The author of these imperfect sheets cannot present them a second time to the world, before he has expressed his gratitude for the extreme candour with which they have been treated by the Monthly Reviewers. If J. N. has not availed himself of all the corrections designed for his service, it is because the able critic who proposes them has been deluded by intelligence manifestly erroneous. J. N. received each particular he has mentioned, in respect to the assistance bestowed on Hogarth while his Analysis was preparing, from Dr. Morell, a gentleman who on that subject could not easily mistake. Implicit confidence ought rather to be reposed in a literary coadjutor to the deceased, than in any consistory of females that ever "mumbled their wisdom over a gossip's bowl." Authors rarely acquaint domestic women with the progress of their writings, or the proportion of aid they solicit from their friends. If it were needful that Dr. Morell should translate a Greek passage for Hogarth, how chanced it that our artist should want to apply what he did not previously understand? I must add, that the sentiments, published by the Reviewer concerning these Anecdotes, bear no resemblance to the opinion circulated by the cavillers with whom he appears to have had a remote connection. The parties who furnished every circumstance on which he founds his reiterated charges of error and misinformation, are not unknown. Ever since this little work was edited, the people about Mrs. Hogarth have paid their court to her by decrying it as "low, stupid, or false," without the slightest acknowledgement for the sums of money it has conducted to The Golden Head in Leicester Fields. While the talents of the writer alone were questioned by such inadequate judges of literary merit, a defence on his part was quite unnecessary. He has waited, however, with impatience for an opportunity of making some reply to their groundless reflections on his veracity.

The Father of English painting, William Hogarth aspired to an art that would engage and delight ordinary citizens, rather than educated connoisseurs and critics, whom he despised. He achieved this ambition by creating a new type of painting, a comic strip-like series of pictures called ‘modern moral subjects’. Famous examples such as ‘A Harlot's Progress’, ‘A Rake's Progress’ and ‘Marriage A-la-Mode’ were reproduced en masse as popular engravings and were accessible to all. His work also provided a visual influence to the satirical works of England’s great men of letters. More importantly, Hogarth’s extraordinary achievement of securing a Copyright Act would benefit countless artists in all media to the present day. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Hogarth’s complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1) * The complete paintings of William Hogarth – hundreds of images, fully indexed and arranged in chronological and alphabetical order * Includes reproductions of rare works * Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information * Enlarged ‘Detail’ images, allowing you to explore Hogarth’s celebrated works in detail, as featured in traditional art books * Hundreds of images in colour – highly recommended for viewing on tablets and smartphones or as a valuable reference tool on eReaders * Special chronological and alphabetical contents tables for the paintings * Easily locate the artworks you wish to view * Includes a wide selection of Hogarth’s prints – explore the artist’s varied works * Hogarth’s treatise of art: ‘The Analysis of Beauty’ * A special criticism section, with eight seminal essays exploring Hogarth’s contribution to the development of British art * Features four bonus biographies – immerse yourself in Hogarth’s world CONTENTS: The Highlights Masquerades and Operas (1724) Emblematical Print on the South Sea Scheme (1724) Conversation Piece (c. 1731) A Harlot’s Progress (1731) A Rake’s Progress (1734) Self Portrait (1735) Jesus at the Pool of Bethesda (1737) Four Times of the Day (1738) Portrait of Thomas Coram (1740) Marriage à-la-mode (1745) The Painter and his Pug (1745) David Garrick as Richard III (1745) The Shrimp Girl (c. 1745) The Gate of Calais or O, the Roast Beef of Old England (1748) Beer Street and Gin Lane (1751) Sigismunda Mourning over the Heart of Guiscardo (1759) Credulity, Superstition and Fanaticism (1762) The Paintings The Complete Paintings Alphabetical List of Paintings The Prints List of Prints The Book The Analysis of Beauty (1753) The Criticism Preface to ‘Joseph Andrews’ (1742) by Henry Fielding Letter to George Montagu, Esq. (1761) by Horace Walpole Characters of Hogarth (1765) by Horace Walpole On the Genius and Character of Hogarth (1811) by Charles Lamb Hogarth, Smollett, and Fielding (1853) by William Makepeace Thackeray Hogarth’s Works: First Series (1874) by John Ireland and John Nichols Hogarth and His Time (1877) by James Parton Hogarth’s Sigismunda (1892) by Austin Dobson The Biographies Biographical Anecdotes of William Hogarth (1785) by John Nichols William Hogarth (1900) by Austin Dobson Hogarth (1912) by Arthur St. John Adcock Hogarth by (1913) C. Lewis Hind Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set