Falsehood Collection

The Good Confession (top) presided over by Christ in heaven. 18th century (manuscript)
534454 The Good Confession (top) presided over by Christ in heaven. 18th century (manuscript); (add.info.: Man chained to devil approaches confessional)

Mythological characters shown in various attitudes. Preparatory drawing by Paolo Veronese preserved in the Room of Drawings and Prints in the Gallery of the Uffizi Florence Uffizi

"You understand?...well, as I say...eh! Look out! otherwise..." drawing by Goya, in the Prado Museum, Madrid Spain Madrid, Prado Museum Drawing Romanticism, Nineteenth century

Birth of Antichrist
The birth of Antichrist Date: 1516

Ww1 Wwi World War One First 1st Great I Propaganda
ww1, wwi, world, war, one, first, 1st, great, i, propaganda, cartoon, caricature, leonard, raven, hill, punch, render, rendering, tallow, plant, factory, grim, gruesome, savage, fake, false

Your Own Peter (engraving)
1050161 Your Own Peter (engraving) by Ralston, William (1848-1911) (after); Private Collection; (add.info.: Your Own Peter)

Sermons and Sermons! or, Sweet Lies for Wealthy Sinners (colour litho)
3648207 Sermons and Sermons! or, Sweet Lies for Wealthy Sinners (colour litho) by Morgan, Matthew " Matt" Somerville (1839-90); Private Collection; (add.info.: Sermons and Sermons)

The Lie
AII79424 The Lie by Rosa, Salvator (1615-73); 136x96 cm; Palazzo Pitti, Florence, Italy; Italian, out of copyright

The Lie
3567326 The Lie by Rosa, Salvator (1615-73); Palatine Gallery, Pitti Palace, Florence; (add.info.: ARTIST: Rosa, Salvator Date of Artwork: 1635-1673 Location: Florence, The Pitti Palace)

Falsehood, from Piers Ploughman, by William Langland, 1873 (stained glass)
3475442 Falsehood, from Piers Ploughman, by William Langland, 1873 (stained glass) by Burrow, Harry (fl.1868-83); St Marys Church, Cleobury Mortimer, Shropshire, UK; (add.info.: Cleobury Mortimer)

History (colour litho)
2813054 History (colour litho) by Anderson, Martin " Cynicus" (1854-1932); Private Collection; (add.info.: History)

Perturbation, plate 4 from The Vicissitude of Human Things, 1564 (engraving)
BCC393576 Perturbation, plate 4 from The Vicissitude of Human Things, 1564 (engraving) by Heemskerck, Maarten van (1498-1574) (after); 22.1x29.5 cm; Private Collection; (add.info)

Sins of the tongue (colour litho)
3095582 Sins of the tongue (colour litho) by French School, (19th century); Private Collection; (add.info.: Sins of the tongue. Peches de langue)

L Arbre de Cracovie, 1742 (engraving)
5864423 L Arbre de Cracovie, 1742 (engraving) by Humblot, Antoine (d.1758); Musee de la Ville de Paris, Musee Carnavalet, Paris

Marion Fay, A Novel (engraving)
1060705 Marion Fay, A Novel (engraving) by Small, William (1843-1931) (after); Private Collection; (add.info.: Marion Fay, A Novel)

Reign of Antichrist
The reign of Antichrist

The Gossip - How the Devil does She know all that? early 19th century

The Knave of Clubs, from a pack of Cards relating to the 1678 Popish Plot and the
XJF324474 The Knave of Clubs, from a pack of Cards relating to the 1678 Popish Plot and the condemnation of Nathaniel Reading, 1679 (woodcut) by English School

Triumph of Truth, Monogrammist CR (16e eeuw), Hieronymus Wierix, Joanni Medic, 1581

The Good Confession (top) presided over by Christ in heaven. Man chained to devil approaches confessional. Woman confesses, true penitent led by guardian angel

Devotees of Xaca in Japan have their faith tested
Devotees of Xaca demonstrate their faith by confessing their sins while suspended over an abyss. If they lie, they tip the scales and fall

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"Unveiling the Deception: Falsehood in the Shadows of History" In the tumultuous era of WWI, a time when nations clashed and humanity witnessed the birth of great atrocities, falsehood emerged as a potent weapon. Propaganda became an insidious tool employed by powers seeking to manipulate minds and shape narratives. Amidst this chaos, whispers spread about the rise of an Antichrist, a figure embodying deceit and treachery. The enigmatic Peter left his mark through haunting engravings that captured society's fears and uncertainties. From pulpits across lands ravaged by war, sermons echoed with sweet lies tailored for wealthy sinners. Colour lithographs depicted these deceptive words enticingly, blurring truth with fiction. Yet falsehood did not confine itself to mere words; it transcended into art. Stained glass windows portrayed "Falsehood" from Piers Ploughman by William Langland in 1873, reminding us that even sacred spaces were not immune to manipulation. History too bore witness to its fair share of distortions. A vivid colour lithograph illustrated how false narratives shaped our understanding of past events while engraving "Perturbation" from The Vicissitude of Human Things warned against succumbing to fabricated tales. The sins committed through tongues wagging with untruths found their place on colourful lithographs capturing their destructive power. Lies intertwined with reality like branches on L'Arbre de Cracovie's engraving from 1742. Even within works of literature like Marion Fay, falsehood lurked beneath captivating stories etched onto pages through intricate engravings that concealed deeper layers yet revealed glimpses into human nature's darker side. As we navigate a world where misinformation thrives amidst technological advancements, let us remember the lessons taught by history's stained glass windows and engraved artworks - for only through discernment can we unveil the veils woven by falsehood and seek the truth that lies beyond.