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Eirwen E. C. Nicholson
This article's point of entry is Plate 3 of William Hogarth's print sequence The Harlot's Progress (1732), specifically Hogarth's deliberate, hostile choice of an unframed, titled, small portrait engraving of the Reverend Dr Henry Sacheverell as a �pin-up� within the harlot's bedroom furniture. The article reappraises and recontextualises Hogarth's choice of Sacheverell, which makes sense in the context of Hogarth's life and work, but which, with Hogarthian irony, is further informed by the subsequent discovery (1747) of Sacheverell's internment alongside a notorious prostitute, given the association of Sacheverell's celebrity and notoriety with his alleged support from London's �kind shees� and streetwalkers at the time of his trial. This, together with a strong, nascent material consumerist culture, sees Sacheverell anticipating the �politics out of doors� associated with John Wilkes by 50 years and is a specifically gendered version that has gone largely unexplored.
