portraits of Henry the Eighth and Anne Boleyn. The print bears the lines by Allan Ramsay,

"Here struts old pious Harry," &c.

A proof has been sold for 137. 2s. 6d. The portraits were said to be Frederick Prince of Wales and Lady Vane. For this assistance, which seems to have been gratuitous, Tyers presented Hogarth with a Gold Ticket, or perpetual admission: it bears on its obverse "Hogarth," and beneath it, “In perpetuam beneficii memoriam;" on the reverse are two figures, surrounded with the motto, Virtus voluptas felices una." This Ticket, (for the admission of six persons, or one coach,") was last used for admission in 1836: it is now in the possession of Mr. Frederick Gye, who purchased it for 201. After Hogarth's decease, the Ticket, or Medallion, remained in the hands of his widow, who bequeathed it to Mrs. Mary Lewis, who left it to Mr. R. F. Hart, chief clerk of the Duchy of Cornwall Office, and second Clerk of the Kitchen to George III. It next became the property of Captain Tuck, of Lambeth. The design has been engraved; and the original copper-plate, with 30 impressions, was bought by Evans, at Wilkinson's sale, in 1826, for 138. only.

Such is the generally received version of Hogarth's introduction to Tyers; but Mr. J. Phillips, the nephew-in-law of Mr. Hart, tells the anecdote as related to him by Mrs. Lewis, as follows: On passing the tavern one morning, which was then kept by Jonathan Tyers, and open, together with the Gardens, as a place of recreation daily, Hogarth saw Tyers, and observing that he looked particularly melancholy, said: "How now, master Tyers, why so sad this morning?" "Sad times, master Hogarth, and my reflexions were on a subject not likely to brighten a man's countenance," said Tyers; "I was thinking, do you know, which would be likely to prove the easiest death-hanging or drowning." "Oh," replied Hogarth, "is it come to that?" "Very nearly, I assure you," said Tyers. "Then," replied Hogarth," the remedy you think of applying is not likely to mend the matter-don't hang or drown to-day. I have a thought that may save the necessity of either, and will communicate it to you to-morrow morning: call at my house in Leicester-fields." The interview took place, and the result was the embellishment of the Gardens by Hogarth, who associated himself with Hayman in the work,

These paintings were chiefly in the sweeps of pavilions, or supper-boxes, in the Gardens; they had little of Hogarth's genius; and they were rarely seen by the company, for want of sufficient light. Many of the pictures perished; but such as remained were disposed of at the sale of the moveable property in the Gardens, in October, 1841.

Twenty-four pictures by Hogarth and Hayman produced but small sums: they had mostly been upon the premises since 1742; the canvass was nailed to boards, and much obscured by dirt. By Hogarth : Drunken Man, 47. 48.; a Woman pulling out an Old Man's grey hairs, 31. 38.; Jobson and Nell in the Devil to Pay, 4l. 4s. ; the Happy Family, 31. 15s.; Children at Play, 4l. 11s. 6d. By Hayman: Children Bird's-nesting, 57. 108.; Minstrels, 31.; the Enraged Husband, 4l. 4s.; the Bridal Day, 67. 68.; Blindman's Buff, 37. 8s.; Prince Henry and Falstaff, 77.; Scene from the Rake's Progress, 97. 15s.; Merry-making, 17. 12s.; the Jealous Husband, 41.; Card-party, 67.; Children's Party, 47. 15s.; Battledore and Shuttlecock, 17. 10s.; the Doctor, 4l. 14s. 6d.; Cherry-bob, 2l. 15s.; the Storming of Seringapatam, 87. 108; Neptune and Britannia, 8l. 108.; Four busts of Simpson, the celebrated Master of the Ceremonies, were sold for 10s.; and a bust of his royal shipmate, William IV., 19s.*

ROSAMOND'S POND.

This noted London haunt was a sheet of water in the south-west corner of St. James's Park,+ "long consecrated to disastrous love and elegiac poetry." The earliest notice to be found of it is in an Exchequer payment in 1612: the pond was filled up in 1770. We find it mentioned as a notorious place of intrigue in the love comedies of Otway, Congreve, Farquhar, Southerne, Colley Cibber, and by Addison and Pope :

This the Beau-monde shall from the Mall survey

*

*

This the fleet lover shall for Venus take,
And send up vows from Rosamanda's Lake.

*

Rape of the Lock.

It was painted by Hogarth, about the year 1740, and the picture is now in Mr. Willett's collection. It was engraved for this gentleman about five-and-twenty years since, when only

* See a minute description of Vauxhall Gardens in Curiosities of London, pp. 745-748. The property remained in Tyers's family until 1828. The site is now built upon a School of Art was founded upon a portion of the ground in June, 1860; the Prince of Wales laying the first stone of the edifice, and this being His Royal Highness's first act of the kind.

+ Another pond in the Green Park, nearly opposite Coventry House, bore the name of Rosamond down to 1840, when it was filled up.

one hundred impressions were taken, but not one of them was published. Hogarth also painted a smaller view of Rosamond's Pond, of a cabinet size, likewise in the collection of Mr. Willett, with the receipt for 17. 78. (the sum charged by the painter), in the handwriting of Mrs. Hogarth. These views are in part followed by George Cruikshank, in one of his Illustrations to Ainsworth's tale of the Miser's Daughter, in No. 1. of Ainsworth's Magazine, 1842.

THE ENRAGED MUSICIAN-THE DISTRESSED POET.

The design of the first scene, which it deafens one to look at, has been variously explained. The hero of the print has been set down for Cervetto; but according to others, Dr. Arne. John Ireland attributes it to John Festin, who was an eminent player of the German flute and hautboy, and was a fashionable teacher of music. Mr. Dallaway says, Signor Castracci was intended. Ireland relates that to each of his pupils, Festin dedicated an hour a-day. “At nine o'clock, one morning, (said he,) I waited upon my Lord Spencer, but his Lordship being out of town, from him I went to Mr. V- -n, now Lord V- -n; it was so early that he was not arisen. I went into his chamber, and opening a window, sat down on the window-seat. Before the rails was a fellow playing upon the hautboy. A man with a barrowful of onions offered the piper an onion if he would play him a tune; that ended, he offered a second for a second tune; the same for a third, and was going on; but this was too much-I could not bear it-it angered my very soul. 'Zounds,' said I, 'stop here! This fellow is ridiculing my profession-he is playing on the hautboy for onions!""

Upon this story Hogarth has wrought out his design, in the year 1741 the original sketch was in chiaroscuro, and was sold at S. Ireland's sale in 1801, for four guineas thence it passed into the collection of Mr. Hall Chambers, of Southampton. Among the performers of the discord in the street, are a dustman, shouting "Dust, ho! dust, ho!" the fishmonger crying, "Flounders !" a milkmaid, "Milk above! Milk below!" a female ballad-singer chanting the doleful story of "the Lady's Fall;" the singer's child and a neighbouring parrot screaming a chorus; a little French drummer remorselessly beating a ruba-dub-dub, singing all the time; two cats squalling in the gutter-tiles; a doghowl

1

ing most dismally; while an urchin-sweep, all black save his teeth and the whites of his eyes, from the top of a chimneypot, proclaims that his job is done. Then we have a crowd of instrumentalists: a postman with his horn, a strolling hautboy player, a dustman with his bell, a paviour with his rammer, a knife-grinder grinding a butcher's cleaver; and "John Long, Pewterer," (over the door,) with the clink of twenty hammers, striking metal, accompanies the medley of out-door discords.

This picture was engraved with great success; and a copy of the plate, with that of "the Distressed Poet,"—both first states, in Baker's sale, 1825, produced nine guineas.

The original of "the Distressed Poet" has been set down as Theobald, the editor of Shakspeare's Plays; and the inveterate assailant of Pope. The painting was given by Hogarth to Mrs. Draper the celebrated midwife, and sold at her death for five guineas to Mr. Ward, at whose sale it was purchased by the first Lord Grosvenor for fourteen guineas; it is now in the Grosvenor Gallery. The scene of it was the house of Mr. Huggins, in St. Martin's-lane, although, by an error of the engraver, in reversing, the church of St. Martin appears on the right-hand instead of the left. Nichols says: "the musician was undoubtedly Castrucci; the wretched hautboy player was at that time well known about the streets."

THE MARRIAGE À LA MODE PICTURES.

This series of six pictures, for invention, composition, drawing, colouring, and character, are the most important and highly wrought of Hogarth's satiric comedies. Mr. Thackeray has thus emphatically and powerfully told their impressive story of domestic misery.

The care and method with which the moral grounds of these pictures are laid is as remarkable as the wit and skill of the observing and dexterous artist. He has to describe the negotiation for a marriage pending between the daughter of a rich citizen Alderman and young Lord Viscount Squanderfield, the dissipated son of a gouty old Earl. Pride and pomposity appear in every accessory surrounding the Earl. He sits in gold lace and velvet-as how should such an Earl wear anything but velvet and gold lace? His coronet is everywhere-on his footstool on which reposes one gouty toe turned out; on the sconces and lookingglasses; on the dogs; on his lordship's very crutches; on his great chair of state, and the great baldaquin behind him; under which he sits pointing majestically to his pedigree, which shows that his race is sprung from the loins of William the Conqueror, and confronting the old Alderman from the City, who has mounted his sword for the occa

sion, and wears his Alderman's chain, and has brought a bag-full of money, mortgage-deeds, and thousand pound notes, for the arrangement of the transaction pending between them. Whilst the steward (a methodist, therefore a hypocrite and cheat, for Hogarth scorned a papist and a dissenter,) is negotiating between the old couple, their children sit together, united but apart. My lord is admiring his countenance in the glass, while his bride is twiddling her marriage-ring on her pocket-handkerchief; and listening with rueful countenance to Counsellor Silvertongue, who has been drawing the settlements. The girl is pretty, but the painter, with a curious watchfulness, has taken care to give her a likeness to her father, as in the young Viscount's face you see a resemblance to the Earl, his noble sire. The sense of the coronet pervades the picture, as it is supposed to do the mind of its wearer. The pictures round the room are sly hints indicating the situation of the parties about to marry. A martyr is led to the fire; Andromeda is offered to sacrifice; Judith is going to slay Holofernes. Here is the ancestor of the house, (in the picture it is the Earl himself as a young man,) with a comet over his head, indicating that the career of the family is to be brilliant and brief.

In the second picture, the old Lord must be dead, for Madam has now the Countess's coronet over her bed and the toilet-glass, and sits listening to that dangerous Counsellor Silvertongue, whose portrait now actually hangs up in her room; whilst the Counsellor takes his ease on the sofa by her side, evidently the familiar of the house, and the confidant of the mistress. My lord takes his pleasure elsewhere than at home, whither he returns jaded and tipsy from the Rose, to find his wife yawning in her drawing-room, her whist-party over, and the daylight streaming in; or he amuses himself with the very worst company abroad, whilst his wife sits at home listening to foreign singers, or wastes her money at auctions, or worse still, seeks amusements at masquerades. The dismal end is known. My lord draws upon the Counsellor, who kills him, and is apprehended while endeavouring to escape. My lady goes back per force to the Alderman in the City, and faints upon reading Counsellor Silvertongue's dying speech at Tyburn, where the Counsellor has been executed for sending his lordship out of the world.

The six pictures are-1. The Marriage Contract. 2. Shortly after Marriage. 3. The Visit to the Quack Doctor. 4. The Countess's Dressing-room. 5. The Duel and the Death of the Earl. 6. The Death of the Countess.*

These pictures were exhibited gratis to the public by Hogarth, in Cock's auction-rooms, now Robins's, in the Piazza, Covent Garden.

In this Plate occurs a curious instance of Hogarth's attention to most minute traits of character: where, as a further instance of the avarice and miserable penury of the Alderman, who is stripping his dying daughter of her trinkets, a close observer will perceive, that the servantlad is clothed in one of his master's old coats, which has been shortened, and that the cloth cut off is turned, and made into new cuffs; this is more plainly seen in the picture, by the contrast of the colour of them with the faded hue of the coat.