A fine 1787 mezzotint engraving by Charles Howard Hodges, depicting the biblical scene of the tribute money after a work by Guercino.

This mezzotint by Charles Howard Hodges, published in 1787, reproduces a painting attributed to the Italian master Guercino. The scene depicts the biblical narrative of the tribute money, where Christ instructs his disciples to pay the tax demanded by the authorities. The composition focuses on the central figure of Christ, who gestures towards a coin held by a bearded man, likely representing the tax collector or a disciple. The surrounding figures display varied expressions of curiosity and contemplation, typical of the dramatic storytelling found in Baroque-influenced religious art.

Hodges, a skilled engraver, employs the mezzotint technique to achieve a wide range of tonal values. The deep shadows and soft highlights create a sense of volume and atmospheric depth, characteristic of the medium. The play of light across the faces and garments of the figures draws the viewer into the narrative, while the architectural elements in the background provide a sense of place. The work reflects the eighteenth-century British interest in collecting and reproducing Old Master paintings, a practice that allowed such imagery to reach a wider audience through high-quality print production.

The print captures the gravity of the moment, with the figures arranged in a semi-circular formation that directs attention to the exchange of the coin. The textures of the clothing, from the heavy folds of the robes to the subtle sheen of the fabric, are rendered with precision. This piece serves as an example of the technical proficiency required in late eighteenth-century printmaking, where the engraver sought to translate the painterly qualities of the original oil work into the monochromatic language of ink on paper. It remains a fine specimen of the reproductive print tradition, demonstrating the skill involved in capturing the emotional weight of a classical religious subject.