to make those about me tolerably happy, and my greatest enemy cannot say I ever did an intentional injury; though, without ostentation, I could produce many instances of men that have been essentially benefited by me. What may follow, God knows.

FINIS.

REMARKS ON VARIOUS PRINTS,

WRITTEN BY HOGARTH.*

1. CHARACTERS AND CARICATURAS.

BEING perpetually plagued, from the mistakes made among the illiterate, by the similitude in the sound of the words character and caricatura, I ten years ago endeavoured to explain the distinction by the above print; and as I was then publishing Marriage A-la-mode, wherein were characters of high life, I introduced the great number of faces there delineated, (none of which are exaggerated) varied at random, to prevent if possible personal application, when the prints should come out :

"We neither this nor that Sir Fopling call,

He's knight o' th' shire, and represents you all."

* [First printed by John Ireland, in vol. iii. of "Hogarth Illustrated," 1798, from Hogarth's MSS. then in his possession.]

This, however did not prevent a likeness being found for each head, for a general character will always bear some resemblance to a particular one.

II. MARRIAGE A-LA-MODE.

[A description was found among the papers of the late Mr. Lane, of Hillingdon; and his family believed it to be Hogarth's explanation, either copied from his own handwriting, or given verbally to Mr. Lane at the time he purchased the pictures. It will be found in John Ireland's Hogarth Illustrated," vol. ii. pp. 8-15. It differs not materially from Dr. Trusler's description, who seems to have made what use he thought proper of it.]

III. INDUSTRY AND IDLENESS.

Industry and Idleness, exemplified in the conduct of two fellow-prentices; where the one, by taking good courses, and pursuing those points for which he was put apprentice, becomes a valuable man, and an ornament to his country; whilst the other, giving way to idleness, naturally falls into poverty, and most commonly ends fatally, as is expressed in the last print. As these prints were intended more for use than ornament, they were done in a way that might bring them within the purchase of those whom they might most concern; and, lest any part should be mistaken, a description of each print is engraved thereon. Yet, notwithstanding the inaccuracy of the engraving, what was thought conducive and necessary for the purpose for which they were intended, such as action and expression, &c. are as carefully attended to, as the most delicate strokes of the

graver would have given, sometimes more; for often expression, the first quality in pictures, suffers in this point, for fear the beauty of the stroke should be spoiled; while the rude and hasty touch, when the fancy is warm, gives a spirit not to be equalled by high finishing.

These twelve prints were calculated for the instruction of young people, and every thing addressed to them is fully described in words as well as figures; yet to foreigners a translation of the mottoes, the intention of the story, and some little description of each print, may be necessary. To this may be added, a slight account of our customs, as boys being usually bound for seven years, &c. Suppose the whole story was made into a kind of tale, describing in episode the nature of a night-cellar, a marrow-bone concert, a Lord Mayor's show, &c. These prints I have found sell much more rapidly at Christmas than at any other season.

IV. THE GATE OF CALAIS.

After the March to Finchley, the next print that I engraved, was the Roast Beef of Old England;* which took its rise from a visit I paid to France the preceding year. The first time an Englishman goes from Dover to Calais, he must be struck with the different face of things at so little a distance, A farcical pomp of war, pompous parade of religion, and much bustle with very little business. To sum up all, poverty, slavery, and innate insolence, covered with an affec

* [So does he express himself in the MS. though the Roast Beef was published March 6, 1749; and the March, Dec. 31, 1750.-J. IRELAND.]

tation of politeness, give you even here a true picture of the manners of the whole nation; nor are the priests less opposite to those of Dover, than the two shores. The friars are dirty, sleek, and solemn; the soldiery are lean, ragged, and tawdry; and as to the fishwomen-their faces are absolute leather.

As I was sauntering about, and observing them near the Gate, which it seems was built by the English, when the place was in our possession, I remarked some appearance of the arms of England on the front. By this, and idle curiosity, I was prompted to make a sketch of it, which being observed, I was taken into custody; but not attempting to cancel any of my sketches or memorandums, which were found to be merely those of a painter for his private use, without any relation to fortification, it was not thought necessary to send me back to Paris.* I was only closely confined to my own lodgings, till the wind changed for England; where I no sooner arrived, than I set about the picture, made the gate my back-ground, and in one corner introduced my own portrait,† which has generally been thought a correct likeness, with the soldier's hand upon my shoulder. By the fat friar, who stops the lean cook, that is sinking under the weight of a vast sirloin of beef, and two of the military bearing off a great kettle of soup maigre, I meant to display to my own countrymen the striking difference between the food, priests, soldiers, &c. of two nations so contiguous, that in a clear day one coast may be seen from the other. The melancholy and miserable Highlander,

* [It has been said that Hogarth never went farther into France than Calais; this proves he had reached Paris.-J. IRELAND.] ↑ [This was afterwards copied for a watch-paper.-J. IRELAND.]

browzing on his scanty fare, consisting of a bit of bread and an onion, is intended for one of the many that fled from this country after the rebellion in 1745.

V. BEER STREET AND GIN LANE.

When these two prints were designed and engraved, the dreadful consequences of gin-drinking appeared in every street. In Gin Lane, every circumstance of its horrid effects is brought to view in terrorem. Idleness, poverty, misery, and distress, which drives even to madness and death, are the only objects that are to be seen; and not a house in tolerable condition but the pawnbroker's and Gin-shop.

Beer Street, its companion, was given as a contrast, where that invigorating liquor is recommended, in order to drive the other out of vogue. Here all is joyous and thriving. Industry and jollity go hand in hand. In this happy place, the pawnbroker's is the only house going to ruin; and even the small quantity of porter that he can procure is taken in at the wicket, for fear of further distress.

VI. FOUR STAGES OF CRUELTY.

The leading points in these, as well as the two preceding prints, were made as obvious as possible, in the hope that their tendency might be seen by men of the lowest rank. Neither minute accuracy of design, nor fine engraving, were deemed necessary, as the latter would render them too expensive for the persons to whom they were intended to be useful. And the fact is, that the passions may be more forcibly expressed by a strong bold stroke, than by the most delicate en