Tailpiece, or The Bathos

Tailpiece, or The Bathos by William Hogarth, dating from 1764, is a potent satirical statement rendered through the demanding techniques of etching and engraving. This work, executed as the artist’s final self-published print, serves as a dramatic summation of his career-long engagement with social and artistic commentary. It is frequently understood as Hogarth’s pessimistic farewell, visualizing the total collapse of established order, morality, and taste. The print exists in only a single state, emphasizing its definitive nature as an artistic conclusion.

Hogarth employs absurd and complex imagery to depict universal dissolution, utilizing the chaos of "The Bathos"—meaning anti-climax or ridiculously inflated seriousness—to critique the decay of the era. The chaotic scene is characterized by the satirical destruction of symbols both classical and contemporary. Amidst the ruins, the artist depicts various men reacting to the impending doom, including a figure driving a makeshift chariot, perhaps referencing the decline of heroic endeavor or public standards. Prominent among the shattered items are symbols of time and mortality, with large bells reinforcing the sense of an apocalyptic final moment.

As a pivotal example of 18th-century English satirical prints, the dense visual language in Tailpiece, or The Bathos provides a definitive view into the artist's later mindset. This significant piece of graphic art demonstrates Hogarth’s enduring mastery of printmaking. Today, the work resides in the distinguished collection of prints held by the Metropolitan Museum of Art, ensuring its legacy and availability; the historic piece is frequently available in the public domain for scholarly study and public appreciation.