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all her varieties, and exposed, with inimitable skill, the infinite follies and vices of the world, he was in himself an example of many virtues.' And the following poetical tribute by David Garrick is inscribed on the tomb :
* Farewell! great painter of mankind,
Who reached the noblest point of Art;
And through the eye correct the heart.
If Nature touch thee, drop a tear;
For Hogarth's honoured dust lies here !' Doctor Johnson also composed an epitaph, which Cunningham considers more to the purpose, but still unworthy.
• The hand of him here torpid lies,
That drew the essential forms of grace ;
That saw the manners in the face.'
The tributes—in poetry and prose—are just ; examine the works of this great painter-teacher as closely and suspiciously as we may, we can discover nothing that will induce a momentary doubt of his integrity of purpose in all he did ; his shafts were aimed at Vice,—in no solitary instance was he ever guilty of arraigning or assailing Virtue. Compare him with the most famous of the Dutch masters, and he rises into glory; coarseness and vulgarity in them had no point out of which could come instruction. But Hogarth's subjects were never without a lesson, and, inasmuch as he resorted for them to the open volume of humanity, like those of the most immortal of our writers, his works are 'not for an age but for all time.'
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