By this list, it appears that the two pictures of "Before and After" were painted for a Mr. Thomson; but as it is not probable that Hogarth delineated this subject twice, I think that these two pictures were the property of the late Lord Besborough. They were sold on his Lordship's demise, in February 1801, at Christie's rooms. "_Account taken, January 1, 1731, of all the pictures that remain unfinished.--Half payment received._ A family piece, consisting of four figures, for Mr. Rich, 1728. An assembly of twenty-five figures, for Lord Castlemain, August 28, 1729. Family of four figures; Mr. Wood, 1728. A conversation of six figures; Mr. Cock, Nov. 1728. A family of five figures; Mr. Jones, March 1730. The Committee of the House of Commons, for Sir Archibald Grant, Nov. 5, 1729. The Beggar's Opera; ditto. Single figure; Mr. Kirkham, April 18, 1730. Family of nine; Mr. Vernon, Feb. 27, 1730. Another of two; Mr. Cooper. Another of five; Duke of Montague. Two little pictures; ditto. Single figure; Sir Robert Pye, Nov. 18, 1730. Two little pictures, called "Before and After," for Mr. Thomson, Dec. 7, 1730. A head, for Mr. Sarmond, Jan. 12, 1730-31. Pictures bespoke for the present year 1731." With this his memorandum ends; and I regret that he has not recorded the prices he received for the pictures. Mr. Nichols conjectures that they were originally very low; he is most probably right with respect to those that were painted in the early part of Hogarth's life. But let it be recollected that for the portrait of Garrick in Richard III. he received two hundred pounds, which, as the artist himself remarks, was a more liberal remuneration than had been paid to any contemporary painter. When my late friend Mr. Gainsborough began to paint portraits at Bath (at a period when much higher prices were paid), his general rule was five guineas for a three-quarters portrait. Below is inserted a copy from one of Hogarth's early engravings, the arms of the Duchess of Kendal, mistress to George I., probably done on a piece of plate at the time he was Gamble's apprentice. The original, of the same size, is in the Editor's possession. It is drawn in a correct and spirited style; and considering the age of the artist, and the purpose for which it was engraven, not demanding much attention or exertion, gave some promise of the excellence which he afterwards attained. In this point of view, to an admirer of Hogarth it becomes in some degree interesting, which will, I hope, plead my apology for the insertion of this solitary specimen of his boyish heraldry. On no other ground should so insignificant a production as a coat of arms have found a place in this volume. [Illustration: THE KENDAL ARMS.] CHAPTER II.