* ^rnvk^aa^ t Tisuuai. -*i .— Ai> s- - ■»-^'«»^ ' «•» f.HW!^^, "S., ,f; d.^~. ,*■ *#^? .av»^?i II W! V ■rv \ \' i M ii'^ i i i 1 1 X 'v >• V V \ i 1 ' 1 -^ I K f f f \ ■^^ry/y/6 r^ycfJUUJi c5 q) / n 'o j%«js % ;p A HISTORY OF CARICATURE AND GROTESQUE. r ARISTOTLE AND PYTHAIS. I-'rom an Engraving by Bnrg^mair {\%th cent.) A HISTORY OF CARICATURE AND GROTESQUE |ii fiteriiture ;uiJr %xt By THOiMAS WRIGHT, M.A., F.S.A. THE ILLUSTRATIONS DRAWN AND ENGRAVED BY F. W. FAIRIIOLT, FS.A. ILontJon : CHATTO AND VVINDUS. PICCADILLY. 1875. LONDON : SAVILL, EDWARDS, AND CO., PRINTERS, CHANDOS STREET, COVENT GARDEN. '^'j 17. S PREFACE. SRLF T HAVE felt fome difficulty in felecfling a title for -*- the contents of the following pages, in which it was, in fad:, my defign to give, as far as may be done within luch moderate limits, and in as popular a manner as fuch information can eafily be imparted, a general view of the Hiftory of Comic Literature and Art. Yet the word comic feems to me hardly to exprefs all the parts of the fubjed: which I have fought to bring together in my book. Moreover, the field of this hillory is very large, and, though I have only taken as my theme one part of it, it was neceffary to circum- fcribe even that, in fome degree ; and my plan, there- fore, is to follow it chiefly through thofe branches which have contributed moil towards the formation of modern comic and fatiric literature and art in our own ifland. vi Prefc ace. Thus, as the comic literature of the middle ages to a very great extent, and comic art in a coniiderable degree alfo, were founded upon, or rather arofe out of, thofe of the Romans which had preceded them, it feemed defirable to give a comprehenfive hiftory of this branch of literature and art as it was cultivated among the peoples of antiquity. Literature and art in the middle ages prefented a certain unity of general character, ariling, probably, from the uniformity of the influence of the Roman element of fociety, modified only by its lower degree of intenlity at a greater diftance from the centre, and by fecondary caufes attendant upon it. To underftand the literature of any one country in Weftern Europe, efpecially during what we may term the feudal period — and the remark applies to art equally — it is necelTary to make ourfelves acquainted with the whole hiftory of literature in Weftern Europe during that time. The peculiarities in dif- ferent countries naturally became more marked in the progrefs of fociety, and more ftrongly individualifed ; but it was not till towards the clofe of the feudal period that the literature of each of thefe different countries was becoming more entirely its own. At that period the plan I have formed reflrid:s itfelf, according to the Preface. vii view ftated above. Thus, the llitlrical hterature of the Reformation and pidtorial caricature had their cradle in Germany, and, in the earher half of the fixteenth century, carried their influence largely into France and EnMand: but from that time any influence of German literature on thefe two countries ceafes. Modern fatirical literature has its models in France during the fixteenth century, and the dired: influence of this literature in France upon Englifli literature continued during that and the fucceeding century, but no further. Political caricature rofe to importance in France in the fixteenth century, and was tranfplanted to Holland in the feventeenth century, and until the beginning ot the eighteenth century England owed its caricature, indire(flly or dire(flly, to the French and the Dutch ; but after that time a purely Englifli fchool of cari- cature was formed, which was entirely independent of Continental caricatu rifts. There are two fenfes in which the "word hiftory may be taken in regard to literature and art. It has been ufually employed to fignify a chronological account of authors or artifts and their works, though this comes more properly under the title of biography and biblio- graphy. But there is another and a very diflerciit viii Preface, application of the word, and this is the meaning which I attach to it in the prefent volume. During the middle ages, and for fome period after (in fpecial branches), literature — I mean poetry, fatire, and popular literature of all kinds — belonged to fociety, and not to the individual authors, who were but workmen who gained a living by fatisfying fociety's wants ; and its changes in form or character depended all upon the varying progrefs, and therefore changing neceffities, of fociety itfelf. This is the reafon why, efpecially in the earlier periods, nearly the whole mafs of the popular — I may, perhaps, be allowed to call it the focial literature of the middle ages, is anonymous ; and it was only at rare intervals that fome individual rofe and made himfelf a great name by the fuperiority of his talents. A certain number of writers of fabliaux put their names to their compofitions, probably becaufe they were names of writers who had gained the reputation of telling better or racier jftories than many of their fellows. In fome branches of literature — as in the fatirical literature of the lixteenth century — fociety ftill exercifed this kind of influence over it; and although its great monuments owe everything to the peculiar genius of their authors, they were produced under the prelTure of focial cir- Preface. ix CLimftances. To trace all thefe variations in literature connected with Ibciety, to defcribc the influences of Ibciety upon literature and of literature upon fociety, during the progrefs of the latter, appears to me to be the true meaning of the word hiftory, and it is in this fenfe that I take it. This will explain why my hiftory of the different branches of popular literature and art ends at very different periods. The grotefque and fatirical fculpture, which adorned the ecclefiaftical buildings, ceafed with the middle ages. The ftory-books, as a part of this focial literature, came down to the fixteenth century, and the hiftory of the jeft-books which arofe out of them cannot be conlidered to extend further than the beginning of the feventeenth ; for, to give a lift of jeft- books fmce that time would be to compile a catalogue of books made by bookfellers for fale, copied from one another, and, till recently, each more contemptible than its prcdeccffor. The fchool of fatirical literature in France, at all events as far as it had any influence in England, Lifted no longer than the earlier part of the feventeenth century. England can hardly be faid to have had a fchool of fitirical literature, with the ex- ception of its comedy, which belongs properly to the X Preface. feventeenth century; and its caricature belongs efpecially to the laft century and to the earUer part of the prefent, beyond which it is not a part of my plan to carry it. Thefe few remarks will perhaps ferve to explain what fome may confider to be defeats in my book ; and with them I venture to truft it to the indulgence of its readers. It is a fubjed: which will have fome novelty for the Englifh reader, for I am not aware that we have any previous book devoted to it. At all events, it is not a mere com.pilation from other people's labours. Thomas Wright. CONTENTS. CHAPTER I. PAOB ORIGIX OF CARICATimE AND GROTESQUE — SPIRIT OF CARICATURE IN EGYPT — monsters: PYTHON AND GORGON — GREECE — THE DIO-- NYSL4.C CEREMONIES, AND ORIGIN OF THE DRAIMA — THE OLD COMEDY — LOVE OF PARODY — PARODIES ON SUBJECTS TAIvEN FROM 0RECL\:N' MYTHOLOGY : THE VISIT TO THE LOVER ; APOLLO AT DELPHI — THE PARTLALITY FOR PARODY CONTINUED AMONG THE ROMANS: THE FLIGHT OF -ENEAS 1 CHAPTER n. ORIGIN OF THE STAGE IN ROME — USES OF THE MASK AMONG THE ROMANS — SCENES FROM ROMAN COMEDY — THE SANNIO AND MIMU3 — THE EOM^VN DRAMA — THE ROMAN SATIRISTS — CARICATURE — ANIM^\X8 INTRODUCED IN THE CHARACTERS OF MEN — THE PIGMIES, AND THEIR INTRODUCTION INTO CARICATURE ; THE FARM-YARD ; THE P^VINTER's STUDIO ; THE PROCESSION — POLITICAL CARICATURE IN POMPEII ; THE GRAFFITI 23 CHAPTER ni. ' THE PERIOD OF TRANSITION FROM ANTIQUITY TO THE MIDDLE AGES — THE ROMAN MIMI CONTINUED TO EXIST — THE TEUTONIC AITER- DINNEK ENTERTAINMENTS — CLERICAL SATIRES : ARCHBISHOP UE- RIOER AND THE DREAMER; THE SUPPER OF THE SAINTS — TRAN- SITION FROM ANCIENT TO MEDLEVAX ART — TASTE FOE MONSTROUS AJOMALS, DRAGONS, ETC. ; CHURCH OF SAN FEDELE, AT COMO — 8PIUIT OF CARICATURE AND LOVE OF GROTESQUE AMONG THE ANGLO-SAXONS — GROTESQUE FIGURES OF DEMONS — NATURAL TEN- DENCY OF THE EARLY MEDIAEVAL ARTISTS TO DRAW IN CARI- CATURE — EXAMPLES FROM K,VILLY MANUSCRIPTS AND SCULPTURES . 10 xii Contents. CHAPTER JV. THE DIABOLICAIi IN CAEICATUEE — MEDLEVAL LOVE OF THE LUDICROUS — CAUSES WHICH MADE IT rNTLUENCE THE NOTIONS OE DEMONS — STOEIES OE THE PIOUS PAINTER AND THE ERRING MONK — DARK- NESS AND UGLINESS CARICATURED — THE DEMONS IN THE MIRACLE PLAYS — THE DEMON OE NOTRE DAME 61 CHAPTER V. EMPLOYMENT OF ANIMALS IN MEDLEVAL SATIRE — POPULARITY OF FABLES ; ODO DE CIRINGTON — REYNARD THE FOX — BURNELLUS AND FAUVEL — THE CHARIVARI — LE MONDE BESTORNE — ^ENCAUSTIC TILES — SHOEING THE GOOSE, AND FEEDING PIGS WITH ROSES — SATIRICAL SIGNS; THE MUSTARD MAKER 75 CHAPTER VI. THE MONKEY IN BURLESQUE AND CARICATURE — TOURNAMENTS AND SINGLE COMBATS — MONSTROUS COMBINATIONS OF ANIMAL FORMS — CARICATURES ON COSTUME — THE HAT — THE HELMET — LADIES' HEAD-DRESSES — THE GOWN, AND ITS LONG SLEEVES .... 95 CHAPTER Vn. PRESERVATION OF THE CHARACTER OF THE MIMUS AFTER THE FALL OF THE EMPIRE — THE MINSTREL AND JOGELOUR — HISTORY OF POPULAR STORIES — THE FABLIAUX — ACCOUNT OF THEM — THE CONTES DEVOTS 106 CHAPTER VHI. CARICATURES OF DOMESTIC LIFE — STATE OF DOMESTIC LIFE IN THE MIDDLE AGES — EXAMPLES OF DOMESTIC CARICATURE FROM THE CARVINGS OF THE MISERERES — KITCHEN SCENES — DOMESTIC BRAWLS — THE FIGHT FOR THE BREECHES — THE JUDICIAL DUEL BETWEEN MAN AND WIFE AMONG THE GERMANS — ALLUSIONS TO WITCH- CRAFT — SATIRES ON THE TRADES : THE BAKER, THE MILLER, THE WINE-PEDLAR AND TAVERN KEEPER, THE ALE-WIFE, ETC. . .118 CHAPTER IX. GROTESQUE FACES AND FIGURES — PREVALENCE OF THE TASTE FOR UGLY AND GROTESQUE FACES — SOME OF THE POPULAR FORMS DERIVED FROM ANTIQUITY: THE TONGUE LOLLING OUT, AND THE Contents. xiii PAGE DISTORTED MOUTH — nOREIBLE SUBJECTS : THE MAX KSV> THE SER- PE^'TS — -\XLEGORICAI< FIGURES : GEXJTTOKT A>T) LUXUEY — OTHEE KEPRESEXTATIONS OF CEEEICAI- GLtTTTOXY KSTD DRTr^^CE^^^:SS — GROTESQUE FIGURES OF I^^)ITrDU^\XS, AXD GROTESQUE GROUTS — OR^^VME^'Ts of the borders of books — itntxtentionae cari- cattire; the mote ajjo) the beam 144 CHAPTER X. satirical LITEEATURE in the middle ages — JOHN DE hauteville AND AI^IN DE LILLE — G0LL4.S .\ND THE GOLIARDS — THE GOLIARDIO POETRY — TASTE FOR PARODY — P^UIODIES ON RELIGIOUS SUBJECTS — POLITICAL CARICATURE IN THE MIDDLE AGES — THE JEWS OF NOR- WICH — CARICATURE REPRESENTATIONS OF COUT^^TRIES — LOCAL SA- TIRE — POLITICAL SONGS AND POEMS 159 CHAPTER XI. MINSTRELSY A SUBJECT OF BURLESQUE AND CARICATURE — CHARACTER OF THE MINSTRELS — THEIR JOKES UPON THEMSELVES AND UPON ONE ANOTHER — YARIOUS MUSICAL INSTRUMENTS REPRESENTED IN THE SCULPTURES OF THE MEDLEVAL ARTISTS — SIR M^VTTHEW GOURNAY AND THE KING OF PORTUGAL — DISCREDIT OF THE TABOR AND .BAGPIPES — MERMAIDS 188 CHAPTER Xn. THE COURT FOOL — THE NORMANS AND THEIR GABS — EARLY HISTORY OF COURT FOOLS — THEIR COSTUTJE — CAIiVINGS IN THE COliNISH CirURCHES — THE BURLESQUE SOCIETIES OF THE MIDDLE AGES — THE FEASTS OF ASSES, AND OF FOOLS — THEIR LICENCE — THE LEADEN MONEY OF THE FOOLS — THE BISHOP'S BLESSING 200 CHAPTER XHJ. THE DANCE OF DEATH — TILE PAINTINGS IN THE CHURCH OF L.V CILVISE DIKT:— Tire REIGN OF FOLLY — SEBASTI^VN BRANDT ; THE SHIP OF FOOLS — DISTURBERS OF CHURCH SERVICE — TROUBLESOME BEGGARS ^^-OEILEIl's SERMONS — BADIU8, AND HIS SHIP OF FOOLISH WOMEN — Til's. PLEASURES OF SMELL — ERASMUS; THE PRAISE OF FOLLY . '-'14 xiv Contejits. CHAPTER XIV. PASK POPULAE. LITEEATUHE AND ITS HEROES; BKOTHEE EITSH, TYLL EULENSPIEGEL, THE "WISE MEN OF GOTHAM — STORIES AND JEST- BOOKS — SKELTON, SCOGIN, TARLTON, PEELE 228 CHAPTER XV. THE AGJS OF THE REFORMATION — ^THOMAS MURNER ; HIS GENERAL SATIRES — FRUITFUIiNESS OF FOLLY — HANS SACHS — THE TRAP FOR FOOLS — ATTACKS ON LUTHER — THE POPE AS ANTICHRIST — THE POPE-ASS AND THE MONK-CALF — OTHER CARICATURES AGAINST THE POPE — THE GOOD AND BAD SHEPHERDS . . . . . . 244 CHAPTER XVI. ORIGIN OF MEDIAEVAL FARCE AND MODERN COMEDY — HROTSVITHA— MEDLEY AL NOTIONS OF TERENCE — THE EARLY RELIGIOUS PLAYS — MYSTERIES AND MIRACLE PLAYS — THE FARCES — THE DRAMA IN THE SIXTEENTH CENTURY 264 CHAPTER XVII. DIABLERIE IN THE SIXTEENTH CENTURY — EARLY TYPES OF THE DIA- BOLICAL FORMS — ST. ANTHONY — ST. GUTHLAC — REYIVAL OF THE TASTE FOR SUCH SUBJECTS IN THE BEGINNING OF THE SIXTEENTH CENTURY — THE FLEMISH SCHOOL OF BREUGHEL — THE FRENCH AND ITALIAN SCHOOLS — CALLOT, SALVATOR ROSA 288 CHAPTER XVIII. CALLOT AND HIS SCHOOL — C^ILLOt's ROMANTIC HISTORY — HIS " CA- PRICI," AND OTHER BURLESQUE "WORKS — THE " BALLI " AND THE BEGGARS— IMITATORS OF CALLOT; DELLA BELLA — EX^iMPLES OF DELLA BELLA — ROMAIN DE HOOGHE 30() CHAPTER XIX. THE SATIRICAL LITERATURE OF THE SIXTEENTH CENTURY — PASQUIL — MACARONIC POETRY — THE EPISTOKE OBSCURORUM "VIRORUM — RABELAIS — COURT OF THE QUEEN OF NAVARRE, AND ITS LITE- RARY circle; bona venture DES PEEIERS — HENRI ETIENNE — THE LIGUE, AND ITS SATIRE: THE " SAT"YRE MENIPPEE " . . . 312 Cofjtents. XV CHAPTER XX. PAGE POLniCL\X OiRICATUKE IX ITS IXFAXCY — TIIE REVERS DU XEU DES SUrSSES — CARICATUTIE IN FRANCE — THE THREE ORDERS — PERIOD OF THE LIGUE; CARICATURES AGAINST HENRI ni. — C^VRICATURES AGAINST THE LIGVE — C-UIICATURE IN FRANCE IN THE SEVEN- TEENTH CENTURY — GENER^\X GALAS — THE QU^UtREL OF AMBAS- SADORS — CARICATURE AGAINST LOUIS XIY. ; WILLIAM OF FURS- TEMBERG 34" CHAPTER XXI. EARLY POLITICAL CARICATURE IN ENGLAND — THE SATIRICAL WRITINGS AND PICTURES OF THE COMMONWE^ILTH PERIOD — SATIRES AGAINST THE bishops; BISHOP WILLLAMS — CARICATURES ON THE CAVA- LIERS; SIR JOHN SUCKLING — THE ROARING BOYS; VIOLENCE OF THE ROY^SLIST SOLDIERS — CONTEST BETWEEN THE PRESBYTERLiNS AND INDEPENDENTS — GRINDING THE KING's NOSE — PLAYING-CARDS USED A3 THE MEDIUM FOR CARICATURE; ILVSELRIGGE AND LAM- BERI — SHROVETIDE 360 CHAPTER XXn. ENGLISH COMEDY — BEN JONSON — THE OTHER WRITERS OF HIS SCHOOL — INTERRUPTION OF DR^\JJ:ATIC PERFORMANCES — COMEDY Al'TER THE RESTORATION — THE HOWARDS BROTHERS : THE DUKE OF BUCKINGHAM ; THE REHEARSAL — WRITERS OF COMEDY IN THE LATTER PART OF THE SEVENTEENTH CENTURY — INDECENCY OF THE STAGE — COLLEY CIBBKR — FOOTE 375 CHAPTER XXni. CARICATURE IN HOLLAND — ROMAIN DE HOOOIIE — THE ENGLISH REVO- LUTION — CARICATURES ON LOUIS XIV. AND JAMES II. — DR. SAf'IIE- VERELL — CARICATURE BROUGHT FROM HOLLAND TO ENGLAND — ORIGIN OP THE WORD " CARICATURE " — MISSISSIPPI AND TIIE SOUTH 8KA ; TIIE YEAR OF BUBBLES 400 xvi Contents. CHAPTER XXIV. . FAQK ENGLISH CAEICATTJEE VS THE AGE OF GEORGE II. — ENGLISH PELNT- SELLERS — ^ARTISTS EMPLOYED BY THEM — SIE EGBERT WALPOLE'S LONG MINISTRY — THE "WAR WITH FRANCE — THE NEWCASTLE AD- MINISTEATION — OPEEA INTEIGUES — ACCESSION OF GEORGE III., AND LORD BUTE IN POVTER 420 CHAPTER XXV. HOGARTH — HIS EARLY HISTORY — HIS SETS OF PICTURES — THE HARLOT' S PEOGEESS — THE RAEE'S PROGRESS — THE MAEEIAGE A LA MODE — HIS OTHEE PEINTS — THE ANALYSIS OF BEAUTY, AND THE PERSECU- TION ARISING OUT OF IT — HIS PATRONAGE BY LOED BUTE — CAEICA- TURE OF THE TIMES — ATTACKS TO WHICH HE WAS EXPOSED BY IT, AND WHICH HASTENED HIS DEATH 43i CHAPTER XXVI. THE LESSER CARICATURISTS OF THE EEIGN OF GEORGE III. — PAUL SANDBY — COLLET: THE DISASTER, AND FATHEE PAUL IN HIS CUPS — JAMES SAYER: HIS CARICATURES IN SUPPORT OF PITT, AND HIS REWARD — CARLO KHAN'S TRIUMPH — BUNBURY's: HIS CARICATURES ON HORSEMANSHIP — ^WOODWARD : GENEEAL COMPLAINT — ROWLAND - son's influence ON THE STYLE OF THOSE WHOSE DESIGNS HE ETCHED — JOHN KAY OF EDINBURGH: LOOKING A EOCK IN THE FACE 450 CHAPTER XXVII. GILLRAY — HIS FIRST ATTEMPTS — HIS CAEICATUEES BEGIN WITH THE SHELBUENE MINISTRY — IMPEACHMENT OF WARREN HASTINGS — CAEICATUEES ON THE KING; NEW WAY TO PAY THE NATIONAL DEBT — ALLEGED REASON FOR GILLRAY'S HOSTILITY TO THE KING — THE KING AND THE APPLE-DUMPLINGS — GILLEAY'S LATEE LA- BOURS — HIS IDIOTCY and DEATH 464 CHAPTER XXVIII. GILLRAY'S caricatures on social life — THOMAS EOWLANDSON — HIS EARLY LIFE — HE BECOMES A CARICATURIST — HIS STYLE AND WORKS — HIS DRAWINGS — THE CEUIKSHANKS 480 A HISTORT OP CARICATURE AND GROTESQUE. CHAPTER I. ORIGIN OF CARICATURE AND GROTESftUE. SPIRIT OF CARICATURE IN EGYPT. MONSTERS : PYTHON AND GORGON. GREECE. THE DIONY- SIAC CEREMONIES, AND ORIGIN OF THE DRAMA. THE OLD COMEDY. LOVE OF PARODY. PARODIES ON SUBJECTS TAKEN FROM GRECIAN MYTHOLOGY: THE VISIT TO THE LOVER: APOLLO AT DELPHI, THE PARTIALITY FOR PARODY CONTINUED AMONG THE ROMANS : THE FLIGHT OF JENEAS. IT is not my intention in the following pages to difcufs the quellion what conftitutes the comic or the laughable, or, in other words, to enter into the philolbphy of the fubjeftj I delign only to trace the hillory of its outward development, the various forms it has alVumed, and its focial influence. Laughter appears to be almoft a neceliity of human nature, in all conditions of man's exiflence, however rude or however cul- tivated ; and fome of the greateft men of all ages, men of the moft refined intelle6ts, fuch as Cicero in the ages of antiquity, and Erafmus among the modems, have been celebrated for their indulgence in it. The former was fometimes called by his opponents /curra confuluris, the "confular jfftcr j" and the latter, who has been fpoken of as the "mocking-bird," is laid to have laughed fo immoderately over the well-known " Epiltolae Obfcurorum Virorum," that he brought upon himfelf a fcrious fit of illncfs. The greateft of comic writers, Ariftophanes, has always been looked upon as a model of literary perfc6lion. An ejjigraiu in the Greek Antlio- Hijlory of Caricature and Grotefque logy, written by the divine Plato, tells us how, when the Graces fought a temple which would not fall, they found the foul of Ariftophanes : — Ai xapiTiQ rifitvoQ ti \af3iiv OTnp ovxt TrtfftZrai Zt]rovaai, 'il^vxt'jv tvpov ' Apiaro(pavovi;. On the other hand, the men who never laughed, ihedyiXaaroL, were looked upon as the leaft refpeftable of mortals. A tendency to burlefque and caricature appears, indeed, to be a feeling deeply implanted in human nature, and it is one of the earliefl: talents difplayed by people in a rude ftate of fociety. An appreciation of, and fenfitivenefs to, ridicule, and a love of that which is humorous, are found even among favages, and enter largely into their relations with their fellow men. When, before people cultivated either literature or art, the chieftain fat in his rude hall furrounded by his warriors, they amufed themfelves by turning their enemies and opponents into mockery, by laughing at their weakneffes, joking on their defe£ts, whether phyfical or mental, and giving them nicknames in accordance therewith, — in fa6t, caricaturing them in words, or by telling ftcries which were calculated to excite laughter. When the agricultural flaves (for the tillers of the land were then flaves) were indulged with a day of relief from their labours, they fpent it in unreftrained mirth. And when thefe fame people began to ereft permanent buildings, and to ornament them, the favourite fub- je6ts of their ornamentation were fuch as prefented ludicrous ideas. The warrior, too, who caricatured his enemy in his fpeeches over the feftive board, foon fought to give a more permanent form to his ridicule, which he endeavoured to do by rude delineations on the bare rock, or on any other convenient flirface which prefented itfelf to his hand. Thus originated caricature and the grotefque in art. In fa6t, art itfelf, in its earliefl forms, is caricature 5 for it is only by that exaggeration of features which belongs to caricature, that untkilful draughtfmen could make themfelves underftood. Although we might, perhaps, find in different countries examples of thefe principles in different flates of development, we cannot in any one country trace the entire courfe of the development itfelf: for in all the highly in Literature and Art, civil;fed races c\ mankind, we firft become acquainted with their hillory when they had already reached a confiderable degree of refinement ; and even at that period of their progrefs, our knowledge is almoft confined to their religious, and to their more feverely hiltorical, monuments. Such is efpecially the cafe with Egypt, the hiltory of which country, as repre- fented by its monuments of art, carries us back to the remoteft ages of antiquity. Egyptian art generally prefents itfelf in a fombre and maflivc character, with little of gaiety or joviality in its defigns or forms. Yet, as Sir Gardner Wilkinfon has remarked in his valuable work on the "Manners and Cufloms of the Ancient Egyptians," the early Egyptian artifls cannot always conceal their natural tendency to the humorous, which creeps out in a variety of little incidents. Thus, in a ieries of grave hiftorical pidlures on one of the great monuments at Thebes, we find a reprefentation of a wine party, where the company confifls of both fexes, and which evidently fhows that the ladies were not reftrifted in the No. I . An Egyptian Lady at a Feaji, \x{g of the juice of the grape in their entertainments; and, as he adds, "the painters, in illuflrating this faft, have fometimes facrificed their gallantry to a love of caricature." Among the females, evidently of rank, repre- fented in this fcene, " fome call the fervants to fupport them as they (it, ©there with difficulty prevent themfclvcs from falling on thofe behind Hiftory of Caricature and Grotefque them, and the faded flower, which is ready to drop from tlieir heated hands, is intended to be charafteriftic of their own fenfations." One group, a lady whofe excefs has been carried too far, and her fervant who comes to her afliftance, is reprefented in our cut No. i. Sir Gardner obferves that " many limilar inftances of a talent for caricature are obfervable in the compofitions of the Egyptian artiils, who executed the paintings of the tombs " at Thebes, which belong to a very early period of the Egyptian annals. Nor is the application of this talent rellrided always to fecular fubjefts, but we fee it at times intruding into the moft facred myfteries of their rehgion. I give as a curious example, taken from one of Sir Gardner Wilkinfon's engravings, a fcene in the reprefentation of a funeral proceflion crofRng the Lake of the Dead (No. 2), that No. 2. Catajirophe in a Funeral Procejfion. appears in one of thefe early paintings at Thebes, in which "the love of caricature common to the Egyptians is fhown to have been indulged even in this ferious fubjeft ; and the retrograde movement of the large boat, which has grounded and is puftied off the bank, flriking the fmaller one with its rudder, has overturned a large table loaded with cakes and other things, upon the rowers feated below, in fpite of all the efforts of the prowman, and the earneft vociferations of the alarmed fteerfman." The accident which thus overthrows and fcatters the provifions intended for the funeral feaft, and the confufion attendant upon it, form a ludicrous /;/ Literature and Art. fcene in the midll of a Iblemn pi6ture, that would be worthy of the imagination of a Rowlandfon. Another cut (No. 3), taken from one of the fame feries of paintings, belongs to a clafs of caricatures which dates from a very remote period. One of the mort natural ideas among all people would be to compare men with the animals whofe yjirticular qualities they pofTeffed. Thus, one might be as bold as a lior, another r^ faithful as a dog, or as cunning as a fox, or as fwiniih as a hog. The iiame of the animal would thus often be given as a nickname to the r.jan, and in the fequel he would be reprefented pi6torially under the form of the animal. It was partly out of this kind of caricature, no doubt, that the lingular clnfs of apologues which have been fince diftinguifhed by the name of fables arofe. Connefted with it was the belief in the metempfychofis, or tranfmiilion of the foul into the bodies of animals after death, which formed a part of feveral of the primitive religions. The eariieft examples of this clafs No. 3. An Unfortunate Soul. oi caricature of mankind are found on the Egyptian monuments, as in the inftance juft referred to, which reprefents " a foul condemned to return to earth under the form of a pig, having been weighed in the fcales before Ofiris and been found wanting. Being placed in a boat, and accompanied by two monkeys, it is difmifled the facred precind." The latter animals, it may be remarked, as they are here reprefented, are the cynocephali, or dog-headed monkeys (the ^mia inuus), which were facred animals among the Egyptians, and the peculiar chara6terirtic of ^ which — the dog-lhaped head — is, as ufual, exaggerated by the artilh . The rcprefentation of this return of a condemned foul under the Hijiory of Caricature and Grotefque repulfive form of a pig, is painted on the left fide wall of the long entrance-gallery to the tomb of King Ramefes V,, in the valley of royal catacombs known as the Biban-el-Molook, at Thebes. Wilkinfon gives the date of the acceffion of this monarch to the throne as 1185, b.c. In the original pifture, Ofiris is feated on his throne at fome diftance from the Itern of the boat, and is difmiffing it from his prefence by a wave of the hand. This tomb was open in the time of the Romans, and termed by them the " Tomb of Momnon 3" it was greatly admired, and is covered with laudatory infcriptions by Greek and Roman vifitoi-s. One of the moft interefling is placed beneath this pi6ture, recording the name of a daduchus, or torch-bearer in the Eleuiinian myfteries, who vifited this tomb in the reign of Conflantine. The pra6tice having been once introduced of reprefenting men under the chara6ter of animals, was foon developed into other applications Nc. 4. The Cat and the Geefe. of the fame Idea — ^fuch as that of figuring animals employed in the various occupations of mankind, and that of revcrfing the pofition of man and the inferior animals, and reprefenting the latter as treating their in Literature and Art. 7 human tyrant in the lame manner as they are ufually treated by him. The latter idea became a very favourite one at a later period, but the other is met with not unfrequently among the works of art which have been faved from the wrecks of antiquity. Among the treafures of the Britilh Mufeum, there is a long Egyptian pidure on papyrus, originally forming a roll, confuting of reprefentations of this defcriplion, from which I give three curious examples. The firft (fee cut No. 4) reprefents a cat in charge of a drove of geefe. It will be obferved that the cat holds in her hand the fame fort of rod, with a hook at the end, with which the No. 5. The Fox turned Piper. monkeys are furnilhcd in the preceding pidure. The fecond (No. 5) reprefents a fox carrying a baiket by means of a pole fapported on his Ihoulder (a method of carrying burthens frequently reprefented on the monuments of ancient art), and playing on the well-known double flute, or pipe. The fox foon became a favourite perfonage in this clals of caricatures, and we know what a prominent part he afterwards played in mediaeval fatire. Perhaps, however, the moft popular of all animals in this cla6 of drolleries was the monkey, which appears natural enough 8 Hijiory cf Caricature and Grotefque when we conlider its Angular aptitude to mimic the adtions of man. The ancient naturahlls tell us fome curious, though not very credible, ftories of the manner in which this charafteriftic of the monkey tribes was taken advantage of to entrap them, and PHny (Hift. JSiai... lib. viii. c. 80' quotes an older writer, who aflerted that they had even been taught to play at draughts. Our third fubjeft from the Egyptian papyrus of the Britifh Mufeum (No. 6) reprefents a fcene in which the game of draughts —or, more properly fpeaking, the game which the Romans called the No. 6. The Lion and the Unicorn. Indus latrunculorum, and which is believed to have refembled our draughts • — is played by two animals well known to modem heraldry, the lion and the unicorn. The lion has evidently gained the viftory, and is fingering the moneyj and his bold air of fwaggering fuperiority, as well as the look of furprife and difappointment of his vanquilhed opponent, are by no means ill pi6tured. This feries of caricatures, though Egyptian, belongs to the Roman period. Tlie monftrous is clofely allied to the grotefque, and both come withiu the province of caricature, when we take this term in its wideft fenfe. in Literature and Art. The Greeks, efpecially, were partial to reprefentations of monrters, and monftrous forms are continually met with among their ornaments and works of art. The type of the Egyptian monfter is reprefented in the accompany- ing cut (Xo. 7), taken from the work of Sir Gardner Wilkinfon before quoted, and is faid to be the figure of the god Typhon. It occurs frequently on Egyptian monuments, with fome variation in its forms, but alwavs No. 7. Typhon. charaftcrifcd by the broad, coarfe, and frightful face, and by the large tongue lolling out. It is interefting to us, becaufe it is the apparent origin of a long ferics of faces, or m.alk.s, of this form and chara6tcr, wliich are continually recurring in the grotefque ornamentation, not only of tiie Greeks and Romans, but of the middle ages. It appears to have been fomctimes given by the Romans to the reprefentations of people whom ihey hated or defpifed ; and Pliny, in a curious paflhge of his " Natural lO Hijiory of Caricature and Grotefqiie History,"* informs us that at one time, among the pictures exhibited in the Forum at Rome, there was one in which a Gaul was reprefented, " thrufting out his tongue in a very unbecoming manner." The Egyptian Typhous had their exa6t reprefentations in ancient Greece in a figure of frequent occurrence, to which antiquaries have, 1 know not why, given the name of Gorgon. The example in our cut No. 8, is a figure in terra- cotta, now in the colledion of the Royal Mufeum at BerHn.t No. 8. GoTgim. In Greece, however, the fpirit of caricature and burlelque repre- fentation had affumed a more regular form than in other countries, for it was inherent in the fpirit of Grecian fociety. Among the population oi Greece, the worship of Dionyfus, or Bacchus, had taken deep root from * Plin. Hist. Nat., lib. xxxv. c. 8. f Panofka Terracotten des Museums Berlin, pi. Ixi. p. 154. in Literature and Art. 1 1 a very early period — earlier than we can trace back — and it formed the nucleus of the popular religion and fuperftitions, the cradle of poetry and the drama. The moll popular celebrations of the people of Greece, were the Dionynac fellivals, and the phallic rites and procellions which accom- panied them, in which the chief a6tors alfumed the difguife of fatyrs and fawns, covering themfelves with goat-lkins, and disfiguring their faces by rubbing them over with the lees of wine. Thus, in the guife of noify bacchanals, they difplayed an unreflrained licentioufnefs of gefture and language, uttering indecent jelts and abufiv'e fpeeches, in which they fparcd nobody. This portion of the ceremony was the efpecial attribute of a part of the performers, who accompanied the proceflion in waggons, and aded fomething like dramatic performances, in which they uttered au abundance of loofe extempore fatire on thofe who palTed or who accom panied the proceflion, a little in the ftyle of the modern carnivals. It be came thus the occafion for an unreflrained publication of coarfe pafquinades. In the time of Pififtratus, thefe performances are afllimed to have been reduced to a little more order by an individual named Thefpis, who is laid to have invented malks as a better difguife than dirty faces, and is looked upon as the father of the Grecian drama. There can be no doubt, indeed, that the drama arofe out of thefe popular ceremonies, and it long bore the unmiftakable marks of its origin. Even the name of tragedy has nothing tragic in its derivation, for it is formed from the Greek word tragos (rpayoc), a goat, in the Ikins of which animal the fatyrs clothed themfelves, and hence the name was given alfo to thofe who l)crfonated the fatyrs in the proceflions. A tragodus {rpayi^loQ) was the linger, whofe words accompanied the movements of a chorus of fatyrs, and the term tragodia was applied to his performance. In the fame manner, a comodus ((cw^wccc) was one who accompanied fimilarly, wiih chants of an abuflve or fatirical charatler, a cumus (KiZiuog), or band ot revellers, in the more riotous and licentious portion of the perlormances in the Bacchic feflivals. The Greek drama always betrayed its origin by the circumftance that the performances took place annually, t)nly at the yearly fcilivals in honour of Bacchus, of which in i\\€t they confliluted a part. Moreover, as the Greek drama became perfetlcd, it Hill rttniru-C 1 2 Hijiory of Caricature and Grotefque from its origin a triple divifion, into tragedy, comedy, and the fatiric drama ; and, being ftill performed at the Dionyfiac fellival in Athens, each dramatic author was expefted to produce what was called a trilogy, that is, a tragedy, a fatirical play, and a comedy. So completely was all this identified in the popular mind with the worlhip of Bacchus, that, long afterwards, when even a tragedy did not pleafe the audience by its fubjeft, the common form of difapproval was, t'i tuvtu irpos rbv Aiovvaov — "What has this to do with Bacchus?" and, ov^ey Trpog tov AiovvfTov — " This has nothing to do with Bacchus." We have no perfect remains of the Greek fatiric drama, which was, perhaps, of a temporary chara6ter, and lefs frequently prefervedj but the early Greek comedy is preferved in a certain number of the plays of Ariftophanes, in which we can contemplate it in all its freedom of character. It reprefented the waggon-jefting, of the age of Thefpis, in its full development. In its form it was burlefque to a wanton degree of extravagance, and its effence was perfonal vilification, as well as general fatire. Individuals were not onjy attacked by the application to them of abufive epithets, but they were reprefented perfonally on the ilage as performing every kind of contemptible a6tion, and as fuffering all ibrts of ludicrous and difgraceful treatment. The drama thus bore marks of its origin in its extraordinary licentioufnefs of language and coftume, and in the conilant ufe of the malk. One of its moil favourite inftruments of fatire was parody, which was employed unfparingly on everything which fociety in its folemu moments refpeded — againft everything that the fatirift confidered worthy of being held up to public derifion or fcorn. Religion itfelf, philofophy, focial manners and inflitutions — even poetry — were all parodied in their turn. The comedies of Ariftophanes are full of parodies on the poetry of the tragic and other writers of his age. He is efpecially happy in parodying the poetry of the tragic dramatift Euripides. The old comedy of Greece has thus been corredly defcribed as the comedy of caricature ; and the fpirit, and even the fcenes, of this comedy, being transferred to piftorial reprefentations, became entirely identical with that branch of art to which we give the name of caricature in modern times. Under the cover of bacchanalian buffoonerv", a ferious /;; Literature and ylrt. ^ 3 purpole, it is true, was aimed at j but the general latire was chiefly implied in the violent perfonal attacks on individuals, and lliii became lb oftenlive that when llich perfons obtained greater power in Athens than the populace the old comedy was abolillied. Arillophanes was the greateft and mod perfeft poet of the Old Comedy, and his remaining comedies are as ftrongly marked reprelenta- tions of the hoftility of political and focial parties in his time, as the caricatures of Gillray are of party in the reign of our George III., and, we may add, even more minute. They range through the memorable period ot the Peloponnefian war, and the earlier ones give us the regular annual feries of thefe performances, as far as Arillophanes contributed them, during feveral years. The firft of them, " The Acharnians," was performed at the Lenaean feall of Bacchus in the fixth year of the Peloponnefian war, the year 425 b.c, when it gained the firll prize. It is a bold attack on the faftious prolongation of the war through the influence of the Athenian demagogues. The next, "The Knights," brought out in b.c. 424, is a dire6t attack upon Cleon, the chief of thefe demagogues, although he is not mentioned by name 3 and it is recorded that, finding nobody who had courage enough to make a malk reprefenting Cleon, or to play the cha- ra6ter, Ariflophanes was obliged to perform it himfelf, and that he fmeared his face with lees of wine, in order to reprefent the fluflied and bloated countenance of the great demagogue, thus returning to the original mode of a6ting of the predeceflors of Thefpis. This, too, was the firft of the comedies of Ariflophanes which he publiflied in his own name. "The Clouds," publiflied in 423, is aimed at Socrates and the philofophers. The fourth, " The Wafps," publiflied in B.C. 422, prefents a fatire on the litigious fpirit of tne Athenians. The fifth, entitled "Peace " ("Etoijj'j)), appeared in the year following, at the time of the peace of Nicias, and is another fatire on the bellicofe fpirit of the Athenian democracy. The next in the lift of extant plays comes after an interval of leveral years, having been publiflied in u.c. 414, the firft year of the Sicilian war, a."id relates to an irreligious movement in Athens, which had caufcd a great fenHition. Two Athenians arc reprefented as leaving Athens, in difgull at iht: vices and follies of their fellow citi/ens, and feek:r.y (pvffig iSovXtG' fj vofiutv ovhv fiiXei (Nature has commanded, wh/ch cares nothing for the laws); which Anaximandrides changed to — >) TToXlQ tjSoi'XlO' tj VOfltOV oii^cv fliXd (The state has commanded, which cares nothingr for the laws). Nowhere is oppreflion exercifed with greater harflinefs than under demo- cratic governments ; and Anaximandrides was profecuted for this joke as a crime againft the flate, and condemned to death. As may be fuppofed, liberty of fpeech ceafed to exift in Athens. We are well acquainted with the chara6ter of the Old Comedy, in its greateft freedom, through the writings of Ariftophanes. What was called the Middle Comedy, in which political fatire was prohibited, lafted from this time until the age of Philip of Macedon, when the old liberty of Greece was finally crufhed. The laft form of Greek comedy followed, which is known as the New Comedy, and was reprefented by fuch names as Epicharmus and Menander. In the New Comedy all caricature and parody, and all perfonal allufions, were entirely profcribed ; it was changed entirely into a comedy of manners and domeftic life, a pi6ture of contemporary fociety under conventional names and characters. From this New Comedy was taken the Roman comedy, fuch as we now have it in the plays of Plautus and Terence, who were profefled imitators of Menander and the other writers of the new comedy of the Greeks. Pi6torial caricature was, of courfe, rarely to be feen on the public monuments of Greece or Rome, but muft have been configned to obje6ls of a more popular charafter and to articles of common ufe j and, accord- ingly, modern antiquarian rcfearch has brought it to light fomewhat abundantly on the pottery of Greece and Etruria, and on the wall-paint- ings of domeftic buildings in Herculaneum and Pompeii. The former contains comic fcenes, efpecially parodies, which are evidently transfi^rred to them from the ftage, and which preferve the malks and other attributes — fomc of which I have ncceflarily omitted — proving the model from i6 mjioi-y of Caricature and Grotefque which they were taken. The Greeks, as we know from many iouices^ were extremely fond of parodies of every defcription, whether literary oi pi6tori?I. The fjbje6t of our cut No. 9 is a good example of the parodies No. 9. yf Greek Parody. found on the Greek pottery ; it is taken from a fine Etrulcan vafe,* and has been fuppofed to be a parody on the vifit of Jupiter to Alcmena. This appears rather doubtful, but there can be no doubt that it is a burlefque reprefentation of the vifit of a lover to the obje6t of his afpira- tions. The lover, in the comic mafk and coftume, mounts by a ladder to the window at which the lady prefents herfelf, who, it muft be confeffed, prefents the appearance of giving her admirer a very cold reception. He tries to conciliate her by a prefent of what feem to be apples, inftead of * Given in Panofka, " Antiques du Cabinet Pourtal^s," pi. x in Literature and Art. • 1 7 cold, but without much etft'6l. He is attended by his forvant with a torch, to give him light on the way, which lliows that it is a night adventure. Both mafler and fer\'ant have wreaths round their heads, and the latter carries a third in his hand, which, with the contents of his balket, are alfo probably intended as prefents to the lady. A more unmiftakable burlefque on the vifit of Jupiter to Alcmena is publillied by Winckelmann from a vafe, formerly in the library of the \'atican, and now at St. Peterlburg. The treatment of the fubje6l is not unlike the pifture juft defcribed. Alcmena appears jull in the fame pofture at her chamber window, and Jupiter is carrying his ladder to mount up to her, but has not yet placed it againfl: the wall. His companion is identified with Mercury by the well-known caduceus he carries in his left hand, while with his right hand he holds a lamp up to the window, in order to enable Jupiter to fee the obje6t of his amour. It is aftonilhing with how much boldnefs the Greeks parodied and ridiculed facred fubje6ls. The Chriflian father, Arnobius, ui writing againft his heathen opponents, reproached them with this circumftance. The laws, he fays, were made to prote6t the charafters of men from flander and libel, but there was no fuch prote6tion for the charadlers of the gods, which were treated with the greateft difrefped.* This was efpecially the cafe in their pi6torial reprefentations. Pliny informs us that Ctefilochus, a pupil of the celebrated Apelles, painted a burlefque pifture of Jupiter giving birth to Bacchus, in which the god was reprefented in a very ridiculous pofture. f Ancient writers intimate that fimilar examples were not uncommon, and mention the names of feveral comic painters, whofe works of this clafs were in repute. Some of thefe were bitter perfonal caricatures, like a celebrated work of a • ArnobiuH {contra Gartfet), lib. iv. p. 1 50. Carmen mulum conscrihere, (jiio fama altctius coinquinatur et vita, dcccmviralibus scitis evadcre nohiistis impunc : ac nc vc-.tra< aurc< convitio aliquis petiilantiorc pulsaret, de atrocibus formulas coiixti- tiii»fi'< injiiriis. Soli dii sunt apiid vos siiperi inhonorati, contcmrihiks, vilcs : ir qiitj^ jus CNt vobis datum qusc quisque volucrit diccrc turpitudincin, ja( trc qua^ libido confinxcrit afquc cxcogitaverit formas. +" Pliny, Hint. Nat., lib. xxxv. t. 40. m as C 1 8 Hijiory of Caricature and Grotefqiie painter named Cteficles, defcribed alfo by Pliny. It appears that Stra- tonice, the queen of Seleucus Nicator, had received this painter ill when he vifited her court, and in revenge he executed a pifture in which fhe . was reprefented, according to a current fcandal, as engaged in an amour with a common fitlierman, which he exhibited in the harbour of Ephefus, and then made his efcape on fhip-board. Pliny adds that the queen admired the beauty and accuracy of the painting more than Ihe felt the infult, and that {he forbade the removal of the pifture.* The fubje6t of our fecond example of the Greek caricature is better known. It is taken from an oxybaphon which was brought from the Continent to England, where it paffed into the colleftion of Mr. William Hope.f The oxybaphon {6S.v^a(j)ov), or, as it was called by the Romans, acetabulum, was a large velTel for holding vinegar, which formed one of the important ornaments of the table, and was therefore very fufceptible of piftorial embellifliment of this defcription. It is one of the moft remark- able Greek caricatures of this kind yet known, and reprefents a parody on one of the moft interefting ftories of the Grecian mythology, that of the arrival of Apollo at Delphi. The artift, in his love of burlefque, has fpared none of the perfonages who belonged to the ftory. The Hyper- borean Apollo himfelf appears in the chara6ter of a quack do6tor, on his temporary llage, covered by a fort of roof, and approached by wooden fteps. On the ftage lies Apollo's luggage, confifting of a bag, a bow, and his Scythian cap. Chiron (XIPQN) is reprefented as labouring under the efFe6ls of age and blindnefs, and fupporting himfelf by the aid of a crooked ftaff, as he repairs to the Delphian quack-dodor for relief. The figure of the centaur is made to afcend by the aid of a companion, both being furnilhed with the malks and other attributes of the comic per- formers. Above are the mountains, and on them the nymphs of Par- naffus (NYM$AI), who, like all the other aftors in the fcene, are difguifed with malks, and thofe of a very grotefque chara6ter. On the right-hand * Pliny, Hist. Nat., lib. xxxv. c. 40. + Engraved by Ch. Lenormant et J. de Witt »" Elite des Monuments Ceiamo- graphiques," pi. xciv. /// Literature ajid Art. ^9 lide ftaiids a figure which is conlidered as reprefenting ibe epoptes, the inlpedtor or overleer ot the performance, who alone wears no malk. Even a pun is employed to heighten the drollery of the fcene, for inllead of IIYelAS, the Pythian, placed over the head of the burlelque Apollo, it Teems evident that the artifl had written EEIQIAS, the conloler, in allufion, perhaps, to the conlblation which the quack-dodor is adminilier- insr to his blind arid asred vifitor. The Greek fpirit of parody, applied even to the moft facred fubjeds. No. 10. Apollo at Delphi. however it may have declined in Greece, was revived at Rome, and we find examples of it on the walls of Pompeii and Herculaneum. They fliow the fame rcadinefs to turn into burlcTiue the niofi: facred and popular k'gends of the Roman mythology. The example given (cut No. ii), from one of the wall-paintings, is peculiarly interefting, both from circumftances in the drawing itfclf, and bccaufe it is a parody on one of the favourite national legends of the Roman people, who pritlcd them- 20 Hi/iory of Caricature and Grotefque felves on their defcent from ^neas. Virgil has told, with great efFed, the ftory of his hero's efcape from the deftruftion of Troy — or rather has put the ftory into his hero's mouth. When the devoted city was already fl n (1 ii n n n n n n fi fl n fl fl (] No. II. The Flight of Mneas from Troy. in flames, ^neas took his father, Anchifes, on his fhoulder, and his boy, Julus, or, as he was otherwife called, Afcanius, by the hand, and thus fled from his home, followed by his wife — Ergo age, care pater, cer-vic'i imponere nojlra ; Ipje Jubibo humerh, nee me labor ijie gra-vabh. Quo res cumyue cadent, unum et commune perklum, Una falus ambobus erit. Mihi parvus lulus Sit comes, et longe Jer-vat ■vejiigia conjux. — Virg. iEn., lib. ii. 1. 707. in Literature and Art. 21 Thus they hurried on, the child holding by his father's right hand, and dragging after with " unequal Heps," — dextrtg fe par-vui lului ImpUcuit fequhurque patrem ncn pajfibus tequls. — Virg. iEn., lib. ii. 1. 723. And thus jEneas bore away both father and fon, and the penates, or houfehold gods, of his family, which were to be transferred to another country, and become the future guardians of Rome — yijcanium, Anchijemque patrem^ Tencrofque penates. — lb., 1. 7-17. In this cafe we know that the defign is intended to be a parody, or burlefque, upon a pi61:ure which appears to have been celebrated The I'li^hi ijf JEncas. at the time, and of which at lead two different copies are found upon ancient intaglios. It is the only cafe I know in which bulh the original 22 Hiftory of Caricature and Grotefque and the parody have been preferved from this remote period, and this is fo curious a circumftance, that I give in the cut on the preceding page a copy of one of the intagUos.* It reprefented Uterally Virgil's account of the ftory, and the only difference between the defign on the intaglios and the one given in our firft cut is, that in the latter the perfonages are repre- fented under the forms of monkeys, ^neas, perfonified by the ftrong and vigorous animal, carrying the old monkey, Anchifes, on his left flioulder, hurries forward, and at the fame time looks back on the burning city. With his right hand he drags along the boy lulus, or Afcanius, who is evidently proceeding non pajjilus cequis, and with difficulty keeps up with his father's pace. The boy wears a Phrygian bonnet, and holds in his right hand the inftrument of play which we fliould now call a "bandy" — the pedun. Anchifes has charge of the box, which contains the facred penates. It is a curious circumftance that the monkeys in this pi£ture are the fame dog-headed animals, or cynocephali, which are found on the Egyptian monuments. * These intaglios are engraved in the Museum Fiorentinum of Gorius, vol. ii. pi. 30. On one of them the figures are reversed. When this chapter was already given for press, I first became acquainted with in interesting paper, by Panofka, on the " Parodieen und Karikatuien auf Weiken der Klassischen Kunst," in the " Abhandlungen der Akademie der Wissenschaf ten 2u Berlin," for the year 1854, and I can only now refer my readers to it. in Literature and Art. 2 ■; CHAPTER II. ORIGiy OF THE STAGE IX ROME. USES OF THE MASK AMONG THg ROMANS. SCENES FROM ROMAN COMEDY. THE SANNIO AND MIMUS. THE ROMAN DRAMA. THE ROMAN SATIRISTS. CARICATURE. ANIMALS INTRODUCED IN THE CHARACTERS OF MEN. THE PIG.MIES, AND THF.IK INTRODUCTION INTO CARICATURE 5 THE FARM-YARD; THE painter's STUDIO; THE PROCESSION. POLITICAL CARICATURE IN POMPEII ; THE GRAFFITI. THE Romans appear to have never had any real tafte for the regular drama, which they merely copied from the Greeks, and from the earlieft period of their hiftory we find them borrowing all their arts of this defcription from their neighbours. In Italy, as in Greece, the firft germs of comic literature may be traced in the religious feftivals, which prefented a mixture of religious worlhip and riotous feftivity, where the feallers danced and fung, and, as they becameexcited with wine and enthu- fiafm, indulged in mutual reproaches and abufe. The oldefl: poetry of the Romans, which was compofcd in irregular meafure, was reprefented by the vi-rfus faturn'mi, faid to have been fo called from their antiquity (for things of remote antiquity were believed to belong to the age of Saturn). Naevius, one of the oldeft of Latin poets, is faid to have written in this verfe. Next in order of time came the Fefcennine verfes, which appear to have been diftinguilhed chiefly by their licenfe, and received their name becaufe tliey were brought from Fefcennia, in Etruria, where they were employed originally in the feftivals of Ceres and Bacchus. In the year 391 of Rome, or 361 b.c, the city was vifited by a dreadful plague, and the citizens hit upon what will apjiear to us the rather ftrange exjjedient of fending for performers {ludioncs) from Etruria, hoping, by employing thcgi, to appeafe the anger (jf the gods. Any perfornur ot this kiiui appears to have been fu little known to the Runians before this, tiiat 24 Hi ft or y of Caricature and Grotefqiie there was not even a name for him in the language, and they were obhged to adopt the Tufcan word, and call him a hjjlrio, becaufe kifter in that language meant a player or pantomimift. This word, we know, remained in the Latin language. Thefe firft Etrurian performers appear indeed to have been mere pantomimifts, who accompanied the flute with all forts of mountebank tricks, geftures, dances, gefticulations, and the like, mixed with fatirical fongs, and fometimes with the performance of coarfe farces. The Romans had alfo a clafs of performances rather more dramatic in chara6ter, confifting of ftories which were named Falulce AtellancB, becaufe thefe performers were brought from Atella, a city of the Ofci. A confiderable advance was made in dramatic Art in Rome about the middle of the third century before Chrill. It is afcribed to a freedman named Livius Andronicus, a Greek by birth, who is faid to have brought out, in the year 240 e.g., the firft regular comedy ever performed in Rome. Thus we trace not only the Roman comedy, but the very rudi- ments of dramatic art in Rome, either dire6l to the Greeks, or to the Grecian colonies in Italy. With the Romans, as well as with the Greeks, the theatre was a popular inftitution, open to the public, and the flate or a wealthy individual paid for the performance ; and therefore the building itfelf was neceflarily of very great extent, and, in both countries open to the Iky, except that the Romans provided for throwing an awning over it. As the Roman comed^v was copied from the new comedy of the Greeks, and therefore did not admit of the introdu6tion of caricature and burlefque on the ftage, thefe were left efpecially to the province of the pantomime and farce, which the Romans, as juft ftated, had received from a ftill earlier period. Whether the Romans borrowed the malk. from the Greeks, or not, is rather uncertain, but it was ufed as generally in the Roman theatres, whether in comedy or tragedy, as among the Greeks. The Greek a6lors performed upon ftilts, m order to magnify their figures, as the area of the theatre was very large and uncovered, and without this help they were not fo well feen at a diftance ; and one obje6l of utility aimed at by the maik is faid to have been to make the head appear proportionate in fize in Lite?'ature and Art. 25 to the artiticia] height of the body. It may be remarked that the malk feems generally to have been made to cover the whole head, reprefenting the hair as well as the face, lb that the character of age or complexion might be given complete. Among the Romans the Hilts were certainly not in general ufe, but llill the malk, befides its comic or tragic charader, is fuppofed to have ferved ufeful purpofes. The firll improvement upon its original llrudture is laid to have been the making it of brals, or fome Ac. 13. ^ Scene from Terence, other fonorous metal,or at leaft lining the mouth with it,fo as to reverberate, and give force to the voice, and alio to the mouth of tlie malk fomethiiigof the chara6ter of a fpeaking-trumpet.* All thefe acceflbries could not fail to detract much from the effe6t of the a6ting, which mull in general have been very meafured and formal, and have received moll of its importance fn^ni tiie excellence of the jioetry, and the declamatory talents ot the adorb. We have pictures in which fcenes from the Roman (lage are • It is haid to have received its Latin name from this tin uiiistancc, />'*■>«<», «• fxrjinanjo. bcc Aulus GcUiuii, Nott Alt., lib. v. c. 7. 26 Hijiory of Caricature a?id Grotefque accurately reprefented. Several rather early manufcripts of Terence have been preferved, illuftrated with drawings of the fcenes as reprefented on the ftage, and thefe, though belonging to a period long fubfequent to the age in which the Roman ftage exifted in its original charafter, are, no doubt, copied from drawings of an earlier date. A German antiquary of the laft century, Henry Berger, publiflied in a quarto volume a feries of fuch illuftrations from a manufcript of Terence in the library of the Vatican at Rome, from which two examples are (ele6led, as fhowing the GETA SERVVS DEMEA SENEX No. 14. Geta and Demea, ufual ftyle of Roman comic a6ling, and the ufe of the mafk. The firft (No. 13) is the opening fcene in the Andria. On the right, two fervants have brought provifions, and on the left appear Simo, the mafler of the houfehold, and his freedman, Sofia, who feems to be entrufted with the charge of his domeftic affairs. Simo tells his fervants to go away with the provifions, while he beckons Sofia to confer with him in private : — Si. fos ijicec intra auferte ; abite. Sofia, Adejdiim ; panels te -volo. So. D'lElum futa Nempe ut curentur reEie hac. SL Imo al'iud. Terent, Andr., Actus i., Scena 1. /"// Literature ami Art 27 ^^'hen we compare thefe words with the pifture, we cannot but feel that in the latter there is an unneceflary degree of energy put into the pofe of the figures; which is perhaps lefs the cafe in the other (No. 14), an iiluilration of the lixth fcene of the fifth att of the Adelphi of Terence. It reprefents the meeting of Geta, a rather talkative and conceited fervant, and Demea, a countryfied and churlilh old man, his acquaintance, and of ccurfe fuperior. To Geta's falutation, Demea alks churlilhly, as not at firft knowing him, "Who are you?" but when he finds that it is Geta, he changes fuddenly to an almoft fawning tone : — G Sed eccum Dctr.cam. SjI-vus Jic'S. D. OAf qui 'vocare ? G-. Geta. D. Cera, homlnem max'imi Preiii ejje tt kodie judica-vi animo met. That thefe reprefentations are truthful, the fcenes in the wall-paintings of Pompeii leave us no room to doubt. One of thefe is produced in our cut No. 15, which is no doubt taken from a comedy now loft, and we A'o. 15. Ci^mic Scene from J'om^eii, are ignorant whom the characters are intended to reprefcnt. The Jxft- given to the two comic figures, compared with the example given Irum 28 Hijiory of Caricature aJid Grotefque Berger, would lead us to fuppofe that this over-energetic aftion was confidered as part of the chara6ler of comic afting. The fubje6t of the Roman ma(ks is the more interefting, becaufe they were probably the origin of many of the grotefque faces fo often met with in mediaeval fculpture. The comic malk was, indeed, a very popular objeft among the Romans, and appears to have been taken as fymbolical of everything that was droll and burlefque. From the comic fcenes of the theatre, to which it was firft appropriated, it paffed to the popular feftivals of a public charafter, fuch as the Lupercalia, with which, no doubt, it was carried into the carnival of the middle ages, and to our mafquerades. Among the Romans, alfo, the ufe of the malk foon palTed from the public feftivals to private fupper parties. Its ufe was fo common that it became a plaything among children, and was fometimes ufed as a bugbear to- frighten them. Our cut No. i6, taken from a painting at No. 16. Cufids at Play. Retina, reprefents two cupids playing with a mafk, and ufing it for this latter purpofe, that is, to frighten one another; and it is curious that the mediaeval glofs of Ugutio explains larva, a malk, as being an image, "which was put over the face to frighten children."* The malk thus became a favourite ornament, efpecially on lamps, and on the antefixa * " Simulacrum quod opponltur faciei ad terrendos parvos." (Ugutio, ap. Ducange, v. Mafca.) /;/ Literature a fid Art. 29 and gargoyls of Roman buildings, to which were often given the form of grotefque malks, monftrous faces, with great mouths wide open, and other figures, Hke thofe of the gargoyls of the mediaeval archite6b5. While the comic malk was ufed generally in the burlefque entertain- ments, it alfo became diftinftive of particular chara6lers. One of thefe was \\\Qfannio, or buffoon, whofe name was derived from the Greek word advYoq, "a fool," and who was employed in performing burlefque dances, niakine grimaces, and in other afts calculated to excite the mirth of the fpeftator. A reprefentation of {he fannio is given in our cut No. 17, No. 17. TAe Roman Sannio, or Buffoon. copied from one of the engravings in the "Differtatio de Larvis Scenicis," by the Italian antiquary F'icoroni, who took it from an engraved gem. The fannio holds in his hand what is fuppofed to be a brals rod, and he has 30 Hijiory of Caricature and Grotefque probably another in the other hand, fo that he could flrike them together. He wears the foccus, or low flioe peculiar to the comic a6tors. This buftbon was a favourite charafter among the Romans, who introduced him conflantly into their feafts and fupper parties. The majiducus was another charafter of this defcription, reprefented with a grotefque malt, prefenting a wide mouth and tongue lolling out, and faid to have been peculiar to the Atellane plays. A charader in Plautus (Rud., ii. 6, 51) talks of hiring himfelf as a vianducus in the plays. " Slmdji al'iquo ad ludos me pro manduco locem ? " The mediaeval glofles interpret manducus hy joculator, "a jogelor," and add that the charafteriflic from which he took his name was the pradice of making grimaces like a man gobbling up his food in a vulgar and gluttonous manner. Ficoroni gives, from an engraved onyx, a figure of another burlefque performer, copied in our cut No. 18, and which he compares to the No. 1 8. Roman Tom Fool. Catanian dancer of his time (his book was publilhed in 1754), who was called a giangurgolq. This is confidered to reprefent the Roman mimus, a clafs of performers who told with mimicry and a6tion fcenes taken from /// Literature and Art. 3 1 common life, and more efpecially fcandalous and indecent anecdotes, like the jogelors and performers of farces in the middle ages. The Romans were ver)' much attached to thefe performances, fo nmch fo, that they even had them at their funeral prcceflions and at their funeral feafts. In our tigure, the vnmiis is reprefented naked, malked (with an exaggerated nofe), and wearing what is perhaps intended as a caricature of the Phrygian bonnet. In his right hand he holds a bag, or purfe, full of objedls which rattle and make a noife when fliaken, while the other holds the crotalum, or caflanets, an inftrument in common ufe among the ancients. One of the ftatues in the Barberini Palace reprefents a youth in a Phr)'gian cap playing on the crotalum. We learn, from an early authority, that it was an inftrument efpecially ufed in the fatirical and burlefque dances which were fo popular among the Romans. As I have remarked before, the Romans had no tafte for the regular drama, but they retained to the laft their love for the performances of the popular mimi, or comcedi (as they were often called), the players of farces, and the dancers. Thefe performed on the ftage, in the public feftivals, in the ftreets, and were ufually introduced at private parties.* Suetonius tells us that on one occafion, the emperor Caligula ordered a poet who compofed the Atellanes {Atillance poetam) to be burnt in the middle of the amphitheatre, for a pun. A more regular comedy, however, did flourifh, to a certain degree, at the fame time with thefe more popular compofitions. Of the works of the earlieft of the Roman comic writers, Livius Andronicus and Naevius, we know only one or two titles, and a few fragments quoted in the works of the later Roman writers. They were followed by Plautus, who died b.c. 184, and nineteen of whofe comedies are preferved and well known ; by feveral other writers, whofe names are ahnoft forgotten, and whofe comedies are all loft ; and by Terence, fix of whofe comedies are preferved. Terence died about the year 159 B.C. About the fame time with Terence lived • Sec, for nllu«.ions to the private cm|iloymtnt of these pcrfoniKinccs, Pliny, Epi^t. i. IS, and ix. 36. 3 2 Hifiory of Caricature and Grotefque Lucius Afranius and Quin6tius Atta, who appear to clofe the hft of the Roman writers of comedy. But another branch of comic Hterature had fprung out of the fatire of the rehgious feftivities. A year after Livius Andronicus produced the firft drama at Rome, in the year 239 e.g., the poet Ennius was born at Rudiae, in Magna Graecia. The fatirical verfe, whether Saturnine or Fefcennine, had been gradually improving in its form, although ftill very rude, but Ennius is faid to have given at leaft a new polifli, and perhaps a new metrical fliape, to it. The verfe was ftill irregular, but it appears to have been no longer intended for recitation, accompanied by the flute. The Romans looked upon Ennius not only as their earlieft epic poet, but as the father of fatire, a clafs of literary compofition which appears to have originated with them, and which they claimed as their own.* Ennius had an imitator in M. Terentius Varro. The fatires ot thefe firfl writers are faid to have been very irregular compofitions, mixing profe with verfe, and fometimes even Greek with Latin j and to have been rather general in their aim than perfonal. But fcon after this period, and rather more than a century before Chrift, came Caius Lucilius, who raifed Roman fatirical literature to its perfeftion. Lucilius, we are told, was the firft who wrote fatires in heroic verfe, or hexameters, mixing with them now and then, though rarely, an iambic or trochaic hue. He was more refined, more pointed, and more perfonal, than his predeceflbrs, and he had refcued fatire from the ftreet performer to make it a clafs of literature which was to be read by the educated, and not merely liftened to by the vulgar. Lucilius is faid to have written thirty books of fatires, of which, unfortunately, only fome fcattered lines remain. Lucilius had imitators, the very names of moft of whom are now for- gotten, but about forty years after his death, and fixty-five years before the birth of Chrift, was born Quintus Horatius Flaccus, the oldeft of the fatirifts whofe works we now poflefs, and the moft poliftied of Roman * Quintilian says, " Sat'ira quidem tota nojira eJi.'"' De Instit. Orator., lib. x. c. i. in Literature and Art. 3 3 pucts. In the time of Horace, the fatire of the Romans had reached i^s higheft degree of perfcdion. Of the two other great fatiriUs whofe works are prefened, Juvenal was born about the year 40 of the Chrirtian era, and Perlius in 43. During the period through which ihefe writers flourilhed, Rome faw a conliderable number of other fatirills of the fame clafs, whofe works have perifhed. Tn the time of Juvenal another variety of the fame clafs of literature had already fprung up, more artificial and fomewhat more indireft than the other, the profe fatiric romance. Three celebrated writers reprefent this fchool. Petronius, who^ born about the commencement of our era, died in a.d. 6<,, is the earlieft and moft remarkable of them. He compiled a romance, defigned as a fatire on the vices of the age of Nero, in which real perfons are fuppofed to be aimed at under fiAitious names, and which rivals in licenfe, at leaft, anything that could have been uttered in the Atellanes or other farces of the mimi. Lucian, of Samofata, who died an old man in the year 200, and who, though he wrote in Greek, may be confidered as belonging to the Roman Ichool, ccmpofed feveral fatires of this kind, in one of the moft remarkable of which, entitled " Lucius, or the Afs," the author defcribes himfelf as changed by forcery into the form of that animal, under which he pafles through a number of adventures which illuftrate the vices and weaknelfes of contemporary fociety. Apuleius, who w^as ccnfiderably the junior of Lucian, made this novel the groundwork of his " Golden Afs," a much larger and more elaborate work, written in Latin. This work of Apuleius was very popular through fubfequent ages. Let us return to Roman caricature, one form of which feems to have been efpecially a favourite among the people. It is difficult to imagine how the ftory of the pigmies and of their wars with the cranes originated, but ii is certainly of great antiquity, as it is fpoken of in Homer, and it was a very popular legend among the Romans, who eagerly fought and purchafed dwarfs to make domeftic pets of tliem. The pigmies and cranes occur frequently among the piftorial ornamentations of the houfes of Pompeii and Herculaneuni ; and the painters of Pompeii not only rcprdcnled them in their proper charader, but they made ufe of them for D 34 Hijlory of Caricature and Grotejque the purpofe of caricaturing the various occupations of life — domeftic and focial fcenes, grave conferences, and many other fabjefts, and even perfonal chara6ter. In this clafs of caricatures they gave to the pigmies, or dwarfs, very large heads, and very fmall legs and arms. I need hardly remark that this is a clafs of caricature vi^hich is very common in modern times. Our firfi: group of thefe pigmy caricatures (No. 19) is Nq, 19. The Farm-yard in Burlejque. taken from a painting on the walls of the Temple of Venus, at Pompeii, and reprefents the interior of a farm-yard in burlefque. The flru6ture in the background is perhaps intended for a hayrick. In front of it, one of the farm fervants is attending on the poultry. The more important- looking perfonage with the paftoral ftaff is poffibly the overfeer of the farm, who is vifiting the labourers, and this probably is the caufe why their movements have affumed fo much aftivity. The labourer on the right is ufing the ojilla, a wooden yoke or pole, which was carried over the shoulder, with the corlis, or baiket, fufpended at each end. This was a common method of carrying, and is not unfrequently reprefented on Roman works of art. Several examples might be quoted from the antiquities of Pompeii. Our cut No. 20, from a gem in the Florentine Mufeum, and illuftrating another clafs of caricature, that of introducing animals performing the aftions and duties of men, reprefents a grafshopper carrying the qfilla and the corhes. No. 20. An Afilla-Bearer. in Literature and Art, 35 A private houlc in Pompeii furnillied another example of this flyle of caricature, which is given in our cut No. 21. It reprek-nts the interior of a painter's lludio, and is extremely curious on account of the numerous details of his method of operation with which it furnillies us. The No. 21. A Painter^ s Studio. painter, who is, like moft of the figures in thefe pigmy caricatures, very fcantily clothed, is occupied with the portrait of another, who, by the rather exaggerated fulnefs of the gathering of his toga, is evidently intended for a dailiing and fafliionable patrician, though he is feated as bare-legged and bare-breeched as the artift himfelf. Both are diftinguillied by a large allowance of nofe. The eafel here employed refembles greatly the fame article now in ufe, and might belong to the Audio of a modern painter. Before it is a fmall table, probably formed of a llab of (lone, which fen'es for a palette, on which the painter fpreads and mixes his colours. To the right a fervant, who fills the office of colour- grinder, is feated by the fide of a velfel placed over hot coals, and appears to be preparing colours, mixed, according to tlie diredions given in okl writers, with punic wax and oil. In the background is feated a fhulent, whofe attention is taken from his drawing by what is going on at the other fide of the room, where two fmall perfonages are Liilering, who lo(jk as if they were amateurs, and who appear to be talking about the portrait. B(;liind tlum fiand.'> a birti, and wlitn the painting wa-^ full 3« Hi/lory of Caricature and Grotefque uncovered there were two. Mazois, who made the drawing from which our cut is taken, before the original had periihed — for it was found in a ftate of decay — imagined that the birds typified fome well-known fingers or muficians, but they are, perhaps, merely intended for cranes, birds fo generally affociated with the pigmies. According to an ancient writer, combats of pigmies were favourite reprefentations on the walls of taverns and {hops ;* and, curioufly enough, the walls of a fliop in Pompeii have furnifhed the pifture reprefented in our cut No. 22, which has evidently been intended for a caricature, No. 22. Tart of a Triumphal ProceJJion. probably a parody. All the pigmies in this pi6ture are crow^ned with laurel, as though the painter intended to turn to ridicule fome over- pompous triumph, or fome public, perhaps religious, ceremony. The tw^o figures to the left, who are clothed in yellow and green garments, appear to be difputing the polfeflion of a bowl containing a liquid. One of thefe, like the two figures on the right, has a hoop thrown over his Ihoulder. The firfl of the latter perfonages wears a violet drefs, and holds in his right hand a rod, and in his left a flatuette, apparently of a * Ivi Toiv KaTrtjXiiuv. Problem. Aristotelic. Sec. x. 7. /;/ Literature and Art. 2i,7 deity, but its attributes are not dilVmguifliable. The laft figure to the riorht has a robe, or mantle, of two colours, red and green, and holds in his hand a branch of a lily, or fonie fimilar plant ; the reft of the pi6ture is loft. Behind the other figure ftands a fifth, who appears younger and more refined in chara6ter than the others, and feems to be ordering or direftinsf them. His drels is red. We can have no doubt that political and perfonal caricature flouriflied among the Romans, as we have fome examples of it on their works of art, chiefly on engraved ftones, though thefe are moftly of a charafter we could not here conveniently introduce ; but the fame rich mine of Roman art and antiquities, Pompeii, has furnifhed us with one fample of what may be properly confidered as a political caricature. In the year 59 of the Chriilian era, at a gladiatorial exliibition in the amphitheatre of Pompeii, where the people of Nuceria were prefent, the latter exprelTed themfelves in fuch fcornful terms towards the Pompeians, as led to a violent quarrel, which was followed by a pitched battle between the inhabitants of the two towns, and the Nucerians, being defeated, carried their complaints before the reigning emperor, Nero, who gave judgment in their favour, and condemned the people of Pompeii to fufpenfion from ail theatrical amufements for ten years. The feelings of the Pompeians on this occafion are difplayed in the rude drawing reprefented in our cut No. 23, which is fcratched on the plafter of the external wall of a houfe in the ftreet to which the Italian antiquarians have given the name of the ftreet ot Mercur)'. A figure, completely armed, his head covered with what might be taken for a mediaeval helmet, is defcending what appear to be intended f(ir the fteps of the amphitheatre. He carries in his hand a palm-branch the emblem of victory. Another palm-branch ftands ere6t by his (idc, and underneath is the infcription, in rather ruftic Latin, "CAMPANI VICTORIA VNA CVM NVCERIMS PERISTIS "— " O Campa- nians, you periftied in the vidory together with the Nucerians." The other fide cf the pi6ture is more rudely and haftily drawn. It has bteii fuppof«;d to reprefent one of the viftors dragging a prifont-r, with his arms l)ound, up a ladder to a ftage or platform, on which he was perhaps to be fxhibilrd to the jeers of the popidace. Four years after this event, 38 Hiflory of Caricature and Grotefque Pompeii was greatly damaged by an earthquake, and fixteen years later came the eruption of Vefuvius, which buried the town, and left it in the condition in which it is now found. This curious caricature belongrs to a clafs of monuments to which O archaeologifts have given technically the Italian name of graffiti, fcratches or fcrawls, of which a great number, coniilling chiefly of writing, have been found on the walls of Pompeii. They alfo occur among the remains on other Roman fites, and one found in Rome itfelf is efpecially intereft- No. 23. A Popular Caricature. ing. During the alterations and extenlions which were made from time to time in the palace of the Caefars, it had been found neceflary to build acrofs a narrow ftreet which interfered the Palatine, and, in order to give fupport to the ftru6lure above, a portion of the ftreet was walled oif, and remained thus hermetically fealed until about the year 1857, when fome excavations on the fpot brought it to view. The walls of the ftreet were found to be covered with thefe graffiti, among which one attrafted efpecial attention, and, having been carefully removed, is now preferved in the muleuni of the Collegio Romano. It is a caricature upon a Chriftian /;/ Literature ajid Art. named Alexamenos, by Ibme pagan who derpilcd Chrirtianity. I'he Saviour is reprefented under the form of a man with the head of an afs, extended upon a crofs, the Chrillian, Alexamenos, (landing on one fide in the attitude of worlhip of that period. Underneath we read the infcrip- c e B F T i -OEQ/^y ^0. 24. Early Caricature upon a Chrijl'tan, tion, AAESAMEN02 CEBETE (for frc/jtra-) ©EON, "Alexamenos worlliips God." This curious figure, which may be placed among the inoft interefting as well as early evidences of the truiii uf Gofpel hifiory, is copied in our cut No. 24. It was drawn when the prevailing religion at Rome was ftill pagan, and a Chriftian was an objedt of contempt. 40 . Hijiory of Caricature and Grotefque CHAPTER ITL THE PERIOD OF TRANSITION FROM ANTIftUITY TO THE MIDDLE AGES. — THE ROMAN MIMI CONTINUED TO EXIST. THE TEUTONIC AFTER- DINNER ENTERTAINMENTS. CLERICAL SATIRE.? ', ARCHBISHOP HE- KIGER AND THE DREAMER ; THE SUPPER OF THE SAINTS. TRANSI- TION FROM ANCIENT TO MEDIEVAL ART. TASTE FOR MONSTROUS ANIMALS, DRAGONS, ETC. ; CHURCH OF SAN FEDELE, AT COMO.-^ SPIRIT OF CARICATURE AND LOVE OF GROTESQUE AMONG THE ANGLO-SAXONS. — GROTESftUE FIGURES OF DEMONS. NATURAL TEN- DENCY OF THE EARLY MEDIEVAL ARTISTS TO DRAW IN CARICATURE. EXAMPLE;? FROM EARLY MANUSCRIPTS AND SCULPTURES. THE tranfition from antiquity to what we ufually underfland by the name of the middle ages was long and flow; it was a period during which much of the texture of the old fociety was deftroyed, while at the fame time a new life was gradually given to that which remained. We know very little of the comic literature of this period of tranfition 3 its literary remains confift chiefly of a mafs of heavy theology and of lives of faints. The ftage in its perfedly dramatic form — theatre and amphitheatre — had dis- appeared. The pure drama, indeed, appears never to have had great vitality among the Romans, whofe taftes lay far more among the vulgar performances of the mimics and jefl:ers, and among the favage fcenes of the amphitheatre. While probably the performance of comedies, fuch as thofe of Plautus and Terence, foon went out of fafliion, and tragedies, like thofe of Seneca, were only written as literary compofitions, imitations of the fimilar works which formed fo remarkable a feature in the litera- ture of Greece, the Romans of all ranks loved to witnefs the loofe atti- tudes of their mimi, or liften to their equally loofe fongs and ftories. The theatre and the amphitheatre were ftate inftitutions, kept up at the national expenfe, and, as juft ftated, they perilhed with the overthrow of the weflern empire ; and the fanguinary performances of the amphitheatre. in Literature and Art. 4 1 if the amphitheatre itlelf continued to be ufed (which was perhaps the cafe in ibme parts of weflern Europe), and they gave place to the more harmlefs exliibitions of dancing beare and other tamed animals,* for deliberate cruelty was not a charaderiftic of the Teutonic race. But the in'imi, the performers who fung fongs and told ftories, accompanied with dancing and mufic, furvived the fall of the empire, and continued to be as popular as ever. St. Augulline, in the fourth century, calls thefe things nefaria, detellable things, and fays that they were performed at night. t We trace in the capitularies the continuous exiftence of ihefe performances during the ages which followed the empire, and, as in the time of St. Auguftine, they flill formed the amufement of nofturnal aflemblies. The capitulary of Childebert profcribes thofe who palled their nights with drunkennefs, jefting, and fongs. | The council of Narbonne, in the year 589, forbade people to fpend their nights " with dancings and lilthy fongs." § The council of Mayenee, in 813, calls thefe fongs "filthy and licentious" {turpia atque luxur'wfa) ; and that of Paris fpeaks of them as "obfcene and filthy" (olfccena et turpia); while in another they are called "frivolous and diabolic." From the bitternefs with which the ecclefiaftical ordinances are exprefled, it is probable that thefe performances continued to preferve much of their old paganifm ; yet it is curious that they are fpoken of in thefe capitularies and adts of the councils as being ftill praftifed in the religious feflivals, and even in the churches, fo tenacioufly did the old fentiments of the race keep their poflTefTion of the minds of the populace, long after they had embraced Chriftianity. Thefe "fongs," as they are called, continued alfo to confift not only of general, but of perfonal fatire, and contained • On this subject, sec my " History of Domestic Manners and Sentiments," p. 65. The darning bear appears to liavc been a favourite performer aniong the Germans at a very early period. f Per lotam noctcm cantabantur hie nefaria ct a cantatoribus saltubalur. Augustini Scrm. 311, part v. I Noctes pervigiles cum ebrietatc, scurriiitate, vel cantitis. Sic ihc Capitulary in Labhci Concil , vol. v. ^ Ut populL .... saitationibus ct turpibus invigilant canticis. 42 Hijiory of Caricature and Grotefque fcandalous ftories of perfons living, and well known to thofe who heard them. A capitulary of the Frankifh king Childeric III., publiflied in the year 744, is direfted againft thofe who conipofe and fing fongs in defamation of others {in hlafphemiam allerius, to ufe the rather energetic language of the original) ; and it is evident that this offence was a very common one, for it is not unfrequently repeated in later records of this charafter in the fame words or in words to the fame purpofe. Thus one refult of the overthrow of the Roman empire was to leave comic literature almoft in the fame condition in which it was found by Thefpis in Greece and by Livius Andronicus in Rome. There was nothing in it which would be contrary to the feelings of the new races who had now planted themfelves in the Roman provinces. The Teutonic and Scandinavian nations had no doubt their popular feftivals, in which mirth and frolic bore fway, though we know little about them 5 but there were circumftances in their domeftic manners which implied a neceflity for amufement. After the comparatively early meal, the hall of the primitive Teuton was the fcene — efpecially in the darker months of winter — of long fittings over the feftive board, in which there was much drinking and much talking, and, as we all know, fuch talking could not preferve long a very ferious tone. From Bede's account of the poet Caedmon, we learn that it was the praftice of the Anglo-Saxons in the feventh century, at their entertainments, for all thofe prefent to fing in their turns, each accompanying himfelf with a mufical infl:rument. From the fequel of the ftory we are led to fuppofe that thefe fongs were extemporary effufions, probably mythic legends, ftories of perfcnal adventure, praife of themfelves, or vituperation of their enemies. In the chieftain's houfehold there appears to have been ufually fome individual who a6led the part of the fatirift, or, as we fhould perhaps now fay, the comedian. Hunferth appears as holding fome fuch pofition in Beowulf j in the later romances. Sir Kay held a fimilar pofition at the court of king Arthur. At a ftill later period, the place of thefe heroes was occupied by the court fool. The Roman mimus muft have been a welcome addition to the entertainments of the Teutonic hall, and there Is every reafon to think that he was cordially received. The performances r in Literature and Art. 43 of the hall were foon delegated from the guells to fuch hired aftors, and we have reprelVntations of them in the illuminations of Anglo-Saxon manufcripts.* Among the earlieft amufements of the Anglo-Saxon table were riddles, which in every form prefent fome of the features of the comic, and are capable of being made the fource of much laughter. The faintly Aldhelm condefcended to write fuch riddles in Latin verfe, which were, of courfe, intended for the tables of the clergy. In primitive fociety, verfe was the ordinary form of conveying ideas. A large portion of the celebrated coUeftion of Anglo-Saxon poetry known as the " Exeter Book," confilts of riddles, and this tafte for riddles has continued to exill down to our own times. But other forms of entertainment, if they did not already exift, were foon introduced. In a curious Latin poem, older than the twelfth century, of which fragments only are preferved, and have been publifhed under the title of " Ruodlieb," and which ajipcars to have been a tranflation of a much earlier German romance, we have a curious defcription of the poft-prandial entertainments after the dinner of a great Teutonic chieftain, or king. In the iirlt place there was a grand difiribution of rich prefents, and then were fliown ftrange animals, and among the reft tame bears. Thefe bears flood upon their hind legs, and performed fome of the offices of a man ; and when the minftrels (inimi) came in, and played upon their mufical inftruments, thefe anunals danced to the mufic, and performed all forts of ftrange tricks. Et parties urji Siui "vas toiiebant, ut homo, b'iptdejque gerehant. Aiimi quando fides digit is tangunt mcdu/antes, llli faltabant, neumas pedibas variabant. Intcrdum faliunt, fejeque juper jaciebant. j4lterutrum dor jo Je portabant refidcndoj jimplexando Je, ludando dejiciunt Jc. Then followed dancmg-girls, and exliibitions of other kinds.f • The reader is referred, for further information on this subject, to my " History of Domcsric Manner.-, and Sentiments," pp. 33-39. + This curious Latin poem was printed by Grimm and Sthmeiler, in their Latcini-schc Gedithtc dc.s x. und xi. Jh., p. 129. 44 Hijiory of Caricature and Grotefque Although thefe performances were profcribed by the ecclefiaftical laws, they were not difcountenanced by the ecclefiaftics themfelves, who, on the contrary, indulged as much in after-dinner amufements as any- body. The laws againft the profane fongs are often direded efpecially at the clergy ; and it is evident that among the Anglo-Saxons, as well as on the Continent, not only the priefts and monks, but the nuns alfo, in their love of fuch amufements, far tranfgreffed the bounds of decency.* Thefe entertainments were the cradle of comic literature, but, as this literature in the early ages of its hiftory was rarely committed to writing, it has almofl entirely periihed. But, at the tables of the ecclefiaftics, thefe ftories were fometimes told in Latin verfe, and as Latin was not fo eafily carried in the memory as the vernacular tongue, in this lan- guage they were fometimes committed to writing, and thus a few examples of early comic literature have fortunately been preferved. Thefe confill chiefly of popular ftories, which were among the favourite amufe- ments of mediaeval fociety — ftories many of which are derived from the earlieft period of the hiftory of our race, and are ftill cherilhed among our peafantry. Such are the ftories of the Child of Snow, and of the Mendacious Hunter, preferved in a manufcript of the eleventh century. t The firft of thefe was a very popular ftory in the middle ages. According to this early verfion, a merchant of Conftance, in Switzerland, was detained abroad for feveral years, during which time his wife made other acquaintance, and bore a child. On his return, Ihe excufed her fault by telling him that on a cold wintry day fhe had fwallowed fnow, by which Ihe had conceived ; and, in revenge, the bulband carried away the child, and fold it into flavery, and returning. * On the character of the nuns among the Anglo-Saxons, and indeed ot the inmates of the monastic houses generally, I would refer my readers to the excellent and interesting volume by Mr. John Thrupp, "The Anglo-Saxon Home: a History of the Domestic Institutions and Customs of England from the fifth to the eleventh century." London, 1862. f These will be found in M. Ed^lestand du MeriPs Poesies Populaires Latines anterieures au douzieme siecle, pp. 275, 2,76. in Literature ami Art. 45 told its mother, that the infant which had originated in fnow, had melted away under a hotter fun. Some of thefe (lories originated in the ditil-rent colleAions of fables, which were part of the favourite literature of the later Roman period. Another is rather a ridiculous ftory of an afs belonging to two fillers in a nunnery, which was devoured by a wolf.* It is curious how foon the mediaeval clergy began to imitate their pagan predecelfors in parodying religious fubje6ls and forms, of which we have one or two ver)' curious examples. Vilits to purgatory, hell, and paradife, in body or fpirit, were greatly in falhion during the earlier part of the middle ages, and afforded extremely good material for fatire. In a metrical Latin ftory, preferved in a manufcript of the eleventh century, we are told how a " prophet," or vifionary, went to Heriger, archbifhop of Mayence from 912 to 926, and told him that he had been carried in a vifion to the regions below, and defcribed them as a place furrounded by thick woods. It was the Teutonic notion of hell, and indeed of all fettlements of peoples ; and Heriger replied with a fneer that he would fend his herdfmen there with his lean fwine to fatten tliem. Each " mark," or land of a family or clan, in the early Teutonic fettlements, was furrounded by woodland, which was common to all members of the clan for fattening their fwine and hunting. The falfe dreamer added, that he was afterwards carried to heaven, where he faw Chrill fitting at the table and eating. John the Baptill was butler, and ferved excellent wine round to the faints, who were the Lord's guefts. St. Peter was the chief cook. After fome remarks on the appointments to thefe two offices, archbilliop Heriger alked the informant how he was received in the heavenly hall, where he fat, and what he eat. He replied that he fat in a corner, and tlole from the cooks a piece of liver, which he eat, and then departed. Inflead of rewarding him for his information, Heriger took him on his own confeflion • This, and the metrical story next rcft-rrccl to, were printed in the " Altdciitsche Bliitter," edited by Moiiz Haupt and Heiniith Ilotrmann, vol. i. pp. 390, 392, ro whom I communicated them from a manuscript in the University Library at Canlbridgc. 4-6 mjlory of Caricature and Grotefque for the theft, and ordered him to be bound to a ftake and flosreed. which;, for the olFence, was rather a light punifhment. Heriger ilium juffn ad palum loris ligar'iy Jcopijque cedi, Jermone duro hunc arguendo. Thefe lines will ferve as a fpecimen of the popular Latin verfe in which thefe monkiili after-dinner ftories were written ; but the mofl: remarkable of thefe early parodies on religious fabjefts, is one which may be defcribed as the fupper of the faints j its title is fimply Ccena. Jt is falfely afcribed to St. Cyprian, who lived in the third centuryj but it is as old as the tenth century, as a copy was printed by profeffor Endlicher from a manufcript of that period at Vienna. It was fo popular, that it is found and known to have exifted in ditferent forms in verfe and in profe. It is a sort of drollery, founded upon the wedding feaft at which the Saviour changed water into wine, though that miracle is not at all introduced into it. It was a great king of the Eaft, named Zoel, who held his nuptial feaft at Cana of Galilee. The perfonages invited are all fcriptural, beginning with Adam. Before the feaft, they wafh in the river Jordan, and the number of the guefts was fo great, that feats could not be provided for them, and they took their places as they could. Adam took the firft place, and feated himfelf in the middle of the affembly, and next to him Eve fat upon leaves {fuper folia), — fig-leaves, we may fuppofe. Cain fat on a plough, Abe] on a milk-pail, Noah on an ark, Japhet on tiles, Abraham on a tree, Ifaac on an altar. Lot near the door, and fo with a long lift of others. Two were obliged to ftand — Paul, who bore it patiently, and Efau, who grumbled — while Job lamented bitterly becaufe he was obliged to fit on a dunghill. Mofes, and others, who came late, were obliged to find feats out of doors. When the king faw that all his guefts had arrived, he took them into his wardrobe, and there, in the fpirit of mediaeval generofity, diftributed to them drefles, which had all fome burlefque allufion to their particular characters. Before they were allowed to fit in Literature and Art. 4' down to the feaft, they were obliged to go through other ceremonies, vhich, as well as the eating, are defcribed in the lame %le of cari- cature. The wines, of which there was great variety, were fer\ed to the guelb with the fame allufions to their individual charaders ; but fome of liiem complained that they were badly mixed, although Jonah was the butler. In the fame manner are defcribed the proceedings which followed the dinner, the walhing of hands, and the delTert, to the latter of which Adam contributed apples, Samfon honey j while David played on the harp and Mary on the tabor; Judith led the round dance; Jubal played on the pfalter; Afael fung fongs, and HerodiaS^afted the part of the dancing-girl : — Tunc Adam f>oma min'ijirat, Samjon faw dulda, Ddi'id cytharum percujfit, et Maria tympana, Judith choreas ducebat, et Jubal fjalterta. Ajael metra canebat, jaltabat Herodias. Mambres entertained the company with his magical performances; and- the other incidents of a mediaeval feftival followed, throughout which the fame tone of burlefque is continued; and fo the ftory continues, to the end.* We (hall find thefe incipient forms of mediaeval comic literature largely developed as we go on. The period between antiquity and the middle ages was one of fuch great and general deftrudion, that the gulf between ancient and mediaeval art feems to us greater and more abrupt than it really was. The want of monuments, no doubt, prevents our feeing the gradual change of one into the other, but neverthelefs enough of fafts remain to convince us that it was not a fudden change. It is now indeed generally underftood that the knowledge and practice of the arts and manufadures of the Romans were handed onward from m;ifter tc pupil after the empire had fallen; and this took place efpecially in the towns, fo that lli'j workman- • The text of this singular composition, w it h a full nccoiint of flu- various forms in which it w.is published, will tie found in M. du A16rir.s " Po^vics Populaircs L2.riA«s antirieurcs au douzieiiit siwlc," p. 193. 48 Hijlory of Caricature and Grotefque fhip which had been declining in charafter during the later periods of the empire, only continued in the courfe of degradation afterwards. Thus, in the firft Chriftian edifices, the builders who were employed, or at leaft many of them, muft have been pagans, and they would follow iheir old models of ornamentation, introducing the fame grotefque No. 25. Saturn De-vouring hh Child. figures, the fame mafks and monftrous faces, and even fometimes the fame fubjefts from the old mythology, to which they had been accufiomed. It is to be obferved, too, that this kind of iconographical ornamentation had been encroaching more and more upon the old architeftural purity during the latter ages of the empire, and that it was employed more profufely in the later works, from which this tafte was transferred to t^^e in Literature and Art, 40 ecclefiaftical and to the domcltic architedure of the middle aees. After tlie workmen themfelves had become Chrillians, they Hill found pagan emblems and figures in their models, and Hill went on imitating them, fometimes merely copying, and at others turning them to caricature or burlefque. And this tendency contmued fo long, that, at a much later date, where there ftill exifted remains of Roman buildings, the mediaeval architects adopted them as models, and did not hcliiate to copy the fculpture, although it might be evidently pagan in charader. The accompanying cut (No. 25) reprefents a bracket in the church of Mont JMajour, near Nifmes, built in the tenth century. The fubjedt is a monfirous head eating a child, and we can hardly doubt that it was really uUended for a caricature on Saturn devouring one of his children. Sometimes the mediaeval fculptors miftook the emblematical defigns of the Romans, and mifapplied them, and gave an allegorical meaning to that which was not intended to be emblematical or allegorical, until the fubje6t> themfelves became extremely confufed. They readily employed that clals of parody of the ancients in which animals were reprefented j)erforming the a6tions of men, and they had a great tafte tor monfters of every defcription, efpecially thofe which were made up of portions of incongruous animals joined together, in contradi6tion to the precept q{ Horace : — • Humano capit'i cer-vicem pilior equinam Jungereji "velit, tt -varias inducere plumaSy Undique collatis memiris, ut turpiter atrum Dcjinct in pijcem t.ulier formofa Juperne f ISfieciatum admijjl r.(um tenealis, amici ? The mediaeval architects loved fuch rejjrefentations, always and in all parts, and exa»/iples are abundant. At Ccjmo, in Italy, liiere is a very ancient and remarkable church dedicated to San Fedele (Saint Fidelis) ; it has been confidered to be of fo early a date as the fifth century. The fculptures that adorn the doorway, which is triaiigiilar-lieadcd, are ' I'pecially inttrcfiing. On one of thefe, reprefeiUed in our cut No. 26, Ml a con)partment to the left, appears a figure of an angel, liu'Jing in one hand a dwarf figure, probably intended for a child, by a lock ol his hair, £ No. 26. St u/^ lure from S^in Fedele, at C'jmo. Hiflory of Caricature and Grotefqite. 51 and with the other hand dh-e6linsf his attention to a feated tio-ure in the compartment below. This hitter figure has apparently the head of a llieep, and as the head is furrounded with a hirge nimbus, and the right hand is held out in the attitude of benedidion, it may be intended to reprefent the Lamb. This perfonage is feated on fomething which is difficult to make out, but which looks fomewhat like a crab-fith. The boy in the com- partment above carries a large bafin in his arms. The adjoining compart- nifut to the right contains the reprefentation of a conflidt between a dragon, a winged ferpent, and a winged fox. On the opposite fide of the door, two winged mongers are reprefented devouring a lamb's head. I owe the drawing from which this and the preceding engraving were made to my friend Mr. John Robinfon, the archite6t, who made the Iketches while travelling with the medal of the Royal Academy. Figures of dragons, as ornaments, were great favourites with the peoples of the Teutonic race ; they were creatures intimately wrapped up in their national mytholog)' and romance, and they are found on all their artillic monuments mingled together in grotefque forms and groups. When the Anglo-Saxons began to ornament their books, the dragon was continually introduced for ornamental borders and in forming initial letters. One of the latter, from an Anglo-Saxon manufcript of the tenth century (the well-known manufcript of Caedmon, where it is given as an initial V), is reprefented in our cut on the next page, No. 27. Caricature and burlefque are naturally intended to be heard and feen publicly, and would therefore be figured on fuch monuments as were moft expofed to popular gaze. Such was the cafe, in the earlier periods of the middle ages, chiefly with ecclefiallical buildings, which explains how they became the grand receptacles of this clals of Art. We have few traces of what may be termed comic literature among our Anglo- .xon forefathers, but this is fully explained by the circumfiance that very little of the popular Anglo-Saxon literature has been pnlirvrd. In their fcftive hours the Anglo-Saxons fecm to li;ive cl])ecially amufed themfelves in boafling of what they had done, and what tiny could do; and thefe boafiii were perhaps often of a burlef(jue character, like the ^nli (\l tJie French and Anglo-Norman romancers of a later date, or lb 52 Hijlory of Caricature and Grotefque extravagant as to produce laughter. The chieftains appear alfo to have encouraged men who could make jokes, and fatirife and caricature others ; for the company of fuch men feems to have been cheriflied, and they are not unfrequently introduced in the ftories. Such a perfonage, as I have remarked before, is Hunferth in Beowulf j fuch was the Sir Kay of the later Arthurian romances ; and fuch too was the Norman minftrel in the hiftory of Hereward, who amufed the Norman foldiers at their feafts by mimicry of the manners of their Anglo-Saxon opponents. The too perfonal fatire of thefe wits often led to quarrels, which ended in No, 27. Anglo-Saxon Dragons. fanguinary brawls. The Anglo-Saxon love of caricature is fhown largely in their proper names, which were moftly fignificant of perfonal qualities their parents hoped they would pofTefs ; and in thefe we remark the pronenefs of the Teutonic race, as well as the peoples of antiquity, to reprefent thefe qualities by the animals fuppofed to poffefs them, the animals moft popular being the wolf and the bear. But it is not to be expefted that the hopes of the parents in giving the name would always be fulfilled, and it is not an uncommon thing to find individuals loling their original names to receive in their place nicknames, or names which /// Liter at we and Art. 5 3 probably exprelVed qualities they did poffels, and which were given to them by tlieir acquaintances. Thefe names, though often not very complimentary, and even fometimes very much the contrary, completely luperleded the original name, and were even accepted by the individuals to whom they applied. The fecond names were indeed To generally acknowledged, that they were ufed in figning legal documents. An Anglo-Saxon abbefs of rank, whofe real name was Hrodwaru, but who was known univerfally by the name Bugga, the Bug, wrote this latter name in ligning charters. We can hardly doubt that fuch a name was intended to afcribe to her qualities of a not agreeable chara6ler, and ver)' dilferent to thofe implied by the original name, which perhaps meant, a dweller in heaven. Another lady gained the name of the Crow. It is well known that furnames did not come into ufe till long after the Anglo-Saxon period, but appellatives, like thefe nicknames, were often added to the name for the purpofe of diftin6tion, or at pleafure, and thefe, too, being given by other people, were frequently fatirical. Thus, one Harold, for his fvviftnefs, was called Hare-foot ; a well-known Edith, for the elegant form of her neck, was called Swan- neck ; and a Thurcyl, for a form of his head, which can hardly have been called beautiful, was named Mare's-head. Among many other names, quite as fatirical a^ tlie laft-mentioned, we find Flat-nofe, the Uglv Squint-eye, Hawk-nofe, &c. Of Anglo-Saxon fculpture we have little left, but we have a few illuminated manufcripts which prcfcnt here and there an attempt at caricature, though they are rare. It would feem, however, that the two favourite fubje6ts of caricature among the Anglo-Saxons were the clergy and the evil one. We have abundant evidence that, from the eighth century downwards, neither the Anglo-Saxon clergy nor the Anglo- Saxon nuns were generally obje6ls r)f much refpeft among the people ; and their chara(!-ter and the manner of their lives fufKcicntly accoiuit fur it. Perhaps, alfo, it was increafed by the hollility between the old clergy and the new reformers of Dunllan's party, who would no doubt caricature each other. A manufcript i)falter, in the Univerfity Library, Cambridge (Ff. 1, 23), of the Anglo-Saxon period, and appauntiy of the 54 HiJio?-y of Caricature aitd Grotefque tenth century, illuftrated with rather grotefque initial letters, furnifhes us with the figure of a jolly Anglo-Saxon monk, given in our cut No. 28, and which it is hardly neceflary to Hate reprefents the letter Q. As we proceed, we lliall fee the clergy continuing to furnifh a butt for the Ihafts of fatire through all the middle ages. The inclination to give to the demons (the middle ages always looked upon them as innumerable) monftrous forms, which ealily ran into the ;;?^ No. 28. A Jolly Monk. grotefque, was natural, and the painter, indeed, prided himfelf on drawing them ugly ; but he was no doubt influenced in fo generally caricaturing them, by mixing up this idea with thofe furniflied by the popular fuper- ftitions of the Teutonic race, who believed in multitudes of fpirits, repre- ftntatives of the ancient fatyrs, who were of a playfully malicious defcription, and went about plaguing mankind in a very droll manner, and fometimes appeared to them in equally droll forms. They were the Pucks and Robin Goodfdlows of later times 5 but the Chriftian miffionaries to the weft taught their converts to believe, and probably believed them- felves, that all thefe imaginary beings were real demons, who wandered over the earth for people's ruin and deftrudion. Thus the grotefque imagination of the converted people was introduced into the Chriftian lyftem of demonology. It is a part of the fubje6t to which we ihall return ui our next chapter 3 but I will here introduce two examples of in Literature and Art. 55 luc Aiiglu-Saxou demons. To explain tlie rirti ot ihele, it will be neceirary to rtaie that, according to the niediaival notions, Satan, the arch demon, who had fallen from heaven for his rebellion againil the Almighty, was not a free agent who went about tempting mankind, but he was himfelf plunged in the abyfs, where he was held in bonds, and tormented by the demons who peopled the internal regions, and alio iliued thence to feek their prey upon God's newelt creation, the earth. The hiftory of Satan's fall, and the defcription of his pofition (No. 29), form the fubjed of the earlier part of the Anglo-Saxon poetry afcribed to Caedmon, and it is one of the illuminations to the manufcript of Caedmon (which is now prefen'ed at Oxford), which has furnilhed us with our cut. No. 29. Satan in Bonds. reprefenting Satan in h.s bonds. The fienil is here pidured bcniiid to flakes, over what appears to be a gridiron, while one of the demons, rifing out of a fiery furnace, and holding in his hand an inltrument of punidiment, feems to be exulting over him, and at the fame time urging on the troop of grotefque imps who are fwarming round and tormenting tljcir vidim. The next cut. No. 30, is alfo taken Irom an Anglo-Saxon 56 Hiflory of Caricature and Grofefqiie manuicript, preferved in the Britifh Mufeum (MS. Cotton., Tiberius, C. vi.), which belongs to the earlier half of the eleventh century, and contains a copy of the pfalter. It gives us the Anglo-Saxon notion of the demon under another form, equally charaderiftic, wearing only a girdle of flames, but in this cafe the efpecial Angularity of the defign confifts in the eyes in the fiend's wmgs. Another circumftance had no doubt an in- fluence on the mediaeval talle for grotefque and caricature — the natural rudenefs of early mediaeval art. The wr-'t^rs of antiquity tell us of a remote period of Grecian art when it was neceflary to write under each figure of a pifture the name of what it was intended to reprefent, in order to make the whole intelligible — " this is a horfe," "this is a man," "this is a tree." Without being quite fo rude as this, the early mediaeval artifts, through Ignorance of perfpe6live, want of know- ledge of proportion, and of Ikill in drawing, found great difficulty in reprefenting a fcene in which there was more than one figure, and in which it was necelfary to diftinguifli them from each other; and they were continually trying to help themfeives by adopting conventional torms or conventional pofitions, and by fometimes adding fymbols that did not exatlly reprefent what they meant. The exaggeration in form confifted chiefly in giving an undue prominence to fome charafteriftic feature, which anfwered the fame purpofe as the Anglo-Saxon nickname and dif- tin6tive name, and which is, in fiift, one of the firft principles of all cari- cature. Conventional pofitions partook much of the charader of conventional forms, but gave fiill greater room for grotefque. Thus the veryfirll charafteriftics of mediaeval art implied the exifience of caricature, and no. doubt led to the tafie for the grotefque. The effedt of this No. 30. Satan. in Literature and Art. 57 influence is apparent everywhere, and in innumerable cafes ferious pictures ot the gravell and molt important lubjeds are (imply and ablblutely caricatures. Anglo-Saxon art ran much into this %le, and is often very grotefque in charatSler. The tirll example we give (cut Xo. 31) is taken from one of the illullrations to Alfric's Anglo- No. 31. T/it Temptation. Saxon vedion of the Pentateuch, in the profufely illuminated manufcript in the Bnti(h Mufeum (MS. Cotton., Claudius B iv.), which was written at the end of the tenth, or beginning of the eleventh, century. It reprefents the temptation and fall of man; and the fubjedt is treated, as will be feen, in a rather grotefque manner. Eve is evidently dictating to her hulband, who, in obeying her, Ihows a mixture of eagernefs and trepidation Adam is no lefs evidently going to fwallow the apple whole, which is, perhaps, in accordance with the mediaeval legend, according to which the fruit ftuck in his throat. It is hardly necelfary to remark that the tree is entirely a conventional one; and it would be (litliciiit to imagiae how it came to bear apples at all. 1 he mediaeval artills were \tremely unlkilful in drawing trees; to tlul'e they iifiKiIly gave the forms of cabbages, or fome fuch plants, of which the form was lim|)lc, or often of a mere bunch of leaves. Our next example (cut No. 32) is alfo S8 Hijlojy of Caricature and Grotefque Anglo-Saxon, and is furniflied by the manufcript in the Britifli Muleum aheady mentioned (MS. Cotton., Tiberius C vi.) It probably repreients young David killing the lion, and is remarkable not only for the ftrange pofture and bad proportions of the man, but for the tranquillity of the animal and the exaggerated and violent action of its flayer. This is very commonly the cafe in the mediaeval drawings and fculptures, the artifts apparently polfefling far lefs fkill in reprefenting aftion in an animal than in man, and therefore more rarely attempting it. Thefe illullrations are No. 32. Da-vid and the Lion. both taken from illuminated manufcripts. The two which follow are furnifhed by fculptures, and are of a rather later date than the preceding. The abbey of St. George of Bofcherville, in the diocefe of Auxerre (in Normandy)', was founded by Ralph de Tancarville, one of the minifters of William the Conqueror, and therefore in the latter half of the eleventh century. A hiflory of this religious houfe was publillied by a clever local antiquary — M. Achille Deville — from whofe work we take our cut No. 2)3) in Literature and Art. 59 one of a few rude icuipuirLs on the abbey church, which no doubt belonged to tiie original fabric. It is not dirticuh to recognife the fubjed as Joleph taking the Virgin Mary with her Child into Egypt ; but there IS fomelhing exceedingly droll m the unintentional caricature of the faces, as well as in the whole delign. The Virgin Mary appears without a nimbus, while the nimbus of the Infant Jefus is made to look very like a bonnet. It may be remarked that this fubjecl of the Hight into Egypi i-> by no means an uncommon one in mediaeval art ; and a drawing of No. 33. 2'Jit Flight into Egyft. the fame fubjeft, copied in my " Eliltory of Domeltic Manners and Si-ntiments " (p. 11.5), prefents a remarkable illuilration of the contrail i the ikill of a Norman fculptor and of an almolt contemporary Anglo- Norman illuminator. Our cut alfo furniihes us with evidence of the error of the old o|)inion that ladies rode allride in the middle ages. Even I !ie, who by his llyle of art mu(l have been an obfcure local carver on ftone, when he reprefented a female on liorfeback, placed her in the polition which has always been confidered fuitable to the fex. 6o Hijlory of Caricature and Grotefque For the drawing of the other fculpture to which I allude, I am indebted to Mr. Robinfon. It is one of the fubjefts carved on the fagade of the church of St. Gilles, near Nifmes, and is a work of the twelfth century. It appears to reprefent the young David flaying the giant Goliah, the latter fully armed in fcale armour, and with fliield No. 34. Devid and Goliah. and fpear, like a Norman knight ; while to David the artifl has given a figure which is feminine in its forms. What we might take at firft iight for a balket of apples, appears to be meant for a fupply of ftones for the fling which the young hero carries fufpended from his neck. He has flain the giant with one of thefe, and is cutting off his head with his own fword. in Literature and Art. 6 1 CHAPTER IV. THE DIABOLICAL IN CARICATURE. MtUI.TiVAL LOVE OF THE LUDICROIJS. — CAVSES WHICH MADE IT INFLUENCE THE NOTIONS OF DEMONS. STORIES OF THE PIOUS PAINTER AND THE ERRING MONK. DARKNESS AND UGLINESS CARICATURED. THE DEMONS IN THE MIRACLE PLAYS. THE DEMON OF NOTRE DAME. AS I have already flated in the laft chapter, there can be no doubt that the whole I) ftem of the deaionology of the middle ages was derived from the older pagan mythology. The demons of the nionkilh legends were limply the elves and hobgoblins of our forefathers, who haunted woods, and fields, and waters, and delighted in milleading or plaguing mankind, though their mifchief was uluallyof a rather mirthful character. They were reprefented in claflical mythology by the fauns and fatyrs who had, as we have feen, much to do with the birth of comic literature among the Greeks and Romans ; but thefe Teutonic elves were more ubiquitous than the fatyrs, as they even haunted men's houfes, and played tricks, not only of a mifchievous, but of a very famihar chara6ter. The Chriftian clergy did not look upon the perfonages of the popular fuper- ftilions as fabulous beings, but they taught that they were all diabolical, and that they were fo many agents of the evil one, conftantly emj)loyed in enticing and entrapping mankind. Hence, in the mediaeval legends, we frequently find demons prefenting themfelves under ludicrous forms or in ludicrous fituations j or performing ads, fuch as eating and drinking, which are not in accordance with their real chara6terj or at times even letting themfelves be (julwitled or eiitrapped by mortals in a very undignified manner. Although they afibmed any form tluy piialld, ilieir natural form was remarkable chiefly for being extremely ugly; one of them, which appeared in a wild wood, is defcribcd by Giraldus Cambrenfis, who wrote at the end of the twellth century, as being hairy, 62 Hiftory of Caricature and Grotefqiie lliaggy, and rough, and monftroufly deformed.* According to a mediaeval ftory, which was told in different forms, a great man's cellar was once haunted by tliefe demons, who drank all his wine, while the owner was totally at a lofs to account for its rapid difappearance. After many unfuccefsful attempts to difcover the depredators, fome one, probably fufpefting the truth, fuggefted that he fliould mark one of the barrels with holy water, and next morning a demon, much refembling the defcription given by Giraldus, was found ftuck fall to the barrel. It is told alfo of Edward the Confeffor, that he once went to fee the tribute W No. 35. The Demon of the Treajure, called the Danegeld, and it was fhown to him all packed up in great barrels ready to be fent away — for this appears to have been the ufual mode of tranfporting large quantities of money. The faintly king had the faculty of being able to fee fpiritual beings — a fort of fpiritual fecond- * " Formam quandam viliosam, liispidam, et hirxutam, adeoque enoimiter deformem." Girald. Carnb., Itiner. Camb., lib. i, c. 5. in Li t em f lire and Art. 63 fight — and he beheld leated on the largell barrel, a devil, who was " black and hideous." Vit un deabU faer defus Le trejor, mir et /:idus. — Life of S. Etlwanl, I. OU. An early illuminator, in a manufcnpt preferved in the library of Trinity College, Cambridge (MS. Trin. Col., B x. 2), ha^ left us a pitlorial reprefentaiion of this fcene, from which I copy his notion of the form of the demon in cut No. ^^. The general idea is evidently taken from the tigure of the goat, and the relationlhip between the demon and the clallical fatyr is very evident. Uglinefs was an elfential charatleriftic of the demons, and, moreover, their features have ufually a mirthful caft, as though they greatly enjoyed their occupation. There is a mediaeval ftory of a young monk, who was facrillan to an abbey, and had the directions of the building and orna- mentation. The carvers of Hone were making admirable reprefentations of hell and paradife, in the former of which the demons "feemed to take great delight in well tormenting their vi6tims " — Qui far jemhlant fe dell toil En ce que bien les tormentolt. The facriftan, who watched the fculptors every day, was at laft moved by pious zeal to try and imitate them, and he fet to work to make a devil himfelf, with fuch fuccefs, that his fiend was fo black and ugly that nobody could look at it without terror. Tant qu'un de'able a fere empriji ; Si i mi ft fa poine et fa cure, Que la forme fu fi ojcure Et ft /aide, que cil doutaft Slut entre deus oi/z Fe/gardaft. The facriftan, encouraged by his fuccefs — for it muft be underrtood that his art was a fudden infpiration (as he had not been an artift before) — continued his work till it was completed, and then " it was fo horrii)le and ib ugly, that all who faw it affirmed upon their oaths that they had 64 Hiftory of Caricature and GrotefqUe never feen fo ugly a figure either in fculpture or in painting, or one which had fo repulfive an appearance, or a devil which was a better likenefs than the one this monk had made for them " — 81 horribles fu et Ji lez, S^ue trejiou-z eels que le 'ueoient Seur leur Jerement afermoient Conques mes Ji laide figure, Ne en tallle ne en peinture, N^a-voient a nul jor -veue, S^ui Ji euji laide -veue, Ne deable m'lex contrefet ^e cil monies leur a-voh fet. — Meon's Fabliaux, torn. ii. p. 414. The demon hirafelf now took otience at the affront which had been put upon him, and appearing the night following to the facriftan, reproached him with having made him fo ugly, and enjoined him to break the fculpture, and execute another reprefenting him better looking, on pain of very fevere puniihmentj but, although this vifit was repeated thrice, the pious monk refufed to comply. The evil one now began to work in another way, and, by his cunning, he drew the facriftan into a difgraceful amour with a lady of the neighbourhood, and they plotted not only to elope together by night, but to rob the monaftery of its treafure, which was of courfe in the keeping of the facriftan. They were difcovered, and caught in their flight, laden with the treafure, and the unfaithful facriftan was thrown into prifon. The fiend now appeared to him, and promifed to clear him out of all his trouble on the mere condition that he ihould break his ugly ftatue, and make another reprefenting him as looking handfome — a bargain to which the facriftan acceded without further hefitation. It would thus appear that the demons did not like to be reprefented ugly. In this cafe, the fiend immediately took the form and place of the facriftan, while the latter went to his bed as if nothing had happened. When the other monks found him there next morning, and heard him difclaim all knowledge of the robbery or of the prifon, they hurried to the latter place, and found the devil in chains-, who, when they attempted to exorcife him^ behaved in a very turbulent manner, and in Literature and Art. 65 difappeared from their fight. The monks believed that it was all a deception of the evil one, while the facrirtan, who was not inclined to brave his difpleafure a fecond time, performed faithfully his part of the c"ontra6t, and made a devil who did not look ugly. In another verfion of the llory, however, it ends differently. After the third warning, the monk went in defiance of the devil, and made his piAure uglier than ever; in revenge for which the demon came unexpectedly and broke the ladder on which he was mounted at his work, whereby the monk would undoubtedly have been killed. But the Virgin, to whom he was much devoted, came to his afliliance, and, feizing him with her hand, and holding him in the air, difappointed the devil of his purpofe. It is this latter denouement which is reprefented in the cut No. '^6, taken from the No. 36. Tht Pious ScuJptor. celebrated manufcript in the Britirti Mufeum known as " Queen Mary's Pfalter " (MS. Keg. 1 B vii.). The two demons employed here prefcnt, well defined, the air of mirthful jfjllity which was evidently derived trum the popular hobg(jblins. There was another popular ftory, which alfo was told under feveral 66 Hijlory of Caricature and Grotefqiie forms. The old Norman hiflorians tell it of their duke Richard Sanf- Peur. There was a monk of the abbey of St. Ouen, who alfo held the office of facriftan, but, neglefting the duties of his pofition, entered into an intrigue with a lady who dwelt in the neighbourhood, and was accui- tomed at night to leave the abbey fecretly, and repair to her. His place as facriftan enabled him thus to leave the houfe unknown to the other brethren. On his way, he had to pafs the little river Robec, by means of a plank or wooden bridge, and one night the demons, who had been watching him on his errand of fin, caught him on the bridge, and threw him over into the water, where he was drowned. One devil feized his foul, and would have carried it away, but an angel came to claim him on account of his good a6tions, and the difpute ran fo high, that duke Richard, whofe piety was as great as his courage, was called in to decide it. The fame manufcript from which our lafi: cut was taken has furnillied our cut No. 37, which reprefents two demons tripping up the monk, and No. 37. The Monk's D'ljafter. throwing him very unceremonioufly into the river. The body of one of the demons here affumes the form of an animal, inftead of taking, like the other, that of a man, and he is, moreover, furniflied with a dragon's wings. There was one verfion of this ftory, in which it found its place among the legends of the Virgin Mary, inllead of thofe of duke Richard. The monk, in fpite of his faiUngs, had been a conftant in Literature and Art. 67 worfhipper of the Virgin, and, as he was falling from the bridge into the river, ihe ftepped forward to prote6t him from his perfecutors, and taking hold of him with her hand, faved him from death. One of the compart- ments of the rather early wall-paintings in Winchefter Cathedral reprefents the fcene according to this verlion of the ftory, and is copied in our cut No. 38. The tiends here take more fantallic lliapes than we have bin. 38. The Dimotii Dijuj.pointcd. previouHy feen given to them. They remind us already of the infinitely varied grotefque forms which the painters of the age of the Renaillance crowded together in fuch fubj(.-6ts as " The Temptation of St. Anthony." In fa6t these ftrange notions of the forms of the demons were not only jjrefened through the whole period of the middle ages, but are Hill hardly extinft. 'J'hc-y appear in almoft exaggerated forms in the illullrations iij books of a popular religious chara6ter which appeared in tlu' hill ages I I printing. I may quote, as an example, one of the cuts of an early and \ery rare block-book, entitled the Jrs Moriendi, or "Art of Joying," or, in -A fecond title, De Tcntat'umibus Morientium, on tin- tiiuptations to which dying men are expofcd. The fcene, of wliich a j)art is given in 68 Hijlory of Caricature and Grotefqiie the annexed cut (No. 39), is in the room of the dying man, whofe bed is fur- rounded by three demons, who are come to tempt him, while his relatives of both fexes are looking on quite unconfcious of their prefence. The figures of thefe demons are particularly grotefque, and their ugly features betray a degree of vulgar cunning which adds not a little to this eff'e6l. The one leaning over the dying man fuggells to him the words expreffed in the label iffuing from his mouth, Provideas amicis, " provide for your friends ;" while the one whofe head appears to the left whifpers to him, yi Media-val Death- be J, Yntcnde thefauro, " think of your treafure." The dying man feems grievoufly perplexed with the various thoughts thus fuggefted to him. Why did the mediaeval Chriftians think it neceffary to make the devils black and ugly ? The tirfl reply to this queftion which prefents itfelf is, that the charaderiftics intended to be reprefented were the blacknels and uglinefs of fin. This,, however, is only partially the explanation of the fa6t ; for there can be no doubt that the notion was a popular one, and ' that it had previoufly exifted in the popular mythology j and, as has been already remarked, the uglinefs exhibited by them is a vulgar, mirthful uglinefs, which makes vou laugh inftead of Ihudder. Another fcene. i?i Literature and Art. 69 iVom the interefting drawings at the foot of the jKigcs in " Queen Mary's rfalter," is given in our cut No. 40. It reprefents that mort popular of mediaeval piftures, and, at the fame time, moft remarkable of literal interpretations, hell mouth. The entrance to the infernal regions was always reprefented pidorially as the mouth of a monllrous animal, where the demons appeared leaving and returning. Here they are feen bringing the linful fouls to their laft deliinaticn, and it cannot be denied that they are doing the work right merrily and jovially. In our cut A'l;. 40. Condemned Souls carried to their Place of Puni(hment. 1 No. 41, from the manufcript in the library of Trinity College, Cambridge, which furnifhed a former fubje6t, three demons, who appear to be the I guardians of'the entrance to the regions below — for it is upon the brow above the monOrous mouth that tliey are ftanding — prefent varieties of the diabolical form. I'he one in the middle is the moft remarkable, for lie has wings not only on his lliouldcrs, but alfo on his knees and heels. All three have horns j in fact, the three fpecial chara<5teriftics of mediaval (li-mons were horns, hoofs — or, at leaft, the feet of beafts, — and tails, wliith fufficienily indicate the fource from which tlu; j)()pular notions of thefe beings were derived. In the cathedral of Treves, there is a mural painting by William of Cologne, a painter of the lifleentli- century, which 70 Hi/lory of Caricature and Grotefque reprefents the entrance to the ihades, the monftrous mouth, with its keepers, in ftill more grotefque forms. Our cut No. 42 gives but a fmall portion of this pi6ture, in which the porter of the regions of punilli- ment is fitting aftride the fnout of the monftrous mouth, and is founding with a trumpet what may be fuppofed to be the call for thofe who are condemned. Another minftrel of the fame ftamp, fpurred, though not booted, fits aftride the tube of the trumpet, playing on the bagpipes ; and the found which iffues from the former inftrument is reprefented by a hoft of fmaller imps who are fcattering themfelves about. It muft not be fuppofed that, in fubjeds like thefe, the drollery of the fcene was accidental ; but, on the contrary, the mediaeval artifts and No. 41. The Guardians of Hell Mouth. popular writers gave them this chara6ter purpofely. The demons and the executioners — the latter of whom were called in Latin tortores, and in popular old Englifli phrafeology the " tormentours " — were the comic charafters of the time, and the fcenes in the old myfteries or religious plays in which they were introduced were the comic fcent's, or farce, of iti Literature and Art. the piece. The love of burlefque and caricature was, indeed, fo deeply- planted in the popular mind, that it was found neceffary to introduce them even in pious works, in which fuch fcenes as the flaughter of the innocents, where the "knights" and the women abufed each other in vulgar language, the treatment of Chrill at the time of His trial, fome pans ot the fcene of the crucifixion, and the day of judgment, were ellentially comic. The laft of thefe fubjefts, efpecially, was a fcene of mirth, becaufe it often conlilled throughout of a coarfe fatire on the vices No 4Z. The Trumpeter of E-vll. of the age, efpecially on thofe which were moft obnoxious to the populace, fuch as the pride and vanity of the higher ranks, and the extortions and frauds of ufurers, bakers, taverners, and others. In the play of "Judiiium," or the day of doom, in the " Towneley Mylleries," one of the earlitlt collections of myfteries in the Englifli language, the whole converlation among the demons is exadly of that joking kind which we might exjieft from their countenances in the pictures. When one of (hem api)ears carrying a bag full of dilferent olVences, another, his companion, is lb joyful at this circumftance, that he fays it makes him laugh till he is out 72 Hijlory of Caricature and Grotefque of breath, or, in other words, till he is ready to burft ; and, while alking if anger be not among the fins he had colle£ted, propofes to treat him with fomething to drink — Primus daemon. Teaf%e, I pray the, be ft'ille ; / laghe that I kynke. Is oghte ire in thi hille ? and then Jalle thou drynke. — Towneley Mysteries, p. 309. And in the continuation of the converfation, one telling of the events which had preceded the announcement of Doomfday says, rather jeeringly, and fomewhat exultingly, " Souls came fo thick now of late to hell, that our porter at hell gate is ever held fo clofe at work, up early and down late, that he never refts" — Saules cam Jo thyk noiu late unto helle. As, e-uer Oure porter at helle gate Is halden Jo Jirate, Up erly and doivne late. He ryjlys never. — lb., p. 314. With fuch popular notions on the fubjedl, we have no reafon to be furprifed that the artifts of the middle ages frequently chofe the figures of demons as objefts on which to exercife their Ikill in burlefque and carica- ture, that they often introduced grotefque figures of their heads and bodies in the fculptured ornamentation of building, and that they prefented them in ludicrous fituations and attitudes in their pidures. They are often brought in as fecondary adors in a pidure in a very Angular manner, of which an excellent example is furnifhed by the beautifully illuminated manufcript known as " Queen Mary's Pfalter," which is copied in our cut No. 4,3. Nothing is more certain than that in this inllance the intention of the artill was perfeftly ferious. Eve, under the influence of a rather Angularly formed ferpent, having the head of a beautiful woman and the body of a dragon, is plucking the apples and oflfering them to Adam, who is pieparing to eat one, with evident hefitation and reludance. But three demons, downright hobgoblins, appear as fecondary a6tors in the fcene, who exercife an influence upon the principals. One is patting Eve on in Literature and Art. 73 the fhoulder, with an air of approval and encouragement, while a lecond, with wings, is urging on Adam, and apparently laughing at his appre- henfions; and a third, in a very ludicrous manner, is preventing him trom drawing back from the trial. In all the delineations of demons we have yet feen, the ludicrous is the fpirit which chiefly predominates, and in no one inrtance have we had a figure which is really demoniacal. The devils are droll but not frightful 3 they provoke laughter, or at leall excite a fmile, but they A^o. 43. ne Fall of Man. create no horror. Indeed, they torment their vidims fo good-humouredly, that we hardly feel for them. There is, however, one well-known inllance in which the mediaeval arlift has fliown himfelf fully fuccefsful in reprefenting the features of the fpirit of evil. On the parapet of the external gallery of the cathedral church of Notre Dame in Paris, there is a Hgure in Hone, of the ordinary ftature of a man, reprefenting the demon, apparently looking with falisfadion upon the inhabitarits of the city as they were everywhere indulging in lin and wickednels. We give a Iketth of this ligure in our cut No. 44. 'l'li<-" umnixed evil — horrible in 74 Hijiory of Caricature and Grofefque its expreffion in this countenance — is marvelloully portrayed. It is an abfolute Mephiftophiles, carrying in his features a ftrange mixture of hateful qualities — malice^ pride, envy — in faft, all the deadly fins combined in one diabolical whole. No. 44. The Spirit of Ewl. in Literature and Ai :, 75 CHAPTER V. EMPLOYMENT OF ANIMALS IN MEDIEVAL SATIRE, POPULARITY OP FABLES ; ODO DE CIRINGTON. KEYNARD THE FOX. BURNELLUS AND FAUVEL. THE CHARIVARI. LE MONDE BESTORNE. ENCAUSTIC TILES. SHOEING THE GOOSE, AND FEEDING PIGS WITH ROSES. SATIRICAL SIGNS J THE MUSTARD MAKER. THE people of the middle ages appear to have been great admirers of animals, to have obferved clofely their various chara6ters and peculiarities, and to have been fond oi domefticating them. They foon began to employ their peculiarities as means of fatirifing and caricaturing mankind ; and among the literature bequeathed to them by the Romans, they received no book more eagerly than the " Fables of ^fop," and the other colle6tions of fables which were publiihed under the empire. We find no traces of fables among the original literature of the German race ; but the tribes who took polTelhon of the Roman provinces no fooner became acquainted with the fables of the ancients, than they began to imitate them, and (lories in which animals a6ted the part of men were multiplied immenfely, and became a very important branch of mediaeval fiftion. Among the Teutonic peoples efpecially, thefe fables often afflimed very grotef(jue forms, and the fatire they convey is very amufing. One of the earliefl of thefe colleftions of original fables was compofed by an Engliih ecclefiallic named Odo de Cirington, who lived in the time of Henry H. and Richard I. In Odo's fables, we find the animals figuring under the fame popular names by which they were afterwards fo well known, fuch as Reynard for the fox, Ifengrin for the wolf, Teburg for the cat, and the like. Thus the fubje6l of one of them is " Ifengrin made Monk " {de IJiTi^Ttno monacho). "Once," we are told, " Ifengrin dcfired to be a monk. By dint of fervent fupplications, he obtained the confent of the 76 Hiftory of Caricature and Grotefcjue chapter, and received the tonfure, the cowl, and the other infignia of monachifm. At length they put him to fchool, and he was to learn the ' Paternofter,' but he always replied, ' lamb ' {agnus) or 'ram' {arics). The monks taught him that he ought to look upon the crucifix and upon the facrament, but he ever direfted his eyes to the lambs and rams." The fable is droll enough, but the moral, or application is ftill more grotefque. "Such is the conduft of many of the monks, whofe only cry is 'aries,' that is, good wine, and who have their eyes always fixed on fat flelli and their platter ; whence the faying in Englilh — They thou the -vulf hore Though thou the hoary ivolf hod to frefte^ conj'ecrati to a priefi, they thou him to jkole jette thoufgh thou put him to fchool jalmes to /erne, to learn Pfalms, he-vere bet h'tje geres e-ver are his ears turned to the gro-ve grene,'"'' to the green groove. Thefe lines are in the alliterative verfe of the Anglo-Saxons, and fhow that fuch fables had already found their place in the popular poetry of the Englifh people. Another of thefe fables is entitled " Of the Beetle (faabo) and his Wife." "A beetle, flying through the land, palled among moft beautiful blooming trees, through orchards and among rcfes and lilies, in the moft lovely places, and at length threw himfelf upon a dunghill among the dung of horfes, and found there his wife, who alked him whence he came. And the beetle faid, 'I have flown all round the earth and through it ; I have feen the flowers of almonds, and lilies, and rofes, but I have feen no place fo pleafant as this,' pointing to the dung- hill." The application is equally droll with the former and equally un- vomplimentary to the religious part of the community. Odo de Cirington ells us that, " Thus many of the clergy, monks, and laymen liften to the lives of the fathers, pafs among the lilies of the virgins, among the rofes of the martyrs, and among the violets of the confefiors, yet nothing ever appears fo pleafant and agreeable as a ftrumpet, or the tavern, or a finging party, though it is but a flinking dunghill and congregation of finners." Popular fculpture and painting were but the tranllation of popular literature^ and nothing was more common to reprefent^ in pictures and in Literature and Art. yj carvings, than individual men under the forms of the animals who difplayed fimilar charatfters or limilar propenfities. Cunning, treachery, and intrigue were the prevailing vices of the middle ages, and they were thofe aUb of the fox, who hence became a favourite charaftcr in fatire. The vidory of craft over force always provoked mirth. The fabulifts, or, we fhould perhaps rather lay, the fatirifts, foon began to extend their canvas and enlarge their pidure, and, inflead of (ingle examples of fraud or injurtice, they introduced a variety of characters, not only foxes, but wolves, and iheep, and bears, with birds alfo, as the eagle, the cock, and the crow, and mixed them up together in long narratives, which thus formed general fatires on the vices of contemporary fociety. In this manner originated the celebrated romance of " Reynard the Fox," which in various forms, from the twelfth century to the eighteenth, has enjoyed a popularity which was granted probably to no other book. The plot of this remarkable fatire turns chiefly on the long flruggle between the brute force of Ifengrin the Wolf, poflefled only with a finall amount of intelligence, which is ealily deceived — under which chara6ter is prefented the powerful feudal baron — and the craftinefs of Reynard the Fox, who reprefents the intelligent portion of fociety, which had to hold its ground by its wits, and thefe were continually abufed to evil purpofes. Reynard is fwayed by a conftant impuUe to deceive and vidimife everybody, whether /riends or enemies, but efpecially his uncle Ifengrin. It was fomewhat the relationfliip between the ecclefiallical and baronial ariftocracy. Reynard was educated in the fchools, and intended for the clerical order ; and at different times he is reprefented as ading under the difguife of a prieft, of a monk, of a pilgrim, or even of a prelate of the church. Ihough frequently reduced to the greateft llraits by the power of Ifengrin, Reynard has generally the better of it in ihe end : he robs and defrauds Ifengrin continually, outrages his wife, who is half in alliance with him, and draws him into all forts of dangers and furterings, for which the hitter never fucceeds in obtaining juftice. The old fculptors and artills appear to have preferred exhibiting Reynard in his ecclefialtical difguifes, and in thefe he appears often in the ortiamentali(jn of mediaeval architettural fculpture, in wood-carvings, in -78 Hijiory of Caricature and Grotefque the illuminations of manufcripts, and in other obje6ts of art. The popular feeling againft the clergy was llrong in the middle ages, and no caricature was received with more favour than thofe which expofed the immorality or dillionelly of a monk or a prieft. Our cut No. 45 is taken from a fculpture in the church of Chrillchurch, in Hamplliire, for the drawing of which I am indebted to my friend, Mr. Llewellynn Jewitt. It reprefents Reynard m the pulpit preaching ; behind, or rather perhaps belide him, a diminutive cock ftands iipon a llool — in modern times we fhould be inclined to fay he was a6ling as clerk. Reynard's coftume confills merely of the eccleiiatlical hood or cowl. Such fubje6ts are frequently found on the carved feats, or mifereres, in the ftalls of the old cathedrals and collegiate churches. The painted glafs of the great window of the north crofs-aille of St. Martin's church in Leicefter, which was deftroyed in the laft century, reprefented the fox, in the chara6ler of an ecclefiaflic, preaching to a congregation of geefe, and addreffing them in the words — Tefiis eft mihi Deiis, qiiam cupiam vos omnes v'lfceribus meis (God is witnefs, how I dehre you all in my bowels), a parody on the words of the New Teflament.* Our cut No. 46 is taken from one of the mifereres in the church of St. Mary, at Beverley, in Yorklhire. Two foxes are reprefented ni the difguife of eccleliallics, each furnillied with a paftoral ftaff, and they appear to be receiving inftru6tions from a prelate or perfonage of rank — perhaps they are undertaking a pilgrimage of penance. But their fnicerity is rendered fomewhat doubtful by the gee(e concealed in their Ao. 45. The Fox in the Pulpit. * An enj^ravinc^ of thi« scene, modernised in character, is given in Nichols's *' Leicestershire," vol. i. plate 43. i?! Literature and Art. 79 hoods. In one of the incidents of the romance of Reynard, the hero enters a monaltery and becomes a monk, in order to efcape the wrath of No. 46. Ecclcfiajikal Hincerily. King Noble, the hon. For fome time he made an outward Ihow of fandity and felf-privation, but unknown to his brethren he fecretly helped himfelf freely to the good things of the monaftery. One day he obferved, with longing lips, a meffenger who brought four fat capons as a prefent from a lay neighbour to the abbot. That night, when all the monks had retired to reft, Reynard obtained admiflion to the larder, regaled himfelf with one of the capons, and as foon as he had eaten it, trufTed the three others on his back, efcaped fecretly from the abbey, and, throwing away his monaftic garment, hurried home with his prey. We might almoft imagine our cut No. 47, taken from one of the flails of the church of Nantwich, in Cheiliire, to have been intended to ^o- 47- AV)',.i,.y lum^j Mof,i. rep#efent this incident, or, at leafl, a fimilar one. Our next cut, No. 48, 8o Hijlory of Caricature and Grotefque is taken from a ftall in the church of Bofton, in Lincolnfiiire. A prelate, equally falfe, is feated in his chair, with a mitre on his head, and the paftoral ftalF in his right hand. His flock are reprefented by a cock and hens, the former of which he holds fecurely with his right hand, while he appears to be preaching to them. Another mediaeval fculpture has furnifhed events for a rather curious hiftory, at the fame time that it is a good illuftration of our fubjed. Odo de Cirington, the fabulift, tells us how, one day, the wolf died, and the lion called the animals together to celebrate his exequies. The hare carried the holy water, hedgehogs bore the candles, the goats rang the A^o, 48. I'he Prelate and his Flock. bells, the moles dug the grave, the foxes carried the corpfe on the bier. Berengarius, the bear, celebrated mafs, the ox read the gofpel, and the afs the epillle. When the mafs was concluded, and Ifengrin buried, the animals made a Iptendid feaft out of his goods, and wifhed for fuch another funeral. Our fatirical ecclefiaftic makes an application of this ftory which tells little to the credit of the monks of his time. " So it frequently happens," he lays, " that when fome rich man, an extortionift or a ufurer, dies, the abbot or prior of a convent of beafts, i.e. of men living like beafts; caufes them to allemble. For it commonly happens that in a great convent of black or white monks (Benedi6tines or /;: Literature and Art. 8 1 Auguftinians) there are none but bealb — lions by their pride, foxes by their craftinefs, bears by their voracity, ftinking goats by their incontinence, alles by their lluggilhnefs, hedgehogs by their afperity, hares by their \imidity, becaufe they were cowardly where there was no fear, and oxen by their laborious cultivation of their land." * A fcene clofely refembling that here defcribed by Odo, differing only in the diftribution of the chara6lers, was tranflated from fome fuch written ftory into the pidorial language of the ancient fculptured ornamen- tation of Stralburg Cathedral, where it formed, apparently, two fides of the capital or entablature of a column near the chancel. The deceafed in this picture appears to be a fox, which was probably the animal intended to be reprefented in the original, although, in the copy of it preferved, it looks more like a fquirrel. The bier is carried by the goat and the boar. No. 49. The Funeral of the Fojf. while a little dog underneath is taking liberties with the tail )f tlie latter. Immediately before the bier, the hare carries the lighted ta^>er, preceded by the wolf, who carries the crofs, and the bear, who holds in one hand the holy-water vetiel and in the other the afperfoir. This forms the firfl divifion of the fubje<5t, and is reprefented in our cut No. 49. In the • The Latin text of tliis and some others of tlie fables of Odo de Cirington wilhbe found in my " Selection of Latin Stories," pp. 50-52, 55-58, and 80. G 82 Htftory of Caricature and Grotefque next divifion (cut No. 50), the flag is reprefented celebrating mafs, and the afs reads the Gofpel from a book which the cat fupports with its head. This curious fculpture is faid to have been of the thirteenth century. No. 50. The Mafs for the Fox. In the fixteenth century it attra6ted the attention of the reformers, who looked upon it as an ancient proteft againft the corruptions of the mafs, and one of the more diftinguifhed of them, John Fifchart, had it copied and engraved on wood, and publiilied it about the year 1580, with fome verfes of his own, in which it was interpreted as a fatire upon the papacy. This publication gave fuch dire offence to the ecclefiaftical authorities of Strafburg, that the Lutheran bookfeller who had ventured to publifli it, was compelled to make a public apology in the church, and the wood- engraving and all the impreflions were feized and burnt by the common hangman. A few years later, however, in 1608, another engraving was made, and publifhed in a large folio with Fifchart's verfes; and it is from the diminilhed copy of this fecond edition — given in F16gers"Gefchichte des Komifches Literatur" — that our cuts are taken. The orisfinal ^culpture was ftill more unfortunate. Its publication and explanation by Fifchart was the caufe of no little fcandal among the Catholics, who tried to retort upon their opponents by afferting that the figures in this funeral celebration were intended to reprefent the ignorance of the Proteftant preachers; and the fculpture in the church continued to be regarded by the ecclefiaftical authorities with diffatisfadion until the year 1685, in Literature and Art. No. Si. TJie Fox Provided. when, to take away all further ground of fcandal, it was entirely defaced. Reynard's mediaeval celebrity dates certainly from a rather early period. Montflaucon has given an alphabet of ornamental initial letters, formed chiefly of figures of men and animals, from a manufcript which he afcribes to the ninth century, among which is the one copied in our cut No. 51, reprefenting a fox walking upon his hind legs, and carrying two fmall cocks, fufpended at the ends of a crofs ftafF. It is hardly nccelfary to fay that this group forms the letter T. Long before this, the Frankifli hiftorian Fredegarius, who wrote about the middle of the feventh century, introduces a fable in which the fox figures at the court of the lion. The fame fable is repeated by a monkifh writer of Bavaria, named Fromond, who flouriftied in the tenth century, and by another named Aimoinus, who lived about the year 1,000. At length, in the twelfth century, Guibert de Nogent, who died about the year 11 24, and who has left us his autobiography {de Vita fua), relates an anecdote in that work, in explanation of which he tells us that the wolf was then popularly defignated by the name of Ifengrin ; and in the fables of Odo, as we liave already feen, this name is commonly given to the wolf, Reynard to the fox, Teburg to the cat, and fo on with the others. This only fliows that in the fables of the twelfth century the various animals were known by thefe names, but it does not prove that what we know as the romance of Reynard exifted. Jacob Grimm argued from the derivation and forms of thefe names, that the fables themfelves, and the romance, originated with the Teutonic peoples, and were indigenous to them ; but his reafons appear to me to be more fpecious than conclufive, and I certainly lean to the opinion of my friend Paulin Paris, that the romance of Reynard was native of P'rance,* and that it was partly founded upon old Latin legends *^bcc tlic disstTtation liy M- Paulin Paris, (niblislictl in his nice popular modern abridgment o\ the Frcntli roiiiaiitc, publisiicd in 1861, under tiie title " Lcs Aven- 84 Hijlory of Caricature and Grotefque perhaps poems. Its charader is altogether feudal, and it is itrictiy a pidure of fociety, in France primarily, and fecondly in England and the other nations of feudalifm, in the twelfth century. The earlieft form in ^vhich this romance is known is in the French poem — or rather poems, lor it confifts of feveral branches or continuations — and is fuppofed to date from about the middle of the twelfth century. It foon became fo popular, that it appeared in different forms in all the languages of Weftern Europe, except in England, where there appears to have exifted no edition of the romance of Reynard the Fox until Caxton printed his profe Englifli verfion of the ftory. From that time it became, if poffible, more popular in England than elfewhere, and that popularity had hardly diminifhed down to the commencement of the prefent century. The popularity of the ftory of Reynard caufed it to be imitated in a variety of lliapes, and this form of fatire, in which animals afted the part of men, became altogether popular. In the latter part of the twelfth century, an Anglo-Latin poet, named Nigellus Wireker, compofed a very fevere fatire in elegiac verfe, under the title of Speculum Stultorum, the " Mirror of Fools." It is not a wife animal hke the fox, but a fimple animal, the afs, who, under the name of Brunellus, paffes among the various ranks and claffes of fociety, and notes their crimes and vices. A profe introdudion to this poem informs us that its hero is the reprefenta- tive of the monks in general, who were always longing for fome new acquifition which was inconfiftent with their profeffion. In fad, Brunellus is abforbed with the notion that his tail was too fhort, and his great ambition is to get it lengthened. For this purpofe he confults a phylician, who, after reprefenting to him in vain the folly of his purfuit, gives him a receipt to make his tail grow longer, and fends him to the celebrated medical fchool of Salerno to obtain the ingredients. After various adventures, in the courfe of which he lofes a part of his tail inftead of its being lengthened, Brunellus proceeds to the Univerfity of Paris to ftudy tures de Maitre Renart et d'Ysengrin son compere." On the debated question of the origin of the Romance, see the learned and able work by Jonckbloet, 8vo., Groningue, 1863. ^ in Literature a?id Art. 85 and obtain knowledge ; and we are treated with a moll amufingly fatirical accouqt of the condition and manners of the fcholars of that time. Soon convinced of his incapacity for learning, Brunellus abandons the univerfity in delpair, and he refolves to enter one of the monallic orders, the charafter of all which he palTes in review. The greater part of the poem confifts of a very bitter latire on the corruptions of the raonkifh orders and of the Church in general. While ftill hefitating which order to choofe, Brunellus falls into the hands of his old mafter, from whom he had run away in order to feek his fortune in the world, and he is compelled to pafs the reft of his days in the fame humble and fervile condition in which he had begun them. A more dire6t imitation of " Reynard the Fox " is found in the early French romance of" Fauvel," the hero of which is neither a fox nor an afs, but a horfe. People of all ranks and clafles repair to the court of Fauvel, the horfe, and furnifh abundant matter for fatire on the moral, political, and religious hypocrify which pervaded the whole frame of fociety. At length the hero refolves to marry, and, in a finely illuminated manufcript of this romance, preferved in the Imperial Library in Paris, this marriage furnilhes the fubjeft of a pifture, which gives the only reprefentation I have met with of one of the popular ourlefque ceremonies which were fo common in the middle ages. Among other fuch ceremonies, it was cuftomary with the populace, on the occafion of a man's or woman's fecond marriage, or an ill-forted match, or on the efpoufals of people who were obnoxious to their neighbours, to aflemble outfide the houfe, and greet them with difcordant mufic. This cuftom is faid to have been praftifed efpecially in France, and it was called a charivari. There is ftill a laft remnant of it in our country in the mufic of marrow-bones and cleavers, with which the marriages of butchers are popularly celebrated ; but the derivation of the French name appears not to be known. It occurs in old Latin documents, for it gave rife to fuch fcandalous fcenes of riot and licentiousnefs, that the Church did all it could, though in vain, to fupprefs it. The earlieft mention of this cuftom, furniftied in the GlaJJurium of Ducange, is contained in the fynodal ftatutes of the church of Avignon, palfed in the 86 Hijiory of Caricature and Grotefque year 1337, from which we learn that when fuch marriages occurred, people forced their way into the houfes of the married couple, and carried away their goods, which they were obliged to pay a ranfom for before they were returned, and the money thus raifed was fpent in getting up what is called in the ftatute relating to it a Ckalvaricum. It appears from this ftatute, that the individuals who performed the charivari accompanied the happy couple to the church, and returned with them to their refidence, with coarfe and indecent geftures and difcordant mulic, and No. 52. A MeditS'ual Chari-uari, Uttering fcurrilous and indecent abufe, and that they ended with feafting. In the ftatutes of Meaux, in 1365, and in thofe of Hugh, bifliop of Beziers, in 1368, the fame prattice is forbidden, under the name of Charavallium ; and it is mentioned in a document of the year 1372, alfo quoted by Ducange, under that of Carivarium, as then exifting at Nimes. Again, in I445j the Council of Tours made a decree, forbidding, under pain of excommunication, "the infolences, clamours, founds, and other tumults pra6tifed at fecond and third nuptials, called by the vulgar a in Literature and Art, 87 Chanvariuvi , on account of the many and grave evils arifnig out of them."* It will be oblerved that thefe early allufions to the charivari are found almoft folely in documents coming from the Roman towns in the fouth of France, fo that this pradice was probably one of the manv popular cuftoms derived diredly from the Romans. When Cotgrave's " Dictionary " was publilhed (that is, in 1632) the pradice of the charivari appears to have become more general in its exiftence, as well as its application j for he defcribes it as "a public defamation, or traducing of j No. 53, Continuation of the Chari-vari. a foule noife made, blacke fantus rung, to the fliame and difgrace of another J hence an infamous (or infaming) ballad fung, by an armed troupe, under the window of an old dotard, married the day before unto a yong wanton, in mockerie of them both." And, again, a charivaris de • " Insultationes, clamores, sonos, et alios tumultus, In sccunclls et tertiis quo- ruadam nuptiis, quos charivarium vulgo appellant, propter niulta ct fjiavia inconi- moda, prohibcmus sub poena cxcommunicationis." — Ducangc, v. Chari-varium. 88 Hijiory of Caricature and Grote/que poelles is explained as " the carting of an infamous perfon, graced with the harmonie of tinging kettles and frying-pan muficke."* The word i. now generally ufed in the fenfe of a great tumult of difcordant mufic. produced often by a number of perfons playing different tunes on different inftruments at the fame time. As I have ftated above, the manufcript of the romance of " Fauvel " is in the Imperial Library in Paris. A copy of this illumination is engraved in Jaime's " Mufee de la Caricature," from which our cuts Nos. 52 and 53 are taken. It is divided into three compartments, one above another, in the uppermoft of which Fauvel is feen entering the nuptial chamber to his young wife, who is already in bed. The fcene in the compartment below, which is copied in our cut No. 52, reprefents the flreet outfide, and the mock revellers performing the charivari; and this is continued in the third, or loweft, compartment, which is reprefented in our cut No. ^2- Down each fide of the original illumination is a frame-work of windows, from which people, who have been difturbed by the noife, are looking out upon the tumult. It will be feen that all the performers wear malks, and that they are drelTed in burlefque coflume. In confirmation of the ftatement of the ecclefiaftical fynods as to the licentioufnefs of thefe exhibitions, we fee one of the performers here difguifed as a woman, who lifts up his drefs to expofe his perfon while dancing. The mufical inftruments are no lefs grotefque than the coflumes, for they confifl chiefly of kitchen utenfils, fuch as frying-pans, mortars, faucepans, and the like. There was another feries of fubjeds in which animals were introduced as the inflruments of fatire. This fatire confifted in reverfing the pofition of man with regard to the animals over which he had been accuftomed to tyrannife, fo that he was fubjefted to the fame treatment from the animals which, in his a£lual pofition, he ufes towards them. This change of relative pofition was called in old French and Anglo-Norman, le monde leflorne, which was equivalent to the Englifli phrafe, " the world turned upfide down." It forms the fubje6t of rather old verfes, I believe, * Cotgrave's Dictionarie, v. Charivaris. in Literature and Art. 89 both in French and Englilh, and individual fcenes from it are met with in piftorial reprelentation at a rather early date. During the year 1862, in the courfe of accidental exc.nations on the fite of the Friary, al Derby, a number of encaiiftic tiles, fuch as were ufed for the tloors of the interiors of churches and large buildings, were found.* The ornamentation of thefe tiles, efpecially of the earlier ones, is, like all iVc. 54. Jht Tables Turned. mediaeval ornamentations, extremely varied, and even thefe tiles fome- times prefent fubje6fc> of a burlefcjue and fatirical character, though they are more frequently adorned with the arms and badges of benefadors to the church or convent. The tiles found on the iite of the priory at Derby are believed to be of the thirteenth century, and one pattern, a diminifhed copy of which is given in our cut No. 54, prefents a fubjeft * Mr. Llewtilynn Jewitt, in his excellent publication, the Relijujry, for Oitober, 18^, has {{ivcn an interesting paper on the encaustic tiles iound on tiiis occasion^ and on the conventual house to which they belonged. 90 Hijiory of Caricature and Grotefque taken from the monde leftorne. The hare, mailer of his old enemy, the dog, has become hunter himfelf, and feated upon the dog's back he rides vigoroufly to the chace, blowing his horn as he goes. The defign is fpiritedly executed, and its fatirical intention is fhown by the monftrous and mirthful face, with the tongue lolling out, figured on the outer corner of the tile. It will be feen that four of thefe tiles are intended to be joined together to make the complete piece. In an illumination •in a manufcript of the fourteenth century in the Britilh Mufeum (MS. Reg. lo E iv.), the hares are taking a ftill ii-.ore fevere vengeance ^°- 55- J"ft''ce in the Hands of the Perfecuted. on their old enemy. The dog has been caught, brought to trial for his numerous murders, and condemned, and they are reprefented here (cut No. 55) condufting him in the criminal's cart to the gallows. Our cut No. ^6, the fubjeft of which is furniflied by one of the carved ftalls in Sherborne Minfter (it is here copied from the engraving in Carter's " Specimens of Ancient Sculpture"), reprefents another execution fcene, fimilar in fpirit to the former. The geek have feized their old enemy, Reynard, and are hanging him on a gallows, while two monks, who attend the execution, appear to be amufed at the energetic manner in in Literature and Art. 91 which the geefe perform their talk. Mr. Jewitt mentions two other lubje6ts belonging to this feries, one of them taken from an illuminated manufcript ; they are, the moufe chafing the cat, and the horfe driving No. 56. Reynard brought to Account at Laji. the cart — the former human carter in this cafe taking the place of the horfe between the lliafts. "The World turned upfide down j or, the Folly of Man," has continued amongft us to be a popular chap-book and child's book till within a very few years, and I have now a copy before me printed in London about the year 1790. It confifts of a feries of rude w^oodcuts, with a few doggrel verfes under each. One of thefe, entitled "The Ox turned Farmer," reprefents two men drawing the plough, driven by an ox. In the next, a rabbit is feen turning the fpit on which a man is roalVmg, while a cock holds a ladle and baftes. In a third, we fee a tournament, in which the horfes are armed and ride upon the men. Another reprefents the ox killing the butcher. In others we have birds netting men and women j the als, turned miller, employing the man- miller to carry his facks ; the horfe turned groom, and currying the manj and the fifties angling for men and catching them. In a cleverly fculptured ornament in Beverley Minfler, reprcfented \x\ ourtut No. 57, the goofe herfelf is reprefentid in a grotefcme lituation^ 92 Hijiory of Caricature and Grotefque which might almoft give her a place in " The World turned upfide down," although it is a mere burlefque, without any apparent fatirical ^0. 57. Shoeing the Goofe. aim. The goofe has here taken the place of the horfe at the blackfmith's, who is vigoroufly nailing the fhoe on her webbed foot. Burlefque fubjefts of this defcription are not uncommon, efpecially among architeftural fculpture and wood-carving, and, at a rather later period, on all ornamental objeas. The field for fuch fubjeds was fo extenfive, that the artifl had an almoft unlimited choice, and therefore his fubje6ts might be almoft infinitely varied, though we No. 58. Food for S-wine. ^^"^^^^ ^""^ them runnmg on par- ticular clafl^es. The old popular proverbs, for inftance, furnifhed a fruitful fource for drollery, and are at times delineated in an amufingly literal or praftical manner. Pi6torial in Literature and Art. 93 proverbs and popular layings are Ibmetimes met with on the carved niifereres. For example, in one of thole at Rouen, in Normandy, reprefented in our cut No. 58, the carver has intended to reprefent the idea of the old faying, in allulion to milplaced bounty, of throwing pearls to fwine, and has given it a much more pifturefque and pi6lorially intelligible form, by introducing a rather dafhing female feeding her fwine with rofes, or rather offering them rofes for food, for the fwine difplay no eagernefs to feed upon them. We meet with fuch fubjedls as thefe fcattered over all mediaeval works of art, and at a fomewhat later period they were transferred to other objeds, fuch as the figns of houfes. The cullom of placing ligns Nc. 59, The InduJ}rkui Soiv. over the doors of fhops and taverns, was well known to the ancients, as is abundantly manifefted by their frequent occurrence in the ruins of Pompeii ; but in the middle ages, the ufe of figns and badges was univerfal, and as — contrary to the apparent pra6tice in Pompeii, where certain badges were appropriated to certain trades and profellions — every individual was free to choofe his own lign, the variety was unlimited. Many ftill had reference, no doubt, to the particular calling of thofe to whom they belonged, while others were of a religious charadter, and indicated the faint under whofe protedion the houfeholder had placed himfelf. Some people took animals for their figns, others monllrous or'^uriefque figures ; and, in fa6t, there were hardly any o*" the fubjetls of 94 Hijiory of Caricature and Grotefqut caricature or burlefque familiar to the mediaeval fculptor and illuminator which did not from time to time appear on thefe popular figns. A few of the old figns ftill preferved, efpecially in the quaint old towns of France, Germany, and the Netherlands, fhow us how frequently they were made the inftruments of popular fatire. A fign not uncommon in France was La Truie qui Jile (the fow fpinning). Our cut No. 59 reprefents this fubjeft as treated on an eld fign, a carving in baf-relief of the fixteenth century, on a houfe in the Rue du March e-aux-Poirees, in Rouen. The fow appears here in the charafter of the induftrious houfewife, employing herfelf in fpinning at the fame time that fhe is attending to the wants of her children. There is a Angularly fatirical fign at Beauvais, on a houfe which was formerly occupied by an epicier-moutardier, or grocer who made muftard, in the Rue du Chatel. In front of this fign, which is repre- fented in our cut No. 60, appears a large mufl:ard-mill, on one fide of which ftands Folly with a fl:afF in her hand, with which fhe is fiiiring the muflard, while an ape with a fort of fardonic grin, throws in a feafoning, which may bj conjedtured by his pofl.ure.* The trade-mark of the individual wh* adopted this ftrange device, is carved below. No. 60. yldul(eration. * See an interesting little book on this subject by M. Ed. de la Queriere, entitled *' Recherches sur les Enseignes des Maisons Particulieres," 8vo., Rouen, 1852, from which both the above examples are taken. in Literature and Art, 95 CHArTER VJ. THE MONKKY IN' BURLESftUE AND CARICATURE. TOURNAMENTS AND SINGLE COMBATS. MONSTROUS COMBINATIONS OF ANIMAL FORMS. CARICATURES ON COSTUME. THE HAT. THE HELMET. — LADIES* HEAD-DRESSES. THE GOWN, AND ITS LONG SLEEVES. THE fox, the wolf, and their companions, were introduced as inflruments of fatire, on account of their peculiar charadlersj but there were other animals which were alfo favourites with the fatirill, becaufe they difplayed an innate inclination to imitate ; they formed, as it were, natural parodies upon mankind. I need hardly fay that of thefe the principal and moll remarkable was the monkey. This animal muft have been known to our Anglo-Saxon forefathers from a remote period, for they had a word for it in their own language — apa, our ape. Monkey is a more modern name, and feems to be equivalent with mamken, or a little man. The earlieft Beftiaries, or popular treatifes on natural hiftory, give anecdotes illuftrative of the aptnefs of this animal for imitating the aftions of men, and afcribe to it a degree of underftanding which would almoft raife it above the level of the brute creation. Philip de Thaun, an Anglo-Norman poet of the reign of Henry I., in his Bejliai-y, tells us that " the monkey, by imitation, as books fay, counterfeits what it fees, and mocks people :" — Li fm/re par fgure,ft cum ait efcripturcy Ceo que il -vail contrefait, de gent efcar Aait,* • Sec my "Popular Treatises on Science written during tlic Middle AgeV' p. 107. q6 Hi /lory of Caricature and Grotefque He goes on to inform us, as a proof of the extraordinary inftinft of this animal, that it has more affedion for fome of its cubs than for others, and that, when running away, it carried thofe which it hked before it, and thofe it difliked behind its back. The Iketch from the illuminated manufcript of the Romance of the Comte d' Artois, of the fifteenth century, which forms our cut No. 61, reprefents the monkey, carry- ing, of courfe, its favourite child before it in its flight, and what is more, it is taking that flight mounted on a donkey. A monkey on horfeback appears not to have been a novelty, as we fliall fee in the fequel. No. 61. y^ Monkey Alexander Neckam, a very celebrated Englilh fcholar of the latter part of the twelfth century, and one of the mofl interefting of the early mediaeval writers on natural hillory, gives us many anecdotes, which iTiow us how much attached our mediaeval forefathers were to domeflicated animals, and how common a pra6tice it was to keep them in their houfes. The baronial caftle appears often to have prefented the appearance of a menagerie of animals, among which fome were of that flrong and ferocious charafter that rendered it neceflTary to keep them in clofe confinement, while others, fuch as monkeys, roamed about the buildings at will. One of Neckam's ftories is very curious in regard to our fubje6t, for it fhows that the people in thofe days exercifed their tamed animals in pra6tically caricaturing contemporary weaknefles and falhions. This writer remarks that " the nature of the ape is fo ready at a6ting, by ridiculous gefticulations, the reprefentations of things it has feen, and thus gratifying the vain curiofity of worldly men* in public exhibitions, that it will even dare to imitate a military conflift. A jongleur (hi/irio) was in the habit of conftantly taking two monkeys to the military exercifes which are commonly called tournaments, that the labour of teaching might be diminillied by frequent infpeftion. He afterwards taught two dogs to carry thefe apes, who fat on their backs, furnifhed with proper arms. Nor did they want fours, with which they in Literature and Art. 97 ftrenuoufly urged on the dogs. Having broken their lances, they drew out their fwords, with which they Ipent many blows on each other's fhields. Who at this fight could refrain from laughter?"* Such contemporary caricatures of the mediaeval tournament, which was in its greatert falhion during the period from the twelfth to the fourteenth century, appear to have been extremely popular, and are not unfrequently reprefented in the borders of illuminated manufcripts. The manufcript now fo well known as "Queen Mary's Pfalter " (MS. Reg. 3 B vii.), and written and illuminated very early in the fourteenth centur}', contains not a few illuftrations of this defcription. One of thefe, which forms our cut No. 62, reprefents a tournament No, 62. A Tournament . not much unlike that defcribed by Alexander Neckam, except that the monkeys are here riding upon other monkeys, and not upon dogs. In fa6t, all the individuals here engaged are monkeys, and the parody is completed by the introduftion of the trumpeter on one fide, and of minftrelfy, reprefented by a monkey playing on the tabor, on the other; or, perhaps, the two monkeys are fimply playing on the pipe and tabor, which were looked upon as the loweft defcription of minftrelfy, and are therefore the more aptly introduced into the fccne. The fame manufcript has furnifhed us with the cut No. 6^. Here • Alfxander Neckam, Dc Naturis Rcrum, lib. ii. c up 98 Hijiory of Caricature and Grotefque the combat takes place between a monkey and a flag, the latter having the claws of a griffin. They are mounted, too, on rather nondefcript animals — one having the head and body of a lion, with the forefeet of an eagle ; the other having a head fomewhat like that of a lion, on a lion's body, with the hind parts of a bear. This fubjeft may, perhaps, be intended as a burlefque on the mediaeval romances, filled with combats between the Chriflians and the Saracens ; for the ape — who, in the moralifations which accompany the Bejtiaries, is faid to reprefent the devil No. 63. A Feat of Armi. — is here armed with what are evidently intended for the fabre and ihield of a Saracen, while the flag carries the fliield and lance of a Chriftian knight. The love of the mediaeval artifts for monftrous figures of animals, and for mixtures of animals and men, has been alluded to in a former chapter. The combatants in the accompanying cut (No. 64), taken from the fame manufcript, prefent a fort of combination of the rider and the animal, and they again feem to be intended for a Saracen and a Chriftian. The figure to the right, which is compofed of the body of a fiityr, with the feet of a goofe and the wings of a dragon, is armed with a fimilar Saracenic fabre ; while that to the left, which is on the whole lefs monftrous, wields a Norman fword. Both have human faces below the navel as well as above, which was a favourite idea in the grotefque of the in Literature and Art. 99 middle ages. Our mediaeval forefathers appear to have had a decided tafte for monflrolities of every defcription, and efpecially for mixtures of No. 64. A Terrible Combat. dilfcrent kinds of animals, and of animals and men. There is no doubt, to judge by the anecdotes recorded by fuch writers as Giraldus Cambrenfis, that a belief in the exiftence of fuch unnatural creatures was widely entertained. In his account of Ireland, this writer tells us of animals which were half ox and half man, half flag and half cow, and half dog and half monkey.* It is certain that there was a general belief in fuch animals, and nobody could be more credulous than Giraldus himfelf. Tile dcfign to caricature, which is tolerably evident in the fubje6ts juft given, is dill more apparent in other eroteffiues that adorn the borders of the i*-^^. ^ mediiLval manufcripts, as well as in fome of the C^ ^' mediaeval carvings and fculpture. Thus, in our cut ^".e^. F^pjionable DreJ>. Xo. 6^, taken from one of the borders in the Romance of the Cornte • See Girald. Cambr., Topog. Hibcrniae, dist. ii. cc. 21, 22 ; and the Itinerary of Wales, lib. ii. c 11. ioo Hijiory of Caricature aijd Grotefque d'Artois, a manufcript of the fifteenth century, we cannot fail to recognife an attempt at turning to ridicule the contemporary falhions in drefs. The hat is only an exaggerated form of one which appears to have been commonly ufed in France in the latter half of the fifteenth century, and which appears frequently in illuminated manufcripts executed in Burgundy j and the boot alfo belongs to the fame period. The latter reappeared at different times, until at length it became developed into the modern top-boots. In cut No. 66, from the fame No. 66. Heads and Hats. manufcript, where it forms the letter T, we have the fame form of hat, fl;ill more exaggerated, and combined at the fame time with grotefque faces. Caricatures on coftume are by no means uncommon among the artillic remains of the middle ages, and are not confined to illuminated manufcripts. The fafliionable dreffes of thofe days went into far more ridiculous exceffes of fliape than anything we fee in our times — at leafl:, fo far as we can believe the drawings in the manufcripts j but thefe, however ferioufly intended, were conftantly degenerating into caricature, from circumftances which are eafily explained, and which have, in fa6t, been explained already in their influence on other parts of our fubjeft. The mediaeval artifts in general were not very good delineators of form, and their outlines are much inferior to their finifli. Confcious of this, though perhaps unknowingly, they fought to remedy the defeft in a fpirit which has always been adopted in the early ftages of art-progrefs — they aimed at making themfelves underftood by giving a fpecial prominence to in Literature and Art. i o i the peculiar charaderiltics of the objedts they wilhed to reprefent. Thcle were the points which naturally attracted people's firll attention, and the relemblance was felt molt by people in general when thefe points were put forward in excellive prominence in the pifture. The drelfes, perhaps, hardly exilled in the exaft forms in which we f(^e them in the illuminations^ or at leaft thofe were only exceptions to the generally more moderate forms j and hence, in ufing thefe pi£torial records as materials for the hiftorj' of coftume, we ought to make a certain allowance for exaggeration — we ought, indeed, to treat them almoft as caricatures. In iz&., much of what we now call caricature, was then charaderiilic of lerious art, and of what was confidered its high development. Many of the attempts which have been made of late years to introduce ancient cortume on the ftage, would probably be regarded by the people who lived in the age which they were intended to reprefent, as a mere defign to turn them into ridicule. Neverthelefs, the fafhions in drefs were, efpecially from the twelfth century to the fixteenth, carried to a great degree of extravagance, and were not only the obje6ts of fatire and caricature, but drew forth the indignant declamations of the Church, and furnilhed a continuous theme to the preachers. The contemporary chronicles abound with bitter reflexions on the extravagance in coftume, which was confidered as one of the outward figns of the great corruption of particular periods j and they give us not unfrequent examples of the coarfe manner in which the clergy difcufled them in their fermons. The readers of Chaucer will remember the manner in which this fubje6t is treated in the " Parfon's Tale." In this refpe6t the fatirilts of the Church went hand in hand with the pictorial caricaturifts of the illumi- nated manufcripts, and of the fculptures with which we fomelimcs meet in contemporary architettural ornamentation. In the latter, this clafs of caricature is perhaps lels frequent, but it is fometimes very exprellive. The very curious mifcnrcs in the church of Ludlow, in Shroplhire, prefent the caricature reproduced in our cut No. 67. It rcprefcnts an ugly, and, to judge by the exprcHion of the countenance, an ill-ti-mpered old woman, wearing the failiionable head-drefs of the earlier half of the fifteenth century, which feems to have been carried to its grcatell 5 02 Hijiory of Caricature and Grotefque extravagance in the beginning of the reign of Henry VI. It is the flyle of coiffure known efpecially as the horned head-drefs, and the very name carries with it a fort of relationfliip to an individual who was notorioufly No, 67. A Fajhionable Beauty, horned — the fpirit of evil. This dafhing dame of the olden time appears to have flruck terror into two unfortunates who have fallen within her influence, one of whom, as though he took her for a new Gorgon, is attempt- ing to cover himfelf with his buckler, while the other, apprehending danger of another kind, is prepared to defend him- felf with his fword. The details of the head-drefs in this figure are interefling for the liiflory of coftume. Our next cut. No. 68, is taken from a manufcript in private pofTeflion, which is now rather well known amonsf anti- quaries by the name of the " Luttrell Pfalter," and which belongs to the four- teenth century. It feems to involve a fatire on the ariflocratic order of fociety —on the knight who was diflinguifhed by his helmet, his fhield, and his armour. The individual here repre- fented prefenrs a type which is anything but ariffocratic. While he holds No. 68. A Man of War. i?i Literature arid Art. 10"^ a helmet in his hand to Ihow the meaning of the fatire, his own hehiiet, which he wears on his head, is fimply a bellows. He may be a knight of the kitchen, or perhaps a mere qu'iftron, or kitchen lad. We have juft feen a caricature of one of the ladies' heaid-dreffes of the earlier half of the fifteenth century, and our cut No. 69, from an illuminated manufcript in the Britifh Mufeum of the latter half of the fame century (MS. Harl., No. 4379), furniflics us with a caricature of a head-drefs of a different chara£ter, which came into falhion in the reign of our Edward IV. The horned head-drefs of the previous generation had been entirely laid afide, and the ladies adopted in its place a fort of fteeple-fhaped head-drefs, or rather of the form of a fpire, made by rolling a piece of linen into the form of a long cone. Over this lofty cap was thrown a piece of fine lawn or muflin, which defcended almolt to the ground, and formed, as it were, two wings. A fhort iranfparent veil was thrown over the face, and reached not quite to the chin, refembling rather clofely the veils in ufe among cur ladies of the prefent day (1864). The whole head-drefs, indeed, has been preferved by the Norman peafantry ; for it may be obferved that, during the feudal ages, the falliions in France and England were always identical. Thefe fteeple head-dreffes greatly pro- voked the indignation of the clergy, and zealous preachers attacked them roughly in their fermons. A French monk, named Thomas Conede, diftinguilhed himfelf efpecially in this crufade, and inveighed againll the head-drefs with fuch effeft, that we are aflured that many of the women threw down their head-drefles in the middle of the fermon, and made a bonfire of them at its conclufion. The zeal of the preacher foon extended itfelf to the populace, and, for a while, when ladies appeared in this head-drefs in public, they were expofed to be pelted by the rabble. Under fuch a double perfecution it difaj)peared for a moment, but when the preacher was no longer prefent, it returned again, and, to ufr the No. 69. A Lad/i Head-drefs. I04 Hijiory of Caricature and Grotefque words of the old writer who has preferved this anecdote, " the women who, hke fnails in a fright, had drawn in their horns, fliot them out again as foon as the danger was over." The caricaturift would hardly overlook fo extravagant a falhion, and accordingly the manufcript in the Britilh Mufeum, juft mentioned, furnifhes us with the fubje6t of our cut No. 69. In thofe times, when the pafTions were fubje6led to no reftraint, the fine ladies indulged in fuch luxury and licentioufnefs, that the caricaturift has chofen as their fit reprefentative a fow, who wears the objeftionable head- drefs in full fafliion. The original forms one of the illuftrations of a copy of the hiftorian FroilTart, and was, therefore, executed in France, or, more probably, in Burgundy. The fermons and fatires againfl extravagance m coftume began at an early period. The Anglo-Norman ladies, in the earlier part of the twelfth century, firfl brought in vogue in our ifland this extravagance in fafhion, which quickly fell under the lalh of fatirift and caricaturift. It was firft exhibited in the robes rather than in the head-drefs, Thefe Anglo-Norman ladies are underftood to have firfi; introduced flays, in order to give an artificial appearance of flendernefs to their waiflsj but the greateft extravagance appeared in the forms of their fleeves. The robe, or gown, inftead of being loofe, as among the Anglo-Saxons, was laced clofe round the body, and the fleeves, which fitted the arm tightly till they reached the elbows, or fometimes nearly to the wrift, then fuddenly became larger, and hung down to an extravagant length, often trailing on the ground, and fometimes fhortened by means of a knot. The gown, alfo, was itfelf worn very long. The clergy preached againft thefe extravagances in falhion, and at times, it is faid, with effe6t 5 and they fell under the vigorous lafh of the fatirifl. In a clafs of fatires which became extremely popular in the twelfth century, and which produced . in the thirteenth the immortal poem of Dante — the vifions of purgatory and of hell — thefe contemporary extravagances in fafliion are held up to public deteftation, and are made the fubje6l of fevere punilhment. They were looked upon as among the outward forms of pride. It arofe, no doubt, from this taile — from the darker Ihade which fpread over men's minds in the twelfth century — that demons, inftead of animals, were in Literature and Art. 105 introduced to perlbnify the evil-doers of the time. Such is the figure (cut No. 70) which we take from a very interefting manufcript in the Britilh Mufeum (MS. Cotton. Nero, C iv.). The demon is here dreffed ill the fafiiionable gown with its long fleeves, of which one appears to have been uf^aally much longer than the other. Both the gown and lleeve are fhortened by means of knots, while the former is brought clofe round No. 70. &'« in Satins. the waift by tight lacing. It is a pifture of the ufe of ftays made at the time of their firft introduttion. This fuperfluity of length in tlie different parts of the drefs was a fubje6t of complaint and fatirc at various and very dillant periods, and contemporary illuminations of a pcrfc6tly ferious chara6tcr fhow that thefe complaints were not without foundation. io6 Hi ft or y of Caricature and Grotefque CHAPTER VII. PRESERVATION OF THE CHARACTER OF THE MIMUS AFTER THE FALL OF THE EMPIRE. THE MINSTREL AND JOGELOUR. HISTORY OF POPULAR STORIES. THE FABLIAUX. ACCOUNT OF THEM. THE CONTES DEVOTS. I HAVE already remarked that, upon the fall of the Roman empire,, the popular inftitutions of the Romans were more generally preferved to the middle ages than thofe of a higher and more refined charafter. This is underftood without difficulty, when we confider that the lower clafs of the population — in the towns, what we might perhaps call the lower and middle dalles — continued to exift much the fame as oefore, while the barbarian conquerors came in and took the place of the ruling claffes. The drama, which had never much hold upon the love of the Roman populace, was loft, and the theatres and the amphitheatres, which had been fupported only by the wealth of the imperial court and of the ruling clafs, were abandoned and fell into ruin ; but the viimus, who furnilhed mirth to the people, continued to exift, and probably underwent no immediate change in his charafter. It will be well to ftate again the chief chara£teriftics of the ancient viimus, before we proceed to defcribe his mediaeval reprefentative. The grand aim of the mimus was to make people laugh, and he employed generally every means he knew of for effefting this purpofe, by language, by geftures or motions of the body, or by drefs. Thus he carried, ftrapped over his loins, a wooden fword, which was called gladius hijlricus and clunaculum, and wore fometimes a garment made of a great number of fmall pieces of cloth of different colours, which was hence called centunculus, or the hundred-patched drefs * Thefe two * " Uti me consuessetragoedi syrmate, histrionis crotalone ad trieterica orgia, aut mimi centunculo." — Apuleius, Apolog. in Literature and Art. 107 charaderiftics have been preferved in the modern harlequin. Other peculiarities of coftume may conveniently be left undefcribed j the female miniae foraetimes exhibited themfelves unreftrifted by drefs. They danced and fung ; repeated jokes and told merry ftories ; recited or afted farces and fcandalous anecdotes ; performed what we now call mimicry, a word derived from the name of mimusj and they put themfelves in flrange poftures, and made frightful faces. They fometimes afted the part of a fool or zany {mono), or of a madman. They added to thefe performances that of the conjurer or juggler {prceft'igiator), and played tricks of fleight of hand. The mimi performed in the ftreets and public places, or in the theatres, and efpecially at feftivals, and they were often employed at private parties, to entertain the guefts at a fupper. We trace the exillence of this clafs of performers during the earlier period of the middle ages by the exprellions of hollility towards them ufed from time to time by the ecclefiaftical writers, and the denunciations of fynods and councils, which have been quoted in a former chapter.* Neverthelefs, i is evident from many allufions to them, that they found their way into the monadic houfes, and were in great favour not only among the monks, but among the nuns alfo ; that they were introduced into the religious feftivalsj and that they were tolerated even in the churches. It is probable that they long continued to be known in Italy and the countries near the centre of Roman influence, and where the Latin language was continued, by their old name of mimus. The writers of the mediaeval vocabularies appear all to have been much better acquainted with the meaning of this word than of moft of the Latin words of the fame clafs, and they evidently had a clafs of performers exifting in their own times to whom they confidered that the name applied. The Anglo-Saxon vocabularies interpret the Latin mimus by gli is a parody on the romance writers and on their llyle, not at all wanting in fpirit or wit, but the fatire is coarfe and vulgar. Another printed in Barbazan (iv. 287), under the title "De Berengier," is a fatire upon a fort of knight-errantry which had found its way into mediaeval chivalry. Berengier was a knight of Lombardy, much given, to boalling, who had a beautiful lady for his wife. He ufed to leave her alone in his caftle, under pretext of fallying forth in fearch of chivalrous adventures, and, after a while, having well hacked his fword and lliield, he returned to vaunt the defperate exploits he had performed. But the lady was flirewd as well as handfome, and, having fome fufpicions of his truthfulnefs as well as of his courage, Ihe determined to make trial of both. One morning, when her hufband rode forth as ufual, llie haftily difguifed herfelf in a fuit of armour, mounted a good fteed, and hurrying round by a different way, met the boaftful knight in the middle of a wood, where he no fooner faw that he had to encounter a real affailant, than he difplayed the moll abje6t cowardice, and his opponent exafted from him an ignominious condition as the price of his efcape. On his return home at night, boafling as ufual of his fuccefs, he found his lady taking her revenge upon him in a ftill lefs refpedful manner, but he was filenced by her ridicule. The irouveres, or poets, who wrote the fabliaux — I need hardly remark that trouvere is the fame word as trobador, but in the northern dialed of the French language — appear to have flourilhed chiefly from the clofe of the twelfth century to the earlier part of the fourteenth. They all compofed in French, which was a language then common to England and France, but fome of their compofitions bear internal evidence of having been compofed in England, and others are found in contemporary manufcripts written in this ifland. The fcene of a fabliau, in Literature and Art. 1 1 7 printed by Muon (i. 113), is laid at Colcheller ; and that of La Male Honte, printed in Barbazan (iii. 204), is laid in Kent. The latter, however, was written by a trouvere named Hugues de Cambrai. No objeftion appears to have been entertained to the recital of thefe licentious llories before the ladies of the caftle or of the domeftic circle, and their general popularity was fo great, that the more pious clergy feem to have thought neceffary to find 'bmething to take their place in the poft-prandial fociety of the monaftery, and efpecially of the nunnery; and religious ftories were written in the fame form and metre as the fabliaux. Some of thefe have been publiflied under the title of" Contes Devots," and, from their general dulnefs, it may be doubted if they anfwered their purpofe of furnilhing amufemcnt fo well as the others. 1 1 8 Ilijlory of Caricature and Grotefque CHAPTER VIII. CARICATURES OF DOMESTIC LIFE. STATE OF DOMESTIC LIFE IN THE MIDDLE AGES. EXAMPLES OF DOMESTIC CARICATURE FROM THE CARVINGS OF THE MISERERES. KITCHEN SCENES. DOMESTIC BRAWLS. THE FIGHT FOR THE BREECHES. THE JUDICIAL DUEL BETWEEN MAN AND WIFE AMONG THE GERMANS. ALLUSIONS TO WITCHCRAFT, SATIRES ON THE TRADES J THE BAKER, THE MILLER, THE WINE-PEDLAR AND TAVERN-KEEPER, THE ALE-WIFE, ETC. THE influence of the jongleurs over people's minds generally, with their ftories and fatirical pieces, their grimaces, their pollures, and their wonderful performances, was very confiderable, and may be eafily traced in mediaeval manners and fentiments. This influence would naturally be exerted upon inventive art, and when a painter had to adorn the margin of a book, or the fculptor to decorate the ornamental parts of a building, we might expeft the ideas which would firft prefent themfelves to him to be thofe fuggefl;ed by the jougleur"s performance, for the fame tafte had to be indulged in the one as in the other. The fame wit or fatire would pervade them both. Among the mofl. popular fubjefts of fatire during the middle ages, were domeftic fcenes. Domeflic life at that period appears to have been in its general charafter coarfe, turbulent, and, I fliould fay, anything but happy. In all its points of view, it prefented abundant fubjefts for iefl. and burlefque. There is little room for doubt that the Romifli Church, as it exifted in the middle ages, was extremely hoftile to domeftic happinefs among the middle and lower claffes, and that the interference of the prieft in the family was only a fource of domeftic trouble. The fatirical writings of the period, the popular tales, the difcourfes of thofe who fought rtform, even the pidures in the in Literature and Art. 119 manufcripts and the Iculptures on the walls invariably reprefent the female portion of the family as entirely under the influence of the priefls, and that influence as exercifed for the worfl of purpofes. They encouraged faithlelfuels as well as difobedience in wives, and undermined the virtue of daughters, and were confequently regarded with anything but kindly feeling by the male portion of the population. The prieft, the wife, and the hulband, form the ufual leading charaders in a mediaeval farce. Subje£ts of this kind are not very unfrequent in the illuminations of manufcripts, and more efpecially in the fculptures of buildings, and thofe chiefly ecclefiaftical, in which monks or priefts are No. 71. ^i Aledia'val Kitchen Scene. introduced in very equivocal fituations. This part of the fubjed, however, is one into which we fliall not here venture, as we And the mediaeval caricaturifls drawing plenty of materials from tlie kfs vicious fliades of contemporary life ; and, in fa6t, fome of their moft amufing pi6tures are taken from the droll, rather than from the vicious, fcenes of the interior of the houfehold. Such fcenes are very frequent on the mifereres of the old cathedrals and collegiate churches. Thus, in the Halls at Worcefler Cathedral, there is a droll figure of a man feated before a fire in a 1 20 Hijiory of Car teat lire and Grotefque No. 72. j4n Old Lady and her Friends. kitchen well ftored with flitches of bacon, he himfelf occupied in attending to the boiling pot, while he warms his feet, for which purpofe he has taken off his fhoes. In a fimilar carvina: O in Hereford Cathedral, a man, alfo in the kitchen, is feen attempting to take liberties with the cook maid, who throws a platter at his head. A , copy of this curious fubje6t is given m cut No. 71, and the cut No. 72 is taken from a fimilar mife- rere in Minfter Church, in the Ifle of Thanet. It reprefents an old lady feated, occupied induftrioully in fpinning, and accompanied by her cats. We might eafily add other examples of fimilar fubjeds from the fame fources, fuch as the fcene in our cut No. 73, taken from one of the flails of Winchefl:er Cathedral, which feems to be intended to reprefent a witch riding away upon her cat, an enormous animal, whofe jovial look is only outdone by that of its miftrefs. The latter has carried her difl:aff with her, and is diligently employed in fpinning. A fi:all in Sher- borne Minfter, given in our cut No. 74, reprefents a fcene in a fchool, in wliicii an unfortunate fcholar is experiencing punilhment of a rather fevere defcrip- tion, to the great alarm of his com- panions, on whom his difgrace is evi- dently a6ting as a warning. The flog- ging fcene at fchool appears to have been rather a favourite fubje6i among the early caricaturifts, for the fcourge was looked upon in the middle ages as the grand ftimulant to fcholarlliip. In thofe good old times, when a man recalled to memory his fchoolboy days, he did not fay, " When I was at fchool," but, " When I was under the rod." No. 73. The Lady and her Cat. in Literature and Art, 121 An extenfive field for the liudy of this intercfting part of our fubjeft will be found in the architeAural gallery in the Kcnfnigton Mufeum, which contains a large number of calls from ftalls and other fculptures. No. 74. Scholaftk Difcipime. chiefly felefted from the French cathedrals. One of thefc, engraved in our cut No. 75, reprefents a couple of females, feated before the kitcheii fire. The date of this fculpture is ftat^d to be 1382. To judge by their No. 75. A Pcinl in Difpute. looks and attitude, there is a difagreement between them, and the object in difpute feems to be a piece of meat, whic li one has taken out ot tlu- pot and placed on a dilli. This ladv wields her ladle as though fhj woro 122 Hijiory of Caricature aiid Grotefqiie prepared to ufe it as a weapon, while her opponent is armed with tne bellows. The ale-pot was not unfrequently the fubjeft of pidures of a turbulent character, and among the grotefque and raonftrous figures in the margins of the noble manufcript of the fourteenth century, known as the ■' Luttrell Pililter," one reprefents two perfonages not only quarrelling over their pots, which they appear to have emptied, but aftually fighting ^^/ No. 76. TVant of Harmony o-ver the Pot, with them. One of them has literally broken his pot over h:s companion's head. The fcene is copied in our cut No. 76. It mufl: be ftated, however, that the more common fubjeds of thefe homely fcenes are domeftic quarrels, and that the man, or his wife, enjoying their firefide, or fimilar bits of domeftic comfort, only make their appearance at rare intervals. Domeftic quarrels and combats are much more frequent. We have already feen, in the cut No. "tij, two dames of the kitchen evidentljf beginning to quarrel over their cookery. A ftall in the church of Stratford-upon-Avon gives us the group reprefented in our cut No. 77. The battle has here become defperate, but whether the male combatant be an opprefled hufband or /;/ Literature and Art, 123 an impertinent intruder, is not clear. Iho quarrel wuuld Teem to ha\e arifen during the procels of cooking, as the female, who has feized her opponent by the beard, has evidently fnatched up the ladle a-, the readiell weapon at hand. The anger appears to be mainly on her fide, and the rather tame countenance of her antagonift contrails flrangely with lier inflamed features. Our next cut. No. 78, is taken from the fculpture of a column in Ely Cathedral, here copied from an engraving in Carter's " Specimens of Ancient Sculpture." A man and wife, apparently, are flruggling for the pof- fellion of a ftaft", which is perhaps in- .... . , ,- n No.TJ. Damejlic Strife. tended to be the emblem or maltery. As is generally reprefented to be the cafe in ihcfc fcenes of domellic No. 78. A Slrug^U for the Maftery, itrifc, the woman Ihows more enerj;y aii4 nion llrtngth than her 124 Hijiory of Caricature and Grotefque opponent, and {he is evidently overcoming him. The maftery of the wife over the hulband feems to have been a univerlally acknowledged ftate of things. A ftall in Sherborne Minfter, in Dorfet, which has. i\^o. 79. The Wife in the AJcendant. furnilhed the fubje6t of our cut No. 79, might almoft be taken as the fequel of the laft cut. The lady has poflelfed herfelf of the ftaff, has overthrown her hufband, and is even linking him on the head with it No. 80. Violence Refjied. when he is down. In our next cut. No. 80, which is taken from one of the cafts of ftalls in the French cathedrals exhibited in the Kenfmgton Mufeam, it is not quite clear which of the two is the offender, but. in Literature an J Art. i 25 perhaps, in this cale, the archer, as his prot'elHon is indicated by his bow and arrows, has made a gallant alTault, which, although fhe docs not look much difpleafed at it, the offended dame certainly refirts with fpirit. One idea conneded with this pidure of domeftic antagonifm appears to have been very popular from a rather early period. There is a proverbial phrafe to fignif'y that the wife is matter in the houfehold, by ^vhich it is intimated that " llie wears the breeches." The phrafe is, it muft be confefled, an odd one, and is only half underflood by modern explanations; but in mediaeval llory we learn how " ilie " firft put in her claim to wear this particular article of drefs, how it was firft difputed and contefted, how (lie was at times defeated, but how, as a general rule, the claim was enforced. There was a French poet of the thirteenth century, Hugues Piaucelles, two of whofe falliaux, or metrical tales, entitled the " Fabliau d'Eftourmi," and the " Fabliau de Sire Hains et de Dame Anieufe," are preferved in manufcript, and have been printed in the coUedtion of Barbazan. The fecond of thefe relates fome of the adventures of a mediaeval couple, whole houfehold was not the beft regulated in the world. The name of the heroine of this ftory, Anieufe, is fimply an old form of the French word ennuycufe, and certainly dame Anieufe was fufficiently " ennuyeufe " to her lord and hulband, " Sire Hains," her hufband, was, it appears, a maker of" cottes " and mantles, and we fhould judge alfo, by the point on which the quarrel turned, that he was partial to a good dinner. Dame Anieufe was of that difagreeable temper, that whenever Sire Hains told her of fome particularly nice thing which he wilhed her to buy for his meal, flie bought inftead fomc- thing which llie knew was difagreeable to him. If he ordered boiled meat, flie invariably roafted it, and further contrived that it fliould be lu covered with cinders and aflies that he could not cat it. This would Ihow that people in the middle ages (except, perhaps, profeftional cooks) were very unapt at roafting meat. This ftate of things had gone on for fome time, when one day Sire Hains gave orders to his wife to buy him fifh for his dinner. The difobedient wife, inftead of buying filh, provided nothing for his meal but a dilh of fj)inage, telling him falfcly that all the Tilh iLuik. This leads to a violent quarrel, in which, after fome fierce 126 Hi/lory of Caricature and Grot ef que wrangling, efpecially on the part of the lady, Sire Hains propofes to decide their difference in a novel manner. " Early in the morning," he faid, " I will take off my breeches and lay them down in the middle of the court, and the one who can win them iliall be acknowledged to be mafter or miftrefs of the houfe." Le matinet, fans contredire, J^oudrai mes iraies defchaucierf Et enmi nojlre cort couchier • Et qui conquerre les porra. Par hone refon mouflerra S^ti'il ert fire ou dame du nojlre. Barbazan, Fabliaux, tome iii. p. 383. Dame Anieufe accepted the challenge with eagernefs, and each prepared for the ftruggle. After due preparation, two neighbours, friend Symon and Dame Aupais, having been called in as witneffes, and the obje6l of difpute, the breeches, having been placed on the pavement of the court, the battle began, with fume flight parody on the formalities of the judicial combat. The firfl blow was given by the dame, who was fo eager for the fray that fhe ftruck her hufband before he had put himfelf on his guard ; and the war of tongues, in which at leaft Dame Anieufe had the beft of it, went on at the fame time as the other battle. Sire Hains ventured a flight expoftuiation on her eagernefs for the fray, in anfwer to which llie only threw in his teeth a fierce defiance to do his worft. Provoked at this. Sire Hains ftruck at her, and hit her over the eyebrows, fo eflfeftively, that the Ikin was difcolou ed ; and, over-confident in the effe6t of this firft blow, he began rather too foon to exult over his wife's defeat. But Dame Anieufe was lefs difconcerted than he expedled, and recovering quickly from the effeft of the blow, (lie turned upon him and ftruck him on the fame part of his face with fuch force, that ftie nearly knocked him over the fheepfold. Dame Anieufe, in her turn, now fneered over him, and while he was recovering from his confufion, her eyes fell upon the obje6l of contention, and fhe rufhed to it, and laid her hands upon it to carry it away. This movement roufed Sire Hains, who inftanrly feized another part of the article of his drefs of which he in Literature and Art. 127 was thus in danger of being deprived, and began a ftruggle for pollcllion, in which the laid article underwent conliderable dilapidation, and fragments ot" it were fcattered over the court. In the midft of this llruggle the aftual fight recommenced, by the hulband giving his wife fo /jeavy a blow on the teeth that her mouth was filled with blood. The effedt was fuch that Sire Hains already reckoned on the vidlory, and proclaimed himlelf lord of the breeches. Hains fiert fa fame enmi /« den^ Tel cop, que la boucfie deden^ Li a tiute emplie de fancz, " Tien ore,"'' diji Sire Hains, '^ anc, ye cuit que je t^ai hien alainle. Or fai-je de deux colors tainte — 'J^aurai les braies toutei "votes ."" But the immediate etiedl on Dame Anieufe was only to render her more defperate. She quitted her hold on the difputed garment, and \A\ upon her hulband with I'uch a fhower of blows that he hardly knew uhich way to turn. She was thus, however, unconlcioufly exhaufting herfelf, and Sire Hains loon recovered. The battle now became fiercer than ever, and the lady feemed to be gaining the upper hand, when Sire Hains gave her a Ikilfiil blow in the ribs, which nearly broke one of them, and confider- ably checked her ardour. Friend Symon here interpofed, with the praile- worthy aim of reftoring peace before further harm might be done, but in vain, for the lady was only rendered more obftinate by her mifhap; and he agreed that it was ufelels lo interfere until one had got a more decided advantage over the other. The fight therefore went on, the two com- batants having now leized each other by the iiair of the head, a mode of combat in which the advantages were rather on tlie fide of tlie male. At this moment, one of the judges, Dame Aupais, lympathiling too nuu h with Dame Anieufe, ventured fome words of encouragement, which drew upon her a fevere rebuke from her colleague, Symon, who inilniati d that if (lie interfered again there might be two pairs of combatants infiead (jf one. Meanwhile Dame Anieufe was becoming exhaufied. and WAS evidently getting the worft of the contelt, until at length, daggering 128 Hijiory of Caricature and Grotefque from a vigorous pufti, Ihe fell back into a large baiket which lay behind her. Sire Hains flood over her exultingly, and Symon, as umpire, pronounced him vi£torious. He thereupon took poffeflion of the difputed article of raiment, and again invefted himfelf with it, while the lady accepted faithfully the conditions impofed upon her, and we are aflured by the poet that fhe was a good and obedient wife during the reft of hei life. In this ftory, which affords a curious picture of mediaeval life, we learn the origin of the proverb relating to the pofTeffion and wearing of the breeches. Hugues Piaucelles concludes hlsfalliau by recommending every man who has a difobedient wife to treat her in the fame manner; and mediaeval hufbands appear to have followed his advice, without fear of laws againft the ill-treatment of women. A fubje6t like this was well fitted for the burlefques on the ftalls, and accordingly we find on one of thofe in the cathedral at Rouen, the group given in our cut No. 8i, which feems to reprefent the part of the ftory No. 8i. T/ie Fight for the Breeches. in which both combatants feize hold of the difputed garment, and ftruggle for pofleflion of it. The hufband here grafps a knife in his hand, with which he feems to be threatening to cut it to pieces rather than give it up. The fabliau gives the vi6tory to the hufband, but the wife was generally confidered as in a majority of cafes carrying off the prize. In an extremely rare engraving by the Flemifli artift Van Mecken, dated in 1480, of which I give a copy in our cut No. 82. the lady, while in Literature and Art. 129 putting on the breeches, of which (he has juft become polTelVed, ihows an inchnation to lord it rather tyrannically over her other half, whom flie has condemned to perform the domeftic drudgery of the manlion. No. 82. The Breeches Won. In Germany, where there was ftill more roughnefs in mediaeval life, what was told in England and France as a good ftory of domeftic doings, was actually carried into pra6tice under the authority of the laws. The judicial duel was there adopted by the legal authorities as a mode of fettling the differences between hulband and wife. Curious particulars on this fubjedt are given in an interefting paper entitled " Some obfervations on Judicial Duels as praftifed in Germany," publiflaed in the twenty- ninth volume of the Archaeologia of the Society of Antiquaries (p. 348). Ihefe obfervations are chiefly taken from a volume of dire6tions, accom- panied with drawings, for the various modes of attack and defence, compiled by Paulus Kail, a celebrated teacher of defence at the court of Bavaria about the year 1400. Among thefe drawings we have one reprefenting the mode of combat between hulband and wife. The only weapon allowed the female, but that a very formidable one, was, according to thefe directions, a heavy ftone wrapped up in an elongation of l»er cbemife, while her opponent had only a fliort ftalf, and he was •placed up to the waill in a pit formed in the ground. The following K 130 Hijlory of Caricature and Grotefque is a literal tranllation of the direttions given in the manulcript, and our cut No. 83 is a copy of the drawing which illuftrates it : — " The woman muft be fo prepared, that a fleeve of her chemife extend a fmall ell beyond her hand, like a little fack ; there indeed is put a ftone weighing three pounds ; and fhe has nothing elfe but her A'^p. 83. yl Legal Combat. chemife, and that is bound together between the legs with a lace. Then the man makes himfelf ready in the pit over againft his wife. He is buried therein up to the girdle, and one hand is bound at the elbow to the fide." At this time the practice of fuch combats in Germany feems to have been long known, for it is ftated that in the year 1200 a man and his wife fought under the fandlion of the civic authorities at Bale, in Switzerland. In a pi6ture of a combat between man and wife, from a manufcript refembling that of Paulus Kail, but executed nearly a century later, the man is placed in a tub inilead of a pit, with his left arm tied to his fide as before, and his right holding a fhort heavy fiaffj while the woman is drefled, and not ftripped to the /;/ Literature and Art. 131 chemife, as in the former cafe. The man appears to be holding the flick in fuch a manner that the fling in which the flone was contained would twift round it, and the woman would thus be at the mercy of her opponent. 'In an ancient manufcript on the fcience of defence in the library at Gotha, the man in the tub is reprefented as the conqueror of his wife, having thus dragged her head-foremoft into the tub, where {he appears with her legs kicking up in the air. This was the orthodox mode of combat between man and wife, but it was fometimes pradifed under more fanguinary forms. In one pifture given from thefe old books on the fcience of defence by the writer of the paper on the fubjeft in the Archaeologia, the two combatants, naked down to the waift, are reprefented fighting with fharp knives, and inflicting upon each other's bodies frightful gaflies. A feries of flail carvings at Corbeil, near Paris, of which more will be faid a little farther on in this chapter, has furnilhed the curious grcuj) reprefented in our cut No. 84, which is one of the rather rare pidoriaj A'o. 84. The H'hch and the Demon. alli fions to the fubjed of witchcraft. It reprefents a woman who rnuft, by her occupation, be a witch, for flie has fo far got the maliery of the demon that llie is fawing off his head with a very nncomfonable looking 132 Hi/iory of Caricature and Grotefque inftrument. Another flory of witchcraft is told in the fculpture of a ftone panel at the entrance of the cathedral of Lyons, which is repre- fented in our cut No. 8^. One power, fuppofed to be pofTeffed by witches, was that of transforming people to animals at will. William of Malmefbury, in his Chronicle, tells a flory of two witches in the No. 85. The Witch and her Viaim. neighbourhood of Rome, who ufed to allure travellers into their cottage, and there transform them into horfes, pigs, or other animals, which they fold, and feafted themfelves with the money. One day a young man, who lived by the profeflion of a jougleur, fought a night's lodging at their cottage, and was received, but they turned him into an afs, and, as he retained his underftanding and his power of afting, they gained much money by exhibiting him. At length a rich man of the neighbourhood, who wanted him for his private amufement, otfered the two women a large fum for him, which they accepted, but they warned the new polTelfor of the afs that he Ihould carefully reflrain him from going into the water, as that would deprive him of his power of performing. The man who had purchafed the afs a6led upon this advice, and carefully kept him from water, but one day, through the negligence of his keeper, the in Literature and Art. 133 afs efcaped from his ftable, and, milling to a pond at no great dillance, threw hiraleh' into it. Water — and running water efpecially — was believed to dellroy the power of witchcraft or magic j and no fooner was the afs immerfed in the water, than he recovered his original form of a young man. He told his ftory, ^\■hich foon reached the ears of the pope, and the two women were feized, and confelied their crimes. The car\ing from Lyons Cathedral appears to reprefent fome fuch fcene of forcery. The naked woman, evidently a witch, is, perliaps, feated on a man whom (he has transformed into a goat, and Ihe feems to be whirling the cat over him in fuch a manner that it may tear his face with its claws. There was ftill another clafs of fubjefts for fatire and caricature which belongs to this part of our fubje£t — I mean that of the trader and manufa6turer. We mull not fuppofe that fraudulent trading, that deceptive and imperfeft workmanlhip, that adulteration of everything that could be adulterated, are peculiar to modern times. On the contrar)', there was no period in the world's hillory in which diihoneft dealing was carried on to fuch an extraordinary extent, in which there was fo much deception ufed in manufadures, or in which adulteration was pra6tifed on lo fliamelefs a fcale, as during the middle ages. Thefe vices, or, as we may, perhaps, more properly defcribe them, thefe crimes, are often mentioned in the mediaeval writers, but they were not eafily reprefented pidorially, and therefore we rarely meet with dire6t allufions to them, either in fculpture, on ftone or wood, or in the paintings of illuminated manufcripts. Reprefentations of the trades themfelves are not fo rare, and are fometimes droll and almoll burlefque. A curious feries of fuch reprefentations of arts and trades was carved on the mifereres of the church of St. Spire, at Corbeil, near Paris, which only exift now in Millin's engravings, but they feem to have been works of the fifteenth century. Among them the tirll place in given to the various occupations necelfary for the produ6tion of bread, that article fo important to the fupport of life. Thus we fee, in thelc canings at Corbeil, the labours of the reaper, cutting the wheat and f(jrniing it into Iheaves, the miller carrying it away to be ground into I 34 Hijiory of Caricature and Grotefque meal, and the baker thrufting it into the oven, and drawing it out in the Ihape of loaves. Our cut No. 86, taken from one of thefe fculptures, reprefents the baker either putting in or taking out the bread with his No. 86, A Baker of the Fifteenth Century. peel ; by the earnefi: manner in which he looks at it, we may fuppofe that it is the latter, and that he is afcertaining if it be fufficiently baked. We have an earlier reprefentation of a mediaeval oven in our cut No. 87, taken from the celebrated illu- minated manufcript of the "Ro- mance of Alexandre," in the Bodleian Library at Oxford, which appears to belong to an early period of the fourteenth century. Here the baker is evi- dently going to take a loaf out of the oven, for his companion holds a dilh for the purpofe of No. 87. A Media-vai Baker. ... .receivmg it. In nothing was fraud and adulteration pradifed to fo great an extent in Literature and Art. 135 as in the important article of bread, and the two occupations efpecially employed in making it were objeds of very great diilike and of fcornful fatire. The miller was proverbially a thief. Every reader of Chaucer will remember his charadter fo admirably drawn in that of the miller of Trumpington, who, though he was as proud and gay " as eny pecok," was neverthelefs eminently diflioneft. A theef he luasferfoth of corn and mele. And that a Jleigh (^ly), and ujyng (practised) yir to fttle. Chaucer's Beeves Tale. This pra6tice included a large college then exifting in Cambridge, but now forgotten, the Soler Hall, which fuflered greatly by his depredations. And on a day it happed in a Jlounde, Syi lay the mauncyp/c on a maledye. Men "wenden zviJJy that he jchulde dye ; For "which this meller Jial hot he mele and corn A thoufend part more than byforn. For ther biforn he Jial but curteyjly ; But nozu he is a theef outrageoujly. For ivhich the ivardeyn chidde and made fare. But theroffette the meller not a tare ; He crakked hooji, andfwor it ivas natfo. Two of the fcholars of this college refolved to go with the corn to the mill, and by their watchfuJnefs prevent his depredations. Thofe who are acquainted with the (lory know how the fcholars fucceeded, or rather how they failed ; how the miller ftole half a builiel of their flour and caufed his wife to make a cake of it ; and how the vidims had their revenge and recovered the cake. As already dated, the baker had in thefe good old times no better character than the miller, if not worfe. There was an old faying, that if three perfons of three obnoxious profcllions were put together in a fack and (haken up, the firft who came out would certainly be a rogue, and one of thefe was a baker. Moreover, the opinion concerning the baker was fo ftrong that, as in the phrafe taken from the old legends of the witches, who in their feflivals fat thirteen at a table, this number was 136 Hiftory of Caricature and Grotefque popularly called a devil's dozen, and was believed to be unlucky — fo, when the devil's name w^as abandoned, perhaps for the fake of euphony, the name fubftituted for it was that of the baker, and the number thirteen was called " a baker's dozen." The makers of nearly all forts of provifions for fale were, in the middle ages, tainted with the fame vice, and there was nothing from which fociety in general, efpecially in the towns where few made bread for therafelves, fuffered fo much. This evil is alluded to more than once in that curious educational treatife, the " Diftionarius " of John de Garlande, printed in my "Volume of Vocabularies." This writer, who wrote in the earlier half of the thirteenth century, infinuates that the makers of pies {paftillarii) , an article of food which was greatly in repute during the middle ages, often made ufe of bad eggs. The cooks, he fays further, fold, efpecially in Paris to the fcholars of the univerfity, cooked meats, faufages, and fuch things, which were not fit to eat j while the butchers furnillied the meat of animals which had died of difeafe. Even the fpices and drugs fold by the apothecaries, or epiciers, were not, he fays, to be trufled. John de Garlande had evidently an inclination to fatire, and he gives way to it not unfrequently in the little book of which I am fpeaking. He fays that the glovers of Paris cheated the fcholars of the univerfity, by felling them gloves made of bad materials ; that the women who gained theii living by winding thread {devacuatrices, in the Latin of the time), not only emptied the fcholars' purfes, but walled their bodies alfo (it is intended as a pun upon the Latin word) ; and the huckflers fold them unripe fruit for ripe. The drapers, he fays, cheated people not only by felling bad materials, but by meafuring them with falfe meafures ; while the hawkers, who went about from houfe to houfe, robbed as well as cheated. M. Jubinal has publilhed in his curious volume entitled "Jongleurs et Trouveres," a rather jocular poem on the bakers, written in French of, perhaps, the thirteenth century, in which their art is lauded as much better and more ufeful than that of the goldfmith's. The millers' depredations on the corn fent to be ground at the mill, are laid to the charge of the rats, which attack it by night, and the hens, which find their way to it by day; and he explains the diminution the bakings /// Literature and Art. 1 3 7 experienced in the hands of the baker as ariling out of tlie charity of I he latter towards the poor and needy, to whom they gave the meal and pafte before it had even been put into the oven. The celebrated Englilh poet, John Lydgate, in a fhort poem preferved in a manufcript in the Harleian Library in the Britiih Mufeum (MS. Harl. No. ^,^y^„ fol. 157, v°), defcribes the pillory, which he calls their Baftile, as the proper heritage of the miller and the baker: — Fut out his hed, lyft nat for to dare. But lyk a man upon that tour to abyde. For cafl of eggys loil not oonys Jpare, Tyl he be quallyd body, bai, andjyde. His heed endooryd, and of -verray pryde Put out his armys, fhetuith abrood his face ; The fenejlrallys be made J or hym fo ivyde^ Claymyth to been a capteyn of that place. The bajiyle longith of "vtrray dcwe ryght To fals bakerys, it is trcwe herytage Se^eralle to them, this knoiueth e-very luyght^ Be kynde affygned for thcr fttyng Jiage ; JVheer they may freely pewe out ther •vifage^ Whan they tak oonys their poffeffioun, Oivthir in youthc or in myddyl age ; Men doon hem ivrong yif they take hym down. Lit mellerys and bakerys gadre hem a gilde, u4nd alle of ajjent make a fraternite', Undir the pillory a Ictil chapelle bylde. The place amorieyje, and purchaje lyberte. For alle thos that of ther noumbre be ; JVhat e'vir it cocji afftir that they ivende. They may clayme, be juft au&orite\ Upon that bafiile to make an ende. The wine-dealer and the publican formed another clafs in medijeva! fociety who lived by fraud and diflionefty, and were the obje6ts of fatire. The latter gave both bad wine and bad meafure, and he often alfo a£led as a pawnbroker, and when j)eople had drunk more than they could pay for, he would take their clothes as pledges for their money. The tavern, -in the middle ages, was the refort of very mifcellaneous company ; 138 Hi [lory of Caricature and Grotefque gamblers and loofe women were always on the watch there to lead more honeft people into ruin, and the tavern-keeper profited largely by their gains; and the more vulgar minllrel and " jogelour " found employment there ; for the middle clafles of fociety, and even their betters, frequented the tavern much more generally than at the prefent day. In the carved flails of the church of Corbeil, the liquor merchant is reprefented by the figure of a man wheeHng a hoglhead in a barrow, as fhown in our cut No. 88. The gravenefs and air of importance with which he regards it iVo. 88. Ihe Wtne Dealer. would lead us to fuppofe that the barrel contains wme ; and the cup and jug on the Ihelf above Ihow that it was to be fold retail. The wme- fellers called out their wines from their doors, and -boafted of their qualities, in order to tempt people in j and John de Garlande affures us that when they entered, they were ferved with wine which was not worth drinking. "The criers of wine," he fays, "proclaim with extended throat the diluted wine they have in their taverns, offering it at four pennies, at fix, at eight, and at twelve, frefh poured out from the gallon cafk into the cup, to tempt people." ("Volume of Vocabularies,"' p. 126.) The ale-wife was an efpecial fubje6t of jell in Literature and Art. 39 and latire, and is not unfrequently reprefented on the pittorial monuments of our forefathers. Our cut No. 89 is taken from one of the A",. 8y. Tne AU-iyij'c. mifereres m the church of WelHngborough, in Northamptonihire ; tlie ale-wife is pouring her hquor from her jug mto a cup to ferve a rullic, who appears to be waiting for it with impatience. The figure of the ale-drawer. No. 90, is taken from one of the mifereres in the parifh church of Ludlow, in Shroplhire. The fize of his jug is fomewhat difpropor- tionate to that of the barrel from which he obtains the ale. The fame mifereres of Ludlow Church furnifh the next fcene, cut No. 91, which reprefents the end of the wicked ale-wife. The day of judgment C r J . u I 1 ii t No.QO. The Ale-Draiver. IS luppcled to have arrived, and Ok- has rtyeived her fentencc. A demon, feated on one fide, is reading a lifl ot 1 40 Hijlory of Caricature aftd Grotefque the crimes flie has committed^ which the magnitude of the parchment Ihows to be a rather copious one. Another demon (whofe head has been broken off in the original) carries on his back, in a verv irreverent manner, the unfortunate lady, in order to throw her into hell- mouth, on the other fide of the pidure. She is naked with the exception of the fafhionable head-gear, which formed one of her vanities iV'o. 91 . The Ale-Wife's End. in the world, and Ihe carries witli her the falfe meafure with which the cheated her cuftomers. A demon bagpiper welcomes her on her arrival. The fcene is full of wit and humour. The ruftic dalles, and inI1:ances of their rufticity, are not unfrequently met with in thefe interefting carvings. The flails of Corbeil prefent feveral agricultural fcenes. Our cut No. 92 is taken from thofe of Gloucefter cathedral, of an earlier date, and reprefents the three fhepherds, aflonilhed at the appearance of the liar which announced the birth of the Saviour of mankind. Like the three kings, the Ihepherds to whom this revelation was made were always in the middle ages reprefented as three in number. In our drawing from the miferere in Gloucefter cathedral, the coftume of the Ihepherds is remarkably well in Literature and Art. 141 depi6ted, even to the details, with the various implements appertaining to their prot'ellion, molt of which are fufpended to their girdles. They are drawn with much Ipirit, and even the dog is well reprefented as an efpecially attive partaker in the fcene. No, 92. The Shepherd: of the Eaji. Of the two other examples we fele6t from the mifereres of Corbeil, the firrt reprefents the carpenter, or, as he was commonly called by our Anglo-Saxon and mediaeval forefathers, the uright, which fignifies fimply the "maker." The application of this higher and more general term — For the Almighty himfelf is called, in the Anglo-Saxon poetry, calid gefcefta ivyrhta, the Maker, or Creator, of all things — Ihows how important an art that of the carpenter was confidered in the middle ages. Everything made of wood came within his province. In the Anglo- Saxon " Collo(juy " of archbifhop Alfric, where feme of the more ufcful artifans are introduced difputing about the relative value of their feveral crafts, the " wright " fays, "Who of you can do wiihuut my craft, fince I make houfes and all forts of veffels {vafa), ami lliips for you all ?" ("Volume of Vocabularies," j). 11.) And Jolui de Garlande, in the thirteenth century, defcribes the carpenter as making, among othei things, tubs, and barrels, and wine-cades. The workmanlhii) of thoft rime* wa» exercifed, before all other materials, on wood ami luitals, and 142 Hijiory of Caricature and Grotefquc the Wright, or worker in the former material, was diftinguillied by this No. 93. The Carpenter. ■circumftance from the fmith, or worker in metal. The carpenter is ftill called a wright in Scotland. Our laft cut (No. 94), taken alfo from one No. 94. The Shoemaker. of the mifereres at Corbeil, reprefents the Ihoemaker, or as he was then in Literature and Art. 143 ufually called, the cordwainer, becaufe the leather which he chiefly uled came from Coidova in Spain, and was thence called ,r)rde-ican, or ccrdewaine. Our ihoemaker is engaged in cutting a Ikin t)t leather with an inrtrument of a rather lingular form. Shoes, and pert aps forms foi making llioes, are fufpended on pegs againfl the wall. 1 44 Hijiory of Caricature and Grotefque CHAPTER IX. GROTESaUE FACES AND FIGURES. PREVALENCE OF THE TASTE FOB UGLY AND GROTESGUE FACES. SOME OF THE POPULAR FORMS DERIVED FROM ANTIGUITY J THE TONGUE LOLLING OUT, AND THE DISTORTED MOUTH. HORRIBLE SLTBJECTS : THE MAN AND THE SERPENTS. ALLEGOKICAL FIGURES : GLUTTONY AND LUXURY. OTHER REPRESENTATIONS OF CLERICAL GLUTTONY AND DRUNKEN- NESS. GROTESGUE FIGURES OF INDIVIDUALS, AND GROTESGUE GROUPS. ORNAMENTS OF THE BORDERS OF BOOKS. UNINTENTIONAL THE grimaces and ilrange poftures of the jougleurs feem to have had great attratlions for thofe who witnefTed them. To unrefined and uneducated minds no objett conveys fo perfect a notion of mirth as an ugly and diftorted face. Hence it is that among the common peafantry at a country fair few exhibitions are more fatisfadory than that of grinning through a horfe-collar. This fentiment is largely exemplified in the fculpture efpecially of the middle ages, a long period, during which the general charafter of fociety prefented that want of refinement which we now obferve chiefly in its leafi cultivated claffes. Among the moll common decorations of our ancient churches and other mediaeval buildings, are grotefque and monitrous heads and faces. Antiquity, which lent us the types of many of thefe luunftrofities, faw in her Typhous and Gorgons a fignification beyond the furface of the pidure, and her grotefque mafks had a general meaning, and were in a manner typical of the whole field of comic literature. The malk was lefs an individual grotefque to be laughed at for itfelf, than a perfonification of comedy. In the middle ages, on the contrary, although in fome cafes certain forms were often regarded as typical of certain ideas, in general the defign extended no farther than the forms which the artift had given to it ; the in Liter at lire and Art. 145 grotefque featares, like the grinning through the horfe-collar, gave fatisfadion by their mere ughnels. Even the applications, when fuch figures were intended to have one, were coarfely fatirical, without any intelleftuality, and, where they had a meaning beyond the plain text of the fcuipture or drawing, it was not far-fetched, but plain and eafiN underrtood. When the Anglo-Saxon drew the face of a bloated and disfigured monk, he no doubt intended thereby to proclaim the popular notion of the general chara6ler of monaftic life, but this was a defiga which nobody could mifunderftand, an interpretation which everybody was prepared to give to it. We have already feen various examples of this defcription of fatire, fcattered here and there among the immcnfe ma(s of grotefque fculpture which has no fuch meaning. A great proportion, indeed, of thefe grotefque fculptures appears to prefent mere variations of a certain number of di(lin6t types which had been handed down from a remote period, feme of them borrowed, perhaps involuntarily, from antiquity. Hence we naturally look for the earlier and more curious examples of this clafs of art to Italy and the fouth of France, where the tranfition from claflical to mediaeval was more gradual, and the continued influence of claflical forms is more eafily traced. The early Chriftian mafons appear to have caricatured under the form of fuch grotefques the perfonages of the heathen mythology, and to this praftice we perhaps owe fome of the types of the mediaeval monflers. We have feen in a former chapter a grotefque from the church of Monte Majour, near Nifmes, the original type of which had evidently been Ibme burlcfque figure of Saturn eating one of his children. The clallical mafk doubtlefi furnifhed the type for thofe figures, fo common in mediaeval fculpture, of faces with difproportionately large mouths j jiill as another favourite clafs of grotefque faces, thofe with diflended mouths and tongues lolling out, were taken originally from the Typhous and Gorgons of the ancients. Many other popular types of faces rendered artificially ugly are mere exaggerations of the diltortions produced on the features by different operations, liu h, f(^r inltance, as th.it of blowuig a horn. The pradice of blowing the liorn, is, indeed, peculiarly calculated to L 146 Hijiory of Caricature and Grotefque exhibit tlie features of the face to difadvantage, and was not overlooked by the defigners of the mediaeval decorative fculpture. One of the largp colle6tion of cafts of fculptures from French cathedrals exhibited in th'^ mufeum at South Kenfington, has furnifhed the two fubjefts given in our cut No. 95. The firft is reprefented as blowing a horn, but he is No. 95. Grotefque Monjiers. producing the greateft poflible diftortion in his features, and efpecially m his mouth, by drawing the horn forcibly on one fide with his left hand, while he pulls his beard in the other dire6tion with the right hand. The force with which he is fuppofed to be blowing is perhaps reprefented by the form given to his eyes. The face of the lower figure is in at leaft comparative repofe. The defign of reprefenting general diftortion in the firft is further fhown by the ridiculoufly unnatural pofition of the arms. Such diftortion of the members was not unfrequently introduced to heighten the. effeft of the grimace in the face ; and, as in thefe examples, it was not uncommon to introduce as a further element ot grotefque, the bodies, or parts of the bodies, of animals, or even of demons. /;/ Literature and Art. H7 Another caft in the Kenfington Muleum is the lubje6t of GUI' rut No. 96, which prefents the fame idea of ftretching the mouth. The fubjed is here exhibited by another rather mirthful looking individual, but whether the exhibitor is intended to be a goblin or demon, or No. 96. Diabolical Mirth. whether he is merely furniftied with the wings and claws of a bat, feems rather uncertain. The bat was looked upon as an unpropitious if not an unholy animal ; like the owl, it was the companion of the witches, and of the fpirits of darknefs. The group in our cut No. 97 is taken from No. 97. Making Facts. one of the carved flails m the church of Stratford-upon-Avon, and rcprefcnts a trio of grimacers. The firll of thefe three grotefque facee is Killing out the tongue to an extravagant length ; the fecond is fimply grinning ; while the third has taken a faufage between his teclii to 148 HiJIory of Caricature and Grotefque render his grimace ftill more ridiculous. The number and variety of fuch grotefque faces, which we find fcattered over the architedural decoration of our old ecclefiaftical buildings, are fo great that I will not attempt to give any more particular claflification of them. All this church decoration was calculated efpecially to produce its efFe6i upon the middle and lower claffes, and mediaeval art was, perhaps more than any- thing elfe, fuited to mediaeval fociety, for it belonged to the mafs and not to the individual. The man who could enjoy a match at grinning through horfe -collars, mufl have been charmed by the grotefque works of the mediaeval ftone fculptor and wood carver ; and we may add that thefe difplay, though often rather rude, a very high degree of Ikili in art, a great power of producing ftriking imagery. Thefe mediaeval artifts loved alfo to produce horrible objefts as well as laughable ones, though even in their horrors they were continually running into the grotefque. Among the adjunfts to thefe fculptured figures, we fometimes meet with inftruments of pain, and very talented attempts to exhibit this on the features of the viftims. The creed of the middle ages gave great fcope for the indulgence of this tafle in the infinitely varied terrors of purgatory and hell 3 and, not to fpeak of the more crude defcriptions that are fo common in mediaeval popular literature, the account to which thefe defcriptions might be turned by the poet as well as the artifl are well known to the reader of Dante. Coils of ferpents and dragons, which were the mofi: ufual inftruments in the tortures of tlie infernal regions, were always favourite obje6ts in mediaeval ornamentation, whether fculptured or drawn, in the details of architedural decoration, or m the initial letters and margins of books. They are often combined in forming grotefque tracery with the bodies of animals or of human beings, and their movements are generally hoftile to the latter. We have already feen, in previous chapters, examples of this ufe of ferpents and dragons, dating from the earlieft periods of mediaeval art ; and it is perhaps the moft common flyle of ornamentation m the ouildings and illuminated manufcripts in our iHand from the earlier Saxon times to the thirteenth century. This ornamentation is fometimes llrikingly bold and effe6tive. In the cathedral of Wells there is a feries /// Literature and Art, 1 49 of ornamental bolles, formed by faces writhing under the attacks of numerous dragons, who are feizing upon the Ups. eyes, and cheeks of their vi6lims. One of thefe bolfes, which are of the thirteenth century, is reprefented in our cut No. 98. A large, coarfely featured face is the Ac/, ^a. iurrur, vidim of two dragons, one of which attacks his mouth, while the other has feized him by the eye. The expreliion of the face is ftrikingly horrible. The higher mind of the middle ages loved to fee inner meanings through outward forms; or, at leall, it was a falliion which manifefted itfelf moft ftrongly in the latter half of the twelfth century, to adapt thefe outward forms to inward meanings by comparifons and moralifa- tions; and under the effect of this feeling certain figures were at times adopted, with a view to fome other purpofe than mere ornament, though this was probably an innovation upon mediaeval art. The tongue lolling out, taken originally, as we have feen, from the imagery of claHic limes, was accepted rather early in the middle ages as the emblem or lymbol of luxury ; and, when we find it among the fculptured ornaments ot the architecture efpecially of fome of the larger and more important churches, it implied probably an alhilioii to that vice — at kaft the face prefentici to lu wai intended to be that of a vcjluptuary. Among the iini.ukiiblc 150 Hijlory of Caricature and Grotefque feries of fculptures which crown the battlements of the cloifters of Magdalen College, Oxford, executed a very few years after the middle of the fifteenth century, amid many figures of a very mifcellaneous charader, there are feveral which were thus, no doubt, intended to be reprefen- tatives of vices, if not of virtues. I give two examples of thefe curious fculptures. No. 99. Gluttony. No. 100. Luxury. The firft, No. 99, is generally confidered to reprefent gluttony, and it is a remarkable circumftance that, in a building the chara6ter of which was partly ecclefiaftical, and which was eredted at the expenfe and under the diredtions of a great prelate, Bifliop Wainflete, the vice of gluttony, with which the ecclefiaftical order was efpecially reproached, Ihould be reprefented in ecclefiaftical coftume. It is an additional proof that the detail of the v/ork of the building was left entirely to the builders. The coarfe, bloated features of the face, and the " villainous " low forehead. //; Literature ajid Art. 151 are charaderirtically executed j and the lolling tongue may perhaps be intended to intimate that, in the lives of the clergy, luxury went hand in with its kindred vice. The fecond of our examples, No. 100, appears by its different charaderiftics (fume of which we have been unable to introduce in our woodcut) to be intended to reprefent luxury itfelf. Sometimes qualities of the individual man, or even the clafs of fociety, are reprefented in a manner far lels difguifed by allegorical clothing, and therefore much more plainly to the undcrftanding of the vulgar. Thus in an illuminated manufcript of the fourteenth cen- tury, in the Britilh Mufeum (MS. Arundel, No. 91), gluttony is reprefented by a monk devouring a pie alone and in fecret, except that a little cloven-footed imp holds up the difli, and feems to enjoy the profped of monadic indulgence. This pitture is copied in our cut No. loi. Another manufcript of the fame date (MS. Sloane, No. 2435) contains a fcene, copied in our cut No. 10 1. Monkljh Gluttony. Ni. loa. The M.naftic Cellarer. No. 103. Drunktnnefs. No. J02, reprefenting drunkennefs under the form of another monk, who has obtained the keys and found his way into the cellar of his monalkry, and is there indulging his love for good ale in fimilar fecrecy. It is to be remarked that here, again, the vices are laid to the charge of the clergy. Our cut No. 103, from a baf-relicf in Ely Cathedral, given in Carters 1^2 Hijiory of Caricature and Grotefque " Specimens of Ancient Sculpture," reprefents a man drinking from a horn, and evidently enjoying his employment, but his coftume is not fufRciently charafteriftic to betray his quality. The fubje6t of grotefque faces and heads naturally leads us to that of monftrous and grotefque bodies and groups of bodies, which has already been partly treated in a former chapter, where we have noticed the great love fhown in the middle ages for monftrous animated figures, not only monfters of one nature, but, and that efpecially, of figures formed by joining together the parts of different, and entirely diffimilar. No. 1 04. -dd Arrange Monfler. animals, of fimilar mixtures between animals and men. This, as ftated above, was often effefted by joining the body of fome nondefcript animal to a human head and face ; fo that, by the difproportionate fize of the latter, the body, as a fecondary part of the pifture, became only an adiun6t to fet oflf ftill further the grotefque chara6ter of the human face. More importance was fometimes given to the body combined with fantaltic forms, which baffle any attempt at giving an intelligible defcription. The accompanying cut. No. 104, reprefents a winged montter of this i?i Literature and Art. ^53 kind ; it is taken from one of the cafts from French churches exhibited in the Kenfinsrton Mufeum. Sometimes the mediaeval artift, without giving any unufual form to his human figures, placed them in ilrange pollures, or joined them in lingular combinations. Thefe latter are commonly of a playful charader. or fometimes they reprefent droll feats of ikill, or puzzles, or other fubjeds, all of which have been publilht-d pi6torially and for the amufe- ment of children down to very recent times. There were a few of thefe groups which aie of rather frequent occurrence, and they were evidently favourite types. One of thefe is given in the annexed cut. No. loj. ll No. 105. RoU'ing Topjy Turvy. is taken from one of the carved mifereres of the Ihills in Ely cathedral, as given in Carter, and reprefents two men who appear to be rolling over each other. The upper figure exhibits animal's ears on his cap, which feem to proclaim him a member of the fraternity of fools : the ears of the lower figure are concealed from view. This group is not a rare one, efpecially on fimilar monuments in France, where the architectural antiquaries have a technical name for it ; and this fhows us how iven the particular forms of art in the middle ages were not confined to any ])ar- ticular country, but more or let, and with exceptions, they pervaded all 154 Hi ft or y of Caricature and Grotefqiie thofe which acknowledged the ecclefiaftical fupremacy of the church of Rome J whatever pecuharity of ftyle it took in particular countries, the fame forms were fpread through all wellern Europe. Our next cut. No. 106, gives another of thefe curious groups, conlifting, in fa6l, of two individuals, one of which is evidently an eccleliaftic. It will be feen that, as we follow this round, we obtain, by means of the two heads, four different figures in fo No.io^. A Continuous Group. many totally different pofitions. This group is taken from one of the very curious feats in the cathedral of Rouen in Normandy, which were engraved and publifhed in an interefling volume by the late Monlieur E. H. Langlois. Amon"g the moft interefling of the mediaeval burlefque drawings are thofe which are found in fuch abundance in the borders of the pages of illuminated manufcripts. During the earlier periods of the mediaeval miniatures, the favourite objefts for thefe borders were monftrous animals, efpecially dragons, which could eafily be twined into grotefque combinations. In courfe of time, the fubje6fs thus introduced became more numerous, and in the fifteenth century they were very varied. Strange animals flill continued to be favourites, but they were more light and elegant in their forms, and were more gracefully defigned. Our cut No. 107, taken from the beautifully-illuminated manufcript of the romanceof the"Comte d'Artois," of the fifteenth century, which has furnilhed us previoufly with feveral cuts, will illuftrate my meaning. The graceful lightnefs of the tracery of the foliage fhown in Nc. 107. Bcrder Ornament, in Literature and Art. ^SS this defign is tbund in none of the earHer works of art of this clals. This, of courfe, is chiefly to be afcribed to the great advance which had been made in the art of delign fince the thirteenth century. But, though fo greatly improved in the ftyle of art, the fame clafs of fubjeds con- tinued to be introduced in this border ornamentation lonsr after the art of printing, and that of engraving, which accompanied it, had been introduced. The revolution in the ornamentation of the borders of the pages of books was effe6ted by the artifts of the fixteenth century, at which time people had become better acquainted with, and had learnt to appreciate, ancient art and Roman antiquities, and they drew their infpiration from a corre6l knowledge of what the middle ages had copied blindly, but had not underftood. Among the fubjefts of burlefque which the monuments of Roman art prefented to them, the ftumpy figures of the pigmies appear to have gained fpecial favour, and they are employed in a manner which reminds us of the piftures found in Pompeii. Joll Amman, the well-known artift, who exercifed his profeflion at Nurem- berg in the latter half of the fixteenth century, engraved a let of No. 1 08. A Triumfhal Procejfion. illuftrations to Ovid's Metamorphofes, which were printed at Lyons in 1 574, and each cut and page of which is enclofed in a border of very fanciful and neatly-executed burlelque. The pigmies are introduced in tht/e borders very freely, and are grouped with great fjjirit. I feletl as an example, tul No. 108, a fccne which reprefeuls a triumphal prutellion — • 156 Hijiory of Caricature and Grotefque lome pigmy Alexander returning from his conquefts. The hero is feated on a throne carried by an elephant, and before him a bird, perhaps a vanquilhed crane, proclaims loudly his praife. Before them a pigmy attendant marches proudly, carrying in one hand the olive branch of peace, and leading in the other a ponderous but captive ollrich, as a trophy of his maker's vitlories. Before him again a pigmy warrior, heavily armed with battle-axe and falchion, is mounting the fteps of a ftage, on which a nondefcript animal, partaking fomewhat of the charafter of a fow, but perhaps intended as a burlefque on the ftrange animals which, in mediaeval romance, Alexander was faid to have encountered in Egypt, blows a horn, to celebrate or announce the return of the conqueror. A fnail, alfo advancing flowly up the ftage, implies, perhaps, a fneer at the whole fcene. Neverthelefs, thefe old German, Flemifh, and Dutch artifts were flill much influenced by the mediaeval fpirit, which they difplayed in their coarfe and clumfy imagination, in their neglect of everything like ccngruity in their treatment of the fubje6t with regard to time and place, and their naive exaggerations and blunders. Extreme examples of thefe charafteriftics are fpoken of, in which the Ifraelites croffing the Red Sea are armed with mulkets, and all the other accoutrements of modern foldiers, and in which Abraham is preparing to facrifice his fon Ifaac by fhooting him with a matchlock. In delineating fcriptural fubjecSls, an attempt is generally made to clothe the figures in an imaginary aftcient oriental coftume, but the landfcapes are filled with the modern caftles and manfion houfes, churches, and monalleries of weftern Europe. Thefe half-mediaeval artifts, too, like their more ancient predeceiTors, often fall into unintentional caricature by the exaggeration or fimplicity with which they treat their fubje6ts. There was one fubje6t which the artifts of this period of regeneration of art feemed to have agreed to treat in a very unimaginative manner. In the beautiful Sermon on the Mount, our Saviour, in condemning hafty judgments of other people's a6tions, fays (Matt. vii. 3 — 5), " And why beholdeft thou the mote that is in thy brother's eye, but confidereft not the beam that is in thine own eye ? Or how wilt thou fay to thy brother. Let me pull out the iji Literature and Art. "^Sl mote out of thine eye, and, behold, a beam is in thine own eye ? Thou hypocrite, tirft caft out the beam out of thine own eye, and then (halt thou fee clearly to call out the mote out of thy brother's eye." What- ever be the exa6t nature of the beam which the man was expected to overlook in his " own eye," it certainly was not a large beam of timber. Yet luch was the conception of it by artills of the fixtecnth century. One of them, named Solomon Bernard, defigned a ferics of woodcuts illurtrating the New Teftament, which were publilhed at Lyons in 1553 ; and the manner in which he treated the fubjeft will be fecn in our cut No. 109, taken from one of the illuftrations to that book. The individual 1^0. 109. Tht Mote and the Beam. feated is the man who has a mote in his eye, which the other, approach- ing him, points out ; and he retorts by pointing to the " beam," which is I certainly fuch a maflive objeft as could not ealily have been overlooked. About thirteen years before this, an artift of Augtburg, laim-d Daniel 1 lsion of the goliard, and the vtrh gonardi%are, to signify the practice of it. * t " Item, praecipimus ut onines sacerdotes non permittant trutannos et alios vagos schoiares, aut goliardos, cantare versus super Sanaus et Angelus Dei in missis," etc. — Concil. Trevir., an. 1227, ap. Marten, et Durand. Ampliss. Coll., vii. col. 117. \ " Item, praecipimus quod clerici non sint joculatores, goliardi, seu bufones." — Stat. Synod. Caduacensis, Ruthenensis, et Tutelensis Eccles. ap. Martene, Thes. Anecd., iv. col. 727. t in Literature and Art. i 6 3 practice of goliardy or flage performance during a year,"* which Ihows that they exercifed more of the fundions of the jongleur than the mere finging of fongs. Thefe vagabond clerks made for themfelves an imaginary chieftain, or prefident of their order, to whom they gave the name of Golias, probably as a pun on the name of the giant who combated againft David, and, to Ihow further their defiance of the exifting church government, they made him a bifhop — Golias epifcopus. Billiop Golias was the burlefque repre- fentative of the clerical order, the general fatirift, the reformer of eclefiallical and all other corruptions. If he was not a doftor of divinity, he was a mafter of arts, for he is fpoken of as Magiftcr Golias. But above all he was the father of the Goliards, the "ribald clerks," as they are called, who all belonged to his houfehold,t and they are fpoken of as his children. Summa falus omnium, fU us Maria, Pajcat, potat, vejiiat pueroi Golya ! J " May the Saviour of all, the Son of Mary, give food, drink, and clothes to the children of Golias!" Still the name was clothed in fo much myftery, that Giraldus Cambrenfis, who flouriflied towards the latter end of the twelfth century, believed Golias to be a real perfonage, and his contemporary. It may be added that Golias not only boalls of the dignity of bifhop, but he appears fometimes under the title of archipoeta, the archpoet or poet-in-chief. Caefarius of Heiflerbach, who completed his book of the miracles of his time in the year 1222, tells us a curious anecdote of the character of the wandering clerk. In the year before he wrote, he tells us, " It happened at Bonn, in the diocefe of Cologne, that a certain wandering • " Clcrici .... si in goliardia vel histrionatu per annum fuerint." — lb. col. 719. In one of the editions ot this statute it is added, "after tliey have been warned three tiinc"." t ** Clcrici ribaldi, maximc qui vulgo dicuntur defamila Goliad — Concil. Sen. ap. Concil., t-jHi. ix. \>. 578. \ btc n>y " Poems ol Walter Mapcs," p. 70. 164 Hijlory of Caricature and Grotefque clerk, named Nicholas, of the clafs they call archpoet, was grievoully ill, and when he fuppofed that he was dying, he obtained from our abbot, through his own pleading, and the interceflion of the canons of the fame church, admiflion into the order. What more ? He put on the tunic, as it appeared to us, with much contrition, but, when the danger was paft, he took it off immediately, and, throwing it down with derifion, took to flight." We learn befl: the charafter of the goliards from their own poetry, a confiderable quantity of which is preferved. They wandered about from manfion to manfion, probably from monaftery to monaftery, luft like the jongleurs, but they feem to have been efpecially welcome at the tables of the prelates of the church, and, like the jongleurs, befides being well feafted, they received gifts of clothing and other articles. In few inftances only were they otherwife than welcome, as defcribed in the rhyming epigram printed m my " Latin Poems attributed to Walter Mapes." "I come uninvited," fays the goliard to the bifliop, "ready for dinner; fuch is my fate, never to dine invited." The bilhop replies, "I care not for vagabonds, who wander among the fields, and cottages, and villages 3 fuch guefts are not for my table. I do not invite you, for I avoid fuch as you ; yet without my will you may eat the bread you afk. Wafla, wipe, fit, dine, drink, wipe, and depart." Goliardus. Non In-vhatus 'venio p^andere paratus ; Sic f urn fatatus, nunquam prandere -vocatus. Episcopus. Non ego euro -vagos, qui rura, mapalia, pagoi Perlujlrant, tales non -vult mea tnenfa Jodales, Te non in-vito, tihi conjimiles ego -vito j Me tamen innjito potieris pane petito, jiblue, terge, fede, prande, bibe, terge, recede. In another fimilar epigram, the goliard complains of the billiop who had given him as his reward nothing but an old worn-out mantle. Moll of the writers of the goliardic poetry complain of their poverty, and fome of them admit that this poverty arofe from the tavern and the love of gambling. One of them alleges as his claim to the liberality of //; Literature and Art. 1 6 c his hoft, that, as he was a Icholar, he had not learnt to labour, that his parents were knights, but he had no tafte for fighting, and that, in a word, he preferred poetry to any occupation. Another fpeaks iVill more to the point, and complains that he is in danger of being obliged to fell his clothes. " li this garment of vair which I wear," he fays, " be fold for money, it will be a great difgrace to me ; I would rather fufFer a long fait. A bilhop, who is the mod generous of all generous men, gave me this cloak, and will have for it heaven, a greater reward than St. Martm has, who only gave half of his cloak. It is needful now that the poet's want be relieved by your liberality [addrelling his hearers] j let noble men give noble gifts — gold, and robes, and the like." Si -vendatur propter denarium Indumentum quod porta -varium, Grande mihi Jiet opprobrium ; Nialo dJu pati jejunium. Largijftmus largorum omnium Prwjul dedit mihi hoc patliumf Mtijus haben: in ctelis praimum B^utjm Alartinus., qui dedit medium. Nunc eft opus ut -veftra copia Shbleiietur -vatis inopia ; Dent nobiles dona nobilia, — Aurum, -ueftei, et hiijimilia. There has been fome difference of opinion as to the country to which this poetry more efpecially belongs. Giraldus Cambrenfis, writing at the end of the twelfth or the beginning of the thirteenth century, evidently thought that Golias was an Englifhman j and at a later date the goliardic poetry was almoft all afcribed to Giraldus's contemporary and friend, the celebrated humourift, Walter Mapes. This was, no doubt, an error. Jacob Grimm feemed inclined to claim them for Germany; but Grimm, on this occafion, certainly took a narrow view of the queftion. We fhall probably be more correct in faying that they belonged in common to all the countries over which univerfity learning extended; that in whatever country a particular poem of tliis clafs was compofcd, it became tlie property of the whole body of thefe fcholafUc jougleurs, and that it was 1 66 liijtory of Caricature a?id Grotefue _ 111 I -i thus carried from one land to another, receiving fometimes alterations oi additions to adapt it to each. Several of thefe poems are found ij manufcripts written in different countries with fuch alterations and additions, as, for inftance, that in the well-known " Confeffion," in tb'" Englilh copies of which we have, near the conclufion, the line — Praful Coventrenjium, parce confitenti ; an appeal to the bifhop of Coventry, which is changed, in a copy in a German manufcript, to EkSie Cdonia, parce peenltentl, *' O ele£t of Cologne, fpare me penitent." From a comparifon of what remains of this poetry in manufcripts written in different countries, it appears probable that the names Golias and goliard originated in the univerfity of Paris, but were more efpecially popular in England, while the term archipoeta was more commonly ufed in Germany. In 1 841 I colleded all the goliardic poetry which I could then find in Englifh manufcripts, and edited it, under the name of Walter Mapes, as one of the publications of the Camden Society.* At a rather later date I gave a chapter of additional matter of the fame defcription in my " Anecdota Literaria."t All the poems I have printed in thefe two volumes are found in manufcripts written in England, and fome of them are certainly the compofitions of Englilh writers. They are diftinguilhed by remarkable facility and eafe in verfification and rhyme, and by great pungency of fatire. The latter is dire6led efpecially againft the clerical order, and none are fpared, from the pope at the fummit of the fcale down to the loweft of the clergy. In the " Apocalypfis Goliae," or Golias's Revelations, which appears to have been the moll popular of all thefe * The Latin Poems commonly attributed to Walter Mapes, collected and edited by Thomas Wright, Esq., 4to., London, 1841. t " Anecdota Literaria ; a Collection of Short Poems in English, Latin, and French, illustrative of the Literature and History of England in the Thirteenth Century." Edited by Thomas Wright, Esq. 8vo., London, 1844, in Literature a?id Art. 1 67 poems,* the poet defcribes himfelf as carried up in a vifion to heaven, where the vices and diforders of the various dalles of the popifli clergy are fucceffively revealed to him. The pope is a devouring lion ; in his eager- nefs for pounds, he pawns books ; at the fight of a mark of money, he treats Mark the Evangelift with disdain ; while he fails aloft, money alone * his anchoring-place. The original lines will ferve as a fpecimen of the flyle of thefe curious compofitions, and of the love of punning which ^as fo charaderiftic of the liteiature of that asre : — o E.ft ho pontifex Jummus, qui dcvorat, S^ui lihras Jitiens, libroi impignorat ; Marcam rejpidet, Marcum dcdecorat ; Jnjummis na-vigans, in nummis anchor at. The bifhop is in hafte to intrude himfelf into other people's paftures. and fills himfelf with other people's goods. The ravenous archdeacon is com- pared to an eagle, becaufe he has fharp eyes to fee his prey afar oft", and is fwift to feize upon it. The dean is reprefented by an animal with a man's face, full of filent guile, who covers fraud with the form of jullice, and by the fliow of fimplicity would make others believe him to be pious. In this fpirit the faults of the clergy, of all degrees, are minutely criticifed through between four and five hundred lines j and it mutt not be forgotten that it was the Englifh clergy whofe charader was thus expofed. Tu fcribes etiam, forma fed alia, Septem ecc/efiis qua junt in j^nglia. Others of thefe pieces are termed Sermons, and are addrefled, fome to the bifhops and dignitaries of the church, others to the pope, others to the monaflic orders, and others to the clergy in general. The court of Rome, we are told, was infamous for its greedinefs ; there all right and juftice were put up for fale, and no favour could be had without money. In this court money occupies everybody's thoughts ; its croG — i. e. the mark • In my edition I have collated no less than sixteen copies wliidi occur nmon» the MSS. in tlie Hritisli Museuin, and in the libraries at Oxford and Canibridjjc, and there arc, no doubt, many more. 1 68 Hi/iory of Caricature and Grotefque on the reverfe of the coin — its roundnefs, and its whitenefs, all pleafe the Romans ; where money fpeaks law is filent. Ntimmh In fiac curia non eji qui non "vacet ; Crux placet, rctunditas, et albedo placet, Et cum totum placeat, et Romanis placet, Ubi nummut loquitur, et lex omnh tacet. Perhaps one of the moft curious of thefe poems is the " Confeflion of Golias," m which the poet is made to fatirife himfelf, and he thus gives us a curious pifture of the goliard's life. He complains that he is made of light material, which is moved by every wind j that he wanders about irregularly, like the Ihip on the fea or the bird in the air, feeking worth- lefs companions like himfelf. He is a flave to the charms of the fair fex. He is a martyr to gambling, which often turns him out naked to the cold, but he is warmed inwardly by the infpiration of his mind, and he writes better poetry than ever. Lechery and gambling are two of his vices, and the third is drinking. "The tavern,'' he fays, "I never defplfed, nor fhall I ever defpife it, until I fee the holy angels coming to fmg the eternal requiem over my corpfe. It is my defign to die in the tavern ; let wine be placed to my mouth when I am expiring, that when the choirs of angels come, they may fay, ' Be God propitious to this drinker ! ' The lamp of the foul is lighted with cups ; the heart fteeped in nedar flies up to heaven ; and the wine in the tavern has for me a better flavour than that which the bifliop's butler mixes with water Nature gives to every one his peculiar gift : I never could write fading ; a boy could beat me in cornpofition when I am hungry j I hate thirft and falling as mucii as death." Tert'to capitulo memoro tabernam : II lam nulla tempore fpre-vi, neque Jpernam, Donee JanBos angelos -venientes cernam, Cantantes pro mortuo requiem aternam. Meum eji propojltum in taberna mori \ Vindumjit appojitum morientis ori, Ut dicant cum -venennt angelorum chart, • Deusjit propitius huic potatori ! ' /;/ Literature and Art. 169 PocuVts accend'itur an:mi luiierna ; Ccr imbutum ncBare "voiut ad Juperna : Mi hi fa pit dulcius vinum in taierna, Sluam quod aquj mijcuit prcejulis pinarnj. Unicuique proprium dat nalura munus : Ego nunqujm potui jcribere jejunus j Me je/unum vincere pojjft puer unus ; Sitim et jfjunium odi tanquam Junus* Another of the more popular of thefe goliardic poems was the advice of Golias againll marriage, a grofs fatire upon the female fex. Contrary to what we might perhaps expeft from their being written in Latin, many of thefe metrical fatires are dire6ted againll the vices of the laity, as well as againft thofe of the clergy. In 1844 the celebrated German fcholar, Jacob Grimm, publilhed in the " Tran factions of the Academy of Sciences at Berlin " a fele6tion of goliardic verfes from manufcripts in Germany, which had evidently been written by Germans, and fome of them containing allufions to German atfairs in the thirteenth century. f They prefent the fame form of verfe and the fame ftyle of fatire as thofe found in England, but the name of Golias is exchanged for archipoeta, the archpoet. Some of the ftanzas of the " Confeflion of Golias " are found in a poem in which the archpoet addrelfes a petition to the archchancellor for afliftance in his diftrefs, and confelfcs his partiality for wine. A copy of the Confeflion itfelf is alfo found in this German colledtion, under tl itle of the " Poet's Confeflion." The Royal Library at Munich contains a very important manufcriptof this goliardic Latin poetry, written in the thirteenth century. It belonged originally to one of the great Benedidine abbeys in Bavaria, where it appears to have been very carefully preferved, but iVill with an apparent confciouf- neGi that it was not exaftly a book tor a religious brothorliood, which k'd * Poem*, p. 73. The stanzas here quoted, with komc others, were afterwards made \\\> into a drinking song, which was rather popjlar in the fifteenth ami Nixttenth (cntnries. t " Gedichtc dc* Mittelalters aut K<'nig Fricdrich I. den Staufar, und aus seiner to wie dcr nav Tlionias Writiht, Esq., and J. O. Halliwtil, Esq. 2 vols. 8vo. Vol. i., London, 1841; vol. ii., '843. 172 Hi/lory of Caricature and Grofefqiie In the " Reliquse Anliquae" (ii. 58) we have a parody on the Gofpel of St. Luke, beginning with the words, Initium faUacis Evangelii fecundum Lupum, this lafl word being, of courfe, a fort of pun upon Lucam. Its fubje6t alfo is Bacchus, and the fcene having been laid in a tavern in Oxford, we have no difficulty in afcribing it to fome fcholar of that univerfity in the thirteenth century. Among the Carmina Burana we find a limilar parody on the Gofpel of St. Mark, which has evidently belonged to one of thefe burlefques on the church fervice ; and as it is lefs profane than the others, and at the fame time pidures the mediaeval hatred towards the church of Rome, I will give a tranflation of it as an example of this Angular clafs of compofitions. It is hardly neceflary to remind the reader that a mark was a coin of the value of thirteen lliillings and fourpence : — "The beginningr of the holy gospel accordiris; to Marks of silver. At that time the pope said to the Romans : * When the son of man shall come to the seat of our majesty, first say, Friend, for what hast thou come ? But if he should persevere in knocking without giving you anything, cast him out into utter darkness.' And it came to pass, that a certain poor clerk came to the court of the lord the pope, and cried out, saying, ' Have pity on me at least, you doorkeepers of the pope, for the hand of poverty has touched me. For I am needy and poor, and therefore I seek your assistance in my calamity and misery.' But they hearing this were highly indignant, and said to him : ' Friend, thy poverty be with thee in perdition ; get thee backward, Satan, for thou dost not savour of those things which have the savour of money. Verily, verily, I say unto thte. Thou shalt not enter into the joy of thy lord, until thou shalt have given thy last farthing.' " Then the poor man went away, and sold his cloak and his gown, and all that he had, and gave it to the cardinals, and to the doorkeepers, and to the chamberlains. But they said, ' And what is this among so many ?' And they cast him out of the gates, and going out he wept bitterly, and was without consolation. After him there came to the court a certain clerk who was rich, and gross, and fat, and large, and who in a tumuli had committed manslaughter. He gave first to the doorkeeper, secondly to the chamberlain, third to the cardinals. But they judged among themselves, that they were to receive more. Then the lord the pope, hearing that the cardinals and officials had received many gifts from the clerk, became sick unto death. But the rich man sent him an electuary of gold and silver, and he was immediately made whole. Then the lord the pope called before him the cardinals and officials, and said to them ; * Brethren, see that no one deceive you with empty words. For I give you an example, that, as I take, so take ye also.' " This mediaeval love of parody was not unfrequently difplayed in a in Literature and Art. 173 more popular form, and in the language of the people. In the RiUquce Antiquie (i. 82) we have a very lingular parody in Englilli on the fernions of the Catholic priellhood, a good part of which is fo written as to prefent no confecutive fenfe, which circumftance itfelf implies a fneer at the preachers. Thus our burlefque preacher, in the middle of his difcourfe, proceeds to narrate as follows (I modernil'e the Englilh) : — " Sir<, what time that God and St. Peter came to Rome, Peter a«;ked Adam a full great doubtful question, and said, " Adam, Adam, why ate thou the apple un- pared?' ' Forsooth,' quod he, ' for I had no wardens (pears) tried.' And Peter saw the fire, and dread him, and stepped into a plum-tree that hanged full of ripe red cherries. And there he saw all the parrots in the sea. There he saw steeds and stockfish pricking ' swose ' (?) in the water. There he saw hens and herrings that hunted after harts in hedges. There he saw eels roasting lark*:. There he saw haddocks were done on the pillory for wrong roasting of May butter ; and there he saw how bakers baked butter to grease with old monks' boots. There he saw how the fox preached," &c. The lame volume contains fome rather clever parodies on the old Englilli alliterative romances, compofed in a limilar flyle of confecutive nonfenfe. It is a clafs of parody which we trace to a rather early period, which the French term a coq-d-l'dne, and which became falhionable in England in the feventeenth century in the form of fongs entitled "Tom-a-Bedlams." M. Jubinal has printed two fuch poems in French, perhaps of the thirteenth century,* and others are found fcattered through the old manufcripts. There is generally fo much coarfenefs in them that it is not eafy to feleft a portion for tranflation, and in fti6t their point confifts in going on through the length of a poem of this kind without imparting a fingle clear idea. Thus, in the fecond of thole publilhed by Jubinal, we are told how, "The fliadow of an egg carried the new year upon the bottom of a pot ; two old new combs made a ball to run the trot j when it came to paying the fcot, I, who never move • " .Achillc Jubinal, Jongleurs et Trouvercs." 8vo., Paris, 1835, p. 34; and " Nouvi-au Kecueil dc Contcs, Diti., Fabliaux," &c. 8vo., Paris, i 842. Vol. ij. p. ao8. In the fiist instance M. Jubinal has given to this little poem the title Rtfvtriti, in the nccond, Fatrafut. 174 Hijiory of Caricature and Grotefque myfelf, cried out, without faying a word, ' Take the feather of an ox, and clothe a wife fool with it.' " — Li ombres d''un oef Portott Pan rencuf Sur la fonz (fun pot ; Deus •vie-z pinges neuf Firent un ejiuef Pour courre k trot ; Sluant -vint au pater Vejcot^ ye, qui OTKjues ne me muef, M'ejcriaijji ne dis mot : — * Prenes la plume d^un buef, S'en ■vejie'b un Jage jotS — Jubinal, Nouv. Eec, ii. 217. The fpirit of the goliards continued to exift long after the name had been forgotten j and the mafs of bitter fatire which they had left behind them againft the whole papal fyftem, and againft the corruptions of the papal church of the middle ages, were a perfeft godfend to the reformers of the fixteenth century, who could point to them triumphantly as irrefiftible evidence in their favour. Such fcholars as Flacius Illyricus, eagerly examined the manufcripts which contained this goliardic poetry, and printed it, chiefly as good and efFe£live weapons in the great religious flrife which was then convulfing European fociety. To us, befides their intereft as literary compofitions, they have alfo a hiftorical value, for they introduce us to a more intimate acquaintance with the charafter of the great mental ftruggle for emancipation from mediaeval darknefs which extended efpecially through the thirteenth century, and which was only overcome for a while to begin more ftrongly and more fuccefsfully at a later period. They difplay to us the grofs ignorance, as well as the corruption of manners, of the great mafs of the mediaeval clergy. Nothing can be more amufing than the fatire which fome of thefe pieces throw on the chara<5ler of monkilh Latin. I printed in the " Reliquae Antiquae," under the title of "The Abbot of Gloucefter's Feaft," a complaint fuppofed to ilTue from the mouth of one of the common herd of the monks, againft the felfiilinefs of their fuperiors, in which all the rules of Latin grammar are entirely fet at defiance. The abbot and prior of Gloucefter, with their whole convent, are invited to a feaft, and on in Literature and Art. 175 their arrival, " the abbot," lays the complainant, " goes to fit at the top, and the prior next to him, but I Itood always in the back place among the low people." j4bbas Irt fede furfunif Et prior'u juxta ipjum ; Ego Jcmpcr J}a'ui dorjum inter rafcalilia. The wme was ferved liberally to the prior and the abbot, but "notliing was give to us poor folks — everything was for the rich." V]num "venlt Janguinatis Ad prioris et abbatis ; ' Nihil nobis paupertatisy Jed ad di-ves omnia. When fome diflatisfadion was difplayed by the poor monks, which the creat men treated with contempt, "laid the prior to the abbot, 'They have wine enough; will you give all our drink to the poor? What does their poverty regard us ? they have little, and that is enough, fince they came uninvited to our feaft.' " Prior dixit ad abbatis, ' If>/i habent vinum fatis ; Vultis dare paupertalis nojler potui omnia ? Sluid nos fpefiat paupertalis ? Pojiquam -venit non -vocatis ad nofter con-vi-via.^ Thus through feveral pages this amufing poem goes on to defcribe the gluttony and drunkennels of the abbot and prior, and the ill-treatment of their inferiors. Ihis compofition belongs to the clofe of the thirteenth century. A fong very fimilar to it in charader, but much lliorter, is found in a manufcript of the middle of the fifteenth century, and printed with the other contents of this manufcript in a little volume ifl'ued by the I'crcy Society.* The writer complains that the abbot and prior drunk " Songs and CaroN, now first printed from a Manuscript ot tlic Fifteenth Century. ' Edited by Tliomaii Wright, Ksq. 8vo., London, 1847, p. *. 176 Hiftory of Caricature and Grotefque good and high-flavoured wine, while nothing but inferior fluff was uiually given to the convent; "But," he fays, "it is better to go drink good wine at the tavern, where the wines are of the bell quaUty, and money is the butler." Bonum •v'mum cum fapore Bibit abbas cunt priore ; Sed con-vent us de pejore Jemper Jolet bibere. Bonum "vinum in taberna, Ubi -vinafunt -valarna (for Falema), Ubi nummus eji pincerna, Ibi prodejl bibere. Partly out of the earnefl:, though playful, fatire defcribed in this chapter, arofe political fatire, and ai a later period political caricature. I have before remarked that the period we call the middle ages was not that of political or perfonal caricature, becaufe it wanted that means of circulating J 06 oj. I No. III. Ct2ricature upon the Jews at Norivich. quickly and largely which is neceffary for it. Yet, no doubt, men who could draw, did, in the middle ages, fometimes amufe themfelves in fketching caricatures, which, in general, have periflied, becaufe noboay cared to preferve them; but the fa6t of the exiflence of fuch works is /// Literature and Art. 177 proved by a very curious example, which has been prelerved, and which is copied in our cut No. iii. It is a caricature on the Jews of Norwich, which Ibme one ot" the clerks of the king's courts in the thirteenth century has drawn with a pen, on one of the otiicial rolls of the Pell office, where it has been preferved. Norwich, as it is well known, was one of the principal feats of the Jews in England at this early period, and Ifaac of Norwich, the crowned Jew with three faces, who towers over the other figures, was no doubt fonie perfonage of great importance among them. Dagon, as a two-headed demon, occupies a tower, which a party of demon knights is attacking. Beneath the ligure of Ifaac there is a lady, whofe name appears to be Avezarden, who has fome relation or other with a male figure named NoUe-Mokke, in which another demon, named Colbif, is interfering. As this latter name is written in capital letters, we may perhaps con- clude that he is the moft important perfonage in the fcene 5 but, without any knowledge of the circumllances to which it relates, it would be in vain to attempt to explain this curious and rather elaborate caricature. Similar attempts at caricature, though leis dirett and elaborate, are found in others of our national records. One of thefe, pointed out to me by an excellent and refpefted friend, the Rev. Lambert B. Larking, is peculiarly in- terefiing, as well as amufing. It belongs to the Treafury cf the Exchequer, and confifts of two volumes of vellum called Liber A and Liber B, forming a regifter of treaties, marriages, and limilar documents of the reign of Edward L, which have been very fully ufed by Rymer. The clerk who was employed in writing it, Icems to have been, like many of thefe official clerks, fomewhat of a wag, and he has amufed himfcif by drawing 10 the margin figures of the inhabitants of the provinces of Edwaul i 1^0. 112. An Ir'ijhman. lyB Hi/lory of Caricature and Grotefque crown to which the documents referred. Some of thefe are evidently defigned for caricature. Thus, the figure given in our cut No. H2 was intended to reprefent an Irilliman. One trait, at leaft, in this caricature is well known from the defcription given by Giraldus Cambrenfis, who Ipeaks with a fort of horror of the formidable axes which the Irifli were accuftomed to carry about with them. In treating of the manner in which Ireland ought to be governed when it had been entirely reduced to fubjeftion, he recommends that, " in the meantime, they ought not to be allowed in time of peace, on any pretence or in any place, to ufe that deteftable inilrument of deflruftion, which, by an ancient but accurfed cuftom, they conftantly carry in their hands inflead of a flaff." In a chapter of his "Topography of Ireland," Giraldus treats of this " ancient and wicked cuftom " of always carrying in their hand an axe, inftead of a ftaff, to the danger of all perfons who had any relations with them. Another Irilliman, from a drawing in the fame manufcript, given in our cut No. 113, carries his axe in the fame threatening attitude. The coftume of thefe figures anfwers with fuflicient accuracy to the de- fcription given by Giraldus Cambrenfis. The drawings exhibit more exadly than that -writer's defcription the "fmall clofe-fitting hoods, hanging a cubit's length (half-a-yard) below the flioulders," which, he tells us, they were accuftomed to wear. This fmall hood, with the flat cap attached to it, is fhown better perhaps in the fecond figure than in the firfl. The " breeches and hofe of one piece, or hofe and breeches joined together," are alio exhibited here very diftindly, and appear to be tied over the heel, but the feet are clearly naked, and evidently the ufe of the " brogues " was not yet general among the Irifii of the thirteenth century. If the Welfhman of this period was fomewhat more fcantily clothed than the Irilhman, he had the advantage of him, to judge by this manufcript, in wearing at leaft one flioe. Our cut No. 114, taken from U, reprefents a Welfliman armed with bow and arrow, whole clothing !j t7o. 113 Another Irijhmar . i?i Liter ature nini Art. 179 confifts apparently only of a plain tunic and a light mantlo. This is quite in accordance with the defcription by Giraldus Canibrenlis, w ho tells us that in all feafons their drefs was the fame, and that, however ievere the weather, " they defended themfelves from the cold only by a thin cloak and tunic." Giraldus fays nothing of the praftice of the Wehh in wearing but one fhoe, yet it is evident that at the time of this record that was their praftice, for in another figure of a Wellliman, given Ac. 114. A Wclfl} Archer. A'c. 1 15. A H'eljhman ivith h'n Spear. in our cut No. iij, we fee the fame peculiarity, and in both cafes the fhoe is W(irn on the left foot. Giraldus merely fays that the Wellhmen in general, when engaged in warfare, " either walked bare-footed, or made ufe of high ihocs, roughly made of untanned leather." He delcribes them as armed i'ometimes with bows and arrows, and fometimes with long fpears ; and accordingly our firft example of a Wellhman from this manufcript is ufing the bow, while the fecond carries the ("pear, which he apparently relis on the fingle fhoe of his left foot, while he hrandilhes a Cword in his left hand. Both our Wellhmen prefent .1 (ingiiljrly giolcfque appearance. i8o Hiflory of Caricature and Grotefque The Gafcon is reprefented with more peaceful attributes. Gafcony was the country of vineyards, from whence we drew our great fupply of wines, a very important article of confumption in the middle ages. When the official clerk who wrote this manufcript came to documents relating to Gafcony, his thoughts wandered naturally enough to its rich vineyards and the wine they fupplied fo plentifully, and to which, according to old reports, clerks feldom Ihowed any diflike, and accordingly, in the Iketch, which we copy m our cut No. 1 1 6, we have a Gafcon occupied diligently in pruning his vine-tree. He, at leaft, wears two fhoes, though his clothing is of the lighteft defcription. He is perhaps the vin'itor of the mediaeval documents on this fubjeft, a ferf attached to the vineyard. Our fecond Iketch, cut No. 117, prefents a more enlarged fcene, and introduces us to the whole procefs of making wine. Firft we fee a man better clothed, with fhoes (or boots) of much fupenor No. 116. A Gafcon at hh Vine. No. 117. The Wine ManufaSiurer. make, and a hat on his head, carrying away the grapes from the vineyard to the place where another man, with no clothing at all, is treading out ihe juice in a large vat. This is ftili in fwmts of the wine countries in Literature and Art. i?h History, composed during the Period from the Accession of Edward III. to that of Richar' -^^ v!/i//r"^^^^ ^ — ^*°T'^^\ "ii^fev ^^M'i^^liiil:' Ik «^^ 1 .rf,\>.'f' 1 c^v^^i ;P'' 7ffi^» Jf^^KT^MP \ ra in' %iPi|pP ^^!WP«"' No. 1 1 9. A Crippled Minjirel. inlide. The face is evidently intended to be that of a jovial companicR. No. 120. The Hurdy-Gurdy. Gluttony was an efpecial charaderillic of that clafs of fociety to which in Literature and Art. 193 the minllrc-l belonged, and perhaps this was the idea intended to be con- Ko.XZl, A ^ivin.jh Mlnftrel. veyed in the next pidure. No. 121, taken from one of the flails in Win- A'o. 112, A Mufical Mother. chlflcr Cathedral, in which a pig is performing on the fiddle, and app?.7r» 194 Hi (lory of Caricature and Grotefqiie to be accompanied by a juvenile of the fame fpecies of animal. One of the fame flails, copied in our cut No. 122, reprefents a fow performing on another fort of mufical inllrument, which is not at all uncommon in mediaeval delineations. It is the double pipe or flute, which was evidently borrowed from the ancients. Minflrelfy was the ufual accompaniment of the mediaeval meal, and perhaps this piclure is intended to be a burlefque on that circumftance, as the mother is playing to her brood while they are feeding. They all feem to hflen quietly, except one, who is evidently much more affefted by the mufic than his companions. The fame inflrument is placed in the hands of a rather jolly-looking female in No. 123. The Double Flute, one of the fculptures of St. John's Church in Cirencefter, copied in our cut No. 123. Although this inflrument is rather frequently reprefented in mediaeval works of art, we have no account of or allufion to it in mediaeval writers ; and perhaps it was not held in very high eftimation, and was ufed only by a low clafs of performers. As in many other things, the employment jf particular mufical inftruments was guided, no doubt, by fafliion, new ones coming in as old ones went out. Such was the cafe with the in Literature and Art. 1 9 5 inltrumtrnt which is named in one of the above extracts, and in fome other mediaeval writers, a chiffonie, and which has been luppofed to be the dulcimer, that had fallen into difcredit in the fourteenth century. This inflrument is introduced in a llory which is found in Cuvelier's metrical hiltory of the celebrated warrior Bertrand du GucfcHn. In the courfe oi the war for the expulhon of Pedro the Cruel from the throne of Caftile, an Englifh knight, Sir Matthew Gournay, was lent as a fpecial ambalfador to the court of Portugal. The Portuguefe monarch had in his fenice two minllrels whofe performances he vaunted greatly, and on whom he let great (lore, and he infixed on their performing in tlie prefence of the new ambaHador. It turned out that they played on the inrtrumenl juft mentioned, and Sir Matthew Gournay could not refrain from laughing at the performance. When the king prefled him to give his opinion, he faid, with more regard for truth than politenefs, " In France and Normandy, the inftruments your minltrels play upon are regarded with contempt, and are only in ufe among beggars and blind people, lb that they are popularly called beggar's inllruments." The king, we are told, took great offence at the bluntnefs of his Englilh gueft. The fiddle itfelf appears at this time to have been gradually finking in credit, and the poets complained that a degraded tafte for more vulgar mufical inftruments was introducing itfelf. Among thefe we may mention efpecially the pipe and tabor. The French antiquary, M. Jubinal, in a very valuable colle6tion of early popular poetry, publifiied under the title of" Jongleurs et Trouveres," has printed a curious poem of the thirteenth or fourteenth century, intended as a proteft againft the ufe of the tabor and the bagpipes, which he chara6terifes as properly the mufical inllru- ments of the peafantry. Yet people then, he fays, were becoming fo befotted on fuch inftruments, that they introduced them in ])laces where better minftrelfy would be more fuitable. I'he writer tliinks that the introduction of fo vulgar an inflrument as the tabor into grand teilivals could be looked upon in no other light than as one of the figns which might be expelled to be the precurfors (jf tiie coming of Antichrift. " if fuch "people are to come to grand fcftivals as carry a bulhel {i.e. a tabor made in tlic form of a buftiel mcal'urc, ov\ the end of which they btai], 196 Hijlory of Caricature and Grotefque and make fuch a terrible noife, it would feem that Antichrift muft now be being born ; people ought to break the head of each of them with a ftatF." De'ujfent it'iels gen% -venir a hele fejle Slut portent un hoijfcl, qui mainent tel tempefte, II jamble que Antecrifl dole maintenant nejire ; Uen duroit d^un bafion chajcun brifier la tejie. This fatirift adds, as a proof of the contempt in which the Virgin Mary held fuch inflruments, that fhe never loved a tabor, or confented to hear one, and that no tabor was introduced among the minllrelfy at her No, 124. The Tabor, or Drum. efpoufals. "The gentle mother of God," he fays, "loved the found of the fiddle," and he goes on to prove her partiality for that inftrument by citing fonie of her miracles. Onques le mere Dieu, qui eft -virge honoree, Et eft atjoec les angles hautement coronee, '■ N''ama onques tab(.ur, ne point ne It agree, N''onques labour n^i ot quant el fu ejpoujee. La douce mere Dieu ama Jon de •viele. in Literature and Art. 197 The artift who can-ed the curious ftalls in Henry VII. 's Chapel at Weftminlter, feems to have entered fully into the fpirit difplayed by this latirirt, for in one of them, reprefented in our cut No. 124, he has introduced a malked demon playing on the tabor, with an exprellion apparently of derifion. This tabor prefents much the form of a bullit- 1 meafure, or rather, perhaps, of a modern drum. It may be remarked that the drum is, in fad, the fame inftrument as the tabor, or, at leaft, is derived from it, and they were called by the fame names, labor or tamlour. The Englilh name drum, which has equivalents in the later forms of the Teutonic dialects, perhaps means fimply fomething which makes a noife, and is not, as far as I know, met with before the fixteenth century. Another carving of the fame feries of ftalls at Weftminfter, copied in our cut No. 125, reprefents a tame bear playing on the No. 125. Brum turned I'tftr, bagpipes. This is perhaps intended to be at the fame time a fatirc on the inftrument itfelf, and uj)on the flrange exhibitions of animals domefticated and taught various fingular performances, which were tlun f(j popular. 1 9 8 Hijiory of Caricature and Grotefque In our cut No. 126 we come to the fiddle again, which long luftained its place in the higheft rank of mufical inftruments. It is taken from one of the fculptures on the porch of the principal entrance to the Cathedral of Lyons in France, and reprefents a mermaid with her child, liftening to the mufic of the fiddle. She wears a crown, and is intended, no doubt. No. 126. Royal Minflrelfy. to be one of the queens of the fea, and the introduction of the fiddle under fuch circumftances can leave no doubt how highly it was efleemed. The mermaid is a creature of the imagination, which appears to have been at all times a favourite objeft of poetry and legend. It holds an important place in the mediaeval beftiaries, or popular treatifes on natural hiflory, and it has only been expelled from the domains of fcience at a comparatively recent date. It ftlU retains its place in popular legends of our fea-coaffs, and more efpecially in the remoter parts of our iflands. The flories of the merrowy or Irilh fairy, hold a prominent place among my late friend Crofton Croker's " Fairy Legends of the South of Ireland." The mermaid is alfo introduced not unfrequently in mediaeval /// hiterature and Art. 199 Iculpture and can-ing. Our cut No. 127, reprelVnting a mermaid and a merman, is copied from one of the flails of Winchefler Cathedral. The ulual attributes of the mermaid are a looking-glafs and comb, by the aid of which llie is drefling her hair ; but here Ihe holds the comb alone. No. 127. Mcrmaidi. Her companion, the male, holds a filli, which he appears to have jufl caught, in his hand. While, after the fifteenth century the profeflion of the minft^rel became entirely degraded, and he was looked upon more than ever as a rogue and vagabond, the fiddle accompanied him, and it long remained, as it fiill remains in Ireland, the favourite inflrument of the peafantry. 'Ihe blind fiddler, even at the prefent day, is not unknown in our rural diflrifts. It has always been in England the favourite inilrument of minftreliy. 200 Hijiory of Caricature and Grotefqiie CHAPTER XII. THE COURT FOOL. THE NORMANS AND THEIR GABS. EARL'S HISTORY OF COURT FOOLS. THEIR COSTUME. CARVINGS IN THE CORNISH CHURCHES. THE BURLESaUE SOCIETIES OF THE MIDDLE AGES. •THE 'FEASTS OF ASSES, AND OF FOOLS. THEIR LICENCE. THE LEADEN MONEY OF THE FOOLS. THE BISHOP's BLESSING. FROM the employment of minftrels attached to the family, probably arofe another and well-known charafter of later times, the court fool, who took the place of fatirifl in the great houfeholds. I do not confider what we underftand by the court fool to be a charafter of any great antiquity. It is fomewhat doubtful whether what we call a jeft, was really appreciated in the middle ages. Puns feem to have been confidered as elegant figures of fpeech in literary compofition, and we rarely meet with anything like a quick and clever repartee. In the earlier ages, when a party of warriors would be merry, their mirth appears to have conlilled ufually in ridiculous boafts, or in rude remarks, or in fneers at enemies or opponents. Thefe jefts were termed by the French and Normans gabs {gab(B, in mediaeval Latin), a word fuppofed to have been derived from the claffical Latin word cavilla, a mock or taunt ; and a Ihort poem in Anglo-Norman has been preferved which furnillies a curious illuftration of the meaning attached to it in the twelfth century. This poem relates how Charlemagne, piqued by the taunts of his emprefs on the fuperiority of Hugh the Great, emperor of Conftantinople, went to Conftantinople, accompanied by his douze pairs and a thoufand knights, to verify the truth of his wife's flory. They proceeded firft to Jerufalem, where, when Charle- magne and his twelve peers entered the Church of the Holy Sepulchre, they looked fo handfome and majeftic, that they were taken at firft for in Lifer a fare and Art. 201 Chrift and his twelve apoliles, but the myftery was loon cleared up, and they were treated by the patriarch with great hofpitality during four months. They then continued their progrefs till they reached Conllanti- nople, where they were equally well received by the the emperor Hugo. At night the emperor placed his guefts in a chamber furnilhed with thirteen fplendid beds, one in the middle of the room, and the other twelve diftributed around it, and illuminated by a large carbuncle, which gave a light as bright as that of day. When Hugh left them in their quarters for the night, he fent them wine and whatever was neceffary to make them comfortable ; and, when alone, they proceeded to amufe themfelves with gals, or jokes, each being expefted to fay his joke in his turn. Charlemagne took the lead, and boafted that if the emperor Hugh would place before him his flrongeft " bachelor," in full armour, and mounted on his good fteed, he would, with one blow of his fword, cut him through from the head downwards, and through the faddle and horfe, and tliat the fword ihould, after all this, fink into the ground to the handle. Charlemagne then called upon Roland for his gah, who boafted that his breath was fo ftrong, that if the emperor Hugh would lend him his horn, he would take it out into the fields and blow it with fuch force, that the wind and noife of it would fliake down the whole city of Conftantinople. Oliver, whofe turn came next, boafted of exploits of another defcription if he were left alone with the beautiful princefs, Hugh's daughter. The reft of the peers indulged in fimilar boafts, and when the gals had gone round, they went to fleep. Now the emperor of Conftantinople had very cunningly, and rather treacheroufly, made a hole through the wall, by which all that paffed infide could be feen and heard, and he had placed a fpy on the outfide, who gave a full account of the converfation of the diftinguiihed guefts to liis imperial niafter. Next morning Hugh called his guefts before him, told tlRin what lie had heard by his fpy, and declared that each of them ftiould perform his boaft, or, if he failed, be put to death. Charlemagne expoftulated, ami n pre- fented that it was the cuftom in France when people retired for the night to amufe themfelves in that manner. " Such is the cuftom in France," he laid, " at Paris, and at Chartres, when the French are in bed ihey 202 Hijiory of Caricature and Grotefque amufe themfelves and make jokes, and fay things both of wifdom and of folly." SI eji tel cujiume en France, a Paris e a Cartres, Siuand Francehfunt culchicz, tro, Fontcm 0>'>an2e, cum omnibus pertinenciis suis, habendum et tenendum sihi ct ha-rcdibus Nui'-, facicndo inde nobis annuatim servifium unius foil! ijuoad vixcrit ; et ()0>t ejus dcccvsum hxrtdes sui earn tcnchunt, et per scivitiuni unius paris calca- riom dcauratorum nobis annuatim leddendo. Quare volumus et fiimiter prxcipimus quod pn-dictus Piculphus et hseredes sui habeant et teneant in pcrpctuum, bene et io pace, libcre ct qurete, prjcilictam tenam." — Rijjoilot, Monnaics inconnucs des £v4(juc& dcs Innoccns, etc., 8vo., Paris, 11*37. 204 Hijiory of Caricature and Grotefque therefore if follus is to be taken as fignifying " a fool," it only means that Picol was to perform that charafter on one occafion in the courfe of the year. In this cafe, he may have been fome fool whom king John had taken into his fpecial favour ; but it certainly is no proof that the praftice of keeping court fools then exifted. It is not improbable that this pra6lice was firft introduced in Germany, for Flogel fpeaks, though rather doubtfully, of one who was kept at the court of the emperor Rudolph I. (of Haplburg), whofe reign lafted from 1273 to 1292. It is more certain, however, that the kings of France poffefTed court fools before the middle of the fourteenth century, and from this time anecdotes relating to them begin to be common. One of the earliefl and moft curious of thefe anecdotes, if it be true, relates to the celebrated viftory of Sluys gained over the French fleet by our king Edward III. in the year 1340. It is faid that no one dared to announce this difafter to the French king, Philippe VI., until a court fool undertook the tafk. Entering the king's chamber, he continued muttering to himfelf, but loud enough to be heard, " Thofe cowardly Englilli! the chicken-hearted Britons I" "How lb, coufin?" the king inquired. "Why," replied the fool, " becaufe they have not courage enough to jump into the fea, like your French foldiers, who went over headlong from their lliips, leaving thofe to the enemy who Ihowed no inclination to follow them." Philippe thus became aware of the full extent of his calamity. The inftitution of the court fool was carried to its greateft degree of perfeftion during the fifteenth century 5 it only expired in the age of Louis XIV. It was apparently with the court fool that the coftume was introduced which has ever fince been confidered as the charaderiftic mark of folly. Some parts of this coflume, at leaft, appear to have been borrowed from an earlier date. The gelotopoei of the Greeks, and the mimi and moriones of the Romans, fhaved their heads ; but the court fools perhaps adopted il*i.'.i> falhion as a fatire upon the clergy and monks. Some writers pro- felled to doubt whether the fools borrowed from the monks, or the monks from the fools 5 and Cornelius Agrippa, in his treatife on the Vanity of Sciences, remarks that the monks had their heads " all fhaven like fools" {rafo toto capite ut fatui). The cowl, alfo, was perhaps adopted in Liitcraturc and Art. 205 in derilion of the monks, but it was diftinguilhed by the addition of a pair of aires' ears, or by a cock's head and comb, which formed its termi- nation above, or by both. The court fool was alfo furnlflied with a ftatf or club, which became eventually his bauble. The bells were another neceliary article in the equipment of a court fool, perhaps alfo intended as a fatire on the cuftom of wearing fmall bells in the drefs, which pre- //o. 127. Court Fools, vailed largely during the fourteenth and fifteenth centuries, cfpecially among people who were fond of childifli ollcntation. I'he fool wore alfo a pariy-coloured, or mtjtley, garment, probably with the llune aim — that tif fatirifuig one of the ridiculcjus faHiions of the fourteenth century. it is in ihc Hfieenth century that we firft meet with the fool in full 2o6 Hijiory of Caricature and Grotefque coftume in the illuminations or manufcripts, and towards the end of the century this coflume appears continually in engravings. It is alfo met with at this time among the fculptures of buildings and the carvings of wood-work. The two very interefling examples given in our cut No. 127 are taken from carvings of the fifteenth century, in the church of St. Levan, in Cornwall, near the Land's End. They reprefent the court fool in two varieties of coftume ; in the firft, the fool's cowl, or cap, ends in the cock's head j in the other, it is fitted with aflTes' ears. There are variations alio in other parts of the drefs ; for the fecond only has bells to his ileeves. and the firft carries a Angularly formed ftatf, which may No. 1 28. A Fool and a Grimace-maker. perhaps be intended for a ftrap or belt, with a buckle at the end 5 while the other has a ladle in his hand. As one pofleflfes a beard, and prefenis marks of age in his countenance, while the other is beardlefs and youthful, we may confider the pair as an old fool and a young fool. The Cornifti churches are rather celebrated for their early carved wood-work, chiefly of the fifteenth century, of which two examples are given in our cut. No. 128, taken from bench pannels in the church of St. Mullion, on the Cornilh coaft, a little to the north of the in Literature and Art. 207 Lizard Point. The tirll has bells hanging to the fleeves, and is no doubt intended to reprel'ent folly in fome form j the other appears to be intended tor the head of a woman makino: crrimaces.* The fool had long been a charader among the people before he became a court tool, for Folly — or, as Ihe was then called, " Mother Folly " — was one of the favourite objefts of popular worlhip in the middle ages, and, where that worlhip fprang up fpontaneoufly among the people, it grew with more energy, and prefented more hearty joyoufnefs and bolder fatire than under the patronage of the great. Our forefathers in thofe times were accui'tomed to form themfelves into alfociations or focieties of a mirthful character, parodies of thofe of a more ferious defcription, efpecially eccle- liallical, and eleded as their officers mock popes, cardinals, archbilliops and bifhops, kings, &c. They held periodical feftivals, riotous and licentious carnivals, which were admitted into the churches, and even taken under the efpecial patronage of the clergy, under fuch titles as " the feali of fools," " the feall of the afs," " the feaft of the innocents," and the like. There was hardly a Continental town of any account which had not its company of fools," with its mock ordinances and mock ceremonies. In our own iiland we had our abbots of mifrule and of unreafon. At tluir public feftivals fatirical fongs were fung and fatirical malks and dreffes were worn ; and in many of them, efpecially at a later date, brief fatirical dramas were atted. Thefe fatires alfumed much of the fun6tions of modern caricature j the caricature of the pidorial reprefentations, which were mortly permanent monuments and deftined for future generations, was naturally general in its charader, but in the reprefentations of which I am fpeaking, which were temporary, and defigned to excite the mirth of the moment. It became perfonal, and, often, even political, and it was c(in(tantly directed againft the ecclefialiical order. The fcandal of the lay furnifhed it with abundant materials. A fragment of one of their • For the drawings of these interesting carvings from the Cornish churches, I am indebtfd to the kindness ot Mr. J. T. Bli^lit, the autlior of an extremely pleasing an handes, and I wil gevc you well 240 Hijiory of Caricature and Grotcfque for your laboure. I am contented, sayde Skelton. Syt downe then, sayde the Welsh- man, and write. What shall I wryte ? sayde Skelton. The Welshman sayde wryte dryncke. Nowe, sayde the Welshman, write more dryncke. What now.? sayde Skelton. Wryte nowe, a great deale of dryncke. Nowe, sayd the Welshman, putte to all thys dryncke a littell crome of breade, and a great deale of drynke to it, and reade once agayne. Skelton dyd reade, Dryncke, more dryncke, and a great deale oj dryncke, and a lytic crome of hreade, and a great deale of dryncke to it. Than the Welshman sayde, Put oute the Ittle crome of breade, and sette in, all dryncke and no hreade. And it I myght have thys sygned of the kynge, sayde the Welshman, I care tor no more, as lons^e as I dooe lyve. Well then, sayde Skelton, when you have thys signed ot the kyng, then wyll I labour for a patent to have bread, that you wyth your drynke and I with the bread may fare well, and seeke our livinge with bagge and statFe." Thefe two tales are rather favourable fpecimens of the coUeftion publilhed under the name of Skekon, which, as far as we know, was firft printed about the middle of the fixteenth century. The coUeftion of the jefts of Scogari, or, as he was popularly called, Scogin, which is faid to have been compiled by Andrew Borde, was probably given to the world a few years before, but no copies of the earlier editions are now known to exill, Scogan, the hero of thefe jefts, is defcribed as occupying at the court of Henry VII. a pofition not much different from that of an ordinary court-fool. Good old Holinflied the chronicler fays of him, perhaps a .little too gently, that he was " a learned gentleman and ftudent for a time in Oxford, of a pleafant wit, and bent to merrie devices, in refpeft whereof he was called into the court, where, giving himfelfe to his na- turall inclination of mirth and pleafant paftime, he plaied manie fporting parts, although not in fuch uncivil manner as hath beene of him reported." This allufion refers moft probably to the jefts, which reprefent him as lead- ing a life of low and coarfe buffoonery, in the courfe of which he difplayed a confiderable fliare of the diihoneft and mifchievous qualities of the lefs real Eulenfpiegel. He is even reprefented as perfonally infulting the king and queen, and as being confequently baniilied over the Channel, to fhow no more refpeft to the majefty of the king of France. Scogin's jefts, like Skelton's, confift in a great meafure of thofe pra6tical jokes which appear in all former ages to have been the delight ot the Teutonic race. Many of them are direfted ag£,"nft the ignorance and worldlinefs of the clergy. Scogin is defcribed as being at one time himfelf a teacher in the univerlity. in Literature and Art. 241 and on one occalion, we are told, a hulbandnian lent his Ion to Ichool to him that he might be made a priell. The whole llory, which runs through leveral chapters, is an excellent caricature on the way in which men vulgarly ignorant were intruded into the priefthood before the Refor- mation. At length, after much blundering, the fcholar came to be ordained, and his examination is reported as follows : — "How the scholhr said Tom M'tlUr of Otency loas "J acob" i father . "After this, the said scholler did come to the next orders, and brought a pre- sent to the ordinary from Scogin, but the schoUer's father paid for all. Then .said the ordinary to the scholler, I must needes oppose you, and for master Scogin's sake, I will oppose you in a light matter. Isaac had two sons, Esau and Jacob. Who was Jacob's father ? The scholler stood still, and could not tell. Well, said the ordinary, I cannot admit you to be priest untill the next orders, and then liiing me an answer. The scholler went home with a heavy heart, bearing a letter to master Scogin, how his scholler could not answer to this question : I>-aac had two sons, Esau and Jacob ; who was Jacob's father ? Scogin said to his scholler. Thou foole and asse-head ! Dost thou not know Tom Miller of Oseney .'' Yes, said the scholler ! Then, said Scogin, thou knowest he had two sonnes, Tom and Jacke ; who is Jacke's father .' The scholler said, Tom Miller. Why, said Scogin, thou mightest have said that Isaac was Jacob's father. Then said Scogin, Thou shalt arise betime in the morning, and carry a lette'' to the ordinary, and I trust he will admit thee before the orders shall.be given. The scholler rose up betime in the morning, and carried the letter to the ordinary. The ordinary said, For Master Scogin'ssake I will oppose you no farther than I did yesterday. Isaac had two sons, Esau and Jacob ; who was Jacob's father ? Marry, said the scholler, I can tell you now that was Tom Miller of Oseney. Goe, foole, goe, said the ordinary, and let thy master send thee no more to me for orders, for it is impossible to make a foole a wise man." Scogin's fcholar was, however, made a prieft, and lome of the florics which follow defcribe the ludicrous manner in whicii he exercifed the priefthood. Two other (lories illuftrate Scogin's fuppoled pofition at court : — " Hov) Scogin told those that mocked him that he had a luall-eye. " Scogin went up and down in the king's hall, and his hosen hung downe, and his coat stood awry, and his hat stood a boonjour, so every man did mocke Si ogin. Some said he was a proper man, and did wear his raymcnt cleanly ; some said the foole could not put on his owne rayment ; some said one thing, and some said another. At last Scogin laid. Masters, you have praistil nie wtl, but you did not It 242 Hiftory of Caricature and Grotefqiit espy one thing in me. What is that, Tom ? said the men. Marry, said Scogin, I have a wail-eye. What meanest thou by that ? said the men. Marry, said Scogin, I have spyed a sort of knaves that doe mocke me, and are worse fooles themselves." " Hcnv Scogin dreiv his sonne up and doiune the court. " After this Scogin went from the court, and put off his foole's garments, and came to the court like an honest man, and brought his son to the court with him, and within the court he drew his soniie up and downe l)y the heeles. The boy cried out, and Scogin drew the boy in every corner. At last every body had pity on the boy, and said, Sir, what doe you meane, to draw the boy about the court ? Masters, said Scogin, he is my sonne, and I doe it for this cause. Every man doth say, that man or child which is drawne up in the court shall be the better as long as hee lives ; and therefore I will every day once draw him up and downe the court, after that hee may come to preferment in the end." The appreciation of a good joke cannot at this time have been very great or very general, for Scogin's jefts were wonderfully popular during at leail a century, from the firfl half of the fixteenth century. They pafied through many editions, and are frequently alluded to by the writers of the Elizabethan age. The next individual whofe name appears at the head of a collettion of his jefls, was the well-known wit, Richard Tarlton^ who may be fairly confidered as court fool to Queen Elizabeth. His jefts belong to the fame clafs as thofe of Skelton and Scogin, and if poffible, they prefent a ftill greater amount of dulnefs. Tarlton's jefts were foon followed by the " merrie conceited jefts " of George Peele, the dramatift, who is defcribed in the title as "gentleman, fometimes ftudent in Oxford;" and it is added that in thefe jefts " is fhewed the courfe of his life^ how he hved 3 a man very well knowne in the city of London and elfewhere." In faftj Peele's jefts are chiefly curious for the ftriking pifture they give us of the wilder fliades of town life under the reigns of Elizabeth and James I. During the period which witneffed the publication in England of thefe books, many other jeft-books appeared, for they had already become an important clafs of Engliih popular literature. Moft of them were publiflied anonymoufly, and indeed they are mere com- pilations from the older colIe6tions in Latin and French. All that was at all good, even in the jefls of Skelton, Scogin, Tarlton, and Peele, had been repeated over and over again by the ftory-tellers and //; Literature and Art. 243 jellers of former ages. Two of the earlier Englilh colledions have gained a greater celebrity than the reft, chiefly through adventitious circumllances. One of thefe, entitled " A Hundred Merry Tales,' has gained diftin6lion among Shakespearian critics as the one efpecially alluded to by the great poet in " Much Ado about Nothing," (Act ii., Sc. i), where Beatrice complains that Ibmebody had faid " that I had my good wit out of the Hundred Merry Tales." The other colle6lion alluded to was entitled " Mery Tales, Wittie Queftions, and Quicke Anfweres, very pleafant to be rendde," and was printed in 1567. Its modern fame appears to have arifen chiefly from the circumftance that, until the accidental difcovery of the unique and imperfeft copy of the " Hundred Merry Tales," it was fuppofed to be the book alluded to by Shakefpeare. Both thefe colledions are mere compilations from the " Cent Nouvelles Nouvelles," Poggio," " Straparola," and other foreign works.* The words put into the mouth of Beatrice are corredly defcrip- live of the ufe made of thefe jeft-books. It had become fafhionable to learn out of them jefts and ftories, in order to introduce them into polite converfation, and efpecially at table ; and this pradice continued to prevail until a very recent period. The number of fuch jeft-books pub- lillied during the fixteenth, feventeeth, and eighteenth centuries, was (juite extraordinary. Many of thefe were given anonymouflyj but many alfo were put forth under names which poflelfed temporary celebrity, fuch as Hobfon the carrier, Killigrew the jefter, the friend of Charles II., Ben Jonfon, Garrick, and a multitude of others. It is, perhaps, unneceflliry to remind the reader that the great modern reprefentative of this clafs of literature is the illuftrious Joe Miller. • A neat and useful edition of these two jest-books, with the other most curious books of the same clais, published diirinfj the Elizabethan period, has recently been fjuljii iied in two volumes, by Mr. VV. C- Hazlitt. 244 Hijlory of Carle at we and Grot ef que CHAPTER XV. THE AGE OF THE REFORMATION. THOMAS MURNER ; HIS GENERAL SATIRES. FRUITFULNESS OF FOLLY. — HANS SACHS. THE TRAP FOR JOOLS. ATTACKS ON LUTHER. THE POPE AS ANTICHRIST. THE POPE-ASS AND THE MONK-CALF. OTHER CARICATURES AGAINST THE POPE. THE GOOD AND BAD SHEPHERDS. THE reign of Folly did not pafs away with the fifteenth century — on the whole the fixteenth century can hardly be faid to have been more fane than its predeceffor, but it was agitated by a long and fierce ftruggle to difengage European fociety from the trammels of the middle ages. We have entered upon what is technically termed the renailjance, and are approaching the great religious reformation. The period during •which the art of printing began firfl; to fpread generally over Weflern Europe, was peculiarly favourable to the produ6tion of fatirical books and pamphlets, and a confiderable number of clever and fpirited fatirifts and comic writers appeared towards the end of the fifteenth century, efpecially in Germany, where circumftances of a political charafter had at an early period given to the intelle«5tual agitation a more permanent llrength than it could eafily or quickly gain in the great monarchies. Among the more remarkable of thefe fatirifts was Thomas Murner, who was born at Strafburg, in 1^75- The circumftances even of his childhood are fingular, for he was born a cripple, or became one in his earliefi. infancy, though he was fubfequently healed, and it was fo univerfally believed that this malady was the efieft of witchcraft, that he himfelf wrote after- wards a treatife upon this fubjetl under the title of " De Phitonico Contra6tu." The fchool in which he was taught may at leait have encouraged his fatirical fpirit, for his mafter was Jacob Locher, the fame who tranflated into Latin verfe the " Ship of Fools " of Sebaftian Brandt. in Literature a fid Art. 245 At the end of the century Murner had become a mafter of arts in the Univerlity of Paris, and had entered the Francilban order. His reputa- tion as a German popular poet was fo great, that the emperor Maxi- miUan I., \vho died in 1519, conferred upon him the crown of poetry, or, in other words, made him poet-laureat. He took the degree of do6tor in theology in 1509. Still Murner was known beft as the popular writer, .md he publilhed feveral fatirical poems, which were remarkable for the bold woodcuts that illullrated them, for engraving on wood flourilhed at this period. He expofed the corruptions of all claffes of fociety, and, oefore the Reformation broke out, he did not even Ipare the corruptions of the ecclelialtical Hate, but loon declared himfelf a fierce opponent of the Reformers. When the Lutheran revolt againrt the Papacy became ftrong, our king, Henry VHI., who took a decided part againft Luther, invited Murner to England, and on his return to his own country, the fatiric Francifcan became more bitter againft the Reformation than ever. He advocated the caufe of the Englilh monarch in a pamphlet, now very rare, in \\\\\c\\ he difculled the quellion whether Henry VHL or Luther was the liar — " Antwort dem Murner ufF feine frag, ob der kiinig von En>'llant cin Liigner fey oder Martinus Luther," Murner appears to liave divided the people of his age into rogues and fools, or perhaps he conlidered the two titles as identical. His " Narrenbefchwerung," or Confpiracy of Fools, in which Brandt's idea was followed up, is fuppofed to have been publilhed as early as 1506, but the firfl printed edition with a date, appeared in 1512. It became fo popular, that it went through feviral editions during fubfequent years; and that which I have before me was printed at Stralburg in 1518. It is, like Brandts "Ship of Fools," a general fatire againft fociety, in which the clergy are not fparcd, for the writer had not yet come in face of Luther's Reformation. The cuts are fuperior to thole of Brandt's book, and fome of them arc remarkable for their delign and execution. In one of the earlieft ot them, (opied in the cut No. 139, Folly is introduced in the garb of a hulband- man, Icallering his feed over the earth, the refult oi which is a very (juick and flourilhing crop, the fool's heads rifnig above ground, almoll mllantaneoully, Uke fo many turnips. In a fubfc(iutnt engraving, reprc- 246 Hijiory of Caricature and Grotefque Tented in our cut No. 140, Folly holds out, as an objeft of emulation, the fool's cap, and people of all clafles, the pope himfelf, and the emperor, and all the great dignitaries of this world, prefs forward eagerly to feize upon it. The fame year (15 12) witnefled the appearance of another poetical, or at leaft metrical, fatire by Murner, entitled " Schelmenzunft," or the Confraternity of Rogues, fimilarly illuftrated with very fpirited engravings No. 139. Solving a Fruitful Crop. on wood. It is another demonftration of the prevailing dominion of folly under its worft forms, and the fatire is equally general with the preceding. Murner's fatire appears to have been felt not only generally, but perfonally; and we are told that he was often threatened with aflafli- nation, and he raifed up a number of literary opponents, who treated him with no little rudeneis 5 in fatt, he had got on the wrong fide of politics, or at all events on the unpopular fide, and men who had more talents and greater weight appeared as his opponents — men like Ulrich von Utten, and Luther himfelf. Among the fatirifls who efpoufed the caufe to which Murner was oppofed, we mull not overlook a man who reprefented in its flrongefl t?i Literature and Art. 247 features, though in a rather debafed form, ihc old fpoutaueous poetry of the middle ages. His name was Hans Sachs, at lealt that was the name under which he was known, for his real name is faid to have been Loutrdorrt'er. His fpirit was entirely that of the old wandering minrtrel, and it was fo powerful in him, that, having been apprenticed to the craft of a weaver, he was no fooner freed from his indentures, than he took to a vagabond life, and wandered from town to town, gaining his living by TTo. 140. -An Acceptable Offering. finc^ing the verfes he compofed upon every occafion which prefented itfelf. In I J 19, he married and fettled in Nuremberg, and his compofitions were then given to the public through the prefs. The number of thefc was quite extraordinary — fongs, ballads, fatires, and dramatic pieces, rude in flyle, in accordance with the tafte of the time, but full of clevernefs. Many of them were prmted on broadfidcs, ami illuftrated with large engravings on wood. Hans Sachs joined in llie crufade againll the empire of Folly, and one of his broadfides is illullrated with a graceful dehgn, the greater part of which is copied in our cut No. J41. A party of ladies have fct a bird-trap to .-atch the fools of t};e age, who arc 248 Hijlory of Caricature and Grotefque waiting to be caught. One fool is taken in the trap, while another is already fecured and pinioned, and others are rufhing into the fnare. A number of people of the world, high in their dignities and ftations, are looking on at this remarkable fcene. No. 141. Bird -Traps. The evil influence of the female fex was at this time proverbial, and, in faft, it was an age of extreme licentioufnefs. Another poet-laureat of the time, Henricus Bebelius, born in the latter half of the fifteenth century, and rather well known in the literature of his time, publifhed, in 15 15, a fatirical poem in Latin, under the title of "Triumphus Veneris," which was a fort of expofition of the generally licentious charafter of the age in which he lived. It is diftributed into fix bocks, in the third of which the poet attacks the whole ecclefiaftical ftate, not fparing the pope himfelf, and we are thereby perfedly well initiated into the weaknelfes of the clergy. Bebelius had been preceded by another writer on this part of the fubjedl, and we might fay by many, for the incontinence of monks in Literature and Art. 249 and nuns, and indeed of all the clerg)', had long been a lubje6t of fatire. But the writer to whom I efpecially allude was named Paulus Olearius, his name in German being Oelfchliigel. He publilhed, about the year 1500, a fatirlcal tra6t, under the title of " De Fide Concubinarum in Sacerdotes." It was a bitter attack on the licentioufneli of the clerorj% and was rendered more etfe6live by the engravings which accompanied it. We give one of thefe as a curious pifture of contemporary manners ; the No. 142. Court fh'tp. individual who comes within the range of the lady's attractions, though he may be a fcholar, has none of the chara6teriftics of a prieft. She prefents a nofegay, which we may fuppofe to reprefcnt the influence of perfume upon the fenfesj but the love of the ladies for pet animals is efjK'cially typified in the monkey, attached by a chain. A donkey appears to fhow by his heels his contempt for the lover. From an early period, the Roman church had been accuftomed ta treat contcmptuouny, as well as cruelly, all who dilfented from its dcdrines, or objected to ;ts government, and this feehng was continued down to the age of the Reformation, in fpitecjftlK' icjiieof liberalifm whicii was beginning 250 Hi ft or y of Caricature and Grotefque to Ihine forth in the writings of fome of its greateft ornaments. Some refearch among the dufty, becaufe little ufed, records of national archives and libraries would no doubt bring to light more than one Angular cari- cature upon the " heretics " of the middle ages, and my attention has been called to one which is poffefled of peculiar interell. There is, among the imperial archives of France, in Paris, among records relating to the country of the Albigeois in the thir- teenth century, a copy of the bull of pope Innocent IV. giving dire6lions for the proceedings againft diffenters from Romanifm, on the back of which the fcribe, as a mark of his contempt for thefe arch-heretics of the fouth, has drawn a caricature of a woman bound to a flake over the fire which is to burn her as an open opponent of the church of Rome. The choice of a woman for the vi6Vim was perhaps intended to fliow that the profe- lytifm of herefy was efpecially fuccefsful among the weaker fex, or that it was confidered as having fome relation to witchcraft. It is, by a long period, the earlieft known pictorial reprefentation of the punilliraent of burning infliiled on a heretic. The fhafts of fatire were early employed againfl Luther and his new principles, and men like Murner, already mentioned, Emfer, Cochlaeus, and others, fignalifed themfelves by their zeal in the papal caufe. As already flated, Murner diftinguiftied himfelf as the literary ally of our Aing Henry VIII. The talle for fatirical writings had then become fo general, that Murner complains in one of his satires that the printers would print nothing but abufive or fatirical works, and neglefted his more No. 143. Burning a Heretic . ferious writings. Dajindt die trucker fchuld daran, Die trucken ah die Gauchcreicn, XJii'i lij^eti mein ernfi^''<:he biicher Icihcn. in Literature and Art. 251 No. 144. Folly in Monaftk Habit. Some of Murner's writings agaiiilt Lull.er, moll of which are now very rare, are extremely violent, and they are generally illuarated with fatirical woodcuts. One of thefe books, printed without name of place or date, is entitled, " Of the great Lutheran Fool, how Dodor Murner has exorcifed him " {Von dem grojjen Luthcrl[Jcken Narren, wie in Doctor Murner iefchworcti hat). In the woodcuts to this book Murner himfelf is introduced, as is ufually the cafe in thefe fatirical engravings, under the character of a Francifcan friar, with the head of a cat, while Luther appears as a fat and jolly monk, wear- ing a fool's cap, and figuring in various ridiculous circumftances. In one of the firft woodcuts, the cat Francifcan is drawing a rope so tight round the great Lutheran fool's neck, that he compels him to difgorge a multitude of fmaller fools. In another the great Lutheran fool has his purfe, or pouch, full of little fools fufpended at his girdle. This latter figure is copied in the cut No. 144, as an example of the form under which the great reformer appears in tliele fatirical reprefentations. In a few other caricatures of this period which have been preferved, the apoftle of the Reforniation is attacked fiill more I'avagely. Thtt one here given (Fig. 14';), taken from a contemporary engraving on wood, prefents a rather fantaftic figure of the demon playing on the bagpipes. Ihe inftrument is formed of Luther's head, the pipe througi) which the devil blows entering his ear, and tliat through which the mu(ic is produced forming an elongation of the reformer's nofe. It was a broad intimation that Luther was a mere to(jl of the evil one, created for the purpofe of bringing n)ifchief into the world. The reformers, however, were, more than a match for their opponents m this f(jrt of warfare. Luther himfelf was full of comic and fatiric 252 Hijlory of Caricature and Grotefque humour, and a mals of the talent of that age was ranged on his fide, both literary and artillic. After the reformer's marriage, the papal party quoted the old legend, that Antichrifl was to be born of the union of a monk and a nun, and it was intimated that if Luther himfelf could not be dire6tly identified with Antichrifl:, he had, at leaft, a fair chance of becoming his parent. But the reformers had refolved, on what appeared to be much more conclufive evidence, that Antichrifl: wa* No. 145. The Mufic of the Demon, only emblematical of the papacy, that under this form he had been long- dominant on earth, and that the end of his reign was then approaching. A remarkable pamphlet, defigned to place this idea pidorially before the public, was produced from the pencil of Luther's friend, the celebrated painter, Lucas Cranach, and appeared in the year 1521 under the title of "The Paffionale of Chrill and Antichrifl:" (Pafflonal Chrifti unci And- chrifti). It is a fmall quarto, each page of which is nearly filled by a woodcut, having a few lines of explanation in German below. The cut in Literature and Art. 253 to the left reprel'ents ibme incident in the lite ot" Chrilt, while that lacing it to the right gives a contrarting fa6t in the hiftory of papal tyranny. Thus the firft cut on the left reprefents Jefus in His humility, refufing earthly dignities and power, while on the adjoining page we fee the pope, with his cardinals and bilhops, lupported by his holts of warriors, his cannon, and his fortifications, in his temporal dominion over lecular A's. 146. 'L'h.c Dcjcent of the Pope. prince«. When we open again we fee on one fide Chrift crowned with thorns by the infulting foldiery, and on the other the pope, enthroned in all his worldly glory, exacting the worfliip ot his courtiers. On another we have Chrift walhing the feet of His difciples, and in contrail the pope compelling the emperor to kifs his toe. And lb on, through a numlier ol curious illuflratioas, until at laft wc come to Chrilt's afcenlion into heaven. 254 Hijiory of Caricature and Grotefque in contrail with which a troop of demons, of the moft varied and fingular forms, have feized upon the papal Antichrift, and are calting him down into the flames of hell, where fome of his own monks wait to receive v him. This laft pidure is drawn with lb much fpirit, that I have copied it in the cut No. 146. The monftrous figures of animals which had amufed the fculptors and miniaturifts of an earlier period came \\\ time to be looked upon as realities, and were not only regarded with wonder as phyfical deformities, but were objeftsof fuperliition, for they were believed to be fent into the world as warninsrs of O great revolutions and calamities. During the age preceding the Reformation, the reports of the births or difcoveries of fach monfters were very common, and engravings of them were no doubt profitable articles of merchandife among the early book-hawkers, Two of thefe were very celebrated in the time of the Reformation, the Pope-afs and the Monk-calf, and were publifhed and re- publifhed with an explanation under the names of Luther and Melan6thon, which made them emblematical of the Papacy and of the abules of the Romifh church, and, of courfe, prognoftications of their approaching expofure and fall. It was pretended that the Pope-afs was found dead in the river Tiber, at Rome, in the year 1496. It is reprefented in our cut No. 147, taken from an engraving pre- ferved in a very curious volume of broadfide Lutheran caricatures, in the library of the Britifli Mufeum, all belonging to the year 1545, though this defign had been publiflied many years before. The head of an afs, we are told, reprefented the pope himfelf, with his falfe and carnal do6trines. The right hand refembled the foot of an elephant, fignifying the fpiritual powt-r of the pope, which was heavy, and ftamped down and cruihed No. 147. The Pope-afs. in Literature and Art. ^S^^ people's confciences. The left hand was that of a man, fignitying the worldly power of the pope, which grafped at univerfal empire over kings and princes. The right foot was that of an ox, lignifying the fpiritual minilters of the papacy, the do6lors of the church, the preachers, con- feflbrs, and fcholaftic theologians, and efpecially the monks and nuns, ihofe who aided and fupported the pope in opprefling people's bodies and fouls. The left foot was that of a griffin, an animal which, when it once feizes its prey, never lets it efcape, and lignified the canonifts, the monfters of the pope's temporal power, who grafped people's temporal goods, and never returned them. The breall and belly of this monfter were thofe of a woman, and fignihed the papal body, the cardinals, bif- hops, priefts, monks, &c., who fpent their lives in eating, drinking, and incontinence 5 and this part of the body was naked, becaufe the popilh clergy were not alhamed to ex- pofe their vices to the public. The legs, arms, and neck, on the contrary, were clothed with tifhcb' fcales ; thefe rigi\iried the tem- poral princes and lords, who were moftly in alliance with the papacy. The old man's head behind the monflcr, meant that the papacy had become old, and was approaching its end ; and the head of a dragon, vomiting flames, which ferved for a tail, was fignificative of the "•reat threats, the venomous horrible bulls and bbfphemous writings, which the pontitTand his minifters, enraged at feeing their end approach, were launching into the world againft all who oppofed them. Thele explanations were fupported by apt quotations from the Scriptiires, and were fo eflfeiStive, and became fo popular, that the pitfure was publiflied in various flnpes, and was feen adorning the walls of the humblelt cottages. 1 believe it is ftill to be met with in a fimilar pofition in fonic parts of Germany. It was confidered at the time to be a mallerly piece of fatire. 'fhe picture of the Monk-calf, which is n-prcfented in our cut No. 14H, No. 148. The Monk-Calf. 2^6 Hijlory of Caricature and Grotefque was publillied at the fame time, and ufually accompanies it. This monger is faid to have been born at Freyburg, in Mifnia, and is fimply a rather coarfe emblem of the monachal character. The volume of caricatures juft mentioned contains feveral fatires on the pope, v/hich are all very fevere, and many of them clever. One has a movable leaf, which covers the upper part of the pifture j when it is down, we have a reprefentation of the pope in his ceremonial robes, and l>Jo. 149. The Head of the Papacy. over it the infcription ALEX . VI . PONT . MAX. Pope Alexander VI. was the infamous Roderic Borgia, a man ftained with all the crimes and vices which flrike mofl horror into men's minds. When the leaf is raifed, another figure joins itfelf with the lower part of the former, and reprefents a papal demon, crowned, the crofs being transformed into an inftrument of infernal punilhment. This figure is reprefented in our cut No. 14Q. tn Literature and Art. 257 Above it are infcribed the words EGO . S\'M . I'Al'A, • 1 ;im tlio Pope." Attached to it is a page of explaii-ition in Gi.'rman, in which the legend of that pope's death is given, a legend that his wicked life appeared fiifficicnt to fanttion. It was faid that, dillrulling the fuccefs of his intrigues to fecure the papacy for himfelf, he applied himfelf to the llndy of the black art. and fold himfelf to the Evil One. He then alked the tempter if it were his deftiny to be pope, and received an anhver in tlie affirmative. He next inquired how long he Ihould hold the papacy, but Satan returned an equivocal and deceptive anfwer, for Borgia underftood that he was to be pope fifteen years, whereas he died at the end of eleven. It is well known that Pope Alexander VI. died fuddenly and unexpeftedly through accidentally drinking the poifoned wine he had prepared with his own hand for the murder of another man. An Italian theatine wrote a poem againft the Reformation, in which he made Luther the offspring of Megoera, one of the furies, who is reprefented as having been fent from hell into Germany to be delivered of him. This farcafm was thrown back upon the pope with much greater effect by the Lutheran caricaturiffs. One of the plates in the above-mentioned volume rcprefents the " birth and origin of the pope" {ortus et origo papa), making the pope identical with Antichrift. In different groups, in this rather elaborate (Iclign, the child is reprefented as at- tended by the three furies, Megaera ad- ing as his wet-nurfe, Alefto as nurfery-maid, and Trli phone in another capacity, &c. The name of Martin Luther is added to this caricature Hie luird gcborn der fViderchrifl. Megera Jein Seugamme ijl ; yiUBo Jein Keinderir.eidUn, Tifiphone die gfgclt in. — M. Lutli., li. l.'il'i. No I 50 Tke Pope's Nurfe. On-: of ti)c groups in tliis plate, repre%::ting the lurv Megrt-ra, a 258 Hijiory of Caricature and Grotefque becoming fofter-mother, fuckling the pope-infant, is given in our cut, No. I jo. In another of thefe caricatures the pope is reprefented trampling on the emperor, to fliow the manner in which he ufurped and tyrannifed over the temporal power. Another illuftrates " the kingdom of Satan and the Pope " (regnum Satance et Papce), and the latter is reprefented as pre- fidins: over hell-mouth in all his ftate. O One, given in our cut No. [51, repre- fents the pope under the form of an afs playing on the bagpipes, and is entitled Papa doFtor theologies et ma- gjjter Jidei. Four lines of German verfe beneath the engraving ftate how "the pope can alone expound Scrip- ture and purge error, juft as the afs No. 151. The Pope gi-vlng the Tune. alone can pipe and touch the notes corre6tly." Der Bapfi kan allein aujlegen Die Schrifft, und irthum auifegen j Wie der ejel allein pfeiffen Kan, und die noten recht greijfen. — 1545. This was the laft year of Luther's a6tive labours. At the commence- ment of the year following he died at Eiflleben, whither he had gone to attend the council of princes. Thefe caricatures may perhaps be con- fidered as fo many proclamations of fatisfaftion and exultation in the final triumph of the great reformer. Books, pamphlets, and prints of this kind were multiplied to an extra- ordinary degree during the age of the Reformation, but the majority of them were in the intereft of the new movement. Luther's opponent, Eckius, complained of the ^nfinite number of people who gained their i?i Literature and Art. 259 living by wandering over all parts of Germany, and felling Lutheran books * Among thofe who adminillered largely to this circulation of polemic books was the poet of farces, comedies, and ballads, Hans Sachs, already mentioned. Hans Sachs had in one poem, publilhed in \'\'\^, celebrated Luther under the title of" the ^^'ittemberg: Nightino^ale :" — Die Wittembergijch'' Nachtigally Die manjetzt horet uberall i and defcribed the eft'e6ls of his fong over all the other animals ; and he publifhed, alfo in verfe, what he called a Monument, or Lament, on his lctc— " ThtJatre de Hrotsvitlia, Rt-lif;icusc Allcmande du x* siccie. ... par Charles Magnin," 8vo., Paris, 1845 ; " Hrotsvitha Cjandeshemen^is, virginis ct monialis Germanlcrc, >;entc Saxonica ortx-, Conue- dias sex, ail fidem codicis Emraeranen'is typis exprcssas eciidit. ... J. JJencdixtn," j6mo.. Luhcrar, 1857 ; " Die VVerlce dcr Hrotsvitha : Herausgegebcn von Dr. K. A. Barack," 8vo., Niimbcrg, 1858. 266 Hijiory of Caricature and Grotejque of the manner in which the comedies of the Romans were regarded by one clafs of people in the middle ages, and it has alfo a further meaning. Its form is that of a dialogue in Latin verfe between Terence and a per- fonage called in the original deliifor, which was no doubt intended to exprefs a performer of fome kind, and may be probably confidered as fynonymous with jowyleur. It is a contention between the new jouglerie of the middle ages and the old jouglerie of the fchools, fomewhat in the fame liyle as the fabliau of " Les deux Troveors Ribauz," defcribed in a former chapter.* We are to'fuppofe that the name of Terence has been in fome way or other brought forward in laudatory terms, upon which the jougleur Iteps forward from among the fpeftators and exprelTes himfelf towards the Roman writer very contemptuoully. Terence then makes his appearance to fpeak in his own defence, and the two go on abufing one another in no very meafured language. Terence alks his affailant who he is ? to which the other replies, "If you alk who I am, I reply, I am better than thee. Thou art old and broken with years ; I am a tyro, full of vigour, and in the force of youth. You are but a barren trunk, while I am a good and fertile tree. If you hold your tongue, old fellow, it will be much better for you." Si rogitas quh fum, refpondeo : te melior futn. Tu -vetus atque jencx ; ego tyro, -valens, adulejcens. Tu Jleriits tr uncus ,• egofertUh arbor, opinius. Si taceas, o -vetule, lucrum tibi quceris enorme. Terence replies: — "What fenfe have you left? Are you, think you, better than me ? Let me fee you, young as you are, compofe what I, however old and broken, will compofe. If you be a good tree, fliow us fome proofs of your fertility. Although I may be a barren trunk, I produce abundance of better fruit than thine." Sjtis tibi fenfus ineji ? numquid melior me es ? Nunc vet us atque Jenex qua fecero fac adolefcens. Si bonus arbor ades, qua fertilitate rcdundas ? Cum Jim truncus iners, fruBu meliore redundo. * See p. 191 of the present volume in Literature and Art. 267 And lb the dilpute continues, but unfortunately the latter part has been iolt with a leaf or two of the manufcript. I will only atld that I think the age of this curious piece has been overrated.* Hrotfvitha is the earlieil example we have of mediaeval writers in this particular clafs of literature. We find no other until the twelfth century, when two writers flourilhed named Vital of Blois {Fitatis Blcjenfis) and Matthew of Venddme {Matthceus Vindocini'iifis) , the authors of feveral of the mediaeval poems dillinguilhed by the title of cumocdicB, which give us a clearer and more diltintft idea of what was meant by the word. They are written in Latin Elegiac verfe, a form of compolition which was very popular among the mediaeval Icholars. and conlift of ftories told in dialogue. Hence Profellbr Ofann, of Gielfen, who edited two of thofe of Vital of Blois, gives them the title of eclogues {eclogce). The name comedy is, however, given to them in manufcripts, and it may perhaps admit of the following expla- nation. Tliefe pieces feem to have been firft mere abridgments of the plots of the Roman comedies, efpecially thofe of Plautus, and the authors appear to have taken the Latin title of the original as applied to the plot, in the fenfe of a narrative, and not to its dramatic form. Of the two " comedies " by Vital of Blois, one is entitled " Geta," and is taken from the "Amphytrio" of Plautus, and the other, which in the manu- fcripts bears the title of " Queruius," reprefents the " Aulularia " of the fame writer. Independent of the form of compofition, the fcholaftic writer has given a llrangely mediaeval turn to the incidents of the clallic rtory of Jupiter and Alcmena. Another fimilar " coinedy," that of Babio, which I firll printed from the manufcripts, is ftill more mediaeval in charatter. Its plot, perhaps taken from a fabliau, for the mediaeval writers rarely invented ftories, is as follows, although it muft be confelfed that it comes out rather obfcurely in the dialogue itlelf. Babio, the hero of the piece, is a prieft, who, as was ttill common at that lime (the * This Ningular composition was publislied with notes by M. tic Montalfjlon, in a Parisian journal entitled, " L' Amateur dc Livres,'* in 1849, under tiic title oi " Fragment d'un Dialogue Latin du ix' siiidc cntrc Terence ct un Bouffon." A fe^ separate copies were printed, o\ whiili I possess one. 268 Hijlory of Caricature and Grofefque twelfth century), has a wife, or, as the ftrifit religionifts would then fay, a concubine, named Pecula. She has a daughter named Viola, with whom Babio is in love, and he purfiaes his defign upon her, of courfe unknown to his wife. Babio has alfo a man-fervant named Fodius, who is ensfaeed in a fecret intrigue with his miftrefs, Pecula, and alfo feeks to feduce her daughter, Viola. To crown the whole, the lord of the manor, a knight named Croceus, is alfo in love with Viola, though with more honourable defigns. Here is furely intrigue enough and a fufficient abfence of morality to fatisfy a modern French novelift of the firfi: water. At the opening of the piece, amid fome by-play between the four individuals who form the houfehold of Babio, it is fuddenly announced that Croceus is on his way to vifit him, and a feafl is haftily prepared for his reception. It ends in the knight carrying away Viola by force. Babio, after a little vain blufter, confoles himfelf for the lofs of the damfel with refleftions on the virtue of his wife, Pecula, and the faithfulnefs of his man, Fodius, when, at this moment. Fame carries to his ear reports which excite his fufpicions againfi: them. He adopts a flratagem very frequently introduced in the mediaeval ftories, furprifes the two lovers under circumftances which leave no room for doubting their guilt, and then forgives them, enters a monaf- tery, and leaves them to themfelves. In form, thefe "comedies" are little more than fcholaflic exercifesj but, at a later period, we lliall fee the fame ftories adopted as the fubje6ts of farces,* Already, however, by the fide of thefe dramatic poems, a real drama — the drama of the middle ages — was gradually developing itfelf. As ftated before, it arofe, like the drama of the Greeks, out of the religious ceremonies. We know nothing of the exiftence of anything approaching to dramatic forms which may have exifted among the religious rites of * To judge by the number of copies found in manuscripts, especially of the "Geta," these dramatic poems must have enjoyed considerable popularity. The " Geta " and the " Querulus " were published in a volume entitled, " Vitalis Ble- sensis Amphitryon et Aulularia Eciogas. Edidit Fridericus Osannus, Professor Gisensis," 8vo., Darmstadt, 1836. The " Geta " and the " Babio " are included in my " Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth Centuii^?." in Literature and Art. 269 the peoples of the Teutonic race before their converlion lo ChrilUanity, but tne Chrillian clergy felt the neceliity of keeping up feltive religious ceremonies in fome form or other, and alfo of imprclling upon people's imagination and memory by means of rude fcenical reprefentations fome of the broader fads of IcriptBral and ecclefiallical hiftory. Thefe per- (briuances at hrll conlilled probably in mere dumb Ihow, or at the moft the performers may have chanted the I'criptural account of the tranfattion they were reprefenting. In this manner the choral boys, or the younger clergy, would, on fome fpecial faint's day, perform fome ilriking aiit in the life of the faint coinmeraorated, or, on particular felhvals of the church, thofe incidents of gofpel hillory to which the feilival efpecially related. By degrees, a rather more impoling charafter was given to thefe performances by the addition of a continuous dialogue, which, however, was written in Latin verfe, and was no doubt chanted. This incipient drama in Latin, as far as we know it, belongs to the twelfth century, and is reprefented by a tolerably large number of examples Itill preferved in mediaeval manufcripts. Some of the earlieft of thefe have for their author a pupil of the celebrated Abelard, named Hilarius, who lived in the firll half of the twelfth century, and is underllood to have been by birth an Englilhman. Hilarius appears before us as a playful Latin poet, and among a number of fhort pieces, which may be almolt called lyric, he has left us three of thefe religious plays. The fubjetl: of the firft of thele is the raifing of Lazarus from the dead, the chief peculiarity of which confifts of the fongs of lamentation placed in the mouths of the two fillers of Lazarus, Mary and Martha. The fecond reprefents one of the miracles attributed to St. Nicholas 3 and the third, the hiftory of Daniel. The latter is longer and more elaborate than the others, and at its conclufion, the ftage direction tells us that, if it were performed at matins, Darius, king of the Medes and Perlians, was to cliant Tt Deum Laudamus, but if it were at vefpers, the great king was lo chant Magnificat anima mca Dominnm:'' • " lliiurii Versus ct Ludi," 8vo., Paris, 1835. Edited by M. ChampoUion Fiatac 270 Hljlory of Caricature and Grotefque That this mediaeval drama was not derived from that of the Roman is evident from the circumftance that entirely new terms were appUed to it. The weftern people in the middle ages had no words exadly equi- valent with the Latin comcedia, tragcedla, theatrurn, &c. ; and even the Latinifts, to delignate the dramatic pieces performed at the church feftivals, employed .the word ludus, a play. The French called them by a word having exa6tly the fame rcveamng,jeu {from jocus). Similarly in Englidi they were termed plays. The Anglo-Saxon glolfaries prefent as the reprefentative of the Latin theatrurn, the compounded words plege- stow, or plcg-stow, a play-place, and pleg-hus, a play-houfe. It is curious that we Englillimen have preferved to the prefent time the Anglo-Saxon words in play, player, and play-houfe. Another Anglo-Saxon word with exaftly the fame lignification, lac, or gelac, play, appears to have been more in ufe in the dialed of the Northumbrians, and a Yorklhireman ftill calls a play a lahe, and a player a laker. So alfo the Germans called a dramatic performance afpil, i.e. a play, the modern ypie/, and a theatre, afpil-hus. One of the pieces of Hilarius is thus entitled " Ludus fuper iconia fanfti Nicolai," and the French jeu and the Englilh play are conftantly uled in the fime fenfe. But befides this general term, words gradually came into ufe to charafterife different forts of plays. The church plays confifted of two defcriptions of fubjefts, they either reprefented the miraculous a6ts of certain faints, which had a plain meaning, or fome incident taken from the Holy Scriptures, which was fuppofed to have a hidden myfterious figniffcation as well as an apparent one, and hence the one clafs of fubjeft was ufually tpoken of fimply as miraculum, a miracle, and the other as myfterium, a myftery. Myjleries and miracle- plays are flill the names ufually given to the old religious plays by writers on the hiftory of the ftage. We have a proof that the Latin religious plays, and the feffivities in which they were employed, had become greatly developed in the twelfth century, in the notice taken of them in the ecclefiaftical councils of that period, for they were difapproved by the ftri6ter church difciplinarians. So early as the papacy of Gregory VIIL, the pope urged the clergy to "extirpate" from their churches theatrical plays, and other fellive /;/ Literature and Art. iji praftices which wore not quite in harmony with the lacrecl charader of thefe buildings.* Such pertbrmances are forbidden by a council held at Treves in I22;.i- ^^'e learn from the annals of the abbey of Corbei, publifhed by Leibnitz, that the younger monks at Herelburg performed on one occarion a " lacred comedy" {sacram comccdiam) of the felling into captivity and the exiritation of Jofeph, \\hich was difapproved by the other heads of the order.:^ Such performances are included in a proclamation of the bilhop of Worms, in 13 16, againft the various abufes which had crept into the feftivities obferved in his diocefe at Eafter and St. John's tide.§ Similar prohibitions of the afting of fuch plays in churches are met with at fubfequent periods. While thefe performances were thus falling under the cenfure of the church authorities, they were taken up by the laity, and under their management both the plays and the machinery for a£ting them under- went confiderable extenfion. The municipal guilds contained in their conftitution a confiderable amoimt of religious fpirit. They were great benefaftorsof the churches in cities and municipal towns, and had ufually fome parts of the facred edifice appropriated to them, and they may, perhaps, have taken a part in thefe performances, while they were flill confined to the church. Thefe guilds, and fubfequently the municipal corporations, took them entirely into their own hands. Certain annual religious feflivals, and efpecially the feaft of Corpi/s Chrifti, were flill the occafions on which the plays were a6ted, but they were taken entirely from the churches, and the performances took place in the open ftreets. Each guild had its particular play, and they aded on movable llages, which were dragged along tlie ftreets in the proceflion of the guild. Thefe ftages appear to have been rather complicated. Thev • " Internum ludi fiunt in ecrlcsiis tht'atr.'ilcs,"&c. — Decrct.Gregorii,]\h iii.tit. i. f " Item non permittant saccrdotes ludos theatrales fieri in ccclesia et alios ludos inhont">tos." I " Juniorcs fratrts in HtTcsburg sacram iialnicrc coma-diam dc Joscpho vindilo ft ixaltato,qiiod vcro rcli(jui ordinis nostri [)rxlati male iiitLii)rctati sunt." — Leilti., &ript. Brunsv., fom. ii. p. 3 1 1. -§ The acts of this synod of Worm:, aic printed in Ilarzlicim, torn. iv. p. 258. 272 Hiflory of Caricature and Grotejque were divided into, three floors, that in the middle, which was the principal ftage, reprelentiug this world, while the upper divifion reprefented heaven, and that at the bottom hell. The mediaeval writers in Latin called this machinery a pegma, from the Greek word 7rj;y/xa, a fcafFold ; and they alfo applied to it, for a reafon which is not fo eafily feen, unlels the one word arofe out of a corruption of the other, that of pagina, and from a further corruption of thefe came into the French and Englilh languages the word pageant, which originally fignified one of thefe movable ftages, though it has fince received fecondary meanings which have a much wider appli- cation. Each guild in a town had its pageant and its own aftors, who performed in malks and coftumes, and each had one of a feries of plays, which were performed at places where they halted in the proceffion. The fubje£ls of thefe plays were taken from Scripture, and they ufually formed a regular feries of the principal hiftories of the Old and New Teftaments. For this reafon they were generally termed wyfteries, a title already explained 3 and among the few feries of thefe plays ftill preferved, we have the "Coventry Myfteries," which were performed by the guilds of that town, the " Chefter Myfteries," belonging to the guilds in the city of Chefter, and the " Towneley Myfteries," fo called from the name of the pofleffor of the manufcript, but which probably belonged to the guilds of Wakefield in Yorklhire. During thefe changes in the method of performance, the plays them- felves had alfo been confiderably modified. The fimple Latin phrafes, even when in rhyme, which formed the dialogue of the earlier ludi — as in the four miracles of St. Nicholas, and the fix Latin myfteries taken from the New Teftament, printed in ray volume of " Early Myfteries and other Latin Poems " — muft have been very uninterefting to the mafs of the fpedators, and an attempt was made to enliven them by intro- ducing among the Latin phrafes popular proverbs, or even fometimes a long in the vulgar tongue. Thus in the play of " Lazarus " by Hilarius, the Latin of the lamentations of his two fifters is intermixed with French ve'-fes. Such is the cafe alfo with the play of " St. Nicholas " by the fame writer, as well as with the curious myftery of the Foolifli Virgins, printed in my "Early Myfteries" juft alluded to, in which latter the Latin is in Literature and Art. 2.73 intermingled with Provenqal verfe. A much greater advance was maae when thele pertbrmances were transferred to the guilds. The Latin was then difcarded altogether, and the whole play was written in French, or Englilh, or German, as the cafe might be, the plot was nKule more elaborate, and the dialogue greatly extetaded. But now that the whole inttitution had become fecularifed, the want of fomething to amufe people — to make them laugh, as people liked to laugh in the middle ages — was felt more than ever, and this want was fupplied by the intro- duCiion of droll and ludicrous fcenes, which are often very ihghtly, if at all, conne6ted with the fubjett of the play. In one of the earliell of the French plays, that of" St. Nicholas," by Jean Bodel, the charaders who form the barlefque fcene are a party of gamblers in a tavern. In others, robbers, or peafants, or beggars form the comic fcene, or vulgar women, or any perfonages who could be introduced afting vulgarly and ufing coarfe language, for thefe were great incitements to mirth among the populace. In the Englilh plays now remaining, thefe fcenes are, on the wlujle, lefs frequent, and they are ufually more clofely conneded with the general fubjed. The earlieft Englilh coUedion that has been publilhed is that known as the "Towneley Myl^eries," the manufcript of which belongs to the fifteenth century, and the plays themfelves may have been compofed in the latter part of the fourteenth. It contains thirty-two plays, begin- ning with the Creation, and ending with the Afcenfion and the Day of Judgment, with two fupplementary plays, the " Raihng of Lazarus " and the " Hanging of Judas." The play of " Cain and Abel " is throughout a vulgar dn;llery, in which Cain, who exhibits the charatter of a blullering ruth in, is accompanied by a garcio, or lad, who is the very type of a vulgar and infolent horfe-boy, and the converfation of thefe two worthies reminds us a little of that between the clown and his mailer in tin- ()|)l-ii- air performances of the old wandering mountebanks. Even tlu- ikath of Abel by the hand of his brother is performed in a manner calculated to provoke great laughter. In the old mirthful fpirit, to hear two perft)ns load each other with vulgar abufe, was as good as feeing them grin through a horfe-collar, if not better. Hence the droll fcene in the play of" Noah " is J domcftic (juarrcl between Noah and his wife, who was proverbially T 274 Hijiory of Caricature and Grot ef que a Ihrew, and here gives a tolerable example of abufive language, as it might then come from a woman's tongue. The quarrel arifes out of her obftinate refufal to go into the ark. In the New Teflament feriesthe play of " The Shepherds" was one of thofe moft fufceptible of this fort of em- belliftiment. There are two plays of the Shepherds in the '* Towneley Mylteries," the firft of which is amufing enough, as it reprefents, in clever burlefque, the afts and converfation of a party of mediaeval fhepherds guarding their flocks at night; but the fecond play of the Shepherds is a much more remarkable example of a comic drama. The iliepherds are introduced at the opening of the piece converfing very fatirically on the corruptions of the time, and complaining how the people were impoverifhed by over-taxation, to fupport the pride and vanity of the ariflocracy. After a good deal of very amufing talk, the fliepherds, who, as ufual, are three in number, agree to fing a fong, and it is this fong, it appears, which brings to them a fourth, named Mak, who proves to be a ftieep-ftealer ; and, in fa6l, no fooner have the fliepherds refigned them- felves to fleep for the night, than Mak choofes one of the beft flieep in their flocks, and carries it home to his hut. Knowing that he will be fufpefted of the theft, and that he will foon be purfued, he is anxious to conceal the plunder, and is only helped out of his difficulty by his wife, who fuggefts that the carcafe Ihall be laid at the bottom of her cradle, and that flie fliall lie upon it and groan, pretending to be in labour. Meanwhile the fliepherds awake, difcover the lofs of a flieep, and perceiv- ing that Mak has difappeared alfo, they naturally fufped him to be the depredator, and purfue him. They find everything very cunningly pre- pared in the cottage to deceive them, but, after a large amount of round- about inquiry and refearch, and much drollery, they difcover that the boy of which Mak's wife pretends to have been juft delivered, is nothing elfe but the fheep which had been ftolen from their flocks. The wife ftill aflerts that it is her child, and Mak fets up as his defence that the baby had been "forfpoken," or enchanted, by an elf at midnight, and that it had thus been changed into the appearance of a flieep ; but the fliepherds refufe to be fatisfied with this explanation. The whole of this little comedy is carried out with great Ikill, and with infinite drollery. The in Literature and Art. 275 fliepherds, while llill wrangling with Mak and his wife, are I'eized with drowlinefs, and lie down to lleep ; but they are aroufed by the voice ot the angel, who proclaims the birth of the Saviour. The next play in which the drollery is introduced, is that of " Herod and the Slaughter of the Innocents." Herod's blufter and bomball, and the vulgar abufe which palVes between the Hebrew mothers and the foldiers who are murdering their children, are wonderfully laughable. The plays which represented the arrert, trial, and execution of Jefus, are all full of drollery, for the grotefque chara6ter which had been given to the demons in the earlier middle ages, appears to have been transferred to the executioners or, as they were called, the " tormentors," and the language and manner in which they executed their duties, muft have kept the audience in a continual roar of laughter. In the play of " Doomfday," the fiends retained their old charader, and the manner in which they joke over the diftrefs of the finful fouls, and the details they give of their linfulnefs, are equally mirth-provoking. The "Coventry Myfteries " are alfo printed from 3 manufcript of the middle of the fifteenth csntury, and are, perhaps, as old as the " Towneley Myfteries." They confift of forty-two plays, but they contain, on the whole, fewer droll fcenes than thofe of the Towneley coUedtion. But a very remarkable example is furniflied in the play of the "Trial of Jofeph and Mary," which is a very grotefque picture of the proceedings in a mediaeval confiftory court. The fompnour, a chara6ler fo well known by Chaucer's pitture of him, opens the piece by reading from his book a long lift of oftenders againft chaftity. At its conclufion, two "detractors " make their appearance, who repeat various fcandalous llories againft the Virgin Mary and her hufband Joliph, which are overheard by fome of the high officers of the court, and Mary and Jofeph are formally accufed and placed upon their trial. Tiie trial itfelf is a fcene of low ribaldry, which can only have afforded amulement to a very vulgar audience. There is a certain amount of the fame kind of indelicate drollery in the play of " The Woman taken in Adultery," in this colledion. The " Chefter Myfferies " are ftill more fparing of huh fcenes, but they are printed from manufcripts written after the Reforma- tion, which had, perhaps, gone through the ^jrocefs of expurgation, in 276 Hijiory of Caricature and Grotejque which fuch excrefcences had been lopped off. However, in the play of " Noah's Flood," we have the old quarrel between Noah and his wife, which is carried fo far that the latter adually beats her hutband in the prefence of the audience. There is a little drollery in the play of " The Shepherds," a confiderable amount of what may be called " Billingfgate " language in the play of the " Slaughter of the Innocents," but lefs than the uiual amount of infolence in the tormentors and demons.* It is probable, however, that thefe droll fcenes were not always confidered an integral part of the play in which they were introduced, but that they were kept as feparate fubje£ts, to be introduced at will, and nor always in the fame play, and therefore that they were not copied with the play in the manufcripts. In the Coventry play of " Noah's Flood," when Noah has received the direftions from an angel for the building of the ark, he leaves the ftage to proceed to this important work. On his departure, Lamech comes forward, blind and led by a youth, who direfts his hand to fhoot at a beaft concealed in a bufli. Lamech flioots, and kills Cain, upon which, in his anger, he beats the youth to death, and laments the misfortune into which the latter has led him. This was the legendary explanation of the paffage in the fourth chapter of Genehs : "And Lamech faid I have flain a man to my wounding, and a young man to my hurt ,: if Cain fhall be avenged feven-fold, truly Lamech feventy and feven-fold." It is evident that this is a piece of fcriptural ftory which has nothing to do with Noah's flood, and accordingly, in the Coventry play, we are told in the ftage diredtions, that it was introduced in the place of the "inter- lude," t as if there were a place in the machinery of the pageant where * The editions of the three principal collections of English mysteries are— 1. " TheTowneley Mysteries,'" 8vo., London, 1836, published hytheSurtees Society. 2. " Ludus Coventrise : a Collection of Mysteries, formerly represented at Coventry on the Feast of Corpus Christ!," edited by James Orchard Halliwell, Esq., 8vo., London, 1 841, published by the Shakespeare Society; 3. "The Chester Plays: a Collection of Mysteries founded upon Scriptural Subjects, and formerly represented by the Trades of Chester at Whitsuntide," edited by Thomas Wright, Esq., 2 vols. 8vo., London, 1843 and 1847, published by the Sliakespeare Society. t "Hie transit Noe cum familia sua pro navi,quo exeunte, locum inierJudii 'uhintret statim Lameth, conductus ab adolescente, et dicens," &c. /// Literature and Art. '^77 the epilude, which was not an integral part of the fiibjed, was performed, and tliat this part of the performance was called an interlude, or play introduced in the interval of the adion of the main fubjeft. The word Interlude remamed long in our language as applied to fuch lliort and fniiple dramatic pieces as we may fuppofe to have formed the drolleries of the mylleries. But they had another name in France which has had a greater and more lulling celebrity. In one of the early French miracle- plays, that of" St. Fiacre," an interlude of this kind is introduced, con- taining five perfonages — a brigand or robber, a peafant, a fergeant, and the wives of the two latter. The brigand, meeting the peafant on the highway, alks the way to St. Omer, and receives a clownlfh anfwer, which is followed by one equally rude on a fecond queftion. The brigand, in revenge, deals the peafant's capon, but the fergeant comes up at this moment and, attempting to arreft the thief, receives a blow from the latter which is fuppofed to break his right arm. The brigand thus efcapes, and the peafant and the fergeant quit the fcene, which is immediately occupied by their wives. The fergeant's wife is informed by the other of the injury I'ullained by her hulband, and Ihe exults over it becaufe it will deprive him of the power of beating her. They then proceed to a tavern, call for wine, and make merry, the converfation turning upon the faults of their refpettive hufbands, who are not fpared. In the midfl of their enjoy- ments, the two hufbands return, and fhow, by beating their wives, that liiey are not very greatly difabled. In the manufcript of the miracle-play A" St. Fiacre," in which this amufing epifode is introduced, a marginal ^age direction is exprelfed in the following words, " cy tji interpofe iiiie rj/i-" (here a farce is introduced). This is one of the earliefl inflancesof the application of the term farce to thefe fliort dramatic facetiae. Dililivnt opinions have been exprefled as to the origin of the word, but it feems mofi probable that it is derived from an old French verh, J'ajcer, to jefl, to make merry, whence the modern word farceur fur a joker, and that it thuj. means merely a drollery or merriment. I liave juft fuggefted as a reafon for the abfence of thefe interludes, or larces, in the myllerieg as they are found in the manufcripts, that they were probably not looked upon as parts of the myfUries thcmfelves, but 278 Hi [lory of Caricature and Grotefque as feparate pieces which might be ufed at pleafure. When we reach a certain period in their hiftory, we find that not only was this the cale, but that thefe farces were performed feparately and altogether independently of the religious plays. It is in France that we find information which enables us to trace the gradual revolution in the mediaeval drama. A fociety was formed towards the clofe of the fourteenth century under the title of Confreres de la PaJJion, who, in 1398, eftablilhed a regular theatre at St. Maur-des-FofTes, and fubfequently obtained from Charles VI. a privilege to tranfport thoir theatre into Paris, and to perform in it mylleries and miracle-plays. They now rented of the monks of Hermieres a hall in the hofpital of the Trinity, outfide of the Porte St. Denis, per- forming there regularly on Sundays and faints' days, and probably making a good thing of it, for, during a long period, they enjoyed great popu- larity. Gradually, however, this popularity was fo much diminillied, that the confreres were obliged to have recourfe to expedients for reviving it. Meanwhile other fimilar focieties had arifen into importance. The clerks of the Bazoche, or lawyers' clerks of the Palais de Juftice, had thus affociated together, it is faid, as early as the beginning of the fourteenth century, and they diftinguiftied themfelves by compofing and performing farces, for which they appear to have obtained a privilege. Towards the clofe of the fourteenth century, there arofe in Paris another fociety, which took the name of Enfans fans fouci, or Carelefs Boys, who ele6ted a prefident or chief with the title of Prince des Sots, or King of the Fools, and who compofed a fort of dramatic fatires which they called Sottk's. Jealoufies foon arofe between thefe two focieties, either becaufe the fotties were made fometimes to refemble too clofely the farces, or becaufe each tref- paffed too often on the territories of the other. Their differences were finally arranged by a compromife, whereby the Bazochians yielded to tlieir rivals the privilege of performing farces, and received in return the per- mifiion to perform fotties. The Bazochians, too, had invented a new clafs of dramaric pieces which they called Moralities, and in which allegorical perfonages were introduced. Thus three dramatic focieties continued to exift in France through the fifteenth century, and until the middle of the fixteenth. in Literature and Art. 279 Thefe various pieces, under the titles of farces, fotties, moralities, or whatever other names might be given to them, had becqme exceedingly popular at the beginning of the lixteenth century, and a very conliderable number of them were printed, and ra;^ny of them are ftill prefer\-ed, but they are books of great rarity, and often unique.* Of thefe the farces form the moll numerous clafs. They confill limply of the tales of the older jongleurs or ftorv-tellers reprefented in a dramatic form, but they often difplay great ikill in conduding the plot, and a conliderable amount of wit. The Ilory of the llieep-llealer in the Towneley play of "The Shep- herds," is a veritable farce. As in the fabliaux, the moft common fubjeds of thefe farces are love intrigues, carried on in a manner which fpeaks little for the morality of the age in which they were written. Family quarrels frequently form tlic fubje6t of a farce, and the weaknefles and vices of women. The priefts, as ufual, are not fpared, but are introduced as the feducers of wives and daughters, [n one the wives have found a means of re-modelling their hulbands and making them young again, which they put in practice with various ludicrous circumftances. Tricks of fer\-ants are alfo common fubje6ts for thefe farces. One is the ftory of a boy who does not know his own father, and fome of the fubjeds are of a flill more trivial character, as that of the boy who fteals a tart from the paftrycook's fliop. Two hungry boys, prowling about the ftreets, come to the Ihop door jufl as the paflrycook is giving dire6tions for fending an eel- pie after him. By an ingenious deception the boys gam poifelfion of the pie and eat it, and they are both caught and feverely chaftifed. This is the whole plot of the farce. A dull fchoolboy examined by his mafter in the prefence of his parents, and the mirth produced by his bkuulers and * The most remarkable collection of these early farces, softies, and moralities yet known, was found accidentally in 1845, and is now in the British Museum. These were all edited in Paris as the first three volumes of a work in ten, entitled *' Ancien Theatre Francois, ou Collection des Ouvrages dramati(|ues ks plus rcmarquaf)ic dcpuis les Mystercs jusqu'a Corncille, public. . . . par M. Viollet le Due," i2mo., Paris, 1854. It is right to state that these three volumes were editnl^ not hy M. Viollet Ic Due, hut hy a scholar better known for his learning in the *blder French literature, M. Anatole de Montaiglon. 2 8o Hijlory of Caricature and Grotefque their ignorancej formed alfo a favourite fubje6l among thefe farces. One or two examples are preferved, and, from a comparifon of them, we might be led to fufpefl that Shakefpeare took the idea of the opening fcene in the fourth a6t of the " Merry Wivj;s of Windlbr " from one of thefe old farces. The fotties and moralities were more imaginative and extravagant than the farces, and were filled with allegorical perlbnages. The chara6ters introduced in the former have generally fome relation to the kingdom of folly. Thus, in one of the fotties, the king of fools (Ic roy des fotz) is reprefented as holding his court, and confulting with his courtiers, whofe names are Triboulet, Mitouflet, Sottinet, Coquibus, and Guippelin. Their converfation, as may be fuppofed, is of a fatirical charafter. Another is entitled "The Sottie of the Deceivers," or cheats. Sottie — another name for mother Folly — opens the piece with a proclamation or addrels to fools of all defcriptions, fummoning them to her prefence. Two, named Telle- Verte and Fine-Mine, obey the call, and they are queftioned as to their own condition, and their proceedings, but their con- verfation is interrupted by the fudden intrufion of another perfonage named Everyone (Chafcim), who, on examination, is found to be as perfed a fool as any of them. They accordingly fraternife, and join in a fong. Finally, another charadler. The Time {le Temps), jams them, and they agree to fubmit to his direftions. Accordingly he infl:ru£ts them in the arts of flattery and deceiving, and the other fimilar means by which men of that time fought to thrive. Another is the Sottie of Foolifli Ollentation {defolle bolance). This lady fimilarly opens the fcene with an addrefs to all the fools who hold allegiance to her, and three of thefe make their appearance. The firft fool is the gentleman, the fecond the merchant, the fourth the peafant, and their converfation is a fatire on contemporary fociety. The perfonification of abflraft principles is far bolder. The three charafters who compofe one of thefe. moralities are Everything {tout), Nothing {rien), and Everyone (chafcuji). How the perfonification of Nothing was to be reprefented, we are not told. The title of another of thefe moralities will be enough to give the reader a notion of their general title] it is, " A New Morality of the Children of /// Literature and Art. 2 8 1 Now-a-Days {Mai/i tenant), who are the Scholars of Once-good iJaiien), who Ihows them how to phiy at Cards and at Dice, and to entertain Luxuf)', whereby one comes to Shame (Honte), and t"ix)m Shame to Defpair {D'fefpoir), and from Defpair to the gibbet of Perdition, and then turns himl'elf to Good-doing." The charaders in this play are Now-a- Days, Once-good, Luxury, Shame, Defpair, Perdition, and Good-doing. The three dramatic focieties which produced all thefe farces, fotties, and moralities, continued to flourilh in France until the middle of the lixteenlh century, at which period a great revolution in dramatic litera- ture took place in that country. The performance of the Mylteries had been forbidden by authority, and the Bazochians themfelves were fup- prelfed. The petty drama reprefented by the farces and fotties went rapidly out of falliion, in the great change through which the mind of fociety was at this time palling, and in which the tal^e for clallical literature overcame all others. The old drama in France had difap- peared, and a new one, formed entirely upon an imitation of the clallical drama, was beginning to take its place. Ihis incipient drama was repre- fented in the fixteenth century by Eiienne Jodel, by Jacques Grevin, by Reray Belleau, and efpeciaiiy by Pierre de Larivey, the moll prolific, and perhaps the moll talented, of the earlier F'rench regular dramatic authors. Thefe French dramatic effays, the farces, the fotties, and the morali- ties, were imitated, and fometimes tranilated, in Englill), and many of them were printed ; for ilie further our refearcbes are carried into the early hillory of printing, the more we are ailoniihed at the extreme activity of the prefs, even in its infancy, in multiplying literature of a popular character. In Kngland, as in France, the farces had been, at a rather early period, detached from the mylleries and miracle-])lays, but the word interludes had been adopted here as the general title for tlicm, and continued in ufe even after the eflablifliment of the regular drama. Perhaps this name owed its popularity to the circumftance that it feemed more appnjpriate to its objt-it, when it became fo fafliionable in England to a6t thefe plays at intervals in the great fellivals and entertainments gifVen at court, or in the houfeholds of the great nobles. At all events. 282 mjiory of Caricature and Grotefque there can be no doubt that this fafblon had a great influence on the fate of the Englifh ftage. The cuftom of performing plays in the univerfities, great fchools, and inns of court, had alfo the efteft of producing a number of very clever dramatic writers j for when this literature was fo warmly patronifed by princes and nobles, people of the higheft qualifications fought to excel in it. Hence we find from books of houfehold expenfes and fimilar records of the period, that there was, during the fixteenth century, an immenfe number of fuch plays compiled in England which were never printed, and of which, therefore, very few are preferved. The earlieft known plays of this defcription in the Englilh language belong to the clafs which were called in France moralities. They are three in number, and are preferved in a manufcript in the poflelhon of Mr. Hudfon Gurney, which I have not feen, but which is faid to be of the reign of our king Henry VI. Several words and allufions in them feem to me to fhow that they were tranflated, or adapted, from the French. They contain exaftly the lame kind of allegorical perfonages. The allegory itfelf is a limple one, and eafily underftood. In the firft, which is entitled the " Caftle of Perfeverance," the hero is Humanum Genus (Mankynd), for the names of the parts are all given in Latin. On the birth of this perfonage, a good and a bad angel offer themfelves as his proteftors and guides, and he choofes the latter, who introduces him to Mujidus (the World), and to his friends, Stultitia (Folly), and Vuluptas (Pleafure). Thefe and fome other perfonages bring him under the influence of the feven deadly fins, and Humanum Genus takes for his bedfellow a lady named Luxuria. At length ConfeJJio and Pcenitentia fucceed in reclaiming Humanum Genus, and they conduct him for fecurity to the Caftle of Perfeverance, where the feven cardinal virtues attend upon him. He is befieged in this caftle by the feven deadly fins, who are led to the attack by Belial, but are defeated. Humanum Genus has now become aged, and is expofed to the attacks of another affailant. This is Avaritia, who enters the Caflle ftealthily by undermining the wall, and artfully perfuades Humanum. Genus to leave it. He thus comes again under the influence of Mundus, until Mors (Death) arrives, and the bad angel carries off the vi6iim to the domains of Satan. This, however. /// Literature and Art. 283 is not the end of tlie piece. God appears, feated on His throne, and Mercy, Peace, JulUce, and Truth appear before Him, the two former pleading for, and the latter againtl, Humanum Genus, who, after fome difcullion, is faved. This allegorical pidure of human life was, in one form or other, a favourite fubjett of the moralifers. I may quote as examples the interludes of " Lully Juventus," reprnited in Hawkins's "Origin of the Englitli Drama," and the " Dilbbedient Child," and "Trial of Treafure,'' reprinted by the Percy Society. The fecond of the moralities afcribed to the reign of Henry VL, has for its principal characters Mind, Will, and Underilanding. Thefe are all'diled by Lucifer, who fucceeds in alluring them to vice, and they change their modeft raiment for the drefs of gaj' gallants. Various other cbaraders are introduced in a (imilar llrain of allegory, until they are reclaimed by Wifdom. Mankind is again the principal perfonage of the third of thefe moralities, and fome of the other charaders in the play, fuch as Nought, New-guife, and Now-a-days, remind us of the fuuilar allegorical perfonages in the French moralities defcribed above. Thefe interludes bring us into acquaintance with a new comiccharader. The great part which folly atted in the focial deftinies of mankind, had become an acknowledged faLtj and as the court and almoll every great houfehold had its profelfed fool, fo it feems to have been conlidered that a play alfo was incomplete without a fool. But, as the charader of the fool was ufually given to one of the moll objedionable characters in it, fo, for this reafon apparently, the fool in a piny was called the rice. Thus, in " Lufty Juventus," the charader of Hypocrify is called the Vice ; in the play of "All for Money," it is Sin; in that of " Tom Tykr and his Wife," it is Defire; in the "Trial of Trealure " it i-. liulination; and in fome inftances the Vice appears to be the denioii liiiulrll. The Vice feems always to have been drelfed in the ufual ndlume ol a couit fool, and he perhaps had other duties befides his mere pan in tlie plot, fuch as making jells of his own, and ufing other means for provoking the mirth of the audience in the intervals of the a6tion. A few of our early Knglifh interludes were, in the ftrid fenfe of the word, farces Such is the "mery play" of "John the Hiilbaml, Tyb the 284 Hijlory of Caricature and Grotefque Wife, and Sir Jolan the Prieft," written by John Heywood, the plot of which prefents the fame fimphcity as thofe of the farces which were fo popular in France. John has a flirew for his wife, and has good caufes for fufpeding an undue intimacy between her and the prieft ; but they find means to blind his eyes, which is the more eafily done, becaufe he is a great coward, except when he is alone. Tyb, the wife, makes a pie, and propofes that the prieft ftiall be invited to atM in eating it. The hulband is obliged, very unwillingly, to be the bearer of the invitation, and is not a little furprifed when the prieft refufes it. He gives as his reafon, that he was unwilling to intrude himfelf into company where he knew he was difliked, and perfuaded John that he had fallen under the wife's difpleafure, becaufe, in private interviews with her, he had laboured to induce her to bridle her temper, and treat her hulband with more gentle- nefs. John, delighted at the difcovery of the prieft's honefty, infifts on his going home with him to feaft upon the pie. There the guilty couple contrive to put the hulband to a difagreeable penance, while they eat the pie, and treat him otherwife very ignominioully, in confequence of which the married couple fight. The prieft interferes, and the fight thus becomes general, and is only ended by the departure of Tyb and the prieft, leaving the hulband alone. The popularity of the moralities in England is, perhaps, to be explained by peculiarities in the condition of fociety, and the greater pre-occupation of men's minds in our country at that time with the religious and focial revolution which was then in progrefs. The Reformers foon faw the ufe which might be made of the ftage, and compiled and caufed to be afted interludes in which the old do6lrines and ceremonies were turned to ridicule, and the new ones were held up in a favourable light. We have excellent examples of the fuccefs with which this plan was carried out in the plays of the celebrated John Bale. His play of " Kyng Johan," an edition of which was publilbed by the Camden Society, is not only a remarkable work of a very remarkable man, but it may be confidered as the firfl: rude model of the Englilh hiftorical drama. The ftage became now a political inftrument in England, almoft as it had been in ancient Greece, and it thus became frequently the obje6t of particular as well as in Literature and Art. 28; general perfecution. In \^^■\^> the vicar of Yoxford, in SutVolk, drew upon himfelf the violent holtility of the other clergy iu that county by compoling and caufing to be performed plays againll the pope's counfcUors. Six years afterwards, in 1 549, a royal proclamation prohibited for a time the performance of interludes throughout the kingdom, on the ground that they contained " matter tendyng to fedicion and contempnyng of funderv good orders and lawes, whereupon are growen daily, and are likely to growe, muche difquiet, divifion, tumultes, and uproares in this realme." From this time forward we begin to meet with laws for the regulation of ftage performances, and proceedings in cafes of fuppofed infradions of them, and it became cuftomary to obtain the approval of a play by the privy council before it was allowed to be aded. Thus gradually arofe the office of a dramatic cenfor. With Bale and with John Heywood, the Englilli plays began to approach the form of a regulat drama, and the two now rather celebrated pieces, " Ralph Roifter DoiUer," and ' Gammer GurtOn's Needle,"' which belong to the middle of the fixteenth century, may be confidered as comedies rather than as interludes. Tht brmer, written by a well- known fcholar of that time, Nicholas Udall, mailer of Eton, is a fatirical pidure of fome phafes of London life, and relates the ridiculous adventures of a weak-headed and vain-glorious gallant, who believes that all the women mull be in love with him, and who is led by a needv and defigning parafite named Matthew Merygreeke. Rude as it is as a dramatic compofilion, it difplays no lack of talent, and it is full of trenuine humour. The humour in "Gammer Gurton's Needle" is none the lefs rich becaufe it is of coarfer and rather broader call. The good dame of the piece, Gammer Gurton, during an inicrrui>li(.n in the proceGi of mending the breeches of her hulband, Hodge, has loll her needle, and much lamentation follows a misfortune fo great at a time when needles appear to have been rare and valuable articles in the rural houfehold. In the midft of their trouble appears Diccon, who is defcribed in the dramatis /jcrjnnce as " Diccon the Bedlam," meaning that he was an idi«u, and who appears to hold the pofition of Vice m the play. Diccon, liowever, though weak-minded, is a cunning fellow, and efpecially givei; 2 86 Hijiory of Caricature and Grotefque to making mifchief, and he accufes a neighbour, Dame Chat, of fleahng the needle. At the fame time, the fame mifchievous individual tells Dame Chat that Gammer Gurton's cock had been flolen in the night from the henrooft, and that Ihe, Dame Chat, was accufed of being the thief. Amid the general mifunderftanding which refultsfrom Diccon's fucoefsful endeavours, they fend for the parfon of the parilh, Dr. Rat, who appears to unite in himfelf the three parts of preacher, phylician, and conjurer, in order to have advantage of his experience in finding the needle. Diccon now contrives a new piece of mifchief. He perfuades Dame Chat that Hodge intends to hide himfelf in a certain hole in the premifes, in order, that night, to creep out and kill all her hens; and at the fame time he informs Dr. Rat, that if he will hide in the fame hole, he will give him ocular demonliration of Dame Chat's guilt of ftealing the needle. The confequence is that Dame Chat attacks by furprife, and fomewhat violently, the fuppofed depredator in the hole, and that Dr. Rat gets a broken head. Dame Chat is brought before " Mafler Bayly" for the aifault, and the proceedings in the trial bring to light the deceptions which have been played upon them all, and Diccon ftands convi6ted as the wicked perpetrator. In fa6t, the "bedlam " confelfes it all, and it is finally decided by " Mafter Bayly" that there fhall be a general recon- ciliation, and that Diccon fliall take a folemn oath on Hodge's breech, that he will do his beft to find the loft needle. Diccon has ftill the fpirit of mifchief in him, and inftead of laying his hand quietly on Hodge's breech, he gives him a fharp blow, which is refponded to by an unexpefted fcream. The needle, indeed, which has never quitted the breeches, is driven rather deep into the flefliy part of Hodge's body, and the general joy at having found it again overruling all other confiderations, they all agree to be friends over a jug of " drink." We cannot but feel aftonilhed at the (hort period which it required to develop rude attempts at dramatic compofition like this into the wonderful creations of a Shakefpeare ; and it can only be explained by the fa6l that it was an age remarkable for producing men of extraordinary genius in every branch of intelledual development. Hitherto, the litera- ture of the ftage had reprefented the intelligence of the mafs; it became in Literature and Art. 287 individiialiled in Shakefpeare, and this fatt marks an entirely new era in the hiltory of the drama. In the writings of our great bard, nearly all the peculiarities of the older national drama are prefen'ed, even fome which may be perhaps confidered as its defeds, but carried to a degree of pertedion which tS?v had never attained before. The drollery, which, as we have feen, could not be difpenfed with even in the religious myfteries and miracle-plays, had become fo necellary, that it could not be difpenfed with in tra<^cdy. Its omillion belonged to a later period, when the f(jreign dramatifts became objefts of imitation in England. But in the earlier drama, thefe fcenes of drollery feem frequently to have no connexion whatever with the general plot, while Shakelpeare always interweaves them Ikilfully with it, and they feem to form an integral and necellary part of it. 288 Hi/iory of Caricature and Grotefqiie CHAPTER XVI r. DIABLERIE IN THE SIXTEENTH CENTURY. EARLY TYPES OF THE DIABOLICAL FORMS. ST. ANTHONY. ST. GUTHLAC. REVIVAL OF THE TASTE FOR SUCH SUBJECTS IN THE BfiGINNlNG OF THE SIXTEENTH CENTURY.' — THE FLEMISH SCHOOL OF BREifGHEL. THE FRENCH AND ITALIAN SCHOOLS, CALLOT, SALVATOR ROSA. WE have feen how the popular demonolcgy furnilhed materials for the earliefl. exercife of comic art in the middle ages, and how the tafte for this particular clafs of grotefque lafted until the clofe of the mediaeval period. After the " renailfance " of art and literature, this tafte took a ftill more remarkable form, and the fchool of grotefque diablerie which flourillied during the fixteenth century, and the firfl: half of the feventeenth, juftly claims a chapter to itfelf. The birthplace of this demonology, as far as it belongs to Chriftianity, mnft probably be fought in the deferts of Egypt. It fpread thence over the eaft and the weft, and when it reached our part of the world, it grafted itfelf, as I have remarked in a former chapter, on the exifling popular fuperftitions of Teutonic paganifm. The playfully burlefque, which held fo great a place in thefe fuperftitions, no doubt gave a more comic cha- rafter to this Chriftian demonology than it had poflefled before the mix- ture. Its primitive reprefentative was the Egyptian monk, St. Anthony, who is faid to have been born at a village called Coma, in Upper Egypt, in the year 251. His hiftory was written in Greek by St. Athanafius, and was tranflated into Latin by the ecclefiaftical hiftorian Evagrius. Anthony was evidently a fanatical vifionary, fubje6t to mental illulions, which were foftered by his education. To efcape from the temptations of the world, he fold all his property, which was confiderable, gave it to the poor, and then retired into the defert of the Thebaid, to live a life of in Literature and Art. 2 8( the ftridtfft afceticilm. The evil one perfecuted hiiu in his loliiude, and fought to drive him back into the corruptions of worldly life. He firft tried to fill his mind with regretful reminifcences of his former wealth, pofition in fociety, and enjoyments ; when this failed, he diilurbod his mind with voluptuous images and defires, which the faint relifted with equal fuccefs. The perfecutor now changed his tadtics, and prefenting himfelf to Anthony in the form of a black and ugly youth, confelfod to him, with apparent candour, that he was the fpirit of uncleannefs, and acknow- leged that he had been vanquillied by the extraordinary merits of Anthony's faniftity. The fiint, however, faw that this was only a ftratagem to ftir up in him the fpirit of pride and felf-confidence, and he met it by fubjeding himfelf to greater mortifications than ever, which of courfe made him ftill more liable to thefe delufions. Now he fought greater folitude by taking up his refidence in a ruined Egyptian fepulchre, but the farther he withdrew from the world, the more he became the objed of diabolical perfecution. Satan broke in upon his privacy with a holt of attendants, and during the night beat him to fuch a degree, that one morning the attendant who brought him food found him lying fenfelels in his cell, and had him carried to the town, where his friends were on the point of burying him, believing him to be dead, when he fuddenly revived, and infifted on being taken back to his folitary dwelling. The legend tells us that the demons appeared to him in the forms of the moft ferocious animals, fuch as lions, bulls, wolves, afps, ferpents, fcorpions, panthers, and bears, each attacking him in the manner peculiar to its fpecies, and with its peculiar voice, thus making together a horrible din. Anthony left his tomb to retire farther into the defert, where he made a ruined caftle his refidence ; and here he was again frightfully perfecuted by the demons, and the noife they made was fo great and horrible that it was often heard at a vaft difiance. According to the narrative, Anthony reproached the demons in ver)' abufive language, called them h;inl names, and even fpat in their faces ; but his moll efie6tive weapon was always the cnjfs. Thus the faint became bolder, ami fought a flill more lonely abode, and finally efiablifhed himfelf on the top of a high mountain in tlfl- iipprr Tiiebaid. TIk; demons ftill continued to perfecute him, under u 290 Hijiory of Caricature and Grotefqiie a great variety of forms ; on one occafion their chief appeared to him under the form of a man, with the lower members of an afs. The demons which tormented St. Anthony became the general type for fubfequent creations, in which thefe firft piftures were gradually, and in the fequel, greatly improved upon. St. Anthony's perfecutor»'ufual]y affumed the Ihapes of bond Jide animals, but thofe of later ftories took monftrous and grotefque forms, ftrange mixtures of the parts of ditferent animals, and of others which never exifted. Such were feen by St. Guthlac, the St. Anthony of the Anglo-Saxons, among the wild moraifes of Croyland. One night, which he was paffing at his devotions in his cell, they poured in upon him in great numbers j "and they filled all the houfe witti their coming, and they poured in on every fide, from above and from beneath, and everywhere. They were in countenance horrible, and they had great heads, and a long neck, and lean vifage ; they were filthy and fqualid in their beards, and they had rough ears, and diftorted face, and fierce eyes, and foul mouths ; and their teeth were like horfes' tulks, and their throats were filled with flame, and they were grating in their voice ; they had crooked fhanks, and knees big and great behind, and diftorted toes, and flirieked hoarfely with their voices ; and they came with fuch immoderate noifes and immenfe horror, that it feemed to him that all between heaven and earth refounded with their dreadful cries." On another fimilar occafion, " it happened one night, when the holy man Guthlac fell to his prayers, he heard the howling of cattle and various wild beafts. Not long after he faw the appearance of animals and wild beafts and creeping things coming in to him. Firft he faw the vifage of a lion that threatened him with his bloody tuiks, alfo the likenefs of a bull, and the vifage of a bear, as when they are enraged. Alfo he perceived the appearance of vipers, and a hoo-'s grunting, and the howling of wolves, and croaking of ravens, and the various whiftlings of birds, that they might, with their fantaftic appear- ance, divert the mind of the holy man." Such were the fuggeftions on which the mediaeval fculptors and illumi- nators worked with fo much eft'eft, as we have feen repeatedly in the courfe of our preceding chapters. After the revival of art in weftern blurope in Literature and Art. 2 1 in the tifteenth centurv, this clals of loireiids became great favourites with painters and engravers, and foon gave rife to the peculiar fchool of (liallerie mentioned above. At that time the ftory of the Temptation of St. Anthony attraded particular attention, and it is the fubjeft of many remarkable prints belonging to the earlier ages of the art of engraving. It employed the pencils of fuch artills as Martin Schongauer, Ifrael van Mechen, and Lucas Cranach. Of the latter we have two ditforent engravings on the fame fubjetl — St. Anthony carried into the air by the demons, who are reprefented in a great variety of grotefque and monrtrous forms. The mod remarkable of the two bears the date of 1506, and was, therefore, one of Cranach's earlier works. But the great reprefentative of this earlier fchool of diallcrie was Peter Breughel, a Flemifh painter who flourillied in the middle of the fixteenth century. He was born at Breughel, near Breda, and lived fome time at Antwerp, but afterwards ellabliihed himfelf at Bruflels. So celebrated was he for the love of the grotefque difplayed in his pictures, that he was known by the name of Peter the Droll. Breughel's "Temptation of St. Anthony," like one or two others of his fubjet^ of the Hime clafs, was engraved in a reduced form by J. T. de Bry. Breughel's demons are figures of the mod fantaftic dcfcription — creations of a wildly grotefque imagination ; they prcfent incongruous and laughable mixtures of parts of living things which have no relation whatever to one another. Our cut No. 155 reprefents a group of thefe grotefque demons, from a plate by Breughel, engraved in 1565, and entitled Divus Jacobus diaholicis prepJligUs ante maguvi JJJUtur (St. James is arrefted before the magician by diabolical delu(ions). The engraving IS full of fimilarly grotefque figures. On llie right is a fpacious chimney, and up it witches, riding on brooms, are making their efcape, while in the air are feen other witches riding away upon dragons and a goat. A kettle is boiling over the fire, around which a group of monkeys are feen fitting and warming themfelves. Behind thefe a cat and a toad are holding a very intimate converfation. In the background Ihinds and noils the great witches' caldron. On the right of the pidture the viay^tis, or matjician, is feated, reading his grimairt; with a frame before him l«iI>porling the pot containing his magical ingredients. I'he faint occupies 292 Hijiory of Caricature and Gratefque the middle of the picture, furrounded by thfe demons reprefented in our cut and by many others; and as he approaches the magician, he is feen raifing his right hand in the attitude of pronouncing a benediftion, the apparent confequence of which is a frightful explolion of the magician's pot, which ftrikes the demons with evident confternation. Nothing can be more bizarre than the horfe's head upon human legs in armour, the parody upon a crawling fpider behind it, the IkuU (apparently of a horfe) No. 155. St. "James and hh Perjecuton. fupported upon naked human legs, the ftrangely excited animal behind the latter, and the figure furnilhed with pilgrim's hood and ftaff, which appears to be mocking the faint. Another print — a companion to the foregoing — reprefents the ftill more complete difcomfiture of the magus. The faint here occupies the r'ght-hand fide of the pifture, and is raifing his hand higher, with apparently a greater fhow of authority. The demons have all turned againft their mailer the magician, whom they are /;/ Literature and Art. 293 beating and hurling headlong from his chair. They fecm to be pro- claiming their joy at his fall by all forts of playful attitudes. It is a fort of demon fair. Some of them, to the left of the pidure, are dancing and llanding upon their heads on a tight-rope. Near them another is playing fome game like that which we now call the thimble-rig. The monkeys are dancing to the tune of a great drum. A variety of their mountebank tricks are going on in dirt'erent parts of the fcene. Three of thefe playful aftors are reprefented in our cut No. 156, Breughel alfo executed a feries of fimilarly grotefque engravings, reprefenting in this lame fantaflic manner the virtues and vices, fuch as Pride {Jupcrbia), Courage (Jortiludo), Sloth {dtfidia), &;c. Thefe bear tne No. 156. Strange Demons. date of 1558. They are crowded with figures equally grotefque wAi thofe juft mentioned, but a great part of which it would be almolt imix)fiible to defcribe. I give two examples from the engraving of " Sloth," in the accompanying cut (No. 137). From making up figures from parts of animals, this early Ichool ot grotefque proceeded to create animated figures out of inanimate things, fuch as machines, implements of various kinds, houlehold utenhls, and -t>«her fuch articles. A German artill, of about the fame lime as Breughel, 294 Hijiory of Caricature and Grotefque has left us a Angular feries.of etchings of this defcription, which are intended as an allegorical fatire on the folhes of mankind. The allegory No. l^J. Imps of Sloth. is here of fuch a fingular charafter, that we can only guefs at the meaning of thefe ftrange groups through four lines of German verfe which are A^o. 158. The Folly of Hunting. attached to each of them. In this manner we learn that the group reprefented in our cut. No. 158, which is the fecond in this feries, is in Literature and Art. 295 intended as a fatire upon thofe who wafte their time in hunting, which, the verles tell us, they will in the lequel lament bitterly ; and they are exhorted to cry loud and continually to God, and to let that ferve them in the place of hound and hawk. Die zc'tt die du verleurfi mit jagetiy Die ivirflu zzvar no(h fchmert^lich klagen } Ruff laut %u Gott gar oft und vil. Das fey dein hand und Jederfpil. The next pifture in the feries, which is equally difHcult to defcribe, is aimtd againft thofe who fail in attaining virtue or honour through llueo-ilbncfi. Others follow, but I will only give one more example. It forms our cut No. 159, and appears, from the verfes accompanying it, to i\o. I 59. 7'Ae IVaJIcfulnefi of Youth. be aimed againft thofe who pradice waftefulnefs in their youth, and thus become obje6tfi of pity and fcorn in old age. Whatever may be the point of the allegory c(jntained in the engraving, it is certainly far-fetched, and not very apparent. This Gernian-Flemifti fchool of grotefque does not appear to have- outlived the fixteenth century, or at kaft it had ceafed to flouriOi in the century following. But the tafte for the diabltnric of the Temptation 296 Hiflory of Caricature and Grotefque fcenes pafled into France and Italy, in which countries it afTjmed a much more refined charafter, though at the fame time one equally grotefque and imaginative. Thefe artifts, too, returned to the original legend, and gave it forms of their own conception. Daniel Rabel, a French artift, who lived at the end of the fixteenth century, publifiied a rather remark- able engraving of the " Temptation of St. Anthony," in which the laint appears on the right of the pidure, kneeling before a mound on which three demons are dancing. On the right hand of the faint ftands a naked woman, Iheltering herfelf with a parafol, and tempting the faint with her charms. The reil of the piece is filled with demons in a great variety of forms and poftures. Another French artift, Nicholas Cochin, has left us two "Temptations of St. Anthony," in rather fpirited etching, of the earlier part of the feventeenth century. In the firft, the faint is repre- fented kneeling before a crucifix, furrounded by demons. The youthful and charming temptrefs is here drelfed in the richeft garments, and the higheft ftyle of fafiiion, and diiplays all her powers of fedu6tion. The body of the pi6ture is, as ufual, occupied by multitudes of diabolical figures, in grotefque forms. In Cochin's other pidure of the Temp- tation of St. Anthony, the faint is reprefented as a hermit engaged in his prayers ; the female figure of voluptuoufnefs {voluptas) occupies the middle of the pi6ture, and behind ihe faint is feen a witch with her befom. But the artift who excelled in this fubjed at the period at which we now arrive, was the celebrated Jacques Callot, who was born at Nancy, in Brittany, in i/,93, and died at Florence on the 24th of March, 1635, which, according to the old ftylc of calculating, may mean March, 1636. Of Callot we fliall have to fpeak in another chapter. He treated the fubjeft of the Temptation of St. Anthony in two difterent plates, which are confidered as ranking among the moft remarkable of his works, anti to which, in fa6t, he appears to have given much thought and attention. He is known, indeed, to have worked diligently at it. They refemble thofe of the older artifts in the number of diabolical figures introduced into the pidure, but they difplay an extraordinary vivid imagination in the forms, poftures, phyfiognomies, and even the equipments, of the in Literature and Art. 297 chimerical figures, all equally droll and burlcfque, but which prefenf an entire contrail to the more coarle and vulgar conceptions of the Gernian- Flemilh Ichool. This ditierence will be underllood bed by an example. No. 1 60. The Demon Tilter (Callot). One of Callot s demons is reprefented in our cut No. 160. Many of them ate m.our.tcd on nondcfcript animals, of the mofl extraordinary demoniacal diara£ter, and fuch is the cafe of the demon in our cut, who is running a No. 161. Unetijy Ri'irtg (Cullot). tilt at the faint with his tilting fpear in his hand, and, to make more lure, his eyes well furnilhed with a pair of fpeftacles. In uur next cut, No. 161, we give ;i iLLwaul i vainplc (it the figures in Callot's peculiai 298 Hiflory of Caricature and Grofefque dialhrie. The demon in this cafe is riding very uneafily, and, in fa6t, feems in danger of being thrown. The fteeds of both are of an anomalous character J the firft is a fort of dragon-horfe ; the fecond a mixture of a lobfter, a fpider, and a craw-fifli. Marietta, the art-colle6tor and art- writer of the reign of Louis XV. as well as artift, confiders this grotefque, or, as he calls it, " fantatlic and comic chara6ter," as almoft neceffary to the' pi6tures of the Temptation of St. Anthony, which he treats as one of Callot's efpecially yenoM^ fubjefts. " It was allowable," he fays, "to Callot, to give a tlight to his imagination. The more his fidions were of the nature of dreams, the more they were fitted to what he had to exprefs. For the demon intending to torment St. Anthony, it is to be fuppofed that he muft have thought of all the forms moft hideous, and moft likely to ftrike terror." Callot's firft and larger prmt of the Temptation of St Anthony IS rare. It is filled with a vafl number of figures. Above is a fantaftic being who vomits thoufands of demons. The faint is feen at the entrance of a cavern, tormented by fome of thefe. Others are fcattered about in different occupations. On one fide, a demoniacal party are drinking together, and pledging each other in their glaflfesj here, a devil is playing on the guitar ; there, others are occupied in a dance 5 all fuch grotefque figures as our two examples would lead the reader to expe6l. In the fecond of Callot's "Temptations," which is dated in 1635, and muft therefore have been one of his lateft works, the fame figure vomiting the demons occupies the upper part of the plate, and the field Is covered with a prodigious number of imps, more hideous in their forms, and more varied in their extraordinary attitudes, than in the fame artift's firfi: defign. Below, a hoft of demons are dragging the faint to a place where new torments are prepared for him. Callot's prints of the Temptation of St. Anthony gained fo great a reputation, that imitations of them were fubfequently publilhed, fome of which fo far approached his ftyle, that they were long fuppofed to be genuine. Callot, though a Frenchman, ftudied and flourifhed in Italy, and his ftyle is founded upon Italian art. The laft gn.'at artift whofe treatment of the Temptation I ftiall quote, is Salvator Rofa, an Italian by h\nh. /;; Literature and Art. 299 who flourilhed in the middle of the feventeenth century. His ftvie, according to fome opinions, is refined from that of Callot ; at all events, it is bolder in defign. Our. cut No. 162 reprefents St. Anthony protett- M). 1 6i. &. Anthony and hii Perjecutor. ing himfelf with the crofs againft the alTaults of the demon, as reprefented by Salvator Rofa. With this artift the fchool of diablerie of I he (ixteentli CL-nturv may be confidertd to have come to its end. 300 Hijlory of Caricature and Grotefque CHAPTER XVIII. CALLOT AND HIS SCHOOL. CALLOT's ROMANTIC HISTORY. HIS " CAPKJCI," AND OTHER BURLESftUE WORKS. THE " BALLI " AND THE BEGGARS. IMITATORS OF CALLOT ; DELLA BELLA. EXAMPLES OF DELLA BELLA. ROMAIN DE HOOGHE. THE art of engraving on copper, although it had made rapid advances during the fixteenth century, was ftill very far from perfedion j but the clofe of that century witnelfed the birth of a man who was dcftined not only to give a new charafter to this art, but alfo to bring in a new ftyle of caricature and burlefque. This was the celebrated Jacques Callotj a native of Lorraine, and defcended from a noble Burgundian family. His father, Jean Callot, held the office of herald of Lorraine. Jacques was born in the year 1592,* at Nancy, and appears to have been deftined for the church, with a view to which his early education was regulated. But the early life of Jacques Callot prefents a romantic epifode in the hiftory of art afpirations. While yet hardly more than an infant, he feized every opportunity of neglefting more ferious ftudies to pra£tife drawing, and he difplayed efpecially a very precocious tafte for fatire, for his artiftic talent was Ihown principally in caricaturing all the people he knew. His father, and apparently all his relatives, difapproved of his love for drawing, and did what they could to difdourage it 5 but in vain, for he ftill found means of indulging it. Claude Henriet, the painter to the court of Lorraine, gave him leflbns, and his fon, Ifrael Henriet, formed for him a boy's friendfhip. He alfo learnt the elements * This is the date fixed by Meaiime, in his excellent work on Callot, entitled "Recherthes sur la Vie et les Oiivragcs de Jacques Callot," 2 torn. 8vo., i860. in Literature and Art. 301 of the art of engraving of Demange Crocq, the engraver to the duke of Lorraine. About this time, the painter Bellange, who had been a pupil of Claude Henriet, returned from Italy, and gave young Callot an exciting account of the wonders of art to be feen in that country ; and foon after- wards Claude Henriet dying, his fon Ifrael went to Rome, and his lettr^rs from thence had no lefs effe(5l on the mind of the young artilt at Nancy, than the converfation of Bellange. Indeed the pallion of the boy for art was fo ftrong, that, finding his parents obftinately oppofed to all his longings in this direfiion, he left his father's houfe fecretly, and, in the fpring of 1604, when he had only jull: entered his thirteenth year, he fet out for Italv on foot, without introdu6tions and almoft without money. He was even unacquainted with the road, but after proceeding a fliort dillance, he fell in with a band of gipfies, and, as they were going to Florence, he joined their company. His life among the gipfies, which lalted leven or eight weeks, appears to have furnifhed food to his love of burlefque and caricature, and he has handed down to us his imprefhons, in a feries of four engravings of fcenes in gipfy life, admirably executed at a rather later period of his life, which are full of comic humour. When they arrived at Florence, Jacques Callot parted company with the gipfies, and was fortunate enough to meet with an officer of the grand duke's houlehold, who liftened to his flory, and took fo m.uch interefl in him, that he obtained him admillion to the fludio of Remigio Canta Gallina. This artifl gave him inflru6fions in drawing and engraving, and fought to correft him of his tafle for the grotefque by keeping him employed upon ferious fubjefts. After ftudying for fome months under Canta Gallina, Jacques Cnllot k-ft Florence, and proceeded to Rome, to feek his old friend Ifnul Henriet ; but he had hardly arrived, when he was recognifccl in the fireets by fome merchants from Nancy, who took him, and in fpite of his tears and refiflance, carried him home to his parents. He was now kept to his fiudies more f^ri^tly than ever, but nothing could overcome his palfujn for art, and, having contrived to lay by fome money, aliir a lliort intcnal he again ran away from home. This time he took the road 302 Hijio'^y of Caricature and Qrotefque to Lyons, and croffcd Mont Cenis, and he had reached Turin when he met in the llreet of that city his elder brother Jean, who again carried him home to Nancy. Nothing could now reprefs young Callot's ardour, and foon after this fecond efcapade, he engraved a copy of a portrait of Charles III., duke of Lorraine, to which he put his name and the date 1607, and which, though it difplays little ikill in engraving, excited confiderable intereft at the time. His parents were now perfuaded that it was ufelefs to thwart any longer his natural inclinations, and they not only alldwed him to follow them, but they yielded to his wifh to return to Italy. The circumftances of the moment were efpecially favourable. Charles IIL, duke of Lorraine, was dead, and his fucceffor, Henry H., was preparing to fend an embafly to Rome to announce his acceffion. Jean Callot, by his pofition of herald, had fufficient intereft to obtain for his fon an appointment in the ambalTador's retinue, and Jacques Callot ftarted for Rome on the ift of December, 1608, under more favourable aufpices than thofe which had attended his former vifits to Italy. Callot reached Rome at the beginning of the year 1609, and now at length he joined the friend of his childhood, Ifrael Henriet, and began to throw all his energy into his art-labours. It is more than probable that he ftudied under Tempefta, with Henriet, who was a pupil of that painter, and another Lorrainer, Claude Dervef. After a time, Callot began to feel the want of mone}', and obtained employment of a French engraver, then refiding in Rome, named Philippe Thomaffin, with whom he worked nearly three years, and became perfeft in handling the graver. Towards the end of the year 161 1, Callot went to Florence, to place himfelf under Julio Parigi, who then flouriihed there as a painter and engraver. Tufcany was at this time ruled by its duke Cofmo de' Medicis, a great lover of the arts, who took Callot under his patronage, giving him the means to advance himfelf. Hitherto his occupation had been prin- cipally copying the works of others, but under Parigi he began to pradife more in original defign, and his tafte for the grotefque came upon him ftronger than ever. Although Parigi blamed it, he could not help admiring the talent it betrayed. In 1615, the grand duke gave a great encertainment to the prince of Urbino, and Cal'ot was employed to make in Literature and Art. ;o3 engravings of the feftivitiesj it was his tirll commencement in a clafs of defigns by whicii he afterwards attained great celebrity. In the year following, his engagement with Parigi ended, and he became his ow:i mailer. He now came out unfettered in his own originiility. The firlt fruits were feen in a new kind of dtligns, to which he gave the name ot '• Caprices," a feries of which appeared about the year 1617, under the title of" Caprici di varie Figure." Callot re-engraved them at Nancy in later years, and in the new title they were ftated to have been originally engraved in 1616. In a (Tiort preface, he fpeaks of thefe as the tirtl of his works on which he fet any value. They now ftrike us as fmgular AV. 163. A Cri[)plc. examples of the fanciful creations of a moft grotefque imagination, but they no doubt preferve many trails of the feftivals, ceremonies, and manners of that land of mafquerade, which muft have been then familiar to the Florentines ; and thefe engravings would, doubtlefs, be received by them with abfolute delight. One is copied in our cut No. 163 ; it reprefents a cripple fupporting himfelf on a fliort crutch, with liis right arm in a lling. Our cut No. 164 is another example from the fame fit, and reprefents a malked clown, with his left hand on the hilt of his dagger, or perhaps of a wooden fword. From this time, altliough he was very induftrioua and produced much, Callot engraved only his own defigns. 304 Hijiory of Caricature and Grotefque While employed for others, Callot had worked chiefly with the graver, but now that he was his own mailer, he laid afide that implement, and devoted himfelf almoft entirely to etching, in which he attained the higheft proficiency. His work is remarkable for the cleannefs and eafe of his lines, and for the life and fpirit he gave to his figures. His talent lay iVo. 164. A Grotefque Majkcr. efpecially in the extraordinary Ikill with which he grouped together great numbers of diminutive figures, each of which preferved its proper and full adtion and efFe6t. The great annual fair of the Impruneta was held with extraordinary feftivities, and attended by an immenfe concourfe of people of all claflfes, on St. Luke's Day, the i8th of 06lober, in the outlkirts of Florence. Callot engraved a large pidure of this fair, which is abfolutely wonderful. The pifture embraces an extenfive fpace of ground, which is covered with hundreds of figures, all occupied, fingly or in groups, in different manners, converfing, mafquerading, buying and felling, playing games, and pertbrming ui various ways; each group or i?i Literature and Art. ?Os tigure is a pidure in itlelf. This engraving produced quite a fenfation, ind it was followed by other pidures of fairs, and, after his tinal return to Nancy, Callot engraved it anew. It was this talent for grouping large malles of perfjns wJiich caufed the artift to be fo often employed in drawing great public ceremonies, lieges, and other warlilce operations. By the duke of Florence, Colmo II., Callot was liberally patrouifed and loaded with benefits, but on his death the government had to be placed in the hands of a regency, and art and literature no longer met with the fame encouragement. In this ftate of things, Callot was found by Charles of Lorraine, afterwards duke Charles IV., and perfuaded to return to his native country. He arrived at Nancy in 1622, and began to work there with greater adivity even than he had difplayed before. It was not long after this diat he produced his fets of grotefques, the Balli (or dancers), the Gobbi (or hunchbacks), and the Beggars. The firli of thefe fets, called in the title BalVi, or Cucurucu* confills of twenty-four fmall plates, each of them containing two comic chara6ters in grotefque attitudes, with groups of fmalier figures in the difiance. Beneath the two prominent figures are their names, now unintelligible, but at that time no doubt well known on the comic ftagc at Florence. Thus, in the couple given in our cut No. 16^, which is taken from the fourth plate of the feries, the perfonage to the left is named Smaraolo Cornuto, which means fimply Smaraolo the cuckold ; and the one on the right is called Ratfa di Boio. In the original the background is occupied by a ftreet, full of fpe6lators, looking on at a dance of pantaloons, round one who is mounted on ftilts and playing on the tabour. The couple in our cut • Mcauine appears to be doubtful of the meaning of this word ; a friend has pointed out to nic the correction. It was the title of a songj so called because the burden was an imitation of the crowing of a cock, the singer inimickinj; also tlie action of the bird. When Bacchus, in Redi's " Bacco in Toscana," is beginning to feel the exhilarating effects of his critical investigation of the Tuscan wines, he calls upon Ariadne to sing to him"sulla mandola la Cucurucii," "on the nian- dola the Cucurucu." A note fully explains the word as wc have staled it — " Can- zone co-.i detfa, perch""; in esse si replica molte volte la voce del galloj e cantandol.i ti ^nno atti c moti simiii a quegli di csso gallo." 3o6 Hijlory of Caricature and Grotefqiie No. 1 66, reprefents another of Callot's " Caprices," from a fet differing from the firft " Caprices," or the Balli. The Gobbi, or hunchbacks, form No. 165. Smaraolo Cornuto. — Ratja di Bcio. a fet of twenty-one engravings ; and the fet of the Gipfies, already alluded to, which was alfo executed at Nancy, was included in four plates, the No, 166. A Caprice. fubjefts of which were feverally — i, the gipfies travelling ; 2, the avant- guard ; 3, the halt 3 and 4, the preparations for the feaft. Nothing could in Literature and Art. Z^^l be more truthful, and at the lame time iiiore comic, than this laft fet of fubjeds. We give, as an example of the fet of the Baroni, or beggars, Callot's figure of one of that particular clafs — for beggars and rogues of all kinds were claflified in thofe days — whofe part it was to appeal to charity by wounds and fores artificially reprefentcd. In the Englifh flang No. 167. The Falje Cripple. of the feventeenth centur)', thefe artificial fores were called clymcs, and a curious account of the manner in which they were made will be found in that fingular pidture of the vicious clafles of fociety in this country at that period, the " Englifli Rogue," by Head and Kirkman. The falfe cripple in our cut is holding up his leg to make a difplay of his jjretended infirmity. Caliot remained at N'ancy, with merely temporary abfences, during the remainder of his life. In 1628, he was employed at Uruficis in drawing and engraving the " Siege of Breda," one of the moil finilhed ot his works, and he there made the pcrfonal accjuaintance of Vandyck. Early 308 HiJIory of Caricature and Grotefque in 1629, he was called to Paris to execute engravings of the fiege of La Rochelle, and of the defence of the Ifle of Rhe, but he returned tu Nancy in 1630. Three years afterwards his native country was invaded by the armies of Louis XIII., and Nancy furrendered to the French on the 25th of September, i.(y2>?>- Callot was required to make engravings to celebrate the fall ot his native town 5 but, although he is faid to have been threatened with violence, he refufed ; and afterwards he com- memorated the evils brought upon his country' by the French invafion in thofe two immortal fets of prints, the lefler and greater " Miseres de la Guerre." About two years after this, Callot died, in the prime of life, on the 24th of March, id'^^. The fame of Callot was great among his contemporaries, and his name is juftly refpe6ted as one of the moll: illuflrious in the hiftory of French art. He had, as might be expefted, many imitators, and the Caprices, the Balli, and the Gobbi, became very favourite fubje6ts. Among thefe imitators, the moft fuccefsful and the moft diftinguiihed was Stephano Delia Bella 3 and, indeed, the only one deferving of particular notice. Delia Bella was born at Florence, on the i8th of May, 1610 5* his father, dying two years afterwards, left him an orphan, and his mother in great poverty. As he grew up, he Ihowed, like Callot himfelf, precocious talents in art, and of the fame kind. He eagerly attended all public feftivals, games, &c., and on his return from them made them the fubje6t of grotefque Iketches. It was remarked of him, efpecially, that he had a curious habit of always beginning to draw a human figure from the feet, and proceeding upwards to the head. He was flruck at a very early period of his purfuit of art by the ftyle of Callot, of which, at firft, he was a fervile imitator, but he afterwards abandoned fome of its pecu- liarities, and adopted a ftyle which was more his own, though ftill founded upon that of Callot. He almoft rivalled Callot in his fuccefs in grouping multitudes of figures together, and hence he alfo was much emoloyed in * The materials for the history of Delia Bella and his works, will be found in a carefully compiled volume, by C. A. Jon/bert, entitled, " Essai d'un Catalogue de POeuvre d'Etienne de la Bella." 8vo., Paris, 1772. //; Literature and Art. ;oQ producing engravings of fieges, fettive entertainments, and luch elaborate fubjeds. As Callot's afpi rations had been direded towards Italy, thole of Delia Bella were turned towards France, and when in the latter days of the minillry of Cardinal Richelieu, the grand duke of Florence fent Alexandro del Nero as his relident aniballador in Paris, Delia Bella was permitted to accompany him. Richelieu was occupied in the ficge of Arras, and the engraving of that event was the foundation of Delia Bella's fame in France, where he remained about ten years, frequently employed on fimilar fubjeds. He fubfequently vifited Flanders and Holland, and at Amfterdam made the acquaintance of Rembrandt. He returned to Florence in 1650, and died there on the 23rd of July, 1664. While ftill in Florence, Delia Bella executed four prints of dwarfs quite in the grotefque ftyle of Callot. In 1637, on the occafion of the marriage of the grand duke Ferdinand II., Delia Bella publillied engravings of the different fcenes reprefentcd, or performed, on that occafion. Thefe were effeded by very elaborate maciiincry, and were reprefented in fix engravings, the fifth of which {fcena p was ufually crowded by people who went there to tell tales and hear news j and, as no other name had been in Literature and Art. 3 i -5 invented tor the ftatue, people agreed to give it the name of the flioemaker, and they called it Pafquillo. It became a cuftom, at certain feafons, to write on pieces of paper fatirical epigrams, fonnets, and other Ihort com- pofuions in Latin or Italian, moftly of a perfonal charadler, in which the writer declared whatever he had feen or heard to the difcredit of fomebody, and thefe were publiOied by depofiting them with the ftatue, whence they were taken and read. One of the Latin epigrams which pleads againft committing thefe fliort perfonal fatires to print, calls th« time at which it was ufual to Oompofe them Pafquil's feftival : — Jam redU Ula dies m qua Romana ju-ventui Pafqu'iHl fejium concelcbrab'it cvans. Sed verfus Imprejfos ohjecro ut edcre omittas, Nt noceant Iterum qua mcuere fcmel. The feftival was evidently a favourite one, and well celebrated. " The foldiers of Xerxes," fays another epigram, placed in Pafquil's mouth, " were not fo plentiful as the paper beftowed upon me ; I ihall foon become a bookfellcr " — Armigerum Xcrxi non copia tanta papyri ^anta mihi : Jiam bibllopola Jiatim. The name of Pafquil was foon given to the papers which were depofited with the ftatue, and eventually a pafquil, or pafquin, was only another name for a lampoon or libel. Not far from this ftatue ftood another, which was found in the forum of Mars {Mar lis forum), and was thence popularly called Marforio. Some of thefe fatirical writings were compofed in the form of dialogues between Pafquil and Marforio, or of meftliges from one to the other. A colle6tion of thefe pafquils was publilhed in 1544 in two fmall volumes.* Many of them are extremely clever, and they are fharply pointed. The popes are frequent oljjedits of bittereft fatire. Thus we are reminded in two lines upon pope Alexander VI. {fexlus),i\\e infamous Borgia, that Tarquin had been a Scxtus, and Nero alio, and now another Scxtus was Pasquillorum Tom! duo." ElcutluTopoli, MrYi.ijii. 3 1 4 Hi/iory of Caricature and Grotefqiie at the head of the Romans, and told that Rome was always ruined under a Sextus — De Alexandre VI. Pont. Sextus Tarquirtius, Sextus Nero, Sextus et ifle : Semper fub Sextis perdita Romafuh. The following is given for an epitaph on Lucretia Borgia, pope Alexander's profligate daughter : — Hoc tumulo dorm'it Lucretia nomine, fed re Thais, Alexandri flia, fponja, nurus. In another of a rather later date, Rome, addreffing herfelf to Pafquil, Is made to complain of two fucceflive popes, Clement VII. (Julio de Medicis, 1^23-1534) and Paul III. (Alexandro Farnefe, 1534- 1549), and alfo of Leo X. (1513-1521). "I am," Rome fays, " fick enough with the phyfician (Medicus, as a pun on the Medicis), I was alfo the prey of the lion {Leo), now, Paul, you tear mv vitals like a wolf. You, Paul, are not a god to me, as I thought in my folly, but you are a wolf, fince you tear the food from my mouth " — Sum Medico fatis cegra,fui quoque prceda Leonis, Nunc mea dilaceras -vifcera, Paule, lupus. Non es, Paule, mihi numen, ceu ftulta putaham, Sed lupus es, quoniam Juhtrahis ore cibtim. Another epigram, addreffed to Rome herfelf, involves a pun in Greek (in the words Paulos, Paul, and Phaulos, wicked). "Once, Rome," it fays, " lords of lords were thy fubjefts, now thou in thy wretchednefs art fubjed to the ferfs of ferfs j once you liftened to the oracles of St. Paul, but now you perform the abominable commands of the wicked " — Sluondam, Roma, tibi fuberant domini dominorum, Ser-vorum Jer-vis nunc miferanda fubes ; Audifii quondam di-vini oracu/a UauXov, At nunc T(i)>' 4>avX s^d, being defl:ined from his youth to follow the profeflion of the law, fl,udied under the celebrated jurifconfult Alciatus. He had only arrived at the fimple dignity of jiige, at St. Remy, in the diocefe of Aries, when he died in the year 1544. In fa£t, he appears to have been no very diligent Undent, and we gather from his own confeffions that his youth had been rather wild. The volume containing his macaronics, the fecond edition of which (as far as the editions are known) was printed in 1529, bears a . title which will give fome notion of the charader of its contents, — " Provencalis de Iragardi/Jima villa de Soleriis, ad suos compagnones quifunt de perfona friantes, bajjas danfas et Iranlas praSiicanies novellas, de guerra Romana, Neapolitana, et Genuenji mandat ; una cum ep'iflola adjalotijjimam fuam garfam, Janavi Rofceam, pro pajjando tempora " — (i.e. a Proven9al of the raoft fwaggering town of Sellers, fends this to his companions, who are dainty of their perfons, praftifing baffe dances and new brawls, concern- ing the war of Rome, Naples, and Genoa ; with an epiftle to his mol merry wench. Jeanne Rofee, for paftime). In the firft of thefe poems Arena traces in his burlefque verfe, which is an imitation of Folengo, his own adventures and fufferings in the war in Italy which led to the fack of Rome, in 1^27, and in the fubfequent expeditions to Naples and Genoa. From the picture of the horrors of war, he pafTes very willingly to defcribe the joyous manners of the fludents in Proven9al univerfities, of whom bo /;/ Literature and Art. 321 tells us, that they are all tine gallants, and always in love with the prettjf girls. Gent'igr.lanttt Junt omnet injludiantes, Et bellas garjai femper cmare folert. He goes on to defcribe tlie fcholars as great quarrellers, as well as lovers of the other lex, and after dwelling on their gaiety and love of the dance, he proceeds to treat in the fame burlefque ftyle on the fubjedt of dancing ; but I pafs over this to fpeak of Arena's principal piece, the fatirical defcription of the invafion of Provence by the emperor Charles V. in i^i^f^. This curious poem, which is entitled " Meygra Enterprila Cato- loqui imperatoris," and which extends to upwards of two thoufand lines, opens with a laudatory addrefs to the king of France, Francois I., and with a fneer at the pride of the emperor, who, believing himfelf to be the mafter of the whole world, had foolillily thought to take away France and the cities of Provence from their rightful monarch. It was Antonio de Leyva, the boafter, who had put this projed into the emperor's head, and they had already pillaged and ravaged a good part of Provence, and were dividing the plunder, when, harafled continually by the peafantry, the invaders were brought to a (land by the difficulty of fubfifting in a devaftated country, and by the difeafes to which this difficulty gave rife. Neverthelefs, the Spaniards and their allies committed terrible devafta- tion, which is defcribed by Arena in ftrong language. He commemorates the valiant refiftance of his native town of Soliers, which, however, was taken and facked, and he loft in it his houfe and property. Aries held the imperialilbi at bay, while the French, under the conilable Montmo- rency, eftablifhed themfelves firmly at Avignon. At length difeafe gained pofleflion of Antonio de Leyva himfelf, and the emperor, who had been making an unfuccetful demonftration againft Marfeilles, came to liim in bis fickneGi. The hrft lines of the defcription of this interview, will fcrve as a fpccimen of the language of the French macaronics : — Std de Marjtlla hragganu quando retornat, fort mate contentui, quando rcpoljat cum, Antinlum Lexiam trobavif Jorte •naladum. Cut mori lerribilis trijie cubile fir at. V 322 Hijiory of Caricature and Grotefque Ethica torquet eum per coflas, ct dolor mgens : Cum male res -vadk, 'v'l'vere f achat eum. Dtxerunt medici, Jperanja eji rutlla Jalutis : Ethkus in tejia ■vl-vere pauca poteji. Ante Juam mortem voluit parlare per horam Imperelatorl, confiliumque dare. Scis, Ccefar, jiriEie nojlr'i groppantur amores, Namque duas animas corpus utrumque tenet, Heu ! fuge Pro-venjam fortem, fuge llttus amarum, Fac tibi non noceat gloria tanta modo. TEANSLATION. But when he returns from boajiing Marjeillesy Very ill content, that flie had repulj'ed him. He found Antonio de Ley-va -very ill. For luhom terrible death is preparing a forroivful bed. HeSic fever tortures him in the ribs, and great pain ; Since things are going ill, he is lueary of life. Before his death he ivijhed to f peak an hour To the emperor, and to give him counfel. " Tou inoio, Cafar, our affeBions are clofely bound together, • For either body holds the ttoo fouls, Alas ! fy Provence the firong, fly the bitter Jhore, Take care that your great glory prove not an injury to you. ''^ Thus Leyva goes on to perfuade the emperor to abandon his enterprife, and then dies. Arena exults over his death, and over the emperor's grief for his lofs, and then proceeds to defcribe the difaftrous retreat of the imperial army, and the glory of France in her king. Antonius de Arena wrote with vigour and humour, but his verfes are tame in comparifon with his model, Folengo. The tafte for macaronic verfe never took ftrong root in France, and the few obfcure writers who attempted to fhine in that kind of compolition are now forgotten, except by the laborious bibliographer. One named Jean Germain, wrote a macaronic hiftory of the invafion of Provence by the imperialifts in rivalry of Arenas. I will not follow the tafte for this clafs of burlefque compoli- tion into Spain or Germany, but merely add that it was not adopted in England until the beginning of the feventeenth century, when feveral authors employed it at about the fame time. The moft perfe6t example of thefe early Englifh macaronics is the " Polemo-Middiana," i.e. battle of in Literature a?2d Art. 323 the dunghill, by the talented and elegant-minded Drummond of Haw- thornden. We may take a fingle example of the Englilli macaronic from this poem, which will not need an Englilh tranflation. One of the female charaders in the dunghill war, calls, among others, to her aid — Hunc qui dirtiferas terjlt cum dijhclouty dijhras, Hunc qui gruelias fcivit bene Uckere plcttas, Et Jaltpannifumos, et iviJebricatos fjhtros, Hellaofque etiam Jaltercs duxit ab antris, CoalheughciS nigri girnanta more di-velli ; Lifeguardamque fibi fcevas -vocat imfroba lajfas, Maggyam magis doEiam milkare covteas^ Et doElam jucpare jiouras^ et jlernere beddas, ^utFque no-vit Jpinnare, et longas ducere threddas ; Nanjyam, cla-ves bene quie keepa-verat omncs, Slyaque lanam cardare jolet greajy-fingria Betty. Perhaps before this was written, the eccentric Thomas Coryat had publilhed in the volume of his Crudities, printed in 1611, a fliort piece of vcrfe, which is perfed in its macaronic ftyle, but in which Italian and other foreign words are introduced, as well as Englifh. The celebrated comedy of "Ignoramus," compofed by George Ruggle in 1615, may alfo be mentioned as containing many excellent examples of Englifli macaronics. While Italy was giving birth to macaronic verfe, the fatire upon the ignorance and bigotry of the clergy was taking another form in Germany, which arofe from fome occurrences which it will be neceffary to relate. In the midft of the violent religious agitation at the beginning of the fixtecnth century in Germany, there lived a German Jew named Pfefler- corn, who embraced Chriftianity, and to fliow his zeal for his new faith, he obtained from the emperor an edift ordering the Talmud and all the Jewilli writings which were contrary to the Chriflian faith to be burnt. There lived at the fame time a fcholar of diflindion, and of more liberal views than mod of the fcholallics of his time, named John Reuchlin. He was a relative of Melan6thon, and was fecretary to the pallgrave, who was tolerant like himfelt. The Jews, as might be expedted, were unwilling to give up their books to be burnt, and Reuchlin w^jtc in their defence, under the alTumed name of Capnion, which is a 324 Hiflory of Caricature and Grotefque Hebrew tranflation of his own name of Reuchlin, meaning fmoke, and urged that it was better to refute the books in queftion than to burn them. The converted Pfeffercorn replied in a book entitled " Speculum Manuale," in anfwer to which Reuchlin wrote his " Speculum Ocu- lare." The controverfy had already provoked much bigoted ill-feeling againft Reuchlin. The learned doftors of the univerfity of Cologne efpoufed the caufe of Pfeffercorn, and the principal of the univerfity, named in Latin Ortuinus Gratius, fupported by the Sorbonne in Paris, lent himfelf to be the violent organ of the intolerant party. Hard preffed by his bigoted opponents, Reuchlin found good allies, but one of the beft of thefe was a brave baron named Ulric von Hutten, of an old and noble family, born in 1488 in the caftle of Staeckelberg, in Franconia. He had ftudied in the fchools at Fulda, Cologne, and Frankfort on the Oder, and diflinguiflied himfelf fo much as a fcholar, that he obtained the degree of Mafter of Arts before the ufual age. But Ulric poffefled an adventurous and chivalrous fpirit, which led him to embrace the profeflion of a foldier, and he ferved in the wars in Italy, where he was dillinguifhed by his bravery. He was at Rome in 15 16, and defended Reuchlin againft the Dominicans. The fame year appeared the firft edition of that marvellous book, the "Epistolae Obfcurorum Virorum," one of the moft remarkable fatires that the world has yet feen. It is believed that this book came entirely from the pen of Ulric von Hutten 3 and the notion that Reuchlin himfelf, or any others of his friends, had a fliare in it appears to be without foundation. Ulric was in the following year made poet-laureat. Neverthelefs, this book greatly incenfed the monks againft him, and he was often threatened with aflaflination. Yet he boldly advocated the caufe and embraced the opinions of Luther, and was one of the ftaunch fup- porters of Lutheranifm. After a very turbulent life, Ulric von Hutten died in the Auguft of the year 1523. The " Epiftolae Obfcurorum Virorum," or letters of obfcure men, are fuppofed to be addreffed to Ortuinus Gratius, mentioned above, by various mdividuals, fome his fcholars, others his friends, but all belonging to the bigoted party oppofed to Reuchlin, and they were defigned to throw ridicule on the ignorance, bigotry, and immorality of the clergy of the in Literature and Art. 325 Romilli church. The old Icholaftic learning had become debafed into a heavy and barbarous fyfteni of theology, literary compofition confifted in writing a no lels barbarous Latin, and even the few claHical writers who were admitted into the fchools, were explained and commented upon in a ftrange half-theological flifliion. Thefe old fcholaftics were bitterly oppofed to the new learning, which had taken root in Italy, and was fpreading abroad, and they fpoke contemptuoufly of it as " fecular." The letters of the obfcure individuals relate chiefly to the difpute between Reuchlin and Pfeft'ercorn, to the rivalry between the old fcholarfliip and the new, and to the low licentious lives of the theologiftsj and they are written in a ftyle of Latin which is intended for a parody on that of the latter, and wliich clofely refembles that which we call "dog-Latin."* They are full of wit and humour of the moft exquilite defcription, but they too often defcend into details, treated in terms which can only be excufed by the coarfe and licentious chara£ter of the age. The literary and fcientific queftions difculled in thefe letters are often \erf droll. The firft in order of the correfpondents of Ortuinus Gratius, who boafls of the rather formidable name, Thomas Langfchneiderius, and addreffes matter Ortuinus as "poet, orator, philofopher, and theologift, and more if he would," propounds to him a difficult queftion : — " There was here one day an Aristotelian dinner, and doctors, licenciates, and masters too, were very jovial, and I was there too, and we drank at the first courie three draughts of Malmsey, . . • and then we had six dishes ot flesh and chickens and capons,, and one of fish, and as we passed from one dish to another, we continually drunk wine of Kotzhurg and the Rhine, and ale of Embetk, and Thurgen, and Ntuburg. And the masters were well satisfied, and said that tiie new masters had acquitted themselves well and with great honour. Then the n1a^te^s in their hilarity began to talk learnedly on great questions, and one asked whether it were * This style differs entirely from the macaronic. It consists merely in using the words of the Latin language with the forms and construction of the vulgar tongue, as illu<'trated by the directions of the professor who, lecturing in the schools, was interrupted by the entrance ol a dog, and shouted out to the doorkeeper, yerte canem ex, meaning thereby that he should " turn the dog out." It was perhaps from thin, or some similar occurrence, that this barbarous Latin gained the name ot dog- Latin. The French call it Latin de cui/me. 326 Hi/iory of Caricature and Grotefque correct to say magijler nojlrandus, or nojier magtjlrandus, for a person fit to be made doctor in theology. . . . And immediately Master Warmsemmel, who is a subtle Scotist, and has been master eighteen years, and was in his time twice rejected and thrice delayed for the degree of master, and he went on offering Iiimself, until he was pro- moted for the honour of the university, . . . spoke, and held that we should say noJler magijirandus. . . . Then Master Andreas Delitsch, who is very subtle, and half poet, half artist (^i.e. one who professed in the faculty of arts), physician, and jurist; and now he reads ordinarily ' Ovid on the Metamorphoses,' and expounds all the fables allegorically and literally, and I was his hearer, because he expounds very fundamentally, and he aUo reads at home Quintillian and Juvencus, and he held the opposite to Master Warmsemmel, and said that we ought to say magijler nojlrandus. For as there is a difference between magijler nofter and noJler magijter^ so also there is a difference between magijler nojlrandus and noJler magijirandus ; for a doctor in theology is called magijler noJler, and it is one word, but noJler magijler are two words, and it is taken for any master; and he quoted Horace in support of this. Then the masters much admired his subtlety, and one drank to him a cup of Neu- burg ale. And he said, ' I will wait, but spare me,' and touched his hat, and laughed heartily, and drank to Master Warmsemmel, and said, ' There, master, don't think I am an enemy,' and he drank it off at one draught, and Master Warm- semmel replied to him with a strong draught. And the masters were all merry till the bell rang for Vespers." Mafler Ortuin is prefTed for his judgment on this weighty queftion. A fimilar fcene defcribed in another letter ends lefs peacefully. The cor- refpondent on this occafion Is Magifter Bornharddus Plumilegus, who addreffes Ortuinus Gratius as follows : — " Wretched is the mouse which has only one hole for a refuge ! So also I may say of myself, most venerable sir, for I should be poor if I had only one friend, and when that one should fail me, then I should not have another to treat me with kind- ness. As is the case now with a certain poet here, who is called George Sibutus, and he is one of the secular poets, and reads publicly in poetry, and is in other respects a good fellow (bonus Jocius) . But as you know these poets, when they are not theologists like you, will always reprehend others, and despise the theologists. And once in a drinking party in his house, when we were drinking Thurgen ale, and sat until the hour of tierce, and I was moderately drunk, because that ale rose into my head, then there was one who was not before friendly with me, and I drank to him half a cup, and he accepted it. But afterwards he would not return the compliment. And thrice I cautioned him, and he would not reply, but sat in silence and said nothing. Then I thought to myself. Behold this man treats thee with contempt, and is proud, and always wants to confound you. And I was stirred in my anger, and took the cup, and threw it at his head. Then that poet was angry at me, and said that I had caused a disturbance in his house, and said I should go out of his house in the devil'.; name. Then I replied, ' What matter is it if you are my in Literature and Art. 327 enemy ? I have had as bad enemies as you, and yet I have stood in spite of thcin. What matters it if you are a poet? I have other poets who are my friends, and they are quite as good as you, ego bene mcrdnrcm in ■vcftram pcetnam ! Do you think I am a fool, or that I was born under a tree like apples ?' Then he called me an ass, and said that I never saw a poet. And I said, 'You arc an ass in your skin, I have seen many more poets than you.'" And I spoke of you. . . . Wherefore I ask you very earnestly to write me one piece of verse, and then I will show it to this poet and others, and I will boast that you are my friend, and you are a much better poet than he." The war againfl, the lecular poets, or advocates of the new learning, is kept up with fpirit through this ludicrous correfpondence. One corre- fpondent prelles Ortuinus Gratius to "write to me whether it be neceflary for eternal falvation that fchclars learn grammar from the fecular poets, fuch as Virgil, TuUius, Pliny, and others j for," he adds, "it feems to me that this is not a good method of ftudying." "As I have often written to 3'ou," fays another, " I am grieved that this ribaldry {ijia rilaldria), namely, the faculty of poetry, becomes common, and is fpread through all provinces and regions. In my time there was only one poet, who was called Samuel 5 and now, in this city alone, there are at leaft twenty, and they vex us all who hold with the ancients. Lately I thoroughly defeated one, who faid that fcholaris does not fignify a perfon who goes to the fchool for the purpofe of learning ; and I laid, ' Als I will you corre6l the holy dodor who expounded this word ? '" The new learning was, of courfe, identified with the fupporters of Reuchlin. "It is faid here," continues the fame correfpondent, " that all the poets will fide with do6tor Reuchlin againfl tlie theologians, I willi all the poets were in the place where pepper grows, that they might let us go in peace !" Mailer William Lamp, " mailer of arts," fends to Mailer Ortuinus Gratius, a narrative of his adventures in a journey from Cologne to Rome. Firft he went to Mayence, where his indignation was moved by the open manner in which people fpoke in favour of Reuchlin, and when he hazarded a contrary opinion, he was only laughed at, but he held his tongue, becaufe his opponents all carried arms and looked fierce. " One of them is a count, and is a long man, and has white hair; and they fay that he takes a man in armour in his hand, and throws him to the ground, 328 Hijiory of Caricature and Grotefque and he has a fword as long as a giant j when I law him, then I held my tongue." At Worms, he found things no better, for the " dodors " fpoke bitterly againft the theologians, and when he attempted to expoftulate, he got foul words as well as threats, a learned do6tor in medicine affirming " quod merdaret Juper nos omnes." On leaving Worms, Lamp and his companion, another theologift, fell in with plunderers who made them pay two florins to drink, " and I faid occulta. Drink what may the devil blefs to you!" Subfequently they fell into low amours at country inns, which are defcribed coarfely, and then they reached Infprucken, where they found the emperor, and his court and army, with whole manners and proceedings Magifter Lamp became forely difgufted. I pafs over other adventures till they reach Mantua, the birthplace of Virgil, and of a late mediaeval Latin poet, named from it Baptifta Mantuanus. Lamp, in his hoftile fpirit towards the " fecular poets," proceeds, — " And my companion faid, ' Here Virgil was born.' I replied, 'What do I care for that pagan ? We will go to the Carmelites, and fee Baptifta Mantuanus, who is twice as good as Virgil, as I have heard full ten times from Ortuinus 3 ' and I told him how you once reprehended Donatus, when he fays, ' Virgil was the moft learned of poets, and the beft;' and you faid, ' If Donatus were here, I .would tell him to his face that he lies, for Baptifta Mantuanus is above Virgil.' And when we came to the monaftery of the Carmelites, we were told that Baptifta Mantuanus was dead ; then I faid, ' May he reft in peace !'" They continued their journey by Bologna, where they found the inquifitor Jacob de Hochftraten, and Florence, to Siena. "After this there are fmall towns, and one is called Monte-flafcon, where we drunk excellent wine, fuch as I never drank in my life. And I alked the hoft what that wine is called, and he replied that it is lachryma Chrifti. Then faid my companion, 'I wilh Chrift would cry in our country!' And fo we drank a good bout, and two days after we entered Rome." In the courfe of thefe letters the theologifts, the poets efpecially, the charafter of the clergy, and particularly Reuchlin and PfefTercorn, afford continual fubjeds for difpute and pleafantry. The laft mentioned indivi- dual, in the opinion ot fome, had merited hanging for theft, and it was pretended that the Jews had expelled him from their fociety for his Literature and in Art. 329 wicked courfes. One argued that all Jews flink, and as it was well known that Pfeffercorn continued to llink like a Jew, it was quite evident that he could not be a good Chriltian. Some of Ortuinus's correfpondcnts confult him on difficult theological queftions. Here is an example in a letter from one Henricus SchafFmulius, another of his fcholars who had made the journey to Rome : — " Since, before I journeyed to the Court, you said to me that I am to write often to you, and that sometimes I am to send you any theological questions, which you will solve for me better than the courtiers of Rome, therefore now I ask your mastership what you hold as to the case when any one on a Friday, or any other fast day, eats an eg?, and there is a chicken inside. Because the other day we sat in a tavern in the Campo-flore, and made a collation, and eat eggs, and I, opening an egg, saw that there was a young chicken in it, ^hich I showed to my companion, and then he said, ' Eat it quickly before the host sees it, for if he sees it, then you will be obliged to give a carlino or a julio for a hen, because it is the custom here that, when the host places anything on the table, you must pay for it, for they will not take it back. And when he sees there is a young hen in the egg, he will say, Pay me for the hen, because he reckons a small one the same as a large one.' And I immediately sucked up the egg, and with it the chicken, and afterwards I bethought me that it was Friday, and I said to my companion. ' You have caused me to com- mit a mortal sin, in eating flesh on Friday.' And he said that it is not a mortal sin, nor even a venial sin, because that embryo of a chicken is not reckoned other than an egg till it is born ; and he told me that it is as in cheeses, in which there are sometimes wornis, and in cherries, and fresh peas and beans, yet they are eaten on Fridays, and also in the vigils of the apostles. But the hosts are such rogues, that they say that they are flesh, that they may have more money. Then I went away, and thought about it. And, per Deum ! Magister Ortuinus, I am much troubled, and I know not how I ought to rule myself. If I went to ask advice of a courtier [of the papal court], I know that they liave not good consciences. It >ccms to me that these young hens in the eggs are Hesh, because the matter is already formed and figured in members and bodies of an animal, and it has life ; it is other- wise wifh worms in cheeses and other things, because worms are reputed for fislies, as 1 have heard from a physician, who is a very good naturalist. Therefore I ask you very earnestly, that you will give me your reply on this question. Because if you hold that it is a mortal sin, then I will purchase an absolution here, before I return to Germany. Also you must know that our master Jacobus dc Hochstratcn has obtained a thousand florins from the bank, and I think that with these he will gain his cause, and the devil confound thit John Reuchlin, and the other poets and jurists, because they will be against the church of God, that is, against tiie thcologists, in whom is founded the church, a.s Christ said : Thou art Peter, and upon this rock I will build my church. And so I commend you to the Lord God. Fare- well. Given from the city of Rome." While ill Italy macaronic literatiifc was reaching itsgreateft perfedion. 330 Hi [lory of Caricature and Grotefque there arofe in the very centre of France a man of great original genius, who was foon to aftonifti the world by a new form of fatire, more grotefque and more comprehenfive than anything that had been feen before. Teofilo Folengo may fairly be conlidered as the precurfor of Rabelais, who appears to have taken the Italian fatirift as his model. What we know of the life of Frangois Rabelais is rather obfcure at beft, and is in fome parts no doubt fabulous. He was born at Chinon in Touraine, either in 1483 or in 1487, for this feems to be a difputed point, and fome doubt has been thrown on the trade or profeflion of his father, but the moft generally received opinion is that he was an apothecary. He is faid to have fliown from his youth a difpofition more inclined to gaiety than to ferious purfuits, yet at an early age he had made great proficiency in learning, and is faid to have acquired a very fufficient knowledge of Latin, Greek, and Hebrew, two of which, at leaft, were not popular among the popifli clergy, and not only of the modern lan- guages and literature of Italy, Germany, and Spain, but even of Arabic. Probably this eftimate of his acquirements in learning is rather exaggerated. It is not quite clear where the young Rabelais gained all this knowledge, for he is faid to have been educated in convents and among monks, and to have become at a rather early age a Francifcan friar in the convent of Fontenai-le-Compte, in Lower Poitou, where he became an objeft of iealoufy and ill-feeling to the other friars by his fuperior acquirements. It was a tradition, at leaft, that the conduft of Rabelais was not very ftriftly conventual, and that he had fo far fliown his contempt for monaftic rule, and for the bigotry of the Romifh church, that he was condemned to the prifon of his monaftery, upon a diet of bread and water, which, according to common report, was very uncongenial with the taftes of this joyial friar. Out of this difficulty he is faid to have been helped by his friend the bifliop of Maillezais, who obtained for him the pope's licence to change the order of St. Francis for the much more eafy and liberal order of St. Benedift, and he became a member of the bilhop's own chapter in the abbey of Maillezais. His unfteady temper, however, was not long fatisficd with this retreat, which he left, and, laying afide the regular habit, affumed that of a fecular prieft. In this chara6ter he wandered for in Literature and Art. 3 3 1 fome time, and then fettled at Montpellier, where he took a degree as dodor in medicine, and pradiled for Tome time with credit. There he pubUlhed in 1532 a tranllation of fome works of Hippocrates and Galen, which he dedicated to his friend the bilhop of Maillezais. The circum- ftances under which he left Montpellier are not known, but he is fup- pofed to have gone to Paris upon fome bufinefs of the univerfity, and to have remained there. He found there a {launch friend in Jean de Bellay, bifliop of Paris, who foon afterwards was raifed to the rank ot cardinal. When the cardinal de Bellay went as ambaflador to Rome from the court of France, Rabelais accompanied him, it is faid in the charafter of his private medical advifer, but during his ftay in the metropolis of Chriftendom, as Chriftendom was underllood in thofe days; by the Romifli church, Rabelais obtained, on the 17th of January, 1536 the papal abfolution for all his tranfgrellions, and licence to return to Maillezais, and pradife medicine there and elfewhere as an a6l of charity. • Thus he became again a Benedi6tine monk. He, however, changed again, and became a fecular canon, and finally fettled down as the cure of Meudon, near Paris, with which he alfo held a fair number of ecclefi- aftical benefices. Rabelais died in 1553, according to fome in a very religious manner, but others have given ftrange accounts of his lafl moments, reprefenting that, even when dying, he converfed in the fame fpirit of mockery, not only of Romifli forms and ceremonies, but of all religions whatever, which was afcribed to him during his life, and which are but too openly manifefted in the extraordinary fatirical romance which has given fo much celebrity to his name. During the greater part of his life, Rabelais was expofed to troubles and perfecutions. He was faved from the intrigues of the monks by the friendly influence of popes and cardinals ; and the favour of two fucceflive kings, Francois I. and Henri H., protefted him againfi: the ftill more dangerous hoftility of the Sorbonne and the parliament of Paris. This high protection has been advanced as a reafon for rcje6ting the anecdotes and accounts which have been commonly received relating to the per- fonal charafter of Rabelais, and his irregularities may poflibly have been exaggerated by the hatred which he had drawn upon liimfdf by his 332 Hijlory of Caricature and Grotefque writings. But nobody, I think, who knows the charafter of fociety at that time, who compares what we know of the hves of the other fatirifts, and who has read the hiftory of Gargantua and Pantagruel, will confider fuch an argument of much weight againft the deliberate ftatements of thofe who were his contemporaries, or be inclined to doubt that the writer of this hillory was a man of jovial chara6ter, who loved a good bottle and a broad joke, and perhaps other things that were equally objedlionable. His books prefent a fort of wild riotous orgy, without much order or plan, except the mere outline of the ftory, in which is dif- played an extraordinary extent of reading in all clalTes of literature, from the mofl learned to the motl: popular, with a wonderful command of lan- guage, great imagination, and fome poetry, intermixed with a per- haps larger amount of downright obfcene ribaldry, than can be found in the macaronics of Folengo, in the "Epiftolae Obfcurorum Virorum," or in the works of any of the other fatirifts who had preceded him, or were his contemporaries. It is a broad caricature, poor enough in its ftory, but enriched with details, which are brilliant with imagery, though generally coarfe, and which are made the occafions for turning to ridicule everything that exifted. The five books of this romance were publifhed feparately and at different periods, apparently without any fixed intention of con- tinuing them. The earlier editions of the firft part were publifhed without date, but the earlieft editions with dates belong to the year 1535, when it was feveral times reprinted. It appeared as the life of Gar- gantua. This hero is fuppofed to have flourilhed in the firft half of the fifteenth century, and to have been the fon of Grandgoufier, king of Utopia, a country which lay fomewhere in the direftion of Chinon, a prince of an ancient dynafty, but a jovial fellow, who loved good eating and drinking better than anything elfe. Grandgoufier married Garga- melle, daughter of the king of the Parpaillos, who became the mother of Gargantua. The firft chapters relate rather minutely how the child was born, and came out at its mother's ear, why it was called Gargantua, how it was drelfed and treated in infancy, what were its amufements and difpofition, and how Gargantua was put to learning under the fophifts, and made no progrefs. Thereupon Grandgoufier fent his fon to Paris, to /// Literature arid Art. 333 feek inftrudion there, and he proceeds thither mounted on an immenfe mare, which had been fent as a prefent by the king of Nuniidia — it nnift be borne in mind that the royal race of Utopia were all giants. At Paris the populace allembled tumultuouily to gratify their curiofity in looking at this new fcholar j but Gargantua, befides treating them in a ver)' contemptuous manner, carried off the great bells of Notre Dame to fufpend at the neck of his mare. Great was the indignation caufed by this theft. " All the city was rifen up in fedition, they being, as you know, upon any flight occafions, fo ready to uproars and infurredions, that foreign nations wonder at the patience of the kings of France, who do not by good juftice reftrain them from fuch tumultuous courfes." The citizens take counlel, and refolve on fending one of the great orators of the univerfity. Matter Janotus de Bragmardo, to expoftulate with Gargantua, and obtain the refloration of the bells. The fpeech which this worthy addrefles to Gargantua, in fulfilment of his miflion, is an amufing parody on the pedantic ftyle of Parifian oratory. The bells, however, are re- covered, and Gargantua, under Ikilful inflruftors, purfues his ftudies with credit, until he is fuddenly called home by a letter from his father. In fad, Grandgoufier was fuddenly involved in a war with his neighbour Picrocole, king of Lernu, caufed by a quarrel about cakes between fome cake-makers of Lerne and Grandgoufier's Ihepherds, in confequence of which Picrocole had invaded the dominions of Grandgoufier, and was plundering and ravaging them. His warlike humour is ftirred up by the counfels of his three lieutenants, who perfuade him that he is going to become a great conqueror, and that they will make him mafter of the whole jA'orld. It is not difficult to fee, in the circumftances of the time, the general aim of the fatire contained in the hiftoryof this war. It ends in the entire defeat and difappearance of king Picrocole. A fcnfiial and jovial monk named brother Jean des Entommeurs, who has firll dillin- guilhed himfclf by his prowefs and firength in defending his own abbey againfl the invaders, contributes largely to the vidory gained by Gargantua againtt his father's enemies, and Gargantua rewards him by founding for him that plcafant abbey of Thelc^me, a grand eftabliihment, ftored with •everything which could contribute to terrclfrial happinels, from which 334 Hijiory of Caricature and Grotejque all hypocrites and bigots were to be excluded, and the rule of which was comprifed in the four fimple words, " Do as you like." Such is the hiftory of Gargantua, which was afterwards formed by Rabelais into the firft book of his great comic romance. It was pub- lifhed anonymoufly, the author merely defcribing himfelf as " Tabftrafteur de quinte elTence 3 " but he afterwards adopted the pfeudonyme of Alcofribas Nafier, which is merely an anagram of his own name, Francois Rabelais. A very improbable ftory has been handed down to us relating to this book. It is pretended that, having publifhed a book of medical fcience which had no fale, and the publifher complaining that he had loft money by it, Rabelais promifed to make amends for his lofs, and immediately wrote the hiflory of Gargantua, by which the fame book- feller made his fortune. There can be no doubt that this remarkable fatire had a deeper origin than any cafual accident like this 3 but it was exa6tly fuited to the tafte and temper of the age. It was quite original in its form and ftyle, and it met with immediate and great fuccefs. Numerous editions followed each other rapidly, and its author, encouraged by its popularity, very foon afterwards produced a fecond romance, in continuation, to which he gave the title of Pantagruel. The caricature in this fecond romance is bolder even than in the firft, the humour broader, and the fatire more pungent. Grandgoufier has difappeared from the fcene, and his fon, Gargantua, is kmg, and has a fon named Pantagruel, whofe kingdom is that of the Dipfodes. The firft part of this new romance is occupied chiefly with Pantagruel's youth and education, and is a fatire on the univerfity and on the lawyers, in which the parodies on their ftyle of pleading as then pra6tifed is admirable. In the latter part, Pantagruel, like his father Gargantua, is engaged in great wars. It was perhaps the continued fuccefs of this new produftion of his pen which led Rabelais to go on with it, and form the defign of making thefe two books part only of a more extenfive romance. During his ftudies in Paris, Pantagruel has made the acquaintance of a fingular individual named Panurge, who becomes his attached friend and conftant companion, holding fomewhat the pofition of brother Jean in the firft book, but far more crafty and verfatile. The whole f^abjeft of the third /;/ Literature and Art. 335 book arifes out of Pantagreul's defire to marry, and its various amufing epifodes defcribe the different expedients which, at the fuggeftion ot Panurge, he adopts to arrive at a Iblution oi the quelVion whether his marriage would be fortunate or not. In pubhlliing his fourth book, Rabelais complains that his writings had raifed him enemies, and that he was accufed of having at lead written herely. In fad, he had bitterly provoked both the monks and the univerfity and parliament; and, as the increafing readion of Romanifm in France gave more power of perfecution to the two latter, he was not writing without fome degree of danger, yet the fatire of each fucceffive book became bolder and more dired. The fifth, which was left unfinifhed at his death, and which was publilhed potHiumoufly, was the moft fevere of them all. The charader of Gargantua, indeed, was almoft forgotten in that of Pan- tagruel, and Pantagruelifm became an accepted name for the fort of gay, recklefs fatire of which he was looked upon as the model. He defcribed it himfelf as a certaine gaiete d'efprit confite en viepris des chafes fortuites, in fad, neither Romanifm nor Protettantifm, but fimply a jovial kind of Epicurianifm. All the gay wits of 'be time afpired to be Plantagruelills, and the remainder of the fixteenth century abounded in wretched imita- tions of the llyle of Rabelais, which are now configned as mere rarities to the flielves of the bibliophilift. Among the dangers which began to threaten them in France in the earlier part of the fixteenth century, liberal opinions found an afylum at the court of a princefs who was equally diftinguiflied by her beauty, by her talents and noble fentiments, and by her accomplifluiients. Mar- guerite d' Angouleme, queen of Navarre, was the only fifter of Fran9ois I., who was her junior by two years, and was affe6lionately attached to her. She was born on the nth of April, 1492. She had married, firft, that unfortunate duke d'AlenQon, whofe mifcondud at Pavia was the caufe ol the difaftrous defeat of the French, and the captivity of their king. The duke died, it was faid of grief at his misfortune, in 1525 ; and two years afterwards, on the 24th of January, 1527, llie married Henri d'Albret, king of Navarre. Their daughter, Jeanne d'Albret, carried this petty royalty to the houfe of Bourbon, and was the mother of Henri IV. 336 Hijiory of Caricature and Grotefque Marguerite held her court in true princely manner in the caflle of Pau or at Nerac, and fhe loved to furround herfelf with a circle of men remarkable for their charafter and talents, and ladies diftinguifhed by beauty and accomplifhments, which made it rival in brilliance even that of her brother Franpois. She placed neareft to her perfon, under the charafter of her valets-de-chamhre, the principal poets and leaux-efprits of her time, fuch as Clement Marot, Bonaventure des Periers, Claude Gruget, Antoine du Moulin, and Jean de la Haye, and admitted them to fuch a tender familiarity of intercourfe, as to excite the jealoufy of the king her hufband, from whofe ill-treatment fhe was only prote6ted by her brother's interference. The poets called her chamber a "veritable ParnafTus." Hers was certainly a great mind, greedy of knowledge, diflatisfied with what was, and eager for novelties, and therefore Ihe encouraged all who fought for them. It was in this fpirit, combined with her earneft love for letters, that Ihe threw her prote6tion over both the fceptics and the religious reformers. At the beginning of the perfecutions, as early as 1523, Ihe openly declared herfelf the advocate of the Proteftants. When Clement Marot was arretted by order of the Sorbonne and the Inquifitor on the charge of having eaten bacon in Lent, Marguerite caufed him to be liberated from prifon, in defiance of his perfecutors. Some of the purell and ableft of the early French reformers, fuch as RoufTel and Le Fevre d'Etaples, and Calvin himfelf, found a fafe afylum from danger in her dominions. As might be fuppofed, the bigoted party were bitterly incenfed againfl: the queen of Navarre, and were not backward in taking advantage of an opportunity for Ihowing it. A moral treatife, entitled " Le Miroir de I'Ame Pecherefle," of which Marguerite was the author, was condemned by the Sorbonne in 1533, but the king compelled the univerfity, in the perfon of its re6tor, Nicolas Cop, to difavow publicly the cenfure. This was followed by a fl.il 1 greater a6t of infolence, for, at the inftigation of fome of the more bigoted papifl:s, the fcholars of the college of Navarre, in concert with their regents, performed a farce in which Marguerite was transformed into a fury of hell. Frangois L, greatly indignant, fent his axchers to arreft the offenders, who further provoked his anger by in Literature and Art. 337 reiirtance, and only obtained iheir pardon through the generous inter- Cflhon of the princels whom they had lb groflly inl'ulted. Marguerite was herlelf a poetefs, and Ihe loved above all things thofe gay, and i'eldom very delicate, Itories, the telling of which was at that time one of the favourite amufements of the evening, and one in which fhe was known to excel. Her poetical writings were colleded and pnnted, under her own authority, in 1547, by her then valet- de-thaml re, Jean de la Haye, who dedicated the volume to her daughter. They are all oraceful, and fome of them worthy of the bell poets of her time. The tide of this colledion was, punning upon her name, which means a peail, " Marcruerites de la Marguerite des princeires, tres illullre reyne de Navarre." Marguerite's ftories (nouvelles) were more celebrated than her verles, and are laid to have been committed to writing under her own dictation. All the ladies of her court pollelfed copies of them in writing. It is underllood to have been her intention to form them into ten days' tales, of ten in each day, lo as to refemble the "Decameron " of Boccaccio, but only eight days were finilhed at the time of her death, and the imperfeft work was publilhed pofthumoufly by her vulet-de- chambre, Claude Gruget, under the title of" L'Heptameron, ou Hilloire des Amants Fortunes." It is by far the btft colle6tion of Itories of the fixteenth century. They are told charmingly, in language which is a perfe6t model of French compolition of that age, but they are all tales of gallantr)' fuch as could only be repeated in polite fociety in an age which was elTentially licentious. Queen Marguerite died on the 2 ill of December, 1.549, and was buried in the cathedral of Pau. Her death was a fubjedt of regret to all that was good and all that was poetic, not only in France, but in Europe, which had been accullomed to look iijion her as the tentii Muft; and the fourth Grace : — Mujarum decima et Charitum quarta^ inclyta regum El Joror et conjux, Marguarh ilia jacet. Before Marguerite's death, he: literary circle had been broken up by the hatred of religious perfecutors. Already, m 15.36, the imprudent boldncli of Marol had rendered it impoHible to protedt him any longer, Z 33^ Hijiory of Caricature and Grotefqiie and he had been obliged to retire to a place of concealment, from whence he fometimes paid a ftealthy vifit to her court. His place of valet-de-chamlre was given to a man of talents, even more remarkable, and who fhared equally the perfonal elteem of the queen of Navarre, Bonaventure des Periers. Marot's fucceffor paid a graceful compliment to him in a lliort poem entitled " L'Apologie de Marot abfent," publiihed in 1537. The earlier part of the year following witnefled the publication of the moft remarkable work of Bonaventure des Periers, the " Cymbalum Mundi," concerning the real chara6ter of which writers are Hill divided in opinion. In it Des Periers introduced a new form of fatire, imitated from the dialogues of Lucian. The book confifts of four dialogues, written in language which forms a model of French compo- fition, the perfonages introduced in them intended evidently to reprefent living chara6ters, whofe names are concealed in anagrams and other devices, among whom was Clement Marot. It was the boldeft declara- tion of fceptioifm which had yet iffued from the Epicurean fchool repre- fented by Rabelais. The author fneers at the Romilh church as an impollure, ridicules the Proteftants as feekers after the philofopher's ftone, and ihows difrefpe6t to Chriftianity itfelf. Such a book could hardly be publiihed in Paris with impunity, yet it was printed there, fecretly, it is faid, by a well-known bookfeller, Jean Morin, in the Rue St. Jacques, and therefore in the immediate vicinity of the perfecuting Sorbonne. Private information had been given of the charader of this work, poflibly by the printer himfelf or by one of his men, and on the 6th of March, 1538, when it was on the eve of publication, the whole impreffion was feized at the printer's, and Morin himfelf was arretted and thrown into prifon. He was treated rigorouily, and is underftood to have efcaped only by difavowing all knowledge of the charader of the book, and giving up the name of the author. The-firfi; edition of the " Cymbalum Mundi " was burnt, and Bonaventure des Periers, alarmed by the perfonal dangers in which he was thus involved, retired from the court of the queen of Navarre, and took refuge in the city of Lyons, where liberal opinions at that time found a greater degree of tolerance than elfewhere. There he printed a fecond edition of the "Cymbalum Mundi/' which in Literature and Art. 339 alfo was burnt, and copies of either edition are now exceflively rare.* Bonaventure des Periers felt io much the weight of the perfecution in which he had now involved himfelf, that, in the year 1539, as far as can be afcertained, he put an end to his own exillence. This event call a gloom over the court of the queen of Navarre, from which it feenis never to have entirely recovered. The fchool of fcepticifm to which Des Periers belonged had now fallen into equal difcredit with Catholics and Proteftants, and the latter looked upon Marguerite herfelf, who had latterly conformed outwardly with Romanifm, as an apoftate from their caufe. Henri Eftienne, in his " Apologie pour Herodote," fpeaks of the " Cymbalum Mundi " as an infamous book. Bonaventure des Periers left behind him another work more amufing to us at the prefcnt day, and more chara6lerillic of the literary taftes of the court of Marguerite of Navarre. This is a colle6tion of facetious Itories, which was publilhed feveral years after the death of its author, under the title of " Les Contes, ou Les Nouvelles Recreations et Joyeux Devis de Bonaventure des Periers." They have fome refemblance in ftyle to the ftories of the Heptameron, but are lliorter, and rather more facetious, and are charaderifed by their bitter fpirit of fatire againft the monks and popilh clergy. Some of thefe ftories remind us, in their peculiar charader and tone, of the " Epiftolae Obfcurorum Virorum," as, for an example, the following, which is given as an anecdote of the cure de Brou : — " This cur6 had a way of his own to chant the different offices of the church, and above all he disliked the way of saying the Passion in the manner it was ordi- narily said in churches, and he chanted it quite ilifFerently. For when onr Lord said anything to the Jews, or to Pilate, he made him talk high and loud, so that everybody could hear him, and v\hen it was tiie Jews or somebody else who spoke, he sixjkc so low that he could hardly be heard at ail. It hap|)ened that a huly of rank and importance, on her way to Cliatcaudun, to keep there the festival of Easter, pxsscd through Brou on Good Friday, about ten o'clock in the morning. • A cheap and convenient edition of the "Cymbalum Mundi," edited by the Bibliophile Jacob (Paid Lacroix), was pul)lished in Paris in 1841. I may here ktatc that similar editions of the principal French satirists of the sixteenth century have been printed during the last twenty- five years. 340 Hijiory of Caricature and Grotefque and, wishing to hear service, she went to the church where the cure was officiating^. When it came to the Passion, he said it in his own manner, and made the whole church ring again when he said Suem quesrhh ? But when it came to the reply, Jejum Na-zarenum, he spoke as low as he possibly could. And in this manner he continued the Passion. The lady, who was very devout, and, for a woman, well informed in the holy scriptures, and attentive to the ecclesiastical ceremonies, felt scandalised at this mode of chanting, and wished she had never entered the church. She had a mind to speak to the cure, and tell him what she thought of it j and for this purpose sent for him to come to her after the service. When he came, she said to him,' Monsieur le Cure, I don't know where you learnt to officiate on a day like this, when the people ought to be all humility ; hut to hear you perform the service, is enough to drive away anybody's devotion.' ' How so, madame.'' said the cure. ' How so?' said she, ' you have said a Passion contrary to all rules of decency. When our Lord speaks, you cry as if you were in the town-hall ; and when it is a Caiaphas, or Pilate, or the Jews, you speak softly like a young bride. Is this becoming in one like you ? are you fit to be a cure? If you had what you deserve, you would be turned out of your benefice, and then you would be made to know your fault !' When the cure had very attentively listened to her, he said, ' Is this what you had to say to me, madame ? By my soul ! it is very true, what they say; and the truth is, that there are many people who talk of things which they do not understand. Madame, I believe that I know my office as well as another, and I beg all the world to know that God is as well served in this parish, according to its condition, as in any place within a hundred leagues of it. I know very well that the other cures chant the Passion quite differently; I could easily chant it like them if I would ; but they do not understand their business at all. I should like to know if it becomes those rogues of Jews to speak as loud as our Lord ! No, no, madame ; rest assured that in my parish it is my will that God be the master, and He shall be as long as I live ; and let the others do in their parishes accoiding to their understanding.' " Another ftory, equally worthy of Ulric von Hutten, is fatirical enough on prieflly pedantry : — " There was a priest of a village who was as proud as might be, because he had seen a little more than his Cato ; for he had read De Syntaxl, and his Faujie precor gellda [the first eclogue of Baptista Mantuanus]. 'And this made him set up his feathers, and talk very grand, using words that filled his mouth, in order to make people think him a great doctor. Even at confession, he made use of terms which astonished the poor people. One day he was confessing a poor working man, of whom he asked, 'Here, now, my friend, tell me, art thou ambitious?' The poor man said ' No,' thinking this was a word which belonged to great lords, and almost repented of having come to confess to this priest ; for he had already heard that he was such a great clerk, and that he spoke so grandly, that nobody understood him, which he now knew by this word i:mi///ow ; for although he might have heard it somewhere, yet he did not know at all what it was. The priest went on to ask, * Art thou not a fornicator?' * No,' said the labourer, who understood as little as tJi Literature and Art. 341 before. 'Art tliou not a orourmand?' said the priest. 'No.' 'Art thou not superbe [/>»-oW] .'' 'No.' 'Art thou not iracund .'' 'No.' The priest seeing the man answer always 'No,' was somewhat surprised. ' Artthou not concupiscent .>' ' No.' ' And what art thou, then ?' said the priest. 'I am,' said he, 'a mason j here is my trowel ! ' " At this time " Panragruelifm " had mixed itfelf more or Ids largely m all the latirical literature of France. It is very apparent in the writings of Bonaventure des Periers, and in a confiderable number of fatirical pub- lications which now ifllied, many of them anonymoufly, or under the then fafhionable form of anagrams, from the prefs in France. Among thefe writers were a few who, though far inferior to Rabelais, may be confidered as not unequal to Des Periers himfelf. One of the moft remarkable of thefe was a gentleman of Britany, Noel du Fail, lord of La HerilTaye, who was, like fo many of thefe fatirifts, a lawyer, and who died, apparently at an advanced age, at the end of 1585, or beginning of 1586. In his publications, according to the falhion of that age, he concealed his name under an anagram, and called himfelf Leon Ladulfil (doubling the / in the name Fail). Noel du Fail has been called the ape of Rabelais, though the mere imitation is not very apparent. He publillied (as far as has been afcertained), in 1548, his " Difcours d'aucuns propos ruftiques facetieux, et de fmguliere recreation." Ibis was followed immediately by a work entitled " Baliverneries, ou Contes Nouveaux d'Eutrapel ;" but his laft, and moft celebrated book, the " Contes et Difcours d'Eutrapel," was not printed until 1586, after the death of its author. The writings of Noel du Fail are full of charming piAures of rural life in the fix- teenth century, and, though fufficiently ir&e, they prefent lefs than moll fimilar books of that period of the coarfenefs of Rabelais. I cannot (ay the fame of a book which is much more celebrated than either of thefe, and the hiftory of which is lUil enveloped in obfcurity. I mean the " Moyen de Parvenir." This book, which is full of wit and humour, but the licenticjufnefs of which is carried to a degree which renders it unreadable at the prefent day, is now afcribed by bibliographers, in its prefent form, to Buroalde de Verville, a gentleman of a Proteftant family who had embraced Catholicifm, and obtained advancements in the church, and it wa.s not printed until 1610, but it is fuj)pofed that in its prefent 342 Hijiory of Caricature and Grofefqiie form it is only a revlfion of an earlier compofition, perhaps even an unacknowledged work of Rabelais himfelf, which had been preferved in manufcript in Beroald's family. Pantagruelifm, or, if you like, Rabelaifm, did not, during the fixteenth century, make much progrefs beyond the limits of France. In the Teutonic countries of Europe, and in England, the fceptical fentiment was fmall in comparifon with the religious feehng, and the only fatirical work at all refembling thofe we have been defcribing, was the " Utopia " of Sir Thomas More, a work comparatively fpiritlefs, and which produced a very flight fenfation. In Spain, the ftate of fecial feeling was ftill lefs favourable to the writings of Rabelais, yet he had there a worthy and true reprefentative in the author of Don Quixote. It was only in the feven- teenth century that the works of Rabelais were tranflated into Englifli ; but we mufl: not forget that our latirifts of the lafl: century, fuch as Swift and Sterne, derived their infpiration chiefly from Rabelais, and from the Pantagrueliftic writers of the latter half of the fixteenth century. Thefe latter were moft of them poor imitators of their original, and, like all poor imitators, purfued to exaggeration his leaft worthy charafteriflics. There is ftill fome humour in the writings of Tabourot, the fieur des Accords, efpecially in his " Bigarrures," but the later produttions, which appeared under fuch names as Brufcambille and Tabarin, fink into mere dull ribaldry. There had arifen, however, by the fide of this fatire which fmelt fomewhat too much of the tavern, another fatire, more ferious, which ftill contained a little of the ftyle of Rabelais. The French Proteftants at firft looked upon Rabelais as one of their towers of Ilrength, and embraced with gratitude the powerful proteftion they received from the graceful queen of Navarre ; but their gratitude failed them, when Marguerite, though flie never ceafed to give them her proteftion, conformed out- wardly, from attachment to her brother, to the forms of the Catholic faith, and they rejected the fchool of Rabelais as a mere fchool of Atheifts. Among them arofe another fchool of fatire, a fort of branch from the other, which was reprefented in its infancy by the celebrated fcholar and printer, Henri Eftienne, better known among us as Henry Stephens. //; Literature and Art. 343 The remarkable book called an "Apologie pour Herodote," arofe out of an attack upon its writer by the Roninnills. Henri Eitienne, who was known as a ftaunch Protertant, publilhed, at great expenle, an edition ot Herodotus in Greek and Latin, and the zealous Catholics, out of fpite to the editor, decried his author, and fpoke of Herodotus as a mere colledor of moiiflrous and incredible tales. Eftienne, in revenge, publilhed what, under the form of an apology for Herodotus, was really a violent attack on the Romilh church. His argument is that all hiftorians mult relate tranf- actions which appear to many incredible, and that the events of modern times were much more incredible, if they were not known to be true, than anything which is recorded by the hiftorian of antiquity. After an intro- ductory dilTertation on the light "in which we ought to regard the fable of the Golden Age, and on the moral charatter of the ancient peoples, he goes on to fliow that their depravity was much lefs than that of the middle ages and of his own time, indeed of all r^eriods during which people were governed by the Church of Rome. Not only did this diffolutenefs ot morals per\ade lay fociety, but the clergy were more vicious even than the people, to whom they ought to ferve as an example. A large part of the book is filled with anecdotes of the immoral lives of the popilh clergy of the fixteenth century, and of their ignorance and bigotrj'j and he defcribes in detail the methods employed by the Romilh church to keep the mats of the people in ignorance, and to reprefs all attempts at inquiry. Out of all this, he fays, had rifen a fchool of atheifls and fcolTers, reprefented by Rabelais and Bonaventure des Periers, both of whom he mentions by name. As we approach the end of the fixteenth century, the ftruggle of parties became more political than religious, but not lefs bitter than before. The literature of the age of that celebrated " Ligue," which feemed at one time deflined to overthrow the ancient royalty of France, confirted chiefly of libellous and nbufive pamphlets, but in the midft of them there appeared a work far fuperior to any purely political fatire which had yet been feen, and the fame of which has never palled away, lis. obje6t was to turn to ridicule the meeting of the Eftates of France, convoked by the duke of Mayenne, as leader of the Ligue, and held at 344 Hijiory of Caricature and Grotefque Paris on the loth of February, 1503. The grand obje6i: of this meeting was to exclude Henri fV. from the throne ; and the Spanifh party pro- pofed to aboliih the Salic law, and proclaim the infanta of Spain queen of France. The French ligueurs propofed plans hardly lefs unpatriotic, and the duke of Mayenne, indignant at the fmall account made of his own perfonal pretentions, prorogued the meeting, and perfuaded the two parties to hold what proved a fruitlefs conference at Surefne. It was the meeting of the Eflates in Paris which gave rife i «•^«at celebrated Satyre Menippee, of which it was faid, that it ferved the caule of Henri IV. as much as the battle of Ivry itfelf. This fatire originated among a party of friends, of men diflinguifhed by learning, wit, and talent, though moft of their names are obfcure, who ufed to meet in an evening in the hofpi table houfe of one of them, Jacques Gillot, on the Quai des Orfevres in Paris, and there talk fatirically over the violence and infolence of the ligueurs. They all belonged either to the bar or to the univerfity, or to the church. Gillot himfelf, a Burgundian, born about the year ij6o, had been a dean in the church of Langres, and afterwards canon of the Sainte Chapelle in Paris, and was at this time confeilier-clerc to the parliament of Paris. In 1589 he was committed to the Baftille, but was foon afterwards liberated. Nicolas Rapin, one of his friends, was born in i^^^, and was faid to have been the fon of a prieft, and therefore illegitimate. He was a lawyer, a poet, and a foldier, for he fought bravely in the ranks of Henri IV. at Ivry, and his devotion to that prince was fo well known, that he was baniflied from Paris by the ligueurs, but had returned thither before the meeting of the Eftates in 1593. Jean PalTerat, born in 1534, was alfo a poet, and a profeffor in the College Royal. Florent Chrftien, born at Orleans in 1540, had been the tutor of Henri IV., and was well known as a man of found learning. The moft learned of the party was Pierre Pithou, born at Troyes in 1539, who had abjured Calvinifm to return to Romanifm, and who held a diftinguillied pofition at the French bar. The lafl: of this little party of men of letters was a canon of Rouen named Pierre le Roy, a patriotic ecclefiaftic, who held the office of almoner to the cardinal de Bourbon. It was Le Roy who drew up the firft Iketch of the in Literature and Art. 345 " Satyre Menippee," each of the others executed his part in the compofi- tion, and Pithou finally reviled it. For feveral years this remarkable fatire circulated only lecretly, and in manufcript, and it uas not printed until Henri IV. was eftablilhed on the throne. The fatire opens with an account of the virtues of the " Catholicon." or noftrum for curing all political difeafes, or the higuiero d'infierno, which had been fo effeftive in the hands of the Spaniards, who invented it. Some of thefe are extraordinary enough. If, we are told, the lieutenant of Don Philip " have fome of this Catholicon on his flasjs, he will enter without a blow into an enemy's country, and they will meet him with croHes and banners, legates and primates ; and though ho ruin, ravage, ulurp, mallacre, and fack everything, and carry away ravilh, burn, and reduce everything to a defert, the people of the country will fay, 'Thefe are our friends, they are good Catholics 3 they do it for our peace, and for our mother holy church.' " "If an indolent king amufe himfelf with refining this drug in his efcurial, let him write a word into Flanders to Father Ignatius, fealed with the Catholicon, he will find him a man who {faba con- fcifntia) will alTaHinate his enemy whom he has not been able to conquer by arms in twenty years." This, of courfe, is an alkifion to the murder of the prince of Orange. " If this king propofes to afliire his eftates to his children after his death, and to invade another's kingdom at little expenfe, let him write a word to Mendoza, his ambalTador, or to Father Commelet (one of the moft feditious orators of the Ligue), and if he write with the higuiero del infierno, at the bottom of his letter, the words Yd el Rnj, they will furnifh him with an apoflate monk, who will go under a fair femblance, like a Judas, and alfallinate in cold blood a great king of France, his brother-in-law, in the middle of his camp, without fear of God or men ; they will do more, they will canonife the murderer, and place this Judas above St. Petei', and baptife this prodigious and horrible crime with the name of a providential event, of which the god- fathers will be cardinals, legates, and primates." The allulion here is to the aflaffination of Henri III. by Jacques Clement. Thefe are but a few of the marvellous properties of the political drug, allcr tlie eniiincra- tion of which the report of the meeting of the Ellates is introduced by a 346 Hifiory of Caricature and Grotefque burlefque defcription of the grand proceflion which preceded it. Then we are introduced to the hall of aflembly, and different fubje6ts piftured on the tapeftries which cover its walls, all having reference to the politics of the Ligue, are defcribed fully. Then we come to the report of the meeting, and to the fpeeches of the different fpeakers, each of which is a model of fatire. It is not known which of the little club of fatirifls wrote the open fpeech of the duke of Mayenne, but that of the Roman legate is known to be the work of Gillot, and that of the cardinal de Pelve, a mafterpiece of Latin in the flyle of the "Epiflolae Obfcurorum Virorum," was written by Florent Chreftien. Nicolas Rapin compofed the "harangue" placed in the mouth of the archbifliop of Lyons, as well as that of Rcfe, the reftor of the univerfity3 and the long fpeech of Claude d'Aubray was by Pi thou. Pafferat compofed moft of the verfes which are fcattered through the book, and it is underflood that Pithon finally revifed the whole. This mock report of the meeting of the Eftates clcfes with a defcription of a feries of political pi6tures which are arranged on the wall of the flaircafe of the hall. Thefe pictures, as well as thofe on the tapeftries of the hall of meeting, are fimply fo many caricatures, and the fame may be faid of another fet of piftures, of which a defcription is given in one of the fatirical pieces which followed the " Satyre Menippee," on the fame Yide, entitled, " Hifloire des Singeries de la Ligue." It was amid the political turmoil of the fixteenth century in France that modern political cancaiure took Us rife. in Literature and Art. 347 CHAPTER XX. POLITICAL CARICATURE IN ITS INFANCY. THE REVERS DU JEU DE8 SUYSSES. CAKICATURE IN FRANCE. THE THREE ORDERS. — PERIOD OF THE LEAGUE ; CARICATURES AGAINST HENRI III. CARICATURES AGAINST THE LEAGUE. CARICATURE IN FRANCE IN THE SEVENTEENTH CENTURA. GENERAL GALAS. THE aUARREL OF AMBASSADORS. CARI- CATURE AGAINST LOUIS XIV. J WILLIAM OF FDRSTEMBERG. IT has been already remarked that political caricature, in the modern fenfe of the word, or even perfonal caricature, was inconfiftent with the flate of things in the middle ages, until the arts of engraving and printing became fufficiently developed, becaufe it requires the facility of (juick and extenfive circulation. The political or fatirical fong was carried ver)-where by the minftrel, hut the fatirical pi6ture, reprefented only in fome folitary fculpture or illumination, cotild hardly be finilhed before it had become ufelefs even in the fmall fphere of its influence, and then remained for ages a ftrange figure, with no meaning that could be under - ftood. No fooner, however, was the art of printing introduced, than the importance of political caricature was underftood and turned to account. We have feen what a powerful agent it became in the Reformation, which in fpirit was no lefs political than religicms ; but even before the great religious movement had begun, this agent had been brought into activity. One of the earlieft engravings which can be called a caricature — perhaps the oldcft of our modern caricatures known — is reprefented in our cut No. 171, is no doubt French, and belongs to the year 1499. It is fufficiently explained by the hiftory of the time. At the date juft mentioned, Louis XII. of France, who had been king lef> than twelve months, was newly married to Anne of Hritany, and had rcfolved upon an expedition into Italy, to unite the crown of Naples 34^ Hijfory of Caricature and Grotefque M'ith that of France. Such an expedition afFefted many political interefts and Louis had to employ a certain amount of diplomacy with his neigh» hours, feveral of whom were ftrongly oppofed to his projefts of ambition, and among thofe who afted moft openly were the Swifs, who were No. 171. The Political Game of Cards. believed to have been fecretly fupported by England and the Netherlands. Louis, however, overcame their oppofition, and obtained a renewal of the alliance which had expired with his predeceflbr Charles VIIL This temporary difficulty with the Swifs is the fubjeft of our caricature, the original of which bears the title " Le Revers du Jeu des Suylfes " (the defeat of the game of the Swifs). The princes moft interefted are alfembled round a card-table, at which are feated the king of France to the right, oppofite him the Swifs, and in front the doge of Venice, who in Literature and Art. 349 was in alliance with the French againll Milan. At the moment repre- fented, the king of France is announcing that he has a flulh of cards, the Swifs acknowledges the weakneis of his hand, and the doge lays down bis cards — in fa6t, Louis XII. has won the game. But the point of the caricature lies principally in the group around. To the extreme right the king of England, Henry VII., dillinguilhed by his three armorial lions, and the king of Spain, are engaged in earnert converfation. Behind the former Hands the infanta Margarita, who is evidently winking at the Swils to give him information of the ftate of the cards of his opponents. At her lide Hands the duke of Wirtemberg, and jull before him the pope, the infamous Alexander VI. (Borgia), who, though in alliance with Louis, is not able, with all his etforts, to read the king's game, and looks on with evident anxiety. Behind the doge of Venice ftands the Italian refugee, Trivulci, an able warrior, devoted to the interefts of France ; and at the doge's right hand, the emperor, holding in his hands another pack of cards, and apparently exulting in the belief that he has thrown confulion into the king of France's game. In the background to the left are feen the count Palatine and the marquis of Montferrat, who alfo look uncertain about the refult; and belovv the former appears the duke of Savoy, who was giving aflidance to the French defigns. Tlie duke of Lorraine is ferving drink to the gamblers, while the duke of Milan, who was at this time playing rather a double part, is gathering up the cards which have fallen to the ground, in order to make a game for himfelf. Louis XII. carried his dtfigns into execution ; the duke of Milan, Ludovico Sforza, nick-named the Moor, played his cards badly, loll his duchy, and died in prifon. Such is this carlieft of political caricatures — and in this cafe it w-as purely political — but the queflion of religion foon began not only to mix itfelf up with the political qucftion, but almoft to abforb it, as we have feen in the review of the hiftory of caricature under the Reformation. Before this period, indeed, political caricature was only an affair between crown«rd heads, or between kings and their nobles, but the religious agita- tion had originated a valt focial movement, which brought into play nopular feelings and pallions : ihcfe gave caricature a totally new value. 350 tiiftory of Caricature and Grotefque Its power was greateft on the middle and lower clafles of fociety, that is, on the people, the tiers etat, which was now thrown prominently forward. The new focial theory is proclaimed in a print, of which a fac-fimile will be found in the " Mufee de la Caricature," by E. J. Jaime, and which, from the ftyle and coftume, appears to be German. The three orders, the church, the lord of the land, and the people, reprefented refpeilively by a billiop, a knight, and a cultivator, ftand upon the globe in an honour- able equality, each receiving direft from heaven the emblems or imple- ments of his duties. To the billiop is delivered his bible, to the hufband- No. 172. The Three Orders of the State. man his mattock, and to the knight the fword with which he is to protett and defend the others. This print — fee cut No. 172 — which bears the title, in Latin, " Quis te praetulit ? " (Who chofe thee ?) belongs probably to the earlier half of the fixteenth century. A painting in the Hotel de Ville of Aix, in Provence, reprefents the fame fubjed much more fatirically, intending to delineate the three orders as they were, and /;/ Literature arid Art. 351 not as they ought to be. The divine hand is letting down from heaven an immenfe frame in the form of a heart, in which is a pitture repre- fenting a king kneehng before the crofs, intimating that the civil power was to be fubordinate to the ecclefiaftical. The three orders are repre- fented by a cardinal, a noble, and a peafant, the latter of whom is bending under the burthen of the heart, the whole of which is thrown upon his ihoulders, while the cardinal and the noble, the latter drellld in the falliionable attire of the court minions of the day, are placing one hand to the heart on each fide, in a manner which fliows that they fupport none of the weight. Amid the fierce agitation which fell upon France in the fixteenth century, for a while we find but few traces of the employment of caricature by either party. The religious reformation there was rather ariftocratic than popular, and the reformers fought lefs to excite the feelings of the multitude, which, indeed, went generally in the contrary direction. There was, moreover, a chara6ler of gloom in the religion of Calvin, which contrafted ftrongly with the joyoufnefs of that of the followers of Luther; and the fadions in France fought to (laughter, rather than to laugh at, each other. The few caricatures of this period which are known, are very bitter and coarfe. As far as I am aware, no early Huguenot caricatures are known, but there are a few direfted againfl: the Huguenots. It was, however, with the rife of the Ligue that the tarte for political caricature maybe faid to have taken root in France, and in that country it long continued to flourilh more than anywhere elie. ITie firft caricatures of the ligueurs were direded againft the perfonof the king, Henri de Valois, and polfefs a brutality almoll beyond defcription. It was now an objed to keep up the bitternefs of fpirit of the fanatical multitude. In one of thefe caricatures a demon is reprefented waiting on the king to fummon him to a meeting of the " Eftates " in hell ; and ill the diftance we fee another demon flying away with him. Another relates to the murder of the Guifes, in 1588, which the ligueurs profelfed to afcribe to the councils of M. d'Epernon, one of his favourites, on whom ihcj- looked with great hatred. It is entitled, " Soufllemeiit tt Coiillil diabolique de d'Epernon a Henri dc Valois pour faccagcr les Catholicjues." 352 Hifiory of Caricature a?id Grotefque In the middle of the pidure Hands the king, and befide him D'Epernon, who is blowing into his ear with a bellows. On the ground before them lie the headlefs corpfes of the deuxfreres Catholiques, the duke of Guife, and his brother the cardinal, while the executioner of royal vengeance is holding up their heads by the hair. In the diflance is feen the caflle of Blois, in which this tragedy took place ; and on the left of the pifture appear the cardinal de Bourbon, the archbiihetrated by the Cavaliers, and the evil appears to have been incrcafed by the ilI-condu6t of the auxiliaries brought over from Ireland to Ccryt: the king, who were efpecially objedls of hatred to the Puritans. A broadfide among the king's pamphlets is adorned by a fatirical pi6lure of "The EngliOi Irilh Souldicr, with his new difcij)line new armes, old 366 Hijiory of Caricature and Grotefque ftomacke, and new taken pillage; who had rather eat than fight." It was publifhed in 1642. The Englilh Irifh foldier is, as may be fuppofed, heavily laden with plunder. In 1646 appeared another caricature, which is copied in our cut No. 180. It reprefents " England's Wolfe with iVo. 180. "■ England" z Wolf r Eagles clawes : the cruell impieties of bloud-thirfly royalifts and blaf- phemous anti-parliamentarians, under the command of that inhumane prince Rupert, Digby, and the reft, wherein the barbarous crueltie of our civill uncivill warres is briefly difcovered." England's wolf, as will be feen, is drefled in the high fafh on of the gay courtiers of the time. A few large caricatures, embodying fatire of a more comprehenfive defcription, appeared from time to time, during this troubled age. Such is a large emblematical pi6ture, publifhed on the pth of November, 1642, in Literature ajui Art. 367 and entitled " Heraclitus' Dream," for the fcene is fuppofed to be mani- felted to the philofopher in a vifion. In the middle of the pidure the iheep are feen Ihearing their Ihepherd ; while one cuts his hair, another treats his beard in the fame manner. Under the pidure we read the couplet — The fiocke that "was -wont to be [home by the herd, Noiv pclleth the Jhepherd injpight of his beard. On the 19th of January, 1647, a caricature appeared under the title " An Embleme of the Times." On one fide War, reprefented as a giant in armour, is feen ftanding upon a heap of dead and mutilated bodies, while Hypocrify, in the form of a woman with two faces, is flying towards a diftant city. " Libertines," " anti-fabbatarians," and others, are haften- No. l8l. Folly Uppermc/i. ing in the fame diredion ; and the angel of peftilence, hovering over the city, is ready to pounce upon it. The party of the parliament was now triumphant, and the queftion of religion again became the fubjed of difpute. The Prefl)yterian8 had been eftablifliing a fort of tyranny over men's minds, and Ibught to pro- fcrib<'. all other feds, till their intolerance gradually raifcd up a ftroug and 368 Hijlory of Caricature and Grotefque general feeling of refiftance. Since 1643 a brifk war of political pam- phlets had been carried on between the Prefbyterians and their opponents, when, in 1647, the Independents, whofe caufe had been efpoufed by the army, gained the maflery. " Sir John Prefbyter " or to ufe the more familiar phrafe, " Jack Prefbyter," furnilhed a fubjeft for frequent fatire, and the Prelbyterians were not flow in returning the blow. In the colle6lion in the Britilh Mufeum we find a caricature which mufl: have come from the Pretbyterian party, entitled " Reall Perfecution, or the Foundation of a general Toleration, difplaied and portrayed by a proper emblem, and adorned with the fame flowers wherewith the fcoffers of this laft age have ftrowed their libellous pamphlets." The group which occupies the middle part of this broadfide, is copied in our cut No. [81. It has its feparate title, " The Pitture of an Englifh Perfecutor, or a foole- ridden ante-Prefbeterian fedary." (I give the fpelling as in the original.) Folly is riding on the feftarian, whom he holds with a bridle, the feftarian having the ears of an afs. The following homely rhymes are placed in the mouth of Folly, — Behculd my habit, like my 'witt, Equails his on tvhom Ifitt. Anti-Prefbyterian is, as will be feen, dreffed in the height of the fafhion, and fays — My curjed Jpeeches again ft Pre/be try Declares unto the ivorld my foolery. The mortification of the Prelbyterians led in Scotland to the procla- mation of Charles II. as king, and to the ill-fated expedition which ended in the battle of Worcefter in 1651, when fatirical pamphlets, ballads, and caricatures againft the Scottifh Prelbyterians became for a while very popular. One of the beft of the latter is reprefented in our cut No. 182. Its objeft is to ridicule the conditions which the Prefbyterlans exaded from the young prince before they offered him the crown. It is printed in the middle of the broadfide, in profe, publilbed on the 14th of July, 165 1, with the general title, " Old Sayings and Predictions verified and flilfilled, touching the young King of Scotland and his gude fubjefts." in Literature and Art. 369 The pifture has its feparate title, "The Scots liokling their young kinges nofe to the grinftone." followed by the lines — Ccme to the grinfl:,ne, CJiarles, ^tis ncio to late To recolefl, "'tis prejbiterian fate, Tou co-vinant pretenders, mujl I bee The jubjeSi of youer tradgie-comed'te? In fact, the pidlure reprefents Prelbyterianifm — Jack Prelbyter — holding the young king's nofe to the grindflone, which is turned by the Scots, No. I Si. Conditions of Royalty. perfonified as Jockey. The following lines are put into the mouths of the •hree adors in this Icene : — Jiciey. — I, Jockey, turne the stone of all your plots. For none turnes faster tlian the turne-coat Scots. Prejhyier. — We for our ends did make thee kinitide. torate, and there gave full indulgence to this love of flowers, and I need hardly (ay that it was the age of the great tulip mania in Holland. When, after the Reftoration, he was involved in the f.ile of the n-gicides, but had his fentence commuted for thirty years of imprifonment, he alleviated the dulnefs of his long confinement in the ifle of Guernfey by the fame amufement. In the card we have engraved, Lambert is repre- fcnted in his garden, holding a large tulip in his hand ; :uul it is no doubt in allufion to this innocent tafle that lu is here entitled " Lambert, Knight , and fmell it gathering in the sky ; Boar beckons Joip to trot in chejnut gro-ves, uind there conjummate their unfinijhed loves ; Penjive in mud they luaUotv all alone, And Jnore and gruntle to each other'' s moan. U is a rather coarfe, but clever parody on a fimile in Dryden's " Conqueft of Granada," part ii. : — So ttvo kind turtles, nvhen a ftorm is nigh, Look up, and fee it gathering in the sky ; Each calls his mate to jhelier in the gro^'es. Leavings in murmurs, their unjlni/hed loves ; Percy d on feme dropping branch, they Jit alone, yind coc, and hearken to each other' s moan. 3 go Hijlory of Caricature and Grotefque It is decided that the fimile fliould be added to the prologue, for, as Johnfon remarks to Bayes, " Faith, 'tis extraordinary fine, and very applic- able to Thunder and Lightning, methinks, becaufe it fpeaks of a ftorm." In the fecond aft we come to the opening of the play, the firfl; fcene confining of whifpering, in ridicule of a fcene in Davenant's " Play-houfe to Let," where Drake fenior fays — Draio up your men, A.nd in loiu ivhifpers give your orders out. In fa6l, the Gentleman-Ufher and the Phyfician of the two kings of Brentford appear upon the fcene alone, and difcufs a plot to dethrone the two kings of Brentford, which they communicate by whifpers into each other's ears, which are totally inaudible. In Scene ii., " Enter the two kings, hand in hand," and Bayes remarks to his vifitors, " Oh ! thefe are now the two kings of Brentford; take notice of their ftyle — 'twas never yet upon the ftage ; but, if you like it, I could make a fliift, perhaps, to {how you a whole play, writ all jufl: fo." The kings begin, rather familiarly, becaufe, as Bayes adds, "they are both perfons of the fame quality :" — ijl King. — Did you observe their whispers, brother king? znd King, — I did, and heard, besides, a grave bird sing, That they intend, sweetheart, to play us pranks. 1/2 King. — If that design appears, I'll lay them by the ears, Until I make 'em crack. znd King. — And so will I, i' fack ! ift King. — You must begin, mon foi. ind King. — Sweet sir, far donned moi. Bayes obferves that he makes the two kings talk French in order " to fhow their breeding." In the third aft, Bayes introduces a new charafter, prince Prettyman, a parody upon the charafter of Leonidas, in Dryden's " Marriage-a-la-Mode." The prince falls afleep, and then his beloved Cloris comes in, and is furprifed, upon which Bayes remarks, " Now, here Ihe mufl: make a fimile." " Where's the necefiity of that, Mr. Bayes ? " alks the critical Mr. Smith. " Oh," replies Bayes, "becaufe fhe's furprifed. That's a general rule. You muft ever make a fimile in Literature and Art. 3 9 1 when you are lurprifed ; 'tis a new wav ot" writing." Now we have another parody upon one of Dryden's fimiles. In the fourth fcene, the Gentleman-Ufher and Phyfician appear again, difcuding the queftion whether their whifpers had been heard or not, a difcullion which they conclude by feizing on the two thrones, and occupying them with their Jrawn fwords in their hands. Then they march out to raife their forces, and a battle to mufic takes place, four foldiers on each fide, who are all killed. Next we have a fcene between prince Prettyman and his tailor, Tom Thimble, which involves a joke upon the princely principle ot non-payment. A fcene or two follows in a fimilar tone, without at all advancing the plot ; although it appears that another prince, Volfcius, who, we are to fuppofe, fupports the old dynafty of Brentford, has made his efcape to Piccadilly, while the army which he is to lead has allembled, and is concealed, at Knightlbridge. This incident produces a difcuflion between Mr. Bayes and his friends: — Smith. — But pray, Mr. Bayes, is not this a little difficult, that you were saying e'en now, to keep an army thus concealed in Knights- bridge ? Bayti. — In Knightsbridge ? — stay. Johnjon. — No, not if inn- keepers be his friends.* Bjyet. — His friends ? Ay, sir, his intimate acquaintance ; or else, indeed, I grant it could not be. Smith. — Yes, faith, so it might be very easy. Bayei. — Nay, if I don't make all things easy, 'egad, I'll give 'em leave to hang me. Now you would think that he is going out of town ; but you will see how prettily I have contrived to stop him, presently. Accordingly, prince Volfcius yields to the intiuence of a fair demoifclle, who bears the claOical name of Parthenope, and after various exhibitions of hefitation, he does not leave town. Another fcene or two, with little meaning, but full of clever parodies on the plays of Dryden, the Howards, and their contemporaries. The firft fcene of the fourth a£t opens with a • Knightsbridgc, as the principal entrance to London from the west, was full of jnn*. 392 Hiftory of Caricature and Grotefqiie funeral, a parody upon colonel Henry Howard's play of the " United Kingdoms." Pallas interferes, brings the lady who is to be buried to life, gets up a dance, and furnillies a very extempore feaft. The princes Prettyman and Volfcius difpute about their fweethearts. At the com- mencement of the fifth aft the two ufurping kings appear in Hate, attended by four cardinals, the two princes, all the lady-loves, heralds, and fergeants-at-arms, &c. In the middle of all this Hate, " the two right kings of Brentford defcend in the clouds, finging, in white garments, and three fiddlers fitting before them in green." " Now," fays Bayes to his friends, " becaufe the two right kings defcend from above, I make 'em fing to the tune and ftyle of our modern fpirits." And accordingly they proceeded in a continuous parody : — ly? King. — Haste, brother king-, we are sent from above. ■2.nd King. — Let lis move, let us move ; Move, to remove the fate Of Brentford's long united state. 17? King, — Tara, tan, tara ! — full east and by south. ■2.nd King. — We sail vvith thunder in our mouth. In scorching noon-day, whilst the traveller stays, Busy, busy, busy, busy, we bustle along, Mounted upon warm Phoebus's rays, Through the heavenly throng. Hasting to those Who will feast us at night with a pig's pettytoes. iji King. — And we'll fall with our plate In an olio of hate znd King — But, now supper's done, the servitors try. Like soldiers, to storm a whole half-moon pie. 17? King. — They gather, they gather, hot custards in spoons: But, alas ! I must leave these half-moons, And repair to my trusty dragoons. znd King. — O stay ! for you need not as yet go astray ; The tide, like a friend, has brought ships in our way, And on their high ropes we will play ; Like maggots in filberts, we'll snug in our shell, We'll frisk in our shell. We'll firk in our shell, And farewell. \ft King. — But the ladies have all inclination to dance, And the green frogs croak out a coranto of France. /// Literature and Art. 393 All this is quite Ariftophanic. It is interrupted by a difcuflion between Bayes and his vifitors on the mulic and the dance, and then the two kings continue : — znd King. — Now mortals, that hear How we tilt and career, With wonder, will tear The event of such things as shall never appear. ift Kir.g. — Stay you to fulfil what the gods have decreed. ind King. — Then call me to help you, if there shall be need. \ft King. — So firmly resolved is a true Brentford king. To save the distressed, and help to 'em bring, That, ere a full pot ot good ale you can swallow, He's here with a whoop, and gone with a halloo. The rather too inquifitive Smith wonders at all this, and complains that, to him, the ienle of this is " not very plain." " Plain !" exclaims Bayes, " why, did you ever hear any people in the clouds fpeak plain ? They mnft be all for flight of fancy, at its full range, without the lead check or control upon it. When once you tie up Iprites and people in clouds to Ipeak plain, you fpoil all." The two kings of Brentford now " light out of the clouds, and ftep into the throne," continuing the fame dignified converfation : — iji Eing. — Come, now to serious council we'll advance. 2nd King. — I do agree ; but first, let's have a dance. This confidence of the two kings of Brentford is fuddenly diihirbed by the found of war. Two heralds announce that the army, that of Knightf- bridge, had come to prote6t them, and that it had come in difguife, an arrangement which puzzles the author's two vifitors : — ijl King. — What saucy groom molests our privacies ? jft Herald. — The army's at the door, and, in disguise, Desire^ a word with both your majesties. znd Htrald. — Having from Knightsbridge hither march'd by stealth. xnd King. — Bid 'em attend a while, and drink our health. Smith. — How, Mr. Bayes ? The army in dJNguise! Bayei. — Ay, sir, tor fear the usurpers might discover them, that went out but just now. 394 Hijiory of Caricature and Grotefque War itfelf follows, and the commanders of the two armies, the general and the lieutenant-general, appear upon the ftage in another parody upon the opening fcenes of Drj'den's " Siege of Rhodes :" — Enter, at fcveral doors, the GENERAL and LieuteNANT-GeNERAL, armed cap-a-pie, "with each a lute in his hand, and his Juaord drawn, and hung ivith a fear let riband at the ivriji, Lieut. -Gen, — Villain, thou liest. Gen. — Arm, arm, Gonsalvo, arm. What ! ho ! The lie no flesh can brook, I trow. Lieut.-Gen. — Advance from Acton with the musqueteers. Gen. — Draw down the Chelsea cuirassiers. Lieut.-Gen. — The band you boast of, Chelsea cuirassiers, Shall in my Putney pikes now meet their peers. Gen. — Chiswickians, aged, and renowned in fight. Join with the Hammersmith brigade. Lieut.-Gen. — You'll find my Mortlake boys will do them right. Unless by Fulham numbers over-laid. Gen. — Let the left wing of Twick'n'am foot advance. And line that eastern hedge. Lieut.-Gen. — The horse I raised in Petty France Shall try their chance. And scour the meadows, overgrown with sedge. Gen. — Stand : give the word. Lieut.-Gen. — Bright sword. Gen. — That may be thine. But 'tis not mine. Lieut.-Gen. — Give fire, give fire, at once give fire, And let those recreant troops perceive mine ire. Gen. — Pursue, pursue ; they fly> That first did give the lie ! \_Exeunt. Thus the battle is carried on in talk between two individuals. Bayes alleges, as an excufe for introducing thefe trivial names of places, that " the fpe6tators know all thefe towns, and may eafily conceive them to be within the dominions of the two kings of Brentford." The battle is finally flopped by an eclipfe, and three perfonages, reprefenting the fun, moon, and earth, advance upon the llage, and by dint of linging and manoeuvring, one gets in a line between the other two, and this, accord- ing to the llri6t rules of aftronomy, conftituted the eclipfe. The eclipfe is followed by another battle of a more defperate chara6ler, to which a flop ifi Literature and Art. 395 is put in an equally extraordinary manner, by the entrance of the furious hero Drawcanfir, who Hays all the combatants on both fides. The marriage of prince Prettyman was to form the Uibjea of the fifth ad, but while Bayes, Johnfon, and Smith withdraw temporarily, all the players, in difguft, run away to their dinners, and thus ends "The Rehearfal " of Mr. Bayes's play. The epilogue returns to the moral which the play was defitrned to inculcate : — s' The play is at an end, but -whereas the blot ? That c'lrcumflance the poet Bayes forrct. And ive can boajl, though 'tis a plotting age. No place is freer from it than the ji age. Formerly people fought to write fo that they might be underftood, but " this new way of wit " was altogether incomprehenfible : — Wherefore, for ours, and for the kingdom's peace, May this prodigious "way of luriting ceafe ; Let's have, at leafl once in our li-ves, a time IP'ken -we may hear Jome reafon, not all rhyme. IVe have this ten years felt its infuence ; Pray let this prove a year of proje and Jenje. Englifh comedy was certainly greatly reformed, in Ibme I'enies of the word reform, during the period which followed the publication of " The Rehearfal," and, in the hands of writers like Wycherley, Shadwell, Congreve, and D'Urfey, the dulnefs of the Howards was exchanged for an extreme degree of vivacity. The plot was as little confidered as ever — it was a mere peg on which to hang fcenes brilliant with wit and repartee. The fmall intrigue is often but a frame for a great pidlure of lcx:iety in its forms then moft open to caricature, with all the petty intrigues infeparable from it. " Epfom. Wells," one of Shadwell's earlier comedies, and perhaps his beft, will bear comparifon with Jonfon's " Bartholomew Fair." The perfonages reprefented in it are exat^tiy thofe which then fiione in fuch fociety — three " men of wit and pleafure," one of the clafs of country fquires whom the wits of London loved to laugh at, aiiU who is dcfcribed as "a country jufiice, a uublic fpiriled, politick, 396 Hijiory of Caricature and Grotefque difcontented fop, an immoderate hater of London, and a lover of the country above meafure, a hearty true Enghfh coxcomb." Then we have " two cheating, fliarking, cowardly bullies." The citizens of London are reprefented by Biiket, " a comfit-maker, a quiet, humble, civil cuckold, governed by his wife, whom he very much fears and loves at the fame time, and is very proud of," and Fribble, " a haberdalher, a furly cuckold, very conceited, and proud of his wife, but pretends to govern and keep her under," and their wives, the firft " an impertinent, imperious flrumpet," and the other, " an humble, fubmitting wife, who jilts her huiband that way, a very " One or two other charadters of the fame ftamp, with " two young ladies of wit, beauty, and fortune," who behave them- felves not much better than the others, and a full allowance of " parfons, heftors, conftables, watchmen, and fiddlers," complete the dramatis per/once of " Epfom Wells." Witli fuch materials anybody will under- ftand the charadter of the piece, which was brought out on the flage in 1672. "The Squire of Alfatia," by the fame author, brought upon the flage in the eventful year 1688, is a vivid pifture of one of the wildeft phafes of London life in thofe ftill rather primitive times. Alfatia, as every reader of Walter Scott knows, was a cant name for the White Friars, in London, a locality which, at that time, was beyond the reach of the law and its officers, a refuge for thieves and rogues, and efpecially for debtors, where they could either refift with no great fear of being over- come, or, when refiftance was no longer poffible, efcape with eafe. With fuch a fcene, and fuch people for charaders, we are not furprifed that the printed edition of this play is prefaced by a vocabulary of the cant words employed in it. The principal charaders in the play are of the fame clals with thofe which form the ftaple of all thefe old comedies. Firfl; there is a country father or uncle, who is rich and fevere upon the vices of youth, or arbitrary, or avaricious. He is here reprefented by fir William Belfond, "a gentleman of about ^3000 per annum, who in his youth had been a fpark of the town ; but married and retired into the country, where he turned to the other extreme — rigid, morofe, moft fordidly covetous, clownifh, obflinate, pofitive, and forward." He muft have a London brother, or near relative, endowed with exaftly contrary qualities, here reprefented in Literature and Art, 397 by fir Edward Belfond, tir William's brother, " a merchant, who by- lucky hits had gotten a great ertate, lives fingle with eafe and pleafure, reafonably and virtuoufly, a man of great humanity and gentlenefs and companion towards mankind, well read in good booTvs, polfefled with all gentlemanlike qualities." Sir William Belfond has two fons. Belfond fenior, the eldeft, is "bred after his father's ruftic, fwinilh manner, with great rigour and feverity, upon whom his father's ellate is entailed, the confidence of which makes him break out into open rebellion to his father, and become lewd, abominably vicious, lUibborn, and obllinale." The younger Belfond, Sir William's fecond fon, had been " adopted by Sir Edward, and bred from his childhood by him, with all the tendernels and familiarity, and bounty, and liberty that can be;" he was "intruded in all the liberal fciences, and in all gentleman-like education ; fomewhat given to women, and now and then to good fellowlhip ; but an ingenious, well-accompli(hed gentleman ; a man of honour, and of excellent difpo- fition and temper." Then we have fome of the leading heroes of Alfatia, and firft Cheatly, who is defcribed as " a rafcal, who by reafon of debts, dares not ftir out of Whitefryers, but there inveigles young heirs in tail ; and helps 'em to goods and money upon great difadvantages ; is bound for them, and (hares with them, till he undoes them ; a lewd, impudent, debauched fellow, very expert in the cant about the town." Shamweil is " coufin to the Belfonds, an heir, who, being ruined by Cheatly, is made a decoy-duck for others ; not daring to ilay out of Alfatia, where he lives ; is bound with Cheatly for heirs, and lives upon them, a dilTolute, debauch'd life." Another of thefe characters is captain Hackum, "a block-headed bully of Alfatia; a cowardly, impudent, bluftcring fellow ; formerly a fergeant in Flanders, run from his colours, retreating into Whitefryers for a very fmall debt ; where by the Alfatians he is dubb'd a captain ; marries one that lets lodgings, fells cherry-brandy, and is a bawd." Nor is Alfatia without a reprefentative of the Puritanical part of fociety, in Scrapeall, " a hypocritical, repeating, praying, plalm- finging, precife fellow, pretending to great piety ; a godly knave, who joins with Cheatly, and fupplies young heirs with goods and money." A rather large number of inferior characters fill up the canvas j and the 2gS Hijlory of Caricature and Grotefque females, with two exceptions, belong to the fame clafs. The plot of this play Is very fimple. The elder fon of fir William Belfond has taken to Alfatia, but fir William, on his return from abroad, hearing talk of the fame of a fquire Belfond among the Alfatians, imagines that it is his younger fon, and out of this miftake a confiderable amount of mifunder- llanding arifes. At laft fir William difcovers his error, and finds his eldefl fon in Whitefryers, but the youth fets him at defiance. The father, in great anger, brings tipftaff conftables, to take away his fon by force ; but the Alfatians rife in force, the ofificers of the law are beaten, and fir William himfelf taken prifoner. He is refcued by the younger Belfond, and in the conclufion the elder brother becomes penitent, and is reconciled with his father. There is an underplot, far from moral in its charader, which ends in the marriage of Belfond junior. It is a bufy, noify play, and was a great favourite on the ilage ; but it is now chiefly interefting as a vivid pidure of London life in the latter half of the feventeenth century. "Bury Fair," by Shadwell, is another comedy of the fame defcription ; with little intereft in the plot, but full of life and movement. If " The Squire of Alfatia " was noify, " The Scowrers," another comedy by the fame author, firfi: brought on the ftage in 1691, was ftill more fo. The wild and riotous gallants who, in former times of inefficient police regulation, infefl^ed the ftreets at night, and committed all forts of outrages, were known at ditferent periods by a variety of names. In the reign of James I. and Charles I. they were the "roaring boys;" in the time of Shadwell, they were called the " fcowrers," becaufe they fcowered the ftreets at night, and rather roughly cleared them of all paflTengers ; a few years later they took the name of Mohocks, or Mohawks. During the night London lay at the mercy of thefe riotous clalfes, and the ftreets witnelfed fcenes of brutal violence, which, at the prefent day, we can hardly imagine. This ftate of things is pidlured in Shadwell's comedy. Sir William Rant, Wildfire, and Tope, are noted fcowrers, well known in the town, whofe fame has excited emulation in men of lefs diftindion in their way, Whachum, "a city wit and fcowrer, imitator of fir William," and " two fcoundrells," liis companions, Blufter and Dingboy. Great enmity arifes between the /;/ Literature ajid Art. 399 two parties of rival Icowrers. The more lerious charaders in the play are Mr. Rant, lir William Rant's tather, and lir Richard Maggot, "a foolilh Jacobite alderman " (it mull be remembered that we are now in the reign of king William). Sir Richard's wife, lady Maggot, like the citizen's wives of the comedy of the Reftoration generally, is a lady rather wanting in virtue, ambitious of mixing with the gay and fafhionable world, and Ibmewhat of a tyrant over her hulband. She has two hand- fome daughters, whom llie feeks to keep confined from the world, left they fhould become her rivals. There are low charaders of both fexes, who need not be enumerated. Much of the play is taken up with ftreet rows, capital fatirical pidures of London life. The play ends with marriages, and with the reconciliation of lir William Rant with his father, the ferious old gentleman of the play. Shadwell excelled in thefe bill} comedies. One of the neareft approaches to him is Mountfort's comedy of " Greenwich Park," which is another ftriking fatire on the loofenefs of London life at that time. As in the others, the plot is fimply nothing. The play confilb of a number of intrigues, fuch as may be imagined, at a time when morality was little refpeded, in places of falhionable refort like Greenwich Park and Deptford Wells. An element of fatire was now introduced into Englifli comedy which docs not appear to have belonged to it before — this was mimicry. Although the principal charaders in the play bore conventional names, they appear often to have been intended to reprefent individuals then well known in fociety, and thefe individuals were caricatured in their drefs, and mimicked in their language and manners. We are told that this mimicry contributed greatl) to the fuccefs of " The Rehearfal," the duke of Buckingham having taken incredible pains to make Lacy, who aded the part of Bayes, perfed in imitating the voice and manner of Dr)'den, whofe drefc and gait were minutely copied. This perfonal fatire was not always performed with impunity. On the ift of February, 1669, IV-pys went to the I'heatre Royal to fee the performance of "The HeireCs," in whicli it apj^ears that fir Charles Sedley was perfonally caricatured, and the fecretary (jf king Charles's admiralty has lelt in hi ; diary the following entry : — "To the king's houfe, thinking to have feen 400 Hi/iory of Caricature and Grotefque the Heyreffe, lirft afted on Saturday, but when we come thither we find no play there ; Kynafton, that did a6t a part therein in abufe to fir Charles Sedley, being lafl: night exceedingly beaten with flicks by two or three that faluted him, fo as he is mightily bruifed, and forced to keep nis bed." It is faid that Dryden's comedy of " Limberham," brought on the ftage in 1678, was prohibited after the firfl: night, becaufe the charadter of Limberham was ccnfidered to be too open a fatire on the duke of Lauderdale. Another peculiarity in the comedies of the age of the Reftoration was their extraordinary indelicacy. The writers feemed to emulate each other in prefenting upon the fl:age fcenes and language which no modefl: ear or pure mind could fupport. In the earlier period coarfenefs in con- verfation was charadteriftic of an unpolilhed age — the language put in the mouths of the a6tors, as remarked before, fmelt of the tavern ; but under Charles II. the tone of faftiionable fociety, as reprefented on the ftage, is modelled upon that of the brothel. Even the veiled allufion is no longer reforted to, broad and direft language is fubftituted in its place. This open profligac)'^ of the ftage reached its greateft height between the years 1670 and t68o. The ftaple material of this comedy may be con- fidered to be the commifilon of adultery, which is prefented as one of the principal ornaments in the charafler of the well-bred gentleman, varied with the feducing of other men's miftrefles, for the keeping of miftreffes appears as the rule of focial life. The " Country Wife," one of Wycherley's comedies, which is fuppofed to have been brought on the ftage perhaps as early as 1672, is a mafs of grofs indecency from beginning to end. It involves two principal plots, that of a voluptuary who feigns himfelf incapable of love and infenfible to the other fex, in order to purfue his intrigues with greater liberty ; and that of a citizen who takes to his wife a filly and innocent country girl, whofe ignorance he believes will be a prote6tion to her virtue, but the very means he takes to prevent her, lead to her fall. The " Parfon's Wedding," by Thomas Killigrew, firil a6ted in 1673, is equally licentious. The fame at leaft may be faid of Dryden's "Limberham, or the Kind Keeper," firft performed in 1678, which, according to the author's own ftatement, was prohibited on account in Literature and Art. 40 1 of its freeneli, but more probably bccaul'e the character of Limberham was believed to be intended for a perfonal falire on the unpopular earl of Lauderdale. Its plot is limple enough ; it is the liory of a debauched old gentleman, named Aldo, whofe fon, atur a rather long ablencc on the Continent, returns to England, and aflunies the name of Woodall, in order to enjoy freely the pleafures of London life before he makes himfelf known to his friends. He takes a lodging in a houfe occupied by fome loofe women, and there meets with his father, but, as the latter does not recognife his fon, they become friends, and live together licentioully io long, that when the fon at length difcovers himfelf, the old man is obliged to overlook his vices. Otway's comedy of "Friendlhip in Fafliion," performed the fame year, was not a whit more moral. But all thefe are far outdone by Ravenfcroft's comedy of "The London Cuckolds," lirft brought out in 1682, which, neverthelefs, continued to be aded until late in the laft century. It is a clever comedy, full of action, and confifting ■of a great number of difterent incidents, felefted from liie lefs moral tales of the old ftory-tellers as they .nppear in the ''Decameron" of Boccaccio, among which that of the ignorant and uneducated young wife, fimilar to the plot of Wycherley's " Country Wife," is again introduced. The corruption of morals had become fo great, that when women took up the pen, they exceeded in licentioufneC* even the other fex, as was the cafe with Mrs. Behn. Aphra Behn is underftood to have been born at Canterbury, but to have palfed fome part of her youth in the colony of Surinam, of which her father was governor. She evidently pclVelVetl a difp(jfiii(jn for intrigue, and llic was employed by the Englilh govern- ment, a few years after the Relloralion, as a political fpy at Antwerp. She fubfequently fettled in London, and gained a living by her pen, which was very prolific in novels, poems, and plays. It would be difficult le point out in any (Jther works fuch fcenes of open profligacy as tiiole i)re- frnttd in Mrs. Behn's two comedies of " Sir Patient Fancy " and " U he City Heirefs, or Sir Timothy I'reat-all," which appeared in 1678 ;uhI i-^Si. Concealment of the flightell kind is avoided, and even that which cannot be expofed to view, is tolerably broadly defcribed. It appears that the performance of the "London Cuckolds" had I) i> 402 Hijiory of Caricature and Grotefque been the caufe of fome fcandal, and there were, even among play-goers, fome who took offence at fuch outrages on the ordinary feelings of modefty. The excefs of the evil had begun to produce a readion. Ravenfcroft, the author of that comedy, produced on the ftage, in 1684, a comedy, entitled "Dame Dobfon, or the Cunning Woman," which was intended to be a modeft play, but it was unceremonioufly " damned " by the audience. The prologue to this new comedy intimates that the " London Cuckolds " had pleafed the town and diverted the court, but that fome " fqueamiih females " had taken offence at It, and that he had now written a " dull, civill " play to make amends. They are addreffed, therefore, in fuch terms as thefe : — In you, chajie ladies, then ive hope to-day. This is the poet''s recantation play. Come often to 'f, that he at length may fee ""Tis more than a pretended modejly. Stick by him noiu,for if he Jinds you falter. He quickly ivill his ivay of -writing alter ; ^nd every play Jhall fend you blufhing home. For, though you rail, yet then ive'' re fur e you'' II come. And it is further intimated, - ^ naughty play ivas never counted dull — Nor modcji comedy e^er pleafed you much. "1 remember," fays Colley Cibber in his "Apology," lookmg back to thefe times, "I remember the ladies were then obferved to be decently afraid of venturing bare-faced to a new comedy, till they had been affured they might do it without the rilk of an infult to their modefty ; or if their curiofity were too ftrong for their patience, they took care at leaft to fave appearances, and rarely came upon the firft days of afting but in mafks (then daily worn, and admitted in the pit, the lide boxes, and gallery), which cuftom, however, had fo many ill confequences attending it, that it has been aboliibed thefe many years." According to the SpcBator, ladies began now to defert the theatre when comedies were brought out, except thofe who " never mifs the firft day of a new play, left it Ihould prove too lufcious to admit of their going with any countenance to the fecond." in Literature and Art, 403 In the midrt of this abufe, there fuddenly appeared a book which created at the time a great lenlation. The comedies of the latter half of the feventeenth century were not only indecent, but they were filled with profane language, and contained fcenes in which religion itfelf was treated with contempt. At that time there lived a divine of the Church of England, celebrated for his Jacobitifm — for I am now fpeaking of the reign of king William — for his talents as a controverfial writer, and for his zeal in any caufe which he undertook. This was Jeremy Collier, the author of feveral books of fome merit, which are feldom read now, and who fuffered for his zeal in the caufe of king James, and for his refufal to take the oath of allegiance to king William. In the year 1698 Collier publilhed his " Short View of the Immorality and Profanenefs of the Englifli ftage," in which he boldly attacked the licentioufnefs of the Englilh comedy. Perhaps Collier's zeal carried him a little too far 5 but he had offended the wits, and efpecially the dramatic poets, on all (ides, and he was expofed to attacks from all quarters, in which Dryden himfelf took an adtive part. Collier fhowed himfelf fully capable of dealing with his opponents, and the controverfy had the effe6t of calling attention to the immoralities of the ftage, and certainly contributed much towards reforming them. They were become much lefs frequent and lefs grols at the opening of the eighteenth century. Towards the end of the reign of king Charles II., the ftage was more largely employed as a political agent, and under his fucceflbr, James II., the Puritans and the Whigs were conftantly held up to fcorn. After the Revolution, the tables were turned, and the latire of the ftage was often aimed at Tories and Non-jurors. "The Non-juror," by Colley Cibber, which appeared in 1717, at a very opportune moment, gained for its author a penfion and the office of poet-laureate. It was founded upon the "Tartuft'e ' of Molicre, for the Englilh comedy writers borrowed much from the foreign ftage. A difguifed prieft, who pufll's under the name of Dr. Wolf, and who had been engaged in the rebellion of 17151 l^'is '"* ftnuatcd himfelf into the houfeholdof a gentleman of fortune, of not very ftrong judgment, Sir John Woodvil, whom, under the title of a Non-juror, he has not only induced to become an abettor of rebels, but he has 404 HiJIory of Caricature and Grotefque perfuaded him to difinherit his fon, and he labours to feduce his wife and to deceive his daugliter. His bafenefs is expofed only juft foon enough to defeat his defigns. Such a produ6tion as this could not fail to give great offence to all the Jacobite party, of whatever Ihade, who were then rather numerous in London, and Gibber aflures us that his reward was a con- liderable amount of adverfe criticifm in every quarter where the Tory influence reached. His comedies were inferior in brilliance of dialogue to thofe of the previous age, but the plots were well imagined and conduced, and they are generally good afting plays. To Samuel Foote, born in 1722, we owe the lall change in the form and charafter of Englifli comedy. A man of infinite wit and humour, and polTefled of extraordinary talent as a mimic, Foote made mimicry the principal inftrument of his fuccefs on the ftage. His plays are above all light and amufing; he reduced the old comedy of five a6ts to three a6ls, and his plots were ufually fimple, the dialogue full of wit and humour 5 but their peculiar chara£teriflic was their open boldnefs of per- fonal fatire. It is entirely a comedy of his own. He fought to dire6l his wit againfl all the vices of fociety, bat this he did by holding up to ridicule and fcorn the individuals who had in fome way or other made themfelves notorious by the praftice of them. All his principal chara6ters were real chara£lers, who were more or lefs known to the public, and who were fo perfeftly mimicked on the ftage in their drefs, gait, and fpeech, that it was impoflible to miflake them. Thus, in " The Devil upon Two Sticks," which is a general fatire on the low condition to which the practice of medicine had then fallen, the perfonages introduced in it all reprefented quacks well known about the town. "The Maid of Bath" dragged upon the ilage fcandals which were then the talk of Bath fociety. The nabob of the comedy which bears that title, had alfo his model in real life. "The Bankrupt " may he confidered as a general fatire on the bafenefs of the newfpaper prefs of that day. which was made the means of propagating private fcandals and libellous accufations in order to extort money, yet the charafters introduced are faid to have been all portraits from the lite ; and the fame ftatement is made with regard to the comedy of " The Author." /// Literature and ylrt. a.05 It is evident that a drama of this inquifitorial chani<5ler is a dangerous thing, and that it could hardly be allowed to exift where the rights of fociety are properly defined ; and we are not furprifed if Foote provoked a hoft of bitter enemies. But in fome cafes the author met with punilh- inent of a heavier and more fubftantial defcription. One of the individuals introduced into "The Maid of Bath," extorted damages to the amount of ^■'3,000. One of the perfons who figured in "The Author," obtained an order from the lord chamberlain for putting a ftop to the performance after it had had a ihort run ; and the confequences of " I'he Trip to Calais," were fiill more difaftrous. It is well known that the charafter of lady Kitty Crocodile in that play was a broad caricature on the notorious duchefs of Kingfton. Through the treachery of fome of the people employed by Foote, the duchefs obtained information of the nature of this play before it was ready for reprefentation, and fhe had fuflScient influence to obtain the lord chamberlain's prohibition for bringing it on the ftage. Nor was this all, for as the play was printed, if not afted, — and ': -•■■as fubfequently brought out in a modified form, with omillion of the pan t.i" '•'''■' Kitty Crocodile, though the chara6ters of fome of her agents were ftill retained, — infamous charges were got up againft Foote, in retaliation, which caufed him fo much trouble and grief, that they are faid to have fhortened his days. The drama which Samuel Foote had invented did not outlive him ; its caricature was itfclt *ran>iferred to the caricature of the print-fhop. 4o6 Hijiory of Caricature and Grotefque CHAPTER XXIII. CARICATURE IN HOLLAND. ROMAIN DE HOOGHE. THE ENGLISH REVOLUTION. CARICATURES ON LOLTIS XIV. AND JAMES II. DR. SA" CHEVERELL. CARICATURE BROUGHT FROM HOLLAND TO ENGLAND. ORIGIN OF THE WORD "CARICATURE." MISSISSIPPI AND THE SOUTH SEA 5 THE YEAR OF BUBBLES. MODERN political caricature, born, as we have ieen, in France, maybe confidered to have had its cradle in Holland. The pofition of that country, and its greater degree of freedom, made it, in the feven- teenth century, the general place of refuge to the political difcon- tents of other lands, and efpecially to the French who fled from the tyranny of Louis XIV. It poflefled at that time fome of the mod lldlful artifts and beft engravers in Europe, and it became the central fpot from which were launched a multitude of fatirical prints againft that monarch's policy, and againft himfelf and his favourites and minifters. This was in a great meafure the caufe of the bitter hatred which Louis always difplayed towards that country. He feared the caricatures of the Dutch more than their arms, and the pencil and graver of Romain de Hooghe were among the moft effedive weapons employed by William of Naffau. The marriage of William with Mary, daughter of the duke of York, in 1677, naturally gave the Dutch a greater intereft than they could have felt before in the domeftic affairs of Great Britain, and a new Ilimulus to their zeal againft Louis of France, or, which was the fame thing, againft arbitrary power and Popery, both of which had been rendered odious under his name. The acceflion of James II. to the throne of England, and his attempt to re-eftablifti Popery, added religious as well as political fuel to thefe feelings, for everybody underftood that James was a6ting in Literature and Art. 407 under the prote6lion of the king of France. The very year of king James's acceflion, in 1685, the caricature appeared which we have copied in our cut No. 186, and which, ahhough the infcription is in EngUlh, appears to have been the work of a foreign artift. It was probably iptended to reprefent Mary of Modena, the queen of James II., and her No. 186. A Dangerous Confcffor. rather famous confelTor, father Pctre, the latter under the character of the wolf among the flieep. Its aim is fufficiently evident to need no expla- nation. At the top, in the original, are the Latin words, Coiivcrte ,/Hi,'/ia;H, "convert England," and beneath, in Englilh, "It is a fooiilh Iheep that makes the wolf her confeflbr." The period during which the Dutch fchool of caricature flouriflied, extended through the reign of Louis XIV., and into the regency in France, and two great events, tlie revolution of 1688 in England, and the wild money fpeculalions of the year 1720, exercifed efpecially the pencils 4o8 Hijiory of Caricature and Grot efque of its caricaturifts. The lirfl of thefe events belongs almoft entirely to< Romain de Hooghe. Very little is known of the perfonal hillory of this- remarkable artift, but he is believed to have been born towards the middle of the feventeenth century, and to have died in the earlier years of the eighteenth century. The older French writers on art, who were pre- judiced againft Romain de Hooghe for his bitter hoftility to Louis XIV.,. inform us that in his youth he employed his graver on obfcene fubjetSls, and led a life fo openly licentious, that he was banifhed from his native town of Amfterdam, and went to live at Haerlem. He gained celebrity by the feries of plates, executed in 1672, which reprefented the horrible atrocities committed in Holland by the French troops, and which raifed againfl Louis XIV. the indignation of all Europe. It is laid that the prince of Orange (William III. of England), appreciating the value of his fatire as a political weapon, fecured it in his own interefts by liberally patronifing the caricaturlft ; and we owe to Romain de Hooghe a fuccef- fion of large prints in which the king of France, his protege James II., and the adherents of the latter, are covered with ridicule. One, publiflied in 1688, and entitled " Les Monarches Tombants," commemorates the flight of the royal family from England. Another, which appeared at the fame date, is entitled, in French, " Arlequin fur I'hypogryphe a la croifade Loiolifte," and in Dutch, " Armee van de Heylige League voor der Jefuiten Monarchy'' (i.e. " the army of the holy league for eftablilhing the monarchy of the Jefuits "). Louis XIV. and James II. were reprefented under the chara6ters of Arlequin and Panurge, who are feated on the animal here called a " hypogryphe," but which is really a wild afs. The two kings have their heads joined together under one Jefuit's cap. Other figures, forming part of this army of Jefuitifm, are diftributed over the field, the moft grotefque of which is that given in our cut No. 187. Two p^rfonages introduced in fome ridiculous pofition or other, in moft of thefc caricatures, are father Petre, the Jefuit, and the infant prince of Wales, afterwards the old Pretender. It was pretended that this infant was in fa6t the child of a miller, fecretly introduced into the queen's bed concealed in a warming-pan ; and that this ingenious plot was contrived by father Petre. Hence the boy was popularly called Peterkin, or in Literature and Art. 409 Perkin, i.e. little Peter, which was the name given afterwards to ttie Pretender in longs and latires at the time of his rebellion; and in the prints a windmill was ufually given to the child as a fign of its father's trade. In the group reprefented in our cut, father Petre, with the child in his arms, is feated on a rather fingular fteed, a lob(ver. The voung. No. it-]. A Jefuit ivell Mounted. prince here carries the windmill on liis head. On the lubtler's back^ behind the Jefuit, are carried the papal crown, furmounted by a fleur-de- lis, with a bundle of relics, indulgences, &c., and it has feized in one claw the Englifh church fervice book, and in the other the book of the laws of England. In the Dutch defcription of this print, the child is called " the new born Antichrift." Another of Romain de Hooghe's prints, entitled " Panurge feconde par Arlequin Deodaat a la croifade d'Irlande, 1689," is a latire on king James's expedition to Ireland, which led to the memo- rable battle of the Boyne. James and his friends are proceeding to the place of embarkation, and, as reprefented in our cut No. 188, father Petrc marches in front, carrying the infant prince in his arms. The drawing of Romain de Hooghe is not always correft, efpecially in his larger fubje6t.s, which perhaps may be afcribed to his hally and carclefs manner of working; but he difplays great Ikill in grouping his f/j^urcs, and great power in inverting them with a large amount of fatirical 4 1 o Hijiory of Caricature and GroteJ'que humour. Moft of the other caricatures of the time are poor both in delign and execution. Such is the cafe with a vulgar fatirical print which was publiflied in France in the autumn of 1690, on the arrival of a falfe rumour that king "William had been killed in Ireland. In the No. 188. Off to Ireland. field of the pi6ture the corpfe of the king is followed by a proceffion con- fifting of his queen and the principal fupporters of his caufe. The lower corner on the left hand is occupied by a view of the interior of the infernal regions, and king William introduced in the place allotted to him among the flames. In different parts of the pifture there are feveral infcrip- tions, all breathing a fpirit of very infolent exultation. One of them is the — Billet d^Enterrement. Vous estes priez d'assister au convoy, service, et enterrement du tres haut, tres grand, et tres infame Prince infernal, grand stadouter, des Armes diaboliques de la ligue d'Ausboupcr, et insigne usiirpateur des Royaumes d'Angleterre, d'Eccosse, et d'Irlande, decide dans Tlrlandeau mois d'Aoust 1690, qui se fera ledit mois,dans sa paroisse infernale, ou assisteront Dame Proserpine, Radamonte, et Jes Ligueurs. Les Dames kii diront s'il leur plaist des injures. The prints executed in England at this time were, if poflible, worfe than thofe publiflied in France. Almoft the only contemporary caricature on the downfall of the Stuarts that I know, is an ill-executed print, pub' in Literature and Art. 4 1 i lifhed immediately after the accellion of William III., under the title, " England's Memorial of its wondertui deliverance from French Tyranny and Popifh Opprellion." The middle of the pidure is occupied by " the royal orange tree," which flourifhes in fpite of all the attempts to deftroy it. At the upper corner, on the left fide, is a reprefentation of the French king's " council," confifting of an equal number of Jefuits and devils, feated alternately at a round table. The circumllance that the titles and infcriptions of nearly all thefe caricatures are in Dutch, feems to Ihow that their influence was intended to be exercifed in Holland rather than elfewhere. In two or three only of them thefe defcriptions were accompanied with tranflations in Englifli or French ; and after a time, copies of them began to be made in England, accompanied with Englilh defcriptions. A curious example of this is given in the fourth volume of the " Poems on State Affairs," printed m 1707. In the prefice to this volume the editor takes occafion to inform the reader — "That having procur'd from beyond fea a Colledion ot Satyrical Prints done in Holland and elfewhere, by Rom. de Hoog, and other the beft mafters, relating to the French King and his Adherents, lince he unjultly begun this war, 1 have perfuaded the Bookfeller to be at the expenfe of ingraving feveral of them 3 to each of which I have given the Explanation in Englifli verfe, they being in Dutch, French, or Latin in the originals." Copies of feven of thefe caricatures are accordingly given at the end of the volume, which are certainly inferior in every refpett to thofe of the beft period of Romain de Hooghe. One of them commemorates the eclipfe of the fun on the 12th of May, 1706. The fun, as it might be conjedured, is Louis XIV., eclipfed by queen Anne, whofe face occupies the place of the moon. In the foreground of the pidure, juft under the eclipfe, the queen is feated on her throne under a canopy, furrounded by her counfellors and generals. With her left arm flie holds d(jwn the Gallic cock, while with the other hand flic clips one of its wings (fee our cut No. 189). In the upper corner on the right, i> inferted a pidure of the battle of Raniillies, and in the lower corner on the left, a fea-fight under admiral Leake, both vidories gained in that yeqr. Another of thefe copies of foreign prints is given in our cu' 4 1 2 Hijiory of Caricature and Grotefque No. 190. We are told that " thefe figures reprefent a French trumpet and drum, fent by Louis le Grand to enquire news of leveral citys loft by the Mighty Monarch laft campaign." The trumpeter holds in his hand a lift of loft towns, and another is pinned to the breaft of the drummer j. No, 189. Clipping the CocFs fVwgs. the former lift is headed by the names of " Gaunt, Brufl!els, Antwerp, Bruges," the latter by " Barcelona." The firft remarkable outburft of caricatures in England was caufed by the proceedings againft the notorious Dr. Sacheverell in 1 710. It is fomewhat curious that Sacheverell's partifans fpeak of caricatures as things brought recently from Holland, and new in England, and afcribe the ufe of them as peculiar to the Whig party. The writer of a pamphlet, entitled " The Pifture of Malice, or a true Account of Dr. Sacheverell's Enemies, and their behaviour with regard to him," informs us that " the chief means by which all the lower order of that fort of men call'd Whigs, ftiall ever be found to aft for the ruin of a potent adverfary, are the following three — by the Print, the Canto or Doggrell Poem, and by the Libell, grave, calm, and cool, as the author of the 'True Anfwer ' defcribes it. Thefe are not all employed at the fame in Literature and Art. 413 time, any more than the ban and arierban of a kingdom is railed, unlels to make fare work, or in cafes of great exigency and imminent danger." " The Print," he goes on to fay, " is originally a Dutch talifman (be- colle6ted and publillied in a volume, which is ftill met with not unfre- (juently, under the title " Het groote Tafereel der Dwaallieid," "The great pifture of folly." One of this fet of prints reprefents a multitude of perfons, of all ages and fexes, afting the part of Atlas in fupporting on their backs globes, which, though made only of paper, had become, through the agitation of the flock exchange, heavier than gold. Law himfelf (fee our cut No. 192) ftands foremoft, and requires the afliftance of Hercules to fupport his enormous burthen. In the French verfes accompanying this print, the writer fays — Ami yiilai, on -volt {fam center voui et mot) Faire r Atlai partcut des divers ferjonnages, Riche, pawvre, homme,femme, et Jot et quafi-fage. Valet, et paifan, le gueux fele-ve en roi. Another of thefe caricatures reprefents Law in the chara6ter of Don Quixote, riding upon Sancho's donkey. He is haftening to his Dulcinia, who waits for him in the a&ie huis (a6tion or (hare-houfe), towards which j)eople are dragging the animal on which he is seated. The devil (fee our cut No. 193), fits behind Law, and holds up the afs's tail, while a Ihowcr of paper, in the form of fhares in companies, is fcatlered around, and fcrambled for by the eager aSionnaires. In front, the animal is laden with the money into which this paper has been turned, — the box bears the infcription, " Bomlarioos GMkiJl, 1720," " Bombario's (Law's) gf)ld cheft ;" and the flag bears the infcription, " Ik koorn, ik koom, Dul- 4 1 8 Hijiory of Caricature and Grotefque cinia," " I come, I come, Dulcinia." The beft, perhaps, of this lot of caricatures is a large engraving by the well-known Picart, inferted among the Dutch colle6tion with explanations in Dutch and French, and which was re-engraved in London, with Englifli defcriptions and applications. No. 193. T^e Don Sluixote of Finance. It is a general fatire on the madnefs of the memorable year 1720. Folly appears as the charioteer of Fortune, whofe car is drawn by the reprefen- tatives of the numerous companies which had fprung up at this time, moll of which appear to be more or lefs unfound. Many of thefe agents have the tails of foxes, " to lliow their policy and cunning," as the explana- tion informs us. The devil is feen in the clouds above, blowing bubbles of foap, which mix with the paper which Fortune is diftributing to the crowd. The pifture is crowded with figures, fcattered in groups, who are employed in a variety of occupations connefted with the great folly of the day, one of which, as an example, is given in our cut No. 194. It is a transfer of flock, made through the medium of a Jew broker. in Literature and Art. 419 It was in this bubble agitation that the En<;lilh Ichool of caricature began, and a few fpecimens are prefer\ed, though others which are ;ul\ertiliHl in the newfpapers of that day, feeni to be entirely lo me notri, Tou Jhall all go to potti. Tlie clofing years of the reign of George II., under the vigorous adminiflration of the firft William Pitt, witnelfed a calm in the domeftic politics of the country, which prefented a (Irange contrail to the agita- tion of the previous period. Faftion feemed to have hidden its head, and there was comparatively little employment for the caricaturift. But this calm lafted only a fhort time after that king's death, and the new reign was uftiered in by indications of approaching political agitation of the moft violent defcrip- tion, in which fatirifts who had hitherto con- tented themfelves with other fubje6ls were tempted to embark in the ftrife of politics. Amons: thefe was Hojrarth, whofe difcom- forts as a political caricaturift we fliall have to defcribe in our next chapter. Perhaps no name ever provoked a greater amount of caricature and fatirical abufe than that of Lord Bute, who, through the favour of the Princefs of Wales, ruled fupreme at court during the firft period of the reign of George III. Bute had taken into the miniftry, as his confidential colleague. Fox — the Henry Fox who became fubfequently the firft Lord Holland, a man who had en- riched himfelf enormoully with the money of the nation, and thefe two appeared to be , /I , 1/1 /- 1 • 1^0- lOO- Fox on Boots. amiing at the eftabliihment 01 arbitrary power inahe place of conftituiional government. Fox was ufually reprcfented in 430 HiJIory of Caricature and Grotefque the caricatures with the head and tail of the animal reprefented by his name rather ftrongly developed ; while Bute was drawn, as a very bad pun upon his name, in the garb of a Scotchman, wearing two large boots, or fometimes a fingle boot of ftill greater magnitude. In thefe caricatures Bute and Fox are generally coupled together. Thus, a little before the refigna- tion of the duke of Newcallle in 1762, there appeared a caricature entitled " The State Nurfery," in which the various members of the miniflry, as it was then formed under Lord Bute's influence, are reprefented as engaged in childifli games. Fox, as the whipper-in of parliamentary majorities, is riding, armed with his whip, on Bute's Ihoulders (fee our cut No. 200), while the duke of Newcaflle performs the more menial fervice of rocking the cradle. In the rhymes which accompany this caricature, the firft of thefe groups is defcribed as follows (Fox was commonly fpoken of in fatire by the title of Volpone) — Firjl you fee old Jlj Vol[>one-y, Riding on the /boulders hraivny Of the muckle fa-uourite Sa-wny ; Doodle, doodle, doo. The number of caricatures publifhed at this period was very great, and they were almofi: all aimed in one direftion, againft Bute and Fox, the Princefs of Wales, and the government they direfted. Caricature, at this time, ran into the leaft difguifed licence, and the coarfeft allufions were made to the fuppofed fecret intercourfe between the minifter and ■the Princefs of Wales, of which perhaps the moft harmlefs was the addi- tion of a petticoat to the boot, as a fymbol of the influence under which the country was governed. In mock proceflions and ceremonies a Scotchman was generally introduced carrying the ftandard of the boot and petticoat. Lord Bute, frightened at the amount of odium whicli was thus heaped upon him, fought to ftem the torrent by employing fatirifts to defend the government, and it is hardly neceflTary to ftate that among thefe mercenary auxiliaries was the great Hogarth himfelf, who accepted a penfion, and publiflied his caricature entitled, "The Times, Nov. I," in the month of September, 1762. Hogarth did not excel in political caricature, and there was little in this print to diftinguifli it above in Literature and Ai't. 431 the ordinary publications of a finiilar charadcr. It was the moment ot negotiations tor Lord Bute's unpopular peace, and Hogarth's latire is direded againfr the foreign policy of the great ex-minifter I'itt. Jt reprefents Europe in a Itate of general conflagration, and the flames already communicating to Great Britain. While Pitt is blowing the fire, Bute, with a party of foldiers and failors zealoufty aflifted by his favourite Scotchmen, is labouring to extinguifli it. In this he is impeded by the interference of the duke of Ncwcaflle, w ho brings a wheelbarroA' full of Monitors and North Britons, the violent oppofition journals, to feed the No. 201. Fanatkifm in another Shape. flames. The advocacy of Bute's mercenaries, whether literary or artillic, did little fervice to the government, for they only provoked increafed a6tivity among its opponents. Hogarth's caricature of " The Times," drew feveral anfwers, one of the beft of which was a large print entitled "The Raree Show, a political contrail to th'; print of ' The Times,' by William Hogarth." It is the houfe of John Bull which is here on fire, and the Scots are dancing and exulting at it. In the centre of the pittnre appears a great a6tors' barn, from an upper window of which Fox thrufts oi^t hih head and points to the fign, reprefenting TEneas and Dido 432 Hijiory of Caricature and Grotefque entering the cave together, as the performance which was afting within. It is an allufion to the fcandal in general circulation relating to Bute and the princefs, who, of courfe, were the jEneas and Dido of the piece, and appear in thofe charaders on the fcaffold in front, with two of Bute's mercenary writers, Smollett, who edited the Briton, and Murphy, who wrote in the Auditor, one blowing the trumpet and the other beating the drum. Among the different groups which fill the pifture, one, behind the adlors' barn (fee our cut No. 30i), is evidently intended for a fatire on the fpirit of religious fanaticifm which was at this time fpreading through the country. An open-air preacher, mounted on a ftool, is addreliing a not very intelledlual-looking audience, while his infpiration is conveyed to him in a rather vulgar manner by the fpirit, not of good, but of evil. The violence of this political warfare at length drove Lord Bute from at leaft oftenfible power. He refigned on the 6th of April, 1763. One of the popular favourites at this time was the duke of Cumberland, the hero of CuUoden, who was regarded as the leader of the oppofition in the Houfe of Lords. People now believed that it was the duke of Cumber- land who had overthrown " the boot," and his popularity increafed on a fudden. The triumph was commemorated in feveral caricatures. One of thefe is entitled, "The Jack-Boot kick'd down, or Englilli Will triumphant : a Dream." The duke of Cumberland, whip in hand, has kicked the boot out of the houfe, exclaiming to a young man in failor's garb who follows him, " Let me alone, Ned ; I know how to deal with Scotfmen. Remember CuUoden." The youth replies, " Kick hard, uncle, keep him down. Let me have a kick too." Nearly the fame group, ufing fimilar language, is introduced into a caricature of the fame date, entitled, "The Boot and the Blockhead." The youthful perfonage is no doubt intended for Cumberland's nephew, Edward, duke of York, who was a failor, and was railed to the rank of rear-admiral, and who appears to have joined his uncle in his oppofition to Lord Bute. The " boot," as feen in our cut No. 202, is encircled with Hogarth's celebrated "line of beauty," of which I fliall have to fpeak more at length in the next chapter. in Literature and Art. 433 With the overthrow of Bute's miniftry, we may confider t:he Englilh fchool of caricature as completely formed and fully elhiblilhed. From this time the names of the caricaturills are better known, and we Ihail No. 202. TiK (hjcrthrow of the Boot. have to confider them in their individual charafters. One ol ihole. William Hogarth, had rilen in Hmie far above the group of the ordinary men by whom he was lurruunded. FF 434 Hi ft or y of Caricature and Grotefque CHAPTER XXV. HOGARTH. HIS EARLY HISTORY, HIS SETS OF PICTURES. THE HAR- LOt's progress. THE RAKe's PROGRESS. THE MARRIAGE A LA MODE. HIS OTHER PRINTS. THE ANALYSIS OF BEAUTY, AND THE PERSECUTION ARISING OUT OF IT. HIS PATRONAGE BY LORD BUTE. CARICATURE OF THE TIMES. ATTACKS TO WHICH HE WAS EX- POSED BY IT, AND WHICH HASTENED HIS DEATH. ON the 1 0th of November, 1697, WilHam Hogarth was born in the city of London. His father, Richard Hogarth, was a London fchoolmafter, who laboured to increafe the income derived from bis fcholars by compiling books, but with no great fuccefs. From his child- hood, as he tells us in his "Anecdotes " of himfelf, the young Hogarth difplayed a tafte for drawing, and efpecially for caricature 3 and, out of fchool, he appears to have been feldom without a pencil in his hand. The limited means of Richard Hogarth compelled him to take the boy from fchool at an early age, and bind him apprentice to a fteel-plate engraver. But this occupation proved little to the tafte of one whofe ambition rofe much higher; and when the term of his apprenticefhip had expired, he applied himfelf to engraving on copper 3 and, fetting up on his own account, did confiderable amount of work, firft in engraving arms and fhop-bills, and afterwards in defigning and engraving book illuftrations, none of which difplayed any fuperiority over the ordinary run of fuch produftions. Towards 1728 Hogarth began to praCtife as a painter, and he fubfequently attended the academy of fir James Thornhill, in Covent Garden, where he became acquainted with that painter's only daughter, Jane. The refult was a clandeftine marriage in 1730, which met the difapproval%nd provoked the anger of the lady's father. Subfequently, however, fir James became convinced of the genius of his fon-in-law, and a reconciliation was eflfe6ted through the medium of lady Thornhill. in Literature and Art. 435 At this time Hogarth had already comn)enced that new flyle of defign which was deltined to raile him loon to a degree of fame as an artift few men have ever attained. In his " Anecdotes " of himfclf, the painter has given us an interelting account of the motives by which lie was guided. " The reafons," he lays, " which induced me to adopt this mode of deligning were, that I thought both writers and painters had, in the hillorical llyle, totally overlooked that intermediate fpecies of fubje(5ts which may be placed between the fublime and the grotefque. I thon- forc wifhed to compofe pictures on canvas fimilar to reprefentations on the liage ; and further hope that they will be tried by the fame te(t, a.id criiicifed by the fame criterion. Let it be obferved, that I mean to fpcak only of thofe fcenes where the human fpecies are adors, and thel'e, I think, have not often been delineated in a way of which they are worthy and capable. In thefe compofitions, thofe fubje6ts that will both entertain and improve the mind bid fair to be of the greateft public utility, and muft therefore be entitled to rank in the higheft clafs. If the execution is difficult (though that is but a fecondary merit), the author has claim to a higher degree of praife. If this be admitted, comedy, in painting as well as writing, ought to be allotted the firft place, though thejullimc, as it is called, has been oppofed to it. Ocular demonflration will carry more conviction to the mind of a fenfible man than all he would find in a thoufand volumes, and this has been attempted in the prints I have comjKjfed. Let the decifion be left to every unprejudiced eye ; let liu- figures in either pictures or prints be confidered as players drelVed either for the fublime, for genteel comedy or farce, for high or low life. I have endeavoured to treat my fubjeds as a dramatic writer : my pidure is my flage, and men and women my players, who, by means of certain adions and geftures, are to exhibit a dumb-Jhow." The great feries of pidures, indeed, which form the principal founda- tion of Hogarth's fame, are comedies rather than caricatures, and noble comedies they are. Like comedies, they are arranged, by a feries of fuc- ceflive plates, in atts and fcenes ; and they rt-prefent contemporary fociety pidorially, jull as it had been and was reprefenied on the ftage in Lnglilli comedy. It is imt by delicacy or excellence of drawing that Hogarth 43 6 Hi/lory of Caricature and Grotefque excels, tor he often draws incorreftlyj but it is by his extraordinary and minute dehneation of chara6ter, and by his wonderful ikill in telling a ftory thoroughly. In each of his plates we fee a whole atl: of a play, in which nothing is loll, nothing gloffed over, and, I may add, nothing exaggerated. The moft trifling objeft introduced into the pi£ture is made to have fuch an intimate relationfliip with the whole, that it feems as if it would be imperfeft without it. The art of producing this effe6t ■was that in which Hogarth excelled. The firft of Hogarth's great ///i/« of prints was "The Harlot's Progrefs," which was the work of the years 1733 and 1734. It tells a llory which was then common in London, and was afted more openly in the broad face of fociety than at the prefent day J and therefore the effe6t and confequent fuccefs were almoft inftan- taneous. It had novelty, as well as excellence, to recommend it. This feries of plates was followed, in t 735, by another, under the title of " The Rake's Progrefs." In the former, Hogarth depicted the fhame and ruin which attended a life of proftitution ; in this, he reprefented the limilar confequences which a life of profligacy entailed on the other fex. In many refpeds it is fuperior to the " Harlot's Progrefs," and its details come more home to the feelings of people in general, becaufe thofe of the proftitute's hiftory are more veiled from the public gaze. The progrefs of the fpendthrift in diflipation and riot, from the moment he becomes poflleffed of the fruits of paternal avarice, until his career ends in prifon and madnefs, forms a marvellous drama, in which every incident prefents itfelf, and every agent performs his part, fo naturally, that it feems almoft beyond the power of ading. Perhaps no one ever pidured defpair with greater perfedion than it is Ihown in the face and bearing of the unhappy hero of this hiflory, in the lafl plate but one of the feries, where, thrown into prifon for debt, he receives from the manager of a theatre the announcement that the play which he had written in the hope of retrieving fomewhat of his pofltion — his lafl: refource — has been refufed. The returned manufcript and the manager's letter lie on the wretched table (cut No. 203) ; while on the one fide his wife reproaches him heartleflly with the deprivations and fufFerings which he has brought upon her, and on the other the jailer is reminding him of the fad that /;; Literature and Art. 437 the fees exaded for the flight indulgence he has obtained in prifon are unpaid, and even the poc-boy refufes to deliver him hi^ beer without lirft receiving his money. It is but a flep further to Bedlam, which, in the next plate, clofes his unblefll-d career. Ten years almoll from thib time had palfed away before Hogarth gave A'o. 203. Dejpa'ir. to the world his next grand feries of what he called his " modern moral fubje6ts.*' This was " The Marriage a la mode," which was publillied in fix plates in 174/;, and which fully fuftained the reputation built upon the " Harlot's Progrefs " and the " Rake's Progrefs." Perhaps the beft plate of the " Marriage d la mode," \i the fourth— the mufic fcene — in which one principal group of figures efpecially arrcils the attention. It is rcpre- Icnted in our cut No. 204. William Hazlitt has juflly remarked upon it that, " the prepofterous, overftrained admiration of the lady of quality ; the fentimental, infipid, patient delight (jf the man with his hair in papers, and fipping his tea j the pert, fmirking, conceited, half-diftorted approbation of the figure next to him ; the tranfition to the total infcnri- bility of the round face in profile, and then to the wonder of the negro boy at the rapture of his miflrcf->, form a perfedt whole." 43 8 Hijiory of Caricature and Grotefqiie In the interval between thefe three great monuments of his talent, Hogarth had publiihed various other plates, belonging to much the fame No. 204. Fapo'ionabh Society. clafs of fubje£ts, and difplaying different degrees of excellence. His engraving of " Southwark Fair," publiihed in 1733, which immediately No. 205. wT^n Old Maid and her Page. preceded the " Harlot's Progrefs," may be regarded almoft as an attempt to rival the fairs of Callot. " The Midnight Modern Converfation " in Literature and Art. 439 appeared in the interval between the "Harlot's Progrefs " and the " Rake's Progrefs j" and three years after the feries lalt mentioned, in 1738, the engraving, remarkable equally in defign and execution, of the " Strolling AftrelVes in a Barn," and the four plates of " Morning," " Noon," "Evening," and "Night," all full of choiceft bits of humour. Such is the group of the old maid and her footboy in the firft of this feries (cut No. 205) — the former iVifF and prudilh, whofe religion is evidently not that of charity; while the latter crawls after, flirinking at the fame time under the efte6ts of cold and hunger, which he fuftains in confequence of the hard, niggardly temper of his miftrefs. Among No. 206. Lc/i and Gain. the humorous events which fill the plate of " Noon," we may point to the difafler of the boy who has been fent to the baker's to fetch home the family dinner, and who, as reprefentcd in our cut No. 206, has broken his pie-dilh, and fpilt its contents on the ground ; and it is diffi- cult to fay which is exprelTed with mod fidelity to nature — the terror and Ihame of the unfortunate lad, or the feeling of enjoyment in the face of the little girl who is feafiing on the fragments of the fcattertd meal. In I 741 appeared the plate of " The Enraged JMufician." During this period Hogarth appears to have been hefitating between two fubjetts for his Ihird grand pitlorial drama. Some unfinilhcd fetches have been found, 44 o Hi [lory of Caricature and Grotefque from which it would feem that, after depi6ling the miferies of a hfe of diflipation in either fex, he intended to reprefent the domeftic happinefs which refuked from a prudent and well-aflbrted marriage ; but for fome reafon or other he abandoned this defign, and gave the pifture of wedlock in a lefs amiable light, in his " Marriage a la mode.'' The title was pro- bably taken from that of Dryden's comedy. In 17^0 appeared "The March to Finchley," in many refpeds one of Hogarth's beft works. It is a ftriking expofure of the want of difcipline, and the low morale of the Englifli army under George II. Many amufing groups fill this pifture, the fcene of which is laid in Tottenham Court Road, along which the guards are fuppofed to be marching to encamp at Finchley, in confequence No. 207. ^ bra've Soldier. of rumours of the approach of the Pretender's army in the Rebellion of '45. The foldiers in front are moving on with fome degree of order, but in the rear we fee nothing but confufion, fome reeling about under the effefts of liquor, and confounded by the cries of women and children, camp-followers, ballad-fingers, plunderers, and the like. One of the latter, as reprefented in our cut No. 207, is affilVmg a fallen foldier with an additional dofe of liquor, while his pilfering propenfities are betrayed by the hen fcreaming from his wallet, and by the chickens following dif- traftedly the cries of their parent. Hogarth prefents a fingular example of a fatirifl: who fuffered under in Literature and Art. 441 the ver)' punilliment which he inflided on others. He made many perfonal enemies in the courle of his labours. He had begun his career with a well-known perlbnal fatire, entitled "The Man of Talle," which was a caricature on Pope, and the poet is laid never to have forgiven it. Although the I'atire in his more celebrated works appears to us general, t told upon his contemporaries perfonally ; for the figures which a6l their parts in them were fo many portraits of individuals who moved in contemporary fociety, and who were known to everybody, and thus he provoked a holl of enemies. It was like Foote's mimicry. He was to an extraordinary degree vain of his own talent, and jealous of that of others in the fame profellion j and he fpoke in terms of undifguifed contempt of almoft all artills, paft or prefent. Thus, the painter intro- duced into the print of " Beer Street," is laid to be a caricature upon John Stephen Liotard, one of the arlilts mentioned in the lart chapter. He thus provoked the hollility of the greatell part of his contemporaries in his own profellion, and in the fequel had to fupport the full weight of their anger. When George H., who had more tafte for foldiers than piAures, faw the painting of the " March to Finchley," iiiftead of admir- ing it as a work of art, he is faid to have exprelled himfelf with anger at the infult which he believed was offered to his army ; and Hogarth not only revenged himfelf by dedicating his print to the king of Prullia, by which it did become a fatire on the Britifh army, but he threw himfelf into the fadtion of the prince of Wales at Leicefter Houl'e. I'he firll occafion for the difplay of all thefe animofities was given in the year 1753, at the clofe of which he publilhed his " Analyfis of Beauty." Though far from being himfelf a fuccefsful painter of beauty, Hogarth under- took in this work to invefligate its principles, which he referred to a waving or ferpentine line, and this he termed the " line of beauty." In 1745 Hogarth had publilhed his own portrait as the frontifpiece to a volume of his coUedted works, and in one corner of the plate he introduced a painter's palette, on which was this waving line, infcribed " The line of beauty." For feveral years the meaning of this remained either (juite a myllery, or was only known to a few of Hogarth's actjuanitances, until the appearance of the book jull mentioned. Hogarth's manufcript was 442 Hijiory of Caricature and Grotefque revifed by his. friend, Dr. Morell, the compiler of the " Thefaurus," whofe name became thus affociated with the book. This work expofed its author to a hoft of violent attacks, and to unbounded ridicule, efpe- cially from the whole tribe of offended artifts. A great number of cari- catures upon Hogarth and his line of beauty appeared during the year 1754, which ftiow the bitternefs of the hatred he had provoked; and to hold ftill further their terror over his head, moft of them are infcribed ■w ith the words, " To be continued." Among the artifts who efpecially ho. 208. ui. Painter'' s Amufements, fignalifed themfelves by their zeal againft him, w^as Paul Sandby, to whom we owe fome of the beft of thefe anti-Hogarthian caricatures. One of thefe is entitled, "A New Dunciad, done with a view of [fixing] the flu6luating ideas of tafle." In the principal group (which is given in our cut No. 208), Hogarth is reprefented playing with a pantin, or figure which was moved into a6tivity by pulling a firing. The firing takes fomewhat the form of the line of beauty, which is alfo drawn upon his palette. This figure is defcribed underneath the pi6ture as " a painter /;/ Literature and Art. 443 at the proper exercife of his tafte." To his breart is attached a card (the knave of hearts), which is defcribed by a very bad pun as " the fool of arts." On one lide " his genius " is reprefented in the form of a black harlequin 3 while behind appears a rather jolly perfonage (intended, perhaps, for Dr. Morell), who, we are told, is one of his admirers. On the table are the foundations, or the remains, of " a houfe of cards." Near liim is Hogarth's favourite dog, named Trump, which always accompanies him in ihefe caricatures. Another caricature which appeared at this time reprefents Hogarth on the ftage as a quack do6tor, holding in his hand the line of beauty, and recommending its extraordinary qualities. This Ko. 209. The hint of Beauty txemplijied. print is entitled " A Mountebank Painter demonflrating to his admirers and fubfcribers that crookednefs is y' moft beautifiill." Lord Bute, whofe patronage at Leicefter Houfe Hogarth now enjoyed, is reprefented fiddling, and the black harlequin ferves as " his putV." In the front a crowd of deformed and hump-backed people are prefling forwards (lee our cut No. 209), and the line of beauty fits them all admirably. Much as this famous line of beauty was ridiculed, Hogarth was not allowi'd to retain the fmall honour which feemed to arife from it undif- putcd. It was faid that he had ftolen the idt'a from an Italiiti writer named Lomazzo, Latinifed into Lomatius, who had enounced it in a 44 Hifiory of Caricature and Grofefque treatife on the Fine Arts, publiihed in the fixteenth century.* In another caricature by Paul Sandby, with a vulgar title which I will not repeat, Hogarth is vifited, in the midft of his glory, by the ghoft of Lomazzo, carrying in one hand his treatife on the arts, and with his other holding up to view the line of beauty itfelf. In the infcriptions on the plate, the principal figure is defcribed as "An author finking under the \ ' ' 1 1 1 No. 2IO. Piracy Expofed. weight of his faturnine analyfis;'' and, indeed, Hogarth's terror is broadly painted, while the volume of his analyfis is refting heavily upon "a ftrong fupport bent in the line of beauty by the mighty load upon it." Befide Hogarth ftands " his faithful pug," and behind him " a friend of the author endeavouring to prevent his finking to his natural lownefs." On * It was translated into English by Richard Haydocke, under the title of "The Artes of Curious Paintinge, Carvinge, Buildinge," fol. 1598. This is one of the earliest works on art in the English language. in Literature a fid Art. 445 the other fide Itands Dr. Morell, or, perhaps, Mr. Townley, the mafler of Merchant Taylors' School, who continued his I'ervice in preparing the book for the prefs after Morell's death, defcribed as " the author's friend and corredor," allonilhed at the light of the ghoft. The ugly figure on the left hand of the pi6ture is described as " Deformity weeping at the condition of her darling fon," while the dog is " a greyhound bemoaning his friend's condition." This group is reprefented in our cut No. 210. The other caricatures which appeared at this time were two numerous to allow us to give a particular dcfcription of them. The artirt is ufually reprefented, under the influence of his line of beauty, painting ugly pidures from deformed models, or attempting hiftorical pidures in a ftyle bordering on caricature, or, on one occafion, as locked up in a mad-houfe, and allowed only to exercife his Ikill upon the bare walls. One of thefe caricatures is entitled, in allufion to the title of one of his moft popular jirints, "The Painter's March through Finchley, dedicated to the king of the gipfies, as an encourager of arts, &c." Hogarth appears in full flight through the village, clofely purfued by women and children, and animals in great variety, and defended only by his favourite dog. With the " Marriage d la made," Hogarth may be confidered as having reached his higheft point of excellence. The fet of" Induftry and Idle- nefs" tells a good and ufcful moral ftory, but difplays inferior talent in delign. "Beer Street " and " Gin Lane " difgull us by their vulgarity, and the " Four Stages of Cruelty " are equally repulfive to our feelings by the unveiled horrors of the fcenes which are too coarfely depided in them. In the four prints of the proceedings at an elrdion, which are the lart of his pidures of this defcription, publillied in i 754, Hogarth rifes again, and approaches in fome degree to his former elevation. In 1757, on the death of his brother-in-law, John Thornliill, the office of fergeant-painter of all his Majefty's works became vacant, and it was bellowed upon Hogarth, who, according to his own account, received from it an income of about d.'200 a-year. This appointment caufed another difplay of hoflility towards him, and his enemies called him jceringly the king's chief panel painter. It was at this moment that a phui lor the eflablilhment of an academy of the fine arts was agitated, 44^ Hi/lo7y of Caricature and Grotefque which, a few years later, came into exiftence under the title of the Royal Academy, and Hogarth proclaimed fo loud an oppofition to this project, that the old cry was raifed anew, that he was jealous and envious of all his profeflion, and that he fought to ftand alone as fuperior to them all. It was the fignal for a new onflaught of caricatures upon himfelf and his line of beauty. Hitherto his affailants had been found chiefly among the artifts, but the time was now approaching when he was defl:ined to thrull himfelf into the midft of a political ftruggle, where the attacks of a new clafs of enemies carried with them a more bitter fting. George H. died on the 17th of 0£tober, 1760, and his grandfon fucceeded him to the throne as George HI. It appears evident that before this time Hogarth had gained the favour of lord Bute, who, by his intereft with the princefs of Wales, was all-powerful in the houfehold of the young prince. The painter had hitherto kept tolerably clear of politics in his prints, but now, unluckily for himfelf, he fuddenly ruflied into the arena of political caricature. It was generally faid that Hogarth's objeft was, by difplaying his zeal in the caufe of his patron, lord Bute, to obtain an increafe in his penfion ; and he acknowledges himfelf that his objeft was gain. "This," he fays, "being a period when war abroad and contention at home engrofl!ed every one's mind, prints were thrown into the background j and the fl:agnation rendered it necelfary that I fliould do fome timed thing [the italics are Hogarth's] to recover my loft time, and flop a gap in my income." Accordingly he determined to attack the great minifter, Pitt, who had then recently been compelled to refign his oflSce, and had gone over to the oppofition. It is faid that John Wilkes, who had previoufly been Hogarth's friend, having been privately informed of his delign, went to the painter, expoftulated with him, and, as he continued obftinate, threatened him with retaliation. In Sep- tember, 1762, appeared the print entitled " The Times, No. i," indicating that it was to be followed by a fecond caricature. The principal features of the pifture are thefe : Europe is reprefented in flames, which are communicating to Great Britain, but lord Bute, with foldiers and failors, and the afliftance of Highlanders, is labouring to extinguilh them, while Pitt is blowing the fire, and the duke of Newcaftle brings a barrow ful of /';/ Literature and Art. 447 Monitors and Korth Britons, the violent journals of the popular party, to feed it. There is much detail in the print which it is not necellary to defcribe. In fiilhlment of his threat, Wilkes, in the number of tlie Xorth Briton publilhcd on the Saturday immediately following the pub- lication of this print, attacked Hogarth with extraordinary bittcrnels, calling cruel reflexions upon his domeftic as well as his profcllional character. Hogarth, ftung to the quick, retaliated by publilliing the well- known caricature of Wilkes. Thereupon Churchill, the poet, Wilkes's friend, and formerly the friend of Hogarth alfo, publilhed a bitter invedive No. 211. An Independent Draughtjman. in verfe againft the painter, under the title of an " Epillle to William Hogarth." Hogarth retaliated again: "Having an old plate by me," he tells us, "with fome parts ready, fuch as a background and a dog, I began to confider how I could turn I'u much work laid afide to fome account, fo patched up a print of Malkr Churchill in the charafter of a btar." The unfinilhed picture was intended to be a portrait of Hogarth himfelfi the canonical bear, which reprefented Churchill, htld a pot of 44 S Hijlory of Caricature and Grotefque porter in one hand, and in the other a knotted club, each knot labelled "lie I," "lie 2," &c. The painter, in his "Anecdotes," exults over the pecuniary profit he derived from the extenfive fale of thefe two prints. The virulence of the caricaturifts againft Hogarth became on this occafion greater than ever. Parodies on his own works, fneers at his perfonal appearance and manners, refleftions upon his charafter, were all embodied in prints which bore fuch names as Hogg-afs, Hoggart, O'Garth, &c. Our cut No. 211 reprefents one of the caricature portraits of the artift. It is entitled " Wm. Hogarth, Efq., drawn from the Life." Hogarth wears the thiflle on his hat, as the fign of his dependence on lord Bute. At his bread hangs his palette, with the line of beauty infcribed upon it. He holds behind his back a roll of paper infcribed " Burlefque on L — d B — t." In his right hand he prefents to view two pi6fures, " The Times," and the " Portrait of Wilkes." At the upper corner to the left is the figure of Bute, offering him in a bag a penfion of "^300 per ann." Some of the allufions in this pifture are now obfcure, but they no doubt relate to anecdotes well known at the time. They receive fome light from the following mock letters which are written at the foot of the plate : — " Copf of a Letter from Mr. Hog-garth to Lord Mucklemon, iv^h his Lordjhtp'i Anfiver. " My Lord, — The enclosed is a design I intend to publish ; you are sensible it will not redound to your honour, as it will expose you to all the world in your proper colours. You likewise know what induced me to do this ; but it is in y' power to prevent it from appearing in publick, which I would have you do immediately. "Will" Hog-garth. "Mais' Hog-garth, — By my saul, mon, I am sare troobled for what I have done; I did na ken y' muckle merit till noow ; say na mair aboot it; Lll mak au things easy to you, & gie you bock your Pension. "Sawney Mucklemon." In an etching without a title, publifhed at this time, and copied in our cut No. 212, the Hogarthian dog is reprefented barking from a cautious diflance at the canonical bear, who appears to be meditating further mifchief. Pugg flands upon his matter's palette and the line of beauty, while Bruin refls upon the " Epiftle to Wm. Hogarth," with the in Literature mid Art. 449 pen and ink by its fide. On the left, behind the dog, is a large frame, with the words " Pannel Painting" infcribed upon it. The article by Wilkes in the Aor//i Briton, and Churchill's nietric.il epiftle, irritated Hogarth more than all the hoftile caricatures, and were No. I'z. Beaut f ar.d the Bear. generally believed to have broken his heart. He died on the 26th of Odober, 1764, little more ihan a year after the appearance of the attack by Wilkes, and with the taunts of bis political as well as his protiellioual enemies ftill ringing in his ears. GG 450 mjiory of Caricature and Grotefqiie CHAPTER XXVI. THE LESSER CARICATURISTS OF THE REIGN OF GEORGE III. PAUL SANDBY. COLLET 5 THE DISASTER, AND FATHER PAUL IN HIS CUPS. • JAMES SAYER ; HIS CARICATURES IN SUPPORT OF PITT, AND HIS REWARD. CARLO KHAn's TRIUMPH. BUNBURY ; HIS CARICATURES ON HORSEMANSHIP. WOODWARD 5 GENERAL COMPLAINT. ROWLANDSOn's INFLUENCE ON THE STYLE OF THOSE WHOSE DESIGNS HE ETCHED. JOHN KAY OF EDINBURGH : LOOKING A ROCK IN THE FACE. THE fchoolof caricature which had grown amid the poHtical agitation of the reigns of the two firft Georges, gave birth to a number of men of greater talent in the fame branch of art, who carried it to its higheil degree of perfeftion during that of George III. Among them are the three great names of Gillraj, Rowlandfon, and Cruikfliank, and a few who, though fecond in rank to thefe, are flill well remembered for tJie talent difplayed in their works, or with the efFeft thej produced on contemporaries. Among thefe the principal were Paul Sandby, John Collet, Sayer, Bunbury, and Woodward. Sandby has been fpoken of in the lad chapter. He was not by pro- feffion a caricaturift, but he was one of thofe rifing artifts who were offended by the fneering terms in which Hogarth fpoke of all artifts but himfelf, and he was foremoft among thofe who turned their fatire againft him. Examples of his caricatures upon Hogarth have already been given, fufficient to Ihow that they difplay Ikill in compofition as well as a large amount of wit and humour. After his death, they .vere republiflied colle6tively, under the title, " Retrofpedive Art, frc n the CoUeftion of the late Paul Sandby, Efq., R.A." Sandby was. Indeed, one of the original members of the Royal Academy. He was in artift in Literature and Art. 451 much admired in his time, but is now chiefly remembered as a topo- graphical draughtlman. He was a native of Nottingham, where he was born in 1725,* and he died on the 7th of November, 1809.! John Collet, who alfo has been mentioned in a previous chapter, was born in London in 1725, and died there in 1780. Collet is faid to have been a pupil of Hogarth, and there is a large amount of Hogarthian cha- ra(5ter in all his deligns. Few artills have been more induftrious and A'e. 213. A Dij.f.tr. produced a greater number of engravings. He worked chiefly for Carrington Bowles, in St. Paul's Churchyard, and for Robert Sayers, at 53, Fleet Street. His prints publilhed by Bowles were engraved generally in * His death is usually placed, but erroneously, in 1732. ■f- Sandby etched landscapes on steel, and in aqnatinta, the latter by a method peculiarly his own, be^idfs painting in oil and o;):i(|iie colours. But his fame rests mainly on being the founder ot the Ent;lish school of lua-cr-nlour paintings since he v*as the first to show the capability of that material to pr )ducc finishiil pic'uus, and to lead the way to the perfection in effect and colour to whicli that branch of art has ^ince attained. 452 Hijiory of Caricature and Grot ef que mezzotinto, and highly coloured for Tale 3 while thole publilhed by Sayers were ufually line engravings, and fometimes remarkably well executed. Collet chofe for his field of labour that to which Hogarth had given the title of comedy in art, but he did not poffefs Hogarth's power of delineat- ing whole a6ts and fcenes in one picture, and he contented himfelf with bits of detail and groups of charafters only. His caricatures are rarely poli- tical — they are aimed at fecial manners and focial vanities and weaknelFes, and altogether they form a fingalarly curious pi6ture of fociety during an important period of the laft century. The firft example I give (No. 213) is taken from a line engraving, publilhed by Sayers in 1776. At this time the natural adornments of the perfon in both fexes had fo far yielded to artificial ornament, that even women cut oft" their own hair in order to replace it by an ornamental peruque, fupporting a head-drefs, which varied from time to time in form and in extravagance. Collet has here intro- duced to us a lady who, encountering a fudden and violent wind, has loll all her upper coverings, and wig, cap, and hat are caught by her footman behind. The lady is evidently fuflfering under the feeling of fliame ; and hard by, a cottager and his wife, at their door, are laughing at her dif- comfiture. A bill fixed againft a neighbouring wall announces " A Ledure upon Heads." At this time the " no-popery " feeling ran very high. Four years afterwards it broke out violently in the celebrated lord Gordon riots. It was this feeling which contributed greatly to the fuccefs of Sheridan's comedy of " The Duenna," brought out in 1775. Collet drew feveraj piftures founded upon fcenes in this play, one of which is given in our cut No. 214. It forms one of Carington Bowles's rather numerous feries of prints from defigns by Collet, and reprefents the well-known drinking I'cene in the convent, in the fifth fcene of the third aft of "The Duenna." The fcene, it will be remembered, is "a room in the priory," and the excited monks are toalling, among other obje£ts of devotion, the abbefs of St. Urfuline and the blue-eyed nun of St. Catherine's. The " blue- eyed nun" is, perhaps, the lady feen through the window, and the patron faint of her convent is reprefented in one of the pidtures on the wall. There is great fpirit in this pldure, which is entitled " Father Paul in his in Literature and Art. 453 Cups, or the Private Devotions of a Convent.'" It is accompanied with the following lines : — See tvllh thefe friars hciu religion tkriveSy Who love good living better than good lives ; Paul, the Juper tor father, rules the roajl. His god 'i the glafs, the blue-eyed nun his tojft. Thus priefts conjume luhat fearful focls bcjl^iv, jind faints' donations make the bumpers fitnu. The butler fleeps— the cellar door is free — This is a modern cloijier's piety. From Collet to Sayer we rufh into the heat — I may fay into the bitterncli — of politics, for James Sayer is known, wiih very trifling ex- No. 2 1 4. Father Paul its his Cups. ceptions, as a political caricaiurift. He was the fon of a captain of a merchant lliip at Great Yarmouth, but was himfelf j)ul to the profef- fion of an attorney. As, however, he was poU'elfed of a moderate inde- pendence, and appears to have had no great talle for the law, he negleded his bufinels, and, with confiderable talent for fatire and caricature, he threw himfelf into the p>)Iiti(al ftrife of tlie day. Sayer was a bad 454 Hijiory of Caricature and Grotefque draughtfrnan, and his pi6lures are produced more by labour than by ikill in drawing, but they pofleis a confiderable amount of humour, and were fufficiently fevere to obtain popularity at a time when this latter charader excufed worfe drawing even than that of Sayer. He made the acquaint- ance and gained the favour of the younger William Pitt, when that ftatefman was afpiring to power, and he began his career as a caricaturill by attacking the Rockingham minillry in 1783 — of courfe in the intereft of Pitt. Sayer's earlieft produttions which are now known, are a feries of caricature portraits of the Rockingham adminillration, that appear to have been given to the public in inftalments, at the feveral dates of April 6, May 14, June 17, and July 3, 1783, and bear the name of C. Bretherton as publirtier. He publifhed his firfl veritable caricature on the occafion of the minifterial changes which followed the death of lord Rockingham, when lord Shelburne was placed at the head of the cabinet, and Fox and Burke retired, while Pitt became chancellor of the exchequer. This caricature, which bears the title of " Paradife Loft," and is, in fatt, a parody upon Milton, reprefents the once happy pair. Fox and Burke, turned out of their paradife, the Treafury, the arch of the gate of which is ornamented with the heads of Shelburne, the prime minifter, and Dunning and Barre, two of his flaunch fupporters, who were confidered to be efpecially obnoxious to Fox and Burke. Between thefe three heads appear the faces of two mocking fiends, and groups of piflols, daggers, and fwords. Beneath are infcribed the well-known lines of Milton — To the eaftern Jlde Of Parad'ife, fo late their happy feat, Wa'utd o-ver by that jiaming brand ; the gate With dreadful face^ thronged and fiery arms ! Some natural tears they dropt, but iviped themfoon. The nvorld "was all before them, ivhere to choofe Their place of refi, and pro-vidcnce their guide. They, arm in arm, ivith tvand^ringfleps, and flotv. Thro' Eden took their folitary tvay. Nothing can be more lugubrious than the air of the two fi'iends, Fox and Eurke, as they walk away, arm in arm, from the gate of the minifterial paradife. From this time Sayer, who adopted all Pitt's virulence towards in Literature and Art. 455 Fox, made the latter a continual lubjedt of his latire. Nor did this zeal pafs unrewarded, for Pitt, in power, gave the caricaturift the not unlucra- live oiiices ot marfhal of the court of exchequer, receiver of the lixpcnny duties, and curfitor. Saycr was, in faft, Pitt's caricaturift, and was (.mployed by liim in attacking fuccellivcly the coalition under Fox and North, Fox's India Bill, and even, at a later period, Warren Haftings on his trial. I have already remarked that Sayer was almoft exclufively a political caricaturift. The exceptions are a few prints on theatrical fubjetts, in A's. 21 S- yl Contraft. which contemporary aftors and adiefles are caricatured, and a fingle fubje6t from faftiionable life. A copy of the latter forms our cut No. 215. It has no title in the original, but in a copy in my poftcllion a contemporary has written on the margin in pencil that the lady is Mils Snow and the gentleman Mr. Bird, no doubt wcll-kiiown pcrfonages in contemporary fociety. It was publilhed on the 19111 of July, 1783. "One of Sayer's mod fucccl'-ful caricatures, in regard to the cll'cd It 456 Hijiory of Caricature and Grotefqiie produced on the public, was that on Fox's India Bill, publiilied on the jth of September, 1783. It was entitled "Carlo Khan's Triumpb'il Entry into Leadenhall Street," Carlo Khan being perfonified by Fox, who is carried in triumph to the door of the India Houfe on the back ot an elephant, which prefents the face of lord North. Burke, who had been the principal fupporter of the bill in debate, appears in the charafter of the imperial trumpeter, and leads the elephant on its way. On a banner behind Carlo, the old infcription, " The Man of the People," the title popularly given to Fox, is erafed, and the two Greek words, BA2IAEY2 BA2IAEQN, "king of kings," fubftituted in its place. From a chimney above, the bird of ill omen croaks forth the doom of the ambitious minifter, who, it was pretended, aimed at making himfelf more powerful than the king himfelf 3 and on the fide of the houfe juft below we read the words — The night-croiv cried foreboding lucklejs time. — Shakespeare. Henry William Bunbury belonged to a more ariftocratic clafs in fociety than any of the preceding. He was the fecond fon of fir William Bunbury, Bart., of Mildenhall, in the county of Suffolk, and was born in 1750. How he iirft took fo zealoufly to caricature we have no information, but he began to publifti before he was twenty-one years of age. Bunbury's drawing was bold and often good, but he had little Ikill in etching, for fome of his earlier prints, publifhed in 177 1, which he etched himfelf, are coarfely executed. His defigns were afterwards engraved by various perfons, and his own ftyle was (bmetimes modified in this procefs. His earlier prints were etched and fold by James Bretherton, who has been already mentioned as publifhing the works of James Sayer. This Bretherton was in fome efteem as an engraver, and he alfo had a print-lliop at 132, New Bond Street, where his engravings were publiilied. James had a fon named Charles, who difplayed great talent at an early age, but he died young. As early as 1772, when the macaronis (the dandies of the eighteenth century) came into falliion, James Bretherton 's name appears on prints by Bunbury as the engraver and publifher, and it occurs again as the engraver of his print of " Strephon and Chloe " in in Literature and Art. 457 1801, which was publilhed by Fores. At this and a lat«»r period fome of his defigns were engraved by Rowlandlbn, who alwayii transferred his own ftyle to the drawings he copied. A remarkable inftance of this is furnilhed by a print of a party of anglers of both fexes in a punt, entitled "Anglers of 181 1 " (the year of Bunbury's death). But for the name, " H. Bunbury, del.," very diflindlly infcribed upon it. we lliould take this to be a genuine defign by Rowlandfon ; and in 1803 Rowlandfon engraved fome copies of Bunbury's prints on horfcmanlliip for Acker- mann, of the Strand, in which all traces of Bunbury's llylc arc lolh Bunbury's llyle is rather broadly burlefque. Bunbury had evidently little tatle for political caricature, and he ./-v/ No. 216. Hrnv to Travel on Tioo L(gs in a Fr'.fi. feldv m meddled with it. Like Collet, he preferred fcenes of focial life, and humorous incidents of contemporary manners, falhionable 01 popular. He had a great tafte for caricaturing bad or awkward horfe- manlliip or unmanageable horfes, and his prints of I'uch fubjcds were numerous and greatly admired. Ihis talle for ecjueflrian pieces was fliown in prints publillied in 1772, and feveral droll feries of luch fubje^ls appeared at ditferent times, between 1781 and 1791, one of which was long famous under the title of " Gcoirrcy Gambado's Horfcmanlliip.' 45 8 HiJIory of Caricature and Grotefqiie An example of thefe incidents of horfemanfbip is copied in our cut No. 2x6, where a not very lliilful rider, witii a troublefome horfe, is taking advantage of tlie ftate of the ground for accelerating locomotion. It is entitled, " How to travel on Two Legs in a FroJl," and is accom- panied with the motto, in Latin, " Oflendunt tcrris hunc tantum fata, neque ultra ejjljinenty Occafionally Bunbury drew in a broader flyle of caricature, efpecially in fome of his later works. Of our examples of this broader ftyle, the firfl cut, No. 217, entitled " Strephon and Chloe," is dated the No. 217. Strephon and Chloe. ift of July, 1 801. It is the very acme of fentimental courtfhip, exprefled in a fpirit of drollery which could not eaiily be excelled. The next group (cut No. 218), from a fimilar print publilhed on the 2ifl: of July in the fame year, is a no lefs admirable pifture of overllrained politenefs. It is entitled in the original, " The Salutation Tavern," probably with a tem- porary allulion beyond the more apparent defign of the picture. Bunbury, as before ftated, died in 181 1. It is enough to fay that fir Jolliua Reynolds ufed to exprefs a high opinion of him as an artift. Bunbury 's prints rarely appeared without his name, and, except when they had paffed through the engraving of Rowlandfon, are eafily recognifed. No doubt his was confidered a popular name, wnich was aimoft of as much importance as the print itfelf. But in Literature and Art. 459 a large raals of the caricatures publiihed at the latter end of the laft century and the beginning of the prefent, appeared anonynioully, or with imaginary names. Thus a political print, entitled "The Modern Atlas," bears the infcription " Mafr Hook fecit ;" another entitlid " Farmer George delivered," has that of " Poll Pitt del." " Every- body delin't," is infcribed on a caricature entitled "The Lover's Leap ;" and one which appeared under the title of " Veterinary Operations," is infcribed " Giles Grinagain fe6t." Some of thefe were probably A'o. 218. A FiifhknabU Salutatkn. the works of amateurs, for there appear to have been many amateur caricaturifls in England at that time. In a caricature entitled " The Scotch Arms," publiHied by Fores on the 3rd of January, 1787, we find the announcement," Gentlemen's defigns executed gratis," which means, of courfe, that Fores would publifli the caricatures of amateurs, if he approved them, without making the faid amateurs pay for the engraving. But alfo fome of the belt caricaturifts of the day publifhcd much anony- moufly, and we know that this was the cafe to a very great extent with fuch artifts as Cruikfliank, Woodward, &c., at all events until fuch lime as their names became fufficiently popular to be a recommendation to the prmt. It is certain that many of Woodward's defigns were publiflnd 460 Hijiory of Caricature and Grofefqiie without his name. Such was the cafe with the print of which we give a copy in our cut No. 219, which was publifhed on the 5th of May, 1796, and which bears ftrongly the marks of Woodward's llyle. The fpring of this year, 1796, witnefled a general difappointment at the failure of the negociations for peace, and therefore the neceffity of new facrifices for carrying on the war, and of increafed taxation. Many clever caricatures appeared on this occafion, of which this by Woodward was one. Of No. 219. General Complaint, courfe, when war was inevitable, the queftion of generals was a verv important one, and the caricaturift pretends that the greateft general of the age was " General Complaint. ' The general appears here with an empty purfe in his right hand, and in his left a handful of papers contain- ing a lift of bankrupts, the ftatement of the budget, Sic. Four lines beneath, in rather doggrel verfe, explain the fituation as follows : — Dont tell me of generals raijed from mere boys. Though, belie-ve me, I mean not their laurel to taint ; But the general, Vm Jure, that will make the mojl noije. If the ivar fill goes on, ivill be General Complaint. ifi Literature iind Art. 461 There was much of Bunbury's rtyle in that of Woodward, wlio had a latle for the fame broad caricatures upon fociety, which he executed in a limilar fpirit. Some of the Juiles of fubjeds of this defcription that he pubUllied, fuch as the feries of the " Symptoms of the Shop," thofe ot " Everybody out of town " and " Everybody in Town," and the " Speci- mens of Domeftic Phrenfy," are extremely clever and amufing. Wood- ward's deligns were alfo not unfrequently engraved by Rowlandfon, who, as ufual, imprinted his own ftyle upon them. A very good example of this pra6tice is feen in the print of which we give a copy in our cut No. 220. Its title, in tlie original, is " Defire," and the pallion is No. 220. Defire. exemplified in the cafe of a hungry fchoolboy watching through a window a jolly cook carrying by a templing plum-pudding. We are told in an infcription underneath : "Various are the ways this paflion might be depidted ; in this delineation the fubjeds chofen are (imple — a hungry l)(jy and a plum-pudding." The delign of this print is Hated to be Woodward's J but the ftyle is altogether that of Rowlandfon, whofe name appears ou it a* the etcher. It was publilhed by K. AcJiermann, on the 462 Hijiory of Caricature and Grot ef que 20th of January, 1800. Woodward is well known by his prolific pencil, but we are fo little acquainted with the man himfelf, that I cannot ftate the date either of his birth or of his death. There lived at this time in Edinburgh an engraver of fome eminence in his way, but whofe name is now nearly forgotten, and, in fa6t, it does not occur in the laft edition of Bryan's "Diftionary of Engravers." This name was John Kay, which is found attached to prints, of which about four hundred are known, with dates extending from 1784 to 181 7. As an engraver, Kay poffefled no great talent, but he had confiderable humour. No. 221. Looking a Rock in the Face. and he excelled In catching and delineating the ftriking points in the features and gait of the individuals who then moved in Edinburgh Society. In faft, a large proportion of his prints confift of caricature portraits, often feveral figures on the fame plate, which is ufually of froall dimenfions. i}i Literature a?id Art. 46 Among them are many of the profeirors and other diftinguilhed members of the univerfity of Edinburgh. Thus one, copied in our cut No. 221, reprefents the eminent old geologift, Dr. James Hutton, rather aftonilhed at the fhapes which his favourite rocks have fuddenly taken, The original print is dated in j 787, ten years before Dr. Hutton's death. The idea of giving faces to rocks was not new in the time of John Kay, and it has been frequently repeated. Some of thefe caricature portraits are clever and amufing, and they are at times very fatirical. Kay appears to have rarely ventured on caricature of any other defcription, but there is one rare plate by him, entitled " The Craft in Danger," which is ftated in a tew words pencilled on the copy I have before me, to have been aimed at a cabal for propofing Dr. Barclay for a profeiTorfhip in the univerfity of Edinburgh. It dilplays no great talent, and is, in fa6t, now not very mtelligible. The figures introduced in it are evidently intended for rather caricatured portraits of members of the univerfity engaged in the cabal, and are in the fiyle of Kay's other portraits.* • In the library of the British Museum there is a collection of John Kay's works bound in two volumes quarto, with a title and table of contents in manu- script, but whether it is one of a few copits intended for publication, or whether it is merely the collection of some intliviclu;il, I am not prepared to say. It contains 34.3 plates, which are stated to be all Kay's works down to the year 181 3, when this collection was made. " The Craft in Danger" is not among them. I have before me a smaller, but a very choice selection, of Kay's caricatures, the lo.in of whi< h I owe to the kindness of Mr. John Camden Hotten, of Piccadilly. I am indebted to Mr. Hotten for many courtesies of this description, and especially for the use of a very valuable collection of caricatures of the latter part of the eighteenth century and earlier part of the present, mounted in four large folio volumes, which has been of much use to me. 464 Hijiory of Caricature and Grotefque CHAPTER XXVII. GILLEAY. HIS FIRST ATTEMPTS. HIS CARICATURES BEGIN WITH THE SHELBURNE MINISTRY. IMPEACHMENT OF WARREN HASTINGS. CARI- CATURES ON THE KING ; " NEW WAY TO PAY THE NATIONAL DEBT." • ALLEGED REASON FOR GILLRAy's HOSTILITY TO THE KING. THE KING AND THE APPLE-DUMPLINGS. GILLRAy's LATER LABOURS. HIS IDIOTCY AND DEATH. TN the year 1757 was born the greateft of Englirti caricaturills, and -■- perhaps of all caricaturifts of modern times whofe works are known — James Gillray. His father, who was named like himfelf, James, was a Scotchman, a native of Lanark, and a foldier, and, having loft one arm at the battle of Fontenoy, became an out-penfioner of Chelfea Hofpital. He obtained alfo the appointment of fexton at the Moravian burial-ground at Chelfea, which he held forty years, and it was at Chelfea that James Gillray the younger was born. The latter, having no doubt fhown figns of artiftic talent, was put apprentice to letter-engraving j but after a time, becoming difgufted with this employment, he ran away, and joined a party of llrolling players, and in their company palTed through many adven- tures, and underwent many hardfhips. He returned, however to London, and received fome encouragement as a promifing artift, and obtained admiffion as a ftudent in the Royal Academy — the then young inftitution to which Hogarth had been oppofed. Gillray foon became known as a defigner and engraver, and worked in thefe capacities for the publiihers. Among his earlier produ6tions, two illuftrations of Goldfmith's "Deferted Village " are fpoken of with praife, as difplaying a remarkable freedom of effe6l. For a long time after Gillray became known as a caricaturift he continued to engrave the defigns of other artifts. The earlieft known caricature which can be afcribed to him with any certainty, is the plate entitled " Paddy on Horfeback," and dated in 1779, when he was twenty- two years of age. The "horfe" on which Paddy rides is a bull 3 he is in Literature and Art. 465 feated with his face turned to the tail. The lubjea of fatire is fuppofed to be the chara6ler then enjoyed by the Irilh as fortune-hunters. The point, however, is not very apparent, and indeed Gillray's earliert carica- tures are tame, ahhough it is remarkable how rapidly he improved, and how foon he arrived at excellence. Two caricatures, publilhed in June and July, 1782, on the occafion of admiral Rodney's victory, are looked upon as marking his firll decided appearance m politics. A diltinguifhing charaderillic of Gillray's llyle is, the wonderful laiH with which he feizes upon the points in his fubje6t open to ridicule, and the force with which he brings thofe points out. In the finenefs of his delign, and in his grouping and drawing, he excels all the other cari- caturirts. He was, indeed, born with all the talents of a great hillorical painter, and, but for circumltances, he probably would have Ihone in that branch of art. This excellence will be the more appreciated when it is underftood that he drew his picture with the needle on the plate, without having made any previous iketch of it, except fometimes a few halty outlines of individual portraits or charaders fcrawled on cards or fcraps of paper as they ftruck him. Soon after the two caricatures on Rodney's naval victory, the Rocking- ham adminittration was broken up by the death of its chief, and another was formed under the diredion of Lord Shelburne, from which Fox and Burke retired, leaving in it their (jld colleague, Pitt, who now deferted the Whig party in parliament. Fox and Burke became from this monu-nt the butt of all forts of abufe and fcornful fatire from the caricaturifts, fuch as Sayer, and newfpaper writers in the pay of their opponents; and Gillray, perhaps becaufe it oti'ered at that moment the bell chance of popularity and fuccefs, joined in the crufade againft the two ex-minitlers and their friends. In one of his caricatures, which is a parody upon Milton, Fox is reprefented in the charader of Satan, turning his back upon the minifterial Paradife, but looking envioufly over his ihoulder at the happy pair (Shelburne and Pitt) who are counting their money on the treafury table : — ^r, i j jHjtde he turned For envy, yet %vit/i jeahui leer malign Eyed them ajkance. II II 466 Hijiory of Caricature and Grotefque Another, alfo by Gillray, is entitled " Guy Faux and Judas Ifcariot," the former reprefented by Fox, who difcovers the defertion of his late colleague, lord Shelburne, by the light of his lantern, and recriminates angrily, *'Ah! what, I've found you out, have I? Who arm'd the high priefts and the people ? Who betray'd his mas — ?" At this point he is inter- rupted by a fneering retort from Shelburne, who is carrying away the treafury bag with a look of great felf-coraplacency, " Ha, ha ! poor Gun- powder's vexed ! He, he, he ! — Shan't have the bag, I tell you, old Goofetooth !" Burke was ufually caricatured as a Jefuit; and in another of Gillray's prints of this time (publilhed Aug. 23, 1782), entitled " Cin- cinnatus in Retirement," Burke is reprefented as driven into the retire- ment of his Irifli cabin, where he is^ furrounded by Popifli relics and emblems of fuperftition, and by the materials for drinking whilky. A veffel, infcribed " Relick No. i., ufed by St. Peter," is filled with boiled potatoes, which Jefuit Burke is paring. Three imps are feen dancing under the table. In 1783 the Shelburne miniftry itfelf was diflblved, and fucceeded by the Portland miniftry, in which Fox was fecretary of ftate for foreign affairs, and Burke; paymafter of the forces, and Lord North, who had joined the Whigs againft lord Shelburne, now obtained ofRce as fecretary for the home department. Gillray joined warmly in the attacks on this coalition of parties, and from this time his great aftivity as a caricaturift begins. Fox, efpecially, and Burke, ftill under the chara6ter of a Jefuit, were incelfantly held up to ridicule in his prints. In another year this miniftry alfo was overthrown, and young William Pitt became eftablifhed in power, while the ex-minifters, now the oppofition, had become un- popular throughout the country. The caricature of Gillray followed them, and Fox and Burke conftantly appeared under his hands in fome ridiculous fituation or other. But Gillray was not a hired libeller, like Sayer and fome of the lower caricaturifts of that time ; he evidently chofe his fubjeds, in fome degree independently, as thofe which offered him the beft mark for ridicule ; and he had fo little refpecSt for the minifters or the court, that they all felt his fatire in turn. Thus, when the plan of national fortifications — brought forward by the duke of Richmond, who /;; Literature and Art. 467 had deferted the Whigs to be made a Tory minifter, as mafter-general of the ordnance — was defeated in the Houfe of Commons in 1787, the beft caricature it provoked was one by Gillray, entitled " Honi foit qui mal y penfe," which reprefents the horror of the duke of Richmond at being fo unceremonioully compelled to fwallow his own fortilications (cut No. 222). No. 222. A Strong Dofe. It is lord Shelburne, who had now become marquis of Lanfdowne, who is reprelented as adminiftering the bitter dofe. Some months afterwards, in the famous impeachment againft Warren Haftings, Gillray fided warmly againft the impeachers, perhaps partly becaufe thefe were Burke and his friends; yet feveral of his caricatures on this affair are aimed at the minifters, and even at the king himfelf. Lord Thurlow, who was a favourite with the king, and who fupported the caufe of Warren Haftings with firmnet, after he had been deferted by Pitt and the other minifters, was efpecially an obje6t of Gillray's fatire. Thurlow, it will be remem- bered, was rather celebrated for profane fwearing, and was fometimes fpoken of as the tlumderer. One of the fineft of Gillray's caricatures ai this period, publilhed on the ift of March, 1788, is entitled "Blood on Thunder fording the Red Sea," and reprefents Warren Haftings carried on jchancellor Thurlow's ftioulders through a fea of blood, Ilrewed with 468 Hijlory of Caricature and Grotefque tKe mangled corpfes of Hindoos. As will be feen in our copy of the moft important part of this print (cut No. 223), the " faviour of India," as he was called by his friends, has taken care to fecure his gains. A remarkably bold caricature by Gillray againft the government appeared on the 2nd of May in this year. It is entitled " Market-Day — every man has his price," and reprefents a fcene in Smithfield, where the horned cattle expofed for fale are the fupporters of the king's miniftry. Lord A'o. 223. Blood on Thunder. Thurlow, with his charaderiflic frown, appears as the principal purchafer. Pitt, and his friend and colleague Dundas, are reprefented drinking and fmoking jovially at the window of a public-houfe. On one fide Warren Haltings is riding off with the king in the form of a calf, which he has jull purchafed, for Haftings was popularly believed to have worked upon king George's avarice by rich prefents of diamonds. On another fide, the overwhelming rufli of the cattle is throwing over the van in which Fox, Burke, and Sheridan are driving. This plate deferves to be placed among Gillray's fineft works. Gillray caricatured the heir to the throne with bitternefs, perhaps in Literature and Art, 469 becaule his dillipation and extravagance rendered him a fair fubjeft of ridicule, and becaufe he airociated himfelf with Fox's party in poHtics ; but his hoftihty to the king is afcribed in part to perfonal feelings. A large and very remarkable print by our arlill, though his name was not. attached to it, and one which difplays in a fpecial manner the great charac^eriltics of Gillray's ftyle, appeared on the 21ft of April, 1786, jull after an application had been made to the Houfe of Commons for a large fum of money to pay off the king's debts, which were very great, in Ipite of the enormous income then attached to the crown. George was known as a careful and even a parfimonious man, and the queen was looked upon generally as a mean and very avaricious woman, and people were at a lofs to account for this extraordinary expenditure, and they tried to explain it in various ways which were not to the credit of the royal pair. It was faid that immenfe funis were fpent In fecret corruption to pave the way to the eftablilhment of arbitrary power ; that the king was making large favings, and hoarding up treafures at Hanover; and that, inftead of fpending money on his family, he allowed his eldeft fon to run into ferious difficulties through the fmallnefs of his allowance, and thus to become an obje6t of pity to his French friend, the wealthy due d'Orleans, who had offered him relief. The caricature juft mentioned, which is extremely fevere, is entitled " A new way to pay the National Debt." It reprefents the entrance to the treafury, from which king George and his queen, with their band of penfioners, are ilfuing, their pockets, and the queen's apron, fo full of money, that the coins are rolling out and fcattering about the ground. Neverthelefs, Pitt, whofe pockets alfo are full, adds to the royal trealures large bags of the national revenue, which are received with fmiles of fatisfaftion. To the left, a crippled foldier fits on the ground, and afks in vain for relief j while the wall above is covered with torn placards, on fome of which may be read, " God fave the King ;" " Charity, a romance ;" " From Germany, juft arrived a large and royal alTortment .... ;" and " Laft dying fpcech of fifty-four male- fadtors executed for robbing a hen-rooft." The latter is a fatirical allu- fion to the notorious feverity with which the moft trifling depredators on iUa king's private farm were profecuted. In the backgrountl, un the 470 Hijiory of Caricature and Grotefque right hand fide of the pifture, the prince appears in ragged garments, and in want of charity no lefs than the cripple, and near him is the duke of Orleans, who offers him a draft for ^200,000. On the placards on the walls here we read fuch announcements as " Economy, an old fong j" "Britifli property, a farce;" and " Juft publilhed, for the benefit of pofl:erity, the dying groans of Liberty 3" and one, immediately over the prince's head, bears the prince's feathers, with the motto, " Ich fl:arve." Altogether this is one of the mofl: remarkable of Gillray's caricatures. The parfimonioufnefs of the king and queen was the fubjeft of carica- tures and fongs in abundance, in which thefe illufl;rious perfonages appeared No. 22^, Farmer George and hh Wife, haggling with their tradefmen, and making bargains in perfon, rejoicing in having thus faved a fmall fum of money. It was faid that George kept a farm at Windfor, not for his amufement, but to draw a fmall profit from it. By Peter Pindar he is defcribed as rejoicing over the fkili he has fhown in purchafing his live ftock as bargains. Gillray feized greedily all thefe points of ridi^^ule, and, as early as 1786, he publifhed a print of" Farmer George and his Wife " (fee our cut No. 224), in which the two royal /// Liter ature and Art. 47 1 perfonages are reprefented in the very familiar manner in which they were accuftomed to walk about Windfor and its neighbourhood. This picture appears to have been very popular; and years afterwards, in a caricature on a fcene in "The School for Scandal," where, in the lale of the young profligate's efiefts, the auctioneer puts up a family portrait, for which a broker offers live fliillings, and Carelefs, the audioneer, fays, " Going for no more than one crown," the family piece is the well- known piAure of '• Farmer George and his Wife," and the ruined prodigal is the prince of Wales, who exclaims, " Carelefs, knock down the farmer." Many caricatures againft the undignified meannefs of the royal houfe- hold appeared during the years 1791 and 1792, when the king paffea much of his time at his favourite watering-place, Weymouth ; and there his domeflic habits had become more and more an obje6l of remark. It was faid that, under the pretence of Weymouth being an expenfive place, and taking advantage of the obligations of the royal mail to carry parcels for the king free, he had his provifions brought to him by that conveyance fj-om his farm at Windfor. On the 2Sth of November, 1791, Gillray publirtied a caricature on the homelinefs of the royal houfehold, in two compartments, in one of which the king is reprefented, in a drefs which is anything but that of royalty, toafting his muffins for breakfaft j and in the other, queen Charlotte, in no lefs homely drefs, though her pocket is over- flowing with money, toafling fjjrats for fupper. In another of Gillray's prints, entitled " Anti-faccharites," the king and queen are teaching their daughters economy in taking their tea without fugar; as the young princeffes fliow fome diflike to the experiment, the queen admonilhes them, concluding with the remark, " Above ail, remember how much expenfe it will fave your poor papa ! " According to a ftory which feems to be authentic, Gillray's diflike of the king was embittered at this time by an incident fomcwhat fimilar to that by which George II. had provoked the anger of Hogarth. Gillray had vifited France, Flanders, and Holland, and he had made Iketches, a few of which he engraved. Our cut No. 225 reprefents a group from OBC of thcfe flietches, which explains itfclf, and is a fair example of 472 Hijtory of Caricature and Grot ef que Gillray's manner of drawing fiich fubje£ts. He accompanied the painter Loutherbourg, who had left his native city of Stralburg to fettle in England, and become the king's favourite artift, to affifi: him in making Iketches for his great painting of " The Siege of Valenciennes," Gillray iketching groups of figures while Loutherbourg drew the landfcape and buildings. After their return, the king expreffed a defire to fee their Iketches, and they were placed before him. Loutherbourg's landfcapes and buildings were plain drawings, and eafy to under- Itand, and the king expreffed himfelf greatly pleafed with them. But 2^0. 225. A Flerr.ifh Proclamation. the king's mind was already prejudiced againfl Gillray for his fatirical prints, and when he faw his hafty and rough, though fpirited Iketches, of the French foldiers, he threw them afide contemptuoufly, with the remark, " I don't underftand thefe caricatures." Perhaps the very word he ufed was intended as a fneer upon Gillray, who, we are told, felt the affront deeply^ and he proceeded to retort by a caricature, which ftruck at once at one of the king's vanities, and at his political prejudices. George III. imagined himfelf a great connoiffeur in the fine arts, and the caricature was entitled ' A Connoiffeur examining a Cooper." It repre- in Literature and Art. 473 fented the king looking at the celebrated miniature of Oliver Cromwell, by the Englilh painter, Samuel Cooper. When Gillray had completed this print, he is faid to have exclaimed, "I wonder if the royal ccnnoilfeur will underftand this I " It was publilhed on the i8th of June, 1792, and cannot have failed to produce a feufation at that period of revolutions. The king is made to exhibit a ftrange mixture of alarm with aftonilliment in contemplating the features of this great overthrower of kingly power, at a moment when all kingly power was threatened. It will be remarked, too, that the fatirift has not overlooked the royal charafter for domcftic No. 226. A Connoijfeur in Art. economy, for, as will be feen in our cut No, 226, the king is looking at the picture by the light of a candle-end ftuck on a " fave-all." From this time Gillray rarely let pafs an opportunity of caricaturing the king. Sometimes he pi6tured his awkward and undignified gait, as he was accuftomed to fhuffle along the efplanade at Weymouth j fome- times in the familiar manner in which, in the courfe of his walks in the neighbourhood of his Windfor farm, he accofted the conimoneft labourers and cottagers, and overwhelmed them with a long repetition of trivial qiieftions — for king George had a charaderillic manner of repeating his queftions, and of frequently giving the reply to them hinifrlf. Thtn afki the farmer'' I ivife, or farmtr''i maij, ** i/ilf mjny e^gi the foivli hu-ve laid i 474 Hijiory of Caricature and Grotefque What 'i in the O'ven, in the pot, the crock ; ^ Whether ""tiuill ram or no, and 'what''s o'' clock ; Thus from poor hovels gleaning information. To fer-ve as future treajure for the nation. So faid Peter Pindar ; and in this role king George was reprefented not unfrequently in fatirical prints. On the loth of February Gillray illuftrated the quahty of " AfFabihty " in a pidure of one of thefe ruflic encounters. The king and queen, taking their walk, have arrived at a cottage, where a very coarfe example of Englifh peafantry is feeding his pigs with wafh. The fcene is reprefented in our cut No. 227. The vacant No. 227. Royal Affability. ftare of the countryman betrays his confuhon at the rapid fucceflion of queftions — "Well, friend, where a' you going, hay? — What's your name, hay? — Where do you live, hay? — hay?" In other prints the king is reprefented running into ludicrous adventures while hunting, an amufe- ill Literature and Art. 475 ment to which he was extremely attached. One of the bed known of thefe has been celebrated equally by the pen of Peter Pindar and by the needle of Gillray. It was laid that one day while king George was following the chafe, he came to a poor cottage, where his.ufual curiolity was rewarded by the difcovery of an old woman making apple dumplings. When informed what they were, he could not conceal his aftonilhment how the apples could have been introduced without leaving a feam in their covering. In the caricature by Gillray, from which we take our cut No. 228, the king is reprefented looking at the procefs of dumpling mak- ing through the window, inquiring in aftonilhment, " Hay ? hay ? apple ^0. 228. A Leffin in Apple Dumplings. dumplings? — how get the apples in? — how? Are they made without feams?" The ftory is told more fully in the following verfes of Peter Pindar, which will ferve as the bell commentary on the engraving : — THE KING AND THE APPLE DUMPLING. Once on a time a monarch, tired tvith wAoopinfr, IVhipping and fpurringy Happy in "worrying yi poor, def''s, entitled "A Barber's Shop in Affize Time/ which is fiippofed to have been linilhed in the January of that year. Soon after- wards his mind fank into idiotcy, from which it never recovered. James Gillray died ;n 1815, and was buried in St. James's churchyard, Piccadilly, near the rectory houle. 480 Hi/lory of Caricature and Grotefque CHAPTER XXVIII. GILLRAy's caricatures on social life. THOMAS ROWLANDSON. HIS EARLY LIFE. HE BECOMES A CARICATURIST. HIS STYLE AND WORKS. HIS DRAWINGS. THE CRUIKSHANKS. GILLRAY" was, beyond all others, the great political caricaturili of his age. His works form a complete hiftory of the greater and more important portion of the reign of George III. He appears to have had lefs tafte for general caricature, and his caricatures on fecial life are lefs numerous, and with a few exceptions lefs important, than thofe which were called forth by political events. The exceptions are chiefly fa'tires on individual chara6ters, which are marked by the fame bold ftyle which is difplayed in his political attacks. Some of his caricatures on the extravagant coftume of the time, and on its more prominent vices, fuch as the rage for gambling, are alfo fine, but his fecial (ketches generally are much inferior to his other works. This, however, was not the cafe with his contemporary, Thomas Rowlandfon, who doubtlefsly ftands fecond to Gillray, and may, in fome refpefts, be confidered his equal. Rowlandfon was born in the Old Jewry in London, the year before that of the birth of Gillray, in the July of 1756. His father was a city merchant, who had the means to give him a good education, but embarking raflily in fome unfuccefsful (pecula- tions, he fell into reduced circumftances, and the fon had to depend upon the liberality of a relative. His uncle, Thomas Rowlandlbn, after whom probably he was named, had married a French lady, a Mademoilelle Chatelier, who was now a widow, refiding in Paris, with what would be confidered in that capital a handlome fortune, and fhe appears to have been attached to her Englifh nephew, and fupplied him rather freely with money. Young Rowlandfon had ihown at an early age great talent for in Literature and Art. 48 1 drawing, with an efpecial turn for fatire. As a fchoolboy, he covered the margins of his books with caricatures upon his mafter and upon hisfellow- fcholars, and at the age of fixteen he was admitted a ftudent in the Royal Academy in London, then in its inflincy. But he did not profit imme- diately by this admilhon, for his aunt invited him to Paris, where he began and followed his ftudies in art with great fuccefs, and was remarked for the Ikill with which he drew the huir.an body. His lludies from nature, while in Paris, are faid to have been remarkably tine. Nor did his tafte for fatirical delign fail liim, tor it was one of his greateft amufe- ments to caricature the numerous individuals, and groups of individuals, who mult in that age have prefented objedts of ridicule to a lively Englilhman. During this time his aunt died, leaving him all her property, confifting of about s£j,ooo in money, and a confiderable amount in plate and other obje6ts. The fudden polfellion of fo much money proved a misfortune to young Rowlandfon. He appears to have had an early love for gaiety, and he now yielded to all the temptations to vice held out by the French metropolis, and efpecially to an uncontrollable pallion for gambling, through which he foon dilfipated his fortune. Before this, however, had been effeded, Rowlandfon, after having refided in Paris about two years, returned to London, and continued his (ludies in the Royal Academy. But he appears for fome years to have given himfelf up entirely to his diflipated habits, and to have worked only at inter\als, when he was driven to it by the want of money. We are told by one who was intimate with him, that, when leduced to this con- dition, he ufed to exclaim, holding up his pencil, " I have been playing the fool, but here is my refource!" and he would then produce — with extraordinary rapidity — caricatures enough to fupply his momentary wants. Moft of Rowlandfon's earlier produdions were publifhed anony- moufly, but here and there, among large colle6tions, we meet with a print, which, by comparifon of the ftyle with that of his eariieft known works, we can hardly hefitate in afcribing to him ; and from thefe it would a])|)ear that he had begun with political caricature, bocaufe, (x-rhaps, at that period of great agitation, it was mull tailed for^ and, therefore, niofl profitable. Three of the earhell of the political I I 482 Hi ft or y of Caricature and Grot ef que caricatures thus afcribed to Rowlandfon belong to the year 1784, when he was twenty-eight years of age, and relate to the diflTolution of parliament in that year, the refult of which was the ellabliftiment of William Pitt in power. The firft, publifhed on the nth of March, is entitled "The Champion of the People." Fox is reprefented under this title, armed with the fword of Juftice and the Ihield of Truth, combat- ing the many-headed hydra, its mouths refpedively breathing forth "Tyranny," "AlTumed Prerogative," "Defpotifm," " Oppreffion," " Secret Influence," " Scotch Politics," "Duplicity," and "Corruption." Some of thefe heads are already cut off. The Dutchman, Frenchman, and other foreign enemies are feen in the background, dancing round the ftandard of " Sedition." Fox is fupported by numerous bodies of Englilh and Irifhmen, the Englifli fliouting, "While he protefts us, we will fupport him." The Irilli, " He gave us a free trade and all we afked ; he fhall have our firm fupport." Natives of India, in allufion to his un- fuccefsful India Bill, kneel by his fide and pray for his fuccefs. The fecond of thefe caricatures was publillied on the 26th of March, and is entitled "The State Audtion." Pitt is the audlioneer, and is reprefented as knocking down with the hammer of "prerogative" all the valuable articles of the confl:itution. The clerk is his colleague, Henry Dundas, who holds up a weighty lot, entitled, "Lot i. The Rights of the People." Pitt calls to him, " Show the lot this way, Harry — a'going, a'going — fpeak quick, or it's gone — hold up the lot, ye Dund-afsl" The clerk replies in his Scottifh accent, " I can hould it na higher, fir." The Whig members, under the title of the " chofen reprefenters," are leaving the audlion room in difcouragement, with refledions in their mouths, fuch as, "Adieu to Liberty!" " Defpair not !' " Now or never ! " While Fox flands firm in the caufe, and exclaims — "I am determined to bid wiiti fpirit for Lot i ; he Ihall pay dear for it that outbids me !" Pitt's Tory fupporters are ranged under the audioneer, and are called the " here- ditary virtuofis 5" and their leader, who appears to be the lord chancellor, addreflTes them in the words, "Mind not the nonfenfical biddings of thofe common fellows." Dundas remarks, "We Ihall get the fupplies by this iale." The third of thefe caricatures is dated on the o^i^ of March. in Literature and Art. 483 when the eledions had commenced, and is entitled, " The Hanoverian Horfe and Britilh Lion — a Scene in a new Play, lately a6led in Weft- minfter, with diftinguilhed applaufe. Ad 2nd, Scene laft." At the back of the pidure ftands the vacant throne, with the intimation, " We lliall refume our fituation here at plealure, Leo Rex." In front, the Hanoverian horfe, unbridled, and without faddle, neighs " pre-ro-ro-ro-ro- rogative," and is trampling on the fafeguard of the conftitution, while it kicks out violently the "faithful commons" (alluding to the recent dif- folution of parliament). Pitt, on the back of the horfe, cries, " Bravo ! — go it again! — I love to ride a mettled fteed ; fend the vagabonds packing!" Fox appears on the other fide of the pidiure, mounted on the Britilh lion, and holding a whip and bridle in his hand. He fays to Pitt, "Prithee, Billy, difmount before ye get a fall, and let fome abler jockey take your feat;" and the lion obferves, indignantly, but with gravity, " If this horfe is not tamed, he will foon be abfolute king of our foreft." If thefe prints are correftly afcribed to Rowlandfon, we fee him here fairly entered in the lifts of political caricature, and fiding with Fox and the Whig party. He difplays the fame boldnefs in attacking the king and his minifters which was difplayed by Gillray — a boldnefs that pro- bably did much towards preferving the liberties of the country from what was no doubt a refolute attempt to trample upon them, at a time when caricature formed a very powerful weapon. Before this time, however, Rowlandfon's pencil had become pra6tifed in thofe burlefque pidures of fecial life for which he became afterwards fo celebrated. At firft he feems to have publifhed his defigns under fiditious names, and one now before me, entitled "The Tythe Pig," bears the early date of 1786, with the name of " Wigftead," no doub: an affi-imed one, which is found on fome others of his early prints. It reprefents the country parfon, in his own parlour, receiving the tribute of the tithe pig from an interefting lookmg farmer's wife. The name of Rowlandfon, with the date 1792, is attached to a ver)' clever and humorous etching which is now alfo before me, entitled " Cold Broth and Calamity," and reprefenting a party of fkaters, who have fallen in a heap upon the ice, which is breaking uq^der their weight. It bears the name of Fores aspubliflier. From 484 Hijiory of Caricature and Grotefque this time, and efpecially toward the clofe of the century, Rowlandfon's caricatures on focial life became very numerous, and they are fo well known that it becomes unnecelTary, nor indeed would it be eafy, to ieleft a few examples which would illuftrate all his charafteriftic excellencies. In prints publifhed by Fores at the beginning of 1794, the addrefs of the publillier is followed by the words, " where may be had all Rowlandfon's works," which fhows how great was his reputation as a caricaturift at that time. It may be ftated briefly that he was difliinguiflied by a remarkable verfatility of talent, by a great fecundity of imagination, and by a Ikill in grouping quite equal to that of Gillray, and with a Angular eafe in forming his groups of a great number of figures. Among thofe of his contemporaries who fpoke of him with the higheft praife were fir Jofhua Reynolds and Benjamin Wefi:. It has been remarked, too, that no artift ever pofTeflTed the power of Rowlandfon of expreffing fo much with fo little eflfort. We trace a great difference in ftyle between Rowlandfon's earlier and his later works; although there is a general identity of cha- No. 230. Opera Beauties. rafter which cannot be miftaken. The figures in the former ftiow a tafle for grace and elegance that is rare in his later works, and we find a deli- cacy of beauty in his females which he appears afterwards to have entirely laid afide. An example of his earlier ftyle in depifting female faces is fur- niflied by the pretty farmer's wife, in the print of "The Tythe Pig," jnft alluded to ; and I may quote as another example, an etching publifhed on i?i LitcrcJturc ivui Art. 485 the ift of January, 1794, under the title of " Englilh Curiofity ; or, the loreigner Ilared out of countenance." An individual, in a foreign colhime, is feated in the front row of the boxes'of a theatre, probably intended for the opera, where he has become the obje6t of curiolity of the whole audience, and all eyes are eagerly direded upon him. The faces of the men are rather coarfely grotefque, but thofe of the ladies, two of which are given in our cut No. 230, pollefs a conliderable degree of refinement. He appears, however, to liave been naturally a man of no real refine- ment, who eafily gave himfelf up to low and vulgar taftes, and, as his caricature became more exaggerated and coarfe, his females became lefs and lets graceful, until his model of female beauty appears to have been reprefented by fomething like a fat oyfler-woman. Our cut No. 231, A'o. 231. 'I'he Trumpet and BaJJoon. taken from a print in the poirdhon of Mr. Fairholt, entitled, " The Trumpet and Balloon," prefenls a good example of Rowlandfon's oroaa liuraour, and of his favourite models of the huinan fice. We can almolt fancy we hear the different tones of this brace of fnorers. A good example of Rowlandfon's grotelijues of the human figure is 486 Hi [lory of Caricature and Grotefque given in our cut No. 232, taken from a print publiflied on the ift of January, I'/gd, under the title of "Anything will do for an Olficer. * People complained of the mean "appearance of the officers in our armies, who obtained their rank, it was pretended, by favour and purchafe rather No. 232. A Model Officer. than by merit ; and this caricature is explained by an infcription beneath, which informs us how " Some fchool-boys, who were playing at foldiers, found one of their number fo ill-made, and fo much under fize, that he would have disfigured the whole body if put into the ranks. ' What fliall we do with him?' alked one. *Do with him?* fays another, ' why make an officer of him.' " This plate is infcribed with his name, " Rowlandfon fecit." Kt this time Rowlandfon ffill continued to work for Fores, but before the end of the century we find him working for Ackermann, of the Strand, who continued to be his friend and employer during the reft of his life, and is faid to have helped him generoufiy in many difficulties. In thefe, indeed, he was continually involved by his diffipatlon and in Literature and Art. 487 thoughtlefliiels. Ackermann not only employed him in etching the drawings of other caricaturills, efpecially of Bunbury, but in furnifhing illuftrations to books, fuch as the feveral feries of Dr. Syntax, the " jS'ew Dance of Death," and others. Rowlandfon's illuftrations to editions of the older ftandard novels, fuch as "Tom Jones," are remarkably clever. In transferring the works of other caricaturifts to the copper, Rowlandfon was in the habit of giving his own ftyle to them to fuch a degree, that nobody would fufped that they were not his own, if the name of the defigner were not attached to them. I have given one example of this in a former chapter, and another very curious one is furnilhed by a print now before me, entitled "Anglers of 181 1," which bears only the name " H. Bunbury del.," but which is in every particular a pcrfc6t example of No. 233. Antlquar'tei at Work. the ftyle of Rowlandfon. During the latter part of his life Rowlandfoa amufed himfelf with making an immenfe number of drawings which were never engraved, but many of which have been preferved and are ftill found fcatlercd tlirough the portfolios of collc6tors. Thcfe are generally better finiftied than his etchings, and are all more or lefs burkfque. Our •ut No. 233 is taken from one of thcfe drawings, in the pufllJlion of 488 Hi /lory of Caricature and Grotefque Mr. Fairholt J it reprefents a party of antiquaries engaged in important excavations. No doubt the fissures were intended for well-known archae- ologifts of the day. Thomas Rowlandfon died in poverty, in lodgings in the Adelphi, on the 22nd of April, 1827. Among the mofl, aftive caricaturifts of the beginning of the prefent century we muft not overlook Ifaac Cruikfhank, even if it were only becaufe the name has become fo celebrated in that of his more talented fon. Ifaac's caricatures, too, were equal to thofe of any of his contem- poraries, after Gillray and Rowlandfon. One of the earliefl: examples which I have feen bearing the well-known initials, I. C, was publillied on the loth of March, 1794, the year in which George Cruikfliank was born, and probably, therefore, when Ifaac was quite a young man. It is entitled "A Republican Belle," and is an evident imitation of Gillray. In another, dated the ift of November, 1795, Pitt is reprefented as " The Royal Extinguilher," putting out the flame of" Sedition." Ifaac Cruik- fliank publiflied many prints anonymoufly, and among the numerous cari- catures of the latter end of the laft century we meet with many which have no name attached to them, but which referable fo exa6tly his known flyle, that we can hardly hefitate in afcribing them to him. It will be remarked that in his acknowledged works he caricatures the oppofition ; but perhaps, like other caricaturifts of his time, he worked privately for anybody who would pay him, and was as willing to work againft; the government as for it, for molt of the prints which betray their author only by their ftyle are caricatures on Pitt and his meafures. Such is the group given in our cut No. 234, which was publiflied on the 15th of Auguft, 1797, at a time when there were loud complaints againft the burthen of taxation. It is entitled " Billy's Raree-Show ; or, John Bull £«-lighten'd," and reprefents Pitt, in the character of a fliowman, exhibiting to John Bull, and picking his pocket while his attention is occupied with the fhow. Pitt, in a true Ihowman's ftyle, fays to his vidim, " Now, pray lend your attention to the enchanting profpeft before you, — this is the profpe6t of peace — only obferve what a bufy fcene prefents itfelf — the ports are filled with ihipping, the quays loaded with merchandife, riches in Literature and Art. 4^9 are riowing in from every quarter — this prolped alope is worth all the money you have got about you." Accordingly, the lhu\vn)3n abitra6ts trie fame money from his pocket, while John Bull, unconfcious of the theft, exclaims with furprife, " Mayhap it may, mafter fhowman, but I canna zee ony thing like what you mentions, — I zees nothing but a No. 2 J 4. Tht Rarce-Shoiu, woide plain, with fome mountains and molehills upon't — as fure as a gun, it muft be all behoind one of thofe!" The flag of the Ihow is infcribed, " Licenfed by authority, Billy Hum's grand exhibition of moving mechanifm ; or, deception of the fenfes." In a caricature with the initials of I. C, and publilhcil on llie 20th of June, 1797, Fox is reprefented as "The Watchman of liic Stale," ironically, of ajurfe, for he is betraying the trull wliicli he had oftcnia tifjiUly alfumed, and abfenting himfelf at the moment when his agents a«e putting the match to the train they have laid to blow up tiie conllitu- 490 Hijiory of Caricature and Grotefque tion. Yet Cruiktliank's caricatures on the Irifli union were rather oppofed to minifters. One of thefe, publifhed on the 20th of June, 1800, is full of humour. It is entitled " A Flight acrofs the Herring Pond." Eng- land and Ireland are feparated by a rough fea, over which a crowd of Irift " patriots " are flying, allured by the profpe£l of honours and rewards. On the Irilh fhore, a few wretched natives, with a baby and a dog, are in an attitude of prayer, expollulating with the fugitives, — " Och, och ! do not leave us — confider your old houfe, it will look like a big wallnut-fliell without a kernel." On the Englitti Ihore, Pitt is holding open the " Imperial Pouch," and welcoming them, — "Come on, my little fellows, there's plenty of room for you all — the budget is not half full." Inlide No. 235. Flight acrofs the Herring Pond. the " pouch " appears a hoft of men covered with honours and dignities, one of whom fays to the foremoft of the Irifti candidates for favour, "Very fnug and convenient, brother, I alfure you." Behind Pitt, Dundas, feated on a pile of public otfices united in his perfon, calls out to the immigrants, " If you've ony confciences at a', here's enugh to fatisfy ye a'." A portion of this clever caricature is reprefented in our cut No. 235. /;/ Literature and Art. 491 There is a rare caricature on the fubje<5t of the Irifli union, which exhibits a httle of the lt}ie of Ifaac Cruikfhank, and a copy of which is in the poflellion of Mr. Fairhoh. From this I iiave taken merely the group which forms our cut No. 236. It is a long print, dated on the lit of January, 1800, and is entitled "The Triumphal entry of the Uuiou No. 136. A Cdjc of AbduBion. into London." Pitt, with a paper entitled " Irilli Freedom " in his pocket, is carrying off the young lady (Ireland) by force, with her natural accompaniment, a keg of whilky. The lord chancellor of Ireland (lord Clare) fits on the horfe and performs the part of fiddler. In advance of this group are a long rabble of radicals, Irilhmen, &c., while clofe behind comes Grattan, carried in a fedan-chair, and earneftly appealing to the lady, " lerne, lerne ! my fweet maid, liften not to him — he's a falfe, riatiering, gay deceiver." Still farther in the rear follows St. Patrick, riding on a bull, with a fack of potatoes for his faddle, and playing on tile Irilli harp. An Irilhman expoftulates in the following words — " Ah, long life to your holy reverence's memory, why will you lave your own natc little kingdom, and go to another where they will tink no more of you then they would of an old biogue ? Shure, of all the faints in the rccklelter calendar, we give you the preference I och hone I och hone I" 492 Hijiory of Caricature and Grotefque Another Irifhman pulls the bull by the tail, with the lament, " Ah, mallher, honey, why will you be after leaving us ? What will become of poor Shelagh. and all of us, when you are gone '" It is a regular IrilTi cafe of abdudion. The laft example I lliall give of the caricatures of Ifaac Cruiklhank is the copy of one entitled "The Farthing Ruflilight," which, I need hardly ( No. 237. The Farthing Rujhlight. fay, is a parody on the fubjedt of a well-known fong. The ruflilight is the poor old king, George, whom the prince of Wales and his Whig affociates. Fox, Sheridan, and others, are labouring in vain to blow out. The lateft caricature I polfefs, bearing the initials of Ifaac Cruikfliank, was publilhed by Fores, on the 19th of April, 1810, and is entitled, " The Laft Grand Minifterial Expedition (on the Street, Piccadilly).' The fubje£t is the riot on the arrelt of fir Francis Burdeit, and it fhows that Cruikfliank was at this time caricaturing on the radical fide in politics. Ifaac Cruikfliank left two fons who became diflinguiflied as caricaturifls, George, already mentioned, and Robert. George Cruikfliank, who is Hill amongfl. us, has raifed caricature in art to perhaps the highell degree of excellence it has yet reached. He began as a political caricaturift, in imitation of his father Ifaac — in fa6t the two brothers are underllood to in Literature and Art. 493 have worked jointly with their father before they engraved on their own account. I have in my own poirellion two of his earlieft works of this clals, publidied by Fores, of Piccadilly, and dated refpedively the 3rd and the 19th of March, 18 15. George was then under twentyTone years of age. The firll of thefe prints is a caricature on the reftridlions laid upon the trade in corn, and is entitled "The Bleflings of Peace, or, the Curfe ot the Corn Bill." A foreign boat has arrived, laden with corn at a low price — one of the foreign traders holds out a fample and fays, " Here is de beft for 505." A group of bloated arillocrats and landholders ttand on the Ihore, with a doled rtorehoufe, filled with corn behind them ; the foremoll, warning the boat away with his hand, replies to the merchant, " We won't have it at any price — we are determined to keep up our own to 80^.. and if the poor can't buy at that price, why they muft ftarve. We love money too well to lower our rents again j the income tax is taken otf." One of his companions exclaims, " No, no, we won't have it at all." A third adds, "Ay, ay, let 'em ftarve, and be d — to 'em." Upon this another of the foreign merchants cries, " By gar, if they will not have it at all, we muft throw it overboard!" and a failor is carrying this alternative into execution by emptying a fack into the fea. Another group ftands near the clofed ftorehoufe — it confilb of a poor Englilliman, his wife with an infant in the arms, and two ragged children, a boy and a girl. The father is made to fay, " No, no, mafters, I'll not ftarve ; but quit my native country, where the poor are cruftied by thole they labour to fupport, and retire to one more hufpitable, and where the arts of the rich do not interpofe to defeat the providence of God." The corn bill was palfcd in the fpring of 1815, and was the caufe of much popular agitation and rioting. The fecond of thefe caricatures, on the fame fubjeft, is entitled, "The Scale of Juftice reverfed," and reprefents the rich exulting over the difappearance of the tax on property, while the poor are crulhed under the weight of taxes which bore only upon them. Thefe two caricatures prefent unmiftakable traces of the peculiarities ot Ityle of George Cruiklhank, but not as yet fully developed. George Cruikftiank rofe into great celebrity and popularity as a pohlical caricaturift by his illuftrations to the pamphlets of William Houe, 494 Hijiory of Caricature and Grotefque. fuch as " The Political Houfe that Jack built/' "The Political Showman at Home," and others upon the trial of queen Caroline ; but this fort of work fuited the tafte of the public at that time, and not that of the artift, which lay in another direftion. The ambition of George Cruikfhank was to draw what Hogarth called moral comedies, piftures of fociety carried through a feries of ails and fcenes, always pointed with fome great moral ; and it muft be confeffed that he has, through a long career, fucceeded admirably. He poffeffes more of the true fpirit of Hogarth than any other artift fince Hogarth's time, with greater ikill in drawing. He pofleffes, even to a greater degree than Hogarth himfelf, that admirable talent of filling a pifture with an immenfe number of figures, every one Telling a part of the ftory, without which, however minute, the whole pitiure would feem to us incomplete. The pidlure of the " Camp at Vinegar Hill," and one or two other illuftrations to Maxwell's " Hiftory of the Irifh Rebellion in 1798," are equal, if not fuperior, to anything ever produced by Hogarth or by Callot. The name of George Cruikfhank forms a worthy conclufion to the •^ Hiftory of Caricature and Grotefque." He is the laft reprefentative of the great fchool of caricaturifts formed during the reign of George HI. Though there can hardly be faid to be a fchool at the prefent day, yet our modern artifts in this field have been all formed more or lefs under his influence ; and it muft not be forgotten that we owe to that influence, and to his example, to a great degree, the cleanfing of this branch of art from the objettionable charadleriftics of which I have on more than one occafion been obliged to fpeak. May he ftill live long among the friends who not only admire him for his talents, but love him for his kindly and genial fpirit ; and none among them love and admire him more fincerely than the author of the prefent volume. FINIS. iPost-O/tee OrJers ^yabu at Piccadilly Cirrus.] JUece.mber, 1874. sS&^)l^ ^ Hist of Books PUBLISHED BY CHATTO & WiNDUS 74d-75, PICCADILLY, LONDON, W. TURNER GALLERY: A Series of Sixty Engravings From the Principal Works of Juseth Mallord William Turner. IVith a Memoir ami Jllnstraiive Text By RALPH NICHOLSON WORNUM, Keeper and Secretary, National Gallery. 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Crown 8vo, cloth extra, gilt and emblazoned, 7j. 6d. *** This volume, beautifully printed on toned paper, contains not only the ordinary matter to be found in the best books on the science of Armory, but seve- ral other subjects hitherto unnoticed. Amongst these may be mentioned .—i. Directions for Tracing Pedigrees. 2. Deciphering Ancient MSS., illustrated by Alphabets and Fac- similes. 3. The Appointment of Liveries. 4. Continental and American Heraldry, &c. 74 ^ 75, PICCADILLY, LONDON, W. .i« ,. .\ r\ BOOKS PUBLISHED BY CHATTO 6- WINDUS, 9 NEW AND IMPORTANT WORK. Cyclopaedia of Costume; or, A Dic- tionary of Dress, Rcgnl, Ecclesiastical, Civil, and Military, frora the Earliest Period in England to the reign of George the Third. Including Notices of Contemporaneous Fashions on the Continent, and preceded by a General History of the Costume of the Principal Countries of Europe. Py J. K. PLANCiifi, F.S.A., Somerset Herald. This work ivill fe fuHiihed in Twenty- four Monthly Fn'ts, quarto, at Five Shdltn^s, profusely illustrattd by Plates a»,l H'oo.i Engravings ; with each I'art ■will also be issued a splendid Coloured Vlatf, from an original Painting- or 1 no- mination, of Royal and ^'obie Personages, and National Costume, both/um^nand domestic. The First Part will be reiuiy on Jan. i, 1S75. IN collecting materials for a History of Costume of more importance than the little handbook vihich bas met with so much favour as an elementary work, I was not only made aware of my own deficiencies, but sur- prised to find how much more vague are the exil.ina- tions, and contradictory the statemcms, of our best authorities, than they appeared to me, when, in th« plenitude of my ignorance, I rushed upon almo>t un- trodden ground, and felt bewildered by the mass of unsifted evidenct and unhesitating abSerlioa which met my eyes at every turn. During the forty years which have elapsed since the publitationof the first edition of my " History of llritish Costume" in the " J.ibrary of Entertaining Know- ledge," archaeological investigation has received such an impetus by the establishment of metropolit.m and provincial peripatetic antiquaiian societies, that a flood of light has been poured upon us, by which we are enabled to re-exammcour opinions and discover reasons lodoubt, if we cannot find facts to authenticate. That the former greatly preponderate is a grievous acknowledgment to make after assiduously devoriiig the leisure of half my life to the pursuit of inforniaiiou on this, to me, most f.iscinatiiig subject. It is some consolation, however, to feel that where I cannot in- struct, I shall certainly not mislead, and that the rcidcr will find, under each head, all that is known to, 01 suggested by, the most competent writers 1 am ac- quainted with, cither here or on the Continent. That this work appears in a glossarial form arises from the desire of many artists, who have expressed to me the difficulty they constantly meet with in their en- deavours to ascerUiin the complete form of a garment, or tne exact mode of f.-isleiiing a piece of armour, or buckling of a belt, from their study of a sepulchral eOijjy or a figure in an illumination; the altitude of the personages represented, or the dispo- sition of other portions of their attire, clTectually preventing the reouisite examination. The books supplying any such information are very few, and the best confined to armour or ecclesiastical costume. The onlyEnglish publication of the kind requircfl, that 1 am aware of, is the late Mr. Fairholt's " Costume in Kngland " (8vo, Ixindon, 1846), the last two hundred pages of which contain a glo.ssary, the most valnabic portion whereof are the quouiions from old plays. mcdi;eyaJ rom.aiices, and s;iticic:il Lidladt, containing allusions to various articles oi^ atiirt in fashion at the tune of their composition. 'I'wcnlj'cighi yean have expired since that book appeared, and it has been thouKht that a more comprehensive work on the subject than has yet issued from the Lnglish press, combining the pith of tlie information of many co.stlf foreign publications, ami, in its illustrations, keeping in view the special rei^uirc- ment of the artist, to which I have alluded, would be, in these ilays of cducation'.-il progress and critical inquiry, a welcomi addittoo to the library of an Knglisk gentleman. J. R. PLANCH^. 74 ^ 75. PICCADILLY, LONDON, W. (10 B.OOKS PUBLISHED BY CHATTO &- WINDUS. Cussans' History of Hertfordshire. A County History, got up in a very superior manner, and ranging with the finest works of its class. By John E. Cussans. Illus- trated with full-page Plates on Copper and Stone, and a profusion of small Woodcuts. Parts I. to VIII. are now ready, price 2Ls. each. •«* An entirely new History of this important County, great attention, hetn^ given to all matters pertaining to Family History. Dickens' Life and Speeches. By Theodore Taylor. Complete in One Volume, square i6mo, cloth extra, 2s, 6d. "DON QUIXOTE" IN THE ORIGINAL SPANISH. El Ingenioso Hidalgo Don Quijote de la Mancha. Nueva Edicion, corregida y revisada. Por Miguel DE Cervantes Saavedra. Complete in one volume, post Svo, nearly 700 pages, cloth extra, price 4i-. 6d. GIL BLAS IN SPANISH. Historia de Gil Bias de Santillana. Por Le Sage. Traducida al Castellano por el Padre Isla. Nueva Edicion, corregida y revisada. Complete in One Volume. Post Svo, cloth extra, nearly 600 pages, price 4J. 6d. Earth\A/ard Pilgrimage, from the Next World to that which now is. By MoNCURE D. CONWAY. Crown Svo, beautifully printed and bound, "Js. 6d. Ellis's (Mrs.) Mothers of Great Men. A New Edition, with Illustrations by Valentine W. Bromley, Crown Svo, cloth gilt, over 500 pages, 6s. " Mrs. Ellis believes, as most of us do, that the character of the mother goes a long way ; and, in illustration of this doctrine, she has given us several lives written in her charming, yet earnest, style. We especially commend the life of Byron's and Napoleon's mothers. . . . The volume has some solid merits." — Eclio. "This is a book which ought to be in the libraries of all who interest themselves in the education of \tom^-a."— Victoria Magazine. " An extremely agreeable and readable book, and its value is not a little enhanced by Mr. Bromley's illustrations."— ///«f/nz/ a mite uf ijif .rtnation." — Wextinintltr Utvieiu. 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"Better fitted than any other of his productions to give an idea of Douglas Jerrold's amazing wit ; the ' Barber's Chair ' may be presumed to give as near ar« approajih as is possible in print to the wit of Jerrold's conversation." — Examiner. Jerrold's (Douglas) Brownrigg Papers : The Actress at the Duke's ; Baron von Boots ; Chris- topher Snubb ; The Tutor Fiend and his Three Pupils ; Papers of a Gentleman at Arms, &c. By Douglas Jerrold. Edited by his Son, Blanchard Jerrold. Post Svo, illustrated boards, 2s. Kalendars of Gwynedd. Compiled by Edward Breese, F.S.A. With Notes by William Watkin Ed'ward Wynne, Esq., F.S.A. Demy 4to, cloth extra, 28j. 74 6- 75, PICCADILLY, LONDON, W. BOOKS PUBLISHED BY CHATTO &• WINDUS. 19 Lamb's (Charles) Complete Works, in Prose and \'erse, reprinted from the Original Editions, with many pieces now first included in any Edition. Edited, with Notes and Introduction, by R. H. Shepherd. With Two Portraits and facsimile of a page of the "Essay on Roast Pig." Crown Svo, cloth extra, gilt, 75. (yd. " Is it not ti^jie for a new and fin.il edition of Lamb's Worljs— a finer tribute to his memory thanauy monument in Kdmonton churchyard? Lamb's writings, and more especially his fugitive productions, have scarcely yet escaped from a sute of chaos." — li'tslmiruUr Kci'ie-w, October, 1S74. Abstract of Contents. Essays OF Elia, as originally published : The Adventures or Ulysses. m The London Magazine, The Ex- Dramatic Pieces : am!ner,The Indicator, The Rr_ffecior, \ John Woodvil : a Tragedy (from the The \t~:v Monthly, The English- I Edition of 1S02). man s Magazine, The Athenaeum, Sec. , Mr. H , a Farce. Papers contributed to "Hone's Table The Wife's Trial; or, The Intruding Book," "Year Book," and "Every Widow. Day Book," and to Walter Wilson's The Pawnbroker's Daughter. " Life of Defoe." Poe.ms : Notes on the English Dramatists, ! SonneU and other Poems printed with i8oa-i327. I those of Coleridge in 1796-7, 1800, Review op Wordsworth's " Excur- 1 and 1813. siON " (from the Quarterly Rez'ie-uj). Blank Verse (from the Edition of Rosamond Gray (from the Edition of J 798). •^98). j Poetry for Children, i8og. Tales from Shakespeare and from ! Album Verses, 1830. Mrs. Leicester's School. Satan in Search of a Wife, 1831, &c. Lamb (Mary &. Charles) : Their Poems, Letters, and Remains. Now first collected, with Rcmini.sccnces and Notes, by \V. Carew IIazlitt. \Vith Hancock's Portrait of the Essayist, Facsimiles of the Title-pages of the rare First Editions of Lamb's and Coleridge's Works, Facsimile of a Page of the Original MS. of the "Essay on Roast Pig," and numerous Illustrations of Lamb's Favourite Haunts. Crown Svo, cloth e.\tra, los. 6J. ; Large-paper Copies 21s. " Mr. W. C. H.-ulitt has published a very pretty and interesting little volume. It has many pictorial illustrations, which were supplied by Mr. Camden Hotten ; and, above all, it contains a facsimile of the first page of Elia on ' Koast Pig.' It is well fot up, and has a good portrait of Elia. There arc also some letters and poenu of lary Lamb which are not easily accessible elsewhere." — ll'es/ntinster /Cez'irw. " nlust be consulted by all future biogr.iphers of the hamhf,."—Vaily A'ewt. "Tells us a good deal that is interesting and something th.it is fairly new.' — Gra/hic. "Very many passages will delight those fond of liierarj- tntlcs ; hardly any portion will fail to have its interest for lovers of Charles Lamb and his sister."— ^tanJarii. "Mr. HazUtt's work is very important and valuable, and all lovers of EUa will thank him for what he has done." — Sunday Times. " Will be joyfully received by all 'La.mh'xict."— Globe. Lee (General Ed. AUTHOR'S CORRECTED EDITION. Mark Twain's Choice Works. Revised and Corrected throughout by the Author. Willi Life, Portrait, and numerous Illustrations. 700 pages, cloth extra gilt, 7j. 6d. Mark Twain's Pleasure Trip on the Continent of Europe, With Frontispiece. 500 pages, illus- trated boards, 2s. ; or cloth extra, 2s. 6J. Marston's (Dr. Westland) Poetical and Dramatic Works. A New and Collected Library i;n, in Two Vols, crown Svo, is now in the press, and will be ready very shortly. 74 «5^ 75. PICCADILLY, LONDON, /K 22 BOOKS PUBLISHED BY CHATTO dr- WINDUS. MR. PHILIP MARSTON'S POEMS. Song Tide, and other Poems. By Philip BoURKE Marston. Second EDITION. CrownSvo, cloth extra, 8x. " This is a first work of extraordinary performance and of still more extraordinary promise. The youngest school of English poetry has received an important acces- sion to its ranks in Philip Bourke Marston." — Exami7ier. " Mr. Marston has fairly established his claim to be heard as a poet His present volume is well worthy of careful perusal, as the utterance of a poetic, cul- tivated mind." — Standard. " We have _ spoken plainly of some defects in the poetry before us, but we have read much of it with interest, and even a.dmirAtion."— Pal/ Mall Gazette. All in All : Poems and Sonnets. By Philip Bourke Marston. Crown Svo, cloth extra, Zs. Mayhe\A/'s London Characters : Illus- trations of the Humour, Pathos, and Peculiarities of London Life. By Henry Mayhew, Author of " London Labour and the London Poor," and other Writers. With nearly loo graphic Illustrations by W, S. Gilbert, and others. Crown Svo, cloth extra, 6s. "Well fulfils the promise of its title. . . The book is an eminently interesting c»e, and will probably attract many readers." — Court Circular. Memorials of Manchester Streets. By Richard Wright PROCTiyt^ With an Appendix, containing "The Chetham Library," by James Crossley, F.S.A. ; and "Old Manchester and its Worthies," by James Croston, F.S.A. Demy Svo, cloth extra, with Photographic Frontispiece and numerous Illustrations, 15^. 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Crown Svo, with Coloured Frontispiece and over lOO Caricatures, 7^. dd. __ ^ A ^__^ ^ _^ Original Lists of Persons of Quality; Emigrants ; Religious E.xiles ; Political Rebels ; Servinj; Men Sold for a Term of Years ; Apprentices ; Children .Stolen ; Maidens Pressed ; and others who went from Great Britain to the American Plantations, 1600-1700. ^Vith their Ages, the Localities wherethey formerly Lived in the Mother Country, Names of the Ships in which they embarked, and other interesting pariicul.ars. From MSS. preserved in the State Pa])er Department of Her Majesty's Public Record Office, England. Edited by John Camden Hotten. A very handsome volume, crown 4to, cloth gilt, 700 pages, 38J. A few Large Paper copies have been printed, price 60J. " Thii volume is an English Family Record, .and as such may be commended to Eogllth families, and the descendants of English families, wherever they exist." — Aeadewy. 74 "S^ 75, PICCADILLY, LONDON, IV. 24 BOOKS PUBLISHED BY CHATTO s. Plain English. By John Hollingshead. One vol., crown Svo. \Preparing. 74 ^ 75> PICCADILLY, LONDON, W. BOOK'S PUBLISHED BY CIIATTO ^ ll'IXDUS. 27 Private Book of Useful Alloys and Memoranda for Goldsmiths and Jewellers. KyjAMKs E. Collins, C.E. Royal i6mo, 3^-. 6./. Seventh Edition of Puck on Pegasus. By H. Ciiolmoxdeley- Pennell. Trofusely illustrated by the late JOHN Leec», H. K. Browne, Sir Noel Paton, John Millais, John Tenmel, Richard Doyle, Miss Ellen Edwards, and other artists. A New Edition (the Seventh), crown 8vo, cloth extra, gilt, price 51.; or gilt edges, 6s. " The book is clever and amusing, vigorous and healthy." — Saturday Ke'irw. "The epigrammatic drollery of Mr. Cholmondeley-Pennell's ' Puck on Pegasus ' is well known to many of our readers. . . . The present (the sixth) is a superb and handsomely printed and illustrated edition of the book." — Tinus. "Specially fit for reading in the family circle." — Observer. "An Awfully Jolly Book for Parties." Punlana: Thoughts Wise and Otherwise. By the lion. IIl'GH Rowley. Best Book of Riddles and Puns ever formed. With nearly 100 exquisitely Fanciful Drawings. Con- tains nearly 3000 of the best Riddles, and 10,000 most outrageous Puns, and is one of the most Popular Books ever issued. New Edition, small quarto, green and gold, gilt edges, price 6/. " Enormous burlesque — unap- proachable and pre-eminent. We think this very queer volume will be a favourite. We should suggest that, to a dull person desirous to get credit with the young holiday people, it would be good policy to invest in the book, and dole it out by instalments." — Saturday Review. Also, More Punlana. By the lion. Hugh Row- ley. Containing nearly 100 beautifully executed Draw- ings, and a splendid Collec- tion of Riddles and Puns, rivalling those in the First Volume. Small 4to, green . „ . ., , , j. 1 n 1 1 1 _;u I •/• When are f>crsons entitled ti.^ speak Me a and gold, gilt edges, uniform ^„^^,' q„i/^,^^ t^ey are a tome OK the With the r irst benes, 6x. tubjtci. 74 ^ 75. PICCADILLY, LONDCS^, W, 28 BOOKS PUBLISHED BY CHATTO &- WIND US. Pursuivant of Arms (The) ; or, * Heraldry founded upon Facts. A Popular Guide to the Science of Heral- dry. ByJ. R. Planchil, Esq., F.S.A., Somerset Herald. To which are added. Essays on the Badges OF the Houses OF Lancaster and York. A New Edition, enlarged and revised by the Author, illustrated with Coloured Frontis- piece, Five full-page Plates, and about 20O Crown 8vo, bound in cloth extra, gilt, 75. 6d, Illustrations, Practical Assayer : A Guide to Miners and Explorers. By Oliver North. With Tables and Illustrative Woodcuts. Crown Svo, "js, 6d. *,* This took ^h'es directions, in the siyiiplest fonn,foy assaying hicUio}i and the baser metals by the cheaj>est, quickest, and best methods. Those interested i>2 mining property will be enabled, by folloivi7ig its instructions, to forvi a tolerably correct idea 0/ the value of ores, without previous knowledge 0/ assaying ; while to the young man seeking his fortune in vtining countries it is indispensable. "Likely to prove extremely useful. The instructions are clear and precise." — Chemist and Druggist. "An admirable little volume." — Mining J oumal. "We cordially recommend this compact little volume to all engaged in mining enterprize, and especially to explorers." — Monetary and Alining Review. GUSTAVE DORifc'S DESIGNS. Rabelais' Works. Faithfully translated from the French, with variorum Notes, and numerous characteristic Illustrations by Gustave Dor£. Cr. 8vo, cl. extra, 700 pp. "Js. 6d. Uniform with "Wonderful Characters." Remarkable Trials and Notorious Characters. From "Half-Hanged Smith," 1700, to Oxford, who shot at the Queen, 1840. By Captain L. Benson. With spirited full-page Engravings by Phiz, 8vo, 550 pages, ']s. 6d. •— ' " • ' • .. — . .1 ^. ..1.. ... ... — .... . ... Rochefoucauld's Reflections and Moral Maxims. With Introductory Essay by Sainte-Beuve, and Explanatory Notes. Cloth extra, is. 6d. 74 6^ 75, PICCADILLY, LONDON, IF. /■ ^ i BOOKS PUBLISHED BY CHATTO ^ IVLVDUS. 29 Reminiscences of the late Thomas Assheton Smith, Esq. ; or, The Pursuits of an English Country Gentleman. By Sir J. K. Eardley WiLMOT, Bart. A New anil Re%'ised Edition, with Steel-plate Portrait, and plain and coloured Illustrations. Crown 8vo, cloth extra, "Js. 6J. Roll of Battle Abbey ; or, A List of the Prin- cipal Warriors who came over from Normandy with William the Conqueror, and Settled in this Country, A.u. 1066-7. Carefully drawn, and printed on fine plate paper, nearly three feet by two feet, with the Arms of the principal Barons elaborately emblazoned in Gold and Colours. Price 5/. ; or, handsomely framed in carycd oak of an antique pattern, 22s. 6d. Roll of Caerlaverock, the Oldest Heraldic Roll ; including the Original Anglo-Norman Poem, and an English Translation of the MS. in the British Museum. By Thomas Wright, M.A. The Arms emblazoned in Gold and Colours. In 4to, very handsomely printed, extra gold cloth, \2s. Roman Catholics in the County of York in 1604. Transcribed from the Original MS. in the Bodleian Libraiy, .nnd Edited, with Genealogical Notes, by Edward Pea- cock, F.S.A., Editor of "Army Lists of the Roundheads and Cavaliers, 1642." Small 4to, handsomely printed and bound, 15^. •,• Gfyualo^isis and Antiquaries will find much nnu and curii^us matter in this '.vork. An elaborate Index refers to every name in tlu volume, among uhich 9^11 be found many of t lie higkest local interest. Ross's (Chas. H.) Story of a Honey- moon. A New Edition of this charmingly humorous book, with numerous Illustrations by the Author. Ecap. Svo, illustrated boards, 2s. School Life at Winchester College ; or. The Reminiscences of a Winchester Junior. By the Author of "The Log of the Water Lily;" and "The Water Lily on the Danube." Second Edition, Revised, Coloured Plates, -js. CJ. Schopenhauer's The World Con- sidered as Will and Imagination. Translated by Dr. Ekanz HuEiir.K, Author of "Richard Wagner and the Music of the Future. " [/" preparation. 74 ^ 75, PICCADILLY, LONDON, W. •t 30 BOOKS PUBLISHED BY CHATTO 6^ WINDUS. THE ''SECRET OUT" SERIES. Crown 8vo, cloth extra, profusely Illustrated, price d^s. 6d. each. Art of Amusing. A Collection of Graceful Arts, Games, Tricks, Puzzles, and Charades, intended to Amuse Everybody. By Frank Bellew. With nearly 300 Illustrations. Hanky- Pan ky. A Wonderful Book of Very Easy Tricks, Very Difficult Tricks, White Magic, Sleight of Hand ; in fact, all those startling Deceptions which the Great Wizards call " Hanky-Panky." Edited by W. H. Cremer. With nearly 200 Illustrations. '. ' Magician's Own Book. Ample Instruc- tion for Performances with Cups and Balls, Eggs, Hats, Hand- kerchiefs, &c. All from Actual Experience. Edited by W. H. Cremer. With 200 Illustrations. Magic No Mystery. A Splendid Collection of Tricks with Cards, Dice, Balls, &c. , with fully descriptive work- ing Directions. With very numerous Illustrations. \_Nearly ready. Merry Circle (The), and How the Visitors were entertained during Twelve Pleasant Evenings. A Book of New Intellectual Games and Amusements. Edited by Mrs. Clara Bellew. With numerous Illustrations. Secret Out ; or, One Thousand Tricks witJi Cards, and other Recreations ; with Entertaining Experiments in Drawing Room or "White Magic." Edited by W. H. Cremer. With 300 Engravings. Shelley's Early Life. From Original Sources. With Curious Incidents, Letters, and Writings, now First Published or Collected. By Denis Florence Mac-Carthy. Crown 8vo, with Illustrations, 440 pages, 7^. 6d. Sheridan's Complete Works, with Life and Anecdotes, Including his Dramatic Writings, printed from the Original Editions, his Works in Prose and Poetry, Trans- lations, Speeches, Jokes, Puns, lic. ; with a Collection of Sheridan- iana. Crown 8vo, cloth gilt, with 10 beaatifully executed Portraits and Scenes from \m Plays, "js. 6d, 74 &* 75, PICCADILLY, LONDON, W. EOOJrS PUB LIS NED B Y' CHA TTO &- WLyDl^i ^t Signboards: Their History. ^Yith Anecdotes of Famous Taverns and Remark- able Characters. By Jacob Larwood and John Camden HoTTEX. Seventh Edition. Crown Svo, cloth extra, "js. 6d. " It is not fair on the part of a reviewer to pick out the plums of an author's book, thus filching away his cream, and leaving little but skim-milk remaining; but, even if we were ever so maliciously inclined, we could not in the present instance pick out all Messrs. Larwood and Hotten's plums, because the good things are so numerous asUo defy the most wholesale depredation." — T/ie Times. •«• Nearly loo most curious illustrations on wood are given, showing tht signs ■which werefortnerly hung front taverns, &'c. HELP ME THROUGH THIS WORLD ! HANDBOOK OF COLLOQUIALISMS. The Slang Dictionary: Etymological, Historical, and Anecdotal. An Entirely New Edition, revised throughout, and considerably Enlarged, containing upwards of a thousand more words than the last edition- Crown Svo, with Curious Illustrations, cloth extra, 6s. 6J. " Peculiarly a book which ' no gentleman's library THE WEDGE AND THE WOODEN should bc without,'whiIe to costermongers aod thio»c« srooN. it is absolutely indispensable." — Dispatch. " Interesting and curious. Contains as many as it was possible to collect of all the words and phrases of modern slang in use at the present time." — Public Opinion. " In every way a great improvement on the edition of 1S64. Its uses as a dicliooary of the very vulgar tongue do not require to be explained." — Notes and Queries. " Compiled with most exacting care, and based on the best authorities." — Standard, " In 'The Slang Dictionary ' we have not only a book that reflects credit upon the philologist ; it is also a volume that will repay, at any time, a dip into in humoruus p^t^ci."— Figaro. WEST-END LIFE AND DOINGS. Story of the London Parks. By Jacob Larwood. With numerous Illustrations, Coloured and Plain. In One thick Volume, crown Svo, cloth extra, gilt, 7^. Cxi. •,* A most interesting work, giving a complete History of these favourite out-ef% door resorts, from the earliest period to tht present timt. 74 6* 75. PICCADILLY, LONDON, IV, 32 BOOKS PUBLISHED BY CHATTO &- WINDUS. A KEEPSAKE FOR SMOKERS. Smoker's Text-Book. By J. Hamer, F.R. S.L. Exquisitely printed from "silver-faced" type, cloth, very neat, gilt edges, is. 6d., post free. CHARMING NEW TRAVEL-BOOK. ^ 7^ ::^ V T^U^Hl n< " It may be we shall touch the happy isles." Summer Cruising in tiie South Seas, By Charles Warren Stoddard. With Twenty-five Engrav- ings on Wood, drawn by Wallis Mackay. Crovra 8vo, cloth, extra gilt, "Js. 6d. " This is a very amusing "book, and full of that quiet humour for which the Americans are so famous. We have not space to enumerate all the picturesque descriptions, the poetical thoughts, which have so charmed us in this volume ; but we recommend onr readers to go to the South Seas with Mr. Stoddard in his prettily illustrated and amusingly writte* little book." — Vanity Fair. "Mr. Stoddard's book is delightful reading, and in Mr. Wallis Mackay he has ound a most congenial and poetical illustrator." — Bookseller. " A remarkable book, which has a certain wild picturesqueness." — Standard. " The author's experiences are very amusingly related, and, in parts, with much freshness and originality." — yudy. "Mr. Stoddard is a humourist ; 'Summer Cruising' has a good deal of undeni- able amusement." — Nation. 74 ^ 75» PICCADILLY, LONDON, W, > BOOK'S PUBLISHED BY CHATTO &- WIXDUS. 33 Syntax's (Dr.) Three Tours. Wiih the whole of Rowlandson's very droll full-page Illusli-ations, in Colours, after the Original Drawings. Comprising the well-knovrn Tours— I. In Search of the Picturesque. 2. I.n Search OF Consolation. 3. In Search or a Wife, The Three Series Complete, with a Life of the Author by John Camden Hotten. Medium Svo, cloth e.\tra, gilt, price 7^. 6; them, -01111 form a volunu nl"—}. G. Lockhakt. 74 ^ 75. PICCADILLY, LONDON; IV. '"kL-: 34 BOOKS FUBL!SH£3'BT'X:iTA TTO &'^>WmDVS. MR. SWINBURNE'S WORKS. Second Edition now ready of Both well : A Tragedy. By Algernon Charles Swinburne. Crown 8vo, cloth extra, pp. 540, 12s. 6d. " Mr. Swinburne's most prejudiced critic cannot, we think, deny that ' Bothwell ' is a poem of a very high character. Every line bears traces of power, individuality, and vivid imagination. The versification, while characteristically supple and melo- dious, also attains, in spite of some affectations, to a sustained strength and dignity of a remarkable kind. Mr. Swinburne is not only a master of the music of lan- guage, but he has that indescribable touch which discloses the true poet — the touch that lifts from off the ground." — Saturday Review. " It is not too much to say that, should he never v/rite anything more, the poet has by this work firmly established his position, and given us a poem upon which his fame may safely rest. He no longer indulges in that frequent alliteration, or that oppressive wealth of imagery and colour, which gave rhythm and splendour to some (rf his works, but would have been out of place in a grand historical poem ; we have now a fair opportunity of judging what the poet can do when deprived of such adventitious aid, — and the verdict is, that he must henceforth rank amongst the first of British authors." — Graphic. " The whole drama flames and rings with high passions and great deeds. The imagination is splendid ; the style large and imperial ; the insight into character keen ; the blank verse varied, sensitive, flexible, alive. Mr. Swinburne has once more proved his right to occupy a seat among the lofty singers of our land." — Daily News. "A really grand, statuesque dramatic work. . . . The reader will here find Mr. Swinburne at his very best; if manliness, dignity, and fulness of style are superior to mere pleasant singing and alliterative lyrics." — Standard. " Splendid pictures, subtle analyses of passion, and wonderful studies of character will repay him who attains the end. . . . In this huge volume are 'many fine and some unsurpassable things, Subtlest traits of character abound, and descriptive pas- sages of singular d.eXv:2Lcy ."—AthencEum. " There can be no doubt of the dramatic force of the poem. It is severely simpfe in its diction, and never dull ; there are innumerable fine touches on almost every page." — Scotsman. " ' Bothwell ' shows us Mr. Swinburne at a point immeasurably superior to any that he has yet achieved. It will confirm and increase the reputation which his daring genius has already won. He has handled a difficult subject with a mastery of art which is a true intellectual triumph." — Hour. Chastelard : A Tragedy. Foolscap 8vo, "js. Poems and Ballads. Foolscap 8vo, 95. Notes on " Poems and Ballads," and on tlie Reviews of thenu Demy 8vo, u. Songs before Sunrise. Post 8vo, 10s, 6d. -TT7- Atalanta in Calydon. Fcap. Bvo, 6s. 74 6- 75. PICCADILLY, LONDON, W. BOOKS PUBLISHED BY CHATTO ^ WIND US. 35 Mr. Swinburne's Works — continuid. The Queen Mother and Rosamond. Foolscap Svo, 5^. A Song of Italy. Foolscap Svo, 3^. 6d. Ode on the Proclamation of the French Republic. Demy Svo, is. Under the Microscope. Post Svo, 2s. 6d. William Blake : A Critical Essay. With facsimile Paintings, Coloured by Hand, after the Drawings by Blake and his Wife. Demy Svo, \6s. THE THACKERAY SKETCH-BOOK. 6ji vryai;^ a THACKERAYANA: Notes >nd Anecdotes, Illustrated liy about Six Hundred Sketches by William Makepeace Thackeray, depicting Humorous Incidents in his School-life, and Favourite Scenes and Characters in the books of his every-day reading, now FOR THE First Time tu'dlisheu, ,from the Ori- ginal Draw- I ings made on the margins of i his books, &c. Large post 8vo,clth. extra gilt, gilt top, price I2s. 6d. "It 15 i hackcray's aim to represent life as it is actually and historically— fncojind women as they arc, in those situations in which they are usually placed, with that mixture of good and evil, of strength and foible, whick is to be found in their characters, and liable only to those incidents which are of ordinary' occurrence. H« will have no faultle«« cbaruten, no demi-gods,— nothing but men and brolbno." — I>AviD Massom. 74 ^ 7Si PICCADILLY, LONDON, IF. ■tMC>' 36 BOOKS PUBLISHED BY CHATTO 6- WIN BUS. Timbs' English Eccentrics and Eccen- tricities. Stories of Wealth and Fashion, Delusions, Im- postures and Fanatic Mis- sions, Strange Sights and Sporting Scenes, Eccentric Artists, Theatrical Folks, Men of Letters, &c. By John Times, F.S.A. An entirely New Edition, with about 50 Illustrations. Crown 8vo, cloth extra, 600 pages, Timbs' Clubs and Club Life in London. With Anecdotes of its Famous Coffee Houses, HosTELRiES,and Taverns. By John Times, F.S.A. New Edition, with nume- rous Illustrations drawn expressly. Crown 8vo, cloth extra, 600 pages. Is. 6d. •»* A Companion to " The His- ' tory of Sign-Boards" It abonnds in quaint siories o/ ike Blue Stock- ing, Kit-Kat, Beef Steak, Robin Hood, Mohocks, Scriblerus, One o'clock, the Civil, and hundreds of other Clubs; together with Tom's, Dick's, Button's, Ned's, Will's, and — -• the favtous Coffee Houses o/ttu last Sir Lumley Skeffington at the Birthday Ball- century. "The book supplies a much-felt want. The club is the avenue to general societj- at the present day, and Mr. Timbs gives the entree to the club. The scholar and antiquary will also find the work a repertory of information on many disputed points of literary interest, and especially respecting various well-known anecdotes, the value of which only increases with the lapse of time." — Morning Post. * — — 1 -I Blake's Works. Messrs. Chatto & Windus have in preparation a series of Reproductions in Facsimile of the Works of William Blake, including the "Songs of Innocence and Experience," '« The Book of Thel," " America," " The Vision of the Daughters of Albion," "The Marriage of Heaven and Hell," "Europe, a Prophecy," "Jerusalem," "Milton," " Urizen," "The Song of Los," &c. These Works will be issued both coloured and plain. 74 &^ 75. PICCADILLY, LONDON, W, BOOKS PUBLISHED BY CHATTO &' WIND US. 37 History offTF With Sixty curidu-IV*' )nn.. crown 8vo. clotli, 1 I Taylor's Playing Cards. With Sixty Illiistraiions. 550 pp., crown 8vo, cl extra gilt, price 7-''- 6ing, Gambling and Calculation, Cartomancy, Old Gaming- Hisses, Card levels and Blind Hookey, ricqui-: and Vingt-et-uti, Whist and CHbbage, Tricks., b'C. Vagabondiana; or, Anec- dotes of Mendicant Wanderers tlirough the Streets of London ; with Portraits of the most remarkable, drawn from the Life by JOHN THOMAS Smith, late Keeper of the Prints in the British Museum. With Introduc- tion by Francis DofCE, and descriptive text. Reprinted from the original, with the Woodcuts, and the 32 Plates, from the original Coppers, in crown 410, half Roxburghe, price I2J. dd. "LES MIS:fcRABLES." Complete in Three Parts. Victor Hugo's Fantine. Now first pub- lished in an English Translation, conii)lete and unabridged, with the exception of a few advisable omissions. Post 8vo, illustrated boards, 2s. "This work has something more than the beauties of an exquisite style or the word-compelling power of a literary Zeus to recommend it to the tender care of a distant posterity : in dealing with all the emotions, passions, doubts, fears, which go to make up our'common humanity, M. Victor Hugo has stamped upon every page the Hall-mark of genius and the loving patience and conscientious labour of a true artist. But the merits of ' Les Miscrables ' do not merely consist in the conception of it as a whole ; it abounds, page after page, with details of uneiiuallcd beauty." — Quarterly lieview. Victor Hugo's Cosette and Marius. Translalcd into Lnglish, complete, uniform with "Fantine." Post 8vo, illustrated boards, 2s. Victor Hugo's Saint Denis and Jean Valjean. Tr.-inslated into English, complete, uniform with the above. I'ost 8vo, illustrated boards, 2s. 6d. 74 6^ 75. PICCADILLY, LONDON, W. 38 BOOKS PUBLISHED BY CHATTO 6- WINDUS. Vyner's Notitia Venatica: A Treatise on Fox- Hunting, the General Management of Hounds, and the Diseases of Dogs ; Distemper and Rabies ; Kennel Lameness, &c. Sixth Edition, Enlarged. By Robert C. Vyner. With spirited Illustrations in Colours, by Alken, of Memorable Fox- hunting Scenes. Royal 8vo, cloth extra, 2.\s. *»• An entirely new edition of the best work on Fox-Hunting. Walt Whitman's Leaves of Grass. The Complete Work, precisely as issued by the Author in Washing- ton. A thick volume, 8vo, green cloth, price 95. Walton and Cotton, Illustrated.— The Complete Angler; or, the Contemplative Man's Recreation; being a Discourse of Rivers, Fish-ponds, Fish and Fishing, written by IzAAK Walton ; and Instructions how to Angle for a Trout or Grayling in a clear Stream, by Charles Cotton. With Original Memoirs and Notes by Sir Harris Nicolas, K.C.M.G. With the whole 61 Illustrations, precisely as in the royal 8vo two- volume Edition issued by Pickering. A New Edition, complete in One Volume, large crown Svo, with the Illustrations from the original plates, printed on full pages, separately from the text, 'js.dd. Warrant to Execute Charles I. An exact Facsimile of this important Document, with the Fifty-nine Signatures of the Regicides, and corresponding Seals, admirably executed on paper made to imitate the original document, 22 in. by 14 in. Price 2s. ; or, handsomely framed and glazed in carved oak of antique pattern, 14^. 6d. Warrant to Execute Mary Queen of Scots. The Exact Facsimile of this important Document, includ- ing the Signature of Queen Elizabeth and Facsimile of the Great Seal, on tinted paper, to imitate the Original MS. Price 2s. ; or, handsomely framed and glazed in carved oak, antique pattern, 14^-. 6d. 74 dA 75, PICCADILLY, LONDON, W. % BOOKS PUBLISHED BY CHATTO &- WINDUS. 39 Waterford Roll (The). — Illuminated Charter-Roll of Waterford, Temp. Richard II. ',* A ntiiH;:;st tlu Corfiottition Muniimnts of the City of Waterford is preseri'ed an ancient Ulutninated Roll, ofg~reat interest and beauty, comprising all tlie early Charters ami Grants to the City of IVaterford, from the time of Henry II. to Richard 1 1. A full-length Portrait of each King, 'Mhose Charter is giz'en — including Edward III, when young, and again at an aiivaitced age — adorns the margin. These Portraits, with the exception of four which are smaller, and on one sluet of vellum, vary f torn eight to nine inches in length — some in armour, and some in robes of state. In addition to these are Portraits of an A rchbishop in full canonicals, of a Chancellor, and of many of the chief Burgesses of the City of Waterford, as well as si'igularly curious Portraits of the Mavorsof Dublin, Waterford, Limerick, and Cork,]figuredfor the most part in the quaint bipartite costume of the Second Richard's reign, though partaking of many of the peculiarities of tliat of Edward III. Altogether this ancient work of art is uniqtte of its kind in Ireland, and deser-jes to be rescued from oblivion, by the publication of the unedited Charters, and of facsimiles of all the Illuminations. The production of such a work would thrmu much light on the question of the art and social habits of t lie Anglo-Norman settlers in Ireland at the close of tlu fourteenth century. The Charters are, many of them, hig/ily itnport ant from an historic point of view. The Illuminations have been accurately traced and coloured for the work from a copy carefully made, by permission of tlu Mayor ami Corporation of Waterford, by the late George V. Du Noyer, Esq., M.R.I. A. ; ami those Charters which have not already appeared in print will be edited by the Rev. James Graves, A.B., M.R.I. A., Hon. Secretary Kilkenny and South-East of Ireland Archaological Society. The Work will he brought out in the best manner, with embossed cover and characteristic title-page ; and it will be put to press as soon as 250 subscribers are obtained. The price, in imperial ^to, is 20s. to subscribers, or -yis. to non- subscribers. Wonderful Characters : Memoirs and Anecdotes of Remarkable and Kcceiitric Persons of Every Age and Nation. From the text of Henry Wilsun and James Caulfield. Crown 8vo, cloth extra, with Sixty-one full-page Engravdngs of Extraordinary Persons, "]$. 6d. »,• There are so many curious matters discussed in this volume, that any pet- son who takes it up will not readily lay it down until he has read it through. The Introduction is almost entirely devoted to a consideration of Pig-Eaced Ladies, and the various stories concerning them. V/right's (Andrew) Court-Hand Re- stored ; or, .Student's Assistant m Reading Old Deeds, Charters, Records, &c. Haff Morocco, a New EtiitioTi, i«j. dd. • , • The best guide to the reading of old Records, &*c. 74 &* 75, PICCADILLY, LONDON, W. 40 BOOKS PUBLISHED BY CHATTO &^ WINDUS. Wright's Caricature History of the Georges (House of Hanover). With 400 Pictures, Caricatures, Squibs, Broadsides, Window Pictures, &c. By Thomas Wright, Esq., M.A., F.S.A. Crown 8vo, cloth extra, 'js. dd. " A set of caricatures such as we have in Mr. Wright s volume brings the surface of the age before us with a vividness that no prose writer, even of the highest power, could emulate. Macaulay's most brilliant sentence is weak by the side of the little woodcut from Gillray, which gives us Burke and Fox." — Saturdav Review. "A more amusing work of its kind was never issued." — Art yozirnal. " It is emphatically one of the liveliest of books, as also one of the most interest- ing. It has the twofold merit of being at once amusing and edifying." — Morning Post. Yankee Drolleries, Edited by G. A. Sala. Containing Artemus Ward's Book; Biglow Papers; Orpheus C. Kerr; Jack Downing; and Nasby Papers. 700 pp., 3^. 6d. More Yankee Drolleries. Containing Artemus Ward's Travels ; Hans Breitmann ; Professor at Breakfast Table; Biglow Papers, Part II.; and Josh Bil- lings ; with Introduction by G. A. Sala. 700 pp., cloth, 3^-. 6d. A Third Supply of Yankee Drolleries. Containing Artemus Ward's Fenians ; Autocrat uf Break- fast Table ; Bret Harte's Stories ; Innocents Abroad ; and N'ew Pilgrim's Progress ; with an Introduction by G. A. Sala. 700 pp., cloth, 3^. 6d 74 (S- 75, PICCADILLY, LONDON, IV. ^ ( 4 1 4 N ) ) University of California SOUTHERN REGIONAL LIBRARY FACILITY 305 De Neve Drive - Parking Lot 17 • Box 951388 LOS ANGELES, CALIFORNIA 90095-1388 Return this material to the library from which it was borrowed. i i UNIV. OF CALIF. LIBRARY. LOS AM&ELES UC SOUTHERN REGIONAL LIBRARY FACILITY Iff AA 000 301 000 6 r i < i