successful, since "a general character will always bear some resemblance to a particular one". Though Hogarth claimed in the inscription to The Bench that "there are hardly any two things more different" than character and caricature, modern commentators suggest that his division of the category of comic portraiture, if not artificial, was at least innovative: Hogarth invented the categories merely to be able to place himself in a line of artistic succession that descended from Raphael, and to distance himself from the caricaturists of his day—such as Arthur Pond—who, despite lacking artistic training, were tackling much the same subject matter that Hogarth was himself addressing. Below the picture, Hogarth added a rider: "For a farthar Explanation of the Difference Betwixt Character & Caricature See ye Preface to Joh. Andrews". Here he is referring to his friend Henry Fielding's 1742 work, Joseph Andrews, in which Fielding explains that a character portrait requires attention to detail and a degree of realism, while caricature allows for any degree of exaggeration. Fielding positions himself as a "Comic Writer" and Hogarth as a "Comic Painter", and dismisses the caricaturists as he dismisses the writers of burlesques. Fielding wrote in defence of Hogarth in the preface: On the original subscription ticket, a further section detailed the forthcoming issue of Marriage à-la-mode with details of its content, price and issue date. A copy of the ticket, finished with Hogarth's signature, a wax seal and an acknowledgement of receipt from a "Mr McMillan" is held by the British Library. In 1822, the print was re-issued in its own right, minus the subscription details, by William Heath. Notes References Prints by William Hogarth 1743 works 18th-century documents Caricature