Hogarth concludes with a remark, which intimates that he had originally intended to have inserted the preceding chapter in his _Analysis_, but altered his plan and reserved it for his intended Supplement:-- "The even and uniform colour of the hair, by encompassing the face as a frame doth a picture, contrasts with harmonious colour its variegated and enclosed composition, and adds more or less beauty thereto, according to the manner it is disposed. This graceful ornament may, with some propriety, be called the head-dress, and comes under that class; but as dress in general is a matter of no small importance to a great part of the world, it deserves to be treated more copiously than this volume will admit of. It shall therefore be deferred till a more convenient opportunity offers, when the Supplement shall be published." [Illustration: (end of section floral icon)] CHAPTER V. HOGARTH'S INDUCEMENT TO PAINTING THE PICTURE OF SIGISMUNDA. HIS CORRESPONDENCE WITH LORD GROSVENOR ON THIS SUBJECT, CONTRASTED BY TWO LETTERS FROM LORD CHARLEMONT, FOR WHOM HE HAD PREVIOUSLY PAINTED AN INTERESTING SCENE. ORIGIN OF THE QUARREL WITH WILKES AND CHURCHILL, WHICH GAVE RISE TO THE PRINT OF THE BEAR, ETC.; AND THE ARTIST'S DEATH. The particulars relative to the picture of "Sigismunda," Hogarth has himself inserted in his subscription-book, on the leaves of which he has pasted his correspondence with Lord Charlemont and Lord Grosvenor, and a proof print of MacArdell's copy from Correggio's picture. In a little blue memorandum book he resumes the subject, and concludes with a narrative of his quarrel with Wilkes and Churchill, which ends with the word _Finis_. In these and some other loose papers, after having stated the professional injury which he had sustained from his opponents asserting, and the public believing, that he could not paint portraits, he continues:--