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Chapter 02: Data Models

b. False
ANSWER: False
DIFFICULTY: Difficulty: Moderate
REFERENCES: 2-2 The Importance of Data Models
LEARNING OBJECTIVES: 02.01 - Discuss data modeling and why data models are important

6. In the context of data models, an entity is a person, place, thing, or event about which data will be collected and stored.
a. True
b. False
ANSWER: True
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

7. Database designers determine the data and information that yield the required understanding of the entire business.
a. True
b. False
ANSWER: False
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-4 Business Rules
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

8. Business rules apply to businesses and government groups, but not to other types of organizations such as religious
groups or research laboratories.
a. True
b. False
ANSWER: False
DIFFICULTY: Difficulty: Moderate
REFERENCES: 2-4 Business Rules
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

9. Business rules must be rendered in writing.

a. True
b. False
ANSWER: True
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-4 Business Rules
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

10. A disadvantage of the relational database management system (RDBMS) is its inability to hide the complexities of the
relational model from the user.
a. True
b. False
ANSWER: False
DIFFICULTY: Difficulty: Moderate
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Chapter 02: Data Models

REFERENCES: 2-5b The Relational Model

LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

11. In an SQL-based relational database, each table is dependent on every other table.
a. True
b. False
ANSWER: False
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5b The Relational Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

12. In an SQL-based relational database, rows in different tables are related based on common values in common
attributes.
a. True
b. False
ANSWER: True
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5b The Relational Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

13. Each row in the relational table is known as an entity instance or entity occurrence in the ER model.
a. True
b. False
ANSWER: True
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5c The Entity Relationship Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

14. M:N relationships are not appropriate in a relational model.

a. True
b. False
ANSWER: True
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5c The Entity Relationship Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

15. In Chen notation, entities and relationships have to be oriented horizontally; not vertically.
a. True
b. False
ANSWER: False
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5c The Entity Relationship Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

16. Today, most relational database products can be classified as object/relational.

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Chapter 02: Data Models

a. True
b. False
ANSWER: True
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5e Object/Relational and XML
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

17. The network model has structural level dependence.

a. True
b. False
ANSWER: True
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5g Data Models: A Summary
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

18. The external model is the representation of the database as “seen” by the DBMS.
a. True
b. False
ANSWER: False
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-6a The External Model
LEARNING OBJECTIVES: 02.06 - Explain how data models can be classified by their level of abstraction

19. The hierarchical model is software-independent.

a. True
b. False
ANSWER: False
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-6 Degrees of Data Abstraction
LEARNING OBJECTIVES: 02.06 - Explain how data models can be classified by their level of abstraction

20. The relational model is hardware-dependent and software-independent.

a. True
b. False
ANSWER: False
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-6 Degrees of Data Abstraction
LEARNING OBJECTIVES: 02.06 - Explain how data models can be classified by their level of abstraction

Multiple Choice

21. A(n) _____’s main function is to help one understand the complexities of the real-world environment.
a. node b. entity
c. model d. database
ANSWER: c
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Chapter 02: Data Models

DIFFICULTY: Difficulty: Easy

REFERENCES: 2-1 Data Modeling and Data Models
LEARNING OBJECTIVES: 02.01 - Discuss data modeling and why data models are important

22. A(n) _____ is anything about which data are to be collected and stored.
a. attribute b. entity
c. relationship d. constraint
ANSWER: b
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

23. A(n) _____ represents a particular type of object in the real world.
a. attribute b. entity
c. relationship d. node
ANSWER: b
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

24. A(n) _____ is the equivalent of a field in a file system.

a. attribute b. entity
c. relationship d. constraint
ANSWER: a
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

25. A(n) _____ is bidirectional.

a. attribute b. entity
c. relationship d. constraint
ANSWER: c
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

26. A(n) _____ is a restriction placed on the data.

a. attribute b. entity
c. relationship d. constraint
ANSWER: d
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

27. _____ are important because they help to ensure data integrity.
Copyright Cengage Learning. Powered by Cognero. Page 5
Chapter 02: Data Models

a. Attributes b. Entities
c. Relationships d. Constraints
ANSWER: d
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

28. _____ are normally expressed in the form of rules.

a. Attributes b. Entities
c. Relationships d. Constraints
ANSWER: d
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

29. Students and classes have a _____ relationship.

a. one-to-one b. one-to-many
c. many-to-one d. many-to-many
ANSWER: d
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-3 Data Model Basic Building Blocks
LEARNING OBJECTIVES: 02.02 - Describe the basic data-modeling building blocks

30. Which of the following is true of business rules?

a. They allow the designer to set company policies with regard to data.
b. They allow the designer to develop business processes.
c. They can serve as a communication tool between the users and designers.
d. They provide a framework for the company’s self-actualization.
ANSWER: c
DIFFICULTY: Difficulty: Moderate
REFERENCES: 2-4a Discovering Business Rules
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

31. A noun in a business rule translates to a(n) _____ in the data model.
a. entity b. attribute
c. relationship d. constraint
ANSWER: a
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-4b Translating Business Rules into Data Model Components
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

32. A verb associating two nouns in a business rule translates to a(n) _____ in the data model.
a. entity b. attribute
c. relationship d. constraint
ANSWER: c
Copyright Cengage Learning. Powered by Cognero. Page 6
Chapter 02: Data Models

DIFFICULTY: Difficulty: Easy

REFERENCES: 2-4b Translating Business Rules into Data Model Components
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

33. In the _____ model, the basic logical structure is represented as an upside-down tree.
a. hierarchical b. network
c. relational d. entity relationship
ANSWER: a
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

34. In the _____ model, each parent can have many children, but each child has only one parent.
a. hierarchical b. network
c. relational d. entity relationship
ANSWER: a
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

35. The hierarchical data model was developed in the _____.

a. 1960s b. 1970s
c. 1980s d. 1990s
ANSWER: a
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

36. In the _____ model, the user perceives the database as a collection of records in 1:M relationships, where each record
can have more than one parent.
a. hierarchical b. network
c. object-oriented d. entity relationship
ANSWER: b
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

37. The object-oriented data model was developed in the _____.

a. 1960s b. 1970s
c. 1980s d. 1990s
ANSWER: c
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

Copyright Cengage Learning. Powered by Cognero. Page 7

Chapter 02: Data Models
38. VMS/VSAM is an example of the _____.
a. hierarchical model b. file system data model
c. relational data model d. XML data model
ANSWER: b
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

39. Oracle 12c, MS SQL Server, and Tamino are examples of _____ data models.
a. hierarchical b. file system
c. relational d. XML Hybrid
ANSWER: d
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

40. MySQL is an example of the _____.

a. hierarchical model b. file system data model
c. relational data model d. XML data model
ANSWER: c
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5b The Relational Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

41. A(n) _____ enables a database administrator to describe schema components.

a. extensible markup language (XML) b. data definition language (DDL)
c. unified modeling language (UML) d. query language
ANSWER: b
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

42. The relational data model was developed in the _____.

a. 1960s b. 1970s
c. 1980s d. 1990s
ANSWER: b
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5b The Relational Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

43. The _____ model was developed to allow designers to use a graphical tool to examine structures rather than
describing them with text.
a. hierarchical b. network
c. object-oriented d. entity relationship
ANSWER: d
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Chapter 02: Data Models

DIFFICULTY: Difficulty: Easy

REFERENCES: 2-5c The Entity Relationship Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

44. A(n) _______ enables a database administrator to describe schema components.

a. extensible markup language (XML) b. data definition language (DDL)
c. unified modeling language (UML) d. query language
ANSWER: b
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

45. The _____ model uses the term connectivity to label the relationship types.
a. relational b. network
c. object-oriented d. entity relationship
ANSWER: d
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5c The Entity Relationship Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

46. The _____ data model is said to be a semantic data model.

a. relational b. network
c. object-oriented d. entity relationship
ANSWER: c
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5d The Object-Oriented Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

47. The _____ data model uses the concept of inheritance.

a. relational b. network
c. object-oriented d. entity relationship
ANSWER: c
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5d The Object-Oriented Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

48. Which of the following types of HDFS nodes stores all the metadata about a file system?
a. Data node b. Client node
c. Name node d. Map node
ANSWER: c
DIFFICULTY: Difficulty: Moderate
REFERENCES: 2-5f Emerging Data Models: Big Data and NoSQL
LEARNING OBJECTIVES: 02.05 - List emerging alternative data models and the needs they fulfill

49. Which of the following is true of NoSQL databases?

Copyright Cengage Learning. Powered by Cognero. Page 9
Chapter 02: Data Models

a. They do not support distributed database architectures. b. They are not based on the relational model.
c. They are geared toward transaction consistency rather than d. They do not support very large amounts of
performance. sparse data.
ANSWER: b
DIFFICULTY: Difficulty: Moderate
REFERENCES: 2-5f Emerging Data Models: Big Data and NoSQL
LEARNING OBJECTIVES: 02.05 - List emerging alternative data models and the needs they fulfill

50. Which of the following types of HDFS nodes acts as the interface between the user application and the HDFS?
a. Data node b. Client node
c. Name node d. Map node
ANSWER: b
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5f Emerging Data Models: Big Data and NoSQL
LEARNING OBJECTIVES: 02.05 - List emerging alternative data models and the needs they fulfill

Completion

51. A(n) _____ is a relatively simple representation of more complex real-world data structures.
ANSWER: data model
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-1 Data Modeling and Data Models
LEARNING OBJECTIVES: 02.01 - Discuss data modeling and why data models are important

52. A(n) _____ is a brief, precise, and unambiguous description of a policy, procedure, or principle within a specific
organization.
ANSWER: business rule
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-4 Business Rules
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

53. A(n) _____ in a hierarchical model is the equivalent of a record in a file system.
ANSWER: segment
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5 The Evolution of Data Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

54. A(n) _____ is the conceptual organization of an entire database as viewed by a database administrator.
ANSWER: schema
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5a Hierarchical and Network Models
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

55. A(n) _____ defines the environment in which data can be managed and is used to work with the data in the database.
ANSWER: data manipulation language (DML)
DIFFICULTY: Difficulty: Easy
Copyright Cengage Learning. Powered by Cognero. Page 10
Chapter 02: Data Models

REFERENCES: 2-5a Hierarchical and Network Models

LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

56. The relational model’s foundation is a mathematical concept known as a(n) _____.
ANSWER: relation
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5b The Relational Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

57. Each row in a relation is called a(n) _____.

ANSWER: tuple
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5b The Relational Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

58. Each column in a relation represents a(n) _____.

ANSWER: attribute
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5b The Relational Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

59. Each row in the relational table is known as a(n) _____.

ANSWER: entity instance
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5c The Entity Relationship Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

60. In _____, a three-pronged symbol represents the “many” side of the relationship.
ANSWER: Crow’s Foot notation
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5c The Entity Relationship Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

61. A(n) _____ is a collection of similar objects with a shared structure and behavior.
ANSWER: class
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5d The Object-Oriented Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

62. In object-oriented terms, a(n) _____ defines an object’s behavior.

ANSWER: method
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5d The Object-Oriented Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

Copyright Cengage Learning. Powered by Cognero. Page 11

Chapter 02: Data Models
63. _____ is a language based on OO concepts that describes a set of diagrams and symbols used to graphically model a
system.
ANSWER: UML (Unified Modeling Language)
Unified Modeling Language (UML)
Unified Modeling Language
UML
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-5d The Object-Oriented Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

64. The term _____ is used to refer to the task of creating a conceptual data model that could be implemented in any
DBMS.
ANSWER: logical design
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-6b The Conceptual Model
LEARNING OBJECTIVES: 02.06 - Explain how data models can be classified by their level of abstraction

65. The _____ is the representation of a database as “seen” by the DBMS.

ANSWER: internal model
DIFFICULTY: Difficulty: Easy
REFERENCES: 2-6c The Internal Model
LEARNING OBJECTIVES: 02.06 - Explain how data models can be classified by their level of abstraction

66. One of the limitations of the _____ model is that there is a lack of standards.
ANSWER: hierarchical
DIFFICULTY: Easy
REFERENCES: 2-5g Data Models: A Summary
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

67. The _____ model is the end users’ view of the data environment.
ANSWER: external
DIFFICULTY: Easy
REFERENCES: 2-6a The External Model
LEARNING OBJECTIVES: 02.06 - Explain how data models can be classified by their level of abstraction

68. An internal _____ refers to a specific representation of an internal model, using the database constructs supported by
the chosen database.
ANSWER: schema
DIFFICULTY: Easy
REFERENCES: 2-6c The Internal Model
LEARNING OBJECTIVES: 02.06 - Explain how data models can be classified by their level of abstraction

69. From a database point of view, the collection of data becomes meaningful only when it reflects properly defined
_____.
ANSWER: business rules
DIFFICULTY: Moderate
REFERENCES: 2-4 Business Rules
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Chapter 02: Data Models

LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

70. The movement to find new and better ways to manage large amounts of web- and sensor-generated data and derive
business insight from it, while simultaneously providing high performance and scalability at a reasonable cost is referred
to as "_____."
ANSWER: Big Data
DIFFICULTY: Easy
REFERENCES: 2-5f Emerging Data Models: Big Data and NoSQL
LEARNING OBJECTIVES: 02.05 - List emerging alternative data models and the needs they fulfill

Essay

71. What components should an implementation-ready data model contain?

ANSWER: An implementation-ready data model should contain at least the following components:
A description of the data structure that will store the end-user data.
A set of enforceable rules to guarantee the integrity of the data.
A data manipulation methodology to support the real-world data transformations.
DIFFICULTY: Difficulty: Moderate
REFERENCES: 2-1 Data Modeling and Data Models
LEARNING OBJECTIVES: 02.01 - Discuss data modeling and why data models are important

72. What do business rules require to be effective?

ANSWER: To be effective, business rules must be easy to understand and widely disseminated to ensure
that every person in the organization shares a common interpretation of the rules. Business
rules describe, in simple language, the main and distinguishing characteristics of the data as
viewed by the company.
DIFFICULTY: Difficulty: Moderate
REFERENCES: 2-4 Business Rules
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

73. What are the sources of business rules, and what is the database designer’s role with regard to business rules?
ANSWER: The main sources of business rules are company managers, policy makers, department
managers, and written documentation such as a company’s procedures, standards, and
operations manuals. A faster and more direct source of business rules is direct interviews
with end users. Unfortunately, because perceptions differ, end users are sometimes a less
reliable source when it comes to specifying business rules. For example, a maintenance
department mechanic might believe that any mechanic can initiate a maintenance procedure,
when actually only mechanics with inspection authorization can perform such a task. Such a
distinction might seem trivial, but it can have major legal consequences. Although end users
are crucial contributors to the development of business rules, it pays to verify end-user
perceptions. Too often, interviews with several people who perform the same job yield very
different perceptions of what the job components are. While such a discovery may point to
“management problems,” that general diagnosis does not help the database designer. The
database designer’s job is to reconcile such differences and verify the results of the
reconciliation to ensure that the business rules are appropriate and accurate.
DIFFICULTY: Difficulty: Moderate
REFERENCES: 2-4a Discovering Business Rules
LEARNING OBJECTIVES: 02.03 - Define what business rules are and how they influence database design

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Chapter 02: Data Models
74. Describe the three parts involved in any SQL-based relational database application.
ANSWER: From an end-user perspective, any SQL-based relational database application involves three
parts: a user interface, a set of tables stored in the database, and the SQL “engine.” Each of
these parts is explained below.

1. The end-user interface. Basically, the interface allows the end user to interact with
the data (by automatically generating SQL code). Each interface is a product of the
software vendor’s idea of meaningful interaction with the data. You can also design
your own customized interface with the help of application generators that are now
standard fare in the database software arena.
2. A collection of tables stored in the database. In a relational database, all data are
perceived to be stored in tables. The tables simply “present” the data to the end user
in a way that is easy to understand. Each table is independent. Rows in different
tables are related by common values in common attributes.
3. SQL engine. Largely hidden from the end user, the SQL engine executes all queries,
or data requests. Keep in mind that the SQL engine is part of the DBMS software.
The end user uses SQL to create table structures and to perform data access and table
maintenance. The SQL engine processes all user requests—largely behind the scenes
and without the end user’s knowledge. Hence, SQL is said to be a declarative
language that tells what must be done but not how.

DIFFICULTY: Difficulty: Moderate

REFERENCES: 2-5b The Relational Model
LEARNING OBJECTIVES: 02.04 - Understand how the major data models evolved

75. Describe the three basic characteristics of Big Data databases.

ANSWER: Douglas Laney, a data analyst from the Gartner Group, first described the basic
characteristics of Big Data databases4: volume, velocity, and variety, or the 3 Vs.
• Volume refers to the amounts of data being stored. With the adoption and growth of the
Internet and social media, companies have multiplied the ways to reach customers. Over the
years, and with the benefit of technological advances, data for millions of e-transactions were
being stored daily on company databases. Furthermore, organizations are using multiple
technologies to interact with end users
and those technologies are generating mountains of data. This ever-growing volume of data
quickly reached petabytes in size, and it’s still growing.
• Velocity refers not only to the speed with which data grows but also to the need to process
this data quickly in order to generate information and insight. With the advent of the Internet
and social media, business response times have shrunk considerably. Organizations need not
only to store large volumes of quickly accumulating data but also need to process such data
quickly. The velocity of data growth is also due to the increase in the number of different
data streams from which data is being piped to the organization (via the web, e-commerce,
Tweets, Facebook posts, emails, sensors, GPS, and so on).
• Variety refers to the fact that the data being collected comes in multiple different data
formats. A great portion of these data comes in formats not suitable to be handled by the
typical operational databases based on the relational model.
The 3 Vs framework illustrates what companies now know, that the amount of data being
collected in their databases has been growing exponentially in size and complexity.
DIFFICULTY: Moderate
REFERENCES: 2-5f Emerging Data Models: Big Data and NoSQL
LEARNING OBJECTIVES: 02.05 - List emerging alternative data models and the needs they fulfill
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Chapter 02: Data Models

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Other documents randomly have
different content
 C H R O N O LO G I C A L L I S T
OF

HOGARTH'S WORKS,
WITH THE VARIATIONS, Etc.

1720.
1. W. Hogarth, engraver, with two figures and two Cupids, "April ye 20. 1720." I
have seen a print on which was written, in Hogarth's hand, "Near the Black Bull,
Long Lane." Of this card there is a modern copy.

1721.
1. An Emblematic Print on the South Sea; W. Hogarth, inv. et sc. Sold by Mrs.
Chilcot in Westminster Hall, and B. Caldwell, printseller, in Newgate Street. Second
state—Printed for Bowles. Third state—Without any publisher's name. Some
wretched stanzas are engraved beneath the print.
2. The Lottery; W. Hogarth, inv. et sculp. Sold by Chilcot and Caldwell, price 1s.
Second state—Printed for Chilcot. Third state—For Sympson. And in a fourth—For
Bowles—"price 1s." is erased. An explanation with references is engraved beneath.
The allegory of both these prints is obscure, but the figures are in the manner of
Callot, and in a spirited and masterly style.

1723.
Eighteen plates to Aubry de la Mottraye's Travels. Hogarth's name on fourteen
of them. As these prints have such references as are hardly intelligible, and as Mr.
Nichols' numbers and mine do not exactly agree, I have given a slight hint of the
subject of each.
5. Vas mirabile ex integro Smaragdo, Genoæ, etc.
Tom. i. No. 9.—Tiara Patriarchalis Græca.
 Tom. i. No. 10.—A Lady and Black in a Bath. No name legible.
Tom. i. No. 11.—Dance of Elegant Female Figures. Vide p. 125.
No. 15.—A Procession.
Tom. i. No. 17.—A Group of Figures in Turbans.
Tom. i. No. 18.—A Scene in the Seraglio.
Tom. ii. No. 3.—Park of the Artillery.
Tom. ii. No. 5.—"Bender."—Portrait of Charles XII.
Tom. ii. No. 8.—Head of Charles XII., etc.
Tom. ii. No. 9, Plate I.—Fodina Argentea Sahlensis.
Tom. ii. No. 9, Plate I.—Ditto.
Tom. ii. No. 11.—Fodina Terrea Danmorensis.
Tom. ii. No. 14.—A Lapland Hut, with Reindeer, etc.
To this catalogue, I think we may add No. 13, Tom. i., and Tom. i. No. 16, as
well as the figures at the comers of Tom. ii. No. 26 A, and those in Tom. ii. C, of
which there is a modern copy under the name of The Five Muscovites.

1724.
1. Seven small prints to the new Metamorphosis of Lucius Apuleius of Medaura;
printed for Sam. Briscoe, 12mo, 2 vols.; one of the plates without Hogarth's name.
The hints for these figures are taken from the prints in a translation, 2 vols.
octavo, printed for the same bookseller in 1708. A most contemptible modern
imposition sometimes appears under the title of An Eighth Apuleius.
2. Masquerades and Operas—Burlington Gate; W. Hogarth, inv. et sculp. Vide p.
22. In the early impressions, the name of Pasquin, No. 11, is inserted as a label on
a book in a wheel-barrow, where we have now Ben Jonson. Eight lines engraved
on a separate piece of copper are sometimes found under the first impression:
they begin—
"Could now dumb Faustus, to reform the age," etc.
Beneath them is, "price 1s." To the second impression—
"O how refined, how elegant we're grown!" etc.
The print is sometimes found without any lines. In this Hogarth's name is inserted
within the frame of the plate. To the copy there are also eight lines, beginning—
"Long has the stage productive been," etc.
 1725.
1. Five Small Prints for the translation of Cassandra, in 5 vols. duodecimo; W.
Hogarth, inv. et sculp.
2. Fifteen Headpieces for the Roman Military Punishments, by John Beaver, Esq.,
engraved in the style of Callot.
The Plate to chap. xvii., "Pay stopped wholly or in part," etc., differs from that
sold with the set. At the bottom of the former, in the book we read, "W. Hogarth,
invent. sculpt.;" the latter has, "W. Hogarth, invent. et fec." The former has a
range of tents behind the pay-table. These are omitted in the latter, which likewise
exhibits an additional soldier, attendant on measuring out the corn, etc.
A little figure of a Roman General in the title-page may possibly be by Hogarth,
though his name is not to it.
3. A Copy from Kent's Altar-Piece, vide p. 23. This was usually printed on blue
paper. In the original the word "wings" is terminated with a long ſ. In a modern
copy this error is corrected.
4. A Scene in Handel's opera of Ptolomeo. Vide p. 184. There is a copy of the
same size.
5. Booth, Wilkes, and Cibber, contriving a Pantomime.

1726.
1. Frontispiece to Terræ-filius. Vide p. 193.
2. Twenty-six Figures on two large sheets; engraved for a Compendium of
Military Discipline, by J. Blackwell. No engraver's name.
3. Twelve Prints for Hudibras—the large set. In Plate II (the earliest impressions)
the words, "Down with the Rumps," are not inserted on the scroll. "Printed and
sold by P. Overton, near St. Dunstan's Church, in Fleet Street, and J. Cooper, in
James Street, Covent Garden."
Now printed for Sayer, Fleet Street.
A Print representing Hudibras and Sidrophel, and taken off in colours, was in
1782 engraved by T. Gaugain.
3. Seventeen Small Prints for Hudibras, with Butler's head. The portrait is
evidently copied from White's mezzotinto of John Baptist Monnoyer. The same
designs on a large scale, with some slight variations, were engraved by J. Mynde
for Grey's edition of Hudibras, published in 1724. Hogarth has evidently taken the
hints for his figures, grouping, etc., from a small edition of this poem published in
1710.
 Copies are inserted in Townley's translation of Hudibras into French, published in
1757.
Many of them were copied by Ross, with violent alterations, for Dr. Nashe's
splendid edition of Hudibras, published in 1795.
4. Cunicularii, or the Wise Men of Godliman in Consultation. A burlesque on the
Believers in Mrs. Tofts, the rabbit-breeder.

1727.
1. Music introduced to Apollo by Minerva; Hogarth, fecit. Frontispiece to some
book of music, or ticket for a concert.
2. Large Masquerade Ticket. Vide Frontispiece and p. 230. In the earliest
impressions, the word "Provocatives" has instead of V the open vowel U. It was
afterwards amended, but the mark remains.
3. Frontispiece to Leveridge's Songs; no engraver's name. Mr. Molteno informs
me he has seen an impression of this, with the sky partly erased, and a player's
ticket engraved in the place. The title-page to this work is, I believe, also by
Hogarth.

1728.
1. Head of Hesiod, from the bust at Wilton; for Cook's translation.
Rich's Glory, or his Triumphant Entry into Covent Garden. W. H. Et SULP.
Contemptible!
Of this there is a modern copy.
3. The Beggars' Opera. The title over the print in letters disproportionably large.
4. The same; the lines under it engraved in a different manner. "Sold at the print
shop in the Strand," etc.
5. A copy of the same, under the title of "The Opera House, or the Italian
Eunuchs' Glory," etc.

1729.
1. Henry Eighth and Anne Bullen; with lines by Allan Ramsay, beginning—
"Here struts old pious Harry, once the Great."
2. The same plate without any verses.
There is a coarse copy, I think engraved on pewter.
The original picture was painted for the portico at Vauxhall.
 3. Frontispiece to Miller's Comedy of the Humours of Oxford; engraved by
Vandergucht.

1730.
1. Two Prints for Perseus and Andromeda.
2. Gulliver presented to the Queen of Babilary; engraved by Vandergucht.
Frontispiece to Lockman's translation of John Gulliver's Travels. A wretched design.

1731.
1. Frontispiece to Molière's L'Avare.
2. To Le Cocu Imaginaire; prefixed to Molière's Plays in French and English.
3. Frontispiece to Fielding's Tom Thumb; engraved by Vandergucht. Grotesque,
and good.
4. Frontispiece to Mitchell's Opera of the Highland Fair; engraved by
Vandergucht.

1732.
1. Sarah Malcolm, executed March 7th, 1732, etc.; W. Hogarth (ad vivum),
pinxit et sculpsit.
2. An engraved copy of ditto.
3. Ditto mezzotinto.
4. Part graven and part mezzotinto.
5. Another copy, with the addition of a clergyman holding a ring.
6. A wooden cut in the Gentleman's Magazine for March 1733.
7. A small copy from a small whole length, in the possession of Josiah Boydell,
Esq.
The first, Hogarth sculpsit, is very scarce.
8. The Man of Taste. Pope with a tie-wig on.
9. The same in a smaller size; Pope in a cap. Prefixed to a pamphlet entitled "A
Miscellany of Taste, by Mr. Pope, etc." Vide p. 201.
10. The same, in a still smaller size, coarsely engraved.

1733.
 1. The Laughing Audience. Subscription-ticket to the Rake's Progress, and
Southwark Fair, which were originally delivered to subscribers at a guinea and a
half.
The receipt was afterwards cut off. Of this print there is a coarse copy.
2. Southwark Fair. The show-cloth, representing the Stage Mutiny, is copied from
an etching by John Laguerre. The paint-pot and brushes, which Hogarth has
added to the figure with a cudgel in his hand, has been said to allude to John Ellis
the painter; is it not quite as probable that it alludes to Jack Laguerre?
3. Judith and Holofernes. Engraved by Vandergucht. Frontispiece to the Oratorio
of Judith, by William Huggins, Esq.
4. Boys Peeping at Nature. Subscription-ticket to the Harlot's Progress. The
receipt was afterwards erased, and the following receipt, very neatly engraved,
supplied its place:
"Received ——, 1737, half a guinea, being the first payment for five large prints
—one representing a Strolling Company of Actresses dressing themselves in a
barn; and the other four—Morning, Noon, Evening, and Night; which I promise to
deliver on Lady-day next, on receiving half a guinea more."
"N.B.—They will be twenty-five shillings after the subscription is over."
A modern copy of this receipt in aquatinta was published in 1781.
2. Another print on the same subject, with considerable variations, designed as
a receipt for Moses brought to Pharaoh's Daughter, and St. Paul before Felix, for
which he afterwards substituted the burlesque Paul.
In one of Hogarth's MSS., introductory to his intended description of his prints, I
find the following notices of the pictures of the Harlot's and Rake's Progresses:
"Mr. Rouquet's account of my prints finishes with a description of the March to
Finchley. The picture was disposed of by lottery (the only way a living painter has
any chance of being paid for his time) for three hundred pounds; by the like
means most of my former pictures were sold. Those of the Harlot's and Rake's
Progress have, it seems, been since destroyed by fire,[122] with many other fine
pictures, at the country house of the gentleman who bought them.[123] It is
reported, and very remarkable if true, that a most magnificent clock-work organ,
being left exposed to the conflagration, was heard in the midst of the flames to
play several pleasing airs."

1733 and 1734.

The Harlot's Progress, in six plates.
 Plate 1. Second state—Feet to the old woman. Shadow thrown by one house
upon another. London added to the letter the parson is reading. Cross put in the
centre of the margin, as indeed it is to the second state of the five that follow.
Plate 2. The shadows on the black boy's drapery, etc. are so sudden that he
looks like a magpie. I have a copy of this print, of the same size, and well
engraved; the situation of the figures reversed, with the strange variations of a
shepherd and shepherdess, in the two pictures that were of Jonah and David, in
the original.
Plate 3. A sort of sugar dish placed near the punch-bowl, in the first state, is in
the second changed to a bottle. In a set of wretched copies, possibly made from
the original pictures, and exhibited at Christie's in the year 1792, the woman
dangling a watch is painted without stockings.
Plate 4. Second state—Damages in the ceiling stopped up: shadow added on
the wall close to the hoop petticoat: the dog much blacker. In a print in my
possession, the cross is inserted before any of these variations were made.
Plate 5. Second state—Dr. Rock's name inscribed on the paper: cap of the
woman near the dying figure lowered.
Plate 6. The mask on the bottle inscribed "Nants," has a most ludicrous
appearance. The shadows, especially that on the forehead of the girl near the
clergyman, are much heightened in the second state.
2. Rehearsal of the Oratorio of Judith.
Ticket for a Modern Midnight Conversation. The singers of the different parts of
bass, tenor, and treble, may be easily distinguished; and it is worthy of remark,
that the notes before them are in the same key with the performers' voices. The
receipt was afterwards cut off the plate.
3. A Midnight Modern Conversation.
Second state—The right hand and skirt of a man fallen on the ground stronger
shadowed, and the lines over a vessel in the corner intersected.

1735.
1. The Rake's Progress, in eight plates.
Plate 1. First state—A book "Memdum 1721, May 3d. My son Tom came from
Oxford. 4th, dined at the French Ordinary. 5th of June, put off my bad shilling."
Second state—The book erased to insert the cover of a Bible as the sole of a shoe.
The girl's face altered for the worse. Woollen-draper's shop-bill omitted.
Plate 2. First state—"Prosperity with Horlots smile." Second state—Altered to
Harlots.
 Plate 3. First state—Dated June ye 24th, 1735. Second state—June 25th, and a
laced hat put on the head of the girl sitting next to the Rake. Pontac's head
introduced in the place of a mutilated Cæsar.
Plate 4. Second state—Shoeblack stealing the cane, erased, and his place
supplied by a group of gambling boys. This design is unquestionably much
improved by the alterations.
Plate 5. Second state—The right foot of the bridegroom, which gave a tottering
awkwardness to the figure, omitted. The maidservant's face altered. The hand of
the figure looking out of the gallery blackened. In this print the artist has
introduced a portrait of his favourite dog Trump.
Plate 6. Second state—Rays round the candle stronger.
In the original sketch, the principal figure was not, as now, upon his knees, but
seated.
Plate 7. In the very earliest impressions, Plate 7 is not inserted in the margin.
Plate 8. Second state—Head of the woman with a fan altered, and affectedly
turning away from the mad monarch. A halfpenny, with a figure of Britannia, 1763,
fixed against the wall, to intimate what the artist thought the state of the nation.
"Retouch'd by the author, 1763."
It should seem that the man sitting by the figure inscribed "Charming Betty
Careless," went mad for love. Dr. Monro, I am told, asserts that not more than one
or two men have become mad from love in the course of a hundred years.
Shakspeare has not, as I recollect, drawn one man mad from that cause. I find by
Hogarth's memorandum that the original pictures were sold to Francis Beckford,
Esq., for £184, 16s.

1736.
1. Two prints of Before and After. See p. 26.
2. The Sleeping Congregation.
First state—"Dieu et mon droit," under the king's arms, not inserted: the angel
has a pipe in his mouth. Second state—The above motto added, the angel's pipe
effaced, and the lines of the triangle doubled. Third state—Inscribed on the side of
the print: "Retouched and improved, April 21, 1762, by the author."
3. The Distressed Poet.
First state—Pope thrashing Curl, and four lines from the Dunciad inscribed under
the print. Second state—In the place of Pope, etc., view of the gold mines of Peru;
and the four lines from the Dunciad erased. This has been conjectured to be a
portrait of Lewis Theobald, and in 1794 a copy of the head with his name annexed
to it was published for Richardson. The original picture is in the collection of Lord
Grosvenor.
4. Right Honourable Frances Lady Byron.
Whole-length mezzotinto by Faber. The best impressions are usually in brown
ink. The plate was afterwards cut down to a half-length.
5. Arms of the Undertakers' Company.
The three figures at top are Dr. Ward, Chevalier Taylor, and Mrs. Mapp, the
bone-setter; though it has been said, that the figure supposed to be Mrs. Mapp
was intended for Sir Hans Sloane. First state—"One compleat Docter," etc. Second
state—The spelling corrected.

1737.
1. The Lecture, "Datur vacuum." In the early impressions, the words "datur
vacuum" are not printed. Hogarth sometimes wrote them in with a pen.
Æneas in a Storm.

1738.
1. The four parts of the Day.
Morning. The sky singularly muddy to express snow. The figure of the shivering
boy was, in 1739, copied by F. Sykes, and is strangely enough christened by
collectors, The Half-starved Boy.
Noon. In the second state—Shadows heightened.
Evening. In early impressions the man's hands are printed in blue, and the
woman's face and neck in red; but they have been sometimes so stamped in later
impressions, where the rail-post is crossed with intersecting lines, and the
clearness of the water much injured.
In Hogarth's first design (engraved by Baron), the little girl with the fan was
omitted; but the artist thinking his delineation would be improved by it, afterwards
inserted it with his own burin. I have seen three impressions in this state; one of
them, then thought to be unique, was purchased at Greenwood's Rooms, at Mr.
Gulston's sale, by Mr. Thane, for the late Mr. G. Stevens, at the price of £47.
Night. The Salisbury flying coach has been thought to be a burlesque on a late
noble peer, who delighted in driving his own horses.
I find by Hogarth's memorandum, that Sir William Heathcote purchased the
picture of Morning for twenty guineas, and that of Night for £27, 6s. Noon was
sold for £38, 17s., and Evening for £39, 18s., to the Duke of Ancaster.
 2. Strolling Actresses dressing in a Barn.
Second state—The woman holding a cat has her coiffure lowered, and the
female greasing her hair with a candle is divested of her feathers. Head of the
sable goddess Night blacker, and her hair more woolly. Damages in the roof of the
barn repaired; all the shallows darker.
By an account in one of Hogarth's books, the original picture was first sold to
Francis Beckford, Esq., for £27, 6s. By him, though at so low a price, returned! and
afterwards sold for the same sum to Mr. Wood of Littleton, in whose possession it
still remains.

1739.
1. The Foundlings.
Engraved by Morrellon la Cave. Vide p. 191.

1741.
The Enraged Musician.
Mr. Cricket has an impression, taken before the man blowing a horn, cats,
steeple, play-bill, or drag were introduced. In this very curious, and I believe
unique print, the dustman is without a nose, the chimney-sweeper has a
grenadier's cap on, and a doll is placed under the trap, composed of bricks, etc.
In the early impressions, the horse's head is white; in its present state, black:
and the dog, drag, hatchet, etc. considerably darker than when first engraved.

1742.
1. Martin Folks, Esq., half-length; W. Hogarth, pinxit et sculpsit. In early
impressions, the name of W. Hogarth, etc. is not inserted.
2. The same, in mezzotinto, engraved by Faber. The original picture from which
both these prints are taken is in the meeting-room of the Royal Society, Somerset
Place.
3. The Charmers of the Age. A sketch, no name. Of this there is a spirited
modern copy.
4. Taste in High Life. Vide p. 186.

1743.
1. Benjamin Hoadley, Bishop of Winchester; engraved by Baron.
A small oval from the same picture was, in 1759, engraved by Sherlock.
 2. Captain Thomas Coram; a three-quarters mezzotinto; admirably engraved by
M'Ardell.
3. Coarsely copied in the London Magazine.
A copy of the full-length picture in the Foundling Hospital was, in 1797,
engraved by Nutter, and published by Mr. Cribb of Holborn. Vide p. 47.
5. Characters and Caricaturas; subscription-ticket to Marriage à la Mode. "For a
further explanation of the difference betwixt Character and Caricatura, see ye
Preface to Joh Andrews."
"Received April ——, of ——, half a guinea, being the first payment for six prints
called Marriage à la Mode, which I promise to deliver when finished, on receiving
half a guinea more.
"N.B.—The price will be one guinea and an half after the time of subscribing."
On this print Hogarth makes the following remark:—
"Being perpetually plagued, from the mistakes made among the illiterate, by the
similitude in the sound of the words character and caricatura, I, ten years ago,
endeavoured to explain the distinction by the above print; and as I was then
publishing Marriage à la Mode, wherein were characters of high life, I introduced
the great number of faces there delineated (none of which are exaggerated),
varied at random, to prevent, if possible, personal application when the prints
should come out.
'We neither this nor that Sir Fopling call,
He's knight o' th' shire, and represents you all.'
This, however, did not prevent a likeness being found for each head, for a general
character will always bear some resemblance to a particular one."

1745.
1. Marriage à la Mode, in six plates.
Plate 1. The coronet impressed on the dog in the print is not in the picture. I
have this series of prints in the state they were left by the original engravers, and
all of them, though delicately engraved, are in some degree spotty. In the second
state of Plate 1, there are evident marks of the burin of Hogarth in the faces of the
Citizen and Peer; and each of the characters, especially the latter, is improved. The
French portrait he has designedly thrown more out of harmony than it was at first;
the fringe to the canopy over the nobleman is much darker; a shadow thrown on
the building seen out of the window, and on the light parts of the two dogs. Third
state—All the shadows blacker. Engraved by G. Scotin. Guido's Judith, which forms
the subject of one of the pictures, Hogarth copied from a print engraved by
Dupuis.
 Plate 2. First state—A lock of hair on the forehead of the lady, generally inserted
with Indian ink, but sometimes left without. Second state—Lock of hair engraved,
and shadows on the carpet, etc. stronger. Engraved by B. Baron.
Plate 3. In the original picture, an alembic under the table is seen through the
cloth. In the second state of the print, the character of the nobleman's face is
altered; the bow under his chin is broader, and the shadows on the sole of his
right shoe considerably strengthened. Girl's cloak and woman's apron darker than
at first. Third state—I discover no alterations, except the shadows being darkened.
Engraved by B. Baron.
Plate 4. One of the newspapers of March 1798, in a critique upon the opera,
remarked, that "in playing upon the pianoforte, the celebrated Dusek displayed a
brilliancy of finger which no eulogium could do justice to!" This is lofty language,
and might be very properly applied to the figure of Carestini in this print, for that
mountain of mummy displays a glittering ring upon every finger of his left hand.
His face, as well as that of the Countess, is in the third impression essentially
altered; the curtains, frames, etc. are also of a much darker hue. Engraved by S.
Ravenet.
Plate 5. Second state—All the lights, figures on the tapestry, etc., are kept down,
and the whole print brought to a more still and sombre hue. Woman's eye,
eyebrow, and neck strengthened: nostril made wider. Counsellor's leg and thigh
intersected with black lines, instead of the delicate marks and dots first inserted.
Third state—Bears evident marks of a coarser burin than that of Ravenet.
Engraved by R. F. Ravenet.[124]
Mr. Nichols states that this background was engraved by Ravenet's wife; but I
am informed by Mr. Charles Grignion, who at that period knew the family
intimately, that she could not engrave. That, concerning the background of this
print, Ravenet had a violent quarrel with Hogarth; who, thinking the figures in the
tapestry, etc. too obtrusive, obliged him to bring them to a lower tone (without
any additional remuneration), a process that must have taken him up a length of
time, which no man but an engraver can form an idea of.
Plate 6. With a slight alteration, the crying old woman would be very like one of
the laughing old women in the Laughing Audience. Second state—The whole of
the print rendered less brilliant, but more in harmony. Drapery of the dying woman
improved. Third state—The shadows of this, as of the other five, were rendered
still stronger by the last alterations, made a short time before Hogarth's death.
Of the original pictures, now in Mr. Angerstein's collection, I have already
spoken. If considered in the various relations of invention, composition, drawing,
colouring, character, and moral tendency, I do not think it will be easy to point out
any series of six pictures, painted by any artist of either ancient or modern times,
from which they will not bear away the palm.
 Among Mr. Lane's papers was found a written description of Marriage à la Mode,
which the family believe to be Hogarth's explanation, either copied from his own
handwriting, or given verbally to Mr. Lane at the time he purchased the pictures.
This was copied and inserted in the second edition of Hogarth Illustrated, and may
be had gratis by any of the purchasers of the first.
Messrs. Boydell have employed Mr. Earlom to engrave the whole series, in the
same size as the original pictures.
2. A small portrait of Archbishop Herring, surrounded with a trophy, placed as a
headpiece to the printed speech addressed to the Clergy of York, September 24th,
1745. William Hogarth, pinx.; C. Mosely, sculp.
3. The same head was afterwards cut off the plate, and printed without the
speech.
A larger portrait was in the year 1750 engraved by Baron.
4. The Battle of the Pictures. Ticket to admit persons to bid for his works at an
auction.
5. Mask and Palette. Subscription-ticket to Garrick in Richard III. A copy from
this was published in 1781.

1746.
1. Simon Lord Lovat. Vide p. 209.
The second impressions are marked "price 1s."
Of this there have been several copies; I have one of the head in a watch paper.
Lavater has introduced this print in his Essays on Physiognomy.
2. Mr. Garrick in the character of Richard III.
Engraved by Wm. Hogarth and C. Grignion.
Mr. Charles Grignion (whose professional talents have for more than half a
century been an honour to the arts) informed me that Hogarth etched the head
and hand, but finding the head too large, he erased it and etched it a second time,
when seeing it wrong placed upon the shoulders, he again rubbed it out, and
replaced it as it now stands, remarking—"I never was right until I had been
wrong."
3. Subscription-ticket to the March to Finchley, which was originally published at
7s. 6d.
Among a stand of various weapons, bagpipes, etc., the artist has introduced a
pair of scissors cutting out the Arms of Scotland.
 1747.
1. The Stage Coach, or Country Inn Yard. In the very earliest impressions, a flag
behind the wheel of the coach is without an inscription. In the second, "No Old
Baby;" which words, in the present state of the plate, are done away, and the flag
obliterated.
2. Industry and Idleness, in twelve plates, designed and engraved by Wm.
Hogarth.
Plate 1. In the very early impressions, Plate 1 is not inserted. Second state—
Shadows strengthened.
Plate 2. Second state—Shadows on the organ, etc. deeper.
Plate 3. Second state—Lines stronger.
Plate 4. Second state—Lines strengthened. The cat in this print is vilely drawn.
Plate 5. Tender lines in the offing worn out, broader lines in the faces. Lavater
has introduced a small outline of this print in his Essays on Physiognomy.
Plate 6. First state—Goodchild and West, instead of West and Goodchild, to
which the sign was afterwards altered.
Plate 7. Second state—Darker shadows behind the broken cup, and bottles on
the chimney-piece, etc.
Plate 8. Second state—Shadows strengthened. The head of the fat Citizen in a
tie-wig has been copied in a larger size by Bartolozzi. The scene is laid in
Fishmonger's Hall, where the effigies of Sir William Walworth still remain, with the
following quaint and memorable inscription beneath:—
"Brave Walworth, knight, Lord Maior, that slew
Rebellious Tyler in his alarms;
The king therefore did give in lieu,
The dagger to the city arms."
Plate 9. Second state—Character of the woman taking a bribe altered; the whole
print more black.
Plate 10. Second state—Shadows heightened.
Plate 11. Second state—Shadows in the parson's face, pigeon, etc., stronger.
Plate 12. Second state—Coachman's coat darker, and a stripe of lace down the
arm obliterated. The mass of figures that surround the coach made much darker.
In the original they come too forward, but the characters are now hurt by the
intersecting lines.
Of these twelve plates there are tolerably correct copies of the same size.
 The following memoranda relative to this series, which I found among Hogarth's
papers, seems addressed to some one whom he intended to continue Rouquet's
descriptions:—
"The effects of Idleness and Industry, exemplified in the conduct of two fellow-
'prentices. These twelve prints were calculated for the instruction of young people;
and everything addressed to them is fully described in words as well as figures.
Yet to foreigners a translation of the mottoes,[125] the intention of the story, and
some little description of each print, may be necessary. To this may be added, a
slight account of our customs—as boys being usually bound for seven years, etc.
"Considering the persons they were intended to serve, I have endeavoured to
render them intelligible, and cheap as possible.[126] Fine engraving is not
necessary for such subjects, if what is infinitely more material, viz. character and
expression, is properly preserved. Suppose the whole story were made into a kind
of tale, describing in episode the nature of a night-cellar, a marrow-bone concert,
a Lord Mayor's show, etc.
"These prints I have found sell much more rapidly at Christmas than at any
other season."
3. Jacobus Gibbs Architectus; W. Hogarth, delin.; J. M'Ardell, fecit. Partly
mezzotinto, partly graved. No date.
4. Ditto, engraved by Baron.
5. Ditto, by ditto.
6. Another copy, with the addition of "Architectus, A.M. and F.R.S.," was
published 1750. Of the last print I have an impression where the background is
completed, but nothing more of the head than the bare outline. This is a curiosity
somewhat similar to a picture without a horse by Wouvermans.
Besides these, there is a small profile of Gibbs in a circle, which I do not think
Hogarth's,—at least it is uncertain.
7. Arms of the Foundling Hospital, printed on the tops of the indenture.
8. The same in a smaller size, employed as a vignette to Psalms, Hymns, and
Anthems, and also to an account of the institution of the hospital, etc.
Of the original pen-and-ink drawing there is a modern copy.
9. A Wooden Cut—headpiece to the Jacobites' Journal; a newspaper set up and
supported by Henry Fielding. This print (of which there is a modern copy in
aquatinta) was prefixed to six or seven of the earliest papers, and then set aside.
Mine is dated "2d January 1747. No. 5."

1748.
 1. View of Mr. Ranby's House at Chiswick; etched by Hogarth, without any
inscription. Afterwards "published for Jane Hogarth," etc., 1st May 1781.
2. Hymen and Cupid; two figures, with the view of a magnificent villa in the
distance. No inscription. This was engraved as a ticket for the Masque of Alfred,
performed at Cliveden House before the Prince and Princess of Wales on the
Princess Augusta's birthday. It was afterwards intended to be used as a receipt to
the Sigismunda; on the earliest impressions, "£2, 2s." is usually written.

1749.
The Gate of Calais; engraved by C. Mosely. The original picture is in the
possession of the Earl of Charlemont.
Of this print Hogarth thus writes:—"After the March to Finchley, the next print I
engraved was the Roast Beef of Old England,[127] which took its rise from a visit I
paid to France the preceding year. The first time an Englishman goes from Dover
to Calais, he must be struck with the different face of things at so little a distance.
A farcical pomp of war, pompous parade of religion, and much bustle with very
little business. To sum up all, poverty, slavery, and innate insolence, covered with
an affectation of politeness, give you even here a true picture of the manners of
the whole nation. Nor are the priests less opposite to those of Dover than the two
shores. The friars are dirty, sleek, and solemn; the soldiery are lean, ragged, and
tawdry; and as to the fishwomen, their faces are absolute leather.
"As I was sauntering about and observing them, near the gate which, it seems,
was built by the English when the place was in our possession, I remarked some
appearance of the arms of England on the front. By this and idle curiosity I was
prompted to make a sketch of it, which being observed, I was taken into custody;
but not attempting to cancel any of my sketches or memorandums, which were
found to be merely those of a painter for his private use, without any relation to
fortification, it was not thought necessary to send me back to Paris.[128] I was
only closely confined to my own lodgings till the wind changed for England, where
I no sooner arrived than I set about the picture; made the gate my background;
and in one corner introduced my own portrait,[129] which has generally been
thought a correct likeness, with the soldier's hand upon my shoulder. By the fat
friar who stops the lean cook that is sinking under the weight of a vast sirloin of
beef, and two of the military bearing off a great kettle of soup maigre, I meant to
display to my own countrymen the striking difference between the food, priests,
soldiers, etc. of two nations so contiguous, that in a clear day one coast may be
seen from the other. The melancholy and miserable Highlander, browsing on his
scanty fare, consisting of a bit of bread and an onion, is intended for one of the
many that fled from this country after the rebellion in 1745."
 2. Portrait of John Palmer, Esq.; W. Hogarth, pinx.; B. Baron, sculp. A small head
inserted under a view of the church of Ecton, Northamptonshire.
3. Head of Hogarth in a cap, with a pug dog, and a palette with the line of
beauty, etc.; inscribed "Gulielmus Hogarth se ipse pinxit et sculpsit, 1749."
The same portrait in mezzotinto.
(The engraving was copied from a picture now in the collection of J. J.
Angerstein, Esq., from which another copy, engraved by Benjamin Smith, was in
1795 published by Messrs. Boydell. In this the three books are lettered
Shakspeare, Swift, Milton's Paradise Lost, and the line on the palette inscribed,
"The Line of Beauty and Grace.")
In the year 1763 Hogarth erased his own head from the plate, and in its place
inserted "The Bruiser, C. Churchill (once the Revd.!), in the character of a Russian
Hercules, regaling himself after having killed the monster Caricatura, that so sorely
galled his virtuous friend the heaven-born Wilkes."
First state—Three of the upper knots on the club are left white (white lies), and
a line inscribed "the line of Beauty," drawn on the palette. Second state—The
knots shaded, and a political print introduced on the palette.
Third state—The letters "N. B.," and the word "Infamous" inscribed on the club;
and "Dragon of Wantley" added at the end of "I warrant ye." "Price 1s. 6d."
instead of "1s."
In the year 1758 Hogarth published a full-length of his own portrait, painting the
Comic Muse; inscribed "W. Hogarth, serjeant painter to his Majesty,"—"Engraved
by W. Hogarth." This being a mistake of the writing engraver, the painter altered it
to "the face engraved by W. Hogarth." Third impression—"The face engraved by
W. Hogarth" omitted. Fourth state—"Serjeant painter," etc. scratched over with the
graver. Present state—The face retouched. Comedy also has the face and mask
marked with black; and on the pillar is written, "Comedy, 1764." No other
inscription beneath the print but "W. Hogarth, 1764."
The original small whole-length picture from which it is copied was sold by
Greenwood after Mrs. Hogarth's death. The companion portrait of Mrs. Hogarth is
in the possession of Mrs. Lewis of Chiswick.
A portrait of Hogarth was in 1781 engraved in mezzotinto by Charles Townley
from a picture painted by Weltdon, and finished by Hogarth, now in the possession
of James Townley, Esq. A portrait, copied from that in the Gate of Calais, I have
seen prefixed to a dull pamphlet, published in 1781, entitled A Dissertation on Mr.
Hogarth's six Prints lately published, viz. Gin Lane, Beer Street, and the Four
Stages of Cruelty. I have a small engraving of his head, I believe done for the
Universal Magazine, in which he looks like a village schoolmaster. An etching of his
head by S. Ireland was prefixed to a catalogue of Hogarth's works, sold by
Christie, in May 1797. Two small portraits have been engraved for watch-papers. A
head in the dotted style has been engraved for Mr. Jeffrey, Pall Mall, but is not
published.

1750.
The March to Finchley; engraved by Luke Sullivan. Dedicated to the King of
Prusia: thus was the word spelt in the prints delivered to the subscribers. A few
early impressions were dated 30th December 1750; but the 30th being that year
on a Sunday, it was altered to the 31st. A print in the collection of Dr. Ford is
inscribed "Printed and published by Wm. Hogarth," instead of " Printed for Wm.
Hogarth, and published," etc. In the etching, of which very few were struck off,
the woman to whom an officer presents a letter on the point of a pike, turns her
head the contrary way to what she does in the print.
Second impression—The spelling of Prussia corrected; bunch of grapes at the
Adam and Eve enlarged; catching lights given to the laced hats in the group
beneath it; belt added to the Duke of Cumberland's portrait. Third state
—"Retouched and improved by Wm. Hogarth; and republished June 12th, 1761."
I have an early impression of this print in which the dedication to the King of
Prussia does not appear, and it might pass for a proof. On inquiry I find that, upon
one of Hogarth's fastidious friends objecting to its being dedicated to a foreign
potentate, he replied, "If you disapprove of it, you shall have one without any
dedication;" and took off a few impressions, covering the dedication with fan
paper.
Sullivan was so eccentric a character, that while he was employed in engraving
this print, Hogarth held out every possible inducement to his remaining at his
house in Leicester Square night and day; for if once Luke quitted it, he was not
visible for a month. It has been said, but I know not on what authority, that for
engraving it he was paid only one hundred pounds.
In the original picture, which is in the Foundling Hospital, the old man to whom
a Frenchman is giving a letter has a plaid waistcoat.

1751.
1. Beer Street. In the first state—The blacksmith is lifting up a Frenchman; in
the second—The Frenchman is properly discarded, and a shoulder of mutton
supplies his place.
2. Gin Lane. I have been told that in a print in the collection of Lord Exeter there
are numerous though trifling variations; but I never saw it.[130]
Of their intentions, Hogarth gives the following account:—"When these two
prints were designed and engraved, the dreadful consequences of gin-drinking
appeared in every street. In Gin Lane, every circumstance of its horrid effects is
brought to view in terrorem. Idleness, poverty, misery, and distress, which drives
even to madness and death, are the only objects that are to be seen; and not a
house in tolerable condition but the pawnbroker's and gin-shop.
"Beer Street, its companion, was given as a contrast, where that invigorating
liquor is recommended in order to drive the other out of vogue. Here all is joyous
and thriving: industry and jollity go hand in hand. In this happy place the
pawnbroker's is the only house going to ruin; and even the small quantity of
porter that he can procure is taken in at the wicket, for fear of further distress."
3. The Four Stages of Cruelty—
Plate 1. Shadows strengthened.
Plate 2. Shadows heightened.
Plate 3. The whole print somewhat darker.
Plate 4. This, and the five last-mentioned prints, were, on common paper,
marked "price 1s.;" on superior paper, "1s. 6d." The stamp by which the artist
marked the "6d." was cut by himself on a halfpenny, now in my possession. Of
Plates 3 and 4 there are wooden cuts, which were engraved under Hogarth's
inspection.
The motives by which Hogarth was induced to make the designs, he thus
describes:—
"The leading points in these as well as the two preceding prints, were made as
obvious as possible, in the hope that their tendency might be seen by men of the
lowest rank. Neither minute accuracy of design nor fine engraving were deemed
necessary, as the latter would render them too expensive for the persons to whom
they were intended to be useful; and the fact is, that the passions may be more
forcibly expressed by a strong, bold stroke, than by the most delicate engraving.
To expressing them as I felt them, I have paid the utmost attention; and as they
were addressed to hard hearts, have rather preferred leaving them hard, and
giving the effect, by a quick touch, to rendering them languid and feeble by fine
strokes and soft engraving, which require more care and practice than can often
be attained, except by a man of a very quiet turn of mind. Masson, who gave two
strokes to every particular hair that he engraved, merited great admiration; but at
such admiration I never aspired, neither was I capable of obtaining it if I had.
"The prints were engraved with the hope of, in some degree, correcting that
barbarous treatment of animals, the very sight of which renders the streets of our
metropolis so distressing to every feeling mind. If they have had this effect, and
check the progress of cruelty, I am more proud of having been the author than I
should be of having painted Raphael's Cartoons.
 "The French, among their other mistakes respecting our tragedies, etc., assert
that such scenes could not be represented except by a barbarous people.
Whatever may be our national character, I trust that our national conduct will be
an unanswerable refutation."[131]
4. Paul before Felix; "designed and scratched in the true Dutch taste by Wm.
Hogarth." Under the second impression, "designed and etched in the ridiculous
manner of Rembrandt by Wm. Hogarth." The drowsy angel was (I have been told)
intended as a portrait of Luke Sullivan. The advocate is said to be designed for Dr.
King. See Worlidge's View of Lord Westmoreland's Installation.
Second state—A little devil sawing off the leg of the apostle's stool.
This very whimsical print was originally given as a receipt to the Pharaoh's
Daughter and the serious Paul before Felix, and sealed with a palette and pencils,
engraven on a small ring which Hogarth usually wore, and which Mrs. Lewis has
since presented to me. The early proofs are usually stained with bister. Hogarth
always gave the print to such of his friends as wished for it; but finding demands
too frequent, cut the engraved receipt from the copper, and sold it at 5s. From this
print in its first state he took a few reverses.

1752.
1. Paul before Felix.
"And as he reasoned of righteousness, temperance, and judgment to come,
Felix trembled."
"Engraved by Wm. Hogarth, from his original painting in Lincoln's-Inn Hall, and
published as the Act directs, Feb. 5, 1752."
2. The same subject, with fewer figures, and those reversed on the plate. This,
though not good, is, in arrangement, design, and engraving, much superior to the
preceding. The same text and inscription, "from his original painting," etc., is
continued, though that first mentioned is the copy from the picture in Lincoln's-Inn
Hall.
"Published Feb. 5, 1752. Engraved by Luke Sullivan."
In the second state—A quotation from Dr. Warton's Essay on the Genius and
Writings of Pope was inserted in one corner of the margin; but the critique which
it contained being founded in a mistake, which the Doctor in the second edition
very liberally retracted, Hogarth, in some of the succeeding impressions, covered
the quotation with paper when the print was taken off, and afterwards entirely
effaced it from the copper.
In the present state of the plate, the date of publication and name of the
engraver are taken out.
 3. Moses brought to Pharaoh's Daughter.
"From the original painting in the Foundling Hospital; engraved by Willm.
Hogarth and Luke Sullivan."
"Published Feb. 5, 1752, according to Act of Parliament; W. Hogarth, pinxt."
The second state has the same quotation from Dr. Warton as the preceding
print, and for the same cause it was afterwards effaced from the copper.
Third impression; "W. Hogarth, pinxt., and published according to," etc., effaced,
and its place supplied by "published as the Act directs, Feb. 5, 1752."
Columbus breaking the Egg. Ticket to the Analysis. "Recd. Novr. 30, 1752, of
Nathl. Garland, Esq., five shillings, being the first payment for a short tract in
quarto, called the Analysis of Beauty, wherein forms are considered in a new
light," etc.

1753.
The receipt cut off and inscribed, "designed and etched by Wm. Hogarth, Decr.
1, 1753."
2. Analysis of Beauty, two plates.
Plate 1. In an impression in the possession of Mr. Baker, "ET TU BRUTE" is
engraved on the pedestal on which Quin stands in the character of Brutus.
In the second state, though this inscription is erased, on close inspection some
of the letters are still visible.
Plate 2. First state—A vacant chair under the figure of Henry VIII. The principal
figure is said to be a portrait of the Duke of Kingston.
Second state—Altered to a portrait of his present Majesty: the position of the
right hand, etc. changed; the riband to the necklace of the principal female figure
lengthened, and a sleeping figure put in the vacant chair. In the present state—
The necklace riband is made still longer.
3. Frontispiece to Kilby's Perspective; engraved by Sullivan.

1754.
Election Entertainments, etc.

Hogarth's subscription-book, with the names of all, and autographs of most of

the subscribers, is in my possession; and by this it appears that the subscription to
the first print of an Election Entertainment, or to the complete set, commenced
28th March 1754. From this time to the 31st of May in the same year, there were
461 subscribers to the first print, and 127 to the complete set. The leading names
on the list are the Prince of Wales, the Princess-Dowager of Wales, and Prince
Edward; but the first person that has any money annexed to his signature is the
Right Hon. Henry Fox, afterwards Lord Holland.
The subscription for the remaining three prints was opened 24th Feb. 1755, and
closed 28th August 1756. To this there were only 165 subscribers, so that there
were 296 names to the first print who did not continue to subscribe to the other
three.
As a receipt to these prints, he gave the following engraving, with emblematical
devices of Crowns, Mitres, etc., published in the year 1736, as a headpiece to an
inscription expressing his gratitude to the Legislature for passing the Act to protect
prints from piracy, etc.:—

Crowns, Mitres, Maces, etc.

"Received 4th May 1754, of Mr. King, 5s., being the first payment for a print
representing an Election Entertainment, which I promise to deliver when finished
on the receipt of five shillings and sixpence more. Wm. Hogarth."
"N.B.—The price will be raised when the subscription is over."
Second state—Receipt for one guinea, being the first payment for the four
prints. In this, the receipt for 5s. appears to have been covered with paper while
the impressions were taken off, and that for a guinea, engraved on another piece
of copper, stamped beneath.
Third state—Receipt for 15s., being the first payment "for three prints
representing the polling," etc.

Four Prints of an Election.

Plate 1. An Election Entertainment.
It has been said that Hogarth attempted to finish this plate without taking a
single proof from it, to examine the effect as he proceeded in his work. Be that as
it may, the little alterations are more numerous than in any of his other prints; and
that in the inscription, stating the whole to be engraved by Hogarth, being so
often inserted and repeatedly effaced, I am unable to account for.
First state—"Painted, and the whole engraved by Wm. Hogarth," "Published 24th
Feb. 1755," and "Inscribed to the Right Honourable Henry Fox, etc. etc. etc."
Seven cut lemons on a piece of paper close to the punch-tub; four hats in the
corner; "For our Country," on the riband in the striped cap of the butcher pouring
out gin. A salt-cellar and a bit of bread near the fork upon the table.
Second state—The two words, "the whole," in the inscription, scratched over
with black lines; the drapery, stockings, etc. on the table before Richard Slim made
much darker; the hand of the fat old woman, close to the candidate, removed
from under her apron, and hanging down by her side, by which the shoulder,
elbow, etc. are thrown out of drawing; her countenance less clear, and a single
tooth, very conspicuous in the first impression, is here removed. Shadow on the
top of the wainscot in the left corner effaced. Half a casement near the painting of
a landscape changed to a window-shutter; the king's head, frame, and
background behind it, lighter; the salt-cellar and bit of bread removed from the
table; lemons taken out, and the tub, pail, and foreground below them much
lighter; the boy's napkin darker. The butcher's cap, in which was "For our Country,"
has now "PRO PATRIA," and is not striped; the open-back chair in which he was
seated in the first state, is here filled up to a cushion back. The words, "sure
votes" and "doubtful," in the attorney's book, are re-engraved. Both leaves are
shadowed, and the centre line from top to bottom, which in the first state was
with the "sure votes," is here transferred to the "doubtful." Two pearly drops are
trickling from the parson's forehead. Four windows are added to a house seen out
of the open casement; a pair of scissors suspended to the Methodist tailor's apron-
string, and the pen, stuck under the wig of the fellow who offers him a bribe,
which in the first state was with the feather outwards, is now properly altered to
the quill outwards. There are several other little variations in the shadows which
seem generally intended to bring the print into harmony; and I think have their
effect, for it is more still, and in better keeping than in the first state.
Third state—The cross strokes of the graver on the words "the whole," in the
inscription, nearly burnished out. One hat added in the corner, and another placed
on the bench near the scabbard and gloves. The face, knot, etc. of the little girl
near the candidate darkened; and the hair of the fellow smoking him much
shadowed, and rendered less woolly. Character of face of the boy pouring punch
altered, and hair made much darker.
Fourth state—The words "the whole" again inserted; the W is different, and
engraving not so good as in the first state: the shadow on the top of the wainscot,
close to the landscape, again restored. A strong shadow on the lower part of the
round table in the corner burnished down.
Fifth, which is the present state—The words "the whole" again completely
effaced by black lines. The masses somewhat stronger, and the shadows on the
round table in the corner, especially on the edge, made darker.
I have this print in all the states here described, and believe that the third and
fourth are very uncommon.
On the butcher with "PRO PATRIA" in his cap, and his wounded companion,
Hogarth makes the following remark:—
"These two patriots, who, let what party will prevail, can be no gainers, yet
spend their time, which is their fortune, for what they suppose right, and for a
glass of gin lose their blood, and sometimes their lives, in support of the cause,
are, as far as I can see, entitled to an equal portion of fame with many of the
emblazoned heroes of ancient Rome; but such is the effect of prejudice, that
though the picture of an antique wrestler is admired as a grand character, we
necessarily annex an idea of vulgarity to the portrait of a modern boxer. An old
blacksmith in his tattered garb is a coarse and low being; strip him naked, tie his
leathern apron round his loins, chisel out his figure in freestone or marble,
precisely as it appears—he becomes elevated, and may pass for a philosopher, or
a Deity."
Plate 2. Canvassing for Votes.
"Engraved by C. Grignion, published 20th February 1757," and inscribed to Sir
Charles Hanbury Williams.
In this admirable print I discover no variations, except that the lion's teeth are,
in the second impression, removed; and the lines throughout having been re-
entered, are somewhat darker than in the first state.
Plate 3. The Polling.
"Engraved by Hogarth and Le Cave, published 20th February 1758," and
inscribed to the Hon. Sir Ed. Walpole.
In an etching (touched in the shadows by Hogarth) which I have of this plate,
the blind voter going up the steps has not any bandage over his eyes. The
cockade of the sick figure just before him is not of sufficient length for the words
"true blue" now inserted, and probably an afterthought. The fellow before him
with a pipe in his mouth, in the print is without a nose, but in the etching has a
very large one; while the man to whom this old smoker is presenting tobacco, and
who in the print has so speculative and carbuncled a proboscis, has, in the
etching, scarcely any nose at all. The book in the pocket of Dr. Shebeare is so
much intersected as not to admit of the inscription, afterwards added, of ("the 6th
letter to the"), without the strokes being burnished out.
Second impression—"Milicia Bill," awkwardly inscribed on the maimed voter's
skirt, intended to appear as a paper hanging out of his pocket.
Plate 4. Chairing the Members.
"Engraved by W. Hogarth and F. Aviline; published 1st January 1758," and
inscribed to the Hon. George Hay, one of the Lords Commissioners of the
Admiralty.
Second impression—The word INDINTUR (indenture) written on the scroll
hanging out of the attorney's window.

1756.
 1. France and England, in two plates, "designed and etched by Hogarth," and
published March 8, 1756.
In the very early impressions of these prints, the titles France and England are
not inserted.

1758.
The Bench, "designed and engraved by W. Hogarth," and published 4th
September 1758.
This plate, in its first state, exhibits the inside of the Court of Common Pleas,
the king's arms at top. Portraits of the following judges are beneath it:—Hon.
William Noel; Sir John Willes, Lord Chief Justice; Hon. Mr. Justice, afterwards Earl
Bathurst; Sir Edward Clive.
Over the print is written "Character;" under it, "Of the different meanings of the
words Character, Caricatura, and Outré, in painting and drawing." This is followed
by a long explanatory inscription engraved on another piece of copper. The original
picture, which is somewhat different from the print, was once the property of Sir
George Hay, and is now in the possession of Mr. Edwards.
Present state of the plate—The word Character is effaced, and the king's arms
discarded, and its place supplied by eight caricatured heads, on which the artist
worked the day before he died. Below the inscription is inserted—
"The unfinished group of heads in the upper part of this print was added by the
author in October 1764, and was intended as a further illustration of what is here
said concerning character, caricatura, and outré. He worked upon it the day before
his death, which happened the 26th of that month."
The mistakes which Hogarth's friends frequently made in the meaning of the
words character, caricatura, etc., seem to have dwelt much on his mind. In one of
his MSS. he has given the following thoughts on the subject:—
"I have ever considered the knowledge of character, either high or low, to be
the most sublime part of the art of painting or sculpture, and caricatura as the
lowest—indeed, as much so as the wild attempts of children when they first try to
draw: yet so it is, that the two words, from being similar in sound, are often
confounded. When I was once at the house of a foreign face-painter, and looking
over a legion of his portraits, Monsieur, with a low bow, told me that he infinitely
admired my caricatures! I returned his congé, and assured him that I equally
admired his.
"I have often thought that much of this confusion might be done away, by
recurring to the three branches of the drama, and considering the difference
between comedy, tragedy, and farce. Dramatic dialogue, which represents nature
as it really is, though neither in the most elevated nor yet the most familiar style,