Credulity, Superstition, and Fanaticism - Graphic Arts.

One particular chapter, entitled “Of Superstition and Enthusiasm” distinguishes between enthusiasm deriving from presumption and pride, and superstition deriving from weakness and fear. One last image he might have seen was the popular broadside on English credulity, satirizing the play The Bottle Conjuror Hoax at the Haymarket Theatre.

Online essay which attempts to unravel the intriguing iconography of Hogarth's print Credulity, Superstition, and Fanaticism. The author identifies the characters and events in order to illuminate the beliefs and attitudes toward ghosts and the supernatural in the middle of the eighteenth century.

Credulity, Superstition and Fanaticism was both designed and engraved by William Hogarth. This original engraving and etching is printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. It is a fine, original example of the satirical art created by the British artist, William Hogarth.

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Credulity, Superstition, and Fanaticism, 1762. return to start back Start exploring the RA Collection. read more. Explore art works, paint-smeared palettes, scribbled letters and more. Artists and architects have run the RA for 250 years. Our Collection is a record of them.

The original print may have been a response to three essays published by Joshua Reynolds in The Idler in 1759, praising the sublime work of Italian Counter-Reformation artists. Hogarth reworked the engraving before publishing it on 15 March 1762 as Credulity, Superstition and Fanaticism: A Medley.

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Comparing Hogarth to Leonardo Da Vinci, Ireland says that Credulity, Superstition, and Fanaticism is Hogarth’s best work of satire. In his Essay on the Use and Abuse of Satire (1786) Charles Abbot (1757-1829), asserts that while this satire might seem severe and disconcerting, these images “afford the most striking and powerful incitements to virtue and to truth” (10).

Hogarth's decision to rework the plate into its current form as 'Credulity, Superstition, and Fanaticism,' was probably a result of the concerns of his friends that his original was too subtle in its message, and may have led some to see it as a criticism of religion more generally, rather than just the 'enthusiastic' nature of Methodism.