File:De vlugt van 't pausdom uit Engelant (BM 1855,0114.197).jpg
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Captions
Captions
Summary
[edit]De vlugt van 't pausdom uit Engelant
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Title |
De vlugt van 't pausdom uit Engelant |
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Description |
English: A broadside satirising the fall of Catholicism following the Glorious Revolution; with an etching by de Hooghe showing a stream of fugitives, in the foreground a cart drawn by a dog, driven by Father Petre, in the cart the English royal family, in the front the infant Prince James playing with a windmill and blowing a horn, in the back James II wearing a pilgrim's hat, next to him Queen Mary, at far right Louis XIV riding on a bear, at far left his son Louis, the Dauphin, riding on a wolf, in the middleground lines of Jesuits, monks, and others, in the left background destruction of Catholic chapels, in the R background Pope Innocent XI; with engraved numbering 1-17, and with Dutch and English letterpress titles and verses, including legend, in four columns. (n.p.:[1689]) |
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Depicted people | Representation of: James II, King of England | |||||||||||||||||||||||
Date |
1688 date QS:P571,+1688-00-00T00:00:00Z/9 |
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Medium | paper | |||||||||||||||||||||||
Dimensions |
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Collection |
institution QS:P195,Q6373 |
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Current location |
Prints and Drawings |
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Accession number |
1855,0114.197 |
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Notes |
(Text from Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat. 210) For fertility of invention and variety and volume of production, Romeyn de Hooghe dominates late seventeenth-century etching. He was the most indefatigable propagandist for William of Orange, who rewarded him with the position as Commissioner of Mines for Lingen in Germany. The series of large plates for broadsheets that he made in 1688-90 are one of the high points of his output. None is signed, though all are unmistakeably by him, and they have never been the subject of a proper study, though most have been collected together on pp.213-228 of J.Landwehr, 'Romeyn de Hooghe the etcher', Leiden 1973. They contain a standard cast of characters: Louis XIV, for example, is always Arlequin. This print shows James (holding a cross and rosary), Mary and son (with his toy windmill) fleeing England in a carriage pulled by a dog ridden by Father Petre. At the head of the procession, riding a bear, is Louis XIV as Harlequin, who draws his sword against William, the Belgic lion, who is guarding the harp, rose and thistle of the English monarchy. At the rear is the French Dauphin riding a wolf. In the background the Popish chapels are being destroyed by the London mob as a procession of Catholic priests heads for exile. The verse beneath ends with the rousing conclusion, 'James's Monarchy is done'. Three different impressions of this print in the British Museum all have different letterpress. This is in Dutch and English; another is in Dutch and French, while the third (the earliest as the plate has not yet been reduced) is in Dutch alone. This is typical of the broadsheets in this group, and the barbarous English of the title shows that this and the others were printed in Holland. There is no reason to think that de Hooghe ever visited England, although he continued making prints for English distribution. Large etchings he made of the Coronation of William and Mary, and of William in Parliament are found with texts in Dutch, French and English (eg.Williamsburg fig.47).James himself gave a backhanded compliment to these prints in a letter to Parliament on 2 February 1689, when he described William as 'one who by all arts hath taken such pains to make me appear as black as hell to my own people as well as to all the world besides' (Williamsburg p.395). One of the most striking elements of the situation is that even after the Revolution, hardly any satirical prints against James were produced within England. Hostility to James and Catholicism did not easily translate into enthusiasm for an obviously illegal usurpation of the throne. Of the seven bishops whom James imprisoned, five refused to swear the oath of allegiance to William, and were dismissed from their sees. |
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Source/Photographer | https://www.britishmuseum.org/collection/object/P_1855-0114-197 | |||||||||||||||||||||||
Permission (Reusing this file) |
© The Trustees of the British Museum, released as CC BY-NC-SA 4.0 |
Licensing
[edit]This image is in the public domain because it is a mere mechanical scan or photocopy of a public domain original, or – from the available evidence – is so similar to such a scan or photocopy that no copyright protection can be expected to arise. The original itself is in the public domain for the following reason:
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 15:29, 8 May 2020 | ![]() | 1,203 × 1,600 (489 KB) | Copyfraud (talk | contribs) | British Museum public domain uploads (Copyfraud/BM) Satirical prints in the British Museum 1688 #456/593 |
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Orientation | Normal |
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Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
Software used | Adobe Photoshop Elements 3.0 Windows |
File change date and time | 13:08, 2 October 2006 |
Color space | Uncalibrated |
Image width | 4,815 px |
Image height | 6,405 px |
Date and time of digitizing | 13:08, 2 October 2006 |
Date metadata was last modified | 13:08, 2 October 2006 |