Note 3 — William Hogarth: PAINTER, ENGRAVER, AND PHILOSOPHER. Essays on the Man, the Work, and the Time.

Beautiful female faces in Hogarth’s plates and pictures. Among others, the bride-elect with handkerchief passed through her wedding-ring; the countess kneeling to her dying lord (in the Marriage); the charming wife mending the galligaskins in the Distressed Poet; the poor wretch whom the taskmaster is about to strike with a cane, in the Bridewell scene of the Rake’s Progress; the milkmaid, in the Enraged Musician; the blooming English girl (for she is no more an Egyptian than you or I) in “Pharaoh’s Daughter;” the pure soul who sympathizes with the mad spendthrift, in the Bedlam scene of the Rake’s Progress; the hooped belle who is chucking the little black boy under the chin, in the Taste in High Life—a priceless performance, and one that should be re-engraved in this age, as a satire against exaggerated crinoline. Lord Charlemont’s famous picture, Virtue in Danger, I have not seen.