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Puck holds a mirror for a fashionably dressed young woman trying on an Easter bonnet. They are standing among several hat boxes, some showing bonnets.
Library of Congress Prints and Photographs
1898-04-13
A bright red devil hides in a garden of white Easter lilies.
Library of Congress Prints and Photographs
1910-03-23
Print shows a young messenger boy asking a fashionably dressed young woman to sign for the delivery of her Easter bonnet.
Library of Congress Prints and Photographs
1899-04-05
A beautiful young woman emerges from a church on Easter. A cluster of well-dressed men, all eager for her hand, are waiting. Two of the men turn away a devil figure dressed in red. Caption: Who hath not owned, with rapture smitten frame, / The power of grace.–Campbell.
Once again at Eastertide, Puck turns its attention not to the Passion or Resurrection of Christ but — as most magazines and newspapers did for thematic material between Lent and after Easter — to social freedom before Lent, restrained socializing during Lent and Holy Week, and a return to courtship and the social whirl after Easter. It was the common thematic preoccupations of cartoons, poems, short fiction, and even editorials in the time.
Here, Ehrhart’s “girl” — Puck‘s answer to the Gibson Girl who dominated the cartoons in its rival weekly Life — no sooner leaves church than she is besieged by suitors young and old, foreign and domestic. She even has admirers among cadets and fops. What devotion to purity could not effect during Lent — that is, rejection of the devil — is employed in the pursuit of the Spring Girl: banishment of evil intentions.