2. Portrait of John Palmer, esq. lord of the manor of Cogenhoe or Cooknoe, and patron of the church, of Ecton in Northamptonshire. W. Hogarth pinx. B. Baron sculp. This small head is inserted under a view of Ecton Church.

3. His own head in a cap, a pug-dog, and a palette with the line of beauty, &c. inscribed Gulielmus Hogarth. Seipse pinxit & sculpsit. Very scarce, because Hogarth erased his own portrait, and introduced that of Mr. Churchill, under the character of a bear, in its room. See under the year 1763.

On this print, in its original state, the Scandalizade, a satire published about 1749, has the following lines. The author represents himself as standing before the window of a print-shop.

"There elbowing in 'mong the crowd with a jog,
Lo! good father Tobit, said I, with his dog!
But the artist is wrong; for the dog should be drawn
At the heels of his master in trot o'er the lawn,—
To your idle remarks I take leave to demur,
'Tis not Tobit, nor yet his canonical cur,
(Quoth a sage in the crowd) for I'd have you to know, Sir,
'Tis Hogarth himself and his honest friend Towser,
Inseparate companions! and therefore you see
Cheek by jowl they are drawn in familiar degree;
Both striking the eye with an equal eclat,
The biped This here, and the quadruped That—
You mean—the great dog and the man, I suppose,
Or the man and the dog—be't just as you chuse.—
You correct yourself rightly—when much to be blam'd,
For the worthiest person you first should have nam'd,
Great dog! why great man I methinks you should say.
Split the difference, my friend, they're both great in their way.
Is't he then so famous for drawing a punk,
A harlot, a rake, and a parson so drunk,
Whom Trotplaid[1] delivers to praise as his friend?
Thus a jacknapes a lion would fain recommend.—
The very self same—how boldly they strike,
And I can't forbear thinking they're somewhat alike.—
Oh fie! to a dog would you Hogarth compare?—
Not so—I say only they're alike as it were,
A respectable pair! all spectators allow,
And that they deserve a description below
In capital letters, Behold we are Two."

4. Portrait of Hogarth, small circle. Mr. Basire (to whom this plate has been ascribed) says it is much in our artist's manner. On enquiry, however, it appears to be no other than a watch-paper "Published according to Act of Parliament by R. Sayer, opposite Fetter-lane, Sept. 29, 1749," and certainly copied from the small portrait of our artist introduced in The Roast Beef of Old England. Another head of him, with a fur cap on, was also edited by the same printseller, at the same time. There is likewise a third head of Hogarth, in an oval, prefixed as a frontispiece to "A Dissertation" on his six prints, &c. Gin Lane, &c. which appeared in 1751.

1750.

1. Thomas Herring, Archbishop of Canterbury. W. Hogarth p. B. Baron sculp. Of this picture (which is preserved in Lambeth-Palace) the Archbishop, in a letter to Mr. Duncombe, says, "None of my friends can bear Hogarth's picture;" and Mr. Duncombe, the son, in a note to this epistle, observes, that "this picture (as appears by the print engraved by Baron in 1750) exhibits rather a caricature than a likeness, the figure being gigantic, the features all aggravated and outrés, and, on the whole, so far from conveying an idea of that os placidum, moresque benigni, as Dr. Jortin expresses it, that engaging sweetness and benevolence, which were characteristic of this prelate, that they seem rather expressive of a Bonner, who could burn a heretic.

"Lovat's hard features Hogarth might command;
A Herring's sweetness asks a Reynolds' hand."

Hogarth however made the following observation while the Archbishop was sitting to him: "Your Grace, perhaps, does not know that some of our chief dignitaries in the church have had the best luck in their portraits. The most excellent heads painted by Vandyck and Kneller, were those of Laud and Tillotson. The crown of my works will be the representation of your Grace."

2. Jacobus Gibbs, Architectus, A. M. and F. R. S. Hogarth delin. Baron sculp. The same face as that in 1747, but in an octagon frame, which admits more of the body to be shewn, as well as some architecture in the back ground. There is also a smaller head of Gibbs, in a circle, &c. but whether engraved by Baron from a picture by Hogarth, or any other hand, is uncertain. Perhaps it was designed as a vignette for some splendid edition of Gibbs's works.

3. The March to Finchley,[1] dedicated to the King of Prussia[2][as "an Encourager of the Arts,"] "in resentment for the late king's sending for the picture to St. James's, and returning it without any other notice." This print is engraved by Luke Sullivan but afterwards, as we learn from a note at the bottom of it, was "Retouched and improved by Wm. Hogarth, and republished June 12, 1761." The improvements in it, however, remain to be discovered by better eyes than mine.

I am authorized to add, that soon after the lottery described in a note at the beginning of this article, our artist waited on the treasurer to the Foundling Hospital, acquainting him that the trustees were at liberty to dispose of the picture by auction. Scarce, however, was the message delivered, before he changed his mind, and never afterwards would consent to the measure he had originally proposed. The late Duke of Ancaster offered the hospital 300 l. for it. The following complete explanation of it is in The Student, vol. II. p. 16. It is supposed to have been written by the ingenious Mr. Bonnel Thornton.

"The scene of this representation is laid at Tottenham Court Turnpike; the King's-Head, Adam and Eve, and the Turnpike-house, in full view; beyond which are discovered parties of the guards, baggage, &c. marching towards Highgate, and a beautiful distant prospect of the country; the sky finely painted. The picture, considered together, affords a view of a military march, and the humours and disorders consequent thereupon.

"Near the center of the picture, the painter has exhibited his principal figure, which is a handsome young grenadier, in whose face is strongly depicted repentance mixed with pity and concern; the occasion of which is disclosed by two females putting in their claim for his person, one of whom has hold of his right arm, and the other has seized his left. The figure upon his right hand, and perhaps placed there by the painter by way of preference (as the object of love is more desirable than that of duty), is a fine young girl in her person, debauched, with child, and reduced to the miserable employ of selling ballads, and who, with a look full of love, tenderness, and distress, casts up her eyes upon her undoer, and with tears descending down her cheeks, seems to say——sure you cannot——will not leave me! The person and deportment of this figure well justifies the painter's turning the body of the youth towards her. The woman upon the left is a strong contrast to this girl; for rage and jealousy have thrown the human countenance into no amiable or desirable form. This is the wife of the youth, who, finding him engaged with such an ugly slut, assaults him with a violence natural to a woman whose person and beauty is neglected. To the fury of her countenance, and the dreadful weapon her tongue, another terror appears in her hand, equally formidable, which is a roll of papers, whereon is wrote, The Remembrancer; a word of dire and triple import; for while it shews the occupation the amiable bearer is engaged in, it reminds the youth of an unfortunate circumstance he would gladly forget: and the same word is also a cant expression, to signify the blow she is meditating. And here, I value myself upon hitting the true meaning, and entering into the spirit of the great author of that celebrated Journal called The Remembrancer, or, A weekly slap on the face for the Ministry.

"It is easily discernible that the two females are of different parties. The ballad of God save our noble King, and a print of the Duke of Cumberland, in the basket of the girl, and the cross upon the back of the wife, with the implements of her occupation, sufficiently denote the painter's intention: and, what is truly beautiful, these incidents are applicable to the march.

"The hard-favoured serjeant directly behind, who enjoys the foregoing scene, is not only a good contrast to the youth, but also, with other helps, throws forward the principal figure.

"Upon the right of the grenadier is a drummer, who also has his two Remembrancers, a woman and a boy, the produce of their kinder hours; and who have laid their claim by a violent seizure upon his person. The figure of the woman is that of a complainant, who reminds him of her great applications, as well in sending him clean to guard, as other kind offices done, and his promises to make her an honest woman, which he, base and ungrateful, has forgot, and pays her affection with neglect. The craning of her neck shews her remonstrances to be of the shrill kind, in which she is aided by the howling of her boy. The drummer, who has a mixture of fun and wickedness in his face, having heard as many reproaches as suit his present inclinations, with a bite of his lip, and a leering eye, applies to the instrument of noise in his profession, and endeavours to drown the united clamour; in which he is luckily aided by the ear-piercing fife near him.

"Between the figures before described, but more back in the picture, appears the important but meagre phiz of a Frenchman, in close whisper with an Independent. The first I suppose a spy upon the motion of the army, the other probably drawn into the croud, in order to give intelligence to his brethren, at their next meeting, to commemorate their noble struggle in support of Independency. The Frenchman exhibits a letter, which he assures him contains positive intelligence, that 10000 of his countrymen are landed in England, in support of liberty and independency. The joy with which his friend receives these glorious tidings, causes him to forget the wounds upon his head, which he has unluckily received by a too free and premature declaration of his principles.

"There is a fine contrast in the smile of innocency in the child at the woman's back, compared with the grim joy of a gentleman by it; while the hard countenance of its mother gives a delicacy to the grenadier's girl.

"Directly behind the drummer's quondam spouse, appears a soldier pissing against a shed; and some distortions in his countenance indicate a malady too indelicate to describe; this conjecture is aided by a bill of Dr. Rock's for relief in like cases. Directly over him appears a wench at a wicket, probably drawn there to have a view of the march; but is diverted from her first intention by the appearance of another object directly under her eye, which seems to ingross her whole attention.

"Behind the drummer under the sign of the Adam and Eve are a group of figures; two of which are engaged in the fashionable art of bruising: their equal dexterity is shewn, by sewed-up peepers on one side, and a pate well-sconced on the other. And here the painter has shewn his impartiality to the merit of our noble youths, (whose minds, inflamed with love of glory, appear, not only encouragers of this truly laudable science, but many of them are also great proficients in the art itself,) by introducing a youth of quality, whose face is expressive of those boisterous passions necessary for forming a hero of this kind; and who, entering deep into the scene, endeavours to inspire the combatants with a noble contempt of bruises and broken bones. An old woman, moved by a foolish compassion, endeavours to force through the croud and part the fray, in which design she is stopped by a fellow, who prefers fun and mischief to humanity. Above their heads appears a little man[3] of meagre frame, but full of spirits, who enjoys the combat, and with fists clenched, in imagination deals blow for blow with the heroes. This figure is finely contrasted, by a heavy sluggish fellow just behind. The painter, with a stroke of humour peculiar to himself, has exhibited a figure shrinking under the load of a heavy box upon his back, who, preferring curiosity to ease, is a spectator, and waits in this uneasy state the issue of the combat. Upon a board next the sign, where roots, flowers, &c. were said to be sold, the painter has humorously altered the words, and wrote thereon, Tottenham-Court Nursery; alluding to a bruising-booth in this place, and the group of figures underneath.

"Passing through the turnpike, appears a carriage laden with the implements of war, as drums, halberts, tent-poles, and hoop-petticoats. Upon the carriage are two old women-campaigners, funking their pipes, and holding a conversation, as usual, in fire and smoke. These grotesque figures afford a fine contrast to a delicate woman upon the same carriage, who is suckling a child. This excellent figure evidently proves, that the painter is as capable of succeeding in the graceful style as in the humorous. A little boy laes at the feet of this figure; and the painter, to shew him of martial breed, has placed a small trumpet in his mouth.

"The serious group of the principal figures, in the center, is finely relieved by a scene of humour on the left. Here an officer has seized a milk-wench, and is kissing her in a manner excessively lewd, yet not unpleasing to the girl, if her eye is a proper interpreter of her affections: while the officer's ruffles suffer in this action, the girl pays her price, by an arch soldier, who in her absence of attention to her pails, is filling his hat with milk, and, by his waggish eye, seems also to partake of the kissing scene. A chimney-sweeper's boy with glee puts in a request to the soldier, to supply him with a cap full, when his own turn is served; while another soldier points out the fun to a fellow selling pyes, who, with an inimitable face of simple joy, neglects the care of his goods, which the soldier dexterously removes with his other hand. In the figure of the pye-man, the pencil has exceeded description——here the sounding epithets of prodigious—excellent—wonderful—and all the other terms used by Connoisseurs (when speaking of the beauties of an old picture, where the objects must have lain in eternal obscurity, if not conjured out to the apprehension of the spectator, by the magic of unintelligible description) are too faint to point out its real merit.

"The old soldier divested of one spatter-dash, and near losing the other, and knocked down by all-potent gin, upon calling for t'other cogue, his waggish comrade, supporting him with one hand, endeavours to pour water into his mouth with the other, which the experienced old one rejects with disdain, puts up his hand to his wife who bears the arms and gin-bottle, and who, well acquainted with his taste, is filling a quartern. And here the painter exhibits a sermon upon the excessive use of spirituous liquors, and the destructive consequences attending it: for the soldier is not only rendered incapable of his duty, but (what is shocking to behold) a child begot and conceived in gin, with a countenance emaciated, extends its little arms with great earnestness, and wishes for that liquor, which it seems well acquainted with the taste of. And here, not to dwell wholly upon the beauties of this print, I must mention an absurdity discovered by a professed connoisseur in painting—'Can there,' says he, 'be a greater absurdity than the introducing a couple of chickens so near such a croud—and not only so—but see—their direction is to go to objects it is natural for 'em to shun—is this is knowledge of nature?—absurd to the last degree!'——And here, with an air of triumph, ended our judicious critic. But how great was his surprize, when it was discovered to him, that the said chickens were in pursuit of the hen, which had made her escape into the pocket of a sailor.

"Next the sign-post is an honest tar throwing up his hat, crying 'God bless King George.' Before him is an image of drunken loyalty; who, with his shirt out of his breeches, and bayonet in his hand, vows destruction on the heads of the rebels. A fine figure of a speaking old woman, with a basket upon her head, will upon view tell you what she sells. A humane soldier perceiving a fellow hard-loaded with a barrel of gin upon his back, and stopped by the croud, with a gimblet bores a hole in the head of the cask, and is kindly easing him of a part of his burthen. Near him, is the figure of a fine gentleman in the army. As I suppose the painter designed him without character, I shall therefore only observe, that he is a very pretty fellow, and happily the contemplation of his own dear person guards him from the attempts of the wicked women on his right hand. Upon the right hand of this petit maitre is a licentious soldier rude with a girl, who screams and wreaks her little vengeance upon his face, whilst his comrade is removing off some linen which hangs in his way.

"You will pardon the invention of a new term—I shall include the whole King's Head in the word Cattery, the principal figure of which is a noted fat Covent Garden lady,[4] who, with pious eyes cast up to heaven, prays for the army's success, and the safe return of many of her babes of grace. An officer offers a letter to one of this lady's children, who rejects it; possibly not liking the cause her spark is engaged in, or, what is more probable, his not having paid for her last favour. Above her, a charitable girl is throwing a shilling to a cripple, while another kindly administers a cordial to her companion, as a sure relief against reflection. The rest of the windows are full of the like cattle; and upon the house-top appear three cats, just emblems of the creatures below, but more harmless in their amorous encounters."

There is likewise another explanation in The Old Woman's Magazine, vol. I. p. 182. To elucidate a circumstance, however, in this justly celebrated performance, it is necessary to observe, that near Tottenham Court Nursery was the place where the famous Broughton's amphitheatre for boxing was erected. It has been since taken down, having been rendered useless by the justices not permitting such kind of diversions. This will account for the appearance of the Bruisers at the left hand corner of the print. One of Hogarth's ideas in this performance also needs the assistance of colouring, to render it intelligible. The person to whom the Frenchman is delivering a letter, was meant for an old Highlander in disguise, as appears from the plaid seen through an opening in his grey coat; a circumstance in the print that escaped me, till after I had seen the picture, and perused Rouquet's explanation of this particular circumstance, which I shall add in his own words, with his reflections at the end of it. "A droite du principal group paroit une figure de François, qu'on a voulu representer comme un homme de quelque importance, afin de lui donner plus de ridicule; il parle à un homme dont la nation est indiquée par l'etoffe de sa veste, qui est celle dont s'habillent les habitans des montagnes d'Ecosse: le François semble communiquer à l'Ecossois des lettres qu'il vient de reçevoir, & qui ont rapport à l'evenement qui donne lieu à cette marche. Les Anglois ne se réjouissent jamais bien sans qu'il en coute quelque chose aux François; leur theatre, leur conversation, leurs tableaux, et sur tout ceux de notre peintre, portent toujours cette glorieuse marque de l'amour de la patrie; les romans même sont ornés de traits amusans sur cet ancien sujet; l'excellent auteur de Tom Jones a voulu aussi lâcher les siens. Mais le pretendu mépris pour les François dont le peuple de ce pais-ci fait profession, s'explique selon moi d'une façon fort équivoque. Le mépris suppose l'oubli; mais un objet dont on médit perpetuèllement est un objet dont on est perpetuèllement occupé: la satire constitue une attention qui me feroit soupconner qu'on fait aux François l'honneur de les haïr un peu."

All the off tracts from the faces in the original picture of the March to Finchley, in red chalk on oiled paper, are still preserved.

This representation may be said to contain three portraits, all of which were acknowledged by the artist: a noted French pye-man; one of the young fifers then recently introduced into the army by the Duke of Cumberland; and a chimney-sweeper with an aspect peculiarly roguish. The two latter were hired by Hogarth, who gave each of them half a crown, for his patience in sitting while his likeness was taken. Among the portraits in the March to Finchley (says a correspondent) that of Jacob Henriques may also be discovered. I wish it had been pointed out.

With this plate (of which the very few proofs in aqua-fortis, as well as the finished ones, are highly valuable) no unfair stratagems have been practised, that a number of the various impressions, taken off at different times, might be mistaken for the earliest. On copper nothing is more easy than to cover, alter, efface, or re-engrave an inscription, as often as temporary convenience may require a change in it.[5] Witness, the several copies of The Lottery, three of which exhibit the names of three different publishers: the fourth has none at all.

The possessors of this March to Finchley need not vehemently lament their want of the original. The spirit of it is most faithfully transfused on the copper. As to the colouring, it will hardly delight such eyes are are accustomed to the pictures of Steen or Teniers. To me the painting of the March to Finchley appears hard and heavy, and has much the air of a coloured print.

I should not, on this occasion, omit to add, that Mr. Strange, in his Inquiry into the Rise and Establishment of the Royal Academy of Arts in London, observes, that "the donations in painting which several artists presented to The Foundling Hospital," first led to the idea of those Exhibitions which are at present so lucrative to our Royal Academy, and so entertaining to the publick. Hogarth must certainly be considered as a chief among these benefactors.

1751.

1. Beer-street;[1] two of them, with variations, (the former price 1 s. the latter 1 s. 6 d.), and Gin Lane. The following verses under these two prints are by the Rev. Mr. James Townley, Master of Merchant Taylors School:

Beer-Street.
Beer, happy product of our isle,
Can sinewy strength impart,
And, wearied with fatigue and toil,
Can chear each manly heart.

Labour and Art, upheld by thee,
Successfully advance;
We quaff thy balmy juice with glee,
And water leave to France.

Genius of Health, thy grateful taste
Rivals the cup of Jove,
And warms each English generous breast
With Liberty and Love.

Gin-Lane.
Gin, cursed fiend! with fury fraught,
Makes human race a prey;
It enters by a deadly draught,
And steals our life away.

Virtue and Truth, driven to despair,
Its rage compels to fly,
But cherishes, with hellish care,
Theft, Murder, Perjury.

Damn'd cup! that on the vitals preys,
That liquid fire contains,
Which madness to the heart conveys,
And rolls it thro' the veins.

Mr. Walpole observes, that the variation of the butcher lifting the Frenchman in his hand, was an after-thought;[2] but he is mistaken. This butcher is in reality a blacksmith; and the violent hyperbole is found in the original drawing, as well as in the earliest impressions of the plate. The first copies of Beer-street, Gin Lane, and The Stages of Cruelty, were taken off on very thin paper; but this being objected to, they were afterwards printed on thicker. The painter, who in the former of these scenes is copying a bottle from one hanging by him as a pattern, has been regarded as a stroke of satire on John Stephen Liotard, who (as Mr. Walpole observes) "could render nothing but what he saw before his eyes."[3]

It is probable that Hogarth received the first idea for these two prints from a pair of others by Peter Breugel (commonly called Breugel d'enfer, or Hellish Breugel), which exhibit a contrast of a similar kind. The one is entitled La grasse, the other La maigre Cuisine. In the first, all the personages are well-fed and plump; in the second, they are starved and slender. The latter of them also exhibits the figures of an emaciated mother and child, sitting on a straw-mat upon the ground, whom I never saw without thinking on the female, &c. in Gin Lane.[4] In Hogarth, the fat English blacksmith is insulting the gaunt Frenchman; and in Breugel, the plump cook is kicking the lean one out of doors. Our artist was not unacquainted with the works of this master, as will appear by an observation on the Lilliputians giving Gulliver a clyster.

On the subject of these two plates, and the four following ones, was published a stupid pamphlet, intituled, "A Dissertation on Mr. Hogarth's Six Prints lately published, viz. Gin-Lane, Beer-street, and The Four Stages of Cruelty, Containing, I. A genuine narrative of the horrible deeds perpetrated by that fiery dragon, Gin; the wretched and deplorable condition of its votaries and admirers; the dreadful havock and devaluation it has made amongst the human species; its pernicious effects on the soldiers, sailors, and mechanicks of this kingdom; and its poisonous and pestilent qualities in destroying the health, and corrupting the morals of the people. II. Useful observations on wanton and inhuman cruelty, severely satirizing the practice of the common people in sporting with the lives of animals. Being a proper key for the right apprehension of the author's meaning in those designs. Humbly inscribed to the Right Honourable Francis Cockayne, Esq; Lord Mayor of the City of London, and the worshipful Court of Aldermen, who have so worthily distinguished themselves in the measures they have taken to suppress the excessive use of spirituous liquors. London: Printed for B. Dickinson on Ludgate-Hill. 1751. Price one shilling;" and eleven pence three farthings too dear, being compiled out of Reynolds's "God's Revenge against Murder," &c.

2. The Stages of Cruelty, in four prints. Designed by Wm. Hogarth, price 4 s. Of the two latter of these there are wooden plates[1] on a large scale, Inv^d. and published by Wm. Hogarth, Jan. 1, 1750. J. Bell sculp. They were done by order of our artist, who wished to diffuse the salutary example they contain, as far as possible, by putting them within the reach of the meanest purchaser; but finding this mode of executing his design was expensive beyond expectation, he proceeded no further in it, and was content to engrave them in his own coarse, but spirited manner. Impressions from the wooden blocks are to be had at Mrs. Hogarth's house in Leicester-fields. This set of prints, however, is illustrated with the following verses:

First Stage of Cruelty.
While various scenes of sportive woe
The infant race employ,
And tortur'd Victims bleeding shew
The tyrant in the boy;
Behold! a youth of gentler heart,
To spare the Creature's pain,[2]
O take, he cries—take all my tart,
But tears and tart are vain.
Learn from this fair example—you,
Whom savage sports delight,
How Cruelty disgusts the view,
While pity charms the sight.

Second Stage of Cruelty.
The generous steed, in hoary age,
Subdu'd by labour lies;
And mourns a cruel master's rage,
While Nature strength denies.
The tender Lamb, o'erdrove and faint,
Amidst expiring throes,
Bleats forth it's innocent complaint,
And dies beneath the blows.
Inhuman wretch! say whence proceeds
This coward Cruelty?
What int'rest springs from barb'rous deeds
What joy from misery?

III. Cruelty in Perfection.
To lawless Love when once betray'd,
Soon crime to crime succeeds;
At length beguil'd to Theft, the maid
By her beguiler bleeds.
Yet learn, seducing man, not night
With all its sable cloud,
Can skreen the guilty deed from sight:
Foul Murder cries aloud.
The gaping wounds, the blood-stain'd steel,
Now shock his trembling soul:
But oh! what pangs his breast must feel,
When Death his knell shall toll.

IV. The Reward of Cruelty.
Behold, the Villain's dire disgrace
Not death itself can end:
He finds no peaceful burial-place;
His breathless corse, no friend,
Torn from the root, that wicked Tongue,
Which daily swore and curst!
Those eye-balls, from their sockets wrung,
That glow'd with lawless lust.
His heart, exposed to prying eyes,
To pity has no claim;
But, dreadful! from his bones shall rise
His monument of shame.[3]

3. Boys peeping at Nature, with Variations.

Receipt for Moses brought to Pharaoh's Daughter, and St. Paul before Felix.

The burlesque Paul, &c. being the current receipt for these two prints, I know not why our artist should have altered and vamped up his Boys peeping at Nature (see p. 188.) for the same purpose. This plate was lately found at Mrs. Hogarth's, but no former impressions from it appear to have been circulated. It might have been a first thought, before the idea of its ludicrous successor occurred. Hogarth, however, with propriety, effaced all the wit in his original design, before he meant to offer it as a prologue to his uninteresting serious productions.

4. Paul before Felix, designed and scratched in the true Dutch taste, by W. Hogarth. This was the receipt for Pharaoh's daughter, and for the serious Paul and Felix; and is a satire on Dutch pictures. It also contains, in the character of a serjeant tearing his brief, a portrait of Hume Campbell, who was not over-delicate in the language he used at the bar to his adversaries and antagonists. This, however, is said by others to be the portrait of William King,[1] LL. D. Principal of St. Mary Hall, Oxford. In a variation of this print, the Devil is introduced sawing off a leg of the stool on which Paul stands. In the third impression, as is noted in the collection sold last at Christie's, "Hogarth has again taken out the Devil. By these variations of Devil and no Devil, he glances at Collectors, who give great prices for such rarities; and perhaps he had in his eye the famous print of the Shepherd's Offering by Poilly, after Guido, which sells very dear, without the Angels." This, however, is erroneous. After the dæmon was once admitted, he was never discarded. The plate in Mrs. Hogarth's keeping confirms my assertion. In the first proof of Poilly's Shepherd's Offering, the angels are lightly sketched in; in the finished proof they are totally omitted; but were afterwards inserted. There are similar variations relative to the arms at the bottom of it.

Of this burlesque Paul, &c. none were originally intended for sale; but our artist gave them away to such of his acquaintance, &c. as begged for them. The number of these petitioners, however, increasing every day, he resolved at last to part with no copies of it at a less price than five shillings.[2] All the early proofs were stained by himself, to give them that tint of age which is generally found on the works of Rembrandt. Of this plate, however, there are two impressions. The inscription under the first is "Paul before Felix. Design'd and scratch'd in the true Dutch taste by &c." Under the second, "Designed and etch'd in the ridiculous manner of Rembrant, &c." From the former of these Hogarth took off a few reverses. He must have been severely mortified when he found his ludicrous representation of Paul before Felix was more coveted and admired than his serious painting on the same subject.