In that month Mrs. Hogarth had been laid beside her mother and her husband under the tomb in Chiswick churchyard; the little 'country box' had passed to Mary Lewis; and--by direction of the same lady--the contents of the 'Golden Head' in Leicester Fields were shortly afterwards (April, 1790) announced for sale. In the Print Room at the British Museum (where is also the original manuscript of the famous 'Five Days' Tour' of 1732) is a copy of the auctioneer's catalogue, which once belonged to George Steevens. It is not a document of many pages. At Mrs. Hogarth's death, her income from the prints, exclusive property in which had been secured to her in 1767 by special Act of Parliament, had greatly fallen off; and though she had received the further aid of a small pension from the Royal Academy, it is to be presumed that her means were considerably straitened. It is known, too, that there had been lodgers at the 'Golden Head,' one being the engraver Richard Livesay, another the strange Ossianic enthusiast and friend of Fuseli, Alexander Runciman; and obviously nothing but 'strong necessity' could justify the reception of lodgers. These circumstances must explain the slender contents of Mr. Auctioneer Greenwood's little pamphlet. Many of the treasures of William Hogarth's household had already become the prey of the collector, or had passed to admiring friends; and what remained to be finally dispersed under the hammer practically consisted of family relics. There was Hogarth's own likeness of himself and his dog, soon to become the property of Mr. Angerstein, from whom it passed to the National Gallery; there was another whole-length of painting of him; there was Roubiliac's clever _terra cotta_; there was a cast of the faithful Trump, and one of Hogarth's hand; there were the portraits of his sisters Mary and Ann, which now belong to Mr. R. C. Nichols. Other items were a set of 'twelve Delft ware plates,' painted with the signs of the zodiac by Sir James Thornhill; portraits of Sir James and his wife; of Mrs. Hogarth herself; of Hogarth's six servants; and there were also numerous framed examples of his prints. * But the most important object in the sale was undoubtedly the famous 'Sigismunda.' * By a piece of auction-room humour, 'The Bathos' appears as 'The Bathers.' 'Sigismunda Mourning over the Heart of Guiscardo' is the full title of the picture in the National Gallery catalogue. As one looks at it now, asylumed safely, _post tot discrimina_, in Trafalgar Square, it is not so much its qualities as its story that it recalls. How much heartburning, how much bitterness, would have been saved to its sturdy little 'Author,' as he loved to style himself, if it had never been projected! He was an unparalleled pictorial satirist; he was, and still is, an unsurpassed story-teller upon canvas.= ```'In walks of Humour, in that cast of Style, ```Which, probing to the quick, yet makes us smile; ```In Comedy, thy nat'ral road to fame,