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Guy Fawkes for 1859, 1859
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Guy Fawkes for 1859, 1859
Guy Fawkes for 1859, 1859. Victor Emmanuel of Italy on the left, and Napoleon III on the right, preparing to burn Pope Pius IX on a bonfire. There is a bunch of faggots tied to the front of the pyre and the pope is balanced precariously on some barrels of gunpowder. The smile of Victor Emmanuel suggests the joy of a child on Guy Fawkes night. This cartoon relates to the rumours in France that Pope Pius IX had threatened to excommunicate Napoleon. This threat may have been in response to Napoleons agreement earlier in the year with Francis Joseph of Austria under the terms of which the pope would become the titular head of a confederation of Italian states. In addition, the papacy would lose large areas of the Papal States which would instead be added to a new state of central Italy. Neither of these proposals found favour with Pius IX. From Punch, or the London Charivari, 1859
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Media ID 14829309
© The Print Collector / Heritage-Images
5 November Bonaparte Bonfire Bonfire Night Charles Louis Napoléon Charles Louis Napoleon Bonaparte Emperor Napoleon Iii Fireworks Night Giovanni Maria Giovanni Maria Mastai Ferretti Gunpowder Guy Fawkes Night Heritage Image Partnership Louis Napoleon Mastai Ferretti Napoleon Bonaparte Iii Napoleon Iii Pius Ix Pope Pope Pius Ix Roman Catholicism
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EDITORS COMMENTS
Caption: "A satirical print from 1859 depicting the political tensions between France, Italy, and the Catholic Church during that time. The image shows Guy Fawkes night celebrations with a twist - Victor Emmanuel of Italy and Napoleon III are preparing to burn Pope Pius IX on a bonfire. The smile on Victor Emmanuel's face reflects the joy of a child enjoying Guy Fawkes night festivities. This cartoon is based on rumors circulating in France that Pope Pius IX had threatened to excommunicate Napoleon III. The threat was believed to be in response to Napoleon's agreement with Francis Joseph of Austria earlier that year, which would have made the pope the titular head of a confederation of Italian states but also resulted in significant territorial losses for the Papal States. The engraving captures the religious and political tensions of 19th-century Europe, highlighting conflicts between Catholicism and secular powers. It showcases how satire was used as a means to comment on contemporary events and express public opinion. This historical artifact serves as evidence of the complex relationships between religion, politics, and power during this period. It provides valuable insights into an era marked by significant changes in European society. "
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