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Satan in all his Glory... 1792.Artist: James Gillray
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Satan in all his Glory... 1792.Artist: James Gillray
Satan in all his Glory; - or Peter Pindar crouching to the devil, sketch d from the peep-hole at scalegill, 1792. To the worthy inhabitants of Cumberland and this impartial representation of the virtues of his infernal majesty is respectfully dedicated. Cruel landowner James Lowther, Earl of Lonsdale (1726-1802) is caricatured as Satan from Miltons epic poem Paradise Lost. On the left is Peter Pindar, the satirical poet James Wolcot (1738-1819) who had criticised the Earl. Lowthers lawyer (right), has snakes for legs, like the figure of Sin in the poem. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)
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Media ID 14917292
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Coal Crouching Cruel Devil Earl Of Emily Morse Emily Morse Symonds Evil Fuel George Paston Gillray Glory James Gillray James Wolcot John Milton Landowner Lonsdale Lowther Milton Paradise Lost Paston Peter Pindar Pindar Satan Symonds Wolcot Earl Of Lonsdale Poetry
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Satan in all his Glory
EDITORS COMMENTS
is a captivating print that showcases the artistic genius of James Gillray. Created in 1792, this artwork brilliantly caricatures James Lowther, Earl of Lonsdale, as Satan himself, drawing inspiration from John Milton's epic poem Paradise Lost. The cruel landowner is depicted with a crouching Peter Pindar on the left side of the composition. Peter Pindar, who had previously criticized the Earl through his satirical poetry, becomes an integral part of this visual satire. Gillray's attention to detail is evident in every element of the print. The lawyer representing Lowther on the right has snakes for legs, symbolizing sin and evoking imagery from Milton's poem. This clever portrayal adds depth and complexity to the overall narrative. The monochrome black and white aesthetic enhances the dramatic impact of Gillray's work while capturing the essence of eighteenth-century British artistry. Through over two hundred illustrations by George Paston (Emily Morse Symonds), "Satan in all his Glory" stands as a testament to social caricature during this era. This print serves as both a historical artifact and a masterpiece within its own right. It not only highlights Gillray's exceptional talent but also provides insight into societal dynamics and power struggles prevalent during that time period. As we delve into this mesmerizing artwork, we are reminded once again that art has always been an influential medium for commentary on politics and society throughout history.
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