Before comparing the designs in detail, I should like to say that, besides carefully examining the plates for myself, I have collated the various descriptions of Ireland, Nichols, Mr. Austin Dobson, and Mr. F. G. Stephens, whose conclusions I have not hesitated to adopt, add to, discard or modify, as the circumstances have seemed to require. Let us now particularise the incidents portrayed on the two states of the plate, both of which are here reproduced for purposes of comparison. [Illustration: PLATE I. “Enthusiasm Delineated. (Humbly dedicated to his Grace the Arch Bishop of Canterbury by his Graces most obedient humble Servant _Wm. Hogarth_”)] [Illustration: PLATE II. “Credulity, Superstition, and Fanaticism. A Medley”] Beginning with the preacher, we notice that {89} his is the only figure practically unaltered and common to both engravings. By his “bull-roar” (_vide_ the “scale of Vociferation” hanging on the wall to his left) he has apparently succeeded in cracking the sounding-board above his head. Notice his shaven crown, exposed by the fallen wig, which intimates that he is a Papist in disguise; and the harlequin jacket underneath his gown, which suggests that he is a religious merry-andrew. A point worth remarking is that the halo surrounds his wig, and not his head! From his right hand (Plate I.) he suspends a puppet (caricatured from a picture of Raphael’s) supporting the sacred triangle, which, in attempting to personify the Trinity, was considered by some to be a profane materialisation of a mystical idea. This he has ingeniously turned into a gridiron or trivet of the Inquisition by the simple addition of three legs. In Plate II. this puppet has been removed and its place taken by a witch, riding on a broom-handle, who is suckling what appears to be a huge rat. Beyond the preacher’s hand we find a further addition in the shape of a cherub, hunting-cap on head, bearing in its mouth {90} a letter directed “To St. Moneytrap.” The sermon paper, too, has been turned about so as to bring the words “I speak as a fool” into greater prominence. In which connection it may be noticed that in “Enthusiasm Delineated” all the lettering would seem to be from the burin of Hogarth, whilst that in the “Medley” has been put in by a writing engraver, with considerable weakening of the general effect. Dangling from the preacher’s left hand is a devil with a gridiron (after Rubens), practically identical in both plates, though obviously re-engraved.