The New Metamorphosis, Plate 2: Fantasio at Church

The New Metamorphosis, Plate 2: Fantasio at Church by William Hogarth, dating from 1723-1724, is a notable example from the artist's early period exploring social satire and theatrical farce. Executed through the intricate process of etching and engraving, this work demonstrates Hogarth’s sharp proficiency in printmaking, a popular medium that allowed him wide public distribution across London society.

The scene is set within a church interior, where the central figure, Fantasio, interacts with a variety of surrounding figures, including observing men and women of the congregation. The composition satirizes the behaviors often observed during 18th-century religious services, contrasting spiritual expectation with social reality. Traditional church iconography, such as the powerful depiction of Christ suffering on the Crucifixion, provides a somber backdrop against the seemingly irreverent or distracted attitudes of some attendees. Hogarth frequently used his art to critique contemporary manners and societal hypocrisy, and this piece fits squarely within that established tradition of visual commentary.

This particular impression, classified as a print, relies on the strong graphic contrast achievable through the etching technique, enhanced by the fine detail rendered through engraving. Hogarth’s meticulous skill in rendering complex crowds and architectural spaces is evident in The New Metamorphosis, Plate 2: Fantasio at Church. The work currently resides in the permanent collection of the Metropolitan Museum of Art. Because of its cultural significance and age, this celebrated example of early 18th-century British satire is often reproduced for educational study, making high-quality prints and archival images widely accessible through public domain resources.