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which, in contrast with the Puritanism of to-day, still lived through its golden age of riot. In such a world--a world existing to this day, only more decently berouged--moved Hogarth; in the company of wine-bibbers, in gambling hells, in rooms of poets, in cellars of highwaymen, in the death-chambers of fallen maidens.
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The Harlot's Progress, which he produced in a series of pictures, brought him his first success. He then published further series of similar careers over crooked courses--
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The Rake's Progress,
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Marriage à la Mode. He painted the rabble of London, their society and their morals; those who went in cotton and rags and those in satin and silk. In his writings he censures the old painters plainly because in their historical style they had quite passed over the middle classes. And he went with great knowledge to these new subjects. In the National Gallery, which possesses the originals of
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Marriage à la Mode, one is astounded at the technical qualities of Hogarth's painting. Whoever has been misled by the engraved reproductions, and looks for bad, distorted drawing, may here learn to know him as a painter in the fullest sense of the word. There is no sign left of the defective caricature which disfigures the engravings; there is a severe, unadorned manifestation of realism, of an art that has from the outset rooted itself in modern life. Under the manners and graces of the age Hogarth stands a