37. ‘The Humours of a Coffee-House,’ June to August 1707, seven quarto weekly numbers. 38. ‘The Wooden World Dissected, in the Character of a Ship of War,’ 1707, 12mo. 39. ‘The London Terræ Filius; or the Satirical Reformer,’ five numbers, 1707–8, 8vo. 40. ‘The Forgiving Husband and Adulterous Wife,’ 1708, 8vo (verse). 41. ‘The Wars of the Elements; or a Description of a Sea-Storm,’ 1708, 8vo. 42. ‘The Modern World Disrobed,’ 1708, 8vo; republished about 1710, as ‘Adam and Eve stripped of their Furbelows; or the Fashionable Virtues and Vices of both Sexes exposed to Public View.’ 43. ‘Mars stript of his Armour; or the Army displayed in all its true Colours,’ 1709, 8vo. 44. ‘The Rambling Fuddle-caps; or a Tavern-struggle for a Kiss,’ 1709, 8vo. 45. ‘The Poetical Entertainer,’ 1712, 8vo. 46. ‘The Field Spy; or the Walking Observator, a Poem,’ 1714, 8vo. 47. ‘The Republican Procession; or the Tumultuous Cavalcade,’ 1714, 8vo. 48. ‘The Morning Prophet; or Faction revived by the Death of Queen Anne: a Poem,’ 1714, 4to. 49. ‘The Lord Whiglove's Elegy,’ 1714, 8vo. 50. ‘A Vade-Mecum for Malt-Worms; or a Guide to Good Fellows,’ 1715, 8vo. 51. ‘A Guide for Malt-Worms; the Second part; done by several Hands,’ n.d. 8vo. 52. ‘St. Paul's Church; or the Protestant Ambulators: a Burlesque Poem,’ 1716, 8vo. 53. ‘British Wonders,’ 1717, 8vo. 54. ‘A Seasonable Sketch of an Oxford Reformation, written originally in Latin by John Allibond, D.D.,’ 1717, 8vo. 55. ‘The Tory Quaker; or Aminadab's New Vision,’ 1717, 8vo. 56. ‘The Delights of the Bottle; or the Compleat Vintner: a merry Poem,’ 1720, 8vo. 57. ‘The Northern Cuckold; or the Garden-House Intrigue,’ 1721, 8vo. 58. ‘The Merry Traveller,’ pt. i. 1721, 8vo. 59. ‘The Wandering Spy; or the Merry Travellers,’ pt. ii. 1722, 8vo. 60. ‘The Dancing Devils; or the Roaring Dragon; as it was acted at both Houses,’ 1724, 8vo. 61. ‘News from Madrid,’ 1726, 8vo. 62. ‘Durgen; or a Plain Satire upon a Pompous Satirist [Pope],’ 1729, 8vo. 63. ‘Apollo's Maggot in his Cups; or the Whimsical Creation of a little Satirical Poet,’ 1729, 8vo. 64. ‘The Basia of Secundus,’ translated by Fenton and Ward, 1731, 12mo. 65. ‘The Ambitious Father; or the Politician's Advice to his Son: a Poem in five cantos,’ 1733. 66. ‘A Fiddler's Fling at Roguery,’ 1734, 8vo. The following pieces, printed in the collected works (1703–6), probably first appeared separately, although copies in that form seem now unprocurable: 67. ‘Battle without Bloodshed; or Martial Discipline buffooned by the City Train-Bands.’ 68. ‘The Dutch Guards' Farewell to England.’ 69. ‘The Charitable Citizen.’ 70. ‘A Satire against Wine.’ 71. ‘A Poem in Praise of Small-Beer.’ 72. ‘A Poem on the Success of the Duke of Marlborough.’ 73. ‘Fortune's Bounty.’ 74. ‘A Protestant Scourge for a Popish Jacket.’ 75. ‘A Musical Entertainment.’ 76. ‘A Satire against the Corrupt Use of Money.’ 77. ‘A Dialogue between Britannia and Prudence.’ The ‘Hudibrastic Brewer; or a Prosperous Union between Malt and Metre,’ is a satire upon ‘the brewing poet W–d.’
[Biogr. Dram.; Cibber's Lives of the Poets, iv. 293; Brit. Mus. Cat.; Lowndes's Bibliographer's Manual; Retrospective Review, iii. 326–328; Notes and Queries, 2nd ser. iv. 341, 509, 4th ser. xi. 143. There is a manuscript copy of ‘Honesty in Distress’ in a commonplace book in the Brit. Mus. (Addit. MS. 23904, f. 56).]
WARD, EDWARD MATTHEW (1816–1879), historical painter, born in Pimlico on 14 July 1816, was the younger son of Charles James Ward (1781–1858), by his wife, Mary Ford, sister-in-law of Horatio or Horace Smith [q. v.] The father was employed in Messrs. Coutts's bank. As a boy, Ward made original designs from the novels of Smollett and Fielding, Washington Irving's ‘Sketch-book,’ and his uncle Horace Smith's ‘Brambletye House.’ After spending a short time at several schools in London, he was sent for a year to the studio of John Cawse (1779–1862) in Henrietta Street, Covent Garden, to learn oil-painting. Here he made many acquaintances in the theatrical world, and painted a picture of Miss Cawse, Braham, and Penson, in a scene from ‘Fra Diavolo.’ In 1830 he gained a silver palette from the Society of Arts for a pen-and-ink drawing. In 1835 he was introduced by Chantrey and Wilkie to the schools of the Royal Academy. He had already exhibited in 1834 a picture of the comedian O. Smith as Don Quixote. His second venture in 1835 was less successful. His picture, ‘The Dead Ass,’ from Sterne's ‘Sentimental Journey,’ was accepted, but not hung ‘for want of space.’ To resist the temptation to paint and exhibit prematurely in London, Ward resolved to study abroad. He started in July 1836, spent some weeks in Paris and Venice, and proceeded to Rome, where he remained about two years and a half. He drew from the antique, copied pictures, and worked industriously in the studio of Cavaliere Filippo Agricola, director of the academy of St. Luke,
