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.

William Hogarth's Depiction of Violence", in Kassandra Nakas / Jessica Ullrich (eds.), [Heidelberg: Universitätsverlag Winter, 2016], 79-114.

Literature on Methodism (rather than on Hogarth), for example, allows the preacher sitting next to Tom Idle in the prisoner's cart in series.

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.

Did you know that, during the last five decades, Ronald Paulson has written more than sixty publications on William Hogarth?

That a dozen papers on Hogarth and the London theatre are from the pen of Mary Klinger Lindberg?