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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.

has again been delayed for some months, I would be most interested in hearing from anyone currently working on William Hogarth and his period who would like to see his/her study listed in my bibliography.

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.

Chapter 4.8.4 is about how Hogarth quite deliberately employed his "Line of Beauty (and Grace)" in several of his paintings.

Its imagery, borrowed - ironically - from "high" art (e.g.

from works by Raphael, Dürer, Michelangelo, Correggio, Rubens, Rembrandt or Charles Le Brun), provides the key to a new understanding of the purpose behind Hogarth's taking single motifs from the works of highly reputed Old Masters and using them in new, topical, but often "low" contexts.

Part One lists all of Hogarth's paintings, drawings and engravings together with his writings in alphabetical order, each work having its special bibliographical reference.

Part Two is a thematically arranged bibliography relating to miscellaneous subjects concerning Hogarth's life, his art, his attitudes to other artists and writers, as well as eighteenth, nineteenth and twentieth-century criticisms of his work.

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