by E. Kirkall, 15 in. by 11, with verses underneath. They are thus entitled :-) -1. The Harlot's Progress. Her arrival in London. 2. In High-keeping, by a Jew. 3. Sets up for herself. 4. In the House of Correction. 5. In a high Salivation. 6. Her Funeral.-Each plate has 16 lines of poetry. A set of these plates, printed with green ink, is in the British Museum. A small set of the Harlot's Progress, engraved by G. King, 9 in. by 7, is in the British Museum. In Pl. I. the debauchee's name is thus designated: "Col. Cs." In Pl. III. the Justice's name thus, "Sir Jno, G. -n." Underneath is a description of each plate. A copy of the Six Plates, by Riepenhausen, 11 in. by 6. [B., N., & M.] "Rehersal of the Oratorio of Judith." The little figure in the left corner is Mr. Tothall, a woollen draper in Tavistock Court. "The Musical There is a mezzotinto copy of this Plate. Group. Price 6d." On the music-books, "Cecilian Sisters, Tuneful Nine." On the top book, "An Ode for New Year's Day." Copy by Riepenhausen, 11 in. by 6. * [B., N., & M.] "A Midnight Modern Conversation." "Sir John Hawkins says this divine is Henley the orator, the victim of Pope; but according to Mrs. Piozzi he is no other person than Parson Ford, a near relative of Dr. Johnson, and famous in his day for profligacy. His intellects and power of swallow survive amidst the general wreck of his companions with a pipe in one hand and a cork-screw in the other, which he uses as a tobacco-stopper, he still presides with suitable gravity, : 'And to mere mortals, seems a priest in drink.”” CUNNINGHAM, OTHER CHARACTERS REPRESENTED. The figure leaning over the Parson, John Harrison, a tobacconist in Bell Yard. The lawyer, Kettleby, a vociferous barrister. The man in a night-cap, old Chandler, a book-binder, in Shire Lane. VARIATIONS.-In the second state the folds of the Parson's gown are darker. The shadows of the wig of the man burning his ruffle are considerably stronger, and the shade on the ground, extending from the chair to the heel of his shoe, darker; the contents of the vessel in the corner, as well as the vessel itself, are cross-hatched. The shadow from it is much strengthened. The chair fallen on the ground is considerably darker; as is the whole of the dress of the fallen member. The wig of the figure in front, leaning on the back of the chair, is considerably strengthened in its shadows. The wig of the smoker behind the gentleman in the white cap is much darkened. From the paper on which "Freeman's best" is written, a shadow falls on the table-cloth. The inside of the lemon near the chair, has been considerably darkened. In the British Museum is an impression of this plate in its first state, printed with red ink. A copy in the first state, in Yates's sale 1827, £1. 10s. Mr. T. Cook has copied the First state of this Plate in his "Hogarth Restored." The late Mr. Wilkinson possessed the copper of a copy of this Plate in its first state, which might be mistaken for the original, being only a quarter of an inch less wide, but the writing (for which there is greater space at the foot of the Plate) is in different-shaped letters. "Hogarth Pinxt, Part sculp." and "Sold by Carington Bowles, in St. Paul's Church Yard; and John Bowles, at the Black Horse in Cornhill." Mr. Wilkinson had also a mezzotinto copy of this Plate, by Kirkall. A copy by Riepenhausen. There are in the British Museum two good copies of this Plate. The drawing is properly reversed. "Geo. Bickham, Jun. sculp." and " R. Cooper sculp." There is likewise a very large copy, 2 ft. 11 in. wide, by 22 in. high, intituled, "A Midnight Modern Conversation. W. Hogarth inven. et pinxit. Printed and sold by John Bowles, at the Black Horse in Cornhill." On each side of this title, are numerous verses, copied by Nichols, vol. III. p. 224; being an abridgement, with alterations, of those printed by him in vol. II. pp. 112-114. A copy of this Print was sold by auction, by Mr. Evans, Dec. 9, 1816, in the collection of the late Duke of Norfolk, and bought by Mr. Molteno. The eleven heads in the "Midnight Conversation" were engraved in two small Plates, under the title of "Société Nocturne nommée communement Cotterie de Débauche en Ponche, par Hogarth," by M. Riepenhausen, and published in "Manuel contenant diverses Connoissances curieuses et utile pour l'année 1786; à Gottingen, chez Jean Chrêtien Dietrich," p. 148. They were accompanied by a French description; a translation of which is given in Nichols's Hogarth, vol. III. p. 228. There is in the British Museum a well-executed French copy of the "Midnight Conversation," engraved by Creite, 161⁄2 in. wide by 10 high. VARIATIONS.-It is ornamented on each side with a border of grapes and vine leaves, and at bottom has the following verses in very large print: Chaque Peuple a son goût, tout Païs a sa mode, Chacun se rejouit ou pleure à sa façon ; Mais, fût-on plus sevère et serieux que Caton, Si l'Allemand cherit la Table et les Desserts, L'Anglois s'en tient au Ponch, et la Pipe l'enchante. The figures are accurate resemblances of the original; but the minor parts of the Print vary. The table is of larger dimensions. The fallen candlestick is much further removed from the bottle the man is holding in his hand. "Freeman's Best" is omitted on the paper on the table; as are "London Journal" and "Craftsman" on the newspapers in the Politician's pocket. The top row of flasks over the chimney consists of six instead of four. The pannel of the room near the clock is much wider. 1735. [B., N., & M.]" The Rake's Progress," in eight plates. "The woman discarded in the first print rescues Rakewell in the fourth, is present at his marriage, follows him into the gaol, and watches over him in Bedlam."-GILPIN.* CHARACTERS.-Pl. I. Picture: Miser weighing gold.Pl. II. The Fencing master, Dubois; the prize-fighter, Figg; teacher of musick, Handel; the dancing-master, Essex; the French-horn player, Bridgeman. Pictures: Fighting Cocks, Judgment of Paris. Pl. III. The fellow with a pewter dish, Leathercoat, many years porter at the Rose Tavern. * An elaborate criticism on the eight Plates of the Rake's Progress may be seen in Gilpin's "Essay on Prints." The Caesars thus arranged: Julius on the floor, Pontac the cook in his stead; Augustus without a head; Nero, entire ; Titus, Otho, Vitellius, Vespasian, all decapitated.Pl. IV. The usurer with pen in hand, Old Manners, brother to John Duke of Rutland.- -Pl. VIII. The tailor, Lord L- -r, who had a passion for that business; the maniac chained to the floor, is a copy of one of Cibber's figures over the gate of Bedlam; the Rake himself is the companion figure; the man sitting by the figure inscribed, " Charming Betty Careless," is Wm. Ellis: this maniac lost his reason through love for his Betty; see a portrait of him by Sutton Nicholls, æt. 45, 1709. VARIATIONS. PLATE I. In the second state, the girl's face is altered for the worse, from the appearance of a child of sixteen to a woman of thirty. A shadow is thrown on her apron from the chair. The woollen-draper's shop-bill, on the roll of black cloth, is omitted. The back part of the cap of the old woman is reduced. The head of the Rake is also lessened, and his face made thinner and older. The breeches on the right side are cross-hatched. The flap of the tailor's coat is strengthened, as is also the stocking of the left leg. The book of memorandums is removed from the left corner of the print, and placed on the ground below the tailor's foot. The shirt of the steward stealing the money, is cross-hatched; and the middle of the parchment thrown over the table, is considerably darkened. The sole of a shoe is introduced, formed from the cover of the Holy Bible. It lies by the Bible itself, with its mutilated cover. These are in place of the memorandum-book in the first state. The light parts of the wigs and other articles within the closet, are all lowered by cross-hatchings. The dress of the old woman with the sticks, and different parts of the stove, are crosshatched. The sleeve before the closet-door is cross-hatched. The spots on the cat's side and shoulder are much darkened.- -PLATE II. In the second state, the folds in the left skirt of the dancing |