The Circle of the Corrupt Officials; the Devils Mauling Each Other

The powerful engraving, The Circle of the Corrupt Officials; the Devils Mauling Each Other by William Blake, was created in 1827. This demanding print, executed late in the artist’s life, is representative of Blake’s unique approach to rendering spiritual and moral allegories. As a recognized master of the engraving technique, Blake utilized incredibly precise lines and dense crosshatching to visualize the chaos and moral decay suggested by the title. This specific subject matter belongs to his influential series illustrating Dante Alighieri’s Inferno, depicting the eternal punishment reserved for the corrupt and morally bankrupt in the eighth circle of Hell.

The work dramatically captures a scene of frenzied, violent retribution. Blake portrays a dense throng of figures—corrupt officials and tormenting devils—locked in a brutal, writhing cycle of mutual destruction. Unlike many contemporary British prints from the 1826 to 1850 period, which often favored realistic or genre scenes, Blake’s imagery remains fiercely visionary and highly symbolic, connecting the societal ills of his time directly to classical infernal sources. The composition is tightly bound, emphasizing the total lack of escape or repentance for the individuals caught within this infernal circle. Blake’s masterful handling of the chiaroscuro effect in the engraving enhances the oppressive, hellish atmosphere, illuminating the contorted forms just enough to emphasize their ceaseless torment.

This piece stands as a testament to Blake’s enduring preoccupation with the nature of morality and the failings of society and government. The significance of this specific print to the history of British engraving cannot be overstated. Today, due to the age of the work, high-resolution images and prints of this monumental illustration are often accessible within the public domain for research and study. This valuable artwork is part of the extensive collection of the National Gallery of Art, where it serves as a crucial example of Blake’s late-career output and his singular contribution to narrative illustration.