented too little scope for his peculiar qualities.

Besides the ‘Marriage à-la-Mode,’ the only work for 1745 is the subscription-ticket (‘Mask and Palette’) for the portrait of ‘Mr. Garrick in the Character of Richard III,’ which Hogarth engraved with Grignion, and issued on 20 June 1746. For this painting Mr. Duncombe of Duncombe Park in Yorkshire paid him 200l., a price which compares favourably with the paltry amount realised by the tragedy of the Squanderfields. To the next few years belong one or two of his most notable portraits. In August 1746 he etched a characteristic likeness of Simon Fraser, lord Lovat, when that cunning and impenitent old Jacobite halted at St. Albans on his way to London for trial; and in the following year appeared a plate by Baron after his portrait of James Gibbs [q. v.], the famous architect. Last, engraved by his own hand, comes in 1749 his admirable likeness of himself and his dog Trump, one of the most successful of his works. Among his mis-


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 cellaneous efforts are ‘Taste in High Life’ (24 May 1746), after a picture he had painted on commission in 1742; ‘Industry and Idleness’ (30 Sept. 1747), a set of twelve plates illustrating the contrasted careers of two Spitalfields apprentices, Frank Goodchild and Tom Idle; and the clever little ‘Stage Coach, or Country Inn Yard’ (1747), which might be an illustration to Smollett or Fielding. Besides these there are ‘O the Roast Beef of Old England, &c., or The Gate of Calais’ (6 March 1749), in the engraving of which he was assisted by C. Mosley; the famous ‘Representation of the March of the Guards towards Scotland in the year 1745’ (30–1 Dec. 1750), engraved by Luke Sullivan, and known more familiarly as ‘The March to Finchley;’ the pair of plates called ‘Beer Street’ and ‘Gin Lane;’ and the ‘Four Stages of Cruelty.’ It is not quite certain that these last six plates, all of which are dated 1 Feb. 1751, were engraved by Hogarth himself, as the inscription upon them is not explicit. But with the ‘Four Stages of Cruelty’ is connected an interesting experiment in the then dormant art of engraving on wood. In view of their circulation among the poorer classes, to whom their lesson was more especially addressed, an attempt was made to reproduce them in this way. It was abandoned because, upon trial, the process was found more expensive than reproduction upon metal. The third and fourth plates were, however, actually executed on wood in 1750 by J. Bell, and they are now exceedingly rare. They show that Hogarth's bold drawing upon the block, even in its rough knife-cut facsimile, has a vigour which is wanting in the copper, and they suggest that, even in his own graver-work, more was lost than one is accustomed to believe. Another ‘wooden-cut’ which belongs to this period was a rude headpiece for Fielding's ‘Jacobite's Journal’ (1747), and among lesser efforts may be mentioned ‘Hymen and Cupid’ (1748), a ticket for Mallet and Thomson's masque of ‘Alfred;’ a little etching of the house at Chiswick of the artist's neighbour and the king's serjeant-surgeon, Mr. Ranby; and in 1752 two more historical paintings, ‘Moses brought to Pharaoh's Daughter’ and ‘Paul before Felix.’ The former of these was engraved by Hogarth and Luke Sullivan. It is a significant commentary upon their merit that a coarse burlesque of ‘Paul before Felix,’ which Hogarth ‘design'd and scratch'd in the true Dutch taste,’ is far more sought after by collectors than the ambitious plates for which it served as subscription-ticket.

By this time (1752) Hogarth was fifty-four, and he had done his best work. As a pictorial satirist of the first order he was now universally accepted and feared. That he would add to his reputation was unlikely; it was essential only that he should not lessen it. Yet it is characteristic of his adventurous energy that he selected this precise moment of his career to seek fresh honours in new and untried fields. He wrote an ambitious treatise ‘to fix the fluctuating ideas of Taste,’ and he deliberately backed himself against his enemies, the ‘black masters,’ on their own ground. In the ‘Analysis of Beauty,’ which he published in December 1753, taking for his text a serpentine line which he had drawn upon a palette in the corner of his own portrait of 1745, he professed to define the principles of beauty and grace. Dr. Benjamin Hoadly, M.D., the Rev. James Townley of Merchant Taylors' School and ‘High Life below Stairs,’ Ralph of the ‘Champion,’ Dr. T. Morell of Chiswick, and other friends seem to have assisted in preparing the book—a combination of counsel not entirely to the profit of the work. Hogarth undoubtedly knew more than he could express or his friends could interpret, and the result was certainly not conspicuous for order or lucidity. His enemies, and his independent and aggressive character had gained him many, fell joyously upon his literary lapses and occasional incoherencies, while the mob of caricaturists, only too glad of the opportunity, diverted themselves hugely with ‘Painter Pugg’ and his ungainly Graces. The satirist was now himself satirised, and, like most of his race, he was only too vulnerable. The list of these performances will be found at length in vol. iii. pt. ii. of Mr. F. G. Stephens's ‘Catalogue of Satirical Prints and Drawings’ in the British Museum (see Nos. 3238 et seq.). Some admiring critics of course he had. Ralph declared that ‘composition is at last become a science; the student knows what he is in search of; the connoisseur what to praise; and fancy and fashion, or prescription, will usurp the hacknied name of taste no more;’ and friendly Sylvanus Urban put Hogarth into the introductory verses to his volume of 1754. The work was translated into German in the same year by Christlob Mylius, into Italian at Leghorn in 1761, and in 1805 into French by Talleyrand's librarian, Jansen. Of late years it has not been found necessary to reprint the book; but the two large chart-plates prepared by the artist to illustrate it, one of which has for its central design a ‘Statuary's Yard’ and the other a ‘Country Dance,’ continue to be sought after. More popular still is the little etching of ‘Columbus breaking the Egg,’ which was prepared as the subscription-ticket.


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 Between the ‘Analysis’ and Hogarth's next unfortunate experiment comes the whimsical frontispiece to Kirby's ‘Perspective’ (1753), cleverly embodying all the errors in that science of which ignorance could possibly be guilty, and even including a few that it could scarcely have committed. To this, heralded by the already-mentioned ticket entitled ‘Crowns, Mitres,’ &c., followed in 1755–8 the admirable ‘Election Series,’ four large plates engraved by Hogarth, C. Grignion, Morellon Le Cave, and F. Aviline. They are entitled separately ‘An Election Entertainment’ (24 Feb. 1755), ‘Canvassing for Votes’ (20 Feb. 1757), ‘Polling’ (20 Feb. 1758), and ‘Chairing the Members’ (1 Jan. 1758), and taken seriatim give a vivid idea of electioneering humours in the old rough-and-tumble, bribery-and-corruption days of the second George. A further pair of prints was prompted by the rumours of invasion current in 1756, when Hogarth came to the aid of patriotism with two rapidly executed plates, in one of which, ‘England,’ the natives of this island were represented as eagerly awaiting the descent of the invaders, while in the other, ‘France,’ the famished subjects of the Grand Monarque exhibit a most pitiful reluctance to embark upon their enterprise. ‘The Bench’ (1758) and ‘The Cockpit’ (5 Nov. 1759), the latter of which depicted, probably at its home in Birdcage Walk, a popular eighteenth-century pastime, with ‘The Five Orders of Periwigs’ (15 Oct. 1761) and a couple of frontispieces to vols. ii. and iv. of ‘Tristram Shandy,’ are the only other plates which require present mention. But Hogarth had not yet relinquished his aspirations after high art, and in 1756 executed for the altarpiece at St. Mary Redcliffe, Bristol, a set of sacred subjects, the ‘Sealing of the Sepulchre,’ the ‘Ascension,’ and the ‘Three Maries.’ These three pictures, for which he received the sum of 500l., are now in the Fine Arts Academy at Clifton.

On 6 June 1757 Hogarth was appointed serjeant-painter of all his majesty's works, succeeding his brother-in-law, John Thornhill, who resigned that office. He entered upon his duties on 16 July, and his nominal salary was 10l., but with ‘fees, liveries, profits,’ and the like, it came to about 200l. per annum. At this time he seems to have decided to confine himself to portrait-painting; but two years later he announced once more that he should quit the pencil for the graver, one of his chief reasons being that the retouching and repairing of his many plates was already becoming a laborious task. Before he bade a final adieu to the brush Lord Charlemont persuaded him to execute another picture. This was that known indifferently as ‘Picquet,’ or ‘The Lady's Last Stake,’ or ‘Virtue in Danger,’ one of the most attractive of his lesser works. It was engraved by Thomas Cheesman in 1825. Its popularity as a picture led to a further commission from Sir Richard (afterwards Lord) Grosvenor, the choice of subject being left as before to the artist. He selected Boccaccio's (or rather Dryden's) Sigismunda weeping over the heart of her murdered husband, Guiscardo, his object being to rival a so-called Correggio (it was really a Furini) with the same title, which had been sold at Sir Luke Schaub's sale in 1758 for 400l. Hogarth valued his ‘Sigismunda’ at no less. He took immense pains with it, and probably too much advice. When it was finished, Sir Richard, who would have preferred a humorous or satirical genre piece, rather meanly shuffled out of his bargain. The picture in consequence, greatly to the painter's mortification, remained upon his hands, and was not sold until his widow's death, when it was purchased by the Boydells for fifty-six guineas. What was worse, both the transaction and the work gave rise to much vexatious comment, and ‘Sigismunda,’ whose lineaments, as already stated, were those of Mrs. Hogarth, was frankly and even brutally criticised. To prove its merit Hogarth arranged to have it engraved, but the matter never, during his lifetime, advanced beyond an etching in outline by Basire and a subscription-ticket by himself. The latter, ‘Time smoking a Picture’ (1761), is one of the happiest of its class, and has for its English motto two quotations from an ‘Epistle to a Friend, occasioned by my picture of Sigismunda,’ of which, with the aid of Paul Whitehead, the painter delivered himself. To Nature and your Self appeal Nor learn of others, what to feel, is one of these. The whole poem, if such it may be called, is to be found in the ‘Genuine Works,’ 1808, i. 322, and also at p. 281 of the ‘Anecdotes’ of J. B. Nichols, 1833. ‘Sigismunda’ was mezzotinted in 1793 (1 Feb.) by Robert Dunkarton, and engraved in line by B. Smith, 4 June 1795. The original picture and that of the ‘Lady's Last Stake’ were exhibited at the Spring Gardens exhibition of 1761. For the ‘Catalogue’ of this Hogarth executed a head-and tail-piece, both of which were engraved by Grignion. The former was a bid for the royal patronage of art; the latter, a monkey with an eyeglass watering some withered exotics, a supplementary blow at those travelled and unenlightened virtuosi who cherished the lifeless


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 ‘black masters’ and neglected the living ‘Marriage à-la-Mode.’

With 1761 we are within three years of Hogarth's death, and the chronicle of his work grows scanter. A second portrait of himself, which he executed and engraved in 1758, had shown him to be already an older and sadder man, although, faithful to his past, he is engaged in ‘painting the Comic Muse.’ In March 1762 he issued the plate known as ‘Credulity, Superstition, and Fanaticism, a Medley,’ which was an adaptation, more closely directed at the methodists, from an earlier design of wider scope, entitled ‘Enthusiasm Delineated.’ A few copies of this first thought were struck off before the artist re-engraved the plate, and they show that, probably in deference to criticism, Hogarth converted what was a compact composition into a desultory pictorial hotch-pot which, despite the assertion of Horace Walpole that it is the ‘most sublime of his works for useful and deep satire,’ is not now regarded as ranking among the triumphs of his imagination. And so we come to the last notable events in his career, the publication of the political print called ‘The Times’ (plate i.), and his quarrel with Wilkes and Churchill.

Long before the death of George II, Hogarth is supposed to have enjoyed the favour of Lord Bute. But he had nevertheless wisely withheld himself from faction. In 1762, however, an evil genius prompted him to do some ‘timed’ thing in the ministerial interest. The very announcement of his purpose should have warned him of the danger of this step, for it at once brought him into collision with Wilkes and Wilkes's ‘led-captain,’ Churchill the satirist, both of whom had hitherto been his personal associates. Wilkes forthwith threatened reprisals; Hogarth refused to desist; and in these circumstances, on 7 Sept. 1762, ‘The Times, Plate i.,’ came out. It was a laboured and confused performance, though not without true Hogarthian touches. On the Saturday after its appearance, Wilkes, as he had promised, retorted by a savage ‘North Briton,’ No. 17, attacking the painter at all his most assailable points. The alleged failure of his powers, the miscarriage of ‘Sigismunda,’ the obscurities of the ‘Analysis,’ were successively discussed with the merciless malignity of an adversary who had grown familiar with his opponent's foibles in the unrestrained intercourse of private life. There is little doubt that Hogarth was deeply wounded. ‘Being,’ he tells us, ‘at that time very weak, and in a kind of slow fever, it could not but seize on a feeling mind.’ A touching instance of this is supplied by an item in Mr. H. P. Standly's catalogue. It was a worn copy of the paper containing Wilkes's diatribes, given long afterwards by Mrs. Hogarth to Ireland, which the painter had ‘carried in his pocket many days to show his friends.’ But he was not hurt to the death, as Wilkes profanely hoped, and told Lord Temple.

In the following year (16 May) he recovered sufficiently to take his revenge by depicting Wilkes in that famous portrait which will carry his satyr leer and hideous squint to remote posterity. Upon this Churchill, who had already been meditating action, took up the cudgels for his friend in ‘An Epistle to William Hogarth’ (July), which was as clever as it was cold-blooded and cruel. It promptly elicited from the painter another caricature (1 Aug.), entitled ‘The Bruiser, C. Churchill (once the Reverend!), in the character of a Russian Hercules regaling himself after having killed the monster Caricatura, that so severely galled his virtuous friend, the heaven-born Wilkes.’ The ‘Russian Hercules’ was a bear in torn bands hugging a club, the knots of which were inscribed ‘Lye 1, Lye 2,’ &c., and he was ‘regaling himself’ with a quart pot of porter. To a later issue Hogarth added some supplementary details. ‘The pleasure and pecuniary advantage,’ he says, ‘which I derived from these two engravings [of Wilkes and Churchill], together with occasionally riding on horseback, restored me to as much health as can be expected at my time of life.’

In 1762 he prepared, but did not issue, a second plate of ‘The Times.’ It ultimately appeared in 1790 (29 May), when it was published by Messrs. Boydell. His only remaining efforts are the well-known etching of Fielding, executed from memory for Arthur Murphy's edition (1762) of that writer's works, a portrait of Dr. Morell, who had assisted him in the ‘Analysis,’ and a frontispiece to the Rev. John Clubbe's ‘Phisiognomy,’ 1763. His final plate was the graphic epilogue to his collected prints entitled ‘The Bathos; or Manner of Sinking in Sublime Paintings, inscribed to the Dealers in Dark Pictures’ (3 March 1764), a curious assemblage of ‘fag-ends’ suggested by some premonition of his approaching death. After this, with the exception of some finishing strokes to the plate of ‘The Bench,’ he never again touched pencil, brush, or graver. On 25 Oct. he was conveyed from his house at Chiswick to Leicester Fields, very weak, yet remarkably cheerful, and, says Nichols (Genuine Works, 1808, i. 386–8), ‘receiving an agreeable letter from the American Dr. Franklin, drew up a rough draught of an answer to it; but going to bed, he was seized with a vomiting,