A hint of the new series had already been given in the _Battle of the Pictures_, where the second scene, still inoffensively reposing upon the easel, is wantonly assaulted by a copy of the _Aldobrandini Marriage_. In April following the set of engravings was issued, the subscription ticket being the etching of heads known as _Characters and Caricaturas_. Plates I. and VI. were engraved by Scotin, Plates II. and III. by Baron, and Plates IV. and V. by Ravenet. Exactly two years earlier, Hogarth had heralded them by the following notification in the _London Daily Post, and General Advertiser_ of April 2nd, 1743:
"Mr. HOGARTH intends to publish by Subscription, SIX PRINTS from Copper-Plates, engrav'd by the best Masters in Paris, after his own Paintings; representing a Variety of _Modern Occurrences in High-Life_, and called MARRIAGE A-LA-MODE. Particular Care will be taken, that there may not be the least Objection to the Decency or Elegancy of the whole Work, and that none of the Characters represented shall be personal." Then follow the terms of subscription. The last quoted lines are probably a bark at some forgotten detraction, and if not actually ironical, doubtless about as sincere as Fielding's promise, in the Prologue to his first comedy, not to offend the ladies. Those who had found inelegancy and indecency in the previous productions of the painter, would still discover the same defects in the masterpiece he now submitted to the public. And although it may be said that the "characters" represented are not "personal" in a satirical sense, his precautions, as he himself tells us, "did not prevent a likeness being found for each head, for a general character will always bear some resemblance to a particular one."
But what, no doubt, interested his critical contemporaries even more than these preliminary protestations, was the painter's promise to represent, in his new work, "a variety of modern occurrences in high-life." Here, it may be admitted, was a proposition which certainly savoured of temerity. What could one whose pencil had scarcely travelled beyond the limits of St. Giles's, know of the inner secrets of St. James's? A Hervey or a Beauclerk, or even a Fielding, might have sufficed; but a Hogarth of Leicester Fields, whose only pretence to distinction (as High Life conceives it) was that he had run away with Thornhill's handsome daughter,--what special title had he to depict that charmed region of cards and folly, ringed with its long-resounding knockers, and flambeau-carrying footmen! This was, however, to reckon without genius, which over-leaps loftier barriers than these. It is true that the English Novel of Manners, which has since stimulated so many artists, had only just made its appearance; and _Pamela_ and _Joseph Andrews_ but falteringly foreshadowed _Clarissa_ and _Tom Jones_. Yet there is nothing in the story of _Marriage A-la-Mode_ which was beyond the powers of a _spectator ab extra_, always provided he were fairly acquainted with the Modelys and Wildairs of the stage, and the satires of Johnson and Pope. The plot, like that of all masterpieces, is extremely simple. An impoverished nobleman who marries his son to a rich citizen's daughter; a husband who, pursuing his own equivocal pleasures, resigns his wife to the temptations of opportunity; a foregone sequel and a tragic issue:--this material is of the oldest, and could make but slender claim to originality. Submitted to Colman or Garrick as the _scenario_ of a play for Yates and Mrs. Woffington, it would probably have been rejected as pitifully threadbare. Yet combined and developed under the brush of Hogarth, set in an atmosphere that makes it as vivid as nature itself, decorated with surprising fidelity, and enlivened by all the resources of the keenest humour, it passes out of the line of mere transcripts of life, and, retaining the merits of the specific and particular, becomes a representative and typical work, as articulate to-day, as direct and unhesitating in its teaching, as it was when it was first offered to the world.