material from the ,google ,print        
project47        ,illustration3         
,,william ,,hogarth4     ,,the ,,works  
,,of ,,william ,,hogarth2  ,,in ,a      
,,series ,,of ,,engravings3 ,,with      
,,descriptions1 ,,and ,a ,,comment ,,on 
,,their ,,moral ,,tendency1  ,,by ,,the 
,,rev4 ,,john ,,trusler4  ,,to ,,which  
,,are ,,added1 ,,anecdotes ,,of ,,the   
,,author ,,and ,,his ,,works1 ,,by ,j4  
,,hogarth ,,and ,j4 ,,nichols4          
,london3 ,,published ,,by ,,jones ,,and 
,,co4 ,,temple ,,of ,,the ,,muses1      
7,,late ,,lackington',s17 ,,finsbury    
,,square4  #ahcc4   ,c4 ,,baynes1       
,,printer1 #ac ,,duke ,,street1         
,,lincoln',s ,,inn ,,fields4     ,,the  
,,life ,,of ,,hogarth4   ,william       
,hogarth is said to have been the       
descendant of a family originally from  
,kirby ,thore1 in ,westmorland4  ,his   
grandfather was a plain yeoman1 who     
possessed a small tenement in the vale  
of ,bampton1 a village about fifteen    
miles north of ,kendal1 in that county2 

and had three sons4  ,the eldest        
assisted his father in farming1 and     
succeeded to his little freehold4  ,the 
second settled in ,troutbeck1 a village 
eight miles north west of ,kendal1 and  
was remarkable for his talent at        
provincial poetry4  ,richard ,hogarth1  
the third son1 who was educated at ,st4 
,bees1 and had kept a school in the same
 county1 appears to have been a man of  
some learning4 ,he came early to        
,london1 where he resumed his original  
occupation of a schoolmaster1 in        
,ship-court in the ,old ,bailey1 and was
 occasionally employed as a corrector of
 the press4  ,mr4 ,richard ,hogarth     
married in ,london2 and our artist1 and 
his sisters1 ,mary and ,anne1 are       
believed to have been the only product  
of the marriage4  ,william ,hogarth was 
born ,november #aj1 and baptised ,nov4  
#bh1 #afig1 in the parish of ,st4       
,bartholomew the ,great1 in ,london2 to 
which parish1 it is said1 in the        
,biographia ,britannica1 he was         

afterwards a benefactor4  ,the school of
 ,hogarth's father1 in #agab1 was in the
 parish of ,st4 ,martin1 ,ludgate4 ,in  
the register of that parish1 therefore1 
the date of his death1 it was natural to
 suppose1 might be found2 but the       
register has been searched to no        
purpose4  ,hogarth seems to have        
received no other education than that of
 a mechanic1 and his outset in life was 
unpropitious4 ,young ,hogarth was bound 
apprentice to a silversmith 7whose name 
was ,gamble7 of some eminence2 by whom  
he was confined to that branch of the   
trade1 which consists in engraving arms 
and cyphers upon the plate4 ,while thus 
employed1 he gradually acquired some    
knowledge of drawing2 and1 before his   
apprenticeship expired1 he exhibited    
talent for caricature4 ,he felt the     
impulse of genius1 and that it directed 
him to painting1 though little apprised 
at that time of the mode ,nature had    
intended he should pursue4  ,the        
following circumstance gave the first   

indication of the talents with which    
,hogarth afterwards proved himself to be
 so liberally endowed4  ,during his     
apprenticeship1 he set out one ,sunday1 
with two or three companions1 on an     
excursion to ,highgate4 ,the weather    
being hot1 they went into a             
public-house2 where they had not long   
been1 before a quarrel arose between    
some persons in the same room2 from     
words they soon got to blows1 and the   
quart pots being the only missiles at   
hand1 were sent flying about the room in
 glorious confusion4 ,this was a scene  
too laughable for ,hogarth to resist4   
,he drew out his pencil1 and produced on
 the spot one of the most ludicrous     
pieces that ever was seen2 which        
exhibited likenesses not only of the    
combatants engaged in the affray1 but   
also of the persons gathered round them1
 placed in grotesque attitudes1 and     
heightened with character and points of 
humour4  ,on the expiration of his      
apprenticeship1 he entered into the     

academy in ,st4 ,martin's ,lane1 and    
studied drawing from the life3 but in   
this his proficiency was inconsiderable2
 nor would he ever have surpassed       
mediocrity as a painter1 if he had not  
penetrated through external form to     
character and manners4 ,it was          
character1 passions1 the soul1 that his 
genius was given him to copy4  ,the     
engraving of arms and shop-bills seems  
to have been his first employment by    
which to obtain a decent livelihood4 ,he
 was1 however1 soon engaged in          
decorating books1 and furnished sets of 
plates for several publications of the  
time4 ,an edition of ,hudibras afforded 
him the first subject suited to his     
genius3 yet he felt so much the shackles
 of other men's ideas1 that he was less 
successful in this task than might have 
been expected4 ,in the mean time1 he had
 acquired the use of the brush1 as well 
as of the pen and graver2 and1          
possessing a singular facility in       
seizing a likeness1 he acquired         

considerable employment as a            
portrait-painter4 ,shortly after his    
marriage1 he informs us that he         
commenced painter of small conversation 
pieces1 from twelve to fifteen inches in
 height2 the novelty of which caused    
them to succeed for a few years4 ,one of
 the earliest productions of this kind1 
which distinguished him as a painter1 is
 supposed to have been a representation 
of ,wanstead ,assembly2 the figures in  
it were drawn from the life1 and without
 burlesque4 ,the faces were said to bear
 great likenesses to the persons so     
drawn1 and to be rather better coloured 
than some of his more finished          
performances4 ,grace1 however1 was no   
attribute of his pencil2 and he was more
 disposed to aggravate1 than to soften  
the harsh touches of ,nature4  ,a       
curious anecdote is recorded of our     
artist during the early part of his     
practice as a portrait painter4 ,a      
nobleman1 who was uncommonly ugly and   
deformed1 sat for his picture1 which was

 executed in his happiest manner1 and   
with singularly rigid fidelity4 ,the    
peer1 disgusted at this counterpart of  
his dear self1 was not disposed very    
readily to pay for a reflector that     
would only insult him with his          
deformities4 ,after some time had       
elapsed1 and numerous unsuccessful      
applications had been made for payment1 
the painter resorted to an expedient1   
which he knew must alarm the nobleman's 
pride4 ,he sent him the following       
card3--,mr4 ,hogarth's dutiful respects 
to ,lord----2 finding that he does not  
mean to have the picture which was drawn
 for him1 is informed again of ,mr4     
,hogarth's pressing necessities for the 
money4 ,if1 therefore1 his lordship does
 not send for it in three days1 it will 
be disposed of1 with the addition of a  
tail and some other appendages1 to ,mr4 
,hare1 the famous wild beast man2 ,mr4  
,h4 having given that gentleman a       
conditional promise on his lordship's   
refusal4 ,this intimation had its       

desired effect2 the picture was paid    
for1 and committed to the flames4       
,hogarth's talents1 however1 for        
original comic design1 gradually        
unfolded themselves1 and various public 
occasions produced displays of his      
ludicrous powers4  ,in the year #agcj1  
he clandestinely married the only       
daughter of ,sir ,james ,thornhill1 the 
painter1 who was not easily reconciled  
to her union with an obscure artist1 as 
,hogarth then comparatively was4        
,shortly after1 he commenced his first  
great series of moral paintings1 ,the   
,harlot's ,progress3 some of these were1
 at ,lady ,thornhill's suggestion1      
designedly placed by ,mrs4 ,hogarth in  
her father's way1 in order to reconcile 
him to her marriage4 ,being informed by 
whom they were executed1 ,sir ,james    
observed1 ,the man who can produce such 
representations as these1 can also      
maintain a wife without a portion4 ,he  
soon after1 however1 relented1 and      
became generous to the young couple1    

with whom he lived in great harmony     
until his death1 which took place in    
#agcc4  ,in #agcc his genius became     
conspicuously known4 ,the third scene of
 ,the ,harlot's ,progress introduced him
 to the notice of the great3 at a ,board
 of ,treasury1 7which was held a day or 
two after the appearance of that print71
 a copy of it was shown by one of the   
lords1 as containing1 among other       
excellences1 a striking likeness of ,sir
 ,john ,gonson1 a celebrated magistrate 
of that day1 well known for his rigour  
towards women of the town4 ,from the    
,treasury each lord repaired to the     
print-shop for a copy of it1 and        
,hogarth rose completely into fame4     
,upwards of twelve hundred subscribers  
entered their names for the plates1     
which were copied and imitated on fan   
mounts1 and in a variety of other forms2
 and a pantomime taken from them was    
represented at the theatre4 ,this       
performance1 together with several      
subsequent ones of a similar kind1 have 

placed ,hogarth in the rare class of    
original geniuses and inventors4 ,he may
 be said to have created an entirely new
 species of painting1 which may be      
termed the moral comic2 and may be      
considered rather as a writer of comedy 
with a pencil1 than as a painter4 ,if   
catching the manners and follies of an  
age1 living as they rise--if general    
satire on vices1--and ridicule          
familiarised by strokes of ,nature1 and 
heightened by wit1--and the whole       
animated by proper and just expressions 
of the passions1--be comedy1 ,hogarth   
composed comedies as much as ,moliere4  
,soon after his marriage1 ,hogarth      
resided at ,south ,lambeth2 and being   
intimate with ,mr4 ,tyers1 the then     
spirited proprietor of ,vauxhall        
,gardens1 he contributed much to the    
improvement of those gardens2 and first 
suggested the hint of embellishing them 
with paintings1 some of which were the  
productions of his own comic pencil4    
,among the paintings were ,the ,four    

,parts of the ,day1 either by ,hogarth1 
or after his designs4  ,two years after 
the publication of his ,harlot's        
,progress1 appeared the ,rake's         
,progress1 which1 ,lord ,orford remarks1
 7though perhaps superior17 had not so  
much success1 for want of notoriety3 nor
 is the print of the ,arrest equal in   
merit to the others4 ,the curtain1      
however1 was now drawn aside1 and his   
genius stood displayed in its full      
lustre4  ,the ,rake's ,progress was     
followed by several works in series1    
viz4 ,marriage a-la-,mode1 ,industry and
 ,idleness1 the ,stages of ,cruelty1 and
 ,election ,prints4 ,to these may be    
added1 a great number of single comic   
pieces1 all of which present a rich     
source of amusement3--such as1 ,the     
,march to ,finchley1 ,modern ,midnight  
,conversation1 the ,sleeping            
,congregation1 the ,gates of ,calais1   
,gin ,lane1 ,beer ,street1 ,strolling   
,players in a ,barn1 the ,lecture1      
,laughing ,audience1 ,enraged ,musician1

 c4 c4 which1 being introduced and      
described in the subsequent part of this
 work1 it would far exceed the limits1  
necessarily assigned to these brief     
memoirs1 here minutely to characterise4 
,all the works of this original genius  
are1 in fact1 lectures of morality4     
,they are satires of particular vices   
and follies1 expressed with such        
strength of character1 and such an      
accumulation of minute and appropriate  
circumstances1 that they have all the   
truth of ,nature heightened by the      
attractions of wit and fancy4 ,nothing  
is without a meaning1 but all either    
conspires to the great end1 or forms an 
addition to the lively drama of human   
manners4 ,his single pieces1 however1   
are rather to be considered as studies1 
not perhaps for the professional artist1
 but for the searcher into life and     
manners1 and for the votaries of true   
humour and ridicule4 ,no furniture of   
the kind can vie with ,hogarth's prints1
 as a fund of inexhaustible amusement1  

yet conveying at the same time lessons  
of morality4  ,not contented1 however1  
with the just reputation which he had   
acquired in his proper department1      
,hogarth attempted to shine in the      
highest branch of the art1--serious     
history-painting4 ,from a contempt1 says
 ,lord ,orford1 of the ignorant virtuosi
 of the age1 and from indignation at the
 impudent tricks of picture dealers1    
whom he saw continually recommending and
 vending vile copies to bubble          
collectors1 and from having never       
studied1 or indeed having seen1 few good
 pictures of the great ,italian masters1
 he persuaded himself that the praises  
bestowed on those glorious works were   
nothing but the effects of prejudice4   
,he talked this language till he        
believed it2 and having heard it often  
asserted 7as is true7 that time gives a 
mellowness to colours1 and improves     
them1 he not only denied the            
proposition1 but maintained that        
pictures only grew black and worse by   

age1 not distinguishing between the     
degrees in which the proposition might  
be true or false4 ,he went farther3 he  
determined to rival the ancients1 and   
unfortunately chose one of the finest   
pictures in ,england as the object of   
his competition4 ,this was the          
celebrated ,sigismonda of ,sir ,luke    
,schaub1 now in the possession of the   
,duke of ,newcastle1 said to be painted 
by ,correggio1 probably by ,furino4--,it
 is impossible to see the picture1      
7continues his lordship17 or read       
,dryden's inimitable tale1 and not feel 
that the same soul animated both4 ,after
 many essays1 ,hogarth at last produced 
his ,sigismonda1--but no more like      
,sigismonda than ,i to ,hercules4       
,notwithstanding ,hogarth professed to  
decry literature1 he felt an inclination
 to communicate to the public his ideas 
on a topic connected with his art4 ,his 
,analysis of ,beauty made its appearance
 in one volume quarto1 in the year      
#agec4 ,its leading principle is1 that  

beauty fundamentally consists in that   
union of uniformity which is found in   
the curve or waving line2 and that round
 swelling figures are most pleasing to  
the eye4 ,this principle he illustrates 
by many ingenious remarks and examples1 
and also by some plates characteristic  
of his genius4  ,in the year #ageg1 his 
brother-in-law1 ,mr4 ,thornhill1        
resigned his office of king's           
serjeant-painter in favour of ,hogarth1 
who received his appointment on the #fth
 of ,june1 and entered on his functions 
on the #afth of ,july1 both in the same 
year4 ,this place was re-granted to him 
by a warrant of ,george the ,third1     
which bears date the #cjth ,october1    
#agfa1 with a salary of ten pounds per  
annum1 payable quarterly4  ,this        
connexion with the court probably       
induced ,hogarth to deviate from the    
strict line of party neutrality which he
 had hitherto observed1 and to engage   
against ,mr4 ,wilkes and his friends1 in
 a print published in ,september1 #agfb1

 entitled ,the ,times4 ,this publication
 provoked some severe strictures from   
,wilkes's pen1 in a ,north ,briton 7,no4
 #ag47 ,hogarth replied by a caricature 
of the writer3 a rejoinder was put in by
 ,churchill1 in an angry epistle to     
,hogarth 7not the brightest of his      
works72 and in which the severest       
strokes fell on a defect the painter had
 not caused1 and could not amend--his   
age2 which1 however1 was neither        
remarkable nor decrepit2 much less had  
it impaired his talents3 for1 only six  
months before1 he had produced one of   
his most capital works4 ,in revenge for 
this epistle1 ,hogarth caricatured      
,churchill1 under the form of a         
canonical bear1 with a club and a pot of
 porter4  ,during this period of warfare
 7so virulent and disgraceful to all the
 parties71 ,hogarth's health visibly    
declined4 ,in #agfb1 he complained of an
 internal pain1 the continuance of which
 produced a general decay of the system1
 that proved incurable2 and1 on the     

#beth of ,october1 #agfd1 7having been  
previously conveyed in a very weak and  
languid state from ,chiswick to         
,leicester ,fields17 he died suddenly1  
of an aneurism in his chest1 in the     
sixty-seventh or sixty-eighth year of   
his age4 ,his remains were interred at  
,chiswick1 beneath a plain but neat     
mausoleum1 with the following elegant   
inscription by his friend ,garrick3--   
,farewell1 great painter of mankind1    
,who reach'd the noblest point of art2  
,whose pictured morals charm the mind1  
,and through the eye correct the heart4 
,if ,genius fire thee1 reader1 stay2    
,if ,nature touch thee1 drop a tear3    
,if neither move thee1 turn away1       
,for ,hogarth's honour'd dust lies here4
     ,,list ,,of ,,engravings4  ,,vol4  
,i4   ,,rake',s ,,progress4             
,page  ,,plate #a ,heir taking          
,possession                             
#aa      #b ,surrounded by ,artists     
#ac      #c ,tavern ,scene              
#ae      #d ,arrested for ,debt         

#ag      #e ,marries an ,old ,maid      
#ai      #f ,gaming ,house              
#ba      #g ,prison ,scene              
#bc      #h ,mad ,house                 
#be  ,the ,distressed ,poet             
#bg ,the ,bench                         
#bi ,the ,laughing ,audience            
#ca ,gate of ,calais                    
#cc ,the ,politician                    
#ce ,taste in ,high ,life               
#cg   ,,harlot',s ,,progress4  ,,plate  
#a                                      
#ci      #b                             
#da      #c                             
#dc      #d                             
#de      #e                             
#dg      #f                             
#di  ,the ,lecture                      
#ea ,the ,chorus                        
#ec ,columbus breaking the ,egg         
#ee ,modern ,midnight ,conversation     
#eg ,consultation of ,physicians        
#ei ,portrait of ,daniel ,lock1 ,esq4   
#fa ,the ,enraged ,musician             
#fc ,masquerades and ,operas            

#fe   ,,times ,,of ,,the ,,day4         
,morning                                
#fg ,noon                               
#fi ,evening                            
#ga ,night                              
#gc  ,sigismonda                        
#ge ,portrait of ,martin ,fowkes1 ,esq4 
#gg ,the ,cockpit                       
#gh ,captain ,thomas ,coram             
#ha ,country ,inn ,yard                 
#hc   ,,industry ,,and ,,idleness4      
,,plate  #a                             
#he       #b                            
#hg       #c                            
#hi       #d                            
#ia       #e                            
#ic       #f                            
#ie       #g                            
#ig       #h                            
#ii       #i                            
#aja      #aj                           
#ajc      #aa                           
#aje      #ab                           
#ajg  ,southwark ,fair4                 
#aji ,garrick as ,richard ,,iii4        

#aaa   ,,france ,,and ,,england4        
,,plate #a ,france                      
#aac      #b ,england                   
#aae     ,,hogarth',s ,,works4     ,,the
 ,,rake',s ,,progress4   ,of all the    
follies in human life1 there is none    
greater than that of extravagance1 or   
profuseness2 it being constant labour1  
without the least ease or relaxation4   
,it bears1 indeed1 the colour of that   
which is commendable1 and would fain be 
thought to take its rise from laudable  
motives1 searching indefatigably after  
true felicity2 now as there can be no   
true felicity without content1 it is    
this which every man is in constant     
pursuit of2 the learned1 for instance1  
in his industrious quest after          
knowledge2 the merchant1 in his         
dangerous voyages2 the ambitious1 in his
 passionate pursuit of honour2 the      
conqueror1 in his earnest desire of     
victory2 the politician1 in his         
deep-laid designs2 the wanton1 in his   
pleasing charms of beauty2 the covetous1

 in his unwearied heaping-up of         
treasure2 and the prodigal1 in his      
general and extravagant                 
indulgence4--,thus far it may be        
well2--but1 so mistaken are we in our   
road1 as to run on in the very opposite 
tract1 which leads directly to our ruin4
 ,whatever else we indulge ourselves in1
 is attended with some small degree of  
relish1 and has some trifling           
satisfaction in the enjoyment1 but1 in  
this1 the farther we go1 the more we are
 lost2 and when arrived at the mark     
proposed1 we are as far from the object 
we pursue1 as when we first set out4    
,here then1 are we inexcusable1 in not  
attending to the secret dictates of     
reason1 and in stopping our ears at the 
timely admonitions of friendship4       
,headstrong and ungovernable1 we pursue 
our course without intermission2        
thoughtless and unwary1 we see not the  
dangers that lie immediately before us2 
but hurry on1 even without sight of our 
object1 till we bury ourselves in that  

gulf of woe1 where perishes at once1    
health1 wealth and virtue1 and whose    
dreadful labyrinths admit of no return4 
,struck with the foresight of that      
misery1 attendant on a life of          
debauchery1 which is1 in fact1 the      
offspring of prodigality1 our author    
has1 in the scenes before us1 attempted 
the reformation of the worldling1 by    
stopping him as it were in his career1  
and opening to his view the many sad    
calamities awaiting the prosecution of  
his proposed scheme of life2 he has1 in 
hopes of reforming the prodigal1 and at 
the same time deterring the rising      
generation1 whom ,providence may have   
blessed with earthly wealth1 from       
entering into so iniquitous a course1   
exhibited the life of a young man1      
hurried on through a succession of      
profligate pursuits1 for the few years  
,nature was able to support itself2 and 
this from the instant he might be said  
to enter into the world1 till the time  
of his leaving it4 ,but1 as the vice of 

avarice is equal to that of prodigality1
 and the ruin of children is often owing
 to the indiscretion of their parents1  
he has opened the piece with a scene1   
which1 at the same time that it exposes 
the folly of the youth1 shews us the    
imprudence of the father1 who is        
supposed to have hurt the principles of 
his son1 in depriving him of the        
necessary use of some portion of that   
gold1 he had with penurious covetousness
 been hoarding up1 for the sole purpose 
of lodging in his coffers4     ,,plate  
,i4  ,,the ,,young ,,heir ,,taking      
,,possession4      ,oh1 vanity of age   
untoward6     ,ever spleeny1 ever       
froward6     ,why these bolts and massy 
chains1     ,squint suspicions1 jealous 
pains8     ,why1 thy toilsome journey   
o'er1     ,lay'st thou up an useless    
store8     ,hope1 along with ,time is   
flown2     ,nor canst thou reap the     
field thou'st sown4     ,hast thou a    
son8 ,in time be wise2     ,he views thy
 toil with other eyes4     ,needs must  

thy kind paternal care1     ,lock'd in  
thy chests1 be buried there8            
,whence1 then1 shall flow that friendly 
ease1     ,that social converse1        
heartfelt peace1     ,familiar duty     
without dread1     ,instruction from    
example bred1     ,which youthful minds 
with freedom mend1     ,and with the    
father mix the friend8                  
,uncircumscribed by prudent rules1      
,or precepts of expensive schools2      
,abused at home1 abroad despised1       
,unbred1 unletter'd1 unadvised2     ,the
 headstrong course of life begun1       
,what comfort from thy darling son8     
,,hoadley4   ,the history opens1        
representing a scene crowded with all   
the monuments of avarice1 and laying    
before us a most beautiful contrast1    
such as is too general in the world1 to 
pass unobserved2 nothing being more     
common than for a son to prodigally     
squander away that substance his father 
had1 with anxious solicitude1 his whole 
life been amassing4--,here1 we see the  

young heir1 at the age of nineteen or   
twenty1 raw from the ,university1 just  
arrived at home1 upon the death of his  
father4 ,eager to know the possessions  
he is master of1 the old wardrobes1     
where things have been rotting time out 
of mind1 are instantly wrenched open2   
the strong chests are unlocked2 the     
parchments1 those securities of treble  
interest1 on which this avaricious      
monster lent his money1 tumbled out2 and
 the bags of gold1 which had long been  
hoarded1 with griping care1 now exposed 
to the pilfering hands of those about   
him4 ,to explain every little mark of   
usury and covetousness1 such as the     
mortgages1 bonds1 indentures1 c4 the    
piece of candle stuck on a save-all1 on 
the mantle-piece2 the rotten furniture  
of the room1 and the miserable contents 
of the dusty wardrobe1 would be         
unnecessary3 we shall only notice the   
more striking articles4 ,from the vast  
quantity of papers1 falls an old written
 journal1 where1 among other            

memorandums1 we find the following1 viz4
 ,may the #eth1 #agba4 ,put off my bad  
shilling4 ,hence1 we learn1 the store   
this penurious miser set on this trifle3
 that so penurious is the disposition of
 the miser1 that notwithstanding he may 
be possessed of many large bags of gold1
 the fear of losing a single shilling is
 a continual trouble to him4 ,in one    
part of the room1 a man is hanging it   
with black cloth1 on which are placed   
escutcheons1 by way of dreary ornament2 
these escutcheons contain the arms of   
the covetous1 viz4 three vices1 hard    
screwed1 with the motto1 ,,beware6 ,on  
the floor1 lie a pair of old shoes1     
which this sordid wretch is supposed to 
have long preserved for the weight of   
iron in the nails1 and has been soling  
with leather cut from the covers of an  
old ,family ,bible2 an excellent piece  
of satire1 intimating1 that such men    
would sacrifice even their ,god to the  
lust of money4 ,from these and some     
other objects too striking to pass      

unnoticed1 such as the gold falling from
 the breaking cornice2 the jack and     
spit1 those utensils of original        
hospitality1 locked up1 through fear of 
being used2 the clean and empty chimney1
 in which a fire is just now going to be
 made for the first time2 and the       
emaciated figure of the cat1 strongly   
mark the natural temper of the late     
miserly inhabitant1 who could starve in 
the midst of plenty4--,but see the      
mighty change6 ,view the hero of our    
piece1 left to himself1 upon the death  
of his father1 possessed of a goodly    
inheritance4 ,mark how his mind is      
affected6--determined to partake of the 
mighty happiness he falsely imagines    
others of his age and fortune enjoy2 see
 him running headlong into extravagance1
 withholding not his heart from any joy2
 but implicitly pursuing the dictates of
 his will4 ,to commence this delusive   
swing of pleasure1 his first application
 is to the tailor1 whom we see here     
taking his measure1 in order to trick   

out his pretty person4 ,in the interim1 
enters a poor girl 7with her mother71   
whom our hero has seduced1 under        
professions of love and promises of     
marriage2 in hopes of meeting with that 
kind welcome she had the greatest reason
 to expect2 but he1 corrupted with the  
wealth of which he is now the master1   
forgets every engagement he once made1  
finds himself too rich to keep his word2
 and1 as if gold would atone for a      
breach of honour1 is offering money to  
her mother1 as an equivalent for the    
non-fulfilling of his promise4 ,not the 
sight of the ring1 given as a pledge of 
his fidelity2 not a view of the many    
affectionate letters he at one time     
wrote to her1 of which her mother's lap 
is full2 not the tears1 nor even the    
pregnant condition of the wretched girl1
 could awaken in him one spark of       
tenderness2 but1 hard hearted and       
unfeeling1 like the generality of wicked
 men1 he suffers her to weep away her   
woes in silent sorrow1 and curse with   

bitterness her deceitful betrayer4 ,one 
thing more we shall take notice of1     
which is1 that this unexpected visit1   
attended with abuse from the mother1 so 
engages the attention of our youth1 as  
to give the old pettifogger behind him  
an opportunity of robbing him4 ,hence we
 see that one ill consequence is        
generally attended with another2 and    
that misfortunes1 according to the old  
proverb1 seldom come alone4      ,mr4   
,ireland remarks of this plate--,he here
 presents to us the     picture of a    
young man1 thoughtless1 extravagant1 and
 licentious2     and1 in colours equally
 impressive1 paints the destructive     
consequences of his conduct4 ,the first 
print most forcibly contrasts     two   
opposite passions2 the unthinking       
negligence of youth1 and the     sordid 
avaricious rapacity of age4 ,it brings  
into one point of view     what ,mr4    
,pope so exquisitely describes in his   
,epistle to ,lord     ,bathurst--       
',who sees pale ,mammon pine amidst his 

store1         ,sees but a backward     
steward for the poor2         ,this year
 a reservoir1 to keep and spare2        
,the next a fountain1 spouting through  
his heir4'      ,the introduction to    
this history is well delineated1 and the
     principal figure marked with that  
easy1 unmeaning vacancy of face1        
which speaks him formed by nature for a 
,,dupe4 ,ignorant of the value     of   
money1 and negligent in his nature1 he  
leaves his bag of untold     gold in the
 reach of an old and greedy pettifogging
 attorney1 who is     making an         
inventory of bonds1 mortgages1          
indentures1 c4 ,this man1     with the  
rapacity so natural to those who        
disgrace the profession1     seizes the 
first opportunity of plundering his     
employer4 ,hogarth     had1 a few years 
before1 been engaged in a law suit1     
which gave him     some experience of   
the ,,practice of those pests of        
society4  ,illustration3 ,,the ,,rake',s
 ,,progress4  ,,plate #a4  ,,the ,,young

 ,,hero ,,takes ,,possession ,,of ,,the 
,,miser',s ,,effects4     ,,plate ,,ii4 
,,surrounded ,,by ,,artists ,,and       
,,professors4      ,prosperity 7with    
harlot's smiles1     ,most pleasing when
 she most beguiles71     ,how soon1     
great foe1 can all thy train     ,of    
false1 gay1 frantic1 loud1 and vain1    
,enter the unprovided mind1     ,and    
memory in fetters bind8     ,load faith 
and love with golden chain1     ,and    
sprinkle ,lethe o'er the brain6         
,pleasure1 on her silver throne1        
,smiling comes1 nor comes alone2        
,venus comes with her along1     ,and   
smooth ,lyaeus1 ever young2     ,and in 
their train1 to fill the press1         
,come apish ,dance and swoln ,excess1   
,mechanic ,honour1 vicious ,taste1      
,and ,fashion in her changing vest4     
,,hoadley4   ,we are next to consider   
our hero as launched into the world1 and
 having equipped himself with all the   
necessaries to constitute him a man of  
taste1 he plunges at once into all the  

fashionable excesses1 and enters with   
spirit into the character he assumes4   
,the avarice of the penurious father    
then1 in this print1 is contrasted by   
the giddy profusion of his prodigal son4
 ,we view him now at his levee1 attended
 by masters of various professions1     
supposed to be here offering their      
interested services4 ,the foremost      
figure is readily known to be a         
dancing-master2 behind him are two men1 
who at the time when these prints were  
first published1 were noted for teaching
 the arts of defence by different       
weapons1 and who are here drawn from the
 life2 one of whom is a ,frenchman1     
teacher of the small-sword1 making a    
thrust with his foil2 the other an      
,englishman1 master of the              
quarter-staff2 the vivacity of the      
first1 and the cold contempt visible in 
the face of the second1 beautifully     
describe the natural disposition of the 
two nations4 ,on the left of the latter 
stands an improver of gardens1 drawn    

also from the life1 offering a plan for 
that purpose4 ,a taste for gardening1   
carried to excess1 must be acknowledged 
to have been the ruin of numbers1 it    
being a passion that is seldom1 if ever1
 satisfied1 and attended with the       
greatest expense4 ,in the chair sits a  
professor of music1 at the harpsichord1 
running over the keys1 waiting to give  
his pupil a lesson2 behind whose chair  
hangs a list of the presents1 one       
,farinelli1 an ,italian singer1 received
 the next day after his first           
performance at the ,opera ,house2       
amongst which1 there is notice taken of 
one1 which he received from the hero of 
our piece1 thus3 ,a gold snuff-box1     
chased1 with the story of ,orpheus      
charming the brutes1 by ,j4 ,rakewell1  
esq4 ,by these mementos of extravagance 
and pride1 7for gifts of this kind      
proceed oftener from ostentation than   
generosity17 and by the engraved        
frontispiece to a poem1 dedicated to our
 fashionable spendthrift1 lying on the  

floor1 which represents the ladies of   
,britain sacrificing their hearts to the
 idol ,farinelli1 crying out1 with the  
greatest earnestness1 one ,g--d1 one    
,farinelli1 we are given to understand  
the prevailing dissipation and luxury of
 the times4 ,near the principal figure  
in this plate is that of him1 with one  
hand on his breast1 the other on his    
sword1 whom we may easily discover to be
 a bravo2 he is represented as having   
brought a letter of recommendation1 as  
one disposed to undertake all sorts of  
service4 ,this character is rather      
,italian than ,english2 but is here     
introduced to fill up the list of       
persons at that time too often engaged  
in the service of the votaries of       
extravagance and fashion4 ,our author   
would have it imagined in the interval  
between the first scene and this1 that  
the young man whose history he is       
painting1 had now given himself up to   
every fashionable extravagance2 and     
among others1 he had imbibed a taste for

 cock-fighting and horse-racing2 two    
amusements1 which1 at that time1 the man
 of fashion could not dispense with4    
,this is evident1 from his rider        
bringing in a silver punch-bowl1 which  
one of his horses is supposed to have   
won1 and his saloon being ridiculously  
ornamented with the portraits of        
celebrated cocks4 ,the figures in the   
back part of this plate represent       
tailors1 peruke-makers1 milliners1 and  
such other persons as generally fill the
 antichamber of a man of quality1 except
 one1 who is supposed to be a poet1 and 
has written some panegyric on the person
 whose levee he attends1 and who waits  
for that approbation he already vainly  
anticipates4 ,upon the whole1 the       
general tenor of this scene is to teach 
us1 that the man of fashion is too often
 exposed to the rapacity of his fellow  
creatures1 and is commonly a dupe to the
 more knowing part of the world4        
,how exactly1 says ,mr4 ,ireland1 does  
,bramston describe the     character in 

his ,man of ,taste3--          ',without
 ,italian1 and without an ear1          
,to ,bononcini's music ,i adhere4----   
,to boon companions ,i my time would    
give1         ,with players1 pimps1 and 
parasites ,i'd live2         ,i would   
with jockeys from ,newmarket dine1      
,and to rough riders give my choicest   
wine4         ,my evenings all ,i would 
with sharpers spend1         ,and make  
the thief-taker my bosom friend2        
,in ,figg1 the prize-fighter1 by day    
delight1         ,and sup with ,colley  
,cibber every night4'      ,of the      
expression in this print1 we cannot     
speak more highly than     it deserves4 
,every character is marked with its     
proper and     discriminative stamp4 ,it
 has been said by a very judicious      
critic     7the ,rev4 ,mr4 ,gilpin7 from
 whom it is not easy to differ without  
being wrong1 that the hero of this      
history1 in the first plate of     the  
series1 is unmeaning1 and in the second 
ungraceful4 ,the fact     is admitted2  

but1 for so delineating him1 the author 
is entitled to     our praise1 rather   
than our censure4 ,rakewell's whole     
conduct proves     he was a fool1 and at
 that time he had not learned how to    
perform an     artificial character2 he 
therefore looks as he is1 unmeaning1 and
     uninformed4 ,but in the second     
plate he is ungraceful4--,granted4      
,the ill-educated son of so avaricious a
 father could not have been             
introduced into very good company2 and  
though1 by the different     teachers   
who surround him1 it evidently appears  
that he wishes to     assume the        
character of a gentleman1 his internal  
feelings tell     him he has not        
attained it4 ,under that consciousness1 
he is properly     and naturally        
represented as ungraceful1 and          
embarrassed in his new     situation4   
,illustration3 ,,the ,,rake',s          
,,progress4  ,,plate #b4  ,,surrounded  
,,by ,,artists  ,,professors4           
,,plate ,,iii4  ,,the ,,tavern ,,scene4 

,o vanity of youthful blood1     ,so by 
misuse to poison good6     ,woman1      
framed for social love1     ,fairest    
gift of powers above1     ,source of    
every household blessing2     ,all      
charms in innocence possessing3         
,but1 turn'd to vice1 all plagues above2
     ,foe to thy being1 foe to love6    
,guest divine1 to outward viewing2      
,ablest minister of ruin8     ,and thou1
 no less of gift divine1     ,sweet     
poison of misused wine6     ,with       
freedom led to every part1     ,and     
secret chamber of the heart1     ,dost  
thou thy friendly host betray1     ,and 
shew thy riotous gang the way     ,to   
enter in1 with covert treason1          
,o'erthrow the drowsy guard of reason1  
,to ransack the abandon'd place1        
,and revel there with wild excess8      
,mr4 ,ireland having1 in his description
 of this ,plate1 incorporated whatever  
is of value in ,dr4 ,trusler's text1    
with much judicious observation and     
criticism of his own1 the ,editor has   

taken the former verbatim4  ,this ,plate
 exhibits our licentious prodigal       
engaged in one of his midnight          
festivities3 forgetful of the past1 and 
negligent of the future1 he riots in the
 present4 ,having poured his libation to
 ,bacchus1 he concludes the evening     
orgies in a sacrifice at the ,cyprian   
shrine2 and1 surrounded by the votaries 
of ,venus1 joins in the unhallowed      
mysteries of the place4 ,the companions 
of his revelry are marked with that     
easy1 unblushing effrontery1 which      
belongs to the servants of all work in  
the isle of ,paphos2--for the maids of  
honour they are not sufficiently        
elevated4  ,he may be supposed1 in the  
phrase of the day1 to have beat the     
rounds1 overset a constable1 and        
conquered a watchman1 whose staff and   
lantern he has brought into the room1 as
 trophies of his prowess4 ,in this      
situation he is robbed of his watch by  
the girl whose hand is in his bosom2    
and1 with that adroitness peculiar to an

 old practitioner1 she conveys her      
acquisition to an accomplice1 who stands
 behind the chair4  ,two of the ladies  
are quarrelling2 and one of them        
delicately spouts wine in the face of   
her opponent1 who is preparing to       
revenge the affront with a knife1 which1
 in a posture of threatening defiance1  
she grasps in her hand4 ,a third1       
enraged at being neglected1 holds a     
lighted candle to a map of the globe1   
determined to set the world on fire1    
though she perish in the conflagration6 
,a fourth is undressing4 ,the fellow    
bringing in a pewter dish1 as part of   
the apparatus of this elegant and ,attic
 entertainment1 a blind harper1 a       
trumpeter1 and a ragged ballad-singer1  
roaring out an obscene song1 complete   
this motley group4  ,this design may be 
a very exact representation of what were
 then the nocturnal amusements of a     
brothel2--so different are the manners  
of former and present times1 that ,i    
much question whether a similar         

exhibition is now to be seen in any     
tavern of the metropolis4 ,that we are  
less licentious than our predecessors1  
,i dare not affirm2 but we are certainly
 more delicate in the pursuit of our    
pleasures4  ,the room is furnished with 
a set of ,roman emperors1--they are not 
placed in their proper order2 for in the
 mad revelry of the evening1 this family
 of frenzy have decollated all of them1 
except ,nero2 and his manners had too   
great a similarity to their own1 to     
admit of his suffering so degrading an  
insult2 their reverence for virtue      
induced them to spare his head4 ,in the 
frame of a ,caesar they have placed a   
portrait of ,pontac1 an eminent cook1   
whose great talents being turned to     
heightening sensual1 rather than mental 
enjoyments1 he has a much better chance 
of a votive offering from this company1 
than would either ,vespasian or ,trajan4
  ,the shattered mirror1 broken         
wine-glasses1 fractured chair and cane2 
the mangled fowl1 with a fork stuck in  

its breast1 thrown into a corner1 and   
indeed every accompaniment1 shews1 that 
this has been a night of riot without   
enjoyment1 mischief without wit1 and    
waste without gratification4  ,with     
respect to the drawing of the figures in
 this curious female coterie1 ,hogarth  
evidently intended several of them for  
beauties2 and of vulgar1 uneducated1    
prostituted beauty1 he had a good idea4 
,the hero of our tale displays all that 
careless jollity1 which copious draughts
 of maddening wine are calculated to    
inspire2 he laughs the world away1 and  
bids it pass4 ,the poor dupe1 without   
his periwig1 in the back-ground1 forms a
 good contrast of character3 he is      
maudlin drunk1 and sadly sick4 ,to keep 
up the spirit of unity throughout the   
society1 and not leave the poor ,african
 girl entirely neglected1 she is making 
signs to her friend the porter1 who     
perceives1 and slightly returns1 her    
love-inspiring glance4 ,this print is   
rather crowded1--the subject demanded it

 should be so2 some of the figures1     
thrown into shade1 might have helped the
 general effect1 but would have injured 
the characteristic expression4          
,illustration3 ,,the ,,rake',s          
,,progress4  ,,plate #c4  ,,tavern      
,,scene4     ,,plate ,,iv4  ,,arrested  
,,for ,,debt4      ,o1 vanity of        
youthful blood1     ,so by misuse to    
poison good6     ,reason awakes1 and    
views unbarr'd     ,the sacred gates he 
wish'd to guard2     ,approaching1 see  
the harpy ,law1     ,and ,poverty1 with 
icy paw1     ,ready to seize the poor   
remains     ,that vice has left of all  
his gains4     ,cold penitence1 lame    
after-thought1     ,with fear1 despair1 
and horror fraught1     ,call back his  
guilty pleasures dead1     ,whom he hath
 wrong'd1 and whom betray'd4   ,the     
career of dissipation is here stopped4  
,dressed in the first style of the ton1 
and getting out of a sedan-chair1 with  
the hope of shining in the circle1 and  
perhaps forwarding a former application 

for a place or a pension1 he is         
arrested6 ,to intimate that being       
plundered is the certain consequence of 
such an event1 and to shew how closely  
one misfortune treads upon the heels of 
another1 a boy is at the same moment    
stealing his cane4  ,the unfortunate    
girl whom he basely deserted1 is now a  
milliner1 and naturally enough attends  
in the crowd1 to mark the fashions of   
the day4 ,seeing his distress1 with all 
the eager tenderness of unabated love1  
she flies to his relief4 ,possessed of a
 small sum of money1 the hard earnings  
of unremitted industry1 she generously  
offers her purse for the liberation of  
her worthless favourite4 ,this releases 
the captive beau1 and displays a strong 
instance of female affection2 which1    
being once planted in the bosom1 is     
rarely eradicated by the coldest        
neglect1 or harshest cruelty4  ,the     
high-born1 haughty ,welshman1 with an   
enormous leek1 and a countenance keen   
and lofty as his native mountains1      

establishes the chronology1 and fixes   
the day to be the first of ,march2 which
 being sacred to the titular saint of   
,wales1 was observed at court4      ,mr4
 ,nichols remarks of this plate3--,in   
the early impressions1 a     shoe-black 
steals the ,rake's cane4 ,in the modern 
ones1 a large group     of sweeps1 and  
black-shoe boys1 are introduced gambling
 on the     pavement2 near them a stone 
inscribed ,black's1 a contrast to       
,white's gaming-house1 against which a  
flash of lightning is     pointed4 ,the 
curtain in the window of the sedan-chair
 is thrown     back4 ,this plate is     
likewise found in an intermediate state2
 the sky     being made unnaturally     
obscure1 with an attempt to introduce a 
shower of rain1 and lightning very      
aukwardly represented4 ,it is           
supposed to be a first proof after the  
insertion of the group of     blackguard
 gamesters2 the window of the chair     
being only marked for     an alteration 
that was afterwards made in it4 ,hogarth

 appears to     have so far spoiled the 
sky1 that he was obliged to obliterate  
it1     and cause it to be engraved over
 again by another hand4      ,mr4       
,gilpin observes3--,very disagreeable   
accidents often befal     gentlemen of  
pleasure4 ,an event of this kind is     
recorded in the     fourth print1 which 
is now before us4 ,our hero going1 in   
full dress1     to pay his compliments  
at court on ,st4 ,david's day1 was      
accosted in     the rude manner which is
 here represented4--,the composition is 
good4     ,the form of the group1 made  
up of the figures in action1 the chair1 
and the lamplighter1 is pleasing4 ,only1
 here we have an opportunity     of     
remarking1 that a group is disgusting   
when the extremities of it     are      
heavy4 ,a group in some respects should 
resemble a tree4 ,the     heavier part  
of the foliage 7the cup1 as the         
landscape-painter calls     it7 is      
always near the middle2 the outside     
branches1 which are     relieved by the 

sky1 are light and airy4 ,an inattention
 to this rule     has given a heaviness 
to the group before us4 ,the two        
bailiffs1 the     woman1 and the        
chairman1 are all huddled together in   
that part of     the group which should 
have been the lightest2 while the middle
     part1 where the hand holds the     
door1 wants strength and consistence4   
,it may be added too1 that the four     
heads1 in the form of a diamond1        
make an unpleasing shape4 ,all regular  
figures should be studiously            
avoided4--,the light had been well      
distributed1 if the bailiff     holding 
the arrest1 and the chairman1 had been a
 little lighter1 and     the woman      
darker4 ,the glare of the white apron is
 disagreeable4--,we     have1 in this   
print1 some beautiful instances of      
expression4 ,the     surprise and terror
 of the poor gentleman is apparent in   
every limb1     as far as is consistent 
with the fear of discomposing his dress4
 ,the     insolence of power in one of  

the bailiffs1 and the unfeeling heart1  
which can jest with misery1 in the      
other1 are strongly marked4 ,the        
self-importance1 too1 of the honest     
,cambrian is not ill portrayed2     who 
is chiefly introduced to settle the     
chronology of the story4--,in     pose  
of grace1 we have nothing striking4     
,hogarth might have     introduced a    
degree of it in the female figure3 at   
least he might     have contrived to    
vary the heavy and unpleasing form of   
her     drapery4--,the perspective is   
good1 and makes an agreeable shape4     
,illustration3 ,,the ,,rake',s          
,,progress4  ,,plate #d4  ,,arrested    
,,for ,,debt ,,as ,,going ,,to ,,court4 
,,plate ,v4  ,,marries ,,an ,,old       
,,maid4      ,new to the school of hard 
mishap1     ,driven from the ease of    
fortune's lap4     ,what schemes will   
nature not embrace     ,t' avoid less   
shame of drear distress8     ,gold can  
the charms of youth bestow1     ,and    
mask deformity with shew3     ,gold can 

avert the sting of shame1     ,in       
,winter's arms create a flame3     ,can 
couple youth with hoary age1     ,and   
make antipathies engage4   ,to be thus  
degraded by the rude enforcement of the 
law1 and relieved from an exigence by   
one whom he had injured1 would have     
wounded1 humbled1 ,i had almost said    
reclaimed1 any man who had either       
feeling or elevation of mind2 but1 to   
mark the progression of vice1 we here   
see this depraved1 lost character1      
hypocritically violating every natural  
feeling of the soul1 to recruit his     
exhausted finances1 and marrying an old 
and withered ,sybil1 at the sight of    
whom nature must recoil4  ,the ceremony 
passes in the old church1 ,mary-le-bone1
 which was then considered at such a    
distance from ,london1 as to become the 
usual resort of those who wished to be  
privately married2 that such was the    
view of this prostituted young man1 may 
be fairly inferred from a glance at the 
object of his choice4 ,her charms are   

heightened by the affectation of an     
amorous leer1 which she directs to her  
youthful husband1 in grateful return for
 a similar compliment which she supposes
 paid to herself4 ,this gives her face  
much meaning1 but meaning of such a     
sort1 that an observer being ask1 ,how  
dreadful must be this creature's hatred8
 would naturally reply1 ,how hateful    
must be her love6  ,in his demeanor we  
discover an attempt to appear at the    
altar with becoming decorum3 but        
internal perturbation darts through     
assumed tranquillity1 for though he is  
plighting his troth to the old woman1   
his eyes are fixed on the young girl who
 kneels behind her4  ,the parson and    
clerk seem made for each other2 a       
sleepy1 stupid solemnity marks every    
muscle of the divine1 and the nasal     
droning of the lay brother is most      
happily expressed4 ,accompanied by her  
child and mother1 the unfortunate victim
 of his seduction is here again         
introduced1 endeavouring to enter the   

church1 and forbid the banns4 ,the      
opposition made by an old pew-opener1   
with her bunch of keys1 gave the artist 
a good opportunity for indulging his    
taste in the burlesque1 and he has not  
neglected it4  ,a dog 7,trump1          
,hogarth's favorite71 paying his        
addresses to a one-eyed quadruped of his
 own species1 is a happy parody of the  
unnatural union going on in the church4 
,the commandments are broken3 a crack   
runs near the tenth1 which says1 ,thou  
shalt not covet thy neighbour's wife2 a 
prohibition in the present case hardly  
necessary4 ,the creed is destroyed by   
the damps of the church2 and so little  
attention has been paid to the poor's   
box1 that it is covered with a cobweb6  
,these three high-wrought strokes of    
satirical humour were perhaps never     
equalled by any exertion of the pencil2 
excelled they cannot be4  ,on one of the
 pew doors is the following curious     
specimen of church-yard poetry1 and     
mortuary orthography4      ,,these 3    

,,pewes 3 ,,vnscrud 3 ,,and ,,tane 3    
,,in 3 ,,svnder     ,,in 3 ,,stone 3    
,,thers 3 ,,grauen 3 ,,what 3 ,,is 3    
,,vnder     ,,to 3 ,,wit 3 ,a ,,valt 3  
,,for 3 ,,burial 3 ,,there 3 ,,is       
,,which 3 ,,edward 3 ,,forset 3 ,,made 3
 ,,for 3 ,,him 3 ,,and 3 ,,his4  ,this  
is a correct copy of the inscription4   
,part of these lines1 in raised letters1
 now form a pannel in the wainscot at   
the end of the right-hand gallery1 as   
the church is entered from the street4  
,the mural monument of the ,taylor's1   
composed of lead1 gilt over1 is still   
preserved3 it is seen in ,hogarth's     
print1 just under the window4  ,a glory 
over the bride's head is whimsical4     
,the bay and holly1 which decorate the  
pews1 give a date to the period1 and    
determine this preposterous union of    
,january with ,june1 to have taken place
 about the time of ,christmas2          
,when ,winter linger'd in her icy veins4
  ,addison would have classed her among 
the evergreens of the sex4  ,it has been

 observed1 that the church is too small1
 and the wooden post1 which seems to    
have no use1 divides the picture very   
disagreeably4 ,this cannot be denied3   
but it appears to be meant as an        
accurate representation of the place1   
and the artist delineated what he saw4  
,the grouping is good1 and the principal
 figure has the air of a gentleman4 ,the
 light is well distributed1 and the     
scene most characteristically           
represented4  ,the commandments being   
represented as broken1 might probably   
give the hint to a lady's reply1 on     
being told that thieves had the         
preceding night broken into the church1 
and stolen the communion-plate1 and the 
ten commandments4 ,i suppose1 added the 
informant1 that they may melt and sell  
the plate2 but can you divine for what  
possible purpose they could steal the   
commandments8--,to break them1 to be    
sure1 replied she2--to break them4      
,illustration3 ,,the ,,rake',s          
,,progress4  ,,plate #e4  ,,marries ,,an

 ,,old ,,maid4     ,,plate ,,vi4        
,,scene ,,in ,a ,,gaming ,,house4       
,gold1 thou bright son of ,phoebus1     
source     ,of universal intercourse2   
,of weeping ,virtue soft redress3       
,and blessing those who live to bless3  
,yet oft behold this sacred trust1      
,the tool of avaricious lust2     ,no   
longer bond of human kind1     ,but bane
 of every virtuous mind4     ,what chaos
 such misuse attends1     ,friendship   
stoops to prey on friends2     ,health1 
that gives relish to delight1     ,is   
wasted with the wasting night2          
,doubt and mistrust is thrown on        
,heaven1     ,and all its power to      
chance is given4     ,sad purchase of   
repentant tears1           ,of needless 
quarrels1 endless fears1       ,of hopes
 of moments1 pangs of years6       ,sad 
purchase of a tortured mind1     ,to an 
imprison'd body join'd4   ,though now1  
from the infatuated folly of his        
antiquated wife1 in possession of a     
fortune1 he is still the slave of that  

baneful vice1 which1 while it enslaves  
the mind1 poisons the enjoyments1 and   
sweeps away the possessions of its      
deluded votaries4 ,destructive as the   
earthquake which convulses nature1 it   
overwhelms the pride of the forest1 and 
engulfs the labours of the architect4   
,newmarket and the cockpit were the     
scenes of his early amusements2 to crown
 the whole1 he is now exhibited at a    
gaming-table1 where all is lost6 ,his   
countenance distorted with agony1 and   
his soul agitated almost to madness1 he 
imprecates vengeance upon his own head4 
,in heartfelt bitter anguish he appears1
     ,and from the blood-shot ball gush 
purpled tears6     ,he beats his brow1  
with rage and horror fraught2     ,his  
brow half bursts with agony of thought6 
,that he should be deprived of all he   
possessed in such a society as surround 
him1 is not to be wondered at4 ,one of  
the most conspicuous characters appears1
 by the pistol in his pocket1 to be a   
highwayman3 from the profound stupor of 

his countenance1 we are certain he also 
is a losing gamester2 and so absorbed in
 reflection1 that neither the boy who   
brings him a glass of water1 nor the    
watchman's cry of ,fire6 can arouse him 
from his reverie4 ,another of the party 
is marked for one of those well-dressed 
continental adventurers1 who1 being     
unable to live in their own country1    
annually pour into this1 and with no    
other requisites than a quick eye1 an   
adroit hand1 and an undaunted forehead1 
are admitted into what is absurdly      
enough called good company4  ,at the    
table a person in mourning grasps his   
hat1 and hides his face1 in the agony of
 repentance1 not having1 as we infer    
from his weepers1 received that legacy  
of which he is now plundered more than a
 little month4 ,on the opposite side is 
another1 on whom fortune has severely   
frowned1 biting his nails in the anguish
 of his soul4 ,the fifth completes the  
climax2 he is frantic2 and with a drawn 
sword endeavours to destroy a pauvre    

miserable whom he supposes to have      
cheated him1 but is prevented by the    
interposition of one of those staggering
 votaries of ,bacchus who are to be     
found in every company where there is   
good wine2 and gaming1 like the rod of  
,moses1 so far swallows up every other  
passion1 that the actors1 engrossed by  
greater objects1 willingly leave their  
wine to the audience4  ,in the          
back-ground are two collusive           
associates1 eagerly dividing the profits
 of the evening4  ,a nobleman in the    
corner is giving his note to an usurer4 
,the lean and hungry appearance of this 
cent4 per cent4 worshipper of the golden
 calf1 is well contrasted by the sleek1 
contented vacancy of so well-employed a 
legislator of this great empire4 ,seated
 at the table1 a portly gentleman1 of   
whom we see very little1 is coolly      
sweeping off his winnings4  ,so         
engrossed is every one present by his   
own situation1 that the flames which    
surround them are disregarded1 and the  

vehement cries of a watchman entering   
the room1 are necessary to rouse their  
attention to what is generally deemed   
the first law of nature1                
self-preservation4      ,mr4 ,gilpin    
observes3--,the fortune1 which our      
adventurer has just     received1       
enables him to make one push more at the
 gaming-table4 ,he     is exhibited1 in 
the sixth print1 venting curses on his  
folly for     having lost his last      
stake4--,this is1 upon the whole1       
perhaps1 the     best print of the set4 
,the horrid scene it describes1 was     
never more     inimitably drawn4 ,the   
composition is artful1 and natural4 ,if 
the     shape of the whole be not quite 
pleasing1 the figures are so well       
grouped1 and with so much ease and      
variety1 that you cannot take           
offence4      ,the expression1 in almost
 every figure1 is admirable2 and the    
whole     is a strong representation of 
the human mind in a storm4 ,three       
stages of that species of madness which 

attends gaming1 are here     described4 
,on the first shock1 all is inward      
dismay4 ,the ruined     gamester is     
represented leaning against a wall1 with
 his arms     across1 lost in an agony  
of horror4 ,perhaps never passion was   
described with so much force4 ,in a     
short time this horrible gloom          
bursts into a storm of fury3 he tears in
 pieces what comes next him2     and1   
kneeling down1 invokes curses upon      
himself4 ,he next attacks     others2   
every one in his turn whom he imagines  
to have been     instrumental in his    
ruin4--,the eager joy of the winning    
gamesters1     the attention of the     
usurer1 the vehemence of the watchman1  
and the     profound reverie of the     
highwayman1 are all admirably marked4   
,there     is great coolness1 too1      
expressed in the little we see of the   
fat     gentleman at the end of the     
table4  ,illustration3 ,,the ,,rake',s  
,,progress4  ,,plate #f4  ,,gaming      
,,house ,,scene4     ,,plate ,,vii4     

,,prison ,,scene4      ,happy the man   
whose constant thought1     7,though in 
the school of hardship taught17     ,can
 send remembrance back to fetch         
,treasures from life's earliest stretch2
     ,who1 self-approving1 can review   
,scenes of past virtues1 which shine    
through     ,the gloom of age1 and cast 
a ray     ,to gild the evening of his   
day6     ,not so the guilty wretch      
confined3     ,no pleasures meet his    
conscious mind2     ,no blessings       
brought from early youth1     ,but      
broken faith1 and wrested truth2        
,talents idle and unused1     ,and every
 trust of ,heaven abused4     ,in seas  
of sad reflection lost1     ,from       
horrors still to horrors toss'd1        
,reason the vessel leaves to steer1     
,and gives the helm to mad ,despair4    
,by a very natural transition ,mr4      
,hogarth has passed his hero from a     
gaming house into a prison--the         
inevitable consequence of extravagance4 
,he is here represented in a most       

distressing situation1 without a coat to
 his back1 without money1 without a     
friend to help him4 ,beggared by a      
course of ill-luck1 the common attendant
 on the gamester1 having first made away
 with every valuable he was master of1  
and having now no other resource left to
 retrieve his wretched circumstances1 he
 at last1 vainly promising himself      
success1 commences author1 and attempts1
 though inadequate to the task1 to write
 a play1 which is lying on the table1   
just returned with an answer from the   
manager of the theatre1 to whom he had  
offered it1 that his piece would by no  
means do4 ,struck speechless with this  
disastrous occurrence1 all his hopes    
vanish1 and his most sanguine           
expectations are changed into dejection 
of spirit4 ,to heighten his distress1 he
 is approached by his wife1 and bitterly
 upbraided for his perfidy in concealing
 from her his former connexions 7with   
that unhappy girl who is here present   
with her child1 the innocent offspring  

of her amours1 fainting at the sight of 
his misfortunes1 being unable to relieve
 him farther71 and plunging her into    
those difficulties she never shall be   
able to surmount4 ,to add to his misery1
 we see the under-turnkey pressing him  
for his prison fees1 or garnish-money1  
and the boy refusing to leave the beer  
he ordered1 without being first paid for
 it4 ,among those assisting the fainting
 mother1 one of whom we observe clapping
 her hand1 another applying the drops1  
is a man crusted over1 as it were1 with 
the rust of a gaol1 supposed to have    
started from his dream1 having been     
disturbed by the noise at a time when he
 was settling some affairs of state2 to 
have left his great plan unfinished1 and
 to have hurried to the assistance of   
distress4 ,we are told1 by the papers   
falling from his lap1 one of which      
contains a scheme for paying the        
national debt1 that his confinement is  
owing to that itch of politics some     
persons are troubled with1 who will     

neglect their own affairs1 in order to  
busy themselves in that which noways    
concerns them1 and which they in no     
respect understand1 though their        
immediate ruin shall follow it3 nay1 so 
infatuated do we find him1 so taken up  
with his beloved object1 as not to      
bestow a few minutes on the decency of  
his person4 ,in the back of the room is 
one who owes his ruin to an             
indefatigable search after the          
philosopher's stone4 ,strange and       
unaccountable6--,hence we are taught by 
these characters1 as well as by the pair
 of human wings on the tester of the    
bed1 that scheming is the sure and      
certain road to beggary3 and that more  
owe their misfortunes to wild and       
romantic notions1 than to any accident  
they meet with in life4  ,in this upset 
of his life1 and aggravation of         
distress1 we are to suppose our prodigal
 almost driven to desperation4 ,now1 for
 the first time1 he feels the severe    
effects of pinching cold and griping    

hunger4 ,at this melancholy season1     
reflection finds a passage to his heart1
 and he now revolves in his mind the    
folly and sinfulness of his past        
life2--considers within himself how idly
 he has wasted the substance he is at   
present in the utmost need of2--looks   
back with shame on the iniquity of his  
actions1 and forward with horror on the 
rueful scene of misery that awaits him2 
until his brain1 torn with excruciating 
thought1 loses at once its power of     
thinking1 and falls a sacrifice to      
merciless despair4      ,mr4 ,ireland   
remarks1 on the plate before us3--,our  
improvident     spendthrift is now      
lodged in that dreary receptacle of     
human     misery1--a prison4 ,his       
countenance exhibits a picture of       
despair2     the forlorn state of his   
mind is displayed in every limb1 and his
     exhausted finances1 by the         
turnkey's demand of prison fees1 not    
being answered1 and the boy refusing to 
leave a tankard of porter1     unless he

 is paid for it4      ,we see by the    
enraged countenance of his wife1 that   
she is     violently reproaching him for
 having deceived and ruined her4 ,to    
crown this catalogue of human tortures1 
the poor girl whom he     deserted1 is  
come with her child--perhaps to comfort 
him1--to     alleviate his sorrows1 to  
soothe his sufferings3--but the         
agonising     view is too much for her  
agitated frame2 shocked at the prospect 
of     that misery which she cannot     
remove1 every object swims before her   
eyes1--a film covers the sight1--the    
blood forsakes her cheeks--her     lips 
assume a pallid hue1--and she sinks to  
the floor of the prison     in temporary
 death4 ,what a heart-rending prospect  
for him by whom     this is occasioned6 
,the wretched1 squalid inmate1 who is   
assisting the fainting female1     bears
 every mark of being naturalised to the 
place2 out of his     pocket hangs a    
scroll1 on which is inscribed1 ',a      
scheme to pay the     ,national ,debt1  

by ,j4 ,l4 now a prisoner in the        
,fleet4' ,so attentive     was this poor
 gentleman to the debts of the nation1  
that he totally     forgot his own4 ,the
 cries of the child1 and the            
good-natured     attentions of the      
women1 heighten the interest1 and       
realise the     scene4 ,over the group  
are a large pair of wings1 with which   
some     emulator of ,dedalus intended  
to escape from his confinement2 but     
finding them inadequate to the execution
 of his project1 has placed     them    
upon the tester of his bed4 ,they would 
not exalt him to the     regions of air1
 but they o'ercanopy him on earth4 ,a   
chemist in the     back-ground1 happy in
 his views1 watching the moment of      
projection1     is not to be disturbed  
from his dream by any thing less than   
the     fall of the roof1 or the        
bursting of his retort2--and if his     
dream     affords him felicity1 why     
should he be awakened8 ,the bed and     
gridiron1 those poor remnants of our    

miserable spendthrift's     wretched    
property1 are brought here as necessary 
in his degraded     situation2 on one he
 must try to repose his wearied frame1  
on the     other1 he is to dress his    
scanty meal4  ,illustration3 ,,the      
,,rake',s ,,progress4  ,,plate #g4      
,,prison ,,scene4     ,,plate ,,viii4   
,,scene ,,in ,a ,,madhouse4             
,madness6 thou chaos of the brain1      
,what art1 that pleasure giv'st and     
pain8        ,tyranny of fancy's reign6 
,mechanic fancy6 that can build         
,vast labyrinths and mazes wild1        
,with rude1 disjointed1 shapeless       
measure1     ,fill'd with horror1 fill'd
 with pleasure6     ,shapes of horror1  
that would even     ,cast doubt of mercy
 upon ,heaven2     ,shapes of pleasure1 
that but seen1     ,would split the     
shaking sides of ,spleen4      ,o vanity
 of age6 here see     ,the stamp of     
,heaven effaced by thee6     ,the       
headstrong course of youth thus run1    
,what comfort from this darling son8    

,his rattling chains with terror hear1  
,behold death grappling with despair6   
,see him by thee to ruin sold1     ,and 
curse thyself1 and curse thy gold6      
,see our hero then1 in the scene before 
us1 raving in all the dismal horrors of 
hopeless insanity1 in the hospital of   
,bethlehem1 the senate of mankind1 where
 each man may find a representative2    
there we behold him trampling on the    
first great law of nature1 tearing      
himself to pieces with his own hands1   
and chained by the leg to prevent any   
further mischief he might either do to  
himself or others4 ,but in this scene1  
dreary and horrid as are its            
accompaniments1 he is attended by the   
faithful and kind-hearted female whom he
 so basely betrayed4 ,in the first plate
 we see him refuse her his promised     
hand4 ,in the fourth1 she releases him  
from the harpy fangs of a bailiff2 she  
is present at his marriage2 and in the  
hope of relieving his distress1 she     
follows him to a prison4 ,our artist1 in

 this scene of horror1 has taken an     
opportunity of pointing out to us the   
various causes of mental blindness2 for 
such1 surely1 it may be called1 when the
 intuitive faculties are either         
destroyed or impaired4 ,in one of the   
inner rooms of this gallery is a        
despairing wretch1 imploring ,heaven for
 mercy1 whose brain is crazed with      
lip-labouring superstition1 the most    
dreadful enemy of human kind2 which1    
attended with ignorance1 error1 penance 
and indulgence1 too often deprives its  
unhappy votaries of their senses4 ,the  
next in view is one man drawing lines   
upon a wall1 in order1 if possible1 to  
find out the longitude2 and another1    
before him1 looking through a paper1 by 
way of a telescope4 ,by these expressive
 figures we are given to understand that
 such is the misfortune of man1 that    
while1 perhaps1 the aspiring soul is    
pursuing some lofty and elevated        
conception1 soaring to an uncommon      
pitch1 and teeming with some grand      

discovery1 the ferment often proves too 
strong for the feeble brain to support1 
and lays the whole magazine of notions  
and images in wild confusion4 ,this     
melancholy group is completed by the    
crazy tailor1 who is staring at the mad 
astronomer with a sort of wild          
astonishment1 wondering1 through excess 
of ignorance1 what discoveries the      
heavens can possibly afford2 proud of   
his profession1 he has fixed a variety  
of patterns in his hat1 by way of       
ornament2 has covered his poor head with
 shreds1 and makes his measure the      
constant object of his attention4       
,behind this man stands another1 playing
 on the violin1 with his book upon his  
head1 intimating that too great a love  
for music has been the cause of his     
distraction4 ,on the stairs sits        
another1 crazed by love1 7evident from  
the picture of his beloved object round 
his neck1 and the words charming ,betty 
,careless upon the bannisters1 which he 
is supposed to scratch upon every wall  

and every wainscot17 and wrapt up so    
close in melancholy pensiveness1 as not 
even to observe the dog that is flying  
at him4 ,behind him1 and in the inner   
room1 are two persons maddened with     
ambition4 ,these men1 though under the  
influence of the same passion1 are      
actuated by different notions2 one is   
for the papal dignity1 the other for    
regal2 one imagines himself the ,pope1  
and saying mass2 the other fancies      
himself a ,king1 is encircled with the  
emblem of royalty1 and is casting       
contempt on his imaginary subjects by an
 act of the greatest disdain4 ,to       
brighten this distressful scene1 and    
draw a smile from him whose rigid       
reasoning might condemn the bringing    
into public view this blemish of        
humanity1 are two women introduced1     
walking in the gallery1 as curious      
spectators of this melancholy sight2 one
 of whom is supposed1 in a whisper1 to  
bid the other observe the naked man1    
which she takes an opportunity of doing 

by a leer through the sticks of her fan4
  ,thus1 imagining the hero of our piece
 to expire raving mad1 the story is     
finished1 and little else remains but to
 close it with a proper application4    
,reflect then1 ye parents1 on this      
tragic tale2 consider with yourselves1  
that the ruin of a child is too often   
owing to the imprudence of a father4    
,had the young man1 whose story we have 
related1 been taught the proper use of  
money1 had his parent given him some    
insight into life1 and graven1 as it    
were1 upon his heart1 the precepts of   
religion1 with an abhorrence of vice1   
our youth would1 in all probability1    
have taken a contrary course1 lived a   
credit to his friends1 and an honour to 
his country4  ,illustration3 ,,the      
,,rake',s ,,progress4  ,,plate #h4      
,,scene ,,in ,,bedlam4     ,,the        
,,distressed ,,poet4   ,this ,plate     
describes1 in the strongest colours1 the
 distress of an author without friends  
to patronise him4 ,seated upon the side 

of his bed1 without a shirt1 but wrapped
 in an old night-gown1 he is now        
spinning a poem upon ,riches3 of their  
use he probably knoweth little2 and of  
their abuse1--if judgment can be formed 
from externals1--certes1 he knoweth     
less4 ,enchanted1 impressed1 inspired   
with his subject1 he is disturbed by a  
nymph of the lactarium4 ,her            
shrill-sounding voice awakes one of the 
little loves1 whose chorus disturbs his 
meditations4 ,a link of the golden chain
 is broken6--a thought is lost6--to     
recover it1 his hand becomes a          
substitute for the barber's             
comb3--enraged at the noise1 he tortures
 his head for the fleeting idea2 but1   
ah6 no thought is there6  ,proudly      
conscious that the lines already written
 are sterling1 he possesses by          
anticipation the mines of ,peru1 a view 
of which hangs over his head4 ,upon the 
table we see ,byshe's ,art of ,poetry2  
for1 like the pack-horse1 who cannot    
travel without his bells1 he cannot     

climb the hill of ,parnassus without his
 jingling-book4 ,on the floor lies the  
,grub-street ,journal1 to which valuable
 repository of genius and taste he is   
probably a contributor4 ,to show that he
 is a master of the ,,profound1 and will
 envelope his subject in a cloud1 his   
pipe and tobacco-box1 those friends to  
cogitation deep1 are close to him4  ,his
 wife1 mending that part of his dress1  
in the pockets of which the affluent    
keep their gold1 is worthy of a better  
fate4 ,her figure is peculiarly         
interesting4 ,her face1 softened by     
adversity1 and marked with domestic     
care1 is at this moment agitated by the 
appearance of a boisterous woman1       
insolently demanding payment of the     
milk-tally4 ,in the excuse she returns1 
there is a mixture of concern1          
complacency1 and mortification4 ,as an  
addition to the distresses of this poor 
family1 a dog is stealing the remnant of
 mutton incautiously left upon a chair4 
,the sloping roof1 and projecting       

chimney1 prove the throne of this       
inspired bard to be high above the      
crowd2--it is a garret4 ,the chimney is 
ornamented with a dare for larks1 and a 
book2 a loaf1 the tea-equipage1 and a   
saucepan1 decorate the shelf4 ,before   
the fire hangs half a shirt1 and a pair 
of ruffled sleeves4 ,his sword lies on  
the floor2 for though our professor of  
poetry waged no war1 except with words1 
a sword was1 in the year #agdj1 a       
necessary appendage to every thing which
 called itself gentleman4 ,at the feet  
of his domestic seamstress1 the         
full-dress coat is become the           
resting-place of a cat and two kittens3 
in the same situation is one stocking1  
the other is half immersed in the       
washing-pan4 ,the broom1 bellows1 and   
mop1 are scattered round the room4 ,the 
open door shows us that their cupboard  
is unfurnished1 and tenanted by a hungry
 and solitary mouse4 ,in the corner     
hangs a long cloak1 well calculated to  
conceal the threadbare wardrobe of its  

fair owner4  ,mr4 ,hogarth's strict     
attention to propriety of scenery1 is   
evinced by the cracked plaistering of   
the walls1 broken window1 and uneven    
floor1 in the miserable habitation of   
this poor weaver of madrigals4 ,when    
this was first published1 the following 
quotation from ,pope's ,dunciad was     
inscribed under the print3              
,studious he sate1 with all his books   
around1     ,sinking from thought to    
thought1 a vast profound3     ,plunged  
for his sense1 but found no bottom      
there2     ,then wrote and flounder'd   
on1 in mere despair4  ,all his books1   
amounting to only four1 was1 ,i suppose1
 the artist's reason for erasing the    
lines4  ,illustration3 ,,the            
,,distressed ,,poet4     ,,the ,,bench4 
,,character1 ,,caricatura1 ,,and        
,,outre4   ,it having been universally  
acknowledged that ,mr4 ,hogarth was one 
of the most ingenious painters of his   
age1 and a man possessed of a vast store
 of humour1 which he has sufficiently   

shown and displayed in his numerous     
productions2 the general approbation his
 works receive1 is not to be wondered   
at4 ,but1 as owing to the false notions 
of the public1 not thoroughly acquainted
 with the true art of painting1 he has  
been often called a caricaturer2 when1  
in reality1 caricatura was no part of   
his profession1 he being a true copier  
of ,nature2 to set this matter right1   
and give the world a just definition of 
the words1 character1 caricatura1 and   
outre1 in which humorous painting       
principally consists1 and to show their 
difference of meaning1 he1 in the year  
#ageh1 published this print2 but1 as it 
did not quite answer his purpose1 giving
 an illustration of the word character  
only1 he added1 in the year #agfd1 the  
group of heads above1 which he never    
lived to finish1 though he worked upon  
it the day before his death4 ,the lines 
between inverted commas are our author's
 own words1 and are engraved at the     
bottom of the plate4  ,there are hardly 

any two things more essentially         
different than character and caricatura2
 nevertheless1 they are usually         
confounded1 and mistaken for each other2
 on which account this explanation is   
attempted4  ,it has ever been allowed1  
that when a character is strongly marked
 in the living face1 it may be          
considered as an index of the mind1 to  
express which1 with any degree of       
justness1 in painting1 requires the     
utmost efforts of a great master4 ,now  
that1 which has of late years got the   
name of caricatura1 is1 or ought to be1 
totally divested of every stroke that   
hath a tendency to good drawing2 it may 
be said to be a species of lines that   
are produced1 rather by the hand of     
chance1 than of skill2 for the early    
scrawlings of a child1 which do but     
barely hint the idea of a human face1   
will always be found to be like some    
person or other1 and will often form    
such a comical resemblance1 as1 in all  
probability1 the most eminent           

caricaturers of these times will not be 
able to equal1 with design2 because     
their ideas of objects are so much more 
perfect than children's1 that they will1
 unavoidably1 introduce some kind of    
drawing2 for all the humorous effects of
 the fashionable manner of caricaturing1
 chiefly depend on the surprise we are  
under1 at finding ourselves caught with 
any sort of similitude in objects       
absolutely remote in their kind4 ,let it
 be observed1 the more remote in their  
nature1 the greater is the excellence of
 these pieces4 ,as a proof of this1 ,i  
remember a famous caricatura of a       
certain ,italian singer1 that struck at 
first sight1 which consisted only of a  
straight perpendicular stroke1 with a   
dot over4 ,as to the ,french word outre1
 it is different from the rest1 and     
signifies nothing more than the         
exaggerated outlines of a figure1 all   
the parts of which may be1 in other     
respects1 a perfect and true picture of 
nature4 ,a giant or a dwarf may be      

called a common man1 outre4 ,so any     
part1 as a nose1 or a leg1 made bigger1 
or less than it ought to be1 is that    
part outre1 which is all that is to be  
understood by this word1 injudiciously  
used to the prejudice of                
character4--,,analysis ,,of ,,beauty1   
chap4 vi4  ,to prevent these            
distinctions being looked upon as dry   
and unentertaining1 our author has1 in  
this group of faces1 ridiculed the want 
of capacity among some of our judges1 or
 dispensers of the law1 whose shallow   
discernment1 natural disposition1 or    
wilful inattention1 is here perfectly   
described in their faces4 ,one is       
amusing himself in the course of trial1 
with other business2 another1 in all the
 pride of self-importance1 is examining 
a former deposition1 wholly inattentive 
to that before him2 the next is busied  
in thoughts quite foreign to the        
subject2 and the senses of the last are 
locked fast in sleep4  ,the four sages  
on the ,bench1 are intended for ,lord   

,chief ,justice ,sir ,john ,willes1 the 
principal figure2 on his right hand1    
,sir ,edward ,clive2 and on his left1   
,mr4 ,justice ,bathurst1 and the ,hon4  
,william ,noel4  ,illustration3 ,,the   
,,bench4     ,,the ,,laughing           
,,audience4      ,let him laugh now1 who
 never laugh'd before2     ,and he who  
always laugh'd1 laugh now the more4     
,from the first print that ,hogarth     
engraved1 to the last that he published1
 ,i do not think1 says ,mr4 ,ireland1   
there is one1 in which character is more
 displayed than in this very spirited   
little etching4 ,it is much superior to 
the more delicate engravings from his   
designs by other artists1 and ,i prefer 
it to those that were still higher      
finished by his own burin4  ,the prim   
coxcomb with an enormous bag1 whose     
favours1 like those of ,hercules between
 ,virtue and ,vice1 are contended for by
 two rival orange girls1 gives an       
admirable idea of the dress of the day2 
when1 if we may judge from this print1  

our grave forefathers1 defying ,nature1 
and despising convenience1 had a much   
higher rank in the temple of ,folly than
 was then attained by their ladies4 ,it 
must be acknowledged that1 since that   
period1 the softer sex have asserted    
their natural rights2 and1 snatching the
 wreath of fashion from the brow of     
presuming man1 have tortured it into    
such forms that1 were it possible1 which
 certes it is not1 to disguise a        
beauteous face----,but to the high      
behest of ,fashion all must bow4        
,governed by this idol1 our beau has a  
cuff that1 for a modern fop1 would      
furnish fronts for a waistcoat1 and a   
family fire-screen might be made of his 
enormous bag4 ,his bare and shrivelled  
neck has a close resemblance to that of 
a half-starved greyhound2 and his face1 
figure1 and air1 form a fine contrast to
 the easy and degagee assurance of the  
,grisette whom he addresses4  ,the      
opposite figure1 nearly as grotesque1   
though not quite so formal as its       

companion1 presses its left hand upon   
its breast1 in the style of             
protestation2 and1 eagerly contemplating
 the superabundant charms of a beauty of
 ,rubens's school1 presents her with a  
pinch of comfort4 ,every muscle1 every  
line of his countenance1 is acted upon  
by affectation and grimace1 and his     
queue bears some resemblance to an      
ear-trumpet4  ,the total inattention of 
these three polite persons to the       
business of the stage1 which at this    
moment almost convulses the children of 
,nature who are seated in the pit1 is   
highly descriptive of that refined      
apathy which characterises our people of
 fashion1 and raises them above those   
mean passions that agitate the          
groundlings4  ,one gentleman1 indeed1 is
 as affectedly unaffected as a man of   
the first world4 ,by his saturnine cast 
of face1 and contracted brow1 he is     
evidently a profound critic1 and much   
too wise to laugh4 ,he must indisputably
 be a very great critic2 for1 like      

,voltaire's ,poccocurante1 nothing can  
please him2 and1 while those around open
 every avenue of their minds to mirth1  
and are willing to be delighted1 though 
they do not well know why1 he analyses  
the drama by the laws of ,aristotle1 and
 finding those laws are violated1       
determines that the author ought to be  
hissed1 instead of being applauded4     
,this it is to be so excellent a judge2 
this it is which gives a critic that    
exalted gratification which can never be
 attained by the illiterate1--the       
supreme power of pointing out faults1   
where others discern nothing but        
beauties1 and preserving a rigid        
inflexibility of muscle1 while the sides
 of the vulgar herd are shaking with    
laughter4 ,these merry mortals1 thinking
 with ,plato that it is no proof of a   
good stomach to nauseate every aliment  
presented them1 do not inquire too      
nicely into causes1 but1 giving full    
scope to their risibility1 display a set
 of features more highly ludicrous than 

,i ever saw in any other print4 ,it is  
to be regretted that the artist has not 
given us some clue by which we might    
have known what was the play which so   
much delighted his audience3 ,i should  
conjecture that it was either one of    
,shakespear's comedies1 or a modern     
tragedy4 ,sentimental comedy was not the
 fashion of that day4  ,the three sedate
 musicians in the orchestra1 totally    
engrossed by minims and crotchets1 are  
an admirable contrast to the company in 
the pit4  ,illustration3 ,,the          
,,laughing ,,audience4     ,,gate ,,of  
,,calais4   ,o1 ,,the ,,roast ,,beef    
,,of ,,old ,,england6        ',twas at  
the gate of ,calais1 ,hogarth tells1    
,where sad despair and famine always    
dwells2     ,a meagre ,frenchman1       
,madame ,grandsire's cook1     ,as home 
he steer'd1 his carcase that way took1  
,bending beneath the weight of famed    
sirloin1     ,on whom he often wish'd in
 vain to dine2     ,good ,father        
,dominick by chance came by1     ,with  

rosy gills1 round paunch1 and greedy    
eye2     ,and1 when he first beheld the 
greasy load1     ,his benediction on it 
he bestow'd2     ,and while the solid   
fat his fingers press'd1     ,he lick'd 
his chops1 and thus the knight          
address'd3          ',o rare roast beef1
 lov'd by all mankind1           ,was ,i
 but doom'd to have thee1         ,well 
dress'd1 and garnish'd to my mind1      
,and swimming in thy gravy2         ,not
 all thy country's force combined1      
,should from my fury save thee6         
',renown'd sirloin6 oft times decreed   
,the theme of ,english ballad1          
,e'en kings on thee have deign'd to     
feed1           ,unknown to ,frenchman's
 palate2         ,then how much must thy
 taste exceed           ,soup-meagre1   
frogs1 and salad6'  ,the thought on     
which this whimsical and                
highly-characteristic print is founded1 
originated in ,calais1 to which place   
,mr4 ,hogarth1 accompanied by some of   
his friends1 made an excursion1 in the  

year #agdg4  ,extreme partiality for his
 native country was the leading trait of
 his character2 he seems to have begun  
his three hours' voyage with a firm     
determination to be displeased at every 
thing he saw out of ,old ,england4 ,for 
a meagre1 powdered figure1 hung with    
tatters1 a-la-mode de ,paris1 to affect 
the airs of a coxcomb1 and the          
importance of a sovereign1 is ridiculous
 enough2 but if it makes a man happy1   
why should he be laughed at8 ,it must   
blunt the edge of ridicule1 to see      
natural hilarity defy depression2 and a 
whole nation laugh1 sing1 and dance1    
under burthens that would nearly break  
the firm-knit sinews of a ,briton4 ,such
 was the picture of ,france at that     
period1 but it was a picture which our  
,english satirist could not contemplate 
with common patience4 ,the swarms of    
grotesque figures who paraded the       
streets excited his indignation1 and    
drew forth a torrent of coarse abusive  
ridicule1 not much to the honour of his 

liberality4 ,he compared them to        
,callot's beggars--,lazarus on the      
painted cloth--the prodigal son--or any 
other object descriptive of extreme     
contempt4 ,against giving way to these  
effusions of national spleen in the open
 street1 he was frequently cautioned1   
but advice had no effect2 he treated    
admonition with scorn1 and considered   
his monitor unworthy the name of        
,englishman4 ,these satirical           
ebullitions were at length checked4     
,ignorant of the customs of ,france1 and
 considering the gate of ,calais merely 
as a piece of ancient architecture1 he  
began to make a sketch4 ,this was soon  
observed2 he was seized as a spy1 who   
intended to draw a plan of the          
fortification1 and escorted by a file of
 musqueteers to ,m4 la ,commandant4 ,his
 sketch-book was examined1 leaf by leaf1
 and found to contain drawings that had 
not the most distant relation to        
tactics4 ,notwithstanding this          
favourable circumstance1 the governor1  

with great politeness1 assured him1 that
 had not a treaty between the nations   
been actually signed1 he should have    
been under the disagreeable necessity of
 hanging him upon the ramparts3 as it   
was1 he must be permitted the privilege 
of providing him a few military         
attendants1 who should do themselves the
 honour of waiting upon him1 while he   
resided in the dominions of the grande  
monarque4 ,two sentinels were then      
ordered to escort him to his hotel1 from
 whence they conducted him to the       
vessel2 nor did they quit their         
prisoner1 until he was a league from    
shore2 when1 seizing him by the         
shoulders1 and spinning him round upon  
the deck1 they said he was now at       
liberty to pursue his voyage without    
further molestation4  ,so mortifying an 
adventure he did not like to hear       
recited1 but has in this print recorded 
the circumstance which led to it4 ,in   
one corner he has given a portrait of   
himself1 making the drawing2 and to shew

 the moment of arrest1 the hand of a    
serjeant is upon his shoulder4  ,the    
,french sentinel is so situated1 as to  
give some idea of a figure hanging in   
chains3 his ragged shirt is trimmed with
 a pair of paper ruffles4 ,the old      
woman1 and a fish which she is pointing 
at1 have a striking resemblance4 ,the   
abundance of parsnips1 and other        
vegetables1 indicate what are the       
leading articles in a ,lenten feast4    
,mr4 ,pine1 the painter1 sat for the    
friar1 and from thence acquired the     
title of ,father ,pine4 ,this           
distinction did not flatter him1 and he 
frequently requested that the           
countenance might be altered1 but the   
artist peremptorily refused4            
,illustration3 ,,gate ,,of ,,calais4  ,o
 ,,the ,,roast ,,beef ,,of ,,old        
,,england4     ,,the ,,politician4      
,a politician should 7as ,i have read7  
,be furnish'd in the first place with a 
head4   ,one of our old writers gives it
 as his opinion1 that there are onlie   

two subjects which are worthie the      
studie of a wise man1 i4e4 religion and 
politics4 ,for the first1 it does not   
come under inquiry in this print1--but  
certain it is1 that too sedulously      
studying the second1 has frequently     
involved its votaries in many most      
tedious and unprofitable disputes1 and  
been the source of much evil to many    
well-meaning and honest men4 ,under this
 class comes the ,quidnunc here         
pourtrayed2 it is said to be intended   
for a ,mr4 ,tibson1 laceman1 in the     
,strand1 who paid more attention to the 
affairs of ,europe1 than to those of his
 own shop4 ,he is represented in a style
 somewhat similar to that in which      
,schalcken painted ,william the         
third1--holding a candle in his right   
hand1 and eagerly inspecting the        
,gazetteer of the day4 ,deeply          
interested in the intelligence it       
contains1 concerning the flames that    
rage on the ,continent1 he is totally   
insensible of domestic danger1 and      

regardless of a flame1 which1 ascending 
to his hat1--      ,threatens           
destruction to his three-tail'd wig4    
,from the tie-wig1 stockings1           
high-quartered shoes1 and sword1 ,i     
should suppose it was painted about the 
year #agcj1 when street robberies were  
so frequent in the metropolis1 that it  
was customary for men in trade to wear  
swords1 not to preserve their religion  
and liberty from foreign invasion1 but  
to defend their own pockets from        
domestic collectors4  ,the original     
sketch ,hogarth presented to his friend 
,forrest2 it was etched by ,sherwin1 and
 published in #agge4  ,illustration3    
,,the ,,politician4     ,,taste ,,in    
,,high ,,life1  ,,in ,,the ,,year #agdb4
   ,the picture from which this print   
was copied1 ,hogarth painted by the     
order of ,miss ,edwards1 a woman of     
large fortune1 who having been laughed  
at for some singularities in her        
manners1 requested the artist to        
recriminate on her opponents1 and paid  

him sixty guineas for his production4   
,it is professedly intended to ridicule 
the reigning fashions of high life1 in  
the year #agdb3 to do this1 the painter 
has brought into one group1 an old beau 
and an old lady of the ,chesterfield    
school1 a fashionable young lady1 a     
little black boy1 and a full-dressed    
monkey4 ,the old lady1 with a most      
affected air1 poises1 between her finger
 and thumb1 a small tea-cup1 with the   
beauties of which she appears to be     
highly enamoured4  ,the gentleman1      
gazing with vacant wonder at that and   
the companion saucer which he holds in  
his hand1 joins in admiration of its    
astonishing beauties6      ,each varied 
colour of the brightest hue1     ,the   
green1 the red1 the yellow1 and the     
blue1     ,in every part their dazzled  
eyes behold1     ,here streak'd with    
silver--there enrich'd with gold4  ,this
 gentleman is said to be intended for   
,lord ,portmore1 in the habit he first  
appeared at ,court1 on his return from  

,france4 ,the cane dangling from his    
wrist1 large muff1 long queue1 black    
stock1 feathered chapeau1 and shoes1    
give him the air of          ,an old and
 finish'd fop1     ,all cork at heel1   
and feather all at top4  ,the old lady's
 habit1 formed of stiff brocade1 gives  
her the appearance of a squat pyramid1  
with a grotesque head at the top of it4 
,the young one is fondling a little     
black boy1 who on his part is playing   
with a petite pagoda4 ,this miniature   
,othello has been said to be intended   
for the late ,ignatius ,sancho1 whose   
talents and virtues were an honour to   
his colour4 ,at the time the picture was
 painted1 he would have been rather     
older than the figure1 but as he was    
then honoured by the partiality and     
protection of a noble family1 the       
painter might possibly mean to delineate
 what his figure had been a few years   
before4  ,the little monkey1 with a     
magnifying glass1 bag-wig1 solitaire1   
laced hat1 and ruffles1 is eagerly      

inspecting a bill of fare1 with the     
following articles pour diner2 cocks'   
combs1 ducks' tongues1 rabbits' ears1   
fricasee of snails1 grande d'oeufs      
buerre4  ,in the centre of the room is a
 capacious china jar2 in one corner a   
tremendous pyramid1 composed of packs of
 cards1 and on the floor close to them1 
a bill1 inscribed ,lady ,basto1 ,dr to  
,john ,pip1 for cards1--,l#cjj4  ,the   
room is ornamented with several         
pictures2 the principal represents the  
,medicean ,venus1 on a pedestal1 in     
stays and high-heeled shoes1 and holding
 before her a hoop petticoat1 somewhat  
larger than a fig-leaf2 a ,cupid paring 
down a fat lady to a thin proportion1   
and another ,cupid blowing up a fire to 
burn a hoop petticoat1 muff1 bag1 queue 
wig1 c4 ,on the dexter side is another  
picture1 representing ,monsieur         
,desnoyer1 operatically habited1 dancing
 in a grand ballet1 and surrounded by   
butterflies1 insects evidently of the   
same genus with this deity of dance4 ,on

 the sinister1 is a drawing of exotics1 
consisting of queue and bag-wigs1 muffs1
 solitaires1 petticoats1 ,french heeled 
shoes1 and other fantastic fripperies4  
,beneath this is a lady in a pyramidical
 habit walking the ,park2 and as the    
companion picture1 we have a blind man  
walking the streets4  ,the fire-screen  
is adorned with a drawing of a lady in a
 sedan-chair--      ,to conceive how she
 looks1 you must call to your mind      
,the lady you've seen in a lobster      
confined1     ,or a pagod in some little
 corner enshrined4  ,as ,hogarth made   
this design from the ideas of ,miss     
,edwards1 it has been said that he had  
no great partiality for his own         
performance1 and that1 as he never would
 consent to its being engraved1 the     
drawing from which the first print was  
copied1 was made by the connivance of   
one of her servants4 ,be that as it may1
 his ridicule on the absurdities of     
fashion1--on the folly of collecting old
 china1--cookery1--card playing1 c4 is  

pointed1 and highly wrought4  ,at the   
sale of ,miss ,edwards's effects at     
,kensington1 the original picture was   
purchased by the father of ,mr4 ,birch1 
surgeon1 of ,essex-street1 ,strand4     
,illustration3 ,,taste ,,in ,,high      
,,life4     ,,the ,,harlot',s           
,,progress4  ,,plate ,i4      ,the      
snares are set1 the plot is laid1       
,ruin awaits thee1--hapless maid6       
,seduction sly assails thine ear1       
,and gloating1 foul desire is near2     
,baneful and blighting are their smiles1
     ,destruction waits upon their      
wiles2     ,alas6 thy guardian angel    
sleeps1     ,vice clasps her hands1 and 
virtue weeps4   ,the general aim of     
historical painters1 says ,mr4 ,ireland1
 has been to emblazon some signal       
exploit of an exalted and distinguished 
character4 ,to go through a series of   
actions1 and conduct their hero from the
 cradle to the grave1 to give a history 
upon canvass1 and tell a story with the 
pencil1 few of them attempted4 ,mr4     

,hogarth saw1 with the intuitive eye of 
genius1 that one path to the ,temple of 
,fame was yet untrodden3 he took ,nature
 for his guide1 and gained the summit4  
,he was the painter of ,nature2 for he  
gave1 not merely the ground-plan of the 
countenance1 but marked the features    
with every impulse of the mind4 ,he may 
be denominated the biographical         
dramatist of domestic life4 ,leaving    
those heroic monarchs who have blazed   
through their day1 with the destructive 
brilliancy of a comet1 to their         
adulatory historians1 he1 like ,lillo1  
has taken his scenes from humble life1  
and rendered them a source of           
entertainment1 instruction1 and         
morality4  ,this series of prints gives 
the history of a ,prostitute4 ,the story
 commences with her arrival in ,london1 
where1 initiated in the school of       
profligacy1 she experiences the miseries
 consequent to her situation1 and dies  
in the morning of life4 ,her variety of 
wretchedness1 forms such a picture of   

the way in which vice rewards her       
votaries1 as ought to warn the young and
 inexperienced from entering this path  
of infamy4  ,the first scene of this    
domestic tragedy is laid at the ,bell   
,inn1 in ,wood-street1 and the heroine  
may possibly be daughter to the poor old
 clergyman who is reading the direction 
of a letter close to the ,york waggon1  
from which vehicle she has just         
alighted4 ,in attire--neat1 plain1      
unadorned2 in demeanor--artless1 modest1
 diffident3 in the bloom of youth1 and  
more distinguished by native innocence  
than elegant symmetry2 her conscious    
blush1 and downcast eyes1 attract the   
attention of a female fiend1 who panders
 to the vices of the opulent and        
libidinous4 ,coming out of the door of  
the inn1 we discover two men1 one of    
whom is eagerly gloating on the devoted 
victim4 ,this is a portrait1 and said to
 be a strong resemblance of ,colonel    
,francis ,chartres4  ,the old procuress1
 immediately after the girl's alighting 

from the waggon1 addresses her with the 
familiarity of a friend1 rather than the
 reserve of one who is to be her        
mistress4  ,had her father been versed  
in even the first rudiments of          
physiognomy1 he would have prevented her
 engaging with one of so decided an     
aspect3 for this also is the portrait of
 a woman infamous in her day3 but he1   
good1 easy man1 unsuspicious as         
,fielding's parson ,adams1 is wholly    
engrossed in the contemplation of a     
superscription to a letter1 addressed to
 the bishop of the diocese4 ,so         
important an object prevents his        
attending to his daughter1 or regarding 
the devastation occasioned by his gaunt 
and hungry ,rozinante having snatched at
 the straw that packs up some           
earthenware1 and produced      ,the     
wreck of flower-pots1 and the crash of  
pans6  ,from the inn she is taken to the
 house of the procuress1 divested of her
 home-spun garb1 dressed in the gayest  
style of the day2 and the tender native 

hue of her complexion incrusted with    
paint1 and disguised by patches4 ,she is
 then introduced to ,colonel ,chartres1 
and by artful flattery and liberal      
promises1 becomes intoxicated with the  
dreams of imaginary greatness4 ,a short 
time convinces her of how light a breath
 these promises were composed4 ,deserted
 by her keeper1 and terrified by threats
 of an immediate arrest for the pompous 
paraphernalia of prostitution1 after    
being a short time protected by one of  
the tribe of ,levi1 she is reduced to   
the hard necessity of wandering the     
streets1 for that precarious subsistence
 which flows from the drunken rake1 or  
profligate debauchee4 ,here her         
situation is truly pitiable6 ,chilled by
 nipping frost and midnight dew1 the    
repentant tear trickling on her heaving 
bosom1 she endeavours to drown          
reflection in draughts of destructive   
poison4 ,this1 added to the contagious  
company of women of her own description1
 vitiates her mind1 eradicates the      

native seeds of virtue1 destroys that   
elegant and fascinating simplicity1     
which gives additional charms to beauty1
 and leaves1 in its place1 art1         
affectation1 and impudence4  ,neither   
the painter of a sublime picture1 nor   
the writer of an heroic poem1 should    
introduce any trivial circumstances that
 are likely to draw the attention from  
the principal figures4 ,such            
compositions should form one great      
whole3 minute detail will inevitably    
weaken their effect4 ,but in little     
stories1 which record the domestic      
incidents of familiar life1 these       
accessary accompaniments1 though        
trifling in themselves1 acquire a       
consequence from their situation2 they  
add to the interest1 and realise the    
scene4 ,in this1 as in almost all that  
were delineated by ,mr4 ,hogarth1 we see
 a close regard paid to things as they  
then were2 by which means his prints    
become a sort of historical record of   
the manners of the age4  ,illustration3 

,,the ,,harlot',s ,,progress4  ,,plate  
#a4  ,,ensnared ,,by ,a ,,procuress4    
,,the ,,harlot',s ,,progress4  ,,plate  
,,ii4      ,ah6 why so vain1 though     
blooming in thy spring1     ,thou       
shining1 frail1 adorn'd1 but wretched   
thing     ,old age will come2 disease   
may come before1     ,and twenty prove  
as fatal as threescore6   ,entered into 
the path of infamy1 the next scene      
exhibits our young heroine the mistress 
of a rich ,jew1 attended by a black     
boy1#a and surrounded with the pompous  
parade of tasteless profusion4 ,her mind
 being now as depraved1 as her person is
 decorated1 she keeps up the spirit of  
her character by extravagance and       
inconstancy4 ,an example of the first is
 exhibited in the monkey being suffered 
to drag her rich head-dress round the   
room1 and of the second in the retiring 
gallant4 ,the ,hebrew is represented at 
breakfast with his mistress2 but1 having
 come earlier than was expected1 the    
favourite has not departed4 ,to secure  

his retreat is an exercise for the      
invention of both mistress and maid4    
,this is accomplished by the lady       
finding a pretence for quarrelling with 
the ,jew1 kicking down the tea-table1   
and scalding his legs1 which1 added to  
the noise of the china1 so far engrosses
 his attention1 that the paramour1      
assisted by the servant1 escapes        
discovery4  ,the subjects of two        
pictures1 with which the room is        
decorated1 are ,david dancing before the
 ark1 and ,jonah seated under a gourd4  
,they are placed there1 not merely as   
circumstances which belong to ,jewish   
story1 but as a piece of covert ridicule
 on the old masters1 who generally      
painted from the ideas of others1 and   
repeated the same tale ad infinitum4 ,on
 the toilet-table we discover a mask1   
which well enough intimates where she   
had passed part of the preceding night1 
and that masquerades1 then a very       
fashionable amusement1 were much        
frequented by women of this description2

 a sufficient reason for their being    
avoided by those of an opposite         
character4  ,under the protection of    
this disciple of ,moses she could not   
remain long4 ,riches were his only      
attraction1 and though profusely        
lavished on this unworthy object1 her   
attachment was not to be obtained1 nor  
could her constancy be secured2 repeated
 acts of infidelity are punished by     
dismission2 and her next situation      
shows1 that like most of the sisterhood1
 she had lived without apprehension of  
the sunshine of life being darkened by  
the passing cloud1 and made no provision
 for the hour of adversity4  ,in this   
print the characters are marked with a  
master's hand4 ,the insolent air of the 
harlot1 the astonishment of the ,jew1   
eagerly grasping at the falling table1  
the start of the black boy1 the cautious
 trip of the ungartered and barefooted  
retreating gallant1 and the sudden      
spring of the scalded monkey1 are       
admirably expressed4 ,to represent an   

object in its descent1 has been said to 
be impossible2 the attempt has seldom   
succeeded2 but1 in this print1 the tea  
equipage really appears falling to the  
floor2 and1 in ,rembrandt's ,abraham's  
,offering1 in the ,houghton collection1 
now at ,petersburg1 the knife dropping  
from the hand of the patriarch1 appears 
in a falling state4  ,quin compared     
,garrick in ,othello to the black boy   
with the tea-kettle1 a circumstance that
 by no means encouraged our ,roscius to 
continue acting the part4 ,indeed1 when 
his face was obscured1 his chief power  
of expression was lost2 and then1 and   
not till then1 was he reduced to a level
 with several other performers4 ,it has 
been remarked1 however1 that ,garrick   
said of himself1 that when he appeared  
in ,othello1 ,quin1 he supposed1 would  
say1 ,here's ,pompey6 where's the       
tea-kettle8  ,,footnote3  #a ,the       
attendant black boy gave the foundation 
of an ill-natured remark by ,quin1 when 
,garrick once attempted the part of     

,othello4 ,he pretend to play ,othello6 
said the surly satirist2 ,he pretend to 
play ,othello6 ,he wants nothing but the
 tea-kettle and lamp1 to qualify him for
 ,hogarth's ,pompey6  ,illustration3    
,,the ,,harlot',s ,,progress4  ,,plate  
#b4  ,,quarrels ,,with ,,her ,,jew      
,,protector4      ,,the ,,harlot',s     
,,progress4  ,,plate ,,iii4             
,reproach1 scorn1 infamy1 and hate1     
,on all thy future steps shall wait2    
,thy furor be loath'd by every eye1     
,and every foot thy presence fly4   ,we 
here see this child of misfortune fallen
 from her high estate6 ,her magnificent 
apartment is quitted for a dreary       
lodging in the purlieus of ,drury-lane2 
she is at breakfast1 and every object   
exhibits marks of the most wretched     
penury3 her silver tea-kettle is changed
 for a tin pot1 and her highly decorated
 toilet gives place to an old leaf      
table1 strewed with the relics of the   
last night's revel1 and ornamented with 
a broken looking-glass4 ,around the room

 are scattered tobacco-pipes1 gin       
measures1 and pewter pots2 emblems of   
the habits of life into which she is    
initiated1 and the company which she now
 keeps3 this is farther intimated by the
 wig-box of ,james ,dalton1 a notorious 
street-robber1 who was afterwards       
executed4 ,in her hand she displays a   
watch1 which might be either presented  
to her1 or stolen from her last night's 
gallant4 ,by the nostrums which ornament
 the broken window1 we see that poverty 
is not her only evil4  ,the dreary and  
comfortless appearance of every object  
in this wretched receptacle1 the bit of 
butter on a piece of paper1 the candle  
in a bottle1 the basin upon a chair1 the
 punch-bowl and comb upon the table1 and
 the tobacco-pipes1 c4 strewed upon the 
unswept floor1 give an admirable picture
 of the style in which this pride of    
,drury-lane ate her matin meal4 ,the    
pictures which ornament the room are1   
,abraham offering up ,isaac1 and a      
portrait of the ,virgin ,mary2 ,dr4     

,sacheverell and ,macheath the          
highwayman1 are companion prints4 ,there
 is some whimsicality in placing the two
 ladies under a canopy1 formed by the   
unnailed valance of the bed1 and        
characteristically crowned by the       
wig-box of a highwayman4  ,when         
,theodore1 the unfortunate king of      
,corsica1 was so reduced as to lodge in 
a garret in ,dean-street1 ,soho1 a      
number of gentlemen made a collection   
for his relief4 ,the chairman of their  
committee informed him1 by letter1 that 
on the following day1 at twelve o'clock1
 two of the society would wait upon his 
majesty with the money4 ,to give his    
attic apartment an appearance of        
royalty1 the poor monarch placed an     
arm-chair on his half-testered bed1 and 
seating himself under the scanty canopy1
 gave what he thought might serve as the
 representation of a throne4 ,when his  
two visitors entered the room1 he       
graciously held out his right hand1 that
 they might have the honour of--kissing 

it6  ,a magistrate1 cautiously entering 
the room1 with his attendant constables1
 commits her to a house of correction1  
where our legislators wisely suppose1   
that being confined to the improving    
conversation of her associates in vice1 
must have a powerful tendency towards   
the reformation of her manners4 ,sir    
,john ,gonson1 a justice of peace1 very 
active in the suppression of brothels1  
is the person represented4 ,in a ,view  
of the ,town in #agce1 by ,t4 ,gilbert1 
fellow of ,peterhouse1 ,cambridge1 are  
the following lines3      ,though laws  
severe to punish crimes were made1      
,what honest man is of these laws       
afraid8     ,all felons against judges  
will exclaim1     ,as harlots tremble at
 a ,gonson's name4  ,pope has noticed   
him in his ,imitation of ,dr4 ,donne1   
and ,loveling1 in a very elegant ,latin 
ode4 ,thus1 between the poets and the   
painter1 the name of this harlot-hunting
 justice1 is transmitted to posterity4  
,he died on the #ith of ,january1 #agfe4

  ,illustration3 ,,the ,,harlot',s      
,,progress4  ,,plate #c4  ,,apprehended 
,,by ,a ,,magistrate4     ,,the         
,,harlot',s ,,progress4  ,,plate ,,iv4  
,with pallid cheek and haggard eye1     
,and loud laments1 and heartfelt sigh1  
,unpitied1 hopeless of relief1     ,she 
drinks the bitter cup of grief4      ,in
 vain the sigh1 in vain the tear1       
,compassion never enters here2     ,but 
justice clanks her iron chain1     ,and 
calls forth shame1 remorse1 and pain4   
,the situation1 in which the last plate 
exhibited our wretched female1 was      
sufficiently degrading1 but in this1 her
 misery is greatly aggravated4 ,we now  
see her suffering the chastisement due  
to her follies2 reduced to the wretched 
alternative of beating hemp1 or         
receiving the correction of a savage    
task-master4 ,exposed to the derision of
 all around1 even her own servant1 who  
is well acquainted with the rules of the
 place1 appears little disposed to show 
any return of gratitude for recent      

obligations1 though even her shoes1     
which she displays while tying up her   
garter1 seem by their gaudy outside to  
have been a present from her mistress4  
,the civil discipline of the stern      
keeper has all the severity of the old  
school4 ,with the true spirit of        
tyranny1 he sentences those who will not
 labour to the whipping-post1 to a kind 
of picketing suspension by the wrists1  
or having a heavy log fastened to their 
leg4 ,with the last of these punishments
 he at this moment threatens the heroine
 of our story1 nor is it likely that his
 obduracy can be softened except by a   
well applied fee4 ,how dreadful1 how    
mortifying the situation6 ,these        
accumulated evils might perhaps produce 
a momentary remorse1 but a return to the
 path of virtue is not so easy as a     
departure from it4  ,to show that       
neither the dread1 nor endurance1 of the
 severest punishment1 will deter from   
the perpetration of crimes1 a one-eyed  
female1 close to the keeper1 is picking 

a pocket4 ,the torn card may probably be
 dropped by the well-dressed gamester1  
who has exchanged the dice-box for the  
mallet1 and whose laced hat is hung up  
as a companion trophy to the            
hoop-petticoat4  ,one of the girls      
appears scarcely in her teens4 ,to the  
disgrace of our police1 these           
unfortunate little wanderers are still  
suffered to take their nocturnal rambles
 in the most public streets of the      
metropolis4 ,what heart1 so void of     
sensibility1 as not to heave a pitying  
sigh at their deplorable situation8     
,vice is not confined to colour1 for a  
black woman is ludicrously exhibited1 as
 suffering the penalty of those         
frailties1 which are imagined peculiar  
to the fair4  ,the figure chalked as    
dangling upon the wall1 with a pipe in  
his mouth1 is intended as a caricatured 
portrait of ,sir ,john ,gonson1 and     
probably the production of some would-be
 artist1 whom the magistrate had        
committed to ,bridewell1 as a proper    

academy for the pursuit of his studies4 
,the inscription upon the pillory1      
,better to work than stand thus2 and    
that on the whipping-post near the laced
 gambler1 ,the reward of idleness1 are  
judiciously introduced4  ,in this print 
the composition is good3 the figures in 
the back-ground1 though properly        
subordinate1 are sufficiently marked2   
the lassitude of the principal          
character1 well contrasted by the       
austerity of the rigid overseer4 ,there 
is a fine climax of female debasement1  
from the gaudy heroine of our drama1 to 
her maid1 and from thence to the still  
object1 who is represented as destroying
 one of the plagues of ,egypt4  ,such   
well dressed females1 as our heroine1   
are rarely met with in our present      
houses of correction2 but her splendid  
appearance is sufficiently warranted by 
the following paragraph in the          
,grub-street ,journal of ,september     
#adth1 #agcj4  ,one ,mary ,moffat1 a    
woman of great note in the hundreds of  

,drury1 who1 about a fortnight ago1 was 
committed to hard labour in             
,tothill-fields ,bridewell1 by nine     
justices1 brought his majesty's writ of 
habeas corpus1 and was carried before   
the right honourable the ,lord ,chief   
,justice ,raymond1 expecting to have    
been either bailed or discharged2 but   
her commitment appearing to be legal1   
his lordship thought fit to remand her  
back again to her former place of       
confinement1 where she is now beating   
hemp in a gown very richly laced with   
silver4  ,illustration3 ,,the           
,,harlot',s ,,progress4  ,,plate #d4    
,,scene ,,in ,,bridewell4     ,,the     
,,harlot',s ,,progress4  ,,plate ,v4    
,with keen remorse1 deep sighs1 and     
trembling fears     ,repentant groans1  
and unavailing tears1     ,this child of
 misery resigns her breath1     ,and    
sinks1 despondent1 in the arms of death4
   ,released from ,bridewell1 we now see
 this victim to her own indiscretion    
breathe her last sad sigh1 and expire in

 all the extremity of penury and        
wretchedness4 ,the two quacks1 whose    
injudicious treatment1 has probably     
accelerated her death1 are vociferously 
supporting the infallibility of their   
respective medicines1 and each charging 
the other with having poisoned her4 ,the
 meagre figure is a portrait of ,dr4    
,misaubin1 a foreigner1 at that time in 
considerable practice4  ,these disputes1
 it has been affirmed1 sometimes happen 
at a consultation of regular physicians1
 and a patient has been so unpolite as  
to die before they could determine on   
the name of his disorder4      ,about   
the symptoms how they disagree1     ,but
 how unanimous about the fee6  ,while   
the maid servant is entreating them to  
cease quarrelling1 and assist her dying 
mistress1 the nurse plunders her trunk  
of the few poor remains of former       
grandeur4 ,her little boy1 turning a    
scanty remnant of meat hung to roast by 
a string2 the linen hanging to dry2 the 
coals deposited in a corner2 the        

candles1 bellows1 and gridiron hung upon
 nails2 the furniture of the room2 and  
indeed every accompaniment2 exhibit a   
dreary display of poverty and           
wretchedness4 ,over the candles hangs a 
cake of ,jew's ,bread1 once perhaps the 
property of her ,levitical lover1 and   
now used as a fly-trap4 ,the initials of
 her name1 ,m4 ,h4 are smoked upon the  
ceiling as a kind of memento mori to the
 next inhabitant4 ,on the floor lies a  
paper inscribed anodyne necklace1 at    
that time deemed a sort of charm against
 the disorders incident to children2 and
 near the fire1 a tobacco-pipe1 and     
paper of pills4  ,a picture of general1 
and at this awful moment1 indecent      
confusion1 is admirably represented4    
,the noise of two enraged quacks        
disputing in bad ,english2 the harsh1   
vulgar scream of the maid servant2 the  
table falling1 and the pot boiling over1
 must produce a combination of sounds   
dreadful and dissonant to the ear4 ,in  
this pitiable situation1 without a      

friend to close her dying eyes1 or      
soften her sufferings by a tributary    
tear2 forlorn1 destitute1 and deserted1 
the heroine of this eventful history    
expires6 her premature death1 brought on
 by a licentious life1 seven years of   
which had been devoted to debauchery and
 dissipation1 and attended by consequent
 infamy1 misery1 and disease4 ,the whole
 story affords a valuable lesson to the 
young and inexperienced1 and proves this
 great1 this important truth1 that ,a   
,,deviation ,,from ,,virtue ,,is ,a     
,,departure ,,from ,,happiness4  ,the   
emaciated appearance of the dying       
figure1 the boy's thoughtless           
inattention1 and the rapacious1         
unfeeling eagerness of the old nurse1   
are naturally and forcibly delineated4  
,the figures are well grouped2 the      
curtain gives depth1 and forms a good   
back-ground to the doctor's head2 the   
light is judiciously distributed1 and   
each accompaniment highly appropriate4  
,illustration3 ,,the ,,harlot',s        

,,progress4  ,,plate #e4  ,,expires     
,,while ,,the ,,doctors ,,are           
,,disputing4     ,,the ,,harlot',s      
,,progress4  ,,plate ,,vi4      ,no     
friend's complaint1 no kind domestic    
tear1     ,pleas'd thy pale ghost1 or   
grac'd thy mournful bier3     ,by       
harlots' hands thy dying eyes were      
clos'd2     ,by harlots' hands thy      
decent limbs compos'd2     ,by harlots' 
hands thy humble grave adorn'd2     ,by 
harlots honour'd1 and by harlots        
mourn'd4   ,the adventures of our       
heroine are now concluded4 ,she is no   
longer an actor in her own tragedy2 and 
there are those who have considered this
 print as a farce at the end of it3 but 
surely such was not the author's        
intention4  ,the ingenious writer of    
,tristram ,shandy begins the life of his
 hero before he is born2 the picturesque
 biographer of ,mary ,hackabout has     
found an opportunity to convey          
admonition1 and enforce his moral1 after
 her death4 ,a wish usually prevails1   

even among those who are most humbled by
 their own indiscretion1 that some      
respect should be paid to their remains2
 that their eyes should be closed by the
 tender hand of a surviving friend1 and 
the tear of sympathy and regret shed    
upon the sod which covers their grave2  
that those who loved them living1 should
 attend their last sad obsequies2 and a 
sacred character read over them the     
awful service which our religion        
ordains1 with the solemnity it demands4 
,the memory of this votary of           
prostitution meets with no such marks of
 social attention1 or pious respect4    
,the preparations for her funeral are as
 licentious as the progress of her life1
 and the contagion of her example seems 
to reach all who surround her coffin4   
,one of them is engaged in the double   
trade of seduction and thievery2 a      
second is contemplating her own face in 
a mirror4 ,the female who is gazing at  
the corpse1 displays some marks of      
concern1 and feels a momentary          

compunction at viewing the melancholy   
scene before her3 but if any other part 
of the company are in a degree affected1
 it is a mere maudlin sorrow1 kept up by
 glasses of strong liquor4 ,the depraved
 priest does not seem likely to feel for
 the dead that hope expressed in our    
liturgy4 ,the appearance and employment 
of almost every one present at this     
mockery of woe1 is such as must raise   
disgust in the breast of any female who 
has the least tincture of delicacy1 and 
excite a wish that such an exhibition   
may not be displayed at her own funeral4
  ,in this plate there are some local   
customs which mark the manners of the   
times when it was engraved1 but are now 
generally disused1 except in some of the
 provinces very distant from the        
capital2 sprigs of rosemary were then   
given to each of the mourners3 to appear
 at a funeral without one1 was as great 
an indecorum as to be without a white   
handkerchief4 ,this custom might        
probably originate at a time when the   

plague depopulated the metropolis1 and  
rosemary was deemed an antidote against 
contagion4 ,it must be acknowledged that
 there are also in this print some      
things which1 though they gave the      
artist an opportunity of displaying his 
humour1 are violations of propriety and 
customs3 such is her child1 but a few   
removes from infancy1 being habited as  
chief mourner1 to attend his parent to  
the grave2 rings presented1 and an      
escutcheon hung up1 in a garret1 at the 
funeral of a needy prostitute4 ,the     
whole may be intended as a burlesque    
upon ostentatious and expensive         
funerals1 which were then more customary
 than they are now4 ,mr4 ,pope has well 
ridiculed the same folly2      ,when    
,hopkins dies1 a thousand lights attend 
,the wretch who1 living1 sav'd a        
candle's end4  ,the figures have much   
characteristic discrimination2 the woman
 looking into the coffin has more beauty
 than we generally see in the works of  
this artist4 ,the undertaker's gloating 

stare1 his companion's leer1 the        
internal satisfaction of the parson and 
his next neighbour1 are contrasted by   
the ,irish howl of the woman at the     
opposite side1 and evince ,mr4          
,hogarth's thorough knowledge of the    
operation of the passions upon the      
features4 ,the composition forms a good 
shape1 has a proper depth1 and the light
 is well managed4  ,sir ,james          
,thornhill's opinion of this series may 
be inferred from the following          
circumstance4 ,mr4 ,hogarth had without 
consent married his daughter3 ,sir      
,james1 considering him as an obscure   
artist1 was much displeased with the    
connexion4 ,to give him a better opinion
 of his son-in-law1 a common friend1 one
 morning1 privately conveyed the six    
pictures of the ,harlot's ,progress into
 his drawing-room4 ,the veteran painter 
eagerly inquired who was the artist2 and
 being told1 cried out1 ,very well6     
,very well indeed6 ,the man who can     
paint such pictures as these1 can       

maintain a wife without a portion4 ,this
 was the remark of the moment2 but he   
afterwards considered the union of his  
daughter with a man of such abilities an
 honour to his family1 was reconciled1  
and generous4  ,when the publication was
 advertised1 such was the expectation of
 the town1 that above twelve hundred    
names were entered in the subscription  
book4 ,when the prints appeared1 they   
were beheld with astonishment4 ,a       
subject so novel in the idea1 so marked 
with genius in the execution1 excited   
the most eager attention of the public4 
,at a time when ,england was coldly     
inattentive to every thing which related
 to the arts1 so desirous were all ranks
 of people of seeing how this little    
domestic story was delineated1 that     
there were eight piratical imitations1  
besides two copies in a smaller size    
than the original1 published1 by        
permission of the author1 for ,thomas   
,bakewell4 ,the whole series were copied
 on fan-mounts1 representing the six    

plates1 three on one side1 and three on 
the other4 ,it was transferred from the 
copper to the stage1 in the form of a   
pantomime1 by ,theophilus ,cibber2 and  
again represented in a ballad opera1    
entitled1 the ,jew ,decoyed2 or1 the    
,harlot's ,progress4  ,illustration3    
,,the ,,harlot',s ,,progress4  ,,plate  
#f4  ,,the ,,funeral4     ,,the         
,,lecture4  ,,datur ,,vacuum4      ,no  
wonder that science1 and learning       
profound1     ,in ,oxford and ,cambridge
 so greatly abound1     ,when so many   
take thither a little each day1     ,and
 we see very few who bring any away4    
,i was once told by a fellow of a       
college1 says ,mr4 ,ireland1 that he    
disliked ,hogarth1 because he had in    
this print ridiculed one of the         
,universities4 ,i endeavoured to defend 
the artist1 by suggesting that this was 
not intended as a picture of what       
,oxford is now1 but of what it was in   
days long past3 that it was that kind of
 general satire with which no one should

 be offended1 c4 c4 ,his reply was too  
memorable to be forgotten4 ,sir1 the    
,theatre1 the ,bench1 the ,college of   
,physicians1 and the ,foot ,guards1 are 
fair objects of satire2 but those       
venerable characters who have devoted   
their whole lives to feeding the lamp of
 learning with hallowed oil1 are too    
sacred to be the sport of an uneducated 
painter4 ,their unremitting industry    
embraced the whole circle of the        
sciences1 and in their logical          
disputations they displayed an acuteness
 that their followers must contemplate  
with astonishment4 ,the present state of
 ,oxford it is not necessary for me to  
analyze1 as you contend that the satire 
is not directed against that4  ,in      
answer to this observation1 which was   
uttered with becoming gravity1 a        
gentleman present remarked1 as follows4 
,for some of the ancient customs of this
 seminary of learning1 ,i have much     
respect1 but as to their dry treatises  
on logic1 immaterial dissertations on   

materiality1 and abstruse investigations
 of useless subjects1 they are mere     
literary legerdemain4 ,their            
disputations being usually built on an  
undefinable chimera1 are solved by a    
paradox4 ,instead of exercising their   
power of reason they exert their powers 
of sophistry1 and divide and subdivide  
every subject with such casuistical     
minuteness1 that those who are not      
convinced1 are almost invariably        
confounded4 ,this custom1 it must be    
granted1 is not quite so prevalent as it
 once was3 a general spirit of reform is
 rapidly diffusing itself2 and though ,i
 have heard cold-blooded declaimers     
assert1 that these shades of science are
 become the retreats of ignorance1 and  
the haunts of dissipation1 ,i consider  
them as the great schools of urbanity1  
and favourite seats of the belles       
lettres4 ,by the belles lettres1 ,i mean
 history1 biography1 and poetry2 that   
all these are universally cultivated1 ,i
 can exemplify by the manner in which a 

highly accomplished young man1 who is   
considered as a model by his            
fellow-collegians1 divides his hours4   
,at breakfast ,i found him studying the 
marvellous and eventful history of      
,baron ,munchausen2 a work whose periods
 are equally free from the long-winded  
obscurity of ,tacitus1 and the asthmatic
 terseness of ,sallust4 ,while his hair 
was dressing1 he enlarged his           
imagination and improved his morals by  
studying ,doctor what's his name's      
abridgement of ,chesterfield's          
,principles of ,politeness4 ,to furnish 
himself with biographical information1  
and add to his stock of useful anecdote1
 he studied the ,lives of the           
,highwaymen2 in which he found many     
opportunities of exercising his genius  
and judgment in drawing parallels       
between the virtues and exploits of     
these modern worthies1 and those        
dignified1 and almost deified ancient   
heroes whose deeds are recorded in      
,plutarch and ,nepos4  ,with poetical   

studies1 he is furnished by the ,english
 operas1 which1 added to the prologues1 
epilogues1 and odes of the day1 afford  
him higher entertainment than he could  
find in ,homer or ,virgil3 he has not   
stored his memory with many epigrams1   
but of puns has a plentiful stock1 and  
in conundra is a wholesale dealer4 ,at  
the same college ,i know a most striking
 contrast1 whose reading--,but as his   
opponent would hear no more1 my advocate
 dropped the subject2 and ,i will follow
 his example4  ,it seems probable1 that 
when the artist engraved this print1 he 
had only a general reference to an      
university lecture2 the words datur     
vacuum were an after-thought4 ,some     
prints are without the inscription1 and 
in some of the early impressions it is  
written with a pen4  ,the scene is laid 
at ,oxford1 and the person reading1     
universally admitted to be a ,mr4       
,fisher1 of ,jesus ,college1 registrat  
of the university1 with whose consent   
this portrait was taken1 and who lived  

until the #ahth of ,march1 #agfa4 ,that 
he should wish to have such a face      
handed down to posterity1 in such       
company1 is rather extraordinary1 for   
all the band1 except one man1 have been 
steeped in the stream of stupidity4     
,this gentleman has the profile of      
penetration2 a projecting forehead1 a   
,roman nose1 thin lips1 and a long      
pointed chin4 ,his eye is bent on       
vacancy3 it is evidently directed to the
 moon-faced idiot that crowns the       
pyramid1 at whose round head1 contrasted
 by a cornered cap1 he with difficulty  
suppresses a laugh4 ,three fellows on   
the right hand of this fat1 contented   
first-born transmitter of a foolish     
face1 have most degraded characters1 and
 are much fitter for the stable than the
 college4 ,if they ever read1 it must be
 in ,bracken's ,farriery1 or the        
,country ,gentleman's ,recreation4 ,two 
square-capped students a little beneath 
the top1 one of whom is holding converse
 with an adjoining profile1 and the     

other lifting up his eyebrows1 and      
staring without sight1 have the same    
misfortune that attended our first      
,james--their tongues are rather too    
large4 ,a figure in the left-hand corner
 has shut his eyes to think2 and having1
 in his attempt to separate a syllogism1
 placed the forefinger of his right hand
 upon his forehead1 has fallen asleep4  
,the professor1 a little above the book1
 endeavours by a projection of his under
 lip to assume importance2 such         
characters are not uncommon3 they are   
more solicitous to look wise1 than to be
 so4 ,of ,mr4 ,fisher it is not         
necessary to say much3 he sat for his   
portrait1 for the express purpose of    
having it inserted in the ,lecture6--,we
 want no other testimony of his talents4
  ,illustration3 ,,the ,,lecture4       
,,the ,,chorus4  ,,rehearsal ,,of ,,the 
,,oratorio ,,of ,,judith4      ,o cara1 
cara6 silence all that train1     ,joy  
to great chaos6 let division reign4     
,the ,oratorio of ,judith1 ,mr4 ,ireland

 observes1 was written by ,esquire      
,william ,huggins1 honoured by the music
 of ,william de ,fesch1 aided by new    
painted scenery and magnifique          
decoration1 and in the year #agcc       
brought upon the stage4 ,as ,de ,fesch#b
 was a ,german and a genius1 we may     
fairly presume it was well set2 and     
there was at that time1 as at this1 a   
sort of musical mania1 that paid much   
greater attention to sounds than to     
sense2 notwithstanding all these points 
in her favour1 when the ,jewish heroine 
had made her theatrical debut1 and so   
effectually smote ,holofernes1          
----,as to sever     ,his head from his 
great trunk for ever and for ever4  the 
audience compelled her to make her exit4
 ,to set aside this partial and unjust  
decree1 ,mr4 ,huggins appealed to the   
public1 and printed his oratorio4       
,though it was adorned with a           
frontispiece designed by ,hogarth1 and  
engraved by ,vandergucht1 the world     
could not be compelled to read1 and the 

unhappy writer had no other resource    
than the consolatory reflection1 that   
his work was superlatively excellent1   
but unluckily printed in a tasteless    
age2 a comfortable and solacing         
self-consciousness1 which hath1 ,i      
verily believe1 prevented many a great  
genius from becoming his own            
executioner4  ,to paint a sound is      
impossible2 but as far as art can go    
towards it1 ,hogarth has gone in this   
print4 ,the tenor1 treble1 and bass of  
these ear-piercing choristers are so    
decisively discriminated1 that we all   
but hear them4  ,the principal figure1  
whose head1 hands1 and feet are in equal
 agitation1 has very properly tied on   
his spectacles2 it would have been      
prudent to have tied on his periwig     
also1 for by the energy of his action he
 has shaken it from his head1 and1      
absorbed in an eager attention to true  
time1 is totally unconscious of his     
loss4  ,a gentleman--pardon me1 ,i meant
 a singer--in a bag wig1 immediately    

beneath his uplifted hand1 ,i suspect to
 be of foreign growth4 ,it has the      
engaging air of an importation from     
,italy4  ,the little figure in the      
sinister corner1 is1 it seems1 intended 
for a ,mr4 ,tothall1 a woollen-draper1  
who lived in ,tavistock-court1 and was  
,hogarth's intimate friend4  ,the name  
of the performer on his right hand1     
----,whose growling bass     ,would     
drown the clarion of the braying ass1   
,i cannot learn1 nor do ,i think that   
this group were meant for particular    
portraits1 but a general representation 
of the violent distortions into which   
these crotchet-mongers draw their       
features on such solemn occasions4      
,even the head of the bass-viol has air 
and character3 by the band under the    
chin1 it gives some idea of a professor1
 or what is1 ,i think1 called a ,mus4   
,d4  ,the words now singing1 ,the world 
shall bow to the ,assyrian throne1 are  
extracted from ,mr4 ,huggins' oratorio2 
the etching is in a most masterly style1

 and was originally given as a          
subscription ticket to the ,modern      
,midnight ,conversation4  ,i have seen a
 small political print on ,sir ,robert  
,walpole's administration1 entitled1    
,excise1 a new ,ballad ,opera1 of which 
this was unquestionably the basis4      
,beneath it is the following learned and
 poetical motto3                ,experto
 crede ,roberto4      ,mind how each    
hireling songster tunes his throat1     
,and the vile knight beats time to every
 note3     ,so ,nero sung while ,rome   
was all in flames1     ,but time shall  
brand with infamy their names4          
,,footnote3  #b ,he was a respectable   
performer on the violin1 some years     
chapel-master at ,antwerp1 and several  
seasons leader of the band at ,marybone 
,gardens4 ,he published a collection of 
musical compositions1 to which was      
annexed a portrait of himself1          
characterised by three lines from       
,milton3      ,thou honour'dst verse1   
and verse must lend her wing     ,to    

honour thee1 the priest of ,phoebus'    
quire1     ,that tun'st her happiest    
lines in hymn or song4  ,he died in     
#agej1 aged seventy years1 and gives one
 additional name to a catalogue ,i have 
somewhere seen of very old professors of
 music1 who1 saith my author1 generally 
live unto a greater age than persons in 
any other way of life1 from their souls 
being so attuned unto harmony1 that they
 enjoy a perpetual peace of mind4 ,it   
has been observed1 and ,i believe       
justly1 that thinking is a great enemy  
to longevity1 and that1 consequently1   
they who think least will be likely to  
live longest4 ,the quantity of thought  
necessary to make an adept in this      
divine science1 must be determined by   
those who have studied it4--,it would   
seem by this remark1 that ,mr4 ,ireland 
was not aware that to acquire           
proficiency in the divine science to    
which he so pleasantly alludes1 requires
 great application and study4           
,illustration3 ,,the ,,chorus4          

,,columbus ,,breaking ,,the ,,egg4   ,by
 the success of ,columbus's first       
voyage1 doubt had been changed into     
admiration2 from the honours with which 
he was rewarded1 admiration degenerated 
into envy4 ,to deny that his discovery  
carried in its train consequences       
infinitely more important than had      
resulted from any made since the        
creation1 was impossible4 ,his enemies  
had recourse to another expedient1 and  
boldly asserted that there was neither  
wisdom in the plan1 nor hazard in the   
enterprise4  ,when he was once at a     
,spanish supper1 the company took this  
ground1 and being by his narrative      
furnished with the reflections which had
 induced him to undertake his voyage1   
and the course that he had pursued in   
its completion1 sagaciously observed1   
that it was impossible for any man1 a   
degree above an idiot1 to have failed of
 success4 ,the whole process was so     
obvious1 it must have been seen by a man
 who was half blind6 ,nothing could be  

so easy6  ,it is not difficult now ,i   
have pointed out the way1 was the answer
 of ,columbus3 but easy as it will      
appear1 when you are possessed of my    
method1 ,i do not believe that1 without 
such instruction1 any person present    
could place one of these eggs upright on
 the table4 ,the cloth1 knives1 and     
forks were thrown aside1 and two of the 
party1 placing their eggs as required1  
kept them steady with their fingers4    
,one of them swore there could be no    
other way4 ,we will try1 said the       
navigator2 and giving an egg1 which he  
held in his hand1 a smart stroke upon   
the table1 it remained upright4 ,the    
emotions which this excited in the      
company are expressed in their          
countenances4 ,in the be-ruffed booby at
 his left hand it raises astonishment2  
he is a ,,dear ,,me6 man1 of the same   
family with ,sterne's ,simple           
,traveller1 and came from ,amiens only  
yesterday4 ,the fellow behind him1      
beating his head1 curses his own        

stupidity2 and the whiskered ruffian1   
with his fore-finger on the egg1 is in  
his heart cursing ,columbus4 ,as to the 
two veterans on the other side1 they    
have lived too long to be agitated with 
trifles3 he who wears a cap1 exclaims1  
,is this all6 and the other1 with a bald
 head1 ,by ,st4 ,jago1 ,i did not think 
of that6 ,in the face of ,columbus there
 is not that violent and excessive      
triumph which is exhibited by little    
characters on little occasions2 he is   
too elevated to be overbearing2 and1    
pointing to the conical solution of his 
problematical conundrum1 displays a calm
 superiority1 and silent internal       
contempt4  ,two eels1 twisted round the 
eggs upon the dish1 are introduced as   
specimens of the line of beauty2 which  
is again displayed on the table-cloth1  
and hinted at on the knife-blade4 ,in   
all these curves there is peculiar      
propriety2 for the etching was given as 
a receipt-ticket to the ,analysis1 where
 this favourite undulating line forms   

the basis of his system4  ,in the print 
of ,columbus1 there is evident reference
 to the criticisms on what ,hogarth     
called his own discovery2 and in truth  
the connoisseurs' remarks on the painter
 were dictated by a similar spirit to   
those of the critics on the navigator3  
they first asserted there was no such   
line1 and when he had proved that there 
was1 gave the honour of discovery to    
,lomazzo1 ,michael ,angelo1 c4 c4       
,illustration3 ,,columbus ,,breaking    
,,the ,,egg4     ,a ,,midnight ,,modern 
,,conversation4      ,think not to find 
one meant resemblance there2     ,we    
lash the vices1 but the persons spare4  
,prints should be priz'd1 as authors    
should be read1     ,who sharply smile  
prevailing folly dead4     ,so ,rabelais
 laugh'd1 and so ,cervantes thought2    
,so nature dictated what art has taught4
   ,notwithstanding this inscription1   
which was engraved on the plate some    
time after its publication1 it is very  
certain that most of these figures were 

intended for individual portraits2 but  
,mr4 ,hogarth1 not wishing to be        
considered as a personal satirist1 and  
fearful of making enemies among his     
contemporaries1 would never acknowledge 
who were the characters4 ,some of them  
the world might perhaps mistake2 for    
though the author was faithful in       
delineating whatever he intended to     
portray1 complete intoxication so far   
caricatures the countenance1 that1      
according to the old1 though trite      
proverb1 the man is not himself4 ,his   
portrait1 though given with the utmost  
fidelity1 will scarcely be known by his 
most intimate friends1 unless they have 
previously seen him in this degrading   
disguise4 ,hence1 it becomes difficult  
to identify men whom the painter did not
 choose to point out at the time2 and a 
century having elapsed1 it becomes      
impossible1 for all who composed the    
group1 with the artist by whom it was   
delineated1      ,shake hands with dust1
 and call the worm their kinsman4  ,mrs4

 ,piozzi was of opinion that the divine 
with a cork-screw1 occasionally used as 
a tobacco-stopper1 hanging upon his     
little finger1 was the portrait of      
parson ,ford1 ,dr4 ,johnson's uncle2    
though1 upon the authority of ,sir ,john
 ,hawkins1 of anecdotish memory1 it has 
been generally supposed to be intended  
for ,orator ,henley4 ,as both these     
worthies were distinguished by that     
rubicundity of face with which it is    
marked1 the reader may decree the honour
 of a sitting to which he pleases4  ,the
 roaring bacchanalian who stands next   
him1 waving his glass in the air1 has   
pulled off his wig1 and1 in the zeal of 
his friendship1 crowns the divine's     
head4 ,he is evidently drinking         
destruction to fanatics1 and success to 
mother church1 or a mitre to the jolly  
parson whom he addresses4  ,the lawyer1 
who sits near him1 is a portrait of one 
,kettleby1 a vociferous bar-orator1 who1
 though an utter barrister1 chose to    
distinguish himself by wearing an       

enormous full-bottom wig1 in which he is
 here represented4 ,he was farther      
remarkable for a diabolical squint1 and 
a satanic smile4  ,a poor maudlin       
miserable1 who is addressing him1 when  
sober1 must be a fool2 but1 in this     
state1 it would puzzle ,lavater to      
assign him a proper class4 ,he seems    
endeavouring to demonstrate to the      
lawyer1 that1 in a poi--poi--point of   
law1 he has been most cruelly cheated1  
and lost a cau--cau--cause1 that he     
ought to have got1--and all this was    
owing to his attorney being an infernal 
villain4 ,this may very probably be     
true2 for the poor man's tears show     
that1 like the person relieved by the   
good ,samaritan1 he has been among      
thieves4 ,the barrister grins horribly  
at his misfortunes1 and tells him he is 
properly punished for not employing a   
gentleman4  ,next to him sits a         
gentleman in a black periwig4 ,he       
politely turns his back to the company1 
that he may have the pleasure of smoking

 a sociable pipe4  ,the justice1 in fair
 round belly1 with good capon           
lin'd1--the justice1 having hung up his 
hat1 wig1 and cloak1 puts on his        
nightcap1 and1 with a goblet of superior
 capacity before him1 sits in solemn    
cogitation4 ,his left elbow1 supported  
by the table1 and his right by a chair1 
with a pipe in one hand1 and a stopper  
in the other1 he puffs out the bland    
vapour with the dignity of an alderman1 
and fancies himself as great as         
,jupiter1 seated upon the summit of     
,mount ,olympus1 enveloped by the thick 
cloud which his own breath has created4 
,with folded arms and open mouth1       
another leans back in his chair4 ,his   
wig is dropped from his head1 and he is 
asleep2 but though speechless1 he is    
sonorous2 for you clearly perceive that1
 where nasal sounds are the music1 he is
 qualified to be leader of the band4    
,the fallen hero1 who with his chair and
 goblet has tumbled to the floor1 by the
 cockade in his hat1 we suppose to be an

 officer4 ,his forehead is marked1      
perhaps with honourable scars4 ,to wash 
his wounds1 and cool his head1 the      
staggering apothecary bathes it with    
brandy4  ,a gentleman in the corner1    
who1 from having the ,craftsman and     
,london ,evening in his pocket1 we      
determine to be a politician1 very      
unluckily mistakes his ruffle for the   
bowl of his pipe1 and sets fire to it4  
,the person in a bag-wig and solitaire1 
with his hand upon his head1 would not  
now pass for a fine gentleman1 but in   
the year #agce was a complete beau4     
,unaccustomed to such joyous company1 he
 appears to have drank rather more than 
agrees with him4  ,the company consists 
of eleven1 and on the chimney-piece1    
floor1 and table1 are three and twenty  
empty flasks4 ,these1 added to a bottle 
which the apothecary holds in his hand1 
prove that this select society have not 
lost a moment4 ,the overflowing bowl1   
full goblets1 and charged glasses1 prove
 that they think1 ',tis too early to    

part1 though the dial points to four in 
the morning4  ,the different degrees of 
drunkenness are well discriminated1 and 
its effects admirably described4 ,the   
poor simpleton1 who is weeping out his  
woes to honest lawyer ,kettleby1 it     
makes mawkish2 the beau it makes sick2  
and the politician it stupifies4 ,one is
 excited to roaring1 and another lulled 
to sleep4 ,it half closes the eyes of   
justice1 renders the footing of physic  
unsure1 and lays prostrate the glory of 
his country1 and the pride of war4      
,illustration3 ,a ,,midnight ,,modern   
,,conversation4     ,,consultation ,,of 
,,physicians--,,the ,,undertakers'      
,,arms4   ,this plate is designed1 with 
much humour1 according to the rules of  
heraldry1 and is called ,the            
,undertakers' ,arms1 to show us the     
connexion between death and the quack   
doctor1 as are also those cross-bones on
 the outside of the escutcheon4 ,when an
 undertaker is in want of business1 he  
cannot better apply than to some of     

those gentlemen of the faculty1 who are1
 for the most part1 so charitably       
disposed1 as to supply the necessities  
of these sable death-hunters1 and keep  
them from starving in a healthy time4   
,by the tenour of this piece1 ,mr4      
,hogarth would intimate the general     
ignorance of such of the medical tribe1 
and teach us that they possess little   
more knowledge than their voluminous    
wigs and golden-headed canes4 ,they are 
represented in deep consultation upon   
the contents of an urinal4 ,our artist's
 own illustration of this coat of arms1 
as he calls it1 is as follows3 ,the     
company of undertakers beareth1 sable1  
an urinal1 proper between twelve quack  
heads of the second1 and twelve cane    
heads1 or1 consultant4 ,on a chief1     
,nebulae1 ermine1 one complete doctor1  
issuant1 checkie1 sustaining in his     
right hand a baton of the second4 ,on   
the dexter and sinister sides1 two      
demi-doctors1 issuant of the second1 and
 two cane heads1 issuant of the third2  

the first having one eye1 couchant1     
towards the dexter side of the          
escutcheon2 the second faced1 per pale1 
proper1 and gules guardant4 ,with this  
motto1 ,et plurima mortis imago4 ,the   
general image of death4  ,it has been   
said of the ancients1 that they began by
 attempting to make physic a science1   
and failed2 of the moderns1 that they   
began by attempting to make it a trade1 
and succeeded4 ,this company are moderns
 to a man1 and1 if we may judge of their
 capacities by their countenances1 are  
indeed a most sapient society4 ,their   
practice is very extensive1 and they go 
about1 taking guineas1      ,far as the 
weekly bills can reach around1     ,from
 ,kent-street end1 to fam'd ,st4        
,giles's pound4  ,many of them are      
unquestionably portraits1 but as these  
grave and sage descendants of ,galen are
 long since gone to that place where    
they before sent their patients1 we are 
unable to ascertain any of them1 except 
the three who are1 for distinction1     

placed in the chief1 or most honourable 
part of the escutcheon4 ,those who1 from
 their exalted situation1 we may        
naturally conclude the most             
distinguished and sagacious leeches of  
their day1 have marks too obtrusive to  
be mistaken4 ,he towards the dexter side
 of the escutcheon1 is determined by an 
eye in the head of his cane to be the   
all-accomplished ,chevalier ,taylor1 in 
whose marvellous and surprising history1
 written by his own hand1 and published 
in #agfa1 is recorded such events       
relative to himself and others1 as have 
excited more astonishment than that     
incomparable romance1 ,don ,belianis of 
,greece1 the ,arabian ,nights1 or ,sir  
,john ,mandeville's ,travels4  ,the     
centre figure1 arrayed in a harlequin   
jacket1 with a bone1 or what the painter
 denominates a baton1 in the right hand1
 is generally considered designed for   
,mrs4 ,mapp1 a masculine woman1 daughter
 to one ,wallin1 a bone-setter at       
,hindon1 in ,wiltshire4 ,this female    

,thalestris1 incompatible as it may seem
 with her sex1 adopted her father's     
profession1 travelled about the country1
 calling herself ,crazy ,sally2 and1    
like another ,hercules1 did wonders by  
strength of arm4  ,on the sinister side 
is ,dr4 ,ward1 generally called ,spot   
,ward1 from his left cheek being marked 
with a claret colour4 ,this gentleman   
was of a respectable family1 and though 
not highly educated1 had talents very   
superior to either of his coadjutors4   
,for the chief1 this must suffice2 as   
for the twelve quack heads1 and twelve  
cane heads1 or1 consultant1 united with 
the cross bones at the corners1 they    
have a most mortuary appearance1 and do 
indeed convey a general image of death4 
,in the time of ,lucian1 a philosopher  
was distinguished by three things1--his 
avarice1 his impudence1 and his beard4  
,in the time of ,hogarth1 medicine was a
 mystery1 and there were three things   
which distinguished the physician1--his 
gravity1 his cane-head1 and his periwig4

 ,with these leading requisites1 this   
venerable party are most amply gifted4  
,to specify every character is not      
necessary2 but the upper figure on the  
dexter side1 with a wig like a weeping  
willow1 should not be overlooked4 ,his  
lemon-like aspect must curdle the blood 
of all his patients4 ,in the            
countenances of his brethren there is no
 want of acids2 but1 however sour1 each 
individual was in his day1              
----------------a doctor of renown1     
,to none but such as rust in health     
unknown2     ,and1 save or slay1 this   
privilege they claim1     ,or death1 or 
life1 the bright reward's the same4     
,illustration3 ,,consultation ,,of      
,,physicians4     ,,daniel ,,lock1      
,,esq4 ,f4,a4,s4   ,daniel ,lock was an 
architect of some eminence4 ,he retired 
from business with an ample fortune1    
lived in ,surrey-street1 and was buried 
in the chapel of ,trinity ,college1     
,cambridge4 ,this portrait was          
originally engraved by ,j4 ,m',ardell   

from a painting by ,hogarth1 and is     
classed among the productions of our    
artist that are of uncertain date4      
,illustration3 ,,daniel ,,lock1 ,,esq4  
,f4,a4,s4     ,,the ,,enraged           
,,musician4      ,with thundering noise 
the azure vault they tear1     ,and     
rend1 with savage roar1 the echoing air3
     ,the sounds terrific he with horror
 hears2     ,his fiddle throws          
aside1--and stops his ears4   ,we have  
seen displayed the distress of a poet2  
in this the artist has exhibited the    
rage of a musician4 ,our poor bard bore 
his misfortunes with patience1 and1 rich
 in his ,muse1 did not much repine at   
his poverty4 ,not so this master of     
harmony1 of heavenly harmony6 ,to the   
evils of poverty he is now a stranger2  
his adagios and cantabiles have procured
 him the protection of nobles2 and1     
contrary to the poor shirtless mendicant
 of the ,muses that we left in a garret1
 he is arrayed in a coat decorated with 
frogs1 a bag-wig1 solitaire1 and ruffled

 shirt4 ,waiting in the chamber of a man
 of fashion1 whom he instructs in the   
divine science of music1 having first   
tuned his instrument1 he opens his      
crotchet-book1 shoulders his violin1    
flourishes his fiddle-stick1 and1       
,softly sweet1 in ,lydian measure1      
,soon he soothes his soul to pleasure4  
,rapt in ,elysium at the divine         
symphony1 he is awakened from his       
beatific vision1 by noises that distract
 him4      ----------,an universal      
hubbub wild1     ,of stunning sounds1   
and voices all confus'd1     ,assails   
his ears with loudest vehemence4        
,confounded with the din1 and enraged by
 the interruption1 our modern ,terpander
 starts from his seat1 and opens the    
window4 ,this operates as air to a      
kindling fire2 and such a combination of
 noises burst upon the auricular nerve1 
that he is compelled to stop his        
ears1--but to stop the torrent is       
impossible6      ,a louder yet1 and yet 
a louder strain1     ,break his bands of

 thought asunder6     ,and rouse him1   
like a rattling peal of thunder2        
,at the horrible sound         ,he has  
rais'd up his head1         ,as awak'd  
from the dead1       ,and amazed he     
stares all around4  ,in this situation  
he is delineated2 and those who for a   
moment contemplate the figures before   
him1 cannot wonder at his rage4      ,a 
crew of hell-hounds never ceasing bark1 
,with wide ,cerberean mouth1 full loud1 
and ring     ,a hideous peal4  ,of the  
dramatis personae who perform the vocal 
parts1 the first is a fellow1 in a tone 
that would rend hell's concave1 bawling1
 ,dust1 ho6 dust1 ho6 dust6 ,next to    
him1 an amphibious animal1 who nightly  
pillows his head on the sedgy bosom of  
old ,thames1 in a voice that emulates   
the rush of many waters1 or the roaring 
of a cataract1 is bellowing             
,flounda1a1a1ars6 ,a daughter of        
,may-day1 who dispenses what in ,london 
is called milk1 and is consequently a   
milk-maid1 in a note pitched at the very

 top of her voice1 is crying1 ,be-louw6 
,while a ballad-singer dolefully drawls 
out ,the ,ladie's ,fall1 an infant in   
her arms joins its treble pipe in chorus
 with the screaming parrot1 which is on 
a lamp-iron over her head4 ,on the roof 
of an opposite house are two cats1      
performing what an amateur of music     
might perhaps call a bravura duet2 near 
them appears      ,a sweep1 shrill      
twittering on the chimney-top4  ,a      
little ,french drummer1 singing to his  
rub-a-dub1 and the agreeable yell of a  
dog1 complete the vocal performers4  ,of
 the instrumental1 a fellow blowing a   
horn1 with a violence that would have   
almost shaken down the walls of         
,jericho1 claims the first notice2 next 
to him1 the dustman rattles his bell    
with ceaseless clangour1 until the air  
reverberates the sound4  ,the intervals 
are filled up by a paviour1 who1 to     
every stroke of his rammer1 adds a loud1
 distinct1 and echoing1 ,haugh6 ,the    
pedestrian cutler is grinding a         

butcher's cleaver with such earnestness 
and force1 that it elicits sparks of    
fire4 ,this1 added to the agonizing     
howls of his unfortunate dog1 must      
afford a perfect specimen of the ancient
 chromatic4 ,the poor animal1 between a 
man and a monkey1 piping harsh discords 
upon a hautboy1 the girl whirling her   
crepitaculum1 or rattle1 and the boy    
beating his drum1 conclude the catalogue
 of this harmonious band4  ,this        
delineation originated in a story which 
was told to ,hogarth by the late ,mr4   
,john ,festin1 who is the hero of the   
print4 ,he was eminent for his skill in 
playing upon the ,german flute and      
hautboy1 and much employed as a teacher 
of music4 ,to each of his scholars he   
devoted one hour each day4 ,at nine     
o'clock in the morning1 said he1 ,i once
 waited upon my lord ,spencer1 but his  
lordship being out of town1 from him ,i 
went to ,mr4 ,v----n4 ,it was so early  
that he was not arisen4 ,i went into his
 chamber1 and1 opening a shutter1 sat   

down in the window-seat4 ,before the    
rails was a fellow playing upon the     
hautboy4 ,a man with a barrow full of   
onions offered the piper an onion if he 
would play him a tune4 ,that ended1 he  
offered a second onion for a second     
tune2 the same for a third1 and was     
going on3 but this was too much2 ,i     
could not bear it2 it angered my very   
soul--',zounds6' said ,i1 'stop here6   
,this fellow is ridiculing my           
profession2 he is playing on the hautboy
 for onions6'  ,the whole of this       
bravura scene is admirably represented4 
,a person quaintly enough observed1 that
 it deafens one to look at it4          
,illustration3 ,,the ,,enraged          
,,musician4     ,,masquerades ,,and     
,,operas4  ,,burlington ,,gate4   ,this 
print appeared in #agbc4 ,of the three  
small figures in the centre the middle  
one is ,lord ,burlington1 a man of      
considerable taste in painting and      
architecture1 but who ranked ,mr4 ,kent1
 an indifferent artist1 above his merit4

 ,on one side of the peer is ,mr4       
,campbell1 the architect2 on the other1 
his lordship's postilion4 ,on a         
show-cloth in this plate is also        
supposed to be the portrait of king     
,george ,,ii4 who gave #ajjjl4 towards  
the ,masquerade2 together with that of  
the earl of ,peterborough1 who offers   
,cuzzoni1 the ,italian singer1 #hjjjl4  
and she spurns at him4 ,mr4 ,heidegger1 
the regulator of the ,masquerade1 is    
also exhibited1 looking out of a window1
 with the letter ,h under him4  ,the    
substance of the foregoing remarks is   
taken from a collection lately belonging
 to ,captain ,baillie1 where it is said 
that they were furnished by an eminent  
connoisseur4  ,a board is likewise      
displayed1 with the words1 ,long ,room4 
,fawks's dexterity of hand4 ,it appears 
from the following advertisement that   
this was a man of great consequence in  
his profession3 ,whereas the town hath  
been lately alarmed1 that the famous    
,fawks was robbed and murdered1         

returning from performing at the duchess
 of ,buckingham's house at ,chelsea2    
which report being raised and printed by
 a person to gain money to himself1 and 
prejudice the above-mentioned ,mr4      
,fawks1 whose unparalleled performance  
has gained him so much applause from the
 greatest of quality1 and most curious  
observers3 ,we think1 both in justice to
 the injured gentleman1 and for the     
satisfaction of his admirers1 that we   
cannot please our readers better than to
 acquaint them he is alive1 and will not
 only perform his usual surprising      
dexterity of hand1 posture-master1 and  
musical clock3 but1 for the greater     
diversion of the quality and gentry1 has
 agreed with the famous ,powell of the  
,bath for the season1 who has the       
largest1 richest1 and most natural      
figures1 and finest machines in         
,england1 and whose former performances 
in ,covent ,garden were so engaging to  
the town1 as to gain the approbation of 
the best judges1 to show his            

puppet-plays along with him1 beginning  
in the ,christmas holidays next1 at the 
,old ,tennis-court1 in ,james's-street1 
near the ,haymarket2 where any          
incredulous persons may be satisfied he 
is not left this world1 if they please  
to believe their hands1 though they     
can't believe their eyes4--,may #be1    
indeed1 #agca1 died ,mr4 ,fawks1 famous 
for his dexterity of hand1 by which he  
had honestly acquired a fortune of      
#aj1jjjl4 being no more than he really  
deserved for his great ingenuity1 by    
which he had surpassed all that ever    
pretended to that art4  ,this satirical 
performance of ,hogarth1 however1 was   
thought to be invented and drawn at the 
instigation of ,sir ,james ,thornhill1  
out of revenge1 because ,lord           
,burlington had preferred ,mr4 ,kent    
before him to paint for the king at his 
palace at ,kensington4 ,dr4 ,faustus was
 a pantomime performed to crowded houses
 throughout two seasons1 to the utter   
neglect of plays1 for which reason they 

are cried about in a wheel-barrow4      
,illustration3 ,,masquerades ,,and      
,,operas1 ,,burlington ,,gate4          
,,morning4      ,keen blows the blast1  
and eager is the air2       ,with flakes
 of feather'd snow the ground is spread2
     ,to step1 with mincing pace1 to    
early prayer1       ,our clay-cold      
vestal leaves her downy bed4      ,and  
here the reeling sons of riot see1      
,after a night of senseless revelry4    
,poor1 trembling1 old1 her suit the     
beggar plies2     ,but frozen chastity  
the little boon denies4   ,this withered
 representative of ,miss ,bridget       
,alworthy1 with a shivering foot-boy    
carrying her prayer-book1 never fails in
 her attendance at morning service4 ,she
 is a symbol of the season4--           
-------------,chaste as the icicle      
,that's curdled by the frost from purest
 snow1     ,and hangs on ,dian's temple 
she looks with scowling eye1 and all the
 conscious pride of severe and stubborn 
virginity1 on the poor girls who are    

suffering the embraces of two drunken   
beaux that are just staggered out of    
,tom ,king's ,coffee-house4 ,one of     
them1 from the basket on her arm1 ,i    
conjecture to be an orange girl3 she    
shows no displeasure at the boisterous  
salute of her ,hibernian lover4 ,that   
the hero in a laced hat is from the     
banks of the ,shannon1 is apparent in   
his countenance4 ,the female whose face 
is partly concealed1 and whose neck has 
a more easy turn than we always see in  
the works of this artist1 is not formed 
of the most inflexible materials4  ,an  
old woman1 seated upon a basket2 the    
girl1 warming her hands by a few        
withered sticks that are blazing on the 
ground1 and a wretched mendicant1#c     
wrapped in a tattered and parti-coloured
 blanket1 entreating charity from the   
rosy-fingered vestal who is going to    
church1 complete the group4 ,behind     
them1 at the door of ,tom ,king's       
,coffee-house1 are a party engaged in a 
fray1 likely to create business for both

 surgeon and magistrate3 we discover    
swords and cudgels in the combatants'   
hands4  ,on the opposite side of the    
print are two little schoolboys4 ,that  
they have shining morning faces we      
cannot positively assert1 but each has a
 satchel at his back1 and according with
 the description given by the poet of   
nature1 is      ,creeping1 like snail1  
unwillingly to school4  ,the lantern    
appended to the woman who has a basket  
on her head1 proves that these          
dispensers of the riches of ,pomona rise
 before the sun1 and do part of their   
business by an artificial light4 ,near  
her1 that immediate descendant of       
,paracelsus1 ,dr4 ,rock1 is expatiating 
to an admiring audience1 on the         
never-failing virtues of his            
wonder-working medicines4 ,one hand     
holds a bottle of his miraculous        
panacea1 and the other supports a board1
 on which is the king's arms1 to        
indicate that his practice is sanctioned
 by royal letters patent4 ,two          

porringers and a spoon1 placed on the   
bottom of an inverted basket1 intimate  
that the woman seated near them1 is a   
vender of rice-milk1 which was at that  
time brought into the market every      
morning4  ,a fatigued porter leans on a 
rail2 and a blind beggar is going       
towards the church3 but whether he will 
become one of the congregation1 or take 
his stand at the door1 in the hope that 
religion may have warmed the hearts of  
its votaries to ,pity the sorrows of a  
poor blind man1 is uncertain4  ,snow on 
the ground1 and icicles hanging from the
 penthouse1 exhibit a very chilling     
prospect2 but1 to dissipate the cold1   
there is happily a shop where spirituous
 liquors are sold pro bono publico1 at a
 very little distance4 ,a large pewter  
measure is placed upon a post before the
 door1 and three of a smaller size hang 
over the window of the house4  ,the     
character of the principal figure is    
admirably delineated4 ,she is marked    
with that prim and awkward formality    

which generally accompanies her order1  
and is an exact type of a hard winter2  
for every part of her dress1 except the 
flying lappets and apron1 ruffled by the
 wind1 is as rigidly precise as if it   
were frozen4 ,it has been said that this
 incomparable figure was designed as the
 representative of either a particular  
friend1 or a relation4 ,individual      
satire may be very gratifying to the    
public1 but is frequently fatal to the  
satirist4 ,churchill1 by the lines1     
----------------,fam'd ,vine-street1    
,where ,heaven1 the kindest wish of man 
to grant1     ,gave me an old house1 and
 an older aunt1  lost a considerable    
legacy2 and it is related that ,hogarth1
 by the introduction of this withered   
votary of ,diana into this print1       
induced her to alter a will which had   
been made considerably in his favour3   
she was at first well enough satisfied  
with her resemblance1 but some designing
 people taught her to be angry4         
,extreme cold is very well expressed in 

the slip-shod footboy1 and the girl who 
is warming her hands4 ,the group of     
which she is a part1 is well formed1 but
 not sufficiently balanced on the       
opposite side4  ,the church dial1 a few 
minutes before seven2 marks of little   
shoes and pattens in the snow1 and      
various productions of the season in the
 market1 are an additional proof of that
 minute accuracy with which this artist 
inspected and represented objects1 which
 painters in general have neglected4    
,govent ,garden is the scene1 but in the
 print every building is reversed4 ,this
 was a common error with ,hogarth2 not  
from his being ignorant of the use of   
the mirror1 but from his considering it 
as a matter of little consequence4      
,,footnote3  #c ,what signifies1 says   
some one to ,dr4 ,johnson1 giving       
halfpence to common beggars8 they only  
lay them out in gin or tobacco4 ,and    
why1 replied the doctor1 should they be 
denied such sweeteners of their         
existence8 ,it is surely very savage to 

shut out from them every possible avenue
 to those pleasures reckoned too coarse 
for our own acceptance4 ,life is a pill 
which none of us can swallow without    
gilding1 yet for the poor we delight in 
stripping it still more bare1 and are   
not ashamed to show even visible marks  
of displeasure1 if even the bitter taste
 is taken from their mouths4            
,illustration3 ,,morning4     ,,noon4   
,hail1 ,gallia's daughters6 easy1 brisk1
 and free2     ,good humour'd1          
debonnaire1 and degagee3     ,though    
still fantastic1 frivolous1 and vain1   
,let not their airs and graces give us  
pain3     ,or fair1 or brown1 at toilet1
 prayer1 or play1     ,their motto      
speaks their manners--,,toujours ,,gai4 
,but for that powder'd compound of      
grimace1     ,that capering he-she thing
 of fringe and lace2     ,with sword and
 cane1 with bag and solitaire1     ,vain
 of the full-dress'd dwarf1 his hopeful 
heir1     ,how does our spleen and      
indignation rise1     ,when such a      

tinsell'd coxcomb meets our eyes1       
,among the figures who are coming out of
 church1 an affected1 flighty           
,frenchwoman1 with her fluttering fop of
 a husband1 and a boy1 habited a-la-mode
 de ,paris1 claim our first attention4  
,in dress1 air1 and manner1 they have a 
national character4 ,the whole          
congregation1 whether male or female1   
old or young1 carry the air of their    
country in countenance1 dress1 and      
deportment4 ,like the three principal   
figures1 they are all marked with some  
affected peculiarity4 ,affectation1 in a
 woman1 is supportable upon no other    
ground than that general indulgence we  
pay to the omnipotence of beauty1 which 
in a degree sanctifies whatever it      
adopts4 ,in a boy1 when we consider that
 the poor fellow is attempting to copy  
what he has been taught to believe      
praiseworthy1 we laugh at it2 the       
largest portion of ridicule falls upon  
his tutors2 but in a man1 it is         
contemptible6  ,the old fellow1 in a    

black periwig1 has a most vinegar-like  
aspect1 and looks with great contempt at
 the frippery gentlewoman immediately   
before him4 ,the woman1 with a demure   
countenance1 seems very piously         
considering how she can contrive to pick
 the embroidered beau's pocket4 ,two old
 sybils joining their withered lips in a
 chaste salute1 is nauseous enough1 but1
 being a national custom1 must be       
forgiven4 ,the divine seems to have     
resided in this kingdom long enough to  
acquire a roast-beef countenance4 ,a    
little boy1 whose woollen nightcap is   
pressed over a most venerable flowing   
periwig1 and the decrepit old man1      
leaning upon a crutch-stick1 who is     
walking before him1 ,i once considered1 
says ,mr4 ,ireland1 as two vile         
caricatures1 out of nature1 and unworthy
 the artist4 ,since ,i have seen the    
peasantry of ,flanders1 and the plebeian
 youth of ,france1 ,i have in some      
degree changed my opinion1 but still    
think them rather outre4  ,under a sign 

of the ,baptist's ,head is written1     
,good ,eating2 and on each side of the  
inscription is a mutton chop4 ,in       
opposition to this head without a body1 
unaccountably displayed as a sign at an 
eating-house1 there is a body without a 
head1 hanging out as the sign of a      
distiller's4 ,this1 by common consent1  
has been quaintly denominated the good  
woman4 ,at a window above1 one of the   
softer sex proves her indisputable right
 to the title by her temperate conduct  
to her husband1 with whom having had a  
little disagreement1 she throws their   
,sunday's dinner into the street4  ,a   
girl1 bringing a pie from the bakehouse1
 is stopped in her career by the rude   
embraces of a blackamoor1 who eagerly   
rubs his sable visage against her       
blooming cheek4  ,good eating is carried
 on to the lower part of the picture4 ,a
 boy1 placing a baked pudding upon a    
post1 with rather too violent an action1
 the dish breaks1 the fragments fall to 
the ground1 and while he is loudly      

lamenting his misfortune1 and with tears
 anticipating his punishment1 the       
smoking remnants are eagerly snatched up
 by a poor girl4 ,not educated according
 to the system of ,jean ,jacques        
,rousseau1 she feels no qualms of       
conscience about the original           
proprietor1 and1 destitute of that      
fastidious delicacy which destroys the  
relish of many a fine lady1 eagerly     
swallows the hot and delicious morsels1 
with all the concomitants4  ,the scene  
is laid at the door of a ,french chapel 
in ,hog-lane2 a part of the town at that
 time almost wholly peopled by ,french  
refugees1 or their descendants4  ,by the
 dial of ,st4 ,giles's church1 in the   
distance1 we see that it is only half   
past eleven4 ,at this early hour1 in    
those good times1 there was as much good
 eating as there is now at six o'clock  
in the evening4 ,from twenty pewter     
measures1 which are hung up before the  
houses of different distillers1 it seems
 that good drinking was considered as   

equally worthy of their serious         
attention4  ,the dead cat1 and choked   
kennels1 mark the little attention shown
 to the streets by the scavengers of    
,st4 ,giles's4 ,at that time noxious    
effluvia was not peculiar to this       
parish4 ,the neighbourhood of           
,fleet-ditch1 and many other parts of   
the city1 were equally polluted4  ,even 
at this refined period1 there would be  
some use in a more strict attention to  
the medical police of a city so crowded 
with inhabitants4 ,we ridicule the      
people of ,paris and ,edinburgh for     
neglecting so essential and salutary a  
branch of delicacy1 while the kennels of
 a street in the vicinity of ,st4       
,paul's church are floated with the     
blood of slaughtered animals every      
market-day4 ,moses would have managed   
these things better3 but in those days  
there was no physician in ,israel6      
,illustration3 ,,noon4     ,,evening4   
,one sultry ,sunday1 when no cooling    
breeze     ,was borne on zephyr's wing1 

to fan the trees2     ,one sultry       
,sunday1 when the torrid ray     ,o'er  
nature beam'd intolerable day2     ,when
 raging ,sirius warn'd us not to roam1  
,and ,galen's sons prescrib'd cool      
draughts at home2     ,one sultry       
,sunday1 near those fields of fame      
,where weavers dwell1 and ,spital is    
their name1     ,a sober wight1 of      
reputation high     ,for tints that     
emulate the ,tyrian dye1     ,wishing to
 take his afternoon's repose1     ,in   
easy chair had just began to doze1      
,when1 in a voice that sleep's soft     
slumbers broke1     ,his oily helpmate  
thus her wishes spoke3       ,why1      
spouse1 for shame6 my stars1 what's this
 about8     ,you's ever sleeping2 come1 
we'll all go out2     ,at that there    
garden1 pr'ythee1 do not stare6         
,we'll take a mouthful of the country   
air2     ,in the yew bower an hour or   
two we'll kill2     ,there you may      
smoke1 and drink what punch you will4   
,sophy and ,billy each shall walk with  

me1     ,and you must carry little      
,emily4     ,veny is sick1 and pants1   
and loathes her food2     ,the grass    
will do the pretty creature good4       
,hot rolls are ready as the clock       
strikes five--     ,and now 'tis after  
four1 as ,i'm alive6       ,the mandate 
issued1 see the tour begun1     ,and all
 the flock set out for ,islington4      
,now the broad sun1 refulgent lamp of   
day1     ,to rest with ,thetis1 slopes  
his western way2     ,o'er every tree   
embrowning dust is spread1     ,and tipt
 with gold is ,hampstead's lofty head4  
,the passive husband1 in his nature     
mild1     ,to wife consigns his hat1 and
 takes the child2     ,but she a day    
like this hath never felt1     ,oh6 that
 this too1 too solid flesh would melt1  
,thaw1 and resolve itself into a dew4   
,such monstrous heat6 dear me6 she never
 knew4     ,adown her innocent and      
beauteous face1     ,the big1 round1    
pearly drops each other chase2          
,thence trickling to those hills1 erst  

white as snow1     ,that now like       
,a,etna's mighty mountains glow1        
,they hang like dewdrops on the full    
blown rose1     ,and to the ambient air 
their sweets disclose4     ,fever'd with
 pleasure1 thus she drags along2        
,nor dares her antler'd husband say 'tis
 wrong4       ,the blooming offspring of
 this blissful pair1     ,in all their  
parents' attic pleasures share4         
,sophy the soft1 the mother's earliest  
joy1     ,demands her froward brother's 
tinsell'd toy2     ,but he1 enrag'd1    
denies the glittering prize1     ,and   
rends the air with loud and piteous     
cries4       ,thus far we see the party 
on their way--     ,what dire disasters 
mark'd the close of day1     ',twere    
tedious1 tiresome1 endless to obtrude2  
,imagination must the scene conclude4   
,it is not easy to imagine fatigue      
better delineated than in the appearance
 of this amiable pair4 ,in a few of the 
earliest impressions1 ,mr4 ,hogarth     
printed the hands of the man in blue1 to

 show that he was a dyer1 and the face  
and neck of the woman in red1 to        
intimate her extreme heat4 ,the lady's  
aspect lets us at once into her         
character2 we are certain that she was  
born to command4 ,as to her husband1    
,god made him1 and he must pass for a   
man3 what his wife has made him1 is     
indicated by the cow's horns2 which are 
so placed as to become his own4 ,the    
hopes of the family1 with a cockade in  
his hat1 and riding upon papa's cane1   
seems much dissatisfied with female     
sway4 ,a face with more of the shrew in 
embryo than that of the girl1 it is     
scarcely possible to conceive4 ,upon    
such a character the most casual        
observer pronounces with the decision of
 a ,lavater4  ,nothing can be better    
imagined than the group in the alehouse4
 ,they have taken a refreshing walk into
 the country1 and1 being determined to  
have a cooling pipe1 seat themselves in 
a chair-lumbered closet1 with a low     
ceiling2 where every man1 pulling off   

his wig1 and throwing a                 
pocket-handkerchief over his head1      
inhales the fumes of hot punch1 the     
smoke of half a dozen pipes1 and the    
dust from the road4 ,if this is not     
rural felicity1 what is8 ,the old       
gentleman in a black bag-wig1 and the   
two women near him1 sensibly enough1    
take their seats in the open air4  ,from
 a woman milking a cow1 we conjecture   
the hour to be about five in the        
afternoon3 and1 from the same           
circumstance1 ,i am inclined to think   
this agreeable party is going to their  
pastoral bower1 rather than returning   
from it4  ,the cow and dog appear as    
much inconvenienced by heat as any of   
the party3 the former is whisking off   
the flies2 and the latter creeps        
unwillingly along1 and casts a longing  
look at the crystal river1 in which he  
sees his own shadow4 ,a remarkably hot  
summer is intimated by the luxuriant    
state of a vine1 creeping over an       
alehouse window4 ,on the side of the    

,new ,river1 where the scene is laid1   
lies one of the wooden pipes employed in
 the water-works4 ,opposite ,sadler's   
,wells there still remains the sign of  
,sir ,hugh ,middleton's head1 which is  
here represented2 but how changed the   
scene from what is here represented6    
,illustration3 ,,evening4     ,,night4  
,now burst the blazing bonfires on the  
sight1       ,through the wide air their
 corruscations play2     ,the windows   
beam with artificial light1       ,and  
all the region emulates the day4        
,the moping mason1 from yon tavern led1 
,in mystic words doth to the moon       
complain     ,that unsound port         
distracts his aching head1       ,and   
o'er the waiter waves his clouded cane4 
,mr4 ,walpole very truly observes1 that 
this print is inferior to the three     
others2 there is1 however1 broad humour 
in some of the figures4  ,the wounded   
free-mason1 who1 in zeal of brotherly   
love1 has drank his bumpers to the craft
 till he is unable to find his way home1

 is under the guidance of a waiter4     
,this has been generally considered as  
intended for ,sir ,thomas de ,veil1 and1
 from an authenticated portrait which ,i
 have seen1 ,i am1 says ,mr4 ,ireland1  
inclined to think it is1 notwithstanding
 ,sir ,john ,hawkins asserts1 that he   
could discover no resemblance4 ,when the
 knight saw him in his magisterial      
capacity1 he was probably sober and     
sedate2 here he is represented a little 
disguised4 ,the ,british ,xantippe      
showering her favours from the window   
upon his head1 may have its source in   
that respect which the inmates of such  
houses as the ,rummer ,tavern had for a 
justice of peace4 ,on the resignation of
 ,mr4 ,horace ,walpole1 in ,february1   
#agch1 ,de ,veil was appointed          
inspector-general of the imports and    
exports1 and was so severe against the  
retailers of spirituous liquors1 that   
one ,allen headed a gang of rioters for 
the purpose of pulling down his house1  
and bringing to a summary punishment two

 informers who were there concealed4    
,allen was tried for this offence1 and  
acquitted1 upon the jury's verdict      
declaring him lunatic4  ,the waiter who 
supports his worship1 seems1 from the   
patch upon his forehead1 to have been in
 a recent affray2 but what use he can   
have for a lantern1 it is not easy to   
divine1 unless he is conducting his     
charge to some place where there is     
neither moonlight nor illumination4     
,the ,salisbury flying coach oversetting
 and broken1 by passing through the     
bonfire1 is said to be an intended      
burlesque upon a right honourable peer1 
who was accustomed to drive his own     
carriage over hedges1 ditches1 and      
rivers2 and has been sometimes known to 
drive three or four of his maid servants
 into a deep water1 and there leave them
 in the coach to shift for themselves4  
,the butcher1 and little fellow1 who are
 assisting the terrified passengers1 are
 possibly free and accepted masons4 ,one
 of them seems to have a mop in his     

hand2--the pail is out of sight4  ,to   
crown the joys of the populace1 a man   
with a pipe in his mouth is filling a   
capacious hogshead with ,british        
,burgundy4  ,the joint operation of     
shaving and bleeding1 performed by a    
drunken 'prentice on a greasy oilman1   
does not seen a very natural exhibition 
on a rejoicing night4  ,the poor        
wretches under the barber's bench       
display a prospect of penury and        
wretchedness1 which it is to be hoped is
 not so common now1 as it was then4  ,in
 the distance is a cart laden with      
furniture1 which some unfortunate tenant
 is removing out of the reach of his    
landlord's execution4  ,there is humour 
in the barber's sign and inscription2   
,shaving1 bleeding1 and teeth drawn with
 a touch4 ,,ecce ,,signum6  ,by the     
oaken boughs on the sign1 and the oak   
leaves in the free-masons' hats1 it     
seems that this rejoicing night is the  
twenty-ninth of ,may1 the anniversary of
 our second ,charles's restoration2 that

 happy day when1 according to our old   
ballad1 ,the king enjoyed his own again4
 ,this might be one reason for the      
artist choosing a scene contiguous to   
the beautiful equestrian statue of      
,charles the ,first4  ,in the distance  
we see a house on fire2 an accident very
 likely to happen on such a night as    
this4  ,on this spot once stood the     
cross erected by ,edward the ,first1 as 
a memorial of affection for his beloved 
queen ,eleanor1 whose remains were here 
rested on their way to the place of     
sepulture4 ,it was formed from a design 
by ,cavalini1 and destroyed by the      
religious fury of the ,reformers4 ,in   
its place1 in the year #afgh1 was       
erected the animated equestrian statue  
which now remains4 ,it was cast in      
brass1 in the year #afcc1 by ,le ,soeur2
 ,i think by order of that munificent   
encourager of the arts1 ,thomas ,howard1
 ,earl of ,arundel4 ,the parliament     
ordered it to be sold1 and broken to    
pieces2 but ,john ,river1 the brazier   

who purchased it1 having more taste than
 his employers1 seeing1 with the        
prophetic eye of good sense1 that the   
powers which were would not remain      
rulers very long1 dug a hole in his     
garden in ,holborn1 and buried it       
unmutilated4 ,to prove his obedience to 
their order1 he produced to his masters 
several pieces of brass1 which he told  
them were parts of the statue4 ,m4 de   
,archenholtz adds further1 that the     
brazier1 with the true spirit of trade1 
cast a great number of handles for      
knives and forks1 and offered them for  
sale1 as composed of the brass which had
 formed the statue4 ,they were eagerly  
sought for1 and purchased1--by the      
loyalists from affection to their       
murdered monarch1--by the other party1  
as trophies of triumph4  ,the original  
pictures of ,morning and ,noon were sold
 to the ,duke of ,ancaster for          
fifty-seven guineas2 ,evening and ,night
 to ,sir ,william ,heathcote1 for       
sixty-four guineas4  ,illustration3     

,,night4     ,,sigismonda               
----------------,let the picture rust1  
,perhaps ,time's price-enhancing dust1--
     ,as statues moulder into earth1    
,when ,i'm no more1 may mark its worth2 
,and future connoisseurs may rise1      
,honest as ours1 and full as wise1      
,to puff the piece1 and painter too1    
,and make me then what ,guido's now4    
,,hogarth',s ,,epistle4   ,a competition
 with either ,guido1 or ,furino1 would  
to any modern painter be an enterprise  
of danger3 to ,hogarth it was more      
peculiarly so1 from the public justly   
conceiving that the representation of   
elevated distress was not his forte1 and
 his being surrounded by an host of     
foes1 who either dreaded satire1 or     
envied genius4 ,the connoisseurs1       
considering the challenge as too        
insolent to be forgiven1 before his     
picture appeared1 determined to decry   
it4 ,the painters rejoiced in his       
attempting what was likely to end in    
disgrace2 and to satisfy those who had  

formed their ideas of ,sigismonda upon  
the inspired page of ,dryden1 was no    
easy task4  ,the bard has consecrated   
the character1 and his heroine glitters 
with a brightness that cannot be        
transferred to the canvass4 ,mr4        
,walpole's description1 though equally  
radiant1 is too various1 for the utmost 
powers of the pencil4  ,hogarth's       
,sigismonda1 as this gentleman          
poetically expresses it1 has none of the
 sober grief1 no dignity of suppressed  
anguish1 no involuntary tear1 no settled
 meditation on the fate she meant to    
meet1 no amorous warmth turned holy by  
despair2 in short1 all is wanting that  
should have been there1 all is there    
that such a story would have banished   
from a mind capable of conceiving such  
complicated woe2 woe so sternly felt1   
and yet so tenderly4 ,this glowing      
picture presents to the mind a being    
whose contending passions may be felt1  
but were not delineated even by         
,corregio4 ,had his tints been aided by 

the grace and greatness of ,raphael1    
they must have failed4  ,the author of  
the ,mysterious ,mother sought for      
sublimity1 where the artist strictly    
copied nature1 which was invariably his 
archetype1 but which the painter1 who   
soars into fancy's fairy regions1 must  
in a degree desert4 ,considered with    
this reference1 though the picture has  
faults1 ,mr4 ,walpole's satire is surely
 too severe4 ,it is built upon a        
comparison with works painted in a      
language of which ,hogarth knew not the 
idiom1--trying him before a tribunal1   
whose authority he did not acknowledge1 
and from the picture having been in many
 respects altered after the critic saw  
it1 some of the remarks become unfair4  
,to the frequency of these alterations  
we may attribute many of the errors3 the
 man who has not confidence in his own  
knowledge of the leading principles on  
which his work ought to be built1 will  
not render it perfect by following the  
advice of his friends4 ,though ,messrs4 

,wilkes and ,churchill dragged his      
heroine to the altar of politics1 and   
mangled her with a barbarity that can   
hardly be paralleled1 except in the     
history of her husband1--the artist     
retained his partiality2 which seems to 
have increased in exact proportion to   
their abuse4 ,the picture being thus    
contemplated through the medium of party
 prejudice1 we cannot wonder that all   
its imperfections were exaggerated4 ,the
 painted harlot of ,babylon had not more
 opprobrious epithets from the first    
race of reformers than the painted      
,sigismonda of ,hogarth from the last   
race of patriots4  ,when a favourite    
child is chastised by his preceptor1 a  
partial mother redoubles her caresses4  
,hogarth1 estimating this picture by the
 labour he had bestowed upon it1 was    
certain that the public were prejudiced1
 and requested1 if his wife survived    
him1 she would not sell it for less than
 five hundred pounds4 ,mrs4 ,hogarth    
acted in conformity to his wishes1 but  

after her death the painting was        
purchased by ,messrs4 ,boydell1 and     
exhibited in the ,shakspeare ,gallery4  
,the colouring1 though not brilliant1 is
 harmonious and natural3 the attitude1  
drawing1 etc4 may be generally conceived
 by the print4 ,i am much inclined to   
think1 that if some of those who have   
been most severe in their censures1 had 
consulted their own feelings1 instead of
 depending upon connoisseurs1 poor      
,sigismonda would have been in higher   
estimation4 ,it has been said that the  
first sketch was made from ,mrs4        
,hogarth1 at the time she was weeping   
over the corse of her mother4  ,hogarth 
once intended to have appealed from the 
critics' fiat to the world's opinion1   
and employed ,mr4 ,basire to make an    
engraving1 which was begun1 but set     
aside for some other work1 and never    
completed4  ,illustration3 ,,sigismonda1
 ,,with ,,the ,,heart ,,of ,,her        
,,husband4     ,,martin ,,folkes1 ,,esq4
   ,martin ,folkes was a mathematician  

and antiquary of much celebrity in the  
philosophical annals of this country4   
,he was at the early age of twenty-four 
admitted a member of the ,royal         
,society1 where he was greatly          
distinguished4 ,two years afterwards he 
was chosen one of the council1 and was  
named by ,sir ,isaac ,newton himself as 
vice president3 he was afterwards       
elected president1 and held this high   
office till a short time before his     
death1 when he resigned it on account of
 ill-health4 ,in the ,philosophical     
,transactions are numerous memoirs of   
this learned man3 his knowledge in      
coins1 ancient and modern1 was very     
extensive3 and the last work he produced
 was concerning the ,english ,silver    
,coin from the ,conquest to his own     
time4 ,he was president of the ,society 
of ,antiquaries at the time of his      
death1 which happened on the #bhth of   
,june1 #aged1 at the age of sixty-four4 
,a few days before his death he was     
struck with a fit of the palsy1 and     

never spoke after this attack4          
,illustration3 ,,portrait ,,of ,,martin 
,,folkes1 ,,esq4     ,,the ,,cockpit4   
,the scene is probably laid at          
,newmarket1 and in this motley group of 
peers1--pick-pockets1--butchers1--jockie
s1--rat-catchers1--gentlemen1 --gamblers
 of every denomination1 ,lord ,albemarle
 ,bertie1 being the principal figure1 is
 entitled to precedence4 ,in the ,march 
to ,finchley1 we see him an attendant at
 a boxing match2 and here he is         
president of a most respectable society 
assembled at a cockpit4 ,what rendered  
his lordship's passion for amusements of
 this nature very singular1 was his     
being totally blind4 ,in this place he  
is beset by seven steady friends1 five  
of whom at the same instant offer to bet
 with him on the event of the battle4   
,one of them1 a lineal descendant of    
,filch1 taking advantage of his         
blindness and negligence1 endeavours to 
convey a bank note1 deposited in our    
dignified gambler's hat1 to his own     

pocket4 ,of this ungentlemanlike attempt
 his lordship is apprised by a ragged   
post-boy1 and an honest butcher3 but he 
is so much engaged in the pronunciation 
of those important words1 ,done6 ,done6 
,done6 ,done6 and the arrangement of his
 bets1 that he cannot attend to their   
hints2 and it seems more than probable  
that the stock will be transferred1 and 
the note negociated in a few seconds4   
,a very curious group surround the old  
nobleman1 who is adorned with a riband1 
a star1 and a pair of spectacles4 ,the  
whole weight of an overgrown carpenter  
being laid upon his shoulder1 forces our
 illustrious personage upon a man       
beneath2 who being thus driven downward1
 falls upon a fourth1 and the fourth1 by
 the accumulated pressure of this       
ponderous trio1 composed of the upper   
and lower house1 loses his balance1 and 
tumbling against the edge of the        
partition1 his head is broke1 and his   
wig1 shook from the seat of reason1     
falls into the cockpit4  ,a man         

adjoining enters into the spirit of the 
battle1--his whole soul is engaged4     
,from his distorted countenance1 and    
clasped hands1 we see that he feels     
every stroke given to his favourite bird
 in his heart's core1--ay1 in his heart 
of hearts6 ,a person at the old peer's  
left hand is likely to be a loser4      
,ill-humour1 vexation1 and              
disappointment are painted in his       
countenance4 ,the chimney-sweeper above1
 is the very quintessence of            
affectation4 ,he has all the airs and   
graces of a boarding-school miss4 ,the  
sanctified quaker adjoining1 and the    
fellow beneath1 who1 by the way1 is a   
very similar figure to ,captain ,stab1  
in the ,rake's ,progress1 are finely    
contrasted4  ,a ,french marquis on the  
other side1 astonished at this being    
called amusement1 is exclaiming         
,sauvages6 ,sauvages6                   
,sauvages6--,engrossed by the scene1 and
 opening his snuff-box rather           
carelessly1 its contents fall into the  

eyes of a man below1 who1 sneezing and  
swearing alternately1 imprecates bitter 
curses on this devil's dust1 that       
extorts from his inflamed eyes1 ,a sea  
of melting pearls1 which some call      
tears4  ,adjoining is an old cripple1   
with a trumpet at his ear1 and in this  
trumpet a person in a bag-wig roars in a
 manner that cannot much gratify the    
auricular nerves of his companions2 but 
as for the object to whom the voice is  
directed1 he seems totally insensible to
 sounds1 and if judgment can be formed  
from appearances1 might very composedly 
stand close to the clock of ,st4 ,paul's
 ,cathedral1 when it was striking       
twelve4  ,the figure with a cock peeping
 out of a bag1 is said to be intended   
for ,jackson1 a jockey2 the gravity of  
this experienced veteran1 and the cool  
sedateness of a man registering the     
wagers1 are well opposed by the grinning
 woman behind1 and the heated           
impetuosity of a fellow1 stripped to his
 shirt1 throwing his coin upon the      

cockpit1 and offering to back ,ginger   
against ,pye for a guinea4  ,on the     
lower side1 where there is only one tier
 of figures1 a sort of an apothecary1   
and a jockey1 are stretching out their  
arms1 and striking together the handles 
of their whips1 in token of a bet4 ,an  
hiccuping votary of ,bacchus1 displaying
 a half-emptied purse1 is not likely to 
possess it long1 for an adroit professor
 of legerdemain has taken aim with a    
hooked stick1 and by one slight jerk1   
will convey it to his own pocket4 ,the  
profession of a gentleman in a round wig
 is determined by a gibbet chalked upon 
his coat4 ,an enraged barber1 who lifts 
up his stick in the corner1 has probably
 been refused payment of a wager1 by the
 man at whom he is striking4  ,a        
cloud-capt philosopher at the top of the
 print1 coolly smoking his pipe1 unmoved
 by this crash of matter1 and wreck of  
property1 must not be overlooked3       
neither should his dog be neglected2 for
 the dog1 gravely resting his fore paws 

upon the partition1 and contemplating   
the company1 seems more interested in   
the event of the battle than his master4
  ,like the tremendous ,gog1 and        
terrific ,magog1 of ,guildhall1 stand   
the two cock-feeders2 a foot of each of 
these consequential purveyors is seen at
 the two extremities of the pit4  ,as to
 the birds1 whose attractive powers have
 drawn this admiring throng together1   
they deserved earlier notice3      ,each
 hero burns to conquer or to die1       
,what mighty hearts in little bosoms    
lie6  ,having disposed of the           
substances1 let us now attend to the    
shadow on the cockpit1 and this it seems
 is the reflection of a man drawn up to 
the ceiling in a basket1 and there      
suspended1 as a punishment for having   
betted more money than he can pay4      
,though suspended1 he is not reclaimed2 
though exposed1 not abashed2 for in this
 degrading situation he offers to stake 
his watch against money1 in another     
wager on his favourite champion4  ,the  

decorations of this curious theatre are1
 a portrait of ,nan ,rawlins1 and the   
,king's arms4  ,in the margin at the    
bottom of the print is an oval1 with a  
fighting cock1 inscribed ,,royal        
,,sport4  ,of the characteristic        
distinctions in this heterogeneous      
assembly1 it is not easy to speak with  
sufficient praise4 ,the                 
chimney-sweeper's absurd affectation    
sets the similar airs of the ,frenchman 
in a most ridiculous point of view4 ,the
 old fellow with a trumpet at his ear1  
has a degree of deafness that ,i never  
before saw delineated2 he might have    
lived in the same apartment with        
,xantippe1 or slept comfortably in      
,alexander the copper-smith's first     
floor4 ,as to the nobleman in the       
centre1 in the language of the turf1 he 
is a mere pigeon2 and the peer1 with a  
star and garter1 in the language of     
,cambridge1 we must class as--a mere    
quiz4 ,the man sneezing1--you absolutely
 hear2 and the fellow stealing a bank   

note1--has all the outward and visible  
marks of a perfect and accomplished     
pick-pocket2 ,mercury himself could not 
do that business in a more masterly     
style4  ,tyers tells us that ,pope1     
while living with his father at         
,chiswick1 before he went to ,binfield1 
took great delight in cock-fighting1 and
 laid out all his school-boy money1 and 
little perhaps it was1 in buying        
fighting cocks4 ,lord ,orrery observes1 
,if we may judge of ,mr4 ,pope from his 
works1 his chief aim was to be esteemed 
a man of virtue4 ,when actions can be   
clearly ascertained1 it is not necessary
 to seek the mind's construction in the 
writings3 and we must regret being      
compelled to believe that some of ,mr4  
,pope's actions1 at the same time that  
they prove him to be querulous and      
petulant1 lead us to suspect that he was
 also envious1 malignant1 and cruel4    
,how far this will tend to confirm the  
assertion1 that when a boy1 he was an   
amateur of this royal sport1 ,i do1 says

 ,mr4 ,ireland1 not pretend to decide3  
but were a child1 in whom ,i had any    
interest1 cursed with such a propensity1
 my first object would be to correct it3
 if that were impracticable1 and he     
retained a fondness for the cockpit1 and
 the still more detestable amusement of 
,shrove ,tuesday1 ,i should hardly dare 
to flatter myself that he could become a
 merciful man4--,the subject has carried
 me farther than ,i intended3 ,i will1  
however1 take the freedom of proposing  
one query to the consideration of the   
clergy1--,might it not have a tendency  
to check that barbarous spirit1 which   
has more frequently its source in an    
early acquired habit1 arising from the  
prevalence of example1 than in natural  
depravity1 if every divine in ,great    
,britain were to preach at least one    
sermon every twelve months1 on our      
universal insensibility to the          
sufferings of the brute creation8       
,wilt thou draw near the nature of the  
,gods1     ,draw near them then in being

 merciful2     ,sweet mercy is          
nobility's true badge4  ,illustration3  
,,the ,,cock ,,pit4     ,,captain       
,,thomas ,,coram4   ,captain ,coram was 
born in the year #affh1 bred to the sea1
 and passed the first part of his life  
as master of a vessel trading to the    
colonies4 ,while he resided in the      
vicinity of ,rotherhithe1 his avocations
 obliging him to go early into the city 
and return late1 he frequently saw      
deserted infants exposed to the         
inclemencies of the seasons1 and through
 the indigence or cruelty of their      
parents left to casual relief1 or       
untimely death4 ,this naturally excited 
his compassion1 and led him to project  
the establishment of an hospital for the
 reception of exposed and deserted young
 children2 in which humane design he    
laboured more than seventeen years1 and 
at last1 by his unwearied application1  
obtained the royal charter1 bearing date
 the #agth of ,october1 #agci1 for its  
incorporation4  ,he was highly          

instrumental in promoting another good  
design1 viz4 the procuring a bounty upon
 naval stores imported from the colonies
 to ,georgia and ,nova ,scotia4 ,but the
 charitable plan which he lived to make 
some progress in1 though not to         
complete1 was a scheme for uniting the  
,indians in ,north ,america more closely
 with the ,british ,government1 by an   
establishment for the education of      
,indian girls4 ,indeed he spent a great 
part of his life in serving the public1 
and with so total a disregard to his    
private interest1 that in his old age he
 was himself supported by a pension of  
somewhat more than a hundred pounds a   
year1 raised for him at the solicitation
 of ,sir ,sampson ,gideon and ,dr4      
,brocklesby1 by the voluntary           
subscriptions of public-spirited        
persons1 at the head of whom was the    
,prince of ,wales4 ,on application being
 made to this venerable and good old    
man1 to know whether a subscription     
being opened for his benefit would not  

offend him1 he gave this noble answer3  
,i have not wasted the little wealth of 
which ,i was formerly possessed in      
self-indulgence or vain expenses1 and am
 not ashamed to confess1 that in this my
 old age ,i am poor4  ,this singularly  
humane1 persevering1 and memorable man  
died at his lodgings near               
,leicester-square1 ,march #bi1 #agea1   
and was interred1 pursuant to his own   
desire1 in the vault under the chapel of
 the ,foundling ,hospital1 where an     
historic epitaph records his virtues1 as
 ,hogarth's portrait has preserved his  
honest countenance4  ,the portrait which
 ,i painted with most pleasure1 says    
,hogarth1 and in which ,i particularly  
wished to excel1 was that of ,captain   
,coram for the ,foundling ,hospital2 and
 if ,i am so wretched an artist as my   
enemies assert1 it is somewhat strange  
that this1 which was one of the first ,i
 painted the size of life1 should stand 
the test of twenty years' competition1  
and be generally thought the best       

portrait in the place1 notwithstanding  
the first painters in the kingdom       
exerted all their talents to vie with   
it4  ,for the portrait of ,mr4 ,garrick 
in ,richard ,,iii4 ,i was paid two      
hundred pounds1 7which was more than any
 ,english artist ever received for a    
single portrait17 and that too by the   
sanction of several painters who had    
been previously consulted about the     
price1 which was not given without      
mature consideration4  ,notwithstanding 
all this1 the current remark was1 that  
portraits were not my province2 and ,i  
was tempted to abandon the only         
lucrative branch of my art1 for the     
practice brought the whole nest of      
phyzmongers on my back1 where they      
buzzed like so many hornets4 ,all these 
people have their friends1 whom they    
incessantly teach to call my women      
harlots1 my ,essay on ,beauty borrowed1 
and my composition and engraving        
contemptible4  ,this so much disgusted  
me1 that ,i sometimes declared ,i would 

never paint another portrait1 and       
frequently refused when applied to2 for 
,i found by mortifying experience1 that 
whoever would succeed in this branch1   
must adopt the mode recommended in one  
of ,gay's fables1 and make divinities of
 all who sit to him4 ,whether or not    
this childish affectation will ever be  
done away is a doubtful question2 none  
of those who have attempted to reform it
 have yet succeeded2 nor1 unless        
portrait painters in general become more
 honest1 and their customers less vain1 
is there much reason to expect they ever
 will4  ,though thus in a state of      
warfare with his brother artists1 he was
 occasionally gratified by the praise of
 men whose judgment was universally     
acknowledged1 and whose sanction became 
a higher honour1 from its being neither 
lightly nor indiscriminately given4     
,illustration3 ,,captain ,,thomas       
,,coram4     ,,the ,,country ,,inn      
,,yard2 ,,or1 ,,the ,,stage ,,coach4    
,the poet's adage1 ,,all ,,the          

,,world',s ,a ,,stage1     ,has stood   
the test of each revolving age2         
,another simile perhaps will bear1      
',tis a ,,stage ,,coach1 where all must 
pay the fare2     ,where each his       
entrance and his exit makes1     ,and   
o'er life's rugged road his journey     
takes4       ,some unprotected must     
their tour perform1     ,and bide the   
pelting of the pitiless storm2          
,while others1 free from elemental jars1
     ,by fortune favour'd and propitious
 stars1     ,secure from storms1 enjoy  
their little hour1     ,despise the     
whirlwind1 and defy the shower4         
,such is our life--in sunshine or in    
shade1     ,from evil shelter'd1 or by  
woe assay'd3     ,whether we sit1 like  
,niobe1 all tears1     ,or calmly sink  
into the vale of years2     ,with       
houseless1 naked ,edgar sleep on straw1 
,or keep1 like ,caesar1 subject worlds  
in awe--     ,to the same port our      
devious journeys tend1     ,where airy  
hopes and sickening sorrows end2        

,sunk every eye1 and languid every      
breast1     ,each wearied pilgrim sighs 
and sinks to rest4      ,e4   ,among the
 writers of ,english novels1 ,henry     
,fielding holds the first rank2 he was  
the novelist of nature1 and has         
described some scenes which bear a      
strong resemblance to that which is here
 delineated4 ,the artist1 like the      
author1 has taken truth for his guide1  
and given such characters as are        
familiar to all our minds4 ,the scene is
 a country inn yard1 at the time        
passengers are getting into a           
stage-coach1 and an election procession 
passing in the back-ground4 ,nothing can
 be better described2 we become of the  
party4 ,the vulgar roar of our landlady 
is no less apparent than the grave1     
insinuating1 imposing countenance of    
mine host4 ,boniface solemnly protests  
that a bill he is presenting to an old  
gentleman in a laced hat is extremely   
moderate4 ,this does not satisfy the    
paymaster1 whose countenance shows that 

he considers it as a palpable fraud1    
though the act against bribery1 which he
 carries in his pocket1 designates him  
to be of a profession not very liable to
 suffer imposition4 ,they are in general
 less sinned against than sinning4 ,an  
ancient lady1 getting into the coach1 is
 from her breadth a very inconvenient   
companion in such a vehicle2 but to     
atone for her rotundity1 an old maid of 
a spare appearance1 and in a most       
grotesque habit1 is advancing towards   
the steps4  ,a portly gentleman1 with a 
sword and cane in one hand1 is deaf to  
the entreaties of a poor little deformed
 postilion1 who solicits his customary  
fee4 ,the old woman smoking her short   
pipe in the basket1 pays very little    
attention to what is passing around her3
 cheered by the fumes of her tube1 she  
lets the vanities of the world go their 
own way4 ,two passengers on the roof of 
the coach afford a good specimen of     
,french and ,english manners4 ,ben      
,block1 of the ,centurion1 surveys the  

subject of ,la ,grande ,monarque with   
ineffable contempt4  ,in the window are 
a very curious pair2 one of them blowing
 a ,french-horn1 and the other          
endeavouring1 but without effect1 to    
smoke away a little sickness1 which he  
feels from the fumes of his last night's
 punch4 ,beneath them is a traveller    
taking a tender farewell of the         
chambermaid1 who is not to be moved by  
the clangour of the great bar bell1 or  
the more thundering sound of her        
mistress's voice4  ,the back-ground is  
crowded with a procession of active     
citizens2 they have chaired a figure    
with a horn-book1 a bib1 and a rattle1  
intended to represent ,child1 ,lord     
,castlemain1 afterwards ,lord ,tylney1  
who1 in a violent contest for the county
 of ,essex1 opposed ,sir ,robert ,abdy  
and ,mr4 ,bramston4 ,the horn-book1 bib1
 and rattle are evidently displayed as  
punningly allusive to his name4#d  ,some
 pains have been taken to discover in   
what part of ,essex this scene is laid2 

but from the many alterations made by   
rebuilding1 removal1 c4 it has not been 
positively ascertained1 though it is    
probably ,chelmsford4  ,illustration3   
,,country ,,inn ,,yard4  ,,footnote3  #d
 ,at this election a man was placed on a
 bulk1 with a figure representing a     
child in his arms3 as he whipped it he  
exclaimed1 ,what1 you little child1 must
 you be a member8 ,this election being  
disputed1 it appeared from the          
register-book of the parish where ,lord 
,castlemain was born1 that he was but   
twenty years of age when he offered     
himself a candidate4     ,,industry     
,,and ,,idleness4   ,as our future      
welfare depends1 in a great measure1 on 
our own conduct in the outset of life1  
and as we derive our best expectations  
of success from our own attention and   
exertion1 it may1 with propriety1 be    
asserted1 that the good or ill-fortune  
of mankind is chiefly attributable to   
their own early diligence or sloth2     
either of which becomes1 through habit  

in the early part of life1 both familiar
 and natural4 ,this ,mr4 ,hogarth has   
made appear in the following history of 
the two ,apprentices1 by representing a 
series of such scenes as naturally      
result from a course of ,industry or    
,idleness1 and which he has illustrated 
with such texts of scripture as teach us
 their analogy with holy writ4 ,now1 as 
example is far more convincing and      
persuasive than precept1 these prints   
are1 undoubtedly1 an excellent lesson to
 such young men as are brought up to    
business1 by laying before them the     
inevitable destruction that awaits the  
slothful1 and the reward that generally 
attends the diligent1 both appropriately
 exemplified in the conduct of these two
 fellow-'prentices2 where the one1 by   
taking good courses1 and pursuing those 
purposes for which he was put           
apprentice1 becomes a valuable man1 and 
an ornament to his country2 the other1  
by giving way to idleness1 naturally    
falls into poverty1 and ends fatally1 as

 shown in the last of these instructive 
prints4  ,in the chamber of the city of 
,london1 where apprentices are bound and
 enrolled1 the twelve prints of this    
series are introduced1 and1 with great  
propriety1 ornament the room4           
,,plate ,i4  ,,the ,,fellow-',,prentices
 ,,at ,,their ,,looms4      ,the        
drunkard shall come to poverty1 and     
drowsiness shall clothe a     man with  
rags4      ,proverbs1 chap4 xxiii4 verse
 #ba4      ,the hand of the diligent    
maketh rich4--,proverbs1 chap4 x4 verse 
#d4   ,the first print presents us with 
a noble and striking contrast in two    
apprentices at the looms of their       
master1 a silk-weaver of ,spitalfields3 
in the one we observe a serene and open 
countenance1 the distinguishing mark of 
innocence2 and in the other a sullen1   
down-cast look1 the index of a corrupt  
mind and vicious heart4 ,the industrious
 youth is diligently employed at his    
work1 and his thoughts taken up with the
 business he is upon4 ,his book1 called 

the ',prentice's ,guide1 supposed to be 
given him for instruction1 lies open    
beside him1 as if perused with care and 
attention4 ,the employment of the day   
seems his constant study2 and the       
interest of his master his continual    
regard4 ,we are given to understand1    
also1 by the ballads of the ,london     
',prentice1 ,whittingham the ,mayor1 c4 
that hang behind him1 that he lays out  
his pence on things that may improve his
 mind1 and enlighten his understanding4 
,on the contrary1 his fellow-'prentice1 
with worn-out coat and uncombed hair1   
overpowered with beer1 indicated by the 
half-gallon pot before him1 is fallen   
asleep2 and from the shuttle becoming   
the plaything of the wanton kitten1 we  
learn how he slumbers on1 inattentive   
alike to his own and his master's       
interest4 ,the ballad of ,moll          
,flanders1 on the wall behind him1 shows
 that the bent of his mind is towards   
that which is bad2 and his book of      
instructions lying torn and defaced upon

 the ground1 manifests how regardless he
 is of any thing tending to his future  
welfare4  ,illustration3 ,,industry     
,,and ,,idleness4  ,,plate #a4  ,,the   
,,fellow ',,prentices ,,at ,,their      
,,looms4     ,,plate ,,ii4  ,,the       
,,industrious ',,prentice ,,performing  
,,the ,,duty ,,of ,a ,,christian4       
,o how ,i love thy law2 it is my        
meditation all the day4--,psalm         
cxix4 verse #ig4   ,this plate displays 
our industrious young man attending     
divine service in the same pew with his 
master's daughter1 where he shows every 
mark of decent and devout attention4    
,mr4 ,hogarth's strong bias to burlesque
 was not to be checked by time or place4
 ,it is not easy to imagine any thing   
more whimsically grotesque than the     
female ,falstaff4 ,a fellow near her1   
emulating the deep-toned organ1 and the 
man beneath1 who1 though asleep1 joins  
his sonorous tones in melodious chorus  
with the admirers of those two          
pre-eminent poets1 ,hopkins and         

,sternhold4 ,the pew-opener is a very   
prominent and principal figure2 two old 
women adjoining ,miss ,west's seat are  
so much in shadow1 that we are apt to   
overlook them3 they are1 however1 all   
three making the dome ring with their   
exertions4      ,ah6 had it been king   
,david's fate     ,to hear them sing----
  ,the preacher1 reader1 and clerk1 with
 many of the small figures in the       
gallery and beneath1 are truly          
ludicrous1 and we regret their being on 
so reduced a scale1 that they are scarce
 perceptible to the naked eye4 ,it was  
necessary that the artist should exhibit
 a crowded congregation2 but it must be 
acknowledged he has neglected the rules 
of perspective4 ,the print wants depth4 
,in the countenance of ,miss ,west and  
her lover there is a resemblance4 ,their
 faces have not much expression2 but    
this is atoned for by a natural and     
pleasing simplicity4 ,character was not 
necessary4  ,illustration3 ,,industry   
,,and ,,idleness4  ,,plate #b4  ,,the   

,,industrious ',,prentice ,,performing  
,,the ,,duty ,,of ,a ,,christian4       
,,industry ,,and ,,idleness4  ,,plate   
,,iii4  ,,the ,,idle ',,prentice ,,at   
,,play ,,in ,,the ,,church-,,yard       
,,during ,,divine ,,service4            
,judgments are prepared for scorners1   
and stripes for the back of     fools4  
,proverbs1 chap4 xix4 verse #bi4   ,as a
 contrast to the preceding plate1 of the
 industrious young man performing the   
duties of a ,christian1 is this1        
representing the idle 'prentice at play 
in the church-yard during divine        
service4 ,as an observance of religion  
is allowed to be the foundation of      
virtue1 so a neglect of religious duties
 has ever been acknowledged the         
forerunner of every wickedness2 the     
confession of malefactors at the place  
of execution being a melancholy         
confirmation of this truth4 ,here we see
 him1 while others are intent on the    
holy service1 transgressing the laws    
both of ,god and man1 gambling on a     

tomb-stone with the off-scouring of the 
people1 the meanest of the human        
species1 shoe-blacks1 chimney-sweepers1 
c4 for none but such would deign to be  
his companions4 ,their amusement seems  
to be the favourite old ,english game of
 hustle-cap1 and our idle and           
unprincipled youth is endeavouring to   
cheat1 by concealing some of the        
half-pence under the broad brim of his  
hat4 ,this is perceived by the          
shoe-black1 and warmly resented by the  
fellow with the black patch over his    
eye1 who loudly insists on the hat's    
being fairly removed4 ,the eager anxiety
 which marks these mean gamblers1 is    
equal to that of two peers playing for  
an estate4 ,the latter could not have   
more solicitude for the turn of a die   
which was to determine who was the      
proprietor of ten thousand acres1 than  
is displayed in the countenance of young
 ,idle4 ,indeed1 so callous is his      
heart1 so wilfully blind is he to every 
thing tending to his future welfare1    

that the tombs1 those standing monuments
 of mortality1 cannot move him3 even the
 new-dug grave1 the sculls and bones1   
those lively and awakening monitors1    
cannot rouse him from his sinful        
lethargy1 open his eyes1 or pierce his  
heart with the least reflection2 so     
hardened is he with vice1 and so intent 
on the pursuit of his evil course4 ,the 
hand of the boy1 employed upon his head1
 and that of the shoe-black1 in his     
bosom1 are expressive of filth and      
vermin2 and show that our hero is within
 a step of being overspread with the    
beggarly contagion4 ,his obstinate      
continuance in his course1 until        
awakened by the blows of the watchful   
beadle1 point out to us1 that stripes   
are prepared for the backs of fools2    
that disgrace and infamy are the natural
 attendants of the slothful and the     
scorner2 and that there are but little  
hopes of his alteration1 until he is    
overtaken in his iniquity1 by the       
avenging hand of ,omnipotence1 and feels

 with horror and amazement1 the         
unexpected and inevitable approach of   
death4 ,thus do the obstinate and       
incorrigible shut their ears against the
 alarming calls of ,providence1 and sin 
away even the possibility of salvation4 
,the figures in this print are admirably
 grouped1 and the countenances of the   
gamblers and beadle strikingly          
characteristic4  ,illustration3         
,,industry ,,and ,,idleness4  ,,plate   
#c4  ,,the ,,idle ',,prentice ,,at      
,,play ,,in ,,the ,,church ,,yard4      
,,industry ,,and ,,idleness4  ,,plate   
,,iv4  ,,the ,,industrious ',,prentice  
,a ,,favourite ,,and ,,intrusted ,,by   
,,his ,,master4      ,well done1 thou   
good and faithful servant2 thou hast    
been faithful     over a few things1 ,i 
will make thee ruler over many things4  
,matthew1 chap4 xxv4 verse #ba4   ,the  
industrious apprentice1 by a discreet   
and steady conduct1 attracts the notice 
of his master1 and becomes a favourite3 
accordingly1 we behold him here         

7exquisitely continued from the first   
and second prints7 in the counting-house
 7with a distant view of the looms1 and 
of the quilsters1 winding quills for the
 shuttles1 from whence he was removed7  
entrusted with the books1 receiving and 
giving orders1 7the general reward of   
honesty1 care1 and diligence17 as       
appears from the delivery of some stuffs
 by a city porter1 from ,blackwell-hall4
 ,by the keys in one hand and the bag in
 the other1 we are shown that he has    
behaved himself with so much prudence   
and discretion1 and given such proofs of
 fidelity1 as to become the keeper of   
untold gold3 the greatest mark of       
confidence he could be favoured with4   
,the integrity of his heart is visible  
in his face4 ,the modesty and           
tranquillity of his countenance tell us1
 that though the great trust reposed in 
him is an addition to his happiness1    
yet1 that he discharges his duty with   
such becoming diffidence and care1 as   
not to betray any of that pride which   

attends so great a promotion4 ,the      
familiar position of his master1 leaning
 on his shoulder1 is a further proof of 
his esteem1 declaring that he dwells1 as
 it were1 in his bosom1 and possesses   
the utmost share of his affection2      
circumstances that must sweeten even a  
state of servitude1 and make a pleasant 
and lasting impression on the mind4 ,the
 head-piece to the ,london ,almanack1   
representing ,industry taking ,time by  
the fore-lock1 is not the least of the  
beauties in this plate1 as it intimates 
the danger of delay1 and advises us to  
make the best use of time1 whilst we    
have it in our power2 nor will the      
position of the gloves1 on the flap of  
the escritoire1 be unobserved by a      
curious examiner1 being expressive of   
that union that subsists between an     
indulgent master and an industrious     
apprentice4  ,the strong-beer nose and  
pimpled face of the porter1 though they 
have no connexion with the moral of the 
piece1 are a fine caricatura1 and show  

that our author let slip no opportunity 
of ridiculing the vices and follies of  
the age1 and particularly here1 in      
laying before us the strange infatuation
 of this class of people1 who1 because a
 good deal of labour requires some      
extraordinary refreshment1 will even    
drink to the deprivation of their       
reason1 and the destruction of their    
health4 ,the surly mastiff1 keeping     
close to his master1 and quarrelling    
with the house-cat for admittance1      
though introduced to fill up the piece1 
represents the faithfulness of these    
animals in general1 and is no mean      
emblem of the honesty and fidelity of   
the porter4   ,in this print1 neither   
the cat1 dog1 nor the porter are well   
drawn1 nor is much regard paid to       
perspective2 but the general design is  
carried on by such easy and natural     
gradations1 and the consequent success  
of an attentive conduct displayed in    
colours so plain and perspicuous1 that  
these little errors in execution will   

readily be overlooked4  ,illustration3  
,,industry ,,and ,,idleness4  ,,plate   
#d4  ,,the ,,industrious ',,prentice ,a 
,,favourite1 ,,and ,,entrusted ,,by     
,,his ,,master4     ,,industry ,,and    
,,idleness4  ,,plate ,v4  ,,the ,,idle  
',,prentice ,,turned ,,away ,,and ,,sent
 ,,to ,,sea4      ,a foolish son is the 
heaviness of his mother4 ,proverbs1     
chap4 x4     verse #a4   ,corrupted by  
sloth and contaminated by evil company1 
the idle apprentice1 having tired the   
patience of his master1 is sent to sea1 
in the hope that the being removed from 
the vices of the town1 and the influence
 of his wicked companions1 joined with  
the hardships and perils of a seafaring 
life1 might effect that reformation of  
which his friends despaired while he    
continued on shore4 ,see him then in the
 ship's boat1 accompanied by his        
afflicted mother1 making towards the    
vessel in which he is to embark4 ,the   
disposition of the different figures in 
the boat1 and the expression of their   

countenances1 tell us plainly1 that his 
evil pursuits and incorrigible          
wickedness are the subjects of their    
discourse4 ,the waterman significantly  
directs his attention to a figure on a  
gibbet1 as emblematical of his future   
fate1 should he not turn from the evil  
of his ways2 and the boy shows him a    
cat-o'-nine-tails1 expressive of the    
discipline that awaits him on board of  
ship2 these admonitions1 however1 he    
notices only by the application of his  
fingers to his forehead1 in the form of 
horns1 jestingly telling them to look at
 ,cuckold's ,point1 which they have just
 passed2 he then throws his indentures  
into the water with an air of contempt1 
that proves how little he is affected by
 his present condition1 and how little  
he regards the persuasions and tears of 
a fond mother1 whose heart seems ready  
to burst with grief at the fate of her  
darling son1 and perhaps her only stay2 
for her dress seems to intimate that she
 is a widow4 ,well then might ,solomon  

say1 that a foolish son is the heaviness
 of his mother2 for we here behold her  
who had often rejoiced in the prospect  
of her child being a prop to her in the 
decline of life1 lamenting his          
depravity1 and anticipating with horror 
the termination of his evil course4 ,one
 would naturally imagine1 from the      
common course of things1 that this scene
 would have awakened his reflection1 and
 been the means of softening the        
ruggedness of his disposition1--that    
some tender ideas would have crossed his
 mind and melted the obduracy of his    
heart2 but he continues hardened and    
callous to every admonition4  ,the group
 of figures composing this print has    
been copied by the ingenious ,lavater2  
with whose appropriate remarks we       
conclude our present description4       
,observe1 says this great analyst of the
 human countenance1 in the annexed      
group1 that unnatural wretch1 with the  
infernal visage1 insulting his          
supplicating mother2 the predominant    

character on the three other            
villain-faces1 though all disfigured by 
effrontery1 is cunning and ironical     
malignity4 ,every face is a seal with   
this truth engraved on it3 ',nothing    
makes a man so ugly as vice2 nothing    
renders the countenance so hideous as   
villainy4'  ,illustration3 ,,industry   
,,and ,,idleness4  ,,plate #e4  ,,the   
,,idle ',,prentice ,,turned ,,away ,,and
 ,,sent ,,to ,,sea4     ,,industry ,,and
 ,,idleness4  ,,plate ,,vi4  ,,the      
,,industrious ',,prentice ,,out ,,of    
,,his ,,time1 ,,and ,,married ,,to ,,his
 ,,master',s ,,daughter4      ,the      
virtuous woman is a crown to her        
husband4 ,proverbs1 chap4     xiii4     
verse #d4   ,the reward of industry is  
success4 ,our prudent and attentive     
youth is now become partner with his    
master1 and married to his daughter4    
,the sign1 by which this circumstance is
 intimated1 was at first inscribed      
,,goodchild and ,,west4 ,some of ,mr4   
,hogarth's city friends informing him   

that it was usual for the senior        
partner's name to precede1 it was       
altered4  ,to show that plenty reigns in
 this mansion1 a servant distributes the
 remains of the table to a poor woman1  
and the bridegroom pays one of the      
drummers1 who1 according to ancient     
custom1 attend with their thundering    
gratulations the day after a wedding4 ,a
 performer on the bass viol1 and a herd 
of butchers armed with marrow-bones and 
cleavers1 form an ,english concert4     
7,madame ,pompadour1 in her remarks on  
the ,english taste for music1 says1 they
 are invariably fond of every thing that
 is full in the mouth47 ,a cripple with 
the ballad of ,jesse1 or the ,happy     
,pair1 represents a man known by the    
name of ,philip in the ,tub1 who had    
visited ,ireland and the ,united        
,provinces2 and1 in the memory of some  
persons now living1 was a general       
attendant at weddings4 ,from those      
votaries of ,hymen who were honoured    
with his epithalamiums1 he received a   

small reward4 ,to show that ,messrs4    
,west and ,goodchild's habitation is    
near the monument1 the base of that     
stately column appears in the           
back-ground4 ,the inscription which     
until lately graced this structure1 used
 to remind every reader of ,pope's      
lines1      ,where ,london's column1    
pointing to the skies1     ,like a tall 
bully1 rears its head1 and lies1 c4     
,the duke of ,buckingham's epigram on   
this magnificent pillar is not so       
generally known3      ,here stand ,i1   
,the ,lord knows why2     ,but if ,i    
fall--     ,have at ye all6  ,a footman 
and butcher1 at the opposite corner1    
compared with the other figures1 are    
gigantic2 they might serve for the ,gog 
and ,magog of ,guildhall4  ,it has been 
said that the thoughts in this print are
 trite1 and the actions mean1 which must
 be in part acknowledged1 but they are  
natural1 and appropriate to the rank and
 situation of the parties1 and to the   
fashions of the time at which it was    

published4  ,illustration3 ,,industry   
,,and ,,idleness4  ,,plate #f4  ,,the   
,,industrious ',,prentice ,,out ,,of    
,,his ,,time  ,,married ,,to ,,his      
,,master',s ,,daughter4     ,,industry  
,,and ,,idleness4  ,,plate ,,vii4  ,,the
 ,,idle ',,prentice ,,returned ,,from   
,,sea1 ,,and ,,in ,a ,,garret ,,with ,a 
,,common ,,prostitute4      ,the sound  
of a shaken leaf shall chase him4       
,leviticus1 chap4 xxvi4     verse #bf4  
,the idle apprentice1 as appears by this
 print1 is advancing with rapid strides 
towards his fate4 ,we are to suppose him
 returned from sea after a long voyage2 
and to have met with such correction    
abroad for his obstinacy1 during his    
absence from ,england1 that though it   
was found insufficient to alter his     
disposition1 yet it determined him to   
pursue some other way of life2 and what 
he entered on is here but too evident   
7from the pistols by the bed-side1 and  
the trinkets his companion is examining1
 in order to strip him of7 to be that of

 the highway4 ,he is represented in a   
garret1 with a common prostitute1 the   
partaker of his infamy1 awaking1 after a
 night spent in robbery and plunder1    
from one of those broken slumbers which 
are ever the consequences of a life of  
dishonesty and debauchery4 ,though the  
designs of ,providence are visible in   
every thing1 yet they are never more    
conspicuous than in this1--that whatever
 these unhappy wretches possess by      
wicked and illegal means1 they seldom   
comfortably enjoy4 ,in this scene we    
have one of the finest pictures         
imaginable of the horrors of a guilty   
conscience4 ,though the door is fastened
 in the strongest manner with a lock and
 two bolts1 and with the addition of    
some planks from the flooring1 so as to 
make his retreat as secure as possible2 
though he has attempted to drive away   
thought by the powerful effects of      
spirituous liquors1 plain from the glass
 and bottle upon the floor1 still he is 
not able to brave out his guilt1 or     

steel his breast against reflection4    
,behold him roused by the accidental    
circumstance of a cat's coming down the 
chimney1 and the falling of a few       
bricks1 which he believes to be the     
noise of his pursuers6 ,observe his     
starting up in bed1 and all the tortures
 of his mind imprinted in his face6 ,he 
first stiffens into stone1 then all his 
nerves and muscles relax1 a cold sweat  
seizes him1 his hair stands on end1 his 
teeth chatter1 and dismay and horror    
stalk before his eyes4 ,how different is
 the countenance of his wretched        
bed-fellow6 in whom unconcern and       
indifference to every thing but the     
plunder are plainly apparent4 ,she is   
looking at an ear-ring1 which1 with two 
watches1 an etwee1 and a couple of      
rings1 are spread upon the bed1 as part 
of last night's plunder4 ,the phials on 
the mantel-piece show that sickness and 
disease are ever attendant on           
prostitution2 and the beggarly          
appearance of the room1 its wretched    

furniture1 the hole by way of window1   
7by the light of which she is examining 
her valuable acquisition1 and against   
which she had hung her old              
hoop-petticoat in order to keep out the 
cold17 and the rat's running across the 
floor1 are just and sufficient          
indications that misery and want are the
 constant companions of a guilty life4  
,illustration3 ,,industry ,,and         
,,idleness4  ,,plate #g4  ,,the ,,idle  
',,prentice ,,returned ,,from ,,sea1    
,,and ,,in ,,the ,a ,,garret ,,with ,a  
,,prostitute4     ,,industry ,,and      
,,idleness4  ,,plate ,,viii4  ,,the     
,,industrious ',,prentice ,,grown       
,,rich1 ,,and ,,sheriff ,,of ,,london4  
',with all thy gettings get             
understanding4 ,exalt her and she shall 
promote thee2 she shall bring thee to   
honour1 when thou dost embrace     her4'
 ,proverbs1 chap4 iv4 verse #g1 #h4     
,from industry become opulent1 from     
integrity and punctuality respectable1  
our young merchant is now sheriff of    

,london1 and dining with the different  
companies in ,guildhall4 ,a group on the
 left side are admirably characteristic2
 their whole souls seem absorbed in the 
pleasures of the table4 ,a divine1 true 
to his cloth1 swallows his soup with the
 highest gout4 ,not less gratified is   
the gentleman palating a glass of wine4 
,the man in a black wig is a positive   
representative of famine2 and the portly
 and oily citizen1 with a napkin tucked 
in his button-hole1 has evidently burnt 
his mouth by extreme eagerness4  ,the   
backs of those in the distance1 behung  
with bags1 major perukes1 pinners1 c4   
are most laughably ludicrous4 ,every    
person present is so attentive to       
business1 that one may fairly conclude  
they live to eat1 rather than eat to    
live4  ,but though this must be admitted
 to be the case with this party1 the    
following instance of city temperance   
proves that there are some exceptions4  
,when the ,lord ,mayor1 ,sheriffs1      
,aldermen1 ,chamberlain1 c4 of the city 

of ,london were once seated round the   
table at a public and splendid dinner at
 ,guildhall1 ,mr4 ,chamberlain ,wilkes  
lisped out1 ,mr4 ,alderman ,b----1 shall
 ,i help you to a plate of turtle1 or a 
slice of the haunch1--,i am within reach
 of both1 sir8 ,neither one nor t'other1
 ,i thank you1 ,sir1 replied the        
,alderman1 ,i think ,i shall dine on the
 beans and bacon which are at this end  
of the table4 ,mr4 ,alderman ,a----1    
continued the ,chamberlain1 which would 
you choose1 sir8 ,sir1 ,i will not      
trouble you for either1 for ,i believe  
,i shall follow the example of my       
brother ,b----1 and dine on beans and   
bacon1 was the reply4 ,on this second   
refusal the old ,chamberlain rose from  
his seat1 and1 with every mark of       
astonishment in his countenance1 curled 
up the corners of his mouth1 cast his   
eyes round the table1 and in a voice as 
loud and articulate as he was able1     
called ,silence6 which being obtained1  
he thus addressed the pretorian         

magistrate1 who sat in the ,chair3 ,my  
,lord ,mayor1 the wicked have accused us
 of intemperance1 and branded us with   
the imputation of gluttony2 that they   
may be put to open shame1 and their     
profane tongues be from this day utterly
 silenced1 ,i humbly move1 that your    
,lordship command the proper officer to 
record in our annals1 that two ,aldermen
 of the city of ,london prefer beans and
 bacon to either turtle soup or venison4
  ,notwithstanding all this1 there are  
men1 who1 looking on the dark side1 and 
perhaps rendered splenetic1 and soured  
by not being invited to these sumptuous 
entertainments1 have affected to fear1  
that their frequent repetition would    
have a tendency to produce a famine1 or 
at least to check the increase1 if not  
extirpate the species1 of those birds1  
beasts1 and fish1 with which the tables 
of the rich are now so plentifully      
supplied4 ,but these half reasoners do  
not take into their calculation the     
number of gentlemen so laudably         

associated for encouraging cattle being 
fed so fat that there is no lean left2  
or that more ancient association1       
sanctioned and supported by severe acts 
of parliament1 for the preservation of  
the game4 ,from the exertions of these  
and similar societies1 we may reasonably
 hope there is no occasion to dread any 
such calamity taking place2 though the  
,guildhall tables often groaning under  
such hecatombs as are recorded in the   
following account1 may make a man of    
weak nerves and strong digestion1 shake 
his head1 and shudder a little4 ,on the 
#bith ,october1 #agbg1 when ,george     
,,ii4 and ,queen ,caroline honoured the 
city with their presence at ,guildhall1 
there were #ai tables1 covered with     
#ajge dishes4 ,the whole expense of this
 entertainment to the city was #dhhil4  
#ds4  ,to return to the print2--a       
self-sufficient and consequential       
beadle1 reading the direction of a      
letter to ,francis ,goodchild1 ,esq4    
,sheriff of ,london1 has all the        

insolence of office4 ,the important and 
overbearing air of this dignified       
personage is well contrasted by the     
humble simplicity of the straight-haired
 messenger behind the bar4 ,the gallery 
is well furnished with musicians busily 
employed in their vocation4      ,music 
hath charms to sooth the savage breast1 
,and therefore proper at a sheriff's    
feast4  ,besides a portrait of ,william 
the ,third1 and a judge1 the hall is    
ornamented with a full length of that   
illustrious hero ,sir ,william          
,walworth1 in commemoration of whose    
valour the weapon with which he slew    
,wat ,tyler was introduced into the city
 arms4  ,illustration3 ,,industry ,,and 
,,idleness4  ,,plate #h4  ,,the         
,,industrious ',,prentice ,,grown       
,,rich1 ,,and ,,sheriff ,,of ,,london4  
,,industry ,,and ,,idleness4  ,,plate   
,,ix4  ,,the ,,idle ',,prentice         
,,betrayed ,,by ,a ,,prostitute1 ,,and  
,,taken ,,in ,a ,,night ,,cellar ,,with 
,,his ,,accomplice4      ,the adulteress

 will hunt for precious life4 ,proverbs1
 chap4 vi4     verse #bf4   ,from the   
picture of the reward of diligence1 we  
return to take a further view of the    
progress of sloth and infamy2 by        
following the idle 'prentice a step     
nearer to the approach of his unhappy   
end4 ,we see him in the third plate     
herding with the worst of the human     
species1 the very dregs of the people2  
one of his companions1 at that time1    
being a one-eyed wretch1 who seemed     
hackneyed in the ways of vice4 ,to break
 this vile connexion he was sent to sea2
 but1 no sooner did he return1 than his 
wicked disposition took its natural     
course1 and every day he lived served   
only to habituate him to acts of greater
 criminality4 ,he presently discovered  
his old acquaintance1 who1 no doubt1    
rejoiced to find him so ripe for        
mischief3 with this worthless1 abandoned
 fellow1 he enters into engagements of  
the worst kind1 even those of robbery   
and murder4 ,thus blindly will men      

sometimes run headlong to their own     
destruction4  ,about the time when these
 plates were first published1 which was 
in the year #agdg1 there was a noted    
house in ,chick ,lane1 ,smithfield1 that
 went by the name of the ,blood-,bowl   
,house1 so called from the numerous     
scenes of blood that were almost daily  
carried on there2 it being a receptacle 
for prostitutes and thieves2 where every
 species of delinquency was practised2  
and where1 indeed1 there seldom passed a
 month without the commission of some   
act of murder4 ,to this subterraneous   
abode of iniquity 7it being a cellar7   
was our hero soon introduced2 where he  
is now represented in company with his  
accomplice1 and others of the same      
stamp1 having just committed a most     
horrid act of barbarity1 7that of       
killing a passer-by1 and conveying him  
into a place under ground1 contrived for
 this purpose17 dividing among them the 
ill-gotten booty1 which consists of two 
watches1 a snuff-box1 and some other    

trinkets4 ,in the midst of this         
wickedness1 he is betrayed by his       
strumpet 7a proof of the treachery of   
such wretches7 into the hands of the    
high constable and his attendants1 who  
had1 with better success than           
heretofore1 traced him to this wretched 
haunt4 ,the back-ground of this print   
serves rather as a representation of    
night-cellars in general1 those infamous
 receptacles for the dissolute and      
abandoned of both sexes1 than a further 
illustration of our artist's chief      
design2 however1 as it was ,mr4         
,hogarth's intention1 in the history    
before us1 to encourage virtue and      
expose vice1 by placing the one in an   
amiable light1 and exhibiting the other 
in its most heightened scenes of        
wickedness and impiety1 in hopes of     
deterring the half-depraved youth of    
this metropolis1 from even the          
possibility of the commission of such   
actions1 by frightening them from these 
abodes of wretchedness2 as this was     

manifestly his intention1 it cannot be  
deemed a deviation from the subject4 ,by
 the skirmish behind1 the woman without 
a nose1 the scattered cards upon the    
floor1 c4 we are shown that drunkenness 
and riot1 disease1 prostitution1 and    
ruin are the dreadful attendants of     
sloth1 and the general fore-runners of  
crimes of the deepest die2 and by the   
halter suspended from the ceiling1 over 
the head of the sleeper1 we are to learn
 two things--the indifference of        
mankind1 even in a state of danger1 and 
the insecurity of guilt in every        
situation4  ,illustration3 ,,industry   
,,and ,,idleness4  ,,plate #i4  ,,the   
,,idle ',,prentice ,,betrayed ,,by ,a   
,,prostitute4     ,,industry ,,and      
,,idleness4  ,,plate ,x4  ,,the         
,,industrious ',,prentice ,,alderman    
,,of ,,london2 ,,the ,,idle ,,one       
,,brought ,,before ,,him1 ,,and         
,,impeached ,,by ,,his ,,accomplice4    
,thou shalt do no unrighteousness in    
judgment4 ,leviticus1 chap4     xix4    

verse #ae4      ,the wicked is snared in
 the work of his own hands4 ,psalms1    
chap4     ix4 verse #af4   ,imagine now 
this depraved and atrocious youth       
hand-cuffed1 and dragged from his wicked
 haunt1 through the streets to a place  
of security1 amidst the scorn and       
contempt of a jeering populace2 and     
thence brought before the sitting       
magistrate1 7who1 to heighten the scene 
and support the contrast1 is supposed to
 be his fellow-'prentice1 now chosen an 
alderman17 in order to be dealt with    
according to law4 ,see him then at last 
having run his course of iniquity1      
fallen into the hands of justice1 being 
betrayed by his accomplice2 a further   
proof of the perfidy of man1 when even  
partners in vice are unfaithful to each 
other4 ,this is the only print among the
 set1 excepting the first1 where the two
 principal characters are introduced2 in
 which ,mr4 ,hogarth has shown his great
 abilities1 as well in description1 as  
in a particular attention to the        

uniformity and connexion of the whole4  
,he is now at the bar1 with all the     
marks of guilt imprinted on his face4   
,how1 if his fear will permit him to    
reflect1 must he think on the happiness 
and exaltation of his fellow-'prentice  
on the one hand1 and of his own misery  
and degradation on the other6 at one    
instant1 he condemns the persuasions of 
his wicked companions2 at another1 his  
own idleness and obstinacy3 however1    
deeply smitten with his crime1 he sues  
the magistrate1 upon his knees1 for     
mercy1 and pleads in his cause the      
former acquaintance that subsisted      
between them1 when they both dwelt      
beneath the same roof1 and served the   
same common master3 but here was no room
 for lenity1 murder was his crime1 and  
death must be his punishment2 the proofs
 are incontestable1 and his mittimus is 
ordered1 which the clerk is drawing out4
 ,let us next turn our thoughts upon the
 alderman1 in whose breast a struggle   
between mercy and justice is beautifully

 displayed4 ,who can behold the         
magistrate1 here1 without praising the  
man8 ,how fine is the painter's thoughts
 of reclining the head on one hand1     
while the other is extended to express  
the pity and shame he feels that human  
nature should be so depraved6 ,it is not
 the golden chain or scarlet robe that  
constitutes the character1 but the      
feelings of the heart4 ,to show us that 
application for favour1 by the ignorant1
 is often idly made to the servants of  
justice1 who take upon themselves on    
that account a certain state and        
consequence1 not inferior to magistracy1
 the mother of our delinquent is        
represented in the greatest distress1 as
 making interest with the corpulent     
self-swoln constable1 who with an       
unfeeling concern seems to say1 ,make   
yourself easy1 for he must be hanged2   
and to convince us that bribery will    
even find its way into courts of        
judicature1 here is a woman feeing the  
swearing clerk1 who has stuck his pen   

behind his ear that his hands might be  
both at liberty2 and how much more his  
attention is engaged to the money he is 
taking1 than to the administration of   
the oath1 may be known from the         
ignorant1 treacherous witness being     
suffered to lay his left hand upon the  
book2 strongly expressive of the        
sacrifice1 even of sacred things1 to the
 inordinate thirst of gain4  ,from      
,newgate 7the prison to which he was    
committed2 where1 during his continuance
 he lay chained in a dismal cell1       
deprived of the cheerfulness of light1  
fed upon bread and water1 and left      
without a bed to rest on7 the prisoner  
was removed to the bar of judgment1 and 
condemned to die by the laws of his     
country4  ,illustration3 ,,industry     
,,and ,,idleness4  ,,plate #aj4  ,,the  
,,industrious ',,prentice ,,alderman    
,,of ,,london4 ,,the ,,idle ,,one       
,,impeached ,,before ,,him ,,by ,,his   
,,accomplice4     ,,industry ,,and      
,,idleness4  ,,plate ,,xi4  ,,the ,,idle

 ',,prentice ,,executed ,,at ,,tyburn4  
,when fear cometh as desolation1 and    
their destruction cometh as a           
whirlwind2 when distress cometh upon    
them1 then shall they call upon         
,god1 but he will not answer4 ,proverbs1
 chapter i4 verse #g1 #h4   ,thus1 after
 a life of sloth1 wretchedness1 and     
vice1 does our delinquent terminate his 
career4 ,behold him1 on the dreadful    
morn of execution1 drawn in a cart      
7attended by the sheriff's officers on  
horseback1 with his coffin behind him7  
through the public streets to ,tyburn1  
there to receive the just reward of his 
crimes1--a shameful ignominious death4  
,the ghastly appearance of his face1 and
 the horror painted on his countenance1 
plainly show the dreadful situation of  
his mind2 which we must imagine to be   
agitated with shame1 remorse1 confusion1
 and terror4 ,the careless position of  
the ,ordinary at the coach window is    
intended to show how inattentive those  
appointed to that office are of their   

duty1 leaving it to others1 which is    
excellently expressed by the itinerant  
preacher in the cart1 instructing from a
 book of ,wesley's4 ,mr4 ,hogarth has in
 this print1 digressing from the history
 and moral of the piece1 taken an       
opportunity of giving us a humorous     
representation of an execution1 or a    
,tyburn ,fair3 such days being made     
holidays1 produce scenes of the greatest
 riot1 disorder1 and uproar2 being      
generally attended by hardened wretches1
 who go there1 not so much to reflect   
upon their own vices1 as to commit those
 crimes which must in time inevitably   
bring them to the same shameful end4 ,in
 confirmation of this1 see how earnestly
 one boy watches the motions of the man 
selling his cakes1 while he is picking  
his pocket2 and another waiting to      
receive the booty6 ,we have here        
interspersed before us a deal of low    
humour1 but such as is common on        
occasions like this4 ,in one place we   
observe an old bawd turning up her eyes 

and drinking a glass of gin1 the very   
picture of hypocrisy2 and a man         
indecently helping up a girl into the   
same cart2 in another1 a soldier sunk up
 to his knees in a bog1 and two boys    
laughing at him1 are well imagined4     
,here we see one almost squeezed to     
death among the horses2 there1 another  
trampled on by the mob4 ,in one part is 
a girl tearing the face of a boy for    
oversetting her barrow2 in another1 a   
woman beating a fellow for throwing down
 her child4 ,here we see a man flinging 
a dog among the crowd by the tail2 there
 a woman crying the dying speech of     
,thomas ,idle1 printed the day before   
his execution2 and many other things too
 minute to be pointed out3 two1 however1
 we must not omit taking notice of1 one 
of which is the letting off a pigeon1   
bred at the gaol1 fly from the gallery1 
which hastes directly home2 an old      
custom1 to give an early notice to the  
keeper and others1 of the turning off or
 death of the criminal2 and that of the 

executioner smoking his pipe at the top 
of the gallows1 whose position of       
indifference betrays an unconcern that  
nothing can reconcile with the shocking 
spectacle1 but that of use having       
rendered his wretched office familiar to
 him2 whilst it declares a truth1 which 
every character in this plate seems to  
confirm1 that a sad and distressful     
object loses its power of affecting by  
being frequently seen4  ,illustration3  
,,industry ,,and ,,idleness4  ,,plate   
#aa4  ,,the ,,idle ',,prentice          
,,executed ,,at ,,tyburn4     ,,industry
 ,,and ,,idleness4  ,,plate ,,xii4      
,,the ,,industrious ',,prentice ,,lord  
,,mayor ,,of ,,london4      ,length of  
days is in her right hand1 and in her   
left hand riches     and honour4        
,proverbs1 chap4 iii4 ver4 #af4         
,having seen the ignominious end of the 
idle apprentice1 nothing remains but to 
represent the completion of the other's 
happiness2 who is now exalted to the    
highest honour1 that of ,lord ,mayor of 

,london2 the greatest reward that       
ancient and noble city can bestow on    
diligence and integrity4 ,our artist has
 here1 as in the last plate1 given a    
loose to his humour1 in representing    
more of the low part of the ,lord       
,mayor's show than the magnificent2 yet 
the honour done the city1 by the        
presence of the ,prince and ,princess of
 ,wales1 is not forgotten4 ,the variety 
of comic characters in this print serves
 to show what generally passes on such  
public processions as these1 when the   
people collect to gratify their childish
 curiosity1 and indulge their wanton    
disposition1 or natural love of riot4   
,the front of this plate exhibits the   
oversetting of a board1 on which some   
girls had stood1 and represents them    
sprawling upon the ground2 on the left1 
at the back of the scaffold1 is a fellow
 saluting a fair nymph1 and another     
enjoying the joke3 near him is a blind  
man straggled in among the crowd1 and   
joining in the general halloo3 before   

him is a militia-man1 so completely     
intoxicated as not to know what he is   
doing2 a figure of infinite humour4     
,though ,mr4 ,hogarth has here marked   
out two or three particular things1 yet 
his chief intention was to ridicule the 
city militia1 which was at this period  
composed of undisciplined men1 of all   
ages1 sizes1 and height2 some fat1 some 
lean1 some tall1 some short1 some       
crooked1 some lame1 and in general so   
unused to muskets1 that they knew not   
how to carry them4 ,one1 we observe1 is 
firing his piece and turning his head   
another way1 at whom the man above is   
laughing1 and at which the child is     
frightened4 ,the boy on the right1      
crying1 ,a full and true account of the 
ghost of ,thomas ,idle1 which is        
supposed to have appeared to the ,mayor1
 preserves the connexion of the whole   
work4 ,the most obtrusive figure in his 
,lordship's coach is ,mr4 ,swordbearer1 
in a cap like a reversed saucepan1 which
 this great officer wears on these grand

 occasions4 ,the company of journeymen  
butchers1 with their marrow-bones and   
cleavers1 appear to be the most active1 
and are by far the most noisy of any who
 grace this solemnity4 ,numberless      
spectators1 upon every house and at     
every window1 dart their desiring eyes  
on the procession2 so great indeed was  
the interest taken by the good citizens 
of ,london in these civic processions   
that1 formerly1 it was usual in a       
,london lease to insert a clause1 giving
 a right to the landlord and his friends
 to stand in the balcony1 during the    
time of the shows or pastimes1 upon the 
day commonly called the ,lord ,mayor's  
,day4  ,thus have we seen1 by a series  
of events1 the prosperity of the one and
 the downfall of the other2 the riches  
and honour that crown the head of       
industry1 and the ignominy and          
destruction that await the slothful4    
,after this it would be unnecessary to  
say which is the most eligible path to  
tread4 ,lay the roads but open to the   

view1 and the traveller will take the   
right of course2 give but the boy this  
history to peruse1 and his future       
welfare is almost certain4              
,illustration3 ,,industry ,,and         
,,idleness4  ,,plate #ab4  ,,the        
,,industrious ',,prentice ,,lord ,,mayor
 ,,of ,,london4     ,,southwark ,,fair4 
,the subject of the plate under         
consideration is that of the ,borough   
,fair2 a fair held some time since in   
the ,borough of ,southwark1 though now  
suppressed4 ,this fair was attended1    
generally1 by the inhabitants of town   
and country1 and1 therefore1 was one    
that afforded great variety2 especially 
as1 before its suppression1 it was      
devoted to every thing loose and        
irregular4 ,a view of the scene1 of     
which the following print is a faithful 
representation1 will affirm this truth4 
,the principal view upon the left       
represents the fall of a scaffold1 on   
which was assembled a strolling company1
 pointed out1 by the paper lantern      

hanging in front1 to be that belonging  
to ,cibber and ,bullock1 ready dressed  
to exhibit ,the ,fall of ,bajazet4 ,here
 we see merry-andrews1 monkeys1 queens  
and emperors1 sinking in one general    
confusion2 and1 that the crash may      
appear the greater1 the stand beneath is
 humorously supposed to consist of      
earthenware and china4 ,notwithstanding 
this fatal overthrow1 few below are seen
 to notice it2 witness the boys and     
woman gambling at the box and dice1 the 
upright monkey1 and the little bag-piper
 dancing his wooden figures4 ,above this
 scaffold hangs a painting1 the subject 
of which is the stage mutiny2 whose     
figures are as follow3--,on one side is 
,pistol1 7strutting and crying out1     
,pistol's alive17 ,falstaff1 ,justice   
,shallow1 and many other characters of  
,shakspeare4 ,on the other1 the manager 
bearing in his hand a paper1 on which is
 written1 it cost #fjjjl4 a             
scene-painter1 who has laid his brushes 
aside1 and taken up a cudgel2 and a     

woman holding an ensign1 bearing the    
words1 ,we'll starve 'em out4 ,in the   
corner is a man1 quiet and snug1 hugging
 a bag of money1 laughing at the folly  
of the rest2 and behind1 a monkey1      
perched upon a sign iron1 supposed to be
 that of the ,rose ,tavern in           
,drury-lane1 squeaking out1 ,i am a     
gentleman4 ,these paintings are in      
general designed to show what is        
exhibited within2 but this alludes to a 
dispute that arose at the time when this
 print was published1 which was in the  
year #agcc1 between the players and the 
patentee of ,drury-lane ,theatre1 when  
young ,cibber1 the son of the ,laureate1
 was at the head of the faction4 ,above1
 on one side1 is an equilibrist swinging
 on a slack rope2 and on the other1 a   
man flying from the tower to the ground1
 by means of a groove fastened to his   
breast1 slipping over a line strained   
from one place to the other4 ,at the    
back of this plate is ,lee and ,harper's
 great booth1 where1 by the picture of  

the wooden horse1 we are told1 is       
represented ,the ,siege of ,troy4 ,the  
next paintings consist of the fall of   
,adam and ,eve1 and a scene in ,punch's 
opera4 ,beneath is a mountebank1 exalted
 on a stage1 eating fire to attract the 
public attention2 while his merry-andrew
 behind is distributing his medicines4  
,further back is a shift and hat1       
carried upon poles1 designed as prizes  
for the best runner or wrestler4 ,in    
front is a group of strollers parading  
the fair1 in order to collect an        
audience for their next exhibition2 in  
which is a female drummer1 at that time 
well known1 and remarked for her beauty1
 which we observe has caught the eye of 
two countrymen1 the one old1 the other  
young4 ,behind these men is a buskined  
hero1 beset by a ,marshalsea ,court     
officer and his follower4 ,to the right 
is a ,savoyard exhibiting her farthing  
show2 and behind1 a player at back sword
 riding a blind horse round the fair    
triumphantly1 in all the boast of       

self-important heroism1 affecting terror
 in his countenance1 glorying in his    
scars1 and challenging the world to open
 combat3 a folly for which the ,english 
were remarkable4 ,to this man a fellow  
is directing the attention of a country 
gentleman1 while he robs him of his     
handkerchief4 ,next him is an artful    
villain decoying a couple of unthinking 
country girls to their ruin4 ,further   
back is a man kissing a wench in the    
crowd2 and above1 a juggler performing  
some dexterity of hand4 ,indeed it would
 be tedious to enter into an enumeration
 of the various matter of this plate2 it
 is sufficient to remark that it        
presents us with an endless collection  
of spirited and laughable characters1 in
 which is strikingly portrayed the      
character of the times4  ,illustration3 
,,southwark ,,fair4     ,,garrick ,,in  
,,the ,,character ,,of ,,richard ,,iii4 
,give me another horse1--bind up my     
wounds1--     ,have mercy1              
,jesu6--,soft2 ,i did but dream4--      

,o coward conscience1 how dost thou     
afflict me6--     ,the lights burn      
blue6--is it not dead midnight8         
,cold1 fearful drops hang on my         
trembling flesh4--   ,such is the       
exclamation of ,richard1 and such is the
 disposition of his mind at the moment  
of this delineation4 ,the lamp1         
diffusing a dim religious light through 
the tent1 the crucifix placed at his    
head1 the crown1 and unsheathed sword at
 his hand1 and the armour lying on the  
ground1 are judicious and appropriate   
accompaniments4 ,those who are          
acquainted with this prince's history1  
need not be told that he was naturally  
bold1 courageous1 and enterprising2 that
 when business called him to the field1 
he shook off every degree of indulgence1
 and applied his mind to the management 
of his affairs4 ,this may account for   
his being stripped no otherwise than of 
his armour1 having retired to his tent  
in order to repose himself upon his bed1
 and lessen the fatigues of the         

preceding day4 ,see him then hastily    
rising1 at dead of night1 in the utmost 
horror from his own thoughts1 being     
terrified in his sleep by the dreadful  
phantoms of an affrighted imagination1  
seizing on his sword1 by way of defence 
against the foe his disordered fancy    
presents to him4 ,so great is his       
agitation1 that every nerve and muscle  
is in action1 and even the ring is      
forced from his finger4 ,when the heart 
is affected1 how great is its influence 
on the human frame6--it communicates its
 sensibility to the extreme parts of the
 body1 from the centre to the           
circumference2 as distant water is put  
in motion by circles1 spreading from the
 place of its disturbance4 ,the paper on
 the floor containing these words1      
,jockey of ,norfolk1 be not so bold1    
,for ,dicken thy master is bought and is
 sold1  brought him by the ,duke of     
,norfolk1 saying he found it in his     
tent1 and lying here unattended to1 as a
 mark of contempt1 plainly informs us   

that however a man may attempt to steel 
himself against the arrows of           
conscience1 still they will find a way  
to his breast1 and shake the sinner even
 in his greatest security4 ,and indeed  
we cannot wonder1 when we reflect on the
 many murders he was guilty of1         
deserving the severest punishment2 for  
,providence has wisely ordained that sin
 should be its own tormentor1 otherwise1
 in many cases1 the offender would1 in  
this life1 escape unpunished1 and the   
design of heaven be frustrated4 ,but    
,richard1 though he reached a throne1   
and by that means was exempt from the   
sufferings of the subject1 yet could not
 divest himself of his nature1 but was  
forced to give way to the workings of   
the heart1 and bear the tortures of a   
distracted mind4 ,the expression in his 
face is a master-piece of execution1 and
 was a great compliment paid by ,mr4    
,hogarth to his friend ,garrick2 yet not
 unmerited1 as all that have seen him in
 the part must acknowledge the greatness

 of the actor4 ,the figures in the      
distance1 two of whom1      ,like       
sacrifices by their fires of watch1     
,with patience sit1 and inly ruminate   
,the morning's danger1  are properly    
introduced1 and highly descriptive4     
,the tents of ,richmond are so near     
,that the fix'd sentinels almost receive
     ,the secret whispers of each       
other's watch4  ,considered as a whole1 
the composition is simple1 striking1 and
 original1 and the figures well drawn4  
,the whole moral tenour of the piece    
informs us that conscience is armed with
 a thousand stings1 from which royalty  
itself is not secure2 that of all       
tormentors1 reflection is the worst2    
that crowns and sceptres are baubles1   
compared with self-approbation2 and that
 nought is productive of solid          
happiness1 but inward peace and serenity
 of mind4  ,illustration3 ,,garrick4    
,in the ,character of ,richard the      
,third4     ,,the ,,invasion2 ,,or1     
,,france ,,and ,,england4   ,in the two 

following designs1 ,mr4 ,hogarth has    
displayed that partiality for his own   
country and contempt for ,france1 which 
formed a strong trait in his character4 
,he neither forgot nor forgave the      
insults he suffered at ,calais1 though  
he did not recollect that this treatment
 originated in his own ill humour1 which
 threw a sombre shade over every object 
that presented itself4 ,having early    
imbibed the vulgar prejudice that one   
,englishman was a match for four        
,frenchmen1 he thought it would be doing
 his country a service to prove the     
position4 ,how far it is either useful  
or politic to depreciate the power1 or  
degrade the character of that people    
with whom we are to contend1 is a       
question which does not come within the 
plan of this work4 ,in some cases it may
 create confidence1 but in others lead  
to the indulgence of that negligent     
security by which armies have been      
slaughtered1 provinces depopulated1 and 
kingdoms changed their rulers4          

,,plate ,i4  ,,france4      ,with       
lantern jaws and croaking gut1     ,see 
how the half-star'd ,frenchmen strut1   
,and call us ,english dogs3     ,but    
soon we'll teach these bragging foes    
,that beef and beer give heavier blows  
,than soup and roasted frogs4      ,the 
priests1 inflam'd with righteous hopes1 
,prepare their axes1 wheels1 and ropes1 
,to bend the stiff-neck'd sinner2       
,but should they sink in coming over1   
,old ,nick may fish 'twixt ,france and  
,dover1       ,and catch a glorious     
dinner4   ,the scenes of all ,mr4       
,hogarth's prints1 except ,the ,gate of 
,calais1 and that now under             
consideration1 are laid in ,england4 ,in
 this1 having quitted his own country1  
he seems to think himself out of the    
reach of the critics1 and1 in           
delineating a ,frenchman1 at liberty to 
depart from nature1 and sport in the    
fairy regions of caricature4 ,were these
 ,gallic soldiers naked1 each of them   
would appear like a forked radish1 with 

a head fantastically carved upon it with
 a knife3 so forlorn6 that to any thick 
sight he would be invisible4 ,to see    
this miserable woe-begone refuse of the 
army1 who look like a group detached    
from the main body and put on the sick  
list1 embarking to conquer a            
neighbouring kingdom1 is ridiculous     
enough1 and at the time of publication  
must have had great effect4 ,the artist 
seemed sensible that it was necessary to
 account for the unsubstantial          
appearance of these shadows of men1 and 
has hinted at their want of solid food1 
in the bare bones of beef hung up in the
 window1 the inscription on the alehouse
 sign1 ,soup maigre au ,sabot ,royal1   
and the spider-like officer roasting    
four frogs which he has impaled upon his
 sword4 ,such light and airy diet is    
whimsically opposed by the motto on the 
standard1 which two of the most valorous
 of this ghastly troop are hailing with 
grim delight and loud exultation4 ,it   
is1 indeed1 an attractive motto1 and    

well calculated to inspire this         
famishing company with                  
courage3--,vengeance1 avec la bonne     
,biere1 et bon boeuf d',angleterre4     
,however meagre the military1 the church
 militant is in no danger of starving4  
,the portly friar is neither emaciated  
by fasting nor weakened by penance4     
,anticipating the glory of extirpating  
heresy1 he is feeling the sharp edge of 
an axe1 to be employed in the           
decollation of the enemies to the true  
faith4 ,a sledge is laden with whips1   
wheels1 ropes1 chains1 gibbets1 and     
other inquisitorial engines of torture1 
which are admirably calculated for the  
propagation of a religion that was      
established in meekness and mercy1 and  
inculcates universal charity and        
forbearance4 ,on the same sledge is an  
image of ,st4 ,anthony1 accompanied by  
his pig1 and the plan of a monastery to 
be built at ,black ,friars4  ,in the    
back-ground are a troop of soldiers so  
averse to this ,english expedition1 that

 their serjeant is obliged to goad them 
forward with his halberd4 ,to intimate  
that agriculture suffers by the invasion
 having engaged the masculine           
inhabitants1 two women1 ploughing a     
sterile promontory in the distance1     
complete this catalogue of wretchedness1
 misery1 and famine4  ,illustration3    
,,france4      ,,the ,,invasion4        
,,plate ,,ii4  ,,england4      ,see     
,john the ,soldier1 ,jack the ,tar1     
,with sword and pistol arm'd for war1   
,should ,mounseer dare come here2       
,the hungry slaves have smelt our food1 
,they long to taste our flesh and blood1
       ,old ,england's beef and beer4   
,britons to arms6 and let 'em come1     
,be you but ,britons still1 strike home1
       ,and1 lion-like1 attack 'em1     
,no power can stand the deadly stroke   
,that's given from hands and hearts of  
oak1       ,with ,liberty to back 'em4  
,from the unpropitious regions of       
,france our scene changes to the fertile
 fields of ,england4      ,england6     

bound in with the triumphant sea1       
,whose rocky shores beat back the       
envious siege     ,of wat'ry ,neptune4  
,instead of the forlorn and famished    
party who were represented in the last  
plate1 we here see a company of well-fed
 and high-spirited ,britons1 marked with
 all the hardihood of ancient times1 and
 eager to defend their country4  ,in the
 first group a young peasant1 who       
aspires to a niche in the temple of     
,fame1 preferring the service of ,mars  
to that of ,ceres1 and the dignified    
appellation of soldier to the plebeian  
name of farmer1 offers to enlist4       
,standing with his back against the     
halberd to ascertain his height1 and1   
finding he is rather under the mark1 he 
endeavours to reach it by rising on     
tiptoe4 ,this artifice1 to which he is  
impelled by towering ambition1 the      
serjeant seems disposed to connive      
at--and the serjeant is a hero1 and a   
great man in his way2 your hero always  
must be tall1 you know4  ,to evince that

 the polite arts were then in a         
flourishing state1 and cultivated by    
more than the immediate professors1 a   
gentleman artist1 who to common eyes    
must pass for a grenadier1 is making a  
caricature of le grand monarque1 with a 
label from his mouth worthy the speaker 
and worthy observation1 ,you take a my  
fine ships2 you be de pirate2 you be de 
teef3 me send my grand armies1 and hang 
you all4 ,the action is suited to the   
word1 for with his left hand this most  
,christian potentate grasps his sword1  
and in his right poises a gibbet4 ,the  
figure and motto united produce a roar  
of approbation from the soldier and     
sailor1 who are criticising the work4   
,it is so natural that the ,helen and   
,briseis of the camp contemplate the    
performance with apparent delight1 and1 
while one of them with her apron        
measures the breadth of this herculean  
painter's shoulders1 the other1 to show 
that the performance has some point1    
places her forefinger against the prongs

 of a fork4 ,the little fifer1 playing  
that animated and inspiring tune1 ,god  
save the ,king1 is an old acquaintance3 
we recollect him in the ,march to       
,finchley4 ,in the back-ground is a     
serjeant1 teaching a company of young   
recruits their manual exercise4  ,this  
military meeting is held at the sign of 
the ,gallant ,duke of ,cumberland1 who  
is mounted upon a prancing charger1     
,as if an angel dropp'd down from the   
clouds1     ,to turn and wield a fiery  
,pegasus1     ,and witch the world with 
noble horsemanship4  ,underneath is     
inscribed ,roast and ,boiled every day1 
which1 with the beef and beverage upon  
the table1 forms a fine contrast to the 
soup maigre1 bare bones1 and roasted    
frogs1 in the last print4 ,the bottle   
painted on the wall1 foaming with       
liquor1 which1 impatient of             
imprisonment1 has burst its cerements1  
must be an irresistible invitation to a 
thirsty traveller4 ,the soldier's sword 
laid upon the round of beef1 and the    

sailor's pistol on the vessel containing
 the ale1 intimate that these great     
bulwarks of our island are as tenacious 
of their beef and beer1 as of their     
religion and liberty4  ,these two plates
 were published in #agef2 but in the    
,london ,chronicle for ,october #bj1    
#agei1 is the following advertisement3  
,this day are republished1 ,two prints  
designed and etched by ,william         
,hogarth1 one representing the          
preparations on the ,french coast for an
 intended invasion2 the other1 a view of
 the preparations making in ,england to 
oppose the wicked designs of our        
enemies2 proper to be stuck up in public
 places1 both in town and country1 at   
this juncture4  ,the verses which were  
inserted under each print1 and subjoined
 to this account1 are1 it must be       
acknowledged1 coarse enough4 ,they were1
 however1 written by ,david ,garrick4   
,illustration3 ,,england4               
,transcriber's ,note4   ,the following  
words were inconsistently hyphenated in 

the original text3      down-cast _/    
downcast     footboy _/ foot-boy        
fore-finger _/ forefinger     half-pence
 _/ halfpence  ,the orthography of the  
original text has been preserved4 ,in   
particular the following words are as   
they appear in the original3            
antichamber     aukwardly               
corruscations     corse     ,govent     
,martin ,fowkes     negociated          
pannel     plaistering     pourtrayed   
sculls     stupifies     tenour         
vender  ,the following words were       
inconsistently accented in the original 
text3      a-la-mode _/ a-la-mode       
degagee _/ degagee