Mr. Nichols states that this background was engraved by Ravenet's wife; but I am informed by Mr. Charles Grignion, who at that period knew the family intimately, that she could not engrave. That, concerning the background of this print, Ravenet had a violent quarrel with Hogarth; who, thinking the figures in the tapestry, etc. too obtrusive, obliged him to bring them to a lower tone (without any additional remuneration), a process that must have taken him up a length of time, which no man but an engraver can form an idea of. Plate 6. With a slight alteration, the crying old woman would be very like one of the laughing old women in the Laughing Audience. _Second state_--The whole of the print rendered less brilliant, but more in harmony. Drapery of the dying woman improved. _Third state_--The shadows of this, as of the other five, were rendered still stronger by the last alterations, made a short time before Hogarth's death. Of the original pictures, now in Mr. Angerstein's collection, I have already spoken. If considered in the various relations of invention, composition, drawing, colouring, character, and moral tendency, I do not think it will be easy to point out any series of six pictures, painted by any artist of either ancient or modern times, from which they will not bear away the palm. Among Mr. Lane's papers was found a written description of Marriage à la Mode, which the family believe to be Hogarth's explanation, either copied from his own handwriting, or given verbally to Mr. Lane at the time he purchased the pictures. This was copied and inserted in the second edition of _Hogarth Illustrated_, and may be had gratis by any of the purchasers of the first. Messrs. Boydell have employed Mr. Earlom to engrave the whole series, in the same size as the original pictures. 2. A small portrait of Archbishop Herring, surrounded with a trophy, placed as a headpiece to the printed speech addressed to the Clergy of York, September 24th, 1745. William Hogarth, _pinx._; C. Mosely, _sculp._ 3. The same head was afterwards cut off the plate, and printed without the speech. A larger portrait was in the year 1750 engraved by Baron. 4. The Battle of the Pictures. Ticket to admit persons to bid for his works at an auction. 5. Mask and Palette. Subscription-ticket to Garrick in Richard III. A copy from this was published in 1781. 1746. 1. Simon Lord Lovat. _Vide_ p. 209. The second impressions are marked "price 1s." Of this there have been several copies; I have one of the head in a watch paper. Lavater has introduced this print in his _Essays on Physiognomy_. 2. Mr. Garrick in the character of Richard III. Engraved by Wm. Hogarth and C. Grignion.