HOGARTH 



HOGG 



strong political entity. He dis- 

 sociated himself from Kruger's 

 anti-British policy, but he was 

 equally distrustful of Cecil Rhodes 

 and his imperialistic ideas. Asso- 

 ciating himself with no party in the 

 S. African War, he went to Europe 

 until it was over, and returned to 

 Africa to meet a political defeat. 

 He retained much influence, how- 

 ever, and was on a mission to Lon- 

 don when he died, Oct. 16, 1909. 



Hogarth, DAVID GEORGE (b. 

 1862). British archaeologist. Born 

 at Barton-on-Humber, he was 

 educated at Winchester and Mag- 

 dalen College, Oxford. He carried 

 out explorations in Asia Minor, 

 1887-94, and excavations in Crete, 

 Egypt, Ephesus, Assiut, and Car- 

 chemish. He was director of the 

 British school at Athens, 1897- 

 1900, and succeeded Sir Arthur 

 Evans as keeper of the Ashmolean 

 Museum, Oxford, in 1909. His 

 works include Modern and Ancient 

 Roads in E. Asia Minor, 1892 ; The 

 Nearer East, 1902 ; The Pene- 

 tration of Arabia, 1904 ; The 

 Archaic Artemisia of Ephesus, 

 1908 : Ionia and the East, 1909 ; 

 The Ancient East, 1914 ; and The 

 Balkans, 1915. During the Great 

 War he was engaged on special ser- 

 vice as an officer of the R.N.V.R. 



Hogarth, WILLIAM (1697-1764). 

 English painter, engraver, chron- 

 icler, and moralist. Hogarth, be- 

 longing to a Westmorland family, 

 was born in Bartholomew Close, 

 City of London, Nov. 10, 1697. He 

 began his career as apprentice to a 

 silversmith in Leicester Fields, but, 

 as a boy, had amused himself with 

 painting, and paid some attention 

 to engraving. His master set him 

 to engrave visiting cards, shop bills, 

 and coats of arms, but he himself 

 worked on illustrations for books, 

 and in quite early days produced 

 sixf or King's History of the Heathen 

 Gods. In 1726 he became known by 

 some copper - plates for Butler's 

 Hudibras. Three years later, run- 

 ning away with the only daughter 

 of the artist Sir James Thornhill, 

 he settled down in South Lambeth. 

 His well-known trip to the Isle 

 of Sheppey took place in 1732. He 

 was one of a party of four, and to 

 the account of the journey and its 

 adventures Hogarth supplied the 

 illustrations. The MS. can still 

 be seen in the British Museum. In 

 the following year he removed to 

 Leicester Fields, and commenced 

 his long series of didactic chronicles 

 in pictorial art, commencing with 

 The Harlot's Progress. This group 

 of works^ which includes The 

 Rake's Progress, The Enraged 

 Musician, the wonderful series of 

 Marriage a la Mode, Beer Street 

 and Gin Lane, The Lady's Last 



Self-portrait in National Portrait Gallery 



Stake, Industry and Idleness, and 

 others, takes high position as an 

 exposition of the life of the day. 



B Double Hogback 



Hogback. Diagram to illustrate the geological form so 

 described 



His popular portraits and inte- 

 riors belong to quite another order. 



Portrait Gallery, Windsor Castle, 

 and Lambeth Palace. His house at 

 Chiswick was saved from destruc- 

 tion by the generosity of Lt.-Col. 

 Shipway, and presented to the 

 Middlesex County Council in trust 

 for the public. By the donor's 

 courtesy, representations of many 

 of the artist's works have been 

 placed in the rooms, and the house 

 in some measure has been restored 

 to its original condition. Hogarth 

 was in the habit of spending all the 

 summer at Chiswick, and the win- 

 ter at his house in Leicester Fields, 

 where he died Oct. 26, 1764. He 

 was buried in Chiswick churchyard. 

 See Art ; Caricature ; Cockfigh'ting ; 



Fenton, L. G. C, Williamson 



Bibliography. The Genuine Works 

 of William Hogarth, J. Nichols and 

 G. Steevens, 1808-17 ; Works of 

 William Hogarth, T. Clerk, 1810; 

 Works of William Hogarth, W. C. 

 Monkhouse, 1872; Hogarth, Austin 

 Dobson, 1907 ; Hogarth's London, 

 H. B. Wheatley, 1909. 



Hogback OB MONOCLINE (Gr. 



monos, alone; 



klinein, to incline). 



Land form which 

 A S,mple Hogback ar i ses f rom ero . 



sion of inclined 

 strata. From the 

 ridge one slope is 

 the steep eroded 

 edge of the stra- 

 tum which dips 

 beyond the ridge 

 to form the other 



slope. The scarp face usually over- 

 looks a valley, and as erosion 



urns utuuii^ wi quite Muutuer uruer. JOOKS a vaney, and as erosion pro- 

 They possess a charm of composi- ceeds the monoclinal ridge shifts 



tion, colouring, and atmosphere 

 entirely their own, which can never 

 be too highly praised. They are 

 works of the highest artistic merit, 

 as portraits unflinching, as works 

 of decoration charming, and in this 

 respect, as a portrait painter, 

 especially when those of Lord 

 Lovat, Thomas Coram, the artist 

 himself, and David Garrick are 

 considered, Hogarth has had few 

 rivals. Equally does he stand alone 

 in his extraordinary moral chroni- 

 cles, vivid pictures of the evil side 

 of English life of the day, social and 

 domestic vices, attached at their 

 most vulnerable points by ridicule. 

 He waged a strong crusade against 

 criminality, corruption, hypocrisy, 

 and extravagance, and even, 

 perhaps, still more strongly against 

 drunkenness and cruelty to animals. 

 Hogarth became serjeant painter 

 to the king in 1757. Several of his 

 best pictures are at the Soane 

 Museum in Lincoln's Inn Fields ; 

 others, including his great portrait 

 of Thomas Coram, its founder, are 

 at the Foundling Hospital; while 

 yet others can be seen at S. Bartho- 

 lomew's Hospital, Grosvenor House, 

 the National Gallery, the National 



steadily away from the valley 

 floor. This type of land form arises 

 where resistant rocks outcrop be- 

 tween softer strata which are 

 carved into valleys. See Hog's Back. 

 Hogg, JAMES (1770-1835). Scot- 

 tish poet, known as the Ettrick 

 Shepherd. Born at Ettrick, Sel- 

 kirkshire, the 

 son of a shep- 

 herd, he re- 

 ceived a scanty 

 education, but 

 at the age of 

 sixteen a read- 

 ing of The 

 Gentle Shep- 

 herd by Allan 

 Ramsay in- 

 spired him 

 with the de- 

 sire to write poetry. His poetical 

 leanings were further developed 

 by his connexion with Sir Walter 

 Scott, to whom he supplied some old 

 ballads for his Border Minstrelsy. 

 He did not obtain any success until 

 1807, when a volume of poems en- 

 titled The Mountain Bard, and a 

 practical treatise on the care of 

 sheep, brought him in 300, which 

 he lost in unprofitable farming. 



