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as a "rugged democrat". Left of that there is a brown dog wearing a sweater, presumably owned, as Brown says, by the woman on the left with the blue parasol. This dog represents the wealthier upper-middle class of the society. The dog is there for companionship but also for play and to show off wealth. Brown says that the democratic dog "hates minions of aristocracy in red jackets". There is also a bulldog pup asleep near the workmen, implied to be a pet of one of the labourers. Finally on the upper central portion of the painting there is a large hunting dog owned by the most wealthy upper-class man and woman on the horses. This dog is purely bred to help hunt and the only people that are wealthy enough to go hunting, for game or sport. In the far background a dog is seen yapping at horses pulling a carriage, which is about to turn into the main street, hinting at potential disorder to come.
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meanest sorts of Labour, the whole soul of a man is composed into a kind of real harmony, the instant he sets himself to work! Doubt, Desire, Sorrow, Remorse, Indignation, Despair itself, all these like helldogs lie beleaguering the soul of the poor dayworker, as of every man: but he bends himself with free valour against his task, and all these are stilled, all these shrink murmuring far off into their caves. The man is now a man. The blessed glow of Labour in him, is it not as purifying fire, wherein all poison is burnt up, and of sour smoke itself there is made bright blessed flame!
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characters, throwing people together in new ways. Brown reproduces the common triangular structure of the social system, with the horse-riding aristocrats at the top. But they are pushed to the back, stuck and unable to progress – forced into the shade in the background, while the workers occupy the brightly lit foreground. The railings around the excavations separate the realm of productive work from that of leisure, lassitude and unproductive work.
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262:, of which he made a detailed study. Hampstead was at the time a wealthy area on the outskirts of London, which was undergoing rapid expansion. The development of the new sewerage and drainage systems in the city was also widely discussed in the press as an agent of modernisation. The character of "Bobus" appears in the writings of
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There are multiple pets, mainly dogs, portrayed in the painting. The lower, central portion contains a tattered mongrel dog hanging around with the young children. This dog represents a pet that the lower class would have, a stray that would be there to keep the owner company. Brown refers to the dog
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Bobus is portrayed as a populist manipulator who is going into politics. In the painting his agent appears behind
Carlyle's head, prodding local "idlers" to walk through the streets carrying signs with his name on them. At the left a "Vote for Bobus" poster has been hit by a ball of mud or faeces and
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In the foreground are a group of ragged children who have recently suffered a bereavement, evidenced by the black band on the baby's arm. As Brown says in his description, their ragamuffin status suggests that it was their mother who died. The oldest child, wearing borrowed clothing too old for her,
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which is being mixed by other navvies at the right of the composition. A hodcarrier, visible behind the main navvy, is transporting bricks down into the hole. The sheet floating in front of him is a copy of a religious tract handed to him by the lady in the blue bonnet at the left, who is attempting
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The principal figure of the young workman is shovelling soil from a platform hanging in a hole onto a large pile behind him. Beneath him in the underground shaft another workman is digging the soil and shovelling it onto the platform. He is only visible in the form of a hand and a shovel appearing
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As with most Pre-Raphaelite paintings the composition minimises chiaroscuro and accumulates motifs in deliberately confusing abundance, containing numerous
Hogarthian sub-episodes within the main image (a man washing windows; a dog worrying horses leading a carriage etc.). The composition is also
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Beneath these figures on the road children can be seen playing, while genteel couples and sandwich-board carriers wander through the sun-dappled lower street. At the extreme right a policeman pushes a female orange seller who is resting her basket on a bollard (technically illegal, because she is
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Animals are also referred to in the posters on the wall. A wanted poster for a burglar says that he is typically accompanied by a bulldog, and another poster advertises a lecture by "Professor Snoox" on the habits of cats. Two cats are seen on a roof. In his description Brown says that they "are
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wrapped in protective rope hangs over the railing that separates the productive from the unproductive figures in the composition. The Irish couple by the tree are feeding their baby with gruel, while an older man stands by the tree looking resentful. This aspect of the painting recalls
Carlyle's
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It has been written, 'an endless significance lies in Work;' a man perfects himself by working. Foul jungles are cleared away, fair seedfields rise instead, and stately cities; and withal the man himself first ceases to be a jungle and foul unwholesome desert thereby. Consider how, even in the
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The painting is structured by the increasing compression of space from right to left, as the rural relaxation on the right side is replaced by the concentrated labour in the middle and the urban crush on the far left. The workers in the centre break up the established relationship between the
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and looks into the hole created by the workers. Their mongrel pet dog challenges the fashionable lady's pet dog, because, writes Brown, he hates "minions of aristocracy in jackets". The baby, who looks challengingly out at the viewer, occupies a central position in the composition. Brown's
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used to dramatically crop figures and motifs which complicates the legibility of space (the hand emerging from the hole; the cropped figures behind the intellectuals' head). Carlyle's smile links the viewer in a paradoxical engagement with the re-working process depicted.
210:. The workers are in the centre of the painting. On either side of them are individuals who are either unemployed or represent the leisured classes. Behind the workers are two wealthy figures on horseback, whose progress along the road has been halted by the excavations.
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and the transition from a rural to an urban economy. Brown began the painting in 1852 and completed it in 1865, when he set up a special exhibition to show it along with several of his other works. He wrote a detailed catalogue explaining the significance of the picture.
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329:, with its intense concentration on the complication of the pictorial surface in conflicting details. This image of potentially violent and jarring confrontation is set in opposition to the social harmony and deference epitomised by the picturesque tradition.
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At the right the workers are being watched by two intellectuals who "seem to be idle but work". They are described as workers in their minds and as "the cause of well ordained work in others". In fact these are portraits of
406:, the most notoriously criminalised part of London at the time. He is an urban worker who obtained flowers, reeds and small animals from the countryside to sell in the centre of the city. Such workers had been chronicled in
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All these figures are passing by the workers along a narrow pathway which brings them up against the sifted lime powder, a corrosive which symbolises the cleansing assault on their complacent rejection of useful work.
387:. A navvy on the right, swigging beer, emphasises their rejection of teetotalism. The woman in front of the evangelist represents genteel glamour – a fashionable lady whose only "job" is to look beautiful.
291:. The Election paintings depicted both the vitality and the corruption of British society, while the prints set up a contrast between poverty and prosperity. While working on the painting Brown founded the
187:, a well-known collector of Pre-Raphaelite art, who died before its completion. A second version, smaller at 684 × 990 mm, was commissioned in 1859 and completed in 1863. This is now in the
202:" digging up the road to build a tunnel. It is typically assumed that this was part of the extensions of London's sewerage system, which were being undertaken to deal with the threat of
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as a man of "effeminate gentleness" but afflicted with paranoia. The man's head is covered with straw, the wearing of which is frequently a symbol of madness in art.
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Brown explained that he had intended to demonstrate that the modern
British workman could be as fit a subject for art as the more supposedly picturesque Italian
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depicting a deferential social system and visual harmony. The boy is tugging his forelock to a passing member of the gentry on horseback (visible as a shadow).
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In the same book
Carlyle creates the character of Bobus Higgins, a corrupt sausage maker who uses horsemeat in his product to undercut competitors. In
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economic system and political corruption. He was known for his so-called "gospel of work", which described work as a form of worship. He wrote in
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tries to control her wayward brother, who is playing with the navvies' wheelbarrow. The younger girl sucks a carrot in lieu of a
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On the embankment between the upper and the lower road a group of unemployed rural labourers are sleeping in uneasy postures. A
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The ragged character on the left in front of the fashionable lady represents the opposite end of the social scale: an itinerant
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798:"Practical Politics in "Hudson's Statue", Paul Flynn English/Religious Studies 256, "Sacred Readings" (2004), Brown University"
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Biome, Albert, "Ford Madox Brown, Carlyle, and Karl Marx: Meaning and
Mystification of Work in the Nineteenth Century",
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244:. An MP is being carried by his supporters, while a Tory rural labourer and a Whig urban entertainer fight one another.
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who is supposed to be a "bouncer" employed in a local pub. The beer seller's costume includes examples of cheap
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In the centre of the composition is a countryman who has recently moved to the town, identifiable by his rural
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with the name of the candidate "Bobus". A poster also draws attention to the potential presence of a burglar.
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the face of Maria
Leathart, the commissioner's wife, replaces that of Mrs Brown in the Manchester version.
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A Converted
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as the epitome of a corrupt businessman who uses his money to market himself as a politician.
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his fictional fashionable lady about the perilous situation of the impoverished children.
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The painting also portrays an election campaign, evidenced by posters and people carrying
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Page on the "Birmingham
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The rustic aspects of the composition draw on the established tradition of the
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68.4 cm × 99.9 cm (26.9 in × 39.3 in)
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137 cm × 198 cm (53.9 in × 77.9 in)
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Curtis, Gerard (1992). "Ford Madox Brown’s Work: An
Iconographic Analysis".
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to link artists who saw themselves as Hogarth's admirers and followers.
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from the hole. To his right an older navvy is seen shovelling unsifted
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A current day view of The Mount, Heath Street: the location used for
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to evangelise the navvies. She is carrying copies of a tract called
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into a sieve. The fine powder accumulates in a pile on the left.
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description emphasises this challenge by suddenly moving from a
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The young navvy (shovelling soil) and the older navvy (sieving
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693:, "The Art Bulletin", Vol. 74, No. 4 (Dec. 1992), pp. 623–636.
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254:(literally, the "mob," used to refer to the street people of
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905:"Ford Madox Brown: Heath Street, Hampstead (Study for Work)"
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Dianne Sachko Macleod, "Plint, Thomas Edward (1823–1861)",
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Unemployed labourers resting and sleeping on the embankment
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Pre-Raphaelites: Curator's choice – Ford Madox Brown's
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761:, Review of Carlyle's Past and Present, 1844, Engles,
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The setting is an accurate depiction of The Mount on
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discussion of unemployed Irish migrants in his book
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I Am Half-Sick of Shadows, Said the Lady of Shalott
691:Ford Madox Brown's Work: An Iconographic Analysis
431:The countryman (left) and the beer seller (right)
269:Brown's principal artistic model was the work of
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1966:Collection of Birmingham Museum and Art Gallery
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416:. Brown's catalogue describes the character in
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453:under his arm – is a pastiche of a gentleman-
447:jewellery. His persona – including a copy of
381:The Hodman's Haven or Drink for Thirsty Souls
615:Road works at The Mount, Hampstead, May 2021
317:, epitomised by the work of artists such as
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729:, Nature and Industrialisation, pp. 316–20.
242:Humours of an Election: Chairing the Member
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1144:Louisa Beresford, Marchioness of Waterford
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258:). He set the painting on Heath Street in
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1423:The Finding of the Saviour in the Temple
778:. Online-literature.com. 26 January 2007
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653:Oxford Dictionary of National Biography
526:Thomas Carlyle (left) and F. D. Maurice
168:that is generally considered to be his
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705:definition, originally taken from the
1986:Cultural depictions of Thomas Carlyle
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634:List of paintings by Ford Madox Brown
1961:Collection of Manchester Art Gallery
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1320:Our English Coasts ('Strayed Sheep')
755:Past and Present, Chapter XI, Labour
655:, Oxford University Press, Sept 2004
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800:. Victorianweb.org. 23 October 2002
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1863:Cromwell, Protector of the Vaudois
1285:Christ in the House of His Parents
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1484:King Cophetua and the Beggar Maid
909:Manchester Art Gallery Collection
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827:, Penn State Press, 2010, p. 154.
413:London Labour and the London Poor
189:Birmingham Museum and Art Gallery
183:The painting was commissioned by
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16:1865 painting by Ford Madox Brown
1905:Catherine Madox Brown (daughter)
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707:Dictionary of Phrase and Fable
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273:, in particular his paintings
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1951:Paintings by Ford Madox Brown
1334:Paolo and Francesca da Rimini
842:Reframing the Pre-Raphaelites
776:"Past and Present, Chapter 5"
745:, vol. 74, no. 4, pp. 623–36.
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592:denying his theory in toto".
579:has "don't" chalked onto it.
164:(1852–1865) is a painting by
1214:John Roddam Spencer Stanhope
1139:Robert Braithwaite Martineau
765:, Christopher Upward, trans.
667:, accessed, 14 February 2015
596:Composition and significance
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1900:Lucy Madox Brown (daughter)
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1920:Pre-Raphaelite Brotherhood
1910:Ford Madox Ford (grandson)
1229:Algernon Charles Swinburne
973:Pre-Raphaelite Brotherhood
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170:most important achievement
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1007:William Michael Rossetti
886:"Ford Madox Brown: Work"
1807:Manfred on the Jungfrau
1711:Rossetti and His Circle
1652:Marie Spartali Stillman
1239:John William Waterhouse
1224:John Melhuish Strudwick
1219:Marie Spartali Stillman
1089:Charles Allston Collins
838:Ford Madox Brown's Work
825:Art of Ford Madox Brown
468:The ragamuffin children
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1249:William Lindsay Windus
997:Dante Gabriel Rossetti
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1576:Hylas and the Nymphs
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1094:Frank Cadogan Cowper
1039:Lawrence Alma-Tadema
992:John Everett Millais
576:Latter-Day Pamphlets
552:Latter-Day Pamphlets
1839:The Last of England
1823:Take your Son, Sir!
1735:Desperate Romantics
1597:The Lady of Shalott
1533:The Lady of Shalott
1477:Cymon and Iphigenia
1444:The Shadow of Death
1396:Oxford Union murals
1341:The Last of England
1299:Ecce Ancilla Domini
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987:William Holman Hunt
555:had criticised the
541:Christian socialism
385:temperance movement
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514:setting up shop).
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1801:List of paintings
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1745:(2014 film)
1721:(1967 film)
1714:(1922 book)
1672:Fanny Eaton
1647:Jane Morris
1637:Sophie Gray
1583:Lady Godiva
1470:The Beloved
1409:Roman Widow
1402:Lady Lilith
1261:well-known
1179:Emma Sandys
1174:John Ruskin
1027:Associated
976:(paintings)
486:– speaking
459:Beer Street
404:Whitechapel
315:picturesque
282:Beer Street
1945:Categories
1743:Effie Gray
1632:Effie Gray
1451:Proserpine
1369:April Love
1049:John Brett
836:Trodd, C,
703:Infoplease
640:References
305:(1833) by
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135:Dimensions
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66:Dimensions
1991:Hampstead
1794:Paintings
450:The Times
445:brummagem
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392:chickweed
348:quicklime
260:Hampstead
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174:Victorian
153:, England
84:, England
1694:The Germ
933:16 March
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895:16 March
804:13 April
782:13 April
628:See also
410:'s book
288:Gin Lane
251:lazarone
143:Location
74:Location
1893:Related
1686:Related
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1278:Ophelia
1031:figures
482:to the
455:flaneur
338:Workers
208:cholera
200:navvies
193:parasol
1874:Murals
1866:(1877)
1858:(1874)
1842:(1855)
1818:(1851)
1810:(1842)
1615:Models
1599:(Hunt)
1548:Lilith
928:Art UK
924:"Work"
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376:mortar
256:Naples
204:typhus
125:Medium
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56:Medium
38:Artist
1376:Found
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48:Year
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