many which
have of late arrogated that denomination to themselves. When we say
that Hogarth treated his subjects historically, we mean that his
works represent the manners and humours of mankind in action, and
their characters by varied expression. Everything in his pictures
has life and motion in it. Not only does the business of the scene
never stand still, but every feature and muscle is put into full
play; the exact feeling of the moment is brought out, and carried to
its utmost height, and then instantly seized and stamped on the
canvas for ever. The expression is always taken _en passant_, in a
state of progress or change, and, as it were, at the salient
point.... His figures are not like the background on which they are
painted: even the pictures on the wall have a peculiar look of their
own. Again, with the rapidity, variety, and scope of history,
Hogarth's heads have all the reality and correctness of portraits.
He gives the extremes of character and expression, but he gives them
with perfect truth and accuracy. This is, in fact, what
distinguishes his compositions from all others of the same kind,
that they are equally remote from caricature, and from mere still
life.... His faces go to the very verge of caricature, and yet never
(we believe in any single instance) go beyond it."--HAZLITT.

145 He made this excursion in 1732, his companions being John Thornhill
(son of Sir James), Scott the landscape-painter, Tothall, and
Forrest.

146 "Dr. Johnson made four lines once, on the death of poor Hogarth,
which were equally true and pleasing: I know not why Garrick's were
preferred to them:--

The hand of him here torpid lies,
That drew th' essential forms of grace;
Here, closed in death, th' attentive eyes,
That saw the manners in the face.

"Mr. Hogarth, among the variety of kindnesses shown to me when I was
too young to have a proper sense of them, was used to be very
earnest that I should obtain the acquaintance, and if possible the
friendship, of Dr. Johnson; whose conversation was, to the talk of
other men, like Titian's painting compared to Hudson's, he said:
'but don't you tell people now that I say so' (continued he) 'for
the connoisseurs and I are at war, you know; and because I hate