A pen and brown ink with grey wash drawing showing four ovals with mythological subjects. The ovals are inscribed on ornamental frames: Saturn & Cybele; Coelus & Terra; Neptune & [Amphitrite], Jupiter & Juno. The ovals have been closely incised for transfer.

This drawing and RCINs 913469 and 913470 relate to the illustrations for William King's An Historical Account of the Heathen God and Heroes, ["Pantheon"], first published in 1710, with a second edition [undated], third edition (1722) and fourth edition (1727). An impression of the print relating to this drawing is in the British Museum, Cc,3.97.

The illustrations first appear in the second edition, and the dating of this edition is crucial to establishing the authorship of the drawings and plates. Ronald Paulson (Hogarth's Graphic Works, 1989) states that the second edition can be dated to c. 1714, before Hogarth's apprenticeship had begun, suggesting that the drawings cannot therefore be by his hand. An advertisement for the second edition appearing in the Post Boy (July/August 1714) also states that the edition includes 'several very fine Cutts engrav'd by a French-Man lately arriv'd from Paris'. The attribution to Hogarth was suggested by a piece of paper pasted to the back of the modern mount, written by the dealer John Greenwood, reading: 'about 15 years since. Sundry Drawings were put into my hands for Sale by Mr Clee the engraver, of which these 4 are a part, with an assurance they were by Hogarth–Licester Square. Jno Greenwood. 4th May 1787'. The engraver Clee cannot be identified, but a sale of the prints and drawings belonging to Robert Clee took place at Langford's, 20 January &c., 1774. Three drawings 'from King's Pantheon and one of a Game at Hazard' (possibly 913474) also appear in the Samuel Ireland sale, 1797, lot 136. John Bowyer Nichols' Anecdotes of William Hogarth, 1833, records the drawings as in the 'King's Collection'. 

It may be the case that Hogarth assisted with the reworkings of the plates for the fourth edition during his apprenticeship. A. P. Oppé noted that the drawings were close to the style of Sir James Thornhill and were 'in no way inconsistent with Hogarth's youthful style'.