Credulity, Superstition, and Fanaticism

Credulity, Superstition, and Fanaticism is a scathing social commentary created by William Hogarth, executed in 1762. This satirical print was produced using the sophisticated techniques of etching and engraving, and the version housed at the Metropolitan Museum of Art is classified as the second known state of two impressions.

Hogarth, renowned as the era's premier pictorial satirist, directed this highly detailed work against the perceived excesses of evangelical and Methodist movements in 18th-century England. The composition visually encapsulates the theme of irrational devotion through a crowded scene, depicting dozens of men and women contorted by religious hysteria and wild enthusiasm. The work satirizes the abandonment of rational thought in favor of fanatic fervor, a common target in the artist's prolific series of prints throughout the period.

The visual language of the piece is intentionally grotesque, showcasing the contorted facial features and dramatic gestures of the gathered congregation. Key details enhance the atmosphere of absurdity: bizarre theological paraphernalia and the strange inclusion of rabbits, likely symbolizing fertility or uncontrolled passion, underscore the lack of spiritual sincerity Hogarth sought to critique. Hogarth’s masterful handling of line in this print emphasizes the chaotic energy of the scene.

The work remains a foundational example of Hogarth’s critical approach to moralizing satire. It demonstrates how prints served as vital instruments for social commentary in the Georgian period. Today, this important piece of graphic art is preserved in the extensive collection of the Metropolitan Museum of Art, representing a crucial insight into British societal anxieties and the enduring power of satire. This historically significant work is often made available through public domain initiatives, ensuring its continuous study.