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The Next Refugee, or a Drheam of the Futur, 1859
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The Next Refugee, or a Drheam of the Futur, 1859
The Next Refugee, or a Drheam of the Futur, 1859. Pro Nono I want-a, to go to Ley-chesterra Squarra! Pope Pius IX, clutching his shopping basket like a housewife, with his umbrella and box of relics, asking a city gent the way to Leicester Square. This may be to do with the recent revolution in the papal state of Romagna which had been sparked by demands of union with Piedmont. It may also be a reflection of the constant concern that the Catholic Church may make renewed efforts to gain a more solid foothold in English religious affairs. To this end, the Pope, and thus the Catholic Church generally, are depicted in a uniformly comic fashion, complete with frock, slippers and accent. From Punch, or the London Charivari, December 3, 1859
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Media ID 14829319
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Basket Bottle Bottles Cloak Giovanni Maria Giovanni Maria Mastai Ferretti Heritage Image Partnership Mastai Ferretti Papal Crown Pius Ix Pope Pope Pius Ix Refuge Refugee Refugees Relic Slipper Slippers Top Hat Umbrella Roman Catholicism
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The Next Refugee, or a Dream of the Future
EDITORS COMMENTS
is a satirical print from 1859 that humorously depicts Pope Pius IX in an unusual situation. In this image, the Pope is portrayed as a comical figure, clutching his shopping basket like a housewife and seeking directions to Leicester Square from a city gentleman. The context behind this caricature may be linked to the recent revolution in Romagna, where demands for union with Piedmont had sparked unrest in the papal state. The cartoon also reflects concerns about Catholicism's potential influence on English religious affairs during that time. By depicting the Pope and Catholic Church in such a lighthearted manner, complete with frock, slippers, and accent, it aims to diminish their perceived power and authority. This black-and-white engraving captures not only the political tensions of its era but also provides insight into societal attitudes towards religion and national identity. It serves as both social commentary and entertainment for viewers of Punch magazine. Created by an unknown artist under the pseudonym "Pro Nono" this print offers us a glimpse into 19th-century satire while highlighting themes of refuge, religion, and cultural clashes. As we observe Pope Pius IX navigating unfamiliar territory with his eccentric attire and collection of relics, we are reminded of how art can convey complex ideas through visual storytelling.
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