The Invasion, Plate 2: England

The Invasion, Plate 2: England by William Hogarth is an etching, executed in 1756 and noted here as the third state of three. This print is the second plate in a satirical two-part series responding to the widespread anxiety in Britain regarding a possible French invasion during the opening stages of the Seven Years’ War (1756-1763). Hogarth uses the print medium to contrast the ambitious but poor French preparations in Plate 1 with the presumed overconfidence and consumerism of the English populace depicted here.

The scene captures the English state of mind, characterized by sprawling buildings and bustling public houses near the coast. Hogarth satirizes the British for their self-indulgence and apparent lack of concern regarding military threat. The print details various men and women engaged in revelry and consumption, emphasizing a society too preoccupied with its own comforts to prepare for defense. Crucially, the soldiers who should be organizing resistance are depicted as disorganized, overfed, or drunk, their military preparation consisting primarily of socializing rather than disciplined action. Hogarth’s detailed observation of the environment underscores the domestic wealth that ironically makes the nation complacent.

Hogarth was a master graphic artist who excelled at creating popular narrative prints that served both as social commentary and widespread entertainment. This specific impression of The Invasion, Plate 2: England is classified as a key example of 18th-century English satirical etching and resides in the collection of the Metropolitan Museum of Art. As a prolific visual commentator, Hogarth’s influential works continue to circulate widely; many of his significant prints are now available through public domain archives, allowing for broad access and study of this critical period in British history.