Hogarth came before Reynolds or Gainsborough; in short, was the first great English artist, and his chief power lay in being able instantly to catch a fleeting expression, and to interpret it. An incident of Hogarth's youth illustrates this. He had got into a row in a pot-house with one of the hangers-on, and when someone struck the brawler over the head with a pewter pot, there, in the midst of excitement and rioting, Hogarth whipped out his pencil and hastily sketched the expression of the chap who had been hit. Hogarth was friends with most of the theatre managers, and one of his souvenirs was a gold pass given him by Tyers, the director of Vauxhall Gardens, which entitled Hogarth and his family to entrance during their lives. This was in return for some "passes," which Hogarth had engraved for Tyer. Upon one occasion Hogarth set off with some companions for a trip to the Isle of Sheppey. Incidentally Forest wrote a sketch of their journey and Hogarth illustrated it. That work is to be found, carefully preserved, in the British Museum. The repeated copying and reproduction for sale of his pictures brought about the first effort to protect his works of art by copyright. But it was not till he had done the "Rake's Progress" that he was able to protect himself at all, and even then not completely. Just before his death he was staying at Chiswick, but the day before he died he was removed to his house in Leicester Fields. He was buried in the Chiswick churchyard; and in that suburb of London may still be seen his old house and a mulberry tree where he often sat amusing children for whom he cared very much. Garrick wrote the following epitaph for his tomb: If Genius fire thee, Reader, stay; If Nature touch thee, drop a tear; If neither move thee, turn away, For Hogarth's honour'd dust lies here. Farewell, great Painter of Mankind! Who reached the noblest point of art, Whose pictured Morals charm the Mind And through the Eye correct the Heart. PLATE--THE MARRIAGE CONTRACT The picture used in illustration here is part of probably the very greatest art-sermon ever painted, called "Marriage à la Mode." The story of it is worth telling: