The Beggar's Opera - YCBA Collections Search

William Hogarth, 1697–1764, British, The Beggar's Opera, 1729

Creator:: William Hogarth, 1697–1764
Title:: The Beggar's Opera
Former Title(s):: The Beggar's Opera, III, xi
Scene from the Beggar's Opera
Date:: 1729
Materials & Techniques:: Oil on canvas
Dimensions:: 23 1/4 x 30 inches (59.1 x 76.2 cm), Frame: 33 1/4 × 40 × 3 1/4 inches (84.5 × 101.6 × 8.3 cm)
Inscription(s)/Marks/Lettering:: signed and dated 1729
Credit Line:: Yale Center for British Art, Paul Mellon Collection
Copyright Status:: Public Domain
Accession Number:: B1981.25.349
Classification:: Paintings
Collection:: Paintings and Sculpture
Link to Frame:: B1981.25.349FR
Subject Terms:: boxes (containers) | correctional institution | crest | fathers | jail | keys | literary theme | prison | shield | stage
Access:: Not on view
Link:: https://collections.britishart.yale.edu/catalog/tms:5033
Export:: XML
IIIF Manifest:: JSON

Intended as a satirical riposte to Italian opera, John Gay’s musical play The Beggar’s Opera premiered at the Theatre Royal, Lincoln’s Inn Fields, on January 29, 1728. Set in the criminal underworld of contemporary London, with highwaymen and prostitutes taking the place of the classical deities and heroes of the Italian opera, and with folk ballads and popular songs in place of florid arias, The Beggar’s Opera was wildly popular with London audiences. For the young William Hogarth, the subject of the play provided his first major success as a painter. He shows the climax in which the highwayman Macheath faces execution as his two wives, Lucy Lockit and Polly Peachum, plead for his life with their fathers, a jailer and a professional informer. Above the stage a banner bears the Latin motto “Veluti in speculum” (as in a mirror), suggesting that the stage action reflects real life.

Gallery label for installation of YCBA collection, 2016

A satirical play with songs, John Gay's The Beggar's Opera opened at the Theatre Royal, Lincoln's Inn Fields, on January 29, 1728, and took London by storm. In the play, highwaymen and robbers have the manners of gentlemen, and members of supposedly respectable professions behave like scoundrels. Here Hogarth represents the main character, Macheath, a notorious highwayman, who has been arrested, brought in irons to Newgate Prison, and condemned to death. Each of the young women who is besotted with him, Lucy Lockit (left) and Polly Peachum (right), begs her father-respectively, a jailer (with the keys) and a professional police informer-to spare Macheath. During the first run of the play, the actress Mrs. Fenton (1710-1760), who played Polly, became mistress to a senior courtier, Charles Powlett, 3rd Duke of Bolton (1685-1754). The duke is shown on the far right, sitting with other VIPs in one of the boxes on the edge of the stage-beneath a large, lascivious satyr.

Gallery label for installation of YCBA collection, 2005

John Gay’s ballad opera, with music arranged by Johann Pepusch, was first produced by John Rich at the Lincoln’s Inn Fields Theatre in January 1728. “The Beggar’s Opera” was an unprecedented success, running for sixty-two performances in its first season and inspiring the pun that it had made Rich gay, and Gay rich. With its English ballad interludes and its setting in London's criminal underworld, the play challenged the vogue for Italian opera that Hogarth had satirized in his earliest engravings.

Hogarth’s painting depicts the climax of the play, set in Newgate Prison. Macheath, a gentlemanly highwayman bigamist, stands in chains at center stage. His two wives, Polly Peachum and Lucy Lockit, make appeals to their fathers, thieftaker and jailer, respectively, to perjure themselves in support of Macheath. Hogarth painted five versions of the scene; this is the last and marks the culmination of his rapid development as a painter.

The painting is set in an ambiguous space, part prison and part stage, which situates the interplay of reality and fiction suggested in the Latin motto that appears on the banner over the stage: “Veluti in speculum” (as in a mirror). The figures seated in boxes at the sides of the stage, occupying what were considered to be the best seats in the house, are recognizable portraits. Of particular note are John Gay, the shadowy figure at the foot of the staircase, and John Rich, standing immediately in front of Gay. In the foreground, Lavinia Fenton, the actress playing Polly Peachum, meets the gaze of the enthralled Lord Bolton; at the end of the season he would install her as his mistress, and they would remain together until his death in 1754.

“The Beggar's Opera” was Hogarth’s first major success as a painter and set the stage thematically and compositionally for the modern moral subjects he would begin to produce in the following decade.

Eleanor Hughes

John Baskett, Paul Mellon's legacy: a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, p. 247, no. 14, pl. 14, N5220 M552 P38 2007 OVERSIZE (YCBA)

John Gay's play The Beggar's Opera, a satire with songs, premiered at John Rich's Theatre Royal, Lincoln's Inn Fields, on January 29, 1728, and took London by storm. It paints a world turned topsy-turvy, in which highwaymen and robbers, the central, sympathetic characters, conduct themselves in gentlemanly fashion, whereas members of ostensibly respectable professions act like scoundrels. Depicting Act III, scene 11, Hogarth's painting shows the play's climax. The central character Macheath, a notorious highwayman, has been arrested and brought to the Hall Ward at Newgate Prison, from which he will go to his execution. While he stands shackled at hands and feet, his two young and beautiful lovers, Lucy Lockit (left) and Polly Peachum (right), appeal to their fathers-respectively a jailer and a professional informer-for his freedom.

In the three or four years following the opening of The Beggar's Opera, Hogarth painted no fewer than ?ve versions of this subject. Recently it has been shown that the present version, which belonged to John Rich, was the fourth.1 The ?rst three paintings seem to depend on a chalk sketch (Royal Collection) made by Hogarth at an actual performance: the viewpoint is closely cropped around the ?ve actors in the middle ground, and members of the audience are depicted as seated on the stage at the sides of the players and behind. The Center's painting signi?cantly enlarges the scene by reducing the scale of both the central ?gures and audience and by placing them in a more grandiose setting that looks like a real prison instead of a stage set.

In this and the later versions Hogarth includes two sculpted satyrs that hold up the stage's curtain at the painting's edges; differing only slightly from the actual sculptures on the proscenium arch in Rich's theater, these elements act as visual reminders of the play's ?rst staging. As another allusion to the original staging, he shows identi?able members of the audience who interact with the players; most notably, in the corner seat of the right-hand audience box sits the Duke of Bolton. During the initial run of The Beggar's Opera, Bolton became scandalously enamored of Lavinia Fenton, the actress playing Polly, and later publicly kept her as his mistress. Hogarth refers to this notorious affair by showing Polly looking past her father as she sings and locking gazes with the Duke. By describing the picture with the epigram Veluti in speculum (As in a Mirror), inscribed in the banderole at the top of the painting, he invites the viewer to consider the different types of truth the work represents: it holds a mirror up to Gay's play and its relevance to contemporary life; to a particular performance of that play; and even to a compromising relationship between an actress and a prominent member of the audience.

Contemporaries did indeed recognize the play as a thinly veiled lampoon of London society's manners and morals and, more pointedly, as an attack on the Prime Minister Sir Robert Walpole and his government's policies. Although Walpole and members of his party appeared to enjoy themselves at The Beggar's Opera, his government actively prevented any performance of its sequel, Polly, later that same year. Whatever the political sympathies of Hogarth, it is clear that his painting ofa critical scene from The Beggar's Opera was part of a larger dialogue about the play and its implications.

Julia Marciari-Alexander

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This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of South Australia, 1998-09-16 - 1998-11-15) [YCBA Objects in the Exhibition] [Exhibition Description]

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