ctures that have added greatly to our knowledge of early coffee
customs and manners.

Adriaen Van Ostade (1610-1685), the Dutch genre painter and etcher,
pupil of Frans Hals, in his "Dutch Coffee House" (1650), shows the
genesis of the coffee house of western Europe about the time it still
partook of some of the tavern characteristics. Coffee is being served to
a group in the foreground. It is believed to be the oldest existing
picture of a coffee house. The illustration is after the etching by J.
Beauvarlet in the graphic collection at Munich.

William Hogarth (1697-1764), the famous English painter and engraver of
satirical subjects, chose the coffee houses of his time for the scenes
of a number of his social caricatures. In his series, "Four Times of the
Day," which throws a vivid light on the street life of London of the
period of 1738, we are shown Covent Garden at 7:55 A.M. by the clock on
St. Paul's Church. A prim maiden lady (said to have been sketched from
an elderly relation of the artist, who cut him out of her will) on her
way home from early service, accompanied by a shivering foot-boy, is
scandalized by the spectacle presented by some roystering blades issuing
from Tom King's notorious coffee house to the right. The _beaux_ are
forcing their attentions upon the more comely of the market women in the
foreground. Tom King was a scholar at Eton before he began his ignoble
career. At the date of this picture, it is thought he had been succeeded
by his widow, Moll King, also of scandalous repute.

Scene VI of the "Rake's Progress" by Hogarth is laid at the club in
White's chocolate (coffee) house, which Dr. Swift described as "the
common rendezvous of infamous sharpers and noble cullies." The rake has
lost all his recently acquired wealth, pulls off his wig and flings
himself upon the floor in a paroxysm of fury and execration. In allusion
to the burning of White's in 1733, flames are seen bursting from the
wainscot, but the pre-occupied gamblers take no heed, even of the
watchman crying "Fire!" To the left is seated a highwayman, with horse
pistol and black mask in a skirt pocket of his coat. He is so engrossed
in his thoughts that he does not notice the boy at his side offering a
glass of liquor on a tray. The scene well depicts the low estate to
which White's had fallen. It recalls a bit of dialogue from Farquhar's
_Beaux' Stratagem_ (act III, scene 2), where Aimwell says to Gibbet, who
is a highwayman: "P