the sedan-chair is thrown
back. This plate is likewise found in an intermediate state; the sky
being made unnaturally obscure, with an attempt to introduce a
shower of rain, and lightning very aukwardly represented. It is
supposed to be a first proof after the insertion of the group of
blackguard gamesters; the window of the chair being only marked for
an alteration that was afterwards made in it. Hogarth appears to
have so far spoiled the sky, that he was obliged to obliterate it,
and cause it to be engraved over again by another hand."

Mr. Gilpin observes:--"Very disagreeable accidents often befal
gentlemen of pleasure. An event of this kind is recorded in the
fourth print, which is now before us. Our hero going, in full dress,
to pay his compliments at court on St. David's day, was accosted in
the rude manner which is here represented.--The composition is good.
The form of the group, made up of the figures in action, the chair,
and the lamplighter, is pleasing. Only, here we have an opportunity
of remarking, that a group is disgusting when the extremities of it
are heavy. A group in some respects should resemble a tree. The
heavier part of the foliage (the cup, as the landscape-painter calls
it) is always near the middle; the outside branches, which are
relieved by the sky, are light and airy. An inattention to this rule
has given a heaviness to the group before us. The two bailiffs, the
woman, and the chairman, are all huddled together in that part of
the group which should have been the lightest; while the middle
part, where the hand holds the door, wants strength and consistence.
It may be added too, that the four heads, in the form of a diamond,
make an unpleasing shape. All regular figures should be studiously
avoided.--The light had been well distributed, if the bailiff
holding the arrest, and the chairman, had been a little lighter, and
the woman darker. The glare of the white apron is disagreeable.--We
have, in this print, some beautiful instances of expression. The
surprise and terror of the poor gentleman is apparent in every limb,
as far as is consistent with the fear of discomposing his dress. The
insolence of power in one of the bailiffs, and the unfeeling heart,
which can jest with misery, in the other, are strongly marked. The
self-importance, too, of the honest C