Comparing Hogarth's series, Industry and Idleness, Marriage à la Mode, or the Rake's and Harlot's Progress, to the works of Holman Hunt, other members of Pre-Raphaelite Brotherhood, and their associates reveals the following parallels:
- Strong narrative emphasis (e.g., Industry and Idleness — Hunt's Awakening Conscience)
- Signifying visual elements on frame (e.g., Industry and Idleness's emblems of power and punishment — Hunt's Awakening Conscience)
- Signifying verbal elements on frame (e.g., Industry and Idleness's scriptural quotations — Hunt's Awakening Conscience)
- Satirical attacks on aristocracy (e.g., Marriage à la Mode — Hunt's Awakening Conscience)
- Middle-class anti-aristocratic emphasis upon work as ennobling (e.g., Industry and Idleness — Hunt's Shadow of Death; Brown's Work)
- Symbolic animals act as foils to main action (e.g., Marriage à la Mode (1); Industry and Idleness (1) — Hunt's Awakening Conscience)
- Original painted image disseminated as engraving: (e.g., Marriage à la Mode — Hunt's Awakening Conscience, Finding, Shadow of Death)
- Patrons: Muliple middle-class purchasers rather than a single Aristocrat — Hunt's Awakening Conscience, Finding, Shadow of Death
- Grotesque and often ugly elments Industry and Idleness-- rejection of Neoclassical ideal of beauty — Hunt's Awakening Conscience; Millais's Christ in the House of His Parents
- Seriation: Organizing works in narrative series — Millais and Hunt's Isabellas; Egg's Past and Present; Burne-Jones Perseus, Pygmalion, and Briarose Series
- Arranging works in pairs (e.g., Industry and Idleness and Gin Lane and Beer Street — Hunt's Light of the World and Awakening Conscience; Egg's Life and Death of Buckingham)
Last modified 11 September 2004