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Satires on various aspects of contemporary religion can frequently be found in the early Victorian editions of Punch. The more strident forms of Protestant evangelicalism, in the earlier 1840s, and Roman Catholic revivalism, around 1850, came in for particular attack. This pattern was partly the result of a drift in the editorial policy of the publication towards a less radical social and political position. However, Catholicism, in both its Roman and Anglican varieties, was particularly vulnerable to the combination of visual and verbal parody employed by Punch because of that denomination’s stress on visual aspects of worship. Evangelicals, by contrast, employed modes of dress and architecture that were similar to those of the secular world of their time and were, thereby, harder to depict as strange and peculiar. The pages of Punch can, therefore, tell us not only about how various Christian groups were viewed in early Victorian England but also about the ways in which they attempted, with varying success, to parry and pre-empt critique in the print media

The Role of Visual Appearance in Punch’s Early Victorian Satires on Religion