Hogarth’s Marriage la Mode One of Hogarth’s bitterest satires, Marriage la Mode, showed the disastrous results of a marriage of convenience concluded between the son of a poverty-stricken nobleman and the daughter of an aspiring merchant (Jarrett 88). Yet this background information is not necessary to appreciate each painting independently. From the first painting, in which the ambitious fathers of the couple exchange money and titles, to the final two prints that show the husband and wife’s melodramatic deaths, each of the six prints tells both a episode in the story of this doomed arranged marriage and a story in and of itself. The first two Marriage la Mode prints, The Marriage Settlement and Shortly After the Marriage, both contain numerous works of art, architecture, period dress and other carefully placed props that allow each work to tell a story without being dependent on the context of the series. Because of its immense detail, The Marriage Contract is perhaps one of the easiest prints to appreciate. Even without any prior knowledge of this work, an inexperienced art critic can still ascertain that the scene takes place in an aristocratic home. Copies of paintings after the old masters hang in gilt frames, the ceiling is painted and the walls hung with green damask. Two men sit at a table in some sort of business transaction, as evidenced by the presence of three lawyers, numerous documents and money. The gentleman on the right’s portrait hangs on the wall above the table, indicating that the deal is being brokered in his home. He is correspondingly dressed in fine clothes, whereas the other gentleman is more modestly attired. The skill with which Hogarth has represented the swelling aristocratic pride of the Earl and the lower-bred, commercial demeanor of the Sheriff was regarded by eighteenth-century critics, best acquainted with the social manners of their age, as masterly (Webster 10...
