WILLIAM HOGARTH* 
3B9 
duke gave tliirtY-Hve pounds for this picture at Mr. Rich’s auctioni 
Another copy of the same scene was bought by the late Sir William 
Saunderson, and is now in the possession of Sir Harry Gough. Mk 
W alpole has a picture of a scene in the same piece, where Macheath 
is going to execution. In this, also, the likenesses of Walker and 
Miss Fenton, afterwards duchess of Bolton, the original Macheath, 
and Polly are preserved. 
. In the year 17*2d, when the affair of Mary Tofts, the rabbit-breeder, 
of Godalmin, engaged the public attention, a few of the principal stir-' 
geons subscribed their guinea apiece to Hogarth for an engraving 
from a ludicrous sketch he had made on that very popular sub- 
ject. This plate, amongst other portraits, contains that of St. Andre, 
then anatomist to the royal household, and in high credit as a surgeon. 
In 1727, Hogarth agreed with Morris, an upholsterer, to furnish 
him with a design on canvass, representing the element of earth as a 
pattern for tapestry. The work not being performed to the satisfac- 
tion of Morris, he refused to pay for it, but the artist by a suit at law 
recovered, the money. 
In 1730, Hogarth married the only daughter of Sir James ThCrii- 
hill, by whom he had no child. This union, indeed, was a stolen one, 
and probably without the approbation of Sir James, who, consider- 
ing the youth of his daughter, then barely eighteen, and the slender 
finances of her husband, as yet an obscure artist, was not easily re- 
conciled to the match. Soon after this period, however, he began his 
“ Harlot’s Progress,” and was advised by lady Thornhill to have some 
of the scenes in it placed in the way of his father-in-law. Accordingly, 
one morning early, Mrs. Hogarth undertook to convey several of tbeni 
into his dining-room. When they arose, he inquired whence they came, 
and being told by whom they were introduced, he cried out, “Very well ! 
the man who can furnish representations like these, can also main- 
tain a wife without a portion.” He designed this remark as an excuse 
for having kept his purse-strings close ; but soon after became both 
reconciled and generous to the young couple. 
An allegorical ceiling by Sir James Thornhill is at the house of 
the late Mr. Huggins, at Headly-park, Hants. The subject of it is a 
story of Zephyrus and Flora ; and the figure of a satyr and some 
others were painted by Hogarth. In 1732, he ventured to attack 
Mr. Pope, in a plate called, “The Man of Taste,” containing a view of 
the gate of Burlington-house, with Pope white-washing it, and be- 
spattering the duke of Chandos’s coach. This plate was intended as 
a satire on the Translation of Homer, Mr. Kent the architect, and 
the earl of Burlington. It was fortunate for Hogarth that he escaped 
the lash of the first. Either Hogarth’s obscurity at that time was his 
protection, or the bard was too prudent to exasperate a painter who 
had already given such proof of his abilities for satire. What mhst 
he have felt, who could complain of the pictured shape prefixed to 
“ Gulliveriana,” “ Pope Alexander’s Supremacy and Infallibility ex- 
amined,” by Ducket, and other pieces, had such an artist as Hogarth 
undertaken to express a certain transaction recorded by Cibber. 
Soon after his marriage, Hogarth had summer lodgings at Sotrth- 
Lambeth ; and, being intimate with Mr. Tyers, contributed to the 
