File:Print, satirical print (BM 1868,0808.3314 1).jpg

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print, satirical print   (Wikidata search (Cirrus search) Wikidata query (SPARQL)  Create new Wikidata item based on this file)
Title
print, satirical print
Description
English: Mary of Modena sits at left and rocks an elaborate cradle containing the Prince of Wales (James Edward Stuart, the future Old Pretender); Father Petre puts his arm round Mary's neck in an intimate gesture. An orange lies on the table at the foot of the cradle. 1688
Mezzotint
Depicted people Representation of: Mary of Modena, Queen of James II
Date 1688
date QS:P571,+1688-00-00T00:00:00Z/9
Medium paper
Dimensions
Height: 250 millimetres
Width: 183 millimetres
institution QS:P195,Q6373
Current location
Prints and Drawings
Accession number
1868,0808.3314
Notes

(Text from Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat. 209) The unexpected birth of a son to Queen Mary of Modena in 1688, after numerous miscarriages and deaths of her previous babies, presented a severe challenge to William's Protestant propagandists. The obvious tactic was to cast doubt on the child's legitimacy, and two lines were peddled. The first was to accuse Father Edward Petre, her confessor, and a member of the Privy Council, of excessive intimacy with her. The other was to claim that the baby was not hers, but was the son of a miller's wife and had been substituted. This print alludes to both stories, hence the windmill in the cradle. Prints such as these would have counted as high treason in England, and before the Revolution could only be produced in the Netherlands. They retained their purpose after 1689, as part of William's campaign to justify the invasion and seizure of the throne. 

    Craig Hartley and Catharine MacLeod have pointed out ('Supposititious Prints', Print Quarterly, VI, 1989, pp. 49-54) that the composition of this print is copied from an 'official' view of the Queen with her child by Bernard Lens, published by Edward Cooper. By adding Petre, the windmill and the Dutch verses the meaning is completely altered. The group of Queen and cradle was also adapted by Romeyn de Hooghe for a large satire, L'Europe allarmé pour le fils d'un meunier (BMSat 1158).
The print is anonymous. Hollstein attributes it in vol.VII to Jacob Gole (no.235), while in vol.XXV it is listed as one of the publications of Pieter Schenck (no.2068). They were the leading Dutch mezzotinters of the period. Gole (c.1660-1724) was of French origin, his father being the famous cabinet-maker Pierre Gole. He seems to have emigrated to the Netherlands c.1684, and established a connection with Cornelis Dusart. Gole's work is usually signed and of high quality, which suggests that this print is in fact by Schenck, whose huge output covered work of the most varied kinds. Schenck was brother-in-law to Gerard Valck. Neither Gole nor Schenck seems ever to have visited London.
Source/Photographer https://www.britishmuseum.org/collection/object/P_1868-0808-3314
Permission
(Reusing this file)		 © The Trustees of the British Museum, released as CC BY-NC-SA 4.0
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current14:03, 8 May 2020Thumbnail for version as of 14:03, 8 May 20201,454 × 1,600 (384 KB)Copyfraud (talk | contribs)British Museum public domain uploads (Copyfraud/BM) Satirical prints in the British Museum 1688 image 2 of 3 #326/593

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