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213:, hang from the branches. The Earl is pointing to one hanging on the main branch, indicating the directness of his and the Viscount's descent. As a pointed addition, Hogarth has added a broken off branch – a previous marriage outside the nobility that was disowned – not something that would normally be displayed on a family tree. This could indicate that the disowned marriage was
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The mirror in which the
Viscount is admiring himself is cut in two vertically by the painting's edge. This is a Hogarth device to indicate that the Viscount is only "half a man". Although indistinct in the painting, in the engraving it is clear that the reflection in this mirror is of Silvertongue
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The plot of the painting is the unmitigated greed of the two fathers, the
Alderman and the Earl. The Alderman is wealthy to excess, and the Earl is heavily in debt but still retains his ancient title. The Alderman is desirous of becoming the grandfather to a noble son, and the Earl wants to ensure
374:'s head observes the scene and screams from an oval frame (as if even she is horrified by the scene before her). Normally the candlesticks would be to either side of the frame, but to heighten the absurdity they are central and therefore block a clear view of the Gorgon's face. This work may be
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The architect, holding the plans, is staring out the window at the unfinished house, waiting patiently for sufficient funds to allow work to restart. Some commentators have identified him as a lawyer along with
Silvertongue here for the bargaining, stating that his facial features and posture
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The Earl clearly thinks a great deal of himself. He is sumptuously dressed and sits under a coroneted canopy in a posture of stereotypical arrogance. There are coronets everywhere, on his foot-stool, crutches, picture frames, and, ludicrously, in the engraving, on the side of one of the
291:). He is quite indifferent to the proceedings and has his back to his future wife, and is admiring himself vapidly in the mirror. He has a glittering ring and is taking snuff from his gold snuffbox. The device of looking into a mirror is a double indication that the heir is both
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The bride is plainly dressed and looks bored, discontent and resigned to her fate. She is listlessly fidgeting with her wedding ring, which she has threaded on her handkerchief. She has as much interest in the
Viscount as he has in
328:, surrounded by pictorial references to warfare. Jupiter is the Roman god of oaths and treaties and so Hogarth uses this as a deliberate irony as the portrait shows the Earl looking away from the proceedings right under his frame.
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The portrait is filled with impossible or ridiculous details that prove the artist's incompetence or flattering nature and the Earl's vanity or stupidity in accepting it: the young Earl is shown wearing the
Burgundian - Spanish
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The forced, ill-matched and loveless marriage is mirrored bluntly by the bitch and dog chained together and equally uninterested in each other. In both cases the only thing the perpetrators care about is the issue of the
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Meanwhile, the soon to be married two are completely ignoring each other, and the bride is being courted by the lawyer. Myriad details show the true natures of the characters present, especially the Earl and his son.
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Silvertongue, the lawyer, is sharpening a quill and ingratiating himself with the bride by way of a whispered conversation. Silvertongue's name is not revealed until the final scene.
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The only other character who is given a name is the doctor in plate III. Also, Silvertongue is not named until the final plate, VI; his name is given here for convenience.
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The room is filled with evidence and forewarnings of the Earl's nature and the result of the marriage. The painting to the left of the window shows the Earl as a young
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All the main characters are introduced here, at the beginning of the story. Starting with the man under the canopy and moving across the scene there is:
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In short, the former seeks bourgeois moneys for empty, if ancient, purses; while the latter desires ancient and noble blood for his middle-class veins.
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The stable entrance is in the front facade and barely tall enough to accommodate a coach, and certainly not high enough to allow the coachman to pass.
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style which
Hogarth despised and thought degenerate, and often made the butt of his satire. In this case the architecture is muddled, with three
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and effeminate to the last degree and made to look absolutely ridiculous. He has just returned from the
Continent and is dressed in the
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on the ceiling as a symbol of the illogic of the Earl, such as his beginning a new building without ascertaining if he can afford it.
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style, with a giant black bow in his wig and red raised heels to his shoes (Hogarth hated the French, see for example Plate III and
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Visible through the window is the cause of the Earl's present financial pressure; he is having an extravagant new home built.
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The
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The Earl is sitting with a bandaged foot resting on a low foot-stool, indicating he is suffering from
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his line is carried on, and is willing to put up with the common
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just handed to him by the bespectacled alderman, who is scrutinising the marriage contract.
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Later engraving of the painting, mirrored and with a clearer reproduction of many figures.
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On the table in front of the Earl is a pile of gold and bills of exchange – the bride's
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Lichtenberg, Georg (1970) . "1". In
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Lichtenberg, Georg (1970) . "1". In Wensinger, Arthur S. and W. B. Coley (ed.).
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The other paintings on the walls all are of catastrophe, disaster or martyrdom:
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The man facing out the window, with his back to the scene, perhaps an architect.
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69.9 cm × 90.8 cm (27.5 in × 35.7 in)
549:(1 ed.). Middletown, Connecticut: Wesleyan University Press. p. 32.
531:(1 ed.). Middletown, Connecticut: Wesleyan University Press. p. 20.
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it would have provided a further nice comment on this perverse household
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Left hand wall, centre oval: immediately above the bride and groom a
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Between the merchant and the Earl stands an emaciated and threadbare
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Left hand wall, bottom right: David Kills Goliath also by Rubens.
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indicate his amazed disgust at what even he can tell is hideous.
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Viscount Squanderfield, the Earl's son — seated, on the far left
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is the first in the series of six satirical paintings known as
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provided by the merchant as part of the dowry with the other.
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On the ceiling the Red Sea closes over the Pharaoh's armies.
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The man standing at the table, perhaps the Earl's creditor
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Marriage A-la-mode: A Re-view of Hogarth's Narrative Art
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is stabbed to death (Most closely resembles the work by
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The Earl's son, the Viscount and the future groom, is
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The lawyer Silvertongue — standing, next to the bride
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123:, named after the historical legal arrangement of a
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201:The Earl is proudly pointing to himself and his
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35:Marriage A-la-Mode: 1. The Marriage Settlement
18:Marriage à-la-mode: 1. The Marriage Settlement
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744:Credulity, Superstition, and Fanaticism
477:Marriage A-la-Mode: 6. The Lady's Death
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672:Strolling Actresses Dressing in a Barn
449:Marriage A-la-Mode: 2. The Tête à Tête
342:Credulity, Superstition and Fanaticism
223:The new house is intentionally in the
148:The Alderman — seated, facing the Earl
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456:Marriage A-la-Mode: 3. The Inspection
428:Lichtenberg sees the painting of the
821:Scene from Shakespeare's The Tempest
917:The March of the Guards to Finchley
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463:Marriage A-la-Mode: 4. The Toilette
367:is burned to death on the gridiron.
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470:Marriage A-la-Mode: 5. The Bagnio
853:Portrait of Captain Thomas Coram
644:A Just View of the British Stage
443:List of works by William Hogarth
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941:Hogarth Painting the Comic Muse
506:. Manchester University Press.
409:Right hand wall, bottom right:
381:Left hand wall, top right: the
779:The Assembly at Wanstead House
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500:Cowley, Robert L. S. (1983).
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411:Judith decapitates Holofernes
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885:David Garrick as Richard III
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736:Satire on False Perspective
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27:Painting by William Hogarth
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334:Order of the Golden Fleece
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728:Columbus Breaking the Egg
636:The Bad Taste of the Town
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383:Massacre of the Innocents
235:ones. The windows in the
207:William, Duke of Normandy
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712:Beer Street and Gin Lane
303:and not of the Viscount.
256:A 1734 marriage contract
231:pillars supporting four
182:The painting is full of
989:The Marriage Settlement
752:Five Orders of Periwigs
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139:Earl/Lord Squanderfield
110:The Marriage Settlement
1046:The Analysis of Beauty
925:Humours of an Election
395:Right hand wall, top:
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1111:Mary Edwards (Patron)
957:The Lady's Last Stake
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704:Industry and Idleness
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688:The Enraged Musician
547:Hogarth on High Life
529:Hogarth on High Life
205:that commences with
893:Painter and his Pug
869:The Graham Children
799:A Harlot's Progress
376:Caravaggio's Medusa
125:Marriage settlement
978:Marriage A-la-Mode
909:Hogarth's Servants
901:The Gate of Calais
861:Taste in High Life
289:The Gate of Calais
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116:Marriage A-la-Mode
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837:The Distrest Poet
807:A Rake's Progress
680:The Distrest Poet
513:978-0-7190-0884-9
387:Peter Paul Rubens
358:Zampieri Domenico
274:bills of exchange
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16:(Redirected from
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1142:Dogs in art
203:family tree
119:painted by
1126:Categories
1017:The Bagnio
810:(1732–33,
484:References
423:Commentary
338:grape shot
229:Corinthian
215:morganatic
77:Dimensions
949:The Bench
794:(1730–31)
771:Paintings
354:St. Agnes
184:satirical
1057:Theories
912:(c.1750)
848:(c.1740)
824:(c.1735)
437:See also
406:is shot.
308:syphilis
237:basement
186:detail:
85:Location
1089:Related
1073:Museums
430:Red Sea
326:Jupiter
281:foppish
211:coronet
178:Details
1049:(1753)
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787:Before
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652:Before
647:(1724)
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631:(1721)
615:Prints
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372:Gorgon
285:French
131:People
93:London
67:Medium
49:Artist
1096:Trump
1038:Books
791:After
656:After
263:dowry
233:Ionic
198:dogs.
789:and
654:and
508:ISBN
314:her.
295:and
293:vain
192:gout
165:Plot
62:1743
59:Year
385:by
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