Hogarth modelled the figure of the friar in O, The Roast Beef of Old England or The Gate of Calais on his friend, the artist John Pine (1690-1756). It was said that Pine pleaded with Hogarth not to mock him in this way, but Hogarth was unrelenting. Pine was known as ¡Friar Pine¢ for the rest of his life. Hogarth felt guilty about his treatment of his friend, and after Pine¢s death, painted an affectionate portrait of him in the style of Rembrandt. Hogarth and Pine had a great deal in common. They were both Londoners, and apprenticed to engravers.
Hogarth quickly tired of copying the ¡monsters of heraldry¢, but Pine became a leading heraldic artist, eventually joining the College of Arms. Both men sought to improve the professional status and education of English artists, helping to secure copyright legislation which protected artists¢ income. There were many social connections between the two men.
They caroused and argued in the London coffee houses, such as Slaughter¢s Coffee House in St Martin¢s Lane. Pine and Hogarth also both took part in London¢s new social craze of the 1720s: Freemasonry. Pine was one of the most accomplished engravers of his generation, but lacked Hogarth¢s flair and originality. Whereas Hogarth¢s artistic achievement was very coherent and distinctive, Pine¢s output was more wide-ranging, comprising not only book illustration, but also heraldry, maps and facsimiles of historical documents.
Hogarth developed an original and aggressively English style. Pine¢s work is less personal, and more reliant on classical and continental models. Pine has never emerged from the shadow of Hogarth, and his artistic achievements are not widely known. Pine¢s parents were Londoners. It has been suggested on the basis of Pine¢s appearance in Hogarth¢s portrait of him that Pine had black ancestors, but no firm evidence to support this has been found. At the age of 19, Pine was apprenticed to a London goldsmith, and became a freeman of the city in 1718. http://www.mqmagazine.co.uk/issue-10/p-07.php