Hogarth deliberately

In common with other prints by Hogarth, such as Beer Street and Gin Lane, The Four Stages of Cruelty was issued as a warning against immoral behaviour, showing the easy path from childish thug to convicted criminal. His aim was to correct "that barbarous treatment of animals, the very sight of which renders the streets of our metropolis so distressing to every feeling mind".[1] Hogarth loved animals, picturing himself with his pug in a self-portrait, and marking the graves of his dogs and birds at his home in Chiswick.[2]

Hogarth deliberately portrayed the subjects of the engravings with little subtlety since he meant the prints to be understood by "men of the lowest rank"[1] when seen on the walls of workshops or taverns.[3] The images themselves, as with Beer Street and Gin Lane, were roughly drawn, lacking the finer lines of some of his other works. Fine engraving and delicate artwork would have rendered the prints too expensive for the intended audience, and Hogarth also believed a bold stroke could portray the passions of the subjects just as well as fine lines, noting that "neither great correctness of drawing or fine engraving were at all necessary".[4]

To ensure that the prints were priced within reach of the intended audience, Hogarth originally commissioned the block-cutter J. Bell to produce the four designs as woodcuts. This proved more expensive than expected, so only the last two of the four images were cut and were not issued commercially at the time.[3] Instead, Hogarth proceeded to create the engravings himself and announced the publication of the prints, along with that of Beer Street and Gin Lane, in the London Evening Post over three days from 14–16 February 1751.[5] The prints themselves were published on 21 February 1751[6] and each was accompanied by a moralising commentary, written by the Rev. James Townley, a friend of Hogarth's.[6] As with earlier engravings, such as Industry and Idleness, individual prints were sold on "ordinary" paper for 1s. (one shilling), cheap enough to be purchased by the lower classes as a means of moral instruction. "Fine" versions were also available on "superior" paper for 1s. 6d. (one shilling and sixpence), for collectors.[1]

Variations on plates III and IV exist from Bell's original woodcuts, bearing the earlier date of 1 January 1750,[1] and were reprinted in 1790 by John Boydell, but examples from either of the woodcut printings are uncommon.[3][a]



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