"A gentleman (now a nobleman) seeing this picture, pressed me with much vehemence to paint another for him upon the same terms. To this I reluctantly assented; and as I had been frequently flattered for my power of giving expression, I thought the figure of Sigismunda weeping over the heart of her lover would enable me to display it. Impressed with this idea, I fixed upon this very difficult subject. My object was dramatic, and my aim to draw tears from the spectator,--an effect I have often witnessed at a tragedy; and it therefore struck me that it was worth trying if a painter could not produce the same effect, and touch the heart through the eye, as the player does through the ear.[74] Thus far I have been gratified: I have more than once seen the tear of sympathy trickle down the cheek of a female while she has been contemplating the picture. "As four hundred pounds had a short time before been bid for a picture of 'Sigismunda,' painted by a French master, but falsely ascribed to Correggio, four hundred pounds was the price at which I rated this.[75] "By any other of my pursuits I could have got twice the sum in the time I devoted to it; nor was it more than half what a fashionable face-painter would have gained in the same period. Upon these grounds I put it at this sum; see the letter, and see the answer. It ended by my keeping the picture in my painting-room, and his Lordship keeping his money in his pocket. Had it been Charlemont!" This transaction having given rise to many ridiculous falsehoods, the following unvarnished tale will set the whole in its true light:-- "_January 1764._ "The picture of 'Sigismunda' was painted at the earnest request of Sir Richard Grosvenor (now Lord Grosvenor) in the year 1759, at a time when Mr. Hogarth had fully determined to leave off painting, partly on account of ease and retirement, but more particularly because he had found by thirty years' experience that his pictures--except in an instance or two, mentioned in the note[76]--had not produced him one quarter of the profit that arose from his engravings. However, the flattering compliments, as well as generous offers, made him by the above gentleman (who was immensely rich), prevailed upon the unwary artist to undertake this difficult subject, which being seen and fully approved of by his Lordship whilst in hand, was, after much time, and the utmost efforts, finished. _But how!_ the painter's death (as usual) can only positively determine. The price required for it was therefore not on account of its value as a picture, but proportioned to the value of the time it took in painting.