In both plates, on a bracket attached to the side of the pew and inscribed “The Poor’s Box,” rests a wire rat-trap in place of the proper receptacle. Turning now to the clerk’s desk, which in Plate I. has the inscription “Cherubim and Seraph [ — ] do cry,” and in Plate II. “Continually do cry,” we find a hideous and brutal-looking clerk singing lustily from a book which he half supports in his claw-like fingers. Supporting him are two winged cherubs, the ridiculous nothingness of whose bodies (so envied by Thackeray in his days of pupilage) is accentuated by the significant addition of ducks’ feet. Their pitiful faces accord with the punning inscription on the edge of the desk. In Plate II. the ducks’ feet have been removed, but to make up for the loss we have the clerk himself, now a lean and hungry-looking individual, also decorated with a pair of wings. Below the desk in Plate I. howls a dog, his collar engraved with Whitfield’s name, whilst, below the hassock on which he sits, a ragged {94} figure squats embracing an image. In Plate II. a book entitled _Demonology, by K. James Ist._, surmounted by a shoeblack’s basket in which _Whitfield’s Journal_ is stuck, takes the place of the dog, whilst the boy of Bilston, vomiting forth nails, displaces the ragged figure. From the neck of the bottle in his hand a figure, similar to that held by the man in the pew, rises expelling the cork, which falls to the ground. In the forefront of Plate I. lies the bloated figure of Mother Douglas, who, after a most licentious life, was said to have become a rigid devotee. Hogarth, who has portrayed her in other of his plates, here ridicules her conversion. A hand belonging to a figure outside the plate holds a bottle of salts to her nose. In Plate II. Mary Tofts, “ye Godliman woman,” takes her place. Her well-known imposture, which it would be out of place to particularise here, gave rise to a voluminous literature, and a sheaf of remarkable caricatures. In place of the salts a glass of cordial is applied as a restorative. [Illustration: The Chandelier in “Enthusiasm”] [Illustration: The Chandelier in “Credulity”] In Plate I., behind the prostrate woman a bearded Jew regards the preacher with mock {96} devotion, what time he kills a flea between his thumb-nails. Before him lies a book open at a picture of Abraham offering up Isaac. In Plate II. the figure of the Jew is much weakened, whilst a knife inscribed “Bloody” is laid across a picture of an altar on the page of the open book. In the background of both plates a motley collection of devotees assists at these religious orgies. To the extreme left of Plate II., which, by the addition of several persons in the congregation, has become greatly overcrowded, a minister directs the attention of a terrified wretch, whose hair bristles with fear, to the extraordinary double-globed chandelier above their heads.