One of Hogarth’s earliest employers was a Mr. Bowles, at the “Black Horse in Cornhill,” who is stated to have bought his etched works by weight—at the munificent rate of half-a-crown a pound. This is the same Mr. Bowles who, when Major the engraver was going to France to study, and wished to dispose of some landscapes he had engraved that he might raise something in aid of his travelling expenses, offered him a bright, new, burnished, untouched copper-plate for every engraved one he had by him. This Black Horse Bowles, if the story be true, must have been ancestor to the theatrical manager who asked the author _how much he would give him_ if he produced his five-act tragedy; but I am inclined to think the anecdote a bit of gossip _tant soit peu_ spiteful of the eldest Nicholls. Moreover, the offer is stated to have been made “over a bottle.” ’Twas under the same incentive to liberality that an early patron of the present writer once pressed him to write “a good poem, in the Byron style—you know,” and offered him a guinea for it, down. Copper, fit for engraving purposes, was at least two shillings a pound in Bowles’s time. The half-crown legend, then, may be apocryphal; although we have some odd records of the mode of payment for art and letters in those days, and in the preceding time:—Thornhill painting Greenwich Hall for forty shillings the Flemish ell; Dryden contracting with Left-legged Jacob to write so many thousand lines for so many unclipped pieces of money; and Milton selling the manuscript of _Paradise Lost_ to Samuel Simmons for five pounds. Mr. Philip Overton at the Golden Buck, over against St. Dunstan’s Church, in Fleet Street, also published Hogarth’s early plates. He was the purchaser, too, but not yet, of the eighteen illustrations to _Hudibras_. Ere these appeared, W. H. etched the _Taste of the Town_, the _Small Masquerade Ticket_; the _Lottery_—a very confused and obscure allegory, perhaps a sly parody on one of Laguerre or Thornhill’s floundering pictorial parables. Fortune and Wantonness are drawing lucky numbers, Fraud tempts Despair, Sloth hides his head behind a curtain; all very interesting probably at the time, from the number of contemporary portraits the plate may have contained, but almost inexplicable and thoroughly uninteresting to us now. The _Taste of the Town_, which is otherwise the _first_ Burlington Gate satire (not the Pope and Chandos one) created a sensation, and its author paid the first per-centage on notoriety, by seeing his work pirated by the varlets who did for art that which Edmund Curll, bookseller and scoundrel, did for literature. [Illustration]