it has been asked whether any likelihood exists of our knowing more of the character of Napoleon Bonaparte from the sight of his cocked hat and toothbrush at Madame Tussaud's. Presuming to run counter to the opinion of the high critical authorities, I would point out that the very best biographies that have ever been written—those of Samuel Johnson, Samuel Pepys [his diary being eminently biographical], Lord Herbert of Cherbury, and Jean Jacques Rousseau [in the Confessions, and bating the lies and madnesses with which that poor crazed wanderer disfigures an otherwise limpid narrative]—are full of those little scraps and fragments of minute cross-*hatching, chronicles of "seven livres three sols, parisis," lamentable records of unpaid-for hose, histories of joyous carouses, anecdotes of men and women's meannesses and generosities, and the like. On the other hand, how cold, pallid, unhuman, is the half-dozen-line character, with all its broad vigorous dashes! Certain Roman emperors might have come out far better fellows from the historian's alembic if their togas and sandals had been more scrupulously dwelt upon. Is our awful veneration for St. Augustine one whit diminished by the small deer he condescends to hunt in the history of his youth? The heaviest blow and greatest discouragement to the composition of admirable biographies, are in the fact that strength and delicacy, vigour and finish, are seldom combined; and that a Milton with a dash of the macaroni in him is a rara avis indeed. Now and then we find an elephant that can dance on the tight-rope without being either awkward or grotesque; now and then we find a man with a mind like a Nasmyth's steam hammer, that can roll out huge bars of iron, and anon knock a tin-tack into a deal board with gentle accurate taps. These are the men who can describe a Revolution, and by its side the corned beef and carrots which country parsons were once glad to eat; who can tell us how the Bastille was stormed, and, a few pages on, what manner of coat and small clothes wore Philip Egalité at his guillotining. When we find such men we christen them Macaulay or Carlyle.
The latitude, therefore, I take through incapacity for accuracy, saves me from inflicting on you a long prolegomena; saves me from scoring the basement of this page with foot-notes, or its margins with references; saves me from denouncing the "British Dryasdust," from whom I have culled the scanty dates and facts, the mile and year stones in William Hogarth's life. Indeed, he has been very useful to me, this British Dryasdust, and I should have made but a sorry figure without him. He or they—Nichols, Steevens, Trusler, Rouquet, Ireland, Ducarel, Burn—have but little to tell; but that which they know, they declare in a frank, straightforward manner. Among commentators on Hogarth, Ireland is the best; Trusler, the worst. T. Clerk and T. H. Horne also edited (1810) a voluminous edition of Hogarth's works, accompanied by a sufficiently jejune Life. Allan Cunningham, in the British Painters, has given a lively, agreeable adaptation of all who have come before him, spiced and brightened by his own clear appreciation of, and love for, art and its professors. Half a day's reading, however, will tell you all that
