583
THE ESTATES GAZETTE,
April 8, 1899.
af the nature of their construction. One member stated that there was scarcely any wood about them, and must be very cold in winter time. A deputation was appointed to inspect these houses.
The secretary remarked that he had received numbers of complaints from members of the association as to the refusal of Mr. Stewart (the stipendiary magistrate) to hear the statements or evidence of anybody but the parties summoned in reference to sanitary notices. Several members thought the stipendiary was at times arbitrary in this matter, because often a collector or other representative knew more about the circumstances than the owner himself. Upon the suggestion of the president, Mr. Norton was asked to lay the feelings of the members on the point before Mr. Stewart.
Colonel Whitney and the secretary were requested to make arrangements for the annual excursion of the association to Worksop ;n June next.
||1 arbis.
CORN.
MARK-LANE, April 4.—The wheat cargo market has presented a holiday feeling, and prices in nearly all cases were quite nominal. American parcels steady, although very quiet. Indian parcels neg-1ected. Maize dull and easier; Galatz-Foxanian, one-third old crop, shipping or shipped, offers at 18s. 3d. A parcel old crop mixed׳ American on passage sold at 16s. 6d. Barley maintained; 17s. 3d. was asked; for a handy cargo Azoff loading. Oats! sellers ask late prices, but no sales were reported.
HULL, April 4.—The market is quite of a holiday character. Wheat, Californian, 33s.; Walla, 27s. 9d.; Kurachee, 27s. 6d.; Russian, 28s. to 30s. Maize, mixed American, 18s.; Odessa, 17s. 9d.; Plate, 17s. 9d. Barley, Azoff, 19s. 3d.; Odessa, 20s. Bin barley, 22s. Beans, washed Egyptian, 26s. 3d. per 5041׳b.; unwashed, on passage, 24s. 9d. per 4801b. Oats, Russian. 15s. to 19s.; Scotch, 19s.
LIVERPOOL.—Wheat quiet, sellers repeating Tuesday ® prices, demand only moderate. Flour quiet, steady. Oats and meal inactive. Maize, old mixed American, 3s. 7*d. to 3s. 7£d׳.; new, 3s. 6*d. to 3s. oja.; Odessa, 3s. 9d. to 3s. 10d.; Cinquantina, 4s. 6d. to 4s. 6£d.; peas, Canadian, 5s. 9d. to 5s. 94d.; Saidi beans, 25s. 6d. to 26s. per qr.
ASHFORD, April 4.—Wheat was firm at late rates, white selling at 25s. to 26s., and red at 24s. to 26s. per qr. Malting barley trade nominal, quotations being from 27s. to 30s.; grinding barley, 20s. to 24s.; oats were firm and' dearer, white fetching 19s. to 22s.; and black, 18s. to 21s. Tick beans made 29s. to 32s.; and mazagans, 28s. to 30s.; grey peas. 28s. to 30s.; flat maize, 20s. to 20s. 6d.; round ditto, 20s. to 22s. per qr. There was a good demand for clover seed, and some inquiry still for seed oats and barley.
MEAT.
8MITHFIELD, April 4.—Moderate supplies met a slow sale. Arrivals of beef included 120 tons Scotch,
LIVERPOOL PROPERTY OWNERS' ASSOCIATION.
ARRANGEMENTS FOR THE CONFERENCE.
A meeting of the council of the Liverpool and Bootle Property Owners’ and Ratepayers’ Association was held at the offices of the association on March 30. Mr. J. W. Reader (president) occupied the chair, and there were also present Colonel Whitney, Y.D., Messrs. R. A. Bellwood (secretary), Grey, Thompson, Lip-son, G. Roberts, Cadman, Williams, J. Ashcroft, Costigan, Pettingell, Hogart, ingman, Linacre, H. B. Moore, Dovner, and Kiilip.
The President intimated that the deputation from the association who waited upon Sir Herbert Naylor-Leyland, M.P. for Southport Division, were impressed by the courtesy and kindness of the hon. member. They all regretted that he was suffering from ill-health. He (president) moved that a resolution of regret at his indisposition be sent to Sir Her bert Naylor-Leyland. This was seconded and carried.
The President announced that the Lord Mayor and the Mayor of Bootle (Mr. R. W. Brewster) had kindly consented to receive the delegates who would attend the 12th annual conference of property owners’ associations, to be held in Liverpool on May 17, and to be present at the dinner in the Adelphi Hotel after the conference.
The secretary stated that the following papers would be read at the conference : — “ Leasehold Enfranchisement,” by Mr. Garnatt Flynt, president of the Southport Association ; "Recent Legislation as it affects Property Owners and Ratepayers,” by Mr. George Norton, solicitor of the Liverpool Association ; “ Taxation of Land Values,” by Mr. T. C. Hope, president of the Bradford Association ; “ The Law of Distress and Ejectment,” by Mr. C. W'atkins, solicitor (London) of the Woolwich and Plumstead Association ; “ Sanitary Notices,’ by Mr. A. Lovell, secretary of the North-East London Association; “Private Street Works,” by Mr. Roderick Williams, solicitor of the Liverpool and Bootle Association ; “ The Ob-iects and Advantages of Property Owners’ and Ratepayers’ Associations,” by Mr. R. A. Bell-wood, general secretary, United Property Owners’ Association ; “ The Education and Poor Rates—should they be national rates? ” by Mr. H. S. Welsh, secretary of the St. Helens Property Owners’ Association.
A discussion took place upon some of the workmen’s dwellings erected by the Corporation, and statements were made as to the unsuitability of some of the houses on account
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for useful and deep satire,” are levelled against the _ great religious movement initiated by Whitfield and his coadjutors, which has revolutionised the moral status of the countrv. Plate 77, entitled “ Enthusiasm Delineated,” represents one of those fervid services which so utterly shocked the religious sentiment of the time. A preacher whose escaping wig reveals a Jesuit’s tonsure dangles puppets representing the Trinity and the devil; while other puppets of Scriptural origin surround the pulpit. A dog with “ Whitfield ” on his collar howls to the psalmody of a clerk said to represent the evangelist; and a surprised Mohammedan gazes through a window at the antics of the motley assembly. This plate was withdrawn, though two original copies are extant, one of which is at the British Museum. Convinced by his friends of the irreverence of the plate he altered all the figures save one ; and Boydell’s plate 78 gives the changed version. A witch on a broomstick replaces the Trinity ; while the puppets round the pulpit are changed from Scriptural to contemporary characters. The allusions to the new movement were still unmistakable therefore.
Hogarth has been severely castigated for these plates, among others by H. T. Coleridge ; but he got into worse trouble through his attacks upon Wilkes, whose revenge went near to breaking his heart.
This great artist thoroughly understood business. In 1744 he commenced selling sets of paintings to the highest bidder, by means of printed proposals. The purchasers assembled at the painter’s room ; commencing at noon, the highest bidder by 12.5 secured the first set, and so on. In this way the set of six “ Harlot’s Progress,” realised £88 4s. ; the eight “ Rake’s Progress,” £184	16s. ;	“ Morning,” £21;
“Noon,” £28 17s. ; “Evening,” £39 18s. ;
Aight, £27 6s. ; “Strolling Players,” £27 6s. The prints were sold at the shops at from Is. to 7s. 6d. each, according to repute, and sets, as “ Rake’s Progress,” £2 2s.
The Sigismunda, which Wilkes in his fury asserted to be “ not human but drawn from his wife in a passion,” obtained 56 guineas in 1790 at_Mrs. Hogarth’s sale; its purchaser at the price of 400 guineas in 1807 bequeathed it to the_ National Gallery. The “ Sleeping Congregation,” which fetched £20 9s., in 1807, was resold in 1875 for £94 10s. “The Gate of Calais,” perhaps Hogarth’s finest work, was bought by Messrs. Agnew in 1891 for 2,450 guineas, and is now in the Duke of Westmin-
In 1893, a portrait of the painter's wife obtained £1,218 at the Mildmay sale ; the “Price Family ” was sold for £315; and the “ Music Party” for £210. Two years later, “Peg Woffington ” realised £630; and in 1896, the portrait of Miss Rich, £435.
Besides the “Sigismunda,” a marvellous piece of colouring, the National Gallery has the set of six pictures !mown as the “ Marriage a la Mode ”; Hogarth’s portrait of himself with his dog Trump ; and the line of beauty which gave rise: to his book, the “Analysis of Beauty”; portrait of Mary Hogarth; group of the Strode family; “ Miss Fenton as Polly Peachum”; and the “Shrimp Girl.” The National Portrait Gallery has the “Comic Muse.”
Sir John Soane’s museum has Garrick’s set of the “ Election,” for which he paid £202, and which Sir John purchased in 1823 for 1,650 guineas; also the “ Laughing Audience ” ; and “Rehearsal of the Oratorio Judith.” At the Foundling Hospital are the “March to Finchley,” “Moses brought to Pharaoh’s Daughter,” and Captain Coram,” which the painter considered his best portrait. St. Bartholomew’s Hospital has the “Pool of Bethesda” and the “Good Samaritan.” the Royal Society, the Royal College of Surgeon’s, the Fitzwilliam Museum, the Church of St. Martin’s-in-the-fields have portraits. George III.’s fine set of prints has been removed from the Thatched Cottage, Kew, to Windsor.
Most of Hogarth’s pictures were painted for engraving; but certain of the plates, as the “Apprentice” set, “Four Stages of Cruelty,” “ France and England,” the Bear and Gin plates above-named would seem never to have been painted.
Of the dated paintings, the Hudibras set was completed about 1726; “Beggar’s Opera,” about 1729;	“ Harlot’s Progress,” 1731;
“Rake’s Progress,” 1735; “Pool of Bethesda,” 1736 ; “ Captain Coram,” 1739 ; “ Marriao-e a la Mode,” 1745; “Gate of Calais,” 1749: “March to Finchley,” 1750; “Moses,” 1752; “Election” series, 1755; and Sigismunda,
TO READERS.
The Manager will esteem it a favour if readers of the “ESTATES GAZETTE ” will kindly mention the name of the paper when communicating with any firm in regard to properties advertised or referred to therein.
THE GREAT PAINTERS.
WILLIAM HOGARTH.
“ In walks of Humour, or that cast of style. Which, probing to the quick, yet makes us smile. Where a beginning, middle, and an end Are aptly joined, where parts on parts depend, Each made for each as bodies for their souls,
So as to form a true and perfect whole,
Where a plain story to the eye is told,
Which we conceive the moment we behold— Hogarth unrivalled stands, and shall engage Unrivalled praise to the most distant age.”
Such was the testimony, not of a friend, but of a bitter enemy, to the genius of Hogarth; for it was the unwilling homage wrung from Wilkes, whom the painter had satirised in his most acrid style.
William Hogarth was born in London on December 10, 1697. His father, a native of Cumberland, was educated at St. Bees, Durham, and had kept a school in that county. A man of some learning, he came to London early in life, and opened a school in the Old Bailey. He also obtained employment as a corrector for the press. He published several works, as a Latin Dictionary, “ Grammatical Disquisitions,” etc. He died about 1721.
William Hogarth evinced an early taste for drawing, perhaps derived from his father, and at his own wish was apprenticed to Ellis Gamble, an eminent silversmith in Cranbourne-street, from whom he learned the art of engraving arms and cyphers on plate. So apt did he prove that in 1718, upon the expiry of his time, lie was entered as a student at the St. Martin’s-lane Academy. Two years later he started in business as a silversmith, and at the same time began to engrave plates for books, his first attempt being 12 plates for De La Mothaye’s travels. But the work which first brought him notoriety was the set of plates which he designed and engraved for Butler’s “ Hudibras.” In 1729, Hogarth clandestinely married Jane, the only daughter of Sir James Thornhill, who, however, became reconciled to his son-in-law in 1732, owing to a little conspiracy of Lady Thornhill and Mrs. Hogarth, who aroused the indignant father’s interest by placing a part of the series known as the “ Harlot’s Progress ” in his dining room. Upon this series Hogarth was engaged at the time of his marriage, while ho had already painted portraits concurrently with his early book work. The Hogarths lived in Leicester-fields, now Leicester-square, but spent their summers after Thornhill’s death at the latter’s house at Chiswick.
This house is■ still standing, and is known as Hogarth’s House, Hogarth-lane, which is near the parish church. It is enclosed by a high wall, while the two gateways are surmounted by the original urns. The house has had a chequered histoiy; Cary, the translator of Dante, lived in it from *1814 to 1826; a few years ago it was let out in tenements; but being now occupied by a florist, it is well looked after, while the garden at the time of my visit was bright with bloom. The protruding bay window and the old lattice windows of the upper story remain unaltered; and a good view of the house may be obtained from the further gate.
Hogarth died childless at his house in Leicester-fields; he was buried in Chiswick churchyard, where his urn-crowned high altar-tomb, restored in 1856, may be examined, along with Garrick’s famous epitaph. West of the church lie the remains of Philip Loutherbourg, R.A., W. Sharp, the line engraver, and Ugo Foseolo, the Italian patriotic poet.
Notwithstanding losses by fire, the extant works of Hogarth comprise some 240 pictures, of which 80 are dated, and over 400 plates, almost all dated. Hogarth’s speed at work may be gauged from the fact that two days after his trip to Rochester and Sheppey with Scott, Tothall, Forrest and Thornhill’s son, the illustrated “Journal” of the holiday was produced at their club, with several sepia drawings by himself and Scott.
Though essentially a satirist and humorist on canvas, Hogarth was capable of depicting every phase of life, as may be witnessed in Boydell’s “Original and Genuine Works of William Hogarth,” in the 107 plates of which he includes sacred subjects interpreted with reverence, and Court scenes interpreted with dignity; and renders the tragic and terrible at powerfully as he depicts the ridiculous and grotesque. His style is unmistakable ; we see men in their habits as they lived, and in the ghastly surroundings of a corrupt state of society. Such plates as “ Beer-street,” “ Gin-street,” the concluding scenes of the “Harlot’s Progress,” the “Rake’s Progress,” and’ the “ Marriage a la Mode ” have never been surpassed for intensity. He himself said that he wished to represent events as on a stage ; that he “ had grown so profane as to admire Nature beyond the■ finest productions of Art; and that he saw things in life so far surpassing the utmost efforts of imitation that he railed against Raphael, Michelangelo and Correggio.”
And in these scenes the action never stands still; every feature and muscle is brought into play, and fixed on the canvas for ever.
In one respect Hogarth over-estimated his powers; he thought scathing satire a complete remedy for vice ; and plates 77 and 78, which Walpole called “ the most sublime of his works I