are properly introduced, and highly descriptive.
The tents of Richmond are so near,
"That the fix'd sentinels almost receive
The secret whispers of each other's watch."
Considered as a whole, the composition is simple, and the figures well drawn. The drapery illustrates his own precepts in the Analysis, where he says: "The robes of state are always made large and full, because they give a grandeur of appearance suitable to offices of the greatest distinction. The judges' robes have an awful dignity given them by the quantity of their contents; and when the train is held up, there is a noble waving line descending from the shoulders of the judge to the hand of his train-bearer. So, when the train is gently thrown aside, it generally falls into a great variety of folds, which again employ the eye, and fix its attention.
"The grandeur of the Eastern dress, which so far surpasses the European, depends as much on quantity as costliness. In a word, it is quantity which adds greatness to grace."
There was some propriety in Hogarth choosing to paint Mr. Garrick in this character. It was the first he appeared in, on the 19th of October 1741, at Goodman's Fields, and his performance gave proof of talents which merited the celebrity he afterwards attained. At that time Quin was the popular player; but his laboured action, hollow tones, and the manner in which he heaved up his words, were not borne after Garrick's easy, familiar, and yet forcible style had been seen by the town. The surly actor's remark upon this heresy of the critics was, that "all this was a new religion; but though Whitfield was followed for a time, the people would soon return to the true church." Garrick's epigram, in reply, has some point:
"Poor Quin, who damns all churches but his own,
Complains that heresy corrupts the town: