The note on this passage says, she was "a matron of great fame, and very religious in her way; whose constant prayer it was, that she might 'get enough by her profession to leave it off in time, and make her peace with God.'[4] But her fate was not so happy; for being convicted, and set in the pillory, she was (to the lasting shame of all her great Friends and Votaries) so ill used by the populace, that it put an end to her days." _Rouquet_ has a whimsical remark relative to the clergyman just arrived in _London_. "Cet ecclesiastique monté sur un cheval blanc, _comme ils affectent ici de l'être_."--The variations in this plate are; shade thrown by one house upon another; _London_ added on the letter the parson is reading; change in one corner of the fore-ground; the face of the Bawd much altered for the worse, and her foot introduced. Plate II. _Quin_ compared _Garrick_ in _Othello_ to the black boy with the tea-kettle,[5] a circumstance that by no means encouraged our _Roscius_ to continue acting the part. Indeed, when his face was obscured, his chief power of expression was lost; and then, and not till then, was he reduced to a level with several other performers. In a copy of this set of plates, one of the two small portraits hanging up in the _Jew's_ bedchamber, is superscribed, _Clarke_; but without authority from _Hogarth. Woolston_ would likewise have been out of his place, as he had written against the _Jewish_ tenets. Of this circumstance, _Hogarth_ was probably told by some friend, and therefore effaced a name he had once ignorantly inserted. In Plate III.[6] (as already observed) is the portrait of Sir _John Gonson_. That Sir _John Gonson_ was the person intended in this print, is evident from a circumstance in the next, where, on a door in _Bridewell_, a figure hanging is drawn in chalk, with an inscription over it, "Sir _J. G._" as well as from the following explanation by _Rouquet_: "La figure, qui paroit entrer sans bruit avec une partie de guet, est un commissaire qui se distinguoit extrêmement par son zèle pour la persecution des filles de joye." Respecting another circumstance, however, in the third plate, _Rouquet_ appears to have met with some particular information that has escaped me. "L'auteur a saisi l'occasion d'un morceau de beurre qui fait partie du déjeuné, pour l'enveloper plaisamment dans le titre de la lettre pastorale qu'un grand prelat[7] addressa dans ce tems-là à son diocese, & dont plusieurs exemplaires eurent le malheur d'être renvoyés à l'epicier."--The sleeve of the maid-servant's gown in this plate is enlarged, and the neck of a bottle on the table is lengthened. For variations in Plate IV. see the roof of the room. Shadow on the principal woman's petticoat, and from the hoop-petticoat hanging up in the back ground. The dog made darker. The woman next the overseer has a high cap, which in the modern impressions is lowered.