The World's Largest Public Domain Media Search Engine
Arlequin sur l'Hippogryphe a la croisade Lojoliste Armée van den heylige lingue voor der jesuiten monarchy.

Similar

Arlequin sur l'Hippogryphe a la croisade Lojoliste Armée van den heylige lingue voor der jesuiten monarchy.

description

Summary

Print shows Louis XIV as the harlequin, with pegged leg, riding on the "hippogryphe" or jackass, leading a holy crusade. He wears a large biretta that also fits over the head of James II sitting behind him; they both wear armor. Hanging from the saddle is a shield bearing the monogram IHS of the Society of Jesus. In the foreground, Father Petre, confessor of James II, rides a lobster; he is holding James Francis, the infant son of James II, known as the Pretender, with a small windmill on top of his head. On the left, behind the main scene, ambassadors of the holy league ride on a snail and councillors and vicars ride on owls; on the right, monks drag cannon past a gallows. In the background, a ship, "Sinte Reynuyt", departs, and men pull down statues from church facades. Includes descriptive verse with key to numbered figures.

Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 1, no. 1205
Forms part of: British Cartoon Collection (Library of Congress).

The roots of the Flemish school are usually placed in Dijon, the capital of the dukes of Burgundy where Philip the Bold (reigned 1363–1404) established a tradition of art patronage. Philip the Good (reigned 1419–67) moved the Burgundian capital to Brugge (Bruges). The largest county in the Southern Netherlands was Flanders and the term Flanders is often used to refer to the whole of the Southern Netherlands. Flanders produced many famous artists of Northern Europe. Arts flourished in the County of Flanders and neighboring Brabant, Hainaut, Picardy, Artois, and Tournaisis, from the early 15th century until the 17th century. In the 15th century and up to 1520 Flaundry was a part of Early Netherlandish art with the center in Antwerp. It gradually became distinct from the art of the rest of the Low Countries, especially the modern Netherlands by the end of the 16th century, when the north and the south Netherlands were politically separated. During the last quarter of the 16th century, political unrest between the northern and southern parts of the Netherlands brought a decline in Flemish art. Many Flemish artists left the Southern Netherlands for Rome, Germany, or the Dutch Republic. After Twelve Year Truce, Flemish art revived.

date_range

Date

01/01/1689
person

Contributors

Hooghe, Romeyn de, 1645-1708, artist
create

Source

Library of Congress
copyright

Copyright info

No known restrictions on publication.

Explore more

louis
louis