The mention of the decorations in the Prince of Wales's pavilion recalls one of the historical attractions of the gardens,--the pictures in the other supper-boxes. At night-time each of these was 'enlightened to the front with globes;' and a story, which has always seemed to us a little indefinite, traces the first suggestion of them to Hogarth. But one of the earliest and most trustworthy of the guides--the 'Sketch of the Spring Gardens, Vauxhall: In a Letter to a Noble Lord'--implies that Hayman was the true originator in this matter. It is certain, however, that Hogarth contributed specimens of his own works to the cause, and that others were copied. According to his first annotator, Nichols, Dayman reproduced the 'Four Times of the Day' for Vauxhall; and in 1782 two of these, 'Evening' and 'Night,' were still there, and must have been seen by Moritz; while in the portico of the Rotunda was an unquestioned picture from Hogarth's own brush, Henry the Eighth and Anne Boleyn,--names which, it was popularly whispered, but thinly veiled the likenesses of Frederick, Prince of Wales, and his mistress, Anne Vane, not to be confused with the notorious 'Lady of Quality' of the same surname in Smollet's 'Peregrine Pickle.' Another work claimed as Hogarth's when, years after, obscured by dirt and slashed by sandwich knives, the relics of the little gallery came to the hammer, was Harper and Mrs. Clive (then Miss Raftor) as 'Jobson the Cobbler' and his wife 'Nell' in Coffey's farce of 'The Devil to pay; or, the Wives Metamorphosed;' but this, as well as a nautical _genre_ picture called 'The Wap-ping Landlady,' is plainly attributed to Hayman in the contemporary prints of Sayer. It is probable also that Hayman had the chief hand in 'Mademoiselle Catherina,' a diminutive lady whose history has escaped the chroniclers, and 'Building Houses with Cards,' although the two children in the latter have certainly a look of his more illustrious contemporary. But, on the whole, it may be concluded that there was little of Hogarth's original work among the sea-fights, popular games (e.g. the time-honoured pastimes of 'Bob Cherry' and 'Hot Cockles'), and other engaging compositions which delighted the simple soul of the pawnbroker's widow and disgusted the eclectic Mr. Tibbs, full of Grisoni and the grand contorno. Hogarth's picture in the Rotunda portico, coupled with his permission to reproduce his other works, would, however, be ground enough to justify the gold ticket _In perpetuam Beneficii memoriam_ with which he was presented by the grateful proprietor. This ticket, which admitted 'a coachful,' that is, six persons, was, in 1808, in the possession of Mrs. Hogarth's cousin, Mary Lewis, in whose arms the painter died. It had passed to fresh hands in 1825, when, with other silver passes, all said to be struck from Hogarth's designs, and including among the rest that of George Carey, the author of many Vauxhall songs, it was engraved for the 'Londina