"The second print introduces our hero into all the dissipation of modish life. We became first acquainted with him, when a boy of eighteen. He is now of age; has entirely thrown off the clownish school-boy; and assumes the man of fashion. Instead of the country taylor, who took measure of him for his father's mourning, he is now attended by _French_ barbers, _French_ taylors, poets, milleners, jockies, bullies, and the whole retinue of a fine gentleman.--The _expression_, in this print, is wonderfully great. The dauntless front of the bully; the keen eye, and elasticity of the fencing-master; and the simpering importance of the dancing-master, are admirably expressed. The last is perhaps a little _outré_. The architect[A] is a strong copy from nature.--The _composition_ seems to be entirely subservient to the expression. It appears, as if _Hogarth_ had sketched, in his memorandum-book, all the characters which he has here introduced; but was at a loss how to group them; and chose rather to introduce them in detached figures, as he had sketched them, than to lose any part of the expression by combining them.--The _light_ is ill distributed. It is spread indiscriminately over the print; and destroys the _whole_--We have no instance of _grace_ in any of the figures. The principal figure is very deficient. There is no contrast in the limbs; which is always attended with a degree of ungracefulness.--The _execution_ is very good. It is elaborate, and yet free.--The satire on operas, though it may be well directed, is forced and unnatural. "The third plate carries us still deeper into the history. We meet our hero engaged in one of his evening amusements. This print, on the whole, is no very extraordinary effort of genius.--The _design_ is good; and may be a very exact description of the humours of a brothel.--The _composition_ too is not amiss. But we have few of those masterly strokes which distinguish the works of _Hogarth_. The whole is plain history. The lady setting the world on fire is the best thought: and there is some humour in furnishing the room with a set of _Cæsars_; and not placing them in order.--The _light_ is ill managed. By a few alterations, which are obvious, particularly by throwing the lady dressing into the shade, the disposition of it might have been tolerable. But still we should have had an absurdity to answer, whence comes it? Here is light in abundance; but no visible source.--_Expression_ we have a little through the whole print. That of the principal figure is the best. The ladies have all the air of their profession; but no variety of character. _Hogarth's_ women are, in general, very inferior to his men. For which reason I prefer the _Rake's Progress_ to the _Harlot's_. The female face indeed has seldom strength of feature enough to admit the strong markings of expression.