A satirical mezzotint by Jacob Gole depicting a corrupt monk, critiquing the practice of simony through expressive caricature and text.

This mezzotint by Jacob Gole, titled La Simonie, offers a sharp critique of ecclesiastical corruption during the late seventeenth and early eighteenth centuries. Gole, a Dutch engraver and publisher active in Amsterdam, utilised the mezzotint technique to achieve soft gradations of tone, which allowed for the expressive, almost grotesque modelling of the monk's face. The subject is depicted with exaggerated features, including a bulbous nose and a toothy, cynical grin, which serves to mock the hypocrisy of the clergy.

The monk holds a scroll inscribed with the text 'Canonicat de dix mille liures de rentes, en vins, bleds et Seigneuries', referring to the sale of church offices and benefices. This practice, known as simony, is the central theme of the work. Below the circular portrait, a French verse further clarifies the satire, suggesting that the monk is attempting to justify his actions by claiming he is merely selling paper rather than spiritual offices. The composition is contained within a circular frame, a common format for character studies and satirical prints of the period, which focuses the viewer's attention entirely on the subject's moral failings.

Gole was known for his technical proficiency in mezzotint, a medium that was gaining popularity in the Netherlands at the time. His ability to render texture and shadow is evident in the heavy folds of the monk's habit and the subtle light reflecting off the scroll. This print belongs to a tradition of moralising satire that was prevalent in Dutch art, where caricature was employed to comment on social and religious issues. The work remains a clear example of how printmakers used their craft to disseminate political and social commentary to a wider audience, moving beyond simple portraiture to engage with the ethical debates of the day.