“You have sat too long for any good
you have been doing lately …
Depart, I say; and let us have done with you.
In the name of God, go!”

Oliver Cromwell, April 20, 1653
as 1939 quoted by Winston Churchill towards appeasement politicians


The  Power  and  the  Parliament

Cromwell’s  Symbolic  Reichstagsbrand

April 20, 1653

William Hogarth, Burning the Rumps


Oliver  Cromwell

mocked , had  it  driven  apart  by  soldiers  and  locked

the  parliament  he  had  degraded  already  in  1648

to  the  docile  Rump  Parliament

by  expulsion / arrest

—  Pride’s  Purge  —

of  its  insubordinate  Presbyterian  members

and  in  such  a  manner

set  himself  once  more  above  the  Law

“ (Cromwell) commanded the Speaker to leave the Chair, and told them they had sat long enough, unless they had done more good, crying out You are no longer a Parliament, I say you are no Parliament. He told Sir Henry Vane he was a Jugler (sic!); Henry Martin and Sir Peter Wentworth, that they were Whoremasters; Thomas Chaloner, he was a Drunkard; and Allen the Goldsmith that he cheated the Publick: Then he bid one of his Soldiers take away that Fool’s Bauble the mace and Thomas Harrison pulled the Speaker of the Chair; and in short Cromwell having turned them all out of the House, lock’d up the Doors and returned to Whitehall ”

(Thomas Salmon, The Chronological Historian, London 1723, p. 106).

To put himself at the head of a new executive board, which several months later appointed a hand-picked “Assembly of Saints”. Which still was not docile enough, and thus already in December he assumed as Lord Protector exclusive power:

The  proclaimed  republic

had  finally  become  a  dictatorship .

Just as already eight years before “he himself (had) maintained the command of the mounted troops, the second post in the army, by saving clause”, when in April 1645 for thoroughly given timeless reason he took care of parliamentary integrity, causing resignations, by the so-called Bill of Self-denial according to which

“ no  member  of  parliament  may  hold  a  civil  or  military  post ”

(Meyers Konvers.-Lex., 4th ed., IV [1880], 344 f.).

« The  governments  that  might  be  displaced

are  unlikely  to  be  missed —

incompetent  and  corrupt  as  they  may  have  been .

But  what  will  go  with  them  is  more  important :

the  possibility  of  electing  or  rejecting

whatever  political  leadership  you ,

or  a  majority  of  your  countrymen , choose . »

Janet Daley

Europe’s democratic deficit grows wider by the day

The Telegraph, November 5, 2011

The  scenically  Rich  Plate

about  Power  dealing  with  Insubordination

William Hogarth (1697 London 1764). Burning ye Rumps at Temple-Barr. Down with the rump parliament. The 1653 symbolic burning of the parliament which in 1648 Cromwell had cleaned of its Presbyterian members as a milestone for his further show of power. It then executed Charles I instead of holding negotiations with him and thus rang in the Puritan republic which itself almost turned into a Cromwell monarchy. Place of the event of 20 April the London gate Temple Bar. One of the iconoclasts with the convenant of the Presbyterian Scots in his hands, another one holding up the banner:

Down  with  the  Rumps .

Etching + engraving. (1726.) Inscribed: 11 (by the publisher) / W. Hogarth Inv. delin. et sculp. (in the subject border below right) / Burning ye Rumps at Temple Barr. 10⅞ × 20¼ in (27.7 × 51.6 cm).

HUDIBRAS XI. – Nagler 10-11; Hogarth Catalog Zurich, 1983, ills. 11 (2nd state, inscribed “in the subject below left”!). – 6-quatrain caption abridged from Butler’s poem. – Impression on strong paper from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII [1888], 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).


“ is a vulgarized (English) Don Quixote , a dewitted Rabelais ”

(Laaths, Geschichte der Weltliteratur, 1953, p. 375), a “satiric scourge” (Meyers Konv.-Lex., 4th ed., III, 693/I) on the politically just sacked Puritanism and the best-known work of its creator esteemed by Charles II,


(Strensham, Worcestershire, 1612/13 – London 1680), as result of his impressions in the employ of Cromwell’s Colonel Sir Samuel Luke, “at which religious and political sects were about” (Meyers). Remaining incomplete the first two parts of the epic were published in 1663/64, a third one in 1678, then, joined, long-lived through the centuries. In three cantos each

“ describing in rough, mostly eight-syllabic songs (later known as ‘hudibrastic verse’) the loosely connected, grotesque adventures of two Puritans, the knight Hudibras and his shield-bearer Ralpho. Hogarth has engraved two different sets of illustrations to this poem: twelve large, carefully executed engravings he has created on his own, independently of a publisher, and published in February 1726, and seventeen smaller ones which have more the character of woodcuts and presumably done before, but were published the following April only in a poem edition. These follow the course of the action while the large sheets only represent the decisive scenes with an abridgement as legend … Epic and pictures are an antiheroic satire on Puritanism and sectarianism ”

(Margrit Bachofen-Moser in Hogarth Catalogue Zurich, 1983, pp. 25 ff. illustrating the large version in partly differing arrangement).

The Hudibras set – Thieme-Becker judge – is “of decisive significance for Hogarth’s development.

Here  lies  the  key  to  the  understanding  of  the  satirist  H. ”

(Thieme-Becker XVII [1924], 300/II).

And Austin Dobson in the Encyclopedia Britannica of 1911 :

“ These (plates Hogarth) himself valued highly, and they are the best of his book illustrations. But he was far too individual to be the patient interpreter of other men’s thoughts, and it is not in this direction that his successes are to be sought … (And generally resuming) If we regard him – as he loved to regard himself – as ‘author’ rather than ‘artist’, his place is with the great masters of literature – with the Thackerays and Fieldings, the Cervantes and Molières. ”

Offer no. 14,730 / EUR  390. / export price EUR  371. (c. US$ 448.) + shipping

William Hogarth, Burning the Rumps at Temple Bar (Hudibras XI) (Cook small)

– – – The same. Engraving by Thomas Cook (ca. 1744 – London 1818). Inscribed: Pl. XI. / Hogarth pinxt. / HUDIBRAS. / T. Cook & Son sc. / Published by Longman, Hurst, Rees, & Orme, May 1st. 1808. Subject size 4⅜ × 7⅝ in (11.2 × 19.5 cm).

Cook „made his mark as Hogarth engraver, too (1795-1803) whose complete work he has reproduced” (Thieme-Becker VII, 1912, p. 348/I) and whose original format he maintained in contrast to all later Hogarth editions, which moreover mostly don’t contain the consequently rarer Hudibras. Several works not published by Hogarth himself had been engraved by Cook for the first time as he then met with approval by a contemporary connoisseur as Maximilian Specht von Sternburg, too. But here present in Cook’s popular later, smaller version with the caption being replaced by the series title. – In contrast to the Hogarth engraving, surely worked in reverse (repeated left-handedness) as in many cases, here in correct sense as known for Cook. – Trimmed within the wide white platemark and this chiefly in the outer part slightly foxed and browned resp.

Offer no. 8,858 / EUR  135. (c. US$ 163.) + shipping

“ Sir, yes, (the Rubens) is closer to the one in London (recte Dresden), but the one we have is on copper. Thank you for your time. Highest regards, D… A… (and yes America could use a blessing about now) ”

(Mr. D. A., November 4, 2003)