Part 22

"The conclusion of the _Indian Emperor_ (part of which poem was written by me) left little matter for another story to be built on, there remaining but two of the considerable characters alive, viz. Montezuma and Orazia: thereupon the author of this thought it necessary to produce new persons from the old ones; and considering the late Indian Queen, before she loved Montezuma, lived in clandestine marriage with her great general Traxalla, from those two he has raised a son and two daughters, supposed to be grown up to man and woman's estate, and their mother Orazia (for whom there was no further use in the story) lately dead. So that you are to imagine about twenty years elapsed since the coronation of Montezuma, who in the truth of the history was a great and glorious prince, and in whose time happened the discovery and invasion of Mexico by the Spaniards (under the command of Cortez), who joined with the Traxallan Indians, the inveterate enemies of Montezuma, wholly subverted that flourishing empire, the conquest of which is the subject of this dramatic poem.

"I have neither wholly followed the story, nor varied from it, and, as near as I could, have traced the native simplicity and ignorance of the Indians in relation to European customs: the shipping, armour, horses, swords, and guns of the Spaniards, being as new to them as their habits and manners were to the Christians.

"The difference of their religion from ours, I have taken from the story itself; and that which you find of it in the first and fifth acts, touching the sufferings and constancy of Montezuma in his opinions, I have only illustrated, not altered from those who have written of it.

"JOHN DRYDEN."

[227] Some eighteen or twenty years ago, a person of quality in the neighbourhood of Lichfield, dragged together a shoal of little holiday fry, to give an infantine exhibition of a new sentimental comedy.

A spacious Gothic gallery made an admirable theatre, and for scenery--there was an excellent substitute, in many a mouldering breadth of ancient tapestry, which represented in horrid guise the direful tale of Herod's Cruelty. By the hour announced for the theatrical _début_ of these unfledged actors, the house overflowed. Though the circumstance is not recorded by either Boswell or Sir John Hawkins, a late celebrated moralist was one of the audience. To the beginning of the fifth act he stayed with more patience than could have been expected; at this time he exhibited evident marks of _ennui_ and lassitude--yawned three times, and attempted to make his exit. The lady of the mansion cut off his retreat with, "'Pon honour, Doctor Johnson, you must not go! How can you think of leaving the theatre when my Dicky is in so interesting a situation?" "Madam," replied the sage, "with the plot of your play I was unacquainted, and have waited thus long in the hope that it would turn out a tragedy; I might then have seen how naturally little Dicky and his dramatic associates would have died! I now perceive that the author will neither introduce aconite nor a bare bodkin, and have no prospect of a pathetic termination but in Herod or some of his tapestry hang-dogs starting into life. Should these murderous ruffians once step upon the stage, all your pretty innocents will most assuredly be put to the sword!"

[228] In the third volume of this work, which was compiled from Hogarth's manuscripts, and published some time after the two which precede it, there is a catalogue of all his prints, and the editor has endeavoured to add a more perfect list of the numerous variations than has been hitherto given to the public.

[229] In a marginal leaf of the late Doctor Lort's _Trusler_, I found a piece of a newspaper with the following remarks (neither the date nor title of the paper were inserted): "Whether the late extraordinary sums paid for the works of Hogarth at Mr. Gulston's sale are to be regarded on the whole as proofs of our artist's merit, or of extravagance in our modern collectors, I shall not venture to determine; and yet the following statement of the rapid advance in the value of prints from this celebrated master may furnish notices to assist the judgment of your readers:--

"In 1780, Mr. Walpole obliged the world with a fourth volume of his _Anecdotes of Painting in England_. In this entertaining performance was comprised the first catalogue of Hogarth's pieces. I say the first, for every preceding enumeration of them was defective in the extreme. This was succeeded in 1781 by a publication from the ingenious and accurate Mr. Nichols, who considerably enlarged and amended the list made by his predecessor.

"In the same year, Mr. Bailley's collection, which would now be deemed an imperfect one, was sold at Christie's for £61, 10s. In 1782 it was resold, with some additions, at Barford's for £105.

"In 1785, the late Mr. Henderson of Covent Garden Theatre disposed of his collection, by far less complete than either of the foregoing, for £126.

"In 1786, Mr. Gulston's was sold piecemeal by Mr. Greenwood; and though the condition of all such articles in it, as real taste and common sense would style the most valuable, were very indifferent, the whole series is reported to have brought in upwards of £600.[230] At this auction, the plates now to be particularized were knocked down at the following rates, though taken altogether they were scarce worth the money paid for the cheapest of them:--

Two engravings on plate £4 14 6 Three ditto 3 10 0 Small arms of the Duchess of Kendal 4 0 0 Large ditto 6 0 0 Arms of Lord Aylmer 7 10 0 Arms unknown, with women as terms 6 10 0 Two ditto 1 11 6 Impression from a tankard 10 0 0 Hogarth's shop-bill and another 11 15 0 Rape of the Lock; impression from a gold snuff-box presented to Mr. Pope 33 0 0 Scene of Evening, without the girl 40 8 6

"Should the celebrity of the delightful mock heroic poem, or the rareness of an imperfect play tending to show that a complete design is not always to be hit at once even by a Hogarth, furnish some apology for the purchase of the two last articles, what excuse can be invented for the collectors who bought the preceding trash on terms so ridiculously high? Of all the trifling works of art, coats of arms must be reckoned the most contemptible. These early productions of our author on silver tea-tables, mugs, and waiters, have no sort of merit to recommend them, nor were ever meant to be impressed on paper (except as in momentary satisfaction to the engraver); for being there reversed, like the prayers of witches, they must be read backwards. Besides, what taste or genius can be manifested in the disposition of a cat's whiskers or a fox's tail; in the emblazonry of a black swan with two necks, or a blue boar with gilded tail? What abilities are requisite for the expansion of an old woman's furred cloak (very pompously denominated a mantle) at the back of a shield, or for inscribing some bright sentence or wretched pun (yclep'd a motto) in Gothic Latin on a ribbon fantastically waved? For the design in which nature and manners are displayed, no praise can be too exalted; but as for his heraldry,--his representation of birds and beasts that never had existence,--

"A dragon, and a finless fish, A clip-wing'd griffin, and a molten raven, And such a deal of skimble-skamble stuff,"--

these can never be allowed to contribute a single leaf to the chaplet he has so long and so deservedly worn.

"I have dwelt the more on these things, because I am assured there are print-dealers now rummaging the books of our oldest engravers, in the hope that a still greater number of useless and insignificant particulars consisting of arms, etc., imputable to Hogarth, will be found; nor are their hopes less sanguine that the madness of collectors will be confirmed instead of cured by the examples hung out at the late auction in Leicester Fields.

"Let me hope, however, that for the future every sensible collector will think his assemblage of Hogarth's prints sufficiently complete, without the foolish adjuncts already described and reprobated. For the authenticity of these trifles being obvious to no kind of proof, they principally tend to expose their purchasers to the frauds of designing people, who will laugh at their credulity while they pocket their cash."

[230] A short time before this, the writer of these volumes had the honour of furnishing his Royal Highness the Prince of Wales with a set of Hogarth's works. They consisted of remarkably fine impressions from his most valuable plates, many of the variations, and some which were deemed scarce (though not one of either the large or small coat of arms). For the two volumes he charged and received £84.

[231] See the manner of disgracing the most serious subjects in many celebrated old pictures, by introducing low, absurd, and obscure, and often profane, circumstances into them.

[232]

"What shall withstand old Time's devouring hand? Where's Troy? and where's the Maypole in the Strand?"

[233] I may be told that this is a mistake, and that it was either to Pope or Swift. It was the fate of Arbuthnot to twine laurel for the brows of his friends. I know it was a partnership account, but surely the Doctor was first in the firm.

[234] See the introduction to the _Memoirs of Scriblerus_.

[235] Should any Lord, Knight, Esquire, or spirited Bookseller, choose to purchase the whole copy, I am ready to treat with him upon proper terms.

[236] The writer of a modern book of travels, relating the particulars of his being cast away, thus concludeth: "After having walked eleven hours without tracing the print of a human foot, to my great comfort and delight I saw a man hanging upon a gibbet: my pleasure at this cheering prospect was inexpressible, for it convinced me that I was in a civilised country!"

* * * * *

_SEASON 1874._

A LIST OF BOOKS

PUBLISHED BY

CHATTO & WINDUS

(_Successors to John Camden Hotten_),

74 & 75, PICCADILLY, LONDON, W.

THE FAMOUS FRASER PORTRAITS.

MACLISE'S GALLERY OF ILLUSTRIOUS LITERARY CHARACTERS.

With Notes by the late WILLIAM MAGINN, LL.D.

Edited, with copious Notes, by WILLIAM BATES, B.A., Professor of Classics in Queen's College, Birmingham. The volume contains the whole 83 SPLENDID AND MOST CHARACTERISTIC PORTRAITS, now first issued in a complete form. In demy 4to, over 400 pages, cloth gilt and gilt edges, 31_s._ 6_d._; or, in morocco elegant, 70_s._

"What a truly charming book of pictures and prose, the quintessence, as it were, of Maclise and Maginn, giving the very form and pressure of their literary time, would this century of illustrious characters make."--_Notes and Queries._

THE PRINCE OF CARICATURISTS.

THE WORKS OF JAMES GILLRAY,

_The Caricaturist_,

With the Story of his Life and Times, and full and Anecdotal Descriptions of his Engravings.

Edited by THOS. WRIGHT, Esq., M.A., F.S.A.

Illustrated with 90 full-page Plates, and about 400 Wood Engravings. Demy 4to, 600 pages, cloth extra, 31_s._ 6_d._; or, in morocco elegant, 70_s._

BEAUTIFUL PICTURES BY BRITISH ARTISTS.

A Gathering of Favourites from our Picture Galleries, 1800-1870. By WILKIE, CONSTABLE, J. M. W. TURNER, MULREADY, Sir EDWIN LANDSEER, MACLISE, LESLIE, E. M. WARD, FRITH, Sir JOHN GILBERT, ANSDELL, MARCUS STONE, Sir NOEL PATON, EYRE CROWE, FAED, MADOX BROWN. All Engraved in the highest style of Art. With Notices of the Artists by SYDNEY ARMYTAGE, M.A. A New Edition. Imperial 4to, cloth gilt and gilt edges, 21_s._; or, in morocco elegant, 65_s._

UNIFORM WITH "BEAUTIFUL PICTURES."

COURT BEAUTIES OF THE REIGN OF CHARLES II.

From the Originals in the Royal Gallery at Windsor, by Sir PETER LELY. Engraved in the highest style of Art by THOMSON, WRIGHT, SCRIVEN, B. HOLL, WAGSTAFF, and T. A. DEANE. With Memoirs by Mrs. JAMESON, Author of "Legends of the Madonna." New and sumptuous "Presentation Edition." Imp. 4to, cloth gilt and gilt edges, 21_s._; or, in morocco elegant, 65_s._

"This truly beautiful and splendid production is equally a gem among the Fine Arts and in Literature."--_Quarterly Review._

COMPANION TO THE "HISTORY OF SIGNBOARDS."

=Advertising: its History=, in all Ages and Countries, with many very Amusing Anecdotes and Examples of Successful Advertisers. Crown 8vo, with numerous Illustrations, coloured and plain, cloth extra, 7_s._ 6_d._

[_In preparation._

ARE YOU ENGAGED? IF SO, GET

=Advice to Parties About to Marry.= A Series of Instructions in Jest and Earnest. By the Hon. HUGH ROWLEY. With Humorous Illustrations. Price 3_s._ 6_d._, elegantly bound, and enclosed in tinted wrapper, beautifully scented by RIMMEL.

*** _Before taking the "awful plunge" be sure to consult this little work. If it is not a guarantee against life-long misery, it will at least be found of great assistance in selecting a partner for life._

=American Happy Thoughts.= The finest collection of American Humour ever made. Foolscap 8vo, illustrated covers, 1_s._

[_Preparing._

=Anacreon.= Illustrated by the Exquisite Designs of GIRODET. Translated by THOMAS MOORE. Bound in vellum cloth and Etruscan gold, 12_s._ 6_d._

*** _A beautiful and captivating volume. The well-known Paris house, Firmin Didot, a few years since produced a miniature edition of these exquisite designs by photography, and sold a large number at £2 per copy. The Designs have been universally admired by both artists and poets._

=Armorial Register of the Order of the Garter=, from Edward III. to the Present Time. The several Shields beautifully emblazoned in Gold and Colours from the Original Stall Plates in St. George's Chapel, Windsor. All emblazoned by hand. A sumptuous volume, bound in crimson morocco, gilt, £20.

ARTEMUS WARD'S WORKS.

=Artemus Ward, Complete.= The Works of CHARLES FARRER BROWNE, better known as "ARTEMUS WARD," now first collected. Crown 8vo, with fine Portrait, facsimile of handwriting, &c., 540 pages, cloth neat, 7_s._ 6_d._

*** _Comprises all that the humourist has written in England or America. Admirers of Artemus Ward will be glad to possess his writings in a complete form._

=Artemus Ward's Lecture at the Egyptian Hall=, with the Panorama. Edited by the late T. W. ROBERTSON, Author of "Caste," &c., and E. P. HINGSTON. Small 4to, exquisitely printed, bound in green and gold, with NUMEROUS TINTED ILLUSTRATIONS, 6_s._

=Artemus Ward: his Book.= With Notes and Introduction by the Editor of the "Biglow Papers." One of the wittiest books published for many years. Fcap. 8vo, illustrated cover, 1_s._

The _Saturday Review_ says:--"The author combines the powers of Thackeray with those of Albert Smith. The salt is rubbed in by a native hand--one which has the gift of tickling."

=Artemus Ward: his Travels among the Mormons and on the Rampage.= Edited by E. P. HINGSTON, the Agent and Companion of A. WARD whilst "on the Rampage." New Edition, price 1_s._

*** _Some of Artemus's most mirth-provoking papers are to be found in this book. The chapters on the Mormons will unbend the sternest countenance. As bits of fun they are_ IMMENSE!

=Artemus Ward's Letters to "Punch,"= Among the Witches, and other Sketches. Cheap Popular Edition. Fcap. 8vo, in illustrated cover, 1_s._; or, 16mo, bound in cloth extra, 2_s._

*** _The volume contains, in addition, some quaint and humorous compositions which were found upon the author's table after his decease._

=Artemus Ward among the Fenians:= with the Showman's Experiences of Life at Washington, and Military Ardour at Baldinsville. Toned paper, price 6_d._

=Army Lists of the Roundheads and Cavaliers in the Civil War, 1642.= Second Edition, considerably Enlarged and Corrected. Edited, with Notes, by EDWARD PEACOCK, F.S.A. 4to, half-Roxburghe, 7_s._ 6_d._

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=The Art of Amusing.= A Collection of Graceful Arts, Games, Tricks, Puzzles, and Charades, intended to amuse everybody, and enable all to amuse everybody else. By FRANK BELLEW. With nearly 300 Illustrations. Crown 8vo, 4_s._ 6_d._

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=Book of Hall-Marks=; or, Manual of Reference for the Goldsmith and Silversmith. By ALFRED LUTSCHAUNIG, Manager of the Liverpool Assay Office. Crown 8vo, with 46 Plates of the Hall-Marks of the different Assay Towns of the United Kingdom, as now stamped on Plate and Jewellery, 7_s._ 6_d._

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COLMAN'S HUMOROUS WORKS.

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