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Hieroglyphs And Spectatorial Satire

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Chapter Summary

As the seventeenth century drew to a close, the type of print discussed so far seemed to have gone out of fashion. This chapter discusses two series of prints, quite different in format, size, style and quality. One is a hefty tome, containing 63 complex and dazzlingly original allegorical images by Romeyn de Hooghe. The other was a loose-leafed and anonymously published collection of prints: adaptations or even blatantly pirated editions of earlier works, with often very corny doggerel verse as commentary. Chronologically they are the latest known examples of the genre: satire on matters of church and religion employing pictures with an allegory and about the semiotics current among connoisseurs of art and letters. The anti-Papal and anti-Jesuit focus of these prints fitted the enlightenment's abhorrence of priestcraft. Both the Hieroglyphica and Roma Perturbata may bear witness to a changing climate of opinion on the religious regime.

Keywords: Hieroglyphica; priestcraft; Roma Perturbata; Romeyn de Hooghe; satire



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