DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2057#0234
HOGARTH.
CHAPTER V.
Hogarth's inducements to painting the pic-
ture OF SIGISMUNDA ; HIS CORRESPONDENCE
WITH LORD GROSVENOR ON THIS SUBJECT, CON-
TRASTED BY TWO LETTERS FROM LORD CHARLE-
MONT, FOR WHOM HE HAD PREVIOUSLY PAINTED
AN INTERESTING SCENE. ORIGIN OF THE QUAR-
REL WITH WILKES AND CHURCHILL, WHICH GAVE
RISE TO THE PRINT OF THE BEAR, etc, AND THE
ARTIST'S DEATH.
I he particulars relative to the picture of
Sigismunda, Hogarth has himself inserted
in his subscription book, on the leaves of
which he has pasted his correspondence
with Lord Charlemont and Lord Grosve-
nor, and a proof print of Mac Ardell's copy
from Corregio's picture. In a little blue
memorandum book, he resumes the subject,
■sind concludes with a narrative of his quar-
rel with Wilkes and Churchill, which ends
with the word finis.
In these and some other loose papers, af-
ter having stated the professional injury
CHAPTER V.
Hogarth's inducements to painting the pic-
ture OF SIGISMUNDA ; HIS CORRESPONDENCE
WITH LORD GROSVENOR ON THIS SUBJECT, CON-
TRASTED BY TWO LETTERS FROM LORD CHARLE-
MONT, FOR WHOM HE HAD PREVIOUSLY PAINTED
AN INTERESTING SCENE. ORIGIN OF THE QUAR-
REL WITH WILKES AND CHURCHILL, WHICH GAVE
RISE TO THE PRINT OF THE BEAR, etc, AND THE
ARTIST'S DEATH.
I he particulars relative to the picture of
Sigismunda, Hogarth has himself inserted
in his subscription book, on the leaves of
which he has pasted his correspondence
with Lord Charlemont and Lord Grosve-
nor, and a proof print of Mac Ardell's copy
from Corregio's picture. In a little blue
memorandum book, he resumes the subject,
■sind concludes with a narrative of his quar-
rel with Wilkes and Churchill, which ends
with the word finis.
In these and some other loose papers, af-
ter having stated the professional injury