Chapter 9

"This so much disgusted me, that I sometimes declared I would never paint another portrait, and frequently refused when applied to; for I found by mortifying experience, that whoever would succeed in this branch, must adopt the mode recommended in one of Gay's fables, and make divinities of all who sit to him. Whether or not this childish affectation will ever be done away is a doubtful question; none of those who have attempted to reform it have yet succeeded; nor, unless portrait painters in general become more honest, and their customers less vain, is there much reason to expect they ever will."

Though thus in a state of warfare with his brother artists, he was occasionally gratified by the praise of men whose judgment was universally acknowledged, and whose sanction became a higher honour, from its being neither lightly nor indiscriminately given.

THE COUNTRY INN YARD; OR, THE STAGE COACH.

The poet's adage, ALL THE WORLD'S A STAGE, Has stood the test of each revolving age; Another simile perhaps will bear, 'Tis a STAGE COACH, where all must pay the fare; Where each his entrance and his exit makes, And o'er life's rugged road his journey takes. Some unprotected must their tour perform, And bide the pelting of the pitiless storm; While others, free from elemental jars, By fortune favour'd and propitious stars, Secure from storms, enjoy their little hour, Despise the whirlwind, and defy the shower. Such is our life--in sunshine or in shade, From evil shelter'd, or by woe assay'd: Whether we sit, like Niobe, all tears, Or calmly sink into the vale of years; With houseless, naked Edgar sleep on straw, Or keep, like Cæsar, subject worlds in awe-- To the same port our devious journeys tend, Where airy hopes and sickening sorrows end; Sunk every eye, and languid every breast, Each wearied pilgrim sighs and sinks to rest.

E.

Among the writers of English novels, Henry Fielding holds the first rank; he was the novelist of nature, and has described some scenes which bear a strong resemblance to that which is here delineated. The artist, like the author, has taken truth for his guide, and given such characters as are familiar to all our minds. The scene is a country inn yard, at the time passengers are getting into a stage-coach, and an election procession passing in the back-ground. Nothing can be better described; we become of the party. The vulgar roar of our landlady is no less apparent than the grave, insinuating, imposing countenance of mine host. Boniface solemnly protests that a bill he is presenting to an old gentleman in a laced hat is extremely moderate. This does not satisfy the paymaster, whose countenance shows that he considers it as a palpable fraud, though the act against bribery, which he carries in his pocket, designates him to be of a profession not very liable to suffer imposition. They are in general less sinned against than sinning. An ancient lady, getting into the coach, is from her breadth a very inconvenient companion in such a vehicle; but to atone for her rotundity, an old maid of a spare appearance, and in a most grotesque habit, is advancing towards the steps.

A portly gentleman, with a sword and cane in one hand, is deaf to the entreaties of a poor little deformed postilion, who solicits his customary fee. The old woman smoking her short pipe in the basket, pays very little attention to what is passing around her: cheered by the fumes of her tube, she lets the vanities of the world go their own way. Two passengers on the roof of the coach afford a good specimen of French and English manners. Ben Block, of the Centurion, surveys the subject of La Grande Monarque with ineffable contempt.

In the window are a very curious pair; one of them blowing a French-horn, and the other endeavouring, but without effect, to smoke away a little sickness, which he feels from the fumes of his last night's punch. Beneath them is a traveller taking a tender farewell of the chambermaid, who is not to be moved by the clangour of the great bar bell, or the more thundering sound of her mistress's voice.

The back-ground is crowded with a procession of active citizens; they have chaired a figure with a horn-book, a bib, and a rattle, intended to represent Child, Lord Castlemain, afterwards Lord Tylney, who, in a violent contest for the county of Essex, opposed Sir Robert Abdy and Mr. Bramston. The horn-book, bib, and rattle are evidently displayed as punningly allusive to his name.[4]

Some pains have been taken to discover in what part of Essex this scene is laid; but from the many alterations made by rebuilding, removal, &c. it has not been positively ascertained, though it is probably Chelmsford.

FOOTNOTE:

[4] At this election a man was placed on a bulk, with a figure representing a child in his arms: as he whipped it he exclaimed, "What, you little child, must you be a member?" This election being disputed, it appeared from the register-book of the parish where Lord Castlemain was born, that he was but twenty years of age when he offered himself a candidate.

INDUSTRY AND IDLENESS.

As our future welfare depends, in a great measure, on our own conduct in the outset of life, and as we derive our best expectations of success from our own attention and exertion, it may, with propriety, be asserted, that the good or ill-fortune of mankind is chiefly attributable to their own early diligence or sloth; either of which becomes, through habit in the early part of life, both familiar and natural. This Mr. Hogarth has made appear in the following history of the two Apprentices, by representing a series of such scenes as naturally result from a course of Industry or Idleness, and which he has illustrated with such texts of scripture as teach us their analogy with holy writ. Now, as example is far more convincing and persuasive than precept, these prints are, undoubtedly, an excellent lesson to such young men as are brought up to business, by laying before them the inevitable destruction that awaits the slothful, and the reward that generally attends the diligent, both appropriately exemplified in the conduct of these two fellow-'prentices; where the one, by taking good courses, and pursuing those purposes for which he was put apprentice, becomes a valuable man, and an ornament to his country; the other, by giving way to idleness, naturally falls into poverty, and ends fatally, as shown in the last of these instructive prints.

In the chamber of the city of London, where apprentices are bound and enrolled, the twelve prints of this series are introduced, and, with great propriety, ornament the room.

PLATE I.

THE FELLOW-'PRENTICES AT THEIR LOOMS.

"The drunkard shall come to poverty, and drowsiness shall clothe a man with rags."

Proverbs, chap. xxiii. verse 21.

"The hand of the diligent maketh rich."--Proverbs, chap. x. verse 4.

The first print presents us with a noble and striking contrast in two apprentices at the looms of their master, a silk-weaver of Spitalfields: in the one we observe a serene and open countenance, the distinguishing mark of innocence; and in the other a sullen, down-cast look, the index of a corrupt mind and vicious heart. The industrious youth is diligently employed at his work, and his thoughts taken up with the business he is upon. His book, called the "'Prentice's Guide," supposed to be given him for instruction, lies open beside him, as if perused with care and attention. The employment of the day seems his constant study; and the interest of his master his continual regard. We are given to understand, also, by the ballads of the London 'Prentice, Whittingham the Mayor, &c. that hang behind him, that he lays out his pence on things that may improve his mind, and enlighten his understanding. On the contrary, his fellow-'prentice, with worn-out coat and uncombed hair, overpowered with beer, indicated by the half-gallon pot before him, is fallen asleep; and from the shuttle becoming the plaything of the wanton kitten, we learn how he slumbers on, inattentive alike to his own and his master's interest. The ballad of Moll Flanders, on the wall behind him, shows that the bent of his mind is towards that which is bad; and his book of instructions lying torn and defaced upon the ground, manifests how regardless he is of any thing tending to his future welfare.

PLATE II.

THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN.

"O how I love thy law; it is my meditation all the day."--Psalm cxix. verse 97.

This plate displays our industrious young man attending divine service in the same pew with his master's daughter, where he shows every mark of decent and devout attention.

Mr. Hogarth's strong bias to burlesque was not to be checked by time or place. It is not easy to imagine any thing more whimsically grotesque than the female Falstaff. A fellow near her, emulating the deep-toned organ, and the man beneath, who, though asleep, joins his sonorous tones in melodious chorus with the admirers of those two pre-eminent poets, Hopkins and Sternhold. The pew-opener is a very prominent and principal figure; two old women adjoining Miss West's seat are so much in shadow, that we are apt to overlook them: they are, however, all three making the dome ring with their exertions.

Ah! had it been king David's fate To hear them sing----

The preacher, reader, and clerk, with many of the small figures in the gallery and beneath, are truly ludicrous, and we regret their being on so reduced a scale, that they are scarce perceptible to the naked eye. It was necessary that the artist should exhibit a crowded congregation; but it must be acknowledged he has neglected the rules of perspective. The print wants depth. In the countenance of Miss West and her lover there is a resemblance. Their faces have not much expression; but this is atoned for by a natural and pleasing simplicity. Character was not necessary.

INDUSTRY AND IDLENESS.

PLATE III.

THE IDLE 'PRENTICE AT PLAY IN THE CHURCH-YARD DURING DIVINE SERVICE.

"Judgments are prepared for scorners, and stripes for the back of fools."

Proverbs, chap. xix. verse 29.

As a contrast to the preceding plate, of the industrious young man performing the duties of a Christian, is this, representing the idle 'prentice at play in the church-yard during divine service. As an observance of religion is allowed to be the foundation of virtue, so a neglect of religious duties has ever been acknowledged the forerunner of every wickedness; the confession of malefactors at the place of execution being a melancholy confirmation of this truth. Here we see him, while others are intent on the holy service, transgressing the laws both of God and man, gambling on a tomb-stone with the off-scouring of the people, the meanest of the human species, shoe-blacks, chimney-sweepers, &c. for none but such would deign to be his companions. Their amusement seems to be the favourite old English game of hustle-cap, and our idle and unprincipled youth is endeavouring to cheat, by concealing some of the half-pence under the broad brim of his hat. This is perceived by the shoe-black, and warmly resented by the fellow with the black patch over his eye, who loudly insists on the hat's being fairly removed. The eager anxiety which marks these mean gamblers, is equal to that of two peers playing for an estate. The latter could not have more solicitude for the turn of a die which was to determine who was the proprietor of ten thousand acres, than is displayed in the countenance of young Idle. Indeed, so callous is his heart, so wilfully blind is he to every thing tending to his future welfare, that the tombs, those standing monuments of mortality, cannot move him: even the new-dug grave, the sculls and bones, those lively and awakening monitors, cannot rouse him from his sinful lethargy, open his eyes, or pierce his heart with the least reflection; so hardened is he with vice, and so intent on the pursuit of his evil course. The hand of the boy, employed upon his head, and that of the shoe-black, in his bosom, are expressive of filth and vermin; and show that our hero is within a step of being overspread with the beggarly contagion. His obstinate continuance in his course, until awakened by the blows of the watchful beadle, point out to us, that "stripes are prepared for the backs of fools;" that disgrace and infamy are the natural attendants of the slothful and the scorner; and that there are but little hopes of his alteration, until he is overtaken in his iniquity, by the avenging hand of Omnipotence, and feels with horror and amazement, the unexpected and inevitable approach of death. Thus do the obstinate and incorrigible shut their ears against the alarming calls of Providence, and sin away even the possibility of salvation.

The figures in this print are admirably grouped, and the countenances of the gamblers and beadle strikingly characteristic.

INDUSTRY AND IDLENESS.

PLATE IV.

THE INDUSTRIOUS 'PRENTICE A FAVOURITE AND INTRUSTED BY HIS MASTER.

"Well done, thou good and faithful servant; thou hast been faithful over a few things, I will make thee ruler over many things." Matthew, chap. xxv. verse 21.

The industrious apprentice, by a discreet and steady conduct, attracts the notice of his master, and becomes a favourite: accordingly, we behold him here (exquisitely continued from the first and second prints) in the counting-house (with a distant view of the looms, and of the quilsters, winding quills for the shuttles, from whence he was removed) entrusted with the books, receiving and giving orders, (the general reward of honesty, care, and diligence,) as appears from the delivery of some stuffs by a city porter, from Blackwell-hall. By the keys in one hand and the bag in the other, we are shown that he has behaved himself with so much prudence and discretion, and given such proofs of fidelity, as to become the keeper of untold gold: the greatest mark of confidence he could be favoured with. The integrity of his heart is visible in his face. The modesty and tranquillity of his countenance tell us, that though the great trust reposed in him is an addition to his happiness, yet, that he discharges his duty with such becoming diffidence and care, as not to betray any of that pride which attends so great a promotion. The familiar position of his master, leaning on his shoulder, is a further proof of his esteem, declaring that he dwells, as it were, in his bosom, and possesses the utmost share of his affection; circumstances that must sweeten even a state of servitude, and make a pleasant and lasting impression on the mind. The head-piece to the London Almanack, representing Industry taking Time by the fore-lock, is not the least of the beauties in this plate, as it intimates the danger of delay, and advises us to make the best use of time, whilst we have it in our power; nor will the position of the gloves, on the flap of the escritoire, be unobserved by a curious examiner, being expressive of that union that subsists between an indulgent master and an industrious apprentice.

The strong-beer nose and pimpled face of the porter, though they have no connexion with the moral of the piece, are a fine caricatura, and show that our author let slip no opportunity of ridiculing the vices and follies of the age, and particularly here, in laying before us the strange infatuation of this class of people, who, because a good deal of labour requires some extraordinary refreshment, will even drink to the deprivation of their reason, and the destruction of their health. The surly mastiff, keeping close to his master, and quarrelling with the house-cat for admittance, though introduced to fill up the piece, represents the faithfulness of these animals in general, and is no mean emblem of the honesty and fidelity of the porter.

In this print, neither the cat, dog, nor the porter are well drawn, nor is much regard paid to perspective; but the general design is carried on by such easy and natural gradations, and the consequent success of an attentive conduct displayed in colours so plain and perspicuous, that these little errors in execution will readily be overlooked.

INDUSTRY AND IDLENESS.

PLATE V.

THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA.

"A foolish son is the heaviness of his mother." Proverbs, chap. x. verse 1.

Corrupted by sloth and contaminated by evil company, the idle apprentice, having tired the patience of his master, is sent to sea, in the hope that the being removed from the vices of the town, and the influence of his wicked companions, joined with the hardships and perils of a seafaring life, might effect that reformation of which his friends despaired while he continued on shore. See him then in the ship's boat, accompanied by his afflicted mother, making towards the vessel in which he is to embark. The disposition of the different figures in the boat, and the expression of their countenances, tell us plainly, that his evil pursuits and incorrigible wickedness are the subjects of their discourse. The waterman significantly directs his attention to a figure on a gibbet, as emblematical of his future fate, should he not turn from the evil of his ways; and the boy shows him a cat-o'-nine-tails, expressive of the discipline that awaits him on board of ship; these admonitions, however, he notices only by the application of his fingers to his forehead, in the form of horns, jestingly telling them to look at Cuckold's Point, which they have just passed; he then throws his indentures into the water with an air of contempt, that proves how little he is affected by his present condition, and how little he regards the persuasions and tears of a fond mother, whose heart seems ready to burst with grief at the fate of her darling son, and perhaps her only stay; for her dress seems to intimate that she is a widow. Well then might Solomon say, that "a foolish son is the heaviness of his mother;" for we here behold her who had often rejoiced in the prospect of her child being a prop to her in the decline of life, lamenting his depravity, and anticipating with horror the termination of his evil course. One would naturally imagine, from the common course of things, that this scene would have awakened his reflection, and been the means of softening the ruggedness of his disposition,--that some tender ideas would have crossed his mind and melted the obduracy of his heart; but he continues hardened and callous to every admonition.

The group of figures composing this print has been copied by the ingenious Lavater; with whose appropriate remarks we conclude our present description. "Observe," says this great analyst of the human countenance, "in the annexed group, that unnatural wretch, with the infernal visage, insulting his supplicating mother; the predominant character on the three other villain-faces, though all disfigured by effrontery, is cunning and ironical malignity. Every face is a seal with this truth engraved on it: 'Nothing makes a man so ugly as vice; nothing renders the countenance so hideous as villainy.'"

INDUSTRY AND IDLENESS.

PLATE VI.

THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME, AND MARRIED TO HIS MASTER'S DAUGHTER.

"The virtuous woman is a crown to her husband." Proverbs, chap. xiii. verse 4.

The reward of industry is success. Our prudent and attentive youth is now become partner with his master, and married to his daughter. The sign, by which this circumstance is intimated, was at first inscribed GOODCHILD and WEST. Some of Mr. Hogarth's city friends informing him that it was usual for the senior partner's name to precede, it was altered.

To show that plenty reigns in this mansion, a servant distributes the remains of the table to a poor woman, and the bridegroom pays one of the drummers, who, according to ancient custom, attend with their thundering gratulations the day after a wedding. A performer on the bass viol, and a herd of butchers armed with marrow-bones and cleavers, form an English concert. (Madame Pompadour, in her remarks on the English taste for music, says, they are invariably fond of every thing that is full in the mouth.) A cripple with the ballad of Jesse, or the Happy Pair, represents a man known by the name of Philip in the Tub, who had visited Ireland and the United Provinces; and, in the memory of some persons now living, was a general attendant at weddings. From those votaries of Hymen who were honoured with his epithalamiums, he received a small reward. To show that Messrs. West and Goodchild's habitation is near the monument, the base of that stately column appears in the back-ground. The inscription which until lately graced this structure, used to remind every reader of Pope's lines,

Where London's column, pointing to the skies, Like a tall bully, rears its head, and lies, &c.

The duke of Buckingham's epigram on this magnificent pillar is not so generally known:

Here stand I, The Lord knows why; But if I fall-- Have at ye all!

A footman and butcher, at the opposite corner, compared with the other figures, are gigantic; they might serve for the Gog and Magog of Guildhall.

It has been said that the thoughts in this print are trite, and the actions mean, which must be in part acknowledged, but they are natural, and appropriate to the rank and situation of the parties, and to the fashions of the time at which it was published.

INDUSTRY AND IDLENESS.

PLATE VII.

THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN A GARRET WITH A COMMON PROSTITUTE.

"The sound of a shaken leaf shall chase him." Leviticus, chap. xxvi. verse 26.