Mr. _Gilpin_, in his remarks on this plate, appears not to have fully comprehended the extent of the satire designed in it. Speaking of the church, he observes, that "the wooden post, which seems to have no use, divides the picture disagreeably." _Hogarth_, however, meant to expose the insufficiency of such ecclesiastical repairs as are confided to the superintendance of parish-officers. We learn, from an inscription on the front of a pew, that "This church was beautified in the Year 1725. _Tho. Sice, Tho. Horn,_ Churchwardens."[9] The print before us came out in 1735 (i. e. only ten years afterwards), and by that time the building might have been found in the condition here exhibited, and have required a prop to prevent part of its roof from falling in.--As a proof that this edifice was really in a ruinous state, it was pulled down and rebuilt in the year 1741. Fifty years ago, _Marybone_ church was considered at such a distance from _London_, as to become the usual resort of those who, like our hero, wished to be privately married. In Plate VI. the fire breaking out, alludes to the same accident which happened at _White's, May_ 3, 1733. I learn from a very indifferent poem descriptive of this set of plates (the title is unfortunately wanting), that some of the characters in the scene before us were real ones: "But see the careful plain old man, _M----_[10], well-known youth to trepan, To _C------sh_[11] lend the dear bought pence, _C------sh_ quite void of common sense, Whose face, unto his soul a sign, Looks stupid, as does that within. A quarrel from behind ensues, The sure retreat of those that lose. An honest _'Squire_ smells the cheat, And swears the villain shall be beat: But _G----dd_ wisely interferes, And dissipates the wretch's fears." The original sketch in oil for this scene is at Mrs. _Hogarth's_ house in _Leicester-fields_. The principal character was then sitting, and not, as he is at present, thrown upon his knees in the act of execration. The thought of the losing gamester pulling his hat over his brows is adopted from a similar character to be found among the figures of the principal personages in the court of _Louis_ XIV. folio. This work has no engraver's name, but was probably executed about the year 1700.