In time he moved into lodgings at the "Golden Head," in Leicester Fields, and there he made his home. He had already begun the great paintings which were to make him famous among artists. These were a series of pictures, telling stories of fashionable and other life. His own story of how he came to think of the picture series was that he had always wished to present dramatic stories--present them in scenes as he saw them on the stage. He had married the daughter of Sir James Thornhill, and had never been thought of kindly by his father-in-law till he made so much stir with his first series. Then Sir James approved of him, and Hogarth found life more pleasing. There are very few anecdotes to tell of the artist's life, and the story of his pictures is much more amusing. One of his first satires was made into a pantomime by Theophilus Gibber, and another person made it into an opera. Many pamphlets and poems were written about it, and finally china was painted with its scenes and figures. There was as much to cry as to laugh over in Hogarth's pieces and that is what made them so truly great. One of his great picture series was called the "Rake's Progress" and it was a warning to all young men against leading too gay a life. It showed the "Rake" at the beginning of his misfortunes, gambling, and in the last reaping the reward of his follies in a debtor's prison and the madhouse. There are eight pictures in that set. In this series, especially in the fifth picture, there are extraordinary proofs of Hogarth's completeness of ideas. Upon the wall in the room wherein the "Rake" marries an old woman for her money, the Ten Commandments are hung, all cracked, and the Creed also is cracked and nearly smudged out; while the poor-box is covered with cobwebs. The eight pictures brought to Hogarth only seventy guineas. One of his pictures was suggested to him by an incident which greatly angered him. He had started for France on some errand of his own, and was in the very act of sketching the old gate at Calais, when he was arrested as a spy. Now Hogarth was a hard-headed Englishman, and when he was hustled back to England without being given time for argument, he was so enraged that he made his picture as grotesque as possible, to the lasting chagrin of France. He painted the French soldiers as the most absurd, thin little fellows imaginable, and that picture has largely influenced people's idea of the French soldier all over the English-speaking world. As Hogarth grew old he grew also a little bitter and revengeful toward his enemies, often taking his revenge in the ordinary way of belittling the people he disliked, in his paintings.