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This was Callot's last and most renowned etching. His cast of hundreds is arrayed as if on a stage with the demonic Lucifer suspended from the fly rail.
St. Anthony, the model of steadfast virtue, is easy to overlook in his refuge at the right, and the whole can be seen as an indictment of the frivolous court entertainments that Callot had so often chronicled with the performing courtiers now transformed into a fantastic troupe of demons.
Purchased with money from the James E. Roberts Fund for the Indianapolis Museum of Art in 1984.