When engravings on a contracted scale are made from large pictures, a few parts of them will unavoidably become so small, as almost to want distinctness. It has fared thus with a number of figures that appear before the unfinished edifice,[5] seen through a window in the first plate of this work. _Hogarth_ designed them for the lazy vermin of his Lordship's hall, who, having nothing to do, are sitting on the blocks of stone, or staring at the building;[6] for thus _Rouquet_ has described them, "Une troupe de lacquais oisifs, qui sont dans le cour de ce batiment, acheve de caracteriser le faste ruineux qui environne le comte." The same illustrator properly calls the _Citizen_ Echevin (i. e. sheriff) of _London_, on account of the chain he wears. Plate II. From the late Dr. _Ducarel_ I received the following anecdote; but there must be some mistake in it, as _Herring_ was not archbishop till several years after the designs for _Marriage à la Mode_ were made. "_Edward Swallow_, butler to Archbishop _Herring_, had an annuity of ten pounds given to him in his Grace's will. For the honesty and simplicity of his physiognomy, this old faithful servant was so remarkable, that _Hogarth_, wanting such a figure in _Marriage à la Mode_, accompanied the late dean of _Sarum_, Dr. _Thomas Greene_, on a public day, to _Lambeth_, on purpose to catch the likeness. As they were coming away, he whispered, 'I have him!' And he may now be seen to the life preserved in the old steward, in Plate II. with his hands held up, &c." In Plate V. the back ground, which is laboured with uncommon delicacy (a circumstance that will be remarked by few except artists), was the work of Mr. _Ravenet's_ wife. _Solomon's_ wise judgement is represented on the tapestry. When _Ravenet's_ two plates were finished, _Hogarth_ wanted much to retouch the faces,[7] and many disputes happened between him and the engraver on this subject. The first impressions, however, escaped without correction. Those who possess both copies, may discover evident marks of _Hogarth's_ hand in the second. See particularly the countenance of the dying nobleman, which is fairly ploughed up by his heavier burin. I have been told that our artist took the portrait of the female, who is so placed, that the legs of a figure in the tapestry supply the want of her own, from a coarse picture of a woman called _Moll Flanders_.