Famous Houses and Literary Shrines of London. Adcock Arthur St. John

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СКАЧАТЬ not slowly, down the hill – the rather as every attempt of the physicians, and still the last medicines more forcible in their nature, have utterly failed to serve me. I was at last, about seven days ago, taken with so violent a fit at Battersea, that my friends, Lord Bolingbroke and Lord Marchmont, sent for present help to the surgeon, whose bleeding me, I am persuaded, saved my life by the instantaneous effect it had, and which has continued so much to amend me that I have passed five days without oppression, and recovered, what I have three days wanted, some degree of expectoration and some hours together of sleep. I can now go to Twickenham, to try if the air will not take some part in reviving me, if I can avoid colds, and between that place and Battersea, with my Lord Bolingbroke, I will pass what I have of life while he stays, which I can tell you, to my great satisfaction, will be this fortnight or three weeks yet.”

      In the year after writing this Pope came to the end of all further care about himself and his works; he died at Twickenham, and lies buried under the middle aisle of Twickenham Church.

       CHAPTER IV

      HOGARTH

      Before he took up residence at the Twickenham villa, Pope lived for some time with his father in one of the houses of Mawson’s Buildings (now Mawson Row), Chiswick. So far it has been impossible to decide which of these five red-brick houses is the one that was theirs, for the only evidence of their tenancy consists of certain letters preserved at the British Museum, which are addressed to “Alexr. Pope, Esquire, Mawson’s Buildings, in Chiswick,” and on the backs of these are written portions of the original drafts of Pope’s translation of the Iliad. James Ralph, the unfortunate poetaster whom Pope satirised in his Dunciad, was also a native of Chiswick, and lies buried in the parish churchyard. One other link Pope has with Chiswick – he wrote a rather poor epigram on Thomas Wood, who resided there, and who seems to have been connected with the Church, for according to the poet —

      “Tom Wood of Chiswick, deep divine,

      To painter Kent gave all his coin;

      ’Tis the first coin, I’m bold to say,

      That ever churchman gave away.”

      This Kent, I take it, was the man of the same name who likewise lived at Chiswick in Pope’s day, and was more notable as a landscape gardener than as a painter.

      But, to say nothing of William Morris’s more recent association with the district, the most interesting house in Chiswick is Hogarth’s. It is a red-brick villa of the Queen Anne style, with a quaint, overhanging bay window, and stands in a large, walled garden, not far from the parish church. For many years this was Hogarth’s summer residence – his “villakin,” as he called it. His workshop, or studio, that used to be at the foot of the garden, has been demolished; otherwise the house remains very much as it was when he occupied it.

      Hogarth was essentially a town man; he was almost, if not quite, as good a Londoner as Lamb. He was born in Bartholomew Close, West Smithfield, that storied place where Milton had lived before, and Washington Irving went to live after, him; and he spent nearly all his life in the neighbourhood of Leicester Square. He was rarely absent from London at all, and never for long; even when he was supposed to be passing his summers at his Chiswick villa, he made frequent excursions into town, and would put up for a few days at his house in Leicester Square – or Leicester Fields, as it then was.

      In 1712 Hogarth went to serve a six years’ apprenticeship to Ellis Gamble, a silver-plate engraver, in Cranbourne Alley (now Cranbourne Street), and, on the death of his father in 1718, he started business for himself as an engraver in what had been his father’s house in Long Lane, West Smithfield, and later removed to the corner of Cranbourne Alley, leaving his mother with his two sisters, who had opened shop as mercers, at the old Long Lane address. He engraved for them a shop card, duly setting forth that “Mary and Ann Hogarth, from the old Frock Shop, the corner of the Long Wall, facing the Cloysters, Removed to ye King’s Arms joining to ye Little Britain Gate, near Long Walk, Sells ye best and most Fashionable Ready Made Frocks, Sutes of Fustian, Ticken, and Holland, Stript Dimity and Flanel Waistcoats, blue and canvas Frocks, and bluecoat Boys’ Drars., Likewise Fustians, Tickens, Hollands, white stript Dimitys, white and stript Flanels in ye piece, by Wholesale or Retale at Reasonable Rates.”

      Hogarth was very self-satisfied and rather illiterate; his spelling and his grammar – as in this shop-card – were continually going wrong. But he was kindly, good-hearted, high-minded, and had imagination and an original genius that could laugh at the nice, mechanical accomplishments of the schoolmaster. It was Nollekens, the sculptor, who said that he frequently saw Hogarth sauntering round Leicester Square, playing the nurse, “with his master’s sickly child hanging its head over his shoulder.” That was in the early days, when he was still serving his time to Gamble, and not even dreaming, I suppose, that he would one day own the big house at the south-east corner of the Square, would enjoy some of his highest triumphs and sharpest humiliations in it, and die in it at last, leaving behind him work that would give him a place among the very first of English painters.

      Even before so fastidious a critic as Whistler had declared that Hogarth was “the greatest English artist who ever lived,” Hazlitt had said much the same thing, and paid a glowing tribute to the vitality and dramatic life of his pictures; but perhaps no critic has written a finer, more incisive criticism on him than Lamb did in his essay on “The Genius and Character of Hogarth.” Lamb had been familiar with two of Hogarth’s series of prints – “The Harlot’s Progress,” and “The Rake’s Progress” – since his boyhood; and though he was keenly alive to the humour of them, he denied that their chief appeal was to the risible faculties. It was their profound seriousness, their stern satire, the wonderful creative force that underlay them, that most impressed him. “I was pleased,” he says, “with the reply of a gentleman who, being asked which book he most esteemed in his library, answered ‘Shakespeare’; being asked which he esteemed next best, replied ‘Hogarth.’ His graphic representations are indeed books; they have the teeming, fruitful, suggestive meaning of words. Other pictures we look at; his prints we read.” He protests against confounding “the painting of subjects in common or vulgar life with the being a vulgar artist. The quantity of thought which Hogarth crowds into every picture would alone unvulgarise every subject he might choose. Let us take the lowest of his subjects, the print called ‘Gin Lane.’ Here is plenty of poverty and low stuff to disgust upon a superficial view; and accordingly a cold spectator feels himself immediately disgusted and repelled. I have seen many turn away from it, not being able to bear it. The same persons would, perhaps, have looked with great complacency upon Poussin’s celebrated picture of the ‘Plague of Athens.’ Disease and death and bewildering terror in Athenian garments are endurable, and come, as the delicate critics express it, within the ‘limits of pleasurable sensation.’ But the scenes of their own St. Giles’s, delineated by their own countryman, are too shocking to think of… We are for ever deceiving ourselves with names and theories. We call one man a great historical painter because he has taken for his subjects kings or great men, or transactions over which time has thrown a grandeur. We term another the painter of common life, and set him down in our minds for an artist of an inferior class, without reflecting whether the quantity of thought shown by the latter may not much more than level the distinction which their mere choice of subjects may seem to place between them; or whether, in fact, from that very common life a great artist may not extract as deep an interest as another man from that which we are pleased to call history.” He found that, though many of the pictures had much in them that is ugly and repellent, “there is in most of them that sprinkling of the better nature which, like holy water, chases away and disperses the contagion of the bad. They have this in them besides, that they bring us acquainted with the everyday human face.” And because of this, of their truth to contemporary life, and the vigorous realism of the stories they tell, he ranked the work of Hogarth not only high among that of the world’s great painters, but with the best novels of such men as Smollett and Fielding.

      According to a note in his fragmentary autobiography, Hogarth conceived СКАЧАТЬ