In Plate II. are portraits of _Figg_, the prize-fighter;[3] _Bridgeman_, a noted gardener; and _Dubois_, a master of defence, who was killed in a duel by one of the same name, as the following paragraphs in _The Grub-street Journal_ for _May_ 16, 1734, &c. will testify: "Yesterday (_May_ 11) between two and three in the afternoon, a duel was fought in _Mary-le-bone Fields_, between Mr. _Dubois_ a _Frenchman_, and Mr. _Dubois_ an _Irishman_, both fencing-masters, the former of whom was run through the body, but walked a considerable way from the place, and is now under the hands of an able surgeon, who has great hopes of his recovery." _May_ 23, 1734, "Yesterday morning died Mr. _Dubois_, of a wound he received in a duel." The portrait of _Handel_ has been supposed to be represented in the plate before us; but "this," as Sir _John Hawkins_ observes to me, "is too much to say. Mr. _Handel_ had a higher sense of his own merit than ever to put himself in such a situation; and, if so, the painter would hardly have thought of doing it. The musician must mean in general any composer of operas." On the floor lies a picture representing _Farinelli_, seated on a pedestal, with an altar before him, on which are several flaming hearts, near which stand a number of people with their arms extended, offering him presents: at the foot of the altar is one female kneeling, tendering her heart. From her mouth a label issues, inscribed, "One God, one _Farinelli_;" alluding to a lady of distinction, who, being charmed with a particular passage in one of his songs, uttered aloud from the boxes that impious exclamation. On the figure of the captain, _Rouquet_ has the following remark: "Ce caractere ne paroit plus _Italien_ qu'_Anglois_." I am not sufficiently versed in _Alsatian_ annals to decide on the question; but believe that the bully by profession (not assassin, as _Rouquet_ seems to interpret the character) was to be found during the youth of our artist. More have heard and been afraid of these vulgar heroes, than ever met with them. This set of prints was engraved by _Scotin_ chiefly; but several of the faces were touched upon by _Hogarth_. In the second plate the countenance of the man with the quarter-staves was wholly engraved by _Hogarth_. In some early proofs of the print, there is not a single feature on this man's face; there is no writing either in the musician's book, or on the label; nor is there the horse-race cup, the letter, or the poem that lies at the end of the label, that being entirely blank. I mention these circumstances to shew that our artist would not entrust particular parts of his work to any hand but his own; or perhaps he had neither determined on the countenance or the inscription he meant to introduce, till the plate was far advanced. With unfinished proofs, on any other account, this catalogue has nothing to do. As the rudiments of plates, they may afford instruction