"Poets and painters, who from nature draw Their best and richest stores, have made this law: That each should neighbourly assist his brother, And steal with decency from one another. To-night, your matchless _Hogarth_ gives the thought, Which from his canvas to the stage is brought. And who so fit to warm the poet's mind, As he who pictur'd morals and mankind? But not the same their characters and scenes; Both labour for one end, by different means: Each, as it suits him, takes a separate road, Their one great object, _Marriage à la Mode!_ Where titles deign with cits to have and hold, And change rich blood for more substantial gold! And honour'd trade from interest turns aside, To hazard happiness for titled pride. The painter dead, yet still he charms the eye; While _England_ lives, his fame can never die: But he, 'who struts his hour upon the stage,' Can scarce extend his fame for half an age; Nor pen nor pencil can the actor save, The art, and artist, share one common grave."[39] _Hogarth_ had projected a _Happy Marriage_, by way of counterpart to his _Marriage à la Mode_. A design for the first of his intended six plates he had sketched out in colours; and the following is as accurate an account of it as could be furnished by a gentleman who, long ago enjoyed only a few minutes' sight of so imperfect a curiosity. The time supposed was immediately after the return of the parties from church. The scene lay in the hall of an antiquated country mansion. On one side, the married couple were represented sitting. Behind them was a group of their young friends of both sexes, in the act of breaking bride-cake over their heads. In front appeared the father of the young lady, grasping a bumper, and drinking, with a seeming roar of exultation, to the future happiness of her and her husband. By his side was a table covered with refreshments. Jollity rather than politeness was the designation of his character. Under the screen of the hall, several rustic musicians in grotesque attitudes, together with servants, tenants, &c. were arranged. Through the arch by which the room was entered, the eye was led along a passage into the kitchen, which afforded a glimpse of sacerdotal luxury. Before the dripping-pan stood a well-fed divine, in his gown and cassock, with his watch in his hand, giving directions to a cook, drest all in white, who was employed in basting a haunch of venison.