The Idle 'Prentice Executed at Tyburn — Plate 11 of 12 of the series, showing the final reward of idleness
Industry and Idleness is the title of a series of 12 plot-linked engravings created by the English artist William Hogarth in 1747, intending to illustrate to working children the possible rewards of hard work and diligent application and the sure disasters attending a lack of both.[1] Unlike his earlier works, such as A Harlot's Progress (1731) and Marriage à-la-mode (1743), which were painted first and subsequently converted to engravings, Industry and Idleness was created solely as a set of engravings. Each of the prints was sold for one shilling each so 12 shillings for the entire set,[1] which is equivalent to £100in 2021.[2] It may be assumed that these prints were aimed for a wider and less wealthy market than his earlier works. The originals currently reside at the British Museum.
Hogarth was far from the first to attempt to dramatically display parallel lives leading from the same start to opposite ends. Paulson suggests two: the plays "Eastward Hoe" (Revived after Hogarth's publication of these) and "The London Merchant", the latter containing the especially applicable quote that "business [is] the youth's best preservative from ill, as idleness [is] the worst of snares". He also suggests that Hogarth already had the idea when he painted "Hudibras and the Lawyer" with its 2 (industrious and idle) clerks.[3]
Format
Each print shows a representative or important scene at some point in the life of one of the protagonists (In two plates, both are shown together). Together, the seven appearances of Francis Goodchild and Thomas Idle show their steady paths up the social and political ladder to the pinnacle of power and esteem and down the path of immorality and crime to complete disgrace and legal infamy, respectively. Each appearance is also accompanied by some explanatory or foreshadowing text from the Bible.
This latter was supposedly picked out by a friend of Hogarth's, Rev. Arnold King.[4]
The engravings
The plates show one of the two apprentices at some stage in their life, alternating between one 'prentice and the other (Industrious, Idle, Industrious, etc.) with the exceptions of 1 and 10 where both are shown. Each has a Biblical quotation relevant to the scene.
Plate 1 – The Fellow 'Prentices at their Looms
Exactly equal footing at their first meeting. Tom is on the left, Francis on the right and the master weaver on the extreme right
In plate 1 the two protagonists are introduced: both are "'prentices" on equal terms with their master, and doing the same work.
Beyond this framework, the two characters display their respective traits: Francis is busy at work with his loom and shuttle, with his copy of "The Prentice's Guide" at his feet and various wholesome[5] literature tacked up on the wall behind him such as "The London Prentice" and (portentously) "Whitington Ld Mayor".
Tom Idle leans snoring against his still loom, probably as a result of a huge mug labelled "Spittle Fields" sitting on his loom. A clay pipe is wedged into the handle and a cat is busy interfering with the shuttle. Tacked to the post that he is sleeping against is "Moll Flanders"; his "Prentice's Guide" is also lying on the ground, but in a filthy and shredded state.
To the right their master, with a thick stick in his hand, looks disappointedly at Thomas.
The future courses of the two apprentices are marked off for them by the imagery surrounding the frame of the painting: To the left, representing Idle's future, a whip, fetters and a rope; to the right, over Goodchild, a ceremonial mace, sword of state and golden chain. The master's sword segues exactly into the shaft of the mace: more foreshadowing for the second encounter of the two in plate 9.
Idle's verse:
Proverbs Chap: 23 Ve: 21 The Drunkard shall come to Poverty, & drowsineſs shall cloath a Man wth rags
Goodchild's:
Proverbs Ch:10 Ver:4 The hand of the diligent maketh rich
Plate 2 — The Industrious 'Prentice performing the Duty of a Christian
Goodchild in church, singing hymns
Plate two occurs at some point on a Sunday, when their master has given them part (or all) of the day to attend church service. Francis Goodchild is shown taking good advantage of this, attending St. Martin-in-the-Fields,[6] standing in a pew with his master's daughter, singing out of a hymnal. Their piety is contrasted with the sleeping man in the pew and the vain woman at the far right, and complements the quiet devotion of the old pew opener, the woman who has the keys to the pew, who is facing away from the service to spot new arrivals.[7]
Significantly, since this is the first in the series of images of Francis' fortune, his career is literally shown to start with his devotion.
Psalm CXIX Ver:97 O! How I love thy Law it is my meditation all day
Plate 3 — The Idle 'Prentice at Play in the Church Yard, during Divine Service
Not outside the same church
In this case, Tom Idle is shown doing the exact opposite: gambling and cheating with some pence on top of a tomb in the churchyard. The foreground is strewn with spare bones and skulls, and behind him a beadle is about to strike him with a cane for his insolence and tardiness.
Also note that the frame is reversed: Now the mace, etc. are on the left of the engraving.
Proverbs CH:XIX. Ve:29. Judgments are prepared for scorners & stripes for the back of Fools
Plate 4 — The Industrious 'Prentice a Favourite, and entrusted by his Master
Francis finds people clearly appreciative of his steady-going ways
Clearly Goodchild's industry and piety are paying off. He is now no longer working a loom, but rather keeping his master's business: He holds the "Day Book", keys to the house and a pouch of money. His master is also present and using the greatest familiarity with him, further testifying to his advanced state. On the desk before them two gloves shaking hands illustrate the friendship and foreshadow their ultimate harmony and agreement in plate 6.
Behind them are a row of women at looms and one at a spinning wheel and to the left, a man wearing the symbol of the Corporation of London and carrying material in labelled "To Mr West". Both show that the business is a going concern.
To the lower right a copy of the "London Almanack" is tacked up, headed by an allegorical figure of the genius of Industry assaulting Father Time. A dog stands by the carrier, annoying a cat up on the platform West and Goodchild stand on.
Matthew CHAP:XXV. Ve:21. Well done good and faithfull servant thou hast been faithfull over a few things, I will make thee Ruler over many things
Plate 5 — The Idle 'Prentice turn'd away, and sent to Sea
Tom finally exhausts everyone's patience – except his mother's
On the other hand, Tom Idle's useless ways have finally gotten their reward: His master (possibly with the consultation of or incitement by Francis) either throws him out or orders him away to sea. In either case, Tom clearly feels that his authority over him is at an end and has cast his indenture into the boat's wake in the lower left-hand corner.
Judging by his companions' antics, his reputation of laziness and disobedience have preceded him: One tries to tease him with the frayed end of a rope (i.e. a cat o' nine tails), the other points towards a man hanging from a gibbet at the waterline for some nautical crime (It is also possible he's pointing at their ship). The sky also grows noticeably darker in the direction their boat is pointed.
For the first time, we learn his name from the wooden crate next to him labelled "Tho Idle his Chest". An old woman, dressed as a widow, tearfully remonstrates with him, while he ignores her. The verse at the bottom clearly indicates this is his mother.
In the background, on low land, are a number of Dutch windmills.
Proverbs CHAP:X. Ve:1. A foolish son is the heavineſs of his Mother
Plate 6 — The Industrious 'Prentice out of his Time, & Married to his Master's Daughter
Mr. and Mrs. Goodchild
The next plate shows that Francis Goodchild has been improving his time, as usual. He has also escaped his apprenticeship, but in the intended manner: having served his time, he is free and a journeyman weaver. Beyond that even, the sign of "WEST and GOODCHILD" under their trademark of a lion rampant shows that his former master has taken him into partnership (not an unreasonable step given that he previously kept the accounts).
The other significant change is that Miss West, last seen in Plate 2, has become Mrs. Goodchild. The scene here is likely the day after, when they distribute the remnants of the feast to various poor people.
Francis is at the window holding a teacup (without a handle) and giving a coin. In the foreground at the door a footman gives away a plate. To the left, a legless man in a tub, probably invalided from the Army or Navy, holds out a sheet of paper containing "Jeſse or the Happy Pair. a new Song". Behind him a Frenchman with a bass viol is forced out of the line by a (British) butcher.
Proverbs CH:XII. Ver:4. The Virtuous Woman is a Crown to her Husband.
Plate 7 — The Idle 'Prentice return'd from Sea, & in a Garret with common Prostitute
Not fighting the Law, but scared of it!
For reasons unknown (but probably related to his namesake vice), Tom Idle is back on land again. If he was callous enough to throw out his indenture leaving land, he certainly does not feel bound by any law on his return as he has gone so far as to turn highwayman (more likely footpad) and take up a (dismal) residence with "a common Prostitute".
In contrast to the luxury of Francis in plate 8, Thomas and his companion are shown living in complete squalor somewhere in London. The sole article of furniture in the room is the broken down bed that Tom and his woman are lying on. She is busy examining the various nonmonetary spoils from his thefts on the highway, including an earring that looks like a gallows. The bottles on the fireplace mantel are suggestive of venereal disease, similar to those of plate 3 in A Harlot's Progress.
The broken flute and bottle, together with the pair of breeches discarded on the bedclothes, suggest they have spent their time in drunken debauchery. Samuel Ireland suggests that he was doing this to drive away his fears of the law.
The principal event of the scene is a cat falling down the chimney with a few bricks (which strongly suggests the quality of the house they are lodging in), which causes Tom Idle to start up with all the fear of the law on him.
The extremely dilapidated condition of the building, lack of any obvious source of light or fire, and covering over of the window by a hoop petticoat suggest that Idle is in hiding and sparing no pains to keep his location a secret.
Leviticus CHAP:XXVI. Ve:30. The Sound of a Shaken Leaf shall Chace him.
Plate 8 — The Industrious 'Prentice grown rich, & Sheriff of London
Only incidentally about the 'prentice
Plate 8 shows the opulence that industry has produced (or rather, allowed to be procured): the couple sit at the far end of the table (Just to the left of the man in the foreground with the staff) on chairs, apparently in state. His chair has the sword of state on its right arm and on her left the crowned mace.
A significant portion of this plate is taken up with a related satire of gluttony, which takes place in the left foreground. In particular, the two on the far right warn that even earned riches are as susceptible to squander and waste as any other.
To the upper left, an orchestra on a balcony provides musical accompaniment.
The chamberlain (the man with the staff of office) examines a paper addressed "To the worſhipl Fras Goodchild Eſq Sher[...] Lond" while a crowd of people mills at the bar. This is the first time we find out his first name.
Proverbs CH:IV. Ver:7, 8. With all thy getting get understanding Exalt her, & she shall promote thee: she shall bring thee to honour, when thou dost Embrace her
Plate 9 — The Idle 'Prentice betrayed (by his Whore), & taken in a Night-Cellar with his Accomplice
Idle has now gone from highway robbery to out and out murder for petty gain. He is shown here examining the effects of the dead man in a hat (probably his) between them, while another man pitches the body down a trap door. They are all totally oblivious not only to the men of the Law coming down the stairs with lit lanterns, but Idle's prostitute being paid one coin for her information. Clearly, Idle is caught without any means of escape.
The background shows his most congenial surroundings to be the most lawless and depraved possible: playing cards are strewn in the left foreground, men are murdered with no hue and cry, a rope hangs ominously from one of the beams in the ceiling, a syphilitic woman with no nose serves a mug of something, presumably liquor and/or gin, and a massive drunken brawl occupies half of the room, while the others unconcernedly ignore it.
Proverbs CHAP:VI. Ve:26. The Adultereſs will hunt for the precious life
Note that in some versions the title is "The Idle 'Prentice betrayed by his Whore, & taken in a Night-Cellar with his Accomplice", whereas others remove "by his Whore".
Plate 10 – The Industrious 'Prentice Alderman of London, the Idle one brought before him & Impeach'd by his Accomplice
Ending on unequal footing
Having led their separate lives for four plates each, the two apprentices meet again, considerably further down their paths of life. Again, Tom is on the left, Francis, the right (the frame is reversed, so the rope, etc. is above Francis).
Idle is now completely lost: his accomplice readily turns King's evidence, a man behind him holds up the two pistols and sword used in the commission of the murder in one hand and points to Idle with the other, and he is being arraigned before his former fellow-apprentice, who remembers his earlier inclinations and could well imagine him turning footpad. While he turns away, either struggling with his feelings (as implied by the quote at the bottom of the frame) or disgustedly spurning his entreaties, the clerk next to him writes out the warrant of admission "To the Turnkey of Newgate".
To the right of Idle, his mother again tearfully pleads with an officer who dismisses her. The bailiff administering the oath has put his quill pen behind his ear facing forward, making him look ridiculous, so that he might take a bribe from the woman next to him, who is paying him to not notice that the oath he administers is being sworn with the wrong hand and hence worthless.
Fire buckets labelled "SA" hang from the balcony behind the crowd.
Pſalm IX. Ver:16. The Wicked is snar'd in the work of his own hands
Leviticus CH:XIX Ve:15. Thou shall do no unrighteous- -neſs in Judgement
Plate 11 — The Idle 'Prentice Executed at Tyburn
Idleness and immorality produce their just reward.
Idle now comes, like Tom Nero in The Four Stages of Cruelty, to the reward of his depredations and malice: a felon's death on the gallows.
The procession from left to right shows a detachment of soldiers riding behind the tumbrel, which contains a preacher with a book labelled Wesley, a reference to Methodism. The cleric vigorously discourses to a now hairless Thomas Idle, who is leaning on his own coffin (marked by the initials "T.I."). The coach ahead carries the Official clergyman (who will actually preside at the execution). Beyond looms the Tyburn Tree. The executioner lays unconcernedly along one of the crossbeams, smoking his pipe and apparently inured to the nature of his work.
In the right background, more or less well behaved spectators wait. One releases a pigeon that will fly back to Newgate and give the news that (by the time it has arrived) the malefactor is dead.
Around and in the midst of the semi-orderly procession, chaos reigns.
In the front center, a woman with a baby is advertising "The last dying Speech & Conſeſsion of—Tho. Idle." although the condemned has not yet arrived at the gallows. To the left, a brawl involves two to four people. To her left, a drunken sot attempts to court the woman with ridiculous airs, notwithstanding his holding a dog up by the tail. The suspended dog, positioned directly below the gibbet in the picture, prefigures another "cur" who is about to be hanged. Behind them a massive riot goes on while a woman assaults the man pushing over her cart of fruit. A man to the far right peddles something. In one corner are two boys, one pickpocketing and the other resisting temptation, possibly echoing Idle and Goodchild.
The frame of the picture shows Thomas' ultimate fate, hung on a gibbet for his highway collecting.
Finally, the verse at the bottom completes Idle's doom.
Proverbs CHAP I. Verſ:s 27, 28. When fear cometh as desolation, and their destruction cometh as a Whirlwind; when distreſs cometh upon them, they shall call upon God, but he will not answer
Plate 12 – The Industrious 'Prentice Lord-Mayor of London
Fulfilling the constant foreshadowing
Now that the Idle 'Prentice met his reward, industry gets its turn: The industry and morality of Francis Goodchild result in his being chosen the Lord Mayor of the City.
He is here shown riding in the Lord Mayor's carriage, holding the sword of state and wearing an outsized top hat. From the balcony on the right, a genteel crowd observes his passing, as do people in all the windows fronting on the street.
Meanwhile, the crowd drunkenly near-riots around him. In the far lower right, a boy holding "A full and true Account of ye Ghoſt of Tho Idle. Which […]" shows the final fate of Thomas Idle's memory: an entry in The Newgate Calendar. Nearby members of an escort of disorganised militia accidentally discharge their muskets or drink from mugs.
The frame is now surrounded by cornucopias, referring to the verse at the bottom:
Proverbs CHAP: III. Ver:16. Length of days is in her right hand, and in her left hand Riches and Honour
Unfinished parts
Hogarth sketched out at least three other scenes that never got made into engravings: one of the inside of Goodchild's place after his marriage (Presumably to go after or instead of 6) and a set of him giving money to his parents while Idle swipes a tankard of his mother's (Meant to follow 7).[8]
William Hogarth was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".
A Rake's Progress is a series of eight paintings by 18th-century English artist William Hogarth. The canvases were produced in 1732–1734, then engraved in 1734 and published in print form in 1735. The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence is imprisoned in the Fleet Prison and ultimately Bethlem Hospital (Bedlam). The original paintings are in the collection of Sir John Soane's Museum in London, where they are normally on display for a short period each day.
A Harlot's Progress is a series of six etchings and engravings (1732) by the English artist William Hogarth. The series shows the story of a young woman, M. Hackabout, who arrives in London from the country and becomes a prostitute. The series was developed from the third image. After painting a prostitute in her boudoir in a garret on Drury Lane, Hogarth struck upon the idea of creating scenes from her earlier and later life. The title and allegory are reminiscent of John Bunyan's Pilgrim's Progress.
The Humours of an Election is a series of four oil paintings and later engravings by William Hogarth that illustrate the election of a member of parliament in Oxfordshire in 1754. The oil paintings were created in 1755. The first three paintings, An Election Entertainment, Canvassing for Votes and The Polling, demonstrate the corruption endemic in parliamentary elections in the 18th century, before the Great Reform Act. The last painting, Chairing the Member, shows the celebrations of the victorious Tory candidates and their supporters.
The Four Stages of Cruelty is a series of four printed engravings published by English artist William Hogarth in 1751. Each print depicts a different stage in the life of the fictional Tom Nero.
Four Times of the Day is a series of four oil paintings by English artist William Hogarth. They were completed in 1736 and in 1738 were reproduced and published as a series of four engravings. They are humorous depictions of life in the streets of London, the vagaries of fashion, and the interactions between the rich and poor. Unlike many of Hogarth's other series, such as A Harlot's Progress, A Rake's Progress, Industry and Idleness, and The Four Stages of Cruelty, it does not depict the story of an individual, but instead focuses on the society of the city in a humorous manner. Hogarth does not offer a judgment on whether the rich or poor are more deserving of the viewer's sympathies. In each scene, while the upper and middle classes tend to provide the focus, there are fewer moral comparisons than seen in some of his other works. Their dimensions are about 74 cm (29 in) by 61 cm (24 in) each.
Work (1852–1865) is a painting by Ford Madox Brown that is generally considered to be his most important achievement. It exists in two versions. The painting attempts to portray, both literally and analytically, the totality of the Victorian social system and the transition from a rural to an urban economy. Brown began the painting in 1852 and completed it in 1865, when he set up a special exhibition to show it along with several of his other works. He wrote a detailed catalogue explaining the significance of the picture.
Strolling Actresses Dressing in a Barn is a painting from 1738 by British artist William Hogarth. It was reproduced as an engraving and issued with Four Times of the Day as a five print set in the same year. The painting depicts a company of actresses preparing for their final performance before the troupe is disbanded as a result of the Licensing Act 1737. Brought in as a result of John Gay's Beggar's Opera of 1728, which had linked Robert Walpole with the notorious criminal Jonathan Wild, the Licensing Act made it compulsory for new plays to be approved by the Lord Chamberlain, and, more importantly for the characters depicted, closed any non-patent theatres. The majority of the painting was completed before the Act was passed in 1737, but its passing into law was no surprise and it was the work of a moment for Hogarth to insert a reference to the Act itself into the picture.
The Gate of Calais or O, the Roast Beef of Old England is a 1748 painting by William Hogarth, reproduced as a print from an engraving the next year. Hogarth produced the painting directly after his return from France, where he had been arrested as a spy while sketching in Calais. The scene depicts a side of beef being transported from the harbour to an English tavern in the port, while a group of undernourished, ragged French soldiers and a fat friar look on hungrily. Hogarth painted himself in the left corner with a "soldier's hand upon my shoulder."
Satire on False Perspective is the title of an engraving produced by William Hogarth in 1754 for his friend Joshua Kirby's pamphlet on linear perspective.
The Enraged Musician is a 1741 etching and engraving by English artist William Hogarth which depicts a comic scene of a violinist driven to distraction by the cacophony outside his window. It was issued as companion piece to the third state of his print of The Distrest Poet.
The Distrest Poet is an oil painting produced sometime around 1736 by the British artist William Hogarth. Reproduced as an etching and engraving, it was published in 1741 from a third state plate produced in 1740. The scene was probably inspired by Alexander Pope's satirical poem The Dunciad. It depicts a scene in a small, dingy attic room where a poet sits at his desk in the dormer and, scratching his head, stares at the papers on the desk before him, evidently looking for inspiration to complete the poem he is writing. Near him sits his wife darning clothes, surprised by the entrance of a milkmaid, who impatiently demands payment of debts.
Beer Street and Gin Lane are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published An Inquiry into the Late Increase in Robbers. Issued together with The Four Stages of Cruelty, the prints continued a movement started in Industry and Idleness, away from depicting the laughable foibles of fashionable society and towards a more cutting satire on the problems of poverty and crime.
Columbus Breaking the Egg is a 1752 engraving by English artist William Hogarth. Issued as the subscription ticket for his treatise on art, The Analysis of Beauty, it depicts an apocryphal tale concerning Christopher Columbus's response to detractors of his discovery of the New World. Hogarth uses the story as a parallel to what he considered his own discoveries in art.
The March of the Guards to Finchley, also known as The March to Finchley or The March of the Guards, is a 1750 oil-on-canvas painting by English artist William Hogarth, owned by and on display at the Foundling Museum. Hogarth was well known for his satirical works, and The March of the Guards to Finchley has been said to have given full scope to this sense of satire; it was described by Hogarth himself as "steeped in humour".
Emblematical Print on the South Sea Scheme is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–21. The print is often considered the first editorial cartoon or as a precursor of the form.
Credulity, Superstition and Fanaticism is a satirical print by the English artist William Hogarth. It ridicules secular and religious credulity, and lampoons the exaggerated religious "enthusiasm" of the Methodist movement. The print was originally engraved in 1761, with the title Enthusiasm Delineated, but never published. The original print may have been a response to three essays published by Joshua Reynolds in The Idler in 1759, praising the sublime work of Italian Counter-Reformation artists. It certainly satirized both the English connoisseurs' enthusiasm for old masters and Roger de Piles's Balance de peintres, which was much discussed among art critics in the eighteenth century. However, Hogarth reworked the engraving before publishing it on 15 March 1762 as Credulity, Superstition and Fanaticism: A Medley, now laying more stress on Methodist fanaticism and echoing his earlier print, The Sleeping Congregation of 1736, in which an Anglican clergyman's boring sermon puts his congregation to sleep.
Captain Lord George Graham in his Cabin is a 1745 oil-on-canvas painting by the English artist William Hogarth. A conversational picture, it shows Captain Lord George Graham, of the Royal Navy, in the cabin of his ship with several people.
The Bad Taste of the Town is an early print by the British artist William Hogarth, published in February 1723/24. The small print – 5 inches (13 cm) by 6 inches (15 cm) – mocks the contemporary fashion for foreign culture, including Palladian architecture, pantomimes based on the Italian commedia dell'arte, masquerades, and Italian opera. The work combines two printmaking techniques – etching and engraving – with etched lines made in the plate using acid and engraved lines marked using a burin.
References
1 2 Ronald Paulson, ed. (1965). Hogarth's Graphic Works ("First Complete Edition"ed.). New Haven: Yale University Press. p.194. Quote from an advertisement of the then new prints: "This Day is publish'd, Price 12s. Design'd and engrav'd by Mr. HOGARTH, TWELVE Prints, call'd INDUSTRY and IDLENESS: Shewing the Advantages attending the former, and the miserable Effects of the latter, [...]
↑ Ronald Paulson, ed. (1965). Hogarth's Graphic Works ("First Complete Edition"ed.). New Haven: Yale University Press. pp.194, column 2.
↑ Ronald Paulson, ed. (1965). Hogarth's Graphic Works ("First Complete Edition"ed.). New Haven: Yale University Press. pp.194, column 2. The scriptural passages [...] are said to have been chosen by Hogarth's friend, the Rev. Arnold King [...]
↑ Ireland, Samuel (1794–1799). Graphic Illustrations of Hogarth. London. We are given to understand, also, by [the papers behind him] that he lays out his pence on things that may improve his mind, and enlighten his understanding
↑ Ronald Paulson, ed. (1965). Hogarth's Graphic Works ("First Complete Edition"ed.). New Haven: Yale University Press. p.195.
↑ Ronald Paulson, ed. (1965). Hogarth's Graphic Works ("First Complete Edition"ed.). New Haven: Yale University Press. p.196.
↑ Ronald Paulson, ed. (1965). Hogarth's Graphic Works ("First Complete Edition"ed.). New Haven: Yale University Press. p.194.
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