Mr. Steevens conjectured that this might have been a repented effort of hasty spleen against the officers of St. Bartholomew's, who might not have treated some recommendation of a patient from our artist with all the respect and attention to which he thought it was entitled: but this is mere supposition. THE STAYMAKER. [Illustration: THE STAY MAKER.] The humour in this print is not very striking. The male staymaker seems to be taking professional liberties with a female in the very room where her husband sits, who is playing with one of his children presented to him by a nurse, perhaps with a view to call off his attention from what is going forward. The hag shows her pretended love for the infant by the mode in which she is kissing him. A maidservant holds a looking-glass for the lady, and peeps significantly at the operator from behind it. A boy with a cockade on, and a little sword by his side, appears to observe the familiarities already mentioned, and is strutting up fiercely towards the staymaker, while a girl is spilling some liquor in his hat. CHARITY IN THE CELLAR. [Illustration: CHARITY IN THE CELLAR.] The original picture from which this print was engraved, was painted for the late Lord Boyne. It represents a convivial party assembled in a cellar over a hogshead of claret, who, it is said, resolved not to separate till they had drunk all the wine it contained. Whether such a circumstance really gave rise to the picture or not, it is unnecessary to inquire. It is too well known that the habit of drinking to excess, among all classes of society, existed at the time of Hogarth to such a degree as to draw the particular attention of this distinguished painter to it; and it is not perhaps too much to say, that the most distinguished preachers, or most able moral writers, have not done more to drive this odious and degrading vice from society than has been effected by the valuable pencil of Hogarth. The individuals here represented were members of a society well known by the name of the "Hell-fire Club." In the centre is the portrait of Sir Philip Hoby, seated on the cask. Behind him, with his hand held up, is that of Mr. De Grey, and below him is the portrait of Lord J. Cavendish, who has drawn a spigot from the cask to let the wine flow into a bowl. Opposite to him Lord Sandwich is represented kneeling down to draw in the intoxicating draught; and behind him (extended on a form) is also Lord Galway. The grouping of the four centre figures is an ingenious imitation of a statue of Charity which is seen in the cellar. The position of the bottles brings the comparison still nearer, and is one of those little incidents for which Hogarth was so particularly distinguished from all other painters, in omitting nothing that might carry out his intention and make himself understood.