The figures have much characteristic discrimination: the woman looking into the coffin has more beauty than we generally see in the works of this artist. The undertaker's gloating stare, his companion's leer, the internal satisfaction of the parson and his next neighbour, are contrasted by the Irish howl of the woman at the opposite side, and evince Mr. Hogarth's thorough knowledge of the operation of the passions upon the features. The composition forms a good shape, has a proper depth, and the light is well managed. Sir James Thornhill's opinion of this series may be inferred from the following circumstance. Mr. Hogarth had without consent married his daughter: Sir James, considering him as an obscure artist, was much displeased with the connection. To give him a better opinion of his son-in-law, a common friend one morning privately conveyed the six pictures of the "Harlot's Progress" into his drawing-room. The veteran painter eagerly inquired who was the artist; and being told, cried out, "Very well! Very well indeed! The man who can paint such pictures as these, can maintain a wife without a portion." This was the remark of the moment; but he afterwards considered the union of his daughter with a man of such abilities an honour to his family, was reconciled, and generous. When the publication was advertised, such was the expectation of the town, that above twelve hundred names were entered in the subscription book. When the prints appeared, they were beheld with astonishment. A subject so novel in the idea, so marked with genius in the execution, excited the most eager attention of the public. At a time when England was coldly inattentive to everything which related to the arts, so desirous were all ranks of people of seeing how this little domestic story was delineated, that there were eight piratical imitations,--besides two copies in a smaller size than the original, published, by permission of the author, for Thomas Bakewell. The whole series were copied on fan-mounts, representing the six plates, three on one side, and three on the other. It was transferred from the copper to the stage, in the form of a pantomime, by Theophilus Cibber; and again represented in a ballad opera, entitled, The Jew Decoyed, or the Harlot's Progress. A Joseph Gay, and several other wretched rhymers, published what they called poetical illustrations of Mr. Hogarth's six plates: but these effusions of dulness do not deserve enumeration; nor would they deserve mention, but as collateral proofs of the great estimation in which these prints were held, when their popularity could force the sale of such miserable productions. Happily they are now consigned to those two high priests of the temple of oblivion, the trunkmaker and the pastrycook.