Feast of Olympus; and a Bacchanalian, by Rubens, shares the same fate from the Modern Midnight Conversation. Considered as so much reduced, the figures are etched with great spirit, and have strong character. In ridicule of the preference given to old pictures, he exercised not only his pencil, but his pen. His advertisement for the sale of the paintings of Marriage à la Mode, inserted in a Daily Advertiser of 1750, thus concludes: "As, according to the standard so righteously and laudably established by picture-dealers, picture-cleaners, picture-frame makers (and other connoisseurs), the works of a painter are to be esteemed more or less valuable as they are more or less scarce, and as the living painter is most of all affected by the inferences resulting from this and other considerations equally candid and edifying, Mr. Hogarth by way of precaution, not puff, begs leave to urge that probably this will be the last sale of pictures he may ever exhibit, because of the difficulty of vending such a number at once to any tolerable advantage; and that the whole number he has already exhibited of the historical or humorous kind does not exceed fifty, of which the three sets called the Harlot's Progress, the Rake's Progress, and that now to be sold, make twenty: so that whoever has a taste of his own to rely on, and is not too squeamish, and has courage enough to own it, by daring to give them a place in a collection till Time (the supposed finisher, but real destroyer of paintings) has rendered them fit for those more sacred repositories where schools, names, heads, masters, etc., attain their last stage of preferment, may from hence be convinced that multiplicity, at least, of his, Mr. Hogarth's pieces, will be no diminution of their value."[14] In the same year with the Battle of the Pictures he etched the subscription-ticket for Garrick in Richard III.; where, in a festoon with a mask, a roll of paper, a palette, and a laurel, he combines the drama and the arts.