Parke of the Artillary (Aubry de La Mottraye's "Travels throughout Europe, Asia and into Part of Africa...," London, 1724, vol. II, pl. 26B) 1723 - 1724

Curator: Here we have William Hogarth’s "Parke of the Artillary," an engraving with pen and ink created circa 1724. Editor: It’s quite detailed, almost like an architectural plan or a technical drawing. I'm curious, what visual elements stand out to you most in this print? Curator: Immediately, the intricacy of the linework compels my attention. Consider how the varying densities of the hatched lines construct a sense of spatial depth and material texture, especially the way Hogarth indicates the topographical features. The visual rhythm, achieved through the repetition of certain graphic motifs, also is intriguing. Editor: Are you referring to how he rendered the troops or landscape? Curator: Indeed, though, on closer inspection, it is clear Hogarth emphasizes formal harmony rather than absolute topographical accuracy. Take note, also, of how he organizes the textual elements—the lettering becomes integral to the composition, shaping its very form. It functions less as pure information and more as structured elements on the picture plane. Editor: I see what you mean, the text blends in as much as it describes. So you’re not so concerned with what's *being* depicted, but rather *how* it is depicted, that Hogarth is focusing on form over function. Curator: Precisely. The aesthetic relationship established by the composition supercedes any representational imperative. Do you agree? Editor: It hadn't struck me at first, but I am persuaded by the argument about form and line in rendering depth and drawing our attention. Thanks, this deeper focus enhances my understanding. Curator: A worthwhile discussion. I find the visual vocabulary deployed here truly remarkable.