Hogarth has been often imitated in his satirical vein, sometimes in his humorous; but very few have attempted to rival him in his moral walk. The line of art pursued by my very ingenious predecessor and brother academician, Mr. Penny, is quite distinct from that of Hogarth, and is of a much more delicate and superior relish; he attempts the heart, and reaches it, whilst Hogarth's general aim is only to shake the sides: in other respects no comparison can be thought of, as Mr. Penny has all that knowledge of the figure and academical skill which the other wanted. As to Mr. Bunbury, who had so happily succeeded in the vein of humour and caricatura, he has for some time past altogether relinquished it, for the more amiable pursuit of beautiful nature: this indeed is not to be wondered at, when we recollect that he has, in Mrs. Bunbury, so admirable an exemplar of the most finished grace and beauty, continually at his elbow. But (to say all that occurs to me on this subject) perhaps it may be reasonably doubted, whether the being much conversant with Hogarth's method of exposing meanness, deformity, and vice, in many of his works, is not rather a dangerous, or, at least, a worthless pursuit; which, if it does not find a false relish, and a love of, and search after satire and buffoonery in the spectator, is at least not unlikely to give him one. Life is short, and the little leisure of it is much better laid out upon that species of art, which is employed upon the amiable and the admirable, as it is more likely to be attended with better and nobler consequences to ourselves. These two pursuits in art, may be compared with two sets of people with whom we might associate; if we give ourselves up to the Footes, the Kenricks, &c. we shall be continually busied, and paddling in whatever is ridiculous, faulty, and vicious in life; whereas there are those to be found, with whom we should be in the constant pursuit and study of all that gives a value and a dignity to human nature." [Account of a Series of Pictures in the Great Room of the Society of Arts, Manufactures, and Commerce, at the Adelphi, by James Barry, R.A., Professor of Painting to the Royal Academy; reprinted in the last quarto edition of his works.]
"——it must be honestly confessed, that in what is called knowledge of the figure, foreigners have justly observed," &c.
It is a secret well known to the professors of the art and mystery of criticism, to insist upon what they do not find in a man's works, and to pass over in silence what they do. That Hogarth did not draw the naked figure so well as Michael Angelo might be allowed, especially as "examples of the naked," as Mr. Barry acknowledges, "rarely (he might almost have said never) occur in his subjects;" and that his figures under their draperies do not discover all the fine graces of an Antinous or an Apollo, may be conceded likewise; perhaps it was more suitable to his purpose to represent the average forms of mankind in the mediocrity (as Mr. Burke expresses it) of the age in which he lived: but that his figures in general, and in his best subjects, are so glaringly incorrect as is here insinuated, I dare trust my own eye so far as positively to deny the fact. And there is one part of the figure in which Hogarth is allowed to have excelled, which these foreigners seem to have overlooked, or perhaps calculating from its proportion to the whole (a seventh or an eighth, I forget which) deemed it of trifling importance; I mean the human face; a small part, reckoning by geographical inches, in the map of man's body, but here it is that the painter of expression must condense the wonders of his skill, even at the expense of neglecting the "jonctures and other difficulties of drawing in the limbs," which it must be a cold eye that in the interest so strongly demanded by Hogarth's countenances has leisure to survey and censure.
"The line of art pursued by my very ingenious predecessor and brother academician, Mr. Penny."
The first impression caused in me by reading this passage, was an eager desire to know who this Mr. Penny was. This great surpasser of Hogarth in the "delicacy of his relish," and the "line which he pursued," where is he, what are his works, what has he to shew? In vain I tried to recollect, till by happily putting the question to a friend who is more conversant in the works of the illustrious obscure than myself, I learned that he was the painter of a Death of Wolfe which missed the prize the year that the celebrated picture of West on the same subject obtained it; that he also made a picture of the Marquis of Granby relieving a Sick Soldier; moreover, that he was the inventor of two pictures of Suspended and Restored Animation, which I now remember to have seen in the Exhibition some years since, and the prints from which are still extant in good men's houses. This then I suppose is the line of subjects in which Mr. Penny was so much superior to Hogarth. I confess I am not of that opinion. The relieving of poverty by the purse, and the restoring a young man to his parents by using the methods prescribed by the Humane Society, are doubtless very amiable subjects, pretty things to teach the first rudiments of humanity; they amount to about as much instruction as the stories of good boys that give away their custards to poor beggar-boys in children's books. But, good God! is this milk for babes to be set up in opposition to Hogarth's moral scenes, his strong meat for men? As well might we prefer the fulsome verses upon their own goodness, to which the gentlemen of the Literary Fund annually sit still with such shameless patience to listen, to the satires of Juvenal and Persius; because the former are full of tender images of Worth relieved by Charity, and Charity stretching out her hand to rescue sinking Genius, and the theme of the latter is men's crimes and follies with their black consequences—forgetful meanwhile of those strains of moral pathos, those sublime heart-touches, which these poets (in them chiefly shewing themselves poets) are perpetually darting across the otherwise appalling gloom of their subject—consolatory remembrancers, when their pictures of guilty mankind have made us even to despair for our species, that there is such a thing as virtue and moral dignity in the world, that her unquenchable spark is not utterly out—refreshing admonitions, to which we turn for shelter from the too great heat and asperity of the general satire.
And is there nothing analogous to this in Hogarth? nothing which "attempts and reaches the heart?"—no aim beyond that of "shaking the sides?"—if the kneeling ministering female in the last scene of the Rake's Progress, the Bedlam scene, of which I have spoken before, and have dared almost to parallel it with the most absolute idea of Virtue which Shakspeare has left us, be not enough to disprove the assertion; if the sad endings of the Harlot and the Rake, the passionate heart-bleeding entreaties for forgiveness which the adulterous wife is pouring forth to her assassinated and dying lord in the last scene but one of the Marriage Alamode—if these be not things to touch the heart, and dispose the mind to a meditative tenderness: is there nothing sweetly conciliatory in the mild, patient face and gesture with which the wife seems to allay and ventilate the feverish irritated feelings of her poor poverty-distracted mate (the true copy of the genus irritabile) in the print of the Distrest Poet? or if an image of maternal love be required, where shall we find a sublimer view of it than in that aged woman in Industry and Idleness (plate v.) who is clinging with the fondness of hope not quite extinguished to her brutal vice-hardened child, whom she is accompanying to the ship which is to bear him away from his native soil, of which he has been adjudged unworthy: in whose shocking face every trace of the human countenance seems obliterated, and a brute beast's to be left instead, shocking and repulsive to all but her who watched over it in its cradle before it was so sadly altered, and feels it must belong to her while a pulse by the vindictive laws of his country shall be suffered to continue to beat in it. Compared with such things, what is Mr. Penny's "knowledge of the figure and academical skill which Hogarth wanted?"
With respect to what follows concerning another gentleman, with the congratulations to him on his escape out of