Characters and Caricaturas is an engraving by English artist William Hogarth, that he produced as the subscription ticket for his 1743 series of prints, Marriage à-la-mode, and which was eventually issued as a print in its own right. Critics had sometimes dismissed the exaggerated features of Hogarth's characters as caricature and, by way of an answer, he produced this picture filled with characterisations accompanied by a simple illustration of the difference between characterisation and caricature. Picture Hogarth's earlier pictures had come under fire from critics for portraying characters in an exaggerated fashion, by reflecting their morality directly in their features, clothes and surroundings. In his book on art, The Analysis of Beauty, Hogarth claimed that the critics had branded all his women as harlots and all his men as caricatures, and complained: To rectify what he saw as an egregious mistake on the part of his critics, and being "perpetually plagued, from the mistakes made among the illiterate, by the similitude in the sound of the words character and caricatura", he designed the subscription ticket for Marriage à-la-mode to clearly illustrate their error. Untitled at the time of issue, it is now known as Characters and Caricaturas or just Characters Caricaturas. At the foot of the picture, Hogarth illustrated the difference between characterisation and caricature by reproducing three character figures from the works of Raphael, and four caricatures: Due Filosofi from Annibale Carracci; a head originally by Pier Leone Ghezzi, but here copied from Arthur Pond's Caricatures; and a Leonardo da Vinci grotesque reproduced from the French Têtes de Charactêres. The images from Raphael are easy to identify as being from his Cartoons (even if they were not labelled Cartons Urbin Raphael Pinx below) but John Ireland commented that the originals' "grandeur, elevation and simplicity are totally evaporated" in Hogarth's rendering. Hogarth also added a line drawing in the space above the second caricature to indicate the simplicity with which caricatures can be produced. Above this demonstration, he filled the remaining space with 100 profiles of "characters", which clearly show his work has more in common with the work of Raphael than the caricatures produced by the other Italian artists. Hogarth later wrote that he was careful to vary the features of these heads at random to prevent any of the portraits being identified as a real individual, but the sheer number of profiles inevitably meant this was not entirely