The devotedness of this group to the object for which they are assembled is extremely well portrayed. The positions of the figures are easy, and the principle of observing the pyramidal form (so often insisted upon as necessary to beauty in the grouping of figures) is here strikingly exemplified. It is impossible to show a more unconquerable love for the intoxicating draught than is expressed in the portrait of Lord Galway. Unable to stand, he has placed himself on his back in such a manner that the liquor from the cask above him is flowing into his mouth; and he has perhaps been represented by Hogarth as thus persevering in the fatal habit, in order to show the excess to which it was then carried, and is a forcible point in the painter's composition. The picture is now in the possession of the present Lord Boyne, and the print from it, which we have added to our present edition, is not to be found in any other of the collected works of Hogarth. SIX TICKETS. [Illustration: SIX TICKETS.] The several designs collected in this plate require no particular description. They are given as specimens of the facility with which Hogarth descended to minor subjects, at the same time embellishing them with strokes of his peculiar vein of pleasantry and humour; and each of them sufficiently evinces the purpose it was intended to recommend. 1. For the Mock Doctor. 2. For Pasquin. 3. For the Beggars' Opera. 4. For Joe Miller. 5. Thomas Figg, the noted prize-fighter. 6. The Ram Inn at Cirencester. [Illustration: (end of section floral icon)] NOTES. The following hints are offered principally with a view to assist in identifying such characters in Hogarth's prints as are unnoticed, or but slightly described, in the preceding volumes. A key to the whole (for many of the figures not yet recognised were undoubtedly meant by the artist as portraits) would, to the other merits of these inimitable compositions, add the important one of making them an assemblage of the similitudes of the leading remarkables of his day. SOUTHWARK FAIR. VOL. I. P. 162. Although Hogarth, from a fear of creating himself enemies, disclaimed individual portrait in his compositions, particularly of characters in the higher walks of life, he was evidently not so scrupulous in indulging his satire when representing more familiar scenes; and accordingly his "Harlot's Progress," "Four Times of the Day," "Industry and Idleness," "March to Finchley," etc., are found to be less peopled with ideal personages than the "Marriage à la Mode," and some others. "Southwark Fair" was an annual assemblage of remarkables, whose follies and peculiarities he could hold up to the derision of the public without the danger of retaliation; and he has availed himself of the opportunity by bringing together a number of persons then well known on the town, and placing them in the most ludicrous situations.