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But according to the analysis of Judy Egerton, the curator of the National Gallery's exhibition, the correct interpretation is very different, and perhaps even darker: The viscount has brought the child to the doctor because he believes he has infected her with syphilis. According to one interpretation, the viscount, unhappy with the mercury pills meant to cure his syphilis, demands a refund while the young prostitute next to him dabs an open sore on her mouth, an early sign of syphilis.

A small dog finds a lady's cap in the husband's coat pocket, indicating his adultery. The husband and wife appear uninterested in one another, amidst evidence of their separate dalliances the previous night.
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His neck features a black patch that may conceal a syphilitic sore. The son views himself in a mirror, showing where his interests in the matter lie.

The gouty Earl proudly points to a picture of his family tree, originating with William the Conqueror. Construction on the Earl's new mansion, visible through the window, has stopped, and a usurer negotiates payment for further construction at the center table. In the first of the series, The Marriage Settlement (the name on its frame: The marriage contract, ) he shows an arranged marriage between the son of bankrupt Earl Squanderfield and the daughter of a wealthy but miserly city merchant.This is regarded by some as his finest project, and the best example of his serially-planned story cycles. In each piece, he shows the young couple and their family and acquaintances at their worst: engaging in affairs, drinking, gambling, and numerous other vices. In Marriage A-la-Mode Hogarth challenges the traditional view that the nobility and the rich live virtuous lives, and satirises arranged marriages.
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This series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for. The pictures are held in the National Gallery in London. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. If you have specific questions or information about content, the website, and applications, please contact us.Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 17, intended as a pointed skewering of 18th-century society.
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