Credulity, Superstition, and Fanaticism
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.The print depicts a preacher – his open mouth and scale of vociferation an allusion to George Whitefield's powerful voice[1][6] – speaking to a church congregation from the top of a high pulpit.[1][10] In a box pew at the foot of the pulpit, another clergyman pushes an icon of the Cock Lane ghost down the shirt of a young lady in the throes of religious ecstasy (in Enthusiasm Delineated, this was an aristocratic rake fondling the breast of a woman); to the left of this couple a devil whispers into the ear of a sleeping man.The "Poors Box" has grown cobwebs, showing Hogarth's view that the Methodists were disregarding good works by emphasising faith so strongly.[10] To the right, standing on copies of Wesley's Sermons,[7] and Glanvill's Book of Witches, a religious thermometer measures the emotional states of a brain (borrowed from one of Christopher Wren's anatomical illustrations) from a central reading of lukewarm, either upwards through love heat, to lust, ecstasy, madness and raving, or downwards through low spirits to sorrow, agony, settled grief to despair, then madness and suicide.