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So let him stand... c1820. Creator: George Cruikshank
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So let him stand... c1820. Creator: George Cruikshank
So let him stand... c1820. Satirical cartoon of King George IV in church, with the Ten Commandments behind him. The quote is from " The Curse of Minerva", epic poem by Lord Byron: So let him stand, through, ages yet unborn, Fix d statue on the pedestal of Scorn. From " The Queens matrimonial ladder", a political pamphlet with wood engraved illustrations by George Cruikshank, published after the opening of the trial of Queen Caroline (1768-1821, also known as Caroline of Brunswick, consort of King George IV), in August 1820. [William Hone, London]. Included in an album containing portraits and satirical caricatures related to the trial
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Media ID 19046117
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6th Baron Byron Byron Of Rochdale Caroline Caroline Amelia Elizabeth Of Brunswick Caroline Of Brunswick Caroline Of Brunswick Wolfenbuttel Court Court Of Law Cruikshank George Byron George Cruikshank George Gordon George Gordon Byron George Iv George Iv Of The United Kingdom His Majesty Hone King George Iv King Of Great Britain Law Court Legislation Lord Byron Lord Byron Of Rochdale Pains And Penalties Bill Pains And Penalties Bill 1820 Pedestal Prince Of Wales Prince Regent Princess Of Wales Prinnie Prinny Queen Caroline Queen Consort Of George Iv Sixth Baron Byron Of Rochdale Ten Commandments Trial William Hone Scorn
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So let him stand. . . c1820
EDITORS COMMENTS
is a powerful satirical cartoon created by George Cruikshank during the early 19th century. The image depicts King George IV, known for his scandalous personal life and extravagant lifestyle, standing in a church with the Ten Commandments displayed behind him. The caption, taken from Lord Byron's epic poem "The Curse of Minerva" suggests that the king should forever be remembered as an object of scorn. This print was published after the opening of Queen Caroline's trial, where she faced accusations of adultery and misconduct. It reflects the political climate at the time, highlighting the tension between King George IV and his estranged wife. Through this caricature, Cruikshank criticizes both the king's moral character and his role as a leader. The black-and-white engraving showcases Cruikshank's artistic talent in capturing facial expressions and conveying satire through visual elements. It serves as a reminder of how art can be used to comment on social issues and hold those in power accountable. This historical artifact provides valuable insights into British society during this era, shedding light on themes such as religion, monarchy, law courts, legislation, and public opinion towards royalty. As we observe this artwork today, it invites us to reflect upon our own perceptions of leadership and morality while appreciating its significance within British history.
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