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Het lusthuys van Pater Peters, en de Jesuwijten en Munniken, ontdekt door / William Loggan fec. & Oxonia.


Het lusthuys van Pater Peters, en de Jesuwijten en Munniken, ontdekt door / William Loggan fec. & Oxonia.



Print shows scene in a bawdy house of pleasure frequented by Father Petre, Jesuits, and monks, where they mingle and dine with such figures as: Wantonness, Avarice, Sloth, Fury, and Vanity. Priests engage in lascivious acts and steal money from a dying person, a Protestant minister is driven away from the door, a fox delivers a sermon from a pulpit, and Jesuits help themselves to treasures in India. Individual figures numbered with key contained in dialogue between Eusebius and Simplicius.
Title from item.
Alternate title from text in the illustration.
Includes descriptive dialogue between Eusebius and Simplicius, with key to numbered figures.
Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 1, no. 1117
Forms part of: British Cartoon Collection (Library of Congress).

Various artifacts of colonial India

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.





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