signed, but it is believed to be less than that of his partner. His habits were early relaxed and desultory, and although without a natural disposition to indolence, he was easily led from regular pursuits, and was consequently not remarkable for punctuality in his periodical supplies. Of this one instance can be given upon undoubted authority. When the Connoisseur, No. 101, came to town for publication, Colman, who happened to be in London, saw it at the publisher's, and found it contained the production of a correspondent of very inferior merit, which Thornton had sent to press to save himself the trouble of writing one. But as the day for the appearance of this paper was the first of January, Colman was enraged at this carelessness and inattention to so remarkable an opportunity for a good essay, and came to Mr. Say's printing-office late at night, to inquire if it was possible to have a paper printed in time for next day's publication. Being told that it was barely possible, he immediately sat down in his publisher (Mr. R. Baldwin's) parlour, and wrote the paper which now stands as the 101st, cancelling the other*. As an occasional writer, however, unfettered by times and seasons, Mr. Thornton was pro Dr. Kenrick, who hated Colman, and every theatrical manager who rejected his dramas, relates this story in a very different manner, as if Colman had transcribed Thornton's paper to make it pass for his own; with him too, it is not a paper in the Connoisseur, but a letter intended for the St. James's Chronicle: London Review, vol. 3. I prefer, however, the authority of the late Isaac Reed, and the late Henry Baldwin, Esq., who well knew the cir cumstance. fuse in his contributions to magazines and newspapers. Scarce any popular topic offered of whatever kind, which did not afford him a subject for a pamphlet, an essay, a piece of poetry, or some whimsical paragraphs for the newspapers. His contributions to the Public Advertiser were very considerable; and when the St. James's Chronicle was projected, and the first thought of it was imparted to him, he became a proprietor, and, as already mentioned, a valuable contributor. A collection of the best pieces of the first year of that paper was published at the close of it, under the title of "The Yearly Chronicle for 1761; or a Collection of the most interesting and striking Essays, Letters, &c., which appeared in the St. James's Chronicle for 1761. To which is added, a Diary of the most remarkable Events: the whole serving as a complete Register of the Politics, News, Literature, &c., of that period." This was handsomely printed in an octavo volume; but, notwithstanding the convenience of the plan and the popularity of the contents, it did not succeed so well as to encourage a continuation. About this time, our author had it in contemplation to treat with Mr. Rich for the patent of Covent-garden theatre; but the negotiation proved abortive. He had, however, now given up all thoughts of the employment to which he was bred, and became an author by profession, and a general satirist; nor was it with his pen only that he exercised his humour. He projected an Exhibition of Sign Paintings, a scheme which at first appeared preposterous beyond all hopes of encouragement, but which actually took place at his house in Bow-street, Covent-garden. To this collection of daubings, Hogarth contributed a few touches in chalk; and finding, among the heads of distinguished personages, those of the king of Prussia and the empress of Hungary, he changed the cast of their eyes so as to make them leer significantly at each other*. Of this strange exhibition, a contemporary writer gives the following character. "The Original Paintings, &c., a catalogue of which now lies before us, are the project of a well known gentleman, who has in several instances displayed a most uncommon vein of humour. His Burlesque Ode on St. Cecilia's Day, his labours in the Drury-lane Journal, and other papers, all possess that singular turn of imagination, so peculiar to himself. This gentleman is perhaps the only person in England (Mr. Hogarth excepted), who could have projected, or have carried tolerably into execution, this scheme of a Grand Exhibition. There is a whimsical drollery in all his plans, and a comical originality in his manner, that never fail to distinguish and recommend all his undertakings. To exercise his wit and humour in an innocent laugh, and to raise that innocent laugh in others, seems to have been his chief aim in the present spectacle. The ridicule on Exhibitions, if it must be accounted so, is pleasant without malevolence; and the general strokes on the common * Nichols's Biographical Anecdotes of Hogarth, p. iii. 3d Edit. topics of satire are given with the most apparent good humour." The wit of this singular exhibition will, perhaps, be better understood by a few specimens from the catalogue, than by any general character. The catalogue was intended to convey the projector's meaning, where he had any; and among its numerous articles we have-" No. 9, the Irish Arms, by Patrick O'Blaney. N.B. Captain Terence O'Cutter stood for them." These arms were a pair of extremely thick legs in white stockings, and black garters. "No. 16, A Man:" nine tailors at work. "No. 35, A Man in his Element, a Sign for an Eating House" a cook roasted on a spit at a kitchen fire, and basted by the devil. "No. 36, A Man out of his Element:" a sailor fallen off his horse, with his skull lighting against the ten mile-stone from Portsmouth. "No. 64, View of the Road to Paddington: with a presentation of the Deadly Never Green, that bears Fruit all the year round; the Fruit at full length, by Hogarty:" Tyburn, with three felons on the gallows. The critics deemed this piece remarkable for the execution. "No. 71, Shave for a Penny, Let Blood for Nothing :" a man under the hands of a barber-surgeon, who shaves and lets blood at the same time, by cutting at every stroke of his razor. Some humour was also intended in the juxta-position of some of the signs, as The Three Apothecaries' Gallipots,' and The Three Coffins, its Companion,' &c. &c. The names of the artists, as Masmore, Lester, Ward, Fishbourne, &c. were, in fact, the names of the journeyman printers in Mr. Baldwin's office. But perhaps enough has been said of this attempt to amuse the lovers of fun,' which for a short time had considerable success. It was one of those odd schemes which could not be expected to last, or to be repeated, and which the public, at a less good-humoured period, might in all probability be disposed to consider as an insult. The Ode for St. Cecilia's Day, above mentioned, was another effort of the burlesque kind, from Mr. Thornton's sportive muse, and afforded much entertainment. The sternest muscles must relax where it is read. It was professedly adapted to the ancient British music,' viz. the salt-box, the Jew's-harp, the marrowbones and cleavers, the hum-strum or hurdy-gurdy, &c. Dr. Johnson praised its humour, and seemed much diverted with it; nor could it be less diverting to hear him repeat the following passage, which he frequently did : : In strains more exalted the salt-box shall join, Boswell's Life of Johnson. In a note on this work, Dr. Burney informs us that he set this piece to music. It was performed at Ranelagh in masks, to a very crowded audience. Beard sung the salt-box song, which was admirably accompanied on that instrument by Brent, the fencing-master, and father of Miss Brent the celebrated singer; Skeggs, on the broomstick, as bassoon; and a remarkable performer on the Jew's harp. Cleavers were cast in bell metal for this entertainment. All the performers of the Old Woman's Oratory employed by Foote, were employed at Ranelagh on this occasion. VOL. XXV. d |