sible; the attempt has
seldom succeeded; but, in this print, the tea equipage really appears
falling to the floor; and, in Rembrandt's Abraham's Offering, in the
Houghton collection, now at Petersburg, the knife dropping from the hand
of the patriarch, appears in a falling state.

Quin compared Garrick in Othello to the black boy with the tea-kettle, a
circumstance that by no means encouraged our Roscius to continue acting
the part. Indeed, when his face was obscured, his chief power of
expression was lost; and then, and not till then, was he reduced to a
level with several other performers. It has been remarked, however, that
Garrick said of himself, that when he appeared in Othello, Quin, he
supposed, would say, "Here's Pompey! where's the tea-kettle?"

FOOTNOTE:

[1] The attendant black boy gave the foundation of an ill-natured remark
by Quin, when Garrick once attempted the part of Othello. "He pretend to
play Othello!" said the surly satirist; "He pretend to play Othello! He
wants nothing but the tea-kettle and lamp, to qualify him for Hogarth's
Pompey!"

[Illustration: THE HARLOT'S PROGRESS.

PLATE 2.

QUARRELS WITH HER JEW PROTECTOR.]

THE HARLOT'S PROGRESS.

PLATE III.

"Reproach, scorn, infamy, and hate,
On all thy future steps shall wait;
Thy furor be loath'd by every eye,
And every foot thy presence fly."

We here see this child of misfortune fallen from her high estate! Her
magnificent apartment is quitted for a dreary lodging in the purlieus of
Drury-lane; she is at breakfast, and every object exhibits marks of the
most wretched penury: her silver tea-kettle is changed for a tin pot,
and her highly decorated toilet gives place to an old leaf table,
strewed with the relics of the last night's revel, and ornamented with a
broken looking-glass. Around the room are scattered tobacco-pipes, gin
measures, and pewter pots; emblems of the habits of life into which she
is initiated, and the company which she now keeps: this is farther
intimated by the wig-box of James Dalton, a notorious street-robber, who
was afterwards executed. In her hand she displays a watch, which might
be either presented to her, or stolen from her last night's gallant. By
the nostrums which ornament the broken window, we see that poverty is
not her only evil.

The dreary and comfortless appearance of every object in this wretched
receptacle, the bit of butter on a piece of paper, the candle in a
bot