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until 1558 and still retaining many
English architectural features). His sketching of the fortifications aroused suspicion, and he was arrested and taken before the governor. Most accounts relate that Hogarth showed his other sketches to his captors; it becoming clear that he was merely an artist, he
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is being celebrated. In the foreground, but still aligned with those in the background under the cross of the gate, the principal characters worship the beef. The man carrying it bows under the weight appearing to offer it up to the friar on partially bended knee. Above the scene in front of the
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The main difference between the painting and the engraving is the crow on top of the gate, which is absent in the engraving. The crow was a late addition to the painting to disguise an accidental tear, apparently caused by the canvas falling on a nail shortly after it was completed, although no
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at the exhibition (one of only three comic histories that he displayed), Hogarth was challenging the patriotic spirit of the
British by asking them to pay as much for a work by an Englishman as they would for a work by a continental painter. The painting was sold in 1874 to Mr.
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as demanded by the French, "particularly a scene of the shore, with an immense piece of beef landing for the Lion d'Argent, the
English inn at Calais, and several hungry friars following it." At any rate, Hogarth was discharged and returned to England by the next boat.
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The gate itself was levelled in 1895, the landing at the port followed by crossing over an ancient drawbridge and entering through the old gateway into a "dark narrow" street, then emerging into a spacious Place with its town hall now lost.
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The print, produced from an engraving that was completed in part by
Charles Mosley, was published on 6 March 1749. Entitled "O The Roast Beef of Old England", it was priced at 5 shillings and advertised as:
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According to
Hogarth's autobiographical notes, he started on the painting as soon as he arrived home from Calais. The painting was completed in short order, followed by an engraving early the next year.
456:"The melancholy and miserable Highlander, browzing on his scanty fare, consisting of a bit of bread and an onion, is intended for one of the many that fled this country after the rebellion in 1745."
227:, sits slumped against the wall, his strength sapped by the poor French fare – a raw onion and a crust of bread. Hogarth is seen sketching to the left in the background, but the tip of the
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reports that the group split up on the return journey, with
Hogarth and Hayman making their way to Calais to catch the boat to England and the others continuing their tour to
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126:. The scene depicts a side of beef being transported from the harbour to an English tavern in the port, while a group of undernourished, ragged French soldiers and a fat
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While waiting in Calais, Hogarth decided to sketch the gate of the port and drawbridge which were still adorned with the
English arms (Calais having been an
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friar who greedily rubs his finger in the fat of the beef joint, is thought to be based on
Hogarth's friend John Pine. In the foreground, a
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the next year. Hogarth produced the painting directly after his return from France, where he had been arrested as a spy while sketching in
207:, carried by a chef who stands out in his bright white apron and cap. The French soldiers, dressed in rags and forced to eat their watery
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285:: it depicts a fictional gathering of robust English guardsman who are to march north to defend London against the invasion of
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326:(1731), which told of how the food "ennobled our brains and enriched our blood" and laughed at "all-vapouring France"".
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452:"I meant to display to my own countryman the striking difference of food, priests, soldiers, &c. of two nations"
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A print design'd and engrav'd by MR HOGARTH, representing a PRODIGY which lately appear'd before the Gate of CALAIS.
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The engraving of the print. The hand on
Hogarth's shoulder can now be clearly seen, as can the Scotsman and his fare
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The painting takes a viewpoint under an archway in the main outer wall of Calais. The scene within centres around a
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sometime after the 1761 Society of
Artists' Exhibition at which it was displayed, by which time England had been
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elaborates the account, reporting that Hogarth was forced to demonstrate his abilities by producing sketches and
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In July 1748, Hogarth took a trip to Paris, taking advantage of the armistice which preceded the signing of the
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was discharged into the parole of his landlord to await the changing of the wind and the boat to England.
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look on hungrily. Hogarth painted himself in the left corner with a "soldier's hand upon my shoulder."
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and hand of the soldier who will arrest him are just appearing round the corner behind him.
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289:'s Jacobites in 1745. Further anti-French sentiment is apparent in his two
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To be had at the Golden Head in Leicester-Square, and at the Print Shops.
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582:. Baltimore, Maryland: The Johns Hopkins University Press. p. 448.
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in October that year. He travelled with some artist friends, including
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evidence of damage was found when the painting was restored in 1966.
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Hogarth's antipathy to the French had been apparent in his art since
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can be seen carrying a cauldron of the grey unappetising soup. The
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with France again for 5 years. Ian Pears believes that by showing
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301:'s accompanying verses stress the superiority of the English.
281:, which he painted in 1749/50, provides a companion theme to
262:, and the Jacobite also clasps his hand together in prayer.
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80 cm × 96 cm (31 in ×
598:"O the Roast Beef of Old England ("The Gate of Calais")"
580:
Hogarth's Harlot: Sacred Parody in Enlightenment England
532:. London: J. B. Nichols and Son, 25 Parliament Street.
238:
in the picture. Through the gates, under the sign of a
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211:, gather round licking their lips. Two soldiers in
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312:, is a reference to the popular patriotic ballad '
234:There are strong references to the celebration of
529:Anecdotes of William Hogarth, Written by Himself
1020:Sigismunda mourning over the Heart of Guiscardo
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489:
468:"The 'Tapestry Hangings of the House of Lords'"
393:
470:. The National Maritime Museum. Archived from
346:for £945. It was subsequently acquired by the
258:. In the foreground fishwives superstitiously
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203:of beef destined for the English tavern, the
8:
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683:Emblematical Print on the South Sea Scheme
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640:
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612:Mark Hallett and Christine Riding (2006).
20:
504:(107–2): 47 – via Internet Archive.
250:gate, the dove of peace is replaced by a
561:Hogarth: Art and Politics, 1750–64 Vol 3
542:Hogarth: High Art and Low, 1732–50 Vol 2
397:O the Roast-beef of Old England, &c.
354:in 1891 for £2572; he donated it to the
932:Captain Lord George Graham in his Cabin
799:Credulity, Superstition, and Fanaticism
425:
358:in 1895, and it was transferred to the
727:Strolling Actresses Dressing in a Barn
293:engravings, published in 1756, and in
7:
876:Scene from Shakespeare's The Tempest
373:The Gate of Calais before demolition
972:The March of the Guards to Finchley
563:. Lutterworth Press. p. 596.
544:. Lutterworth Press. p. 508.
496:Fitzgerald, Percy (13 July 1895).
14:
908:Portrait of Captain Thomas Coram
699:A Just View of the British Stage
414:List of works by William Hogarth
310:O, the Roast Beef of Old England
118:, reproduced as a print from an
111:O, the Roast Beef of Old England
29:
1207:Anti-French sentiment in Europe
996:Hogarth Painting the Comic Muse
329:The painting was bought by the
834:The Assembly at Wanstead House
1:
314:The Roast Beef of Old England
1187:Paintings by William Hogarth
940:David Garrick as Richard III
441:
791:Satire on False Perspective
502:The Illustrated London News
16:Painting by William Hogarth
1228:
775:The Four Stages of Cruelty
751:Characters and Caricaturas
719:The Company of Undertakers
498:"Hogarth's Gate at Calais"
783:Columbus Breaking the Egg
691:The Bad Taste of the Town
275:series, painted in 1736.
260:worship the face of a ray
140:Treaty of Aix-la-Chapelle
28:
767:Beer Street and Gin Lane
578:Paulson, Ronald (2003).
540:Paulson, Ronald (1992).
150:and Alexander Van Aken,
1044:The Marriage Settlement
807:Five Orders of Periwigs
559:Ronald Paulson (1993).
348:1st Duke of Westminster
225:Jacobite rising of 1745
1101:The Analysis of Beauty
980:Humours of an Election
401:
387:
374:
331:1st Earl of Charlemont
114:is a 1748 painting by
1166:Mary Edwards (Patron)
1012:The Lady's Last Stake
884:Four Times of the Day
759:Industry and Idleness
385:
372:
323:The Grub-Street Opera
287:Bonnie Prince Charlie
278:The March to Finchley
272:Four Times of the Day
743:The Enraged Musician
223:, an exile from the
1212:English nationalism
948:Painter and his Pug
924:The Graham Children
854:A Harlot's Progress
600:. Tate Online. 2004
442:J. B. Nichols, 1833
339:The Gates of Calais
242:(that of an inn) a
1033:Marriage A-la-Mode
964:Hogarth's Servants
956:The Gate of Calais
916:Taste in High Life
620:, pp. 216–7.
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375:
303:The Gate of Calais
283:The Gate of Calais
105:The Gate of Calais
24:The Gate of Calais
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1173:
1088:
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892:The Distrest Poet
862:A Rake's Progress
735:The Distrest Poet
474:on 21 August 2013
350:at an auction at
308:secondary title,
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1079:The Lady's Death
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988:Sealing the Tomb
868:The Tavern Scene
815:John Wilkes Esq.
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520:Hogarth, William
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356:National Gallery
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1135:Hogarth's House
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1051:The Tête à Tête
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900:The Shrimp Girl
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663:William Hogarth
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618:Tate Publishing
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168:the Netherlands
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116:William Hogarth
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42:William Hogarth
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1058:The Inspection
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837:(c. 1728–1732)
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677:List of works
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299:James Townley
297:, where Rev.
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205:Lion d'Argent
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160:George Vertue
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1161:Hogarth Club
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1065:The Toilette
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602:. Retrieved
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476:. Retrieved
472:the original
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364:
360:Tate Gallery
338:
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209:soupe maigre
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156:Henry Cheere
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103:
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92:Tate Britain
18:
295:Beer Street
184:caricatures
1181:Categories
1072:The Bagnio
865:(1732–33,
589:0801873916
570:0718828755
551:0718828550
513:References
478:8 December
352:Christie's
254:bird, the
221:Highlander
217:Franciscan
134:Background
66:Dimensions
1004:The Bench
849:(1730–31)
826:Paintings
362:in 1951.
236:Eucharist
120:engraving
83: in)
1112:Theories
967:(c.1750)
903:(c.1740)
879:(c.1735)
522:(1833).
408:See also
291:Invasion
191:Painting
164:Flanders
88:Location
1144:Related
1128:Museums
614:Hogarth
604:13 June
526:(ed.).
344:Bolckow
316:' from
269:in his
252:carrion
229:halberd
201:sirloin
78:⁄
1104:(1753)
1036:(1745)
1023:(1759)
1015:(1759)
1007:(1758)
999:(1757)
991:(1755)
983:(1755)
975:(1750)
959:(1748)
951:(1745)
943:(1745)
935:(1745)
927:(1742)
919:(1742)
911:(1740)
895:(1736)
887:(1736)
857:(1731)
842:Before
818:(1763)
810:(1761)
802:(1761)
794:(1754)
786:(1752)
778:(1751)
770:(1751)
762:(1747)
754:(1743)
746:(1741)
738:(1741)
730:(1738)
722:(1736)
714:(1736)
707:Before
702:(1724)
694:(1724)
686:(1721)
670:Prints
624:
586:
567:
548:
335:at war
213:sabots
154:, and
148:Joseph
124:Calais
96:London
56:Medium
38:Artist
1151:Trump
1093:Books
846:After
711:After
420:Notes
378:Print
306:'
128:friar
844:and
709:and
622:ISBN
606:2007
584:ISBN
565:ISBN
546:ISBN
480:2012
454:...
449:p.64
445:p.63
267:Noon
256:crow
247:mass
240:dove
166:and
51:1748
48:Year
320:'s
108:or
1183::
616:.
500:.
488:^
428:^
170:.
158:.
146:,
94:,
71:37
871:)
655:e
648:t
641:v
628:.
608:.
592:.
573:.
554:.
482:.
447:-
80:8
76:5
73:+
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