land; it has "Ireland fecit," at the bottom. J[ane] Ireland engraved the smaller one which is in the "Graphic Illustrations."

Another copy, 66

Hogarth del❞ very like the original. This copy was

by S. Ireland. It has no date to it.

P. 275. A Landscape, was published March 1, 1786.

P. 275. Head of a female Moor. This was etched by S. Ireland from an original sketch in his possession.

P. 275. Hogarth's Cottage. Engraved by Mr. Campfield, a surgeon, on a breeches button, the size of a half crown. Mr. Standly has the original print, impressions of which are very rare. It was published long before 1786. A very bad сору, "from the original design in the possession of Sam. Ireland, was published March 1, 1786, by W. Dickinson, No. 158, New Bond Street."

P. 276. Characters at Button's Coffee House.-The Letter-box at Button's was engraved in S. Ireland's " Grapphic Illustrations,” vol. I. P. 29. There is also a private engraving of it," H. Mutlow sculp." done at the expense of the late Christopher Richardson, Esq. of Covent Garden.

P. 276. Sealing the Sepulchre, and The Sepulchre. Both these plates, before the writing, are in the Royal Collection. The copper-plates of these two prints were bought at Wilkinson's sale, April 17, 1826, for 1l. by Mr. Daly.

P. 276. Drunken Party.-In 1790 was engraved a drunken party, consisting of four gentlemen, and one drunk at full length. They met to drink a hogshead of claret, and not to separate till it was all drank out. From Lord Boyne's collection. A large dotted print, by Cheeseman, 16 inches by 13. London, published Oct. 1, 1790, by E. Walker, No. 7, Cornhill.

P. 277. Hardy's Shop Bill.—The original print is in the Royal Collection. The left or torn side of it is supplied by a pen and ink drawing, but this is not shewn in the engraved copy. This is said to be unique; from whence then could the torn side be supplied?

P. 278. Lee's Shop Bill.-The original is in the Royal Collection.

P. 278. Oratory Chapel. This was probably a forgery by Powell. See Richardson's note on Joe Miller's Ticket, p. 301. The original print is in the Royal Collection.

P. 278. Justice Welch.- First state. "Justice Welch, from an original sketch by Hogarth, in the collection of Sam. Ireland. The portrait was begun and finished within an hour, by which a considerable bet was won." Second state. "Justice Welch. W. Hogarth pinxit. S. I. sculp.”

P. 278. Theodore Gardelle.-First state. With a long account of him. Published April 1, 1786. Second state. With the writing omitted, as published in " Graphic Illustrations."

P. 284. Sigismunda.-Basire's etching was published May 5, 1790, by James Basire.

P. 284.-The mezzotinto of Sigismunda is by Dunkarton. Published Feb. 1, 1793. First state. Unfinished etching, in Mr. Standly's possession. Second state. Another etching, the dress more finished. Third state. The finished print, as published.

P. 284.

Lavinia Fenton was published in 1799 in vol. II. of Sam. Ireland's " Graphic Illustrations."

P. 284. Heidegger in a Rage was published in 1798, in vol. III. of J. Ireland's "Hogarth Illustrated."

V. 285. Savoyard Girl.-Published by W. Sherlock, Jan. 11, 1798. Print before the writing was sold in Baker's sale.

P. 286. Concert Ticket. "St. Mary's Church, five at night." Several performers playing on different instruments. "William Hogarth inv. G. Vandergucht sculp." Probably designed as well as engraved by Vandergucht. In Gulston's sale sold for 3l. 4s. Copied in S. Ireland, II. 42.

P. 286. Auction of Pictures.—“ A pen and ink sketch, drawn by Joseph Haynes, from the original sketch in my possession. S. IRELAND.”This sketch is now in the Royal Collection.

P. 286. Hippisley in the character of Sir Francis Gripe. This should hardly be inserted among Hogarth's prints, as it is copied from a print by Sykes, in the British Museum.

P. 287. Mary Stuart, Queen of Scotland.-Proofs before writing are in Mr. Standly's collection, some touched upon by Bartolozzi.

P. 288.

Musical Study. Against the wall is the portrait of Francisco Bernardi Senesino, from a print by Vanhaecken, 1735.

LIST OF PRINTS

PUBLISHED

TO RIDICULE HOGARTH AND HIS WORKS.

"A new Dunciad, done with a view of fixing the fluctuating ideas of Taste, &c." By Paul Sandby.

"A Mountebank Painter, demonstrating to his admirers and subscribers that crookedness is the most beautiful; with his Trumpeter, his Fool, his Puff, and his Fiddler."

"The Author run Mad. By his own Folly struck with Lunacy," 1754. "An Author sinking under the weight of his own Analysis."

The Analyst ben, in his own Taste;" a vile, nauseous, and vulgar print. By Paul Sandby.

66 “Pugg's Graces, etched from his original Daubing. A. C. invt. et sculp. Published according to Act of Parliament, 1753-4." By Paul Sandby. Fully described in John Ireland's Hogarth, iii. 114.

The Temple of Ephesus in Flames, and inscribed, "A self-conceited, arrogant Dauber, grovelling in vain to undermine the ever-sacred monument of the best painters, sculptors, architects, &c. in imitation of the impious Herostatus, who with sacriligeous flame destroyed the Temple of Diana, to perpetuate his name to posterity." 1753. By Paul Sandby. Fully described in John Ireland, iii. 117.

Burlesque sur le Burlesque," with a French inscription, a large print. The satire of this is principally aimed at the "Burlesque Paul before Felix." The same print, with slight variations, and an English inscription, "The Burlesquer Burlesqued. The Progress of a Pug Dog in ye Art of Painting, with his invention by a variety of lights to produce the effect of all ye great painters." Hogarth is depicted with satyr's legs, painting what the designer calls "a history-piece, suitable to the painter's capacity, from a Dutch manuscript." This history-piece is a Dutch delineation of Abram

sacrificing Isaac, by pointing a blunderbuss at his head; with an angel hovering over the figures, &c. See John Ireland, iii. 119.

Burlesque of the Burlesque Paul;" magic lantern, &c.

“The Painter's March from Finchley, dedicated to the King of the Gipsies, as an encourager of arts," &c.

"The BUtifyer, a touch upon the Times, plate I." 1762.

"The Times, plate I, 1762." Hogarth's head, with the body of an ass, and underneath, "Observations on the Times, a new song," consisting of nine verses.

"The Times, plate II."

"The Raree Show, a political contrast to the print of the Times, by Win. Hogarth. The full and whole play of Dido and Æneas." By Paul Sandby. "The Boot and the Blockhead."

"The Vision, or M―n — st-1 Monster."

"John Bull's House in Flames."

"The Bruiser Triumphant, a Farce. The principal characters by Mr. Hog-ass, Mr. Wi-k-s, Mr. Church-ill, &c. Walk in, Ge'men and Ladies, walk in!" With a curtain inscribed, "A harlot blubbering over a bullock's heart." Hogarth as an ass, with Wilkes holding him by the ears, and Churchill sitting, with a pen in his hand, about to write Hog-Ass's life.

"Tit for Tat; or, Wm. Hogarth, Esq. principal painter to his Majesty, drawn from the life, and etched in aquafortis. Published by J. Pridden, Fleet-street." Hogarth is painting Wilkes's portrait. By Paul Sandby The original drawing is in the collection of Mr. Standly.

"The Bear and Pugg;" a small print, representing Churchill and Hogarth snarling at each other.

Pug the painter following the example of Mess. Scamble, Asphaltus, and Varnish.

A brush for the sign painters.

Hogarth Vindicated. A Club of Artists by Burgess. This is in defence of Hogarth.

A sign for an Exhibition. A wonderful sight.

"Pug, the snarling cur, chastised, or a cure for the mange, prepared by J. Wilkes, Esq. and C. Churchill."

"The Hungry Mob of Scribblers and Etchers. Alex'. Mackenie inv. and sculp. 1762." Figures of Hogarth, Shebbeare, Dr. Johnson, &c. with Lord Bute dispensing bribes, and four verses underneath.

"The Grand Triumvirate, or Champions of Liberty." Three portraits, with three acrostics of Wilkes, Bute, and Hogarth; described in Nichols, iii. 309.

"A Set of Blocks for Hogarth's Wigs."

"The Combat. An English knight errant mounted rampant (on a goose), descended in a waving line from Don Quixot de la Mancha."

"Wm. Hogarth, Esq. cut in wood from the life," appeared in North Briton, N. XVII.

"Wm. Hoggarth, Esq. drawn from the Life." Hogarth holds the Times and Wilkes's picture in his hand. In the upper corner is a portrait of Lord Bute, with pension of 300l. per ann.

“An Answer to the Print of John Wilkes, Esq. by Wm. Hogarth." Hogarth sitting, with cloven feet, with a print of Wilkes in his hand, &c.

The Caricatures on Hogarth by Paul Sandby were collected into a Part, and labelled “Retrospective Art, from the Collection of the late Paul Sandby, Esq. R.A." The Part sold for 11. 5s.