Page:The New International Encyclopædia 1st ed. v. 10.djvu/153

HOGABTH. 131 HOG CHOLERA. to be a line-engraver, but about 1724 he began to attend the private art school of Sir James Thorn- hill, in Saint .Martin's Lane, with a view to painting. In 1728-29 he painted a series of small conversation pieces, groups of family portraits connected by some common interest or occupation, besides others of a political and social character. Between 1727 and 1732 he engraved a large num- ber of frontispieces for well-known books. In 1729 he ran away with his former master's daughter, Jane Thornhill, who made him an ex- cellent wife. Soon after his marriage he began the first" of the series of paintings, "The Harlot's Progress," reproduced also as engTavings, which made him famous. It represented in six plates the story of a country girl who came innocent to town to seek a situation. The original paintings, except one, are lost, but the plates are well known. The shameless piracy of these plates resulted in the Parliamentary act of 1735 vesting in artists the exclusive rights to their designs. In the same year appeared "A Rake's Progress," eight plates, representing the career of a profligate young man of means, who ends in the madhouse, the original paintings for which are in the Soane !Museum, London. The third and most famous series, the "JIarriage :"l la Jlode, was not com- pleted till 174.5. It represents in six plates the story of a fashionable marriage between the son of an impoverished lord and the daughter of a wealthy city alderman. The original paintings are in the Xational Gallery, and are Hogarth's greatest work. Another prominent series was "Industry and Idleness" (12 sheets, 1747), exe- cuted as engravings only. They represent the respective careers of an idle and an industrious apprentice, and were intended for the working class. Besides these he executed briefer series, and many single plates. Hogarth's art was essentially of a literary character, and he has well been called the Molifre of painting. His constant endeavor was to point out the vices and follies of society, with the strict moral purpose of reforming. His great importance in the development of art lies in the fact that he was the first to turn his back on traditional practices, and to go directly to nature for the figures he painted. He is free from all foreign and ancient influence. In his portraits he is a technician of high order. His pictures are .strongly and broadly painted, and are equally excellent in drawing and in color. His paintings excel his engravings, which are hastily executed and lack finish, although they are always spirited and intelligible. He succeeded especially well in his portraits, the best of which is one of himself with his dog Trump (1745). in the Xational Ciallery. This collection also contains portraits of his sister, !Mary Hogarth (1746). Polly Peachum. David Garriek as Richard 111., the Earl of Fever- sham, and the inimitable "Shrimp Girl." Among his other paintings of a didactic character, painted for engraving, were: "Southwark Fair" (1733); "Midnight Modern Conversation" (1734) : the "Distressed Poet" (1735) : the "En- raged Musician" (1741); "March to Finchley," and the "Election;" the two latter in the Soane Museum. He also attempted a few historical pictures on a large scale, but not with equal suc- cess. Hogarth took a prominent part in the art con- troversies of his day, being the uncompromising foe of the imitation of the old masters — the 'black masters' as he called them, because of their darkened colors. In 1753 he published his Analysis of Beauty, setting forth his views on art ; it was not a success, and brought ridicule upon him. After the death of his father-in-law in 1734, Hogarth converted his art school into a sort of life class, in which thirty or forty artists drew after the nude. In 1757 he was ap- pointed sergeant-painter of all His Majesty's works, succeeding his brother-in-law, John Thorn- hill. His last da.vs were marred by the ill success of his 'Sigismunda Weeping Over the Heart of Her Husband." the harsh criticism of which was especially painful to Hogarth, as Sigismunda bore the features of his wife. An ill-advised effort in behalf of Lord Bute's Ministrj- in 17G2 brought down upon him the terrible satire of Wilkes and Churchill, until then his intimate friends. Though much grieved, Hogarth re- taliated by two prints: a hideous portrait of Wilkes, with a .satyr's leer and squint, and "The Bruiser, C. Churchill." He died at London, October 25, 1764. BiBLiOGR.PHY-. Among the commentaries to Hogarth's works are: Trusler, Hoiiarth Moralized (London, 1768) ; Walpole, Anecdotes of Paint- ing, vol. iv. (ib.. 1771) ; N'ichols and Steevens, Genuine Works of Hor/drtli ( ib., 1808-17); Ire- land, Ilonnrth Illuslrafcd (ib., 1791-98), and arnphic illustrations of Bogarth (ib., 1794-99) ; Lichtenberg, Ausfiihrliche Erklarung der Bo- fiarlhschenKupferstiche (Gottin^en. 1794) ; Clerk, Work-g of Bogarth (London. 1806). Among the numerous editions of his ^yorks are those of Nichols (London, 1820-22) : of Jfonkhouse and Dobson (ib., 1872) : and of Ireland and Xichols ( ib., 1 883 ) . For his life, compare the biographies bv Xichols (London, 1785), Sala (ib., 1866), and Dobson (ib., 1879). HOGARTH CLTJB. An artists' club in Lon- don, with headquarters at 36 Dover Street. HOG CHOLERA. A virulent contagious dis- ease of hogs, due to the presence of a pathogenic bacillus in the alimentary tract. The term has been used to cover at least two diseases, true hog cholera and swine plague (q.v.). Some authors have attempted to distinguish four or five dis- eases of the hog-cholera group, but the present tendency is to recognize only two. The chief symptoms of hog cholera are a rise in body temperature, loss of appetite, a discharge from the eyes, watery at first but later yellow- ish and viscid, a purplish coloration of the skin, giving rise to a common name, blue sickness, oc- curring especially on the ears, chest, and abdo- men, the under side of the neck, and on the inside of the thighs. Constipation is an early symptom, but diarrhoea soon sets in and persists until the death of the animal. The excrement is dark-col- ored, and possesses a fetid odor. The body tem- perature may rise from one to three degrees above the normal, but the elevation of temperature is frequently absent. The animals are dull and indifferent to surroundings, lie down a great part of the time and hide their heads under straw or litter, often have a dry cough, and sometimes squeal from intestinal pain. As the disease pro- gresses they become gaunt with arching backs. The mortality from hog cholera under ordinary conditions is from 80 to 90 per cent. Acute