![]() "Episcopacy", representing the church, is operating a pump by pulling on a bell-rope fastened around a bible attached to the pump handle. ![]() The symbol of perpetuity, is embroidered on the cloth under his throne. "Monarchy", representing royalty, sits on a throne wears a crown and he holds a globe and a sceptre. Three seated figures are supposed to represent the "Monarchy, Episcopacy, and Law". ![]() The figures, who are satirically supposed to be the inhabitants of the moon, sit on a wooden platform suspended above the clouds. The scene is presented within a circle, as if seen through a telescope viewing the moon, surrounded by a square border, under which is engraved the title. Most were subsequently destroyed and those remaining are primarily held by institutions. This publication was the last time that Hogarth's plates were used for a printing. Although this may be an original life-time printing, it may have been published by Baldwin Craddock and Joy in London in 1822 from Hogarth's original copper plate that was reworked where needed by Heath, referred to as the Heath edition. This is a framed original satirical etching/engraving by William Hogarth, entitled "Some Principal Inhabitants of ye Moon: Royalty, Episcopacy and Law", originally published in London in 1760.The inscription reads: ""Some of the principal inhabitants of moon as they were perfectly discover'd by a telescope brought to greatest perfection since last eclipse exactly engraved from the objects whereby curious may guess at their religion, manners, &c.". ![]() His prints have continued to increase in value to institutions and collectors. His dramatic scenes inspired generations of set designers, as well as artists, architects and writers. Piranesi's style greatly influenced the neoclassical art movement of the late 18th century. His highly dramatized prints often depict imaginary interiors and frequently include figures in mysterious activities, who are dwarfed by the magnitude of their monumental surroundings. His mission was to glorify the architecture of ancient Rome through his engravings and etchings. After a slow start he eventually achieved great success as an architect, archaeologist, artist, designer, collector, and antiquities dealer. He was the son of a stone mason and was trained as an architect. Piranesi was born in Venice in 1720 and died in Rome in 1778. There are three spots in the upper left corner of the image and there is toning and discoloration of the mat. There are small focal areas of discoloration in the periphery of the sheet margins, which does not extend within the plate lines and does not affect the image. The etching is presented in a black and gold colored wood frame with a tan French mat. References: Wilton-Ely 242, Focillon 829, Hind 109 I/III. It is held by many museums, including: The Metropolitan Museum of Art, The British Museum, The Uffizi Museum, The Chicago Art Institute, The Museum of Art at Yale and The Museum of Fine Arts Boston. It was included in Piranesi's monumental work "Vedute di Roma" (Views of Rome), published in Rome in 1774. About Giovanni Battista Piranesi's 18th century etching entitled "Veduta del Tempio detto della Concordia", which is a view of the so-called Temple of Concord (The Temple of Saturn) with the Arch of Septimius Severus in the right foreground.
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