[5] So in Hill's Actor, pp. 69, 70. "If there be any thing that comes in competition with the unluckiness of this excellent player's figure in this character, it is the appearance he made in his new habit for Othello. We are used to see the greatest majesty imaginable expressed throughout that whole part; and though the joke was somewhat prematurely delivered to the publick, we must acknowledge, that his appearance in that tramontane dress made us rather expect to see a tea-kettle in his hand, than to hear the thundering speeches Shakspeare has thrown into that character, come out of his mouth."
[6] See the back ground of this plate, for a circumstance of such unpardonable grossness as admits of no verbal interpretation.
[7] Bishop Gibson.
[8] Beat hemp.
2. Rehearsal of the Oratorio of Judith. Singing men and boys. Ticket for "A Modern Midnight Conversation." This Oratorio of Judith, which was performed in character, was written by Mr. Huggins, as has been already observed in p. [187]; and the line taken from it,
"The world shall bow to the Assyrian throne,"
inscribed on the book, is a satire on its want of success.—The corner figure looking over the notes, was designed for Mr. Tothall.
3. A Midnight Modern Conversation. W. Hogarth inv. pinx. & sculp. Hogarth soon discovered that this engraving was too faintly executed; and therefore, after taking off a few impressions in red as well as black, he retouched and strengthened the plate. Under this print are the following verses:
Think not to find one meant resemblance here,
We lash the Vices, but the Persons spare.
Prints should be priz'd, as Authors should be read,
Who sharply smile prevailing Folly dead.
So Rabilaes laught, and so Cervantes thought,
So Nature dictated what Art has taught.
Most of the figures, however, are supposed to be real portraits. The Divine and the Lawyer,[1] in particular, are well known to be so.