207:
22:
281:, was published shortly after the painting was completed, though Hogarth made further alterations to the engraving ten years later. The engraving was unusual in that it was not a reversed image of the original painting. Hogarth priced the published artwork for a price of seven shillings and sixpence each copy, rising to half a Guinea after the subscription closed. In advertisements for the painting, Hogarth referred to a subscription-based extra whereby buyers who deposited another three shillings on top of the seven and sixpence would be considered in a lottery for the ownership of the original copy, which would be delivered to the winning subscriber after the engraving had been finished. Hogarth's engraving of
309:, a bustling street on the north side of London. The King's guard have rendezvoused there on their way to engage the rebels, and numerous soldiers are caught amongst the crowd. Orderly lines of soldiers march away in the distance; meanwhile, a disarrayed, misshapen mass of soldiers engaging in a range of unbecoming behaviours crowds the foreground. Paradoxically, the work both highlights the dissolute and disreputable nature of the guardsmen and shows that they can be transformed into a disciplined fighting force, with the drummer and boy fifer summoning the soldiers to their duty.
313:
249:
Frederick II of
Prussia, who met the work with more enthusiasm and acknowledgement of its artistry. However, Frederick II was certainly no expert on the arts, and he was more known on the battlefield; some have speculated that this explains his positive reception to a work depicting the English military in poor form.
223:
in 1750. The work was initially meant as a gift to George II, and a print was sent before the release of the painting to the Royal Palace for his approval. However, George II had been expecting an artwork that honoured his most favoured guards, not mocked them – accounts state he was offended by what
368:
According to
Hogarth, several of the more prominent soldiers featured in the painting – such as the grenadier, the drummer and the drunkard – were based from models observed before the creation of the artwork. Notable in particular among these is Lord Albemarle Bertie, who was used as the model for
248:
Soon thereafter, the painting was returned to
Hogarth, who was reportedly mortified by the King's response to what he considered to be one of his finest works. Hogarth later modified the inscription to read "the King of Prussia", rather than "the King of England", before presenting the work to
293:, an establishment to which he had, in the past, been a lucrative donor. Holding almost 10% of the tickets, the Hospital won the lottery and the original; Hogarth scholar Ronald Paulson considers the lottery was rigged from the start. Today the painting is owned by and on display at the
115:
188:
on 4 December 1745. However, promised support from France failed to arrive, and, in the absence of an
English popular uprising, Charles assented to the demand of his Council of War to return to Scotland. Eventually, the Stuart army was comprehensively defeated at
353:. Further to the right, near the edge of the painting, a drunken soldier has collapsed to the ground from his own intoxication; despite his state, he rejects the water his comrade behind him is offering him, and instead reaches for another measure of
98:. However, George was insulted by the apparent jab at his best troops and rejected it when it was offered to him. Upset at the King's spurning of his work, Hogarth opted to change the engraving and present the painting instead to the King of
224:
he considered an insult on
Hogarth's part. The following dialogue is said to have taken place between George II and the deliverer of the portrait, the Earl of Harrington, when the painting was taken to the King for inspection:
336:
swinging around the neck, holds a rolled
Jacobite newspaper above her head. Some critics have seen Hogarth's incorporation of the "God Save the King" text to represent public support for the Crown: English musician and author
361:. To the left-hand-side of the middleground, a boxing match between two soldiers is underway, with an eager group of spectators onlooking. Across the street, numerous prostitutes holler down to the men from open windows of
348:
are caught in a passionate embrace. A drummer standing to the left is similarly the centre of feminine attention – perhaps his wife and child; behind, a man urinates against the tavern wall, pained by his
341:
said the painting symbolises the nation "wavering between the
Hanoverian Protestant Succession and Stuart Romanist Succession", with "God Save the King" "thoroughly associated with the former."
153:, to the throne, there were two major uprisings, referred to as the "First" (1715) and "Second" (1745) "Jacobite Rebellions". This painting shows a fictional incident during the second rising.
357:
from the woman to his left. Soldiers directly behind him – one of whom clenches an upturned knife – are robbing the civilians. Nearby, a hungry guard gladly takes food from the platter of a
289:, this subscription offer ended on 30 April 1750. At the day of closure, there were 1843 chances sold and 167 chances still remaining in Hogarth's lottery, and he gave this remainder to the
206:
262:
to the King of
Prussia further enforces this view; Frederick II was a renowned military strategist, but not an art connoisseur. The composition of the picture may have been inspired by
168:
to power. In 1744, Charles decided to finance the military and social costs of an uprising, believing that he would be able to take the kingdom. With the support of various
Scottish
411:
is well-nigh perfect, one of the marvels of
English fiction. Likewise, in the field of painting, there has seldom been a more ordered chaos than that of the "March to Finchley".
21:
1149:
1180:
1173:
812:
1208:
997:
783:
1061:
928:
1005:
856:
1321:
1187:
387:
88:
of 1688. It portrays the soldiers in a humorous light, placing exaggerated emphasis on their lack of training and respect for discipline.
1331:
1194:
252:
The patriotism of the painting provides a satirical counterpoint to Hogarth's overt antipathy to the French, evident in his painting
1201:
752:
688:
627:
407:, once the story has taken to the road, suggests a chaos just like the wild disorder of the "March to Finchley" the structure of
1037:
828:
806:
421:
1125:
80:, which was part of a series of uprisings that had been occurring since the late 17th century and were aimed at returning the
963:
720:
65:
has been said to have given full scope to this sense of satire; it was described by Hogarth himself as "steeped in humour".
776:
1295:
1326:
1161:
1069:
106:, who, being known for his skills as a soldier rather than an artist, was reportedly much more satisfied with the gift.
920:
471:
970:
904:
880:
847:
835:
95:
77:
912:
820:
130:
896:
769:
1141:
1316:
936:
103:
1336:
1230:
1109:
983:
1013:
888:
173:
157:
118:
1093:
991:
872:
306:
263:
69:
1133:
1077:
1053:
241:
146:
126:
85:
508:
1085:
1045:
350:
290:
254:
211:
169:
1264:
285:
served as the subscription and lottery ticket. As noted by Hogarth in the 1 May 1750 edition of
137:
The Jacobite risings were a series of rebellions affecting all of the British Isles except for
114:
1021:
864:
748:
716:
684:
623:
329:
181:
1117:
944:
294:
58:
1029:
792:
165:
150:
122:
54:
731:
658:
647:
502:
328:. The woman to his right, a pregnant ballad-seller, carries a basket full of copies of "
1248:
700:
616:
382:
362:
320:
In the approximate centre of the piece, two women apparently quarrel fiercely over the
81:
1310:
1285:
742:
681:
The grotesque depiction of war and the military in eighteenth-century English fiction
669:
338:
278:
190:
172:
clans, Stuart was initially successful. The rebels defeated government forces at the
50:
1290:
237:"The picture, please your majesty, must undoubtedly be considered as a burlesque!"
234:"I hate painting and poetry too! Neither the one nor the other ever did any good!"
1280:
332:", while the older woman to his left, dressed in dark priest's robes with a
325:
321:
274:
177:
161:
312:
141:
and that occurred between 1688 and 1746, four years before the painting of
741:
Scott, Walter; David Hewitt; Mark A. Weinstein; John H. Alexander (1995).
345:
333:
73:
99:
94:
was originally intended to be a gift to the incumbent King of England,
68:
The painting is a depiction of a fictional mustering of troops on the
403:
At a first hasty glance the multiplicity of characters and action in
164:, with the French's unwillingness to invade England to restore the
761:
311:
205:
185:
138:
113:
369:
the man seen standing with fists clenched behind the two boxers.
765:
358:
354:
660:
The Lives of the Most Eminent British Painters and Sculptors
395:, Robert E. Moore states that the "elements" of comedy" in
316:
A drunken soldier rejects water in favour of more alcohol
240:"What? A painter burlesque a soldier? He deserves to be
244:
for his insolence! Take this trumpery out of my sight."
61:. Hogarth was well known for his satirical works, and
399:
are "the very essence of Fielding's comedy as well":
1273:
1257:
1241:
1222:
1160:
955:
799:
504:
Tales of the Wars; Or, Naval and Military Chronicle
258:, completed in 1748. Hogarth's later dedication of
180:. The Stuart army invaded England, passing through
156:The "'45" was the product of the disappointment of
699:
615:
614:Branham, Robert J.; Stephen J. Hartnett (2002).
1150:Sigismunda mourning over the Heart of Guiscardo
730:Réveil, Etienne Achille; Jean Duchesne (1833).
401:
646:Coleridge, Hartley; Derwent Coleridge (1851).
145:. Centred on attempts by Jacobites to restore
777:
8:
744:The Edinburgh Edition of the Waverley Novels
578:
576:
574:
365:'s house, as do soldiers to their cohorts.
1157:
813:Emblematical Print on the South Sea Scheme
784:
770:
762:
377:Critics have likened the chaotic scene of
283:A Stand of Arms, Musical Instruments, Etc.
549:. Harvard University. 1849. p. 735.
344:Behind the three, another soldier and a
20:
1062:Captain Lord George Graham in his Cabin
929:Credulity, Superstition, and Fanaticism
637:Clerk, Thomas; William Hogarth (1812).
520:
518:
457:
455:
433:
857:Strolling Actresses Dressing in a Barn
76:to defend the capital from the second
532:
530:
445:
443:
441:
439:
437:
381:to the narrative of English satirist
7:
1006:Scene from Shakespeare's The Tempest
1102:The March of the Guards to Finchley
397:The March of the Guards to Finchley
379:The March of the Guards to Finchley
92:The March of the Guards to Finchley
63:The March of the Guards to Finchley
34:The March of the Guards to Finchley
26:The March of the Guards to Finchley
14:
277:version, by Hogarth's assistant,
57:, owned by and on display at the
28:, 101.5 × 133.3 cm (40 × 52.5 cm)
1038:Portrait of Captain Thomas Coram
829:A Just View of the British Stage
733:Museum of Painting and Sculpture
702:Hogarth's literary relationships
698:Moore, Robert Etheridge (1969).
683:. University of Delaware Press.
547:Anecdotes of Painting in England
422:List of works by William Hogarth
393:Hogarth's Literary Relationships
305:The painting depicts a scene on
121:was the remaining member of the
16:1750 painting by William Hogarth
1126:Hogarth Painting the Comic Muse
221:March of the Guards to Finchley
143:March of the Guards to Finchley
964:The Assembly at Wanstead House
747:. Edinburgh University Press.
622:. Oxford University Press US.
129:, in 1745, when he headed the
1:
507:. W.M. Clark. 1836. pp.
125:, the line of descendants of
1322:Paintings by William Hogarth
1070:David Garrick as Richard III
671:Anecdotes of William Hogarth
639:The Works of William Hogarth
228:"Pray, who is this Hogarth?"
921:Satire on False Perspective
641:. J. Ballantyne, Edinburgh.
53:painting by English artist
1353:
1332:Musical instruments in art
905:The Four Stages of Cruelty
881:Characters and Caricaturas
849:The Company of Undertakers
715:. London: The Print Room.
657:Cunningham, Allan (1837).
78:Jacobite rebellion of 1745
913:Columbus Breaking the Egg
821:The Bad Taste of the Town
668:Hogarth, William (1833).
472:"Jacobites and the Union"
149:and his descendants, the
131:Second Jacobite Rebellion
897:Beer Street and Gin Lane
711:Paulson, Ronald (1989).
663:. Harper & brothers.
84:to the throne after the
1174:The Marriage Settlement
937:Five Orders of Periwigs
713:Hogarth's Graphic Works
674:. J.B. Nichols and son.
46:The March of the Guards
1231:The Analysis of Beauty
1110:Humours of an Election
679:McNeil, David (1990).
413:
317:
287:The General Advertiser
231:"A painter, my liege."
216:
160:, the exiled Jacobite
134:
29:
1296:Mary Edwards (Patron)
1142:The Lady's Last Stake
1014:Four Times of the Day
889:Industry and Idleness
649:Essays and Marginalia
315:
209:
174:Battle of Prestonpans
158:Charles Edward Stuart
119:Charles Edward Stuart
117:
110:Historical background
40:The March to Finchley
24:
873:The Enraged Musician
618:Sweet Freedom's Song
307:Tottenham Court Road
264:Jean-Antoine Watteau
70:Tottenham Court Road
1327:Paintings in London
1078:Painter and his Pug
1054:The Graham Children
984:A Harlot's Progress
86:Glorious Revolution
1163:Marriage A-la-Mode
1094:Hogarth's Servants
1086:The Gate of Calais
1046:Taste in High Life
351:venereal infection
318:
291:Foundling Hospital
268:Départ de Garnison
255:The Gate of Calais
219:Hogarth completed
217:
212:The Gate of Calais
193:on 16 April 1746.
135:
72:to march north to
30:
1304:
1303:
1218:
1217:
1022:The Distrest Poet
992:A Rake's Progress
865:The Distrest Poet
492:Cunningham, p.127
330:God Save the King
1344:
1209:The Lady's Death
1158:
1118:Sealing the Tomb
998:The Tavern Scene
945:John Wilkes Esq.
786:
779:
772:
763:
758:
737:
726:
707:
706:. Octagon Books.
705:
694:
675:
664:
653:
642:
633:
621:
601:
598:
592:
589:
583:
580:
569:
566:
560:
557:
551:
550:
543:
537:
536:Coleridge, p.266
534:
525:
522:
513:
512:
499:
493:
490:
484:
483:
481:
479:
468:
462:
459:
450:
447:
295:Foundling Museum
59:Foundling Museum
37:, also known as
1352:
1351:
1347:
1346:
1345:
1343:
1342:
1341:
1307:
1306:
1305:
1300:
1269:
1265:Hogarth's House
1253:
1237:
1214:
1181:The Tête à Tête
1156:
1030:The Shrimp Girl
951:
795:
793:William Hogarth
790:
755:
740:
729:
723:
710:
697:
691:
678:
667:
656:
645:
636:
630:
613:
610:
605:
604:
599:
595:
590:
586:
581:
572:
567:
563:
558:
554:
545:
544:
540:
535:
528:
523:
516:
501:
500:
496:
491:
487:
477:
475:
470:
469:
465:
460:
453:
448:
435:
430:
418:
375:
303:
204:
199:
176:, and captured
166:House of Stuart
151:House of Stuart
123:House of Stuart
112:
55:William Hogarth
17:
12:
11:
5:
1350:
1348:
1340:
1339:
1334:
1329:
1324:
1319:
1317:1750 paintings
1309:
1308:
1302:
1301:
1299:
1298:
1293:
1288:
1283:
1277:
1275:
1271:
1270:
1268:
1267:
1261:
1259:
1255:
1254:
1252:
1251:
1249:Line of beauty
1245:
1243:
1239:
1238:
1236:
1235:
1226:
1224:
1220:
1219:
1216:
1215:
1213:
1212:
1205:
1198:
1191:
1188:The Inspection
1184:
1177:
1169:
1167:
1155:
1154:
1146:
1138:
1130:
1122:
1114:
1106:
1098:
1090:
1082:
1074:
1066:
1058:
1050:
1042:
1034:
1026:
1018:
1010:
1002:
988:
980:
968:
967:(c. 1728–1732)
959:
957:
953:
952:
950:
949:
941:
933:
925:
917:
909:
901:
893:
885:
877:
869:
861:
853:
845:
833:
825:
817:
809:
803:
801:
797:
796:
791:
789:
788:
781:
774:
766:
760:
759:
753:
738:
727:
721:
708:
695:
689:
676:
665:
654:
643:
634:
628:
609:
606:
603:
602:
593:
584:
570:
561:
552:
538:
526:
514:
494:
485:
463:
451:
449:Hogarth, p.231
432:
431:
429:
426:
425:
424:
417:
414:
383:Henry Fielding
374:
371:
363:Mother Douglas
302:
299:
246:
245:
238:
235:
232:
229:
203:
200:
198:
195:
111:
108:
82:Stuart Dynasty
15:
13:
10:
9:
6:
4:
3:
2:
1349:
1338:
1337:London in art
1335:
1333:
1330:
1328:
1325:
1323:
1320:
1318:
1315:
1314:
1312:
1297:
1294:
1292:
1289:
1287:
1286:Sarah Malcolm
1284:
1282:
1279:
1278:
1276:
1272:
1266:
1263:
1262:
1260:
1256:
1250:
1247:
1246:
1244:
1240:
1233:
1232:
1228:
1227:
1225:
1221:
1211:
1210:
1206:
1204:
1203:
1199:
1197:
1196:
1192:
1190:
1189:
1185:
1183:
1182:
1178:
1176:
1175:
1171:
1170:
1168:
1165:
1164:
1159:
1152:
1151:
1147:
1144:
1143:
1139:
1136:
1135:
1131:
1128:
1127:
1123:
1120:
1119:
1115:
1112:
1111:
1107:
1104:
1103:
1099:
1096:
1095:
1091:
1088:
1087:
1083:
1080:
1079:
1075:
1072:
1071:
1067:
1064:
1063:
1059:
1056:
1055:
1051:
1048:
1047:
1043:
1040:
1039:
1035:
1032:
1031:
1027:
1024:
1023:
1019:
1016:
1015:
1011:
1008:
1007:
1003:
1000:
999:
994:
993:
989:
986:
985:
981:
978:
977:
973:
969:
966:
965:
961:
960:
958:
954:
947:
946:
942:
939:
938:
934:
931:
930:
926:
923:
922:
918:
915:
914:
910:
907:
906:
902:
899:
898:
894:
891:
890:
886:
883:
882:
878:
875:
874:
870:
867:
866:
862:
859:
858:
854:
851:
850:
846:
843:
842:
838:
834:
831:
830:
826:
823:
822:
818:
815:
814:
810:
808:
807:List of works
805:
804:
802:
798:
794:
787:
782:
780:
775:
773:
768:
767:
764:
756:
754:0-7486-0537-1
750:
746:
745:
739:
735:
734:
728:
724:
718:
714:
709:
704:
703:
696:
692:
690:0-87413-369-6
686:
682:
677:
673:
672:
666:
662:
661:
655:
651:
650:
644:
640:
635:
631:
629:0-19-513741-8
625:
620:
619:
612:
611:
607:
597:
594:
591:Réveil, p.983
588:
585:
582:McNeil, p.122
579:
577:
575:
571:
568:Branham, p.21
565:
562:
559:Branham, p.20
556:
553:
548:
542:
539:
533:
531:
527:
521:
519:
515:
510:
506:
505:
498:
495:
489:
486:
473:
467:
464:
458:
456:
452:
446:
444:
442:
440:
438:
434:
427:
423:
420:
419:
415:
412:
410:
406:
400:
398:
394:
390:
389:
384:
380:
372:
370:
366:
364:
360:
356:
352:
347:
342:
340:
339:Percy Scholes
335:
331:
327:
323:
314:
310:
308:
300:
298:
296:
292:
288:
284:
280:
279:Luke Sullivan
276:
271:
269:
265:
261:
257:
256:
250:
243:
239:
236:
233:
230:
227:
226:
225:
222:
214:
213:
208:
201:
196:
194:
192:
191:Culloden Moor
187:
184:and reaching
183:
179:
175:
171:
167:
163:
159:
154:
152:
148:
144:
140:
132:
128:
124:
120:
116:
109:
107:
105:
101:
97:
93:
89:
87:
83:
79:
75:
71:
66:
64:
60:
56:
52:
51:oil-on-canvas
48:
47:
42:
41:
36:
35:
27:
23:
19:
1291:Hogarth Club
1229:
1207:
1200:
1195:The Toilette
1193:
1186:
1179:
1172:
1162:
1148:
1140:
1132:
1124:
1116:
1108:
1101:
1100:
1092:
1084:
1076:
1068:
1060:
1052:
1044:
1036:
1028:
1020:
1012:
1004:
996:
990:
982:
975:
971:
962:
943:
935:
927:
919:
911:
903:
895:
887:
879:
871:
863:
855:
848:
840:
836:
827:
819:
811:
743:
732:
712:
701:
680:
670:
659:
648:
638:
617:
600:Moore, p.138
596:
587:
564:
555:
546:
541:
524:Clerk, p.181
503:
497:
488:
478:14 September
476:. Retrieved
466:
461:Scott, p.455
408:
404:
402:
396:
392:
386:
378:
376:
367:
343:
319:
304:
286:
282:
272:
267:
259:
253:
251:
247:
220:
218:
210:
155:
142:
136:
104:Frederick II
91:
90:
67:
62:
49:, is a 1750
45:
44:
39:
38:
33:
32:
31:
25:
18:
652:. E. Moxon.
474:. bbc.co.uk
1311:Categories
1202:The Bagnio
995:(1732–33,
722:0951480804
608:References
202:Background
1134:The Bench
979:(1730–31)
956:Paintings
409:Tom Jones
405:Tom Jones
391:. In his
388:Tom Jones
373:Reception
326:grenadier
322:courtship
178:Edinburgh
162:pretender
96:George II
1242:Theories
1097:(c.1750)
1033:(c.1740)
1009:(c.1735)
736:. Audot.
416:See also
346:milkmaid
334:crucifix
301:Analysis
275:engraved
242:picketed
197:Painting
182:Carlisle
170:Highland
147:James II
127:James II
74:Finchley
1274:Related
1258:Museums
100:Prussia
1234:(1753)
1166:(1745)
1153:(1759)
1145:(1759)
1137:(1758)
1129:(1757)
1121:(1755)
1113:(1755)
1105:(1750)
1089:(1748)
1081:(1745)
1073:(1745)
1065:(1745)
1057:(1742)
1049:(1742)
1041:(1740)
1025:(1736)
1017:(1736)
987:(1731)
972:Before
948:(1763)
940:(1761)
932:(1761)
924:(1754)
916:(1752)
908:(1751)
900:(1751)
892:(1747)
884:(1743)
876:(1741)
868:(1741)
860:(1738)
852:(1736)
844:(1736)
837:Before
832:(1724)
824:(1724)
816:(1721)
800:Prints
751:
719:
687:
626:
359:pieman
215:, 1748
1281:Trump
1223:Books
976:After
841:After
428:Notes
324:of a
260:March
186:Derby
139:Wales
974:and
839:and
749:ISBN
717:ISBN
685:ISBN
624:ISBN
480:2008
509:144
385:'s
355:gin
273:An
266:'s
43:or
1313::
573:^
529:^
517:^
454:^
436:^
297:.
270:.
102:,
1001:)
785:e
778:t
771:v
757:.
725:.
693:.
632:.
511:.
482:.
133:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
