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Comfort to the Corns, published by Hannah Humphrey in 1800 (hand-coloured etching)
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Comfort to the Corns, published by Hannah Humphrey in 1800 (hand-coloured etching)
NCO190139 Comfort to the Corns, published by Hannah Humphrey in 1800 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College, Oxford; (add.info.: cutting corns off her foot with a knife; ); English, out of copyright
Media ID 23356228
© Bridgeman Images
Barbaric Brush Bucket Clogs Crone Deformed Fireplace Glasses Gruesome Haggard Head Scarf Hearth Hunched Kitchen Old Woman Onions Plates Shadow Spectacles Stocking Towel Ugly Vile Repulsive
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Comfort to the Corns
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is a captivating and somewhat unsettling image captured in 1800 by James Gillray. This hand-coloured etching, published by Hannah Humphrey, offers a glimpse into an intriguing scene that evokes both curiosity and repulsion. In this cartoon-like depiction, we find ourselves in a dimly lit kitchen where an old woman sits hunched over on a chair near the hearth. Her deformed figure and haggard appearance are emphasized by her head scarf and spectacles perched precariously on her nose. With a twisted smile on her face, she gruesomely cuts corns off her foot with a knife, showcasing the barbaric practices of the time. The room itself exudes an air of neglect and decay; plates lie scattered around alongside onions while stockings hang from hooks nearby. A cat lurks in the shadows as if drawn to this repulsive spectacle unfolding before it. Gillray's mastery lies not only in his ability to capture grotesque details but also in his use of light and shadow. The flickering fire casts eerie shadows across the room, adding to its macabre atmosphere. While "Comfort to the Corns" may be unsettling at first glance, it serves as a reminder of how far medical practices have evolved throughout history. This engraving invites us to reflect upon our own notions of beauty and compassion while simultaneously providing insight into past customs that were both fascinating yet disturbing.
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