We feel that we cannot part with any of them, lest a link should be broken.
It is worthy of observation, that he has seldom drawn a mean or insignificant countenance.[1] Hogarth's mind was eminently reflective; and, as it has been well observed of Shakspeare, that he has transfused his own poetical character into the persons of his drama (they are all more or less _poets_) Hogarth has impressed a _thinking character_ upon the persons of his canvas.

This remark must not be taken universally.

The exquisite idiotism of the little gentleman in the bag and sword beating his drum in the print of the _Enraged Musician_, would of itself rise up against so sweeping an assertion.

But I think it will be found to be true of the generality of his countenances.

The knife-grinder and Jew flute-player in the plate just mentioned, may serve as instances instead of a thousand.
They have intense thinking faces, though the purpose to which they are subservient by no means required it; but indeed it seems as if it was painful to Hogarth to contemplate mere vacancy or insignificance.
[Footnote 1: If there are any of that description, they are in his _Strolling Players_, a print which has been cried up by Lord Orford as the richest of his productions, and it may be, for what I know, in the mere lumber, the properties, and dead furniture of the scene, but in living character and expression it is (for Hogarth) lamentably poor and wanting; it is perhaps the only one of his performances at which we have a right to feel disgusted.] This reflection of the artist's own intellect from the faces of his characters, is one reason why the works of Hogarth, so much more than those of any other artist, are objects of meditation.