The Toilette from Marriage a la Mode, Plate IV

Name/Title

The Toilette from Marriage a la Mode, Plate IV

Entry/Object ID

2001.10.05.04

Description

Interior scene showing the Countess Squanderfield in a richly appointed room surrounded by servants, musicians, and hairdressers. She is talking with the lawyer Silvertongue who lounges on a chaise and gestures at a painted folding screen.

Type of Print

Engraving, Etching

Artwork Details

Medium

Paper, ink

Acquisition

Accession

2001.10

Source or Donor

William A. McGill

Acquisition Method

Gift

Credit Line

Gift of William A. McGill

Made/Created

Artist Information

Artist

William Hogarth

Role

Artist

Artist

Simon François Ravenet I

Role

Engraver

Date made

1745

Time Period

18th Century

Place

City

London, England

Inscription/Signature/Marks

Type

Inscription

Location

Below image

Transcription

Invented Painted & Published by Wm. Hogarth/According to Act of Parliament April 1st 1745

Language

English

Material/Technique

Engraved, Ink

Type

Inscription

Location

Center, below image

Transcription

Marriage A-la-Mode, (Plate IV)

Language

English

Material/Technique

Engraved, Ink

Type

Inscription

Location

Lower right, below image

Transcription

Engraved by S. Ravenet

Language

English

Material/Technique

Engraved, Ink

Lexicon

Nomenclature 4.0

Nomenclature Tertiary Object Term

Engraving

Nomenclature Secondary Object Term

Print, Intaglio

Nomenclature Primary Object Term

Print

Nomenclature Sub-Class

Graphic Documents

Nomenclature Class

Documentary Objects

Nomenclature Category

Category 08: Communication Objects

Dimensions

Dimension Description

24 x 26

Height

14-1/2 in

Width

17-1/2 in

Provenance

Provenance Detail

Source Notes

Role

Information provided by source.

Notes

William McGill, West Lafayette, Indiana; donated to Purdue University Galleries in 2001

Interpretative Labels

Label

"Marriage à la Mode, Plate 4 William Hogarth, English, 1697-1764 Engraving Gift of Prof. William A. McGill, 2001.10.05.04 “Having cast off her middle class awkwardness and inhibition, the Countess imitates the life style of the aristocracy (the coronets about the room indicate that the old Earl is dead). In contrast to her husband's bizarre passion for young girls, the Countess's middle-class origins reveal themselves in here interest in an ordinary love affair. Wearing jewelry on her hair and fingers and dressed in a low-cut gown, she sits at her levee with her back to her guests, oblivious to the music, attentive only to the addresses of Silvertongue. A child's rattle on her chair reveals that she has a baby which she has the servants care for. Looking very much at home, Silvertongue lolls on the couch beside her, leaning intimately toward her. He points out the screen behind him and, as he explicates the masquerade scene on it, arranges an assignation for the night. The paper in his hand reading 1st Door, 2d Door, 3d Door is a key to the screen. Beside him lies Sopha, a venereal novel by Crébillon. The art in the room comments on the lady's preoccupation. Above her are pictures of Lot's daughters preparing to seduce their father and Jupiter possessing Io. On the opposite wall hang a version of the rape of Ganymede and a portrait of Silvertongue himself. Before them a black boy plays with a group of tasteless art objects purchased by the lady at an auction. A book beside them reads A Catalogue of the Entire Colection of the Late Sr Timy. Babyhouse to be Sold by Auction. The lot includes a tray inscribed with an erotic version of Leda and the swan by Julio Romano and a statuette of Actaeon; the boy points to Actaeon's horns to interpret the import of the conversation behind him. Lying on the floor across from the youth are playing cards and correspondence, both indicative of the Countess's social life. Ly Squanders Com is desir'd at Lady Townlys Drum Munday Next; Lady Squanders Company is desir'd at Miss Hairbrains Rout; Lady Squanders Com is desir'd at Lady Heathans Drum Major on next Sunday; Count Basset begs to no how Lade Squander Sleapt last nite. The spelling on these notes is a judgment upon their authors' literacy. Most of the group sit around in strained, affected poses. The center of focus is a bloated castrato (probably Francesco Bernardi, an Italian singer who lived in England for a while.) Overdressed in gold lace and tastelessly bedecked with jewels, the vain fellow sits haughtily back in his chair, unaware that only two in the whole group listen to him. Next to the singer sits a man with his hair in papers, bored but formally attentive. Beside him a fellow gestures preciously and screws his face up in feigned appreciation. A man with a riding whip snores while his wife strains forward in the direction of the castrato. A black servant laughs at the scene.” From Sean Shesgreen, Engravings by Hogarth "