which Walpole upbraids him with skulking into a court of law to obtain,
and in a few touches the man sank, and the demon of hypocrisy and
sensuality sat in his stead. It is a fiend, and yet it is Wilkes still.
It is said that when he had finished this remarkable portrait, the
former friendship of Wilkes overcame him, and he threw it into the fire,
from which it was saved by the interposition of his wife."

All the criticisms on Hogarth's _moral_ pictures have an air of
originality and freshness of mind, which is so attractive, as to make us
regret that we have not room for them. In proof of this, only let the
reader turn to Mr. Cunningham's remarks on the Harlot and Rake's
Progress, at pages 98 and 99. His descriptions too of the satirical
pictures are extremely ludicrous, and in effect second only to painting
itself. The following anecdote of the celebrated _March to Finchley_ is
curious, though well known:--

"The original painting was, on the publication of the print, disposed of
by a kind of lottery. Seven shillings and sixpence were fixed as the
price of a print; and every purchaser of a print was entitled to a
chance in the lottery for the picture. Eighteen hundred and forty-three
chances were subscribed for; a hundred and sixty-seven tickets, which
remained, were presented to the Foundling Hospital. One of the
Hospital's tickets drew the desired prize; and on the same night Hogarth
delivered the painting to the governors, not a little pleased that it
was to adorn a public place."

After quoting Walpole's description of Hogarth's _Sigismunda_, in which
he says--

"To add to the disgust raised by such vulgar expression, her fingers