William HOGAiiTii. 
picture. It was executed with a skill that did honour to tlie artist's 
ability ; but the likeness was rigidly observed, without even the neces- 
sary attention to compliment or flattery. The peer, disgusted at this 
counterpart of his dear self, never once thought of paying for a reflec- 
tor, that would only insult him with his deformities. Some time was 
suffered to elapse before the artist applied for his money ; but after- 
wards many applications were made by him (who had then no need 
of a banker) for payment, but without success. The painter, however, 
at last hit upon an expedient which he knev/ must alarm the noble- 
man’s pride, and by that means answer his purpose. It was couched 
in the following card. “ Mr. Hogarth’s dutiful respects to lord r— ; 
and finding that he does not mean to have the picture which was drawn 
for him, is informed again of Mr. H.’s necessity for the money ; if, 
therefore, his lordship does not send for it in three days, it will be 
disposed of, with the addition of a tail, and some other little appen- 
dages, to Mr. Hare, the famous wild-beast man ; Mr. H. having given 
that gentleman a conditional promise of it for an exhibition picture, 
on his lordship’s refusal.” This intimation had the desired effect. 
The picture was sent home, and committed to the flames. 
Mr. Walpole has remarked, that if our artist indulged his spirit of 
ridicule in personalities, it never proceeded beyond sketches and 
drawings, and “that he never, with intention, produced caricatures 
of the very features of any identical person.” But this elegant writer, 
who may be said to have received his education in a court, had per- 
haps few opportunities of acquaintance among the low popular cha- 
racters with which Hogarth occasionally peopled his scenes. The 
friend who contributed this remark, was assured by an ancient 
gentleman of unquestionable veracity and acuteness of remark, that 
almost all the personages who attended the “ Levee of the Rake” were 
undoubted portraits ; and that in “ Southwark Fair,” and the “ Mo- 
dern Midnight Conversation,” as many more were discoverable. In 
the former plate he pointed out Essex the dancing-master ; and in 
the latter, as well as in the second plate to the “ Rake’s Progress,” 
Fig, the prize-fighter. He mentioned several others by name, from 
his immediate knowledge both of the painter’s design and the charac- 
ters represented ; but the rest of the particulars by which he sup- 
ported his assertions, have escaped the memory of our informant. 
While Hogarth was painting the “ Rake’s Progress,” he had a 
summer residence at Isleworth, and never failed to question the com- 
pany who came to see these pictures, if they knew for whom one or 
another figure was designed. When they guessed wrongly, he set 
them right. The duke of Leeds has an original scene in the Beggar’s 
Opera, painted by Hogarth. It is that in which Lucy and Polly are 
on their knees before their respective fathers, to intercede for the life 
of the hero of the piece. All the figures are either known, or sup- 
posed to be portraits. If we are not misinformed, the late Sir Tho- 
mas Robinson, better known perhaps by the name of Long Sir Tho- 
mas, is standing in one of the side-boxes. Macheath, unlike his ' 
spruce representative on our present stage, is a slouching bully ; and 
Polly appears happily disetmumbered of such a hoop as the daughter 
of Peachuni, within the reach of younger memories, has worn. The 
