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The author's interdisciplinary study interprets this borrowing method as a cleverly contrived "anti-iconography" with which Hogarth ridicules the English self-styled connoisseurs of his time.

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Not least, if you carry out your research here you will save yourself a lot of time and trouble. * * *Bernd Krysmanski, "Patriotisches Rindfleisch, Pariser Pantinen und eine jakobitische Krähe: Ein auf Erkenntnissen von Katharina Braum fußender Nachtrag zu Hogarths 'Gate of Calais' nebst einer ergänzenden Hypothese von Elizabeth Einberg", , Hildesheim, Zurich, New York: Georg Olms, 2010.

[Text based on a paper read on 29 July 1999 at the Tenth International Congress on the Enlightenment, University College, Dublin, 25-31 July 1999.] * * *B. Andreas Beyer, Bénédicte Savoy and Wolf Tegethoff, vol.

It should be noted that the study also touches upon a number of other aspects of Hogarth's art.

Chapter 4.10.7 looks at dogs in Hogarth's oeuvre, and particularly at the howling Irish Setter in (1747) depicts the interior of St.

That Peter Wagner's (2010), raises the question whether Hogarth could have had connections with the paedophilic subculture of eighteenth-century London?

That Christian Ludwig von Hagedorn, as early as in 1762, wrote an excellent study on Hogarth's by the German art historian and Hogarth expert, Bernd Krysmanski.

Peter's, Vere Street (formerly Marybone Chapel), and not of St.

Martin-in-the-Fields whose box pews were not introduced into the body of the church until 1799.

The text includes a great number of original quotations from contemporary periodicals, pamphlets and treatises, concerning the theory of art (eclecticism, picture auctions, criticism of connoisseurship, the profane and blasphemy in art), the history of religion and religious tradition (English Puritanism, deism, Methodism [particularly George Whitefield], antipapism, witchcraft and demonology, iconoclasm, anti-Semitism, antitrinitarianism, the debate on transubstantiation), as well as social, cultural and medical history (the anatomy of the brain, the maltreatment of dogs, physiognomy, eroticism, sex murder, eighteenth-century melancholy, madness, and enthusiasm).

Some of these sources are reprinted for the first time and may be of interest not only to art historians, but also to theologians, members of the Methodist Church, general historians, philologists or other scholars working on eighteenth-century England.

This is an indispensible study for the serious student of William Hogarth and for all art historians, general historians, philologists, and other scholars working with reference to eighteenth-century England.

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