The Rapid Rise and Spectacular Fall of London’s Greatest Bonesetter – Atlas Obscura

Coloured etching by G. Cruikshank, 1819, after W Hogarth
Credit: Wellcome Library, London. Wellcome Images

IT WAS ALONG THE OLD Kent Road, somewhere between the town of Epsom and London, that a mob of 18th-century rabble rousers thought they spotted one of King George II’s hated mistresses riding in a carriage, and decided to harass her. But as the crowd gathered around…

via The Rapid Rise and Spectacular Fall of London’s Greatest Bonesetter – Atlas Obscura

Hogarth At Bart’s Hospital

In 1733, when William Hogarth heard that the governors of St Bartholomew’s Hospital in Smithfield were considering commissioning the Venetian artist, Jocopo Amigoni, to paint a mural in the newly constructed North Wing of the hospital, he offered his own services free. Always insecure about his social status, it was a gesture of largesse that made him look good and provided the opportunity for Hogarth to prove that an English artist could excel in the grand historical style. Yet such was the mistaken nature of Hogarth’s ambition that his “Jesus at the Pool of Bethesda” is a curious hybrid at best. Illustrating Christ healing the sick, each of the figures in the painting illustrate different ailments, a bizarre notion that undermines Hogarth’s aspiration to the sublime classical style and results in a…

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