Pressed for time, in ill-health, and apprehensive lest the public might attribute delay in replying to inability to do so, he took the old plate, burnished out his own portrait, and substituted in its place the head of a bear, with torn and soiled clerical bands about its neck, ruffles on its wrists, and clasping against its chest a foaming pot of beer, in allusion to the personal habits of the poet and ci-devant parson. With his left paw the beast clasps a huge club, the knots of which are labelled “Lye 1,” “Lye 2,” referring to the falsities of _The North Briton_. There are other minor alterations which may be seen at a glance. The whole was entitled “THE BRUISER, CHARLES CHURCHILL (once the Rev^d.!) In the character of a RUSSIAN HERCULES, regaling himself after having killed {111} the MONSTER CARICATURE, that so sorely gall’d his virtuous friend, the Heaven-born Wilkes.” The plate thus altered is to be found in five states, particulars of which may be found on p. 286 of Mr. Austin Dobson’s _William Hogarth_, 1891. That here reproduced is from a _copy_ of the last state engraved by Dent for John Ireland.[22] It is only in the last two states that the clever little engraving in front of the palette is to be found. [22] In copying, the design, as will be seen, has been turned from left to right. So far we have dealt with work done by Hogarth in his individual capacity. Let us now turn to such of his collaborative work as suffered cancellation. In dealing with the series of suppressed _Quixote_ plates we shall be brought into touch with two not uninteresting and accessory episodes in the artist’s career. In the first of these Hogarth made a great success, where a rival artist had made a signal failure. In the second, by way of righting the balance of things, fate ordained it that this same artist should badly best Hogarth, and that in a manner peculiarly galling to the latter’s vanity. Hogarth’s father-in-law was Sir James Thornhill, {112} whose drawing academy in Covent Garden had not proved as valuable an institution as had been anticipated. Johan Van der Banck, the rival artist above alluded to, had been one of Sir James’s pupils. By heading a secession and establishing a rival school he had undoubtedly largely contributed to the failure of his master’s venture. However, in due time, his school too proved to be lacking in the elements of success, and came to an untimely end. On Sir James’s death the “neglected apparatus” of his father-in-law passed into Hogarth’s hands, and he set to work to establish the academy on a different footing. The result was that it became a successful educational centre, which only ceased to exist many years afterwards on the establishment of the Royal Academy. A picture by Hogarth of the interior of the school with the students drawing from life is to be seen on the staircase leading to the Diploma Gallery at Burlington House.