Hogarth: His Life, Art, and Times

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like a top, on the deck; and told him he was at liberty to proceed on his voyage without farther attendance or molestation. With the slightest allu- sion to the ludicrous particulars of this affair, poor Hogarth was by no means pleased. The leading circumstance in it his own pencil has perpetu- ated. This anecdote, which if true Hogarth may have wished to forget, sounds like a germ of truth expanded—more likely by Steevens than by Major or Strange." Whether Hogarth saw France before this experience as he saw it after we shall never know. His memory of it was grim: The first time any one goes from hence to france by way of Calais he cannot avoid being struck with the Extreem different face things appear with at so little a distance as from Dover: a farcical pomp of war, parade of religion, and Bustle with little with very little bussiness in short poverty slavery and Insolence with an affectation of politeness give you even here the first speci- men of the whole country nor are the figure less opposited to those of dover than the two shores. Fish wemen have faces of leather and soldiers raged and lean. As soon as he arrived back in England he "set about the Picture"—it is not clear whether he means the one he was sketching when interrupted, although this is Walpole's interpretation. To this "I introduced a poor highlander fled thither on account of the Rebelion year before brozing on scanty french fare; in sight a sirloin of beef a present from England which is opposed to the kettle of soup meager; my own figure in the corner with the soldier's hand upon my shoulder is said to be tolerably like." The painting (pl. 220) was done with speed but is a meticulous performance, as careful and finished as Marriage a la Mode. When it was cleaned in 1966, the warm colors disappeared and cool grays and blues and off-reds emerged: though as detailed as a miniature, its style begins to suggest the broad, almost poster-like handling of the Election series of a few years later. The engraving, partly done by Charles Mosley, was published in early March 1748/9: This Day is publish'd, Price 55. A Print design'd and engrav'd by Mr. HOGARTH, representing a PRODIGY which lately appear'd before the Gate of CALAIS. O the Roast-Beef of Old England, &c. To be had at the Golden Head in Leicester-Square, and at the Print Shops. Vertue, noting the appearance of the print, observes that the title is "a prodi- gious Blunder of his—for he has represented a Man carrying a peice of (Raw beef) instead of Roasted—as it appears colour'd only red & yellow in the Middle 77
78 of the print." 23 Unless he had seen a colored version of the print, Vertue must be thinking of the painting, which no doubt was displayed next to the print in Hogarth's house. He adds that the "print of him and his dog" (Gulielmus Ho- garth) was out, selling for 35 6d. Vertue's comments also indicate that with these two prints Hogarth was fur- ther publicizing himself; anyone who had not heard the story of his adventure in Calais by word of mouth would "read" it in his print. If there is any doubt, however, that Hogarth saw himself dispassionately in this episode it is dispelled by the blatantly stage-like structure of The Gate of Calais—perhaps more obvi- ous than in any picture since The Beggar's Opera. Hogarth's self-comment is that this was a small comedy played out with a motley cast of characters. Never- theless, here and perhaps in Industry and Idleness too (for those who saw the deeper import of the success story of the industrious apprentice), he was in a dangerous sense making himself his subject.
Page 1 and 2: Hogarth: His Life, Art, and Times b
Page 3: 58 probably intended to correct som
Page 6 and 7: voted to the painting of Moses brou
Page 8: Mode. The viewer recognizes one fac
Page 17 and 18: 72 two plates of The Four Times of
Page 19 and 20: 74 The division must be explained a
Page 21: 76 larly a scene of the shore with
Page 26 and 27: early years). Hogarth's teacaddy-sh
Page 28 and 29: equipage and was very conscious—a
Page 30 and 31: stipulates that "I do hereby releas
Page 32: of troops marching to defend Englan
Page 36 and 37: painting was late in 1749. It must
Page 38 and 39: oad daylight of Finchley; the inter
Page 40 and 41: for subscribers on 3 January. The a
Page 42 and 43: pation, he was accosted by one who
Page 44 and 45: "new kind of drunkenness . .. which
Page 47 and 48: 102 also publish'd, four Prints on
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Page 54 and 55: cells to the court house of the Old

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