While this series was initially inspired by Hogarth’s work from 1735 of the same name, many of Hockney’s prints depart from the source and style significantly. Here however we see more overt references to Hogarth in the choice of the title – Hogarth’s version is ‘Married to an Old Maid’ – and in the depiction of two figures, arm in arm, as if being wedded. Despite these similarities the work is modernised and subverted by the sparse setting, which is mostly made up of a blank background, and the obscuring of the (presumably) female figure. The pair are shown in a dark archway that recalls the mandorla of christian icons, its sacred aura heightened by the lines around it, as if emitting light or holiness. The figure linking arms with the artist is also shown wearing a loose gown that recalls the folds of drapery associated with holy figures. The artist, one hand raised to his chest as if reciting the American pledge of allegiance, is typically blank faced, his eyes obscured by dark glasses, his face turned towards us in a position that is unusual for this series where he is mostly shown in profile. To the right of the archway, a small fire of red ink burns.