his death, which took place in 1733.

In 1733 his genius became conspicuously known. The third scene of "The Harlot's Progress" introduced him to the notice of the great: at a Board of Treasury, (which was held a day or two after the appearance of that print), a copy of it was shown by one of the lords, as containing, among other excellences, a striking likeness of Sir John Gonson, a celebrated magistrate of that day, well known for his rigour towards women of the town. From the Treasury each lord repaired to the print-shop for a copy of it, and Hogarth rose completely into fame.

Upwards of twelve hundred subscribers entered their names for the plates, which were copied and imitated on fan mounts, and in a variety of other forms; and a pantomime taken from them was represented at the theatre. This performance, together with several subsequent ones of a similar kind, have placed Hogarth in the rare class of original geniuses and inventors. He may be said to have created an entirely new species of painting, which may be termed the moral comic; and may be considered 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 satire on vices,—and ridicule familiarised by strokes of Nature, and heightened by wit,—and the whole animated by proper and just expressions of the passions,—be comedy, Hogarth composed comedies as much as Moliere.

Soon after his marriage, Hogarth resided at South Lambeth; and being intimate with Mr. Tyers, the then spirited proprietor of Vauxhall Gardens, he contributed much to the improvement of those gardens; and first suggested the hint of embellishing them with paintings, some of which were the productions of his own comic pencil. Among the paintings were "The Four Parts of the Day," either by Hogarth, or after his designs.

Two years after the publication of his "Harlot's Progress," appeared the "Rake's Progress," which, Lord Orford remarks, (though perhaps superior,) "had not so much success, for want of notoriety: nor is the print of the Arrest equal in merit to the others." The curtain, however, was now drawn aside, and his genius stood displayed in its full lustre.

The Rake's Progress was followed by several works in series, viz. "Marriage a-la-Mode, Industry and Idleness, the Stages of Cruelty, and Election Prints." To these may be added, a great number of single comic pieces, all of which present a rich source of amusement:—such as, "The March to Finchley, Modern Midnight Conversation, the Sleeping Congregation, the Gates of Calais, Gin Lane, Beer Street, Strolling Players in a Barn, the Lecture, Laughing Audience, Enraged Musician," &c. &c. which, being introduced and described in the subsequent part of this work, it would far exceed the limits, necessarily assigned to these brief memoirs, here minutely to characterise.

All the works of this original genius are, in fact, lectures of morality. They are satires of particular vices and follies, expressed with such strength of character, and such an accumulation of minute and appropriate circumstances, that they have all the truth of Nature heightened by the attractions of wit and fancy. Nothing is without a meaning, but all either conspires to the great end, or forms an addition to the lively drama of human manners. His single pieces, however, are rather to be considered as studies, not perhaps for the professional artist, but for the searcher into life and manners, and for the votaries of true humour and ridicule. No furniture of the kind can vie with Hogarth's prints, as a fund of inexhaustible amusement, yet conveying at the same time lessons of morality.

Not contented, however, with the just reputation which he had acquired in his proper department, Hogarth attempted to shine in the highest branch of the art,—serious history-painting. "From a contempt," says Lord Orford, "of the ignorant virtuosi of the age, and from indignation at the impudent tricks of picture dealers, whom he saw continually recommending and vending vile copies to bubble collectors, and from having never studied, or indeed having seen, few good pictures of the great Italian masters, he persuaded himself that the praises bestowed on those glorious works were nothing but the effects of prejudice. He talked this language till he believed it; and having heard it often asserted (as is true) that time gives a mellowness to colours, and improves them, he not only denied the proposition, but maintained that pictures only grew black and worse by age, not distinguishing between the degrees in which the proposition might be true or false. He went farther: he determined to rival the ancients, and unfortunately chose one of the finest pictures in England as the object of his competition. This was the celebrated Sigismonda of Sir Luke Schaub, now in the possession of the Duke of Newcastle, said to be painted by Correggio, probably by Furino."—"It is impossible to see the picture," (continues his lordship,) "or read Dryden's inimitable tale, and not feel that the same soul animated both. After many essays, Hogarth at last produced his Sigismonda,—but no more like Sigismonda than I to Hercules."

Notwithstanding Hogarth professed to decry literature, he felt an inclination to communicate to the public his ideas on a topic connected with his art. His "Analysis of Beauty" made its appearance in one volume quarto, in the year 1753. Its leading principle is, that beauty fundamentally consists in that union of uniformity which is found in the curve or waving line; and that round swelling figures are most pleasing to the eye. This principle he illustrates by many ingenious remarks and examples, and also by some plates characteristic of his genius.

In the year 1757, his brother-in-law, Mr. Thornhill, resigned his office of king's serjeant-painter in favour of Hogarth, who received his appointment on the 6th of June, and entered on his functions on the 16th of July, both in the same year. This place was re-granted to him by a warrant of George the Third, which bears date the 30th October, 1761, with a salary of ten pounds per annum, payable quarterly.

This connexion with the court probably induced Hogarth to deviate from the strict line of party neutrality which he had hitherto observed, and to engage against Mr. Wilkes and his friends, in a print published in September, 1762, entitled The Times. This publication provoked some severe strictures from Wilkes's pen, in a North Briton (No. 17.) Hogarth replied by a caricature of the writer: a rejoinder was put in by Churchill, in an angry epistle to Hogarth (not the brightest of his works); and in which the severest strokes fell on a defect the painter had not caused, and could not amend—his age; which, however, was neither remarkable nor decrepit; much less had it impaired his talents: for, only six months before, he had produced one of his most capital works. In revenge for this epistle, Hogarth caricatured Churchill, under the form of a canonical bear, with a club and a pot of porter.

During this period of warfare (so virulent and disgraceful to all the parties), Hogarth's health visibly declined. In 1762, he complained of an internal pain, the continuance of which produced a general decay of the system, that proved incurable; and, on the 25th of October, 1764, (having been previously conveyed in a very weak and languid state from Chiswick to Leicester Fields,) he died suddenly, of an aneurism in his chest, in the sixty-seventh or sixty-eighth year of his age. His remains were interred at Chiswick, beneath a plain but neat mausoleum, with the following elegant inscription by his friend Garrick:—