Like Herod's hang-dogs in old tapestry:
Each man an Askapart, with strength to toss
For quoits, both Temple-bar and Charing-cross.
The grisly guards have a most rueful and tremendous appearance. The attractive portrait of a Drury Lane Diana,[21] with a butcher's steel in one hand and a squirrel perched on the other, is hung in such a situation that the Herculean pedestals of a Jewish soldier may be supposed to be a delineation of her legs continued below the frame.
Our Counsellor's mask lies on the floor, and grins horribly, as if conscious of the fatal catastrophe. Dominoes, shoes, etc., scattered around the room, show the negligence of the ill-fated Countess, unattended by her femme de chambre. From a faggot and the shadow of a pair of tongs, we may infer that there is a fire in the room.[22] A bill near them implies that this elegant apartment is at the Turk's Head bagnio.
The dying agony of the Earl (whose face is evidently retouched by Hogarth), the eager entreaty of the Countess, the terror of mine host, and the vulgar inflected dignity of Mr. Constable, are admirably discriminated.
I have stated in the former editions that the background of this plate was engraved by Ravenet's wife, but am since informed by Mr. Charles Grignion, the engraver, that this is a mistake. See vol. iii. of this work.
PLATE VI.
Forlorn, degraded, and distrest,
The furies tear her tortur'd breast.