Of this print Hogarth thus writes:—"After the March to Finchley, the next print I engraved was the Roast Beef of Old England,[127] which took its rise from a visit I paid to France the preceding year. The first time an Englishman goes from Dover to Calais, he must be struck with the different face of things at so little a distance. A farcical pomp of war, pompous parade of religion, and much bustle with very little business. To sum up all, poverty, slavery, and innate insolence, covered with an affectation of politeness, give you even here a true picture of the manners of the whole nation. Nor are the priests less opposite to those of Dover than the two shores. The friars are dirty, sleek, and solemn; the soldiery are lean, ragged, and tawdry; and as to the fishwomen, their faces are absolute leather.
"As I was sauntering about and observing them, near the gate which, it seems, was built by the English when the place was in our possession, I remarked some appearance of the arms of England on the front. By this and idle curiosity I was prompted to make a sketch of it, which being observed, I was taken into custody; but not attempting to cancel any of my sketches or memorandums, which were found to be merely those of a painter for his private use, without any relation to fortification, it was not thought necessary to send me back to Paris.[128] I was only closely confined to my own lodgings till the wind changed for England, where I no sooner arrived than I set about the picture; made the gate my background; and in one corner introduced my own portrait,[129] which has generally been thought a correct likeness, with the soldier's hand upon my shoulder. By the fat friar who stops the lean cook that is sinking under the weight of a vast sirloin of beef, and two of the military bearing off a great kettle of soup maigre, I meant to display to my own countrymen the striking difference between the food, priests, soldiers, etc. of two nations so contiguous, that in a clear day one coast may be seen from the other. The melancholy and miserable Highlander, browsing on his scanty fare, consisting of a bit of bread and an onion, is intended for one of the many that fled from this country after the rebellion in 1745."
2. Portrait of John Palmer, Esq.; W. Hogarth, pinx.; B. Baron, sculp. A small head inserted under a view of the church of Ecton, Northamptonshire.
3. Head of Hogarth in a cap, with a pug dog, and a palette with the line of beauty, etc.; inscribed "Gulielmus Hogarth se ipse pinxit et sculpsit, 1749."
The same portrait in mezzotinto.
(The engraving was copied from a picture now in the collection of J. J. Angerstein, Esq., from which another copy, engraved by Benjamin Smith, was in 1795 published by Messrs. Boydell. In this the three books are lettered Shakspeare, Swift, Milton's Paradise Lost, and the line on the palette inscribed, "The Line of Beauty and Grace.")
In the year 1763 Hogarth erased his own head from the plate, and in its place inserted "The Bruiser, C. Churchill (once the Revd.!), in the character of a Russian Hercules, regaling himself after having killed the monster Caricatura, that so sorely galled his virtuous friend the heaven-born Wilkes."
First state—Three of the upper knots on the club are left white (white lies), and a line inscribed "the line of Beauty," drawn on the palette. Second state—The knots shaded, and a political print introduced on the palette.
Third state—The letters "N. B.," and the word "Infamous" inscribed on the club; and "Dragon of Wantley" added at the end of "I warrant ye." "Price 1s. 6d." instead of "1s."
In the year 1758 Hogarth published a full-length of his own portrait, painting the Comic Muse; inscribed "W. Hogarth, serjeant painter to his Majesty,"—"Engraved by W. Hogarth." This being a mistake of the writing engraver, the painter altered it to "the face engraved by W. Hogarth." Third impression—"The face engraved by W. Hogarth" omitted. Fourth state—"Serjeant painter," etc. scratched over with the graver. Present state—The face retouched. Comedy also has the face and mask marked with black; and on the pillar is written, "Comedy, 1764." No other inscription beneath the print but "W. Hogarth, 1764."