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followed by bis monumental group to the memory of Dr. Doyle, a fine wort, which gained him admission as an associate of the College of Art at Rome. He next com- pleted his statue of O'Connell. now in the Exchange at Dublin, and ' The Drunken Faun.' After some stay his funds failed him, and he was again, and unsolicited, as- sisted by his Irish friends and Sir John FleraingLeicester. On his return he prac- tised in Dublin. Irish in all his associations, he was called 'The Irish Sculptor.' He only exhibited at the Royal Academy on two occasions, in 1833, when he sent a 'Marble figure of the Redeemer after Death/ ana in 1850 two busts and the model of a mural monument. He died in Dublin, March 27, 1858. in his 57th year, and was buried in the Glasnevin Cemetery. He left an Italian lady, whom he had married, unprovided for, a widow with 11 children. The Queen granted her a pen- sion of 100J. on the Civil List. • HOGARTH, William, subject painter. His father, Richard Hogarth, was educated at St. Bees, Durham, and kept a school in that county. He was a man of some learn- ing, came to London early in life, and opened a school in the Old Bailey. He was also employed as a corrector of the press. He published, in 1712, ' Grammatical Dis- quisitions/ styling himself ' Schoolmaster;' compiled a Latin Dictionary, and some other works. He died about 1721. Of his son William's early life only scant particulars exist. He was born in London, Dec. 10, 1697, and was baptized at the Church of St. Bartholomew, Smithfield, and appren- ticed to a silversmith, to learn the art of engraving arms and cyphers on plate. But he was a youth of a strong and original mind, and soon showed indications of a genius above such work.

On his completion of his apprenticeship, he became a student in the St. Martin s Lane Academy, where he gained such a knowledge of drawing as enabled him to express ms ideas. About 1720 he engaged in business for himself, which at first was confined to his master's trade; but in 1723 he both designed and engraved 12 plates for De la Mottraye's ' Travels.' This work was followed by seven small plates for Apuleius's 'Golden Ass/ and in 1725, by the head-pieces for Beaver's 'Military Punishments of the Ancients.' He also designed and engraved the illustrations for an edition of ' Hiidibras/ with a portrait of Butler. At the same time he painted por- traits, for which he had shown an aptitude by his power of seizing a graphic likeness, and gave a novelty to his work by pro- ducing small characteristic groups, which obtained the designation of 'conversation pieces.' The spirit of art was soon aroused in him, and, self-reliant and determined in 216

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his pursuits and opinions, he was destined to produce an entirely original art, and casting aside all the old traditions, to lav the broad foundations of the English school.

His disposition is shown in the incidents of his life. He ran away, in 1730, with Sir James Thornhill's daughter, when in her 19th year. He resolutely maintained his own original style of painting against his professional brethren — even influencing them to turn to nature for their art. He successfully asserted his rights in a court of law. and was the means of obtaining from Parliament a copyright act, to def ena the property of art. He aid not fear to aim his graphic attacks at Wilkes, Churchill, Pope, Warburton, Kent, and others who could retaliate. He is said to have drawn his brush across his friend Garrick's por- trait on some dispute about the likeness; and there is another well-known portrait, through which, on some similar provocation, he haa run his knife. Steevens says he had not received a liberal education, yet it is hardly probable that his father, who was both a scholar and a teacher, left him with- out such knowledge as could be gained before his prentice days. Opposed to academies and to the foundation of a Royal Academy, he became a member in 1760 of the Society of Artists, which, on his motion, was entitled ' The Free Professors of Paint- ing, Sculpture, and Architecture.' But it does not appear that he showed anv further interest in the young society, and his name does not continue on the list of members in the following year.

At the time of his marriage, Hogarth had commenced his 'Harlot's Process/ and the work, which was completed in 1733, is said to have appeased his wife's father. The painter here invented his own story, and first carried out, as he tells us he wished, his design ' to compose pictures on canvas, similar to the representations on the stage, and that they should be tried by the same test and criticised by the same criterion.' This truly original work, both in conception and execution, he followed up by another story of the same class, ' The Rake's Progress;' and in 1745 he completed his ' Marriage a la Mode/ in which his art culminated. Divided into six acts or tableau, the story of youth sacrificed to rank, with its sad moral, is well and touchingly depicted. Every mcident tends to the climax; every accessory, even the smallest, contributesits share to the story; the background itself studiously combines to fill its part in the drama.

Such was Hogarth's true art, on which his imperishable fame will surely rest. But he was tempted to enter into competition with the other painters of his day, and to try subjects of nigh art For this he was unsuited, and brought upon himself much