This delineation originated in a story which was told to Hogarth by the late Mr. John Festin,[130] who is the hero of the print. He was eminent for his skill in playing upon the German flute and hautboy, and much employed as a teacher of music. To each of his scholars he devoted one hour each day. "At nine o'clock in the morning," said he, "I once waited upon my Lord Spencer; but his lordship being out of town, from him I went to Mr. V----n, now Lord V----n. It was so early, that he was not arisen. I went into his chamber, and, opening a shutter, sat down in the window-seat. Before the rails was a fellow playing upon the hautboy. A man with a barrow full of onions offered the piper an onion if he would play him a tune. That ended, he offered a second onion for a second tune; the same for a third, and was going on: but this was too much,--I could not bear it,--it angered my very soul--'Zounds!' said I, 'stop here! This fellow is ridiculing my profession--he is playing on the hautboy for onions!'" The whole of this _bravura_ scene is admirably represented. A person quaintly enough observed that it deafens one to look at it. The roar of the fisherman, with one hand so placed as to become a sort of sounding-board, and give reverberation, is admirably depicted. You perceive that he has, professionally speaking, not merely a _volume_, but a _folio volume_ of voice. As well as that of the dustman, it is a thorough bass; and, added to the tenor and treble of the other performers, must form a concert, though not quite so harmonious, yet nearly as loud, as those which have been graced with the royal presence in Westminster Abbey. The scene seems to be taken from the lower part of St. Martin's Lane; it is certainly intended to represent the steeple of St. Martin's Church. A heap of bricks, scientifically piled up close to the little girl, have been said to be a contrivance of some boy to catch birds. Is it not more likely that the modern architecture of this little Babel, as well as the adjoining plantation and pond, originated in the united efforts of the young lady and young gentleman in a corner cap? The latter has been dragging a slate fastened to a string, and tied round his waist, over a rough pavement, that he also might make _a pretty noise_. A play-bill on the wall describes the unaccountable run of that very popular and pernicious performance, _The Beggar's Opera_, to have been sixty-two nights. In a copy of this opera, published in 1729, the _dramatis personæ_ are printed as here written; and the good fortune which followed Miss Fenton's attractions in Polly are universally known. The figures are well grouped and judiciously characterized: those in the background have great force; but the boy with a drum is ill drawn, and the milk-pail is too large.