The accompanying reproductions are, save for {116} No. 1., not made from any of the foregoing, but from the early states of the plates, never before published, to be found in the British Museum. Thus they will prove not only of interest to the casual reader but also valuable, for purposes of comparison, to the possessors of any of the three editions of Hogarth’s _Works_ mentioned above. The full descriptions of the plates may be found in Ireland and Nichols, but for the convenience of the reader I append a short commentary. No. I. _The Innkeeper_ is from an unfinished etching and is of particular interest. By some its authenticity is doubted, but John Ireland believed in it, and I, for one, see no reason to call his judgment into question, more particularly as this figure bears a more than chance resemblance to that of “The Innkeeper” in the undoubted Hogarth referred to above published in Jarvis’s edition. In the Van der Banck plate, which represents the knighting of the Don by the Innkeeper, it is also evident that Hogarth’s rival has done him the compliment of adopting his model. [Illustration: Don Quixote No. II.—The Funeral of Chrysostom] No. II. _The Funeral of Chrysostom, Marcella vindicating herself._ This scene was also taken {118} by Van der Banck for illustration, and a comparison of the two plates is not favourable to Hogarth. No. III. _The Innkeepers Wife and Daughter taking care of the Don after he had been beaten._ “Much superior to the same scene designed by Van der Banck.” No. IV. _Don Quixote seizes the Barber’s Basin for Mambrino’s Helmet._ On the whole inferior to Van der Banck’s. The barb of the Don’s weapon is different from that in the Hogarth design published by Jarvis. The stirrups and saddling of the horse too are different. These points have not been referred to before, but I mention them by way of argument against the authenticity of the Jarvis plate. As I have said before, personally I have no doubt that it is from Hogarth’s burin. No. V. _Don Quixote releases the Galley Slaves._ Here the Don is found wearing the barber’s basin as his helmet. By a not unusual oversight it will be noticed Hogarth has made his figures left-handed, forgetful of the reversing process due to printing from a plate. A superior design to that of Van der Banck, who, as Ireland says, “has {121} given to two or three of the thieves the countenances of apostles.” [Illustration: Don Quixote No. III.—The Innkeeper’s Wife and Daughter] [Illustration: Don Quixote No. IV.—Don Quixote seizes the Barber’s Basin] No. VI. _The First Interview of the Valorous Knight of La Mancha with the Unfortunate Knight of the Rock._ Distinctly superior to Van der Banck. No. VII. _The Curate and Barber disguising themselves to convey Don Quixote home._ An excellent representation of the curate assuming the dress of a distressed virgin who, by his tale of having been wronged by a naughty knight, hopes to induce the Don to return to his home.