The original painting formed part of the fine collection of the late Roger Palmer, Esq., on whose death it devolved, with the rest of a very ample property, to his only sister, Elizabeth, wife of the brave and benevolent Captain Joseph Budworth, who assumed the name and arms of Palmer. RICH'S TRIUMPHANT ENTRY. [Illustration: RICH'S TRIUMPHANT ENTRY.] This plate represents the removal of Rich, and his scenery, authors, actors, etc., from Lincoln's-Inn Fields to the new house. The scene is the area of Covent Garden, across which, leading toward the door of the theatre, is a long procession, consisting of a cart loaded with thunder and lightning, performers, etc.; and at the head of them Mr. Rich (invested with the skin of the famous dog in _Perseus and Andromeda_) riding with his mistress in a chariot driven by harlequin, and drawn by satyrs. Some indifferent verses, which accompanied the original publication, allude to Walker and Hall, the original Macheath and Lockit, and conclude thus: "To the Piazza let us turn our eyes, See Johnny Gay on Porter's shoulders rise, Whilst a bright Man of Taste his works despise." "Another author wheels his work with care, In hopes to get a market at this fair, For such a day he sees not every year." By the "Man of Taste," Mr. Pope was apparently designed. He is represented in his tie-wig, at a dark corner of the Piazza, amusing himself (not very delicately) with the _Beggars' Opera_. The letter P is over his head; his little sword is significantly placed, and the peculiarity of his figure is well preserved. The reason why our artist has assigned such an employment to him, we can only guess. It seems, indeed, from Dr. Johnson's _Life of Gay_, that Pope did not think the _Beggars' Opera_ would succeed. Swift, however, was of the same opinion; and yet the former supported the piece on the first night of exhibition, and the latter defended it in his _Intelligencer_ against the attacks of Dr. Herring, then Preacher to the Society of Lincoln's-Inn, and afterwards Archbishop of Canterbury. Hogarth might be wanton in his satire, might have founded it on an idle report, or might have sacrificed truth to the prejudice of Sir James Thornhill, whose quarrel on another occasion he is supposed to have taken up, when he ridiculed the translator of _Homer_, in a view of "The Gate of Burlington House." THE POOL OF BETHESDA, AND THE GOOD SAMARITAN. [Illustration: THE POOL OF BETHESDA.] [Illustration: THE GOOD SAMARITAN.] These magnificent prints are placed among the early productions of Hogarth, as the paintings from which they are copied were completed in 1737; and in 1748 a small copy of the "Pool of Bethesda" was engraved by Ravenet, as a frontispiece to Stackhouse's Family Bible.