Moses Haughton

Moses Haughton’s engravings feel like stills from a play where the actors forgot to leave the stage. He spent his life in London, turning biblical dramas into prints that crowded every corner with detail—wings of angels brushing the frame, faces lit like candle stubs. A friend once pointed out how Haughton sneaks a tiny rat into *The Dimission of Adam and Eve*; the creature gnaws a fig leaf while Adam and Eve shuffle out, as if the whole expulsion is just another Tuesday. Hunt for that rat in the print; it’s his secret joke about how little grand stories change.