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CONVERSATIONS ON THE ARTS.-By JUNINUS. Miss Eve. Suppose, in order to | change the subject, you give me some particulars of such of Hogarth's designs as you have not already mentioned. of Scots, is the only print from Hogarth that I have ever seen engraved by Bartolozzi. Miss Eve. What ladies have been honoured by the burin of this admirable engraver? Miss Eve. This ingenious paintress seems to have been very beautiful in her time. Miss K. I believe the prints by Hogarth that I have not mention- Miss K. In this port-folio are ed, are chiefly, - Orator Henley several ladies that have been thus christening a Child, etched by Sl. || honoured-here is a portrait of AnIreland, and dedicated to Captain gelica Kauffmann, ex Academia ReF. Grose; Taste in High Life, gali Artium Londini, from Sir JoWm. Hogarth pinx. 1742; Sl.shua Reynolds, 1780. Phillips sc.; The Royal Masquer ade at Somerset-House, Thos. Cook sc.;-Beggars' Opera, Mr. Walker as Macheath, Miss Fenton as Polly, W. Blake sc.; Lord Lovat on Trial, etched by Ireland; who also etched a Landscape from an original pic-tiful woman.-Georgiana Duchess ture in his possession, said to be the only landscape ever painted by Hogarth. This print is dedicated to the Earl of Exeter. I believe I noticed The Shrimp - Girl, which, with the exception of Mary Queen No. LVI. Vol. X. Miss K. Maria Cosway, the paintress, from her husband, Rd. Cosway, 1785. She is also a beau of Devonshire, and her sister Lady Duncannon, both from Downman, for the scenery of Richmond House Theatre.-Lady Smith, from Sir Joshua Reynolds, 1789.-Wholelength of Miss Farren, now Coun K tess of Derby, from Laurence.- Miss Eve. Describe to me some of Hogarth's works. from the characters in which it is not expected, it is from their acting conformably to their situation, and from the mode of the passions, not from their having the wit of fine gentlemen. Thus there is a wit in the figure of the alderman, who, when his daughter is expiring in the agonies of poison, wears a face of solicitude, but it is to save her gold ring, which he is drawing gently from her finger. The thought is parallel to Moliere's, where the miser puts out one of the candles as he is talking. Moliere, inimitable he has proved, brought a rude theatre to perfection. Hogarth had no model to follow and improve upon. He created his art, and used colours instead of language: his place is between the Italians whom we may consider as epic poets and tragedians, and the Flemish painters who are writers of farce and subjects are universal, and amidst all his pleasantry, he observes the true end of comedy, reformation. Sometimes he rises to trage Miss K. Horace Walpole, Earl of Orford, has written well on this subject. Come and recline on this couch, while I read his account. Miss Eve.. I am all attention. Miss K. William Hogarth, upon the whole, should be consider-editors of burlesque nature. His ed rather as a writer of comedy with a pencil, than as a painter. If catching the manners and follies of an age, living as they rise; if general satires on vices, and ridi-dy, not in the catastrophe of kings cules familiarized by strokes of nature and heightened by wit, and the whole animated by a proper and just expression of the passions, be comedy, Hogarth composed comedies as much as Moliere. In his Marriage à-la-Mode, there is even an intrigue carried on throughout the piece. He is more true to character than Congreve. Each per-à-la-Mode, and Tom Nero in the sonage is distinct from the rest, acts Fourth Stage of Cruelty, terminate in his sphere, and cannot be con- their story in blood: she occasions founded with any other of the dra- the murder of her husband; he matis persona. The alderman's foot-assassinates his mistress. How deboy in the last print of the set Ilicate and superior too is his satire! When he intimates in the College of Physicians and Surgeons have just mentioned, is an ignorant rustic; and if wit is struck out and beroes, but to mark how vice conducts insensibly and incidentally to misery and shame. He warns against encouraging idleness and cruelty in young minds, and discerns how the different vices of the great and the vulgar lead by various paths to the same unhappiness. The fine lady in Marriage that he drew all his stores from nature and the force of his own genius, and was indebted neither to models nor books for his style, thoughts, or hints, that he never succeeded when he designed for the works of other men. It is seldom that his figures do not express the character he intended to give them. When they wanted an illustration that colours could not bestow, collateral circumstances, full of wit, supply notes. The nobleman in Marriage à-la-Mode has a great air: the coronet on his crutches, and his pedigree issuing out of the bowels of William the Conqueror, add to his character. In the Breakfast, the old steward reflects for the spectator. Sometimes a short label is an epigram, and is never introduced without that preside at a dissection, how the legal habitude of viewing shocking scenes hardens the human mind and renders it unfeeling, the president maintains the dignity of insensibility over an executed corpse, and considers it but as the object of a lecture. In the print of the Sleeping Judges, this habitual indifference only excites our laughter. It is to Hogarth's honour, that, in so many scenes of satire or ridicule, it is obvious that ill-nature did not guide his pencil. His end is always reformation, and his reproofs general, except in the print of the Times, and the two portraits of Mr. Wilkes and Mr. Churchill that followed. No man, amidst such a profusion of characteristic faces, ever pretended to discover or to charge him with the caricature of a real person, except of such no-improving the subject. Unfortutorious characters as Chartres and Mother Needham, and a very few more, who are acting officially and suitably to their professions*. As he must have observed so carefully the operation of the passions on the countenance, it is even wonderful that he never delivered the features of any identical person; it is at the same time a proof of his intimate intuition into nature. But had he been too severe, the humanity of endeavouring to root out cruelty to animals would atone for many satires. It is another proof nately, some circumstances that were temporary will be lost to posterity, the fate of all comic authors; and if ever an author wanted a commentary, that none of his beauties might be lost, it is Hogarth; not from being obscure, for he never was, except in two or three of his first prints, where transient national follies, as lotteries, FreeMasonry, and the South Sea were his topics, but for the use of foreigners, and from a multiplicity of little incidents, not essential to, but always heightening the principal action, such as the spider's * If Hogarth indulged his spirit of ri-web extended over the poor's box dicule in personality, it never proceeded in a parish church, the blunders beyond sketches and drawings: his prints in architecture in the nobleman's touched the folly, but spared the person. One of his early designs represented a seat, seen through the window in noted miser, one of the sheriffs, trying a the first plate of Marriage à-lamastiff which had robbed his kitchen; Mode, and a thousand in the strollbut the magistrate's son went to his house, ers dressing in a barn, which, for and cut the picture in pieces. wit and imagination, without any |