The Harlot's Progress, in six plates.
Plate 1. Second state—Feet to the old woman. Shadow thrown by one house upon another. London added to the letter the parson is reading. Cross put in the centre of the margin, as indeed it is to the second state of the five that follow.
Plate 2. The shadows on the black boy's drapery, etc. are so sudden that he looks like a magpie. I have a copy of this print, of the same size, and well engraved; the situation of the figures reversed, with the strange variations of a shepherd and shepherdess, in the two pictures that were of Jonah and David, in the original.
Plate 3. A sort of sugar dish placed near the punch-bowl, in the first state, is in the second changed to a bottle. In a set of wretched copies, possibly made from the original pictures, and exhibited at Christie's in the year 1792, the woman dangling a watch is painted without stockings.
Plate 4. Second state—Damages in the ceiling stopped up: shadow added on the wall close to the hoop petticoat: the dog much blacker. In a print in my possession, the cross is inserted before any of these variations were made.
Plate 5. Second state—Dr. Rock's name inscribed on the paper: cap of the woman near the dying figure lowered.
Plate 6. The mask on the bottle inscribed "Nants," has a most ludicrous appearance. The shadows, especially that on the forehead of the girl near the clergyman, are much heightened in the second state.
2. Rehearsal of the Oratorio of Judith.
Ticket for a Modern Midnight Conversation. The singers of the different parts of bass, tenor, and treble, may be easily distinguished; and it is worthy of remark, that the notes before them are in the same key with the performers' voices. The receipt was afterwards cut off the plate.
3. A Midnight Modern Conversation.