Uc2.ark 13960 t5t72cg70

A history of caricature and grotesque in literature and art / By Thomas
Wright ; The illustrations drawn and engraved by F.W. Fairholt.

Wright, Thomas, 1810-1877.
London : Chatto & Windus, 1875.
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HISTORY
OF
CARICATURE AND GROTESQUE.



ARISTOTLE AND PYTHAIS.
I-'rom an Engraving
by Bnrg^mair
{\%th cent.)
HISTORY
OF
|ii
CARICATURE AND GROTESQUE

;uiJr
%xt
THOiMAS WRIGHT, M.A., F.S.A.
THE
ILLUSTRATIONS
F. W.
AND
DRAWN
ENGRAVED
BY
FAIRIIOLT, FS.A.
ILontJon

By
fiteriiture
CHATTO AND VVINDUS. PICCADILLY.

1875.

SAVILL, EDWARDS,
'^'j
AND CO.,
LONDON
17.
S
PRINTERS,
:
COVENT GARDEN.
CHANDOS STREET,
SRLF
PREFACE.
T HAVE
-*-
felt fome difficulty in felecfling
the contents of the following pages, in which it
was, in fad:, my defign to give,
within luch moderate limits,
as
far
as
may be done
and in as popular a manner
fuch information can eafily be imparted,
general
view of the Hiftory of Comic Literature and Art.
Yet
the word comic feems to me hardly to exprefs all the
of the fubjed: which I
hillory
in my
Moreover, the field of this
book.
is very large, and,
though
it,
it
my theme one part of
follow
it
to
chiefly
which have contributed
of modern comic
own ifland.
have only taken as
was neceffary
fcribe even that, in fome degree

fore,
to bring
to circum-
and my plan, there-
through thofe branches
moil towards the formation
and fatiric literature and art
in
together
have fought
parts
is

as
title for
our
vi
Prefcace.
Thus,
as
the comic literature of the middle ages to
a very great extent, and
comic art in
coniiderable
degree alfo, were founded upon, or rather arofe out of,
thofe
of the Romans which had preceded them, it

hiftory of
feemed defirable to give a comprehenfive

this branch
of literature
among the peoples

the middle
art
and
it was cultivated
as
of antiquity.
Literature and art in
ages prefented a certain unity
of general
character, ariling, probably, from the uniformity
of the
of the Roman element of fociety, modified
influence
only by its lower degree of intenlity at
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
Europe during that time.
literature
in
Weftern
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
that the literature
was becoming
the plan
of
each
of
of the feudal period
thefe different
more entirely its own.
have formed reflrid:s
countries
At that period
itfelf, according to the
vii
Preface.
Thus, the llitlrical hterature of the
view ftated above.
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
fatirical
two countries
thefe
literature
has
its
ceafes.
models in
France
Modern
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

the feventeenth century,

the eighteenth
indire(flly
and
in
until the beginning ot
England owed its caricature,
century
or dire(flly, to the French and the Dutch
but after that time
purely
cature was formed, which was
Continental
Englifli fchool of carientirely independent of
caricatu rifts.
There are two fenfes in which the "word hiftory

may be taken
in regard to literature and art.
been ufually employed to fignify
of authors or artifts
It
has
chronological account
and their works, though this comes
more properly under the title of biography and bibliography.
But
there
is
another
and
very
diflerciit
viii
Preface,
application of the word, and this is the meaning which
attach to it in the prefent volume.
literature
after
(in
ages, and for fome period
During the middle

fpecial branches),
mean poetry, fatire, and popular literature
of all kinds belonged
to fociety,
not to
and
the
living
fatisfying fociety's wants
by
individual authors, who were but workmen who gained

and its changes
in form or character depended all upon the varying

progrefs, and therefore changing neceffities, of fociety
This
is
itfelf.
the reafon why, efpecially in the earlier
and
was only at rare
great name
by

intervals that fome individual rofe and made himfelf

the fuperiority of his talents.
number of writers
compofitions,
of fabliaux put their
probably
becaufe
anonymous
the focial literature of the
it
ages,
middle
is
perhaps, be allowed to call
it
periods, nearly the whole mafs of the popular may,
certain
names to their
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-
ix
Preface.
To
CLimftances.
trace all thefe variations in literature
connected with Ibciety, to defcribc

Ibciety upon literature
and
the influences of
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
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 ftory-books, as a part of this
the middle ages.
focial literature,
and
the
came down to the fixteenth
century,
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
books fmce that time would be to compile
of books
made
by
bookfellers
lift of jefta
catalogue
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
have had a
England can hardly be faid to

fchool of fitirical literature, with the ex-
century.
ception of its comedy, which belongs properly to the
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
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
of
its readers.
venture to truft it to the indulgence
It
is
a fubjed:
which will have fome
novelty for the Englifh reader, for

we have
any previous
book
am not aware that
devoted
to
it.
At all
events, it is not a mere com.pilation from other people's
labours.

Thomas Wright.
CONTENTS.
CHAPTER I.
ORIGIX
OF
CARICATimE
EGYPT monsters:
NYSL4.C
COMEDY
CEREMONIES,
LOVE
OF
AND GROTESQUE SPIRIT

PYTHON
AND
AND
ORIGIN
PARODY
OF
GREECE THE
OF THE DRAIMA THE
GORGON
PARODIES
SUBJECTS
ON
IN
CARICATURE
PAOB
DIO-OLD
TAIvEN
MYTHOLOGY : THE VISIT TO THE LOVER ; APOLLO

AT DELPHI THE PARTLALITY FOR PARODY CONTINUED AMONG
THE ROMANS: THE FLIGHT OF -ENEAS
FROM 0RECL\:N'
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
THE P^VINTER's STUDIO ; THE

IN POMPEII ; THE GRAFFITI
CARICATURE
PROCESSION
THE FARM-YARD
POLITICAL CARICATURE
23
CHAPTER ni.
'
FROM ANTIQUITY TO THE MIDDLE AGES

CONTINUED TO EXIST THE TEUTONIC AITER-
THE PERIOD OF TRANSITION
THE ROMAN MIMI

DINNEK
ENTERTAINMENTS CLERICAL
AND THE DREAMER;
SATIRES
ARCHBISHOP
UE-
THE SAINTS TRAN-
THE SUPPER OF
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 TENDENCY OF THE EARLY MEDIAEVAL ARTISTS TO DRAW IN CARI-
RIOER
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 DARKNESS AND UGLINESS CARICATURED THE DEMONS IN THE MIRACLE
PLAYS THE DEMON OE NOTRE DAME
61
CHAPTER V.
POPULARITY OF
FABLES ; ODO DE CIRINGTON REYNARD THE FOX BURNELLUS AND
FAUVEL THE CHARIVARI LE MONDE BESTORNE ÊNCAUSTIC TILES
SHOEING THE GOOSE, AND FEEDING PIGS WITH ROSES SATIRICAL
EMPLOYMENT
ANIMALS
OF
IN MEDLEVAL
SATIRE
THE MUSTARD MAKER
SIGNS;
75
CHAPTER VI.
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 MONKEY
IN BURLESQUE
AND
CARICATURE
....
95
CHAPTER Vn.
OF THE CHARACTER
OF THE MIMUS AFTER THE
THE EMPIRE THE MINSTREL AND JOGELOUR HISTORY
POPULAR STORIES THE FABLIAUX ACCOUNT OF THEM THE

PRESERVATION
FALL
OF
OF
CONTES
DEVOTS
106
CHAPTER VHI.
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 : THE BAKER, THE MILLER, THE
.
WINE-PEDLAR AND TAVERN KEEPER, THE ALE-WIFE, ETC.
.118
CARICATURES
OF
DOMESTIC
CHAPTER IX.
GROTESQUE FACES AND
PREVALENCE OF THE TASTE FOR

FACES SOME OF THE POPULAR FORMS
FIGURES
UGLY AND GROTESQUE

DERIVED FROM ANTIQUITY: THE TONGUE LOLLING
OUT, AND THE
Contents.
xiii
DISTORTED MOUTH nOREIBLE SUBJECTS : THE MAX KSV> THE SERFIGURES : GEXJTTOKT A>T) LUXUEY OTHEE
PE^'TS -\XLEGORICAI<
PAGE
GROTESQUE FIGURES OF I^^)ITrDU^\XS, AXD GROTESQUE GROUTS

OR^^VME^'Ts
of the borders of books itntxtentionae caricattire; the mote ajjo) the beam
KEPRESEXTATIONS
OF
CEEEICAI-
GLtTTTOXY
KSTD
DRTr^^CE^^^:SS
144
CHAPTER X.
satirical
AND AIÎN DE
POETRY
in the middle ages JOHN DE hauteville
LILLE G0LL4.S .\ND THE GOLIARDS THE GOLIARDIO
LITEEATURE
TASTE FOR PARODY PÛIODIES
POLITICAL CARICATURE
ON RELIGIOUS
SUBJECTS
IN THE MIDDLE AGES THE JEWS
WICH CARICATURE REPRESENTATIONS

TIRE POLITICAL SONGS AND POEMS
OF NOR-
COUT^^TRIES LOCAL SA-
OF
159
CHAPTER XI.
A SUBJECT
MINSTRELSY
OF
CHARACTER
THE MINSTRELS THEIR JOKES UPON THEMSELVES
ONE ANOTHER
THE
OF BURLESQUE AND CARICATURE
YARIOUS MUSICAL INSTRUMENTS
SCULPTURES
OF
THE
MEDLEVAL
GOURNAY AND THE KING OF PORTUGAL

AND .BAGPIPES
MERMAIDS
AND UPON
REPRESENTED
ARTISTS SIR
DISCREDIT
OF
IN
M^VTTHEW
THE TABOR
188
CHAPTER Xn.
THE COURT
FOOL THE NORMANS
AND
GABS EARLY HISTORY
THEIR
CAIiVINGS IN THE
COliNISH
FOOLS THEIR COSTUTJE
THE BURLESQUE SOCIETIES OF THE MIDDLE AGES

CirURCHES
THE FEASTS OF ASSES, AND OF FOOLS THEIR LICENCE THE LEADEN
MONEY OF THE FOOLS THE BISHOP'S BLESSING
OF
COURT
200
CHAPTER XHJ.
THE DANCE OF DEATH
TILE PAINTINGS IN THE CHURCH
DIKT: Tire REIGN OF

FOOLS DISTURBERS
BRANDT
OF L.V CILVISE
THE SHIP
CHURCH SERVICE TROUBLESOME
OF
BEGGARS
BADIU8, AND HIS SHIP OF FOOLISH WOMEN

PLEASURES OF SMELL ERASMUS; THE PRAISE OF FOLLY .
^^-OEILEIl's
Til's.
OF
FOLLY SEBASTI^VN
SERMONS
'-'14
Contejits.
xiv
CHAPTER XIV.
LITEEATUHE AND ITS HEROES; BKOTHEE EITSH, TYLL
THE "WISE MEN OF GOTHAM STORIES AND JESTEULENSPIEGEL,
BOOKS SKELTON, SCOGIN, TARLTON, PEELE
PASK
POPULAE.
228
CHAPTER XV.
^THOMAS MURNER ; HIS GENERAL
SATIRES FRUITFUIiNESS OF FOLLY HANS SACHS THE TRAP FOR
ON LUTHER THE POPE AS ANTICHRIST THE
FOOLS ATTACKS
POPE-ASS AND THE MONK-CALF OTHER CARICATURES AGAINST
.
.
.
.
.
THE POPE THE GOOD AND BAD SHEPHERDS .
THE
AGJS
REFORMATION
THE
OF
244
CHAPTER XVI.
ORIGIN OF MEDIAEVAL
MEDLEY AL NOTIONS
MYSTERIES
AND
FARCE
AND MODERN COMEDY HROTSVITHA
THE EARLY RELIGIOUS PLAYS

PLAYS THE FARCES THE DRAMA IN
OF TERENCE
MIRACLE
THE SIXTEENTH CENTURY
264

CHAPTER XVII.
DIABLERIE IN THE SIXTEENTH CENTURY EARLY TYPES OF THE DIABOLICAL 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.
CÎLLOt's ROMANTIC HISTORY HIS " CAPRICI," AND OTHER BURLESQUE "WORKS THE " BALLI " AND THE
DELLA BELLA EXîMPLES OF
BEGGARS IMITATORS OF CALLOT;
DELLA BELLA ROMAIN DE HOOGHE
CALLOT
AND
HIS
SCHOOL
30()
CHAPTER XIX.
THE SATIRICAL
LITERATURE
SIXTEENTH CENTURY PASQUIL

EPISTOKE OBSCURORUM
"VIRORUM
OF THE
MACARONIC POETRY THE

RABELAIS COURT OF THE QUEEN
OF NAVARRE,
AND
ITS
LITE-
RARY circle; bona venture DES PEEIERS HENRI ETIENNE

" SAT"YRE MENIPPEE " .
.
.
THE LIGUE, AND ITS SATIRE: THE
312
Cofjtents.
XV
CHAPTER XX.
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-
POLniCL\X
TEENTH CENTURY GENER^\X

SADORS
CARICATURE
AGAINST
GALAS THE
LOUIS
XIY.
QUÛtREL
;
WILLIAM
OF
OF
PAGE
AMBASFURS-
TEMBERG
34"
CHAPTER XXI.

EARLY POLITICAL CARICATURE IN ENGLAND THE SATIRICAL WRITINGS

PERIOD SATIRES AGAINST
AND PICTURES OF THE COMMONWEÎLTH
BISHOP WILLLAMS CARICATURES ON THE CAVATHE bishops;
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
ILVSELRIGGE AND LAMUSED A3 THE MEDIUM FOR CARICATURE;
BERI SHROVETIDE
360
CHAPTER XXn.
ENGLISH
COMEDY BEN JONSON THE OTHER WRITERS
INTERRUPTION
OF
DR^\JJ:ATIC
OF
HIS
SCHOOL
PERFORMANCES COMEDY Al'TER
THE HOWARDS BROTHERS : THE DUKE OF

THE
BUCKINGHAM ; THE REHEARSAL WRITERS OF COMEDY IN THE
LATTER PART OF THE SEVENTEENTH CENTURY INDECENCY OF THE
STAGE COLLEY CIBBKR FOOTE
RESTORATION
375
CHAPTER XXni.
CARICATURE IN HOLLAND ROMAIN DE HOOOIIE THE ENGLISH
REVO-
CARICATURES ON LOUIS XIV. AND JAMES II. DR. SAf'IIEVERELL CARICATURE BROUGHT FROM HOLLAND TO ENGLAND
"
ORIGIN OP THE WORD " CARICATURE MISSISSIPPI AND TIIE SOUTH
LUTION
8KA
TIIE YEAR
OF BUBBLES
400
xvi
Contents.
CHAPTER XXIV.
THE AGE OF GEORGE II. ENGLISH PELNT

SELLERS
ÂRTISTS EMPLOYED
BY THEM SIE EGBERT WALPOLE'S
LONG MINISTRY THE "WAR WITH FRANCE THE NEWCASTLE ADMINISTEATION OPEEA INTEIGUES ACCESSION OF GEORGE III., AND
LORD BUTE IN POVTER
ENGLISH
CAEICATTJEE
FAQK
VS
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 PERSECUTION ARISING OUT OF IT HIS PATRONAGE BY LOED BUTE CAEICATURE OF THE TIMES ATTACKS TO WHICH HE WAS EXPOSED BY IT,
43i
AND WHICH HASTENED HIS DEATH
CHAPTER XXVI.
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
THE
LESSER
CARICATURISTS
ON HORSEMANSHIP

son's
influence
ETCHED
OF
^WOODWARD
ON
JOHN KAY
GENEEAL COMPLAINT
ROWLAND -
THE STYLE OF THOSE WHOSE DESIGNS HE

EDINBURGH: LOOKING A EOCK IN THE
OF
450
FACE
CHAPTER XXVII.
GILLRAY HIS FIRST ATTEMPTS HIS CAEICATUEES BEGIN WITH THE
HASTINGS
OF WARREN
MINISTRY IMPEACHMENT
SHELBUENE
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 LABOURS
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.

CARICATURE AND GROTESftUE.

SPIRIT OF CARICATURE IN
MONSTERS : PYTHON AND GORGON.
EGYPT.
GREECE.
THE DIONYSIAC CEREMONIES, AND ORIGIN OF THE DRAMA.
THE OLD COMEDY.
LOVE OF PARODY.
PARODIES ON SUBJECTS TAKEN FROM GRECIAN
THE
VISIT
MYTHOLOGY:
TO THE LOVER: APOLLO AT DELPHI,
THE
FOR PARODY
PARTIALITY
CONTINUED AMONG THE ROMANS : THE
FLIGHT OF JENEAS.
ORIGIN
OF
IT
not my intention
is
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
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
of man's exiflence, however rude or however culand fome of the greateft men of all ages, men of the moft refined
nature, in all conditions

tivated
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.
upon
as
The greateft of comic writers, Ariftophanes, has always been looked

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

in human nature,
deeply implanted
difplayed by people in
rude
fenfitivenefs to, ridicule, and

even
among favages,
and
it is one
feeling
of the earliefl: talents
of fociety. An appreciation of, and

love of that which is humorous, are found
ftate
a
enter largely into their relations with their
and
When, before people cultivated either literature or art,

the chieftain fat in his rude hall furrounded by his warriors, they amufed
fellow men.
themfelves by turning
their enemies
and opponents
into mockery, by
laughing at their weakneffes, joking on their defets, 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
When the agricultural flaves (for the tillers of the land

were then flaves) were indulged with a day of relief from their labours,
And when thefe fame people began
they fpent it in unreftrained mirth.

excite laughter.
to ereft permanent buildings, and to ornament

je6ts
of their ornamentation were fuch
as
them, the favourite fub-
prefented ludicrous ideas.
warrior, too, who caricatured his enemy in his fpeeches

board, foon fought to give a more
he endeavoured
to do by rude
other convenient
flirface
which belongs
is
caricature
delineations on the bare rock, or on any
which
over the feftive
permanent form to his ridicule, which

prefented itfelf to his
originated caricature and the grotefque

earliefl forms,
for it
is
in art.
In
hand.
Thus
fa6t, art itfelf, in its
only by that exaggeration of features
caricature, that untkilful draughtfmen

themfelves underftood.
to
The
could
make
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
even at that period
confiderable degree of refinement
of their progrefs, our knowledge
is
and
almoft confined to
their religious, and to their more feverely hiltorical, monuments.
Such
with Egypt, the hiltory of which country, as reprefented by its monuments of art, carries us back to the remoteft ages of
antiquity.
Egyptian art generally prefents itfelf in a fombre and maflivc
is efpecially the cafe
character,
Yet,
Sir
on the
with little of gaiety or joviality in its defigns or forms.

Gardner Wilkinfon has remarked in his valuable work
as
"Manners and Cufloms of the Ancient Egyptians," the early Egyptian

conceal their
artifls cannot always
creeps out in a variety
which
natural tendency to the humorous,
of little incidents.
grave
hiftorical pidlures on one of the great
find
reprefentation of
Thus,
in
ieries
of
monuments at Thebes, we
wine party, where the company confifls of both

fexes, and which evidently fhows that the ladies were not reftrifted in the
No. I .
\x{g
at a Feaji,
of the juice of the grape in their entertainments; and,

a
love
of caricature."
fented
in this fcene,
there
with difficulty
as he adds,
"the
this faft, have fometimes facrificed their gallantry
painters, in illuflrating
to
An Egyptian Lady
"
Among the females, evidently of rank, repre-
fome call the fervants
to fupport them as they (it,
prevent themfclvcs from falling on thofe behind
Hiftory of Caricature and Grotefque

them, and the faded flower, which
is intended to be charafteriftic
hands,
to drop
is ready
from tlieir heated
of their own fenfations."
One
group, a lady whofe excefs has been carried too far, and her fervant who
comes
to her afliftance,
obferves
obfervable
that
reprefented in our cut No.
is
" many limilar
in the compofitions
paintings of the tombs
"
inftances
of
i.
Sir Gardner
talent for caricature
are
of the Egyptian artiils, who executed the
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
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.
appears in one
Catajirophe
in a Funeral Procejfion.
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
boat, which has grounded and is puftied

one
with its rudder, has overturned
movement of the large
off the bank, flriking the fmaller
a large table
loaded with cakes and
other things, upon the rowers feated below, in fpite of all the efforts
the prowman, and the earneft
of
vociferations of the alarmed fteerfman."
for the funeral feaft, and the confufion attendant upon
form
The accident which thus overthrows and fcatters the provifions intended
it,

facred myfteries
ludicrous
/;/
imagination of
Iblemn pi6ture,
midll of
that would be worthy of the
Rowlandfon.
fcene in the
Art.
Literature and
Another cut (No. 3), taken from one of the fame feries of paintings,
clafs of caricatures which dates from
belongs to
very remote period.
fwiniih
often be given
reprefented
as
as
faithful
as
r^
dog, or as cunning
The iiame of the animal would thus
hog.
nickname to the r.jan, and in the fequel he would be
pi6torially under the form of the animal.
It
as
lior, another
fox, or
as
one might be as bold as
One of the mort natural ideas among all people would be to compare
men with the animals whofe yjirticular qualities they pofTeffed.
Thus,
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.
was the
it
belief in the metempfychofis, or tranfmiilion

of the foul into the bodies of animals after death, which formed part of
Connefted with
Unfortunate
are found
Soul.
on the Egyptian
return to earth under the form of
The latter animals,
it
is
and accompanied by two monkeys,
foul
monuments,
as
condemned to
pig, having been weighed in the

Being placed in
Ofiris and been found wanting.

it
fcales before
in the inftance juft referred to, which reprefents
"
difmifled
the facred
An
The eariieft examples of this clafs
oi caricature of mankind
3.
of the primitive religions.
No.
boat,
precind."
may be remarked, as they are here reprefented,
are
^mia inuus), which were

facred animals among the Egyptians, and the peculiar chara6terirtic of
as
ufual, exaggerated
The rcprefentation of this return of
which the dog-lhaped head
is,
by the artilh
condemned foul under the
the cynocephali, or dog-headed monkeys (the

feveral
Hijiory of Caricature and

repulfive form of
pig,
is
painted on the left fide wall of the
entrance-gallery to the tomb of

catacombs
the date
In
known
as
the
Grotefque
King Ramefes V,, in
Biban-el-Molook,
at
Thebes.
the valley
long
of royal
Wilkinfon gives
of the acceffion of this monarch to the throne
as
1185, b.c.
the original pifture, Ofiris is feated on his throne at fome diftance from
the Itern of the boat, and
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
difmiffing
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.
of the fame Idea ^fuch
The Cat and the Geefe.
of figuring animals employed in the

various occupations of mankind, and that of revcrfing the pofition of man
as that
and the inferior animals, and reprefenting the latter
as
treating their
in Literature and
human tyrant in the lame manner
The latter idea became

other
is met
a very
Britilh Mufeum, there
they are ufually treated
favourite one
at
by him.
later period, but the
of antiquity.
Among the treafures of the
long Egyptian pidure on papyrus, originally
is a
roll, confuting of reprefentations of this defcriplion, from which
give three curious examples.
in charge of
The firft (fee cut No. 4) reprefents a cat

It will be obferved that the cat holds in
of geefe.
her hand the fame fort of rod, with

with not unfrequently among the works of art which have
been faved from the wrecks
forming
as
Art.
drove
monkeys are furnilhcd
Fox
hook at the end, with which the
turned
Piper.
No. 5.
The
in the
preceding pidure.
The fecond (No. 5)
fapported on his
on the
Ihoulder (a method of carrying burthens frequently reprefented
flute,
monuments of ancient art), and playing on the well-known double
of
or pipe.
The fox foon became a favourite perfonage in this clals
in
caricatures, and we know what a prominent part he afterwards played
however, the moft popular of all animals in
mediaeval fatire.
reprefents
fox carrying
baiket by means of
a pole
Perhaps,
this cla6 of drolleries was the
monkey, which appears natural
enough
Hijiory cf Caricature and
Grotefque
when we conlider its Angular
aptitude to mimic the adtions of man.
The ancient naturahlls tell
fome
ftories
of
us
curious, though not very credible,
the manner in which this charafteriftic
taken advantage
of the monkey tribes was
of to entrap them, and PHny (Hift.
JSiai...
lib. viii.
c.
80'
older writer, who aflerted that they had even been taught
Our third fubjeft from the Egyptian papyrus of the
to play at draughts.
quotes
an

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 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
the unicorn.
means
ill
This feries of caricatures, though Egyptian, belongs
pi6tured.
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 accompanying 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.
charaftcrifcd
by the
Typhon.
broad, coarfe, and
frightful face, and by the large
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
tongue
Greeks and Romans, but of the middle ages.
It
appears to have been
fomctimes given by the Romans to the reprefentations of people whom

" Natural
ihey hated or defpifed ; and Pliny, in a curious paflhge of his
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
The Egyptian
Typhous had their exa6t reprefentations in ancient Greece in a figure of
a very
frequent occurrence, to which
unbecoming manner."
antiquaries have,
know not why, given
The example in our cut No. 8, is a figure in terracotta, now in the colledion of the Royal Mufeum at BerHn.t

the name of Gorgon.
No. 8.
In Greece, however,
fentation had affumed
the
GoTgim.
fpirit of caricature and burlelque
repre-
more regular form than in other countries, for it
Among the population oi

Greece, the worship of Dionyfus, or Bacchus, had taken deep root from
was inherent in the
* Plin. Hist.
fpirit of Grecian fociety.
Nat., lib. xxxv. c. 8.
Panofka Terracotten
des Museums Berlin, pi. Ixi. p. 154.
Art.
in Literature and
very early period earlier than we
can
trace
1 1
back and it formed the
of the popular religion and fuperftitions, the cradle of poetry and

The moll popular celebrations of the people of Greece, were
the drama.
nucleus
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
Thus, in the guife of noify

bacchanals, they difplayed an unreflrained licentioufnefs of gefture and
rubbing them over with the lees of wine.

uttering
language,
in which
they
This portion of the ceremony was the efpecial attribute
fparcd nobody.
of
indecent jelts and abufiv'e fpeeches,
of the performers, who accompanied the proceflion in waggons,
part
and aded fomething like dramatic performances, in which they uttered au
abundance of loofe extempore fatire on thofe who palTed or who accom
little in the ftyle of the modern carnivals.

It be
came thus the occafion for an unreflrained publication of coarfe pafquinades.
panied the proceflion,
In the time of Pififtratus, thefe performances are afllimed to have been

reduced
to a
little more order by an individual named Thefpis, who
laid to have invented malks

looked upon
as
the father
as a
is
better difguife than dirty faces, and is
There can be no
of the Grecian drama.

doubt, indeed, that the drama arofe out of thefe popular ceremonies, and
it long bore the
has nothing
tragedy
Even the name of
unmiftakable marks of its origin.

tragic in its derivation, for it
Greek word tragos (rpayoc),
goat,
formed from the
is
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.
tragodus
linger, whofe words accompanied the movements of

and the term tragodia
manner,
chants
a comodus
was applied to
((cw^wccc)
was one
his
in the Bacchic feflivals.
chorus
of fatyrs,
In the fame
performance.
who accompanied fimilarly, wiih
of an abuflve or fatirical charatler,
revellers, in the more riotous and
{rpayi^loQ) was the
cumus (KiZiuog), or band ot
licentious portion of the perlormances
The Greek drama always betrayed its origin by
that the performances took place annually, t)nly at the

yearly fcilivals in honour of Bacchus, of which in i\\t they confliluted
the circumftance
part.
Moreover,
as
the Greek drama became perfetlcd,
it
Hill rttniru-C
from its origin

drama
divifion, into tragedy,
a triple
ftill performed
and, being
Grotefque
comedy, and the fatiric
the Dionyfiac
at
fellival
in Athens,
fatirical play, and
tragedy,
that
is,
a
each dramatic author was expefted to produce what was called a trilogy,
So completely was
comedy.
this identified in the popular mind with the worlhip

afterwards, when
even
tragedy did
long
all
of Bacchus, that,
not pleafe
t'i
by its fubjeft, the common form of difapproval was,
the audience
tuvtu irpos rbv
Aiovvaov "What
reprefented the
in its full development.

of extravagance,
fatire.
In
waggon-jefting,
its form
its freedom
in all
was burlefque to
wanton degree
and its effence was perfonal vilification, as well as general
Individuals were not onjy attacked by the application to them of
abufive epithets, but they were reprefented perfonally on the ilage

performing every kind of contemptible a6tion, and
ludicrous and difgraceful
treatment.
of language and coftume, and
One of its moil favourite inftruments
of fatire was parody, which was employed unfparingly

which fociety in its
of
marks of
fuffering all ibrts
The drama thus bore
its origin in its extraordinary licentioufnefs
in the conilant ufe of the malk.
as
as
on
everything
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
efpecially happy in parodying the poetry of the tragic dramatift
The old comedy of Greece has thus been corredly defcribed
Euripides.
is
as
the comedy of caricature
comedy, being transferred to
and the fpirit, and even the fcenes, of this

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",

of
of the age of Thefpis,

a
It
we can contemplate
but the
of the plays of
certain number
it
in which
Ariftophanes,
character.
preferved in
it
early Greek comedy
temporary chara6ter, and lefs frequently prefervedj

is
of
perhaps,
has this to do with Bacchus?" and, ovêy Trpog tov

"
AiovvfTov This has nothing to do with Bacchus."
We have no perfect remains of the Greek fatiric drama, which was,
ferious
Literature and ylrt.
/;;
purpole,
aimed
was
it is true,
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
Comedy, and his remaining
and mod
comedies
perfeft
poet
of the
Old
are as ftrongly marked reprelenta-
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
tions
ot the Peloponnefian war, and the earlier ones give us the regular annual
of thefe performances, as far as Arillophanes contributed them, during

feveral years. The firft of them, " The Acharnians," was performed at the
feries
of Bacchus in the fixth year of the Peloponnefian war, the

It is a bold attack on
year 425 b.c, when it gained the firll prize.
the faftious prolongation of the war through the influence of the Athenian
Lenaean feall
The next, "The Knights," brought out in b.c. 424, is

dire6t attack upon Cleon, the chief of thefe demagogues, although he
demagogues.
not mentioned by name

courage enough to make
and it is recorded
a
is
that, finding nobody who had
malk reprefenting Cleon, or to play the cha-

ra6ter, Ariflophanes was obliged to perform it himfelf, and that he fmeared
with lees of wine, in order to reprefent the fluflied and bloated

countenance of the great demagogue, thus returning to the original mode
his face
This, too, was the firft of the

of a6ting of the predeceflors of Thefpis.
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
"
The fifth, entitled "Peace
litigious fpirit of tne Athenians.
("Etoijj'j)),
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,
appeared
in the year following,
at the time
having been publiflied in u.c. 414, the firft year of the Sicilian war,
relates to an irreligious
a great
leaving Athens, in difgull
Two Athenians arc reprefented as

iht: vices and follies of their fellow citi/ens, and
fenHition.
at
movement in Athens, which had caufcd
a."id
feek:r.<j
tiie kingdom
14
of the birds, where they form
Grotefque
new ftate, by which the communication
between the mortals and the immortals
is
cut off, and
In
again by an arrangement between all the parties.
is
the
only opened
" Lyfiftrata.''
believed to have been brought out in 411, when the war was ftill at its
height, the women of Athens are reprefented
as
engaging in
cunning
of the
and fuccefsful plot, by which they gain polTeflion of the government

flate,
their
and compel
phoriazufae,"
appears
hulbands
to have
been
make
to
publilhed
"The Thefmo-
peace.
in B.C. 410
it
is a
fatire
upon Euripides, whofe writings were remarkable for their bitter attacks
of tlie female fex, who, in this comedy, confpire againft

"
The comedy of "The Frogs was brought
him to fecure his punifhment.
on the charadter
out in the year 405 e.g., and is a fatire on the literature of the day; it is
aimed efpecially at Euripides, and was perhaps written foon after his death,
being the decline of the tragic drama, which Euripides
its real fubjet
of having promoted.
was accufed
plays
It
is perhaps
the moil witty of the
"The
of Ariflophanes which have been preferved.
publithed in 392,
is a
Eccleliazufae,"
burlefque upon the theories of republican govern-
ment, which were then ftarted among the philofophers, fome of which

differed little from our modern communifm.
The ladies again, by
confpiracy, gain the maflery in the eftate, and they decree
clever
community
of goods and women, with fome laws very peculiar to that ftate of things.
The humour of the piece, which is extremely broad, turns upon the
difputes and embarraffments refulting from
laft of his
comedies
extant, " Plutus,"
this
appears
concluding years of the aftive life of Ariflophanes
cf them
In
all, and
is
rather
moral than
ftate
to
3
The
be a work
of the
is the leaft
ftriking
political fatire.
comedy brought out in 426, the year before
under the title of
it
of things.
"The Babylonians," Ariflophanes
"The
Archarnians,"
appears to have given
great offence to the democratic party, a circumftance to which he alludes

more than once in the former play.
However, his talents and popularity
feem to have carried him over the danger, and certainly nothing can have
exceeded
the
bitternefs of fatire employed in his fubfequent comedies.
Thofe who followed him were lefs fortunate.

One of the lateft writers of the Old Comedy was AnaximandrideS;
in Literature and
Art.
reflexion on the ftate of Athens in parodying

This poet had faid,
who call
line of Euripides-
fj vofiutv ovhv fiiXei

>y (pvffig iSovXtG'
commanded,
has
wh/ch
cares nothing for the
(Nature
laws);
which Anaximandrides changed to

tjSoi'XlO' tj
>) TToXlQ
(The
Nowhere
is
fliXd
oppreflion exercifed with greater harflinefs than under demo-
cratic governments
a
oii^cv
VOfltOV
state has commanded, which cares nothingr for the laws).
and Anaximandrides
was profecuted for this joke as
As may be fuppofed,
We are well acquainted with
crime againft the flate, and condemned to death.
liberty of fpeech ceafed to exift in Athens.
of the Old Comedy, in its greateft freedom, through the

What was called the Middle Comedy, in
writings of Ariftophanes.
the chara6ter
which political fatire was prohibited, lafted from this time until the age
of Philip of Macedon, when

The
form
laft
New Comedy,
Menander.
of Greek
comedy followed,
which
and was reprefented by fuch names
known
is
as
of manners and domeftic life,
it was
and Terence, who were
as
and
the
and
all
changed entirely into
of contemporary fociety
From this New Comedy was
a pi6ture
under conventional names and characters.

taken the Roman comedy, fuch
as
Epicharmus
In the New Comedy all caricature and parody,
perfonal allufions, were entirely profcribed

a comedy
of Greece was finally crufhed.
the old liberty
we now have it in the plays of Plautus
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
more popular charafter and to articles
ingly, modern antiquarian rcfearch
of common ufe
has brought
j and, accord-
it to light
fomewhat
abundantly on the pottery of Greece and Etruria, and on the wall-paintings
of domeftic buildings in Herculaneum
contains
and
Pompeii.
The former
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
which
mjioi-y of Caricature and Grotefque

The Greeks,
they were taken.
know from many iouices^
as we
were extremely fond of parodies of every defcription, whether literary oi
The fjbje6t of our cut No. 9
No. 9.
found on the Greek pottery
yf
is a
good example of the parodies
Greek Parody.
it is taken from
has been fuppofed to be a parody on the vifit
fine Etrulcan vafe,* and
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 afpirations.
The lover, in the comic mafk and coftume, mounts by
ladder to
the window at which the lady prefents herfelf, who, it muft be confeffed,
of giving her admirer a very cold reception. He

tries to conciliate her by a prefent of what feem to be apples, inftead of
prefents the appearance
* Given in Panofka,
"
Antiques du Cabinet Pourtal^s,"
pi.
x

pi6tori?I.
in Literature and
cold, but without
torch, to give
him
light
latter carries
is
more
publillied
third in his hand, which,
unmiftakable
as prefents
Winckelmann from
by
not unlike the pifture
a vafe,
companion
is
formerly in the library of the
carrying his ladder to
is
placed it againfl:
the wall.
His
Mercury by the well-known caduceus he
identified with
to the window,
of his
with the contents
in his left hand, while with his right hand he holds
lamp up
in order to enable Jupiter to fee the obje6t of his amour.
aftonilhing with how much boldnefs the Greeks parodied and
is
ridiculed facred
againft
night
is a
to the lady.
Jupiter
and
her, but has not yet
up to
carries
The treatment of the fubje6l is

Alcmena appears jull in the fame
juft defcribed.
pofture at her chamber window,
It
lliows that it
burlefque on the vifit of Jupiter to Alcmena
\'atican, and now at St. Peterlburg.
mount
by his forvant with
attended
on the way, which
balket, are alfo probably intended
is
Both mafler and fer\'ant have wreaths round their heads, and
adventure.
the
He
much etft'6l.
Art.
fubje6ls.
The
Chriflian father, Arnobius,
his heathen opponents, reproached them
ui
writing
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
painted
us
that Ctefilochus,
pupil of the celebrated Apelles,
burlefque pifture of Jupiter giving birth to Bacchus, in which
the god was reprefented in
very ridiculous
pofture.
intimate that fimilar examples were not uncommon,
Ancient writers
and
mention the
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
names
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 coiixtim
tiiifi'< injiiriis.
Soli dii sunt apiid vos siiperi inhonorati, contcmrihiks, vilcs : ir
qiitj^ jus CNt vobis datum qusc quisque volucrit diccrc turpitudincin, ja( trc qua^
as
libido confinxcrit afquc cxcogitaverit formas.
+" Pliny, Hint. Nat., lib. xxxv. t. 40.
C
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
pifture in which fhe
was reprefented, according to a current fcandal, as engaged
with
in an amour
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

infult, and that
{he
more
than Ihe felt the
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
Hope.f
The oxybaphon
was
acetabulum,
{6S.vâ(j)ov),
Mr. William
or, as it was called by the Romans,
large velTel for holding vinegar, which formed one
of
of the table, and was therefore very fufceptible

of piftorial embellifliment of this defcription. It is one of the moft remarkable Greek caricatures of this kind yet known, and reprefents a parody on
the important ornaments
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
one
of the perfonages who belonged to the ftory.

The Hyperborean Apollo himfelf appears in the chara6ter of a quack do6tor, on his

fpared none
of roof, and approached by wooden

On the ftage lies Apollo's luggage, confifting of a bag, a bow, and
fteps.
Chiron (XIPQN) is reprefented as labouring under
his Scythian cap.
temporary llage, covered
by a fort
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
the
efFe6ls
being furnilhed with the malks and other attributes of the comic performers.
naffus
Above are the mountains, and on them the nymphs of Par-
(NYM$AI), who, like all
with malks, and thofe of
a very
Pliny, Hist. Nat., lib. xxxv.
Engraved by Ch. Lenormant

graphiques," pi. xciv.
+
the other aftors in the fcene, are difguifed
grotefque chara6ter.
c. 40.
et
J.
de
Witt " Elite
On the right-hand
des Monuments
Ceiamo-
figure which
inlpedtor or overleer ot
is
///
a
lide ftaiids
Literature ajid Art.
the
conlidered
as
^9
reprefenting ibe
epoptes,
performance, who alone wears
the
malk.
no
Teems
is
pun
employed to heighten
the drollery
evident that the artifl had written
EEIQIAS,
allufion, perhaps, to the conlblation which the quack-dodor

insr to his
blind arid
asred
conloler, in
the
is
it
of the fcene, for inllead

of IIYelAS, the Pythian, placed over the head of the burlelque Apollo,
Even
adminilier-
vifitor.
examples
the
may have declined
of
it
however
on the walls
fame rcadinefs
in
No. 10.
it
Apollo at Delphi.
Greece, was revived at Rome, and we find
of Pompeii and Herculaneum.
to turn into burlcTiue
of the Roman mythology.

from one of the wall-paintings,
the
niofi: facred
They fliow
and
popular
The example given (cut No.
k'gends
is
peculiarly
interefting,
both
ii),
from
is
circumftances in the drawing itfclf, and bccaufe

parody on one of
the favourite national legends of the Roman people, who pritlcd themit

The Greek fpirit of parody, applied even to the moft facred fubjeds.
20
Hi/iory of Caricature and

^neas.
felves on their defcent from
Virgil
Grotefque
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.
fl n
(1
When the devoted city was already
ii n n n n n n fi fl
No.
II.
The Flight
n fl
of Mneas from
fl
(]
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,

Ipje Jubibo
Quo res cumyue
cer-vic'i imponere
nojlra ;
humerh, nee me labor ijie gra-vabh.
Una falus
Sit
cadent, unum et commune perklum,

erit.
Mihi parvus lulus
ambobus
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
" unequal Heps,"
dragging after with
dextrtg
ImpUcuit fequhurque
patrem
ncn pajfibus
fe par-vui lului
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
Tencrofque penates.
patrem^
In this cafe we know that the defign

a
pi61:ure
which
appears
The I'li^hi
ancient intaglios.
at
the only cafe
1. 7-17.
intended to be
to
have
been
parody,
celebrated
JEncas.
lead two different copies
time, and of which

is
at the
ijf
burlefque, upon
It

or
is
lb.,
are found upon
know in which bulh the original
22
and the parody have been preferved from this remote period, and this
fo curious a circumftance, that
copy
give in the cut on the preceding page
is
a
It reprefented Uterally Virgil's account of
of one of the intagUos.*
the one given in our firft cut
is,
the ftory, and the only difference between the defign on the intaglios and
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,
at
the fame time looks back on the burning city.
his right hand he drags along the boy
proceeding non pajjilus
lulus, or Afcanius, who
and with
cequis,
difficulty
keeps
is
hurries forward, and
With
evidently
up with
his
The boy wears

Phrygian bonnet, and holds in his right
hand the inftrument of play which we fliould now call
"bandy"
a
father's pace.
pedun.
penates.
the fame
It
Anchifes has charge of the box, which contains the facred
is
a
the
curious circumftance that the monkeys in this piture are
dog-headed
animals,
or
cynocephali,
which
are
found
on
When this
of Gorius, vol.
first became acquainted with

chapter was already given for press,
" Parodieen und Karikatuien auf Weiken
paper, by Panofka, on the
" Abhandlungen der Akademie der Wissenschaf ten
der Klassischen Kunst," in the
in interesting
2u
Berlin," for
the year 1854, and

pi.
These intaglios are engraved in the Museum Fiorentinum

On one of them the figures are reversed.
30.
ii.
the Egyptian monuments.
can only now refer my readers to it.
in Literature and
CHAPTER
ORIGiy
Art.
II.
USES OF THE MASK AMONG THg

STAGE IX ROME.
THE SANNIO AND MIMUS.
SCENES FROM ROMAN COMEDY.
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
THE
OF
ROMANS.
POMPEII
THE GRAFFITI.
Romans appear
THE
drama,
which
to have never had any real tafte for the regular
they merely copied from the Greeks, and from the
earlieft period of their hiftory we find them borrowing

this defcription from their neighbours.
In Italy,
as
all their arts of
in Greece, the firft
of comic literature may be traced in the religious feftivals, which

prefented a mixture of religious worlhip and riotous feftivity, where the

germs
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
Rome, or
361
the
feftivals
b.c,
the
of Ceres and Bacchus.

city was vifited by
citizens hit upon what will apjiear to
us the
In
the
year 391 of
dreadful plague, and 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
Hift ory of Caricature
24
there was not even
and Grotefqiie
name for him in the language, and they were
obhged to adopt the Tufcan word, and call him

that language meant
hjjlrio, becaufe kifter in

This word, we know,
player or pantomimift.
Thefe firft Etrurian performers appear

indeed to have been mere pantomimifts, who accompanied the flute with
remained in the Latin language.
all forts of mountebank
tricks, geftures,
gefticulations, and the
dances,
like, mixed with fatirical fongs, and fometimes with the performance
The Romans had alfo
coarfe farces.
dramatic in chara6ter,
AtellancB,
clafs
of performances rather more
confifting of ftories which
were named Falulce
thefe performers were brought from Atella,
becaufe
of
city of
the Ofci.
confiderable advance was made in dramatic Art in Rome about the
middle of the third century before Chrill.

named Livius Andronicus,
Greek
by
It
is
birth, who
afcribed to
is
freedman
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 rudiments of dramatic art in Rome, either dire6l to the Greeks, or to the
Grecian colonies in Italy.

the theatre was

a
With
the Romans, as
well
as
with the Greeks,
popular inftitution, open to the public, and the flate or
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
As the Roman
it.
comed^v was
an awning over
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
from
and
farce, which
the
Romans,
as
juft ftated, had received
ftill earlier period.
Whether the Romans borrowed the malk. from the Greeks, or not,
rather uncertain, but it was ufed
whether in comedy or tragedy,
as
as
generally in the Roman
not fo well feen at

maik
is
and
uncovered,
diftance
and without
and one obje6l
theatres,
The Greek a6lors
among the Greeks.
performed upon ftilts, m order to magnify their figures,

theatre was very large
is
as the area
of the
this help they were
of utility aimed at by the
faid to have been to make the head appear proportionate in fize
in Lite?'ature and
to the artiticia]
It
height of the body.
Art.
25
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
might be given complete.

not in general ufe, but
is
Among the Romans the Hilts were certainly
llill the malk,
befides its comic or tragic charader,
The firll improvement upon

laid to have been the making it of brals, or fome
fuppofed to have ferved ufeful purpofes.
its original llrudture is

of age or complexion
that the character
Ac.
13.
Scene
from Terence,
other fonorous metal,or at leaft lining the mouth with it,fo

and give force to the voice, and alio to the mouth
as to reverberate,
of tlie malk fomethiiigof
All thefe acceflbries could not fail to

of a fpeaking-trumpet.*
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
the chara6ter
fn^ni
tiie excellence of the jioetry, and the declamatory talents ot the
We have pictures
adorb.
It
fxrjinanjo.
is haid
bcc
in which
fcenes from
to have received its Latin name from

Aulus GcUiuii, Nott Alt., lib. v. c. 7.
the
this
Roman
(lage are
tin uiiistancc,
/>'*><,
Hijiory of Caricature
26
preferved, illuftrated with drawings of the fcenes
the ftage, and thefe, though belonging to

age in which
of Terence have
Several rather early manufcripts
accurately reprefented.
been
a?id Grotefque
as
period long fubfequent to the
the Roman ftage exifted in its original charafter, are, no
doubt, copied from drawings of an earlier date.

the laft century, Henry Berger, publiflied
fuch illuftrations from
manufcript
in
German antiquary of
quarto volume
of Terence
as
of
of the
fhowing the
DEMEA
GETA
SENEX
SERVVS
No. 14.
ufual ftyle of Roman
feries
in the library
Vatican at Rome, from which two examples are (ele6led,
Geta and Demea,
comic a6ling, and the ufe of the mafk.
The firft
On the right, two fervants

have brought provifions, and on the left appear Simo, the mafler of the
(No. 13)
is the
opening fcene in the Andria.
houfehold, and his freedman, Sofia, who feems to be entrufted with the
charge of his domeftic affairs.
Simo tells his fervants
the provifions, while he beckons
Sofia to confer with him in private
fos
ijicec
intra auferte ; abite.
Sofia,
; panels te -volo.
So. D'lElum futa

Nempe ut curentur reEie hac.
SL Imo al'iud.
Terent, Andr., Actus
Adejdiim
Scena
1.
Si.
with
to go away
i.,

reprefented on
/"//
^^'hen
in
the
Literature ami
Art
27
we compare thefe words with the pifture, we cannot but feel that
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
and
the meeting
Demea,
knowing
rather talkative and conceited fervant,

and
of
not
at
countryfied and churlilh old man, his acquaintance,
ccurfe fuperior.
firft
of Geta,
To Geta's falutation, Demea
him,
"Who
are
alks
D.
Preiii
G-.
is
Geta,
SjI-vus Jic'S.
Sed eccum Dctr.cam.

OAf qui 'vocare
as
you?" but when he finds that it
he changes fuddenly to an almoft fawning tone

G
churlilhly,
Geta.
D. Cera, homlnem
max'imi
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
are ignorant whom the characters
from J'omêii,
are intended
given to the two comic figures, compared with
to reprefcnt.
The Jxft-
the example given Irum
Hijiory of Caricature aJid
28
Berger, would
confidered
as
lead
us to fuppofe
Grotefque
that this over-energetic
aftion was
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,
objeft among the Romans, and appears to have been taken
of everything that was droll and burlefque.

theatre, to which
the
of
feftivals
From
the
as the
as
fymbolical
comic fcenes of
it was firft appropriated, it paffed
public charafter, fuch
very popular
to the
popular
with which, no
Lupercalia,
doubt, it was carried into the carnival of the middle ages, and to our
Among the Romans, alfo, the ufe of the malk foon palTed
from the public feftivals to private fupper parties.
Its ufe was fo common
mafquerades.
plaything among children, and was fometimes ufed
Our cut No. i6, taken from
them.
No. 16.
two cupids
latter purpofe, that

mediaeval
"which
became
"
glofs
is,
Retina, reprefents
as a
painting at
Cufids at Play.
playing with
mafk, and ufing it for this
to frighten one another;
of Ugutio explains larva,
was put over the face to frighten
and
malk,
is
frighten
it
to-

bugbear
curious that the
as
being an image,
children."*
The malk thus
that it became
favourite ornament, efpecially on lamps, and on the antefixa
Simulacrum
Ducange, v. Mafca.)
quod opponltur faciei
ad terrendos
parvos."
(Ugutio,
ap.
/;/
Literature a fid Art.
29
of Roman buildings, to which were often given the form of

malks, monftrous faces, with great mouths wide open, and
and gargoyls
grotefque
other figures, Hke thofe of the gargoyls of the mediaeval archite6b5.

it
While the comic malk was ufed generally in the burlefque entertainments,
alfo became diftinftive of particular chara6lers.
One of thefe
was \\\Qfannio, or buffoon, whofe name was derived from the Greek word
"a fool," and who was employed in performing burlefque dances,

niakine grimaces, and in other afts calculated to excite the mirth of the
A reprefentation of {he fannio
given in our cut No. 17,
fpeftator.
No. 17.
antiquary F'icoroni, who took
The fannio holds in his hand what
fuppofed to
from an engraved
be
by the Italian
of the engravings in the "Differtatio de Larvis Scenicis,"

it
copied from one
TAe Roman Sannio, or

Buffoon.
is

is
advYoq,
gem.
brals rod, and he has
30
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.

buftbon was
This
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
wide mouth and tongue lolling out, and faid to have been
peculiar to the Atellane plays.

talks
of hiring himfelf
as a
" Slmdji
charader in Plautus (Rud., ii. 6, 51)

vianducus in the plays.
al'iquo
ad ludos
me
pro manduco
locem
"
The mediaeval glofles interpret manducus hy joculator, "a jogelor," and

add that the charafteriflic from which
of making grimaces
like
he took his name was the pradice
man gobbling up his food in
vulgar and
gluttonous manner.
Ficoroni gives, from an engraved onyx,

performer, copied in our cut No.
No.
1 8.
18,
figure of another burlefque
and which he compares
to
the
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.
///
common life, and more efpecially fcandalous

the jogelors and performers
and indecent anecdotes,
of farces in the middle ages.
like
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
reprefented naked, malked (with an exaggerated
nofe), and wearing what is perhaps intended as a caricature of the
our tigure, the vnmiis
In
bonnet.
Phrygian
is
full of
his right hand he holds a bag, or purfe,
objedls which rattle and make a noife when fliaken, while the other holds
or caflanets,
the crotalum,
among the
a
youth
We learn, from an early
Phr)'gian cap playing on the crotalum.
ufe
One of the ftatues in the Barberini Palace reprefents
ancients.
in
in common
an inftrument
efpecially ufed in the fatirical and
authority, that it was an inftrument
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
of farces, and the dancers.

feftivals,
in the
Suetonius tells
us
that on one occafion,

Atellanes
Of
comic writers, Livius Andronicus

writers.
the emperor
Caligula ordered
pun.
more
to
be burnt
the works
of the earlieft of the Roman
and Naevius, we know only one or two
later Roman
They were followed by Plautus, who died b.c. 184, and nineteen
are
preferved
and
well
known
by
feveral
writers, whofe names are ahnoft forgotten, and whofe comedies

;
in
regular comedy,
few fragments quoted in the works of the
of whofe comedies
loft
certain degree, at the fame time with thefe
more popular compofitions.
titles, and
players
introduced at private parties.*
{Atillance poetam)
the middle of the amphitheatre, for

however, did flourifh, to
the
Thefe performed on the ftage, in the public
ftreets, and were ufually
who compofed the
poet
(as they were often called),
and by Terence,
died about the year
fix of whofe comedies
159 B.C.
are
preferved.
other
are all
Terence
About the fame time with Terence lived
Sec, for nllu.ions to the

private
Epi^t. i. IS, and ix. 36.
cm|iloymtnt of these pcrfoniKinccs, Pliny,
Hifiory of Caricature and
32
Lucius Afranius
and Quin6tius
Grotefque
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
in Magna
Rudiae,
Graecia.
239 e.g., the poet Ennius was born at
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
metrical
fliape,
to
it.
The verfe
new polifli, and perhaps
was
ftill
but it
irregular,
appears to have been no longer intended for recitation, accompanied by
The Romans looked upon Ennius not only as their earlieft epic
poet, but as the father of fatire, a clafs of literary compofition which
the flute.
originated with them, and which they claimed
appears
to have
own.*
Ennius had an imitator in
M. Terentius Varro.
as
their
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.

rather
period, and
more
than
century
before
But fcon after this

Chrift,
came

Lucilius, who raifed Roman fatirical literature to its perfeftion.
Caius
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
of literature which was to be read by the educated, and not

Lucilius is faid to have written thirty
merely liftened to by the vulgar.
books of fatires, of which, unfortunately, only fome fcattered
lines
it
a clafs
remain.
Lucilius had imitators, the very names of moft of whom are now forgotten, 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.
3 3
In the time of Horace, the fatire of the Romans had reached i^s
Of the two other great fatiriUs whofe works
higheft degree of perfcdion.
are prefened, Juvenal was born about the year 40 of the Chrirtian era,
pucts.
Perlius
and
in 43.
During the period through which ihefe writers
Rome faw a conliderable number of other fatirills of the
flourilhed,
fame clafs, whofe works have perifhed.
time of Juvenal another variety of the fame clafs of literature had
Tn the
artificial and fomewhat more indireft
already fprung up, more
than the
Three celebrated writers reprefent this

born about the commencement of our era,
other, the profe fatiric romance.

fchool.
Petronius,
died
a.d.
in
compiled
who^
is
6<,,
the
earlieft and
romance, defigned
moft remarkable
as a fatire on the vices
of them.
He
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

he wrote in Greek,
died an old man in the year 200, and who, though

may be confidered
as
belonging to the
Roman Ichool, ccmpofed feveral
of this kind, in one of the moft remarkable of which, entitled

" Lucius, or the Afs," the author defcribes himfelf as changed by forcery
fatires

into the form of that animal, under which he pafles through
number
of adventures which illuftrate the vices and weaknelfes of contemporary

fociety. Apuleius, who wâs ccnfiderably the junior of Lucian, made this
novel the groundwork
work,
elaborate
written
of his " Golden Afs,"

in
Latin.
much larger and more
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
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
The pigmies and

cranes occur frequently among the piftorial ornamentations of the houfes
of Pompeii and Herculaneuni ; and the painters of Pompeii not only
purchafed
dwarfs to make domeftic pets of tliem.
rcprdcnled them in their proper charader, but they made ufe of them for
D
34
the
purpofe of caricaturing
and
focial
even
perfonal chara6ter.
fcenes,
conferences,
grave
In
occupations of life domeftic
various
the
many other fabjefts,
and
of caricatures
clafs
this
Grotejque
and
they gave to the
pigmies, or dwarfs, very large heads, and very fmall legs and arms.
need hardly remark that this is
in modern times.
intended for
In front of
hayrick.
The flru6ture in
one
of
The more importantpoffibly the overfeer of the
attending on the poultry.
with the paftoral ftaff

is
probably
is
farm, who
the
is
have affumed
on the right
vifiting
caufe
the labourers,
and
this
why their movements
much aftivity.
The labourer
ufing the ojilla,
wooden yoke
looking perfonage
farm-yard in burlefque.
is
farm fervants
or pole, which was carried over the shoulder,

the
end.
This was
and
not unfrequently reprefented on Roman
works
An Afilla-Bearer.
of art.
at each
common method of carrying,

Several examples
might
be
quoted from the antiquities of Pompeii.

Our
cut No. 20, from
gem in the Florentine
a
No. 20.
corlis, or baiket, fufpended

a
with
is
Mufeum, and illuftrating
another clafs of caricature,
that
animals performing the aftions and duties of men, reprefents

carrying the qfilla and the
corhes.
of introducing
a

is perhaps
of
it,
the interior
the background
the
is
The Farm-yard in Burlejque.
fo
and reprefents
common
vi^hich is very
painting on the walls of the Temple of Venus, at Pompeii,
is
of caricature
Our firfi: group of thefe pigmy caricatures (No. 19)
Nq, 19.
taken from
clafs
grafshopper
in Literature and
private houlc in Pompeii furnillied
painter's lludio, and
of his method of operation with which
intended for
fulnefs of the
the artift himfelf.
by
evidently
feated
as
Both are diftinguillied
by
feated
the
the fide
To
mixes his colours.
fmall table, probably formed of
palette, on which
right
of
of (lone, which fen'es for

is
as
is
it
Before
of his toga,
gathering
the
The eafel here employed refembles greatly

article now in ufe, and might belong to the Audio of
modern painter.
grinder,
pigmy caricatures, very
of nofe.
large allowance
fame
in thefe
dailiing and fafliionable patrician, though he
bare-legged and bare-breeched
The
us.
occupied with the portrait of another, who,
rather exaggerated
by
fervant,
the
who fills the office of colour-
velfel placed over hot coals, and appears
taken from his drawing
what
feated
in
okl
fhulent,
is
is
In the background
by
whofe attention
is
writers, with punic wax and oil.
llab
painter fpreads and
to be preparing colours, mixed, according to tlie diredions given
going on
at
the
other fide of the room, where two fmall perfonages
are Liilering,
lo(jk
talking about the
portrait.
they were amateurs,
B(;liind tlum
fiand.'>
and who appear

a
as
if

fcantily clothed,
it furnillies
Painter^ s Studio.
like moft of the figures

is
is,
painter, who
the
extremely curious on account of the numerous
is
No. 21.
the
reprek-nts
details
It
given in our cut No. 21.
is
which
of
interior of
another example of this flyle
is
caricature,
35
is
Art,
birti,
and
to be
wlitn the painting
wa-^
who
full
Hi/lory of Caricature and
Mazois, who made the drawing from which
uncovered there were two.

our cut
ftate
fingers
is
of
Grotefque
taken, before the original had periihed for it was found in
decay imagined
that
the
birds
fome well-known
typified
they are, perhaps, merely intended for cranes,
or muficians, but
birds fo generally affociated with the pigmies.

According
to an ancient writer, combats
reprefentations on the walls of taverns and

the walls
of

has evidently been
Tart of a Triumphal
No. 22.
laurel,
as
{hops
;* and, curioufly enough,
fliop in Pompeii have furnifhed the pifture reprefented in
our cut No. 22, which
probably
of pigmies were favourite
All
intended for
caricature,
ProceJJion.
pigmies in this pi6ture
are crow^ned
with
though the painter intended to turn to ridicule fome
over-
a parody.
the
pompous triumph, or fome public, perhaps religious, ceremony.
The
figures to the left, who are clothed in yellow and green garments,
to be difputing
thefe,
the
polfeflion of
like the two figures
Ihoulder.
on
the
bowl containing
right, has
The firfl of the latter perfonages
holds in his right hand
* Ivi
liquid.
hoop thrown
wears
twô
appear
One of
over
his
violet drefs, and
rod, and in his left a flatuette, apparently of a
Toiv KaTrtjXiiuv.
Problem. Aristotelic.
Sec. x. 7.
/;/
Literature and Art.
The laft figure to the
deity, but its attributes are not dilVmguifliable.
more
branch of
Behind the other figure ftands
fifth, who appears younger and
than the others, and feems to be ordering or
refined in chara6ter
His drels
direftinsf them.
loft.
of two colours, red and green, and holds in

lily, or fonie fimilar plant the reft of the pi6ture
robe, or mantle,
is
is
his hand
riorht has
2i,7
red.
could not here conveniently introduce
ftones, though thefe are moftly
art, chiefly on engraved
of
it
We can have no doubt that political and perfonal caricature flouriflied

on their works of
among the Romans, as we have fome examples of
charafter we
but the fame rich mine of Roman
with one fample of what

political caricature. In the year 59 of the
may be properly confidered as
Chriilian era, at gladiatorial exliibition in the amphitheatre of Pompeii,
where the people of Nuceria were prefent, the latter exprelTed themfelves
us
which was followed by
in fuch fcornful terms towards
the Pompeians, as led to
art and antiquities, Pompeii, has furnifhed
violent quarrel,
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,
of Pompeii to fufpenfion from ail theatrical

The feelings of the Pompeians on this occafion
amufements for ten years.

fcratched
drawing reprefented in our cut No. 23, which
on the plafter of the external wall of
which the Italian antiquarians have
are difplayed in the rude

is
houfe in the ftreet to
given the name of the ftreet
ot
f(ir the fteps of the amphitheatre.
He carries in his hand
is
A figure, completely armed, his head covered with what might

Mercur)'.
defcending what appear to be intended
mediaeval helmet,
be taken for
palm-branch
Another palm-branch ftands ere6t by his (idc,

the infcription, in rather ruftic Latin, "CAMPANI
and underneath
VICTORIA VNA CVM NVCERIMS PERISTIS " " O Campaemblem of victory.
is
the
pi6ture
fuppof;d to reprefent
l)ound, up
fxhibilrd
to
ladder to
one
the jeers
more rudely and haftily drawn.
of the viftors dragging
It
the
is
cf
other fide
vidory together with the Nucerians."

a
nians, you periftied in the

and condemned the people
has
The
bteii
prifont-r, with his arms
ftage or platform, on which he was perhaps to be
of the popidace.
Four
years after this
event,
Hiflory of Caricature and Grotefque
38
Pompeii was greatly damaged

came the eruption
by an earthquake, and fixteen years later
of Vefuvius, which buried the town, and left it in the
condition in which it
is
now found.
This curious caricature
belongrs
O
to
clafs
of monuments to which
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
archaeologifts have given technically the

on other Roman fites, and one found in Rome itfelf
No. 23.
is
efpecially intereft-
Popular Caricature.
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
ing.
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
acrofs
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
Chriftian
/;/ Literature ajid
named
Alexamenos,
Saviour
is
extended
upon a crofs, the
of worlhip of that period.
^0. 24.
God."
inoft interefting
is copied
at
Chrirtianity.
man with the head
of an
I'he
afs,
Underneath we read the infcrip-
-OEQ/^y
Early
Caricature
upon a Chrijl'tan,
(for frc/jtra-) EON, "Alexamenos

This curious figure, which may be placed among the
AAESAMEN02
worlliips
derpilcd
Chrillian, Alexamenos, (landing on one fide in
c
tion,
who
reprefented under the form of
the attitude

Ibme pagan
by
Art.
as
in our cut
well
CEBETE
as
early evidences of the truiii uf Gofpel hifiory,
No. 24.
Rome was ftill pagan, and
It
a
was drawn when the prevailing religion
Chriftian was an objedt of contempt.
40
Grotefque
ITL
CHAPTER
THE PERIOD OF TRANSITION FROM ANTIftUITY TO THE MIDDLE AGES.

THE ROMAN MIMI CONTINUED TO EXIST.
THE TEUTONIC AFTERHECLERICAL SATIRE.? ', ARCHBISHOP
DINNER ENTERTAINMENTS.
SAINTS.
TRANSIKIGER AND THE DREAMER ; THE SUPPER OF THE
TASTE FOR MONSTROUS
TION FROM ANCIENT TO MEDIEVAL ART.
ANIMALS, DRAGONS, ETC. ; CHURCH OF SAN FEDELE, AT COMO.-^
THE
AMONG
OF
GROTESQUE
AND LOVE
SPIRIT OF CARICATURE
NATURAL TENOF DEMONS.

FIGURES
GROTESftUE
ANGLO-SAXONS.
DENCY OF THE EARLY MEDIEVAL ARTISTS TO DRAW IN CARICATURE.
EXAMPLE;? FROM EARLY MANUSCRIPTS
AND SCULPTURES.
tranfition from antiquity to what we ufually underfland by the
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
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
The
confift chiefly of a mafs of heavy theology and of lives of faints.
dramatic form theatre and amphitheatre
ftage in its perfedly

appeared.
had
dis-
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
While probably the performance of comedies, fuch

thofe of Plautus and Terence, foon went out of fafliion, and tragedies,
the amphitheatre.
as
like thofe of Seneca, were only written
of
as
literary compofitions, imitations
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 attitudes
of their mimi, or liften to their equally loofe fongs and ftories.
theatre and
the
amphitheatre were ftate inftitutions,
kept up at the
juft ftated, they perilhed with the overthrow of

and the fanguinary performances of the amphitheatre.
national expenfe, and,

the weflern empire
The
as
in Literature and
if
Art.
41
itlelf continued to be ufed (which was perhaps the
the amphitheatre
of weflern Europe), and they gave place to the more

harmlefs exliibitions of dancing beare and other tamed animals,* for
cafe in ibme parts
deliberate cruelty was not
charaderiftic of the Teutonic race.
in'imi, the performers who fung fongs
and
But the
told ftories, accompanied with
dancing and mufic, furvived the fall of the empire, and continued to be
popular
as
ever.
as
St. Augulline, in the fourth century, calls
thefe
things nefaria, detellable things, and fays that they were performed at
night.
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
The capitulary of Childebert profcribes thofe who palled

their nights with drunkennefs, jefting, and fongs. |
The council of
aflemblies.
Narbonne, in the year 589, forbade people to fpend their nights

dancings and lilthy fongs."
"filthy
fongs
fpeaks
and
of them
The council of Mayenee, in 813, calls thefe
licentious" {turpia atque luxur'wfa)

"obfcene
as
and
filthy"
(olfccena
another they are called "frivolous and diabolic."

with which
that
thefe
paganifm
and
adts
and
even
the
ecclefiaftical
performances
yet
it
is
" with
ordinances are
continued
to
et
and that
turpia); while in
From the bitternefs
exprefled, it
preferve
of Paris
much
is
probable
of their
old
curious that they are fpoken of in thefe capitularies
of the councils
as
being ftill praftifed in the religious feflivals,
in the churches, fo tenacioufly did the old fentiments of the
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
race keep their poflTefTion
On this subject, sec my " History of Domestic Manners and Sentiments,"

The darning bear appears to liavc been a favourite performer aniong the
p. 65.
Germans at a very early period.
Per lotam noctcm cantabantur hie nefaria ct a cantatoribus saltubalur.
Augustini Scrm. 311, part v.
Noctes pervigiles cum ebrietatc, scurriiitate, vel cantitis.
Sic ihc Capitulary
in Labhci Concil , vol. v.
saitationibus ct turpibus invigilant canticis.
^ Ut populL
....
42
of perfons living, and well known to thofe who heard

A capitulary of the Frankifh king Childeric III., publiflied in
fcandalous
them.
Grotefque
ftories
the year 744,
direfted againft
is
defamation of others
is
and it
is
who conipofe and fing fongs in
allerius, to ufe the rather energetic
{in hlafphemiam
language of the original)

common one, for it
thofe
evident that this offence was
a very
not unfrequently repeated in later records of this
Thus one
charafter in the fame words or in words to the fame purpofe.
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
in it which
was nothing
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
but there
which implied
were
circumftances in their
neceflity for amufement.
domeftic manners
After the comparatively early
meal, the hall of the primitive Teuton was the fcene
efpecially in the
there was much drinking
we all know, fuch

darker months of winter of long fittings over the feftive board, in which
much talking, and,
and
talking could not preferve long
as
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
to
fing
in their
their
turns, each
entertainments,
accompanying
for all thofe prefent
with
himfelf
mufical
From the fequel of the ftory we are led to fuppofe that
infl:rument.
thefe fongs were extemporary effufions, probably mythic legends, ftories
of perfcnal adventure, praife

enemies.
In
the
chieftain's
of themfelves, or vituperation
houfehold
there appears
to
ufually fome individual who a6led the part of the fatirift, or,
of their
have
as
been
we fhould
Hunferth appears as holding fome fuch

pofition in Beowulf j in the later romances. Sir Kay held a fimilar pofition
At a ftill later period, the place of thefe
at the court of king Arthur.
heroes was occupied by the court fool. The Roman mimus muft have been
perhaps now fay, the comedian.
welcome addition to the entertainments of the Teutonic hall, and there
Is every reafon to
think that he was cordially received.
The performances
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.
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.
older than the twelfth

and
have
ajipcars
been
curious Latin poem,
century, of which fragments only are preferved,
publifhed
under
to have been a tranflation
we have
In
title of
the
of
" Ruodlieb,"
and
which
much earlier German romance,
curious defcription of the poft-prandial entertainments after
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
the dinner
of
a great
hind legs, and performed fome of the offices of
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 dorjo
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

of Domcsric Manner.-, and Sentiments," pp. 33-39.
by Grimm and Sthmeiler,
+ This curious Latin poem was printed
Latcini-schc Gedithtc dc.s x. und xi. Jh., p. 129.
" History
in their
44
Grotefque
Although thefe performances were profcribed by the

laws, they were not difcountenanced by the ecclefiaftics
on the contrary, indulged
much in after-dinner
as
ecclefiaftical
who,
themfelves,
amufements
as
any-
The laws againft the profane fongs are often direded efpecially
body.
at the clergy
as on the
and it is evident that among the Anglo-Saxons,
as
well
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-
they were fometimes
guage
committed
to
and
writing,
thus
few
of early comic literature have fortunately been preferved.

Thefe
confill chiefly of popular ftories, which were among the favourite amufeexamples
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.
are
the
ftories
Child of Snow, and of
of the
Hunter, preferved in a manufcript of the eleventh

The firft of thefe was a very popular ftory in the middle
Mendacious
the
Such
century.
According
ages.
to
this
early verfion,
Switzerland, was detained abroad for feveral
fwallowed
bulband
* On
fnow, by which
years,
during which
child.
him that on
cold wintry day fhe
Ihe
had conceived
in
time
On his return, Ihe
and bore
his wife made other acquaintance,
excufed her fault by telling
of Conftance,
merchant
and,
had
in revenge, the
carried away the child, and fold it into flavery, and returning.
the character
inmates of the monastic
of
the nuns among
houses generally,
the Anglo-Saxons,
I would
and indeed ot the
refer my readers to the excellent
Home: a
interesting volume by Mr. John Thrupp, "The Anglo-Saxon
the
fifth
to the
of
from
England
History of the Domestic Institutions and Customs
and
century."
London, 1862.
These will be found in M. Ed^lestand
eleventh
anterieures
au douzieme siecle, pp. 275, 2,76.
du MeriPs Poesies Populaires Latines
Art.
in Literature ami
45
told its mother, that the infant which had originated in fnow, had melted
under
away
hotter
Some of thefe
fun.
(lories
the
in
originated
ditil-rent colleAions of fables, which were part of the favourite literature
of the later Roman period.

afs
belonging
wolf.*
It
is
Another
two fillers in
to
is
rather
ridiculous ftory of an
nunnery, which
was devoured
by a
curious how foon the mediaeval clergy began to imitate
their pagan predecelfors
in parodying religious fubje6ls
of
and forms,
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
archbifhop of Mayence
Heriger,
he had been carried in

as
from 912
to 926, and
to
told him that
vifion to the regions below, and defcribed them
It
was the
indeed of all fettlements of peoples
hell, and
Teutonic notion of
Heriger replied
fneer that he would fend his herdfmen there with his lean fwine
to fatten tliem.
"
Each
common
to
all
and
or land of
furrounded
by woodland,
mark,"
early Teutonic fettlements, was

" prophet," or vifionary, went
furrounded by thick woods.
a place
with
members of the
family or clan, in
clan for fattening
the
which
was
fwine
and
their
The falfe dreamer added, that he was afterwards carried to

John the
heaven, where he faw Chrill fitting at the table and eating.
hunting.
was butler, and ferved
Baptill
were
Lord's
the
remarks
on
the
excellent wine round to the faints, who
St. Peter was the chief cook.
guefts.
appointments to thefe
After fome
two offices, archbilliop
Heriger
alked the informant how he was received in the heavenly hall, where he
fat, and what he eat.
the cooks
a piece
He replied that he fat in
corner, and tlole from

Inflead of
of liver, which he eat, and then departed.
rewarding him for his information, Heriger took him on his own confeflion
This,
and the metrical
"
Altdciitsche
story next rcft-rrccl to, were printed in the
Haupt and Heiniith Ilotrmann, vol. i. pp. 390, 392, ro
Bliitter," edited by Moiiz

whom I communicated them
Canlbridgc.
from
manuscript
in
the
University
Library
at
mjlory of Caricature and
4-6
for the theft, and ordered him
to
which;, for the olFence, was rather
Grotefque
bound to
be
ftake
and flosreed.
light punifhment.
Heriger ilium
juffn ad palum
loris ligar'iy
Jcopijque cedi,
Jermone duro
hunc arguendo.
Thefe lines will ferve

thefe
as a
fpecimen of the
popular Latin verfe in which
monkiili after-dinner ftories were written
but the mofl: remarkable
of thefe early parodies on religious fabjefts, is one which may be defcribed

Jt is falfely afcribed
as the fupper of the faints j its title is fimply Ccena.
but it is as old as the tenth
to St. Cyprian, who lived in the third centuryj
century,
as a
copy was printed by profeffor Endlicher
of that period at Vienna.
It
was fo popular, that it
to have exifted in ditferent forms in verfe
drollery, founded upon the wedding feaft

water into wine, though that miracle
is
from
is
manufcript
found and known
and in profe.
at
It
is a sort
of
which the Saviour changed
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,
Adam took the firft place, and
and they took their places as they could.
feated
upon
himfelf in the middle of the affembly, and next to him Eve fat
leaves
{fuper
Cain fat on
milk-pail, Noah on an ark, Japhet on tiles, Abraham

tree, Ifaac on an altar. Lot near the door, and fo with a long lift of
plough, Abe] on
on
folia), fig-leaves, we may fuppofe.
Two were obliged to ftand Paul, who bore it patiently, and

Efau, who grumbled while Job lamented bitterly becaufe he was obliged
others.
Mofes, and others, who came late, were obliged to

find feats out of doors. When the king faw that all his guefts had arrived,
to fit on a dunghill.
he took them into his wardrobe, and there,

generofity, diftributed
to them
drefles,
allufion to their particular characters.
which
in the fpirit of mediaeval

had all fome burlefque
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-
The wines, of which there was great variety, were fer\ed to

the guelb with the fame allufions to their individual charaders
but
;
cature.
of liiem complained that they were badly mixed, although Jonah was
the butler.
In the fame manner are defcribed the proceedings which
fome
followed
dinner,
the
the
of hands, and
walhing
latter of which Adam contributed
the
delTert,
apples, Samfon honey j while
to the
David
Mary on the tabor; Judith led the round dance;

Jubal played on the pfalter; Afael fung fongs, and HerodiaSâfted the
part of the dancing-girl :
played on the harp and
Tunc Adam
f>oma min'ijirat,
Ddi'id
Samjon
et
cytharum percujfit,
Maria
faw
dulda,
tympana,
Judith choreas ducebat, et Jubal fjalterta.

Ajael metra canebat, jaltabat Herodias.
Mambres entertained the company with his magical performances; andthe other incidents of a mediaeval feftival followed, throughout which the
of burlefque is continued; and fo the ftory continues, to the

We (hall find thefe incipient forms of mediaeval comic literature
fame tone

end.*
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
It
fudden change.
that the knowledge
and
practice
is
now indeed generally underftood
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,
The
in which
text
it
of
w.is published,
will
tie
lli'j workman-
full nccoiint of flu- various forms

found in M. du A16rir.s " Po^vics Populaircs
this singular composition,
L2.riAs antirieurcs au douzieiiit
fo that
siwlc,"
w it h a
p. 193.
48
fhip which had been declining

the empire, only continued
Grotefque
in charafter during the later periods
in the
courfe
of
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,
No. 25.
figures,
the fame mafks
Saturn
introducing
De-vouring
the fame
grotefque
hh Child.
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^ê
Art,
in Literature and
and to the domcltic architedure
ecclefiaftical
tlie workmen
themfelves had become
emblems and figures
40
of the middle aees.
After
Chrillians, they Hill found pagan
in their models, and Hill went on imitating
fometimes merely copying, and
at
them,
turning them to caricature or
others
And this tendency contmued fo long, that, at a much later

date, where there ftill exifted remains of Roman buildings, the mediaeval
burlefque.
architects
adopted
them
it
fculpture, although
as
might
be
did not
and
models,
hcliiate
evidently pagan
in
to copy
the
The
charader.
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
uUended for
child, and we can hardly doubt that it was really
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
fubje6t>
themfelves
that clals of parody of the ancients

j)erforming
the a6tions
They readily employed
extremely confufed.
became
the
in which
animals were reprefented
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
Horace :
together, in contradi6tion to the
Humano capit'i cer-vicem
Jungereji
"velit,
pilior
precept
q{
equinam
tt -varias inducere plumaSy

ut turpiter
Undique collatis memiris,
atrum
Dcjinct in pijcem t.ulier formofa Juperne f

ISfieciatum admijjl r.(um tenealis, amici ?
The mediaeval architects

parts, and
exa/iples
loved
fuch
rejjrefentations, always
At
are abundant.
Ccjmo,
in
and
Italy, liiere
in all
is a very
ancient and remarkable church dedicated to San Fedele (Saint Fidelis) ; it

The
has been confidered to be of fo early a date as the fifth century.
fculptures
'
I'pecially
Ml a
that
adorn
inttrcfiing.
the
is
triaiigiilar-lieadcd,
are
On one of thefe, reprefeiUed in our cut No. 26,
con)partment to the left, appears
hand
which
doorway,
a
figure
dwarf figure, probably intended for
of an angel, liu'Jing in one

child,
by a lock ol
his hair,

No. 26.
St u/^ lure from Sîn Fedele, at C'jmo.
Hiflory of Caricature and Grotefqite.

and with the other hand dh-e6linsf his attention to
is
feated tio-ure in the
This hitter figure has apparently the head of
compartment below.
llieep, and
51
furrounded with
as the head is
hirge nimbus, and the right hand
held out in the attitude of benedidion, it may be intended to reprefent
This perfonage
the Lamb.
out, but which
looks fomewhat
partment above carries
fomething which
is feated on
like
crab-fith.
large bafin in his arms.
is
difficult to make
The boy in the comThe adjoining compart-
nifut to the right contains the reprefentation of a conflidt between a

On the opposite fide of the
dragon, a winged ferpent, and a winged fox.
door, two winged
mongers are reprefented
devouring
lamb's head.
owe the drawing from which this and the preceding engraving were made
Mr. John Robinfon, the archite6t, who made the Iketches
to my friend
while travelling with the medal of the Royal Academy.

dragons,
as
ornaments, were great
Teutonic race
they were
favourites with the
creatures
intimately
Figures of
peoples
wrapped
of the
up in their
national mytholog)' and romance, and they are found on all their artillic
monuments mingled together in grotefque forms and groups.
Anglo-Saxons
When the
began to ornament their books, the dragon was continually
One of
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.
the latter, from an
Caricature and burlefque are naturally intended to be heard and feen

publicly, and would
moft expofed
therefore be figured on fuch monuments
to popular gaze.
as
were
Such was the cafe, in the earlier periods
of the middle ages, chiefly with ecclefiallical buildings, which explains

We have
how they became the grand receptacles of this clals of Art.
few traces of what may be termed
.xon forefathers, but this
very little
is
comic literature among our Anglo-
fully explained by the circumfiance that
of the popular Anglo-Saxon
their fcftive
hours
the
Anglo-Saxons
literature has been pnlirvrd.

fecm
to
li;ive
In
cl])ecially amufed
tJie French and Anglo-Norman romancers of
later date, or
lb
^nli
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
(\l

introduced for ornamental borders and in forming initial letters.
52
extravagant
as to
produce laughter.
Grotefque
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.
remarked before,
is
Such
Hunferth in Beowulf
later Arthurian romances
a perfonage,
as
have
fuch was the Sir Kay of the
and fuch too was the
Norman minftrel in the
hiftory of Hereward, who amufed the Norman foldiers at their feafts by

mimicry
of the

perfonal fatire
manners
of their Anglo-Saxon
opponents.
of thefe wits often led to quarrels,
No, 27.
which
The too
ended
in
Anglo-Saxon Dragons.
The Anglo-Saxon love of caricature is fhown largely

in their proper names, which were moftly fignificant of perfonal qualities
fanguinary brawls.
their parents hoped they would

pronenefs
of the Teutonic race,
pofTefs
as
well
and in thefe we
as
the
peoples
remark the
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.
///
qualities they did poffels, and which were given
probably exprelVed
them
tlieir
by
53
Thefe names,
acquaintances.
though
often
not
to
very
complimentary, and even fometimes very much the contrary, completely

luperleded the original name, and were even accepted
to whom
that they were ufed
acknowledged,
was known
ver)' dilferent
is
after the
pleafure,
fatirical.
name,
the original
by
which
perhaps
Another lady gained the name of the

well known that furnames did not come into ufe till long
in
heaven.
period, but appellatives, like thefe
Anglo-Saxon
often added
were
An
legal documents.
We can hardly doubt that fuch a name was

to her qualities of a not agreeable chara6ler, and
thofe implied
to
dweller
It
Crow.
in figning
generally
To
charters.
intended to afcribe
were indeed
univerfally by the name Bugga, the Bug, wrote this latter
in ligning
meant,
names
of rank, whofe real name was Hrodwaru, but who
abbefs
Anglo-Saxon
name
The fecond
they applied.
individuals
by the
to
and thefe,
too,
for
name
the
nicknames,
purpofe of diftin6tion, or
the
at
being given by other people, were frequently
Thus, one Harold, for his fvviftnefs, was called Hare-foot

well-known Edith, for the elegant form of her neck, was called Swanneck ; and a Thurcyl, for a form of his head, which can hardly have been
called beautiful, was named
quite
as
fatirical
a^
Mare's-head.
Among many other names,
tlie laft-mentioned,
we
find Flat-nofe,
the
Uglv
Squint-eye, Hawk-nofe, &c.
Of Anglo-Saxon
illuminated
fculpture we have little left, but we have
manufcripts
which
prcfcnt here
caricature, though they are rare.

favourite fubje6ts of caricature
century downwards,
and
an attempt at
feem, however, that the two
among the Anglo-Saxons
were the clergy
neither
the
Anglo-Saxon
and the manner
Perhaps, alfo, it was increafed

the
new
reformers of
caricature each other.

Cambridge (Ff.
1,
Anglo-
clergy nor the
nuns were generally obje6ls r)f much refpeft among the
and their chara(!-ter

it.
there
few
We have abundant evidence that, from the eighth
and the evil one.
Saxon
It would
and
people
of their lives fufKcicntly accoiuit fur
by the
hollility between the old clergy
Dunllan's party, who would
no
doubt
manufcript i)falter, in the Univerfity Library,
23), of the Anglo-Saxon
period, and appauntiy
of the
HiJio?-y
54
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
proceed,
we lliall fee the clergy continuing to furnifh
As we
letter Q.
the
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
them ugly
himfelf on drawing
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, repreftntatives
of the
ancient
fatyrs,
who
were of
defcription, and went about plaguing mankind
in
playfully
a very
and fometimes appeared to them in equally droll forms.
Pucks and Robin Goodfdlows of later times

to the weft taught their converts
felves, that all thefe
over
the earth
malicious
droll manner,
They were the
but the Chriftian miffionaries
to believe, and probably believed
them-
imaginary beings were real demons, who wandered
for people's
ruin and deftrudion.
Thus the grotefque
imagination of the converted people was introduced into the Chriftian

lyftem of demonology.
It
return ui our next chapter
is a
part of the fubje6t
but
I will
here
to which
we
ihall
introduce two examples of
in Literature and
luc
Art.
To explain tlie
Aiiglu-Saxou demons.
rirti
55
ot
ihele,
neceirary to rtaie that, according to the niediaival notions,
it
will
be
Satan, the arch
demon, who had fallen from heaven for his rebellion againil the Almighty,
was not
agent who went about tempting
a free
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
The hiftory of
to feek their prey upon God's newelt creation, the earth.
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
Satan's fall, and the defcription

is
now prefen'ed
at
Oxford), which
No. 29.
reprefenting Satan
flakes,
over what
rifing out of
in h.s bonds.
appears
has furnilhed
tljcir vidim.
with
our cut.
Satan in Bonds.
The fienil
to be a gridiron,
fiery furnace, and holding
is
here
pidured
bcniiid
to
while one of the demons,
in his hand
punidiment, feems to be exulting over him, and

on the troop
us
an inltrument
at the fame
of
time urging
of grotefque imps who are fwarming round and tormenting

The next cut. No. 30, is alfo taken Irom an Anglo-Saxon
Hiflory of Caricature and Grofefqiie
56
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
manuicript,
preferved
in
the
demon under another form, equally charaderiftic, wearing only
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 influence on the mediaeval talle for grotefque and
caricature the natural rudenefs of early mediaeval
The
art.
wr-'t^rs
of antiquity tell
us
of
remote
period of Grecian art when it was neceflary to

write under each figure of
pifture the name of
what it was intended to reprefent, in order to

make the whole
"this
is a
man,"
quite fo rude
as
"
intelligible
this
is a
horfe,"
"this
is a
tree."
this,
the
early mediaeval artifts,
Without being
Ikill
ledge of proportion,
and of
found great difficulty
in reprefenting
which
there
which
it was necelfary
each other;
was
more
in
drawing,
a
fcene
in
than one figure, and in

to diftinguifli
them from
and they were continually trying to
help themfeives by adopting conventional torms

or conventional pofitions, and by fometimes adding
No. 30.
Satan.
fymbols that did not exatlly reprefent what they

meant.
chiefly in giving an undue

tin6tive
cature.
name, and which

Conventional
The
exaggeration
prominence to fome
which anfwered the fame purpofe

is,

through Ignorance of perfpe6live, want of know-
as
the
in
form
charafteriftic
Anglo-Saxon
confifted
feature,
nickname and dif-
of the firft principles of all caripartook much of the charader of
in fiift, one
pofitions
conventional forms, but gave fiill greater
room for grotefque.
Thus the
veryfirll charafteriftics of mediaeval art implied the exifience of caricature,

The effedt of this
and no. doubt led to the tafie for the grotefque.
in Literature and
influence
is
ot
pictures
everywhere,
apparent
the
ablblutely caricatures.
often
is
molt
in
lubjeds
art ran much
are
ferious
and
(imply
into this %le, and
taken from one of the illullrations
is
cafes
The tirll example we
charatSler.
No. 31.
to
give
Alfric's Anglo-
T/it Temptation.
Saxon vedion of the Pentateuch, in the profufely illuminated manufcript
Bnti(h Mufeum (MS. Cotton., Claudius B iv.), which was written

It
the end of the tenth, or beginning of the eleventh, century.
in the
temptation and fall of man;
the
reprefents
will be feen, in
and the fubjedt is treated,
rather grotefque manner.
to her hulband, who, in obeying her, Ihows

in accordance
with the mediaeval legend, according to
imagiae how
\tremely
entirely
it
is
tree
came
which the fruit ftuck in his throat.

the
evidently dictating
mixture of eagernefs and
hardly necelfary to remark that
conventional one; and
to bear apples
unlkilful in drawing trees;
at all.
to
perhaps,
is
as
evidently going to fwallow the apple whole,

is
is,
which
is no lefs
It
Adam
trepidation
Eve
it
at
tlul'e
would
be
(litliciiit
to
he mediaeval artills were

they
iifiKiIly gave
the
of cabbages, or fome fuch plants, of which the form was lim|)lc, or

alfo
Our next example (cut No. 32)
often of mere bunch of leaves.
is
forms

57
in innumerable
and
important
Anglo-Saxon
grotefque
very
(cut Xo. 31)
and
gravell
Art.
Hijlojy of Caricature and
S8
Anglo-Saxon,
Grotefque
by the manufcript in the Britifli Muleum
and is furniflied
It probably repreients
aheady mentioned (MS. Cotton., Tiberius C vi.)
young David killing the lion, and is remarkable not only for the ftrange
of the man, but for the tranquillity of the
animal and the exaggerated and violent action of its flayer. This is very
pofture
and bad proportions
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.
No. 32.
both taken from illuminated
Da-vid and
the
manufcripts.
furnifhed by fculptures, and are of
Thefe illullrations are
Lion.
The two which follow are
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
A hiflory of this religious houfe was publillied by a clever local
century.
antiquary M. Achille Deville
from whofe work
we take our cut
No.
2)3)
in Literature and
one
of
as
fomelhing
exceedingly
droll
abbey
church, which
is
the
unintentional
no doubt
the fubjed
but
caricature
there
of the
an uncommon one
fame
fubjeft, copied in
Si-ntiments
the
"
ikill of
Norman
2'Jit
my
(p. 11.5), prefents
in
Flight
mediaeval art
into
and
in the whole delign.
no means
the
It
by
as
No. 33.
drawing of
Egyft.
" Eliltory of Domeltic

remarkable illuilration
Manners
and
of the contrail
Norman fculptor and of an almolt contemporary Anglo-
illuminator.
Our cut alfo furniihes
us
with evidence
of the
ftone, when he reprefented
by
error of the old o|)inion that ladies rode allride in the middle ages. Even
!ie, who
his llyle of art mu(l have been an obfcure local carver on

the
The Virgin Mary appears without

nimbus, while the nimbus of the Infant Jefus is made to look very like
bonnet.
It may be remarked that this fubjecl of the Hight into Egypi
i->
on
to tiie original fabric.
faces, as well
a
icuipuirLs
59
not dirticuh to recognife

Joleph taking the Virgin Mary with her Child into Egypt
belonged
IS
few rude
Art.
female on
liorfeback, placed her in the
polition which has always been confidered fuitable to the fex.
6o
For the
indebted
to
twelfth

It
Mr. Robinfon.
century.
It
appears
the giant Goliah, the latter
is one
and fpear, like
to
allude,
of the fubjefts carved
reprefent
the
is a
young
am
on
the
work of the
David
flaying
fully armed in fcale armour, and with fliield
No. 34.
Devid
Norman knight
and Goliah.
while to David the artifl has given
What we might take at firft iight

balket of apples, appears to be meant for a fupply of ftones for the
figure which
a
drawing of the other fculpture to which
of the church of St. Gilles, near Nifmes, and
fagade
for
Grotefque
is
feminine in its forms.
fling which the young hero carries fufpended from his neck.
flain the giant with one of thefe, and
fword.
is
He has
cutting off his head with his own
in Literature and
Art.
IV.
CHAPTER
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
have already flated in the laft chapter, there can be no doubt that
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
the whole I) ftem
woods,
and fields,
and waters, and delighted
mankind, though their mifchief was uluallyof
or plaguing
in milleading
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
ubiquitous than the fatyrs,
tricks, not only
of
as
but
thefe
Teutonic elves were more
they even haunted men's houfes, and played
mifchievous, but of
a very
The
famihar chara6ter.
Chriftian
clergy did not look upon the perfonages of the popular fuper-
ftilions
fabulous beings, but they taught that they were all diabolical,
as
and that they were fo many agents

in enticing
of the evil one, conftantly emj)loyed
and entrapping mankind.
we frequently find demons
Hence, in the mediaeval legends,
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

letting
themfelves be (julwitled or eiitrapped
undignified
manner.
Although
they
afibmed
by
at times even
mortals
any form
in
very
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,
Hiftory of Caricature and Grotefqiie
62
lliaggy, and rough, and monftroufly deformed.*
According to
ftory, which was told in different forms, a great
man's
a mediaeval
cellar was once
haunted by tliefe demons, who drank all his wine, while the owner was
totally at
lofs
to
unfuccefsful attempts
fufpefting
with
the
account for its rapid difappearance.

to difcover the
truth, fuggefted
depredators,
that he fliould
holy water, and next morning
After many
fome one,
probably
mark one of the barrels
demon, much refembling
defcription given by Giraldus, was found ftuck fall to the barrel.

told alfo of Edward
the
the
It
is
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

barrels
ready to be fent away for this appears
up in great
to have been
the ufual
of tranfporting large quantities of money. The faintly king had

the faculty of being able to fee fpiritual beings a fort of fpiritual fecond-
mode
"
Formam quandam viliosam, liispidam, et hirxutam, adeoque

deformem."
Girald. Carnb., Itiner. Camb., lib. i, c. 5.
enoimiter
Lit em f lire
in
and
Art.
fight and he beheld leated on the largell barrel,
63
devil, who was " black
and hideous."
Vit
un deabU
faer defus
Le trejor, mir
An early illuminator, in
et /:idus.
Life
of S. Etlwanl,
manufcnpt preferved
(MS. Trin. Col., B
College, Cambridge
reprefentaiion of this fcene, from which

the demon in cut
tigure
No.
of the goat, and the relationlhip
clallical fatyr
OU.
in the library
of Trinity
x. 2), ha^ left
us
copy his notion
of the form of
The general idea
^^.
I.
is
pitlorial
evidently taken from the
between the
demon and
the
evident.
is very
Uglinefs was an elfential charatleriftic of the demons, and, moreover,

their features have ufually
their occupation.
There
mirthful caft,
as
is a mediaeval ftory
though they greatly enjoyed
of
young monk, who was
facrillan to an abbey, and had the directions of the building
and orna-
The carvers of Hone were making admirable reprefentations

of hell and paradife, in the former of which the demons "feemed to take
mentation.
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
himfelf,
to try and imitate them, and he fet to work to make
with
fuch
fuccefs,
his fiend was fo black and ugly
that
devil
that
nobody could look at it without terror.

Tant qu'un
Si i
de'able a fere empriji
mift fa poine et
Que la forme
Et ft
fu fi
fa
cure,
ojcure
/aide, que cil doutaft

deus oi/z Fe/gardaft.
Slut entre
The facriftan, encouraged

his art was
fudden
by his fuccefs
infpiration
(as he
for
it muft be underrtood
had not
that
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
Hiftory of Caricature and GrotefqUe
64
never feen fo ugly
figure either in fculpture or in painting, or one which
had fo repulfive an appearance,
or
devil which
"
than the one this monk had made for them
81 horribles
fu
et
was
better likenefs
Ji lez,
Sûe trejiou-z eels que le 'ueoient
Seur leur Jerement afermoient

laide figure,
Conques mes
Ji
Ne
en tallle ne en peinture,
Nâ-voient a nul jor -veue,

Sûi
Ji euji
Ne deable
ê
cil
laide -veue,
m'lex contrefet
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

difgraceful
lady of the neighbourhood, and they plotted not only to

together by night, but to rob the monaftery of its treafure, which
amour with
elope
They were difcovered, and

of courfe in the keeping of the facriftan.
caught in their flight, laden with the treafure, and the unfaithful facriftan
was
was thrown into prifon.

to clear him
break
The fiend now appeared to him, and promifed
out of all his trouble on the mere condition that he ihould
his ugly ftatue,
and
make another reprefenting him
as
looking
handfome a bargain to which the facriftan acceded without further

It would thus appear that the demons did not like to be
hefitation.
In this cafe, the fiend immediately took the form and
reprefented ugly.
of the facriftan, while the latter went to his bed as if nothing had
When the other monks found him there next morning, and
happened.
place
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
heard
in Literature and
difappeared
from their fight.
Art.
65
The monks believed that it was all
of the evil one, while the facrirtan, who was not inclined to
deception
time, performed faithfully his part of the

devil who did not look ugly.
In another verfion of
brave his difpleafure a fecond

and made
c"ontra6t,
the llory,
After the third warning, the
however, it ends differently.
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
undoubtedly have been killed.
devoted,
came
to his afliliance,
at his
work, whereby the monk would
But the Virgin, to whom he was much

and,
feizing him with her hand, and
holding him in the air, difappointed the devil of his purpofe.

latter
denouement
which
is
reprefented in the cut No.
No. 36.
celebrated
"
It
is this
'^6,
taken from the
as
" Queen Mary's
Tht Pious ScuJptor.
manufcript in the Britirti Mufeum known
(MS. Keg. 1 B vii.). The two demons employed here prefcnt,

well defined, the air of mirthful jfjllity which was evidently derived trum
Pfalter
the popular hobg(jblins.
There was another popular ftory, which alfo was told under feveral
66
The old Norman
forms.
There was
Peur.
office
Grotefqiie
hiflorians tell it of their duke Richard Sanf-
monk of the abbey of St. Ouen, who alfo held the
of facriftan, but, neglefting the duties of his pofition, entered into
an intrigue with
lady who dwelt in the neighbourhood, and was accui-
His place
tomed at night to leave the abbey fecretly, and repair to her.

him thus to leave the houfe unknown
to the other
as facriftan
enabled
brethren.
On his way, he had to pafs the little river Robec, by means
of
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,
Richard, whofe piety was
as
and the difpute ran
great
as
fo high,
that duke
his courage, was called in to decide
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.
like the other, that of
a man,
and
he
moreover,
furniflied
with
The body of one of

throwing him very unceremonioufly into the river.
the demons here affumes the form of an animal, inftead of taking,
is,
There was one verfion of this ftory, in which

found
its place among the legends of the Virgin Mary, inllead of thofe of duke
The monk, in fpite of his faiUngs, had been
Richard.
conftant
wings.
it
dragon's

it.
in Literature and
worfhipper of the Virgin, and,
Art.
67
he was falling from the bridge into the
as
river, ihe ftepped forward to prote6t him from his perfecutors,

hold of him with her hand, faved him from death.
and taking
One of the compart-
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
ments

No. 38.
The tiends
here
bin.
take
38.
more
The
Dimotii
fantallic
lliapes
than
we have
Dijuj.pointcd.
They remind us already of the infinitely

varied grotefque forms which the painters of the age of the Renaillance
" The Temptation of St.
crowded together in fuch fubj(.-6ts as
Anthony."
previouHy
feen given to them.
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.
\ery rare block-book, entitled the

in
-A
fecond
of the cuts of an early and

Moriendi, or "Art of Joying," or,
may quote, as an example, one
Jrs
title, De Tcntat'umibus
which dying men are expofcd.
Morientium, on tin- tiiuptations
The fcene, of wliich
j)art
is given
to
in
68
the annexed cut
(No. 39),
is
Grotefqiie
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
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
figures
in the label iffuing from his mouth, Provideas
"
amicis,
provide for your
yi Media-val
Yntcnde
thefauro,
" think of
your
Death- be J,
treafure."
The dying man
feems
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,
grievoufly perplexed
remarked, the uglinefs exhibited
uglinefs, which makes
vou laugh inftead
them
popular one, and
had previoufly exifted in the popular mythology

is
already
only partially the explanation of the
by
that
This,, however,
for there can be no doubt that the notion was
it
fa6t
uglinefs of fin.
is
that the charaderiftics intended to be reprefented were the blacknels and
'

friends ;" while the one whofe head appears to the left whifpers to him,
of Ihudder.
and,
as
has been
vulgar, mirthful
Another fcene.
i?i
Literature and Art.
iVom the interefting drawings at the foot
rfalter,"
is
of mediaeval
piftures,
and,
at
the
of the jKigcs in " Queen Mary's
It
69
reprefents
that
time, moft
fame
mort
popular
remarkable
of
The entrance to the infernal regions

was always reprefented pidorially as the mouth of a monllrous animal,
literal interpretations, hell mouth.

where the demons appeared
Here they are feen

leaving and returning.
bringing the linful fouls to their laft deliinaticn, and it cannot be denied

that
they are doing the work right merrily and jovially.
A'l;. 40.
Souls carried to their Place
of
Puni(hment.
No. 41, from the manufcript in the library of Trinity College, Cambridge,
which furnifhed
Condemned
In our cut
former fubje6t, three
demons,
who appear
of'the entrance to the regions below for it
guardians
above
the
monOrous
the diabolical form.
is upon
I'he one in the middle
All three have horns j in fact, the three fpecial

were horns,
the brow
mouth that tliey are ftanding prefent varieties

is the
hoofs
or,
at
leaft,
chara<5teriftics
the feet
of
moft remarkable, for
lie has wings not only on his lliouldcrs, but alfo on his knees
(li-mons
to be the
and heels.
of mediaval
of beafts, and tails,
wliith fufficienily indicate the fource from which tlu; j)()pular notions of
In the cathedral of Treves, there is a mural
thefe beings were derived.
painting by William of Cologne,
painter of the lifleentli- century, which
Hi/lory of Caricature and Grotefque
70
the
reprefents
entrance
to
the
ihades,
the
monftrous
mouth, with its
Our cut No. 42 gives but a

fmall portion of this pi6ture, in which the porter of the regions of punilliment is fitting aftride the fnout of the monftrous mouth, and is founding
keepers,
with
in ftill more grotefque
forms.
trumpet what may be fuppofed to be the call for thofe who are
Another minftrel of the fame ftamp, fpurred, though not

booted, fits aftride the tube of the trumpet, playing on the bagpipes ; and
condemned.
the found which

hoft
the former
inftrument
is
reprefented by
of fmaller imps who are fcattering themfelves about.
It muft not
fcene

iffues from
was
be fuppofed that, in fubjeds like thefe, the drollery
accidental
but, on the
No. 41.
contrary, the
The Guardians
mediaeval
of the
artifts
and
of Hell Mouth.
The demons and

popular writers gave them this chara6ter purpofely.
the executioners the latter of whom were called in Latin tortores, and
" tormentours " were the comic
in popular old Englifli phrafeology the
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
piece.
The love of burlefque and caricature was, indeed, fo deeply-
planted in the popular mind, that
it
the
Literature and Art.
was found neceffary
them even in pious works, in which fuch fcenes

innocents, where the
vulgar language,
"knights"
the treatment
pans ot the fcene of the
as the
and the women
of Chrill
the
at
to introduce
flaughter of the
abufed
each other in
time of His trial, fome
of judgment, were
fcene of
ellentially comic. The laft of thefe fubjefts, efpecially, was
mirth, becaufe
often conlilled throughout of coarfe fatire on the vices
and
the
day
4Z.
The Trumpeter
E-vll.
of
No
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
In the
" Towneley Mylleries,"
of ufurers, bakers, taverners, and others.
or the day of doom, in the
in the
Englifli language, the whole converlation
exadly of that joking kind which we might exjieft
from their countenances in the pictures.
joyful
at
full of dilferent olVences, another, his companion,

this circumftance, that he fays
makes him laugh till he
bag
it
carrying
When one of (hem api)ears

is
among the demons
is
collections of myfteries
of "Judiiium,"
one of the earlitlt
play
is
frauds

it
crucifixion,
lb
out
Hijlory of Caricature and Grotefque
72
of breath, or, in other words, till he
if
is ready to burft
be not among the fins he had colleted,
anger
with fomething to drink

Primus daemon.
Is
oghte
Teaf%e,
I pray
? and
ire in thi hille
then
/ laghe
the, be ft'ille ;
Jalle
thou drynke.
and, while
propofes
that
Towneley
alking
to treat him
kynke.
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,
our porter
at
hell gate
late, that he never
" Souls came
held fo clofe
is ever
of late to hell, that
fo thick now
work, up early and down
at
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 caricature, 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
brought in
as
fecondary
adors in
which an excellent example

manufcript known
as
is
in their
They are often
pidures.
pidure in
very Angular manner,
of
furnifhed by the beautifully illuminated
" Queen Mary's Pfalter," which
is copied
in our cut
certain than that in this inllance the intention

Eve, under the influence of a rather
of the artill was perfeftly ferious.
No.
Nothing
4,3.
is more
Angularly formed ferpent, having the head of

body
is
of
beautiful woman and the
dragon, is plucking the apples and oflfering them to Adam, who
pieparing to eat one, with evident hefitation and reludance.
demons,
downright hobgoblins, appear
who exercife
as
fecondary
an influence upon the principals.
But three
a6tors in the fcene,
One
is
patting Eve on
in Literature and
Art.
73
of approval and encouragement, while a lecond,

with wings, is urging on Adam, and apparently laughing at his apprethe fhoulder, with an air
henfions;
and
third, in
very ludicrous manner, is preventing him trom
drawing back from the trial.
In all the delineations of demons we have yet feen, the ludicrous

chiefly predominates, and in no one inrtance
had
figure which
they
provoke laughter, or
Aô.
create no horror.
that
we
43.
at
have we
The devils are droll but not
really demoniacal.
leall excite
fmile, but
they
ne Fall of Man.
Indeed, they torment their vidims fo good-humouredly,
hardly feel
for them.
There
however, one
well-known
inllance in which the mediaeval arlift has fliown himfelf fully fuccefsful
of the fpirit of evil. On the parapet of the

external gallery of the cathedral church of Notre Dame in Paris, there
man, reprefenting the demon,
Hgure in Hone, of the ordinary ftature of
the features
apparently looking with falisfadion

they
were
everywhere indulging
upon
in
lin
Iketth of this ligure in our cut No. 44.
the
and
'l'li<-"
inhabitarits of the city
as
We give
is
in reprefenting

frightful
is
is,
the fpirit which
is
wickednels.
umnixed evil horrible in
74
Grofefque
its expreffion in this countenance is marvelloully
abfolute Mephiftophiles,
carrying in his features
hateful qualities malice^ pride,
envy in faft,

The Spirit
of
a ftrange
It
is an
mixture of
all the deadly fins combined
in one diabolical whole.
No. 44.
portrayed.
Ewl.
Ai :,
in Literature and
CHAPTER
75
V.
OF ANIMALS
IN MEDIEVAL SATIRE,
POPULARITY OP
FABLES ; ODO
DE CIRINGTON.
KEYNARD
THE FOX.
BURNELLUS
AND FAUVEL.
THE CHARIVARI.
LE MONDE BESTORNE.
ENCAUSTIC
THE GOOSE, AND FEEDING PIGS WITH ROSES.
TILES.
SHOEING
SATIRICAL SIGNS J THE MUSTARD MAKER.
EMPLOYMENT
THE
of
people of the middle ages appear

animals, to have obferved
to have
been great admirers
clofely their various
peculiarities, and to have been fond oi domefticating
chara6ters
and
They foon
them.
began to employ their peculiarities as means of fatirifing and caricaturing
mankind
and among the literature bequeathed to them by the Romans,

no book more
they received
" Fables of
eagerly than the
^fop," and
of fables which were publiihed under the empire.

We find no traces of fables among the original literature of the German
the other colle6tions
race
but the
fooner became
began
tribes
who took polTelhon
acquainted with
of the Roman
of the ancients,
the fables
men were multiplied
no
than they
animals a6ted the part of
them, and (lories in which
to imitate
provinces
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
the
{de
Reynard for the fox, Ifengrin

like.
Thus the fubje6l of one of them
IJiTi^Ttno monacho).
monk.
for the wolf, Teburg for the cat, and
"Once,"
is
we are told,
"
Ifengrin
made
" Ifengrin dcfired
Monk
to be
"
a
By dint of fervent fupplications, he obtained the confent of the
Hiftory of Caricature and Grotefcjue
76
chapter, and received
tonfure, the cowl, and the other infignia of
At length they put him
monachifm.
'
the
Paternofter,' but he always
to fchool, and he was to learn the

' lamb '
{agnus) or 'ram' {arics).
replied,
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.
the conduft of many of the monks, whofe only cry
that
good wine, and who have their
their platter
is
is,
"Such
eyes always fixed on fat
is
'aries,'
flelli and
whence the faying in Englilh
They thou the -vulf hore

hod to frefte^
conj'ecrati to a priefi,
they thou him to jkole jette
thoufgh thou put him to fchool
Though thou the hoary
Pfalms,
to learn
jalmes to /erne,
ivolf
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
entitled
beetle, flying through
" Of
the
the
Beetle
land, palled
trees, through orchards and among rcfes
and lilies, in the moft lovely places, and at length threw himfelf upon
"A
among moft beautiful blooming
dunghill among the dung of horfes, and found there his wife, who alked
'I
earth and through
have feen the flowers
hill."
have feen no place fo pleafant
The application
is
rofes, but
And the beetle faid,
it
him whence he came.
as
have flown all round the
of almonds, and lilies, and
this,' pointing to the
that, " Thus
dung-
equally droll with the former and equally un-
vomplimentary to the religious part of the community.
Odo de Cirington
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
pleafant and agreeable
as
ftrumpet, or the tavern, or
appears
many
ells us
fo
finging
literature^ and
but
is
flinking dunghill and congregation of finners."

Popular fculpture and painting were but the tranllation of popular
party, though
it

(faabo) and his Wife."
is
Another of thefe fables
Englifh people.
nothing was more
common to reprefent^ in pictures and
carvings, than individual men under the forms
fimilar
limilar
or
charatfters
yj
Art.
in Literature and
of the animals who difplayed
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,

they introduced
injurtice,
wolves, and iheep, and bears,

the
inflead of (ingle examples of fraud or
and,
of characters,
variety
with birds alfo,
not only foxes, but
as the
eagle, the cock, and
crow, and mixed them up together in long narratives, which thus
formed general
on the vices of contemporary fociety.
fatires
manner originated the celebrated romance
In this
Reynard the Fox," which
of "
in various forms, from the twelfth century to the eighteenth, has enjoyed
a
The plot of
popularity which was granted probably to no other book.
this
remarkable fatire
turns
chiefly on the long flruggle
of Ifengrin the Wolf, poflefled only with
brute force
intelligence, which
is
ealily deceived
the powerful feudal baron
and
under which
the craftinefs
between the
finall amount of
chara6ter is prefented
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.
is
fwayed by
conftant
impuUe to
and vidimife
deceive
Reynard
everybody,
whether /riends
or enemies,
but efpecially his uncle Ifengrin.
fomewhat
relationfliip
between
the
ariftocracy.
Reynard
the clerical order
under the difguife of

prelate
of the
ihe
end
wife, who
is
church.
and
at
different
prieft,
of
times he
is
monk, of
Ihough frequently
was
baronial
intended for
ading
pilgrim, or even of a
reprefented
reduced
to
the
as
greateft
power of Ifengrin, Reynard has generally the better of
llraits by the
in
ecclefiallical
educated in the fchools, and
was
and
the
It
he
robs
and
defrauds
Ifengrin
continually,
outrages
it
his
half in alliance with him, and draws him into all forts of
for which
the
hitter never fucceeds
in obtaining
dangers
and furterings,
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
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
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
was received
Hamplliire, for the drawing of which I am

indebted to my friend, Mr. Llewellynn
It
Jewitt.
preaching
him,
behind, or rather perhaps belide
diminutive
in modern
cock ftands iipon
llool
we fhould be inclined
times
was
to fay he
Reynard m the pulpit
reprefents
a6ling
clerk.
as
Reynard's
coftume confills merely of the eccleiiatlical

Such fubje6ts are frequently
hood or cowl.
found on the carved feats, or mifereres,
in
of the old cathedrals and collegiate

churches. The painted glafs of the great
the ftalls
window of the north crofs-aille of St. Martin's
the
Pulpit.
the laft century, reprefented the fox, in the

chara6ler
of an ecclefiaflic, preaching to
Tefiis
Deiis, qiiam
witnefs, how
omnes
you all in my bowels),
v'lfceribus
parody
meis
on
(God
the
is
vos
dehre
cupiam
eft
congregation of geefe, and addreffing them in the words
words of the
mihi
Fox
The
in
Ao. 45.
New
taken from one of the mifereres in the

Our cut No. 46
Two foxes are reprefented
church of St. Mary, at Beverley, in Yorklhire.
ni the difguife of eccleliallics, each furnillied with
paftoral ftaff, and
*'
enj^ravinc^
or perfonage
pilgrimage of penance.
plate 43.
in character,
given
of
But their
fomewhat doubtful by the gee(e concealed
of thi scene, modernised
Leicestershire," vol.
prelate
is
An
rendered
i.
fnicerity
is
rank perhaps they are undertaking
they appear to be receiving inftru6tions from
is
Teflament.*

church in Leicefter, which was deftroyed in
in their
in Nichols's
i?!
Literature and Art.
In
enters
monaltery and becomes
of the incidents of the romance
one
hoods.
79
No. 46.
King Noble, the hon.
of Reynard, the hero

monk, in order to efcape the wrath of
Ecclcfiajikal
Hincerily.
For fome time he made an outward Ihow of
fandity and felf-privation, but unknown to his brethren he fecretly helped
four fat capons

to
neighbour
meffenger who brought

as
the
prefent from
longing lips,
lay
That night,
abbot.
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

the
three
others
on
his
fecretly from the abbey,

away
his
monaftic
home with his prey.
it,
back,
and,
garment,
trufTed
efcaped
throwing
hurried
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
rep#efent this incident, or, at leafl,

himfelf freely to the good things of the

One day he obferved, with
monaftery.
ô- 47-
fimilar one.
AV)',.i,.y
lum^j Mof,i.
Our next cut, No. 48,
8o
is
taken from
equally falfe,
Grotefque
ftall in the church of Bofton, in Lincolnfiiire.
is feated
in his chair, with
prelate,
mitre on his head, and the
His flock are reprefented by
paftoral ftalF in his right hand.

hens, the former
A
a
cock and
of which he holds fecurely with his right hand, while
he appears to be preaching to them.
Another mediaeval fculpture has furnifhed events for
rather curious
of our fubjed.
Odo de Cirington, the fabulift, tells us how, one day, the wolf died, and
hiftory,
at the fame
time that it
is a good
illuftration
the lion called the animals together to celebrate his exequies.

carried the holy water, hedgehogs
Aô,
bells, the moles dug the
48.
The hare
bore the candles, the goats rang
the
I'he Prelate and his Flock.
grave, the foxes carried the corpfe on the
Berengarius, the bear, celebrated
bier.
mafs, the ox read the gofpel, and the
When the mafs was concluded, and Ifengrin buried, the

animals made a Iptendid feaft out of his goods, and wifhed for fuch
Our fatirical ecclefiaftic makes an application of this
another funeral.
afs
the epillle.
ftory which tells little to the credit of the monks of his time.
frequently happens," he lays,
or
" that when
ufurer, dies, the abbot or prior of
"
So it
fome rich man, an extortionift
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
/;:
Auguftinians)
there
Literature and Art.
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
in
fcene clofely refembling that here defcribed by Odo, differing only
of the
diftribution
the
chara6lers,
was
tranflated from fome fuch
written ftory into the pidorial language of the ancient fculptured ornamentation of Stralburg
Cathedral, where it formed, apparently, two fides of
the capital or entablature
of
The deceafed in
column near the chancel.
this picture appears to be a fox, which was probably the animal intended
to be reprefented in the original, although, in the copy

looks more like
The bier
fquirrel.
No. 49.
while
little dog underneath
Immediately
holy-water
Funeral of the Fojf.
taking liberties with the tail )f tlie latter.
The Latin
crofs, and the
the
fubje<5t, and is
text of tliis and
wilhbe found in my
"
Selection
of
ta^>er,
preceded
bear, who holds in one hand
vetiel and in the other the afperfoir.
firfl divifion of the
is
carried by the goat and the boar.
before the bier, the hare carries the lighted
by the wolf, who carries

the
The
is
of it preferved, it
This forms the
reprefented in our cut No. 49.
some others of tlie fables
Latin Stories,"
G
of Odo
In the
de Cirington
pp. 50-52, 55-58, and 80.
Htftory
82
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,
of the more diftinguifhed of them, John Fifchart, had it copied

and engraved on wood, and publiilied it about the year 1580, with fome
and one
of his own, in which it was interpreted
as a
fatire upon the papacy.
was compelled
to make
Strafburg, that the Lutheran
bookfeller who had ventured to publifli
it,
This publication gave fuch dire offence to the ecclefiaftical authorities of

public apology in the church, and the wood-
engraving and all the impreflions were feized and burnt by the common
is
it
few years later, however, in 1608, another engraving was

made, and publifhed in
from
large folio with Fifchart's verfes; and
hangman.
of this fecond edition given in F16gers"Gefchichte

Literatur" that our cuts are taken.
des Komifches
The orisfinal
Its publication and explanation by
^culpture was ftill more unfortunate.
the diminilhed
copy
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

verfes
the ecclefiaftical authorities
with diffatisfadion
until the year 1685,
Art.
in Literature and
when,
take
to
all further
away
of fcandal, it was entirely
ground
defaced.
Reynard's mediaeval celebrity dates certainly from
Montflaucon
has given an alphabet
chiefly of figures
afcribes to the
hind
of men and animals, from
ninth century, among which

and carrying
legs,
fufpended at the ends of
crofs
rather early period.
of ornamental initial letters, formed
copied in our cut No. 51, reprefenting

upon his
two
ftafF.
manufcript
which
he
one
is the
fox walking
fmall
cocks,
It
hardly
is
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
of the lion.
fable in which the fox figures at the court
The fame fable
by
is repeated
monkifh
No.
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

his autobiography
explanation
{de
of which
Si. TJie Fox

Provided.
11
24, and who has left us
Vita fua), relates an anecdote in that work, in

he
tells us that
defignated by the name of Ifengrin
the
and
wolf was
in the
then popularly
fables
of Odo,
as
we
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
liave already feen, this name is commonly given to the
by thefe names, but it does not prove that what we know as the romance
of Reynard exifted.
of thefe
Jacob Grimm argued from the derivation and forms
names, that the fables
themfelves, and the romance, originated
with the Teutonic peoples, and were indigenous to them

appear to me to be more fpecious
the opinion
native
than conclufive, and
but his reafons
certainly lean to
of my friend Paulin Paris, that the romance of Reynard was
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
" Lcs Avenabridgment o\ the Frcntli roiiiaiitc, publisiicd in 1861, under tiie title
84
perhaps poems.
Its charader
is
Grotefque
altogether feudal, and it
is
itrictiy
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

from
about the middle of the
twelfth
century.
fuppofed to date
is
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

Englifli verfion of the ftory.
popular
in England
profe
if poffible,
From that time it became,
than elfewhere, and
his
more
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

fevere fatire in elegiac verfe, under the title
" Mirror of
Fools."
animal, the
afs,
It
us
that its hero
tive of the monks in general, who were always
is
fimple
paffes among the

is the
reprefenta-
longing for fome new
acquifition which was inconfiftent with their profeffion.

ambition
of fociety, and notes their crimes and vices.
introdudion to this poem informs
is abforbed
Stultorum, the
wife animal hke the fox, but
who, under the name of Brunellus,
various ranks and claffes

profe
is not
of Speculum
a very
In fad, Brunellus
with the notion that his tail was too fhort, and his great
For this purpofe he confults a phylician,
to get it lengthened.
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
in the courfe of which he lofes
adventures,
ingredients.
a
After various
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

the origin
Groningue,
of
the
1863.
Romance,
see
son compere."
the learned
and
On the debated question of

work by Jonckbloet, 8vo.,
able
Art.
in Literature a?id
and obtain knowledge
and we are treated with
85
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
confifts
of
The greater part of the poem

very bitter latire on the corruptions of the raonkifh orders
and of the Church
palTes
in review.
While ftill hefitating which order to

choofe, Brunellus falls into the hands of his old mafter, from whom he
in general.
had run away in order

to pafs the
compelled
to feek his
reft
in the world,
fortune
more dire6t imitation of
French romance
but
horfe.
of"
he
is
of his days in the fame humble and fervile
condition in which he had begun them.
and
" Reynard
Fox
the
Fauvel," the hero of which
is
"
is
found in the early
neither
fox nor an
afs,
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
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
and it was called
is faid
to have
charivari.
been
There
is
country in the mufic of marrow-bones
praftifed efpecially in France,
ftill
and
a laft
remnant of it in our
cleavers,
with
which
the
of butchers are popularly celebrated ; but the derivation of the

French name appears not to be known.
It occurs in old Latin documents,
marriages
for it gave rife to fuch fcandalous
fcenes
of riot and licentiousnefs, that
the Church did all it could, though in vain, to fupprefs
of this cuftom, furniftied in the
it.
The earlieft
GlaJJurium of Ducange, is
contained in the fynodal ftatutes of the church of Avignon, palfed in the
mention
86
year
1337,
from which
Grotefque
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
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
Ckalvaricum.
It
appears from
this ftatute, that the individuals who performed the charivari accompanied
the happy couple to

refidence,
the church, and
returned with
with coarfe and indecent geftures
No. 52.
A MeditS'ual
and
them
to
their
difcordant mulic, and
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
Charavallium ; and it
prattice
is
forbidden,
under the name of
document of the year 1372, alfo

quoted by Ducange, under that of Carivarium, as then exifting at Nimes.
is
mentioned in
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
Chanvariuvi
on account of the
It will
them."*
Art,
many and
grave
87
evils
arifnig out of
be oblerved that thefe early allufions to the
are found almoft folely in documents coming from the
Roman
charivari
towns in
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
in 1632) the pradice of the charivari
(that
is,
the fouth
foule noife made,
as
"a
Continuation
blacke fantus
as
well
as
its
public defamation, or traducing of
for he defcribes
general in its exiftence,
of
more
it
become
No. 53,
the
Chari-vari.
rung, to the fliame and difgrace
of
hence an infamous (or infaming) ballad fung, by an armed

troupe, under the window of an old dotard, married the day before unto
yong wanton, in mockerie of them both."
"
And, again,
another

application
have
to
appears
charivaris
de
Insultationes, clamores, sonos, et alios tumultus, In sccunclls et tertiis quoruadam nuptiis, quos charivarium vulgo appellant, propter niulta ct fjiavia inconimoda, prohibcmus sub poena cxcommunicationis." Ducangc, v. Chari-varium.
88
poelles is explained as
"
Grote/que
the carting of an infamous perfon, graced with
the harmonie of tinging kettles and frying-pan muficke."*

now generally ufed in the fenfe of
produced often
by
number
As
tumult of difcordant mufic.
a great
of perfons
different inftruments at the fame time.

have ftated above, the manufcript
The word i.
different
playing
tunes
on
"
of the romance of " Fauvel
A copy of this illumination is

in the Imperial Library in Paris.
"
Mufee de la Caricature," from which our cuts
engraved in Jaime's
is
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
the compartment below, which
the flreet outfide, and
and this
is
continued
is
mock
have
been
It will
drelTed
is
frame-work
^2-
or
loweft,
Down each
of windows,
compartment, which
fide
from
of the original
which
out upon
people, who
the tumult.
that all the performers wear malks, and that they are
in burlefque coflume.
ecclefiaftical
the charivari;
revellers performing
difturbed by the noife, are looking
be feen
The fcene in
already in bed.
copied in our cut No. 52, reprefents
in the third,
illumination

the
is
is
fynods
as
to
the
In confirmation of
of thefe
licentioufnefs
of the performers here difguifed as

drefs to expofe his perfon while dancing.
fee one
the ftatement
exhibitions,
as
as
we
woman, who lifts up his
The
mufical
are no lefs grotefque than the coflumes, for they confifl chiefly
utenfils, fuch
of the
inftruments
of kitchen
frying-pans, mortars, faucepans, and the like.
There was another feries of fubjeds in which animals were introduced

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 alual pofition, he ufes towards them.
This change
and Anglo-Norman, le
of relative pofition was called in old French

" the world
monde leflorne, which was equivalent to the Englifli phrafe,
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
During the year 1862,

of accidental exc.nations on the fite of the Friary, al
in piftorial reprelentation at
in the
courfe
Derby,
number
rather early date.
of encaiiftic tiles, fuch
as
were ufed for the
tloors
iVc. 54.
Jht
Tables Turned.
ornamentations, extremely varied, and even thefe tiles fome-
times prefent
fubje6fc>
of
mediaeval
burlefcjue
are more frequently adorned with
and fatirical character,
the arms and badges
though they
of benefadors to
The tiles found on the iite of the priory at

Derby are believed to be of the thirteenth century, and one pattern,
fubjeft
given in our cut No. 54, prefents
diminifhed copy of which
Mr. Llewtilynn Jewitt,
in his excellent
is
the church or convent.

is,
of the interiors of churches and large buildings, were found.* The

like all
ornamentation of thefe tiles, efpecially of the earlier ones,
publication, the Relijujry, for Oitober,

tiles iound on tiiis occasion^
18^, has {{ivcn an interesting paper on the encaustic

and on the conventual house to which they belonged.
90
Grotefque
The hare, mailer of his old enemy, the

taken from the monde leftorne.
dog, has become hunter himfelf, and feated upon the dog's back he rides
vigoroufly
chace, blowing
to the
his horn as he goes.
fpiritedly executed, and its fatirical intention

and mirthful face, with the
It will
corner of the tile.
is
The defign
is
fhown by the monftrous
tongue lolling out, figured on the outer
be feen that four
of thefe tiles are intended to
together to make the complete piece. In an illumination

manufcript of the fourteenth century in the Britilh Mufeum
be joined
in
the hares are taking a
^- 55-
numerous
murders,
J"ft''ce in
the Hands
of the
ftill ii-.ore fevere vengeance
Perfecuted.
The dog has been caught, brought to trial for his
on their old enemy.
and
condemned,
and
they are reprefented
here
in Sherborne Minfter
"
is
Our
(cut No. 55) condufting him in the criminal's cart to the gallows.
cut No. ^6, the fubjeft of which is furniflied by one of the carved ftalls
(it
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
attend the execution, appear
on

(MS. Reg. lo E iv.),
gallows, while two monks, who
to be amufed at the energetic manner in
in Literature and
which
the
geefe
perform their talk.
lubje6ts belonging to this feries, one
manufcript
Art.
91
Mr. Jewitt mentions two other
of them taken from an illuminated
they are, the moufe chafing the cat, and the horfe driving
No. 56.
Reynard brought
to Account
Laji.
at
the cart the former human carter in this cafe taking
the place
of the

horfe between the lliafts.
"The World
turned
upfide
continued amongft us to be
within
London
with
very few years, and
or,
Folly of Man,"
the
In
roalVmg,
the
next,
while
tournament,
rabbit
have now a copy before me
the
is feen
a
turning
the fpit
horfes
are
on which
In
ladle and baftes.

armed and
Another reprefents the ox killing the butcher.
ride
wôodcuts,
"The Ox
a
man is
third, we fee
upon the
men.
In others we have birds
netting men and women j the als, turned miller, employing

miller to carry his facks
printed in
two men drawing the plough, driven by an
cock holds
in which
has
popular chap-book and child's book till
It confifts of a feries of rude

about the year 1790.
few doggrel verfes under each.
One of thefe, entitled
turned Farmer," reprefents

ox.
down
the man-
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
which
might
almoft give her
down," although it
is a

" The World
in
turned upfide
mere burlefque, without any apparent fatirical
^0. 57.
Shoeing the Goofe.
The goofe has here taken the place of the horfe at the blackfmith's,
aim.
who
place
Grotefque
is
vigoroufly nailing the fhoe on her webbed foot.
Burlefque
fubjefts of this defcription are not uncommon,
efpecially
among architeftural fculpture and

wood-carving,
later period,
objeas.
was
fo
had
an
and,
on
all
at
rather
ornamental
The field for fuch fubjeds

extenfive, that the artifl
almoft unlimited
choice,
and therefore his fubje6ts might be
No. 58.
proverbs,
for
almoft infinitely varied, though we

^^"^^^^ ^""^ them runnmg on par-
Food for S-wine.
inftance, furnifhed
ticular
a
claflês.
The old popular
fruitful fource for drollery, and are at
times delineated in an amufingly literal or praftical manner.
Pi6torial
in Literature and
93
layings are Ibmetimes met with on the carved
and popular
proverbs
Art.
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
niifereres.
pearls to fwine, and has given it
form, by introducing
intelligible
much more pifturefque and pi6lorially

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

at
other objeds, fuch
as the figns
Nc.
over the doors
abundantly
Pompeii
univerfal, and
all mediaeval
of houfes.
The
59,
in
the
by
their
middle
InduJ}rkui Soiv.
as contrary to
frequent
ages,
to
The cullom of placing ligns
of fhops and taverns, was well known to the ancients,
manifefted
but
thefe fcattered over
fomewhat later period they were transferred
works of art, and
as
occurrence
the ufe of figns
the apparent pra6tice
in the
and
in
as is
ruins of
badges
was
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
himfelf.
the houfeholder
Some people took animals for their figns,
or'ûriefque figures
and, in fa6t, there were hardly any
others
o*"
had
placed
monllrous
the fubjetls
of
Hijiory of Caricature and Grotefqut
94
caricature or burlefque familiar
to the mediaeval fculptor and illuminator
did not from time to time appear on thefe popular figns.
which
efpecially in the quaint old towns of
of the old figns ftill preferved,

France,
Germany,
few
fhow
and the Netherlands,
how frequently they
us
were made the inftruments of popular fatire.
not uncommon
fign
Truie qui
France was
in
an eld
fign,
fixteenth
Our cut
Jile (the fow fpinning).
No. 59 reprefents this fubjeft

a
as treated
Rue
houfe in the
The fow
du March e-aux-Poirees, in Rouen.

appears here in the charafter
on
of the
carving in baf-relief
century, on
La
of the induftrious
herfelf in fpinning at
houfewife, employing
the fame time that fhe

wants of her children.
is
attending to the
There is
fatirical fign at Beauvais, on
Angularly
houfe which
was formerly occupied by an epicier-moutardier,
or grocer who made muftard, in the Rue du
In front of
Chatel.
this fign,
which
is
repre-
No. 60, appears a large

mufl:ard-mill, on one fide of which ftands

fented in our cut
Folly with
No. 60.
with
yldul(eration.
fort of fardonic
fhe
grin,
conjedtured by his pofl.ure.*

adopted this ftrange device,
is
a fl:afF
fiiiring
throws
The
is carved
in
in her hand, with which

muflard, while an
the
a
feafoning, which
trade-mark
ape
may bj
of the individual wh*
below.
See an interesting little book on this subject by M. Ed. de la Queriere,

*'
Recherches sur les Enseignes des Maisons Particulieres," 8vo., Rouen,
entitled
which both the above examples are taken.
from
1852,
Art,
in Literature and
95
CHArTER VJ.
TOURNAMENTS
AND
THE MONKKY IN' BURLESftUE AND CARICATURE.
MONSTROUS COMBINATIONS OF ANIMAL FORMS.
SINGLE COMBATS.
THE HAT.
THE HELMET. LADIES*
COSTUME.
ON
CARICATURES
THE GOWN, AND ITS LONG SLEEVES.
HEAD-DRESSES.
fox,
the
THE
inflruments
wolf, and
their
companions,
were
introduced
as
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
it were, natural parodies upon mankind.
to imitate
need hardly fay that
the principal and moll remarkable was the monkey.

have been known
for they had

is a
to our
they formed,
as
of thefe
This animal muft
Anglo-Saxon forefathers from
word for it in their own language apa, our
remote period,
ape.
Monkey
more modern name, and feems to be equivalent with mamken, or
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
that
"
the
monkey, by imitation,
and mocks people
:"
Li fm/re
Ceo que
p. 107.
Sec my
as books fay,
par fgure,ft
il
cum
-vail contrefait,
"Popular Treatises
counterfeits what
it
us
fees,
ait efcripturcy
de gent
efcar
on Science written
Aait,*
during tlic Middle
AgeV'
Hi/lory of Caricature
q6
and Grotefque
proof of the extraordinary inftinft of this
He goes on to inform us,
as a
animal, that it has more
affedion for fome of its cubs than for others,
our cut No. 61, reprefents
the monkey, carry-
mounted
horfeback
on
donkey.
not
appears
to
is
it
in
taking that
A
have
monkey
been
fliall fee in the fequel.

Neckam,
Alexander
very celebrated
novelty,
y^ Monkey
as we
61.
on
more,
flight
is
its flight, and what
it
ing, of courfe, its favourite child before
No.
it,
The Iketch from the illuminated

manufcript of the Romance of the Comte
d' Artois, of the fifteenth century, which forms
difliked behind its back.
and thofe
it
and that, when running away, it carried thofe which it hked before
Englilh fcholar of the latter part of the

twelfth century, and one of the mofl interefting of the early mediaeval
appearance
common
forefathers
pra6tice
were
was
to
which iTiow
to
us
domeflicated
keep
them
in
The baronial caftle appears often to have prefented the

of
menagerie of animals, among which fome were of that
flrong and ferocious charafter that rendered
while others,
clofe confinement,
fuch
of Neckam's
as
neceflTary
to keep them in
monkeys, roamed about the
One
our fubje6t, for
fhows that the people in thofe
ftories
is
buildings at will.
it
very curious in regard
to
days exercifed their
tamed animals in pra6tically caricaturing contemporary weaknefles and
This writer remarks that " the nature of the ape

fo ready at
has
a6ting, by ridiculous gefticulations, the reprefentations of things
feen, and thus gratifying the vain curiofity of worldly men* in public
exhibitions,
that
will
even
dare
to imitate
it
is
falhions.
it
military
conflift.
jongleur (hi/irio) was in the habit of conftantly taking two monkeys to

the military exercifes which
labour of teaching might
are commonly called tournaments, that the

be
diminillied
afterwards taught two dogs to carry thefe

furnifhed with proper
arms.
by

how
and
their houfes.
our mediaeval
attached
anecdotes,
gives us many
it
animals,
hillory,
it
much
natural
how
on
writers
frequent infpeftion.
He
apes, who fat on their backs,
Nor did they want fours, with which they
in Literature and
Art.
97
Having broken their lances, they drew
ftrenuoufly urged on the dogs.

out their fwords, with which
they Ipent many blows on each other's
Who at this fight could refrain from laughter?"*

Such contemporary caricatures of the mediaeval tournament, which
fhields.
falhion during the period from the twelfth
was in its greatert
to
the
fourteenth century, appear to have been extremely popular, and are not
unfrequently
The
fourteenth
fo
well
known
contains not
centur}',
which
the
monkeys
dogs.
the
unlike
are
that
is
the
by Alexander
individuals
completed
other;
playing on the pipe
illuminated
by
and
defcription of minftrelfy,
or,
the
Pfalter
Mary's
very
early
in
"
the
tournament
Tournament .
other
here riding upon
one fide, and of minftrelfy,

tabor, on
"Queen
as
manufcripts.
few illuftrations of this defcription.
defcribed
In fa6t, all the

parody
and
illuminated
forms our cut No. 62, reprefents
No, 62.
not much
of
borders
the
B vii.), and written
One of thefe,
Neckam, except
here engaged
of
introduftion
reprefented by
perhaps,
the
and
monkeys,
are
the
monkey
two
not
that
upon
monkeys, and
trumpeter
on
playing on the
monkeys
are
fimply
tabor, which were looked upon as the loweft

and
are therefore the
more
aptly introduced
into the fccne.
The fame manufcript
has furnifhed
us
with the cut No.
Alfxander Neckam, Dc Naturis Rcrum, lib.
ii.

now
manufcript
(MS. Reg.
in
reprefented
c up
6^.
Here
98
the combat takes place between

the claws of
Grotefque
monkey and
flag, the latter having
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
griffin.
lion's body, with the hind parts of

intended
as
This fubjeft may, perhaps, be

burlefque on the mediaeval romances, filled with combats
between the Chriflians
a bear.
and the Saracens

moralifations which accompany the Bejtiaries,
No. 63.
is here armed with what

ihield of
Saracen,
Feat
for the ape who, in the

is faid to
reprefent the devil
of Armi.
are evidently
intended
for the fabre and
while the flag carries the fliield and lance of
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.
in the accompanying cut
The combatants
manufcript, prefent
they again feem
figure to the
feet
of
and
goofe
;
monftrous, wields
as
well
to be intended for a Saracen
right, which
Saracenic fabre
navel
(No. 64), taken from the fame

fort of combination of the rider and the animal, and
as
is
and
compofed of the body of
the wings
of
dragon,
is
while that to the left, which

a
Norman fword.
above, which was
armed
is
on
The
Chriftian.
a
fiityr, with the

with
fimilar
the whole
lefs
Both have human faces below the

favourite idea in the grotefque of the
Art.
in Literature and
99
Our mediaeval forefathers appear to have had a decided

tafte for monflrolities of every defcription, and efpecially for mixtures of
middle ages.
No. 64.
Terrible
Combat.
There
dilfcrent kinds of animals, and of animals and men.

to
judge
by
Cambrenfis,
anecdotes
the
that
recorded
In
this writer tells
us
Giraldus
his
were half ox and half man, half flag and
It
half cow, and half dog and half monkey.*

certain
as
of animals
that there
was
general
animals, and nobody could be more
belief
in
is
fuch
credulous than
Giraldus himfelf.
in
the
other
fubje6ts
to caricature, which is tolerably evident
dill more apparent in

that adorn the borders of the
juft given,
eroteffiues
mediiLval
manufcripts,
mediaeval
carvings
Xo.
6^,
as
is
well
and fculpture.
as
in fome
taken from one of the borders
See Girald. Cambr., Topog. Hibcrniae,

of Wales, lib. ii. c 11.
C^
of the
Thus, in our cut

in
the
dist.
i*-^^.
^'
^".e^. F^pjionable DreJ>.
Romance
cc. 21, 22
Tile dcfign
ii.

which
no doubt,
belief in the exiftence of fuch
unnatural creatures was widely entertained.

account of Ireland,
writers
fuch
by
is
of
the
Cornte
and the Itinerary
Hijiory of Caricature aijd
ioo
d'Artois,
we cannot fail
century,
of the fifteenth
manufcript
Grotefque
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
manufcripts
century, and which appears frequently in illuminated
executed in Burgundy
The latter reappeared

developed
at
different times,
into the modern top-boots.
No. 66.

fl;ill
more
exaggerated,
until at length
In cut No.
it
period.
became
66, from the fame
Heads and Hats.
manufcript, where it forms the letter

hat,
to the fame
and the boot alfo belongs
and
T, we
combined
have
the fame form of
the fame
at
with
time
grotefque faces.
Caricatures
on coftume are
by no
means
uncommon
among the
artillic remains of the middle ages, and are not confined to illuminated
The fafliionable dreffes of thofe days went into far more

ridiculous exceffes of fliape than anything we fee in our times at leafl:,
manufcripts.
fo far
as
we can believe the drawings in the manufcripts
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,
Confcious of this,
and their outlines are much inferior to their finifli.
though perhaps unknowingly,
which
has always
aimed
at
been
they fought to remedy the defeft in
adopted
in the early ftages
making themfelves underftood by giving
fpirit
of art-progrefs they
fpecial prominence to
in Literature and
the peculiar charaderiltics
were
the
points which
Art.
ioi
of the objedts they wilhed to reprefent. Thcle

naturally attracted people's firll attention, and
the relemblance was felt molt by people in general
when thefe points
The drelfes,
were put forward in excellive prominence in the pifture.

in the exaft forms in which we
perhaps, hardly exilled
or at leaft thofe were only exceptions to
illuminations^
more
moderate forms
hence, in ufing
and
thefe
materials for the hiftorj' of coftume, we ought to make
them in the
f(ê
the
generally
pitorial records
a
as
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
of what was confidered its high development. Many of

the attempts which have been made of late years to introduce ancient
lerious
art, and
cortume
on
the
ftage, would
probably be regarded
by the
lived in the age which they were intended to reprefent,

to turn them into ridicule.
Neverthelefs,
efpecially from the twelfth

degree
of extravagance,
people who
as a mere
the fafhions
in drefs were,
century to the fixteenth, carried to
and
were not
defign
a great
only the obje6ts of fatire
and
caricature, but drew forth the indignant declamations of the Church, and
furnilhed
continuous
theme
to
the
preachers.
The contemporary
chronicles abound with bitter reflexions on the extravagance
of the outward
in coftume,
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
which was confidered
as one
figns
of Chaucer will remember the manner in which this fubje6t is

" Parfon's Tale." In this refpe6t the fatirilts of the
treated in the
readers
Church went hand in hand with the pictorial caricaturifts of the illuminated
manufcripts, and of the fculptures with which we fomelimcs meet
in contemporary
of caricature
architettural
is perhaps
ornamentation.
In the latter,
this clafs
lels frequent, but it is fometimes very exprellive.
The very curious mifcnrcs in the church of Ludlow, in Shroplhire, prefent

It rcprefcnts an ugly,
the caricature reproduced in our cut No. 67.
and, to judge by the exprcHion of the countenance, an ill-ti-mpered old
woman,
fifteenth
wearing the failiionable

century, which
feems
head-drefs of the earlier half of the

to
have
been
carried
to
its
grcatell
02
Grotefque
extravagance in the beginning of the reign of Henry
of coiffure known efpecially

carries
with it
as
VI.
It
is
the flyle
the horned head-drefs, and the very name
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

ing to
new Gorgon,
is
attempt-
himfelf with his buckler,
cover
while the other, apprehending danger of

another kind, is prepared to defend himfelf with his fword.
The details of the
head-drefs in this figure are interefling

for the liiflory of coftume.
Our next cut. No. 68,

a
manufcript in private pofTeflion, which
is
now rather well known
quaries
by the
teenth century.
Man of War.
fatire on the
amonsf
name of the
Pfalter," and which belongs
No. 68.
taken from
is
It
feems
anti-
" Luttrell
to the fourto
involve
ariflocratic order of fociety
on the knight who was diflinguifhed

by his helmet, his fhield, and his armour. The individual here reprefented prefenrs a type which is anything but ariffocratic. While he holds
10"^
helmet in his hand to Ihow the meaning of the fatire, his own hehiiet,
of the kitchen, or perhaps
fimply
He may be
bellows.
is
which he wears on his head,
i?i
Literature arid Art.
knight
mere qu'iftron, or kitchen lad.
caricature of one of the ladies' heaid-dreffes of the

We have juft feen
earlier half of the fifteenth century, and our cut No. 69, from an illuminated
manufcript in the Britifh Mufeum of the latter half of
caricature of
head-drefs of
with
(MS. Harl., No. 4379), furniflics

a
us
the fame century
different
charater, which came into falhion in the reign
adopted in its place
rolling
head-drefs,
laid afide, and
entirely
a
ladies
been
or rather of the form of
fpire, made by
of linen into the form of
piece
Over this lofty cap was thrown
the
fort of fteeple-fhaped
piece
generation had
horned head-drefs of the previous
IV. The
Edward
of our
long cone.
of fine lawn or
formed,
as
it
muflin, which defcended almolt to the ground, and
were, two wings.
fhort iranfparent
veil was thrown over the face, and reached not quite
for
it
Norman peafantry
The
among cur ladies of the prefent day (1864).
whole head-drefs, indeed, has been preferved by the
may be obferved that,
A Lad/i
No. 69.
Head-drefs.
during the feudal ages, the falliions in France and
Thefe fteeple head-dreffes greatly pro-
England were always identical.
voked the indignation of the clergy, and zealous preachers attacked them
roughly in
their fermons.
French monk, named Thomas
himfelf efpecially in this
diftinguilhed
the head-drefs with fuch
crufade,
and
Conede,
inveighed againll
effeft, that we are aflured that many of the
women threw down their head-drefles in the middle of the fermon, and
extended itfelf to the populace, and, for
while, when ladies appeared in

to be pelted
difaj)peared
was no longer prefent,
it
the preacher
double perfecution
it
Under fuch
this head-drefs in public, they were expofed
for
by
The zeal of the preacher foon
at its
bonfire of them
conclufion.
made

to the chin, refembling rather clofely the veils in ufe
the rabble.
moment, but when
returned again, and, to ufr the
I04
Grotefque
" the
words of the old writer who has preferved this anecdote,

who, hke fnails in
as
foon
as the
women
fright, had drawn in their horns, fliot them out again
The caricaturift would hardly overlook

falhion, and accordingly the manufcript in the Britilh
danger was over."
fo extravagant a
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
drefs in
copy
their fit reprefentative
fow, who wears the objeftionable head-
The original forms one of the illuftrations of
full fafliion.
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
quickly fell under the lalh of fatirift and caricaturift.
It
fafhion, which
was firft exhibited
Thefe
in the robes rather than in the head-drefs,
Anglo-Norman ladies are underftood to have firfi; introduced flays, in

order to give an artificial appearance of flendernefs to their waiflsj but
The
the greateft extravagance appeared in the forms of their fleeves.
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
knot.
The gown, alfo, was itfelf worn very long.

thefe extravagances
The clergy preached againft

in falhion, and at times, it is faid, with effe6t 5 and
they fell under the vigorous lafh of the fatirifl.

became
.
extremely popular in the twelfth
In
a clafs
of fatires which
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
They were looked upon
are
as
made
the fubje6l of
fevere
punilhment.
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.
introduced to perlbnify the evil-doers of the time.
105
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 ufâally much longer than the other.

fhortened by means
Both the gown and lleeve are
of knots, while the former
No. 70.
the waift by tight lacing.
It
is a
is
brought clofe round
&' in Satins.
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
pcrfc6tly ferious
thefe complaints were not without foundation.
chara6tcr
fhow that
io6
and Grotefque
CHAPTER VII.
PRESERVATION OF THE CHARACTER OF THE MIMUS AFTER THE FALL OF
HISTORY OF POPULAR
THE MINSTREL AND JOGELOUR.
THE EMPIRE.
ACCOUNT OF THEM.
THE CONTES DEVOTS.
STORIES.
THE FABLIAUX.
HAVE
the
already remarked that, upon the
inftitutions
popular
of the
Romans
preferved to the middle ages than thofe of

charafter.
This
the lower clafs
is
fall of the Roman empire,,

a
were
more
generally
higher and more refined
underftood without difficulty, when we confider that
of the population in the towns, what we might perhaps
call the lower and middle dalles continued to exift much the fame
oefore, while the barbarian conquerors
came in and took the place
as
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
who furnilhed
mirth
to
no immediate
ftate
the chief charateriftics
proceed
but the viimus,
the people, continued to exift, and probably
underwent
again
fell into ruin
change
in his charafter.
It will
of the ancient viimus,
well to
be
before
we
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
carried,
or motions of the body, or by drefs.
ftrapped over his
loins,
wooden
fword, which
gladius hijlricus and clunaculum, and wore fometimes
Thus he
was
called
garment made of
of fmall pieces of cloth of different colours, which was

hence called centunculus, or the hundred-patched drefs * Thefe two
a great number
" Uti me
consuessetragoedi
syrmate, histrionis crotalone ad trieterica orgia, aut
mimi centunculo." Apuleius, Apolog.
in Literature and
charaderiftics
have
Art.
preferved in the
been
107
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
farces
a
repeated jokes and told merry ftories
and fcandalous anecdotes
recited or afted
performed what we now call mimicry,

word derived from the name of mimusj and they put themfelves in
;
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
flrange poftures,
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
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

into the
religious feftivalsj
It
churches.
and
that they were introduced
that they were tolerated even
in the
probable that they long continued to be known in Italy

and the countries near the centre of Roman influence, and where the
is
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
The Anglo-Saxon vocabularies interpret the Latin mimus by

In Anglo-Saxon, glig or gliu meant mirth and
gli<r-mon, a gleeman.
game of every defcription, and as the Anglo-Saxon teachers who compiled
applied.
the
vocabularies give,
and pantomimus,
it is
as
fynonyms of mimus,
the
words fcurra, joci/ia,
evident that all thefe were included in the chara6ter
Sec before,
p. 41
of
the present volume.
io8
Grotefque
of the gleeman, and that the latter was quite identical with his Koman
It
type.
have no traces
of the exiftence of fuch
Teutonic race before
We
into Saxon England.
was the Roman mimus introduced
of performers among the

acquainted with the civilifation of
they became
a clafs
We know from drawings in contemporary illuminated

manufcripts that the performances of the gleeman did include mufic,
finging, and dancing, and alfo the tricks of mountebanks and jugglers,
Rome.
imperial
fuch
throwing up and catching knives and balls, and performing with
as
tamed bears, &c.*
But even
the word mimus was
the fame
of
who preferved the Latin
among the peoples
thing.
language,
gradually exchanged for others employed to fignify
The word jocus had been ufed in the fignification
jeft, playfulnefs, jocari fignified to jeft,
and joculator
was a word
jefterj but, in the debafement of the language, jocz/i was taken in

It became, in
the fignification of everything which created mirth.
for
the courfe
of time the French
People introduced
giuoco.
French juer,
of mimus.

fenfe
in
to
its
is
play or perform.
In French
introduced into the language
may remark that, in
See
examples
mediaeval
as
as
jongleur,
in the
mijnus,f
these illuminations
manuthus
we fee in Chaucer, the ufual
and perhaps
in my
and
never exifted, and which
The mediaeval joculator, or jougleur,
of
or
between the u and the n, and
word which
In old Englilh,
the attributes of the Roman
then ufed
was
that modern writers have mifread this laft word
form was jogelere.
gioco,
word became jogleor, or jougleor, and
the
Joculator
almoft impoflible to diliinguifh
ought to be abandoned.
the Italian
form of the verb, jocares which became the
later form jongleur.
fcripts, it
word jeu, and
" History
more.
embraced all
In
the firft
of Domestic Manners
and Sentiments," pp. 34, 35, 37, 65.

+ People in the middle ages were
so fully conscious of the identity of the

mediaeval jougleur with the Roman mimus, that the Latin writers often use mimus
to signify a jougleur, and the one is interpreted by the others in the vocabularies.
Thus, in Latin-English vocabularies of the fifteenth century, we have
Hie joculator,
rr-
"i
,.
-^?"joguIour.
Art.
in Literature and
place he was very often
was one
of his duties
09
poet himfelf, and compofed the pieces which it

to fing or recite.
Thefe were chieflv fongs, or
a
(lories, the latter ufually told in verfe, and fo many of them are preferved
in manufcripts that they form a very numerous and important clafs of
The fongs were commonly fatirical and abufive,

and they were made ufe of for purpofes of general or perfonal
Out of them, indeed, grew the political fongs of a later
vituperation.
period. There were female jongleurs, and both fexes danced, and, to
literature.
mediaeval
create mirth among thofe who encouraged them, they pradifed
of performances, fuch
as
variety
mimicking people, making wry and ugly faces,
diftorting their bodies into ftrange poftures, often expofing their perfons in
a very
a6ts,
unbecoming manner, and performing
which
it
is
not neceflary to
defcribe
carried about with them for exhibition

animals,
to
taught
thirteenth
the
magicians.
early
the
as
among their other accom-
tight-rope.
Finally, the jongleurs
of hand, and were often conjurers and

As, in modern times, the jongleurs of the middle ages
gradually paffed away, fleight of hand appears

As
men.
tricks of fleight
performed
principal
They
particularly.
bears, monkeys, and other
of
century, we find them including
pliihments that of dancing upon
more
tame
adions
the
perform
many vulgar and indecent
accomplifliment,
word juggler.
and
to
have
become
their
name only was left in the modern
the
The jongleurs of the
middle
ages, like
mimi
the
of
antiquity, wandered about from place to place, and often from country
to countr)', fometimes fingly and
others in companies, exhibited
at
their
performances in the roads and ftreets, repaired to all great feftivals, and
were employed efpecially in
baronial hall, where, by their fongs,
the
ftories, and other performances, they created mirth after dinner.
This clafs of fociety had become known by another name, the origin
of which is not fo eafily explained. The primary meaning of the Latin
word minijler was
one who
fervant,
minifters to another, either in his
wants or in his pleafures and amufements.

the cup-bearer.
In low Latinity,
mineftdlus, or miniJlrcUus,
tnet
with this word, which
It
was applied particularly to
diminutive of this word was formed,
petty fervant, or minifler.

is
not
at
very
When we firft
early date, it
is
ufcd
as
1 1
perfedly fynoiiymous v!\xh.joculator, and,

derivation, it
as the
Grotefque
word
is
certainly of Latin
clear that it was from it the middle ages derived the

French word meneftrel (the modern menetrier) , and the Englifli minftrel.
is
The mimi or jongleurs were perhaps confidered as the petty minifters to

the amufements of their lord, or of him who for the time employed them.
Until
of the middle ages, the minftrel and the jongleur were
the clofe
abfolutely identical.
more
Poflibly the former may have been confidered the
courtly of the two names.
difappeared,
But m England,
the middle
as
ages
and loft their influence on fociety fooner than in France, the
word minftrel remained attached only to the mufical part of the funftions
of the old mimus, while,

hand and
the
employed
technically
as
mountebank
by
juft obferved, the juggler took the fleight of

tricks.
In modern French, except where
the antiquary,
the word
menetrier
means
fiddler.
The jongleurs, or minftrels, formed a very numerous and important,

though a low and defpifed, clafs of mediaeval fociety. The dulnefs of
every-day hfe in
feudal callle or manfion required fomething more than

ordinary excitement in the way of amufement, and the old family bard,
a
who continually repeated to the Teutonic chief the praifes of himfelf and
his anceftors, was foon felt to be a wearifome companion.
knights and their ladies

fufficiently
wanted to laugh, and
to
The mediaeval
make them laugh
it required that the jokes, or tales, or comic performances,
fhould be broad, coarfe, and racy, with a good fpicing of violence and of
the wonderful.
Hence the jougleur was always welcome to the feudal
manfion, and he feldom went away diffatisfied. But the fubje6t of the
prefent chapter
is
rather the literature of the jougleur
than his perfonal
hiftory, and, having traced his origin to the Roman mimus, we will now
\)roceed to one clafs
It
of his performances.
has been ftated that the mimus and the jongleurs told ftories.
Of
thofe of the former, unfortunately, none are preferved, except, perhaps, in

a few anecdotes fcattered
in the pages of fuch writers as Apuleius and
Lucian, and we are obliged to guefs at their chara6ter, but of the ftories
of the jongleurs a confiderable number Iws been preferved.
It becomes
an interefting queflion how far thefe ftories have been derived from the
/;; Literature arid
Art,
1 1
mimi, handed down traditionally from mimus to jougleur, how tar tiiey
are native in our race, or how far they were derived at a later date from
And in confidering this quellion, we muft not forget that

the mediaeval jongleurs were not the only reprefentatives of the mimi,
for among the Arabs of the Eall aUb there had originated from them,
other fources.
modified under ditferent circumllances,

and ilory-tellers, and
mto communication
be no
doubt that
a very
important clafs of niinlirels
with thefe the jougleurs of the weft were brought

at the commencement of the crufades.
There can
number of the ftories of the jougleurs
very large
were borrowed from the Eaft, for the evidence

themfelves
and there can
be
is
furnillied
by the ftories
little doubt alfo that the jougleurs
improved themfelves, and underwent
fome modification, by their inter-
courfe with Eaftern performers of the fame clafs.
On the other hand, we have traces of the exiftence of thefe popular

ftories before the jougleurs can have had communication with the Eaft.
Thus,
already mentioned, we find, compofed in Germany, apparently
as
ui the tenth centur}', in rhythmical Latin, the well-known ftory of the

wife of
merchant who bore
child during the long abfence
of her
hulband, and who excufed herfelf by ftating that her pregnancy had been
the
refult of fwaliowing
flake of fnow in
This, and
fnow-ftorm.
Another
another of the fame kind, were evidently intended to be fung.

poem
in popular
It,* believe
ftory
may
Latin verfe, which Grimm and Schmeller, who edited

be
of the
of an adventurer
his own fnares,
eleventh
named
century, relates
Unibos,
who,
a very
continually
amufing
caught
finifties by getting the better of all his enemies,
becoming rich, by mere ingenious cunning and good fortune.
ii not met with among thofe of the jougleurs,
as
far
as
in
and
This ftory
they are yet
known, but, curioufly enough. Lover found it exifting orally among the
Irifti ftory among his " Legends of

curious illuftration of the pertinacity with which the
Irifh pcafantry, and

Ireland."
It
is a
inferted
the
popular ftories defcend along with peoples
* In a volume entitled "Lateinischc

Gottingen, 1838.
through
Gedichte
des
generations from thr
x.
uiul
xi.
J';."
ifvo.
remoteft ages of antiquity.
The fame flory
is
Grotefque
found in an oriental form
among the tales of the Tartars pubHshed in French by Guenlette.
The people of the middle ages, who took their word falle from the
IjZi'm falula, which
they appear
to have underftood as a mere term for
any fhort narration, included under it the ftories told by the mimi and
jongleurs
but, in the fondnefs of the middle ages for diminutives, by
they intended to exprefs
which
the Latin
them more particularly

htcame
form
fal lei,
or, more
familiarity
and attachment, applied to
falella, which
ufually,yaZ7/a,
in
the
French
old
The fabliaux of the jongleurs
mofl important clafs of the comic literature of the middle ages.
They muft have been wonderfully numerous, for
very large quantity
of
them ftill remain, and thefe are only the fmall portion of what once
exifted, which have efcaped
perifhing like the others by the accident of
in manufcripts which have had the fortune to furvive
being written
while manufcripts containing others have no doubt perifhed, and it

probable that many were only preferved
is
down
orally, and never written
The recital of thefe fabliaux appears to have been the favourite

employment of the jongleurs, and they became fo popular that the
at
all.*

mediaeval
preachers
of them
turned them into fhort ftories in Latin profe,

illuftrations in their fermons.
Many colledions of
made
ufe
thefe
fhort Latin ftories are found in manufcripts which had ferved
as
and
as
of them was originally compiled

that celebrated mediaeval book called the " Gefta Romanorum."
note-books to the preachers,t
It
and out
regretted that the fubjefts and language of
is to be
of thefe fabliaux are fuch
as
a large
portion
to make it impoflible to prefent them before
modern readers, for they furnifh Angularly interefting and minute pi6lures
of mediaeval life in all
of fociety.
Domeftic
fcenes are among
thofe mofl frequent, and they reprefent the interior
of the mediaeval
* Many of
have been printed, but the two principal collections,

chiefly refer in the text, are those of Barbazan, re-edited
and much enlarged by M6on, 4 vols. 8vo., 1808, and of Meon, 2 vols. 8vo., 1823.
t A collection of these short Latin stories was edited by the author of the
present work, in a volume printed for the Percy Society in 1842.
and to which
the Fabliaux
clafTes
shall
in Literature a?id
Art.
i 3
in no favourable point of view.
The majority of thefe tell

loofe flories of hulbands deceived by their fair fpoufes, or of tricks played
In fume inftances the treatment of the
upon unfufpeding damfels.
houlehold
hulband
is perhaps
what may be called of
lefs objectionable chara6ter,
Mire (the clown do6lor), printed in

Barbazan (iii. 1), which was the origin of Moliere's well-known comedy
of " Le Medecin malgre lui." A rich peafant married the daughter of a
poor knight 3 it was of courfe a marriage of ambition on his part, and of
as
in the
fabliau of La Vilain
intereft on hers one of thofe ill-forted matches which, according to feudal
fentiments, could never be happy, and in which the wife was confidered
as
privileged to treat her hulband with all poflible contempt.
inllance the lady hit upon

for his want of fubmiliion
an ingenious mode
of
dangerous
malady.
her hulband was
that
of puniiliing her hulband
to her ill-treatment.
king pafled that way, feeking
MelVengers from the
Ikilful doftor to cure the king's daughter
The lady fecretly informed thefe meffengers

phyfician of extraordinary talent, but of au
eccentric temper, for he would never acknowledge
until lirft fubjeded to
In this
le\ere beating.
or exercife his art
The hulband
is
feized, bound,

and carried by force-to the king's coiirt, where, of courfe, he denies all
knowledge of the healing art, but
pliance, and he
This
is
allowed
is
fuccefsful by
the
to com-
combination of impudence and chance.
only the beginning of the poor man's miferies.
Inflêad
of being
to go home, his fame has become fo great that he is retained at
court for the public good, and, with
of
fevere beating obliges him
refults
a rapid
fuccellion of patients, fearful
of his confcious ignorance, he refufes them all, and
is
fubjefted in every cafe to the fame ill-treatment to force his compliance.
The examples in which the hulband, on the other hand, outwits the wife
are few. A fabliau by a poet who gives himfelf the name of Cortebarbe,
printed alfo by Barbazan (iii. 398), relates how three blind beggars were
deceived by a clerc, or fcholar, of Paris, who met tliLin on the road near
The clerk pretended to give the three beggars a bezant,

which was then a good fum of money, and they hallened joyfully to the
Conipiegne.
next tavern, where they ordered

herts' content.
plentiful fupper, and feallcd to their
But, in iiiQi, the clerk had not given thcin

I
bcz.uit at
114
all, although, as. he faid he did ib, and they could only judge by their
hearing, they imagined that they had the coin, and each thought that it
keeping of one of his companions.
was in the
Thus, when the time
of
paying came, and the money was not forthcoming, in the common belief
that one of the three had received
cheat the
and
others,
the
bezant and intended to keep it
they quarrelled violently,
and from
foon
abufe
The landlord, drawn to the fpot by the uproar, and

informed of the ftate of the cafe, accufed the three blind men of a
came
to blows.
confpiracy to
him, and demanded payment with great threats.
cheat
The clerk of Paris, who had followed them to the inn, and taken his
lodging there in order to witnefs the refult, delivered the blind men by
trick which
an equally ingenious
he
upon the landlord and the
plays
prieft of the parifh.
by
or countryman,
124), we have the ftory
named Brifaut,
cunning fharper, and feverely corre6led
careleflhefs.
Robbery, both by force
and
by fleight
who
rich
robbed
at
by his wife for his
of hand and craft,
prevailed to an extraordinary degree during the middle ages.
The plot
the
clevereft
at
extremely amufing ftory.

numerous ftories which
of thievery, and
It
commit
the
may be mentioned
the jougleurs
refult
as
is,
of the fabliau of Barat and Haimet, by Jean de Boves (Barbazan, iv. 233),,
turns upon
trial of Ikill among three robbers to determine who ftiall
at leafl, an
an example
of the
certainly obtained from the Eaft,
that the well-known ftory of the Hunchback
in the
" Arabian Nights '*
appears among them in two or three different forms.
peafant,
always treated very contemptuoufly
thefe compofitions, in which no clafs of fociety
is
The focial vices of the middle ages, their general licentioufnefs, the
prevalence of injullice and extortion, are very fully expofed to view in
is
fpared.
The villan, or
he formed the clafs from
which the jougleur received leaft benefit. But the ariftocracy, the great
barons, the lords of the foil, come in for their full fhare of fatire, and they
no doubt enjoyed the ridiculous piftures of their own order.
will not
venture to introduce the reader to female life in the baronial caftle,
as
it

of
among
a
tricks playe^
for their fubjeft
In one printed by Meon
but fimple villan,

market
have
is
thieves.
ftories
(i.
Some of thefe
///
Literature and
in many of thefe
appears
and
ftories,
it
as
Art.
is no
1 1
doubt truly painted,
although, of courfe, in many inftances, much exaggerated.

feen how in the ftory
We have already
of Reynard, the charader of mediaeval fociety was
long ftruggle between brute force
by the
reprefented
wolf, the emblem of the arillocratic

fox, or the unariftocratic clafs.
reprefented by the
clafs, and the low aftutenefs
of the
The fuccefs of the craft of the human fox
over the force of his lordly antagonift
often told in the fabliaux in
is
(i.
ludicrous colours.
In that of Trubert, printed by Moon
192),
" duke " of
country, with his wife and family, become repeatedly
fatires
of the grofs deceptions of
the
the
Thefe
peafant.
ariftocracy were no doubt greatly enjoyed by the good
the
upon
poor but impudent
dupes
abundance of ftories, of the
Inurgeoijie, who, in their turn, furnillied
home from the fair, feeks

who refufes
it.
are
with
living
confidered
as
while the monk figures more frequently

prieft and monk are ufually
Both
by their felfifhnefs and love
Abbeville,
both
as
Nor are
a
defcribed
of indulgence.
in Barbazan (iv.
1),
Du Bouchier
In
the fabliau
butcher, on his way
night's lodging at the houfe of an inhofpitable
But when
the
former
returns, and
otTers,
in
not only to kill
for their fupper, but to give
meat they do not eat to his hoft, he

and they make an excellent fupper.
willingly received into the houfe,

By the promife of the Ikin of the
iheep, the gueft fucceeds in feducing both

fer\ant,
only after
all the
is
at the fair, and
it
exchange for his hofpitality, one of his fat Iheep which he has purchafed
the concubine and the
maid-
is
his
departure the
it
and
it
following morning, in
domeftic uproar caufed by the conflifting claims of the
the middle of
prieft, the concubine, and the maid, to the poifeftion of the Ikin, that
is

diftinguiihed
j)rieft,
ufually
hero of gallant adventures.

d'
the
to the community
fair game
kind of natural antipathy.
order forbade marrj-ing and
concubine his
as
The prieft
clergy fpared.
the
whom and ihemfelves there was
is
droUefi defcription, to provoke the mirth of the lords of the foil, between
difcovered that the butcher had ftolen the llieep from the prieft"s own
tlock.
The fabliaux,
as
the 1'Xtcnfive maC*
remarked before, form the moft
important clafs of
of the popular literature of the middle ages, and the
1 1
Grotefqiie
writers, confident in their ftrong hold upon pubHc favour, fometimes turn
round and burlefque the literature of other claffes, efpecially the long
of ftyle of the great romances
heavy monotony
they contained,
extravagant adventures
were
gradually
underminmg
as
of chivalry and the
though
confcious
of the
the popularity
that they
romance writers.
entitled " De Audigier," and printed in Barbazan
One of thefe poems,
(iv. 2i7)> 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.
boalling, who had
Berengier was
knight of Lombardy, much given, to
beautiful lady for his wife.
He ufed to leave her
alone in his caftle, under pretext of fallying forth in fearch of chivalrous
while, having well hacked his fword and lliield,

he returned to vaunt the defperate exploits he had performed.
But the
and, after a
adventures,
lady was flirewd

truthfulnefs
both.
as
as
well
as
handfome, and, having fome fufpicions of his
of his courage, Ihe determined to make trial of
as
One morning, when her hufband rode forth
difguifed herfelf in
well
round by
fuit of armour, mounted
as
ufual, llie haftily
good fteed, and hurrying
different way, met the boaftful knight
in the middle of
wood, where he no fooner faw that he had to encounter
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
ftill lefs refpedful manner, but he was
filenced by her ridicule.
The
irouveres,
or poets, who wrote
remark that trouvere
is the fame
word
the
fabliaux I
as trobador, but
need
hardly
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
England
and
France, but
fome
language then common to
of their compofitions
bear
internal
of having been compofed in England, and others are found in

contemporary manufcripts written in this ifland. The fcene of a fabliau,
evidence
Honte, printed
laid at Colcheller
in Barbazan (iii. 204),

by
objeftion
have
appears
to
however, was written
Art.
;
113),
is
by Muon
(i.
printed
is
in Literature and
laid
1 1
that
of La Male
Kent.
The latter,
and
in
No
trouvere named Hugues de Cambrai.

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;
fabliaux.
Devots,"
in
the
fame
form and metre
Some of thefe have been publiflied under the title

and,
from
their general dulnefs,
may be doubted
anfwered their purpofe of furnilhing amufemcnt fo well

of"
the
as
Contes
if
religious ftories were written
it
and
they
as the others.
1 1
Ilijlory of Caricature and
CHAPTER
Grotefque
VIII.
OF DOMESTIC LIFE.
STATE OF DOMESTIC LIFE IN THE
MIDDLE AGES.
EXAMPLES
OF
DOMESTIC CARICATURE FROM THE
THE
OF
MISERERES.
KITCHEN
CARVINGS
SCENES.
DOMESTIC
THE FIGHT FOR THE BREECHES.
THE JUDICIAL DUEL
BRAWLS.
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.
CARICATURES
influence of the jongleurs over people's minds generally, with
THE
their
ftories
in mediaeval
manners
and
This influence
fentiments.

naturally be exerted upon inventive art, and when

the margin of
a
their pollures, and
performances, was very confiderable, and may be eafily
their wonderful
traced
and fatirical pieces, their grimaces,
would
painter had to adorn
book, or the fculptor to decorate the ornamental parts of
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,
Domeflic life at that period appears to have been
were domeftic fcenes.
in its general charafter
turbulent,
coarfe,
and,
fliould fay, anything
In all its points of view, it prefented abundant fubjefts for

There is little room for doubt that the Romifli
iefl. and burlefque.
but happy.
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
trouble.
The fatirical writings of the period, the
difcourfes of
thofe who
fought
rtform,
even
the
fource
of domeftic
popular
pidures
tales, the
in
the
Art.
in Literature and
and
manufcripts
the
Iculptures
of the family
the female portion
priefls, and that influence

encouraged faithlelfuels
as
as
on
as
the
walls
119
invariably
reprefent
entirely under the influence of the
exercifed for the worfl of purpofes.
well
as
They
difobedience in wives, and undermined
of daughters, and were confequently regarded with anything

but kindly feeling by the male portion of the population.
The prieft,
the virtue
the wife,
and
mediaeval
farce.
the
Subjets
buildings, and thofe
ufual
the
leading
and
more
introduced in very equivocal
charaders
in
efpecially in the fculptures
î Aledia'val
Kitchen
of
monks or priefts are
chiefly ecclefiaftical, in which
No. 71.
is one
form
of this kind are not very unfrequent in the
of manufcripts,
illuminations

hulband,
Scene.
This part of the fubjed, however,
fituations.
into which we fliall not here venture,
as
we And the mediaeval
caricaturifls drawing plenty of materials from tlie kfs vicious fliades
of
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
contemporary life
old cathedrals
Cathedral,
and, in fa6t, fome
and collegiate churches.
there
is
droll figure of
Thus, in the Halls

man
feated
before
at
a
Worcefler
fire
in a
Hijiory of Car teat lire and
20
kitchen
well ftored
with
flitches
Grotefque
of bacon,
himfelf occupied in
he
attending to the boiling pot, while he warms his feet, for which purpofe
In
he has taken off his fhoes.
in Hereford Cathedral,
is
feen
cook maid, who throws

,
man, alfo in the kitchen,
to
attempting
fimilar carvina:O
take
liberties with
the
platter at his head.
of this curious fubje6t is given m cut No. 71,

and the cut No. 72 is taken from a fimilar mife-
copy
It
Minfter Church, in the Ifle of Thanet.
rere in
reprefents an old lady feated, occupied induftrioully
in fpinning, and accompanied by her cats.
We
No. 72. j4n Old Lady
and her Friends.
the fcene
the flails of Winchefl:er

reprefent
fubjeds from the
fimilar
fame
of
examples
fuch
fources,
as
in our cut No. 73, taken from one of
Cathedral,
which
feems
to
intended
be
to
witch riding away upon her cat, an enormous animal, whofe
jovial look
only outdone by that of
is
The latter has carried her
its miftrefs.
with
difl:aff
other
add
eafily
might
her,
and
employed in fpinning.
is
diligently
fi:all in Sher-
Minfter, given in our cut No. 74,

reprefents a fcene in a fchool, in wliicii
borne
fcholar
an unfortunate
punilhment of
tion, to
the
is
experiencing
rather fevere defcrip-
great
alarm
of his com-
panions, on whom his difgrace

dently a6ting
ging fcene
No. 73.
been
The Lady and her Cat.
good old times, when
days, he did not fay,
the rod."
" When
warning.
at fchool appears
rather
as
evi-
The flogto
have
favourite fubje6i among
the early caricaturifts,
was looked upon in the middle ages
In thofe
as
is
for the fcourge
the grand ftimulant to fcholarlliip.
man recalled
to memory his fchoolboy
was at fchool," but,
" When I
was under
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
large number of calls from ftalls and other fculptures.
No. 74.
Scholaftk
Difcipime.
One of thefc, engraved in

chiefly felefted from the French cathedrals.
our cut No. 75, reprefents a couple of females, feated before the kitcheii

fire.
The date of this fculpture
No. 75.
looks and attitude, there
is a
dilli.
To judge
by their
Pcinl in Difpute.
difagreement between them, and the object
of meat, whic li one has taken out ot tluThis ladv wields her ladle as though fhj woro
in difpute feems to be a piece
pot and placed on
is ftat^d to be 1382.
Hijiory of Caricature aiid
122
Grotefqiie
weapon, while her opponent
armed with tne
prepared
to ufe it
bellows.
The ale-pot was not unfrequently the fubjeft of pidures of
turbulent
character,
as
is
figures
in
the margins of the noble manufcript of the fourteenth century, known
as
the
'
and
among the grotefque
and
raonftrous
Luttrell Pililter," one reprefents two perfonages not only quarrelling
over their pots, which they appear to have emptied, but aftually fighting

^^/
No. 76.
with them.
One
of them
Harmony
has
The fcene
homely fcenes are domeftic

enjoying
their
of
o-ver the
literally
Pot,
broken
his
pot
over
h:s
copied in our cut No. 76.

mufl: be ftated, however, that the more common fubjeds of thefe
companion's head.
It
TVant
at
are much more
frequent.
two dames of the
rare
bits
that the
Domeftic
but whether
quarrels
and
combats
We have already feen, in the cut No.
kitchen evidentljf beginning
ftall in the
man, or his wife,
of domeftic comfort, only make
intervals.
to
77.
"tij,
quarrel over their
church of Stratford-upon-Avon
group reprefented in our cut No.

defperate,
and
quarrels,
their firefide, or fimilar
appearance
cookery.
is
gives
us
the
The battle has here become
the male combatant be an opprefled hufband or
Literature and
/;/
intruder,
an impertinent
arifen during the procels of cooking,

has
beard,
by the
opponent
Iho
not clear.
is
as
ladle
weapon at hand.
The anger appears to
be mainly on her fide,

tame
contrails
Our
next
to
the female, who has feized
ha\e
her
rather
inflamed
No.
cut.
Teem
antagonift
with lier
flrangely
features.
the
of her
countenance
quarrel wuuld
readiell
the
and
123
evidently
fnatched up the
a-,
Art,
taken from the fculpture of
is
78,
column
in Ely Cathedral, here copied from an

engraving
in
" Specimens of
Carter's
Ancient Sculpture."
....
apparently, are flruggling

fellion of
ftaft",
which
. ,
man and wife,

for

is
inNo.TJ.
maltery.
Damejlic Strife.
generally reprefented to be the cafe in ihcfc fcenes of domellic
No. 78.
itrifc,
pof-
is perhaps
,n
tended to be the emblem or
As
the
the
woman
Ihows more
SlrugÛ
for
enerj;y
the
Maftery,
aii4
nion
llrtngth
than
her
124
opponent, and
{he is
evidently overcoming
Grotefque
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\ô.
79.
The Wife in the AJcendant.
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
furnilhed
the fubje6t
No. 80.
when he
is
down.
Violence Refjied.
In our next cut. No.
80, which is taken from one
of
of ftalls in the French cathedrals exhibited in the Kenfmgton

Mufeam, it is not quite clear which of the two is the offender, but.
the
cafts
in Literature an
perhaps,
in this cale, the archer,

it,
and arrows, has made

much difpleafed at
as his prot'elHon
is
i 25
indicated by his bow
gallant alTault, which, although fhe docs not look
the offended dame certainly refirts
with fpirit.
a
is
One idea conneded with this pidure of domeftic antagonifm appears

rather early period. There
have been very popular from
a
to
J Art.
There was
the claim was enforced.
century,
Hugues
entitled the
and contefted, how (lie was at times defeated,
was firft difputed

as
general rule,
French poet of the thirteenth
Piaucelles, two of whofe
" Fabliau d'Eftourmi,"
but how,
it
is,
her claim to wear this particular article of drefs, how
modern
firft put in
but in mediaeval llory we learn
explanations;
"
how " ilie
by
only half underflood
it
muft be confefled, an odd one, and
is
is
it
is
matter in the houfehold, by

proverbial phrafe to fignif'y that the wife
"
llie wears the breeches." The phrafe
intimated that
^vhich
and the
falliaux, or metrical
" Fabliau
tales,
de Sire Hains et de
Anieufe," are preferved in manufcript, and have been printed

The fecond of thefe relates fome of the
in the coUedtion of Barbazan.
adventures of
Dame
couple, whole
mediaeval
regulated in the world.
houfehold
was
not the
beft
The name of the heroine of this ftory, Anieufe,
and we fhould judge alfo,

he was partial to
temper, that
appears,
by it
Hains," her hufband, was,
maker
of"
cottes
"
and
mantles,
the point on which the quarrel turned, that
good dinner.
Dame Anieufe was of that difagreeable
whenever Sire Hains
told her of fome
particularly
nice
thing which he wilhed her to buy for his meal, flie bought inftead fomc-
covered
with cinders
and further
If
he ordered boiled
contrived that
it
meat, flie invariably roafted
it,
thing which llie knew was difagreeable to him.
and aflies that he could not cat it.
fliould be lu
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
dilh of fj)inage, telling him falfcly that all the
Tilh iLuik.
This leads to

is
fimply an old form of the French word ennuycufe, and certainly dame
"
" Sire
to her lord and hulband,
Anieufe was fufficiently " ennuyeufe
violent quarrel, in which, after fome
fierce
Hi/lory of Caricature and Grot efque
126
wrangling,
efpecially on the part of the lady, Sire Hains
" Early in
decide their difference in a novel manner.
" I will
propofes
to
the morning,"
he
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
faid,
take
mafter or miftrefs of the houfe."

Le matinet, fans contredire,
Jôudrai 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
After due preparation, two neighbours, friend Symon

and Dame Aupais, having been called in as witneffes, and the obje6l of
for the ftruggle.
difpute, the breeches, having been placed on the pavement of the court,
the
battle
with
began,
fume
flight
on
parody
the
of the
formalities
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
it,
went on at the fame time
the
other battle.
flight expoftuiation on her eagernefs
anfwer to which llie only threw in his teeth
fierce
Sire
for the fray, in
defiance
to do his
Provoked at this. Sire Hains ftruck at her, and hit her over the
eyebrows,
eflfeftively,
that the Ikin was difcolou ed
worft.
as
Hains ventured
had the beft of
fo
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,
her hands upon
to carry
it
her eyes fell upon the obje6l of contention, and fhe rufhed to
away.
it,
now fneered over him, and while he was recovering from his confufion,
it

judicial combat.
and laid
This movement roufed Sire Hains,
who inftanrly feized another part of the article of his drefs of which he
Art.
in Literature and
was thus in danger
the laid
which
in
fragments
of being deprived, and began

article
underwent
it were fcattered
ot"
over
127
ftruggle for pollcllion,
conliderable
and
In the midft of this
court.
the
dilapidation,
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
Or fai-je
'Jâurai
je
tâi hien
alainle.
de deux colors
tainte
les braies toutei "votes.""
But the immediate etiedl on Dame Anieufe was only to render her more
She quitted her hold on the difputed garment, and
defperate.
her hulband with I'uch

to turn.
fhower of blows that he hardly knew uhich way
was thus, however, unconlcioufly
She
exhaufting herfelf, and
The battle now became fiercer than ever, and
Sire Hains loon recovered.

\A\ upon
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
more decided
The fight therefore went on, the two combatants 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.
advantage
At
of the judges, Dame Aupais, lympathiling too nuu h

Anieufe, ventured fome words of encouragement, which
this moment, one
with
Dame
drew upon her

that
if
(lie
fevere rebuke from her colleague, Symon, who inilniati d
interfered again
infiead (jf one.

WAS
the other.
over
Meanwhile
there
might
be
two pairs of combatants
Dame Anieufe was becoming exhaufied. and
evidently getting the worft of the contelt, until
at
length, daggering
128
from
pufti, Ihe fell back into
a vigorous
Sire Hains
her.
flood over
Grotefque
large baiket which lay behind
her exultingly,
and
Symon,
as
umpire,
He thereupon took poffeflion of the difputed

article of raiment, and again invefted himfelf with
while the lady
it,
pronounced him vitorious.
faithfully the conditions impofed upon her, and we are aflured

by the poet that fhe was
good and obedient wife during the reft of hei
curious picture of mediaeval life, we
life.
In this ftory, which affords
a
accepted
learn the origin of the proverb relating to the pofTeffion and wearing of
every man who has
Hugues Piaucelles concludes
the breeches.
hlsfalliau
by recommending
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.
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
both
T/ie Fight
of the ftory
the Breeches.
combatants feize hold of the
ftruggle for pofleflion of it.

hand, with which
for
difputed
The hufband here grafps
he feems to be threatening
to cut
it
in which
feems to reprefent the part
garment, and
a
8i, which
No. 8i.
knife in his
to pieces rather
The fabliau gives the vi6tory to the hufband, but the

wife was generally confidered as in
majority of cafes carrying off the
up.
than give
it
In
an extremely rare engraving by the
dated in 1480, of which
give
prize.

given in our cut No.
Flemifli artift Van Mecken,
copy in our cut
No. 82. the lady, while
Art.
in Literature and
putting on the breeches, of which
(he
has
129
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.
In Germany, where there
The Breeches Won.
was ftill more
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
what was told in England and France

roughnefs in mediaeval life,
as a good ftory
between hulband and wife.
fettling the differences
this fubjedt are given in an interefting paper

on
Judicial Duels
as
Curious particulars on
entitled
praftifed in Germany,"
" Some obfervations
publiflaed
in the
twenty-
of the Society of Antiquaries (p. 348).

Ihefe obfervations are chiefly taken from a volume of dire6tions, accompanied with drawings, for the various modes of attack and defence,
ninth volume of the Archaeologia
compiled by Paulus Kail,
celebrated teacher
of defence at the court of
Among thefe drawings we have one

reprefenting the mode of combat between hulband and wife. The only
Bavaria
about
the
weapon
allowed
year
the
1400.
female,
according to thefe directions,
of
ler
but
that
a heavy ftone
very
in
was,
fliort ftalf, and he was
pit formed in the ground.

K
one,
wrapped up in an elongation
cbemife, while her opponent had only
placed up to the waill
formidable
The following
130
is a
literal
our
cut No.
is
83
" The woman muft
copy
of the
ftone
weighing
three pounds
A'^p. 83.
chemife, and
that
bound
is
given in the manulcript,

which
drawing
that
be fo prepared,
fmall ell beyond her hand, like

of the direttions
tranllation
Grotefque
a fleeve
little fack
and
yl Legal
together
fhe
has
and
illuftrates it
of her chemife extend

there indeed
but her
elfe
nothing
put
is
Combat.
between the legs with
lace.
Then the man makes himfelf ready in the pit over againft his wife.
He
is
buried
therein up to
the
At this time the
the elbow to the fide."
practice
Germany feems to have been long known, for it

year 1200
wife,
but executed
of
from
nearly
manufcript
In
a pi6ture
refembling
century later, the man
pit, with his left arm tied to his fide
a fhort heavy
at
of fuch combats
in
is
is ftated
that in the
man and his wife fought under the fandlion of the civic
authorities at Bale, in Switzerland.

man and
bound
girdle, and one hand
fiaffj while the woman
as
of
combat between
that of Paulus Kail,
is placed
in
tub inilead
before, and his right holding
is drefled,
and not ftripped to the
/;/ Literature and
as in
flick in fuch
and the woman would thus be at the mercy
but
her head-foremoft
as
the
in the
conqueror
into the tub, where
with her legs kicking up in the air.

This was the orthodox mode of combat between man and wife,
appears
it
{he
his wife, having thus dragged
reprefented
is
library at Gotha, the man in the tub
of her
of defence
'In an ancient manufcript on the fcience
opponent.
the
manner that the fling in which the flone was contained
would twift round
of
131
The man appears to be holding
the former cafe.
it,
chemife,
Art.
was
fometimes
pradifed
one pifture given from thefe old
of the
the writer
combatants, naked
under
more fanguinary
on the fcience
books
in the
on the fubjeft
paper
down
to
the
waift, are
forms.
of defence
Archaeologia, the
reprefented fighting
In
by
two
with
frightful gaflies.
at Corbeil, near Paris, of which more will
fharp knives, and inflicting upon each other's bodies

feries
of flail carvings
witch, for flie has
fawing off his head with
reprefents
woman who rnuft,
fo
demon that llie
of the rather rare pidoriaj
The H'hch and the Demon.
alli fions to the fubjed of witchcraft.

by her occupation, be
one
far got the maliery of the
A'o. 84.
is

reprefented in our cut No. 84, which
is
little farther on in this chapter, has furnilhed the curious grcuj)
It
be faid
very nncomfonable
looking
Hi/iory of Caricature and Grotefque
132
Another flory of witchcraft is told in the fculpture of a

ftone panel at the entrance of the cathedral of Lyons, which is repreOne power, fuppofed to be pofTeffed by
fented in our cut No. 8^.
inftrument.
witches, was that of transforming people to animals at will.

Malmefbury,
in
his
tells
Chronicle,
No. 85.
flory of two
William of
witches
in the
Witch and her Viaim.
The
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.
who lived by the profeflion of
jougleur,
One day
fought
young man,
night's lodging at
their cottage, and was received, but they turned him into an
afs, and, as
of afting, they gained much

rich man of the neighbourhood,
he retained his underftanding and his power
money by exhibiting
At length
him.
who wanted him for his private

large
fum for him, which
polTelfor
of the
afs that he
they
amufement, otfered the two women

accepted,
but
they warned
the
new
Ihould carefully reflrain him from going into
The
the water, as that would deprive him
of his power of performing.
man who had purchafed the
upon this advice, and carefully kept
afs a6led
him from water, but one day, through the negligence of his keeper, the
in Literature and
Art.
133
afs efcaped from his ftable, and,
hiraleh'
threw
into
milling to a pond at no great dillance,

Water and running water efpecially was
it.
believed to dellroy the power of witchcraft or magic

the afs immerfed in the water, than he recovered
He told his ftory,
young man.
and
the
fooner was
of
his original form
foon reached the ears of the pope,
were feized, and
women
two
^\hich
j and no
confelied
their
The
crimes.
transformed
has
into
whirling the cat over him in fuch
and Ihe
goat,
manner that
it
(he
man whom
is,
car\ing from Lyons Cathedral appears to reprefent fome fuch fcene of

The naked woman, evidently a witch,
perliaps, feated on
forcery.
feems
to
be
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 fubjet mean that of the trader and
manufa6turer.
and imperfeft
deceptive
could
that
We mull not
be
workmanlhip,
adulterated,
that fraudulent
fuppofe
are
that
trading,
that adulteration of everything

modern
to
peculiar
On the
times.
contrar)', there was no period in the world's hillory in which diihoneft

was
vices, or, as we may, perhaps,
often
mentioned
in
fcale, as during the middle
Thefe
ages.
more properly defcribe them, thefe crimes,
the
writers,
mediaeval
but
they were
eafily reprefented pidorially, and therefore we rarely meet
not
with dire6t
allufions to them, either in fculpture, on ftone or wood, or in the paintings
of illuminated
are
manufcripts.
of the trades themfelves
Reprefentations
not fo rare, and are fometimes
droll
almoll
and
burlefque.
of fuch reprefentations of arts and trades was carved

mifereres of the church of St. Spire, at Corbeil, near Paris,
curious feries
on the
which only exift now in

been
Millin's engravings,
works of the fifteenth
century.
but
Among
they
them
feem
the
given to the various occupations necelfary for the produ6tion

important to the fupport of life.
f(jrniing
it
canings at Corbeil,
the
labours
to
tirll
have
place
of bread,
Thus we fee, in thelc
of the reaper, cutting the wheat and
into Iheaves, the miller carrying
it
that article
fo
in

there
much deception ufed in manufadures, or in which adulteration
was pra6tifed on lo fliamelefs
are
an extraordinary extent, in which
on to fuch
fo
dealing was carried
away
to be ground into
I 34
Grotefque
meal, and the baker thrufting it into the oven, and drawing it out in the
Our cut No. 86, taken from one of thefe fculptures,
Ihape of loaves.
reprefents the baker either putting in or taking out the bread with his
may fuppofe
we
be fufficiently baked.
No. 87,
taken from the celebrated illu-
mediaeval oven in our cut
minated manufcript of the
Alexandre," in the
mance of
Library
Bodleian
which appears to
early period
at
Oxford,
belong to an
of the fourteenth
dently going to take
Here the baker
century.
"Ro-
is
We have an earlier reprefentation of
Century.
he looks at
afcertaining
a
is
the latter, and that he
Fifteenth
it,
of the
if
Baker
by the earnefi: manner in which

is
that
it
evi-
loaf out
of the oven, for his companion
In nothing
A Media-vai
Baker.
...
holds
dilh for the purpofe
of
.receivmg it.
was fraud and adulteration pradifed
to
fo
No. 87.

peel
it
No. 86,
great an extent
Art.
in Literature and
135
in the important article of bread, and the two occupations efpecially

employed in making it were objeds of very great diilike and of fcornful
as
fatire.
The miller was proverbially
Every reader of Chaucer
thief.
will remember his charadter fo admirably drawn in that of the miller of

Trumpington, who, though he was as proud and gay " as
pecok,"
eny
eminently diflioneft.
was neverthelefs
A theef he luasferfoth of corn and

And that a Jleigh (^ly), and ujyng
This pra6tice included
mele.
(practised) yir to fttle.

Chaucer's Beeves Tale.
college then exifting in Cambridge, but
large
now forgotten, the Soler Hall, which fuflered greatly by his depredations.
And
it happed in a Jlounde,
on a day
lay the mauncyp/c on a maledye.
Syi
Men
For
"wenden
zviJJy that
"which this meller
he jchulde
Jial
dye
and corn
hot he mele
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.

acquainted with the (lory know how the fcholars
how they failed
caufed
his wife
how the miller ftole half

to make
revenge and recovered
a cake
of it
and
Thofe who are
fucceeded,
or rather
builiel of their flour and

how the vidims had their
the cake.
As already dated, the baker had in thefe good old times no better
There was an old faying, that if
character than the miller, if not worfe.
three perfons
and (haken
one
of three obnoxious profcllions were put together in
of thefe was
was fo ftrong
out would
up, the firft who came
as
in
be
rogue, and
Moreover, the opinion concerning the baker
a baker.
that,
certainly
a fack
the
phrafe
witches, who in their feflivals
fat
taken from the old legends of the
thirteen
at
table, this
number was
136
popularly called
devil's dozen, and was believed to be unlucky fo,
when the devil's name
wâs
abandoned, perhaps for the fake of euphony,
the name fubftituted
for
it was that of the
thirteen was called
"
baker's
baker, and the
number
The makers of nearly all forts
dozen."
of provifions for fale were, in the middle ages, tainted with the fame
from which fociety in general, efpecially in
vice, and there was nothing
the towns where few made
This evil
the
is
for therafelves,
bread
fuffered
fo
much.
alluded to more than once in that curious educational treatife,
" Diftionarius " of John
de Garlande,
printed in my
"Volume of
This writer, who wrote in the earlier half of the thirteenth
Vocabularies."
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
The cooks, he fays further, fold, efpecially in Paris to the
bad eggs.
fcholars
which
of the univerfity,
were not fit to eat
cooked
j
meats,
while the butchers furnillied
animals which had died of difeafe.
Even
the fpices
and
fuch
the
Garlande had evidently an inclination
things,
meat
of
drugs fold by
or epiciers, were not, he fays, to be trufled.
the apothecaries,
not
and
faufages,
John de
to fatire, and he gives way to it
unfrequently in the little book of which
am fpeaking.
He fays
them gloves made of bad materials
that the women who gained theii

(it
emptied the fcholars' purfes, but walled their bodies alfo
is
living by winding thread {devacuatrices, in the Latin of the time), not only
intended
as
and the huckflers fold them unripe fruit

pun upon the Latin word)
for ripe. The drapers, he fays, cheated people not only by felling bad
materials, but by meafuring them with falfe meafures
who went about from houfe to houfe, robbed
better
and
charge
ufeful
more
depredations
on the
than that of the
is
century, in which their art
cheated.
lauded
goldfmith's.
corn fent to be ground at the
of the rats, which attack
their way to
as
rather jocular poem on the bakers, written in French of,
the thirteenth
it
perhaps,
well
while the hawkers,
in his curious volume entitled "Jongleurs
it
et Trouveres,"
has publilhed
a
M. Jubinal
as

that the glovers of Paris cheated the fcholars of the univerfity, by felling
as much
The millers'
mill, are laid to the
by night, and the hens, which
by day; and he explains the diminution
find
the bakings
pafte before
fol.
in
Library
157, v),
defcribes
the proper heritage
Britiih
the
in
Mufeum (MS.
which
pillory,
the
meal
he
and
The celebrated Englilh
fhort poem preferved
the
they gave
had even been put into the oven.
John Lydgate, in
Harleian
ariling out of tlie charity of
poor and needy, to whom
the
poet,
it
latter towards
as
experienced in the hands of the baker
///
Literature and Art.
he
calls
manufcript
in
Harl.
^,^y^
their
No.
the
Baftile,
as
of the miller and the baker:
Fut
out his hed, lyft nat
for
to dare.
But lyk a man upon that tour to abyde.
of
of
For cafl
eggys loil not oonys Jpare,
Tyl he be quallyd body, bai, andjyde.
His heed endooryd, and
-verray pryde
The fenejlrallys
be made
"vtrray dcwe ryght
it of
trcwe herytage
is
To fals bakerys,
that place.
of
Claymyth to been a capteyn

The bajiyle longith
abrood his face

or hym
ivyde^
fo
out his armys, fhetuith
Put
Seêralle to them, this knoiueth e-very luyght^
for
Whan
they tak oonys their poffeffioun,
doon hem
in
youthc or in myddyl age
ivrong
yif they
down.
take hym
mellerys and bakerys gadre hem a gilde,
u4nd alle
Undir
the
ajjent make a fraternite',

pillory a Ictil chapelle bylde.
of
Lit
lyberte.
be
ther noumbre
of
thos that
The place amorieyje, and purchaje
For alle
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 aled
pawnbroker, and when j)eople had drunk more than they could pay
for, he would take their clothes
-in
the
middle
ages,
was the
as pledges
refort
for their money.
The tavern,
of very mifcellaneous company
as

Oivthir
Men
fttyng Jiage
pewe out ther vifage^
thcr
Be kynde affygned
JVheer they may freely
Hi[lory of Caricature
138
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
" jogelour " found

employment
gains; and the more vulgar minllrel and

there
the
for the middle clafles of fociety, and even their betters, frequented
flails of the church of Corbeil, the liquor merchant

In
tavern much more generally than at the prefent day.
hoglhead in
barrow,
the carved
reprefented by the
is
figure of
No. 88.
The gravenefs and air of importance with which he regards it
man wheeHng
us to fuppofe
as
fhown in our cut
Ihe Wtne Dealer.
iVo. 88.
would lead
that the barrel contains wme
and the cup and
jug on the Ihelf above Ihow that it was to be fold retail.

fellers called out their
wines from their
doors,
and
The wme-
-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

it
at
four
pennies, at fix, at
offering
eight, and at twelve, frefh poured out
from the gallon cafk into the cup,

Vocabularies,"' p. 126.)
in their taverns,
to tempt people."
The ale-wife
was an efpecial
("Volume of
fubje6t of jell
in Literature and
and
latire,
and
not
is
unfrequently
monuments of our forefathers.
m the church

ale-wife
mto
Tne
39
reprefented
Our cut No. 89
A",. 8y.
mifereres
Art.
is
on
the
pittorial
taken from one of the
AU-iyij'c.
of WelHngborough,
in Northamptonihire
tlie
pouring her hquor from her jug
is
a cup
to ferve
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
The fize of his jug
is
fomewhat difpropor-
tionate to that of the barrel

he obtains
the
ale.
Shroplhire.
from which
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
No.QO.
C
r
.
u
I
1 ii
t
IS luppcled
to have arrived, and Ok- has
rtyeived her fentencc. A demon, feated on one fide,
The
is
Ale-Draiver.
reading
lifl ot
Hijlory of Caricature
40
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,
mouth,
on the
exception

unfortunate
the
lady,
in order
other fide of the
throw
to
pidure.
She
is
of the fafhionable head-gear, which formed
iV'o.
91 .
The
her
into
hell-
naked with the
of her vanities
one
Ale-Wife's End.
in the world, and Ihe carries witli her the falfe meafure with which the
cheated her cuftomers.
The fcene
is
demon bagpiper welcomes her on her arrival.
full of wit and humour.
of their rufticity, are not unfrequently

The flails of Corbeil prefent
met with in thefe interefting carvings.
Our cut No. 92 is taken from thofe of
feveral agricultural fcenes.
The ruftic dalles, and
cathedral,
Gloucefter
fhepherds,
inI1:ances
of an earlier
and
reprefents
the
three
aflonilhed at the appearance of the liar which announced the
birth of the Saviour of mankind.

to whom
date,
this
reprefented
as
Like the three kings, the Ihepherds
revelation was made were always in the

three in number.
In our drawing from
Gloucefter cathedral, the coftume of the Ihepherds
is
the
middle
ages
miferere in
remarkably well
in Literature and
depi6ted,
even
are drawn with
141
with the various implements appertaining
to the details,
to their prot'ellion,
Art.
molt of which are fufpended to their girdles.
much Ipirit,
and even
the dog is well
They
reprefented
as
an efpecially attive partaker in the fcene.
No, 92.
of the Eaji.
two other examples we fele6t from the mifereres of Corbeil,
the
the firrt reprefents
the
or, as he was commonly called by our
carpenter,
and mediaeval forefathers, the
Anglo-Saxon
uright, which fignifies fimply
The application of this higher and more general term

For the Almighty himfelf is called, in the Anglo-Saxon
poetry, calid
Ihows how
gefcefta ivyrhta, the Maker, or Creator, of all things
the
"maker."
important an art that of the carpenter was confidered in the middle ages.
Everything
Saxon
made
of wood came within his province.
" Collo(juy " of archbifhop Alfric, where
artifans are introduced difputing

crafts, the
make
" wright
houfes
"
and
fays,
about
"Who of
("Volume of Vocabularies,"
thirteenth
the
century, defcribes
11.)
the
Anglo-
of the more ufcful

of their feveral
can do wiihuut
my craft, fince
{vafa),
ami
lliips for you all ?"
And Jolui de Garlande, in the
carpenter
things, tubs, and barrels, and wine-cades.

rime* wa exercifed, before
feme
In
the relative value
you
all forts of veffels

j).

Of
The Shepherd:
as
making,
among othei
The workmanlhii)
all other materials,
of thoft
on wood ami luitals, and
142
Grotefquc
the Wright, or worker in the former material, was diftinguillied
No. 93.
The Carpenter.
circumftance from the fmith, or worker

called
wright in Scotland.
the
in metal.
The carpenter
is
ftill
Our laft cut (No. 94), taken alfo from one
No. 94.
of
by this
The Shoemaker.
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
ccrdewaine.
Our ihoemaker
an inrtrument
of
in
Spain,
and
is engaged
was
thence called
in cutting
rather lingular form.
t)t
or
leather with
Shoes, and pert aps forms foi
making llioes, are fufpended on pegs againfl the wall.

Ikin
,r)rde-ican,
44
CHAPTER
Grotefque
IX.
PREVALENCE
FACES AND FIGURES.
OF THE TASTE FOB
GROTESaUE
SOME OF THE POPULAR
FACES.
UGLY AND GROTESGUE
FORMS
DERIVED FROM ANTIGUITY J THE TONGUE LOLLING OUT, AND THE
HORRIBLE SLTBJECTS : THE MAN AND THE
DISTORTED MOUTH.
ALLEGOKICAL FIGURES : GLUTTONY AND LUXURY.
SERPENTS.
OF CLERICAL GLUTTONY AND DRUNKENOTHER
REPRESENTATIONS
NESS.
GROTESGUE
FIGURES
OF
INDIVIDUALS,
AND
GROTESGUE
GROUPS.
ORNAMENTS OF THE BORDERS OF BOOKS.
UNINTENTIONAL
of the jougleurs feem to have had

To unrefined and
great attratlions for thofe who witnefTed them.
uneducated minds no objett conveys fo perfect a notion of mirth as an
THE
grimaces
and ilrange poftures

ugly and diftorted face.

at
Hence it
is that
country fair few exhibitions
grinning
through
are
among the common peafantry

more
fatisfadory
This fentiment
horfe-collar.
in the fculpture efpecially of the
middle
ages,
of
largely exemplified
is
a
than that
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
fignification
the
furface of the
Gorgons
grotefque
mafks had a general meaning, and were in
the whole
grotefque
In
beyond
field of comic literature.
pidure,
and
her
manner typical of
The malk was lefs an individual
to be laughed at for itfelf, than a perfonification
of comedy.
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.
grotefque featares, like

fatisfadion
by their
the
mere
grinning
145
and, where they had
intelleftuality,
fatirical, without any
meaning beyond the plain text
fcuipture or drawing, it was not far-fetched,
the
of
plain and eafiN
but
When the Anglo-Saxon drew the face of
underrtood.
gave
Even the applications, when fuch
ughnels.
were intended to have one, were coarfely
figures
horfe-collar,
the
through
and
bloated
disfigured monk, he no doubt intended thereby to proclaim the popular

notion of the general chara6ler of monaftic life, but this was
which nobody could mifunderftand,
was prepared
to give
of grotefque
defiga
interpretation which everybody
an
We have already feen various examples of
to it.
this defcription of fatire, fcattered

ma(s
here and there among the immcnfe
which
fculpture
has
fuch
no
meaning.
great
proportion, indeed, of thefe grotefque fculptures appears to prefent mere

variations of
down from
from
certain number of di(lin6t types which had been handed
remote period, feme
Hence
antiquity.
of them borrowed, perhaps involuntarily,
naturally
we
look
for the
earlier and
of this clafs of art to Italy and the fouth of France,
curious examples
where the tranfition from claflical to mediaeval was more

the continued influence of claflical forms
gradual, and
The
eafily traced.
is more
early Chriftian mafons appear to have caricatured under the form of fuch
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,
grotefques
near
the perfonages
Nifmes,
the
original
type
of which
had
evidently
burlcfque figure
of Saturn eating one of his children.
mafk doubtlefi
furnifhed
mediaeval fculpture,
as
the
type
for
thofe
figures,
of faces with difproportionately
another favourite clafs of grotefque
been
Ibme
The clallical
fo
large
common
mouths
in
jiill
faces, thofe with diflended mouths
lolling out, were taken originally from the Typhous and

Many other popular types of faces rendered
Gorgons of the ancients.
and tongues
artificially ugly are mere exaggerations

features
liu h,
of the
f(^r
diltortions produced on the
inltance,
as
th.it
of blowuig
horn.
The pradice of blowing the liorn,
is,
by different operations,

more
indeed,
peculiarly calculated to
146
exhibit tlie features of the face to difadvantage,

by the defigners
colle6tion of
One of the largp
of fculptures from French cathedrals
mufeum at South Kenfington,

and was not overlooked
of the mediaeval decorative fculpture.
cafts
cut No. 95.
Grotefque
The firft
is
exhibited in
th'^
has furnifhed the two fubjefts given in our
reprefented
No. 95.
as
blowing
horn, but he
is
Grotefque Monjiers.
producing the greateft poflible diftortion in his features, and efpecially m
with his left hand,
his mouth, by drawing the horn forcibly on one fide
while he pulls his beard in the other dire6tion with the right hand.
force with which he is fuppofed to be blowing
is perhaps
The
reprefented
by
The face of the lower figure is in at leaft

The defign of reprefenting general diftortion in the
the form given to his eyes.
comparative repofe.
firft
is
Such
further fhown by the ridiculoufly unnatural pofition of the arms.

diftortion of the members was not unfrequently introduced to
heighten
the.
effeft of
the
examples,
it was not uncommon to
grotefque,
the
demons.
bodies,
in the
grimace
introduce
or parts of the
bodies,
face
as
and,
as
in
thefe
further element ot
of animals,
or even
of
Literature and Art.
/;/
H7
Another caft in the Kenfington
Muleum is the lubje6t of GUI' rut

the fame idea of ftretching the mouth.
The
No. 96, which prefents

fubjed
but
exhibited
is here
whether
by another rather mirthful
exhibitor
the
intended to be
is
is
merely furniftied with the wings and claws of
The bat was looked upon
rather uncertain.
unholy animal
of the carved
a
flails m
trio of grimacers.
Killing out the tongue

grinning
while
if
unpropitious
The group in our cut No. 97
No. 97.
rcprefcnts
as an
a bat, feems
not an
like the owl, it was the companion of the witches, and
of the fpirits of darknefs.
one
goblin or demon, or
Diabolical Mirth.
No. 96.
whether he
looking individual,
the
the
is taken
from
church of Stratford-upon-Avon,
and
Making Facts.
The firll of thefe three grotefque
to an extravagant
third has taken
length
a faufage
the fecond
is
facee is
fimply
between his teclii to
HiJIory of Caricature and Grotefque
148
The number and variety of
render his grimace ftill more ridiculous.

fuch
faces,
grotefque
we find
which
fcattered
over
the
architedural
I will
All
this
efFe6i upon
the
decoration of our old ecclefiaftical buildings, are fo great that

attempt to give any more
particular
claflification
of them.
church decoration was calculated efpecially to produce its

middle and lower claffes, and mediaeval art was, perhaps
not
than any-
more
thing elfe, fuited to mediaeval fociety, for it belonged to the mafs and not
to
individual.
the
The man who could enjoy
match at grinning
through horfe -collars, mufl have been charmed by the grotefque works of
the mediaeval ftone fculptor and wood carver
difplay, though often rather rude,
great power
a very
and we may add that thefe
high degree of
Ikili in
of producing ftriking imagery.
Thefe mediaeval artifts loved alfo to produce horrible objefts

laughable
art, a
ones,
even
though
in
their
as
well
as
they were continually
horrors
Among the adjunfts to thefe fculptured

figures, we fometimes meet with inftruments of pain, and very talented
The creed of the
attempts to exhibit this on the features of the viftims.
into the grotefque.
running

middle ages gave great fcope for the
indulgence of this tafle
of purgatory and hell
in the
of
infinitely varied
terrors
the more
defcriptions that are fo common in mediaeval popular
crude
not to fpeak
and,
literature, the account to which thefe defcriptions might be turned by the

poet
as
well
as
of Dante.
the artifl are well known to the reader
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.
combined in forming grotefque
They are often

tracery with the bodies of animals or of
human beings, and their movements are generally hoftile to the latter.
We
have
it
chapters,
and dragons, dating from the
ferpents
and
already feen, in previous
is
ouildings
perhaps
and
the
moft common
illuminated
earlieft periods
flyle
In
of this ufe of
of mediaeval art
of ornamentation
manufcripts in our
Saxon times to the thirteenth century.
llrikingly bold and effe6tive.
examples
iHand
from the
This ornamentation
the cathedral
is
of Wells there
the
earlier
fometimes
is a feries
Literature and
///
of ornamental
is
who are feizing upon the
49
attacks
of
Ups.
eyes, and cheeks
of
One of thefe bolfes, which are of the thirteenth century,
Ac/,

formed by faces writhing under the
bolles,
numerous dragons,
their vi6lims.
Art,
â.
large, coarfely featured
face is the
iurrur,
vidim of two dragons, one of which attacks his mouth, while the other has
The expreliion of the face is ftrikingly horrible.
feized him by the eye.
The higher mind of the middle ages loved to fee inner meanings
through outward forms;
or, at
leall, it was
falliion
which manifefted
itfelf moft ftrongly in the latter half of the twelfth century, to adapt
forms to inward meanings by comparifons and moralifa-
thefe outward
tions; and under the effect of this feeling certain figures were
adopted,
with
at
times
view to fome other purpofe than mere ornament, though
The tongue lolling

we have feen, from the imagery of claHic limes,
this was probably an
innovation upon mediaeval art.
out, taken originally,
as
was accepted rather early in the middle ages as the emblem or lymbol
luxury
and, when we find it among
the
fculptured ornaments
of
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
vcjluptuary.
Among the iini.ukiiblc
150
feries
of fculptures which
crown
the
Magdalen College, Oxford, executed
battlements
a very
the fifteenth century, amid many figures of

there are feveral
tatives
Grotefque
of the
cloifters
of
few years after the middle of

a very
mifcellaneous charader,
were thus, no doubt, intended to be reprefen-
which
of vices, if not of virtues.
give two examples of thefe curious

fculptures.
No. 99.
The firft, No. 99,

is a
No. 100.
Gluttony.
is
generally confidered to reprefent gluttony, and it
remarkable circumftance that, in
building the chara6ter
was partly ecclefiaftical, and which was eredted at the
the diredtions of
Luxury.
a great
prelate,
Bifliop Wainflete,
of which
expenfe and under
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
" villainous " low
coarfe, bloated features of the face, and the
forehead.
//;
are charaderirtically
executed
and
151
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
the
introduce in our woodcut) to be intended to reprefent

Sometimes qualities of the individual man, or
even
the clafs
luxury itfelf.
of fociety, are reprefented in
manner far lels difguifed
by allegorical
clothing, and therefore much more plainly to
of the vulgar. Thus in an

illuminated manufcript of the fourteenth centhe undcrftanding
No. 10 1.
pie alone and in fecret, except that
devouring
is
tury, in the Britilh Mufeum (MS. Arundel,

No. 91), gluttony
monk
reprefented by
Monkljh Gluttony.
little cloven-footed imp
of monadic indulgence.
Another manufcript of the
Ni. loa.
loi.
(MS. Sloane, No. 2435) contains
The
M.naftic Cellarer.
fcene,
No. 103.
copied in our cut
Drunktnnefs.
there indulging his love for good ale in fimilar fecrecy.
is
and
It
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,
is
to be
remarked that here, again, the vices are laid to the charge of the clergy.
baf-relicf in Ely Cathedral, given in Carters
Our cut No. 103, from
a

fame date
copied in our cut No.
This pitture
is
holds up the difli, and feems to enjoy the profped
1^2
" Specimens of Ancient Sculpture,"

horn, and evidently enjoying
Grotefque
reprefents
his employment,
man
drinking from
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
in
former
chapter, where we have noticed the
been
partly treated
great
love fhown in the middle ages for
not only monfters
monftrous animated figures,
nature, but, and that efpecially, of figures
of one

formed by joining together the parts of different, and entirely diffimilar.
No.
animals, of fimilar
1 04.
-dd Arrange
Monfler.
mixtures between animals and men.
This,
as
ftated
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
above, was often effefted by
to fet oflf
ftill further the grotefque chara6ter of the human face.
importance was fometimes given to

forms, which
baffle
any
the
body
combined with fantaltic
attempt at giving an intelligible
The accompanying cut. No. 104, reprefents
More
defcription.
winged montter of this
i?i
taken from one of the
is
it
kind
Literature and Art.
^53
from French churches exhibited
cafts
Mufeum.
in the Kenfinsrton
Sometimes the mediaeval artift, without

his human figures,
giving any unufual form to
placed them in ilrange pollures, or joined them in
Thefe latter are commonly of playful charader.

or fometimes they reprefent droll feats of ikill, or puzzles, or other
a
lingular combinations.
fubjeds, all of which have been publilht-d pi6torially and for the amufe-
There were few of thefe

of children down to very recent times.
groups which aie of rather frequent occurrence, and they were evidently
is
taken from one
loj.
RoU'ing Topjy Turvy.
of the carved mifereres of the Ihills in Ely cathedral,
as
given in Carter, and reprefents two men who appear to be rolling over
The upper figure exhibits animal's ears on his cap, which

member of the fraternity of fools
the ears of
feem to proclaim him
fimilar
antiquaries have
monuments
France,
in
technical name for
it
on
efpecially
This group
where
not
the
the lower figure are concealed from view.
is
each other.

No. 105.
given in the annexed cut. No.
ll
One of thefe
favourite types.
is
ment
rare one,
architectural
and this fhows us how
iven the
particular forms of art in the middle ages were not confined to any ])articular country, but more or let, and with exceptions, they pervaded all
154
thofe which acknowledged

Rome
and Grotefqiie
of the church of
the ecclefiaftical fupremacy
whatever pecuharity of ftyle it took in particular countries, the
fame
forms were fpread
through
Our next cut.

No. 106, gives another of thefe
curious groups, conlifting, in fa6l, of
all wellern Europe.
two
individuals,
feen
be
of which
that,
as
we
is
It will
eccleliaftic.
an
evidently
one
follow this
round, we obtain, by means of the

No.io^. A
group
is
Rouen
two heads, four different figures in fo

Continuous
many totally different pofitions. This
Group.
taken from one of the very curious feats in the cathedral of

in Normandy, which were engraved and publifhed in an
interefling
volume
late
by the
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

illuminated
periods
of the pages of
During
manufcripts.
the
earlier
of the mediaeval miniatures, the favourite
objefts for thefe borders were monftrous animals,

efpecially dragons,
which
could eafily be twined
into grotefque combinations.

fubje6fs
In
thus introduced became
courfe
of time, the
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,"
Nc. 107.
Bcrder Ornament,
meaning.
of the fifteenth century, which has furnilhed us

previoufly with feveral cuts, will illuftrate my
The graceful lightnefs of the tracery of the foliage fhown in
in Literature and
this defign
is
is
^SS
of the earHer works of art of this clals.
tbund in none
This, of courfe,
Art.
chiefly to be afcribed to the great advance which had
of delign fince the thirteenth century. But, though

fo greatly improved in the ftyle of art, the fame clafs of fubjeds conbeen made in the art
tinued to be introduced in this border ornamentation
lonsr after the art

it,
of printing, and that of engraving, which accompanied

had been
The revolution in the ornamentation of the borders of the
introduced.
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
infpiration from
appreciate, ancient
Roman
and
art
antiquities,
they drew
and
their
corre6l knowledge of what the middle ages had copied
Among the fubjefts of burlefque which

the monuments of Roman art prefented to them, the ftumpy figures of
blindly, but had not underftood.
to have gained fpecial favour, and they are employed
the pigmies appear
08.
century,
of which
fanciful and neatly-executed burlelque.
is
page
enclofed in
border
of very
The pigmies are introduced in
fccne which reprefeuls
108,
tul No.
of
printed at Lyons in
tht/e borders very freely, and are grouped with great fjjirit.
example,
let
Triumfhal Procejfion.
illuftrations to Ovid's Metamorphofes, which were

574, and each cut and
engraved
half of the fixteenth
latter
the
us
in
reminds
No.

berg
manner which
Joll
of the piftures found in Pompeii.
Amman, the well-known artift, who exercifed his profeflion at Nuremin
feletl
as
an
triumphal prutellion
156
Grotefque
The hero
lome pigmy Alexander returning from his conquefts.

on
throne carried by an elephant, and before him
and leading in the
peace,
other
trophy of his maker's vitlories.
him again
Before
which
on
charafter of
encountered in Egypt, blows
A fnail,
of the conqueror.
perhaps,
romance,
in mediaeval
a
is
as a
fomewhat
Alexander
faid
was
of the
to
have
horn, to celebrate or announce the return
alfo
advancing flowly up the ftage, implies,
thefe
old German, Flemifh, and Dutch artifts were
clumfy
in
imagination,
their
neglect of
place, and their naive exaggerations and blunders.
everything
Extreme examples

Sea are armed with mulkets, and all the other accoutrements
fhooting
attempt
him with
is
matchlock.
is
of
Red
of modern
preparing to facrifice his fon Ifaac by
In delineating fcriptural
fubjecSls,
an
generally made to clothe the figures in an imaginary aftcient
with the modern caftles

and monalleries of weftern Europe.
oriental coftume, but the landfcapes

and
like
time and
to
thefe charafteriftics are fpoken of, in which the Ifraelites croffing the
foldiers, and in which Abraham
flill
they difplayed in their
in their treatment of the fubje6t with regard
ccngruity
burlefque on the ftrange
much influenced by the mediaeval fpirit, which

and
of
the fteps
fneer at the whole fcene.
Neverthelefs,
coarfe
as a
pigmy warrior,
mounting
partaking
intended
fow, but perhaps
animals which,
animal,
nondefcript
pigmy
ollrich,
ponderous but captive
heavily armed with battle-axe and falchion,

ftage,
them
hand the olive branch of
proudly, carrying in one
attendant marches
bird, perhaps
Before
proclaims loudly his praife.
crane,
vanquilhed
is feated
manfion
houfes,
churches,
are filled
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
own eye
that
is
in thine
Or how wilt thou fay to thy brother. Let me pull out the
"^Sl
in thine own eye
Thou
beam
is
of thine eye, and, behold,
iji
mote out
Literature and Art.
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."
Yet luch
overlook in his
of the beam which the man was expected to

certainly was not
large beam of timber.
" own eye,"
it
ever be the exa6t nature
What-
of the fixtecnth century.

ferics of woodcuts
One of them, named Solomon Bernard, defigned
by artills
illurtrating the New Teftament, which were publilhed at Lyons in

and the manner in which he treated the fubjeft
will be fecn in our cut
certainly fuch
maflive
objeft
as
by
and he retorts
pointing to the
" beam," which
is
could not ealily have been overlooked.
this,
an artift
the
mote
in
hi3
brother's eye,
evidently treating
it
is
fees
is
who.
thirteen years before

a
mote in his eye, which the other, approach-
of Augtburg, laim-d Daniel

large copper-plate engraving of this fame fubjea,
l<jpfer, had publilhed
reduced copy of which
given in the cut No. 110. Tlie imlividual
About
ing him, points out
is
the man who has
The individual
Tht Mote and the Beam.
1^0. 109.

No. 109, taken from one of the illuftrations to that book.
feated
1553
it
of
was the conception
in the
Hiflory of Caricature and
158
chara6ter
beam
of
phyfician or furgeon.
in his own eye
is
It
is
Crotefque
only neceflary to add that the
of ftill more extraordinary dimenfions than the

former, and that, though it feems to efcape the notice both of himfelf
"No,
1 1 o.
The Mote and the Beam Another
Treatment.
and his patient, it is evident that the group in the diftance contemplate it
The building accompanying this fcene appears to be

church, with paintings of faints in the windows.
with aftonilhment.
a
CHAPTER
/;/
Literature and Art.
59
X.
have
fpoken of
chapter
previous
IN
JOHN DE HAUTEVILLB
SATIRICAL LITERATURE IN THE MIDDLE AGES.
THE GOLIARDIC
G0LIA3 AND THE GOLIARD3.
AND ALA\ DE LILLE.
PARODIES ON RELIGIOUS SUBJECTS.
TASTE FOR PARODY.
POETRY.
THE JEWS OF
CARICATURE IN THE MIDDLE AGES.
POLITICAL
NORWICH.
CARICATURE REPRESENTATIONS OF COUNTRIES. LOCAL
SATIRE.
POLITICAL SONGS AND POEMS.
it
which was entirely popular in its chara6ter.
was original
among the peoples
clafs
of fatirical literature
Not that on this account
who compofed mediaeval fociety, for
intelledual development of the middle ages came almofl: all from

little of the
Rome through one medium or other, although we know
fo
the
of the popular literature of the Romans that we cannot always

trace it. The mediaeval literature of weftern Europe was moftly modelled
upon
that
of France, which was received, like its language, from Rome.
But when the great univerfity fyftem became eftablilhed, towards the end
of the eleventh century, the fcholars of weftern Europe became more

dire6tly acquainted with the models of literature which antiquity had left
them
and during the twelfth century thefe found imitators fo
fome of them almoft deceive
us
Ikilful that
into accepting them for claflical writers
Among the firft of thefe models to attrad the attention of

and the ftudy of them
mediaeval fcholars, were the Roman fatirifts,
produced, during the twelfth
century,
themfclves.
number of fatirical writers in
Latin profe and verfe, who are remarkable not only for their boldnefs and
mav meniion among
poignancy, but for the elegance of their flvle.
thofe of Englifh birth, John of Saliibury, Walter Mapcs, aiul Giraldus
mcntiuncd
Nigellus Wirckcr, already

former chapter, and Julin de Ilautevillc, who wrote
who
in
all wrote
in
jjrcjfc,
and
in
Cambrenfis,

details
i6o
Grotefque
The lirfl; of thefe, in his " Polycraticus," Walter Mapes, in his

book "De Nugis Curiahum," and Giraldus. in his " Speculum Ecclefiae,"
verfe.
of his writings, lay the lalh on the corruptions and vices

of their contemporaries with no tender hand. The two moft remarkable
and feveral other
Englifh fatirifts of the twelfth century were John de Hauteville and

Nigellus Wireker. The former wrote, in the year 1184, a poem in nine
books of Latin hexameters, entitled, after the name of its hero, " Architrenius," or the Arch-mourner.
Architrenius
is
reprefented
as
youth,
arrived at years of maturity, who forrows over the fpedacle of human

vices and weaknelfes, until
he refolves
to go on a pilgrimage
to Dame
Nature, in order to expoftulate with her for having made him feeble to
refift the temptations of the world, and to entreat her affiftance.
On his
way, he arrives fucceffively at the court of Venus and at the abode of

Gluttony, which give him the occafion
on the licenfe and luxury
which
to
dwell at confiderable length
prevailed among
He next reaches Paris, and vifits the famous

fatire on the manners
forms
his
mediaeval
contemporaries.
univerfity, and his
of the ftudents and the fruitleflhefs of their ftudies,

of the age.
remarkable and interefting piture
The pilgrim

next arrives at the Mount of Ambition, tempting by its beauty and by the
ftately palace with which it was crowned, and here we are prefented with
a fatire on the
the
Hill of
and corruptions
manners
Near to this was
Prefumption, which was inhabited by ecclefiaftics of all claffes,
great
fcholaftic do6lors
fatire
on the manners
and
profeflbrs, monks, and
of the clergy.
painful fpeftacle, he encounters

Cupidity,
of the court.
is
led into
feries
the
As Architrenius
like.
turns
It
is a
from this
gigantic and hideous monfter named
of reflexions
upon the
avarice
of the prelates, from which he
a fierce
combat between the prodigals and the mifers.
is
greedinefs
and
roufed by the uproar caufed by
He
is
fubfequently
carried to the ifland of far-diftant Thule, which he finds to be the refting-
of the philofophers of ancient Greece, and he liftens to their

After this vifit, Architrenius
declamations againft the vices of mankind.
place
of his pilgrimage. He finds Nature in the form of

beautiful woman, dwelling with a hoft of attendants in the midft of
reaches
the end
flowery plain, and meats with
a courteous
reception, but flie begins
a
a
by
in Literature and
giving him
Art.
lung leAure on natural philofophy.

Attcr this is concluded.
Dame Nature lillens to his complaints, and, to conlole him, gives him a
a
handfome woman, named Moderation, for

a
chapter of good counfels
moral
intended to be
domeftic happinefs
on the duties
wife, and dilmilles him with
of married life.
The general
inculcated appears to be that the retirement
is to be
preferred to the vain and heartlels turmoils
adive life in all its phafes.

which fubfequently produced
of
of
It will be feen that the kind of allegory

" Pilgrim's Progrefs," had already made
the
in mediaeval literature.
its appearance
Another of the celebrated fatirifts of the fcholaflic ages was named

Alanus de Infulis, or Alan of Lille, becaufe he is underftood to have been
He occupied the chair of theology for many
years in the univerfity of Paris with great diilindion, and his learning was
fo extenlive that he gained the name of doBor univerfalis, the univerfal
born at
dodor.
Lille m Flanders.
In one of his books, which
is an
imitation of that favourite book
"Boethius de Confolatione Philofophiae," Dame Nature,

in the place of Philofophy not, as in John de Hauteville, as the referee,
in the middle
ages
but as the complainant is introduced
bitterly lamenting over the deep

depravity of the thirteenth century, efpecially difplayed in the prevalence
of vices of
This work, which, like Boethius, confills
revolting charader.
of alternate chapters in verfe and profe, is entitled " De Plandu Naturae,"

I will not, however, go on here to give a
the lamentation of nature.
lift of the graver fatirical writers, but we will proceed to another clafs of
fatirifts which fprang
up among the mediaeval fcholars, more remarkable
and more peculiar in their charafter
The fatires of the time (how

in the twelfth
of independence
and thirteenth
us
I mean
peculiar to the middle ages.
that the Itudents in the univerlities
centuries,
who
enjoyed
fcholallic life, we can have no doubt that the habit
amount
and,
themfclves to
of diHipation
became
Among thefe wild ftudents there exifled, probably, far more
wit and fatirical talent than among their fteadier

bretliien, and this wit, and the manner in which
fta pofll-lfors
great
from authority, were generally wild and riotous,
among the vaft number of youths who then devoted

permanent.
welcome gucfts
at
it was
tin- luxurious tables

M
and
more
laborious
difplayed, made
of the higher and
62
richer clergy,
at
which Latin feems to have been the language in ordinary
In all probability it
ufe.
Grotefque
was from this circumftance (in allufion to the
their love of the table) that thefe merry

fcholars, who difplayed in Latin fome of the accomplifliments which the
Latin word gula,
as
intimating
jongleurs profeffed in the vulgar tongue, took or received
Latin of that time, goliardi,
(in the
goUards
name at leaft appears

twelfth
to
In the year
century.
been
have
the name
or goUardenfes) .*
towards
adopted
the
end
The
of the
minority of Louis
1229, during the
of
IX.,
and while the government of France was in the hands of the queenarofe in the univerfity
mother, troubles
of Paris through the intrigues of
the papal legate, ai.d the turbulence of the fcholars led to their difperfion
and
the
to
temporary clofing of the fchoolsj
hiftorian, Matthew Paris, tells us

departing fcholars,
pofed
and the queen.
the
contemporary
the fervants
of the
thofe whom we ufed to call goliardenfes," com-
an indecent epigram on the rumoured
legate
for
^r
and
how " fome of
But this
is
familiarities
between the
not the firft mention of the goliards,
llatute of the council of Treves, in 1227, forbade
"all
priefts
to
permit truants, or other wandering fcholars, or goliards, to fing verfes or

and Angelas Dei in the fervice
foon have to fpeak.
This probably
thofe of which I fliall
From this time the goliards are frequently mentioned.
ftatutes publiflied in the year 1289, it is ordered
heavy penalty againft thofe clerici
j"
univerfity) fhould not be jougleurs, goliards, or buffoons

ftatute proclaims
that the
men who had their education in the
clerks or clergy {clerici, that
is,
In ecclefiaftical
of the mafs."t
on the religious fervice, fuch as
refers to parodies
and the fame
"who perfift in
the
the mediaeval Latin, the word goUardia was introduced to express the profe.>sion of the goliard, and the vtrh gonardi%are, to signify the practice of it.
" Item, praecipimus ut onines sacerdotes non permittant trutannos et alios vagos
In
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.
schoiares,

SanSius
i 6
of goliardy or flage performance during a year,"* which Ihows

that they exercifed more of the fundions of the jongleur than the mere
practice
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
pun on the name of the giant who combated againft David, and, to
as a
Ihow further their defiance of the exifting church government, they made
him
bifhop Golias epifcopus.
fentative of
Billiop Golias was the burlefque repreclerical order, the general fatirift, the reformer of
the
If
eclefiallical and all other corruptions.

he was
of arts, for he
mafter
is
he was not a doftor
fpoken of
Magiftcr
as
of divinity,
Golias.
all he was the father of the Goliards, the "ribald clerks,"
above
are called, who all belonged to his houfehold,t
his children.
Summa falus omnium,
and they are fpoken
fU us Maria,
Pajcat, potat, vejiiat pueroi Golya !
" May
as
But
they
of
as
of all, the Son of Mary, give food, drink, and clothes

to the children of Golias!"
Still the name was clothed in fo much
the Saviour
of the twelfth century, believed Golias to be
It
contemporary.
may
be
added
Golias
that
a real
perfonage,
and his
not only boalls of the
dignity of bifhop, but he appears fometimes under the title of archipoeta,

the archpoet or poet-in-chief.
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
Caefarius
" It
In the year before he wrote, he tells us,
at Bonn, in the diocefe of Cologne, that a certain wandering
the wandering
happened
clerk.
....
Clcrici
si in
goliardia vel histrionatu per annum fuerint." lb. col. 719.
one of the editions ot this statute it is added,
**
Concil.,
"after
tliey have been warned
three
Clcrici ribaldi, maximc qui vulgo dicuntur defamila Goliad Concil. Sen. ap.
t-jHi. ix.
btc
n>y
"
\>.
In
"
tiinc"."

myftery, that Giraldus Cambrenfis, who flouriflied towards the latter end
578.
Poems ol
Walter Mapcs,"
p. 70.
164
of
clerk, named Nicholas,
Grotefque
ill,
clafs they call archpoet, was grievoully
the
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
What more
church, admiflion into the order.

it appeared
as
to us, with
He put on the tunic,
contrition, but, when the danger
much
was
off immediately, and, throwing it down with derifion, took

We learn befl: the charafter of the goliards from their own
paft, he took it
to
flight."
poetry,
confiderable quantity of which
They wandered
is preferved.
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
few inftances only were they otherwife than welcome,
rhyming
"I
Mapes."
dinner; fuch
come uninvited,"
is

avoid fuch
you
to
Walter
"ready for
The bilhop replies,
"I
who wander among the fields, and cottages, and
fuch guefts are not for my table.

as
defcribed in the
fays the goliard to the bifliop,
my fate, never to dine invited."
care not for vagabonds,
villages
as
" Latin Poems attributed

my
printed m
epigram
In
gifts of clothing and other articles.
being well feafted, they received
do not invite you, for
yet without my will you may eat the bread you afk.
Wafla, wipe, fit, dine, drink, wipe, and depart."

Goliardus.
Non In-vhatus
Sic
urn
'venio pândere
paratus ;
fatatus, nunquam prandere
-vocatus.
Episcopus.
Non
ego euro -vagos,
Perlujlrant,
tales
qui rura, mapalia, pagoi
non -vult mea tnenfa Jodales,
Te non in-vito, tihi conjimiles ego -vito
Me
tamen
jiblue, terge, fede, prande,
given him
as
bibe, terge, recede.
goliard complains of the billiop who

his reward nothing but an old worn-out mantle.
Moll
In another fimilar epigram,

had
innjito potieris pane petito,
the
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
Icholar, he had not learnt to labour, that his
knights, but he had no tafte for fighting, and that, in
were
//;
parents
his hoft, that, as he was
Art.
Literature and
word, he preferred poetry to any occupation.
great difgrace to me
be fold
would rather fufFer
long
"
wear," he fays,
be
of vair which
will
this garment
for money,
it
"
li
his clothes.
is
to the point, and complains that he
Another fpeaks iVill more

in danger of being obliged to fell
the
needful now that the poet's
relieved by your liberality [addrelling his hearers]

give noble gifts gold, and robes, and the like."
be
want
It
half of his cloak.
is
has, who only gave
it
bilhop, who
is
mod generous of all generous men, gave me

heaven,
this cloak, and will have for
greater reward than St. Martm
fait.
let noble men
Si -vendatur propter denarium

mihi Jiet opprobrium
Nialo dJu pati jejunium.
Largijftmus
ctelis praimum
Bûtjm Alartinus.,
Nunc
omnium
dedit mihi hoc patliumf
Mtijus haben:
in
Prwjul
largorum
Indumentum quod porta -varium,

Grande
qui dedit medium.
Dent nobiles dona nobilia,
Aurum,
-ueftei,
et
hiijimilia.
There has been fome difference of opinion

this poetry more
efpecially belongs.
as to the
country to which
Giraldus Cambrenfis, writing
at the
and at
thought that Golias was an Englifhman
end of the twelfth or the beginning of the thirteenth century, evidently

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.
on this occafion, certainly took
country
property
in faying that they belonged in common to all
over which
particular
We fhall
poem
univerfity learning extended;
of tliis clafs was compofcd,
that in whatever
became
of the whole body of thefe fcholafUc jougleurs, and that
it
the countries
narrow view of the queftion.
it
probably be more correct
Jacob Grimm feemed inclined to claim them for Germany; but Grimm,

eft
opus ut -veftra copia

Shbleiietur -vatis inopia
tlie
was
liijtory of Caricature
66
a?id Grotefue
111
I
-i
thus carried from one land to another, receiving fometimes alterations oi
additions to adapt
written
manufcripts
additions,
countries with fuch
in different
for inftance,
as,
Several of thefe poems
it to each.
that in the
are found
alterations
well-known " Confeffion," in
ij
and
tb'"
Englilh copies of which we have, near the conclufion, the line

Praful
an appeal
to the bifhop
Coventrenjium, parce confitenti ;
of Coventry, which is changed, in
copy in a
German manufcript, to
EkSie Cdonia, parce peenltentl,
From a comparifon of what

O elet of Cologne, fpare me penitent."
remains of this poetry in manufcripts written in different countries, it
*'
Golias and goliard originated in the
probable that the names
appears
univerfity of Paris, but were more efpecially popular in England, while the
term archipoeta was more commonly ufed in Germany.
1
841
colleded all the goliardic poetry which
could then find
under the name of Walter Mapes,
" Anecdota
rather later
of the publications of the Camden Society.* At
chapter of additional matter of the fame defcription in my
gave
a
date
All
Literaria."t
the
poems
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
pungency of fatire.
The latter
is
by remarkable facility and eafe in verfification and rhyme, and by great

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
by
* The Latin Poems commonly attributed to Walter Mapes,

Thomas Wright, Esq., 4to., London, 1841.
"
collected
and edited
Anecdota Literaria
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,

as one
it,
in Englifh manufcripts, and edited
In
in Literature a?id
poems,* the poet defcribes
himfelf
as
Art.
carried up in
67
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 eagernefs for pounds, he pawns
books
at the fight
of
mark of money, he
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
âs fo charaderiftic of the liteiature of that asre :
o
treats
E.ft ho pontifex Jummus, qui dcvorat,

Sûi 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 compared to an eagle, becaufe he has fharp eyes to fee his prey afar
oft",
and
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.
is

In
this fpirit the faults
of the clergy, of all degrees, are minutely criticifed
through between four and five hundred lines

that it was the
j and it mutt not be
forgotten
Englifh clergy whofe charader was thus expofed.

Tu fcribes etiam, forma fed alia,
ecc/efiis qua junt in j^nglia.
Septem
Others of thefe pieces are termed Sermons, and are addrefled, fome
to
of the church, others to the pope, others to

the monaflic orders, and others to the clergy in general. The court of
the bifhops
and dignitaries
Rome, we are told, was infamous for its greedinefs

juftice were put up for fale, and no favour could
be
In this court money occupies everybody's thoughts
the
In my edition I have collated no

MSS. in tlie Hritisli Museuin, and
and there arc, no doubt, many more.
there
had without
its croG
less than sixteen copies
in the libraries at
all right and
i. e.
money.
the mark
wliidi occur
nmon
Oxford and Canibridjjc,
on the reverfe
Romans
of the coin its roundnefs, and its whitenefs, all pleafe the
where money fpeaks law
is
Ntimmh In fiac curia
filent.
non
Crux placet, rctunditas,
Et
cum totum placeat,
Ubi nummut loquitur,
qui non "vacet
68
eji
et albedo
placet,
et Romanis placet,
et lex omnh tacet.
He complains that he
curious pifture of the goliard's life.
is
us
is
is
" Confeflion of
the
Perhaps one of the moft curious of thefe poems
made to fatirife himfelf, and he thus gives
Golias," m which the poet
made
is
that he wanders about

moved by every wind
of light material, which
irregularly, like the Ihip on the fea or the bird in the air, feeking worth-
fee the holy angels
It
wine be placed to my mouth when
never
nor
defplfed,
coming to fmg the
my defign to die in the tavern
until
eternal requiem over my corpfe.
let
am expiring, that when the choirs
better flavour than
Donee
Meum
eji
JanBos angelos
Cantantes pro mortuo
neque Jpernam,
cernam,
-venientes
requiem
aternam.
propojltum in taberna mori
II
capitulo memoro tabernam
lam nulla tempore fpre-vi,
Tert'to
'
Vindumjit appojitum morientis ori,

Ut dicant cum -venennt angelorum chart,
Deusjit propitius huic potatori
Nature gives to
boy could beat
hate thirft and falling
death."
as
am hungry
me in cornpofition when
never could write fading

j
every one his peculiar gift
that which the bifliop's butler mixes with water
and the wine in the tavern has for me
to heaven
is
'
'
The
of angels come, they may fay, Be God propitious to this drinker
lighted with cups the heart fteeped in nedar flies up
lamp of the foul
;

"I
tavern,'' he fays,
is
defpife
of his mind, and he writes
"The
is
ever
drinking.
it,
the third
the infpiration
Lechery and gambling are two of his vices, and
better poetry than ever.

fhall
by
warmed inwardly
but he
martyr to gambling, which often turns him out naked to the cold,
is
is
a
He
of the fair fex.
flave to the charms
is
a
He
lefs companions like himfelf.
as
mucii
Literature and Art.
/;/
169
accend'itur an:mi luiierna ;
PocuVts
Ccr imbutum ncBare "voiut ad Juperna :
Mi hi fa pit
dulcius vinum in taierna,
Sluam quod aquj mijcuit prcejulis

Unicuique proprium
dat nalura
pinarnj.
munus
Ego nunqujm potui jcribere jejunus j
Me je/unum
Sitim
et
vincere pojjft puer unus ;
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.
what we might perhaps expeft from their being written
Contrary to
in Latin, many
of thefe metrical fatires are dire6ted againll the vices of the laity,
thofe
as againft
as
well
of the clergy.
In 1844 the celebrated German fcholar, Jacob Grimm, publilhed in

"
a fele6tion of
the " Tran factions of the Academy of Sciences at Berlin
goliardic verfes from manufcripts in Germany, which had evidently been
of them containing allufions to German

atfairs in the thirteenth century. f
They prefent the fame form of verfe
by Germans, and fome
written
and the fame ftyle

Golias
of fatire
as
thofe found in England, but the name of
exchanged for archipoeta, the archpoet. Some of the ftanzas

"
Confeflion of Golias are found in a poem in which the archpoet
is
of the "
addrelfes a petition to the
archchancellor for afliftance
in his diftrefs, and
A copy of the Confeflion itfelf is alfo found

itle of the " Poet's Confeflion."
in this German colledtion, under tl
confelfcs his partiality for wine.
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

to have been very carefully preferved,
neGi
that it was not exaftly
a book
tor
but iVill with an apparent

a
it appears
confciouf-
religious brothorliood, which k'd
attributed to Walter Mape>*, p. 73. The stanzas here quoted, with

were afterwards made \\\> into a drinking song, which was rather
in
the
fifteenth ami Nixttenth (cntnries.
popjlar
" Gedichtc dc* Mittelalters aut K<'nig Fricdrich I. den Staufar, und aus seiner
t
to wie dcr na<hstfolgenilen Zcit," 4tf. Separate copies of this work were printi'd
off and distributed anionj; tnedix'val scholars
komc
Poem<!
others,
170
Grotefque
of their library, no doubt
the monks to omit it in the catalogue
as a book
of which was not to be proclaimed publicly. When written,

it was evidently intended to be a careful fele6tion of the poetry of this clals
the poffeliion
One part of it confills of poetry of
then current.
fuch
as
more ferious charafter,
hymns, moral poems, and efpecially fatirical pieces.
there are more than one piece which
written in England.
In
this clafs
are
alfo found in the manufcripts
very large portion
of the colle6tion confifts of love
fongs, which, althougn evidently treafured by the Benedi6tine monks, are
A third
of drinking and
The general chara6ler of this poetry
fometimes licentious in chara6ler.

gambling fongs {potatoria
is
et
clafs confifls
luforia).
more playful, more ingenious and intricate in its metrical ftru6ture, in
fa6t, more lyric
than that of the poetry we have been defcribing
yet it
of poets the clerical jougleurs.

The touches of fentiment, the defcriptions of female beauty, the admiration
of nature, are fometimes exprefTed with remarkable grace. Thus, the
came, in all probability, from the fame clafs
green wood fweetly enlivened by the joyous voices

tants, the fliade
of its branches, the thorns covered with flowers, which,
fays the poet, are emblematical

foothes hke
of its feathered inhabi-
of love, which pricks like
flower, are taftefuUy
thorn and then
defcribed in the following lines:-
Cantu nemus a-vium
Lafci-via canentlum
S'ua-ve delinitur^
Fronde redimitur^
Vcrnant jp'ince jioribui

Micantibus,
Venerem fignant'th us
îa Jpina punglt, Jlos hianditur.

And the following fcrap of the defcription of a beautiful damfel fhows no
fmall command of language and verfification
j^llkh dulcibus
Verbis et oJcuHs,
Labellulis
Cajligate tumentibus,
Rojeo TieElareus
Odor infujus ori ;
Pariter
^
eburneus
Sedat ordo dentium
Far
m-veo candori.
in Literature and
Art.
The whole contents of this manulcript were printed in 1847, '" 3" o6lavo
volume, ilVued by the Literary
Society at Stuttgard.*
had
already
of
fuch
fome
Latin
examples
amatory
lyric poetry in 1838, in a
printed
" Early Myfteries
volume of
not belong properly to tlie
and
Latin Poems
;"t
but this poetry does
fubjed of the prefent volume, and I pafs on
from it.
The goliards did not always write in verfe, for we have fome of their
We
efpecially in the form of parodies.
compolitions, and thefe appear
profe
trace
great love for parody in the
even things the
moft facred, and the examples brought forward in the
trial of William Hone, were mild in comparifon to fome which
celebrated
are found fcattered
here and
in mediaeval
there
Poems, attributed to Walter j\Iapes,J
entitled " Magijter
of
middle ages, which fpared not
Gohjas de quodam
have
manufcripts.
printed
fatire
Li
ray
in profe
albole' {i.e., Mafter Golias's account
certain abbot), which has fomewhat the chara6ter of
parody upon a
The voluptuous life of the fuperior of a monallic houfe is

here defcribed in a tone of banter which nothing could excel.
Several
faint's legend.
parodies,
"
on
parody
"
One of thefe (vol. ii. p. 208) is a complete

fervice of the mafs, which is entitled in the original,
Reliquae Aniiquae."
Miffa
de
the
compofition, even the pater-noller

variations,
great
In this extraordinary
Polaloriius," the Mafs of the Drunkard.

is
found
in
the
is
parodied.
German
portion of this, with
colledion of the
Carmina
Eurana, under the title of OJJicium Lujorum, the Office of the Gamblers.
"
Carmina Burana. Lateinische iind Deutsche Lieder iind Getliclite einer

Handschrift des XIII. Jahrluindcrts aus Bciiedictbeurn anf dcr K, Bihliotliek zu
Stuttsârt, 1847.
8vo.
Munchcn."
" Early Mysteries and other Latin Poems of the Twelfth and Thirteenth
t
Ccnturif-," edited by Thomas Wri<;ht, Esq. 8vo. London, 1838.
p. xl.
\ Introduction,
" Reliquiae Antiquie. Scraps from Ancient Manuscripts, illustratinj; chiefly
4
Edited l>v Tlionias
Fariy English Literature and the English Languajê."
London, 1841;
Writiht, Esq., and J. O. Halliwtil, Esq. 2 vols. 8vo. Vol.
i.,

the
more dire6l in their charafter, are printed in the two volumes of
vol. ii., '843.
Hi/lory of Caricature and Grofefqiie
172
In
"
Reliquse Anliquae" (ii. 58) we have a parody on the Gofpel of

St. Luke, beginning with the words, Initium faUacis Evangelii fecundum
Its
Lupum, this lafl word being, of courfe, a fort of pun upon Lucam.
the
fubje6t
alfo is Bacchus, and
Oxford,
we have
no
the fcene
difficulty
having been laid in
a tavern
in
in afcribing it to fome fcholar of that
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
univerfity in the thirteenth
century.
lefs profane than the others, and at the fame
hatred towards the church of Rome,
time pidures the mediaeval
will give
example of this Angular clafs of compofitions.

remind the reader that
and fourpence
"The
mark was
beginningr
of
It
tranflation of it
is
as
an
hardly neceflary to
coin of the value of thirteen lliillings
the holy gospel accordiris; to Marks of silver. At that time

*
When the son of man shall come to the seat of
:

the pope said to the Romans
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
' Have
cried out, saying,
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
After him
gates, and going out he wept bitterly, and was without consolation.
there came to the court a certain clerk who was rich, and gross, and fat, and
He gave first to the
large, and who in a tumuli had committed manslaughter.
to
the
chamberlain,
to
the
third
cardinals. But they judged
doorkeeper, secondly
Then the lord the pope, hearing
among themselves, that they were to receive more.
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
*
Brethren, see that no one deceive you with empty
and officials, and said to them ;
"
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
Art.
in Literature and
popular form, and in the language of the people.
no confecutive fenfe,
good part
of which
fo written
circumftance itfelf implies
which
of the Catholic priellhood,
In the RiUquce
Englilli on the fernions
very lingular parody in

is
82) we have
(i.
as
to prefent
fneer
at the
Thus our burlefque preacher, in the middle of his difcourfe,
God
Sir<, what time that
modernil'e
Englilh)
St. Peter came to Rome, Peter a;ked
and
" Adam, Adam,
'
full great doubtful question, and said,

Forsooth,' quod he, for
pared?'
'
the
had
no wardens
why
ate thou
the apple un-
tried.'
(pears)
Adam
proceeds to narrate as follows
preachers.
(I
Antiquie
more
"
173
And Peter
in
plum-tree that hanged full of ripe

saw the fire, and dread him, and stepped into
the sea.
There he saw steeds
And there he saw all the parrots
red cherries.
'
'
There he saw hens and herrings that

and stockfish pricking swose (?) in the water.
he
saw
eels roasting lark*:.
There he saw
in
There
hedges.
harts
hunted after
;
and there he
haddocks were done on the pillory for wrong roasting of May butter
There he saw how
saw how bakers baked butter to grease with old monks' boots.
the fox preached," &c.
thirteenth
point confifts
There
not eafy to feleft
the
fingle clear idea.

by Jubinal, we are told how,
trot
when
it
pot
the new year upon the bottom of

to run the
is
others are
found
entitled
fcattered
generally fo much coarfenefs
portion for tranflation, and in
in going on through
imparting
publilhed
and
without
is
it
them that
of fongs
form
has printed two fuch poems in French,
century,*
through the old manufcripts.
the
falhionable in
length of
poem
in
their
of this kind
Thus, in the fecond
"The
fti6t
of thole
fliadow of an egg carried
two old new combs made
came to paying the fcot,
of the
in
century
M. Jubinal
"Tom-a-Bedlams."
perhaps
feventeenth
the
rather early period,
coq-d-l'dne, and which became
in
England
French term
the
of parody which we trace to
which
clafs
I,
It
is
nonfenfe.
ball
who never move
" .Achillc Jubinal, Jongleurs
p.
8vo., Paris, 1835,

et Trouvercs."
34; and
Nouvi-au Kecueil dc Contcs, Diti., Fabliaux," &c. 8vo., Paris, 842. Vol. ij.
ao8.
In the fiist instance M. Jubinal has given to this little poem the title
the nccond, Fatrafut.
Rtfvtriti,
"
in
p.

The lame volume contains fome rather clever parodies on the old
limilar flyle of confecutive
Englilli alliterative romances, compofed in
174
myfelf, cried out, without faying

"
clothe a wife fool with it.'
'
word,
Grotefque
Take the feather of an ox, and
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 dûn buef,
S'en vejie'b un Jage jotS
Jubinal,
Eec, ii.
Nouv.
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,
papal church
of the middle ages, were
and againft
a
the corruptions
of the
perfeft godfend to the reformers
of the fixteenth century, who could point to them triumphantly

irrefiftible evidence
in their favour.
Such fcholars
as
as
Illyricus,
Flacius
it,
eagerly examined the manufcripts which contained this goliardic poetry,

chiefly
as
good and efFelive weapons in the great religious
intereft
as
literary compofitions, they have alfo

a
introduce us to
flrife which was then convulfing European fociety.

more intimate acquaintance
To
us, befides their
hiftorical value, for they
with the charafter of the
great mental ftruggle for emancipation from mediaeval darknefs

extended efpecially through the thirteenth
for
later period.
corruption
century, and which was only
while to begin more ftrongly and more fuccefsfully at

They difplay to us the grofs ignorance, as well as the
of manners,
overcome
which
of the great
mafs
of the mediaeval
clergy.
Nothing can be more amufing than the fatire which fome of thefe pieces
" Reliquae
throw on the chara<5ler of monkilh Latin.
printed in the
Antiquae," under the title of
"The Abbot of
Gloucefter's
Feaft,"
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

and printed
feaft,
and on
in Literature and
their arrival,
"
Art.
"
the abbot," lays the complainant,
and the prior next to him, but

the low people."
j4bbas
Itood
175
goes to fit at the top,
in the
always
back place among
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
Nihil
et abbatis
'
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
What does their
wine enough; will you give all our drink to the poor?
poverty regard
us
they have little, and that

"
is
enough, fince
they came

uninvited to our feaft.'
Prior dixit ad abbatis,

'
habent vinum
If>/i
fatis ;
Vultis dare paupertalis
nojler potui omnia
Sluid
nos
Pojiquam
fpefiat paupertalis ?
-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.
century.
found in
Ihis
compofition belongs to the clofe of the thirteenth
fong very fimilar to it in charader,
but much
lliorter,
is
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
The writer complains that the abbot and prior drunk
I'crcy Society.*
"
and CaroN, now first printed from a Manuscript ot tlic Fifteenth

8vo., London, 1847, p. *.
Edited by Tliomaii Wright, Ksq.
Songs
Century.
'
176
good and
uiually
go
given
drink
good
to
the
while nothing
wine,
high-flavoured
"But,"
convent;
fays,
"it
is
better
where the wines are of the
wine at the tavern,
quaUty, and money is the
he
fluff was
but inferior
to
bell
butler."
Bonum v'mum cum fapore
Bibit abbas
cunt priore ;
Sed con-vent us de pejore

Jemper Jolet bibere.
Bonum "vinum in taberna,
eji
Ubi -vinafunt -valarna (for Falema),

Ubi nummus
pincerna,
Ibi
prodejl bibere.
fatire, and ai
later period political caricature.
arofe political
Partly out of the earnefl:, though playful, fatire defcribed in this chapter,
have
political or perfonal caricature, becaufe
it
before remarked that the period we call the middle ages was not that
of
wanted that means of circulating
III.
quickly and largely which
Ct2ricature upon the
Jews
neceffary for it.
at Norivich.
Yet, no doubt, men who
could draw, did, in the middle ages, fometimes amufe

fketching caricatures,
cared to preferve
which,
themfelves in
in general, have periflied, becaufe
noboay
them; but the fa6t of the exiflence of fuch works
is
No.
is

06 oj.
///
a
very curious example, which
No.
copied in our cut
iii.
It
is
a
is
proved by
Literature and Art.

has been
177
prelerved, and which
caricature on the Jews of Norwich,
of the king's courts in the thirteenth century

has drawn with
pen, on one of the otiicial rolls of the Pell office, where
Norwich, as
well known, was one of the
has been preferved.
which Ibme one
the clerks
is
it
it
ot"
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
of great importance among them.
tower, which
two-headed demon, occupies
party of demon
male
figure
to be Avezarden, who has fome
NoUe-Mokke,
named
As this latter name
interfering.
is
in which
is
a
relation or other with

another
demon,
appears
lady, whofe
named
is
name
Colbif,
Beneath the ligure of Ifaac there
attacking.
is
knights
as
Dagon,
figures, was no doubt fonie perfonage
written in capital letters, we may perhaps conthe moft important
the circumllances to which
perfonage
any knowledge
relates,
it
but, without
it
in the fcene
is
clude that he
of
would
to attempt to explain this curious
be in vain
Similar attempts at caricature, though leis

dirett and elaborate,
the Rev. Lambert B. Larking,
refpefted
peculiarly inbelongs to the
terefiing,
as
well
Treafury
cf
the Exchequer, and confifts
regifter
limilar documents
which
of two
have
of treaties, marriages, and

of the reign of Edward L,
been very
fully ufed
by
forming
amufing.
of vellum called Liber A and Liber

a
volumes
as
friend,
B,
and
is
excellent
an
of our
It
me
are found in others
One of thefe, pointed out to
national records.
by
Rymer.
it,
The clerk who was employed in writing

Icems to have been, like many of thefe official
clerks, fomewhat of
An
Ir'ijhman.
wag, and
he
has amufed
10
1^0. 112.
himfcif by drawing
the margin figures of the inhabitants of the provinces of Edwaul
a

and rather elaborate caricature.
lyB
crown to which
the documents referred.
Some of thefe are evidently
Thus, the figure given in our cut No. H2 was

intended to reprefent an Irilliman.
One trait, at leaft, in this caricature
defigned for caricature.

is
well known from the defcription given by Giraldus Cambrenfis, who
Ipeaks
with
accuftomed
fort of horror of the formidable axes which the Irifli were
to carry
which Ireland ought to be governed

to fubjeftion,
he
In treating of
about with them.
the manner
in
when it had been entirely reduced
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
In
chapter of his "Topography of Ireland,"

"
Giraldus treats of this " ancient and wicked cuftom
flaff."
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
No. 113, carries his
The coftume of
axe in the fame threatening attitude.
thefe figures anfwers with fuflicient accuracy to the defcription given by Giraldus Cambrenfis.
The drawings
exhibit more exadly than that -writer's defcription the
"fmall clofe-fitting
Another
Irijhmar
(half-a-yard)
t7o. 113
attached
to
is
they were accuftomed

it,
to
hoods,
hanging
cubit's length
below the flioulders," which, he tells us,
wear.
This fmall hood, with the flat cap
fhown better perhaps
in the fecond figure than in the
The " breeches and hofe of one piece, or hofe and breeches joined
together," are alio exhibited here very diftindly, and appear to be tied
firfl.
over the heel, but the feet are clearly naked, and evidently the ufe
"
was not yet general among the Irifii of the thirteenth
of the " brogues
century.
If
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
Welfliman armed
with
bow and arrow, whole clothing
!j
the

fame manufcript, given in our cut
i?i
apparently only of
confifts
in
quite
tells
Liter ature nini Art.
us
with the
accordance
plain tunic and
light mantlo.
thin cloak and
defcription by Giraldus Canibrenlis,
"
Giraldus
tunic."

Ac. 114.
Wclfl} Archer.
iij,
No.
in our cut
left foot.
on the
of the praftice of the

evident that at the time of this
is
A'c. 1 15.
long fpears
manufcript
is
Wellliman, given
H'eljhman
Cword
in warfare,
h'n Spear.
" either walked bare-footed, or made
i'ometimes
with
bows
and arrows, and
and accordingly our firft example
ufing the bow, while
in his
ivith
Giraldus merely fays that the Wellhmen in
he apparently relis on the fingle fhoe

a
of
of high ihocs, roughly made of untanned leather."

armed
we fee the fame peculiarity, and in both cafes the fhoe
general, when engaged

as
ho
fays nothing
record that was their praftice, for in another figure
them
is
they defended themfelves from the cold only by
Wehh in wearing but one fhoe, yet it
ufe
This
that in all feafons their drefs was the fame, and that, however
ievere the weather,
is W(irn
179
left
giolcfque appearance.
hand.
Both
the fecond
of
He delcribes
fometimes with
Wellhman from this
carries
the ("pear, which
of his left foot, while he hrandilhes

our Wellhmen
prefent
.1
(ingiiljrly
i8o
Hiflory of Caricature and
The Gafcon
is
reprefented with more
Grotefque
peaceful attributes.
Gafcony
of vineyards, from whence we drew our great fupply of

very important article of confumption in the middle ages.
When the official clerk who wrote this
was the country
wines,
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,
Ihowed
the
No.
old
to
according
reports,
clerks feldom
diflike, and accordingly, in
any
Iketch, which we copy

we have
1 1 6,
Gafcon
our cut
occupied
diligently in pruning his vine-tree.

leaft,
at
clothing
No. 116.
He
hh Vine.
Gafcon at
two
wears
is
of
is perhaps
fhoes,
the lighteft
the vin'itor
though
He,
his
defcription.
of the mediaeval
documents on this fubjeft,
ferf attached
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

to the vineyard.
No. 117.
make, and
The Wine ManufaSiurer.
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
large
vat.
This
is
ftili in
fwmts
of the wine countries
in Literature and
the common method
Art.
i?<i
of extrading the juice from the grape.
Further; to
the left is the large calk in which the juice is put when turned into wine.
Satires
on the people
of particular
localities were not
uncommon
during the middle ages, becaufe local rivalries and confequent local feuds
The records of fuch feuds were naturally of
prevailed everj'where.
temporary chara(5ler, and perillied when the feuds and rivalries themfelves
ceafed to exirt, but a few curious fatires
of this kind have been preferved.
A monk of Peterborough, who lived late
in the
twelfth or early in the
thirteenth century, and for fome reafon or other nourilhed an unfriendly

feeling to the people of Norfolk, gave vent to his holliliiy in
ihort
He begins by abufing
bad and unfruitful as its
Latin poem in what we may call goliardic verfe.

the
county
itfelf,
which,
inhabitants were vile

trom
the
he
fays,
was
and lie fuggefts
as
that the evil one, when he fled
anger of the Almighty, had palfed through it and left his
Among other anecdotes of the fimplicity and folly of

the people of this county, which clofely refemble the ftories of the wife
men of Gotham of a later date, he informs us that one day the peafantry
pollution upon it.
of one dillridt were fo grieved by the oppreflions of their feudal lord, that
they fubfcribed together and bought their freedom, which he fecured
them by formal deed, ratified with

the
tavern,
and
ponderous feal.
of the feal.
candle, they agreed to burn
Next day their former lord, informed of what had
taken place, brought them before

be void
They adjourned to
celebrated their deliverance by feafting and drinking
until night came on, and then, for want of

the wax
to
court, wiiere the deed was judged to
for want of the feal, and they loll all their money, were reduced
Other
of ilavery, and treated worfe than ever.
llories, llill more ridiculous, are told of thefe old Norfolkians, but few of
them are worth repeating. Another monk, apparently, who calls himfelf
J(jhn dc St. Omer, took up the cudgels for the people of Norfolk, and reto their old pofition
plied to the Peterborough fatirift in fimilar language.*
I have printed in
Hoth tli(-c pocnr. arc printed in my " Early Mysteries, and otiicr Latin Poems
of the I welhh and Thirteenth Centuries."
8vo., London, I'ii'i.
82
another CoUeftion,*
Stockton
fatirical poem againft the people of
Stockton-on-Tees
(perhaps
monaftic houfe, of which

rifen againft
the
tyranny of their
a
exults over their defeat in
It
law, and
called
place
monk of
that they had
appeared
in
unfuccefsful
ecclefiaftlcal fatirift
the
very uncharitable tone.

a very
Durham), by the
lord, but had been
court of
" Reliquae Antiquae,"t
againft the
in
they were ferfs.
defending their caufe in

in the
Grotefque
There will be found
curious fatire in Latin profe direfted
inhabitants of Rochefter, although it
is
in truth aimed againft
manufcript, which is of the

"
fourteenth century, " Proprietates Anglicorum
(the Peculiarities of
In the firll place, we are told, that the people of Rochefter
EngUftimen).
Engliftimen
in general, and is entitled in the
had tails, and the queftion
is
difcufled, very fcholaftically,
of animals thefe Roceftrians were.
what fpecies
We are then told that the caufe of
their deformity arofe from the infolent manner in which
they treated
St. Auguftine, when he came to preach the Gofpel to the heathen Enghfh.
After vifiting many parts of England, the faint came to Rochefter, where
the people, inftead of liftening to him, hooted at him through the ftreets,
of pigs and calves to his veftments, and
The vengeance of Heaven came upon
fo turned him out of the city.
them, and all who inhabited the city and the country round
defcendants
after
them,
were
condemned
to
bear
tails
it,
in derifion, attached tails
and their
exa6tly
like
This ftory of the tails was not an invention of the author

of the fatire, but was
popular legend connected with the hiftory of
St. Augulline's preaching, though the fcene of the legend was laid in
thofe of pigs.
The writer of this Angular compofition goes on to defcrib

the people of Rochefter as feducers of other people, as men withov
He proceeds to ftiow that Rochefter beir
gratitude, and as traitors.
Dorfetftiire.
had tainted
the
of worfe than doubtful authenticity.
"
Anecdota Liteiaria,"
p. 49.
us
in fa6t,
number of anecdotes
fatire on the
Englifti
into the domains of political fatire.
*"
Reliquae
Antique?,"
vol.
p.
compofed m France, and leads
It
is,
illuftrates the bafenefs of the Englifti charafter by
whole nation, and ne
ii.
its vices
in England,
filuated

and,
230.
lign that there
was in our country
independence,
and
more
freedom of
greater
advanced
fpeech,
was efpecially in England that

a
poetry and fong, and
chiefly
of
in the form
flourifhed,
latire in the middle ages appeared

it
Political
it
ifi
Literature and Art.
fure
feeling of popular
than
in
France
or
M. Leroux de Lincy, who undertook to make

collection of
this poetry for France, found fo little during the mediaeval period that
came under the chara6ter of political, that he was obliged to fubrtitute
the word
Germany.*
"hiltorical"
title of his book.f
in the
Where feudalifm was
fupreme, indeed, the fongs which arofe out of private or public ftrife,
which then were almoft infeparable from fociety, contained no political
chiefly of perfonal attacks
fentiment, but conliiled
thole who employed them.
on the opponents
of
Such are the four fliort fongs written in the
commenced
in
they are
12263
all
of
time of the revolt of the French during the minority of St. Louis, which
charafter
political
which
the dilfatisfied barons who were out
in
fmall
fong, in the baronial language
roll of vellum, which
to the minftrel who chanted
it
IIL, efpecially
prclened in
fimilar feeling
appears
(Anglo-Norman),
to
have
belonged
in the halls of the partifans of Simon de
Monilort.
The fragment which remains conlifts of ftanzas in praife of

the leaders of the ])opular party, and in reproach of their opponents.
a
'Ihus of Roger de Cliflbrd, one of earl Simon's friends, we are told that
" the
noble baron, and exercifed
good Roger de Cliflord behaved like
in
in
have published from the original manuscripts tlie massoftlie political poetry
England during the middle ages
my three volumes "The Political
bon^N ot England, (rom the Reign of John to that ot Edward
4to., London,
and " Political Poems and Songs relating to
|8}V (i-tued by the Camden Society)
composed
II."
III.
EnKii>h History, composed during the Period from the Accession of Edward
to that of Richar<l
8vo., vol
London, 1859; vol. ii., 1861 (published by
the Pria'.ury, under the direction of the Master of the
dc
SiVic, par Leroux

Sv. Pa.iv, 1841.
Chants
dc
Lin(y
i.,
Rolls.)
Historiques Francais depuis

xii*. jusqu'au xviiT.
Premiere SiSrie, xii" xiii'., xiv'., et x.^, Siedes."
....
le
" RcccuiJ
III."

Henr}'
We trace
of the popular records of our baronial wars of the reign of

a
in fome
of power.
M. Leroux de Lincy has been able to colle6t previous to the year

i2;o, and they confift merely of perfonal taunts againft the courtiers by
Hijlory of Caricature and Grotefqiic
184
great
juffice
he fufFered
either fmall or great,
none^
or fecretly or
openly, to do any wrong."

Et de Cl'iffort ly hon Roger
Sc contint cum noble her.
Si fu de grant jujiice ;
Ne fuffri pas petit ne grant,
Ne arere ne par de-vant.
Fere nul mejprije.
On the other hand, one of Montfort's opponents, the bifhop of Hereford,

We are told that he "learnt well that
is treated rather contemptuoufly.
the earl was ftrong when he took the matter in hand
before
that he
(the bifhop) was very fierce, and thought to eat up all the Englifh
now he is reduced to ftraits."
Ly
e-vejke de
but
Herefort
Sout bien que ly quens fu fort^
Kant
il prili
Vaffere ;
De-vant ce ejieit mult
fer,
Les Englais quida tou% manger,

Mes
ore ne Jet que
fere.
This bifhop was Peter de Aigueblanche, one of the foreign favourites, who
had been intruded into the lee of Hereford, to the exclufion of a better
man, and had been an oppreflbr of thofe who were under his rule.
barons feized him, threw
The
him into prifon, and plundered his polTeffions,
and at the time this fong was written, he was fuffering under the imprilbn-
ment which appears to have iliortened his life.
The univerfities and the clerical body in general were deeply involved
in thefe political movements of the thirteenth century 3 and our earlieft
political fongs now known are compofed in Latin, and in that form and
ftyle of verfe which
which
I venture
feems
to have
to call goliardic.
been
Such
peculiar to the gohards,
is a
and
fong againft the three bifliops
who fupported king John in his quarrel with the pope about the prefenration to the fee of Canterbury, printed in my Political Songs.
in
Such, too,
til 2 fong of the Wellh, and one or two others, in the fame volume.
And fuch, above all,
is
that remarkable Latin poem in which
partifan
in Literature a?id
Art.
of the barons, immediately after the victory at Lewes, fet forth the
poHtical tenets of his party, and gave the principles of EngUfh liberty
nearly the fame broad bafis on which they Hand at the prefent.
It
is an
evidence of the extent to which thefe principles were now acknowledged,

that in this great baronial llruggle our political fongs began to be written
in the
Englilh language, an acknowledgment
that they concerned the
whole Englilh public.
\\'e trace little of this clafsof literature during the reign of Edward
I.j
but, when the popular feelings became turbulent again under the reign of
his fon and fuccellbr, political fongs became more abundant, and their fatire
was direcbled
more
even
than formerly againft meafures
and was lefs an inllrument
of mere perfonal abufe.
and principles,
One fatirical poem
of this period, which I had printed from an imperfe6t copy in a manufcript at Edinburgh, but of which a more complete copy was fubfequently
found in a manufcript in the library of St. Peter's College, Cambridge,*
IS
extremely curious
as
being the earlieft fatire of this kind written in
It appears to have been written in the year

Englifh that we polVefs.
The writer of this poem begins by telling us that his objet is to
1320.
explain the caufeof the war, ruin, and manilaughter which then prevailed
land, and why the poor were fuft'ering
from hunger and

Theit; he
want, the cattle perifhed in the field, and the corn was dear.
throughout
the
of all orders of fociety. To begin

with the church, Rome was the head of all corruptions, at the papal
afcribes to the increafing wickednels
court falfehood and treachery only reigned, and

palace was Ihut againft truth.
the door
of the pope's
During the twelfth and following centuries
tliefe comj)laints, in terms more or lefs forcible, againft the corruptions of

Rome, are continually repealed, and Ihow that the evil mull have been
under which everybody felt opprell'ed.
one
limony
is repeated
I'he old
in this poem in very Ilrong terms.
charge
of Romilh
" I'he clerk's
voice
Ihall be little heard at the court of Rome, were he ever lb good, unlets
*
ôf
"A
Poem on the
St. Peter's
London,
1849.
Times of Ivlward
III., from a
MS.
preserved in the Library
Colletjc, Cainbriilfê." KditL-d by the Rev. C

(One ol the publications ot the Percy Society.)
li.irdwick.
8\o.
86
he bring
filvêr
with him
Grotefque
though he were the hoheft man that ever was
born, unlefs he bring gold or lilver, all his time and anxiety are loft.
Alas
why love they io much that which
is
perithable
"
Voyi of clerk Jhall lytyl he heard at the court of Rome,

Were he never Jo gode a clerk, loithout Jil'ver and he come ;
'
Though he ivere the holyji man that ever yet ivas ibore,
But
gold or Jyl-ver, al hyi ivhile
he bryng
And
Alias
ivhi
lo'ue thei that
When, on the contrary,
jo
is
for lore
his thoixjght.
much
that jchal turne to noivght ?
wicked man prefented himfelf at the pope's
court, he had only to carry plenty of money thither, and all went well
According to our fatirift, the bifliops were "fools," and the

other dignitaries and officials of the church were influenced chiefly by the
with him.
love
The parfon began humbly, when he
of money and felf-indulgence.
flril obtained his benefice, but no fooner had he gathered money together,
"
to live with him as his wife, and rode a
than he took " a wenche
hunting
with hawks and hounds like
men with
priefts as by
jay in
"Truely,"
a cage,
better than
what they neither under-
"it
fays,
fares by our unlearned
who curfes himfelf: he fpeaks good Englilh,
No more does an unlearned prieft
but he knows not what it means.
know his gofpel
he
The priefts were
gentleman.
no learning, who preached by rote
ftood nor appreciated.

that he reads daily.
An unlearned
prieft,
then,
is no
jay."
Certes atfo hyt fareth by a preji that is letved,
yis by a jay in a cage that hymjelf hath bejhrnved :
Gode Englyjh he fpeketh,
No
more luot a leiued
but he not never ivhat.
preji
hys gojpel
luat
he
rat
By day.
Than is a hived preji no better than a jay.
Abbots and priors were remarkable chiefly for their pride and luxury, and
the monks naturally followed their examples.
everywhere.
The chara6ter of the phyfician
and his various
Thus was religion debafed

is treated
with equal feverity,
tricks to obtain money are amufingly defcribed.
In
this
manner the fongfter prefents to view the failings of the various orders of
lay fociety alfo, the felfiftinels and opprellive bearing
of the knights and
Literature and Art.
///
their extravagance
and
arirtocracy,
in drefs and
i 87
living, the negled
of
of the wars, the weight of taxation, and all

the other evils which then afHided the ftate.
This poem marks a period
in our focial hiftorj', and Ifd the way to that larger work of the fame
jurtice, the ill-management
charader, which came about thirty years later, the well-known
of Piers Ploughman,'"* one of the moft remarkable fatires,
as
" Vifions
well
as one
ot the moll remarkable poems, in the
Englifh language.
We will do no more than glance at the further progrefs of political
fatire which had
now taken
in Englifh literature.
permanent footing
We fee lefs of it during the reign of Edward
III.,
the greater part of

which was occupied with foreign wars and triumphs, but there appeared
towards
the clofe
printed in
confirts
ot
of his reign,
a very
remarkable fatire, which
" Political Poems and

my
Songs."
a
It
is
have
written in Latin, and
pretended prophecy in verfe by an inl'pircd monk named
John of Bridlington, with
mock commentary in profe
on the commentaries in which the fcholaftics
in
fa6t, a parody
of that age difplayed their
learning, but in this cafe the commentary contains

bold though to
us
rather obfcure criticifm on the whole policy of Edward's reign. Tlu- reign
of Richard II. was convulfed by the great ftruggle for religious reform,
by the infurreftions of the lower orders, and by the ambition and feuds of
of political and religious fatire,

both in profe and verfe, but efpecially the latter.
We muft not overlook
our great poet Chaucer, as one of the powerful fatirifls of this period.
the nobles, and produced
Political fong next
itfelf heard loudly in the wars of the Rofes.
makes
valt quantity
It was the laft ftruggle of feudalifm in England, and the charader of the
fong had fallen back to its earlier chara6teriftics,
ftelings were abandoned
"The Vision
by Thoma.%
2 vols.
to make place for perfonal hatred.
of Piers Ploughman ;" with Notes and a Glossary

i2mo. London, 1842.
Second and rtvibtd cilition,
and the Creed
Wright.
i2mo. London,
2 vols.
1856.
in which all patriotic
Hijiory of Caricature
88
a?id Grotefque
CHAPTER XL
CHARACTER
MINSTRELSY A SUBJECT OF BURLESftUE AND CARICATURE.
OF THE MINSTRELS.
THEIR JOKES UPON THEMSELVES AND UPON ONE
IN THE
ANOTHER. VARIOUS MUSICAL INSTRUMENTS REPRESENTED
GOURNAY
SCULPTURES
OF THE MEDIAEVAL ARTISTS.
SIR MATTHEW
AND THE KING OF PORTUGAL.
DISCREDIT OF THE TABOR AND BAGPIPES.
MERMAIDS.
of the principal clafles of the fatirifts of the middle ages, the
ONE
minftrels,
themfelves.
or jougleurs, were far from being unamenable to fatire
They belonged generally to
low clafs of the population,
one that was hardly acknowledged by the law, which merely adminillered
to
the pleafures
and
amufements
of others,
and,
though
fometimes

liberally rewarded, they were objects rather of contempt than of refpett.
Of
courfe there were minftrels belonging to
the others, but thefe were comparatively few

feems
to
have
been
clafs more refpeftable than
and the
limply an unprincipled
ordinary minftrel
vagabond,
who
hardly
polfelfed any fettled refting-place, who wandered about from place

place,
and was not too nice
as
to
the
means
by which
to
he gained his
living perhaps fairly reprefented by the ftreet minftrel, or mountebank,

of the prefent day. One of his talents was that of mocking and ridiculing
others, and it is not to be wondered at, therefore,
an
obje6t
of mockery and ridicule
minftrels of the
fellows,
thirteenth
himfelf.
century, Rutebeuf,
if he
fometimes became
One of the well-known

was, like
many of his
poet alfo, and he has left feveral fhort pieces of verfe defcriptive
his poverty, and tells us
In
of thefe he complains of
that the world had in his time the reign of
of himfelf and of his own mode of life.
one
St. Louis become fo degenerate,
that few people gave anything to the
unfortunate minftrel.
to
According
his own account, he was without
Art.
i 89
fair way towards ftarvation, expofed
to the cold without
in Literature and
food, and in
futficient clothing, and with nothing but ftraw for his bed.
Je
tou%
defroit, de fain baailUf
Dont je fuis
y< Juis fanz
mautai/Hzf
jam liz ;
coutes et
Ji povre
Nâ
Sire,Ji
Mei
ne
juJqWa Senlix.
fai quel part allle ;
pail/iz.
paille n'eji pas iiz,
CEuvres
mon lit na
fors la paille.
cojieiz connoit
El iiz
Et
mors et
en
le
de
de Eutebeuf, vol. i. p. 3,
In another poem, Rutebeuf laments that he has rendered his condition

ftill more miferable by marrying, when he had not wherewitli to keep a
In a third, he complains that in the midtl of his
wife and family.
poverty, his
expenfes,
wife
has
him
brought
child
to
increafe
his
domellic
while his horfe, on which he was accuftomed to travel to places
where he might exercife his profellion, had broken its leg, and his nurfe
In addition
was dunning him for money.

had
to all thefe caufes
of grief, he
loll the ufe of one of his eyes.

Or a dênfant geu ma fame ;
M'jn cheval a
hrife la jame
A une lice ;
Or
-veut de Pargent
ma norrice,
î m\n dejiraint
For enfant peftre.
Throughout
et me peitccy
he laments over the
his complaint, although
decline of
liberality among his contemporaries, he neverthelefs turns his poverty into

In feveral other pieces of verfe he fpeaks in the fame way, half
a joke.
joking and half lamenting over his condition, and he does not conceal that
" The dice," he fays,
the love of gambling was one of the caufes of it.
"
have flripped me entirely
is thefe
of my robe
the dice watch and fpy me
which kill me; they alfault and ruin me, to my grief."

hi
de' que
M'ont
Li
Li
Li
li
de'tier
ont fet.,
de ma rcbe tout
desfet
de' m''ocient.
de mâguetent
de' m'aj/tiiilent
et ejpient
el dfjfsrnt,
Ce poije mo/. lb,, vol. 1. p. C7.
it
Ilijiory of Caricature
190
a?id Grotefque
And elfewhere he intimates that what the minftrels fometimes gained

from the lavilTi generoiity of their hearers, foon paffed away at the tavern
in dice and drinking.
One of Rutebeuf s contemporaries in the fame profeliion, Cohn Mufet,
indulges in fimilar complaints, and fpeaks bitterly of the want of generoiity
In addreffing
difplayed by the great barons of his time.

who had treated
before
Sir Count,
you in your hoftel, and you neither gave
me my wages.
St.
hira ungeneroufly, he fays,
"
Mary,
It
is
difcreditable behaviour.
cannot continue in your fervice
furnilhed, and my wallet
is
me
one
have fiddled
gift, nor paid
By the duty
at this rate.
of them
My
owe
to
is
ill
purfe
empty."
Sire
quens,
Dcvant
Si
j'ai
"viele
'vos en uojlre ojiel
ne irCwvez r'tens donne\
Ne
mes gages acquiiez,
-vilame.
Cefl
Fo'i que dot Jainte Marie,

ne -vos Jieurre-je mie.
eji
Enji
M'aumojniere
ma male mal farfie.
He proceeds to ftate that when he went home to his wife (for Colm
Mufet alfo was
married minflrel), he was ill received if his purfe
was very different when they were full.
wife then fprang forward and threw her arms round his neck
his
horfe with alacrity, while
his
animal cheerfully to the liable, and his maiden killed

he exclaims,
"I
Ma pucele
Deux
-va tuer
chapons
for
A la jauje
Ma jille
En
-va ahwvrer
et conreer
Man gar^n
Mon chenjal
deporter
aillie.
m'aporte un p'gne
main par cortoifie.
Lors Jul
couple of capons,
a
Ma fame -va dejlrofer

Ma male Jans demorer
fa
"Then,"
flie took
His daughter brought

comb for
am mafter in my own houfe.'
and prepared them with piquant fauce.

his hair.
His
lad conducted the

a
his wallet from
but
it
and wallet were empty

Et
nial garnie,
de mon
ofiel/ire.
i)i Literature arid
Art.
IQI
When the minilrels could thus joke upon themfelves, we need not be
furprifed if they fatiriled one another.
In a poem of the thirteenth
" Les deux Troveors Ribauz," two minilrels
century, entitled
on tlie ftage abufing and
another, and while indulging
one
infulting
are introduced
in
of ignorance in their art, they dil'play their ignorance

at the fame time by mifquoting the titles of the poems which they prottls
mutual accufations
One of them boalls of the variety of inltruments on
to be able to recite.
which he could perform
ye Juh jugleres
Si fai
El
de
freJieUy
de hat pes et de c/iifonle,
De la gigue,
de lârmoniey
De rfalleire,
Sai-ge
It
de v'lele,
mufe et de
blen
et en la rote
chanter une note.
appears, however, that among all thefe inltruments, the viol, or liddle,
was the one moll generally in ufe.
The mediaeval monuments of art abound with burlefques

on
minrtrels, whofe
the
of mufic are
inltruments
pkced in the hands fometimes of monfters,

others
of animals of
in thofe
ii8
Our cut No.
rader.
in the Britilh Mufeum

and
reprefents
fiddle
is
a not very retined
taken from
minftrel
ihe has the upper part of
lower parts of
mare,
at
and
cha-
manufcript
(MS. Cotton, Domitian A. ii.),
female
and fatires
playing
a
lady,
on
the
and
the
combination which appears
to have been rather familiar to the imagination
oi
the
In our cut No. 119, which is taken

copy made by Carter of one of the mifereres
mediaeval artifts.
from
in Ely Cathedral, it
quite clear whether
not
is
performer on the fiddle be
cripple; but perhaps

all'unies
by
reprefents
rclcinbling
monller
latter
or merely
118.
Charming
Fiddler.
The inllriniieui, loo,
intended.
was
tJo,
Our cut No 120, alio taken from Carter,

fculplure in the church of St. John, at Cirenceller,
rather fingular form.
was furnilhed
and
the
the
the
man
modern
performing
on
hurdy-gurdy,
an
which
indrunient
is
rather
evidently
clofely
played
by
1^2
turning
handle, and the mufic
is
Grotefque
produced by ftriking wires or iirings
V\X^^
%3^^
>'
-^^ v!/i//r"^^^^
^*T'^^\
"ii^fev
^^M'i^^liiil:'

The face
is
Crippled
^^!WP"'
Minjirel.
evidently intended to be that of
No. 120.
inlide.
9.
No.
1
1
%iPi|pP
ra
;P''
.rf,\>.'f'
1
7ffi^ Jf^^KT^MP
^^
1
c^v^î
in'
Ik
jovial companicR.
The Hurdy-Gurdy.
Gluttony was an efpecial charaderillic of that clafs of fociety to which
in Literature and
Ko.XZl,

next pidure.
193
perhaps this was the idea intended to be con-
the minllrc-l belonged, and
veyed in the
Art.
îvin.jh
Mlnftrel.
No. 121, taken from one of the flails in Win-
A'o. 112,
chlflcr Cathedral, in which
Mufical Mother.
pig is performing on the fiddle, and app?.7r
Hi(lory of Caricature
194
and Grotefqiie
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
to be accompanied by a juvenile
mediaeval delineations.
It
is the
borrowed from the ancients.
double pipe or flute, which was evidently
Minflrelfy was the ufual accompaniment
of the mediaeval meal, and perhaps this piclure
is
burlefque on that circumftance,
playing to her brood
as
mother
the
is
intended
to
be
They all feem to hflen quietly, except one, who

evidently much more affefted by the mufic than his companions. The
while they are feeding.

is

fame inflrument is placed in the hands
No. 123.
of
rather jolly-looking female in
The Double Flute,
of the fculptures of St. John's Church in Cirencefter, copied in our

cut No. 123.
one
Although this inflrument is rather frequently reprefented in mediaeval

works of art, we have no account of or allufion to it in mediaeval writers ;
it was not held in very high eftimation, and was ufed only
As in many other things, the employment
low clafs of performers.
and perhaps
by
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
Art.
in Literature and
inltrumtrnt which
is named
other mediaeval writers,

the dulcimer,
is
introduced in
metrical hiltory of the celebrated

courfe
oi
which has been luppofed to
and
that had fallen into difcredit in the fourteenth
This inflrument
llory which
is
found in Cuvelier's
fpecial
performances he vaunted greatly, and

and
he
infixed on
their performing
It turned out that they
of the new ambaHador.
prefence
as
The Portuguefe monarch had in his
ambalfador to the court of Portugal.

whom he let great (lore,
In the
of Pedro the Cruel from the throne of
Caftile, an Englifh knight, Sir Matthew Gournay, was lent

fenice two minllrels whofe
be
century.
warrior Bertrand du GucfcHn.
the war for the expulhon
95
of the above extracts, and in fome
in one
a chiffonie,
played
on
tlie
in
on the
inrtrumenl juft mentioned, and Sir Matthew Gournay could not refrain
When the king prefled him to give

" In
his opinion, he faid, with more regard for truth than politenefs,
from laughing
at the
performance.
France and Normandy,

regarded
the
inftruments
your
minltrels
with contempt, and are only in ufe among beggars and blind
people, lb that they are popularly called beggar's inllruments."

we are told, took great offence at the bluntnefs
are
play upon
The king,
of his Englilh gueft.
The fiddle itfelf appears at this time to have been gradually finking in
credit, and the poets complained that
degraded tafte for more vulgar
Among thefe we may mention

The French antiquary, M. Jubinal, in a
mufical inftruments was introducing itfelf.

efpecially the pipe and tabor.
very valuable
of" Jongleurs
colle6tion of early popular poetry, publifiied under the title

et Trouveres," has printed
or fourteenth century, intended as

and the
ments
bagpipes, which
proteft againft the ufe of the tabor
he chara6terifes
Yet
of the peafantry.
curious poem of the thirteenth
people
properly the mufical inllru-
as
then, he fays, were becoming
fo
them in ])laces where

I'he writer tliinks that the
befotted on fuch inftruments, that they introduced

better
minftrelfy would be more
fuitable.
introduction of fo vulgar an inflrument

could
be
might
be
as the
tabor
into grand teilivals
of the figns which

" if
expelled to be the precurfors (jf tiie coming of Antichrift.
looked upon
in no other light
fuch "people are to come

made in tlic form
of
than
to grand fcftivals
buftiel
mcal'urc,
ov\
as
as
one
carry
the end
bulhel
{i.e.
tabor
of which they btai],
196
and make fuch

being born
Grotefque
terrible noife, it would feem that Antichrift muft now be
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
Uen
This fatirift adds,
as
que
Antecrifl
dole maintenant nejire
duroit dûn bafion chajcun brifier la tejie.
proof of the contempt in which the Virgin Mary
held fuch inflruments, that fhe never loved

and
that no tabor was introduced
No, 124.
"The
efpoufals.
tabor, or confented to hear
among the
minllrelfy
at
her
The Tabor, or Drum.
gentle mother of God," he fays, "loved the found of
N''ama
coronee,
onques tab(.ur, ne point ne
N''onques labour nî ot quant
La
-virge honoree,
les angles hautement
douce mere
fu
It
atjoec
el
Et
eft
Onques le mere Dieu, qui
eft
the fiddle," and he goes on to prove her partiality for that inftrument by
citing fonie of her miracles.
'

one,
agree,
ejpoujee.
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
malked demon playing on the
tabor, with
an exprellion
This tabor prefents much the form of a bullit- 1

meafure, or rather, perhaps, of a modern drum.
It may be remarked
in fad, the fame inftrument as the tabor, or, at leaft,
that the drum
it,
from
derived
is
is,
apparently of derifion.
they were called
and
by
the
fame
names,
labor
or
The Englilh name drum, which has equivalents in the later

forms of the Teutonic dialects, perhaps means fimply fomething which
far
know, met with before the fixteenth
Another carving of the fame feries of ftalls at Weftminfter,

tame bear playing on the
in our cut No. 125, reprefents
inftrument
perhaps
itfelf,
and
Brum turned
I'tftr,
intended to be at the fame time

uj)on
the
flrange
exhibitions
domefticated and taught various fingular performances,

popular.
This
is
bagpipes.
the
as
as
No. 125.
f(j

copied
not,
century.
noife, and
is
makes
tamlour.
fatirc on
of animals
which were tlun
98
Grotefque
No. 126 we come to the fiddle again, which long luftained

It is taken from one
its place in the higheft rank of mufical inftruments.
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
In our
cut
of the fiddle.

the mufic
She wears
No. 126.
crown, and
is
intended, no doubt.
Royal Minflrelfy.
of the queens of the fea, and the introduction of the fiddle
to be one
under fuch circumftances
The mermaid
been
at all
times
can leave no doubt how highly it was efleemed.
of the imagination, which appears to have

favourite objeft of poetry and legend. It holds an
is a creature
a
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.
our fea-coaffs, and more
It
ftlU retains
its place in popular legends
efpecially in the remoter parts of our iflands.
The flories of the merrowy or Irilh fairy, hold

my late friend Crofton Croker's " Fairy
prominent place among
Legends
Ireland."
The mermaid
of
is alfo
of the
South
of
introduced not unfrequently in mediaeval
Art.
/// hiterature and
199
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
Iculpture and can-ing.
of which llie
is
drefling her hair
No. 127.
Her companion, the male, holds
but
here Ihe holds
the comb alone.
Mcrmaidi.
filli, which he appears to have jufl
caught, in his hand.
While,
after the fifteenth
became entirely degraded,

rogue and vagabond,

as
it
fiill remains
century
the
and he was looked upon more
the fiddle accompanied him, and
in Ireland, the favourite inflrument
'Ihe blind fiddler, even at the prefent day,

diflrifts.
minftreliy.
profeflion of the
It has always been
in England
is not
minft^rel
than ever as
it long remained,
of the peafantry.
unknown
in our rural
the favourite inilrument
of
200
CHAPTER
Grotefqiie
XII.
EARL'S HISTORY
FOOL.
THE NORMANS AND THEIR GABS.
IN THE CORNISH
THEIR COSTUME.
CARVINGS
OF COURT
FOOLS.
THE BURLESaUE SOCIETIES OF THE MIDDLE AGES.
CHURCHES.
THE
THEIR LICENCE.
THE 'FEASTS
OF ASSES,
AND OF FOOLS.
THE
BLESSING.
LEADEN MONEY OF THE FOOLS.
BISHOP's
THE COURT
FROM
arofe
the employment
of minftrels attached
to the family, probably
another and well-known charafter of later times,
fool, who took the place of fatirifl
the court
houfeholds.
in the great
confider what we underftand by the court fool to be
do not
charafter of any
great antiquity.
It
is

appreciated
whether
in the middle ages.
elegant figures
of fpeech
with anything like

a party
doubtful
fomewhat
in
what
we call
Puns feem to have
literary compofition,
quick and clever repartee.
jeft, was really
been confidered
and
as
we rarely meet
In the earlier ages, when
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.
{gab(B,
Thefe jefts were termed by the French and Normans gabs
in mediaeval Latin),
the claffical
word fuppofed to have been derived from
Latin word cavilla,
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
thoufand knights, to verify the truth
of his wife's flory.
They proceeded firft to Jerufalem, where, when Charlemagne 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
They then continued their progrefs till they reached Conllantinople, where they were equally well received by the the emperor Hugo.
months.
At night
the
emperor placed
his
in
guefts
chamber furnilhed
with
light
as
quarters for the
bright
it,
and
illuminated
that of day.
as
by
large carbuncle, which
When Hugh left them in their
night, he fent them wine and whatever was neceffary to
make them comfortable
and,
gave
twelve diftributed around
thirteen fplendid beds, one in the middle of the room, and the other
when
alone, they proceeded
to amufe
themfelves with gals, or jokes, each being expefted to fay his joke in his
turn.
would
him his flrongeft
before
place
"
if
Charlemagne took the lead, and boafted that

bachelor,"
the emperor
Hugh
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
city of Conftantinople.
of another defcription
Hugh would
the emperor
it
out into the fields and blow
force, that the wind and noife of
with
would fliake down the whole
Oliver, whofe turn came next, boafted of exploits
if
fuch
he were left alone with
the
beautiful princefs,
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
Hugh's daughter.
placed
fpy on the outfide, who gave
heard, and he had
hole through the wall, by which all that paffed infide could be feen and
full account
that each of them ftiould perform his boaft,
he failed, be put to death.
fented that
to amufe
was the cuftom in France when people retired for the night
themfelves in that manner.
he laid, " at
expoftulated, ami n pre-
Charlemagne
Paris,
and at
" Such
Chartres, when the
is
or,
his fpy, and declared
it
heard
by
of the converfation of the diftinguiihed guefts to liis imperial niafter.

Next morning Hugh called his guefts before him, told tlRin what lie had
if

lend him his horn, he would take
for his gah, who

it
that his breath was fo ftrong, that

it
boafted
then called upon Roland
Charlemagne
if
the handle.
the cuftom
in France,"
French are in bed ihey
202
Grotefque
Siuand Francehfunt
ambure
fanier
EJi client
Paris
culchicz, <jue
a Cartres,
giuunt
tel cujiume en France,
eji
SI
fe
of folly."
themfelves and make jokes, and fay things both of wifdom and
amufe
gabent,
folage.
But Charlemagne expoftulated in vain, and they were only faved from
the confequeace of their imprudence by the intervention of fo many
miracles from above.*
In fuch
trials
of Ikill
as
this, an individual muft continually have arifen
making him
who excelled in fome at leaft of the qualities needful for raifing mirth and
good companion, by
ihowing himfelf more briUiant in w.t,
or more biting in farcafms, or more impudent in his jokes, and he would thus
become the favourite mirth-maker of the court, the boon
companion of
the chieftain and his followers in their hours of relaxation.
We find fuch
unufually introduced in the early romances
the romances
he fometimes
Such
of king Arthur.
perfonage
fimilar
pofition
have remarked in
at 'the
of court
court of king
Kay of the cycle of

former chapter that
defcribed
as
Hrothgar.
holding
To go
afTembly
of his fellow deities
Homer on one occafion
fable appears fometimes to have performed
farther back in the mythology of our forefathers, the Loki of Scandinavian

fimilar
charafter in the
and we know that, among the
introduces Vulcan a6ting
Greeks,
part of joker
the
of Olympus. But all thefe have no relationfhip

whatever to the court-fool of modern times.
The German writer Flogel, in his " Hiflory of Court Fools,"t has
to the gods
irrelevant matter
thrown this fubje6t
into much confufion by mtroducing
and thofe who have fince compiled from
made the confufion ftill greater.
"
(yeXwT-oTToioc)
great
mafs
of
Flogel, have
Much of this confufion has arifen from
Charlemagne, an Anglo-Norman Poem of the Twelfth Century, now first

published, by Francisque Michel," lamo., 8vo., London, 1836.
" Geschichte der Hofnarren, von Karl Friedrich Flogel," 8vo. Liegnitz und
Leipzig, 1789.

fomewhat
was the Sir
poem of Beowulf,
Hunferth, in the Anglo-Saxon
and in the
unites the charader
orator with the other.
and
is
mythology of nations,
not
an individual
Art.
in Literature and
the milunderftanding
joculator,
the
the
of names and terms.
and confounding
minirtrel,
203
or whatever
name
this
The minius,
of fuciety
clafs
went by, was not in any refpe6ls
identical with what we underlland by a

court fool, nor does any fuch charader as the latter appear in the feudal
houfehuld before the fourteenth century,
the focial manners
as
far
as
we are acquainted
cultoms of the olden time.
and
the early French romans
dc gefte,
tilled with pidures of courts
The vaft extent of

whicli
romances,
are
of princes and barons, in which the
introduced had he been known at the lime
they were compofed, that
in
twelfth
the
thirteenth
and
believe, no trace of fuch perfonage
contains,
court fool mull have been
is,
both
or Carlovingian
with
centuries,
and the fame may be faid
Paris,
fullus, William
his
Fons Olfanae
to have
us once
"
Picol,
an ellate
or
or Piculph
in
(as he
Normandy
in
the
prelents
grants
called at the clofe
named in
the
document
(Menil-Ozenne in Mortain), with all its appurtenances,
and
to hold,
to his heirs, by doing
to him and
year the fervice of cnejhllus,
as
long
as he lives
there-for to
and after his
Sciatic
ct prx-senti
by
by
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 calcariom dcauratorum nobis annuatim leddendo. Quare volumus et fiimiter prxcipimus
pcrpctuum, bene et
quod pn-dictus Piculphus et hseredes sui habeant et teneant
pace, libcre ct qurete, prjcilictam tenam." Rijjoilot, Monnaics inconnucs des
v4(juc& dcs Innoccns, etc., 8vo., Paris, 11*37.
0>'>an2e, cum
in
Fontcm
noN ilcilisse
G., etc
Rifjollut, are " Joaniits,
cliaita confirmasse Willclmo Picol, tollo no>tro,
as given
The word- of this charter,
it
of us,
the fervice of one pair of gilt fpurs
*
to be rendered annually to us."
The fervice {fervitium) here enjoined
means the annual payment of the obligation of the feudal tenure, and
his heirs Ihall hold
death
io

of the document),
mifunderftood
manufcript
By this charter, John, king of England,
very exceptional cafe.

to
either
from
in
Library
RigoUot
Imperial
by ]SI.
in
conclude that the (ingle

it
charter publiihed
fa6ts
is
brief
From thefe
their moft minute detail.
rich in works illullrative of contemporary manners
is
that period, one
fo
of the numerous other romances, fabliaux, and in fad all the literature of
Hijiory of Caricature and Grotefque
204
if follus
therefore
to
is
taken
be
"
fignifying
as
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
that this pra6lice
was firft introduced
rather doubtfully,
though
is not
improbable
for Flogel
in Germany,
fpeaks,
of one who was kept at the court of the
I. (of Haplburg), whofe reign
emperor Rudolph
It
It
praftice of keeping court fools then exifted.
the
lafted from 1273 to 1292.
more certain, however, that the kings of France poffefTed court fools
is
of the fourteenth century, and from this time anecdotes

One of the earliefl and moft
relating to them begin to be common.
curious of thefe anecdotes, if it be true, relates to the celebrated viftory of
before the middle
III.
Sluys gained over the French fleet by our king Edward

1340.
It
that no one dared to announce this difafter to the French
is faid
VI., until
king, Philippe
" Thofe
heard,
cowardly
Englilli!
"How lb, coufin?" the king

" becaufe they have not courage
Entering the
court fool undertook the tafk.
king's chamber, he continued muttering

be
in the year
to himfelf, but loud enough to
Britons
the chicken-hearted
inquired.
"Why,"
replied
the
I"
fool,
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
of the full extent of his calamity. The inftitution of the

court fool was carried to its greateft degree of perfeftion during the
became aware
fifteenth century
It
which
it only expired in the age of Louis
XIV.
was apparently with the court fool that the coftume

has ever fince been confidered as the charaderiftic
was introduced
mark of folly.
Some parts of this coflume, at leaft, appear to have been borrowed from
The gelotopoei of the Greeks, and the mimi and moriones
an earlier date.
of
the Romans, fhaved
il*i.'.i>
falhion
as a fatire
their heads
but the court fools perhaps adopted
upon the clergy and monks.
Some writers pro-
felled to doubt whether the fools borrowed from the monks, or the monks
from the fools
Sciences,
and
remarks
fools" {rafo
toto
Cornelius Agrippa, in his treatife

that the
capite ut
monks had
fatui).
their
heads
on the
" all
Vanity of
fhaven
like
The cowl, alfo, was perhaps adopted
in Liitcraturc and
Art.
in derilion of the monks, but it was diftinguilhed

pair of aires' ears, or by
The court fool was alfo furnlflied with
eventually his bauble.
neceliary article in the equipment of

as a fatire on the
of
during the
ftatf
The bells were another
court fool, perhaps
alfo intended
pre-
Court Fools,
fourteenth and fifteenth centuries, cfpecially
among people who were fond of childifli ollcntation.

a
cuftom of wearing fmall bells in the drefs, which
//o. 127.
vailed largely
by the addition
cock's head and comb, which formed its termi-
nation above, or by both.

or club, which became
205
I'he fool wore alfo
pariy-coloured, or mtjtley, garment, probably with the llune aim that
tif fatirifuig
it
is in
one
of the ridiculcjus faHiions of the fourteenth century.
ihc Hfieenth century that we firft meet with the fool in full
2o6
Grotefque
coftume in the illuminations or manufcripts, and towards the end of the
It
century this coflume appears continually in engravings.
with
at this
is alfo
met
time among the fculptures of buildings and the carvings of
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
wood-work.
fool in two varieties of coftume

in the cock's head
in the firft, the fool's cowl, or cap, ends
in the other, it
is
fitted with
variations alio in other parts of the drefs

to his ileeves. and the firft carries
No. 1 28.
perhaps be intended for

the other has
marks
for the fecond
There are
only has bells
Angularly formed ftatf, which may
ftrap or belt, with a buckle at the end
As one pofleflfes
of age in his countenance, while the other
The Cornifti churches
ears.
Fool and a Grimace-maker.
ladle in his hand.
we may confider the pair
aflTes'
as
while
beard, and prefenis
is beardlefs and
youthful,
an old fool and a young fool.

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,
little
to
the
north
of the
in Literature and
Art.
207
The tirll has bells hanging to the fleeves, and
Lizard Point.
is no
doubt
intended to reprel'ent folly in fome form j the other appears to be intended
of
tor the head
woman makino: crrimaces.*
The fool had long been

a court
tool, for
Folly or,
charader among the people before he became
" Mother Folly " was
Ihe was then called,
as
of the favourite objefts of popular worlhip in the middle ages, and,
one
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.
to form themfelves into alfociations or focieties
accui'tomed
character,
Our forefathers in thofe times were
of thofe of
parodies
liallical, and eleded
as
a more ferious
of
mirthful
defcription, efpecially eccle-
their officers mock popes, cardinals, archbilliops and
They held periodical feftivals, riotous and licentious
bifhops, kings, &c.
carnivals, which were admitted into the churches, and even taken under
of the clergy, under fuch titles as " the feali of

fools," " the feall of the afs," " the feaft of the innocents," and the like.
the efpecial patronage
There was hardly
Continental
town of any account which had not its
company of fools," with its mock ordinances
and mock ceremonies.

our own iiland we had our abbots of mifrule and of unreafon.

public feftivals
were worn
dramas
were
At tluir
fatirical fongs were fung and fatirical malks and dreffes
and in many
In
of them, efpecially at
Thefe
atted.
fatires
modern caricature j the caricature
later date, brief fatirical
much of the fun6tions
alfumed
of
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
directed
c(in(tantly
againft
lay furnifhed it with
For
the ecclefialiical
abundant materials.
order.
The fcandal of the
fragment of one of their
the drawings of these interesting carvings from the Cornish churches, I

to the kindness ot Mr. J. T. Bli^lit, the autlior of an extremely
am indebtfd
pleasing
entitled
an<l
"A
useful
guide to the beauties of a well-known
Week at the Land's
End."
district of Cornwall,
2o8
fongs
and Grotefque
of an early date, fung at one of thefe "feafts " at Rouen, has been
preferved,
French
and
contains
the following lines,
written
in
Latin and
De ajlno bono nojiro,

Meiiori et Optimo,
Dehemus faire fete.
En revenant
de
Gra'vinaria,
Vn gros chardon reperit in -via,

H lui coupa la tete.
Egrejfus
eji
monachui in menje
EgreJJits
eft
Julio
monajierio,
C'est dom de la BucaiUe
F'ir
fine licentia.
Pour aller voir dona Venissia,
Et faire la ripaille.
TRANSLATION.
For our good ajs,

The better and the beft.
We
Went
out
dom de la BucaiUe
out -without licenje.
To pay a vifit to the dame de Veniffe,
And
ll
appears that
De
la
make
jo-vial
cheer.
BucaiUe was the prior of the abbey of St. Taurin,
Venifle was priorefs of St. Saviour, and

lines, no doubt, commemorate fome great fcandal of the day
at Rouen, and that the dame de

thefe
relating to the private relations between thefe two individuals.
Thefe mock religious ceremonies are fuppofed to have been derived

from the Roman Saturnalia^ they were evidently of great antiquity in the
mediaeval church, and were moft prevalent in France and Italy.
a6ts
of "the feaft of the fub-deacons
of the council of Toledo, in
punned on the word
ybw^-tZwcre^, and
60,'^
at
"
the name

July
his monaftery.
It
He tvent
the month
monk
of
in
ji
returning from Graviniere,

great thiftle he found in the ivay^
He cut off its head.
of
ji
to rejoice.
ought
is
In
Under
they are forbidden by the

later period, the French
called them Saouls-diacres
Deacons), words which had nearly the fame found.
(Drunken
The " feali of
the
in Liter at tire ajid
afs
"
is faid
back in France
to be traced
was celebrated
Art.
far
as
209
as the
ninth century.
in nioft of the great towns in that countrj', fuch
as
Rouen,
Sens, Douai, &c., and the fervice for the occalion is adtually preferved
of the old church books.
in proceffion
to
by
who fung
telling
decked out to receive
us
From this it appears that the
led
and that the proceflion was led by two clerks,
Latin fong in praife of tlie animal.

how "
afs was
in
in the middle of the church, which had been
place
it,
fome
It
This fong commences
the afs came from the eaft, handfome and very ftrong,
and molt fit for carrying burthens":
Orierttis partihui
j4d-venta'vit ajinus.
Pule her
et
fortijJimuSf
in French, and exhorts the animal to
sir afs, chant now, fair mouth, bray, you fhall
have hay enough, and oats in abundance
:"
join in the uproar "Eh
The refrain or burthen of the fong
is
Sarcinis aptijfimus.
Hm^Jire afnes, car chant (ts.

Voui aurez dufoin aJfeZy
Et de ravoine a plantez.
fervice
in
altar, the prieft began
In this tone the chant continues through nine fimilar ftanzas, defcribing
the mode of life and food of the afs.
When the proceflion reached the
profe.
Beleth, one of the celebrated
dodors of the univerfity of Paris, who flouriflied in 1182, fpeaks of the

" feaft of fools " as in exiftence in his time and the afts of
the council
of Paris, held in
of archbifliops and bilhops,

and more efpecially of monks and nuns, at the feafts of fools, "in which
flaff was carried."* We know the proceedings of this latter feflival
12 12,
forbid the prefence
rather minutely from the accounts
given in the ecclefiaflical ccnfures.
"A
fcti follorum ubi bacillus accipituromnino

monachi^ ct monialibu<i prohibcmus."

Belle bouche, rechignez,
abstincatur
Iiicm fortius
2IO
It
was in the cathedral churches
Grotefque
that they elefted the archbifliop or bifhop
of fools, whofe eleftion was confirmed, and he was confecrated,
with
He then entered upon his pontifical duties
multitude of buffooneries.
wearing the mitre and carrying the crofier before the people, on whom
he befl:ow3d his folemn benediftion.
In the exempt churches, or thofe
immediately upon the Holy See, they ele6ted
which depended
who wore fimilarly
fools {unum papam fatuorum),
the
pope ol
enfigns
of the
Thefe dignitaries were affilled by an equally burlefque and

licentious clergy, who uttered and performed a mixture of follies and imjpapacy.
pieties during the church fervice
of the
difguifes and mafquerade
Some wore malks, or had their faces
dreffes.
painted, and others were dreffed
day, which
they attended
in
in women's clothing, or in ridiculous
On entering the choir, they danced and fang licentious fongs.
coftumes.
The deacons and fub-deacons
ate black puddings and faufages on the altar
while the prieft was celebrating; others played at cards or dice under his
eyes ; and others threw bits of old leather into the cenfer in order to
raife a difagreeable
fraell.
After the mafs was ended, the people broke
out into all forts of riotous behaviour in the church, leaping, dancing, and
themfelves in indecent poflures, and fome went

exhibiting
as
far
as
to
ftrip themfelves naked, and in this condition they were drawn through
the flreets with tubs full of ordure and filth, which they threw about ai
the
Every
mob.
immodefl:
poftures
now
and
then
they halted,
when
they exhibited
and a6tions, accompanied with fongs and fpeeches
of
the fame charadter.
Many of the laity took part in the proceflion, dreffed
monks and nuns.
Thefe diforders feem to have been carried to their
as
greateft
of extravagance
degree
during
the
fourteenth
and
fifteenth
centuries.*
* On
the subject of all these burlesques and popular feasts and ceremonies, the
" Geschichte des Grotesk-Komischen," of which a new
reader may consult Flogel's
and enlarcred edition has recently been given by Dr. Friedrich W. Ebeling, 8vo.,
Leipzicr,
Tilliot,
i86z.
in his
Lausanne,
1751.
Much interesting information on the

Memoires pour servir a I'Histoire
"
See also
on the same subject
will
subject was collected by Du

de la Fete des Fous," 8vo.,
Rigoliot, in the work quoted above, and

found in my " Archaeological Album."
be
a popular
article
i?7
Towards
Literature and Art.
the fifteenth
century, lay focieties,
211
having
apparently no
conneftion with the clergy or the church, but of juft the fame burlefque
One of the earliert of thefe was formed by
arofe in France.
character,
of the Bazoche, or lawyers' clerks of the Palais de Juflice in

fort of king of mifrule.
The other
whofe prefident was
Paris,
the clerks
principal fociety of this kind in Paris took the rather mirthful name of
;
it
confided of young men of

Enfans fans Souci (Carelels Boys)
education, who gave to their prefident or chieftain the title of Prince
des
Sots
(the
Prince of Fools).
Both
thefe focieties
Thefe farces were
performed farces, and other fmall dramatic pieces.

to
on contemporary fociety, and appear
fatires
compofed and
have
been
often very
perfonal.
Almoft the only monuments of the older of thefe focieties confift of

coins, or tokens, flruck in lead, and fometimes commemorating the names
of their mock dignitaries.
confiderable
number of thefe have been
Our cut No. 129 will ferve
leaden
token
the Innocents.
of the
Archbifliop of the
Innocents of the parifh of St. Firmin, at Amiens, and

date.
the a6t
On one fide the archbilhop of the Innocents

of giving his blefling to his flock, furrounded
MONETA- ARCHiEpi
8CTI
Monnaifn intonnucs
1837.
is
Archhijhof
FiHMiNi.
des
EvAques
curious
Innocens,
des
as
bearing
reprefented
the
On the Other fide we
des
as an
of
the
by is
reprefents
M(^ney
of
129.
It
Dr. Rigollot fome years ago.*
example.

by
found in France, and an account of them, with engravings, was publiflied
Fous,"
in
infcription,
have
Sec,
the
Paris,
212
name
of the
NicoLAVS
individual
*
GAVDRAM
ARCHiEPVs
of two men, one of whom

bird, which
No.
the
ftill more curious
130 is
'No. 130.
fide
appears the pope
'
it
furrounding
group confiding
fool, holding between them a
1520,
drefled
is
fomewhat
has
year held the office of archbifhop,
who that
as a
of
appearance
is a
Money
token of \h& pope of fools.
of the
Pope
with his tiara and double crofs, and
It
fool in full
is
certainly
bitter caricature on the papacy, whether that were the intention or not.
in fcholaftic
drefled apparently
The infcription
moneta
coftume, feem
nova
adriani
to be merely fpeftators.
behind,
'
perfons
is,
Two
being in the field of the piece), "new money
of Adrian, the pope of fools."
The infcription on the other fide of the
iNFiNiTVS
EST
'
rather furprifing
in the various
chapters
figure in
clafles
has been
of the
of fools
infinite."
before
[m]
In the
her
It
cardinal's hat, apparently kneeling to her.
that we find fo few allufions to thefe burlefque focieties
of piftorial records from which the fubjeft of thefe
illuftrated
altogether overlooked.
mifereres
the number
stvltorv
Folly holding up her bauble, and
field we fee Mother

grotefque
"
NVMERVS,
is
one frequently repeated on thefe leaden medals,
PAPE (the laft
token
[m]
is
STVLTORV
is
Until
church
but we have evidence that they were not

the
of St.
latter end of the

Spire,
at
Corbeil,
laft
the
century,
near Paris,
were
which have fince been deftroyed, but
ô** inAtt
.hey were engraved
bj
remarkable for the Angular carvings with which they were decorated, and
,

On one
of Fools.
coftume, who approaches his bauble to the pontifical crofs.

a
Our cut
magpie.
m Literature and
Millin.
One of them, copied
the bilhop
place
of fools conferring his bleliing
of the paftoral
The Bipop
213
No. 131, evidently reprelents

the fool's bauble occupies the
ftaft".
No. 131.

in our cut
Art.
of
Fools.
214
CHAPTER
THE
XIII.
THE PAINTINGS
REIGN OF FOLLY.
DANCE OF
CHAISE
DIEU.
Grotefque
IN
THE
CHURCH
OF LA
THE
SEBASTIAN
BRANDT 3 THE
"ship of fools." DISTURBERS OF CHURCH SERVICE. TROUBLEBADIUS, AND HIS SHIP OF
SOME BEGGARS.
GEILEr's
SERMONS.
FOOLISH WOMEN.
THE PLEASURES
OF SMELL.
ERASMUS 3 THE
"praise OF FOLLY."
is
DEATH.
ftill one cycle of fatire which almoft belongs to the middle
THERE
ages, though
it only became
developed at their clofe, and became
moil popular after they were paft. There exifted, at leaft as early as the
beginning of the thirteenth century, a legendary ftory of an interview
verfe, and appears under the
to fome
According
Egyptian
verfes
who thus
reclufe,
title of
"Des
is
ufually told in French
trois vifs et des trois morts."
of the legend, it was
verfions
introduced
are fometimes accompanied
the living to the
with figures,
and
the
St. Macarius,
thefe
found both fculptured and painted on ecclefiaftical buildings.
dead.
'The
have
been
At
later
period, apparently early in the fifteenth century, fome one extended this
idea to all ranks
or even more
of fociety, and pidlured
Ikeleton, the emblem of death,
than one, in communication with an individual of each
clafsj and this extended fcene, from the manner of the grouping in
which
became known
three
wildly dancing off with the living-

As the earlier legend of the
the "Dance of Death."
the dead appeared
dead
as
and the
to
be
living was, however, llill often introduced

the whole group was moft generally known
three
at the begmning
of
efpecially during
the fifteenth
it,

between three living and three dead men, which
century as the
" Danfe Macabre,"
or
mcro corriii)ticn
of
being confidered
Dance of Macabre, this name
as
I?i
Literature and Art.
The temper of the age in which death in every form was

conltantly before the eyes of all, and in which people fought to regard
mere tranfitory moment of enjoyment gave to this grim idea of
life as
a
Macarius.
was not only

fellowlliip of death and life great popularity, and
was fufpended in tapellry around
painted on the walls of churches, but
Sometimes they even attempted to reprefent
chambers.
j)eople's
mafquerade,
are told that in
and we
" Danfe Macabre
"
it
it
it
the
in
month of Odober, 1424, the
the
was publicly danced by
living people in the cemetery
performance
of the Innocents, in Paris fit place for fo lugubrious
in the prefence of the Duke of Bedford and the Duke of Burgundy, who
came to Paris after the battle of Verneuil. During the reft of the century
we find
not
allufions
unfrequently
to
"Danfe
the
Macabre."
The
it
Englilh poet Lydgate wrote feries of ftanzas to accompany the figures,

In
was the fubjed of fome of the earlieft engravings on wood.
and
the pofture and accompaniments of the figures reprefenting the different
ufually implied,
with drollery. The figure reprefent

grimly mirthful countenance, and appears
The moft remarkable early reprefentation

that painted on the wall of
now preferved,
church of La Chaife Dieu, in Auvergne,
of the " Danfe Macabre
will.
"
is
to be dancing with good
the
fatire
the
in fome cafes accompanied
ing death has almoft always
beautiful fac-fimile of
few years
ago
the
pulpit, towards whom death
is
baron
10
the
emperor, and the
followed
by
comes
Thus next after the pope

followed by \hc king. I'he
cardinal
the biftio]), and liu- i^rini partner of tiu- latter appears
pay more attention to the
dead men appear
ftri6tly according to his
layman.
is
clafs alternately an ecclefiaftic and
the pope, for each individual takes his precedence
leading firft in the dance
layman than to his own prieft,
to have the former in charge.
fo
preaching from
is
publilhed
by
was
well-known antiquary
M. Jubinal. This remarkable pitfure begins with the figures of Adam
and Eve, who are introducing death into the world in the form of
The dance
death's head.
opened by an ecclefiaftic
ferpent with
which
is

and
partners,
is
living accept their not very attradive

is
with which
it
dalles of fociety, and in the greater or lefs reludance
that two
The group thus repre-
2i6
fented by the nobleman and the two deaths,

and
will ferve
painting.
as
After
an example
a
is
copied in our cut No. 132,
of the ftyle and grouping of this remarkable
few other figures, perhaps
lefs Ilriking, we come to
the merchant, who receives the advances of his partner with
thoughtful
air; while immediately after him another death is trying to make himfelf more acceptable to the balhful nun by throwing a cloak over his
In another

nakednefs.
^0.
place two deaths armed
132.
The Knight in the Dance
members of fociety.
of Death.
Soon follow fome of the more
fcattering their {hafts rather dangeroufly.

gay and youthful
with bows and arrows are
Our cut No.
133 reprefents
the
mufician, who appears alfo to attraft the attentions of two of the perfecutors.
In
dance clofes
which
his
difmay he
is
treading under foot his own viol.
with the lower orders of fociety, and
is not fo
eafily underftood.
is
concluded by
The
group
Before the end of the fifteenth' century,
there had appeared in Paris feveral editions
of
a feries
of bold engravings
in Literature and
on wood, in
what
217
Ihiall felio lize, reprefenting the fame dance, though fome-
dirierenlly
native country
Art.
France,
treated.
of the
indeed, appears
" Danfe Macabre."
to
have
been
the
But in the century following
of drawings by the great artiftHans Holbein, firll publilheU

Lyons in 1538, gave to the Dance of Death a ftill greater and wider
the beautiful fet

at
No. 133.
Tht Muficlan in Death'
Hands.
celebrity.
From this time the fubjeds of this dance were commonly
introduced
in
initial
efpecially in books of
letters,
a
and
in
the
engraved
borders
of pages,
religious chara6ter.
Death may truly be laid to have Ihared with Folly that melancholy
As fociety then prefented itklt to the
period the fifteenth century.
eye, people might
eafily fuppofe that the world was running
niad, and
l<jlly, in one Ihape or other, fe-mcd to be the principle which ruled molt
men's actions.
multiplied
The jocular focieties, defcribed in my lall chapter,
in France during
muck worlliip of Folly.
the
fifteenth
century, initiated
w iru h
lint ot
That fort of inauguration of death which was
Hijiory
grand crufade
Caricature and Grotefque
"Danfe Macabre,"
in the
performed
of'
folly
againfl:
was
have
to
appears
of French
growth, but the
originated
in
Germany.
native of Strafburg, born in 1458.

He iludied
in that city and in Bale, became
celebrated profeffor in both thofe
Sebaftian Brandt was
immortalifed the name of Sebaftian Brandt,
Afcenfius.
was afterwards
and enlarged
edited
French text was no lefs fuccefsful
popular, and
it
numerous editions within
believed to have been firft
The original German text went through

Latin tranflation was equally
few years
3
494.
publithed in the year
is
The " Ship of Fools," which has
places, and died at the former in 1520.
ijOp
an
by Jodocus
Badius
Engliih tranflation
Dutch verfion appeared in

"
During the fixteenth century, Brandt's "Ship of Fools was the
1519.
It conlifts of feries of bold woodcuts, which
moft popular of books.
Pynfon in
was printed by Richard
form its chara6teriftic
and
feature,
Brandt, and annexed to each cut.
" Stultorum numerus
preacher,
of metrical explanations, written by

Taking his text from the words of the
eft infinitus,"
Brandt expofes to the
all its fliades and forms, the folly of his contemporaries,
eye,
in
and bares to view
The cuts are efpecially interefting as ftriking pi6tures

"
The " Ship of Fools
of contemporary manners.
the great fliip of the
world, into which the various defcriptions of fatuity are pouring from all
The firft folly
is
quarters in boat-loads.
that of men who collefted great
quantities of books, not for their utility, but for their rarity, or beauty of
executii
n,
or rich bindings, fo that we
fee
that bibliomania had already taken
The fecond clafs of fools were interefted
its place among human vanities.
of two fools throwing
old Latin proverb, Agere aprum in
boar into
the emblem
and partial judges, who fold juftice for money, and are reprefented under
caldron, according to the
Then come the various follies
lebetem.
ol mifers, fops, dotards, men who are fooliflily indulgent to their children,
of good
defpifers
advice;
of nobles and men in

of foolilh lovers
of
frivolous
of the profane and the improvident

Foolifli talking,
extravagant eaters and drinkers, &c., &c.
power
purfuits,
ecclefiaftical
number of other vices

reprefented
in various
as
well
as
corruptions,
impudicity,
and
and
hypocrify,
a
mifchief-makers,
;

is
its roots and caufes.
great
follies, are duly palfed in review, and are
forms of fatirical
caricature,
and
fomeiimes
in
//;
Literature and Art.
limpler unadonied piaures.

lented
by
fool holding
Thus the foolilh valuers of things are reprebalance, one Icale of which contains the fun,
moon, and liars, to reprefent heaven and heavenly

caftle and fields, to reprefent
the other
earthly things, the latter fcale overucighing
No.
church fervice.
with
parrot
magpie on each hand, all repeating eras, eras,

Our cut No. 134 reprefents a group of difturbers of
eras (to-raorrow).

things, and the other a
and the procraftinator is pidured by another fool,
perched on his head, and
It
was
1 34.
Dijiurbers
common
of
Church Ser-vice
pra6tice
in former days to take to
church hawks (which were conftantly carried about
of
2 I 9
as the
outward eiifign
The fool has here thrown back his fool's-cap

"
to exhibit more fully the fafhionable " gent
of the day ; he carries his
the gentleman) and dogs.
hawk on his hand, and wears not only a fafliionable pair of flioe, but very
falhifjnable clogs alfo.
Thefe gentlemen d la mode, titrgcntts genere et
nulaidus
alt'n,
we are told, were the perfons
who difturbcd the church
220
Grotefque
of their flioes and clogs, the noife made by their

birds, the barking and quarrelhng of their dogs, by their own whifperings,
and efpecially with immodeft women, whom they met in church as in a
fervice by the creaking
of aflignation.
All thefe forms of the oftence are
Our fecond example cut No. 135, which forms
expreffed in the pidture.

convenient place
Mendicants
on their
Travels,
fifty-ninth title or fubjed in the " Ship of Fools," reprefents a party

of the beggars with which, either lay or ecclefiaftical, the country was
the
then overrun.
In
the explanation, thefe wicked beggars are defcribed
as
in eating, drinking, rioting, and fleep, while they

indulging
levy contributions on the charitable feelings of the honeft and induftrious,
in idlenefs,
and,
under cover
of begging, commit robbery
wherever they find the
The beggar, who appears to be only a deceptive cripple,

leads his donkey laden with children, whom he is bringing up in the fame
profelhon, while his wife lingers behind to indulge in her bibulous proopportunity.
Art.
in Literature and
Thele cuts will give
221
tolerable notion of the general charader

of the whole, which amount in number to a hundred and twelve, and
penlities.
therefore
prefent
variety of fubjeCts relative to almoll every clals
a great
of life.
and profellion
We may remark, however, that after Folly had thus run through all
the ftages of fociety, until it had reached the loweft of all, the ranks of
mendicity, the gods themfelves became alarmed, the more
fo as this great
movement was directed efpecially againft Minerva, the goddefs of wifdom,

and they held
but
the courfe
who
fet
conclave
to provide againll
of Folly goes on
up for phylicians, fools
as
The refult
it.
vigoroufly
as
ever.
is not
Ignorant
told,
fools
who cannot underftand jokes, unwife
mathematicians, aftrologers, of the latter of which the moralifer fays, in his
Latin verfe
Siqua "voki fortis pr<tnoJcere damna futura,
Et -vitare malum, Jol tibifigna dabit.
Sed tibi, ftiilte, tut cur non dedit ille
fur oris
Si^na ? aul,Ji dederit, cur tanta mala fubh

Nondum ^rammutlcte callh primordia, et audes
fîm carli radio JuppoJ'tdJJe tuo.

The next cut
is a very
curious one, and appears to reprefent
diffeding-
of this early period. Among other chapters which afford interefting

pictures of that lime, and indeed of all times, we may inftance thofe of
houfe
litigious fools, who are always going to
law, and who confound
juftice, or rather try to unbind her eyes; of filthy-tongued

glorify the race of fwine
who
of gamblers ; of bad and

thievilh cooks ; of low men who feek to be high, and of high who are
defpifers of poverty ; of men who forget that they will die ; of irreligious
men and blafphemers; of the ridiculous indulgence of parents to children,
;
of ignorant fcholars
fools,
blind
and the ungrateful return which was made to them foi it

pride.
Another
title
defcribes
emiKTor, king, cardinals,

the cap
&:c., are
the
ruin
and
of Chriftianity
receiving willingly from
of women's
the
pope,
fuppliant fool
of Folly, while two other fools are looking derifively upon iIiliu
from an adj</ining wall.

CD the eve
It
need hardly be faid
that
this was piibliflicd
of the Reformation.
In the niidft of the popularity which greeted the appearance of the
22 2
and Grofefque
work of Sebaftian Brandt, it attrafted the fpecial attention of a celebrated

Geiler was born at SchafFpreacher of the time named Johann Geiler.
haufen, in Switzerland,
in 1445, but having loft his father when only
three years of age, he was educated

in Alface,
Keyferlberg,
and
he was commonly called
hence
He ftudied in Freiburg and Bale, obtained
Keyferfberg.
tation for learning, was efteemed
15 10.
He was
Geiler
a great
of
repu-
profound theologian, and was finally
fettled in Strafburg, where he continued to Ihine

death in
who lived at
by his grandfather,
as a preacher
until his
bold man, too, in the caufe of truth, and de-
claimed with earneft zeal againft the corruptions of the church, and efpecially againft the monkifh orders, for he compared the black monks to the
devil, the white monks to his dam, and the others he faid were their
On another occafion he faid that the qualities of
chickens.
were an almighty belly, an
afs's
back, and
congregation from the pulpit that
a great
a raven's
monk
He told his
mouth.
reformation was at hand, that
he did not expet to live to fee it himfelf, but that many
of thofe who
As may be fuppofed, the monks hated

him, and fpoke of him with contempt. They faid, that in his fermons he
"
took his texts, not from the Scriptures, but from the " Ship of Fools
of
heard him would live to
a good
fee
it.
Brandt; and, in fa6t, during the year 1498, Geiler preached at

Strafburg a feries of fermons on the follies of his time, which were
Sebaftian
evidently founded upon Brandt's book, for the various follies were taken
They were originally compiled in German, but one

fcholars,
Jacob Other, tranflated them into Latin, and
in the fame order.
of Geiler's
publifhed them, in 1501, under the title of

Fatuorum
Within
praeftantiffimi
Navicula
five Speculum
dottoris Johannis
Geiler."
few years this work went through feveral editions both in Latin
and in German,
preaching
facrarum literarum
"
is
fome of them illuftrated
The fiyle of
by woodcuts.
quaint and curious, full of fatirical wit, which
is
often coarle,
according to the manner of the time, fometimes very indelicate.

fermon
is
headed
by the
motto,
"
Stultorum
infinitus
eft
Each
numerus."
Geiler takes for his theme in each fermon one of the titles of Brandt's
"
Ship of Fools," and he feparates
them into fubdivifions, or branches,
which he calls the bells {nolas) from the fool's-cap.
i?i
Literature m:d Art.
223
The other Ibholar who did raoft to Ipread the knowledge of Brandt's
work, was Jodocus Badius, v ho allumed the additional name of Afcenfius
becaufe he was born at Alfen, near Brullels, in 1462.
He was a very dillinguilhed
fcholar, but
printing
eftablilhment
known
is beft
in Paris, where he died
ftated that Badius edited the

Sebaftian
for having eftablillied
celebrated
I have
in 1535.
Latin tranflation of the
already
" Ship of Fools" of
Brandt, with additional explanations of his own, but he was one
of the tirll of Brandt's imitators.

book was not
complete that
He leems to have thought that Brandt's
the weaker fex had not received its fair Ihare
of importance j and apparently in 1498, while Geiler was turning the

" Stultifera Navis " into fermons, Badius compiled a fort of fupplement to
it {aAditamentum)
Scaphae,
to which he gave the title
of"
Stultiferae
naviculae, feu
Fatuarum Mulierum," the Boats of Foolifh Women.
As far
can be traced, the firft edition appears to have been printed in 1502.
as
The
lirrt cut reprefents the Ihip carrying Eve alone of the female race, whofe
fully involved the whole world.
The book
is
divided into five chapters,
according to the number of the five fenfes, each fenfe reprefented by
of foolilh women to the great Ihip of

The text confifls of a diirertatioii
foolifh women, which lies oft' at anchor.

boat carrying its particular
clals
of the particular fenfe which forms the fubllance of

the chapter, and it ends with Latin verfes, which are given as the boatThe firft of thefe boats is {he fcapha Jtult<e
man's ccLufma, or boat fong.
on the ufe and abufe
ing to the Ihip of fools.

boat, carrying
with them their combs,
implements neceflary
fccond boat
the
of foolilh feeing proceedA party of gay ladies are taking polfL-lIion of the
vijinnis ad Jiultiferam navem pervcniens
is the
boat
looking-glafles,
and
all other
making them fair to be looked upon.
for
fcapha auditionis fatuoe, the boat of foolilh
hearing,
The third
which the ladies are playing upon mufical inftruments.
The
in
is the
ftiapha oljaciionis Jiulloe, the boat of foolifli fmell, and the pidorial illuftration to it
is
partly copied in our cut No. 136.
ladies are gathering fweet-fmelling
while on board
pedlar
is
her/ool's cap on her head,

now fay,
In
flowers before
vending his perfume.

is
buying
the original fome
they
enter the boat,
Oiw folic Jem me, with
pomander, or,
fcetit-ball, from the itinerant dealer.
of the
as
we lliould perhaps
Figures of pomanders
2 24
Grotefque
are extremely rare, and this is an interefting example;
in faft, it
is
only
recently that our Shakfpearian critics really underftood the meaning of the
word.
pomander was
fmall globular velTel, perforated with holes,
and filled with llrong perfumes,

No. 136.
it
as
is reprefented
The Boat
of Pleajant
in our woodcut.
The
Odours.
that of foolifli
tafting, fcaplia guJJationis fatuce,
and the ladies have their well-furnifhed
table on board the boat, and are
fourth of thefe boats
is
largely indulging in eating and drinking.
In
of thefe boats, the
the laft
fcapha contaBionis fatucs, or boat of foolifh feeling, the women have men on
board, and are proceeding to great liberties with them
damfels,
too,
is
picking
the
one
of the gentle
pocket of her male companion in
a very
unlady-like manner.
Two
ideas combined in this peculiar field
of fatiric literature, that of
of the fools, now became popular, and gave rife to a hofl:

There appeared fhips of health, fhips of penitence, ihips of
the Ihip and that
of imitators.
all forts of things, on the one hand
theme of fatire from many quarters.
and on the other, folly was
favourite
One of the moft remarkable of the
perfonages involved in this latter warfare, was the great fcholar Defiderius
Erafmus, of Rotterdam, who was born
of thefe fatirifts,
Erafmus
was
in that city in 1467,
ftrongly imbued with
the
Like moft
fpirit of the
Art.
in Literature and
Reformation, and he was the acquaintance

owed
the Reformation
"
great
to
In
of its fuccefs.
part
of thofe to whom
and friend
1497, when the
Brandt
was
in the firll full liulh of its
England,
and
was
Ship of FooLs" of SebalVian
popularity, Erafmus came
225
fo well
that
received,
from that time forward his literary life feemed more identified with our
His name
illand than with any other country.
is
ftill
fort
word in our univerfilies, efpecially in that of Cambridge.

the friendly acquaintance
of houfehold
He made here
of the great Sir Thomas More, himfelf
lover
of mirth, and one of thofe whofe names are celebrated for having kept a
In the earlier years of the fixteenth century, Erafmus vilited
court fool.
two or three years there.
Italy, and palfed

land,
in the year 1508.

It is not eafy to decide whether
of fociety in Italy had convinced him more than ever
as appears, early
his experience
of mankind, or what other feeling
that folly was the prefiding genius

influenced
him, but one of the firfl refults of his voyage was the
'Eynro/^tov
{MoricE Encomium), or
name,
" Praife of Folly,"
treatife to Sir Thomas More
this little jocular
although he protelb
that there was
Mw/amt;
Erafmus dedicated
of pun upon his
as a fort
great contraft between the
Erafmus takes much the fame view of folly
two chara6ters.
He returned thence to Eng-
Geiler, Badias, and the others, and under this name
he
as
Brandt,
writes
bold
The I'atire is placed

of contemporary fociety.
in the mouth of Folly herfelf (the Mere Folie of the jocular clubs), who
fatire on the whole frame
delivers from her pulpit a declamation in which fhe fets forth her qualities
and
praifes.
She
boafts
of the
greatnefs
kindred the fophifts, rhetoricians, and

and wife men, and defcribes
of her origin, claims
She claims divine
her birth and education.
it was exercifed.
her
many of the pretentious fcholars
affinity, and boafls of her influence ovei the world,

manner in which
as
All
the
of the beneficent
cind
world, fhe pretends, was
ruled under her auf'pices, and it was only in her prefence that mankind
was really happy.
Hence the happieft ages of man
are infancy, before
wifdom
to interfere, and
it
has come
Therefore,
wifdom
flje
fays,
if
men
would
altogether, they would
old age, when

remain faithful
pafs a life
to her, ami
of perpetual youth,
long difcourl'c of the influence of folly, written by

Q
has paffed away.
a man
of tlie
avoid
in this
known
226
fentiments of Erafmus, it would be ftrange if the Roraifli church, with

its monks and ignorant priefthood, its faints, and relics, and miracles, did
not find
a place.
Erafmus
become permanent, becaufe
intimates that the fuperftitious follies had

they were profitable.
There are fom.e, he

tells us, who cherilbed the foolifh yet pleafant perfuafion, that if they
fixed their eyes devoutly on a figure of St. Chrittopher, carved in wood
No. 137.
Super flition.
or painted on the wall, they would be fafe from death on that day
many other examples of equal credulity.
with
Then there are your pardons,
of purgatory, which may be bought off at fo much the

hour, or the day, or the month, and a multitude of other abfurdities.
your meafures
Ecclefiaftics, fcholars, mathematicians, philofophers, all come

fhare
of the refined fatire of this
has gone
through
innumerable
in for their
book, which, like the " Ship of Fools,"
editions, and has been
tranflated into
many languages.
In
an early French
tranflation, the text of this work
of Erafmus
embellifhed with fome of the woodcuts belonging to Brandt's
"
is
Ship of
in Literature and
Art.
227
Fools," which, it need hardly be remarked, are altogether inappropriate,

but the
"
Prail'e
of Folly
"
was detVined to receive illuftrations from a more
drawing illuftrative Iketches with

wards palVed into the library
that he amufed himfelf with
pen in the margins.
This book after-
of the Univerfity of Biile, where
it
Holbein took fo much intereft in

a
and
it,
dillinguillied pencil. A copy of the book came into the hands of Hans
Holbein it may poflibly have been prefented to him by the author
was found
in the latter part of the feventeenth century, and thefe drawings have
fince been engraved and added to moft of the fubfequent editions.
Many
very clofe conof thefe Iketches are very llight, and fome have not
nexion with the text of Erafmus, but they are all chara6leriftic, and fhow
fpirit the fpirit of the age in which
give
two examples
Holbein read his author.
of them, taken almofi:
haphazard, for
it
the
would
it
longer analyfis
138.
Preacher
Folly ending her Sermon.
bowing with trembling fuperftition before
painting of St. Chritlopher
croliing the water with the infant Chrift on his Ihoulder,

tain fecuri.y fur his fafety during that day.
reprefents
the preacher.
as
A'o.

of the book than can be given here to make

The firll oi thefe, our cut No. 137, reprefents
many of them underftood.
for defence.
fword long enough to trull to
the foolilli warrior, who has
require
more cer-
The other, our cut No. 138,
Lady Polly, dtfcending from her pulpit, after Ihe
bus concluded her ferniun.
228
CHAPTER
Grotefque
XIV.
LITERATURE AND ITS HEROES ; BROTHER RUSH, TYLL EULENSPIEGEL, THE WISE MEN OF GOTHAM.
STORIES AND JEST-BOOKS.
SKELTON, SCOGIN, TARLTON, PEELE.
POPULAR
people in the middle ages,
1"^HE
literature
and legend.
as
well
as
Legend was the
its fuperiors, had its comic
literature efpecially of the
pealant, and in it the fpirit of burleique and fatire manifelted itfelf in
with vulgar cunning, and the

circumftances arifing out of the exercife of thefe qualities, prelented the
inany
combined
Simplicity,
ways.
They produced their popular

heroes, who, at tirll, were much more than half legendary, fuch as the
greateft
ftimulants
familiar
fpirit, Robin Goodfellow,

tinual
amufement
to
mirth.
popular
than of terror to the
rather
lillened
to thofe who told them.
intereft
as
their fpiritual
whofe pranks were
of con-
a fource
fimple
minds
which
Thefe ftories excited with ftill greater
heroes became incarnate, and the auditors were
perfuaded that the perpetrators
of fo many artful ads of cunning and of
fo many mifchievous praiical jokes, were but ordinary men like themfelves.
It
to that
of pradical
comedy
was but
is
One of the earliefl of thefe flories of mythic
life.
transformed
humanity,
(ign or fymbol of the change from the mythic age

into,
or at leaft
that of Brother Rulh.
prefented under
Although
the
guile
the earliell verfion
of,
of this
llory with which we are acquainted dates only from the beginning of the
lixteenth century,* there
in exiftence at
* This
earliest
no reafon for doubt that the (lory
itfelf was
much more remote period.
known version
An English version,
'*'
is
is
in German verse, and was printed
in prose, was printed in 1620, and is reprinted
Collection of Early Prose Romances."
in
151 5.
in Thoms's
fpirit of darknefs,
229
whole
million
it
Rulh was, in truth,
i?7
Literature and Art.
was
to
wander on the eartli tempting and impeUing people to do evil.

Perceivthat
the
internal
condition
of
ing
certain abbey was well fuited to his
by
purpofe, he prefented himfelf at its gates in the difguife of

youth wlu)
wanted employment, and was received as an alliltant in the kitchen, but
the monks bell
he pleafed
with fair companions.
the
At length
Ikill with which
he furnillied
he quarrelled with the cook, and threw
him into the boiling caldron, and the monks, alVuming
that his death
Rulh to be cook in his place.

After
fervice
which appears to have been conlidered

years in the kitchen
was accidental, appointed

ot i^x^w
them all
by
fair apprenticelliip for the new honour which was to be conferred upon him
the abbot and convent rewarded him
monk. He now
making him
through his contrivance, to
difcovered.
hollow
this way until
in
tree.
woman, which led,
Brother
at
Rulh was efpecially adive.
lall his true charadter
was
of their feveral
and he had fele6ted this very oak as the place
of rendezvous.
to the abbot, who, being as
magician, conjured him into the form of
would appear
his confellion from his own lips, and told
it
I'here Brother Rulh appeared, and the farmer, in his hiding-place, heard
it
horfe, and
Rulh hurried away to England, where he laid afide his

equine form, and entered the body of the king's daughter, who fulKred
At length lonie of the great dottors
great torments from his poUeflion.
banilhcd him.
from Paris came and obliged the fpirit to confefs
that nobody but the
of the dillant monaftery had any power over him. The abbot
can)e, called him out of the maiden, and conjured him more forcibly
in
mere
gradually enlarged
wanted
by
Such
is,
than ever into the form
of
abb(jt

accidentally
happened to be the night appointed by Lucifer to
meet his agents on earth, and hear from them the report
proceedings,
He
neighbouring farmer, overtaken by night, took Ihelter in
It
on
about
fight, in which the monks all fuffered grievous
bodily injuries, and in which

went
quarrel
foul and body, and began by raifing
followed ftill more earneftly his defign for the ruin of his brethren, both
horfe.
outline,
the
the addition
hero who prefented more
ftory
of Brother
of new inciilents.
Rulh, whicli was

But the people
of the charadter of reality, who, in
230
fa6l, might be recognifed
as
one
and Grotefque
of themfelves
and fuch heroes appear
They ufually reprefented a clafs in fociety,

and efpecially that clafs which confifted of idle fharpers, who lived by
to have exifted at all times.
their wits, and which was more numerous and more familiarly known in
Folly and cunning combined
the middle ages than at the prefent day.
prefented
This clafs of adventurers firft
never-failing fubjed of mirth.
came into print in Germany, and it is there that we find its firft popular
hero, to whom they gave the name of Eulenfpiegel, which means literally
"the owl's mirror," and has been fince ufed in German in the fenfe of a
Tyll Eulenfpiegel, and his ftory, are fuppofed to have bemerry fool.
longed to the fourteenth century, though we firft know them in the printed
book of the commencement of the fixteenth, which is believed to have
come from the pen of the well-known popular writer, Thomas
Murner,
of whom I fhall have to fpeak more at length in another chapter. The

popularity of this work was very great, and it was quickly tranflated
into French, Englilh, Latin, and almoft every other language of Weftern
Europe.
appears
In the
Englilli
the name alfo
under the form of Owleglafs,
fnperfluous afpirate,
Howleglafs.*
fpiegel was the fon of
or,
as
According
was
tranflated, and
it often occurs with the

to the ftory,
peafant, and was born at
Tyll Eulen-
village called Kneit-
The ftory of his birth may be given in

the words of the early Englilh verfion, as a fpecimen of its quaint and
lingen, in the land of Brunfwick.

antiquated language
" Yn
" Here beginneht

* The title of this English translation
man that was called Howleglas, and of many marveylous thinges
merye
Jest of
the lande of Sa<;sen, in the vyllnsfe of Ruelnigje, there dwelleth a man

that was named Nicholas Howleojlas, that had a wife named Wypelce, that lay a
childbed in the same wyllage, and that chylde was borne to christening; and named
Tyell Howleglass. And than the chyld was brought into a taverne, where the
Whan the mydwife had wel
lather was wyth his gosseppes and made good chere.
is,

verfion
and jestes that
It was printed by
he dyd in his lyfe, in Eastlande, and in many other places."
An edition of Eulenspiegel in English, by
Coplande, supposed about 1520.
Mr. Kenneth Mackenzie, has recently been published by Messrs. Triibner &c Co-,
ot Paternoster
Row.
/;/
Literature and Art.
231
in
it
in
dronke, she toke the rhilde to here

home, and
the wai was
litle bridg over
And as the mydwife would have gone over the lytic brydojc, she fel
muddy water.
into the mudde with the chylde, for she had
lytel dronk to much wyne, for had
not heipe come quickly, the had both be drowned in the mudJe.
And whan the
came home with the childe, the made
kettle of warm water to be made redi, and
therin they washed the child clcn of the mudde.
And thus was Howie^las thre
one dai cristened, once at the churche, once in the mudde, and once in the
tymes
warm water."
It
will be feen that the Englifli tranflator was not very corrc6t in his
The child, having thus efcaped deftru(5tion,
geography or in his names.
as
well
as
At
the rilks to which thefe expofed him.
very early age, he dilplayed
remarkable talent for fetting the other children by the ears, and this
his favourite amufement
was
widow, contemplating
during life.
His mother, who was now
the extraordinary cunning
of her child, which,
beyond his age, in efcaping
cunning
a
other evil "propenlities,
grew rapidly, and dilplayed an extraordinary Icwe of mirchief, with various
as
to
baker
but his wicked and reftlefs difpofition defeated all the good intentions
that he Ihould no longer remain idle, and put him apprentice
(he thought, mull neceirarily enfure his advancement in the Morld, refolved
of
his mal-pradices.
One day his mother took him to
of
church-dedica-
tion, and the child drank fo much at the feaft on that occafion, that he
crept into an empty beehive and fell afleep, while his mother, thinking he
had
gone
home, returned without him.
In the night-time two
thieves
came into the garden to fteal the bees, and they agreed to take firft the hive
as
may be fuppofed, proved to be the hive in
was hidden, and they fixed
on
which Eulenfpiegel
This,
it
which was heaviell.
pole which they
carried on their flioulders, one before and one behind, the hive hanging
the
Eulenfpiegel, awakened by the movement, foon difcovered
pofition in which he was placed, and hit upon
between them.
plan for efcaping.
Gently lifting the lid of the hive, he put out his arm and plucked \\w
hair of the man bef(jre, who turned about and accufed his companion of
The other alferted that he had not touched him, and the
firft, only lialf fati^fied, continued to bear his fliare of the hurllien, but he
infulting him.
bad not advanced
many fteps when

his parent, and Eulenfpiegel was obliged to leave his mafter in confequence
ftill fluirptr
pull al his hair excited
232
anger, and from wrathful
his great
blows.
words
Grotefque
two thieves
the
proceeded
to
While they were tighting, Eulenfpiegel crept out of the hive and
ran away.
After leaving the
baker, Eulenfpiegel
world, gaining his living
became
and
by his trickery
wanderer in the
deception, and engaging
himfelf in all Ibrts of ftrange and ludicrous adventures.

He ended everywhere by creating difcord and ftrife.
He became at different times a
blackfmith,
a
Ihoemaker,
tailor,
cook,
drawer of teeth, and alTumed
variety of other charafters, but remained in each fituation only long
enough to make it too hot for him, and to be obliged to fecure his retreat.
He intruded himfelf into all claifes of fociety, and invariably came to

fimilar refults.
Many of his adventures, indeed, are lb droll that we can
But they are
eafily underftand the great popularit}' they once enjoyed.

not merely amuling
focietv, upon
they prefent
in which
focial condition
every pretender, every recklefs
or public depredator,
impoitor, every private plunderer

expofed
continuous fatire upon contemporary

faw the world
to him in its folly and credulity as an eafy prey.
The middle
ages
another clals of thefe
poffeffed
popular

hiftories, which were attached to places rather than to perfons.
few countries which did not poffefs

which were celebrated
town or
There were
diftrift, the inhabitants
of
for ftupidity, or for roguery, or for fome other
We have leen, in
former chapter,
of Norfolk enjoying this peculiarity, and, at
later period, the
ridiculous or contemptible
the people
fatirical
quality.
inhabitants of Pevenfey in Suffex, and more efpecially thofe of Gotham in

Nottinghamfhire,
were fimilarly diftinguifhed.
The inhabitants of many
places in Germany bore this chara6ter, but their grand reprefentatives
the Germans were the Schildburgers,

entirely to the domain of fable.
"
in Mifnopotamia,
name which
appears
among
to belong
Schildburg, we are told, was
beyond Utopia, in the kingdom of Calecut."
town
The
Schildburgers were originally fo renowned for their wifdom, that they were
continually
invited into foreign countries to give their advice,
length not
man
affume the charge

fo onerous^
was left at home, and
their wives
of the duties of their hulbands.
that the wives held
until at
were obliffed to
This became at lengfth
council, and refolved on defpatching
/;;
rolonin
Literature and Art.
233
This had the delired
meflase m writinsr to call the men home.
evi'.
leaving
u[)c)n
that, having
was decided
reputation of wifdom,
in future by alTuming the chara6ter
no
of fools.
they
One of the
refults of their long negled of home affairs was the want of
council-hall,
and
want they now refolved to fupply without
this
lirll
it
would avoid
of
inconvenience
the great
experienced
council, and
it
They accordingly held
nore.
they refolved
wives thar
a
by their
joyfully received
it
etied; all the Schildburgers returned to their own town, and were fo
delay.
They accordingly went to the hills and woods, cut down the timber,
a
it
with great labour to the town, and in due time completed the
But, when they entered
handfome and fubtlantial building.
erection of
their new council-hall, what was their confternation to find themfelves
dra^^têd
In fad, they
in perfect darknels
had forgotten
to make any windows.
Another council was held, and one who had been among the wilell in
the refult of
the days of their wifdom, gave his opinion very oracularly
which was that they ihould experiment
on every poHible expedient for
light into the hall, and that they Ihould tirll try that which
They had obferved that the light of day
Teemed moft likely to fucceed.
w hen the
funlhine, and the plan propofed was to meet at mid-day
fun was brighteft, and fill facks, hampers, jugs, and veflels of all
kinds, with funlhine
and
daylight,
which
they propofed afterwards to
Next day,
empty into the unfortunate council-hall.
crowd of Schildburgers before
one, you might fee
a
door, bufily employed, fome holding
as the
the
clock llruck
council-houfe
the facks open, and others throwing
which came to hand.
While they were thus labouring,
into the town of Schildburg,

fhem lhy were labouring
to no purpofe, and offered
It
about,
came
told
to Ihow them how
unnecelfary to lay more than that
tins new plan was to make an opening in the

the etfedt
(tranger
and, hearing what they were
to get the daylight into the iiall.

burf'ers witnefled
light into them with fhovels and any other appropriate implements
is
the
with aflonilhment,
njof, and that the vSchildand
were loud in llieir
gratitude to their new comer.

The Schildburgers met with further difficulties before they com])leted
field with fait, and when the f.dt-plaiit
They fuwed
their council-hall.
a

was caufed
by
introducing
2 34
grew up next year, after
and Grotefqiie
meeting of the council, at which it was ftiffly
difputed whether it ought to be reaped, or mowed, or gathered in in fome

other manner, it was finally difcovered that the crop confill:ed of nothing
After many accidents
but nettles.
noticed by the emperor, and obtain
of this kind, the Schildburgers are

charter of incorporation and freedom,
In trying fome experiments
but they profit httle by it.
they fet fire to their houfes, and the whole town
is
to catch
mice,
barnt to the ground,
upon which, in their forrow, they abandon it altogether, and become, like
the Jews of old, fcattered over the world, carrying their own folly into
every country they vifit.
The earlieft known edition of the hiftory of the Schildburgers was

printed in 1597,* but the ftory itfelf is no doubt older. It will be feen
at once that it involves
ages.
title of
a fatire
upon the municipal
fimilar feries of adventures,
only
little more clerical, bore the
" Der Pfarrherrn vom Kalenberg," or
and was firfl,
as
far
fixteenth century.
as
we know, publilbed
towns of the middle
the
Parfon of Kalenberg,
in the latter half of the
The firtl known edition, printed in 1382,
is in
profe.
Von der Hagen, who reprinted a fubfequent edition in verfe, in a volume

already quoted, feems to think that in its firfi: form the ftory belongs to
the fourteenth century.
The Schildburgers of Germany were reprefented in England by the

wife men ot Gotham.
Gotham
is a
village and parith about feven miles to
the fouth-weft of Nottingham, and, curioufly enough,

ing to which
the
ftory
is
told accord-
folly of the men of Gotham, like that of the Schild-
burgers, was at firft affumed.
It
is
pretended that one day king John, on
Nottingham, intended to pafs through the village of Gotham,

and that the Gothamites, under the influence of fome vague notion that
his way to
his prefence
would be injurious to them, raifed difficulties in his way
which prevented his vifit.
The men of Gotham were now apprehenfive
of the king's vengeance, and they refolved to try and evade it byalfuming
the charaiter of fimp'letons.
When the king's officers came to Gotham
*
It
by Von der Hagen, in a little volume entitled "Narrenbvirh

durch Friedrich Heinrich von der Hagen."
izmo., Halle, 1811.
was reprinted
herausgegcben
///
Literature and Art.
of the inhabitants, they found them engaged

in the moft extraordinary purfuits, fome of thcMii leeking to drown an eel
cuckoo which had fettled in
it,
round
tree to conline
hedge
pond of water, others making
in
to inquire into the conduct
liniilar
and others employing themfelves in
The commillioners reported the people of Gotham to be
futile purfuits.
no better than fools,
and by this ttratagem
they efcaped
any further
perfecution, but the charafter they alVumed remained attached to them.

;
is,
of courfe, very late and very apocryphal

but
This explanation
there can be little doubt that the charader of the wife men of Gotham
is
of thofe popular books called chap-books, becaufe
a6fs
the country
they were
The
itinerant bookfellers or chap-men.
of the Gothamites difplayed
hawked about
by
the form
It
is
believed to have been

of confiderable antiquity. The ftory
drawn up in its prefent form by Andrew Borde, an Englifh writer of the
was reprinted
great number of times under
rt-ign of Henry VIII.
one
greater degree of fimplicity even than
Here
one
of the Schildburgers, but they are lefs connefted.
anecdote told in the unadorned language of the chap-books, in explanaonly necclTary to (late that the men of Gotham admired
time the men of Gotham fain
and faid,
neither meat nor drink all the year.'
Sing here, and you fhall lack
The cuckow, when flie perceived
herfelf encompalfcd with the hedge, flew away.
vengeance
on her,'
'we did not make our hedge high enough.'"
another occafion, having caught
faid thefe wife men,
cuckow and put her into
and,
hedge made round in compafs, and

'
got
midft of the town, they had

it,
in the
a
large
t)n
eel which offended them by its
refulution that
criminal was ceremonioufly thrown into
it
in
ment, which ended
voracity, they affcmbled in council to deliberate on an appropriate punifhfhould
be
great pond.
drowned, and the

One day twelve
men of Gotham went a-filhing, and on their way home they fuddenly
that they had loft one
difcovered
turn, and could find only eleven.
of their number, and each counted in his

In fa6t, each forgot to count himfelf.
In the midft of their dillrefs for they believed their companion to be
dnjuned

would have pinn'd in the cuckow, that flie might fing all the year
" On
greatly tiie note of the cuckoo.
is
tion of which
it
is
thofe
ftranger
approached,
and
learnt the caufe of their forrow.
236
Grotefque
Finding they were not to be convinced of their miftake by mere argument,

he offered,
certain conditions, to tind the lofl Gothamite,
on
proceeded
as
ftruck him
follows.
he
He took one by one each of the twelve Gothamites,
hard blow on the fhoulder, whicli made him fcream, and at
When it came to twelve, they
cry counted one, two, three, &c.
each
and
were all fatisfied that the loft Gothamite had returned, and paid the man
for the fervice he had rendered them.
chap-book, this hiftory of the men of Gotham became fo popular,
that it gave rife to a hoft of other books of fimilar charafter, which were
As
compiled at
later period under fuch titles formerly well known to
as, "The Merry Frolicks, or the Comical Cheats of Swalpo ;"

"The Witty and Entertaining Exploits of George Buchanan, commonly
" Simple Simon's Misfortunes;" and the like.
called the King's Fool;"
children
Nor muft it
be forgotten that the hiftory
of Eulenfpiegel was the proto-
of popular hiftories of larger dimenfions, reprefented in our

own literature by "The Englilh Rogue," the work of Richard Head and
Francis Kirkman, in the reign of Charles H., and various other "rogues"
type
of
a clafs
belonging
to different countries, which appeared about that time, or not
The earlieft of thefe books was "The Spanifh Rogue,

or Life of Guzman de Alfarache," written in Spanifti by Mateo Aleman

long afterwards.
in the latter part of the fixteenth century.
Curioufly enough, fome

Engliftiman, not knowing apparently that the hiftory of Eulenfpiegel had
appeared in Englilh under the name of Owlglafs, took it into his head
to introduce
him
among
of rogues which had thus come
the family
into faftiion, and, in 1720, publifhed
as
"Made Englilh from
the
High
Dutch," what he called "The German Rogue, or the Life and Merry
Adventures, Cheats, Stratagems, and Contrivances of Tiel Eulefpiegle."
The fifteenth century was the period during which
generally were changing
into forms adapted
mediaevâl
to another ftate
forms
of fociety,
much of the popular literature which has been in vogue

during modern times took its rife. In the fourteenth century, the fabliaux
of the jongleurs were already taking what we may perhaps term a more
and
in which
literary form, and were reduced
into profe narratives.
This took place
efpecially in Italy, where thefe profe tales were called novelle, implying

fome
novelty in their character,
237
word which was transferred
into the
French language under the form of nouvellcs, and was the origin cf our
modern Englilh novel, applied to a work of lidion.
I'he Italian novelills
adopted
the Eallern plan
of ftringing thefe llories together on the llight
framework of one general plot, in which are introduced caufes for telling
them and perfons who tell them.
Thus the Decameron of Boccaccio
holds
towards
the
fabliaux
exadly the fame
"Arabian Nights" to the older Arabian

became
politit)n
tales.
as
that
The Italian
of the
novelilis
numerous and celebrated throughout Europe, from the time of
Boccaccio to that of Straparola, at the commencement of the lixteenth
The talle for this clafs of literature appears to have

been introduced into France at the court of Burgundy, where, under
century, and later.

duke
Philippe
le Bon, a
well-known courtier and man of letters named
Antoine de La Sale, who had,
during
fojourn
in
Italy, become
with one of the moll celebrated of the earlier Italian collections,

"
the
Cento Novello," or the Hundred Novels, compiled a coUedlion in
acquainted
of them, under the title of "Les Cent Nouvelles

Nouvelles," or the Hundred new Novels, one of the pureft examples of the
French in imitation

French language in the tifteenth century.*

fuch
as the
The later French flory-books,
Heptameron of the queen of Navarre, and others, belong chiefly
to the lixteenth century.
Ihefe collections of llories
can hardly be laid
of Englilh literature.
But there arofe partly out of thefe llories a clafs of books which
to have ever taken root in this ifland as
became
greatly multiplied,
With
part
and were, during
long period, extremely
of the old jougleur,

the ftories had been Ihorn of their detail, and lank into the lliape of mere
popular.
the houfehold fool, or jefler, inilead
witty anecdotes, and at the fame time
talle arofe for what we now clafs
under the general term of jells, clever layings, what the French call hms
niuts, and what the
Englifli of the
lixteenth
century termed " uuick
I am obliged to pass over this part of the

For the
subject very rapidly.
history of that remarkable book, the " Cent Nouvclle!- Nouvelles," I would relet
the nadcr to the prclaic to my own edition, *' Les Cent Nouvelles NcMivelies,
publi6<.^ d'apr'^slc seul manuoirit c<)nnu,avcc Introihiition ct Notes, par M. Thomas
Wrijjht." 2 vols, iimo., Paris, liî.
238
Grofefque
The word je/i itl'elf arofe from the circumllance that the things
defignated by it arofe out of the older ftories, for it is a mere corruption
of geftes, the Latin gefta, in the fenfe of narratives of a6ts or deeds, or
anlwers."
The Latin writers, who firfi: began to collel them into books,
included them under the general name of face tice.
The earlier of thefe
tales.
colleftions of facetiae were written in Latin, and of the origin of the firll
with which we are acquainted, that by the celebrated fcholar Poggio of

Florence, a curious anecdote is told.
Some wits of the court of pope
Martin v., elefted to the papacy in 141 7, among whom were the pope's tvvô
fecretaries, Poggio and Antonio Lufco, Cincio of Rome, and Ruzello of
Bologna, appropriated to themfelves
private corner in the Vatican, where
they affembled to chat freely among themfelves.

luggiale,
word which lignifies in Italian,
place
They called it their
of recreation, where they
tell ftories, make jefts, and amufe themfelves with difcuiiing fatirically the
doings and charaiters of everybody.
This was the way in which Poggio
and his friends entertained themfelves in their buggiale, and we are affured
that in their talk they neither fpared the church nor the pope himfelf or
his government.
The facetiae of Poggio, in fa6t, which are faid to be

felefition of the good things faid in thefe meetings, fhow neither reverence
for the church of Rome nor refpeft for decency, but they are moflly ftories
which
had been told over and over again, long before Poggio came into
the world.
ecclefiaftics
when
It
was
perhaps
this
fatlre upon the church and upon the
which gave much of their popularity to thefe facetiae at
time
univerfal agitation of men's minds on religious affairs prevailed,
which was the great harbinger of the Reformation ; and the next Latin
books of faceti* came from men fuch as Henry Bebelius, who were zealous
reformers themfelves.
Many of the jefts in thefe Latin colletVions are put into the mouths of
jefters, or domeftic iooh, fatui, or moriones, as they are called in the Latin ;
and in England, where thefe jeft-books in the vernacular tongue became
more popular perhaps than in any other country, many of them were
publilhed
Skelton,"
under the names of celebrated
" The Jefts of Scogin,"
George Peele."
jeflers,
as the
" Tarlton's Jefts,"
" Merie
and
Tales of
" The Jefts of
in Literature and
Art.
239
John Skelton, poet-laureat oi his time, appears to have been known in

the courts of Henry VII. and Henry VIII. quite as much in the charader
of a jeller as in that of a poet.
Poet-hmreat was then a title or degree
"
His " Merye Tales are all perfonal of
given in the univerlity of 0.\.ford.
himfelf, and we fhould be inclined to fay that his jelis and his poetry are
The former pidlure him
equally bad.
between Eulenfpiegel
and
the
ordinary court-fool.
lample of the bell of them the tale
" Skelton
" H'.''w
holding
as
No. I.
place
lomewhere
We may give
as a
Skelton came home late to Oxford from Ablngton.
was an Englyshcman borne as Skogyn was, and hee was educated and

And on a tyme
broui^htc up in Oxtoorde, and there was he made a poete lauriat.
he had ben at Abbington to make mery, when that he had eate sake meatcs, and
hcc did com late home to Oxtorde, and he did lye in an ine named the Tahere,
whyche is now the Angell, and hee dyd drynke, and went to bed. About midnight he was so thyrstie or drye that he was constrained to call to the tapster tor
drynke, and the tapster harde him not. Then hee cryed to hys oste and hys ostes,
Alacke, sayd Skelton,
and to the ostler, tor drinke, and no man would here hym.
I shall peryshe for lacke of drynke ! What reamedye ? At the last he dyd crie
out and sayd, Fyer, tyer, fyer ! When Skelton hard every man bustle hymselfe
upward, and some of them were naked, and some were halfe asleepe and amased,
and Skelton dyd crye, Fier, fier ! styll, that everye man knewe not whether t'
Skelton did go to bed, and the oste and ostis, and the tapster, with tht
resorte.
ostler, dyd runne toSkeltons chamber with candles lyghted in theyr handes, sayinsj
Where, where, where is the fyer ? Here, here, here, said Skelton, and poynted hy ,
fynjêr to hys mouth, saying. Fetch me some drynke to quenthe the fyer and the
And so they dyd."
hcaic and the drinesse in my mouthe.
Another of thefe "Merye Tales" of Skelton contains a fatire upon

the pra6tice which prevailed in the fixteenth and early part of the
feventcenth centuries of obtaining letters-patent of monopoly from the
crown, and alfo on the bibulous propenfities of Welfhmen
" lij-w
the Hêhhman dyd dcsyre Skelton to ayde hym
" Skelton, when
in hys sute to the kynge
for
a patent
tn sell drynke.
he was in London, went to the kynges courte, where there did

Welshman, saying, Syr, it is so, that manye douth come upp of my
roiiutry to the kynges court, and some doth get of the kyng by patent a casteil, and
some a parke, and some a forest, and some one fee and some another, and they dooe
lyvc lykc honest men j and I sluniide lyve as honestly as the best, if I mvght have
I dooe praye yow to write a fewe woords for
a patync for good drynt kc, wherefore
mcc in a lytic byll to gcvc the same to the kvngc> handes, and I wil gevc you well
come to hym
240
Grotcfque
I am contented, sayde Skelton. Syt downe then, sayde the Welshman, 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
and reade once agayne.
Skelton dyd reade, Dryncke, more dryncke, and a great deale
dryncke, and a lytic crome
oute
Ittle
the
And
myght have thys sygned
dooe lyve.
care tor no more, as lonsê as
have thys signed ot the kyng, then wyll
it
Well then, sayde Skelton, when you

labour for
patent to have bread, that you wyth your drynke and
may fare well, and seeke our livinge with bagge and statFe."
the kynge, sayde the Welshman,
Put
the Welshman sayde,
of
Than
dryncke and no hreade.
in, all
breade, and sette
crome
of
dryncke to it.
of
hreade, and a great deale
of
oj
it,
for your laboure.
with the bread
Thefe two tales are rather favourable fpecimens of the coUeftion

publilhed under the name of Skekon, which, as far as we know, was firft
jefts of Scogari, or,
have
been
The coUeftion of the
he was popularly called, Scogin, which
as
is
printed about the middle of the fixteenth century.
faid to
compiled by Andrew Borde, was probably given to the world
pofition not much different from that of an ordinary
time in Oxford, of
"
learned gentleman and ftudent for
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 leadlife of low and coarfe buffoonery, in the courfe of which he difplayed
ing
confiderable fliare of the diihoneft and mifchievous qualities of the
He
real Eulenfpiegel.
and queen,
is
lefs
even reprefented as perfonally infulting the king
and as being confequently baniilied over the Channel, to fhow
of the king of France. Scogin's jefts, like

great meafure of thofe pra6tical jokes which appear
in all former
ages to have been the
of them are direfted

Scogin
defcribed
as
ag,"nft
being
delight ot the Teutonic race.
the ignorance
at one
and worldlinefs
time himfelf
Skelton's, confift in
no more refpeft to the majefty
is

.little too gently, that he was
Good old Holinflied the chronicler fays of him, perhaps
court-fool.
VII.
court of Henry
is
few years before, but no copies of the earlier editions are now known
to exill,
defcribed as occupying at the
Scogan, the hero of thefe jefts,
Many
of the clergy.
teacher in the univerlity.
Art.
in Literature and
and on one occalion, we are told, a hulbandnian
him that he might be made

leveral chapters,
is an
caricature on the way in which
vulgarly ignorant were intruded into

mation.
"How
"After this,
the scholhr
is
said Tom
reported
M'tlUr of
men
priefthood before the Refor-
the
At length, after much blundering,
ordained, and his examination
lent his Ion to Ichool to
The whole llory, which runs through
priell.
excellent
241
as
the
fcholar came
to
be
follows :
Otency
loas
"J acob" i father .
the said scholler did come to the next orders, and brought a prefather paid for all. Then .said
sent to the ordinary from Scogin, but the schoUer's
I must needes oppose you, and for master Scogin's sake,

Isaac had two sons, Esau and Jacob.
Who
oppose you in a light matter.
Well, said the
was Jacob's father ? The scholler stood still, and could not tell.
ordinary, I cannot admit you to be priest untill the next orders, and then liiing me
the ordinary to the scholler,
I will
an answer.
The scholler
went
with
home
master Scogin, how his scholler could not answer
heavy heart, bearing a letter to

to this question : I>-aac had two
who was Jacob's father ? Scogin said to his scholler. Thou

Yes, said the
Dost thou not know Tom Miller of Oseney
Then, said Scogin, thou knowest he had two sonnes, Tom and Jacke
scholler
who
The scholler said, Tom Miller. Why, said Scogin, thou
Jacke's father
Then said Scogin, Thou shalt
mightest have said that Isaac was Jacob's father.
trust he will
arise betime in the morning, and carry
lette'' to the ordinary, and
admit thee before the orders shall.be given. The scholler rose up betime in the
The ordinary said, For Master
morning, and carried the letter to the ordinary.
will oppose you no farther than did yesterday. Isaac had two sons,
Scogin'ssake
who was Jacob's father
Esau and Jacob
can tell
Marry, said the scholler,
Goe,
foole,
you now that was Tom Miller of Oseney.
goe, said the ordinary, and
let thy master send thee no more to me for orders, for
impossible to make a
foole
wise man."
.''
it
is
Scogin's fcholar was, however, made
prieft, and lome of the florics
which follow defcribe the ludicrous manner in whicii he exercifed

priefthood.
Two other (lories illuftrate
Scogin's
fuppoled
pofition
the
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
boonjour, so every man did mocke Si ogin.
some said the
Some said he was
proper man, and did wear his raymcnt cleanly
some said one thing, and some said
foole could not put on his owne rayment
another. At last Scogin laid. Masters, you have praistil nie wtl, but you did not
It

.'
is
sons, Esau and Jacob

foole and asse-head !
of Caricature and Grotefqiit
Hiftory
242
espy one thing in me. What is that, Tom ? said the men. Marry, said Scogin,
have
a wail-eye.
What meanest thou by that ? said the men. Marry, said Scogin,
have spyed
sort of knaves that doe mocke me, and are worse fooles themselves."
" Hcnv
" After
Scogin dreiv his sonne up and doiune the court.
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,
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."
and within
The appreciation of
joke cannot at this time have been very
a good
or very general, for Scogin's jefts were wonderfully
great
popular during
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
at leail a century, from the firfl
of a collettion of
may be fairly confidered

belong to the fame clafs

prefent
well-known wit, Richard Tarlton^ who

court fool to Queen Elizabeth.
His jefts
his jefls, was the
as
as
thofe of Skelton and Scogin, and
if poffible,
they
Tarlton's jefts were foon followed

ftill greater amount of dulnefs.
"
of George Peele, the dramatift, who is
conceited jefts
" merrie
by the
"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."
defcribed in the title as
In faftj Peele's jefts

us
are chiefly curious for the ftriking pifture they give
of the wilder fliades of town life under the reigns of Elizabeth and
I.
James
During the period which witneffed the publication in England of

thefe
an
become
them
were
pilations
was
many other jeft-books
books,
at
publiflied
from
all
clafs
important
the
good,
of
Engliih
anonymoufly,
older colIe6tions
even
Peele, had been repeated
in
the
over
for
appeared,
and
in
popular
indeed
they
jefls of Skelton,
are
already
Moft of
literature.
mere
com-
All
that
Scogin, Tarlton,
and
Latin and
and over again
they had
French.
by the ftory-tellers and
//; Literature and

Two of
of former ages.
jellers
gained
than
greater celebrity
circumllances.
One
of thefe,
has gained diftin6lion
the
the
Art.
earlier
reft,
243
Englilh colledions
chiefly
have
adventitious
through
entitled " A Hundred Merry Tales,'
among Shakespearian critics
as the one
efpecially
alluded to by the great poet in " Much Ado about Nothing," (Act ii.,
i),
Sc.
where Beatrice complains that Ibmebody had faid
my good wit out of the Hundred Merry Tales."

alluded
to
was
"
that
had
The other colle6lion
entitled " Mery Tales, Wittie Queftions,
and Quicke
Its
Anfweres, very pleafant to be rendde," and was printed in 1567.
modern fame appears to have arifen chiefly from the circumftance that,
until the accidental difcovery of the unique and imperfeft
" Hundred Merry Tales," it

Shakefpeare.
Both thefe
copy
of the
was fuppofed to be the book alluded to by
colledions
are mere
compilations
" Cent Nouvelles Nouvelles," Poggio," " Straparola,"
from the
and other foreign
The words put into the mouth of Beatrice are corredly defcripIt had become fafhionable to
live of the ufe made of thefe jeft-books.
works.*
learn
out of them jefts and ftories,
polite converfation, and efpecially at table

a very
recent period.
them into
and this pradice continued to
The number of fuch jeft-books pub-
lillied during the fixteenth, feventeeth, and eighteenth centuries, was

Many of thefe were given anonymouflyj but many
(juite extraordinary.
alfo were put forth under names which poflelfed temporary celebrity, fuch
Hobfon the carrier, Killigrew the jefter, the friend of Charles II., Ben
It
Jonfon, Garrick, and a multitude of others.
perhaps, unneceflliry
to remind the reader that the great modern reprefentative of this clafs of
literature
is
is,
as
the illuftrious
Joe Miller.
fjuljii iied
two volumes,
by
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
in

prevail until
order to introduce
in
Mr.
VV.
C- Hazlitt.
Hijlory of Carle at we and Grot efque
244
CHAPTER XV.
THE
THE REFORMATION. THOMAS MURNER ; HIS GENERAL

THE TRAP FOR
FRUITFULNESS OF FOLLY. HANS SACHS.
ON
LUTHER.
THE
POPE
AS
THE
ATTACKS
ANTICHRIST.
JOOLS.
POPE-ASS AND THE MONK-CALF.
OTHER CARICATURES AGAINST THE
POPE.
THE GOOD AND BAD SHEPHERDS.
AGE
SATIRES.
THE
the
OF
reign of Folly did not pafs away with the fifteenth century on
whole the fixteenth century can hardly be faid to have been
more fane than its predeceffor, but it was agitated by
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,
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

and are approaching the great religious reformation.
pamphlets, and
confiderable number of clever and fpirited fatirifts and
comic writers appeared towards the end of the fifteenth century, efpecially
in Germany, where circumftances of
political charafter had
period given to the intelle5tual agitation
at an
early
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
in
Strafburg,
1^75-
The circumftances even
fingular, for he was born
of his
childhood
are
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 afterwards
treatife
Contra6tu."
upon
this fubjetl
under
the
title of
" De Phitonico
The fchool in which he was taught may at leait have
encouraged his fatirical fpirit, for his mafter was Jacob Locher, the fame
" Ship of Fools " of Sebaftian Brandt.
who tranflated into Latin verfe the
Art.
in Literature a fid
At the end of the century Murner had become
245
a mafter
of arts in the
His reputathat the emperor Maxi-
Univerlity of Paris, and had entered the Francilban order.

tion
as a
miUan
German popular poet was fo great,
I., \vho died in
of poetry, or,
He took the degree of do6tor
1519, conferred upon him the crown
in other words, made him poet-laureat.
Still Murner was known beft as the popular writer,

in theology in 1509.
.md he publilhed feveral fatirical poems, which were remarkable for the
bold woodcuts that illullrated
this
period.
them, for engraving on wood flourilhed at
He expofed the corruptions of all claffes of fociety, and,

broke out, he did not even Ipare the corruptions
oefore the Reformation
of the ecclelialtical Hate, but loon declared himfelf

When the Lutheran
the Reformers.
ftrong, our king, Henry
VHI.,
a fierce
opponent of
revolt againrt the Papacy became
who took
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
kiinig von
der
Murner appears to
cin Liigner fey oder Martinus Luther,"
liave divided the people of his age into rogues and fools, or perhaps he
or
His " Narrenbefchwerung,"
conlidered the two titles as identical.
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
editions during fubfequent years; and that which I have before

like Brandts "Ship of
It
me was printed at Stralburg in 1518.
Fools,"
general fatire againft fociety, in which the clergy are not
is,
feviral
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,
hulbandintroduced in the garb of
(opied in the cut No. 139, Folly
(juick and flourilhing
mllantaneoully, Uke
oi which
refult
is
his feed over the earth, the
very
crop, the fool's heads rifnig above ground, almoll

In
fubfc(iutnt engraving, reprcmany turnips.
a
man, Icallering
is
fparcd, for the writer had not yet come in face
fo

En>'llant
246
Grotefque
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
Tented in our cut
upon it.
The fame year (15 12) witnefled the appearance of another poetical,
" Schelmenzunft," or the
or at leaft metrical, fatire by Murner, entitled

Confraternity of Rogues, fimilarly illuftrated with very fpirited engravings
No. 139.
on wood.
It
is
Solving a
Fruitful
another demonftration of the prevailing
folly under its worft forms, and the fatire

preceding.
Crop.
is
dominion
of
equally general with the
Murner's fatire appears to have been felt not only generally,
but perfonally; and we are told that he was often threatened with aflaflinumber of literary opponents, who treated him
nation, and he raifed up
with no little rudeneis
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
man who reprefented in its flrongefl
t?i
in
features, though
the middle ages.
Literature and Art.
rather debafed form, ihc old fpoutaueous poetry of
His name was Hans Sachs,
under which he was known,

Loutrdorrt'er.
247
for
his
real
lealt that was the name
at
name
is faid
to
have
been
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
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.
fincîng
140.
-An Acceptable
Offering.
the verfes he compofed upon every occafion which prefented itfelf.
In I J 19,
he married and
fettled
in Nuremberg,
were then given to the public through the prefs.
and
his
compofitions
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
empire of Folly, and one of his broadfides is illullrated with

dehgn, the greater part of which is copied in our cut No. J41.
of
ladies
have
fct
bird-trap to .-atch the fools of
t};e
the
graceful
A party
age, who arc
248
waiting to be caught.
One fool
is
Grotefque
taken in the trap, while another is
already fecured and pinioned, and others are rufhing into the fnare.
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.
the time, Henricus
Bebelius, born in the latter half of the
century,
in
and rather well known
15 15, a
Another
poet-laureat
of
fifteenth
in the literature of his time, publifhed,
fatirical poem in Latin, under the title of "Triumphus Veneris,"
fort of expofition of the generally licentious charafter of the

It is diftributed into fix bocks, in the third of
age in which he lived.
which was
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.
of
Bebelius had been preceded by another writer on this part
the fubjedl, and we might fay by many, for the incontinence
of monks
in Literature and
Art.
249
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
and nuns, and indeed
1500,
fatirlcal
Sacerdotes."
It
tra6t, under the
title of
" De Fide Concubinarum
was a bitter attack on the licentioufneli
and was rendered more etfe6live by the engravings

We give one of thefe
as a
which accompanied
a nofegay,
which
it.
the
Courtfh'tp.
who comes within the range of the lady's attractions,
he may be a fcholar, has none

prefents
clerorj%
curious pifture of contemporary manners
No. 142.
individual
of the
in
of the chara6teriftics
of
we may fuppofe to reprefcnt
though
prieft.
She
the influence
perfume upon the fenfesj but the love of the ladies for pet animals
efjK'cially typified in the monkey, attached by
chain.
of
is
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
and Grotefque
to Ihine forth in the writings of fome of its greateft ornaments.
dufty, becaufe little ufed, records of national archives

no doubt bring to
and libraries would

cature upon the
"
heretics
light more than one Angular cari-
of the middle ages, and my attention has

been
called to one which
of peculiar interell.
the imperial
There
Paris, among records
relating
for
copy
IV.
Innocent
the
country of the Albigeois

pope
proceedings
among
of France,
archives
teenth century,
poffefled
is
is,
refearch among the
"
Some
in
the
to
in the thir-
of the bull of
giving
dire6lions
againft
diffenters
from Romanifm, on the back of which

for thefe
arch-heretics of the fouth,

flake over the fire which
an
as
open
the church of Rome.
woman
is
bound to
caricature of
has drawn
a woman for the vi6Vim was perhaps
opponent of
The choice of
intended to fliow that the profe-
burning infliiled on
period, the earlieft known
It
by
was confidered as having fome relation to witchcraft.
is,
lytifm of herefy was efpecially fuccefsful among the weaker fex, or that
it

as
to burn her
Burning a Heretic
No. 143.
mark of his contempt
the fcribe,
long
pictorial reprefentation of the punilliraent
of
heretic.
The fhafts of fatire were early employed againfl Luther and his new
principles, and men like Murner, already mentioned, Emfer, Cochlaeus,
and
others,
already
themfelves by their zeal in the papal caufe.
flated, Murner diftinguiftied
himfelf
as
the literary ally
As
of our
VIII.
The talle for fatirical writings had then become fo

that Murner complains in one of his satires that the printers
Aing Henry
general,
fignalifed
would print nothing but abufive or fatirical works, and neglefted his more
ferious writings.
Dajindt die trucker fchuld daran,
Die trucken ah die Gauchcreicn,
XJii'i lijêti mein ernfi^''<:he biicher Icihcn.
in Literature and
Art.
251
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
entitled, " Of
of place
or date,
the great Lutheran
is
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
with the head of

appears as
Francifcan
a cat,
while
friar,
Luther
fat and jolly monk, wear-
fool's cap, and figuring in various

ridiculous circumftances. In one of the
ing
firft
drawing
a rope
compels
him
so
to
Francifcan
is
No. 144.
Folly in Monaftk Habit.
tight round the great Lutheran fool's neck, that he

difgorge
multitude
of fmaller fools.
In another
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
the

woodcuts, the cat
great
fatirical reprefentations.
In
few other caricatures of this period which have been preferved,
the apoftle
of the Reforniation
is
attacked fiill more I'avagely.
here given (Fig. 14';), taken from

prefents
Ihe
devil
Thtt one
contemporary engraving on wood,
rather fantaftic figure of the demon playing on the bagpipes.
inftrument
is
formed of Luther's head, the pipe througi) which the
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
humour, and
a mals
Grotefque
of the talent of that age was ranged on his fide, both
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
literary and artillic.
not
dire6tly identified
be
chance
of becoming his parent.
appeared

with Antichrifl:,
to
be
much
he
had, at
fair
But the reformers had refolved, on what
more conclufive evidence,
No. 145.
leaft,
The
Mufic of
that Antichrifl:
wa*
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.
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
"The
in the year 1521 under the title of
(Pafflonal Chrifti unci Andeach page of which is nearly filled by a
Paffionale of Chrill and Antichrifl:"
It is a fmall quarto,
chrifti).
woodcut, having a few lines of explanation in German below.
The cut
in Literature and
Art.
253
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
to the left reprel'ents ibme incident in the lite
ot"
earthly dignities and power, while on the adjoining page we

with his cardinals and

cannon,
and
his
bilhops, lupported
fortifications,
A's.
prince.
146.
by his holts
in his temporal
'L'h.c Dcjcent
of the
fee the pope,
of warriors, his
dominion
over
lecular
Pope.
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
On another
all his worldly glory, exacting the worfliip ot his courtiers.
we have Chrift walhing the feet of His difciples, and in contrail the pope
And lb on, through a numlier ol
compelling the emperor to kifs his toe.
curious illuflratioas, until at laft wc come to Chrilt's afcenlion into heaven.
254
in contrail
with which
Grotefque
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
This laft pidure

it in the cut No. 146.
him.
is
drawn with lb much fpirit, that
have copied
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
were
as
phyfical
deformities, but
objeftsof fuperliition, for they were believed

to be fent into the world as warninsrs
of
O
great
revolutions
the age
reports
and calamities.
preceding
During
Reformation,
the
of the births or difcoveries
the
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
celebrated
very
time of the Reformation,
in the
the Pope-afs and
Monk-calf, and were publifhed and republifhed with an explanation under the

the
names
of Luther and Melan6thon,
which
of the Papacy and

of the abules of the Romifh church, and, of
made them emblematical
No. 147.
the
courfe, prognoftications
The Pope-afs.
expofure and fall.
Pope-afs was found dead in the river Tiber,
1496.
It
is
It
at
of their approaching
was
pretended that
Rome, in the year
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
in Literature and
Art.
^S^^
The left hand was that of
people's confciences.
man, fignitying
the
worldly power of the pope, which grafped at univerfal empire over kings
The right foot was that of an ox, lignifying the fpiritual

minilters of the papacy, the do6lors of the church, the preachers, con-
and princes.
feflbrs, and fcholaftic
theologians, and efpecially the monks and nuns,
ihofe who aided and fupported the pope in opprefling

and fouls.
The left foot was that of
people's
bodies
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
The breall and belly of
returned them.
this monfter were thofe of
woman, and
fignihed the papal body, the cardinals, bifhops, priefts, monks, &c., who fpent their
in eating, drinking, and incontinence 5
and this part of the body was naked, becaufe
the popilh clergy were not alhamed to ex-
lives
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

The old man's
alliance with the papacy.
head
behind the
papacy had become
monflcr,
meant that the
old, and was approaching
No. 148.
its end
The
Monk-Calf.
and the head
of
of the
dragon, vomiting flames, which ferved for a tail, was fignificative
writings,
"reat threats, the venomous horrible bulls and bbfphemous
which the pontitTand his minifters, enraged at feeing their end approach,
Thele
were launching into the world againft all who oppofed them.
the Scriptiires, and
explanations were fupported by apt quotations from
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.
in a fimilar pofition in fonic parts of
1 believe it is ftill to be met with
It was confidered at the time to be a mallerly piece of fatire.
Germany.
'fhe picture of the Monk-calf, which is n-prcfented in our cut No. 14H,
2^6
Grotefque
was publillied at the fame time, and ufually accompanies

is faid to have
been born at Freyburg, in
Mifnia, and
it.
is
This monger
fimply
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.
a
movable leaf, which covers the upper part of the pifture j when it is
down, we have

One has
reprefentation of the pope in his ceremonial robes, and
l>Jo. 149.
over it the infcription
The Head
of the
Papacy.
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
Above it are infcribed the words

Attached to it
of that pope's
EGO
S\'M
Art.
257
I'Al'A,
;im tlio Pope."
of explaii-ition in Gi.'rman, in which the legend
is a page
death is given,
legend that his wicked life appeared fiifficicnt
dillrulling the fuccefs of his intrigues to fecure

the papacy for himfelf, he applied himfelf to the llndy of the black art.
He then alked the tempter if it were
and fold himfelf to the Evil One.
It
to fanttion.
was faid that,
an anhver
his deftiny to be pope, and received
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
It is well
fifteen years, whereas he died at the end of eleven.
known that Pope Alexander VI. died fuddenly and unexpeftedly through
pope
accidentally drinking
the poifoned wine he had prepared
with his own
hand for the murder of another man.
An Italian theatine wrote

he
made
poem againft the Reformation,
Luther the offspring of Megoera,
reprefented
as
one
in which
of the furies, who
is
having been fent from
hell into Germany to be delivered of

him.
This farcafm was
back
thrown
by the Lutheran caricaturiffs. One

plates in the
volume
above-mentioned
rcprefents the
" birth
pope" {ortus
et
and origin
of the
making
papa),
origo
of the
In
the pope identical with Antichrift.
different groups, in this rather elaborate
is
reprefented
as
tended by the three furies, Megaera
ing
as his
wet-nurfe, Alefto
capacity, &c.
as
atNo
ad-
(Iclign, the child
nurfery-maid, and
The name of Martin Luther
Tke Pope's Nurfe.
50
Trli phone
is added
in another
to this caricature
Hie luird gcborn der fViderchrifl.

Megera Jein Seugamme
yiUBo
Jein Keinderir.eidUn,
Tifiphone die gfgclt in. M. Lutli., li. l.'il'i.
On-:
of ti)c
groups
in
tliis
plate,
repre%::ting
the
lurv
Megrt-ra,
ijl

upon the pope with much greater effect
258
becoming fofter-mother,
fuckling
Grotefque
the pope-infant,
is
given in our cut,
No. I jo.
In another of
the pope
thefe
caricatures
reprefented trampling
is
on
the emperor, to fliow the manner in

which
over
he
ufurped
and
tyrannifed
the temporal power.
illuftrates
the Pope
" the
"
kingdom of Satan and
(regnum Satance
and the latter
Another
is
et
reprefented
fidins:O over hell-mouth
Papce),
as
pre-
in all his ftate.
One, given in our cut No. [51, reprefents the pope under the form
afs
playing on the bagpipes,
entitled Papa doFtor theologies
of an
and
et
is
ma-
Four lines of German
gjjter Jidei.
verfe beneath the engraving ftate how

No. 151.
"the
The Pope gi-vlng the Tune.
alone can pipe and touch
pope
can alone expound Scrip-
ture and purge error, juft
as the
afs
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
fidered
as
of princes.
fo many proclamations
Thefe caricatures
may perhaps be con-
of fatisfaftion and exultation in the final
triumph of the great reformer.

Books, pamphlets, and prints of this kind were multiplied to an extraordinary degree during the age of the Reformation, but the majority of
them were in the intereft of the new movement.
Luther's opponent,
number of people who gained their
Eckius, complained of the
^nfinite
Literature and Art.
i?i
living
over all parts of Germany,
by wandering
books *
Among thofe who adminillered
polemic books was the poet
259
and
felling Lutheran
of
of farces, comedies, and ballads, Hans Sachs,
largely to this circulation
Hans Sachs had in one poem, publilhed
already mentioned.
of"
celebrated Luther under the title
in \'\'\^,
the ^^'ittemberg: Nightinoâle :"
Die Wittembergijch'' Nachtigally

Die manjetzt horet uberall i
of his fong over all the other animals ; and he

publifhed, alfo in verfe, what he called a Monument, or Lament, on his
<lo3th (" Ein Denkmal oder Klagred" ob der Leiche Doktors Martin
and defcribed the
eft'e6ls
Among the numerous broadfides publilhed by Hans Sachs,

one contains the very clever caricature of which we give a copy in our
Luther").
It
cut No. 152.
entitled
is
"Der
Hirt und
gut
Hirt,"
biifs
the good
lliepherd and bad ihepherd, and has for its text the opening verfes of the
tenth chapter of the gcffpel of St. John.
are,
The good and bad fliepherds

The church is here
may be fuppofed, Chrift and the pope.
as
pictured
llru6lure
as a
not very (lately building
of timber.
the entrance, efpecially, is a plain
Jefus laid to the Phanfees,
"He
that entereth not
by the door into the Iheepfold, but climbeth up fome other way, the fame
is a
thief and
robber.
(liepherd of the flock."
But he that entereth in by the door
In
the
engraving, the
as
pope,
the
Ihepherd, fits on the roof of the ftateliell part of the building,

out
to
the
flock the wrong way, and
Chriftian
Under him two men of worldly diftiii6tion

the church through
to
the
people
the
window; and on
way
arms to invite people
up.
entrance
"
is
hireling
pointing
roof below
a
their way into

friar
is
pcjiuting
monk holds out his
in fpe6tacles, no doubt emblematical
looking out from an
door to watch the proceedings
c^penlng over the
of the G(Jod Shephenl.
''''^
(he
Infinitns jam crat numcrus qui victum ex Luthcranis liliris quacritantfs, in

longc latequc per Germaniac provincias vaKabantur."
spc(iii bibliopolarum
Elk.,
uwc
the
blefling the climbers.
are making
At another window
up; and
of the doctors of the church,
is
p. 58.
26o
Grotefque

right, on the papal fide of the church, the lords and great men are
bringing the people under their influence, till they are (topped by the
cardinals
and bifliops, who prevent them from going forward
and point out very energetically the way up the roof
At
to the door
the door ftands.
Art,
in Literature and
the Saviour,
261
Ihephcrd, who has knocked, and the porter has
as the good
opened it with his key.
Chrilt's true teachers, the evangeHfts, fhow the
way to the fohtary man
of worth who comes by this road, and who Hfiens
with calm attention to the gofpel teachers, while he opens his purfe to
beftow his charity on the poor man by the road fide.
In the orijîuat
engraving, in the dirtance on the left, the Good Shepherd
by his flock, who are obedient to his voice
is feen
followed
on the right, the bad fliep-
herd, who has oftentatioufly drawn up his flieep round the image of the
is
crols.
wolf.
abandoning them, and taking to flight on the approach of the
" He that entcreth in
To him
the porter openeth
by tiie door is the fliepherd
of the fheep.
and the flicep hear his voice, and he calleth
tiis own flieep by name, and leadcth ihem out.
And when he putteth forth his own flieep he

goeth before them, and the flieep follow him,
for they know his voice.
But he that
is an
hireling, and not the fliepherd, whofe own the

not,
are
Iheep
leaveth
the

(John
X.
the
wolf coming,
and fleeth
flieep,
them,
catcheth
feeth
and
and
fcattereth
the
the
4, 12.)
The triumph of Luther
and
wolf
flieep."
fubjeft of
is the
rather large and elaborate caricature, which

an
.!S
engraving of great
in
gi\en
Leo X.
rarity, bm
Jaime's " Muli'e
de
copy
is
of it
Caricature.
is
reprefented feated on his throne upon
the edge
of the abyfs, into which his cardinals
zxe.
tr)ing to prevent his falling;
efforts
are
of Luther
rendered
vain
by the
but
"
their A'c
153.
appearance
on the other fide fiipported
by his principal
Murmr and Lutier"'

""^^
adherrûts,
an*:
weapon, and the pope is overthrown, in Ipite of

the fujiport he receives from a vaft hofl of popifli clergy, doctors, &c.
The popifti writers againft Luther charged him witii vices for whicli
wielding the Bible
as his
there was probably no foundation, and invented the iiioft liandaloiis flonrs
They accufed him, among other things, of drunkenneLs and
againft him.
mjtory of Caricature and
262
licentioufnefs
and there
tions to Murner's book,

was pubhlhed
in
1522
be fome aUufion to
may, perhaps,
charge in our cat No. 153, which
is
Grotefque
the
latter
taken from one of the comic illuftra-
"Von dem groffen Lutherifchen Narren," which

; but, at all events, it will ferve as a fpecimen of
thefe illuflrations, and of Murner's fancy of reprefenting himfelf with the

head
of
a cat.
In 1525, Luther married
nun who had turned Proteftant
and quitted her convent, named Catherine de Bora, and this became the
in abufive
fignal to his opponents for indulging

caricatures,
pages.
fongs,
and fatires,
and
moft of them too coarfe and indelicate to be defcribed in thefe
In many of
the
caricatures made on this occafion, which are
ufually woodcut illuflrations to books written againft the reformer, Luther

dancing with Catherine de Bora, or fitting at table with
is reprefented
glafs in his hand.
illuflrations
to
An engraving of
kind, which forms one of the
work by Dr. Konrad "VVimpina,
violent opponents, reprefents Luther's

to the left, Luther,
compartments;
this
fented in the charafter

de Bora, and above
of
marriage.
whom
the
one
of the reformer's
It
divided into three
is
Catholics always repre-
monk, gives the marriage ring to Catherine
them, in
Fovete ; on the right appears
sort
of aureole,
the nuptial bed,
is
infcribed the word
with the curtains drawn,

and the infcription Reddite ; and in the middle the monk and nun are
dancing joyoufly together,
and over their heads we read the words

Dijcedat ah arh
Cui tul'it heflerna gaiid'm noEle Venus.
Luther was heroically lighting the great fight of reform in

Germany, the foundation of religious reform was laid in France by John
Calvin, a man equally fincere and zealous in the caufe, but of a totally
While
diflterent
temper, and he efpoufed do6lrines and forms of church govern-
ment which
Lutheran would not admit.
great effedt by the French
Calvinills
Literary fatire was ufed with
againll tlieir popilh opponents, but
of any kind ; at
Jaime, in
leaft, very few belonging to the earlier period of their hiflory.
"
his
Mufee de Caricature," has given a copy of a very rare plate, repre-
they have left
us
few caricatures or burk-ique engravings
fenting the pope flruggling with Luther and Calvin,
as his
two atlailants.
in Literature and
Both are tearing the pope's hair, but it
the Bible, with which he

beard
The pope
has
is
is
Art.
Calvin who
Itriking at Luther, who
his hands upon their
No. I 54.
263
is here armed
with
is
pulling him by the
heads.
This Icene takes
Luther and Calvin.
give here (cut No, 154) only the

group of the three combatants, intended to reprefent how the two great
place in the
choir of
opponents to papal
other.
church, but
corruptions were hoftile at the fame
time to eacb
264
CHAPTER
Grotefque
XVI.
ORIGIN OF MEDIEVAL FARCE AND MODERN COMEDY.

HROTSVITHA.
THE EARLY EELIGIOITS PLAYS.
MEDIAEVAL NOTIONS OF TERENCE.
THE FARCES.
THE DRAMA IN
MYSTERIES AND MIRACLE PLAYS.
THE SIXTEENTH CENTURY.
is
THERE
have been
has been
ftill another branch of literature which, however it may

modified, has defcended
It
to us from the middle ages.
remarked more than onre in the courfe of this book, that the
of the Romans perifhed in the tranfition from the empire to the

middle ages 5 but Ibmething in the lliape of theatrical performances
appears to be infeparable from
fociety even in its moft barbarous
and we foon trace among the peoples who had fettled upon
the empire
of Rome an approach
towards
drama.
It
liate,
the ruins
is
of
worthy of
as
that of ancient Greece, that
is,
remark, too, that the mediaeval drama originated exaftly in the fame way
from religious ceremonies.
Such was the ignorance of the ancient ftage in the middle ages, that
recital, and this was the fenfe in which
was generally taken
in the fourteenth or the fifteenth century.

ufed
in the
title of Dante's
great
narrative, elpecially an
It
poem, the
until late
the fenfe in which
" Divina
epic
it
racu,
The Anglo- Saxon
is
the word
is
interpret
gloffaries
of the word comcedia was not underftood.

it
the meaning
by
Commedia."
Whexi the mediaeval fcholars became acquainted in manufcripts with the

comedies
ot Terence, th^y confidered them only as fine examples
particular fort of literary compofition,
as
metrical narratives
and in this feeling they began to imitate them.
One of the
of

theatre
in dialogue,
fi.rft
of thefe
Art.
in Literature and
imitators was
mediaeval
lady.
There lived in the tenth century
maiden of Saxony, named HrotlVitha
of her
"a
fex, for it means fimply
265
a rather unfortunate
loud noife of voices," or,
it herfelf, in her Latin, clamor validus.
Hrotfvitha,
among the ladies of thofe days, had received
as was
name for one

as flie
explains
common enough
very learned education,
About the middle of the tenth century,

ihe became a nun in the very ariltocratic Benedi6line abbey of Gandefheim, in Saxony, the abbelfes of which v.cre all princeffes, and which
and her Latin
is very
refpedable.
had been founded only
She wrote in
century before.
Ihort hiftory of that religious houfe, but Ihe

which are called comedies
{comoedice)
is beft
Latin verfe
known by feven pieces,
and which confirt fimply of legends
As may
of faints, told dialogue-wife, fome in verfe and fome in profe.
be fuppofed, there is not much of real comedy in thefe compofitions,
one
although
of them,
Dulcitius,
the
It
is
treated
in a
&y\e.
which
of the martyrdom of the three

virgin faints Agape, Chione, and Irene who excite the lufl of the perthat of farce.
approaches
fecutor Dulcitius
and
is the ftory
it may be remarked, that in this
"
comedy," and
in that of Callimachus and one or two of the others, the lady Hrotfvitha

difplays
knowledge of love-making
and
of the language of love, which
was hardly to be expe6ted from a holy nun.*
Hrotfvitha, in her preface, complains that, in fpite of the general love

for the reading of the Scriptures, and contempt for everything derived
from ancient paganifm, people ftill too often read the "fidions" of Terence,
and thus, feduced by the beauties of his ftyle, foiled their minds with the
knowledge of the criminal
a6is which
rather early manufcript has prefer\'ed
are defcribed in his writings.

a very
curious fragniLMit
ilhillrative
editions of the writings of Hrotsvitha, texts and translations, iiave

hecn published of late years both in Germany and in France, of wliicli I may point
" ThtJatre de Hrotsvitlia, Rt-lif;icusc
out the following a'^ most useful and comi>lctc
" Hrotsvitha
par Charles Magnin," 8vo., Paris, 1845 ;
Allcmande du x* siccie.
Cjandeshemenîs, virginis ct monialis Germanlcrc, >;entc Saxonica ortx-, Conue Several
...
...
J.
dias sex, ail fidem codicis Emraeranen'is typis exprcssas eciidit.
VVerlce dcr Hrotsvitha : Herausgegebcn
j6mo.. Luhcrar, 1857 ; " Die

A. Barack," 8vo., Niimbcrg,
1858.
JJencdixtn,"
von Dr. K.
266
Grotejque
of the manner in which the comedies of the Romans were regarded by

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-
one clafs
fonage called in the original deliifor, which was no doubt intended to exprefs
performer of fome kind, and may be probably confidered as fynonymous

with jowyleur. It is a contention between the new jouglerie of the
a
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.
to fpeak in his own defence,
and the two go on abufing one another in
Terence
no very meafured language.
"If you
which the other replies,

thee.
and
good
Terence then makes his appearance

alks his affailant who he
alk who
Thou art old and broken with years
You
in the force of youth.

and fertile
If
tree.
are but
am,
;
reply,
to
am better than
am a tyro,
full of vigour,
trunk, while
barren
is
am
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
Terence
taceas,
o -vetule,
lucrum tibi quceris enorme.
replies: "What fenfe have
you left?
Are you, think you,
Let me fee you, young as you are, compofe what I,

If you be a good tree, fliow us
however old and broken, will compofe.
Although I may be a barren trunk, I
fome proofs of your fertility.
produce abundance of better fruit than thine."
better than me
Sjtis tibi fenfus ineji ? numquid melior

Nunc vet us atque Jenex qua fecero fac
me es
adolefcens.
qua fertilitate rcdundas ?

Cum Jim truncus iners, fruBu meliore redundo.
Si
bonus arbor
ades,
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.*
earlieil example we have of mediaeval writers in this
particular clafs of literature. We find no other until the twelfth century,
Hrotfvitha
is the
named Vital of Blois {Fitatis Blcjenfis) and
when two writers flourilhed
Matthew of Venddme {Matthceus Vindocini'iifis)

the
mediaeval
by the title
poems dillinguilhed
the authors
of
cumocdicB,
of feveral of
which give us
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
a clearer and more diltintft idea
Profellbr Ofann, of Gielfen, who edited two of thofe of Vital of Blois, gives
is,
The name comedy

however, given
to them in manufcripts, and
may perhaps admit of the following explanation.
Tliefe pieces feem to have been firft mere abridgments of the
{eclogce).
it
them the title of eclogues
plots of the Roman comedies, efpecially thofe of Plautus, and the authors
taken
have
the plot, in the fenfe of
Latin title of
the
a
to
appear
the
original
applied to
as
narrative, and not to its dramatic form.
Independent
writer has given
is
is
writer.
fame
of the form of compofition,
the
fcholaftic
llrangely mediaeval turn to the incidents of the clallic
of Jupiter and Alcmena. Another fimilar " coinedy," that of Babio,

which
firll printed from the manufcripts,
ftill more mediaeval in
the
piece,
of
as
from
fabliau, for
follows, although
prieft, who,
as was
ttill common
the
muft
comes out rather obfcurely in the dialogue itlelf.

is
that
it
writers rarely invented ftories,
taken
it
Its plot, perhaps
is
charatter.
is
rtory
be
mediaeval
confelfed
Babio, the hero

at
that lime
(the
This Ningular composition was publislied with notes by M. tic Montalfjlon,

" L' Amateur dc Livres,'* in 1849, under tiic title oi
Parisian journal entitled,
" Fragment d'un Dialogue Latin du ix' siiidc cntrc Terence ct un Bouffon." A
possess one.
fe^ separate copies were printed, o\ whiili
I
in
a

Of
" comedies " by Vital of Blois, one

the two
entitled " Geta," and
taken
from the "Amphytrio" of Plautus, and the other, which in the manu"
" Aulularia " of the
fcripts bears the title of Queruius," reprefents the
268
twelfth century), has
wife, or,
concubine, named Pecula.

Babio
is
the ftrifit religionifts would then fay,
She has a daughter named
Viola, with whom
in love, and he purfiaes his defign upon her, of courfe unknown
to his wife.
in
as
Grofefque
Babio has alfo
man-fervant named Fodius, who
is ensfaeed
fecret intrigue with his miftrefs, Pecula, and alfo feeks to feduce her
To crown
daughter, Viola.
the whole, the lord
of the manor,
knight
named Croceus, is alfo in love with Viola, though with more honourable
Here
defigns.
is
furely intrigue enough and
to fatisfy a modern French novelift
the piece,
fufficient abfence of morality
of the firfi: water.
At
the opening
of
amid fome by-play between the four individuals who form
the houfehold
of Babio, it
way to vifit him, and
is
feafl
fuddenly announced that Croceus
is on
haftily prepared for his reception.
It
is
in the knight carrying away Viola by force.
Babio, after
his
ends
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
them.
againfi:
He adopts
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
tery, and leaves them to themfelves.
are
later period, we lliall fee

the fubje6ts of farces,*
a
Already, however, by the fide of thefe dramatic poems,
the
monaf-
In form, thefe "comedies"
little more than fcholaflic exercifesj but, at

the fame ftories adopted as
real
drama
of the middle ages was gradually developing itfelf. As

ftated before, it arofe, like the drama of the Greeks, out of the religious
We know nothing of the exiftence of anything approaching
ceremonies.
drama
to dramatic forms which
To
"Geta,"
" Geta "
may have exifted among the religious rites
of
judge by the number of copies found in manuscripts, especially of the

these dramatic poems must have enjoyed considerable popularity.
The
" Querulus " were published in a volume entitled, " Vitalis Bleand the
Amphitryon et Aulularia Eciogas. Edidit Fridericus Osannus, Professor

" and the " Babio " are
Gisensis," 8vo., Darmstadt, 1836.
The " Geta
included
"
in my
Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth
sensis
Centuii^?."
in Literature and
Art.
269
of the Teutonic race before their converlion lo ChrilUanity,

but tne Chrillian clergy felt the neceliity of keeping up feltive religious
the
peoples
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
In this manner
they were reprefenting.
of the tranfattion
the choral boys, or the younger
clergy, would, on fome fpecial faint's day, perform fome ilriking aiit in
coinmeraorated,
the life of the faint
incidents of gofpel hillory to which
church, thofe
By degrees,
performances by the addition of

drama in
Latin,
as
is
reprefented by
far
as
This incipient
we know
to the twelfth century, and
belongs
tolerably large number of examples Itill preferved
mediaeval manufcripts.
Some
of the earlieft of
in
thefe have for their author
pupil of the celebrated Abelard, named Hilarius, who lived in the firll
is
half of the twelfth century, and
underllood
to
have been
by birth
Hilarius appears before us as

playful Latin poet,
number of fhort pieces, which may be almolt called
and among
The fubjetl: of the
lyric, he has left us three of thefe religious plays.
firft of thele
the raifing of Lazarus from the dead, the chief peculiarity
a
Englilhman.
a
an
is
The latter
longer and
Tt
Deum
Laudamus, but
it
cliant
the
more elaborate
others, and at its conclufion, the ftage direction
performed at matins, Darius, king of the
and
tells
Medes
that,
us
and
third, the
than
it
hiftory of Daniel.
Nicholas
if
to St.
miracles attributed
is
of the
one
of which confifts of the fongs of lamentation placed in the mouths of

The fecond reprefents
the two fillers of Lazarus, Mary and Martha.
if
the
were
Perlians, was to
were at vefpers, the great king was
lo chant Magnificat anima mca Dominnm:''

" lliiurii
Fiatac
Versus
ct
Ludi,"
8vo.,
Paris,
1835.
Edited
by

efpecially
continuous dialogue, which, however,
in Latin verfe, and was no doubt chanted.
was written
the feilival
rather more impoling charafter was given to thefe
it,
related.
felhvals of the
or, on particular
M. ChampoUion
Hljlory of Caricature and
270
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
The weftern people in the middle ages had no words exadly equivalent with the Latin comcedia, tragcedla, theatrurn, &c. ; and even the
it.
Latinifts,
delignate the dramatic
to
pieces
the
church
The French called them by
feftivals, employed .the word ludus, a play.

a
at
performed
word having exa6tly the fame rcveamng,jeu
Similarly in
{from jocus).
Englidi they were termed plays. The Anglo-Saxon glolfaries prefent as

the reprefentative of the Latin theatrurn, the compounded words plege-
It
stow, or plcg-stow, a play-place, and pleg-hus, a play-houfe.
is
curious
that we Englillimen have preferved to the prefent time the Anglo-Saxon
Another Anglo-Saxon word with
words in play, player, and play-houfe.
exaftly the fame lignification, lac, or gelac, play, appears to have been
more in ufe in the dialed of the Northumbrians,
ftill calls
play
a lahe, and a
a dramatic performance
player
afpil,
iconia fanfti
Nicolai,"
and
Yorklhireman
So alfo the Germans called
laker.
i.e. a play, the modern ypie/, and a theatre,
One of the pieces of Hilarius
afpil-hus.
and
the
is thus
French jeu and
" Ludus fuper
entitled
the
Englilh play are

conftantly uled in the fime fenfe.

gradually
came
But befides this general term, words

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
plain
meaning, or
fome incident taken from the Holy Scriptures, which was fuppofed to
have
hidden myfterious figniffcation
as
well
as an
apparent one, and
hence the one clafs of fubjeft was ufually tpoken of fimply

miracle, and the other
plays are
flill
as myfterium,
myftery.
as
miraculum,
Myjleries and miracle-
the names ufually given to the old religious plays by writers
on the hiftory of the ftage.
We have
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
"extirpate" from their churches theatrical
plays,
urged the clergy to

and other
fellive
/;/
iji
Literature and Art.
Such pertbrmances
thefe buildings.*
I22;.i-
Treves in
are forbidden by
praftices which wore not quite in harmony with the lacrecl charader of
council held at
learn from the annals of the abbey of Corbei,
^^'e
the other heads of the
Such performances are included
order.:^
proclamation of the bilhop of Worms, in
13 16, againft
in
publifhed by Leibnitz, that the younger monks at Herelburg performed

" lacred comedy"
on one occarion
of the felling
{sacram comccdiam)
into captivity and the exiritation of Jofeph, \\hich was difapproved by
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 ating them under-
The municipal guilds contained in their

confiderable amoimt of religious fpirit.
They were great
conftitution
went confiderable extenfion.

benefaftorsof
the churches in cities and municipal towns, and had ufually
perhaps,
have
taken
fome parts of the facred edifice appropriated to them, and they may,
part in thefe performances, while they were
Thefe guilds, and fubfequently the municipal
corporations, took them entirely into their own hands.

religious feflivals, and efpecially the feaft of Corpi/s
the occafions
on
which
the
plays
were
a6ted, but
Certain annual
Chrifti,
were flill
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
along tlie ftreets

to
have
been
in the proceflion of the
Thev
rather complicated.
i.
" Internum ludi fiunt in ecrlcsiis tht'atr.'ilcs,"&c. Decrct.Gregorii,]\h iii.tit.

" Item non permittant saccrdotes ludos theatrales fieri
ccclesia et alios ludos
in
were dragged
Thefe ftages appear
guild.
inhont">tos."
"
p.
in
p.
3
1
ii.
in
HtTcsburg sacram iialnicrc coma-diam dc Joscpho vindilo

Juniorcs fratrts
ft ixaltato,qiiod vcro rcli(jui ordinis nostri [)rxlati male iiitLii)rctati sunt." Leilti.,
1.
&ript. Brunsv., fom.
Ilarzlicim, torn. iv.
of
this
The acts
synod of Worm:, aic printed
258.

confined to the church.
flill
Hiflory of Caricature and Grotejque
272
were divided into, three floors, that in the middle, which was the principal
ftage, reprelentiug this world, while the upper divifion reprefented heaven,
reafon which
not
fo
for
7rj;y/xa,
fcafFold
corruption of thefe came into the French and Englilh languages
town had its pageant and its own aftors, who
performed in malks and coftumes, and each had one of

which were performed
the word
much wider appli-
at
places
where
Each guild in
fecondary meanings which have

a
it
cation.
further
fignified one of thefe movable ftages, though
originally
has fince received
they
eafily feen, unlels the one word
corruption of the other, that of pagina, and from
pageant, which
and
of
arofe out
alfo applied to
from the Greek word

is
a pegma,
machinery
The mediaeval writers in Latin called this
bottom hell.
at the
it,
and that
feries
of plays,
they halted in the proceffion.
For this reafon
title already
explained
Teftaments.
they were generally termed wyfteries,
among the few feries of thefe plays ftill
and
we have the "Coventry Myfteries,"
preferved,
the guilds of that town, the
The fubjels of thefe plays were taken from Scripture, and they ufually
formed
regular feries of the principal hiftories of the Old and New
" Chefter
in the city of Chefter, and the
which were performed by
Myfteries," belonging to the guilds
" Towneley Myfteries,"
fo called from the
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 themfelves 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,
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
and the fix
the Latin of the lamentations of his two fifters

writer,
Such
as
well
the cafe alfo
as
intermixed with French
St. Nicholas
"
by the fame
with the curious myftery of the Foolifli Virgins, printed
in my "Early Myfteries" juft alluded to, in which latter the Latin
is
ve'-fes.
with the play of "
is
of the fpedators, and an attempt was made to enliven them by introducing among the Latin phrafes popular proverbs, or even fometimes
"
"
long in the vulgar tongue. Thus in the play of Lazarus
by Hilarius,
is

name
Art.
in Literature and
A much greater
intermingled with Provenqal verfe.

when thele pertbrmances
2.73
were transferred
advance was maae
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
fecularifed,
become
people to make them laugh,

ages was felt more than ever,
the
want
people
as
of fomething
to amufe
liked to laugh in the middle
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
of"
French plays, that
St. Nicholas," by Jean Bodel, the charaders who
form the barlefque fcene are
party
of gamblers in
In others,
tavern.
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
general fubjed.
The earlieft Englilh coUedion that has been publilhed is

the "Towneley Mylêries," the manufcript of which belongs
that known
as
they are
ufually more
clofely conneded
with
the

to the fifteenth century, and the plays themfelves may have been compofed
in the latter part
It contains thirty-two
of the fourteenth.
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
garcio, or lad, who
is the
very
type
of
vulgar and infolent horfe-boy, and the converfation of thefe two worthies
little of that between the clown and his mailer in tin- ()|)l-iiair performances of the old wandering mountebanks.
Even tlu- ikath of
reminds
us a
Abel by the hand of his brother is performed in a manner calculated to

In the old mirthful fpirit, to hear two perft)ns load
provoke great laughter.
each other with vulgar abufe, was
horfe-collar,
is
if
not better.
as
good
as
feeing them grin through
Hence the droll fcene in the play
domcftic (juarrcl between
of"
Noah
"
Noah and his wife, who was proverbially

T
Hijiory of Caricature and Grot efque
274
Ihrew, and here gives
might then come from
tolerable example of abufive
language,
as
it
The quarrel arifes out of her

In the New Teflament feriesthe play
woman's tongue.
obftinate refufal to go into the ark.
of " The Shepherds" was one of thofe moft fufceptible of this fort of emThere are two plays of the Shepherds in the '* Towneley
belliftiment.
Mylteries," the firft of which
is
amufing enough,
burlefque, the afts and converfation of

guarding their flocks at night;
is a
the corruptions of the

impoverifhed
ariflocracy.
by
After
ufual, are three
felves
Shepherds
The iliepherds
comic drama.
of the piece converfing very fatirically on

how
time, and complaining
people were
the
over-taxation, to fupport the pride and vanity of the

a good deal
of very amufing talk, the fliepherds, who,
in number, agree to fing
and, in fa6l, no fooner have
fong, and it
to fleep for the
is this
fong, it
Mak, who proves to be
refigned them-
the fliepherds
night, than Mak choofes one of the beft flieep in
Knowing that he will be
their flocks, and carries it home to his hut.
fufpefted of the theft, and that he will foon be purfued, he

conceal the plunder, and
in clever
party of mediaeval fhepherds
appears, which brings to them a fourth, named

ftieep-ftealer
it reprefents,
the fecond play of the
much more remarkable example of
are introduced at the opening
as
but
as
is
is anxious
to
only helped out of his difficulty by his wife,
who fuggefts that the carcafe Ihall be laid at the bottom of her cradle,
flie fliall lie upon it and groan,
and that
pretending to be in labour.
Meanwhile the fliepherds awake, difcover the lofs of a flieep, and perceiving that Mak has difappeared alfo, they naturally fufped him to be the
They find everything very cunningly prepared in the cottage to deceive them, but, after a large amount of rounddepredator,
and purfue him.
about inquiry and refearch, and much drollery, they difcover that the boy
of which Mak's wife pretends to have been juft delivered,
is
but the fheep which had been ftolen from their flocks.
The wife ftill
aflerts that it is her child, and
Mak fets up
his defence that the baby
as
had been "forfpoken," or enchanted, by an elf

had thus been changed into the appearance of
refufe to be fatisfied
comedy
is
with this explanation.
nothing elfe
at
midnight, and that it
a flieep
but the fliepherds
The whole of this little
carried out with great Ikill, and with
infinite drollery.
The
Art.
in Literature and
fliepherds,
while llill wrangling with Mak and his wife, are I'eized with
drowlinefs, and lie down to lleep
but they are aroufed
the angel, who proclaims the birth
which the drollery

the
is
palVes
introduced,
Herod's
Innocents."
which
275
between the
is
blufter
of the Saviour.
The next play in

that of " Herod and the Slaughter of
and
Hebrew
by the voice ot
bomball,
mothers
and
the
vulgar abufe
and the foldiers who
are
The plays which

represented the arrert, trial, and execution of Jefus, are all full of drollery,
murdering their children, are wonderfully
for the grotefque
chara6ter which
had
laughable.
been given to the demons
in the
earlier middle ages, appears to have been transferred to the executioners

" tormentors," and the language and manner
or, as they were called, the
in which
continual
they executed their duties, muft have kept

roar
In the play
of laughter.
of "
the audience
Doomfday,"
the
in
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
"
are alfo printed

The "Coventry Myfteries
from 3 manufcript of the middle of the fifteenth csntury, and are,
" Towneley Myfteries."
They confift of forty-two
perhaps, as old as the
plays, but they contain, on the whole, fewer droll fcenes than thofe of
equally mirth-provoking.
But a very remarkable example is furniflied in

Towneley coUedtion.
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,

the
chara6ler fo well
known
by Chaucer's pitture
by reading from his book a long lift
conclufion, two "detractors
"
of him, opens the piece
of oftenders againft chaftity.
make their appearance,
At
its
who repeat various
llories againft the Virgin Mary and her hufband Joliph, which
are overheard by fome of the high officers of the court, and Mary and
fcandalous
Jofeph are formally accufed and placed upon their trial.
Tiie trial itfelf
of low ribaldry, which can only have afforded amulement to a

There is a certain amount of the fame kind of
very vulgar audience.
"
indelicate drollery in the play of The Woman taken in Adultery," in
" Chefter Myfferies " are ftill more fparing of huh
this colledion. The
is a fcene
fcenes, but they are printed from manufcripts written after the Reforma-
tion, which
had, perhaps,
gone
through the
^jrocefs
of expurgation, in
276
which fuch excrefcences
"
had been lopped off.
Noah's Flood," we have the old quarrel
which
is
prefence
Grotejque
However, in the play of
between Noah
and his wife,
carried fo far that the latter adually beats her hutband in the
of the audience.
Shepherds,"
There
is a
little drollery in the play of " The
confiderable amount of what may be called
" Slaughter of
language in the play of the
" Billingfgate "
the Innocents," but lefs than the
uiual amount of infolence in the tormentors and demons.*

however, that thefe droll fcenes were not always
It
is
probable,
confidered an integral
part of the play in which they were introduced, but that they were kept
as
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
feparate fubjets, to be introduced at
the direftions from an angel for the building

ftage to proceed
to this
a beaft concealed
in
On his departure, Lamech
important work.
comes forward, blind and led by
of the ark, he leaves the
youth, who direfts his hand to fhoot at
Lamech flioots, and kills Cain, upon which,
bufli.
in his anger, he beats the youth to death, and laments the misfortune into
which the latter has led him.
in the fourth
paffage

have flain a man to
Cain fhall be avenged
It
is
evident that this
This was the legendary explanation of the
chapter of Genehs
my wounding, and
"And
a
Lamech
faid
young man to my hurt
,:
if
feven-fold, truly Lamech feventy and feven-fold."

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 "interlude,"
as
if
there were
* The editions of
1.
2.
place in the machinery
the three
of the pageant where
principal collections of English
mysteries
are
" TheTowneley Mysteries,'" 8vo., London, 1836, published hytheSurtees Society.

" 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.
the epilude, which was not an integral part
'^77
of the fiibjed, was performed,
of the performance was called an interlude, or play

introduced in the interval of the adion of the main fubjeft.
The word
and tliat this part
remamed long in our language
fniiple dramatic pieces

the
as
lliort
applied to fuch
as
we may fuppofe to have formed the drolleries
But they had another name in France which
mylleries.
and
has
had
of
a
Interlude
In one of the early French miracleintroduced, conplays, that of" St. Fiacre," an interlude of this kind
taining five perfonages brigand or robber,
peafant,
fergeant, and the
attempting to arreft the thief, receives
other
the
by
becaufe
They then proceed
it
is
informed
by her hulband, and Ihe exults over
of the power of beating her.
to
is
of the
injury
will deprive him

tavern, call for
wine, and make merry, the converfation turning upon the faults of their
In the midfl of their enjoy-
hufbands, who are not fpared.
ments, the two hufbands return, and fhow,
farce
This
introduced).
is one
cy
tji
introduced,
"
following words,
exprelfed in the
is
rj/i-" (here
is
direction
is
St. Fiacre," in which this amufing epifode
âge
beating their wives, that
In the manufcript of the miracle-play
liiey are not very greatly difabled.
A"
by
refpettive
marginal
interpofe iiiie
of the earliefl inflancesof
of the term farce to thefe fliort dramatic facetiae. Dililivnt

feems
opinions have been exprefled as to the origin of the word, but
from an old French verh, J'ajcer, to jefl, to
joker, and that
larces, in the
myllerieg
as
reafon for the abfence
as they are
were probably not looked upon
as
found
parts
in
liave juft fuggefted
make merry, whence the modern word farceur fur

thuj. means merely
drollery or merriment.
it
derived
is
mofi probable that
it
it
the application

immediately occupied by their
I'ullained
wife
moment and,
blow from the latter which
it
quit the fcene, which
The fergeant's
wives.
this
The brigand thus efcapes, and the peafant
fuppofed to break his right arm.

and the fergeant
up at
comes
is
but the fergeant
capon,
followed
The brigand, in revenge, deals
fecond queftion.
peafant's
clownlfh anfwer, which
is
one equally rude on
by
alks the way to St. Omer, and receives
The brigand, meeting the peafant on the highway,
wives of the two latter.
the
is
greater and more lulling celebrity.
the
of thefe interludes, or
manufcripts, that they
of the myfUries thcmfelves, but
278
as
feparate pieces which might
be ufed
and Grotefque
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
It
of the religious plays.

enables
us to
is
in France that we find information which
trace the gradual revolution in the
fociety was formed
the
towards
mediaeval
drama.
of the fourteenth century under
clofe
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
tranfport thoir
privilege to
into Paris, and to
theatre
perform in it
They now rented of the monks of Hermieres

hall in the hofpital of the Trinity, outfide of the Porte St. Denis, per-
mylleries and miracle-plays.

a
forming there regularly on Sundays and faints' days, and probably making
thing of
larity.
Gradually, however, this popularity was fo much diminillied,
for, during
it,
a good
long period, they enjoyed
the confreres were obliged to have recourfe to expedients
great popu-
that
for reviving it.
Meanwhile other fimilar focieties had arifen into importance.
The clerks
faid,
as
early
as
the beginning
and they diftinguiftied themfelves
century, there
privilege.
arofe in Paris
Towards the clofe of
another fociety, which
took
of Enfans fans fouci, or Carelefs Boys, who ele6ted

prefident
or
of
the Fools, and who
or chief with the title of Prince des Sots,
King
compofed
the name
fort
of dramatic fatires which they called Sottk's.
foon arofe between thefe two focieties,
either becaufe
Jealoufies
the fotties
were
made fometimes to refemble too clofely the farces, or becaufe each treftoo often on the
finally arranged
paffed
by
territories of the other.
Their differences were
compromife, whereby the Bazochians yielded to tlieir
rivals the privilege of performing farces, and received in return the permifiion to perform fotties.
The Bazochians, too, had invented

which they appear to have obtained

the fourteenth
of the fourteenth century,
by compofing and performing farces, for

a
is
together,
it
of the Bazoche, or lawyers' clerks of the Palais de Juftice, had thus affociated
new clafs
of dramaric pieces which they called Moralities, and in which allegorical

Thus three dramatic focieties continued to
perfonages were introduced.
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

number of them were printed, and
conliderable
a very
of them are ftill prefer\-ed, but
ra;^ny
of great rarity, and often unique.* Of thefe the farces form

the moll numerous clafs.
They confill limply of the tales of the older
they are books
jongleurs or ftorv-tellers reprefented in

difplay great
ikill
dramatic form, but they often
the plot, and
in conduding
conliderable amount of
The Ilory of the llieep-llealer in the Towneley play of "The Shepherds," is a veritable farce. As in the fabliaux, the moft common fubjeds
wit.
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.
as the feducers
The priefts,
as
ufual, are not fpared, but are introduced
of wives and daughters,
[n one the wives have found a
means
of re-modelling
which
they put in practice with various ludicrous circumftances.
their hulbands and making them young again,
of fer\-ants are alfo common fubje6ts for thefe farces.

flill more trivial character,
jufl
that of the boy who fteals
tart from the
as the
paflrycook
is
giving dire6tions for fending an eel-
By an ingenious deception the boys gam poifelfion of the

and they are both caught and feverely chaftifed.
This
is
pie and eat
it,
pie after him.
of the fubjeds are of
Two hungry boys, prowling about the ftreets, come to
paftrycook's fliop.
the Ihop door
as
of
the whole plot of the farce.
dull fchoolboy examined
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
now in the British Museum.
yet known, was found accidentally in 1845, and
work
These were all edited
ten, entitled
Paris as the first three volumes of
*'
in
Theatre
in
is
It
dcpuis
le
Francois, ou Collection des Ouvrages dramati(|ues ks plus

les Mystercs jusqu'a Corncille, public. . .
par M. Viollet
these
Due," i2mo., Paris, 1854.
three volumes were editnl^
right to state that
Due, hut hy
not hy M. Viollet
scholar better known for his learning
the
*blder French literature, M. Anatole de Montaiglon.
rcmarquaf)ic
Ic
Ancien
in
is

boy who does not know his own father, and fome
is the ftory
by
One
Tricks
8o
their ignorancej formed alfo
favourite fubje6l among thefe farces.
or two examples are preferved, and, from

a6t
One
comparifon of them, we might
be led to fufpefl that Shakefpeare took the
the fourth
Grotefque
idea
of the opening fcene in

one of thefe old
" Merry Wivj;s of Windlbr " from
of the
farces.
The fotties and moralities were more imaginative

than
the
and were filled
farces,
allegorical
extravagant
The
perlbnages.
introduced in the former have generally fome relation to the
chara6ters
kingdom of folly.
fotz)
with
and
is reprefented
Thus, in one of the fotties, the king of fools (Ic roy

as
des
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
fatirical
charafter.
Sottie
Sottie of the Deceivers," or cheats.
another name for mother Folly opens the piece with a proclamation
Another
"The
entitled
is
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
verfation
to their own condition, and their proceedings,
as
is
interrupted
named Everyone
(Chafcim),
fudden
intrufion of another
who, on examination,
is
perfonage
found to be
as
of them.
They accordingly fraternife, and join in a

Finally, another charadler. The Time {le Temps), jams them, and
perfed
fong.
fool
as
any
they agree to fubmit to his direftions.
Accordingly
he infl:ruts them in
of flattery and deceiving, and the other fimilar means by which

men of that time fought to thrive. Another is the Sottie of Foolifli
the arts
Ollentation
{defolle
bolance).
This lady fimilarly opens the fcene with
an addrefs to all the fools who hold allegiance to her, and three
make
their appearance.
The firft fool
is the
of thefe
gentleman, the fecond
merchant, the fourth the peafant, and their converfation
is a fatire
the
on
The perfonification of abflraft principles is far

contemporary fociety.
The three charafters who compofe one of thefe. moralities are
bolder.
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
" A New
notion of their general title] it
Morality of the Children of
Everything
{tout),
is,

by the
but their con-
///
Literature and Art.
28
Now-a-Days {Mai/i tenant), who are the Scholars of Once-good iJaiien),

who Ihows them how to phiy at Cards and
Luxuf)',
whereby one
comes
at
Dice, and to entertain
Shame (Honte),
to
and
Shame to
t"ix)m
Defpair {D'fefpoir), and from Defpair to the gibbet of Perdition, and then
The charaders in this play are Now-a-
turns himl'elf to Good-doing."
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
lixteenlh
century, at which period
in France until
a great
the middle
of the
revolution in dramatic litera-
The performance of the Mylteries had
ture took place in that country.

been forbidden by authority, and
the
Bazochians
themfelves were fup-
The petty drama reprefented by the farces and fotties went

rapidly out of falliion, in the great change through which the mind of
prelfed.
fociety was
at
this
the
The old drama
all others.
literature overcame
peared, and
time palling, and in which
in
talê
for clallical
France had difap-
new one, formed entirely upon an imitation of the clallical
Ihis
drama, was beginning to take its place.
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 moralities, were imitated, and fometimes tranilated, in Englill), and many of
them were printed
for ilie further our refearcbes
early hillory of printing,
the
more
we
are carried
are ailoniihed
activity of the prefs, even in its infancy, in multiplying

popular character.
In Kngland,
as
in
at
the
into the
extreme
literature of
France, the farces had been,
at
a
a
rather early period, detached from the mylleries and miracle-])lays, but
as the
general title for tlicm,
and continued in ufe even after the eflablifliment
of the regular drama.
the word interludes had been

Perhaps
adopted here
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
gifVen
plays at intervals
in the great fellivals and entertainments
at court, or in the houfeholds
of the great nobles.
At all
events.
mjiory of Caricature and
282
there can be no doubt that this fafblon had
Grotefque
a great
influence on the fate
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
of the Englifh ftage.
Hence we find from books of houfehold expenfes
fought to excel in it.
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.
and fimilar
records
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

the
VI.
reign of our king Henry
feem
have not feen, but which
is faid
to be
of
Several words and allufions in them
to me to fhow that they were tranflated, or
adapted,
from
the
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
French.
(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
Genus
his proteftors and guides, and he choofes the latter, who introduces him
to Mujidus (the World), and to his friends, Stultitia (Folly), and Vuluptas
Thefe and fome other perfonages bring him under the
(Pleafure).
influence of the feven deadly fins, and Humanum Genus takes for his
bedfellow
lady named Luxuria.
At length
ConfeJJio
and Pcenitentia
fucceed in reclaiming Humanum Genus, and they conduct him for fecurity
to the
Caftle of Perfeverance,
upon him.
He
is befieged
are led to the attack
now become
aged,
by
where the feven
cardinal virtues
attend
in this caftle by the feven deadly fins, who
Belial, but are defeated.
and is expofed to the attacks
Humanum Genus has
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
of Mundus, until Mors (Death) arrives, and the
bad angel carries off the vi6iim to the domains of Satan.
This, however.
again under the influence
///
Literature and Art.
283
is
of tlie piece.
God appears, feated on His throne, and
Mercy, Peace, JulUce, and Truth appear before Him, the two former
not
the end
pleading for, and the latter againtl, Humanum Genus, who, after fome
This allegorical pidure of human life was, in one

form or other,
favourite fubjett of the moralifers.
may quote as
"
in Hawkins's
Lully Juventus,"
examples the interludes of
faved.
is
difcullion,
reprnited
"Origin of
"Trial of
the
Englitli Drama,"
and
" Dilbbedient
the
Child," and
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
by Lucifer,
all'diled
who fucceeds
in alluring
them
to vice,
and
they
of gaj' gallants. Various other

(imilar llrain of allegory, until they are
cbaraders are introduced in
change their modeft raiment for the drefs
is
Mankind
reclaimed by Wifdom.
of the
again the principal perfonage
third of thefe moralities, and fome of the other charaders in the play,
fuch
Nought, New-guife, and Now-a-days, remind
as
of the fuuilar
us
allegorical perfonages in the French moralities defcribed above.

a
Thefe interludes bring us into acquaintance with new comiccharader.

The great part which folly atted in the focial deftinies of mankind, had
feems to have been conlidered that
But,
in fome
Defire;
inftances the
in the
called the
in
rice.
called the Vice

of Hypocrify
Sin; in that of " Tom Tykr and
"Trial of
Vice appears to
be
"
the denioii
is
Trealure
it
for Money,"
is
"All
was
characters
liulination;
liiiulrll.
Vice feems always to have been drelfed in the ufual ndlume ol
and
Wife,"
of
it
his
play
piny
the charader
it
in the
is
Thus, in
apparently, the fool in
" Lufty Juventus,"
fool was ufually given to one of the moll objedionable

fo, for this reafon
of the
the charader
as
it,
fool.
i-.
play alfo was incomplete without
it
fo
houfehold had its profelfed fool,

a
The
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
word, farces
early Knglifh
Such
is

and as the court and almoll every great
an acknowledged faLtj
become
the
interludes were, in the ftrid fenfe of the
"mery play" of "John the Hiilbaml, Tyb the
284
Grotefque
written by John Heywood,
Wife, and Sir Jolan the Prieft,"
the
plot
of which prefents the fame fimphcity as thofe of the farces which were
John has a flirew for his wife, and has good caufes
fo popular in France.
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
coward, except
a great
and propofes
hulband
and
is
is
not
when he
Tyb, the wife, makes
is alone.
atM in eating
that the prieft ftiall be invited to
it.
pie,
The
obliged, very unwillingly, to be the bearer of the invitation,

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-
John, delighted at the difcovery of the prieft's honefty, infifts on

There the guilty couple
his going home with him to feaft upon the pie.
nefs.
contrive to put the hulband

the
pie, and treat
to
difagreeable penance, while they eat

in confequence
him otherwife very ignominioully,
of
The prieft interferes, and the fight thus

only ended by the departure of Tyb and the
which the married couple fight.

general, and
is
prieft, leaving the hulband alone.

is,
perhaps, to be explained
The popularity of the moralities in England
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
The Reformers foon faw the ufe
revolution which was then in progrefs.
ridicule, and the new ones were held up in
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
favourable
We have
light.
excellent examples of the fuccefs with which this plan was carried out in
the firfl: rude model
very remarkable
man, but
Greece, and
Society,
as
thus became frequently the obje6t
not only
may be confidered
of the Englilh hiftorical drama.
political inftrument in England, almoft

it
now
by the Camden
it
remarkable work of
edition of which was publilbed
His play of " Kyng Johan," an
John Bale.
is
of the celebrated
it
the plays

becomes
as
The ftage became

had been in ancient
of particular
as
well
as
in Literature and
general
In
perfecution.
\^^\^>
Art.
28;
of Yoxford, in SutVolk, drew
the vicar
himfelf the violent holtility of the other clergy iu that county by
upon
compoling and caufing to be performed plays againll the pope's counfcUors.

Six years afterwards, in
the
549,
royal proclamation prohibited for
performance of interludes throughout
that
they
contained " matter tendyng
time
the kingdom, on the ground
of
to fedicion and contempnyng
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
them, and it became cuftomary to obtain the approval of

privy council before it was allowed to be aded.
office
of
pieces,
a play by the
Thus gradually arofe the
dramatic cenfor.
With Bale and with John Heywood,

approach
of
in cafes of fuppofed infradions
the form
" Ralph
of
regulat
Roifter
the
Englilli
plays
to
began
drama, and the two now rather celebrated
DoiUer,"
'
and
Gammer
GurtOn's
Needle,"'
which belong to the middle of the fixteenth century, may be confidered

Tht brmer, written by a wellas comedies rather than as interludes.

known
fcholar of that
time,
Udall,
Nicholas
mailer
of Eton,
is
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
needv
Rude as it is as
Matthew Merygreeke.
compofilion, it difplays no lack of talent, and it is full
a dramatic
of trenuine humour. The humour in "Gammer Gurton's Needle" is
The
call.
none the lefs rich becaufe it is of coarfer and rather broader
and defigning
parafite
named
of the piece, Gammer Gurton, during an inicrrui>li(.n in the

her hulband, Hodge, has loll her
proceGi of mending the breeches of
good dame
needle, and much
lamentation follows
misfortune fo great
at
time
the rural
when needles appear to have been rare and valuable articles in
is defcribed
houfehold. In the midft of their trouble appears Diccon, who
"
that he was an
in the dramatis /jcrjnnce as Diccon the Bedlam," meaning
Diccon,
to hold the pofition of Vice m the play.
who
idiu, and
appears
liowever, though weak-minded,
is a
cunning fellow, and efpecially givei;
86
Grotefque
to making mifchief, and he accufes a neighbour, Dame Chat,
At
the needle.
the fame
of fleahng
mifchievous individual
time, the fame
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
himfelf the three parts of preacher, phylician, and conjurer, in
order to have advantage of his experience in finding the needle. Diccon
He perfuades Dame Chat that
now contrives a new piece of mifchief.
to unite in
Hodge intends to hide himfelf in
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.
that Dame
is
confequence
Chat
attacks
by
furprife,
and
The
fomewhat
violently, the fuppofed depredator in the hole, and that Dr. Rat gets
broken head.
aifault, and
Dame Chat
the proceedings
is
brought before
" Mafler Bayly" for
the
in the trial bring to light the deceptions
which have been played upon them all, and Diccon ftands convi6ted
"
confelfes it all, and it
the wicked perpetrator. In fa6t, the "bedlam
finally decided by
" Mafter Bayly" that
ciliation, and that Diccon fliall take
as
is
there fhall be a general recon-
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
fharp blow, which is refponded to by an unexpefted
The needle, indeed, which has never quitted the breeches, is

driven rather deep into the flefliy part of Hodge's body, and the general
fcream.
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
wonderful
rude
attempts
creations
of
at
dramatic
Shakefpeare
compofition
like
this into the
and it can only be explained by
the fa6l that it was an age remarkable for producing men
of extraordinary
Hitherto, the litera-
of intelledual development.
ture of the ftage had reprefented the intelligence of the mafs; it became
genius in every branch

individiialiled
the hiltory
287
in Shakefpeare, and this fatt marks an entirely new era in
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
The drollery, which,
which tS?v had never attained before.

feen, could not be difpenfed
with even in the
as
we have
religious myfteries and
miracle-plays, had become fo necellary, that it could not be difpenfed with

Its omillion belonged to a later period, when the f(jreign
in tra<^cdy.
dramatifts
drama,
became
thefe fcenes
objefts of imitation

part
of it.
But in the earlier
of drollery feem frequently to have no connexion

it,
whatever with the general

them Ikilfully with
in England.
plot, while
and they feem
Shakelpeare
always
interweaves
to form an integral and necellary
Hi/iory of Caricature and Grotefqiie
288
CHAPTER XVI r.
EARLY TYPES OF THE
DIABLERIE IN THE SIXTEENTH
CENTURY.
REVIVAL OF THE
DIABOLICAL FORMS.
ST. ANTHONY.
ST. GUTHLAC.
TASTE FOR SUCH SUBJECTS IN THE BfiGINNlNG OF THE SIXTEENTH
THE FRENCH AND
CENTURY.' THE FLEMISH SCHOOL OF BREifGHEL.
ITALIAN SCHOOLS, CALLOT, SALVATOR ROSA.
WE
have feen how the popular demonolcgy furnilhed materials for
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
the earliefl. exercife
took
ftill
remarkable form, and the fchool of grotefque
more
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.
fo great
The playfully burlefque, which held
place in thefe fuperftitions, no doubt gave a more
comic cha-
rafter to this Chriftian demonology than it had poflefled before the mix-
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,
ture.
Latin by the ecclefiaftical
and was tranflated into
Anthony was evidently

which were foftered
hiftorian
Evagrius.
fanatical vifionary, fubje6t to mental illulions,
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
Art.
in Literature and
2 8(
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,
the ftridtfft afceticilm.
pofition in fociety, and enjoyments
when this failed, he diilurbod his mind
with voluptuous images and defires, which the faint relifted with equal
The perfecutor now changed his tadtics, and prefenting himfelf
fuccefs.
Anthony in the form of a black and ugly youth, confelfod to him,
with apparent candour, that he was the fpirit of uncleannefs, and acknowto
leged
had been
that he
Anthony's
vanquillied
The fiint,
faniftity.
the
by
however,
extraordinary
of
merits
faw that this was
only
of pride and felf-confidence, and he

met it by fubjeding himfelf to greater mortifications than ever, which of
Now he fought
courfe made him ftill more liable to thefe delufions.
ftratagem
to ftir up in him the fpirit
greater folitude by taking up his refidence

but
the farther he withdrew from the
in
ruined Egyptian fepulchre,
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
attendant who
the
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
moft ferocious animals, fuch

panthers,
and
as
of the
lions, bulls, wolves, afps, ferpents, fcorpions,
bears, each attacking
fpecies, and with
appeared to him in the forms
him
in
the manner peculiar to its
its peculiar voice, thus making together
horrible din.
Anthony left his tomb to retire farther into the defert, where he made
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
reproached
and even
the cnjfs.
vaft difiance.
to the narrative,
Anthony
the demons in ver)' abufive language, called them h;inl names,

fpat in their faces ; but his moll efie6tive weapon was always
Thus the faint became bolder, ami fought
abode, and finally efiablifhed

tlfl-
According
iipprr Tiiebaid.
himfelf on the top of
a
a
flill more lonely
high mountain in
TIk; demons ftill continued to perfecute him, under

u
290
a great
variety
of forms
under the form of
a man,
on one occafion
Grotefqiie
their chief appeared
with the lower members of an
him
to
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
of bond Jide animals, but thofe of later ftories took

monftrous and grotefque forms, ftrange mixtures of the parts of ditferent
affumed
the Ihapes
of others
animals, and
St.
Guthlac,
moraifes
the
which
never
exifted.
Such
Anthony of the Anglo-Saxons,
St.
of Croyland.
among
One night, which he was paffing
in his cell, they poured in upon him in great numbers
were feen
by
wild
the
at his devotions
"and they filled
all the houfe witti their coming, and they poured in on every fide, from
above
and from beneath,
and everywhere.
horrible, and they had great heads, and
They were in countenance

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
were
their teeth
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
they came with fuch
immoderate
noifes
feemed to him that all between heaven

dreadful cries."
and
and immenfe horror, that it

and earth
refounded
On another fimilar occafion, " it happened
with their
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
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 appearenraged.
ance, divert the mind
of the holy man."
Such were the fuggeftions on which the mediaeval fculptors and illuminators worked with fo much eft'eft,
of our preceding chapters.
as
we have feen repeatedly in the courfe
After the revival of art in weftern blurope
Art.
in Literature and
in the tifteenth centurv, this clals of loireiids became great favourites with
and engravers,
painters
and
foon
At
(liallerie mentioned above.
gave
rife
to
that time the ftory
St. Anthony attraded particular attention, and
peculiar fchool of
the
it
of the Temptation of
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,
Of the latter we have two ditforent
St. Anthony carried into the air by the

fubjetl
Lucas Cranach.
and
engravings on the fame
of grotefque and monrtrous

The mod remarkable of the two bears the date of 1506, and was,
demons, who are reprefented in

forms.
great variety
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
ellabliihed himfelf
at
Antwerp, but afterwards

So celebrated was he for the love of the
Bruflels.
at
difplayed in his pictures, that he was known by the name of
grotefque
Peter the Droll.
Breughel's "Temptation of St. Anthony," like one or
two others of his fubjet^ of the Hime clafs, was engraved

form by
J. T.

Breughel's demons are figures of the mod fantaftic
de Bry.
dcfcription creations
in a reduced
of
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
plate by Breughel, engraved in 1565, and
entitled Divus Jacobus diaholicis

is arrefted
IS
before
prepJligUs ante maguvi
JJJUtur (St. James
the magician by diabolical delu(ions).
full of fimilarly grotefque figures.
On llie right
and up it witches, riding on brooms, are making
The engraving
is a fpacious
their efcape, while in
the air are feen other witches riding away upon dragons and
kettle
is
boiling over the fire, around which
fitting and warming

holding
very
themfelves.
Behind
chimney,
goat.
group of monkeys are feen
thefe
cat
and a
toad
are
In the background Ihinds and

On the right of the pidture the viay^tis,
intimate converfation.
noils the great witches'
caldron.
or matjician, is feated, reading his grimairt;
with
liI>porling the pot containing his magical ingredients.
frame
before
him
I'he faint occupies
the middle of the picture, furrounded by

cut and by many others; and
as he
Gratefque
reprefented in our
thfe demons
approaches
the magician, he is feen
raifing his right hand in the attitude of pronouncing

apparent
confequence
pot, which ftrikes
of which
the demons
is a
with evident confternation.

it,
crawling fpider behind
No. 155.
Nothing can
legs in armour, the
the IkuU (apparently
of
horfe)
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
foregoing reprefents
the faint.
the ftill
more
Another print
appears to be mocking
complete
companion to the
difcomfiture of the magus.

is
The faint here occupies the r'ght-hand fide of the pifture, and
raifing
The
greater fhow of authority.
his hand higher, with apparently
a

benediftion, the
frightful explolion of the magician's
be more bizarre than the horfe's head upon human

parody upon
292
demons have all turned againft their mailer the magician, whom they are
/;/
hurling
headlong from his chair.
and llanding
fecm
They
to be pro-
upon their heads on
tight-rope.
is
all forts
of demon fair.
293
fort
of playful attitudes. It
Some of them, to the left of the pidure, are dancing
claiming their joy at his fall
by
beating and
Literature and Art.
Near them another
are dancing to the tune
monkeys
of
playing fome game like that which we now call the thimble-rig.
great drum.
alfo executed
Breughel
feries
of fimilarly grotefque
engravings,
and vices, fuch
&;c.
as
Thefe bear tne
Demons.
of 1558. They are crowded with figures equally grotefque wAi

would be almolt
great part of which
thofe juft mentioned, but
to defcribe.
give two examples from the engraving of
imix)fiible
" Sloth,"
it
date

Pride {Jupcrbia), Courage (Jortiludo), Sloth {dtfidia),
Strange
Three of
No. 156,
reprefenting in this lame fantaflic manner the virtues
No. 156.
The
variety of their
mountebank tricks are going on in dirt'erent parts of the fcene.

thefe playful aftors are reprefented in our cut
is
in the accompanying cut
(No. 137).
From making up figures from parts of animals, this early Ichool ot
of inanimate things,
grotefque proceeded to create animated figures out
fuch
as
machines,
-t>her fuch articles.
implements of various
kinds, houlehold utenhls,
German artill, of about the fame lime
as
and
Breughel,
294
has left us
intended
as an
Angular feries.of
etchings of this defcription, which
allegorical fatire on the folhes of mankind.
No. l^J.
is here
of fuch
Grotefque
Imps
are
The allegory
of Sloth.
fingular charafter, that we can only guefs at the meaning

of thefe ftrange groups through four lines of German verfe which are
Aô. 158.
attached
to each
reprefented
of them.
In
The
Folly of Hunting.
this manner we
in our cut. No. 158, which
is the
learn
fecond
that the
group
in this feries, is

intended
as a
fatire upon thofe who wafte
the verles tell us, they
295
their time in hunting, which,
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,
aimtd againft thofe who fail in attaining virtue or honour through

It
Others follow, but I will only give one more example.
llueo-ilbncfi.
IVaJIcfulnefi
to
Youth.
thofe who pradice waftefulnefs in their youth, and thus
of pity and fcorn in old age.
of the allegory c(jntained in the
Whatever may
engraving,
is
become obje6tfi
7'Ae
it
be aimed againft
59.
of
i\o.
be the
point
certainly far-fetched,
and not very apparent.
This Gernian-Flemifti fchool of grotefque does not appear to havehad ceafed to flouriOi in the
outlived the fixteenth century, or at kaft
it

forms our cut No. 159, and appears, from the verfes accompanying
it,
is
century following.
But the tafte for the diabltnric of the Temptation
296
fcenes pafled into France and

more
Italy, in which countries it afTjmed
much
refined charafter, though at the fame time one equally grotefque
Thefe artifts, too, returned to the original legend, and

Daniel Rabel, a French artift,
gave it forms of their own conception.
who lived at the end of the fixteenth century, publifiied a rather remarkable
of the " Temptation of St. Anthony," in which the laint
and imaginative.
engraving
of the pidure, kneeling before a mound on which

three demons are dancing. On the right hand of the faint ftands a naked
appears on the right
woman, Iheltering herfelf with
a parafol,
and tempting the faint with her
The reil of the piece is filled with demons in a great variety of

Another French artift, Nicholas Cochin, has left us
forms and poftures.
two "Temptations of St. Anthony," in rather fpirited etching, of the
charms.
In
earlier part of the feventeenth century.

fented kneeling before
and charming temptrefs
the firft, the faint is repre-
The youthful
crucifix, furrounded by demons.

is here drelfed
in the richeft garments,
and
higheft ftyle of fafiiion, and diiplays all her powers of fedu6tion.

body of the pi6ture
figures,
in grotefque
is,

the middle
ufual, occupied by multitudes
In
forms.
tation of St. Anthony,

in his prayers
as
the
Cochin's
faint
the female figure
other pidure
is reprefented
as
The
of diabolical
of the Temp-
hermit
the
engaged
of voluptuoufnefs {voluptas) occupies
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
in Brittany, in i/,93, and died
at
at
Nancy,
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
thofe
is
known, indeed, to have worked diligently
at it.
They refemble
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
No.
One of Callot
The Demon Tilter (Callot).
1 60.
demons is reprefented in our cut
ate m.our.tcd on nondcfcript animals,

diarater, and fuch
is the cafe
No. 161.
tilt
at
the faint with
;i
Many of them
of the mofl extraordinary demoniacal
Unetijy
his tilting
iLLwaul
No. 160.
of the demon in our cut, who
lure, his eyes well furnilhed with
No. 161, we give
example.
an
is
running
Ri'irtg (Cullot).
fpear in his hand, and, to make

a
pair of fpeftacles.
i vainplc (it the
figures
more
In uur next cut,

in Callot's
peculiai
Hiflory of Caricature and Grofefque
298
The demon in this cafe
dialhrie.
riding very uneafily, and, in fa6t,
is
of being thrown. The fteeds of both are of an anomalous

the firft is a fort of dragon-horfe ; the fecond a mixture of a
feems in danger
character J
lobfter,
a fpider,
and
XV.
it,
writer of the reign of Louis

or, as he calls
" fantatlic
"to Callot,
to give
of Callot's efpecially
one
as
well
the art-colle6tor and art-
as artift,
confiders
this grotefque,
and comic chara6ter," as almoft neceffary
of the Temptation
the' pi6tures
Marietta,
craw-fifli.
of St. Anthony, which
" It
fubjefts.
yenoM^
he
treats
was allowable,"
tlight to his imagination.
to
as
he fays,
The more his fidions
were of the nature of dreams, the more they were fitted to what he had
it
vafl number of figures.
by fome of thefe.
On one fide,
in different occupations.
Others are fcattered
as
there, others are occupied in
here,
dance
devil
playing
all fuch grotefque
In
our two examples would lead the reader to expe6l.
the fecond
of the plate, and the field
covered
with
the upper part
occupies
Is
is
of Callot's "Temptations," which

dated in 1635, and muft therefore
have been one of his lateft works, the fame figure vomiting the demons
prodigious number of imps, more hideous in their forms, and more varied
hoft of demons
St. Anthony
gained
fo
torments are prepared
are dragging the faint to
Callot's
for him.
great
artift's
a
Below,
extraordinary attitudes, than in the fame
their
a
in
firfi:
defign.
place where new
prints of the Temptation
of
reputation, that imitations of them were
fubfequently publilhed, fome of which
fo far approached
his ftyle, that
of the Temptation
ftiall
quote,
The laft gn.'at artift whofe treatment

Salvator Rofa, an Italian
by
founded upon Italian art.
ftyle
Frenchman, ftudied and flourifhed in Italy, and his

is
Callot, though
they were long fuppofed to be genuine.
is

figures
about
demoniacal party are drinking
together, and pledging each other in their glaflfesj
on the guitar
fantaftic
is
cavern, tormented
is
feen at the entrance
is
The faint
Above
of
being who vomits thoufands of demons.
of St Anthony
Temptation
of the
filled with
prmt
It
rare.
larger
a
IS
is
Callot's firft and
is
For the demon intending to torment St. Anthony,

to be
fuppofed that he muft have thought of all the forms moft hideous, and
moft likely to ftrike terror."
to exprefs.
h\nh.
Literature and Art.
/;;
who flourilhed
in
middle of the feventeenth century.
the
according to fome opinions,

it
is
bolder in defign.
299
is
refined from that of Callot
Our. cut No.
M).
6i.
&.
162 reprefents
Anthony
at
His ftvie,
all events,
St. Anthony
protett-
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
Grotefque
XVIII.
CHAPTER
HIS
CALLOT's ROMANTIC HISTORY.
CALLOT AND HIS SCHOOL.
"
" CAPKJCI," AND OTHER BURLESftUE WORKS.
THE " BALLI
AND
EXAMPLES
IMITATORS OF CALLOT ; DELLA BELLA.
THE BEGGARS.
ROMAIN DE HOOGHE.
OF DELLA BELLA.
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
THE
art
new charafter to this art, but alfo to bring in
not only to give
ftyle of caricature
and burlefque.
native
new
This was the celebrated Jacques Callotj
of Lorraine, and defcended
from
noble Burgundian
His father, Jean Callot, held the office of herald of Lorraine.
family.
Jacques

was born in the year 1592,* at Nancy, and appears to have been deftined
for the church, with
view to which his early education was regulated.
But the early life of Jacques Callot prefents a romantic epifode in the
While yet hardly more than an infant, he
hiftory of art afpirations.
feized
every
drawing, and
for
his
of neglefting
opportunity
more
he difplayed efpecially a very
artiftic
people he knew.
talent
was
Ihown
ferious
ftudies
precocious
principally
to
pratife
tafte for fatire,
in caricaturing
all
the
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
of Lorraine, gave him leflbns, and his fon, Ifrael
Henriet, formed for him a boy's friendfhip. He alfo learnt the elements
painter to the court
* This is the date

"Recherthes sur la Vie
fixed
et les
by Meaiime, in his excellent
Oiivragcs
de
work on Callot, entitled

Jacques Callot," 2 torn. 8vo., i860.
Art.
in Literature and
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
of
pupil
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 afterwards Claude
Henriet dying, his fon Ifrael went to Rome, and his
from thence had no lefs

than the converfation
was fo ftrong,
mind of the young artilt
effe(5l on the
of Bellange.
that, finding
his
at
lettr^rs
Nancy,
Indeed the pallion of the boy for art

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
His life among the gipfies, which
lalted leven or eight weeks, appears to have furnifhed food to his love of
Florence, he joined their company.

burlefque and caricature,

in
at
and he has handed down to us his imprefhons,
of four engravings of fcenes in gipfy life, admirably executed

rather later period of his life, which are full of comic humour.
feries
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
fludio of Remigio
to the
Canta
This artifl gave him inflru6fions in drawing and engraving, and

fought to correft him of his tafle for the grotefque by keeping him
Gallina.
employed upon ferious fubjefts.

After ftudying for fome months under Canta Gallina, Jacques Cnllot
k-ft
Florence, and
Henriet
proceeded
Rome,
but he had hardly arrived,
fireets by fome merchants

tears and
to
when
his old friend
he was
recognifccl
Ifnul
in
the
from Nancy, who took him, and in fpite of his
refiflance, carried
kept to his fiudies more
to feek
him home to his parents.
f^ri^tly than
ever, but
nothing could overcome
his palfujn for art, and, having contrived to lay by fome
lliort intcnal he again ran away from home.
He was now
money,
aliir
This time he took the road
of Caricature and
Hijio'^y
302
Qrotefque
Mont Cenis, and he had reached Turin when he
to Lyons, and croffcd
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
III.,
Charles
1607,
and
copy
of
portrait of
duke of Lorraine, to which he put his name and the date
which,
it
though
difplays
confiderable intereft at the time.
little
ikill
in
engraving, excited
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.
Charles
The circumftances
IIL,
of the moment were efpecially favourable.

Henry H.,
duke of Lorraine, was dead, and his fucceffor,

an embafly to Rome
was preparing to fend
to announce his
acceffion.
Jean Callot, by his pofition of herald, had fufficient intereft to obtain for
his fon an appointment
ftarted for Rome
in the ambalTador's
retinue, and Jacques Callot
on the ift of December, 1608, under more favourable
aufpices than thofe which had attended his former vifits to Italy.
Rome
Callot reached
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
painter, and another Lorrainer,

began to feel the want
engraver,
Claude Dervef.
After
probable
pupil of that
time, Callot
of mone}', and obtained employment of
then refiding in Rome, named Philippe Thomaffin,
French
with whom
he worked nearly three years, and became perfeft in handling the graver.
Towards
the end
of the year
Callot went to Florence, to place

Parigi, who then flouriihed there as a painter and
himfelf under Julio

engraver.
a great
161 1,
Tufcany was at this time ruled by its duke Cofmo de' Medicis,
lover of the arts, who took Callot under his patronage,
the means to advance
himfelf.
giving him
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
ever.
admiring the talent
Although Parigi blamed

he could not help
In 1615, the grand duke gave
betrayed.
great
a
than
it,
ftronger
it

that he ftudied under Tempefta, with Henriet, who was
than
encertainment to the prince of Urbino, and Cal'ot was employed to make
in Literature and
engravings of the feftivitiesj

defigns
by whicii
Art.
;o3
it was his tirll commencement
he afterwards attained great
in
of
clafs
In the year
celebrity.
following, his engagement with Parigi ended, and he became his ow:i
The firlt
He now came out unfettered in his own originiility.
mailer.
new kind of dtligns, to which he gave the name ot
feries of which appeared about the year 1617, under the
fruits were feen in

'
Caprices,"
title
of"
Callot re-engraved them at Nancy in
Caprici di varie Figure."
later years, and in the new title they were ftated to have been originally
In a (Tiort preface, he fpeaks of thefe as the tirtl of
engraved in 1616.

his works on which
AV. 163.
examples of the fanciful creations

they
doubt preferve
no
manners
in
reprefents
is
fmgular
feftivals,
imagination, but
ceremonies,
and
which muft have been then familiar

is
would, doubtlefs, be received by
copied
cripple fupporting himfelf on
Our cut No. 164
lling.
moft grotefque
and thefe engravings
One
us as
Cri[)plc.
many trails of the
them with abfolute delight.

reprefents
A
of
of that land of mafquerade,
to the Florentines
They now ftrike
value.
he fet any
in
our cut
No.
163
it
fliort crutch, with liis right arm
another example from the fame fit, and
malked clown, with his left hand on the hilt of his dagger,
or perhaps of
wooden fword.
From this time, altliough he was very
induftrioua and produced much, Callot engraved only his own defigns.
304
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

his lines, and for the life and fpirit he gave to his figures.
iVo. 164.
efpecially in the extraordinary
of
His talent lay
Grotefque Majkcr.
Ikill with which he grouped together
of diminutive figures, each of which preferved its proper

The great annual fair of the Impruneta was
and full adtion and efFe6t.
great
numbers
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
Callot engraved a large pidure of this fair, which
outlkirts of Florence.
The pifture embraces an extenfive fpace of
is abfolutely wonderful.
ground, which
is covered
in groups, in different
with hundreds of figures, all occupied, fingly or

manners,
converfing, mafquerading, buying and
felling, playing games, and pertbrming ui various ways; each group
or
i?i
Literature and Art.
?Os
This engraving produced quite a fenfation,

ind it was followed by other pidures of fairs, and, after his tinal return
it anew.
to Nancy, Callot engraved
It was this talent for grouping
tigure
is a
pidure in itlelf.
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
of Lorraine, afterwards duke Charles IV., and perfuaded to

He arrived at Nancy in 1622, and began
return to his native country.
by Charles
It
adivity even than he had difplayed before.
was not long after this diat he produced his fets of grotefques, the Balli
The firli of
(or dancers), the Gobbi (or hunchbacks), and the Beggars.
to work there with greater
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.
two prominent figures are their names, now unintelligible,

time no doubt well known on the comic ftagc
the couple given in our cut

plate
which
No.
of the feries, the perfonage
16^,
which
is
at
Beneath the
but at that
Florence.
Thus, in
taken from the fourth
to the left is named Smaraolo Cornuto,
means fimply Smaraolo the cuckold
and the one on the right is
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
called Ratfa di Boio.
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 Canzone 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
No.
another of Callot's
66, reprefents
from the firft
" Caprices,"
or the Balli.
No. 165.
a fet

" Caprices," from
of the Gipfies, already alluded
at Nancy, was included
3, the halt
in four plates, the
A Caprice.
fubjefts of which were feverally i, the gipfies

;
differing
The Gobbi, or hunchbacks, form
and the fet
No, 166.
guard
a fet
Smaraolo Cornuto. Ratja di Bcio.
of twenty-one engravings
to, which was alfo executed
Grotefqiie
and 4, the preparations
travelling
for the feaft.
2, the
avant-
Nothing could
in Literature and
Art.
Z^^l
be more truthful, and at the lame time iiiore comic, than this laft fet
of
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
fubjeds.

all kinds were claflified in thofe days whofe part it was to appeal to
In the Englifh flang
charity by wounds and fores artificially reprefentcd.
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
" Englifli Rogue," by Head and Kirkman. The falfe cripple
period, the
in our cut is holding
up his leg to make
difplay of his jjretended
infirmity.
Caliot remained
the
at
N'ancy, with merely temporary abfences, during
remainder of his life.
drawing and engraving the
"
In 1628, he was employed at Uruficis in

Siege of Breda," one of the moil finilhed ot
his works, and he there made the pcrfonal accjuaintance
of Vandyck.
Early
HiJIory of Caricature and
308
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
About two years after this, Callot died, in the prime of life,
on the 24th of March, id'^^.
Guerre."
is
The fame of Callot was great among his contemporaries, and his name
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.

imitators, the moft fuccefsful and
Delia Bella
and,
the
moft diftinguiihed
Among thefe
was
Stephano
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
As he grew up, he Ihowed, like Callot himfelf, precocious

talents in art, and of the fame kind.
He eagerly attended all public

poverty.
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
very
early
period of his purfuit of art by the ftyle of Callot, of which, at firft, he

was a fervile imitator,
liarities, and adopted

upon that of Callot.
but he afterwards
abandoned
fome of its pecu-
ftyle which was more his own, though ftill founded

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

As Callot's afpi rations had been direded towards Italy, thole of
fubjeds.
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
acquaintance of Rembrandt.
the
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
In
quite in the grotefque ftyle of Callot.
of
marriage
the
duke
grand
engravings of the
different
1637, on the occafion
II.,
Ferdinand
Delia
publillied
reprefentcd, or performed, on that
fcenes
Thefe were effeded by very elaborate
occafion.
Bella
of the
maciiincry,
and
were
reprefented in fix engravings, the fifth

and
Inferno),
furies, demons,
reprefents
<pdnta)
and
might have found
is
{d'
filled with
witches, which
place in Callot's
is
"Temptation of St. Anthony."

A fpecimen of thefe given in our
a
cut No. 168

upon
naked witch feated
fkeleton of an animal that
might have been borrowed from fome

diftant
1642,
fmall
geological
Delia Bella executed
" Caprices,"
confiding of
In
period.
a
far
set
No.
of
thirteen
168.
Afyilch
Mounted.
plates, from the eighth
of which
our cut No. 169.

reprefents
beggar-woman, carrying one
child on her back, while another
In this
ftrctched on the j^round.
is
It
we take
of fubjeds Delia Bella imitated Callot, but the copyifi never fiicceeded in equalling the original.
His beft ftyle, as an original artifi of
burlefijue and caricature,
ftiown in
ciafs
is

hell
{fcena
of which
fet
of five plates of Death carrying
3IO
The fourth
in 1648.
away people of difFerent ages, which he executed
of thisfet is copied in our cut No. 170, and reprefents Death carrying
off, on his Ihoulder,
young woman, in fpite of her ftruggles to efcape
from him.
With
the
clofc of the feventeenth century thefe
No. 169.
fcenes began

mafquerade
"Caprices"
and
Beggary.
to be no longer in vogue, and caricature and
burlefque affumed new forms;
but Callot and
followers, and their examples had
Delia Bella had many
lafting influence upon art.
We mutt not forget that a celebrated artift, in another country, at the

end of the fame century, the well-known Romain de Hooghe, was produced from the fchool of Callot, in which he had learnt, not the arts of
burlefque and caricature, but that of skilfully grouping
figures,
efpecially
malfacres,
in fubjefts
reprefenting
epifodes
multitudes
of
of war, tumults,
and public proceffions.
Of Romain
de Hooghe
we fhall have to.fpeak again in a fubfequent
of engraving had made great advance on the

Continent, and efpecially in France, where it met with more encourage-
chapter.
In
his time the art
ment than elfewhere.
In England
lefs progrefs, and was in rather a
that of portraits.
the feventeenth
Of
this art had, on the whole, made much
low condition, one branch only excepted,
the two diftinguiftied engravers
century, Hollar was
in England during
Bohemian, and Faithorne, though
/";/
an Englifhman,
Literature ami Art.
learnt his art in France.
311
We only began to have an
Englilh fchool when Dutch and French engravers came in with King

"William to lay the groundwork.
No.
1*70.
Dfath carrying off hh Prey.
Hijiory of Caricature and Grot ej que
2
] I
CHAPTER XIX.
THE SATIRICAL LITERATURE OF THE SIXTEENTH CENTURY.
PASQUIL.
MACARONIC
POETRY.
THE EPISTOL^
OB5URORUM
VIRORUM.
RABELAIS.
COURT OF THE aUEEN OF NAVARRE, AND ITS LITERARY
CIRCLE ; BONAVENTURE DES PERIERS.
HENRI ETIENNE. THE LIGUE,
fixteenth century, efpecially on the Continent, was
THE
fort of violent
fatire.
agitation which
is
period of that
moft favourable to the growth of
Society was breaking up, and going through
of decom-
a courfe
pofition, and it prefented to the view on every fide fpeftacles which provoked the mockery, perhaps
more than the indignation,
of lookers-on.

Even the clergy had learnt to laugh at themfelves, and almoft at their own
religion
and people who thought
oi reflefted were gradually feparating
into two claffes thofe who caft all religion from them, and rulhed into a
jeering fcepticifm, and thofe who entered ferioufly and with refolution into
the work of reformation.
The latter found moft encouragement among
the Teutonic nations, while the fceptical element appears to have had its
birth in Italy, and even in Rome itfelf, where, among popes and cardinals,
religion had degenerated
At
into empty forms.
fome period towards
the clofe of the tifteenth century,
mutilatec'
ancient ftatue was accidentally dug up in Rome, and it was erefted on

pedeftal in
a place not
far from the Urfini Palace.
Oppofite it flood the
of a flioemaker, named Pafquillo, or Pafquino, the latter being the form

moft commonly adopted at a later period.
This Pafquillo was notorious
Ihop
as a facetious
fellow, and his fh
>p
was ufually crowded by people
went there to tell tales and hear news j and,
as
who
no other name had been
Art.
in Literature and
-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,
pofuions in Latin or Italian, moftly of
and other Ihort com-
perfonal charadler,
in which
the
writer declared whatever he had feen or heard to the difcredit of fomebody,

and
were publiOied by depofiting them with the ftatue,
thefe
One of the Latin epigrams
they were taken and read.
thefe fliort perfonal fatires
againft committing
which pleads
to print, calls th time at
which it was ufual to Oompofe them Pafquil's feftival

Jam
whence
redU Ula dies m qua Romana ju-ventui
Pafqu'iHl fejium
cvans.
concelcbrab'it
Sed verfus Imprejfos ohjecro ut edcre omittas,

Nt noceant Iterum qua mcuere fcmel.
The feftival was evidently

foldiers of Xerxes,"
" were
favourite one, and well celebrated.
fays another epigram,
not fo plentiful as the paper beftowed upon me
bookfellcr
"
Armigerum Xcrxi
ânta
in
placed
The
non copia tanta
foon given
depofited with the ftatue, and eventually

another, which
lampoon
I ihall
foon become
papyri
Marforio.
to
papers which
the
were
pafquil, or pafquin, was only
Not far from this ftatue ftood
or libel.
was found in the forum
was thence popularly called
Pafquil's mouth,
mihi : Jiam bibllopola Jiatim.
name of Pafquil was
another name for
" The
of Mars {Mar lis forum), and

Some of thefe fatirical writings
were compofed in the form of dialogues between
Pafquil and Marforio,
or of meftliges from one to the other.
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.
in two lines upon pope Alexander
Tarquin had been
VI.
Thus we are reminded
{fexlus),i\\e
infamous Borgia, that
Scxtus, and Nero alio, and now another Scxtus was
Pasquillorum Tom! duo."
ElcutluTopoli,
MrYi.ijii.
at the head
a
Hi/iory of Caricature and Grotefqiie

of the Romans, and told that Rome was always ruined under
Sextus
De Alexandre
VI.
Pont.
Sextus Tarquirtius, Sextus Nero, Sextus et ifle :

Semper fub Sextis perdita
The following
is
for
given
Alexander's profligate daughter
an
Romafuh.
epitaph on
Lucretia
Borgia,
pope
Hoc tumulo dorm'it Lucretia nomine, fed re

Thais, Alexandri flia, fponja, nurus.
rather later date, Rome, addreffing herfelf to Pafquil, Is

made to complain of two fucceflive popes, Clement VII. (Julio de Medicis,
and Paul III. (Alexandro Farnefe, 1534- 1549), and alfo of
In another of
1^23-1534)
"I
Leo X. (1513-1521).
am,"
Rome
fays,
" fick enough with the
of the
phyfician (Medicus, as a pun on the Medicis), I was alfo the prey
lion {Leo), now, Paul, you tear mv vitals like a wolf. You, Paul, are not
wolf, fince you tear
a god to me, as I thought in my folly, but you are a
"
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
pun in Greek
"Once, Rome," it
(in the words Paulos, Paul, and Phaulos, wicked).
"
lords of lords were thy fubjefts, now thou in thy wretchednefs art
fays,
fubjed to the ferfs of ferfs
once you liftened to the oracles
of St. Paul,
but now you perform the abominable commands of the wicked
"
tibi fuberant domini dominorum,

Ser-vorum Jer-vis nunc miferanda fubes ;
Audifii quondam di-vini oracu/a UauXov,
At nunc T(i)>'4>avX<ovjujpi nefanda facis.
Sluondam, Roma,
The idea, of courfe,
is the
contrail:
of Rome in her Pagan glory, with
Rome in her Chriftian debafement, very much the fame
as
that which
in Literature and
Art.
ftruck Gibbon, and gave birth to his great hiltory
ot'
RoniC"s "dechne and
fall."*
The pafquils formed a body of fatire which ftruck indifcriniinately at
everybody within its range, but fatirifts were now rifing who took for
their fubjeds fpecial cafes of the general diforder.
fociety prefented an external glollinefs, a mixture
tion, which
offered
view it was taken.
fiibjeds
Rotten
the heart,
at
of pedantry and affecta-
for ridicule in whatever point of
enougli
The ecclefiaftical body was in
of fermentation,
a ftate
of which new feelings and new doctrines were about to rile. The
old learning and literature of the middle ages remained in form after
out
their fpirit had palTed away, and they were

and unfuccelifuUy
new learning and literature of
againft
and healthier charadter.
now contending clumfily

a more
refined
Feudalifm itfelf had fallen, or it was flruggling
vainly againft new political principles, yet the ariflocracy clung to feudal
forms and feudal allumptions, with an exaggeration which
for an
appearance
of flrength.
this falfe feudalifm,
of chivalry
romances

from
falhion
the
form
the
or
the vernacular
literary
for reading
mediaeval
the moft barbarous,
later into
the
while the churchmen
the language in which
rupting
into
was
Among
the
was meant
of
affe6tations
long,
dry, old
and fchoolmen were cor-
learning had been expreffed,

words
introducing
compounded
Thefe peculiarities were

Italy, where this clafs of fatire
tongue.
among the firft to provoke literary fatire.
originated, gave it its name alfo, though it appears
llill
to be a matter of
doubt why it was called macaronic, or in its Italian form maccharouea.

taken from the article of
Some have confidered this name to have been

food
called macaroni,
attached}
to which
while others pretend that
word macarone, which meant

may,
what
the
is
Italians were, and flill are, fo much

it was
derived from an old Italian
lubberly fellow.
called macaronic compofition,
Be this, however,
which
confifts
as
it
in giving a
* Pavjuil and Pasquin became, during the latter part o\ the sixteenth and the
whole of the seventeenth centuries, a well-known name In French and Enjjiish
literature. In En(jli'-h popular literature he was turned into a jistcr, ami a liodk
was published in 1604 under the title " Pasquil's Jests; with the Merriments of
Mother Bunch. Wittie, pleaant, and delightfull."
Grotefque
Latin form to words taken from the vulgar tongue, and mixing them
with words which are purely Latin, was introduced in Italy at the clofe
of the fifteenth century.
Four Italian writers in macaronic verfe
are
known
to
have
lived
before the year 1500.* The firft of thefe was named Foffa, and he tells
" Vigonce," on the fecond day of
us that he compofed his poem entitled
It was printed in 1502. Balfano, a native of Mantua, and
May,
1494.
macaronic which bears no title, was dead in 1499 5 and

another, a Paduan named Fifi degli Odaffi, was born about the year 1450.
Giovan Georgio Allione, of Alii, who is believed alfo to have written
the author of
during the laft ten years of the fifteenth century,
is a
name better known
through the edition of his French works, publillied
by
Monfieur
J.
C.
All thefe prefent the fame coarfenefs and vulgarity of

Brunet in 1836.
fentiment, and the fame licence in language and defcription, which appear
neceifary charaderillics of macaronic compofition.
to give fupport to the derivation of the name from
to have been taken
Odaffi
appears
as
macaroni, by making the principal charader of his poem
fabricator of that
article in Padua
EJl
uttus in
Padua natus fpeciale cujinus.

In maccharonea frincepi
bonus
atquc magijlcr.
But the great mafter of macaronic poetry was Teofilo Folengo, of

whofe life we know juft fufficient to give us a notion of the perfonal
Folengo was defcended from
a noble family, which had its feat at the village of Cipada, near Mantua,
where he was born on the 8th of November, 1491, and baptifed by the
charafter of thefe old literary caricaturifts.
He purfued his ftudies, firft in the univerfity of

Ferrara, under the profelTor Vifago Cocaio, and afterwards in that of
name of Girolamo.
Bologna, under Pietro Pomponiazzo
* The
or rather, he ought to have purfned
great authority on the history of Macaronic literature is my excellent

friend Monsieur Octave Delepicrrc, and I will simply refer the reader to his two
" Macaroneana, ou Melanges de Litterature Macaronique
valuable publications,
" Macaroneana," 4to.,
des difFerents Pcuples dc TEurope," 8vo., Paris, 1852 ; and
1863 ; the latter printed for the Philobiblon Club.
in Literature and
them, for his love of poetry, and
negled
them, and
Art.
of character,
his gaiety
length his irregularities became
at
led him
fo great,
home, and he left it alfo, and appears to have fubfequcntly led

during part of which he adopted the profellion of
took refuge in
became
Benedictine
convent
relaxed, and the
monks
to
appear
have
to
he
wild life,
foldier, until at length
Brefcia,
near
The difcipline of this houfe
monk.
He was ill received at
was obliged to make a haliy flight from Bologna.
he
that
had
in
1507,
entirely
become
lived very
and
licentioufly
and
Folcngo, who, on his admilhon to the order, had exchanged his former
baptifmal name for Teofilo, readily conformed to their example.
Even-
tually he abandoned the convent and the habit, ran away witli
named Girolama Dedia, and for fome years he led
monk, and remained in it until his death, in the
He
December of 1544.
talents, and
wandering, and, it
Finally, in 1527, he returned to his
would feem, very irregular life.

old profelhon of
lady
is faid to have been
rtory is told
extremely vain of his poetical
of him which, even if it were invented, illuf-
well the character which was popularly given to him. It is faid

that when young, he afpired to excel in Latin poetry, and that he wrote
When,
an epic which he himfelf believed to he fuperior to the yEneid.
trales

however, he had communicated
the
the bifliop ol
work to his friend
Mantua, and that prelate, intending to compliment him, told him that
he had equalled Virgil, he was fo mortified, that he threw the manufcript
that time
fire, and from
on the
devoted
his
talents entirely
to
the
compofition of macaronic verfe.

Such was the man who has juftly earned
the reputation
of being the
When he adopted this branch of literature,

while he was in the univerfuy of Bologna, he alfumed in writing it the
name of Merlinus Cocaius, or Coccaius, probably from the name of his
printed poems confift of i. The Zaniat Ferrara.
firft of macaronic poets.
Folengo's
proftflbr
tonella,
Zanina
a
;
2,
the macaronic romance
mofl remarkable work

flies and the ants
-The
the love
in feven eclogues, defcribing
paftoral
.3,
and 4,
firft edition
the
a
of Tonellus for
of Baldus, Folengo's principal and
Mofchsa, or dreadful battle between the
book of Epiflles and Epigrams.
of the Baldus appeared
in
1517.
It
is
fort of
318
of chivalry^ and cotoblnes
parody on the romances

which,
everything,
poUtics,
It
fcience
as
remarked, fpares
has been
In
fantafies.
phantafice,
jovial latire upon
neither
rehgion
nor hterature, popes, kings, clergy, nobility,
of twenty-five cantos, or,
confifts
Grotefque
or people.
they are termed in the original,
we are told of the origin of Baldus.
the firfl;
There was at the court of France
as
flor
a famous
knight named Guy, defcended
from that memorable paladin Renaud of Montauban.

fliowed
particular
efleem for Guy, had alfo
The king, who

daughter of furpaffing
beauty, named Balduine, who had fallen in love with Guy, and he was
equally amorous of the princefs.
In the fequel of
grand tournament,
Guy has diftinguilTied himfelf greatly, he carries off Balduine,

and the two lovers fly on foot, in the difguife of beggars, reach the
at which
Alps in fafety, and crofs them into Italy.
of Brefcia, they
At Cipada, in the territory
are hofpitably entertained by a generous
peafant named
Berte Panade, with whom the princefs Balduine, who approaches her time
of confinement,
is
left
marquifate for her.
while her lover goes forth to conquer
After his departure Ihe gives birth to
named Baldus.
Such,
Folengo's hero, who
is
is

as
told in the fecond canto,
at
leafl
fine boy, which
is
the origin
of
deftined to perform marvellous afts of chivalry.
The peafant Berte Panade has alfo a fon named Zambellus, by a mother
who had died in childbirth of him.
Baldus paffes for the fon of Berte
alfo, fo that the two are fuppofed to be brothers.
Baldus
is
fucceflively
of extraordinary adventures, fome low and vulgar,

others more chivalrous, and fome of them exhibiting a wild fertility of
led through
a feries
imagination, which are too long to enable me to take my readers through

them, until at length he is left by the poet in the country of Falfehood and
Charlatanifm,
Thus
is
inhabited by aftrologers,
hero Baldus dragged
necromancers,
and poets.
a great
number of marvellous
fome of them vulgar, many of them
ridiculous, and fome,
is the
accidents,
which
through
again, wildly poetical, but all of them prefenting, in one form or other,
an opportunity for fatire upon fome
of
his age.
it
of the follies, or vices, or corruptions
The hybrid language in which the whole
Angularly grotefque appearance
yet from time to
paffages which fliow that the author was capable
is
written, gives
time we have
of writing true poetry.
ifi Literature and

although it
is
mixed with
of coarle and licentious ideas,
groat amount
Art,
What we may term the fiUh,

The
large proportion of the Italian macaronic poetry.
exprelTed no lel5 coarfely and licentioufly.
indeed, forms
of Zanitonella
partoral
prefents,
be
might
as
expe6ted,
more
poetic
beauty than the romance of Balbus.
As an example of the language

of the latter, and indeed of that of the Italian macaronics in general,
give
few lines of
canto, with
defcription of
literal tranflation
ftorm at fea, from the
twelfth
'Jam gridor aterias hominum concujjit abyjjos,

Serttiturque ingcns coriarum jir'idor, et ipfe
Pen! us habet pavidos fultus, mortijque color es.

Nunc Slrcchus hahet palmam, nunc Borra Juperchlat
Jrrugtt jjdjgus, tangit
quoque
JluSibus aftra,
Fulgure Jiitmm'tgero creber lampe%at Olympus ;

Vela for ata m'lcant crcbris lac cr at a balotlis ;
Hcrrendam
nautis ea cunEla minazzant.
mortem
Nunc Jbal%ata ratis celjum tangebat Olympum,

Nunc fubit infernam undajbadacchiantepaludem.
TKANSLATIOX
Noiv

jind
the clamour
men Jhook the ethereal abyffcs,
of the
the mighty crashing
of the
ropes is
Sea has pale looks, and the hue
Noio
the Sirocco has the
felt,
and the -very
cf death.
palm, noiv Eurus exults
o-vcr
it ;
The Jea roars, and touches the flars -with its iva-ves,
Olympus continually blazes out "with faming thunder.
The pierced fails glitter torn ivith frequent thunderbolts ;
to the jailors.
thefe threaten frightful death
yill
Nvw the [hip toffed up touched the

Now, the tva-ve yaivning, ii Jinks
Teofilo Folengo was followed by

will be fufficient to ftate that he
as above thofe
writers, named
{lands
who preceded him.

Bartolommeo
top
of
Olympus,
into the injernal lake.
number of imitators, of whom it

in talent
as
far above his followers
One of thefe minor Italian macaronic
Bolla, of Bergamo, who flourillicd
in
the
latter half of the fixteenth century, had the vanity to call himfelf, in the
age
i" but
"
Apollo of poets, and the Cocaius of this

modern critic has remarked of him that he is as far removed
title of one of his books,
the
320
from his model Folengo,

Siberia.
and Grot efque
native town
as his
Bergamo
An earher poet, named Guarino
Capella,
is
a
diftant from
native of the
town of Sarfina, in the country of Forli, on the borders
of Tufcany,
approached far nearer in excellence to the prince of macaronic writers.
of " Cabrinus, king of

Gagamagoga," in fix books or cantos, which was printed at Arimini in
1526, and is now a book of exceflive rarity.
His work alfo
The
tafl:e
is
mock romance,
for macaronics
the hiftory
palTed rather early,
like all other fafhions in
that age, from Italy into France, where it firfl brought into literary reputation
man who,,
if
he had not the great talent of Folengo, poffeffed
very confiderable amount
of wit and gaiety.
Antoine de la Sable, who
Latinifed his name into Antonius de Arena, was born of a highly refpeftable family at Sobers, in the diocefe of Toulon, about the year i5oo> s^d,
being defl:ined from his youth to follow the profeflion of the law, fl,udied
He had only arrived at the
under the celebrated jurifconfult Alciatus.
fimple dignity of jiige, at St. Remy, in the diocefe
of Aries, when he
In fat, he appears to have been no very diligent

died in the year 1544.
Undent, and we gather from his own confeffions that his youth had been
rather wild.

of which
(as
title which
" Provencalis
de
The volume containing his macaronics,

far
the fecond edition
the editions are known) was printed in 1529, bears a

will give fome notion of the charader of its contents,
de
as
Iragardi/Jima villa
perfona friantes, bajjas danfas
de
et
Soleriis, ad
suos compagnones
Iranlas praSiicanies novellas,
quifunt
de
guerra
Romana, Neapolitana, et Genuenji mandat ; una cum ep'iflola adjalotijjimam
"
(i.e. a
fuam garfam, Janavi Rofceam, pro pajjando tempora
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, concerning the war of Rome, Naples, and Genoa
merry wench. Jeanne
Rofee, for paftime).
Arena traces in his burlefque verfe, which
with an epiftle to his mol

In the firft of thefe poems
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
/;/
us,
that they are all tine gallants, and always
in
tells
Literature and Art.
321
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
pafs over this
but
to fpeak
of Arena's
principal piece, the
defcription of the invafion of Provence by the emperor

entitled
is
This curious poem, which
iî^f^.
"
fatirical
Charles
V. in
Meygra Enterprila Cato-
loqui imperatoris," and which extends to upwards of two thoufand lines,
with
laudatory addrefs to the king of France, Francois I., and

fneer at the pride of the emperor, who, believing himfelf to be
with
a
opens
of the whole world, had foolillily thought to take away France

was Antonio
and the cities of Provence from their rightful monarch.
It
the mafter
and they had already pillaged and ravaged
de Leyva, the boafter, who had put this projed
into the emperor's head,
of Provence, and
good part
(land by the difficulty of fubfifting in
country, and by the difeafes to which this difficulty gave rife.

defcribed
the valiant refiftance
by
is
Neverthelefs, the Spaniards

tion, which
to
and their allies committed

Arena in ftrong language.
taken and facked, and he loft in

the imperialilbi at bay, while the
rency, eftablifhed
terrible devafta-
He commemorates
of his native town of Soliers, which, however, was

it
devaftated
his houfe and property.
Aries held
French, under the conilable Montmo-
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
The hrft lines of the defcription of this interview, will fcrve

fpccimen of the language of the French macaronics
Std
de
fort
Marjtlla
hragganu
quando retornat,
mate contentui, quando rcpoljat
cum,
Antinlum Lexiam trobavif Jorte naladum.

Cut mori lerribilis trijie cubile
at.
fir
as
bis fickneGi.
a

the invaders were brought
were dividing the plunder, when, harafled continually by the peafantry,

Ethica torquet
eum
achat eum.
'v'l'vere
eji
Dtxerunt medici, Jperanja

rutlla Jalutis
Ethkus in tejia vl-vere pauca poteji.
Ante Juam
voluit parlare per horam
mortem
Imperelatorl,
ct dolor mgens
per coflas,
Cum male res -vadk,
Grotefque
322
confiliumque dare.
Scis, Ccefar, jiriEie nojlr'i groppantur
amores,
Namque duas animas corpus utrumque tenet,

!
fuge Pro-venjam fortem, fuge llttus amarum,

Fac tibi non noceat gloria tanta modo.
Heu
TEANSLATION.
he returns
de Ley-va -very
HeSic fever tortures him

Since things are going
in
For luhom terrible death
ill.
preparing a forroivful
the ribs, and great pain
ill,
bed.
He found Antonio
from boajiing Marjeillesy
that flie had repulj'ed him.
he
lueary
of
content,
is
Very ill
is
But when
life.
hour
Before his death he ivijhed to peak an
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
and then dies.
Arena
injury
to you.
''^
the emperor to abandon
his enterprife,
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.
with vigour and humour, but his verfes are
The tafte for macaronic
tame in comparifon with his model, Folengo.
de Arena wrote
Antonius
verfe
never
took ftrong root in France, and the few obfcure writers who
by the laborious bibliographer.
One named Jean Germain,
wrote
attempted to fhine in that kind of compolition are now forgotten, except

macaronic hiftory of the invafion of Provence by the imperialifts in rivalry
will not follow the tafte for this clafs of burlefque compoli-
tion into Spain or Germany, but merely add that

authors employed
in
beginning of the feventeenth century, when feveral

at about the fame time.
The moft perfe6t example
of thefe early Englifh macaronics
is
the
was not adopted
it
England until
it
of Arenas.

Thus Leyva goes on to perfuade
not an
the
" Polemo-Middiana,"
i.e. battle
of
in Literature
the dunghill,
323
by the talented and elegant-minded
We
thornden.
Art.
a?2d
may take
of Haw-
fingle example of the Englilli macaronic

not need an Englilh tranflation.
One of the
will
from this poem, which
Drummond
female charaders in the dunghill war, calls, among others, to her aid
Hunc qui dirtiferas terjlt
Hunc qui gruelias
fcivit
Et Jaltpannifumos,
cum dijhclouty
dijhras,
bene Uckere plcttas,
et iviJebricatos
fjhtros,
Hellaofque etiam Jaltercs duxit ab antris,

CoalheughciS nigri girnanta more di-velli ;
Lifeguardamque
fibi fcevas
-vocat
Maggyam magis doEiam milkare
Et
imfroba lajfas,
covteas^
doElam jucpare jiouras^ et jlernere beddas,
ûtFque no-vit Jpinnare, et longas ducere threddas ;
Nanjyam,
Slyaque
Perhaps
before
this
cla-ves
bene quie keepa-verat
omncs,
lanam cardare jolet greajy-fingria Betty.
was
written,
eccentric
the
Thomas
publilhed in the volume of his Crudities, printed in 1611,

vcrfe, which
is
Coryat
fliort piece of
perfed in its macaronic ftyle, but in which
other foreign words are introduced,
as
well
as
Englifh.
had
Italian and
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,
will be neceffary to relate.
In the midft of the violent religious agitation at the beginning of the
which arofe from fome occurrences
which
fixtecnth century in Germany, there lived

corn, who embraced
Chriftianity,
it
German
Jew named Pfefler-
and to fliow his zeal for his new faith,
he obtained from the emperor an edift ordering the
Jewilli writings which were contrary
to the
Talmud and all the
Chriflian faith to be burnt.
There lived
at the fame
views
mod of the fcholallics of his time, named John Reuchlin.
than
He was
time
fcholar of diflindion, and of more liberal
of Melan6thon, and was fecretary to the pallgrave,

who was tolerant like himfelt.
The Jews, as might be expedted,
were
relative
unwilling to give
w^jtc in their defence,
up
their
books
to
be
burnt, and
Reuchlin
under the alTumed name of Capnion, which
is a
324
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
The converted Pfeffercorn replied in a book entitled " Speculum

Manuale," in anfwer to which Reuchlin wrote his " Speculum Oculare."
The controverfy had already provoked much bigoted ill-feeling
them.
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

and he ferved
bravery.
the profeflion
of
in the wars in Italy, where he was dillinguifhed
He was at Rome in
15 16, and
foldier,
by his
defended Reuchlin againft the
The fame year appeared the firft edition of that marvellous

book, the "Epistolae Obfcurorum Virorum," one of the moft remarkable
Dominicans.
fatires that the world has yet feen.
entirely from the pen of

himfelf, or any others
without foundation.
It
believed that this book came
is
Ulric von Hutten
of his friends, had
Ulric
was in the
and the notion that

a
Reuchlin
fliare in it appears
to
be
following year made poet-laureat.
Neverthelefs, this book greatly incenfed the monks againft him, and he
Yet he boldly advocated the caufe

and embraced the opinions of Luther, and was one of the ftaunch fupAfter a very turbulent life, Ulric von Hutten
porters of Lutheranifm.
was often threatened with aflaflination.
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
Reuchlin, and they were defigned to throw

ridicule on the ignorance, bigotry, and immorality of the clergy of the
bigoted party oppofed
to
Art.
in Literature and
325
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
Romilli church.
were admitted into the fchools, were explained and commented upon in a
Thefe old fcholaftics were bitterly oppofed
ftrange half-theological flifliion.
new learning, which had taken root in Italy, and was fpreading
to the
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,
old fcholarfliip and the new,
low licentious lives of the theologiftsj
and to the
a ftyle
to the rivalry between the
of Latin which
is
intended for
and they are written in
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
by
the
into details, treated
coarfe
and
in terms
which can only be excufed
licentious charater of the age.
fcientific queftions difculled in thefe letters are often

in order
of the correfpondents of Ortuinus
rather formidable name, Thomas

Ortuinus
as
The literary and
\erf droll.
The firft
Gratius, who boafls of the
Langfchneiderius,
and addreffes matter
"poet, orator, philofopher, and theologift, and more if he
would," propounds to him
difficult queftion
" There
dinner, and doctors, licenciates, and

was here one day an Aristotelian
too,
was
there
and we drank at the first courie
masters too, were very jovial, and I
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
honour. Then the n1a^te^s in their

hilarity began to talk learnedly on great questions, and one asked whether it were
acquitted
themselves
well and with
great
It consists merely in using

style differs entirely from the macaronic.
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,
yerte
was interrupted by the entrance ol a dog, and shouted out to the doorkeeper,
"
turn the dog out." It was perhaps from
canem ex, meaning thereby that he should
This
or some similar occurrence, that this barbarous Latin gained

dog- Latin. The French call it Latin de cui/me.
thin,
the name ot
326
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 promoted 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 (î.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
For
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
nojlrandus.
as there
is a difference
words, and it is taken for any master; and he quoted Horace in support of this.
the masters much admired his subtlety, and one drank to him a cup of Neuburg 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 Warmsemmel replied to him with a strong draught.
And the masters were all merry till
the bell rang for Vespers."
Then
Mafler Ortuin
is prefTed
for his judgment
on this weighty queftion.
fimilar fcene defcribed in another letter ends lefs peacefully.

refpondent on this
addreffes Ortuinus
occafion
Gratius
as
Is
Magifter
Bornharddus
The cor-
Plumilegus,
who
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 kindness.
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 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
I have
enemy
What
matters it
Art.
327
had as bad enemies as you, and yet

have stood in spite of thcin.
are a poet?
I have other poets who are my friends, and they
if you
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
spoke of you. . . . Wherefore I ask you
are quite as good as you,
ego bene mcrdnrcm in vcftram pcetnam
Do
very earnestly to write me one piece of verse, and then

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."
is
The war againfl, the lecular poets, or advocates of the new learning,
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,
"it feems to
I have often
Virgil, TuUius, Pliny, and others j for," he adds,

"As
me that this is not a good method of ftudying."
fuch
as
written
to
3'ou,"
fays another,
"I
this ribaldry {ijia
am grieved that
rilaldria), namely, the faculty of poetry, becomes common, and

through all provinces and regions.
who was called Samuel
twenty, and
us
they vex
In my time
is fpread
there was only one poet,
and now, in this city alone, there are at leaft

all
who hold with the ancients.

thoroughly defeated one, who faid that fcholaris does not fignify
who goes to the fchool for the purpofe of learning
will you corre6l
and
a perfon
'
laid,
'" The
?
Als
dodor who expounded this word

learning was, of courfe, identified with the fupporters of Reuchlin.
is
the holy
faid here," continues the fame correfpondent,
"
fide with do6tor Reuchlin againfl tlie theologians,
new
"It
that all the poets will
willi all the poets
were in the place where pepper grows, that they might let
peace
Lately
us
go
in
!"
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
hazarded
people
fpoke in favour of Reuchlin, and when
contrary opinion, he was only laughed at, but he held his
tongue, becaufe his opponents all carried arms and looked fierce.
of them
he
is a
count, and
is a
" One
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
and he has
fword
as
At Worms,
tongue."
long
giant
as a
when
Grotefque
law him, then
held my
" dodors " fpoke
he found things no better, for the
bitterly againft the theologians, and when he attempted to expoftulate, he

got foul words
"
as
well
as threats,
learned do6tor in medicine affirming
On leaving Worms, Lamp and his

companion, another theologift, fell in with plunderers who made them pay
" and I faid
two florins to drink,
occulta. Drink what may the devil blefs to
you!" Subfequently they fell into low amours at country inns, which
Juper nos omnes."
quod merdaret
are defcribed
coarfely, and then
they reached
where they
Infprucken,
court and army, with whole manners
found the emperor, and his
and
Lamp became forely difgufted. I pafs over other

adventures till they reach Mantua, the birthplace of Virgil, and of a late
proceedings Magifter
Latin poet, named from it Baptifta Mantuanus.

Lamp, in his
"
"
fecular poets," proceeds, And my companion
hoftile fpirit towards the
mediaeval
faid,
'
Here Virgil was born.'
We will
replied,
'What
do
care for that pagan
go to the Carmelites, and fee Baptifta Mantuanus,
as good as
Virgil,
as
have heard
who
is
full ten times from Ortuinus
'
told him how you once reprehended Donatus, when he fays,

the moft learned of
here,
above
'
poets, and the beft;' and you faid,
'
twice
and
Virgil was
If Donatus
were
.would tell him to his face that he lies, for Baptifta Mantuanus is
And when we came to the monaftery of the Carmelites,
Virgil.'
we were told that Baptifta Mantuanus was dead

reft in peace
!'"
then
faid, ' May he
They continued their journey by Bologna, where they
found the inquifitor Jacob de Hochftraten, and Florence, to Siena.

this there are fmall towns, and one
drunk excellent wine, fuch
hoft what that wine
Then faid
called Monte-flafcon,
never drank in my life.
called, and he replied that it
'I
is
And
where we
alked the
lachryma Chrifti.
wilh Chrift would cry in our country!'

good bout, and two days after we entered Rome."
my companion,
And fo we drank
In the
is
as
is
"After
of thefe letters the theologifts, the poets efpecially, the

charafter of the clergy, and particularly Reuchlin and PfefTercorn, afford
courfe
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.

flink,
that all Jews
One argued
wicked courfes.
known that Pfeffercorn continued to llink like

that he could not be
as
it was well
Jew, it was quite evident

Here
confult him on difficult theological queftions.
is an
example in
SchafFmulius, another of his fcholars who had
letter from one Henricus

made the journey to Rome
"
and
Some of Ortuinus's correfpondcnts
Chriltian.
a good
329
am to write
Since, before
journeyed to the Court, you said to me that
often to you, and that sometimes I am to send you any theological questions, which
ask your
you will solve for me better than the courtiers of Rome, therefore now
any one on a Friday, or any other

inside.
Because the other day we sat
is
a
chicken
an
and
there
eg?,
fast day, eats
collation,
a
and eat eggs, and I, opening
in a tavern in the Campo-flore, and made
as to
the case when
it,
mastership what you hold
it,
is
it
is
is
it
is
it
in
it
'
it
it
is
a
it,
is
it
if
it,
it
Eat
'
and then he said,
^hich
showed to my companion,
a young chicken in
then you
for
he sees
quickly before the host sees
the custom here
hen, because
julio for
carlino or
will be obliged to give
for they will
that, when the host places anything on the table, you must pay for
he will say,
hen
in
the
egg,
young
And when he sees there
back.
not take
large one.' And
small one the same as
Pay me for the hen, because he reckons
bethought
the chicken, and afterwards
immediately sucked up the egg, and with
said to my companion. You have caused me to comwas Friday, and
me that
mortal
not
And he said that
mit
mortal sin,
eating flesh on Friday.'
other
not
reckoned
chicken
that
of
venial sin, because
embryo
sin, nor even
in
in
as
which there
cheeses,
and he told me that
born
than an egg till
an egg, saw that there was
and fresh peas and beans, yet they are eaten

But the hosts are such rogues,
on Fridays, and also in the vigils of the apostles.
Then
went
that they say that they are flesh, that they may have more money.
Deum
am
much
Ortuinus,
it.
And,
thought
Magister
and
about
away,
per
it
is
a
is
it
if
is
a
in
it
is
is
in
in
I I
If went to ask advice of

troubled, and
know not how ought to rule myself.
It
know that they liave not good consciences.
courtier [of the papal court],
the eggs are Hesh, because the matter
already
>ccms to me that these young hens
has life
othermembers and bodies of an animal, and
formed and figured
wise wifh worms
cheeses and other things, because worms are reputed for fislies,
ask
Therefore
as
have heard from
very good naturalist.
physician, who
you
you very earnestly, that you will give me your reply on this question. Because
return
mortal sin, then
hold that
will purchase an absolution here, before
Also you must know that our master Jacobus dc Hochstratcn has
to Germany.
thousand florins from the bank, and
think that with these he will gain
obtained
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,
founded the church, a.s Christ said
in whom
Thou art Peter, and upon this
Farewill build my church. And so
commend you to the Lord God.
rock
well. Given from the city of Rome."
1

are sometimes wornis, and in cherries,
While ill Italy macaronic literatiifc was reaching itsgreateft perfedion.
330
there arofe in the very centre of France
and Grotefque
who was foon to aftonifti the world by

and
grotefque
more
of great original genius,

new form of fatire, more
a man
comprehenfive than
anything that had been feen
Teofilo Folengo may fairly be conlidered as the precurfor of

Rabelais, who appears to have taken the Italian fatirift as his model.
before.
What we know of the life of Frangois Rabelais

and
rather obfcure at beft,
He was born at Chinon
in fome parts no doubt fabulous.
is
is
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,
opinion
is
that he was an apothecary.
faid to have fliown from his youth
difpofition more inclined to
but the moft generally received
He
is
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
of Latin, Greek, and Hebrew, two of which, at leaft, were

not popular among the popifli clergy, and not only of the modern lan-
knowledge
of Italy, Germany, and Spain, but even of Arabic.

Probably this eftimate of his acquirements in learning is rather exaggerated.
guages and literature
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
Fontenai-le-Compte,
in Lower Poitou, where he became
an objeft
of
of
iealoufy and ill-feeling to the other friars by his fuperior acquirements.
It was
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,
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
and for the bigotry
friar.
Out of this difficulty he
the bifliop of Maillezais,
is
faid to have been helped by his friend
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

His unfteady temper, however, was not long
the abbey of Maillezais.
fatisficd with this retreat,
habit, affumed that of
which
he left, and,
fecular prieft.
In this
laying afide the regular

chara6ter he wandered for
in Literature and
Art.
3 3
time, and then fettled at Montpellier, where he took
fome
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,
to his friend the bilhop
which he dedicated
ftances
The circum-
under which he left Montpellier are not known, but he

Paris upon fome bufinefs
pofed to have gone to
remained
have
of Maillezais.
He found there
there.
of
a {launch
When the cardinal de Bellay went
from the court
private medical
metropolis of Chriftendom,
as
advifer, but
Jean de
friend in
to the rank ot
ambaflador to Rome
as
of France, Rabelais accompanied
charafter of his
fup-
the univerfity, and to
Bellay, bifliop of Paris, who foon afterwards was raifed

cardinal.
is
him, it
during
is faid
his
in the
in the
ftay
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
Thus he became again

again, and became
He, however, changed
Benedi6tine monk.
fecular canon, and finally fettled down
of Meudon, near Paris, with which he alfo held

aftical
as the cure
fair number of ecclefi-
Rabelais died in 1553, according to fome
benefices.
religious
of charity.
as an a6l
manner,
but others
have
given ftrange
accounts
moments, reprefenting that, even when dying, he converfed
in a very
of his lafl
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
He was faved from the intrigues of the monks by the
and perfecutions.
friendly influence of popes and cardinals
kings, Francois
I.
dangerous hoftility
and
and the favour
Henri H., protefted him
of two fucceflive
againfi: the ftill
of the Sorbonne and the parliament of Paris.
high protection has been advanced

and accounts which
as a reafon
more
This
for rcje6ting the anecdotes
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
But nobody,
writings.
Grotefque
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
thofe who were his contemporaries, or be inclined

writer of this hillory was
bottle and
doubt that the
to
man of jovial chara6ter, who loved
good
joke, and perhaps other things that were equally

His books prefent a fort of wild riotous orgy, without
broad
objedlionable.
much order or plan, except the mere outline of the ftory, in which
played an extraordinary extent of reading in all
the mofl learned to the motl: popular,
guage,
of
imagination,
great
and fome
with
clalTes
dif-
is
of literature, from
wonderful command of lan-
poetry, intermixed
with
per-
of downright obfcene ribaldry, than can be found in

the macaronics of Folengo, in the "Epiftolae Obfcurorum Virorum," or
haps larger amount
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
The five books of this romance were publifhed feparately

and at different periods, apparently without any fixed intention of conGenerated on 2015-08-08 00:32 GMT / http://hdl.handle.net/2027/uc2.ark:/13960/t5t72cg70
that exifted.
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.
gantua.
This hero
is
It
appeared
as
the life
of Gar-
fuppofed to have flourilhed in the firft half of the
of Grandgoufier, king of
country which lay fomewhere in the direftion of Chinon, a
fifteenth century, and to have
been
Utopia, a
prince of an ancient dynafty, but
and drinking
the fon
jovial fellow, who loved good eating
better than anything elfe.
Grandgoufier
married Garga-
melle, daughter of the king of the Parpaillos, who became the mother
Gargantua.
of
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
///
333
nnift
At
in mind that the royal race of Utopia were all giants.
be borne
Paris the populace allembled

at this new fcholar
looking
prefent by the king of Nuniidia
to gratify their curiofity in
tumultuouily
but Gargantua, befides treating them in
ver)' contemptuous manner, carried
as
it
mare, which had been fent
feek inftrudion there, and he proceeds thither mounted on an immenfe
off the great bells of Notre Dame to
upon any flight occafions,
fo
Great was the indignation caufed by

fufpend at the neck of his mare.
"
All the city was rifen up in fedition, they being, as you know,
this theft.
ready to uproars and infurredions, that foreign
nations wonder at the patience of the kings of France, who do not by
The citizens
good juftice reftrain them from fuch tumultuous courfes."

take
counlel, and refolve
on
fending one of the great
orators
of the
univerfity. Matter Janotus de Bragmardo, to expoftulate with Gargantua,

addrefles to Gargantua, in fulfilment
of his miflion,
is
The fpeech which this worthy
refloration of the bells.
and obtain the
an amufing parody
of Parifian oratory. The bells, however, are recovered, and Gargantua, under Ikilful inflruftors, purfues his ftudies with
is
credit, until he
fuddenly called home by
on the pedantic ftyle
In
letter from his father.
and Grandgoufier's
Picrocole had invaded
which
Ihepherds, in confequence
the dominions
plundering and ravaging them.
of
of Grandgoufier, and was
His warlike humour
is
cake-makers of Lerne
ftirred up by the
of his three lieutenants, who perfuade him that he

going to
become
great conqueror, and that they will make him mafter of the
is
counfels
guilhed himfclf
by
monk named
and difappearance
brother Jean
his prowefs
des
of king Picrocole.
fcnfiial and
and firength in defending his own abbey
by
Gargantua rewards him
him that plcafant abbey of Thelc^me,

everything
ends
Entommeurs, who has firll dillin-
againfl the invaders, contributes largely to the vidory gained

againtt his father's enemies, and
It
of the fatire contained in the hiftoryof this war.
in the entire defeat

jovial
of the time,
not difficult to fee, in the circumftances
by
the general aim
is
whole jA'orld.
It

fad, Grandgoufier was fuddenly involved in

war with his neighbour
Picrocole, king of Lernu, caufed by
quarrel about cakes between fome
Gargantua
founding for
grand eftabliihment, ftored with
which could contribute to terrclfrial
happinels, from which
334
all hypocrites and bigots
were
Grotejque
excluded, and the rule of which
to be
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-
was comprifed
"
lifhed anonymoufly, the author merely defcribing himfelf as Tabftrafteur
"
but he afterwards adopted the pfeudonyme of
de quinte elTence 3
Alcofribas Nafier, which
Rabelais.
merely an anagram of his own name, Francois
is
very improbable ftory has been handed down to us relating
It
to this book.
that he had
it,
fcience which had no fale, and the publifher complaining

loft money by
of medical
is pretended that, having publifhed a book
Rabelais promifed to make amends
for his lofs, and
immediately wrote the hiflory of Gargantua, by which the fame bookdeeper origin than any cafual
like this
accident
but
it
fatire had
There can be no doubt that this remarkable
feller made his fortune.
was
of the age. It was quite original

met with immediate and great fuccefs.
exa6tly fuited to the tafte and temper
and ftyle, and
it
in its form
by its popularity, very foon afterwards produced
Numerous editions followed each other rapidly, and its author, encouraged
fecond romance, in
continuation, to which he gave the title of Pantagruel.
kingdom
of this new romance

education, and
kmg, and has
that of the Dipfodes.
fon named
The firft part
is
admirable.
In
engaged in great
of this new produftion of his

and form the defign of making
was perhaps the continued fuccefs
in Paris,
part only of
Pantagruel
has
more
made
extenfive romance.
the
acquaintance
During his
of
thefe two books
pen which led Rabelais to go on with

ftudies
difappeared
fatire on the univerfity and on the lawyers, in which
it,
It
humour
occupied chiefly with Pantagruel's youth and
the parodies on their ftyle of pleading as then pra6tifed

the latter part, Pantagruel, like his father Gargantua,
wars.
has
a
is
his fon, Gargantua,
and
whofe
Grandgoufier
is
Pantagruel,
than in the firft, the
more pungent.
is
from the fcene,
bolder even
is
and the fatire
is
broader,
is
a

in this fecond romance
The caricature
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 fâbjeft of the third
/;/
Literature and Art.
335
book arifes out of Pantagreul's defire to marry, and its various

defcribe the different expedients
Panurge, he adopts to arrive at

marriage
epifodes
ot
oi
the quelVion whether
his
at the
would be fortunate or not.
In pubhlliing
his fourth
book, Rabelais complains that his writings
had raifed him enemies, and that he was accufed
herely.
fuggeftion
which,
Iblution
amufing
In fad, he
of having at lead written
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
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-
bolder and more dired.
as
certaine gaiete d'efprit confite en viepris des chafes fortuites,
fad, neither Romanifm nor Protettantifm, but fimply
All
Epicurianifm.
and the remainder
the gay wits
of the fixteenth century abounded in wretched imitaas mere rarities
to
of the bibliophilift.
court of
princefs who was equally diftinguiflied
her talents and
by her beauty,
noble fentiments, and by her accomplifluiients.
by
the
Among the dangers which began to threaten them in France in the

earlier part of the fixteenth century, liberal opinions found an afylum at
Mar-
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 had married, firft, that
She was born on the nth of April,
guerite
d'
1492.
unfortunate duke d'AlenQon, whofe mifcondud
at
Pavia was the caufe ol
of the French, and the captivity of their king. The

and two years
was faid of grief at his misfortune, in 1525
duke died,
afterwards, on the 24th of January, 1527, llie married Henri d'Albret,
difaftrous defeat
the
it

jovial kind of
of 'be time afpired to be Plantagruelills,
tions of the llyle of Rabelais, which are now configned

the flielves
in
himfelf
it
tagruel, and Pantagruelifm became an accepted name for the fort of gay,
He defcribed
recklefs fatire of which he was looked upon as the model.
Their daughter, Jeanne d'Albret, carried this petty

royalty to the houfe of Bourbon, and was the mother of Henri IV.
king of Navarre.
336
Grotefque
held her court in true princely manner in the caflle
Marguerite
Pau or at Nerac, and fhe loved to furround herfelf with

remarkable for
their charafter
of
circle of men
and talents, and ladies diftinguifhed
by
beauty and accomplifhments, which made it rival in brilliance even that
of her brother Franpois.
of her
charafter
She placed
valets-de-chamhre,
of her time, fuch
Clement
as
neareft
to
the principal
her perfon,
under the
poets and leaux-efprits
Marot, Bonaventure des Periers, Claude
Gruget, Antoine du Moulin, and Jean de la Haye, and admitted them to

fuch
tender familiarity of intercourfe,
as to excite
king her hufband, from whofe ill-treatment
the jealoufy
of the
fhe was only prote6ted
by
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
her brother's interference.
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
At the beginning of the
the fceptics and the religious reformers.
perfecutions,
as
early
as 1523, Ihe
openly declared herfelf the advocate of
When Clement Marot was arretted
the Proteftants.
by order of 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

Sorbonne and the
fuch
reformers,
found
fafe
as
RoufTel and Le Fevre d'Etaples, and Calvin himfelf,
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
Pecherefle,"
it.
moral
treatife,
of which Marguerite
the Sorbonne in 1533, but the
entitled
" Le Miroir
de
I'Ame
was the author, was condemned by
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

Frangois L, greatly indignant, fent his
transformed into a fury of hell.
axchers
to
arreft
the
offenders,
who
further
provoked his anger by
Art.
in Literature and
and only obtained iheir
reiirtance,
337
inter-
pardon through the generous
Cflhon of the princels whom they had lb groflly inl'ulted.

Marguerite was herlelf
gay, and i'eldom
very
poetefs, and Ihe loved above all things thofe
delicate, Itories, the telling of which was
that
at
time one of the favourite amufements of the evening, and one in which
fhe was
known
to
Her poetical
excel.
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.
tide of this colledion was, punning upon her name, which means
"
de
Marcruerites
Navarre."
la
Marguerite
Marguerite's
ftories
des
princeires,
(nouvelles)
tres
de
celebrated than
writing under her

All the ladies of her court pollelfed copies of them in
own dictation.
It
peail,
illullre reyne
were more
her verles, and are laid to have been committed

writing.
The
to
underllood to have been her intention to form them into
is
ten days' tales,
of ten in each day, lo
to refemble the
as
"Decameron
"
of Boccaccio, but only eight days were finilhed at the time of her death,
and
the
imperfeft work was
pofthumoufly
publilhed
chambre, Claude Gruget, under the title

des
Fortunes."
Amants
It
is by
of"
by her
L'Heptameron,
vulet-de-
ou
Hilloire
far the btft colle6tion of Itories of the
They are told charmingly, in language which is a

perfe6t model of French compolition of that age, but they are all tales of
fixteenth century.
gallantr)' fuch
as
could only be repeated
which was elTentially licentious.

December,
was
1.549, and was
fubjedt
in
polite fociety
in
Queen Marguerite died on the
buried in the cathedral of Pau.
an age
2
ill
of
Her death
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
El Joror
et Charitum
et conjux,
Before Marguerite's death,
he:
quarta^
Marguarh
inclyta regum
ilia jacet.
literary circle had been broken up by
of religious perfecutors.
Already, m 15.36, the imprudent
boldncli of Marol had rendered it impoHible to protedt him any longer,
the hatred
33^
and he had been obliged to

whence he fometimes paid
valet-de-chamlre was given to
retire to
to him
in
His place of
ftealthy vifit to her court.

a
man of talents, even more
remarkable,
of the queen of Navarre,
Marot's fucceffor paid
des Periers.
a
of concealment, from
place
and who fhared equally the perfonal elteem

Bonaventure
Grotefqiie
lliort poem entitled " L'Apologie
graceful compliment
de
Marot
abfent,"
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
publiihed in 1537.
Hill divided in opinion.
In it Des Periers introduced
written
in language which forms
fition, the perfonages
new form of
The book confifts of four
fatire, imitated from the dialogues of Lucian.

dialogues,
model of French compo-
introduced in them intended evidently to reprefent
living chara6ters, whofe names are concealed in anagrams
It
Marot.
devices, among whom was Clement
other
and
was the boldeft declara-
tion of fceptioifm which had yet iffued from the Epicurean fchool reprefented by Rabelais.
The author fneers at the Romilh church
impollure, ridicules the Proteftants
as
and ihows difrefpe6t to Chriftianity
feekers after the philofopher's ftone,
itfelf.
Such
book could hardly be
in Paris with impunity, yet it was printed there, fecretly, it
publiihed
an
as
is
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
faid, by
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
He was treated
prifon.
rigorouily, and
is
underftood to have efcaped
only by difavowing all knowledge of the charader of the book, and

" Cymbalum
giving up the name of the author. The-firfi; edition of the
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
There he printed
a fecond
greater
degree
of tolerance than elfewhere.
edition of the "Cymbalum
Mundi/' which
Art.
in Literature and
alfo was burnt, and copies of either edition
Bonaventure
des Periers felt io much
339
are now exceflively rare.*
of the perfecution in
the weight
which he had now involved himfelf, that, in the year 1539,

be afcertained, he put an end
as
far
as can
This event call
to his own exillence.
gloom over the court of the queen of Navarre, from which it feenis never
entirely recovered.
to have
The fchool
of fcepticifm
Periers belonged had now fallen into equal

Proteftants, and
the
to
which
Des
difcredit with Catholics and
latter looked upon Marguerite
latterly conformed outwardly with Romanifm,
herfelf,
who had
an apoftate from their
as
Henri Eftienne, in his " Apologie pour Herodote," fpeaks of the

" Cymbalum Mundi " as an infamous book.
caufe.
Bonaventure
des
Periers left behind him another work more amufing
to us at the prefcnt day, and more chara6lerillic
This
of Marguerite of Navarre.
the court
Itories, which
was publilhed
feveral years after the death of its author,
title of " Les Contes,
under the
is a
of the literary taftes of

colle6tion of facetious
ou Les Nouvelles
Recreations
et
Joyeux
They have fome refemblance in
Devis de Bonaventure des Periers."
of the Heptameron, but are lliorter, and rather more

facetious, and are charaderifed by their bitter fpirit of fatire againft the
ftyle to the ftories
monks and popilh
Some of thefe ftories
clergy.
peculiar charader and tone, of the

for an example, the following,
de Brou
" This
"
which
Epiftolae
is
given
remind
us,
in
their
Obfcurorum Virorum,"
as an anecdote
as,
of the cure
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 ordiFor when onr Lord
narily said in churches, and he chanted it quite ilifFerently.
said anything to the Jews, or to Pilate, he made him talk high and loud, so that
could hear him, and v\hen it was tiie Jews or somebody else who spoke,
low that he could hardly be heard at ail. It hap|)ened that a huly of
he sixjkc
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.
everybody
so
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
Grotefque
is
worthy of Ulric von Hutten,
fatirical enough
on
prieflly pedantry
" There was priest of
is
it
it
Another ftory, equally
it
it
'
in
village who was as proud as might be, because he had

little more than his Cato for he had read De Syntaxl, and his Faujie precor
'And this made him set up his
gellda [the first eclogue of Baptista Mantuanus].
feathers, and talk very grand, using words that filled his mouth,
order to make
at
doctor.
Even
him
he
confession,
think
made
great
use
of
terms which
people
One day he was confessing
poor working man, of
astonished the poor people.
whom he asked, 'Here, now, my friend, tell me, art thou ambitious?'
The poor
word which belonged to great lords, and almost
man said No,' thinking this was
for he had already heard that he
repented of having come to confess to this priest
was such
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
was.
The priest went on to ask,
somewhere, yet he did not know at all what
No,'
said the labourer, who understood as little as
Art thou not fornicator?'
seen

if
it
if
is
is,
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,
And in this manner he
Jejum Na-zarenum, he spoke as low as he possibly could.
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
'
How so, madame.'' said
service, is enough to drive away anybody's devotion.'
'
'
How so?' said she, you have said a Passion contrary to all rules of
the cure.
When our Lord speaks, you cry as if you were in the town-hall ; and
decency.
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
that there are many people who talk of things which
they say; and the truth
Madame,
know my office as well as
believe that
they do not understand.
as well served in this parish,
another, and
beg all the world to know that God
hundred leagues of it.
know
according to its condition, as in any place within
could easily
very well that the other cures chant the Passion quite differently;
would
but they do not understand their business at all.
like them
chant
becomes those rogues of Jews to speak as loud as our
should like to know
No, no, madame
rest assured that in my parish
Lord
my will that God be
and let the others do in their parishes
the master, and He shall be as long as
live
"
accoiding to their understanding.'
Art.
tJi Literature and
my trowel
At
was somewhat surprised.
"
Artthou
'I am,'
said the priest.
not concupiscent
'a mason
said he,
.>'
'No,'
what art thou, then

'
And
is
here
'
'
No.'
'No.'
the man answer always
'
[/>-oW]
orourmand?' said the priest. 'No.' 'Art thou not

'Art thou not iracund .'' 'No.' The priest seeing
this time
" Panragruelifm "
had mixed
It
all the latirical literature of France.
is
superbe
tliou not
?'
'Art
.''
before.
341
itfelf more or Ids largely m

in the writings
very apparent
of Bonaventure des Periers, and in confiderable number of fatirical publications which now ifllied, many of them anonymoufly, or under the then
fafhionable form of anagrams, from the prefs in France. Among thefe

few who, though far inferior to Rabelais, may be confidered
writers were
as
One of the moft remarkable of
not unequal to Des Periers himfelf.
gentleman of Britany, Noel du Fail, lord of La HerilTaye,

who was, like fo many of thefe fatirifts, lawyer, and who died, apparently
thefe was
of 1585, or beginning of 1586. In his

publications, according to the falhion of that age, he concealed his name
in
under an anagram, and called himfelf Leon Ladulfil (doubling the
/
at an advanced age, at the end
Noel du Fail has been called the ape of Rabelais,

He publillied (as far as
not very apparent.
though the mere imitation
Fail).
is
the name
" Difcours d'aucuns
Ibis
propos
was followed
ruftiques
immediately
" Baliverneries, ou Contes Nouveaux d'Eutrapel

work entitled
but
book, the " Contes et Difcours d'Eutrapel,"
his laft, and moft celebrated

was not printed until
;"
afcertained), in 1548, his
facetieux, et de fmguliere recreation."

by
1586, after the death
of its author.
The writings
of Noel du Fail are full of charming piAures of rural life in the fixteenth century, and, though fufficiently ir&e, they prefent
lefs than
moll
cannot
of that period of the coarfenefs of Rabelais.
much more celebrated than either of
book which
(ay the fame of
mean the
lUil enveloped in obfcurity.
thefe, and the hiftory of which
is
books
prefent form, to Buroalde
day,
de
is
now afcribed by bibliographers, in its
Verville,
gentleman of
Proteftant family
not printed until
1610, but
is
wa.s
it
who had embraced Catholicifm, and obtained advancements

and
renders
it
degree which
unreadable at the prefent
carried to
full of wit and humour,
of which
the licenticjufnefs
is
but
This book, which
de Parvenir."
is
" Moyen
is
fimilar
it

has been
fuj)pofed
that
in the church,
in its prefent
Hijiory of Caricature and Grofefqiie
342
form it
is
only
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
In
of France.
limits
the
Teutonic countries of Europe, and in England, the fceptical fentiment

was fmall in comparifon with the religious feehng, and the only fatirical
" Utopia "

work at all refembling thofe we have been defcribing, was the
of Sir Thomas More,
a very
flight fenfation.
work comparatively fpiritlefs, and which produced
In Spain, the
ftate
of fecial feeling was ftill lefs
favourable to the writings of Rabelais, yet he had there
worthy and true
It was only in the fevenreprefentative in the author of Don Quixote.

teenth century that the works of Rabelais were tranflated into Englifli ;
but we mufl: not forget that our latirifts of the
and
century, fuch
lafl:
Swift
as
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
to exaggeration his leaft worthy
poor imitators, purfued

There
is
ftill fome humour in the writings of Tabourot, the fieur des
Accords, efpecially in his

appeared
charafteriflics.
" Bigarrures," but the later produttions, which
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
little of the ftyle of Rabelais.
looked upon Rabelais
as
The French Proteftants at firft

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
Among them arofe another fchool of fatire,
as a
mere fchool
of Atheifts.
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

the
His argument
Romilh church.
actions which
appear
is recorded
ductory dilTertation
violent attack on
that all hiftorians mult relate tranf-
of modern
to many incredible, and that the events
times were much more incredible,
anything which
is
if they
were not known to be true, than
by the hiftorian
of antiquity.
After an intro-
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
ages and
governed
of his own time, indeed of all

by the Church
of Rome.
rêriods
of the middle
during which people were
Not only did this diffolutenefs ot
morals per\ade lay fociety, but the clergy were more vicious even than
the people, to whom

of
they ought to ferve
as an
example.
large
part
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
the book
is
filled with anecdotes
of the people in ignorance, and to reprefs all attempts at

Out of all this, he fays, had rifen a fchool of atheifls and
keep the mats
inquiry.
fcolTers, reprefented
by Rabelais
and Bonaventure
des
Periers,
both
of
whom he mentions by name.
As we approach
parties
before.
became
more
the
end
political
of the fixteenth century, the ftruggle of

than religious, but
not
The literature of the age of that celebrated
lefs bitter than
" Ligue,"
feemed at one time deflined to overthrow the ancient royalty

confirted chiefly
which
of France,
of libellous and nbufive pamphlets, but in the midft of
them there appeared
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
Grotefque
The grand obje6i: of this meeting

Paris on the loth of February, 1503.
was to exclude Henri fV. from the throne ; and the Spanifh party propofed
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
meeting of the Eflates in Paris which gave rife

the battle
as
was the
ât
celebrated
Satyre
of which it was faid, that it ferved the caule of Henri IV.
Menippee,
much
It
fruitlefs conference at Surefne.
of Ivry itfelf.
This fatire originated among
party of friends, of men diflinguifhed
by learning, wit, and talent, though moft
of their names are obfcure, who

houfe of one of them,
in an evening in the hofpi table
ufed to
meet
Jacques
Gillot, on the
fatirically over
Quai
the violence
Orfevres
des
and
in
Paris,
infolence of the
there talk
and
They all
ligueurs.
Gillot
belonged either to the bar or to the univerfity, or to the church.

himfelf,
as
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
he was committed
to
the
Baftille, but was foon
Nicolas Rapin, one of his friends, was born in

been the fon
poet, and
of
i^^^,
prieft, and therefore illegitimate.
In
of Paris.
1589
afterwards liberated.
and was faid to have
He was
foldier, for he fought bravely in the ranks of Henri
lawyer,
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.
1540, had been the tutor
found learning.
Florent Chrftien, born at Orleans in
of Henri IV., and was well known
as a
man
of
The moft learned of the party was Pierre Pithou, born
at Troyes in 1539, who had abjured Calvinifm

and who held a diftinguillied
to return to Romanifm,
pofition at the French bar.
lafl:
of
of Rouen named Pierre le

Roy, a patriotic ecclefiaftic, who held the office of almoner to the cardinal
It was Le Roy who drew up the firft Iketch of the
de Bourbon.
this little party
of men of letters was
The
canon
Art.
in Literature and
"
345
of the others executed his part in the compofition, and Pithou finally reviled it.
For feveral years this remarkable
each
Satyre Menippee,"
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
of the Spaniards, who invented it.
had been fo effeftive in the hands
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
to
of the country will fay, 'Thefe are our friends,
defert, the people
they are good
holy church.'
"
Catholics
"If
they do it for our peace, and for our mother

king amufe himfelf with refining this
an indolent
drug in his efcurial, let him write

fealed
everything
with the Catholicon,
he
word into Flanders to Father Ignatius,
will find him
man
who
{faba con-

fcifntia) will alTaHinate his enemy whom he has not been able to conquer
This, of courfe, is an alkifion to the murder
by arms in twenty years."
"
of the prince of Orange.

his children
If
after his death, and to invade
expenfe, let him write
to afliire his eftates to
this king propofes
another's kingdom
at
little
word to Mendoza, his ambalTador, or to Father
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
Commelet
under
(one
fair femblance, like
Judas, and alfallinate in cold blood
king of France, his brother-in-law,

fear
and
of God or men
place
this
in the middle
great
of his camp, without
they will do more, they will canonife the murderer,
Judas above St. Petei',
horrible crime with the name of

fathers will be cardinals,
and
baptife
III.
prodigious and
providential event, of which the god-
legates, and primates."
of Henri
this
The allulion here
is to
Thefe are but a

few of the marvellous properties of the political drug, allcr tlie eniiincration of which the report of the meeting of the Ellates is introduced by a
the aflaffination
by Jacques
Clement.
Hifiory of Caricature and
346
of
burlefque defcription
the
grand
Grotefque
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
not known which of the little club of fatirifls wrote
is
the open fpeech of the duke of Mayenne, but that of the Roman legate
is known to be the work
mafterpiece
of Gillot, and that of the cardinal de Pelve,
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
Pafferat compofed moft of the verfes which
by Pi thou.
through the book, and
it
underflood that Pithon
is
are fcattered
finally revifed the
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.
whole.
Thefe pictures,
as
well
as
thofe on the tapeftries of the hall of meeting,

are fimply fo many caricatures,
of piftures, of which
which
followed
" Hifloire
des
the
"
and the fame
defcription
Satyre
is
given in one of the fatirical pieces
Menippee,"
Singeries de la Ligue."
may be faid of another fet
It
on
the
fame Yide, entitled,
was amid the political turmoil
of the fixteenth century in France that modern political

Us rife.
cancaiure took
in Literature and
Art.
347
CHAPTER XX.
CARICATURE IN ITS INFANCY.
THE REVERS DU JEU DE8
THE THREE ORDERS. PERIOD
SUYSSES.
CAKICATURE IN FRANCE.
OF THE LEAGUE ; CARICATURES
HENRI III.
CARICATURES
AGAINST
AGAINST THE LEAGUE.
CARICATURE IN FRANCE IN THE SEVENTEENTH
CARICENTURA.
GENERAL GALAS.
THE aUARREL OF AMBASSADORS.
CATURE AGAINST LOUIS XIV. J WILLIAM OF FDRSTEMBERG.
POLITICAL
IT
has been already remarked that political caricature, in the
modern
of the word, or even perfonal caricature, was inconfiftent with

the flate of things in the middle ages, until the arts of engraving and
fenfe
printing became fufficiently developed, becaufe

(juick and extenfive circulation.
the facility
ufelefs
remained for ages
even
only in
cotild hardly be finilhed before it
fome folitary fculpture or illumination,

had become
of
The political or fatirical fong was carried
by the minftrel, hut the fatirical pi6ture, reprefented
ver)-where
it requires
in the fmall fphere of its influence, and then
ftrange figure, with no meaning that could be under
No fooner, however, was the art of printing introduced, than the

importance of political caricature was underftood and turned to account.
ftood.
We have feen what

which
powerful
agent
in fpirit was no lefs political
it became
than
religicms
in the
;
but even before the
great religious movement had begun, this agent had
activity.
perhaps
been brought into
One of the earlieft engravings which can be called

the oldcft of our modern caricatures
our cut No. 171,

is
Reformation,
is no
known
doubt French, and belongs
is
caricature
reprefented
to the year 1499.
in
It
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
Hijfory of Caricature and Grotefque
34^
M'ith that
of France.
Such an expedition afFefted many political interefts
of diplomacy with his neigh

hours, feveral of whom were ftrongly oppofed to his projefts of ambition,
and Louis had to employ a certain amount

and
among
thofe
who
afted moft openly were the
No. 171.
The
Swifs, who were
Political Game of Cards.
believed to have been fecretly fupported by England and the Netherlands.

Louis, however, overcame their oppofition, and obtained
alliance which had expired with
temporary difficulty with the Swifs
original of which bears the
defeat
of the game of the
his
renewal of the
predeceflbr Charles
VIIL
This
fubjeft of our caricature, the

"
du Jeu des Suylfes
(the
The princes moft interefted are
is the
title " Le Revers
Swifs).
at which are feated the king of France to
card-table,
alfembled round
the right, oppofite him the Swifs, and in front the doge of Venice, who
a
in Literature and
was in alliance with
Art.
At
French againll Milan.
the
fented, the king of France
349
the moment repre-
announcing that he has
is
flulh of cards, the
Swifs acknowledges the weakneis of his hand, and the doge lays down
bis cards in fa6t, Louis
XII.
To
caricature lies principally in the group around.

king of England, Henry
and the king
But the point of the
has won the game.
VII.,
dillinguilhed
the extreme
armorial lions,
by his three
of Spain, are engaged in earnert converfation.
former Hands the infanta Margarita,
who
right the
Behind the
evidently winking
is
at
the
Swils to give him information of the ftate of the cards of his opponents.
At her lide
Hands
the duke
pope, the infamous Alexander
Louis,
is
of Wirtemberg,
VI.
before
him the
(Borgia), who, though in alliance with
not able, with all his etforts, to read the king's game, and looks
on with evident anxiety.
Behind
the doge
Trivulci, an able warrior, devoted
refugee,
jull
and
of Venice ftands the Italian

to the
interefts
and at the doge's right hand, the emperor, holding
pack of cards, and apparently exulting

confulion
into the
of France
in his hands another
in the belief that he has thrown
king of France's game.
In
background to the
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
Lorraine
was at this time playing rather a double part, is gathering
which have fallen to the ground, in order to make
Louis
XII.
Ludovico
Tlie duke of
ferving drink to the gamblers, while the duke of Milan, who
is
carried
his
dtfigns
Sforza, nick-named
the
into
execution
the
up the cards
game for himfelf.
duke of Milan,
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
it,
purely political but the queflion of religion foon began not only to mix
itfelf up with the political qucftion, but almoft to abforb
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
valt
nopular feelings and pallions
focial movement,
which
ihcfe gave caricature
tion had originated
kings and their nobles, but the religious agita-
crownrd heads, or between

a

of Savoy, who was giving aflidance to the French defigns.
brought into
play
totally new value.
tiiftory of Caricature and Grotefque
350
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
"
E. J. Jaime, and which,

from the ftyle and coftume, appears to be German.
The three orders,
Mufee
the church, the lord
by
billiop,
de la Caricature,"
of the land,
knight, and
by
and the people, reprefented refpeilively
cultivator, ftand upon the globe in an honour-
able

equality, each receiving direft from heaven the emblems or implements of his duties.
To the billiop is delivered his bible, to the hufband-
No. 172.
man his mattock,
and
to
The Three
the knight
protett and defend the others.

bears the title, in
Orders
Latin, " Quis
of the
State.
fword with which
the
This print fee cut No.

te praetulit
"
he is to
which
172
(Who chofe thee
?)
belongs
half of the fixteenth century. A painting in the

Hotel de Ville of Aix, in Provence, reprefents the fame fubjed much
probably to the earlier
more fatirically, intending to delineate the three orders
as
they were, and
fenting
king kneehng before
was to be fubordinate
of
letting down from heaven
heart, in which
is
an immenfe frame in the form
351
The divine hand
they ought to be.
is
as
/;/
not
pitture repre-
that the civil power
the crofs, intimating
is
is
by
The three orders are reprefented

cardinal, noble, and
peafant, the latter of whom
bending
under the burthen of the heart, the whole of which
thrown upon his
to the ecclefiaftical.
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
manner which fliows that they fupport
of the weight.
Amid the fierce agitation which fell upon France in the fixteenth
while we find but few traces of the employment of
century, for
a
none
caricature
by either party.
ariftocratic than
The religious reformation there was rather
popular, and
reformers fought lefs to excite the
the
feelings of the multitude, which, indeed, went generally in the contrary
There was, moreover,
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,
direction.
chara6ler
The few caricatures of this period

which are known, are very bitter and coarfe.
As far as
am aware, no
Huguenots.
was, however,
are known, but there are
few direfted againfl:
with the rife of the Ligue that the
ITie
firft caricatures
long continued to flourilh
of
king, Henri de Valois, and polfefs
France, and
more than anywhere elie.
the ligueurs were direded againft the

a
in that country
it
tarte for political caricature maybe faid to have taken root
in
the
It
early Huguenot caricatures
perfonof the
brutality almoll beyond defcription.
was now an
on the king to fummon him to
meeting of the
" Eftates " in hell
ill the diftance we fee another demon flying away with him.
is
multitude.
objed to keep up the bitternefs of fpirit of the fanatical

In one of thefe caricatures
demon
reprefented waiting
a
It
and
Another
of the Guifes, in 1588, which the ligueurs profelfed

to afcribe to the councils of M. d'Epernon, one of his favourites, on whom
diabolique de d'Epernon
is
ihcj- looked with great hatred.
It
relates to the murder

rather than to laugh at, each other.
entitled,
" Soufllemeiit tt Coiillil
Henri dc Valois pour faccagcr les Catholicjues."
Hifiory of Caricature a?id Grotefque
352
In
of the pidure Hands the king, and befide him D'Epernon,
the middle
who
is
blowing into his ear with
On the ground before them

Catholiques, the duke of Guife,
bellows.
lie the headlefs corpfes of the deuxfreres

and his brother the cardinal, while the executioner of royal vengeance
holding up their heads by the hair.
Blois, in which
this tragedy took place
cardinal
the
appear
In the diflance
de
Bourbon,
the
is feen the
caflle
of
left of the pifture
and on the
of Blois, and
archbiih<ip
is
Henri
friends of the Guifes, exprefling their horror at the deed.
himfelf murdered in the year following, and the caricatures
other
III.
was
againfl him
became ftill more brutal during the period in which the ligueurs tried to
fet up
In
king of their own in his place.
one caricature, which
more of an emblematical charadler than moft of the others, he

as
" Henri
dites," he
le
is
is
has
pi6lured
Monfirueux ;" and in others, entitled "Les Hermaphroexhibited
under forms which point
the
at
infamous vices
with which he was charged.

The tide of caricature, however, foon turned in the contrary direftion,
and the
coarfe,
abufe
unprincipled
employed by the
favourable contrail in the powerful wit and
ligueurs found
talent of the fatirills
caricaturiils who now took up pen and pencil in the caufe of Henri
and
IV.

The former was, on the whole, the more formidable weapon, but the
latter reprefented to fome eyes more vividly in pi6lure what had already
been done in type.
This was the cafe on both fides
mentioned was founded upon
Henri
III.,
entitled
"L'Ifle
the caricature lafl.
very libellous fatirical pamphlet againft
It
des Hermaphrodites."
with the firfl: caricatures againfl: the ligueurs, which
is the
cafe alfo
have to mention.
The Eltates held in Paris by the duke of Mayenne and the ligueurs for
the purpofe of elefting a new king in oppofition to Henri of Navarre, were
" Satyre
Menippee," in which the promade the fubjeft of the celebrated
ceedings of thefe Eftates were turned to ridicule in the moft admirable
Four large editions were fold in lefs than as many months.
Several caricatures arofe out of or accompanied this remarkable book.
manner.
One of thefe
is a
rather large print, entitled
"La
Singerie
des Eftats de la,
Lio-ue, Tan 1593," in which the members of the Eftates and the ligueurs
,are pi6tured
with the heads of monkeys.
The central part reprefents the
in Literature and
meeting of the Eftates,
at
Art.
353
which the heutenant-general of the kingdom,
of Mayenne, feated on the throne, prelides.

Above him is
fufpended a large portrait of the infanta of Spain,
Efpoufec de la Liguf,
the duke
as the
is
called in the fatire, ready to marry any one whom the Ellates
Ihall declare king of France.

In chairs, on each fide of Mayenne, are the

"
"
ladies of honour
two
of the faid future ipoufe. To the left are feated
No. 173.
in
row the celebrated
The yljjcmbly
of Apes,
council of fixteen (lesfcize), reduced
at this
time
of Mayenne, to check their turbulence, had

caufed four of them to be hanged.
They wear the favours of the future
to twelve, becaufe the duke
fpoufc.
Oppofite to them are the reprefentatives
we arc told, devoted to the fervice
of"
of the three orders, all,
the faid lady."
Before the throne
354
are the two muficians
of the Ligue,
Grotefque
one defcribed
as
Phelipottin, the blind
performer on the viel, or hurdy-gurdy, to the Ligue, and his fubordinate,

the player on the triangle, " kept
Thefe were to
at the
entertain the affembly during
orations of the various fpeakers.
king of Spain to eftablifli
All
of the future fpoufe."
expenfe
the
between the
paufes
this is a fatire on the efforts
monarch of his own choice.
of the
On the bench
behind the muficians fit the deputies from Lyons, Poitiers, Orleans, and
Rheims, cities where the influence of the Ligue was ftrong, difcufling the
queflion
as to
Thus much of this pifture is repreThere are other groups of figures in the
who ftiould be king.
fented in our cut No. 173.
reprefentation of the affembly of the Eflates

partments that on the left reprefentmg
of
and there are two fide com-
forge, on which the fragments
broken king are laid to be refounded, and
multitude
hammers and an anvil, ready to work him into
of
new king
apes,
with
the other
then well-known aft
of tyranny perpetrated by the Eflates of the Ligue.
Another large and
of
lide of the pidure reprefents the circumftances

well-executed
at Paris in
engraving, publilhed
15945
immediately after
Henri IV. had obtained poffefTion of his capital, alfo reprefents the grand
proceffion of the Ligue as defcribed at the commencement of the
"
Satyre Menippee,"
and was intended to hold up to ridicule the warlike
temper of the French Catholic clergy.
It
is
entitled,
"La
Proceflion de
la Ligue."
Henri's triumph over the Ligue was made the fubjeft of a feries of
three caricatures, or perhaps, more corre6tly, of a caricature in three
divifions.
The firfl
is
entitled the
fents
it under the form of
of
wolf,
fox, and
are the following
lines :
"
Naiffance de la Ligue," and repre-
monller with three heads, feverally thofe
ferpent, iffuing from
hell-mouth.
Under it
Uenfer^ pour aJfewW Jouhs Je% loix tout le monde,

Vomit ce monjire hideux^fait d''un hup rawfTeur^
Dûn renard enveilly, et dûn ferpent immot.de,
jiffuble
dûn manteau propre
a toute couleur.
The fecond divifion, the " Declin de la Ligue," reprefenting its downfall.
Art.
in Literature and
S^
Henri of Navarre, in the form of a lion,

had already feized
has pounced fiercely upon
and not too foon, for
the diftance,
of national profperity
the fun
is
In
the crown and fceptre.
it
it,
is
la
Ligue,"
The third pidure, the " Effets de
reprefents the dellruftion of the kingdom and the flaughter of the people,
of which the Ligue had been the caufe.
feen rifing over the country.
The caricatures in France became more numerous during the feven-
almofl
differtation
to
queftions or events which have

Several
explain
the
Ligue.
and
little intereft for
they often
us
relate
to
at the prefent day.
rather fpirited ones appeared at the time of the difgrace of the
marefchal
d"Ancre
and
his
wife
requires
The Deftru&ion
of
A'ff. 174.
it,
century, but they are either fo elaborate or fo obfcure, that each
and
the
inglorious war with
the
Netherlands, in 1635, furniftied the occafion for others, for the French,
as
ufual, could make merry in their reverfes
The imr*nalift general
armies, and cj.Ti'êlled them to
they had invaded,

their conqueror.
a:.'^
as
well
as
in their fuccefles.
Galas inflicted fc-rious defeat on

a

teenth
very difaftrous
the
French
retreat from the countries
they tried to amufe ihemfelves at the expenfe
of
Galan was rather remarkable for obefity, and the French
356
carlcaturifts
of the day made this circumftance
Our cut No.

ftomach
175 is
of General
copied from
Galas
Grotefqtie
fubjeft for their fatire.
print in which the magnitude of the
certainly fomewhat
is
No. 175.
exaggerated.
He
is
General Galas.
reprefented, not apparently with any good reafon^ as puffed up with his
own importance, which is evaporating in fmoke^ and along with the
fmoke thus ilfuing from his mouth, he is made to proclaim his greatnefs
in the following rather doggrel verfes :
ye Juis ce grand Galas,
La glo'ire de fEfpagne
Maintenant je
ne
Pour avoir trap
Juh
autrefois dans Varme'e

et de mes compagnons
qu'un corps plein de fumee^
mange
Gargantua jamaia ri'eut
de ra'ves
et dôignons,
une telle panje,
&c.
in Literature and
Caricatures
ia
France
began
middle of the feventeenth

Louis
XIV.,
caricatures
the freedom
Art.
to be tolerably
ZS7
abundant during
century, but under the crulhing
of the prefs, in all its forms, ceafed to exifl, and
in other countries, efpecially in Holland.
futficient to give two examples from the reign of Louis

year
i66i,

and the Spanilh ambairador,
No.
liie queftion of precedence,
176.
Bctltcville
SpaniOi ambaflador,
Louis, indignant
flop Fuentes on
Kngiand,
XIV.
will be
In the
the
at
the baron
de Batteville, on
IlumUiated.
which was carried fo far
(umult in the ftreets of the Englilh capital.
kmgdom.
Tt
party,
difpute arofe in London between the anibalfador of France,
M. D'Elkades,
but
tyranny of
relating to France, unlets they came from the court
had to be publillied
the
as to give rife
At this very moment,
marcjuis de Fuentes, was on his way
to
new
to I'aris,
Batteville's behaviour in London, fent orders to
the frontier, and
forbid his further advance
The king of Spain difavowed the
-Aii
who was recalled, and Fuentiyi received
into liis
of iiis amballîdor in
orders
to make an
35 S
Grotefqiie
This event was made the fubje6t of a rather

boafting caricature, the greater portion of which is given in our cut
"
No. 176. It is entitled " Batteville vient adorer le Soliel
(Batteville
apology to king Louis.
In
comes to worfhip the fun).
the original the fun is feen Ihining
in the
upper comer of the pifture to the right, and prefenting the juvenile face
of Louis XIV., but the caricaturift appears to have fubftituted Batteville

in the place of Fuentes. Beneath the whole are the following boaftful
lines
On ne i)a plus a Rome, on vient de Rome en France,

de quelque
grande offence.
foumije a ces loix
tout entiere
eji
le pardon
JJ'Ital'ie
Meriter
Un Efpagnol oppoje a ce droit

Mais un Franfais puiffant joua
Ft punit
rinfolent
de nos rois.
des bajionnades.
de Jes rodomontades.
From this time there fprung up many caricatures againft the Spaniardsj
but the moft ferocious caricature, or rather book of caricatures,
reign of Louis
XIV.,
from without, and was direded againft
came
king and his minifters and courtiers.

Nantes took place in 06lober,
I'^S^,
the
The revocation of the edi6t of

and was preceded
and followed by
They carried with them

and
deep hatred to
their opprefTors, and fought
XIV. England
efpecially in the countries moft hoftile to Louis
Holland.
The latter country, where they then enjoyed the greateft
freedom of aftion, foon fent forth numerous fatirical books
It
is
of the moft remarkable.
entitled
"
XIV.
Proceflion Monacale conduite par Louis
des Proteftans
de fon Royaume," and confifts
Les Heros de la
of
la
to was one
verfion
prints
French king and his minifters, of which the book juft alluded
againft the
Ligue, ou
and
pour
series
la
refuge
frightful perfecutions of the Protellants, which drove away in thoufands

the earneft, intelligent, and induftrious part of the population of France.
Con-
of twenty-
four moft grotefque faces, intended to reprefent the minifters and courtiers
fele6l,
one example, and
take the firlt in the lift, which reprefents
muft have provoked

as
is
give
It
it
their wrath exceedingly.
"
of the " grand roi moft odious to the Calvinifts.

of the
difficult to
William of Fiirftemberg,
of the German princes devoted to Louis XIV., who, by his intrigues,

had forced him into the archbilhopric of Cologne, by which he became
one
in Literature and
an eleftor
of the empire.
hated by the French
Art.
359
For many reafons William of Fiirftemberg was
Proteftants,
but
it is not quite clear why he is here
reprefented in the charater of one of the low merchants of the Halles.
'%
William of Fiirftcmberg.
Over the pidure, in the original, we read, Guillaume
He, m'ljja eft, and beneath are the four lines :
yay
qu'itte
man pais pour
fervir
Unc abbaye
de
a la France,
Soil par ma trahifon, Joit par ma lachtti ;

'Jfây troubli Us e'tats par ma me'chancetc,
ejl

A'b. 177.
ma recom^cnje.
Furflemlng, crie.
Hifiory of Caricature and Grotefque
360
CHAPTER XXI.
EARLY POLITICAL CARICATURE IN ENGLAND. THE SATIRICAL WR1TING5

OF THE COMMONWEALTH
PERIOD.
AND PICTURES
SATIRES AGAINSl
CARICATURES ON THE CAVALIERS;
THE BISHOPS ; BISHOP WILLIAMS.
SUCKLING.
THE ROARING BOYS ; VIOLENCE OF THE
SIR JOHN
CONTEST BETWEEN THE PRESBYTERIANS AND
ROYALIST SOLDIERS.
GRINDING THE KING's NOSE.
INDEPENDENTS.
PLAYING-CARDS USED
AS THE MEDIUM FOR CARICATURE 3 HASELRIGGE AND LAMBERT.
SHROA'ÊTIDE.
j
'
the fixteenth century caricature can hardly be faid to have
DURING
exifted in England,
and it did not come much into falhion, until the
of the great ftruggle which convulfed our country in the century

following. The popular reformers have always been the firft to appreciate
Such was the cafe
the value of pi6torial fatire as an offenfive weapon.
approach
with the German reformers in the age of Luther ; as it was again with
the Englifh reformers in the days of Charles I., a period which we may
juftly confider as that of the birth of Englifli political caricature. From
1640
to
1661
the
launched forth an abfolute deluge
prefs
of political
pamphlets, many of which were of a fatirical charaiSler, fcurrilous in form

and language, and, on whatever fide they were written, very unfcrupulous
Among them appeared a not

in regard to the truth of their ftatements.
unfrequent engraving, feldom well executed, whether on copper or wood,
wit that muft have told with great
The firft objefts of attack in
effeft on thofe for whom it was intended.
but difplaying
thefe caricatures
profanenefs
coarfe
were
and pungent
the
and infolence
Epifcopalian
of the cavaliers.
party
in the
church and the
The Puritans or Prelbyterians
who took the lead in, and at firft diredled, the great political movement,
looked upon Epifcopalianifm
events, as leading dire6t to it.
as
diflfering in little from popery, and, at all
Arminianifm was with them only another
Arminius
llipported
reprefented
Herely, wearing the triple crown, while on
the
on
Laud which
led to
the
fide
Truth
It
indifcreet zeal of archbilhop
one
other fide
turning away from him, and carrying with her the Bible.
caricature
by
1641,
In
was equally detefted.
is
in
publilhed
and
thing,
is
tor the fame
361
i?i
name
Literature and Art.
was the
triumi)h
of the
Puritan party, and the downfall of the epifcopal church government, and
Laud became the butt for attacks of all defcriptions, in pamphlets, fongs
and fatirical prints, the latter ufually figuring in the titles of the pamphlets.
Laud was efpecially obnoxious to the Puritans for the bilternefs
with which he had perfecuted them.
In 1640 Laud was committed to the Tower, an event which was

hailed as the firll grand ftep towards the overthrow of the billiops. As
fatirical fong, publiflied
nd thought to bring us
all
of
jja-verie.
And
Alas
The parliament Jound out his kna-uerie
IViUiam.
poore lyUliam
fo
fell
His pcpe-like domineering.

f'^me
PraniolCd
tricks appearing,
other
Sir Edivard Deering
And
he luas
hope
is
to th^ pope
fay
bring England againe

in danger
But not he
To
an axe or a rope.
of
Some
poore prelate
in
Alas
To blame the old prelate.
Wren, biflinp of Ely,
wa.s
Farezuell, old Canterbury.

Alas
poore Canterbury

cry
fong fays
his hra-ver'ie,
in
in
triumph over the fall of William Laud, of whom the

he "was
in
To the Tune of the Cathedrall
general attack on the prelacy, and opens with
jii
by his
Ser\'ice."
is
a
1641, and
few lines from
entitled " The Organs Eccho.
we may quote
It
enemies,
of the feeling of exultation difplayed on this occafion

a
an example
another of the
more
obnoxious of the
prelates, and lliere was hardly lefs joy among the popular party when he
was conHiiittcd to
liic Tower in tlic courfc of tlic year 1641.
Anolhei
Hijlory of Caricature and Grot efque
362
fong, in verfe fimilar to the laft, contains
of the members
Good-night."
general review of the demerits
of the prelacy, under the title of "The Bilhops Laft

At the head of the broadfide on which it is printed ftand
two fatirical woodcuts, but it muft be confelfed that the words
of the
The bifliop of Ely, we are told, had

juft gone to join his friend Laud in the Tower
fong are better than the engraving.
Ely,
thou
Left
And
the church naked in a fiorme

nonxj
haji alivay
for V
to thy potver
thou mufi to thy old

friend
To the Toiuer muji

Come
third
and Jbotvre,
;' th' Tower,
Ely ;
aivay, Ely,
obnoxious prelate was bifhop Williams.
Williams was
Wellliman who had been high in favour with James L, but he had given
offence to the government of Charles I., and been imprifoned in the
Tower during the earlier part of that king's reign.
He was releafed by
the parliament in 1640, and fo far regained the favour of king Charles, that
When
he was raifed to the archbilhopric of York in the year following.
he retired into Wales, and garrifoned Conway
the civil war began,
the king.
Williams's warlike behaviour was the fource of much mirth
In
among the Roundheads.

for
1642 was publilhed
a large
caricature on
the three claffes to whom the parliamentarians were efpecially hoftile

the royalill judges, the prelates,
and
*he
rutRing cavaliers
reprefented
here, as we are told in
writing in the copy among the king's pamphlets,

Thefe three
by judge Mallet, bilhop Williams, and colonel Lunsford.
figures
are placed in as many compartments with
each.
That of bifhop Williams is copied
bifliop
is armed
doggrel verfes under
in our cut No.
178.
The
cap-a-pie, and in the diflance behind him are feen on one
fide his cathedral church, and on the other his war-horfe.
The verfes
beneath it contain an allulion to this prelate's Wellh extraftion in the

orthography of Ibme of the words
Ohfjir,
Ho'w
Vme ready, did you ne-ver heere
forward
ha-ve byn tîs many a
year e^
praBice dat is noiv on foot e.

Tôppofe
Which plucks my brethren up both pranch and roote
the
My
jiojlure and my hart toth 'well agree
To fight ) now plud
is up :
come,
follow
mee.
///
Literature and Art.
363
to fmart under them

cruehy with which
and the cavaliers were efpecially reproached
they plundered and
Lunsford was efpecially notorious for the
Colonel
l\i,.
for the
ill-treated people whenever they
178.
The Church Militant,

a
degree that he
committed by himfelf and his men to fuch
frc(iucntly
charge which
was popularly accufed of eating children,
of thefe fongs
alluded to in the popular fongs of the time. Thus one
is
barbarities
couples him with two other obnoxious royalifts

gained the maftery.
The country had now begun to experience the miferies of war, and
Prcm Fielding, and from Vavajour,

Both ill-afftllcd
Frcm
Lumford
men,
tke deliver
tyho eattth
children.
u^
ut,
64
In
the third compartment
Grofefque
of the caricature juft mentioned, we
fee
in
the background of the piiture, behind colonel Lunsford, his foldiers occuThe model
pied in burning towns, and maffacring women and children.

of
the gay cavalier
of the earlier period of this great revolution, before
No. 179.
The Sucklington
Faff ion.
the war had broken out in its intenfity, was the courtly Sir John Suckling,
of the drawing-room and tavern, the admired of" roaring boys,"

and the hated of rigid Puritans.
Sir John outdid his companions in
the poet
extravagance
in ever)thing which was fafliionable, and the difplay of his
zeal in the calife of royalty was not calculated to conciliate the reformers.
Art.
in Literature and
365
When the king led an army againft the Scottilli Covenanters in 1639,
SuckUng railed a troop of a hundred horfe at his own expenl'e ; but they
gained more reputation by their extraordinary drefs than by their courage,
and the whole atiair was made
Froni this time the
fubjeft of ridicule.
of Suckling became identified with that gay and profligate clafs who,
dilgufted by the outward lliow of fandtity which the Puritans afledted,
name
rulhed into the other extreme, and became notorious for their profanenefs,
their libertinifm,
degree
and their
Fadion
Sucklington
of"
There
of di (credit upon the royalirt party.
among the King's Pamphlets in the

thofe
in vice, which threw
indulgence
or
Britifti
broadiide
is a large
It
Boys."
is
one
of
fatirical compofitions which were then falhionable under the title

Characters," and is illullrated by an engraving, from which our cut
No. 179
is
This engraving, which
copied.
perhaps the work
of
and forms
from
its fuperior flyle
foreign artift, reprefents the interior of
hi which two of the Roaring Boys are engaged
is
chamber,
in drinking and fmoking,
curious pidure of contemporary manners.
engraving we read the following lines:

certain
Mufeum, entitled, " The
Roaring
(Sucklings)
Underneath
the
Much meate doth gluttony produce,

ylnd makes a man a Jivme ;
But
hee
'j
a temperate man indeed
That -with a leafe

Hee needes no napkin
Hii fingers fir
Jor
dine.
his handes,
to -wipe ;
He hath his kitchin in

His roaji
can
a hox.
meate in a pipe.
When the war fpread itfelf over the country, many of thefe Roaring
Boys became foldiers, and difgraced the profeflion by rapacity and cruelly.
The pamphlets of the parliamentarians abound with complaints of the

outrages
peq>etrated 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.
broadfide
among the king's pamphlets
is adorned
by
fatirical pi6lure
of "The EngliOi Irilh Souldicr, with his new difcij)line new armes, old
The Englilh Irifh foldier
In
clawes
Eagles
phemous
iVo. 180.
as may be
fuppofed,
1646 appeared another caricature, which
"
reprefents
England"
Wolf
"
England's Wolfe with
the cruell impieties of bloud-thirfly
anti-parliamentarians,
It
royalifts
and blaf-
under the command of that
inhumane
briefly difcovered."
England's wolf,
as
few large caricatures, embodying fatire of
more
comprehenfive
defcription, appeared from time to time, during this troubled age.

a
will be
drefled in the high fafh on of the gay courtiers of the time.

a
feen,
is
civill uncivill warres
is
prince Rupert, Digby, and the reft, wherein the barbarous crueltie of our
is

is
heavily laden with plunder.
is,
in 1642.
It
was publifhed
Grotefque
who had rather eat than fight."
ftomacke, and new taken pillage;
366
large emblematical pi6ture, publifhed on the pth
Such
of November, 1642,
in Literature ajui
and entitled
felted
" Heraclitus' Dream," for
to the philofopher
in
treats his beard
in the fame
367
the fcene is fuppofed to be mani-
In the middle of the pidure the
vifion.
iheep are feen Ihearing their Ihepherd
Art.
while one cuts his hair, another
manner.
Under the pidure we read the
couplet
The fiocke that "was -wont to be [home by the herd,
pclleth the Jhepherd injpight of his beard.
Noiv
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
while Hypocrify, in the form of

diftant city.
woman with two faces,
" Libertines," " anti-fabbatarians," and
No.
ing in the fame diredion

city,
of dead and mutilated bodies,
is ready to pounce
l8l.
is
flying towards
others, are haften-
Folly Uppermc/i.
and the angel
of peftilence, hovering over the
upon it.
The party of the parliament was now triumphant, and the queftion of
The Prefl)yterian8 had
religion again became the fubjed of difpute.
been eftablifliing a fort of tyranny over men's minds, and Ibught to profcrib<'. all other feds, till their intolerance gradually raifcd up a ftroug and
368
general feeling of refiftance.
Since
1643 a
Grotefque
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
" Sir John Prefbyter " or to ufe the more
army, gained the maflery.
familiar
and
" Jack
phrafe,
the Prelbyterians
Prefbyter," furnilhed
from the Pretbyterian
Foundation of
fubjeft for frequent fatire,
were not flow in returning
colle6lion in the Britilh Mufeum we find

come
difplaied and portrayed by
with the fame flowers wherewith
emblem, and adorned
the
caricature which mufl: have
" Reall Perfecution, or
party, entitled
general Toleration,
In
blow.
the
the
proper
the fcoffers
of
The group which

copied in our cut No. [81.
this laft age have ftrowed their libellous pamphlets."

occupies the middle
It
part
of this broadfide,
title, " The Pitture of
has its feparate
ridden ante-Prefbeterian fedary."
Folly
is
(I
an
is
Englifh Perfecutor, or
give the fpelling
riding on the feftarian, whom he holds with
having the ears of an

the mouth
afs.
as
foole-
in the original.)
bridle, the feftarian
homely rhymes are placed in
The following
of Folly,
Behculd my habit, like my 'witt,
is,
Anti-Prefbyterian
as
on tvhom
Ifitt.
will be feen, dreffed in the height of the fafhion,
and fays
My
ft
curjed Jpeeches again

Pre/be try
Declares unto the ivorld my foolery.
The mortification of the Prelbyterians led in Scotland to the proclamation of Charles II. as king, and to the ill-fated expedition which ended
Scottifh Prelbyterians
One of the beft of the latter

to ridicule
in the middle of the broadfide,

165
with the
the
while very
Prefbyterlans exaded
him the crown.
in profe, publilbed
" Old
general title,
for
the conditions which
from the young prince before they offered
became
Sayings
on the
It
14th
is
Its objeft
the
is
popular.
againft
is
caricatures
in the battle of Worcefter in 1651, when fatirical pamphlets, ballads, and
1,

Equails his
printed
of July,
and Predictions verified and
flilfilled, touching the young King of Scotland and his gude fubjefts."
Art.
in Literature and
369
The pifture has its feparate title, "The Scots liokling their young kinges
followed by the lines
nofe to the grinftone."
Ccme to the grinfl:,ne,
fate,
Tou co-vinant pretenders, mujl

The jubjeSi
In fact, the pidlure reprefents

No. I
as
bee
tradgie-comed'te?
Prelbyterianifm
Jack Prelbyter holding
to the grindflone, which
the young king's nofe
perfonified
of youer
^tis ncio to late
CJiarles,
To recolefl, "'tis prejbiterian
Si.
Conditions
of
is
turned by the Scots,
Royalty.
The following lines are put into the mouths of the
Jockey.
hree adors in this Icene
Jiciey. I, Jockey, turne the stone of all your plots.

For none turnes faster tlian the turne-coat Scots.
We for our ends did make thee kin<j;, be suic.

Prejhyier.
Not to rule us, we will not that endure.
deep dissemblers, I kow what you doc,
King. You
And,
Charles's defeat
for revenges sake,
I will
disyemble too.
and flight from Worceftei
furnilhed
materials for
i^yo
caricature than moft of the fimllar produ6tions
much more elaborate

this period, and
6th
of
of November,
and Grotefque
It
fomewhat lingular defign.

and bears the title
1651,
was pabliilied
"A
Mad Defigne
of
on the
5
or
of the king of Scots marching in his difguife, after the Rout

at Worcefter."
A long, and not unneceirary, explanation of the feveral
Defcription
forming this pifture,
groups
Charles
is feated
"in
on the globe
underftand it.
us to
enables
melancholy poflure."
the right, and nearly in front, the bifhop of Clogher

at which
Ormond
lords
is
On the left
A little
performing mafs,
in the fliapes of ftrange
and Inchquin,
hold torches, and the lord Taaf, in the form of
to
animals,
monkey, holds up the
The Scottilh army is feen marching up, confifting, according to the defcription, of papifts, prelatical malignants, Prelbyterians, and
old cavaliers; the latter of whom are reprefented by the "fooles head
bifhop's train.
upon
with
a
a
The next group confifts of two monkeys, one

fiddle, the other carrying a long ftaff with a torch at the end, conpole in the rear."
cerning which we learn that
" The two ridiculous anticks,
fiddle, and the other with
torch, fet forth the ridiculoufnefs of their
condition
when
they
marched
into
England,
one
with
carried up with
thoughts, yet altogether in the darke, having onf?ly
high
fooles bawble to be

their light to walke by, mirth of their own whimfies to keep up their
fpirits, and
a ftieathed
fword to trufl:e in."
Next come
troop of women,
Two monkeys on
foot, and one on horfeback, follow, the latter riding with his face turned
children, and papifts, lamenting
is
their
defeat.
tail, and carrying in his hand
to the horfe's
It
over
explained
as
"The
Scots
fpit with provifions on it.
Kings flight from Worcefter, reprefented
by the foole on horfeback, riding backward, turning his face every way
in feares, ufhered by duke Hambleton and the lord Wilmot."
Laftly, a
crowd of women with flags bring up the rear.
wit difplayed in this fatire
is
It
cannot be faid that the
of the very highefl order.
After this period we meet with comparatively few caricatures until

the death of Cromwell, and the eve of the Reftoration, when there came
a
new and fierce flruggle of pohtical parties.
of fome fatirical prints and pamphlets in 1652
of caricatures
The Dutch were the fubjeft

;
and we find a fmall number
on the focial evils, fuch as drunkennefs and gluttony, and on
/// Literature afid
Art.
71
of minor agitation. AN'iih the clofe of the Commonnew form of caricature came in. Playing cards had, during this
one or two lubjedts
weahh
feventeenth century, been employed for various purpofes which were quite
alien to their original
In France they
In England,
children.
charadter.
of conveying inflruction to
No. 183.
as the
at the time
of which
medium for fpreading political
Arthur Hajclrigg.
The earlieft of thefe packs of cards known is one which

appears to have been publifhed at the very moment of the reftoration of
caricature.
Charles
.'
ferics
II.,
and which was, perhaps, engraved
of caricatures
u\\ the principal
in
Holland.
It contains
ads of the Commonwealth,
and
wtich have been preferved
pack relating to the popilh plot, another
Among other cards of
is
on the parliamentary leaders.

a

we are fpeaking, they were adopted
were fnade the means
fimilar charadter
Z7'^
HiJlGry of Caricature and Grotefque
relating to the
Rye Houfe coiifpiracy, one on the Mifliflippi
fcheme,
pubhfhed in Holland, and one on the South Sea bubble.
The earliefl: of thefe packs of fatirical cards, that on the Commonwealth, belonged a few years ago to a lady of the name of Prell, and is
very
fully defcribed in
paper by Mr. Pettigrew, printed in the

of the Eritilh Archaeological Aflbciation."
LcLTTiherirK
No. 184,
with
ojj/
" Journal
Each of the hfry-two
cards
GoldcT^
General Lambert.
Ihus
of diamonds reprefents"The High Court of Juftice, or Oliver's Slaughter Houfe." The

eight of diamonds is reprefented in our cut No. 183 ; its fubjed is " Don
prefents a pifture
fatirical title.
Hafelrigg, Knight of the Codled Braine."

that Sir Arthur Hafelrigg aded
the ace
It
is
very prominent
during the whole of the Commonwealth
hardly neceflary
to lay
and remarkable part
period, and that his manner,
in Literature and
were impetuous and authoritative, which
the epithet here given to him.
Art,
11
was probably the
meaning
of
The card of the king of diamonds repre-
fents rather unequivocally the fubjed indicated by its title,
may folicits
citizen's wife, for which his
an allufion to one
eight of hearts
guillied
man
is a
"Sir IT. Mildowne correds him."

It is
of the petty fcandals of the republican period. The

fatire on major-general Lambert.
This able and diftin-
was remarkably
fond of flowers, took great
pleafure
in
cultivating them, and was Ikilful in drawing them, which was one of his

favourite amufements.
He withdrew to Amfterdam
i\o. 185.
during the Protec-
Slin/i>itide.
full indulgence to this love of flowers, and I need

that it was the age of the great tulip mania in Holland.
torate, and there gave
hardly
(ay
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
fcnted in his garden, holding
large tulip in his hand
in allufion to this innocent tafle that lu

<if
the Golden
Tulip."
is
is
repre-
:uul it is no doubt
here entitled " Lambert, Knight
174
Grotefqiie
The Reftoration furniflied better fongs than prints, and many years
paffed before any caricatures worthy of notice appeared in England.
Even burlefque fubje6ls of any merit occur but rarely, and
of one which
met with,
is
is a
Lent
hardly know
Among the beft of thofe I have

pair of plates, publilhed in 1660, reprefenting Lent and
worth defcribing here.
Shrovetide, and thefe,

prints.
is come
believe, are copied
or imitated
thin miferable-looking
as a
from foreign
knight-errant,
appro-
priately armed and mounted, ready to give battle to Shrovetide, whofe

good
living
is
pernicious to the whole community, and he abufes his oppo-
In the companion print, of which our cut
nent in good round terms.
No.
Shrovetide appears
185 is a copy,
He
meet his enemy.
as a
jolly champion, quite ready to
defcribed in the following lines, extra6ted
is beft
from the verfes which accompany the prints:
Fatt Shro-vetyde, mounted on a good fatt oxe,

Suppojd that Lent ivas mad, or caught afoxe,*
jirmed caf-a-pea from head unto the heel.,
yi Jpit
his long Jiuordf Jomeivhat ivorfe thanjieale,

fatt pigge and a peece of porke)y
{Sheath'' d in a
His
bottles
fid ivith
ivine, ivellftopt ivith corke
Hung at his
His helmet
A.
{like a ivell
and
backe,
frung
upper
for
a brajfe pott,
cookes foule apron,

:
i.e
inflrument)
the turnament
and his flagge
ivhich the ivind doth tvagtr,
Fixd to a broome
thus
And boldly to his foe he
jhoulders lac^d nuith faiufages for
gridirn
is

The
And
''s
The tivo plump capons fluttering at his crupper ;
bra-vely he did ride.

thus replied,
was drunk.
//;
Literature and Art.
375
CHAPTER XXII.
tXGLISH
THE OTHER WRITERS OF

HIS
COMEDY. BEN JONSOX.
OF DRAMATIC PERFORMANCES.
COMEDY
INTERRUPTION
THE HOWARDS BROTHERS
THE DUKE OF
AFTER THE RESTORATION.
WRITERS OF COMEDY IN THE LATTER
BUCKINGHAM THE REHEARSAL.
INDECENCY OF THE STAGE.
PART OF THE SEVENTEENTH CENTURY.
FOOTE.
COLLEY CIBBER.
IX
SCHOOL.
England,
as
in Athens of old, pertedt comedy arofe gradually out of
the perfonalities
Such productions
as
of the rude dramatic attempts of an earlier period.

Ralph Roiiler Doiller and Gammer Gurton's Needle
imperfe6t attempts at, we may perhaps rather fay feelers

towards, comedy itfelf that drama, the obje6t of which was to caricawere
mere
dilled and apply correctives to, the vices and weakThe genius of Shakefpeare was far too
nelfes of contemporary fociety.
one who could ufe the
it
this
talk like
wanted fome
lancet and fcalpel ikiltully, but foberly, and who
was not liable to be led aftray by too much vigour
of imagination.
one was Ben
is
Jonlon, whom we may rightly confider as the

" Bartholomew Fair," firft performed at the
father of Englilli comedy.
Hope Theatre, on Bankfide, London, on the 31ft of 06tober, 1614,
Such
mod perfect and moll remarkable example of the truly Englilli

comedy, remarkable, among many other things, for the extraordinary
the
of the pictorial triumphs of
Callot or
Hogarth.
London
the one in which
would fliow itfelf in its more grotefcjue altitudes
tableau,
placed before us in all its more popular forms in one grand
it
life
us
reminds
number of charadters who were brought upon the ftage in one piece, and
Ikill that
who are all at the fame time grouped and individuaUfed with
is

exquifitely poetical to qualify him for
ture, and thus to
tlie
London citizen, his vain or cafy wife, lliarpers of every defcription, and
mwr victims no lefs varied in character, the petty city officers, all come
376
Grotefque
in for their fhare of fatire.

rally, that it
and who
is
The different groups are diilributed fo natudifficult to fay who is the principal charafter of the piece
Per-
of Cokes, the young booby fquire from Harrow for in
haps the charadter
thofe times even fo near London

to be in all probability but
is
Fair?
ever was the principal charafter in Bartholomew
faid to have been at
as
Harrow,
young fquire was confidered
young country booby
ftrikes
later period the favourite character
It
of Charles H.
us moft.
Among the other principal charafters of the play are a pro6lor of the
Arches Court named Littlewit, who imagines himfelf to be a bel cfprit ot
the firfl; order; his wife, and her mother, dame Purecraft, who
Juftice Overdo,
Cokes
London
Bufy, who
is
magillrate, to whofe ward, Grace Wellborn,
affianced in marriage;
is
widow
is a
a zealous
fuitor to the widow
Puritan, named Zeal-of-the-land
Purecraft, herfelf alio
Puritan;
Winwife, Bufy's rival ; and a gameller named Tom Quarlous, who

All thefe meet in town, on
figures as Winwife's friend and companion.
the
morning of the fair, Cokes under the care of
upper fervant, named Wafpe,

and feparate
\vho
of
of fteward or
quarreltbme
difpofition,
in groups among the crowd which filled Smithfield
vicinity, each having their feparate
adventures,
time, and reaffembling at the end.

was
fort
and its
but meeting from time to
Cokes behaves
as a
fimpleton from
the country, longs for everything, and wonders at everything, buys up

toys and gingerbread, is feparated from all his companions, robbed
of his
money and even of his
finally
outer garments, and in this condition
Meanwhile the Puritan Bufy, by his zeal

"heathen abominations" of the fair on one hand, and
fettles down at a puppet-lliow.

againfl:
the
Wafpe,
by his
quarrelfome temper on the other, fall into
fcrapes, which end in both
being carried to the ftocks.
joined by another important perfonage.
feries
of
They are there
Juftice Overdo, who
is
diftin-
guifhed by an extraordinary zeal for the right adminifiration of juftice

and the fuppreflion of focial vices of all kinds, has come into the fair in
difguife, in order to make himfelf acquainted
he paffes among them unknown
him into
with its various abufes, and
and his inquifitive intermeddling bring-s
variety of mifliaps, in the courfe of which he alfo
the conftable, and allows himfelf to be taken
is feized
bv
to the ftocks, rather than
in Literature a?id
Art.
ZU
Thus all three, Buly, Wafpe, and Overdo, are placed
betray nis identity.
in the rtocks at the fame time
but Walpe, by
clever trick, efcapcs, and
leaves the Puritan and the juftice confined together, the one looking upon
himfelf
as
martyr for religion's
the other
fake,
fuffering through his difinterefted zeal for the

too, after a while
rather glorying
in
They,
common good.
make their efcape through an accidental overiight of
their keepers, andniix again with the mob.
The women, likewife, have
from their male companions, have fallen among fharpers
been feparated
and bullies, been
made
drunk, and efcaped but narrowly from ftill worfe
They all finally meet before the puppet-fliow, which has fixed the
attention of Cokes, and there juftice Overdo difcovers himfelf.
Such are
"
the materials of Ben Jonfon's
Bartholomew Fair," the bufieft and moft
difafters.
It
amufing of plays.
fidion
is faid,
when firft a6ted, to have given great fatif-
to king James, by the ridicule thrown
continued to be
upon the Puritans, and it
favourite comedy when revived after the Reflioration.
"The Alchemift,"
the
by
author,
fame
Fair," by four years, and was defigned
as a
"Bartholomew
preceded
fatire upon
clafs
of impoftors
of fociety, and were

"The
jnftruments, one way or other, in the greateft crimes of the day.
Alchemift" belongs, alfo, to the pure Englifli comedy, but its plot is more
who, in that age, were among the greateft
pefts
(imple and diftind than that of "Bartholomew Fair."

which may have occurred frequently,
at periods
It
involves
events
when the metropolis was
from time to time expofed to the vicillitudes of the plague.
On one of
Lovewit, a London gentleman, obliged to quit the metropolis

m order to avoid the plague, leaves his town houfe to the charge of one
thefe occafions,
man-fervant, Face, who proves diftioneft,
himfelf with
aftTociates
rogue
named Subtle, and an immoral woman named Dol Common, and introduces
them into the houfe, which
tions.
Subtle affumcs
is made
the chara6ter
the bafis for their fubfequcnt opera-
of
magician and alchemift, while
Dol a6b various female parts, and Face goes about alluring people into
their fiiares.
two Knglifh
a
knight who lives upon the town,

Puritans from Amfterdam, a lawyer's clerk, a tobacco man,
Among their dupes are
young country Hjuire, and his fifter dame Pliant,
intrigues
in which
thefe
individuals
are
The various
widow.
involved, Ihow
us
the way in
37^
which the pretended conjurers and alchemifls contributed to all the vices
At
of the town.
length their bale dealings
are on the point
of being
expofed by the cunning of one upon whom they had attempted to irnpofe,
when Truewit, the matter of the houfe, returns unexpe6tedly, and all
difcoveredj but the alchemill
is
and his female alfociate contrive to efcape.
The objed of their laft intrigue had been to entrap dame Pliant, who
was rich, into a marriage with a needy Iharper^ and Lovewit, finding the
lady in the houfe, and liking her, marries
her himfelf, and, in confidera-
tion of the fatisfadion he has thus procured, forgives his unfoithful fervant.
Many have confidered the Alchemift to be the bell: of Jonfon's dramas.

" Epicoene, or the Silent Woman," which belongs to the year 1609, is
of London fociety, in which the lame clafs of
another fatirical pi6ture
Morofe, an eccentric gentleman of fortune, who has
charafters appear.
a
great
horror for noife, and even obliges his fervants
to communicate
with him by figns, has a nephew, a young knight named Sir Dauphine
Eugenie, with whom he is dilfatisfied, and he refufes to allow him money
for his fupport.

into
plot
marriage with
laid by his friends, whereby the uncle
is
is
led
fuppofed filent woman, named Epicoene, but flie
until the wedding formalities are completed,

and thefe are followed by a fcene of noife and riot, which completely

only fuftains
the charader
horrifies Morofe, and leads to
he makes over half his fortune.
reconciliation with his nephew, to whom
The earliefl: of Ben Jonfon's comedies,
Humour," was compofed in its prefent form in 1598,

and is the firft of thefe dramatic fatires on the manners and charader of
the citizens of London, of whom it was falhionable at the courts of
"Every Man
James
I.
in his
and
Charles
to fpeak
gentleman of refpedability,
is
becaufe the latter has taken to
contemptuoufly.
highly
Kno'well, an old
difpleafed with his fon
writing poetry, and has formed
Edward,
friendfliip
with another gentleman of his own age, who loves poetry and frequents
the rather gay fociety
of the poets and wits of the town.
Wellbred ha*
"plain fquire," named Downright, and a filter married

to a rich city merchant named Kitely.
Kitely, the merchant, who is
extremely jealous of his wife, has a great defire to reform Wellbred, and
half-brother,
draw him to
fl:eadier line
of life
fentiment in which
Downright
tn
Literature and Art,
37^
Kitely's jealoufy, and the Iteps taken to reform Wellbred,

lead to the moft comic parts of the play, which concludes with the
marriage of young Kno'well to Kitely's daughter, Mifs Bridget, and his
heartily joins.
reconciliation with his father.

are
"
captain Bobadil,
merr)'
Among the other characters in the piece
"
coward," juftice Clement,
bluftering
magilbate,'" his clerk, Roger Formal, and
an old
country gull and
town gull.
of London life became popular, and continued fu

the following reign in faft, the mafs of thofe who
Thele comedies
during
this and
attended the theatres could underftand and appreciate
them better than
any others, and, what was more, they felt them.
Among, Jonfon's contemporaries in the literature of this Englilh comedy were Middleton and
Thomas
Heywood,
both very prolitic writers. Chapman,
Certain clalfes of characlers
are
continually
employment
variations,
known
individuals, or
as

country gentleman
daughter,
of the intrigues of fpendthrift fuitors
plot which
knight,
and had
rich heirefs, who was the objedt
young heirs, who have

as
as
Among thefe were ufually
their ellates, and are fpending them in London

; a needy
comedy,
fpecial intereft,
of fortune, who was very avaricious,
fpendthrift fon, or who had
who are eafy vidims
being combined in
was built upon real incidents in London life.

a
this
of thefe charaders admitted of great
they perhaps often had at the time
and
repreftnting
and diftribution
in
London fociety of the time, but
becaufe they belonged efpecially to the

the
repeated
Marfton.
and
to
young country fquires
poor in principles
who lived upon the public in every way he could
jull come
as
in money,
defigning and unfcru-
of every defcription.
In fad, uc
feem to be always in the fmell of the tavern, and in the midll of diliipaThen there are fat, fleek, and wealthy citizens, whofe fouls are
tion.
pulous women
bullies and Iharpers
entirely wrapt up in their merchandife, who arc proud, neverthelels,

their pofition
and eafy, credulous
of
city wives, \\\\u are fond of finery and
of praife, eager for gaiety and difplay, impatient of the rule of hulbands,
or of the dulneli of home, and very ready to lillen to the advances of the
gay gallants from the court end
of the town, or from the tavern.
The
city Lradcflnan has generally an apprentice or two, fometimes very fuber
380
but perhaps more frequently diffipated, who play their parts in the piece
and often
daughter, who
domeftic virtues, and
is
either
model of modefty and
and comes
and intriguing,
who
is gay
idea
of excellence, or, to ufe
fcene
to
to
mifinterpreted, or
But the favourite
difgrace.
technical phrafe, the
have been
of diffipation, in
all the
finally the reward of fome hero of good principles,
is
who has been temporarily led aftray, and his charadter
comedy, appears
beau
ideal
of this
wild youth, who goes through every
gentlemanly manner
ftood), and comes out at the end of the play
(as the
term was then under-
as an honeft,
virtuous man, and
receives the reward for qualities which he had not previoully difplayed.
Sometimes the writers of this comedy indulged

in political,
allufions which
in peribnal, or even
brought them into trouble.
In
the
year
Jonfon, George Chapman, and John Marflon, wrote jointly a

It is a very excellent and amufing
comedy entitled "Eaftward Hoe."
1605, Ben
comedy, and was very popular.

city, has two apprentices,
Quickfilver,
who
is
the eldeft
daughters,
Golding,
irreclaimable
an
an honeft
goldlmith in the
fober and induftrious youth, and

rake.
Touchftone
has
alfo
tu'o
of whom, Gertrude, affeds the fine lady, and
ambitious of finding
hulband
younger fifter, Mildred,

Touchftone,
is
in
the fafliionable
world, while her
An attachment arifes
all virtue and humility.
between Golding and Mildred.
is
Another charader in this drama is
needy, fcheming knight, who lives upon the town, and rejoices in the name
of Sir Petronel Flafti.
Sir Petronel
is attradled
by the rich dowry which
the young lady, Gertrude, had to expeft, pays his court to her, and eafiiy
works upon her vanity;
and, her mother encouraging her, they are haftily
married, contrary to the wifties of her father.
The knight is fuppofed to

poflefs a magnificent caftle fomewhere to the eaft of London, and the young
bride and her mother proceed in fearch of this, from which the comedy
derives its title
agreeable
of "Eaftward Hoe," but they are involved in various dif-
adventures
in the fearch, which ends in the conviftion that it is
Another chara6ter in the play is a greedy and unprincipled

ufurer, who is fo jealous of his young and pretty wife, that he keeps her
under lock and key; and this man is deeply involved in money-lending
all
fable.
with Sir Petronel Flafh, and they are engaged in
feries
of unprincipled
Art.
in Literature ami
tranfadions, which lead to the dilgrace of them all, and in the courfe of
which the virtue of the ufurer's wife falls a facrihce.
Meanwhile the
fortunes of the two apprentices have been advancing in diredly oppofite
Quickfilvcr, the unworthy apprentice, leaves his mafter, prodiredions.
ceeds from bad to worfe, and tinally is committed
the punilhment
of which was death.
to prifon, for a crime
On the other hand. Gelding has
not only gained his mailer's efteem and married his daughter
Mildred, and
been adopted as the heir to his wealth, but he has merited the refpedt
his fellow-citizens, and has been promoted in municipal rank.
It
of
becomes
Golding's duty to prefide over the trial of his old fellow apprentice Quicklilver, but the latter efcapes through Golding's generofity.
There
is
Ibme found morality in the fpirit of this comedy, and
very
of immorality in the text.

There was, indeed, a coarfe
licence in the relations of fociety at this period, which are but too faithlarge amount
fully reprefented in its literature.
But there are two circumftances, acci-
dentally attached to this drama, which give it

brought out upon the rtage
contained
it
which provoked tlie anger of king James
I.
peculiar intereft.
reflexions
to fuch
When
upon
Scotchmen
degree,
that all the
authors were feized and thrown into prifon, and narrowly efcaped the lols
of their ears and nofes, but they obtained their rcleafe with fome difficulty, and only through powerful
intercellion.
In
the
copy which
has
boon brought down to us through the prels, we And no refledions what-
ever upon Scotchmen, fo that it mufl have been altered from the original
text.
When we confider that,
were crowded with
needy
with great jealoufy, it
at
this time, the Englifli court and capital
Scottifh adventurers,
is not
as a fatire
looked upon
improbable that in the original form of the
comedy. Sir Petronel Flafli may have been

not only
who were
Scotchman, and intended
upon the Scottilh adventurers in general, but to have
been defigned for fome one in particular who had the means
upon the authors the extreme difpleafurc
of bringing
of the court.
The other circumflancc which has given celebrity to this comedy, is

one of Hill greater intereft.
After the Reftoration, it was new modelled
by Nicholas
Tate, and brought again upon the flage under the title of
" Cuckold's Haven."
Perhaps
through this remodelled edition, Hogarth
Hifiory of Caricature and Grotefque
382
"
took from the comedy of
of the hiflory of
the
Eaflward Hoe," the idea of his feries of plates
Idle and Induflrious Apprentices.
When we confider the ridicule which was continually thrown upon

them in this earlier period of the Englilli comedy, we can eafily underlland the bitternefs with which the Puritans regarded
When they obtained power, the ftage,
drama.
as
the ftage and the
might be expefted,
was fuppreffed, and for fome years England was without
the
Reftoration,
however, the
theatres
were
opened
At
a theatre.
and with
again,
of the days of
greater
freedom than ever.
At firft
the
James
I. and Charles I. were
revived,
and many of them, modified and
adapted
old comedies
to the new circumftances, were again
brought upon the fiage.
The original comedies which appeared immediately after the Reftoration,

were often marked with
political tingej
the ftage faw its natural pro-
as
teSors in the court, and in the court party, it embraced their politics
and
Puritans, Roundheads, Whigs, all whofe principles were fuppofe'd to be contrary to royalty and arbitrary power, fell under its fatire.
Such was the
of the comedy of "The Cheats," by a play-writer of fome repute

The obje6t of this play
named Wilfon, which was brought out in 1662.
chara6ter
appears
to have been, in the firft place, to fatirife the Nonconformifts
or

Puritanical clergy with whom were clafled the aftrologers and conjurers,
who had increafed in number during the Commonwealth time, and infefted
fociety more than ever and the city magiftrates,
upon
as
being generally over-loyal.
of this comedy,
are
who were not looked
The three cheats who are the heroes
Scruple, the Nonconformift,
Mopus,
pretender to
Dired perfonal
phyfic and aftrology, and alderman Whitebroth.
had been introduced into the comedy of the Reftoration, and it
is
attacks
probable
that fomebody of influence was fatirifed under the name of Scruple, for
the play was fupprefled by authority, and
, revived, the prologue announces
Sad
For
nnus^
Would ye
the cauje
later period, when it was
this fad in the following words
my majiets ;
us ScrupWs
at
and too true,
I fear.
afiienc'd minijier.
The brethren
fni-uel, and fay,
'Tisjcanda/ous that any cheat but they.
Many of the dramatifts
of the Reftoration were men of good and
ill Literature and Art.
383
ariliocratic families, witty and profligate cavaliers, who had returned from
The family of the earl of Berkihire produced no lels
exile with their king.
than four writers of comedy, all brothers, Edward Howard, colonel Henry
Howard, fir Robert
Howard, and James
Howard, while their filler, the
Howard, was married to the poet Dryden.
lady Elizabeth
flrft dramatic piece was
Edward Howard's
" The Ufurper," which

tragi-comedy entitled
came out in 1668, and was intended as a fatire upon Cromwell.
known
"The Man of Newmarket,"
were
comedies
Colonel Henry Howard compofed
Conqueft."
and
His beft
"Woman's
comedy entitled
" United
Kingdoms," which appears not to have been printed. To James Howard,

the youngcft of the brothers, the play-going public, even then rather a
large one, owed
Mad Couple."
wrote
"The Englifh Mounfieur,"
"All
Miflaken, or the
Sir Robert Howard was the beft writer of the four, and
and
which were afterwards publiflied

The beft of his comedies is " The Committee," which was
both
tragedies
colle6lively.
and comedies,
firft brought on the ftage in
\6^<,. and
through fome chance, certainly not
by its merit, continued to be an afting play during the whole
century.
"The
Committee
far the beft of the dramatic writings of the
is by
Its defign was to turn to ridicule the Commonwealth
Howards.
"
of the laft
men and
Colonel Blunt and colonel Carelefs are two royalifls, whofe
the Puritans.
of the committee of fequeftrations, and who repair

to London for the purpofe of compounding for them.
The chairman of
eftates are in the hands
the committee is a
but who
is
ing and
ver}'
had been
Mr. Day,
worldly-minded and fufticiently felfifli Puritan,
ruled by his more crafty and ftill lefs fcrupulous wife,

talkative woman.
kitchen-woman,
defign-
Both are of low origin, for Mrs. Day
and both are very proud and very tyrannical.
Among the other principal charafters are Abel Day, their fon, Obadiah,
the clerk to the committee, a man in the intcreft of the Days, and an
Irifti fcrvant named Teague, who had been the fervant oi Carelels's dear
friend,
royalift officer killed
great
diftreCs, and
radter
of Teague
blunderc
in battle, and whom the colonel finds
takes into his own fervice

is a very
and bulls are
of
out of charity.
poor caricature upon an Iriihman,
a very
fpiritlefsdefcription.
in
The ciiaand
hi.-:
Here k an example.
384
Grotefqiie
it,
Teague has overheard the two colonels ftate that they Ihould be obliged
and in his
to take the Covenant, and exprefs their reludance to do
fcene takes place which
is
In
operation.
the ftreet he
of pedlars who were then common

beft given in the words of the original
clafs
New books, new books

of the Bloody Cavaliers
ment
Bookfeller.
difagreeable
he cannot take the covenant
and
wandering bookfeller
meets
a
for them, and thus fave them
if
inconfiderate zeal, he hurries away to try
Desperate
Mr.
Plot
and Engage-
Saltmarshe's
Alarum
to
Mercurius
Nation, alter having been three days dead
Britannicus
They cannot live in Ireland after they are
Teague. How's that?
dead three days
the
Book. Mercurius
it
Book. Your master must pay me
Teag.
for 't, then
master.
must
take
it
first, and my master will pay you afterwards.

now.
Oh that
will ^Knocks him doivn].
Now you're paid, you
Teag.
thief of the world. Here's Covenants enough to poison the whole
nation.
\Êxit.
devil ails this fellow [Crying'\. He did not come to
Book. What
for he has not taken above two-pennywoith of
rob me, certainly
ware
but
feel the rascal's fingers.
away;
lamentable
may
wild
Irishman
again, and,
light upon my
will fix him
do,
with some catchpole, that shall be worse than his own country
Book. You must pay me
if
bogs.
is
caught by the conftables, and
liberated
of his matter, who pays twopence for the book.
but
plot of the comedy
rally carried out. Colonel
fimple one, and
is
the interference
is
the fequel, Teague
In
[Êxit.
is

is
is
is
Britannicus, or the Weekly Post, or the Solemn

League and Covenant
the Covenant you have
that you say
Is
Teag. What
what then, sir
Book. Yes
that Covenant?
Teag. Which
the Covenant.
Book. Why, this
Wei!,
must
take that Covenant.
Teag.
Book.
You take my commodities
must take that Covenant, upon my soul, now.
Teag.
Book. Stand off, sir, or I'll set you further!
Well, upon my soul, now,
will take the Covenant for my
Teag.
at
The
neither fkilfully nor natu-
Blunt comes to London from Reading in the
Literature and Art.
i?2
indde of
385
ftage-coach, having for his travelling companions Mrs. Day,
her fuppofed daughter Ruth, and Arabella,
young lady whofe father
is
her of, and
robbed
is
under fimilar circumftances,
it
is,
recently dead, leaving his eftates in the hands of the committee of fequefin truth,
Ruth
trations.
young lady whofe eftates the Days have,
their delign to treat
to engage them in the feltilh plans
letter from the exiled king, complimenting
oftering him great rewards
if
former on his great power and influence and talents

he
as
will fecretly promote
ttatefman,
communicates this to the committee under the pretext that
the
and
Day
his caufe.
is
Day and his wife forge
of their chairman.
it
influencing
itfelf requires
efte6t this, ns the committee
fome
To
vain filly lad.
fon Abel,
Arabella in the fame manner, under difguife of forcing her to marry their
his duty
to make them acquainted with all fuch perfidious defigns that might come
to his knowledge, and they, convinced
give up Arabella's eftates to the
of his honefty and value to them,
Days, and llie falls entirely under their
Meanwhile, on the one hand, Arabella has gained the confidence

of Ruth, who makes her acquainted with the whole plot againft her and
power.
Ruth falls in love with colonel Carelefs^

fmitten with the charms of Arabella, and all this
takes place
feem
not
in the
very
committee
much
Arabella to Abel Day
to
is
colonel Blunt
the
room.
purpofe,
Various incidents follow,

but at laft,
as
the
which
marriage ot
prelfed forward, the two young ladies, although
yet they have hardly had an interview with the colonels, refolve to make
their efcape from the houfe of the chairman of the committee, and fly to
as
their lovers for proteftion.
fliort abfence from the houfe of
Mrs. Day and their fon together, prefents
the
defired
Mr.
and
opportunity, and
Day having accidentally left his keys behind him, the idea fuggefts itfelf
Ruth to open his cabinet, and gain poflfeflion of the deeds and papers
As flie had before this fecretly,
of her own eftates and thofe of Arabella.
obferved the private drawer in which they were placed, flie met witli no
to
difficulty in efle6ling her purpofe, and not only found thefe documents,
but
alfo with them the forged letter from the king, and fome
addreflrd to Day
by
young women whom
letters
he was fecrOtly keeping, and
who demanded money for the fupport of children they had by him, and
C

and
is
her eftates, and on the other,
Hijtory of Caricature and Grotefque
386
alluded to matters of
ftill more ferious chara6ler.
Ruth takes pofleffion
of all thefe, and thus laden, the two damfels

without
and reach
hurry away,
the houfe where they were to meet the
interruption
colonels.
The Days return home immediately after the departure of their wards,
and at once fufpeft the real ftate of affairs, which is fully confirmed,
when Mr. Day finds that his mofl: private drawer has been opened, and
his molt
important
papers
They immediately
carried off.
of the fugitives, having fent orders for
fearch
aflifi: them, and the houfe in which
rounded before
Day
frightens
have taken refuge
they have had time to efcape.
attempt refiftance by force, the befieged call for

by
is
fur-
Finding it ufelefs to
parley, and then Ruth
the contents of the private
him with
acquainting
in
detachment of foldiers to
the lovers
proceed
letters the has become poffeffed of, and his wife by the knowledge flie has
obtained
of
The
the forged letter, which alfo fhe has in her poffeffion.
Days are thus overreached, and the play ends v/ith
general reconciliation.
The ladies are left with the titles of their eftates, and with their lovers,
and we are left to fuppofe that they afterwards married, and were happy.
The plot of "The Committee,

one,
dialogue
extremely tame,
is
it is worked
out
and the incidents
is
not
is
ftill worfe.
capital
a very
The
are badly interwoven..
of wit given above is the beft in the play,

will hardly be
and that there are not many attempts at wit in
fay that the example
the popularity which
once
enjoyed.
This popularity, indeed,
is
could be amufing, and we cannot but feel aftoniflied at

it
thought that
it
it,
it
When
only
fo ftrongly
and
it
explained by the fafhion of ridiculing the Puritans, which then prevailed

;
perhaps retained its place on the ftage during the laft
century chiefly from the circumftance of its wanting the obje6lionable

qualities which charafterifed the written
plays
of the latter half of the
feventeenth century.
"The Committee"
is,
after all, one of the very beft comedies of the
fchool of dramatifts reprefented by the brothers Howard.
with this fchool of flat comedies, there was

in which
but the manner
u will be feen,
Contemporary
fchool of equally inflated
tragedy, and both foon became objefts of ridicule to the fatirifts of the day.
Of
thefe, gne
of the boldeft was George Villiers, duke of Buckingham^
in Literature and
Art.
387
the fon
of the favourite of king James I., and equally celebrated for his
talents
and
"
begun his fatirical comedy of

had
and to have
towards the December
After this interruption its author, who was

for fome time and
by
Howard
it
is
and
the
for
was
Theatre
was allifted in the
not Hated in what manner, by Butler,
It
Martin Clilibrd, of the Charter-houfe.
the firrt form
out at
was brought
of his fatire, Buckingham
for its hero, and that he
is
and
it
compofition of this fatire, but
modified
faid that Buckingham
is
It
Roval in Covent Garden.
when
defultory writer,
then, new objedls
fatire having prefented themfelves, he altered and
finally completed in 167],
of
of the great plague caufed the theatres to
to have laid it afide
appears
is
it ready for reprefentation
1665, when the breaking out

be clofed.
laid to have planned and

"
The Rehcarlal
as early as the year i'^63,
Buckingham
it
profligacy.
it,
his
underftood that, in
had chofen the Hon. Edward
afterwards
exchanged
him for
Sir
William Davenant, but he finally fixed upon Dryden, whofe tragedies

and comedies are certainly not the beft of his writings pofiibly fome
perfonal pique may have had an influence in the feledion.
Neverthelefs,
with Dryden, the Howards, Davenant, and one or two other writers of
Bayes, has compofed
new drama, and
come in for their fliare of ridicule.
Dryden, under the name of

friend named Johnfon goes to
country friend of the
running converfation
between Bayes, the author, and his two vifitors, which

humour.
The firft part of the prologue explains to
fpirit in which this fatire was written.
fluff
Here, bri/k,
fear
of
who thought ""em rofet.
''em ivere here, to

fee this night
in which they took delight.
infpid
for tvit, let fall

nfner none at all
rogues,
Sometimei dull Jenje, but
It^hat
it
tVculd jome
been presented to yûr nojes,
juch,
there are
juch ha-vt
of
T<t
And
ours
of
of
IVc might ivell call ihit fycrt mock-play

/} p'jfie made
lucedi wjicad
fiotueri
is
piece
mixed up with
is
and
and efpecially upon Dryden
it
of Smith.
is
of mockery throughout, made

up of parodies, often very happy, on the different play-writers of the day,
name
The play itfelf
witnefs the rehearfal of this play, taking with him
is

comedy,
us
full of fatirical
fufliciently
the
388
Grotefque
heroes., -with a gr'im-fac^d
There, ftrutt'ing
tram,
Shalt hra-ve the gods, in king Camhyjes
"vein.
For (changing
lorit
rules,
In fpite of reajon,
of late,
as
if men
nature, art, and
ivit)
Our poets make us laugh at tragedy.
And
tuith their comedies
they
make us cry.
will, perhaps, be bell underftood, if 1

explain that the antagonifm of two contending kings of Granada having
A fliort account of
been
this fatire
of Dryden in
favourite idea
his tragedies,
Buckingham
is faid
to
to ridicule him in making two, not rival, but aflbciate kings
have defigned
of Brentford, though others fay that thefe two kings of Brentford were
Thefe
intended for a fneer upon king Charles II. and the duke of York.
The firfl al of "The Rehearfal
two kings are the heroes of Bayes's play.

confifts
of
"
difcuffion between Bayes, Johnfon, and Smith, on the general
charaler of the play, in which
Bayes exhibits a large
and felf-confidence, faid to have
been
amount of vanity
charafteriftic of all thefe play-
writers of the earlier period of the Reftoration, and he informs them that
"made
prologue and an epilogue, which may both ferve for

the
prologue for the epilogue, or the epilogue for the
prologue, (do you mark!) nay, they may both ferve, too, 'egad, for any
Smith obferves, "That's indeed artificial."
other play as well as this."
Finally Bayes explains, that
as
other authors, in their prologues, fought to
their audience, in order to gain their favourable
flatter and propitiate
opinion of the plot, he, on the contrary, intended to force
their applaufe
out of them by mere dint of terror, and for that purpofe, he had introduced
as fpeakers
of his prologue, no lefs perfonages
than Thunder and
Lightning.
This prologue, difengagedfrom the remarks of Bayes and his
friends, runs
as
follows
Enter
THUNDER
and
LIGHTNING.
Thun.l am the bold Thunder.

Light. The. brisk Lightning
Thun.\ am the bravest Hector of the sky.
fair Helen, that made Hector die.
Light. A.x\6.
strike men down.

Thun.
Light. fire the town.
I I

either; that
is,
he has
Literature and Art.
tn
389
Let critics take heed how they grumble,

For then I begin for to rumble.
Light Let the ladies allow us their graces,
Or I'll blast all the paint on their faces.
And dry up their peter to soot.
Thun. Let the critics look to't.
Light. Let the ladies look to't.
Thun. For the Thunder will do't.
Light. For the Lightning will shoot.
Thun. I'll give you dash for dash.
Light. ril give you Hash for flash.
Gallants, I'll singe your feather.
Thun.
I'll Thunder you together.
Both. Look to't, look to't j we'll do't, we'll do't ; look to't
; we'll
do't.
or
thrice
repeated.
[Tivice
T/4uB.
"but
Bayes calls this

obferves,
on
"Yes;
a fcene
in
flalh of
prologue," in reply to which. Smith

'tis Ihort, indeed, but very terrible."
It is a parody
a
" The Slighted Maid,"
play by Sir Robert
Stapleton,
where Thunder and Lightning were introduced, and their converfluion
begins in the fame words.
he defires the opinion
the
of his vifitors.
"I
have
molt delicate, dainty fimiles in the whole
how to apply it.

But the poet has another difficulty on which

made," he fays,
world, 'egad,
'Tis," he adds, "an allufion to love."
fmiile
"
one
of
if I
knew
This
is the
So boar and JciUy ivhen any Jiorm is nigh

Snuff uf>, 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
is a rather coarfe,
to each other'' s moan.
but clever parody on
of Granada," part ii. :
fimile in Dryden's
So ttvo kind turtles,
nvhen a ftorm is nigh,

Look up, and
it
gathering in the sky ;
fee
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.
"
Conqueft
go
It
is

decided that the fimile fliould
Grotefque
be added
"
the prologue, for, as
to
Johnfon remarks to Bayes,

Faith, 'tis extraordinary fine, and very applicable to Thunder and Lightning, methinks, becaufe it fpeaks of a ftorm."
In
aft we come to the opening of the play, the firfl; fcene
the fecond
confining of whifpering, in ridicule of

to
a fcene
in Davenant's
"
Play-houfe
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
Brentford appear upon the fcene alone, and difcufs
two kings of Brentford, which they communicate
by whifpers into each
other's ears, which are totally inaudible.
In
Scene
plot to dethrone the

ii.,
kings, hand in hand," and Bayes remarks to his vifitors,
if you
like
could make
but,
" Enter
" Oh
ftyle 'twas
the two
thefe
are
never yet
fliift, perhaps, to {how
whole play, writ all jufl: fo."
ijl
becaufe, as
The kings begin, rather familiarly,
Bayes adds, "they are both perfons of the fame quality

:"
you
upon the ftage
it,
now the two kings of Brentford; take notice of their
King. Did you observe their whispers, brother king?

did, and heard, besides,
grave bird sing,
intend,
That they
sweetheart, to play us pranks.
znd King,
1/2
King. If that design appears,
I'll
lay them by the ears,
obferves that he makes
fhow
their
In
charafter, prince Prettyman,
" Marriage-a-la-Mode."
beloved Cloris comes in, and
" Now,
third
aft, Bayes
introduces
"
to
new
parody upon the charafter of Leonidas, in

is
Dryden's
the
a
breeding."
the two kings talk French in order

a
Bayes
i'
I,
Until
make 'em crack.
znd King. And so will
fack
mon
You
King.
must
begin,
ift
foi.
ind King. Sweet sir, far donned moi.
The prince falls afleep, and then his

furprifed, upon which Bayes remarks,
" Where's the

necefiity of that,
"
" Oh," replies Bayes, "becaufe
Mr. Bayes
alks the critical Mr. Smith.
fhe's furprifed.
That's
fimile
general rule. You muft ever make
here Ihe mufl: make
fimile."

kings of
Art.
in Literature and
when you are lurprifed
writing." Now we have

another parody upon one of Dryden's fimiles.
In the fourth fcene, the
Gentleman-Ufher
and
'tis
new wav
Phyfician
appear
ot"
again, difcuding
whether their whifpers had been heard or not,
the queftion
difcullion which
they
conclude by feizing on the two thrones, and occupying them with their
Jrawn fwords in their hands.

and
Then they march out to raife their forces,
battle to mufic takes place, four foldiers on each fide, who are
Next we have
all killed.
between
fcene
tailor, Tom Thimble, which involves

ot non-payment.
advancing the plot
and his
joke upon the princely principle
fcene or two follows in
although
prince Prettyman
a
fimilar tone, without at all
it appears that another prince, Volfcius,
who, we are to fuppofe, fupports the old dynafty of Brentford, has made
while the army which he is to lead has allembled,

This incident produces a difcuflion
concealed, at Knightlbridge.
his efcape to Piccadilly,

and
is
between Mr. Bayes and his friends:
But pray, Mr. Bayes, is not this a little difficult, that you were
saying e'en now, to keep an army thus concealed in Knightsbridge ?
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,

Smith.
presently.
Accordingly,
prince Volfcius yields to the intiuence of
who bears the claOical name
of Parthenope,
of hefitation, he does not leave town.
fair demoifclle,
and after various exhibitions
Another fcene or two, with little
meaning, but full of clever parodies on the plays of Dryden, the Howards,
and their contemporaries.
Knightsbridgc,
of jnn*.
as
The firft fcene of the fourth
at opens
with
the principal entrance to London from the west, was full
Hiftory of Caricature and Grotefqiie
392
funeral,
parody
Kingdoms."
gets
up
Henry Howard's play of the " United
Pallas interferes, brings the lady who
a dance,
Prettyman
upon colonel
and furnillies
is to be
buried to life,
feaft.
The princes
very extempore
At
the com-
kings appear
in Hate,
difpute about their fweethearts.
and Volfcius
mencement of the fifth
aft the two ufurping
attended by four cardinals, the two princes, all the lady-loves, heralds, and
In the middle of all
fergeants-at-arms, &c.
of Brentford
defcend
continuous parody
And accordingly they proceeded
Haste, brother
17?
iji
King.
and three
make 'em fing to the
king-, we are sent from above.
2.ndKing.
Let lis move, let us move ;
Move, to remove the fate
Of Brentford's long united state.
Tara,
tan, tara ! full east and by south.
17? King,
2.ndKing. 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.
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
whole half-moon pie.
King. They gather, they gather, hot custards in spoons:
But, alas
must leave these half-moons,
And repair to my trusty dragoons.
for you need not as yet go astray
znd King. O stay
The tide, like 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.
our shell,
We'll firk
And farewell.
\ft King. But the ladies have all inclination to dance,
And the green frogs croak out coranto of France.
ly?
in

the two right kings
fays Bayes to his friends,
" Now,"
the two right kings defcend from above,
tune and ftyle of our modern fpirits."
in
"
in the clouds, finging, in white garments,
fiddlers fitting before them in green."
" becaufe
this Hate,
interrupted
393
by
quite Ariftophanic.
It
this
is
All
is
///
Literature and Art.
difcuflion between
continue
Bayes and his vifitors on the mulic and the dance, and then the two kings
znd King. Now mortals, that hear
How
we tilt and career,
With wonder, will

The
tear
of
such things as shall never appear.

Stay you to fulfil what the gods have decreed.
Kir.g.
ift
ind King. Then call me to help you,
there shall be need.
true Brentford
king.
save the distressed,

ere
He's here with
whoop, and gone with
halloo.
That,
and help to 'em bring,

full pot ot good ale you can swallow,
a
To
is
a
King. So firmly resolved

a
\ft
if
event
" why, did you
ever hear any people in the clouds fpeak plain
is
The rather too inquifitive Smith wonders at all this, and complains that,
" not very plain." " Plain !" exclaims Bayes,
to him, the ienle of this
They
mnft be all for flight of fancy, at its full range, without the lead check or
When once you tie up Iprites and people in clouds to

The two kings of Brentford now " light out
Ipeak plain, you fpoil all."
of the clouds, and ftep into the throne," continuing the fame dignified
control upon it.
Two
heralds announce that the army, that
bridge, had come to prote6t them, and that
had come
arrangement which puzzles the author's two vifitors
What
of war.
it
the found
fuddenly diihirbed
of Knightf-
in difguife, an
in
saucy groom molests our privacies

jft Herald. The army's at the door, and,
disguise,
word with both your majesties.
Desire^
znd Htrald. Having from Knightsbridge hither march'd by stealth.
while, and drink our health.
xnd King. Bid 'em attend
King.
out but just now.
in
The army
dJNguise!
the usurpers might discover them, that went
How, Mr. Bayes

Bayei. Ay, sir, tor fear
Smith.
by
This confidence of the two kings of Brentford
is
iji
Eing. Come, now to serious council we'll advance.

2nd King. do agree
but first, let's have
dance.
ijl

converfation
394
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
Enter, at fcveral
armed cap-a-pie,
doors, the
"
Siege
GENERAL
of Rhodes :"
and
LieuteNANT-GeNERAL,
"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,
What ! ho !
Gonsalvo, arm.
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.
aged, and renowned in fight.
with
the
Hammersmith brigade.
Join
Lieut.-Gen. You'll find my Mortlake boys will do them right.
Unless by Fulham numbers over-laid.
Let the left wing of Twick'n'am foot advance.

Gen.
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. Chiswickians,

Gen. That may be
thine.
But 'tis not mine.

Lieut.-Gen. Give fire, give fire,
And
at once give fire,
let those recreant troops perceive mine ire.
Gen. Pursue, pursue ;
That first did
Thus the battle

alleges,
"
as
is
an excufe
they fly>
give the lie
carried
\_Exeunt.
on in talk between two individuals.
for introducing
thefe
Bayes
trivial names of places, that
know all thefe towns, and may eafily conceive them to

The battle is
be within the dominions of the two kings of Brentford."
the fpe6tators
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
line between the other two, and this, accord-
ing to the llri6t rules of aftronomy, conftituted the eclipfe.

followed by another battle of
more
defperate
chara6ler,
The eclipfe
to which
is
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
"The
difguft, run away to their dinners, and thus ends
Mr. Bayes's play.
at an end, but -whereas
"
fo
that they might be underftood,
ours, and for the kingdom's peace,

once
of
luriting
in
Let's have, at leafl
rhyme.
infuence
proje and Jenje.
of
felt
let this prove a year
all
its
Englifh comedy was certainly greatly reformed, in Ibme I'enies of the

word reform, during the period which followed the publication of
in
the
Congreve, and D'Urfey,
of writers like
hands
the
repartee.
The fmall intrigue
lcx:iety in its forms
and
The plot was
often but
then moft open
intrigues infeparable from it.

comedies,
Howards
mere peg on which to hang fcenes

is
was
for an extreme degree of vivacity.

ever
of the
dulnefs
"
Epfom.
his beft,
perhaps
" Bartholomew Fair."
to
as
was
" The
Shadwell,
Wycherley,
exchanged
little confidered
as
brilliant with wit and
frame for
and,
Rehearfal,"
it
caricature, with
great pidlure
all
the
of
petty
Wells," one of Shadwell's earlier
will bear comparifon
with
Jonfon's
dcfcribed
as
"a country jufiice,
aiiU who
it
The perfonages reprefented in

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,
is

ten years
ceafe
our li-ves, a time
IP'ken -we may hear Jome reafon, not
IVe have this
but
for
this prodigious "way
Pray
age.
age.
was altogether incomprehenfible
Wherefore,
May
forrct.
ji
freer from
Formerly people fought to write
of wit
the blot
than the
it
No place
this new way
Bayes
ive can boajl, though 'tis a plotting

is
And
the poet
That c'lrcumflance
is
The play
"
of
The epilogue returns to the moral which the play was
to inculcate
defitrned
s'
"
Rehearfal
uublic fpiriled, politick,
396
difcontented fop, an immoderate hater of London,

country above meafure,
"
and
Then we have
hearty true Enghfh coxcomb."
The citizens of London are
two cheating, fliarking, cowardly bullies."
"
lover of the
quiet, humble, civil cuckold,

governed by his wife, whom he very much fears and loves at the fame
" a haberdalher, a furly cuckold,
time, and is very proud of," and Fribble,
very conceited, and proud of his wife, but pretends to govern and keep
reprefented by Biiket,
comfit-maker,
and
way,
" an
impertinent, imperious flrumpet,"

an humble, fubmitting wife, who jilts her huiband that
her under," and their wives, the firft

the other, "
"
a very
or two other charadters of the fame ftamp,
One
with " two young ladies of wit, beauty, and fortune," who behave them" parfons,
felves not much better than the others, and a full allowance of
heftors,
watchmen,
conftables,
fiddlers,"
and
the
complete
dramatis
of " Epfom Wells." Witli fuch materials anybody will underftand the charadter of the piece, which was brought out on the flage in
"The Squire of Alfatia," by the fame author, brought upon the
1672.
per/once
in the eventful year 1688, is
flage
phafes
of Walter Scott knows, was
Friars, in London,
vivid pifture of one of the wildeft
of London life in thofe ftill rather primitive times.

reader
every
cant
Alfatia,
as
name for the White
locality which, at that time, was beyond the reach of
the law and its officers,
and rogues, and efpecially for
refuge for thieves
with no great fear of being overWith

come, or, when refiftance was no longer poffible, efcape with eafe.
debtors, where they could either refift
fuch
a fcene, and fuch
people for charaders, we are not furprifed that the
printed edition of this play
is prefaced
by
vocabulary of the cant words
The principal charaders in the play are of the fame clals

Firfl; there is
with thofe which form the ftaple of all thefe old comedies.
a country father or uncle, who is rich and fevere upon the vices of youth,
employed in it.
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,
clownifh, obflinate, pofitive, and forward."
moft fordidly
He muft have
covetous,
London brother,
or near relative, endowed with exaftly contrary qualities, here reprefented
Art,
in Literature and
by fir
Edward
Belfond,
lucky hits had gotten
William's
tir
reafonably and virtuoufly,
Sir William
qualities."
fenior, the eldeft,
merchant, who
booTvs,
Belfond
by-
eafe and pleafure,
of great humanity and gentlenefs
a man
companion towards mankind, well read in good

gentlemanlike
"
ertate, lives fingle with
great
brother,
397
and
polfefled with all

Belfond
has two fons.
"bred after his father's ruftic, fwinilh manner, with
is
great rigour and feverity, upon whom his father's

confidence of which
ellate
him break out into open
makes
is
entailed, the
rebellion
to
his
lewd, abominably vicious, lUibborn, and obllinale."
father, and become
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
"intruded
and familiarity, and bounty, and liberty that can be;" he was
in all the liberal fciences,
and in all gentleman-like
education
given to women, and now and then to good fellowlhip

well-accompli(hed
fition
and
gentleman
Alfatia, and firft Cheatly, who
defcribed
"a
as
and helps 'em to goods and money upon great difadvantages
bound for them, and (hares with them, till he undoes

of
rafcal, who by reafon
but there inveigles young heirs
of Whitefryers,
debts, dares not ftir out

in tail
is
but an ingenious,
of honour, and of excellent difpohave fome of the leading heroes of
Then we
temper."
fomewhat
man
them
is
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
decoy-duck for others
Alfatia, where he lives

them,
is
dilTolute, debauch'd
formerly
life."
and
part
is a
captain
Nor
bawd."
of fociety, in
finging, precife
Another of thefe characters
bully of Alfatia;
a
fergeant
retreating into Whitefryers for

he is dubb'd
not daring to ilay out of
bound with Cheatly for heirs, and lives upon
Hackum, "a block-headed

bluftcring fellow
in
cowardly,
is
captain
impudent,
Flanders, run from his colours,
very fmall debt
where by the Alfatians
marries one that lets lodgings, fells cherry-brandy,
is
Alfatia without
"
Scrapeall,
a reprefentative
of the Puritanical
hypocritical, repeating, praying, plalmfellow, pretending to great piety ; a godly knave, who
a
joins with Cheatly, and fupplies young heirs with goods and money."
rather large number of inferior characters
fill up the canvas j and the
2gS
Grotefque
females, with two exceptions, belong to the fame clafs.
The plot of this
The elder fon of fir William Belfond has taken to

Alfatia, but fir William, on his return from abroad, hearing talk of the
play
fimple.
Is very
fame of
fquire Belfond
among the Alfatians,
younger fon, and out of this miftake

arifes.
llanding
At
laft
fir
imagines that it
William
difcovers
in great anger, brings tipftaff conftables,
error, and finds his
his
in
conclufion
the
interefting
feventeenth
as
a great

ftage
is
refcued by the younger Belfond,
brother
is an
becomes
penitent,
and
is
underplot, far from moral in its
It
marriage of Belfond junior.
favourite on the ilage
"Bury Fair,"
century.
If
and movement.
Scowrers,"
to take away his fon by force
but it
is
is a
bufy,
now chiefly
vivid pidure of London life in the latter half of the
of the fame defcription

life
There
ends in the
noify play, and was
He
elder
the
reconciled with his father.

charader, which
The father,
rife in force, the ofificers of the law are beaten, and fir
William himfelf taken prifoner.

and
his
confiderable amount of mifunder-
eldefl fon in Whitefryers, but the youth fets him at defiance.

but the Alfatians
is
by
Shadwell,
is
another
comedy
with little intereft in the plot, but full of

"
was noify, " The
Squire of Alfatia
" The
another comedy by the fame author, firfi: brought
in 1691, was ftill more
fo.
on
the
The wild and riotous gallants who,
of inefficient police regulation, infeflêd the ftreets at

night, and committed all forts of outrages, were known at ditferent periods
In the reign of James I. and Charles I. they
by a variety of names.
in former times
were the "roaring boys;" in the time of Shadwell, they were called the
" fcowrers,"
cleared
becaufe they fcowered the ftreets at night, and rather roughly
them of all
paflTengers
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,
This ftate of things
Sir William Rant, Wildfire, and
which, at the prefent day, we can hardly imagine.

is pidlured
Tope,
are
in
Shadwell's
noted fcowrers,
comedy.
well known in the
excited emulation in men of lefs
"a
diftindion in their way, Whachum,
city wit and fcowrer, imitator of fir
liis companions, Blufter
town, whofe fame has
and Dingboy.
William,"
and
" two fcoundrells,"
Great enmity arifes between the
/;/
399
two parties of rival Icowrers.
The more lerious charaders in the play

Rant's tather, and lir Richard Maggot, "a
Mr. Rant, lir William
are
"
citizen's wives of the comedy of the Reftoration generally,

in virtue, ambitious of mixing with
world, and Ibmewhat of

fome
daughters,
wanting
the
is
a
(it mull be remembered that we are now in

Sir Richard's wife, lady Maggot, like the
the reign of king William).
foolilh Jacobite alderman
fafhionable
gay and
tyrant over her hulband.
lady rather
She has two hand-
whom llie feeks to keep confined from the world, left
There are low charaders of both fexes,

Much of the play
who need not be enumerated.
taken up with ftreet
The play ends with
rows, capital fatirical pidures of London life.
Rant with his
marriages, and with the reconciliation of lir William
her rivals.
is
they fhould become
father, the ferious old gentleman of the play.

comedy
of "
Greenwich
Park," which
approaches
to him
is
of the neareft
One
is
comedies.
bill}
Shadwell excelled in thefe

Mountfort's
another ftriking fatire on the
of London life at that time.

a
is
As in the others, the plot

fimply
The play confilb of
number of intrigues, fuch as may be
nothing.
time when morality was little refpeded, in places of
imagined, at
falhionable refort like Greenwich Park and Deptford Wells.
loofenefs
not appear
into Englifli comedy which
to
before
have
belonged
to
it
docs
fatire was now introduced
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
drefs, and mimicked
individuals were caricatured in their
in their language and manners.
this mimicry contributed greatl) to the fuccefs

duke of Buckingham
We are told that
of " The Rehearfal,"
the
having taken incredible pains to make Lacy, who
aded the part of Bayes, perfed
in imitating
the voice
Dr)'den, whofe drefc and gait were minutely copied.
and manner
of
This perfonal fatire
On the ift of February, 1669,

Royal to fee the performance of "The
was not always performed with impunity.

the I'heatre
HeireCs," in whicli
apjêars
that fir Charles
Sedley was
perfonally
caricatured, and the fecretary (jf king Charles's admiralty has lelt in
to
hi
IV-pys went
it
diary the following entry "To the king's houfe, thinking to have feen
:

An element of
400
Grotefque
the Heyreffe, lirft afted on Saturday, but when we come thither we find
no play there
Kynafton,
Charles Sedley, being
lafl:
It
is
a6t
part therein in abufe
to
as he
is
mightily bruifed, and forced
to keep
faid that Dryden's comedy of " Limberham," brought
on the ftage in 1678, was prohibited after the firfl: night, becaufe
of Limberham was ccnfidered to be too open
charadter
fir
night exceedingly beaten with flicks by two or
three that faluted him, fo

nis bed."
that did
the
fatire on the
duke of Lauderdale.
Another peculiarity in the comedies of the age of the Reftoration was

The writers feemed to emulate each
their extraordinary indelicacy.
other in prefenting upon the
fl:age fcenes
ear or pure mind could fupport.
In
and language which no modefl:
the earlier period coarfenefs in con-
of an unpolilhed age the language put in

the mouths of the a6tors, as remarked before, fmelt of the tavern ; but
verfation was charadteriftic
ftage, is
II.
of faftiionable fociety, as reprefented on the

modelled upon that of the brothel.
Even the veiled allufion is
under Charles
the tone
no longer reforted to, broad and direft language is fubftituted in its place.
This open

of the ftage reached its greateft height between the

The ftaple material of this comedy may be conyears 1670 and t68o.
fidered to be the commifilon of adultery, which is prefented as one of the
profligac)'^
principal ornaments in the charafler of the well-bred gentleman, varied
with the feducing of other men's miftrefles, for the keeping of miftreffes
The " Country Wife," one of
appears as the rule of focial life.
Wycherley's
comedies,
which
is
fuppofed to have been brought on the
of grofs indecency from beginning

It involves two principal plots, that of a voluptuary who feigns
to end.
himfelf incapable of love and infenfible to the other fex, in order to
ftage perhaps
as
early as 1672, is a mafs
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
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,
her, lead to her fall.
which, according to the author's own ftatement, was prohibited on account

of
its freeneli, but
more
Its plot
limple enough
is
falire on the unpopular earl
perfonal
of
it is the liory
of Limberham
probably bccaul'e the character
was believed to be intended for
Lauderdale.
40
of
debauched
old gentleman, named Aldo, whofe fon,

the Continent,
atur a rather long ablencc on

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
Otway's comedy of "Friendlhip in Fafliion,"
obliged to overlook his vices.
performed the fame year, was not

far outdone by Ravenfcroft's
whit more moral.
But all thefe are
of "The London Cuckolds," lirft
comedy
brought out in 1682, which, neverthelefs, continued to be aded until late

in the laft century.
of
tales
great
It
clever comedy, full of action, and confifting
is a
number of difterent incidents, felefted from liie lefs moral
of the old ftory-tellers
as
they
in
.nppear
the
''Decameron"
of
Boccaccio, among which that of the ignorant and uneducated young wife,

fimilar to the plot of Wycherley's
" Country Wife,"
introduced.
is again
The corruption of morals had become fo great, that when women took
up the pen, they exceeded
the cafe with Mrs. Behn.
in licentioufneC*
Aphra Behn
at Canterbury, but to have
the
other fex,
as was
underftood to have been born
palfed fome part
of Surinam, of which her father

a
is
even
of her youth in the colony

She evidently
was governor.
pclVelVetl
difp(jfiii(jn for intrigue, and llic was employed by the Englilh govern-
ment,
few years after the Relloralion,
as a
She fubfequently fettled in London, and gained

was very
prolific in novels, poems, and plays.
political
a
fpy at
Antwerp.
living by her pen, which
It would
be
point out in any (Jther works fuch fcenes of open profligacy
as
difficult
le
tiiole i)re" U he
and
frnttd in Mrs. Behn's two comedies of " Sir Patient Fancy

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,
It
appears
that
the
is
"
tolerably broadly defcribed.
performance of the
I)
i>
"London Cuckolds" had
402
been the caufe
of fome fcandal,
took
fome who
and there were, even
at fuch
offence
Grotefque
on the
outrages
among play-goers,
ordinary feelings of
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
modefty.
was intended to be a modeft play, but it was unceremonioufly
" damned "
The prologue to this new comedy intimates that the

"
had pleafed the town and diverted the court, but
Cuckolds
"
"
dull, civill
therefore, in fuch terms
and that he had
They are addreffed,
play to make amends.
thefe
as
had taken offence at
you, chajie ladies, then ive hope to-day.
This
is
In
"
females
now written
" fqueamiih
that fome
the poet''s
Come often
to
'f,
" London
It,
by the audience.
recantation play.
that he at length may fee
by
""Tis more than a pretended modejly.
is
II
fur
then ive'' re
you''
come.
further intimated, ^
naughty play ivas never counted
Nor
dull
modcji comedy eêr pleafed you much.
"1 remember," fays Colley Cibber in his "Apology," lookmg back to thefe
remember the ladies were then obferved to be decently afraid
might do
new comedy, till they had been affured they
without the rilk of an infult to their modefty
or
if
of venturing bare-faced to
"I
times,
it
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
has been aboliibed thefe many years."
According to the SpcBator, ladies
never mifs the firft day
of
were brought out, except
new play, left
it
thofe who
began now to defert the theatre when comedies
"
it
it,
(then daily worn, and admitted in the pit, the lide boxes, and gallery),
which cuftom, however, had
many ill confequences attending
that
fo

And
it
For, though you rail, yet
of
if
him noiu,for
Stick
he Jinds you falter.
He quickly ivill his ivay
-writing alter
^nd every play Jhall fend you blufhing home.
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
only indecent, but they were filled
not
with profane language, and contained fcenes in which religion itfelf was
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
treated
his zeal in any caufe which he undertook.
author of feveral
books
This was Jeremy Collier, the
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
of allegiance to king William.

In the year 1698 Collier
"
Short View of the Immorality and Profanenefs of the
publilhed his
Englifli ftage," in which he boldly attacked the licentioufnefs of the
take the oath
Perhaps Collier's zeal carried him
Englilh comedy.
little too far
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
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
took an adtive part.
reforming them.
They were become much lefs frequent and lefs grols at
of the eighteenth century.

Towards the end of the reign of king Charles II., the ftage was more
the opening
largely employed
as a
political agent, and under his fucceflbr, James
II.,
After the
the Puritans and the Whigs were conftantly held up to fcorn.
Revolution, the tables were turned, and the latire of the ftage was often
aimed at Tories and Non-jurors.
which appeared
author
in 1717, at
"The Non-juror,"
a very
by Colley Cibber,
opportune moment, gained for
penfion and the office of poet-laureate.
It
its
was founded upon the
'
of Molicre, for the Englilh comedy writers borrowed much

from the foreign ftage.
A difguifed prieft, who pufll's under the name of
"Tartuft'e
Dr. Wolf, and who had been engaged

ftnuatcd himfelf into the houfeholdof
in the rebellion
a
of
17151 l^'is
gentleman of fortune, of not very
ftrong judgment, Sir John Woodvil, whom, under the title of

he has not only induced to
become
'"*
an abettor
Non-juror,
of rebels, but he has
404
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
Such
defeat his defigns.
produ6tion
offence to all the Jacobite party,
as
this could not fail to give great
of whatever Ihade, who were then rather
numerous in London, and Gibber aflures us that his reward was

liderable amount of adverfe
con-
in every quarter where the Tory
His comedies were inferior in brilliance of dialogue
influence reached.
to thofe of the
criticifm
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
and charafter of Englifli comedy.
lall change in the form
man of infinite wit and humour,
of extraordinary talent as a mimic, Foote made mimicry

His plays are above
the principal inftrument of his fuccefs on the ftage.
all light and amufing; he reduced the old comedy of five a6ts to three
and polTefled
ufually fimple, the dialogue full of wit and
plots were
a6ls, and
his
humour
but their peculiar charateriflic was their open boldnefs of per-
It
fonal fatire.
is
entirely
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.

were real charalers, who were more
who were fo perfeftly mimicked
upon Two Sticks," which
is a
his principal chara6ters
or lefs known
to the public, and
on the ftage in their drefs, gait, and
to miflake
fpeech, that it was impoflible
All
them.
Thus, in
" The Devil
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"
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
dragged
in real life.
"The
the bafenefs of
means
the
Bankrupt
"
may he confidered
as
general fatire on
newfpaper prefs of that day. which was made the
of propagating private fcandals and libellous accufations in order to
extort money, yet the charafters

portraits from the lite
the comedy
introduced are faid to have been
and the fame ftatement is made with
of " The Author."
regard
all
to
to exift where
and we are not furprifed
^'3,000.
"The Maid of Bath,"
One of the perfons who figured in
One of the individuals
in that play was
"The Author,"
obtained
ftop to the performance
is
Kitty Crocodile
Foote provoked
of " I'he Trip to

well known that the charafter of
broad caricature on the
the
It
and
Calais," were fiill more difaftrous.

lady
rights of
ihort run
it
had had
the
extorted damages to the amount
an order from the lord chamberlain for putting
after
dangerous
But in fome cafes the author met with punilh-
heavier and more fubftantial defcription.
introduced into
of
chani<5ler
hoft of bitter enemies.
could hardly be allowed
fociety are properly defined

inent of
of this inquifitorial
is
a
drama
a.05
if
///
thing, and that
it
is
It
evident that
Literature and ylrt.
confequences
notorious
Through the treachery of fome of the people

employed by Foote, the duchefs obtained information of the nature of
was ready
for reprefentation, and fhe had fuflScient
Nor was this all, for
fubfequently brought out in
-as
pan
t.i" '''''
the play was printed,
not afted,
on
and
modified form, with omillion of the
Kitty Crocodile, though the chara6ters of fome of her agents
were ftill retained,
infamous
retaliation, which caufed
charges
were
got
up
againft
Foote, in
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.

as
':
the ftage.
if
influence to obtain the lord chamberlain's prohibition for bringing
it
this play before
it
of Kingfton.
duchefs
4o6
Grotefque
CHAPTER XXIII.
ENGLISH
THE
HOOGHE.
DE
ROMAIN
IN HOLLAND.
DR. SA"
II.
JAMES
XIV.
AND
ON
LOLTIS
CARICATURES
REVOLUTION.
ENGLAND.
TO
CARICATURE BROUGHT FROM HOLLAND
CHEVERELL.
MISSISSIPPI AND THE SOUTH
ORIGIN OF THE WORD "CARICATURE."
SEA 5 THE YEAR OF BUBBLES.
CARICATURE
political
caricature, born,
we have ieen, in France,
The pofition
had its cradle in Holland.

it,
MODERN
maybe confidered to have
as
in the fevenof that country, and its greater degree of freedom, made
teenth century, the general place of refuge to the political difcon-
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
tents
himfelf and his favourites and minifters.

This was in
great meafure the caufe of the bitter hatred which Louis
He feared the caricatures of the
always difplayed towards that country.
monarch's policy, and againft
a
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 greater intereft than they could have
new Ilimulus to
felt before in the domeftic affairs of Great Britain, and
a

it
became the central fpot

lldlful artifts and beft engravers in Europe, and
multitude of fatirical prints againft that
from which were launched
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.
of England,
well as political
to the throne
and his attempt to re-eftablifti Popery, added religious
as
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
appears
to
have
been
the work
of
the
infcription
foreign artift.
It
is
was probably

iptended to reprefent Mary of Modena, the queen of James
No. 186.
Dangerous
in EngUlh,
II.,
and her
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 explaAt the top, in the original, are the Latin words, Coiivcrte
nation.
"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,
,/Hi,'/ia;H,
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
The lirfl of thefe events belongs almoft entirely to<

Very little is known of the perfonal hillory of thisRomain de Hooghe.
of
its caricaturifts.
remarkable artift, but he
believed to have been born towards the middle
is
of the feventeenth century,
and
to have died in the earlier
years
The older French writers on art, who were pre-
eighteenth century.
judiced againft Romain de Hooghe for his bitter hoftility to Louis

inform
us
of the
XIV.,.
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

by the feries of plates, executed
XIV.
as a
in 1672, which reprefented
indignation of all Europe.
the
prince of Orange (William

his fatire
He gained celebrity
the horrible
in Holland by the French troops, and which raifed
atrocities committed
againfl Louis
Haerlem.
at
III.
It
is
laid that the
of England), appreciating the value of
political weapon, fecured it in his own interefts by liberally
patronifing the caricaturlft
and we owe to
Romain de Hooghe
fuccef-
fion of large prints in which the king of France, his protege James
and the adherents of the latter, are covered with ridicule.
in 1688, and entitled
"
Les Monarches Tombants,"

flight of the royal family from England.
II.,
One, publiflied
commemorates the
Another, which appeared at the
" Arlequin fur

fame date, is entitled, in French,
I'hypogryphe a la croifade
"
Armee van de Heylige League voor der
Loiolifte," and in Dutch,
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
two
kings have
" hypogryphe,"
their
heads joined
but which
together
is
really
wild
afs.
The
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
introduced in fome ridiculous pofition or other, in moft
p^rfonages
of thefc caricatures, are father Petre, the Jefuit, and the infant prince of
Wales, afterwards the old Pretender.
by father
was pretended that this infant
miller, fecretly introduced into the queen's bed

warming-pan ; and that this ingenious plot was contrived
was in fa6t the child
concealed in
It
Petre.
of
Hence
the boy was
popularly
called
Peterkin,
or
in Literature and
Art.
409
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
Perkin,
i.e.
trade.
In
the group reprefented in our cut, father Petre,
in his arms,
is feated
on a rather fingular
No. it-].
here

prince
carries
the
A Jefuit
with the child
fteed, a lob(ver.
The voung.
ivell Mounted.
windmill on liis head.
On the lubtler's
behind the Jefuit, are carried the papal crown, furmounted by

lis, with
bundle of relics, indulgences, &c., and it
has
back^
fleur-de-
feized in one claw
Englifh church fervice book, and in the other the book of the laws of
In the Dutch defcription of this print, the child is called " the
England.
the
new born Antichrift."
" Panurge
feconde par
Another of Romain de Hooghe's prints, entitled

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.

place
of embarkation, and,
James and his friends are proceeding to the

as
188, father
Petrc marches in front, carrying the infant prince in his arms.
The drawing of Romain de Hooghe

in his larger fubje6t.s,
carclefs
which perhaps
is not always
may
correft, efpecially
be afcribed to his hally and
manner of working; but he difplays great Ikill in grouping his
f/jûrcs, and great
power in inverting them with
a large
amount of fatirical
41o
humour.

Moft of the other caricatures
delign and execution.
is
of the time are poor both in
the cafe with
vulgar fatirical
falfe rumour that king "William had been killed in Ireland.
No. 188.
Off
to
print
is
followed by
proceffion con-
fifting of his queen and the principal fupporters of his caufe.

corner on the left hand
is
occupied by
In the
Ireland.
field of the pi6ture the corpfe of the king

in France in the autumn of 1690, on the arrival of
which was publiflied

a
Such
GroteJ'que
The lower
view of the interior
of the
infernal regions, and king William introduced in the place allotted to him
among the flames.
In different
tions, all breathing
the
of the pifture there are feveral infcripOne of them is

fpirit of very infolent exultation.
parts
Billet dÊnterrement.
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
know,
is an
ill-executed print, pub'
Art.
in Literature and
III.,
lifhed immediately after the accellion of William
" England's Memorial of
41 i
under the title,
its wondertui deliverance from French
Tyranny
The middle of the pidure is occupied by " the

royal orange tree," which flourifhes in fpite of all the attempts to deftroy
Opprellion."
and Popifh
it.
At
king's
the upper corner, on the left fide, is
"
council,"
confifting of an equal
feated alternately at
reprefentation of the French
number of Jefuits and devils,
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
of them
Holland rather than elfewhere.
and after
time, copies of them began to be made in England,
accompanied with Englilh defcriptions.

given in the fourth volume of the
1707.
with tranflations in Englifli
thefe defcriptions were accompanied
or French
" Poems
In the prefice to this volume
the reader
In two or three only
"That having
curious example of this

on
is
Affairs," printed m
State
the editor takes occafion to inform
procur'd from
beyond fea
Colledion ot
Satyrical Prints done in Holland and elfewhere, by Rom. de Hoog, and

other the beft mafters, relating
to the French
lince he unjultly begun this war,
have perfuaded
and his Adherents,
the Bookfeller
to be at
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
the expenfe
King
given
at
of ingraving feveral of them
the end
of
of the volume, which
to each
inferior in every
are certainly
of Romain de Hooghe.
One of them
commemorates the eclipfe of the fun on the 12th of May, 1706.
The
refpett to thofe
fun,
as
the beft period
it might be conjedured,
is
Louis
XIV.,
whofe face occupies the place of the moon.

pidure, juft under the eclipfe, the queen
eclipfed by queen Anne,
In the foreground of the
is feated on
her throne under a
With her left arm

canopy, furrounded by her counfellors and generals.
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
yeqr.
left,
fea-fight under admiral
Leake, both vidories
Another of thefe copies of foreign prints
is
gained in that
given in our cu'
412
Grotefque
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 trumpeter holds in his hand
the Mighty Monarch laft campaign."
No. 190.
lift of loft towns, and another

No, 189.
the former lift

Bruges," the
is
pinned to the breaft of the drummer
Clipping
the CocFs
by the names of
is headed
latter by " Barcelona."
fVwgs.
"
Gaunt, Brufl!els, Antwerp,
The firft remarkable outburft of caricatures

the
by the proceedings againft

curious that
is
fomewhat
as
things brought
recently from
afcribe the ufe of them
as
in England was caufed
notorious Dr. Sacheverell in
Sacheverell's
partifans
Holland, and
peculiar to the
j.
new in
a
It
710.
of caricatures
fpeak
Whig party.
" The Pifture of Malice, or

pamphlet, entitled
England,
and
The writer of
true Account
of Dr.
Sacheverell's Enemies, and their behaviour with regard to him," informs

" the chief means by which all the lower
us that
order of that fort of
men call'd Whigs, ftiall ever be found to aft for the ruin of a potent
following three by the Print, the Canto or Doggrell

Poem, and by the Libell, grave, calm, and cool, as the author of the
adverfary,
are 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,"
"
is
<liieathed to the ancient Batavians by
he goes on to fay,
A'c. 190.
painter), with
originally
certain
preferving
Chinefe
talifman (be-
necromancer and
that of the Palladium, not onlv
virtue far exceeding
a due
Dutch
Trumpet and Drum.
guarding their cities and provinces, but alfo

and
of annoying their
of
enemies,
balance amongft the neighbouring powers around."
This writer warms up fo much in his indignation againll this new wrapcni
of the Whigs, that he breaks out in blank verfe to tell us how eviii ilic
myfterious power of the magician did not deftroy its vidims
the Print
effaced
mightieji monarchi, and dcthron'd
Sivifter than heretofore

The pomp
of
The dread idea
Dwindling
of
royal majefty ;
the prince
beluiu the pigmy fize.
414

the
PF~itnefs
jind
once
Charles
The magic
And form
of
Grotefque
Great Louts In youthful pride ^

happy days, ivho both confefj^d
poioer of mezzotinto
* Jhade,
grotefque, in manifejloes loud
Denouncing death to boor and hurgomafler.
IVitnejs,
ye
facred
ivith triple crotun.

fell to hideous print.
popes
Who likezvife viliims
Spurn'' d by the populace ivho luhilome lay
Prcjirate, and e-vn adored before your
We
are' then told that
thrones.
'' this, if not the firft, has yet

machine which his enemies have employ'd againft
"No.
191.
been
the do6tor
the
chief
they have
The Three Falfe Brethren.
expofed him in the fame piece with the pope and the devil, and who
now could imagine that any fimple prieft fliould be able to ftand before
power which had levelled popes and monarchs
the caricature here alluded to
is reprefented in our cut
* The
is preferved,
No. 191.
"
although
Two of
At
a
leafl; one
copy of
great rarity, and it
the party remained long
method of engraving called mezzotinto was very generally adopted in

England in the earlier part of the last century for prints and caricatures.
It was
coDtinued to rather a late period by the publishing house of Carrington Bowles.
Literature and Art.
/";/
415
alibciated together in the popular outcry, and as the name of the third
fell into contempt and oblivion, the dodor's place in this alibciation was
of alarm, the Pretender, the child whom we have

juft feen fo joyoully brandilhing his windmill. It is evident, however,
taken by a new caufe
that this caricature greatly exalperated Sacheverell and the party which
fupported him.
It will have been noticed that the writer jull quoted, in ufing the
" print," ignores altogether that of caricature, which, however, was
caricare,
to charge
about
not found in the
until the appearance of that of Dr. Johnfon, in

of courfe, an Italian word, derived from the verb
or load
charged, or exaggerated
therefore,
and
(the old French
means
piiSture which
didionaries fay,
"
is
Caricature
is
beheve,
1755.
is,
dictionaries,
into ufe, although it
to come
it
this time beginning
term
c'eji la viemc
The word appears not to have come into

ufe in Italy Qntil the latter half of the feventeenth centur)-, and the
earlieft inftance
know of its employment

was one
that
Expofe
manners unto monftrous draughts
{i.e.
drawings) and caricatura reprefen-
not
thyfelf
by
printed till long after his death
of his latctl writings, and was not
"
who died in 1682, but
four-footed
This very quaint writer, who had palled Ibme time in Italy,
as an exotic word.
evidently ufes
We find
next employed
the
"
writer of the ElTay No. 537, of the
Spectator," who, fpeaking of the
it
by
tations."
it
way in which different people were led by feelings of jealouly and prejudice to detradt from the charaders of others, goes on to fay, " From all
thefe bands we have fuch draughts of mankind
burlefque
pictures
which
the
Italians
as are
reprefented in thole
call caricaturas, where
art
the
confills in preferving, amidll dillorled proportions and aggravated features,

fome diftinguilhiiig
likenefs of the perfon, but
as to
transform the moll agreeable beauty into the moll odious monller."
The
word was not fully ellablilhed
in fuch
manner
in our language in its Englilh form
of
caricature until late in the laft century.
The fubjed of agitation which produced

greater number of caricatures than any previous event was the wild financial fchenie introduced
a

by an Englilh writer
Johnfon from the " Chriltian Morals " of Sir Thomas Brown,
it
quoted by
").
is
chofe que charge en peinture
41 6
Grotefque
into France by the Scottifh adventurer, Law, and imitated in England in

the great
It would
South Sea Bubble.
be impoflible
here,
within our
neceflary limits, to attempt to trace the hiftory of thefe bubbles, which all
burft in the courfe of the year 1720 5 and, in fa6l, it is a hiflory of which
On this, as on former occafions, the great mafs of the
few are ignorant.
caricatures,
efpecially thofe againfi: the
Milliliippi fcheme, were executed

in Holland, but they are much inferior to the works of Remain de Hooghe.
No. 192.
In
Adai.
fa6t, lb great was the demand for thefe caricatures,
in their eagernefs
that the publifhers,
for gain, not only deluged the world with plates by
of no talent, which were without point or intereft, but they took old
plates of any fubjedl in which there was a multitude of figures, put new
artifts
titles to them, and publiflied

for people were ready
as
fatire
on the
to
them
take
eagernefs
as fatires
anything
with
which
on the
which
Mifliflippi fcheme
reprefented
Frenchmen
crowd
rufhed into the
Art.
in Literature a?ui
417
ihare-market.
One or two curious inftances of this deception might be
pointed out.
Thus, an old pi6ture, evidently intended to reprefent the

king and a nobleman, in the court of a palace, (urrounded
meeting of
by
crowd of courtiers, in the coftume probably of the time of Henri
was republilhed
as
picture of people crowding
Itock-jobbing in Paris, the Rue Quinquenpoix

battle between Carnival
to the
grand fcene
and the old picture
Lent came out again,
and
IV.,
of
of the
little re-touched,
Dutch title, " Stryd tufzen dc fmuUende Bubbel-Heeren en de

Armoede," i.e., " The battle between the good-living bubble-
under the
aanftaande
lords and approaching poverty."

Befides being ilTued fingly,
confiderable number of thefe prints
\ven>
ftill met with not unfre" Het groote Tafereel der Dwaallieid," "The
(juently, under the title
One of this fet of prints reprefents a multitude
great pifture of folly."
of perfons, of all ages and fexes, afting the part of Atlas in fupporting on
colle6ted
and publillied
their backs
globes,
in
which,
volume, which
though
is
only of paper,
made
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
In the French verfes
burthen.

accompanying this print, the writer fays

Ami yiilai, on -volt {fam
Faire r Atlai partcut des
et
voui
et mot)
divers ferjonnages,
homme,femme, et Jot et quafi-fage.
Riche, pawvre,
Valet,
center
paifan, le gueux fele-ve
Another of thefe caricatures
reprefents
Quixote, riding upon Sancho's donkey.
en roi.
Law in the chara6ter of Don

He
is
haftening to his Dulcinia,
who waits for him in the a&ie huis (a6tion or (hare-houfe), towards which
The devil (fee
j)eople are dragging the animal on which he is seated.
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
laden with the money into which this paper has been
bears the
infcription,
gf)ld cheft
;"
is
turned, the box
" Bomlarioos GMkiJl, 1720," " Bombario's (Law's)
and the flag bears the
infcription,
" Ik
koorn, ik
koom,
Dul-
41
"I
Grotefque
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.

cinia,"
come,
come,
Dulcinia."
No. 193.
It
is a general
fatire on the madnefs
appears as the charioteer

tatives
Tê Don Sluixote
of the numerous
of
Finance.
of the memorable year 1720.
of Fortune, whofe car

companies
is
Folly
drawn by the reprefen-
which had fprung up at this time,
moll of which appear to be more or lefs unfound. Many of thefe agents

" to lliow their policy and cunning," as the explanahave the tails of foxes,
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
The pifture is crowded with figures, fcattered in groups, who
crowd.
are employed in a variety of occupations connefted with the great folly of
transfer of flock, made through the medium of a Jew broker.
the day, one

a
of which,
as an
example,
is
It
is
in Literature and
Art.
419
It was in this bubble agitation that the En<;lilh Ichool of caricature began,
and
few fpecimens are prefer\ed, though others which are ;ul\ertiliHl in
of that day, feeni to be entirely

confiderable portion of the caricature literature o\
the newfpapers
tively recent
as
the firlt
jien
k1 fo
very
compara-
half of the Lift century, appears to have perilhedj
No. 194.

In fad,
lo<h
Transfer of St(,ck.
for the intercft of thefe pruUs was in general fo entirely temporary that
few people took any care to preferve them, and few of them were very
attradive as pidlures.
As yet, indeed, thele Englilli prints are but poor
imitations of the works of Picart and other continental artifts.
A pair of
Englilli prints, entitled " The Bubbler's Mirrour,"
reprefents,
joyful at the rife in the value of ftock, the other,
fimilar head forrowful
at its fall, furrounded
one
head
witli lifis of companies and epigrams

They are engraved in mezzotinto, a ftylc of art fuppofed to
upon them.
have been invented in England its invention was afcribed to Prince
In tlir imprint of thefe laliRupert and at this time very popular.
in each cafe
mentioncd plates, we are informed that they were " Printed for Carington
iiowles, next y* Chapter Houfe, in St. Paul's Ch. Yard, London," a well-
known name in former years, and even now one quite familiar to colledtors,
of this clafs of prints, efpecially.
have more to fay in the next chapter.

celebrated
Englifli printfellers.
Of
Carington
With him
begins
Bowles we Hiall
the long
lill of
42 o
Grotefaue
CHAPTER XXIV.
CARICATURE IN THE AGE OF GEORGE II. ENGLISH PRINTSELLERS.
ARTISTS EMPLOYED BY THEM.
SIR ROBERT
WALPOLe'sLONG MINISTRY.
THE WAR WITH FRANCE.
THE NEWCASTLE ADMINISTRATION.
OPERA INTRIGUES.
ACCESSION OF GEORGE III., AND
LORD BUTE IN POWER.
ENGLISH
WITH
the accefliori
increafed
At
life.
of George
II. ,
the tafte for political caricatures,
greatly, and they had become almoft
this time, too,
pofition
higher

the name
of Bowles ftands
Among the
efpecially con-
Hogarth's burlefque on the Beggar's Opera, publiflied in
fpicuous.
was
more numerous, and took
in the commerce of literature and art.
earlieft of thefe printfellers

"
neceffity of focial
dillinft Englilh fchool of political caricature had
been eftablilhed, and the print-fell-ers became

a
printed for John Bowles, at the Black Horfe, in Cornhill."
1728^
Some
of "King Henry the Eighth and Anna Bullen," engraved by the fame
great artifl. in the following year, bear the imprint of John Bowles ; and
" printed for Robert Wilkinfon, Cornhill, Carington Bowles,
others were
copies
Yard, and R. Sayer, in Fleet Street."

Hogarth's
"
Humours of Southwark Fair was alfo publifhed, in 1733, by Carington
This Carington Bowles was, perhaps, dead in 1755,
and John Bowles.
" Britifh Refentment " bears
the caricature entitled
for in that
in St. Paul's Church
"
the
year
imprint,
*'
Printed for
T. Bowles, in
Bowles & Son, iti Cornhill."
St. Paul's Church
Yard,
and
John Bowles appears to have been the
brother of the firlt Carington Bowles in St. Paul's Churchyard, and

named Carington fucceeded
fon Carington, and then
to that bufinefs, which, under him
as the
etlablilhment
printlhop
was ellablilhed
fon
and his
of Bowles and Carver, has
continued to exift within the memory of the prefent generation.

very celebrated
Jno,
in Fleet
Another
Street by Thomas
/// Literature a fid
Overton,
On
probably
far back
as
Art.
421
dole of the feventeenth centurj-.
as the
liis bufinefs was piirchaled by Robert Sayers, a mezzotinto

engraver of merit, whofe name appears as joint pubUllier of a print by
his death
in
Hogarth
Hogarth.
tinto
is faid
Laurie,
named
to have
been
of
peffonal friend
in the bufuiels by liis pnpil in mezzo-
Sayers was fucceeded
engraving,
Robert
Overton
1729.
from whom
H. Laurie, known in city pohtics,
it
to
defcended
his
fon,
and it became fublequently the
firm of Laurie and Whittle.
This bufinefs ftill exifts at 53, Fleet Street,

the oldeft eliablilhment in London for the publication of maps and prints.
During the reign of the fecond George, the number of publilhers of
caricatures increafed
names
J.
of
confiderably, and among others, we meet with the
"
Smith,
caricature publilhed
at
Head,
Hogarth's
Auguft,
17^65
attached to
Cheapfide,"
Edwards and Darly,
"at
the Golden
Acorn, facing Hungerford, Strand," who alfo publilhed caricatures during

the years 1756-7;
and
caricatures
burlefque
prints were
publilhed
by
G, Bickham, May's Buildings, Covent Garden, and one, direded againft

the employment of foreign troops, and entitled " A Nurfe lor the
is
ftated
Garden, where
have
is 50 more
fold at Sumpter's Political
tures on contemporary
"The
I'old
in
May's
Buildings,
Covent
Raree Show," publilhed in 1762, was
Print-fliop,
Fleet Street," and many carica-
coftumc, efpecially on the Macaronis, about
the
by T. Bowen, oppofite the Haymarket,

"
Sledge,
printfeller, Henrietta Street, Covent Garden,"
met with about
the
middle of the
laft century.
burlefque prints, Bickham, of May's Buildings, ilTued

reprefenting the various
trades, made
up
Piccadilly."
is
were "publilhed
year 1772,
alfo
"
been
Among other
feries of figures
of the different tools, &c., ufed
The houfe of Carington Bowles, in St. Paul's Churchyard,

produced an immenfe number of caricatures, during the laft century and
the prefent, and of the moft varied character, but they confifted more ot
by each.
comic fcenes of fociety than of political fubje6Ls, and many of them were
engraved
in mezzotinto, and rather highly coloured.
Among them were
caricatures on the fafliions and foibles of the day, amufing accidents and
incid'nts,
frequently
common
aimed
occurrences
at
lawyers
of life, characters,
anel
prierts, and
<

"
to
;''
Heflians,"
&c., and
rperi;illy
at
they
are
moisks
and
.zz
Tlijiory of Caricature and Grotefque
anti-Catholic feehng was llrong in the laft century.

Brotherton, at No. 132, New Bond Street, publifhed many of Bun-
friars, for
J.
the
bury"s caricatures
while the houfe of Laurie and Whittle gave employ-
ment efpecially to the Cruikfhanks.

publifher of caricatures
But
the
perhaps
moll
extenfive
of them all was S. W. Fores, who dwelt firft at
No. 3, Piccadilly, but afterwards eftablillied himfelf at No. 50, the corner
of Sackvilie Street, where the name ftill remains. Fores feems to have
moll fertile in ingenious expedients for the extenlion of his bufinels.
He formed a fort of library of caricatures and other prints, and charged
been
for admiffion to look at them
and
he afterwards adopted a fyftem
of
lending them out in portfolios for evening parties, at which thefe portfolios of caricatures
became
At
part of the laft century.
very fafhionable amufement in the latter

times, fome remarkable
curiofity was em-
ployed to add to the attraftions of his Ihop.
Thus, on caricatures
lilhed in 1790, we find the ftatement that,
Fores' Caricature Mufeum
is
"In
the completeft colledion in the kingdom.
Count
Struenxee.
Admittance,
revolutionifts, publifhed
" publillied by

complete
in
1793,
Alfo the head and hand of
15."
Caricatures
bear
imprints flating
againft the
is
S.
French
that they were
W. Fores, No. 3, Piccadilly, where may

Model of the Guillotine admittance, one fhilling."
this model
pub-
be feen
In fome
faid to be fix feet high.
Among the artifts employed by the print-publifhers of the age ol

Coypel, who
George II., we flill find a certain number of foreigners.
caricatured the opera in the days of Farinelli, and pirated Hogarth,
belonged to
dillinguifhed family of French painters.
Goupy, who
alfc
caricatured the artijtes of the opera (in 1727), and Boitard, who worked
aftively for Carington Bowles from 1750 to 1770, were alfo Frenchmen.
Liotard, another caricaturift of the time of George
Geneva.
The names of two others, Vandergucht
II.,
was a native
of
and Vanderbank, pro-
Among the Englifli caricaturills who worked
claim them Dutchmen.
for the houfe of Bowles, were George Bickham, the brother of the printfeller, John
Collet, and
Robert
R. Attwold, who publillied

an imitator
of Hogarth.
Dighton, with others
caricatures
of lefs repute,
againft admiral Byng in 1750, was
Among the more obfcure caricaturifts of the
/;; Literature and
Art.
latter part of the half-century, were MacArdell

Park Shower," reprefenting the confulion
Mall
company in the
well known
in
St. James's
and Darley.
423
whofe print of " The
railed among the filliionabie
Park by
fudden fall of rain,
is fa
Paul Sandby, who was patronifed by the duke
of Cumberland, executed caricatures upon Hogarth. Many of thefe artifts

of the earlier period of the Englilli fchool of caricature appear to have
been very ill paid the firll of the family of Bowles is faid to have boafted
that he bought many of the plates for little more
metal.
than their value
The growing tafte for caricature had alfo
as
brought forward
number of amateurs, among whom were the countefs of Burlington,
and
The former, who was the lady

general, afterwards marquis, Townfhend.
of that earl who built Burlington Houfe, in Piccadilly, was the leader of
of the fadions in the opera difputes at the clofe of the reign of
George I., and is underftood to have defigned the well-known caricature
one
'upon Cuzzoni,
Farinelli, and Heidegger, which was etched by Goupy,
It niuft
whom flie patronifed.
well
as Sayers, were amateurs
not be forgotten that Bunbury himfelf, as

and among other amateurs
captain Baillie, and John Nixon.
captain Minlhull,
publilhed caricatures againft the Macaronis

part
(as the
may name
The rirft of thefe
dandies
of the earlier
of the reign of George HI. were called), one of which, entitled "The
Macaroni Dreirmg-Room," was efpecially popular.
Englifh political caricature came into its full aAivity with the miniflry
of lir Robert Walpole, which, beginning in 1721, lalted through the long
In the previous period the Whigs were accufed
period of twenty years.
of having invented caricature, but now the Tories certainly took the
utmoft advantage of the invention, for, during feveral years, the greater
number of the caricatures which were publilhed were aimed againll thu
Whig rainiftry.
It
is
alfo
rather remarkable charafteriflic of fociety at
this period, that the ladies took fo great an intereft in politics, that the
caricatures were largely introduced upon fans, as well as upon other
objeds of an equally pcrfonal character.
what conftituted
called hieroglyphics,
Moreover, the popular notion
of
caricature was ftill fo little fixed, that they were ufually

a
term, indeed, which was not ill applied, for they
wwe fo elaborate, and fo filled with n)yftical allufions, that now it
is
by
Hijlory of Caricature ajid
424
no means
eafy to
1739, there was
underfland or appreciate
Grotefque
Towards
them.
the year
marked improvement in the political caricatures
they
were better defigned, and difplayed more talent, but flill they required
rather long delcriptions to render them intelligible.
celebrated was produced by the
Feb.
13,

Motion/'
1741,
againft.
and was a
the minifter
Whig fatire
iVo. 195.
as
motion
Houfe of Commons,
in the
It
Walpole.
One of the moft

was
entitled
"The
upon the oppolition, who are reprefented
A Party
of Mourners,
driving lb hurriedly and inconfiderately to obtain places, that they are
The party of the oppolition

counter-caricature, entitled, " The Reafon," which was in
overthrown before they reach their objeft.

retaliated by
fome refpe6ts
and fpirit.
a parody
At
the
miniftry, under the
upon the other, to which it was inferior
fimie
time appeared
in point
another caricature againft
title of " The Motive."
the
Thefe provoked another.
Art,
in Literature and
entitled, "
425
Confequence of the Motion ;" which was followed the day

after its publication by another caricature upon the oppofition, entitled,
"The
Motion;" while tlie oppo-
Political Libertines; or, Motion upon
nents of the government alfo brought out

Grounds,"
violent and rather grofs attack
caricature, entitled,
upon
Whigs.
the
"The
Among
other caricatures publifl-ied on this occafion, one of the beft was entitled,
"The
Funeral of Fadion,"
and
bears
the
date
of March
Beneath it are the words, "Funerals performed by Squire

ing to Sandys, who was the motion-maker
and who thus brought on his party
26,
1741.
s," allud-
in the Houfe of Commons,
lignal defeat.
Among the chief
mourners on this occafion are feen the oppofition journals. The Craftsman,

the creation of
Bolingbroke
and
No. 196.
Pulteney,
BrU'ifh
the ftill
more
fcurrilous
Rejenlmint.
Chnnipion, Tlw Daily Pajl, The London and Evening Pojt, and lite Common
Senfe Journal.
P'rom
This mournful group
this time
the pidtorial
reproduced in our cut No. sg^.
there was no falling oft' in the fupply
which, on the contrary, feemed
of
is
of caricatures,
to incre<il"e every year, until
the
adivily
fatirifts was roufed anew by the hoflilitics with France in
426
1755, and the minifterial intrigues
Grotefque
of the two following years.
by the Englifh government reluttantly, and
accepted
One of the caricatures,
prepared for, was
at
firft hopes were given of great
publilhed
in the middle of thefe early
the fubjeft of much difcontent, although

fuccels.
ill
The war,
Englilh fleet lay before Louitbourg, in Canada,

Refentment, or the French fairly coop'd at Louif-
hopes, at a time when an

is
" Britilh
entitled,
bourg," and came from the pencil of the French artift Boitard.
its groups, reprefenting
Frenchman,
is
the courageous
political
caricatures,
in
It
diminiflied
thefe were formed into
became
iVb.
as an
now the fafhion
fmall volume, under the title of
197.
example
to
print
form, on cards, and feventy-five ol
Hiltory of the years 1756 and 1757.
and Satirical

Englifh failor and the defpairing
given in our cut No. 196, and may ferve
of Boitard's ftyle of drawing.
One of
In
"A
Political
of feventy-
a feries
Britannia in a New Drejs.
five humorous and entertaining Prints, containing all the moft remarkable
Tranfadlions,
years.
Charafters,
London
and
Caricaturas
of thofe
two
printed for E. Morris, near St. Paul's."
prints of the plates, which bear the dates of their feveral

inform
us
that
memorable
they catn from
the
The im-
publications,
well-known fliop of "Darly and
Edwards, at the Acorn, facing Hungerford,
Strand.."
Thefe caricatures
begin with our foreign relations, and exprefs the belief that the minifters
were facrificing Englifli interefls to French influence.
In
one
of them
Lit era til re
in
Art.
and
427
(our cut No. 197), entitled, "England made odious, or the French
Dreirers," the minifler, Newcaftle, in the garb of a woman, and his
in
colleague. Fox, have drelVed Britannia

not lit her.
She exclaims,
ftir my arms
in thefe
arms why, lure!
dor"
at
cannot
Newcaftle
me."
to ftir
no need
While Fox, in
fluur-de-lis, and lays,
" Here,
more
madam,
lUck
Caught by a Bait.
No. 198.
laughs
be quiet, you have
what's here to
my own cloathes.
me have
" HulFy,
tone, otlers her
iniinuating
new French robe, which does
befides, everybody
replies, rather imperioufly,
your
" Let
this in your bofom, next your heart."
The two pi6tures which adorn the
walls of the room reprefent an axe and
the lines,
jlnd fhall
the
halter;
fuhftituttt of fviver
Our geniui thus bedeck
Let
is
aimed
at the
at the expenfe
catcher."
the fiend
is
ivare
neck.
feries, this lall idea is illuftrated more fully.
minifters, who were believed to be enriching
of the nation, and
is
On one fide, while P'ox

has caught him in
other fide another demon

^ho
there^s an hour
them remember
Of quittance then,
lu another print of this
and underneath we read
fimilarly employed.
is
entitled,
is
" The Devil
It
themfelves
turned Bird-
greedily fcrambling for the gold,
halter fufpended to the gallows j on the
letting down the fatal axe on Newcaftle,
The latter (fee our cut No. 198)
is
defcribed
Hifiory of Caricature
428
as a
axe."
" Noddy catching
a?td Grotefque
at the bait, while
This implement of execution
the bird-catcher lets drop
is a perfe6t
pidure of
an
guillotine,
long before it was fo notorioufly in ufe in France.
The third example of thefe caricatures which
" The Idol,"
fliall quote
and has for its fubjeft the extravagancies
lies connected
is
entitled
and perfonal jealou-
with the Italian opera.
Vannefchi was now making

as
The rivalry between Mingotti and

much noife there as that uf Cuzzoni and
Britijh Idolatry.
The former a6ted arbitrarily and capricioufly,
Fauftina fome years before.
and could with difficulty be bound to fing

for
which
high falary
it
1,000 for the feafon.
is faid,
allude, this lady appears raifed upon
per annum,"
and is receiving the worlhip
before her an ecclefiaftic
few times during the feafon
is feen
praife now and for evermore
"
In
ftool, infcribed
of her admirers.
on his knees, exclaiming,
In
the caricature to
"^2,000
Immediately
"Unto
thee be
the background a lady appears, hold-
ing up her pug-dog, then the fafliionable pet, and addrefTmg the opera
favourite,
" 'Tis only pug
and you
knees behind the ecclefiaftic,
love."
Other men are on their
all perfons of diftindion
nobleman and his lady, the former
holding
and laft comes
in his hand
an
order for
.^2,000, his fubfcription to the opera, and remarking, "We fliall have but
///
Literature and Art,
429
twelve fongs for all this money."
The lady replies, with an air of contempt, "Well, and enough too, for the paltry trifle." The idol, in return
for all this homage, fings rather ccntemptuouily
is
/?j, ra, rj, rot ye.

My name
Mwgotti,
J/
you ivor/hif> me notri,
Tou
Jhall all
go to potti.
politics of the country, which

tion of the previous period.
prefented
Tlie clofing years of the reign of George II., under the vigorous
adminiflration of the firft William Pitt, witnelfed
calm in the domeftic
(Irange
contrail to the agita-
Faftion feemed to have hidden its head, and
calm lafted only
there was comparatively little employment for the caricaturift.
But this
fhort time after that king's death, and the new reign
was uftiered in by indications
of approaching
political agitation of the moft violent defcription, in which fatirifts who had hitherto conthemfelves with other fubje6ls
tented
were
tempted to embark in the ftrife of politics.

as
was
Hojrarth,
whofe difcom-
caricaturift we fliall have
political
Perhaps no name ever provoked
to defcribe in our next chapter.
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
III.
George
miniftry,
Bute
his
had
Henry Fox who became
the firft Lord
into
taken
the
confidential colleague. Fox
Holland,
the
as
fubfequently
man who had en-
riched himfelf enormoully with the money of

at the
thefe
1/1
two appeared
eftabliihment
,
amiing
/I
/-
01
the nation, and

,

forts
thefe
Amons:
to be
arbitrary power
inahe place of conftituiional government.
1^0-
lOO-
Fox
on Boots.
Fox was ufually reprcfented in
430
the caricatures with the head and tail of the animal reprefented
while Bute was drawn,
name rather ftrongly developed
upon his name, in the garb of
fometimes
by his
as a very bad
pun
Scotchman, wearing two large boots, or
fingle boot of ftill greater magnitude.
In
thefe caricatures Bute
Fox are generally coupled together. Thus, a little before the refignation of the duke of Newcallle in 1762, there appeared a caricature entitled
and
" The
Nurfery," in which the various members of the miniflry, as it

was then formed under Lord Bute's influence, are reprefented as engaged
State
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
In
the cradle.
groups
is
the rhymes which accompany this caricature, the firft
defcribed
as
of thefe
follows (Fox was commonly fpoken of in fatire by
the title of Volpone)
Firjl you fee

Riding
Of
old
Jlj
the muckle fa-uourite
Doodle,
The number of caricatures

Vol[>one-y,
on the /boulders
hraivny
Sa-wny ;
doodle,
publifhed
at
doo.
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
the
petticoat to the boot,
country
was
governed.
as a
fymbol of the influence under which
In mock
proceflions
and ceremonies
of the boot
Scotchman was generally introduced carrying the ftandard

and petticoat.
was thus heaped
Lord Bute, frightened at the amount of odium whicli

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
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.

the ordinary publications of
negotiations tor Lord
direded againfr
finiilar charadcr.
It
was the moment ot
Bute's unpopular peace, and
the foreign policy
in
Europe
reprefents
431
a Itate
of the great
of general
to Great Britain.
already communicating
Hogarth's
ex-minifter
conflagration, and
While Pitt
is
latire is
I'itt.
Jt
the flames
blowing the fire,
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
Bute, with
party

Monitors and North Britons, the violent oppofition journals, to feed the
No. 201.
flames.
The advocacy of Bute's mercenaries,
did little fervice

a6tivity
Fanatkifm in another Shape.
whether literary or artillic,
to the government, for they only
among its opponents.

Raree Show,
William Hogarth."
is the houfe
points
'
The Times,' by
is here on
fire,
In the centre of the pittnre
of which Fox thrufts

to the fign, reprefenting TEneas and Dido
appears a great a6tors' barn, from an upper window

and
large print entitled
of John Bull which
and the Scots are dancing and exulting at it.

oi^t hih head
political contrail to th'; print of
It
increafed
" The Times,"

Hogarth's caricature of
drew feveral anfwers, one of the beft of which was
"The
provoked
432
entering the cave together,
It
as
Grotefque
the performance which was afting
within.
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
is an
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
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
drum.
through
the
addreliing
An open-air preacher,
country.
a
on
ftool, is
while his infpiration is

rather vulgar manner by the fpirit, not of good,
not very intelledlual-looking
conveyed to him in
mounted
audience,
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
Houfe of Lords.
the leader of the oppofition in the
People now believed that it was the duke of Cumber-
land who had overthrown

as
" the boot,"
and his popularity increafed
The triumph was commemorated in feveral caricatures.

of thefe is entitled, "The Jack-Boot kick'd down, or Englilli
fudden.
triumphant
Dream."
" Let
garb who follows him,
Remember
uncle, keep him down.
Will
me alone,
Ned
to
;
young man in failor's
know how to deal with
The youth replies, " Kick hard,

Let me have a kick too." Nearly the fame
CuUoden."
group, ufing fimilar language,
"The
One
The duke of Cumberland, whip in hand, has
kicked the boot out of the houfe, exclaiming

Scotfmen.
on a
is
introduced into
a caricature
of the fame
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
date, entitled,
Boot and the Blockhead."
appears to have joined his uncle in his oppofition to
" boot," as feen in our cut No. 202,

"line of beauty," of which I fliall
next chapter.
is
Lord Bute.
The
encircled with Hogarth's celebrated
have to fpeak more
at
length in the
in Literature and
Art.
433
t:he
Englilh
completely formed and fully elhiblilhed.
From
With the overthrow of Bute's miniftry, we may confider

fchool of caricature

this time the names
as
of the caricaturills are better known, and we Ihail
No. 202.
have to confider them
in
TiK (hjcrthrow of
their
individual
the Boot.
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
CHAPTER
and Grotefque
XXV.
THE HAREARLY HISTORY,

HIS SETS OF PICTURES.
THE RAKe's PROGRESS.
THE MARRIAGE
A
LOt's
LA
MODE.
HIS OTHER PRINTS.
THE ANALYSIS OF BEAUTY, AND THE
HIS PATRONAGE BY LORD BUTE.
PERSECUTION ARISING OUT OF IT.
OF THE TIMES.
TO WHICH HE WAS EXCARICATURE
ATTACKS
POSED BY IT, AND WHICH HASTENED HIS DEATH.
HOGARTH.
HIS
progress.
of November, 1697, WilHam Hogarth was born in the

His father, Richard Hogarth, was a London
city of London.
the
ON
0th
fchoolmafter, who
to
increafe
the income derived from
by compiling books, but with no great fuccefs.
fcholars
hood,
laboured
as
difplayed
us
fchool, he appears to have been feldom without

From his child-
"
of himfelf, the young Hogarth

tafte for drawing, and efpecially for caricature 3 and, out of
he tells
in his "Anecdotes
bis
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
But this occupation proved little to the tafte of one whofe
ambition rofe much higher; and when the term of his apprenticefhip had
engraver.
expired, he applied himfelf to engraving on copper

his own account, did confiderable amount
and, fetting up on
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
Towards 1728 Hogarth began to praCtife as a painter, and
he fubfequently attended the academy of fir James Thornhill, in Covent
produftions.
Garden, where he became
Jane.
The refult was
difapproval%nd
acquainted with that painter's only daughter,

clandeftine marriage
in 1730, which met the
provoked the anger of the lady's father.
Subfequently,
however, fir James became convinced of the genius of his fon-in-law,

a
reconciliation was
eflfe6ted
through the medium of lady Thornhill.
and
in Literature and
At
this time Hogarth had already comn)enced
which was deltined to raile him loon to

us an
he lays, " which
that
were,
of fame
induced me to
I thought both writers
hillorical llyle, totally overlooked that

which may
that new flyle
and
placed between the fublime and
be
lie was guided.

this
in
had,
painters
of
fpecies
criiicifed
the
fubje(5ts
I thon-
the grotefque.
on the
that they will be tried by the fame te(t, a.id
and further hope
of
mode
forc wifhed to compofe pictures on canvas fimilar to reprefentations

liage
few
the painter has
adopt
intermediate
of defign
as an artift
interelting account of the motives by which
" The reafons,"
deligning
degree
435
" Anecdotes " of himfclf,
In his
men have ever attained.

given
Art.
by the fame criterion.
Let it be obferved, that
only of thofe fcenes where the human fpecies
mean to fpcak
are adors, and thel'e,
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
think, have not often been delineated in

muft therefore
be
difficult (though that
higher degree of praife.

as
as it
is
is but a fecondary
If
If
the execution
merit), the author has claim to
this be admitted, comedy, in painting
as
writing, ought to be allotted the firft place, though thejullimc,

called,
has been oppofed
to it.
more conviction to the mind of

a
way
entitled to rank in the higheft clafs.
is
well
Ocular demonflration will carry
fenfible man than all he would find in
thoufand volumes, and this has been attempted in the prints

Let the decifion
comjKjfed.
be left to every unprejudiced eye
have
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.
to treat my fubjeds as a dramatic writer
have endeavoured
is my flage, and
my pidure
men and women my players, who, by means of certain
adions and geftures, are to exhibit
dumb-Jhow."
The great feries of pidures, indeed, which form the principal founda-
tion of Hogarth's fame, are comedies

comedies
they are.
Like comedies, they are arranged, by
ceflive plates, in atts and fcenes
pidorially, jull
comedy.
It
as it
is
imt
rather than caricatures,
and
feries
delicacy
of fuc-
and they rt-prefent contemporary fociety
had been and was reprefenied on the ftage in

by
noble
Lnglilli
or excellence of drawing that Hogarth
43 6
excels, tor he often draws
minute dehneation
ftory thoroughly.
which
nothing
loll, nothing gloffed over, and,
is
made to have fuch
if it would
add,
may
introduced into
objeft
the
nothing
is
piture
an intimate relationfliip with the whole, that it feems
be imperfeft without it.
that in which
was
extraordinary and
is by his
of chara6ter, and by his wonderful ikill in telling a

In each of his plates we fee a whole atl: of a play, in
The moft trifling
exaggerated.
as
incorreftlyj but it
Hogarth excelled.
The art of producing this effe6t

The firft of Hogarth's great ///i/
of prints was "The Harlot's Progrefs," which was the work of the years
It
1733 and 1734.
llory which was then common in London, and
openly in the broad face of fociety than
was afted more

day
tells
feries
It
had
novelty,
as
well
of plates was followed, in
Rake's
Progrefs."
ruin which
attended
In
a
In many refpeds
as
t 735, by
another, under the
Hogarth
life of proftitution
a
it is fuperior to the
the
fhame
and
in this, he reprefented the
" Harlot's Progrefs,"
of people
more
hiftory are
depicted
This
title of " The
life of profligacy entailed on the other fex.
come more home to the feelings
proftitute's
excellence, to recommend it.
former,
the
limilar confequences which

prefent
and therefore the effe6t and confequent fuccefs were almoft inftan-
taneous.
the
at the
veiled
and its details
in general, becaufe
from
the
public
thofe of
gaze.
The
of the fpendthrift in diflipation and riot, from the moment he

becomes poflleffed of the fruits of paternal avarice, until his career ends in
progrefs
prifon and madnefs, forms

prefents
marvellous drama, in which every incident
itfelf, and every agent
feems almoft beyond the
performs his part, fo naturally, that it
power of ading.
defpair with greater perfedion than it

the
is
Perhaps
no one ever pidured
Ihown in the face and bearing of
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
theatre the announcement that the play which he had written in the
hope of retrieving fomewhat of his pofltion his lafl: refource has been
The returned manufcript and the manager's letter lie on the

wretched table (cut No. 203) ; while on the one fide his wife reproaches
refufed.
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.
the fees exaded for the flight
indulgence he has obtained in prifon are
but
receiving his money.
is
and even the poc-boy refufes to deliver him
It
unpaid,
437
hi^
beer without lirft
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
to the world his next grand feries

fubje6ts.*'
Dejpa'ir.
of what he called his " modern moral
This was " The Marriage
la mode," which was publillied in
\i
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
the fourth the mufic fcene in which
la mode,"
of the " Marriage
d
it
is
It
rcpreof figures efpecially arrcils the attention.

William Hazlitt has juflly remarked upon
Icnted in our cut No. 204.
"
that,
the prepofterous, overftrained admiration of the lady of quality
one principal group
fentimental,
infipid,
papers, and fipping
his
patient delight
tea
the
(jf the
man
with
his
hair in
pert, fmirking, conceited, half-diftorted
approbation of the figure next to him
the
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'o. 203.
perfedt whole."
43 8
In the interval between
thefe three
great
Grotefqiie
monuments of his talent,
Hogarth had publiihed various other plates, belonging to much the fame
No. 204.
Fapo'ionabh Society.
of fubjets, and difplaying different degrees of excellence. His

"
engraving of Southwark Fair," publiihed in 1733, which immediately

clafs
No. 205.
preceded the
" Harlot's
wT^nOld
Maid and
her Page.
Progrefs," may be regarded almoft
to rival the fairs of Callot.
as
an attempt
" The Midnight Modern Converfation "
in Literature and
in
appeared
" Rake's
the interval
Progrefs
1738, the
j"
the
"Harlot's
three years after the
and
439
Progrefs
"
and
feries lalt mentioned,
the
in
engraving, remarkable equally in defign and execution, of the
" Strolling AftrelVes

" Noon," "Evening,"
Such
between
Art.
is the
of " Morning,"
and "Night," all full of choiceft bits of humour.
in
Barn,"
and
the
four
plates
group of the old maid and her footboy in the firft of this
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
feries
(cut

in confequence
of the hard, niggardly temper of his miftrefs.
No. 206.
Among
Lc/i and Gain.
"
the humorous events which fill the plate of Noon," we may point to
fetch home
the difafler of the boy who has been fent to the baker's to
the
family
dinner, and
who,
as
reprefentcd
in our
cut
broken his pie-dilh, and fpilt its contents on the ground

cult to fay which is exprelTed with mod fidelity to nature
No. 206,
has
and it is diffi-
the terror
and
Ihame of the unfortunate lad, or the feeling of enjoyment in the face of

fcattertd meal.
In
the little girl who is feafiing on the fragments of the
" The Enraged JMufician." During this period

I 741 appeared the plate of
between two fubjetts for his
Hogarth appears to have been hefitating
Ihird
grand pitlorial drama.
Some unfinilhcd fetches have been found,
44 o
and Grotefque
from which it would feem that, after depi6ling the miferies of
hfe
of
diflipation in either fex, he intended to reprefent the domeftic happinefs

which refuked from
prudent and well-aflbrted marriage
reafon or other he abandoned
in
a lefs
bably
amiable light, in his
but for fome
this defign, and gave the pifture
"
Marriage a la mode.''
In
taken from that of Dryden's comedy.
of wedlock
The title was pro-
17^0
"The
works. It
appeared
March to Finchley," in many refpeds one of Hogarth's beft

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

The foldiers in front are moving on with fome degree of order, but
'45.
in the rear we fee nothing but confufion, fome
effefts
reeling about under the
of liquor, and confounded by the cries of women and children,
camp-followers, ballad-fingers, plunderers, and the like.

as
reprefented
in our cut
No. 207,
is affilVmg
fallen
One of the latter,

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 diftraftedly the cries of their parent.
Hogarth
prefents
fingular example of
fatirifl: who fuffered
under
Art.
in Literature and
the
ver)'
was
a
a
he
inflided on others.
He made many
He had begun his career

perlbnal fatire, entitled "The Man of Talle," which
in the courle of his labours.
perfonal enemies
with
which
punilliment
441
well-known
caricature on Pope, and the poet
laid never to have forgiven it.
is
Although the I'atire in his more celebrated works appears to

t
told upon
his contemporaries perfonally
for the figures
us general,
which a6l
their parts in them were fo many portraits of individuals who moved in

contemporary fociety, and who were known to everybody,
provoked
holl of enemies.
It
was like
and thus he
Foote's mimicry.
He was to
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 introan extraordinary degree
duced
into the print of
vain
" Beer Street,"
is
laid to
be
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
When George H., who had more tafte for foldiers than
" March to Finchley," iiiftead of admirpiAures, faw the painting of the
ing it as a work of art, he is faid to have exprelled himfelf with anger at
their anger.

the infult which
he believed
was offered
to his army
and Hogarth
not
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
only revenged
of all thefe animofities was given in the year 1753,

" Analyfis of Beauty." Though
at the clofe of which he publilhed his
far from being himfelf a fuccefsful painter of beauty, Hogarth under-
occafion for the difplay
which he referred to
" line of
beauty."
waving or ferpentine line, and this he termed the
took
a
in
this
work
to
invefligate its principles,
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
" The line
a painter's palette, on which was this waving line, infcribed
of beauty."
a
For feveral years the meaning of this remained either (juite
myllery, or was only known to
the appearance
few of Hogarth's
of the book jull mentioned.
actjuanitances,
Hogarth's
until
manufcript was
442
revifed by his. friend, Dr. Morell, the

whofe name became thus affociated
Grotefque
of the " Thefaurus,"
compiler
This work expofed
with the book.
of violent attacks, and to unbounded ridicule, efpeA great number of caricially from the whole tribe of offended artifts.
catures upon Hogarth and his line of beauty appeared during the year
its author to a hoft
of the hatred he had provoked; and to

hold ftill further their terror over his head, moft of them are infcribed
1754, which ftiow the bitternefs
ith the words,

" To
be continued."
ho. 208.
fignalifed themfelves by their
ui.
Among the artifts who efpecially
Painter'' s Amufements,
zeal againft
him,
Paul
wâs
whom we owe fome of the beft of thefe anti-Hogarthian

One
of thefe
is
entitled,
"A
New
[fixing] the flu6luating ideas of tafle."

given in our cut No. 208), Hogarth
is
Dunciad,
In
his palette.
This figure
reprefented playing with

a
of the line of beauty, which

is
view
of
the principal group (which is
or figure which was moved into a6tivity by pulling

takes fomewhat the form
caricatures.
with
done
Sandby, to
firing.
is
pantin,
The firing
alfo drawn upon
defcribed underneath the pi6ture
as
"a
painter
is one
are the foundations, or the remains,
is
in the form
of
black
of "
of his admirers.
houfe
On the table
of cards."
Near liim
Hogarth's favourite dog, named Trump, which always accompanies

Hogarth on the ftage
reprefents
do6tor, holding
quack
patronage
at
in his hand
This
Leicefter
Houfe
Beauty txemplijied.
Painter demonflrating
Mountebank
that crookednefs
of
hint
moft
beautifiill."
now
Hogarth
fiddling, and the black harlequin ferves

crowd of deformed and hump-backed
him
at this time
appeared
as
"
to his admirers
Lord Bute, whofe
enjoyed,
reprefented
In the front
his putV."
people
is
and fubfcribers
The
y'
"
entitled
Ko. 209.
is
which
of beauty, and recommending its extraordinary qualities.
the line
print
as
Another caricature
in ihefe caricatures.
is
is
very bad pun as
reprefented
card (the
" the fool of
rather jolly perfonage (intended, perhaps,
for Dr. Morell), who, we are told,
are prefling forwards
(lee
our cut No. 209), and the line of beauty fits them all admirably.
the fmall honour which feemed
was faid that
putcd.
named
Lomazzo,
he had ftolen
Latinifed
the
into Lomatius,
to arife from
idt'a from
an
undif-
Italiiti writer
who had enounced
in
allowi'd to retain
line of beauty was ridiculed, Hogarth was not
it
as this famous
it
Much
It

attached
while behind appears
harlequin
On one lide " his genius
arts."
by
is
"
443
defcribed
his breart
/;/
of hearts), which
knave
To
of his tafte."
is
at the proper exercife
Literature and Art.
Hifiory of Caricature and Grofefque
44
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
treatife
on
the
Fine
Lomazzo, carrying in one hand his treatife on the arts, and with his other
holding up to view the line of beauty itfelf.
plate, the principal figure
is
defcribed
as
In the infcriptions on the
"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
"a
is
refting heavily upon
fupport bent in the line of beauty by the mighty load upon it."
Hogarth ftands
"
his
faithful
pug," and behind him
"
Befide
friend of the
author endeavouring to prevent his finking to his natural lownefs."
* It
ftrong
On
into English by Richard Haydocke, under the title of "The

This is one of the
Artes of Curious Paintinge, Carvinge, Buildinge," fol. 1598.
earliest works on art in the English language.
was translated
in Literature a fid
the other fide Itands
Merchant
Taylors'
Art.
Dr. Morell, or, perhaps, Mr. Townley, the mafler of

School, who continued
his I'ervice in preparing the
book for the prefs after Morell's death, defcribed

and corredor,"
allonilhed
at
the light
of the pi6ture
the left hand
445
of the ghoft.
is described
as
condition of her darling fon," while the dog
This group
his friend's condition."
"
as
the author's friend
The ugly figure on
" Deformity weeping at the

" a greyhound bemoaning
is
in our cut
is reprefented
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

bordering on caricature, or, on one occafion,
and allowed only to exercife
caricatures
is
"The
jirints,
his
Ikill
as
locked up in
ftyle
mad-houfe,
One of thefe
upon the bare walls.
entitled, in allufion to the title of one of his moft popular

Painter's March through Finchley, dedicated
the gipfies, as an encourager
of arts, &c."
to the king
of
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,"

delign.
good
and ufcful
"Beer Street
" Four
"
and
as
having
of"
Induftry and Idle-
moral ftory, but difplays
inferior talent in
of excellence.
reached his higheft point
nefs" tells
Hogarth may be confidered
" Gin
"
Lane
The fet
"
difgull
us by
their vulgarity,
are equally repulfive to our feelings

of Cruelty
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
and the
the lart
Stages
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,
office
the
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.

another difplay of hoflility
towards
him, and his enemies
jceringly the king's chief panel painter.

phui lor the eflablilhment
This appointment caufed
It was
at
called
him
this moment that
of an academy of the fine arts was agitated,
of Caricature and
Hi/lo7y
44^
which,
Grotefque
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
It
was the fignal for
line of beauty.
to ftand
alone
as
fuperior to them all.
new onflaught of caricatures upon himfelf and his
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
political ftruggle, where the attacks of
of enemies carried with them
clafs
George
fucceeded
H. died
on the
as
new
more bitter fting.
of 0tober, 1760, and his grandfon
17th
him to the throne
George
HI.
It
evident that
appears
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
before this time Hogarth had gained the favour
in his prints, but now, unluckily for himfelf, he fuddenly ruflied into the
It was generally faid that Hogarth's objeft
of political caricature.
arena
of his patron, lord Bute, to obtain

and he acknowledges himfelf that his objeft
was, by difplaying his zeal in the caufe

an increafe in his penfion

was
gain.
"This,"
he
"being
fays,
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
fliould
do fome timed thing [the italics are Hogarth's]
to recover my loft time,
and flop a gap in my income."
he determined
Accordingly
to attack
Pitt, who had then recently been compelled to refign

his oflSce, and had gone over to the oppofition.
It is faid that John
the great minifter,
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
In Sep"
The Times, No. i," indicating
print entitled
obftinate, threatened him with retaliation.
tember, 1762, appeared the
that it was to be followed by
of the
pifture are thefe
fecond caricature.
Europe
is
The principal features
reprefented in flames,
which are
communicating to Great Britain, but lord Bute, with foldiers and failors,
and the afliftance of Highlanders,
Pitt
is
is
labouring to extinguilh them, while
blowing the fire, and the duke of Newcaftle brings
a barrow
ful of
/';/
Literature and Art.
447
much detail in the print which
In fiilhlment of
defcribe.
threat, Wilkes,
his
it
is
There
feed it.
is
Monitors and Korth Britons, the violent journals of the popular party, to
in
not
necellary
of tlie
number
the
to
Xorth Briton publilhcd on the Saturday immediately following the publication of this print, attacked Hogarth with extraordinary bittcrnels,
upon his
domeftic
as
well
Hogarth, ftung to the quick, retaliated

Thereupon
publilliing the well-
Churchill, the poet, Wilkes's
account,
"with
retaliated again:
fome
parts ready,
to confider how
fo
began
Hogarth
patched
up
print of
"Having
fuch
could turn
an
as
" Epillle
an
old
to
William
plate
background and
me,"
dog,
much work laid afide to fome
Malkr Churchill
in the charafter of
he tells us,
painter, under the title of
the
bitter invedive
Independent Draughtjman.
Hogarth."
An
I'u
againft
in verfe
portrait of Hogarth
The unfinilhed picture was intended to be
pot of
himfelfi the canonical bear, which reprefented Churchill, htld
a
btar."

friend, and formerly the friend of Hogarth alfo, publilhed
No. 211.
profcllional
by
known caricature of Wilkes.
as his
character.
reflexions
cruel
by
calling
44 S
porter in one hand, and in the other
"lie I," "lie
Grotefque
knotted club, each knot labelled
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
2," &c.
greater than ever.

and
perfonal appearance
all embodied in
O'Garth, &c.
Parodies
bore fuch
Hogarth wears the thiflle on his hat,

infcribed
At
Hogg-afs,
as
Hoggart,
fign of his dependence
as the
on
with the line of beauty

He holds behind his back a roll of paper infcribed
his bread hangs
upon it.
" Burlefque
names
Our cut No. 211 reprefents one of the caricature portraits

It is entitled " Wm. Hogarth, Efq., drawn from the Life."
of the artift.
lord Bute.
own works, fneers at his
his
refleftions upon his charafter, were
manners,
prints which
on
Ld
his palette,
B t."
In his right hand he prefents to view two

" The Times," and the " Portrait of Wilkes."
At the upper
pi6fures,
corner to the left is the figure of Bute, offering him in a bag a penfion of
"^300
on
Some of the allufions in this pifture are now obfcure,
per ann."
but they no doubt relate to anecdotes well known at the time.
following mock letters which are written at
receive fome light from the

the foot of the plate

"
Copf
" My
will not
of a Letter from Mr. Hog-garth
Lord, The
redound
Lord
to
Mucklemon,
iv^h
his Lordjhtp'i Anfiver.
to publish ; you are sensible it

expose you to all the world in your
likewise know what induced me to do this ; but it is in y'
enclosed is a design
to your honour, as it
colours. You
power to prevent it from appearing
immediately.
proper
They
intend
will
in publick,
which
would
"Will"
have
you
do
Hog-garth.
my saul, mon, I am sare troobled for what I have

did na ken y' muckle merit till noow ; say na mair aboot it; Lll mak au
easy to you, & gie you bock your Pension.
"Mais' Hog-garth, By
done;
things
In
"Sawney Mucklemon."
an etching without
title, publifhed at this time, and copied in
our cut No. 212, the Hogarthian
dog
cautious diflance at the canonical
bear, who appears
further mifchief.
beauty, while
is
reprefented barking from
to be meditating
Pugg flands upon his matter's palette
Bruin refls upon the
" Epiftle
to
and the line
of
Wm. Hogarth," with the
in Literature mid
Art.
449
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
pen and ink by its fide.
epiftle, irritated
Hogarth
more than all the hoftile caricatures,
No.
I'z.
Beaut
and were
ar.d the Bear.
He died on the 26th of

generally believed to have broken his heart.
Odober, 1764, little more ihan a year after the appearance of the attack
by
Wilkes, and with the taunts of bis political
enemies
ftill ringing in his ears.
GG
as
well
as his protiellioual
mjiory of Caricature and Grotefqiie
450
CHAPTER XXVI.
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

reigns of the two firft Georges, gave birth to a number of
THE
of the
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
Among thefe the principal were Paul Sandby, John
contemporaries.
Collet, Sayer, Bunbury, and Woodward.

Sandby has been fpoken of in the lad chapter. He was not by profeffion 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,
againft
been
well
and
him.
he
was
foremoft
among thofe
Examples of his caricatures
who
turned
upon Hogarth
given, fufficient to Ihow that they difplay
their fatire
have
already
Ikill in compofition
as
amount of wit and humour.
After his death, they .vere

" Retrofpedive Art, frc n the
republiflied colle6tively, under the title,
CoUeftion of the late Paul Sandby, Efq., R.A."
Sandby was. Indeed,
one
as a large
of the original members of the Royal Academy.
He was in artift
in Literature and
much admired in his time, but
graphical draughtlman.
He was
is
a
Art.
451
now chiefly remembered

native
of Nottingham,
as
topo-
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 chain all
his deligns.
Few
artills have been more
A'e. 213.
produced
Carrington
greater
His
induftrious and
A Dij.f.tr.
of engravings.
He worked chiefly for
Bowles, in St. Paul's Churchyard, and for Robert
53, Fleet Street.
number
Sayers, at
His prints publilhed by Bowles were engraved generally in
death is usually placed, but erroneously, in 1732.

in
in
aqnatinta, the latter by

method
Sandby etched landscapes on steel, and
beîdfs
his
oil
and
colours.
But
his
fame
own,
painting
rests
o;):i(|iie
peculiarly
Ent;lish
lua-cr-nlour
school of
mainly on being the founder ot the
paintings since he
f-

ra(5ter
v*as the first to
show the capability of that material to pr )ducc finishiil pic'uus,

in effect and colour to whicli that branch of
and to lead the way to the perfection

art has înce attained.
452
mezzotinto, and highly coloured for

were
ufually line engravings,
Tale
while thole publilhed by Sayers
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 delineating whole
bits
picture, and he contented himfelf with
a6ts and fcenes in one
of detail and groups of charafters only.
tical they
His caricatures are rarely poli-
are aimed at fecial manners and focial vanities and weaknelFes,
and altogether they form
curious
fingalarly
of the laft century.
an important period
pi6ture
of fociety during
The firft example
(No.
give
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
head-drefs,
from time to time in form and in extravagance.

duced to us
lady who, encountering
all her upper coverings,
The lady
behind.
hard by,
fixed againft
time the
"
was this feeling which
no-popery
"
neighbouring
and
"A
wall announces
feeling ran very high.
Four years
It
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
No. 214.
loll
and wig, cap, and hat are caught by her footman
afterwards it broke out violently in the celebrated lord Gordon riots.
is given in
our cut
It forms one of Carington Bowles's rather numerous feries of
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
prints from defigns
by Collet,
and reprefents
the
excited monks are toalling, among other objets of devotion, the abbefs
There
reprefented in one of the
great fpirit in this pldure, which
is
faint of her convent
is
is,
of St. Urfuline and the blue-eyed nun of St. Catherine's.

The " blueeyed nun"
perhaps, the lady feen through the window, and the patron
is

this
and violent wind, has
evidently fuflfering under the feeling of fliame
is
Ledure upon Heads."
At
fudden
Collet has here intro-
cottager and his wife, at their door, are laughing at her dif-
A bill
comfiture.
which varied
entitled
pidtures on the wall.
" Father Paul
in his
in Literature and
Cups, or the Private Devotions of
the following lines :
See
tvllh
thefe
friars
Who love good living
Paul,
the
His god
'i
glafs,
It
Convent.'"
453
with
is accompanied
hciu religion tkriveSy

better
than good lives ;
Juper tor father, rules

the
Art.
the
roajl.
the blue-eyed nun his
tojft.
Thus priefts conjume luhat

fearful focls bcjlîv,
jind faints'
donations
make the bumpers
fitnu.
The butler fleeps the cellar door is
free
This is a modern cloijier's piety.
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-

From
No.
ceptions,
as
2 14.
Father
political caricaiurift.
Paul
its his Cups.
He was the fon of
of
captain
merchant lliip at Great Yarmouth, but was himfelf j)ul to the profefAs, however, he was poU'elfed of a moderate indefion of an attorney.
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
bad
454
Grotefque
draughtfrnan, and his pi6lures are produced more by labour than by

in drawing, but they pofleis
ikill
confiderable amount of humour, and were
fufficiently fevere to obtain popularity at
time when this latter charader
He made the acquaintance and gained the favour of the younger William Pitt, when that
excufed worfe drawing even than that
of Sayer.
ftatefman was afpiring to power, and he began his career
as a
caricaturill
minillry in 1783 of courfe in the intereft

Sayer's earlieft produttions which are now known, are a feries of
by attacking the Rockingham
of Pitt.
caricature portraits of the Rockingham

been given to the public
in inftalments, at the feveral dates
of April 6,
June 17, and July 3, 1783, and bear the name of C. Bretherton
He publifhed his firfl veritable caricature on the occafion of
publirtier.
May
as
adminillration, that appear to have
14,
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
title of
bears the
upon Milton,
reprefents
the death
" Paradife Loft,"
the once
and
in fatt,
caricature, which
parody
which followed
changes
is,
the minifterial
happy pair. Fox and Burke,
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
of two mocking fiends, and groups of piflols, daggers,

Beneath are infcribed the well-known lines of Milton
the faces
and fwords.
late their happy feat,
that jiaming brand
o-ver
by
Of Parad'ife,
Wa'utd
fo
To the
eaftern Jlde
the gate
With dreadful face^ thronged and fiery arms

Some natural tears they dropt, but iviped
themfoon.
The nvorld "was
Their place
all
before them, ivhere to choofe

refi, and pro-vidcnce their guide.
of

is
turned out of their paradife, the Treafury, the arch of the gate of which
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
Fox, made the latter
Art.
455
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
by liim
(.mployed
in attacking fuccellivcly the coalition
North, Fox's India Bill, and even,
at a
under Fox and
later period, Warren Haftings on
his trial.
have already remarked that Sayer was almoft exclufively
The exceptions are

caricaturift.
A's. 21 S-
which
fubje6t
contemporary aftors
from
No. 215.
a
faftiionable
and
life.
yl
Contraft.
copy
caricatured, and
are
of
has
fingle
latter forms our cut
the
It has no title in the original, but in
contemporary
political
few prints on theatrical fubjetts, in
adiefles
copy in my poftcllion
written on the margin in pencil that the lady
is
Mils
Snow and the gentleman Mr. Bird, no doubt wcll-kiiown pcrfonages

contemporary fociety.
"One of Sayer's
It
was publilhed on the
mod fucccl'-ful caricatures,
19111
in
of July, 1783.
in regard
to the cll'cd
It
456
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
Street," Carlo Khan being perfonified
Entry into Leadenhall

who
by Fox,
carried in triumph to the door of the India Houfe on the back ot
is
an elephant, which
of lord North.
the face
prefents
Burke,
who had
been the principal fupporter of the bill in debate, appears in the charafter
of the imperial
banner behind Carlo, the

title
given to
popularly
From
old infcription, " The Man of

Fox,
BA2IAEQN,
BA2IAEY2
On
trumpeter, and leads the elephant on its way.
chimney above, the
erafed,
is
and the
the People,"
two
Greek
the
words,
"king of kings," fubftituted in its place.

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
Henry William
Bunbury
lucklejs time.
belonged to
Shakespeare.
more ariftocratic clafs
in
of the preceding.
He was the fecond fon of fir
William Bunbury, Bart., of Mildenhall, in the county of Suffolk, and
How he iirft took fo zealoufly to caricature we have
was born in 1750.

fociety than any
no information, but he began to publifti before he was twenty-one years
of age.
drawing was bold and often good, but he had little
Bunbury's
Ikill in etching, for fome of his earlier prints, publifhed

etched himfelf,
engraved
are
coarfely executed.
in 177
1,
which he
His defigns were afterwards
by various perfons, and his own ftyle was (bmetimes modified in
His earlier prints were etched and fold by James Bretherton,
this procefs.
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
fon
age, but he died

dandies
named
young.
Charles, who difplayed great talent
As early
1772, when
the
early
macaronis
(the
of the eighteenth century) came into falliion, James Bretherton
name appears on prints by Bunbury

occurs
as
at an
again
as
the
engraver
as
's
the engraver and publifher, and it
of his print of " Strephon and Chloe " in
in Literature and
1801, which was publilhed
by Fores.
his defigns
by Rowlandlbn,
were engraved
Art.
At this and
457
period fome
a latr
who alwayii
transferred
of
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
genuine
defign by
Rowlandfon
and
in
Rowlandfon
1803
engraved fome copies of Bunbury's prints on horfcmanlliip for Ackermann, of the Strand, in which all traces of Bunbury's llylc arc lolh
Bunbury's llyle

Bunbury
is
rather broadly burlefque.
had evidently little
tatle
for political caricature,
and
he
./-v/
No. 216.
feldv m
and
meddled
humorous
popular.
manlliip
Hrnv to Travel on Tioo L(gs in a Fr'.fi.
Like Collet, he preferred fcenes of focial life,

falhionable 01
incidents of contemporary manners,
with
He had
it.
great tafte for caricaturing
bad or awkward
or unmanageable horfes, and his prints of
numerous and
greatly admired.
Ihis
I'uch
horfe-
fubjcds were
talle for ecjueflrian
pieces was
fliown in prints publillied in 1772, and feveral droll feries of luch fubje^ls
at ditferent times, between 1781 and 1791, one of which was
"
long famous under the title of
Gcoirrcy Gambado's Horfcmanlliip.'
appeared
HiJIory of Caricature and
45 8
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
" How
entitled,
is
to travel on
Two Legs in
"
panied with the motto, in Latin,
neque ultra ejjljinenty

the
801.
It
accom-
tcrris hunc tantum fata,
Oflendunt
Of
entitled "
of this broader ftyle,

Strephon and Chloe," is dated the
our examples
Strephon and Chloe.
No. 217.
ift of July,
is
broader flyle of caricature, efpecially
works.
firfl cut, No. 217,
FroJl," and
Occafionally Bunbury drew in

in fome of his later
the very acme of fentimental courtfhip, exprefled
is
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
"
The Salutation Tavern,"
entitled in the
in a fpirit
probably with
original,
porary allulion beyond the more apparent defign

as
before
ftated,
died
in
Reynolds ufed to exprefs

Bunbury
when
's
wnich
they had paffed

was
high opinion of him

through
No doubt
aimoft of
as
much
his
as an
without
the
tem-
Bunbury,
enough to fay that fir Jolliua
is
rarely appeared
prints
eafily recognifed.
It
181 1.
of the picture.
was
name, and,
his
engraving
of
confidered
importance
as
artift.
the
except
Rowlandfon,
a
popular
print
itfelf.
are
name,
But
in Literature and
raals
large
century and
of the caricatures
the
Art.
459
at the latter end
publiihed
beginning of the prefent, appeared
of the laft
anonynioully,
or
political print, entitled "The Modern

"
Atlas," bears the infcription
Mafr Hook fecit ;" another entitlid
" Farmer George delivered," has
"
that of " Poll Pitt del."
Everywith imaginary names.
body delin't,"
and

is
is
Thus
infcribed on
which appeared
one
under the
infcribed " Giles Grinagain
218.
A'o.
the works
of amateurs,
caricaturifls in England
Scotch
at
Some of thefe were
A FiifhknabU
that
probably
Salutatkn.
appear
time.
Lover's Leap ;"
title of " Veterinary Operations,"
fe6t."
for there
"The
entitled
a caricature
In
to have been many amateur

a
caricature entitled
" The
Arms," publiHied by Fores on the 3rd of January, 1787, we find
the announcement,"
of courfe,
that
Gentlemen's defigns executed gratis," which means,
Fores would publifli
the caricatures
of amateurs,
if
he
them, without making the faid amateurs pay for the engraving.
But alfo fome of the belt caricaturifts of the day publifhcd much anony-
approved
moufly, and we know that this was the cafe to

fuch artifts
as
as
Cruikfliank, Woodward, &c.,
at
It
is
certain that
many
very great extent with
all events until fuch lime
their names became fufficiently popular to be
prmt.
of Woodward's
recommendation to the
defigns
were
publiflnd
460
without his name.
Grofefqiie
Such was the cafe with the print of which we give
No. 219, which was publifhed on the 5th of May, 1796,

and which bears ftrongly the marks of Woodward's llyle.
The fpring of
copy in our cut
this year, 1796, witnefled
general difappointment
failure of the
at the
negociations for peace, and therefore the neceffity of new facrifices

carrying on the war, and of increafed taxation.

appeared
on this occafion,
General
when war was inevitable,
courfe,
Many clever caricatures
of which this by Woodward
No. 219.
the
for
was one.
Of
Complaint,
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
ing
lift of bankrupts, the ftatement of the
beneath,
handful of papers containbudget, Sic.
in rather doggrel verfe, explain the fituation

Dont tell
me
of generals raijed from
Though, belie-ve me,
But
the general,
If the
ivar
fill goes
on,
ivill
will
follows
mere boys.
mean not their laurel
Vm Jure, that
as
to taint
make the mojl noije.
be General
Complaint.
Four lines
:
ifi Literature iind
Art.
461
There was much of Bunbury's rtyle in that of Woodward, wlio had

latle for the fame broad caricatures upon fociety, which he executed
the feries of the " Symptoms of the Shop," thofe ot

"
and " Everybody in Town," and the " SpeciEverybody out of town
pubUllied, fuch
mens
as
of Domeftic Phrenfy," are extremely clever and amufing.
ward's deligns were alfo not unfrequently engraved

as
ufual, imprinted his own ftyle upon them.
this

is
pra6tice
feen
tlie
original,
No. 220.
exemplified in the cafe of
jolly cook carrying by

underneath
infcription
depidted
l)(jy
and
Woodward's
templing
who,
very good example
" Defire,"
and
of
copy in our cut

the
pallion
is
Defire.
plum-pudding.
window
We are told in an
"Various are the ways this paflion might be
plum-pudding."
J
hungry fchoolboy watching through
in this delineation
is
Wood-
by Rowlandfon,
in the print of which we give
Its title, in
No. 220.
Some of the Juiles of fubjeds of this defcription that he
limilar fpirit.
"
in
but the ftyle is
appears ou it a* the etcher.
the fubjeds
chofen are (imple a hungry
The delign of this print is Hated to be

altogether that of Rowlandfon, whofe name
It
was publilhed
by
K. AcJiermann, on the
462
20th of January, 1800.
Woodward
is
well known by his prolific pencil,
but we are fo little acquainted with the man himfelf, that
cannot ftate
the date either of his birth or of his death.
There lived
at
this time in Edinburgh
in his way, but whofe name
is
an engraver
of fome eminence
now nearly forgotten, and, in fa6t, it does
not occur in the laft edition of Bryan's "Diftionary of Engravers."

name was John Kay, which
is
found attached
to prints,
This
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
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.
features and gait
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
is
print
which his favourite rocks have fuddenly taken,
dated in
at the fhapes
787, ten years before
Dr. Hutton's death.
The original
The idea of
it
giving faces to rocks was not new in the time of John Kay, and
has
been frequently repeated.
Some of thefe caricature portraits are clever
and amufing, and they are at times very fatirical.
Kay appears to have

of any other defcription, but there
one
"
him,
rare plate by
entitled
The Craft in Danger," which
ftated
The figures
mtelligible.
great
talent, and
introduced
in
is,
dilplays no
profeiTorfhip
it
It
Edinburgh.
have before me, to have been aimed
cabal for propofing Dr. Barclay for
at
tew words pencilled on the copy
in the univerfity
of
in fa6t, now not very
are evidently
intended for
rather caricatured portraits of members of the univerfity engaged

cabal, and are in the fiyle of Kay's other portraits.*
in the
is
has been
is
in
3,
is
it
in
is
In the library of the British Museum there

collection of John Kay's
title and table of contents in manutwo volumes quarto, with
works bound
few copits intended for publication, or whether
one of
script, but whether
intliviclu;il,
of
some
am not prepared to say. It contains
the
collection
merely
to
be
all Kay's works down to the year 181
when
34.3 plates, which are stated
" The Craft
Danger"
not among them.
this collection was made.
have
smaller, but
the lo.in of
very choice selection, of Kay's caricatures,
before me
owe to the kindness of Mr. John Camden Hotten, of Piccadilly.
whi<
am
indebted to Mr. Hotten for many courtesies of this description, and especially for
the use of
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
it

is
on caricature
in
ventured
is
rarely
of
much use to me.
464
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."
GILLRAy's
ALLEGED REASON FOR
HOSTILITY TO THE KING.
THE
GILLRAy's LATER LABOURS.
KING AND THE APPLE-DUMPLINGS.
HIS IDIOTCY AND DEATH.
TN
--
the year 1757 was born the greateft
perhaps
of all caricaturifts of modern times whofe works are known

His father, who was named like himfelf, James, was
James Gillray.
Scotchman,
of Englirti caricaturills, and
a native
of Lanark, and
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

Chelfea, which
he held forty years, and it was at Chelfea
at
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 adventures, and underwent many hardfhips. He returned, however to London,
and
received
fome encouragement
ftudent in the
as
promifing
artift, and
obtained
Royal Academy the then young inftitution
admiffion
as a
to which
Hogarth had been oppofed.
Gillray foon became known
defigner and engraver, and worked in thefe capacities
as a
for the publiihers.
Among his earlier produ6tions, two illuftrations of Goldfmith's "Deferted

"
Village are fpoken of with praife, as difplaying a remarkable freedom
For a long time after Gillray became known as a caricaturift
of effe6l.
he continued to engrave the defigns of other artifts.
The earlieft known
caricature
which can be afcribed
entitled " Paddy
on Horfeback,"
two years of age.
to him
with any certainty,
is the
plate
and dated in 1779, when he was twenty-
The "horfe" on which Paddy rides
is a
bull
he is
Art.
in Literature and
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,
tures are tame, ahhough
it is remarkable how rapidly he improved, and
how foon he arrived at excellence.
July,
upon
publilhed in June
caricatures,
of admiral Rodney's victory, are looked
marking his firll decided appearance m politics.
as
1782, on the occafion
Two
charaderillic of Gillray's llyle
diltinguifhing
with which he feizes upon
is,
and
Gillray's earliert carica-
and indeed
the wonderful
laiH
the points in his fubje6t open to ridicule, and
In the finenefs of his
the force with which he brings thofe points out.
He was, indeed, born with all the talents of
caturirts.
delign, and in his grouping and drawing, he excels all the other carigreat hillorical
This excellence will be the more appreciated when
is
of art.
branch
it
painter, and, but for circumltances, he probably would have Ihone in that
except fometimes
iketch of
having made any previous
it,
underftood that he drew his picture with the needle on the plate, without
few halty
outlines of individual portraits or charaders fcrawled on cards or fcraps of

paper
as
they ftruck him.

by
Soon after the two caricatures on Rodney's naval victory, the Rockingwas formed under the
retired, leaving in
it
Burke
the death
of its chief, and another
diredion of Lord Shelburne, from which Fox and

their (jld colleague, Pitt, who now deferted
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
the
at that moment the bell chance
oti'ered
of
Fox
is
is
a
popularity and fuccefs, joined in the crufade againft the two ex-minitlers
In one of his caricatures, which
and their friends.
parody upon Milton,
reprefented
of Satan, turning his back upon the
in the charader
minifterial Paradife, but looking envioufly over his ihoulder
at the happy
Pitt) who are counting their money on the treafury

^r,
and
jHjtde he turned
For envy, yet

Eyed
%vit/i
table
jeahui
them ajkance.
II
II
pair (Shelburne
:

ham adminittration was broken up
leer
malign
466
Another, alfo by Gillray,
is
entitled
Grotefque
" 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
*'Ah! what, I've found you out,

and the people
rupted by
have
I?
recriminates
angrily,
Who arm'd the high priefts
Who betray'd his mas ?"
At this point he
fneering retort from Shelburne, who
inter-
is
carrying away the
is
" Ha, ha ! poor Guntreafury bag with a look of great felf-coraplacency,

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 " Cinment of his
is
Irifli cabin, where he
reprefented
is^
cinnatus in Retirement," Burke
as
driven into the retire-
furrounded by Popifli
relics and
whilky. A
filled with boiled
emblems of fuperftition, and by the materials for drinking

potatoes,
which
Jefuit Burke
is
ufed by St. Peter,"
is
veffel, infcribed
" Relick No. i.,
Three imps are feen dancing
paring.
under the table.
In
miniftry itfelf was diflblved, and fucceeded by
1783 the Shelburne
Fox was fecretary of ftate for foreign

affairs, and Burke; paymafter of the forces, and Lord North, who had
miniftry,
in which
begins.
Fox, efpecially, and Burke, ftill under the chara6ter of
In another
were incelfantly held up to ridicule in his prints.
joined the Whigs againft lord Shelburne, now obtained ofRce as fecretary
for the home department.
Gillray joined warmly in the attacks on this
caricaturift
coalition of parties, and from this time his great aftivity as
Jefuit,
year this
miniftry alfo was overthrown, and young William Pitt became eftablifhed
in power, while the ex-minifters, now the oppofition, had become
the
country.
them, and Fox and Burke conftantly appeared

ridiculous fituation or other.
under his hands in fome
But Gillray was not
Sayer and fome of the lower caricaturifts of that time

his fubjeds,
in fome degree
the beft mark for ridicule
un-
The caricature of Gillray followed

a
popular throughout
independently,
and he had fo
as
little
or the court, that they all felt his fatire in turn.

national fortifications brought forward
by

the Portland
thofe
hired libeller, like

he evidently chofe
which offered
refpecSt
him
for the minifters
Thus, when the plan of

the duke of Richmond, who
Art.
/;; Literature and
467
Tory minifter, as mafter-general of

the ordnance was defeated in the Houfe of Commons in 1787, the beft
had deferted
the
Whigs to be made
" Honi foit
caricature it provoked was one by Gillray, entitled
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.
It
is
reprelented
the
adminiftering the bitter dofe.
as
famous
warmly againft
impeachment
againft
the impeachers,
and his friends;

the
Strong Dofe.
lord Shelburne, who had now become marquis of Lanfdowne, who
is
in
yet feveral
Some months afterwards,
Warren Haftings,
perhaps partly becaufe
of his caricatures
minifters, and even at the king himfelf.
Gillray fided
thefe were Burke
on this affair are aimed at
Lord Thurlow, who was
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,
fpoken
of
as the
tlumderer.
this period, publilhed
on the
and
was
fometimes
One of the fineft of Gillray's caricatures ai
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
Grotefque
As will be feen in our copy of the

" faviour of India,"
moft important part of this print (cut No. 223), the
tKe
mangled corpfes of Hindoos.
as he was
called
by his friends, has taken care to fecure his gains.
remarkably bold caricature by Gillray againft

on the 2nd
has his price," and reprefents

cattle
It
of May in this year.
expofed
entitled
is
a fcene
the government appeared
" Market-Day every
in Smithfield,
man
where the horned
for fale are the fupporters of the king's miniftry.
A'o. 223.
Lord
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
Haltings
is
public-houfe.
riding off with the king in the form of
jull purchafed, for Haftings
On one fide Warren

a
calf, which he has
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
Art,
in Literature and
and extravagance
ridicule, and becaufe he airociated

but his hoftihty
king
to the
it,
to
attached
is afcribed
and one which
fair fubjeft
of
himfelf with Fox's party in poHtics
and very remarkable print by our
large
him
rendered
difplays
arlill, though his name was

in
in part to perfonal feelings.
his dillipation
becaule
469
not.
manner the great
fpecial
of Gillray's ftyle, appeared on the 21ft of April, 1786, jull

after an application had been made to the Houfe of Commons for
large
a
characêriltics
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.

upon generally
in various ways which were not to the credit
It
was faid
that immenfe funis were fpent In fecret
of arbitrary power
way to the eftablilhment
looked
woman, and people were
making large favings, and hoarding up treafures
explain
the
and very avaricious
mean
was
the queen
lofs to account for this extraordinary expenditure, and

it
at
as
parfimonious man, and
careful and even

a
as
George was known
at
they tried
to
of the royal pair.
corruption to pave
that the king was
Hanover; and that,
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
inftead
of pity to his French friend, the wealthy due d'Orleans,

The caricature juft mentioned, which
who had offered him relief.
an obje6t
reprefents
is
new way to pay the National
the entrance to the treafury, from which
his queen, with

and
"A
entitled
the queen's
their
Debt."
king George and
of penfioners, are ilfuing, their pockets,

full of money, that the coins are rolling out
band
apron,
fo
It
extremely fevere,
and fcattering about the ground.
Neverthelefs, Pitt, whofe pockets alfo
full, adds to the royal trealures large bags of the national revenue,
which are received with fmiles of fatisfaftion.
To the left,
crippled
a
are
foldier fits on the ground, and afks in vain for relief
for robbing
;"
....
hen-rooft."
The latter
fadtors executed
fave
" From Germany, juft arrived

romance
large
"
and
Laft dying fpcech of fifty-four maleis
and royal alTortment
" God
;"
King
" Charity,
the
while the wall above
torn placards, on fome of which may be read,

a
covered with
;"
is

is
become
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
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
draft for ^200,000.
walls here we read fuch announcements
as
On the placards on the
" Economy,
an old fong
j"
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."
"Britifli
property,
of the mofl: remarkable of Gillray's caricatures.

The parfimonioufnefs of the king and queen was the fubjeft of carica-
Altogether this
is one

tures and fongs in abundance,
No. 22^,
in which thefe illufl;rious perfonages appeared
Farmer George and hh Wife,
haggling with their tradefmen, and making bargains in perfon, rejoicing in

It was faid that George kept a
having thus faved a fmall fum of money.
farm at Windfor, not for his amufement, but to draw
By Peter Pindar he
is defcribed
in purchafing his live ftock

points of
ridi^ûle, and, as
George and his Wife
"
as
fmall profit from it.
rejoicing over the fkili he has fhown
as bargains.
early
Gillray feized greedily all thefe
as 1786, he
(fee our cut
publifhed
print
of"
Farmer
No. 224), in which the two royal
///
perfonages
Liter ature and Art.
are reprefented
were accuftomed
familiar
in the very
on a fcene in
"The
manner in which they
Windfor and its neighbourhood.
to walk about
This
and years afterwards, in a
picture appears to have been very popular;

caricature
47
School for Scandal," where, in the lale of
the young profligate's efiefts, the auctioneer puts up a family portrait, for
which
broker
" Going for
known
and
Carelefs, the
no more than one crown,"
piAure
prodigal
offers live fliillings,
is the
of
'
Farmer
the
and
George
audioneer,
family piece
his
is
Wife," and
prince of Wales, who exclaims,
the
the
" Carelefs,
fays,
wellruined
knock down
the farmer."
Many caricatures againft the undignified meannefs of the royal houfeduring the years 1791 and 1792, when the king paffea
much of his time at his favourite watering-place, Weymouth ; and there
hold appeared
his domeflic habits had become
and more an obje6l
more
of remark.
It
of Weymouth being an expenfive place,

and taking advantage of the obligations of the royal mail to carry parcels
was faid that, under the pretence
for the king free, he had his provifions brought to him by that conveyance
fj-om his farm at
publirtied
Windfor.
On the 2Sth of November,
Gillray
caricature on the homelinefs of the royal houfehold, in two
compartments, in one of which the king

1791,
is
reprefented, in
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 overflowing with money, toafling fjjrats for fupper. In another of Gillray's
prints, entitled
" Anti-faccharites,"
daughters economy in taking

princeffes fliow fome diflike
the
to the experiment,
expenfe it will fave your poor papa

the
to
tea without
their
them, concluding with the remark,

According
king and queen are teaching their
"
"
fugar;
as
the queen
the
young
admonilhes
Above ail, remember how much
ftory which feems to be authentic, Gillray's diflike
of
king was embittered at this time by an incident fomcwhat fimilar to
Gillray
that by which George II. had provoked the anger of Hogarth.
had vifited France, Flanders, and Holland, and he had made Iketches,
a
Our cut No. 225 reprefents a group from

of thcfe flietches, which explains itfclf, and is a fair example of
few of which he engraved.
OBC
Hijtory of Caricature and Grot efque
472
Gillray's manner of drawing fiich fubjets.

who
Loutherbourg,
left
had
his native
He accompanied the painter

city of Stralburg
England, and become the king's favourite artift, to

Iketches for his great painting of
iketching
and
their
groups
buildings.
and
they were
buildings
were

of Valenciennes,"
2^0.
225.
mind was already
him.
placed
before
plain
drawings,
Gillray
Loutherbourg's
and
himfelf greatly pleafed
Itand, and the king expreffed
the king's
Siege
him in making
of figures while Loutherbourg drew the landfcape

After their return, the king expreffed a defire to fee
Iketches, and
landfcapes
" The
affifi:
fettle in
to
eafy
to
under-
with them.
But
Flerr.ifh Proclamation.
prejudiced againfl Gillray for his fatirical
prints, and when he faw his hafty and rough, though fpirited Iketches,
the French
"I
remark,
foldiers,
threw
he
them
once
deeply^
at
George
one
III.
caricature
contemptuoufly,
don't underftand thefe caricatures."
he ufed was intended as a fneer upon
affront
afide
and he proceeded
of the
king's
imagined himfelf
was entitled
'
the
the very word
Gillray, who, we are told, felt the
to retort by
vanities,
Perhaps
with
of
and
at
caricature, which ftruck at

his
political
prejudices.
great connoiffeur in the fine arts, and the
Connoiffeur examining
Cooper."
It repre-
Art.
in Literature and
fented the king looking at the celebrated miniature

by the
Englilh painter, Samuel Cooper.
"I
this print, he is faid to have exclaimed,
will underftand
this
"
It
is made to
of Oliver Cromwell,
When Gillray had completed

wonder
if the
royal ccnnoilfeur
i8th of June, 1792, and

that period of revolutions.
was publilhed on the
cannot have failed to produce
The king
473
exhibit
feufation
at
of alarm with aftonilliment
ftrange mixture
of this great overthrower of kingly power,

moment when all kingly power was threatened. It will be remarked,
in contemplating the features

at a

too, that
the fatirift has not overlooked the
A Connoijfeur in
No. 226.
royal charafter for domcftic
Art.
will be feen in our cut No, 226, the king is looking at

" fave-all."
the picture by the light of a candle-end ftuck on a
economy, for,
as
From this time Gillray rarely let pafs an opportunity

the king.
Sometimes he pi6tured his awkward

to fhuffle along the
he was accuftomed
times in the familiar
and
efplanade
at
of caricaturing
undignified gait,
Weymouth
as
fome-
manner in which, in the courfe of his walks in the
neighbourhood of his Windfor farm, he accofted the conimoneft labourers

and cottagers,
qiieftions for king George had

queftions,
**
and
them with
and overwhelmed
a
charaderillic
long repetition of trivial

manner of repeating his
of frequently giving the reply to them hinifrlf.

Thtn afki the farmer'' I ivife, or
i/ilf
mjny e^gi
the
foivli
hu-ve
farmtr''i maij,
laid i
in the O'ven, in the pot, the crock ;

""tiuill ram or no, and 'what''s
Thus from poor hovels gleaning
So faid Peter
unfrequently
Pindar
fer-ve as future treajure
To
information.
the nation.
and in this role king George was reprefented not
in fatirical
illuftrated the quahty
for
clock
'i
Whether
Grotefque
o''
What
On
prints.
"
of " AfFabihty
the
in
474
loth
of February
Gillray
pidure of one of thefe ruflic
The king and queen, taking their walk, have arrived at

cottage, where
very coarfe example of Englifh peafantry
feeding his
pigs with wafh. The fcene
reprefented in our cut No. 227. The vacant
No. 227.
Royal Affability.
of the countryman betrays his confuhon at the rapid fucceflion of

you going, hay? What's your name,
queftions "Well, friend, where
ftare
hay?"
hay? Where do you live, hay?
reprefented running
In other prints
the king
is
a'

is
is
encounters.
into ludicrous adventures while hunting, an amufe-
ill Literature and

ment to which
he was extremely attached.
It
of Gillray.
475
One of the bed known of
equally by the pen of Peter Pindar and by the
thefe has been celebrated

needle
Art.
was
laid that one day while
following the chafe, he came to

was rewarded by the difcovery
George was
king
poor cottage, where his.ufual curiolity
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
their covering.
In
No. 228, the king

a feam
in
Gillray, from which we take our cut

looking at the procefs of dumpling mak-
the caricature by
is reprefented
in aftonilhment,
ing through the window, inquiring
^0. 228.
dumplings?
leaving
how
The ftory is
Pindar, which will ferve
feams?"
as the
tired tvith wAoopinfr,
IVhipping and fpurringy

in "worrying
Happy
def<r\celcfi,
harmleji
buck
horje and rider -wet as muck),
Fr'-m hit high conjequence and tvifdom /looping,

Enter'd through curiofity a cot,
Where
apple
in? how?
bell commentary on the engraving
Once on a time a monarch,
(The
hay
in Apple Dumplings.
KING AND THE APPLE DUMPLING.
yi poor,
Are they made without

told more fully in the following verfes of Peter
the apples
get
THE
A Leffin
" Hay
Jat
a poor eld woman and her pot.
476
Grotefqiie
The wrinkled, blear-eyed, good old granny,
In this fame cot,

Had fnip' d apple
ilium'' d by many a cranny.

dumplings foi- her pot.
In tempting rotu the naked dumplings lay,

JVhen lo ! the monarch in his ujual ivay
"
Like lightening jpoke,
What this ? ivhat this ? luhat ? what
with admiration did expand.

And oft did majejiy the dumpling grapple.
"
'T/'i monjlrous, monjlrous hard, indeed ?
His
to
a dumpling
me where,
dream
ivhere, where''
S'tr, there^s no feam,'''' quoth jhe,
is
pieces
"
the
earn
fliould
But, Goody, tell
all
conjuring
ne-ver
this
beats Pinett'rs
all
Tis mojl extraordinary then,
It
"
round, rejoined the king
the dumpling
Strange
thing
ftrange
of
"
'
Turning
replied,
the apple.''''
Pleafe your majeJly,
'indeed
ajionijhing,
he cried
dame
" Very
" The
"
ne-ver knew
"
L01U curt/eying,
hard
Jo
pray,
makes
it,
eyes
"
" What
"
/"'
in his hand.
Then taking up a dumpling
That folks did apple dumplings fetv.^''

" cr'ied the Jlar'mg monarch with a grin,
No
Who
to the palace
queen,
and
ivith
ivith
conceal
Britain Jiart
full Jpeed
pr'tncefj'es
the wonders
the Solomon
made
And
All
fo Jly
the apple lay
ivh'tch
Which
reveaPd
the cur'ious fiheme
d.
the dame
of
By
repaired
beauteous,
feared.
the dumpling
art.
the lodging
dough.
a baker
The palace feem^
of
deep ivas majefly
in
And lo!
fo
of
There did he labour one ivhole iveek, to fhoiv

an apple dumpling maker
The
ivifdom
Gillray was not the only caricaturift who turned the king's weaknefTes
to ridicule, but none caricatured them with fo little gentlenefs, or
will. On the 7th of March, 1796, the princeft
evidently with
good
a
fo
fo
well known (ince as the princefs

of Wales gave birth to
daughter,
faid to have been charmed with his grandchild,
The king
Charlotte.
is
and this fentiment
appears to have
been
anticipated by the public, for
of February, when the princefs's accouchment was looked

forward to with general intereft,
print appeared under the title of
on the
13th
"
Grandpapa
in his
Glory."
In
this
caricature,
which
is

/"'
H01V, hoiv the devil got the apple in
On ivhich
of Jo
"
"
given
in
Literature and Art.
/;;
our
cut
No.
229,
king
George, feated,
reprelVnted
is
feeding the royal infant in an extraordinary degree

is finging the
477
nurfery rhyme
nurling
of homclineli.
and
He
There ivas a laugh and a craw.

There tvas a g'gg/irg honey,
girl jhali be fed.

But naughty girl fhall have
Gocdy good
This print bears no name, but it

it betrays an attempt to
is
ncney.
known to be by Woodward,
imitate the Ityle of Gillray.
A'o. 229.
though
Gillray was often
Grandfather George.
imitated in this manner, and his prints were not unfrequently copied and
He even at times copied himfclf, and difguifed his own liylc,
pirated.
for the fake of gaining money.
At
the period
of the regency bill
{)olicy in that aHair with
great feverity.
in
In
1789,
a
Gillray attacked
caricature
Pitt's
publilhed on the
of January, he drew the premier in the charafter of an over-gorged

vuhure, willi one claw fixed firmly on the crown and fceptre, and with
3rd
Hijlory of Caricature and Grot efque
47 8
the other feizing upon the prince's coronet, from which he

is a
Dundas, Pitt, and Thurlow,

the bright
plucking
Among other good caricatures on this occafion, perhaps

parody on FufeU's pifture of "The Weird Sifters," in which
the feathers.
the fineft
is
as the
fillers, are contemplating
fide of whofe difc reprefents
the face
moon,
the
of the queen, and the
other that of the king, overcaft with mental darknefs.
Gillray took a
ftrongly hoftile view of the French revolution, and produced an immenfe

number
of caricatures
againfl
the
French
and
their rulers, and
their
friends, or fuppofed friends, in this country, daring the period extending

from 1790 to the eariier years of the prefent century.
Through all the
changes of miniftry or policy, he feems to have fixed himfelf ftrongly on
individuals, and he feldom ceafed to caricature the perfon who had once
So it was with the lord chancellor Thurlow, who
provoked his attacks.
of favage fatire in fome of his prints which appeared in

1792, at the time when Pitt forced him to refign the chancellorlliip.
Among thefe is one of the boldeft: caricatures which he ever executed.
became the butt
It
is a parody,
and
is
fine almoft to fublimity, on
entitled, " Sin, Death,
and the
well-known
Devil."
fcene in
The queen,
as
Milton,
Sin, rufhes
(in the femblance of Pitt) and

Satan (in that of Thurlow).
During the latter part of the century Gillray
caricatured all parties in turn, whether minifi;erial or oppofition, with

to feparate the two combatants. Death
indifcriminate vigour
he perfifted
but his hoflility towards
the party of Fox, whom
in regarding, or at leaft in reprefenting,
lutionifts, was certainly greatefi:.
In
as
unpatriotic revo-
1803 he worked energetically againfl:
miniftry; and in 1806 he caricatured that which was

known by the title of "All the Talents;" but during this later period of
the Addington
his life his labours were more

his countrymen
It
was, in
againft
the
efpecially aimed at keeping up the fpirit of

threats
and defigns
of our foreign enemies.
fad, the caricature which at that time met with the greateft
encouragement.
In
his own perfon,
Gillray had lived
life of great irregularity, and
as
he grew older, his habits of diflipation and intemperance increafed, and

Towards the year 181 i he ceafed
gradually broke down his intelle6t.
producing any original works
; the laft
plate he executed
was a drawing
"A
Barber's
Shop in
Affize
479
Time/
wards his mind fank into idiotcy, from which
Gillray
Soon after-
never recovered.
James
died ;n 1815, and was buried in St. James's churchyard, Piccadilly,
near the rectory houle.

it
fiippofed to have been linilhed in the January of that year.
which
is
i?j
of Bunbur>''s, entitled
Literature and Art.
480
XXVIII.
CHAPTER
GILLRAy's
Grotefque
caricatures on social life.
THOMAS ROWLANDSON.
HIS
HE BECOMES A CARICATURIST.
HIS STYLE AND WORKS.
HIS DRAWINGS.
THE CRUIKSHANKS.
EARLY LIFE.
GILLRAY"
his age.
was, beyond all others, the great
His works form
political caricaturili of
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

lefs numerous, and with
few exceptions lefs important, than thofe which
The exceptions are chiefly
were called forth by political events.

on individual
is
chara6ters, which are marked by the fame
difplayed in his
on fecial life are
Some of his
political attacks.
fa'tires
bold ftyle which
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

Rowlandfon,
the cafe with his contemporary, Thomas
Gillray, and may, in fome

Rowlandfon was born in the Old
who doubtlefsly ftands fecond
refpefts, be confidered his equal.
to
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
Chatelier, who was now
confidered in that capital
French lady,
Mademoilelle
widow, refiding in Paris, with what would be

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
drawing, with
efpecial turn for fatire.
an
margins of his books with caricatures

fcholars,
and at the age
As
Art.
48
fchoolboy, he covered the
hisfellow-
upon his mafter and upon
of fixteen he was admitted
Academy in London, then in its inflincy.
a ftudent
in the Royal
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
Nor did
while in Paris, are faid to have been remarkably tine.
nature,
his tafte for fatirical delign fail liim, tor it was one
ments
of his greateft amufethe numerous individuals, and groups of individuals,
to caricature
who mult
that age have prefented objedts of
in
Englilhman.
time
ridicule to
lively
During
leaving him all her
property, confifting of about sj,ooo in money, and a confiderable amount
in plate and other obje6ts. The fudden polfellion of fo much money
proved
this
his
aunt died,
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,
after having
in Paris about two years, returned to London, and continued
refided
Rowlandfon,
(ludies in the Royal Academy.
his
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-
"I
dition, he ufed to exclaim, holding
up his pencil,
the fool, but here
and he would
extraordinary
is
my refource!"
rapidity caricatures
Moft of Rowlandfon's
wants.
moufly, but here and there,

print,
which,
by
comparifon
known works, we
thefe
it would
to
then
fupply
produce
his
momentary
earlier produdions were publifhed anonyamong large colle6tions,
of the ftyle with
that
we meet
of his
hardly hefitate in afcribing to him
a])|)ear
with
that he had
begun
with
political
with
eariieft
and from
caricature,
of great agitation, it was mull tailed

and, therefore, niofl profitable.
Three of the earhell of the political
bocaufe,
for^
can
enough
have been playing
(x-rhaps, at
that
period
I I
482
afcribed
thus
caricatures
to
and Grot efque
Rowlandfon
belong
to
the
year 1784,
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
when he was twenty-eight
years
"The Champion of
entitled
Fox
the People."
is
reprefented under this
title, armed with the fword of Juftice and the Ihield of Truth, combating
the
many-headed
hydra, its mouths refpedively
breathing
"Defpotifm," " Oppreffion," "
forth
Secret
"Tyranny," "AlTumed Prerogative,"
"
Influence,"
Some
Scotch Politics," "Duplicity," and "Corruption."
of thefe heads are already cut off. The Dutchman, Frenchman, and
other foreign enemies
of "
ftandard
Sedition."
are feen in the background,
Fox
is
dancing round the
fupported by numerous bodies of Englilh
Englifli fliouting, "While he protefts us, we will

The Irilli, " He gave us a free trade and all we afked ;
and Irifhmen,
the
fupport him."
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.
fecond of thefe caricatures
"The
entitled
as
knocking
26th of March, and
was publillied on the
Audtion."
Pitt
audlioneer, and
is the
is
is reprefented
down with the hammer of "prerogative" all the valuable
of the confl:itution.
articles
State
The
who holds up
The clerk
weighty lot, entitled,
his colleague, Henry Dundas,
is
"Lot i. The
Rights of the People."
Pitt calls to him, " Show the lot this way, Harry a'going, a'going
The clerk
fpeak quick, or it's gone hold up the lot, ye Dund-afsl"
" I can hould it na higher, fir." The Whig
replies in his Scottifh accent,
members,
under the title of the
"
reprefenters," are leaving the
chofen
audlion room in difcouragement, with refledions in their mouths, fuch as,

"
While Fox
"Adieu to Liberty!" " Defpair not !' " Now or never !
flands
firm in the caufe, and exclaims
fpirit for Lot
i ; he
addreflTes
5"
iale."
wiiti
Pitt's Tory
under the audioneer, and are called the
" here-
and their leader, who appears to be the lord chancellor,
them in the words,
common fellows."
am determined to bid
Ihall pay dear for it that outbids me !"
fupporters are ranged

ditary virtuofis
"I
"Mind
not the nonfenfical biddings
Dundas remarks,
The third of thefe caricatures
"We
is
of thofe
Ihall get the fupplies by this
dated
on the
oî^
of March.

when
the eledions
Horfe and
had commenced, and is entitled,
Britilh Lion a
minfter, with
483
diftinguilhed
back of the pidure
Scene
in
2nd,
Hanoverian horfe, unbridled, and without faddle, neighs

rogative," and
is
trampling on the fafeguard
kicks out violently the "faithful
In front, the
" pre-ro-ro-ro-ro-
of the conftitution, while it
commons" (alluding
to the recent dif-
Pitt, on the back of the horfe, cries, " Bravo !
folution of parliament).
go
At the
intimation, " We
Rex."
plealure, Leo
at
Weft-
laft."
Scene
ftands the vacant throne, with the
lliall refume our fituation here
Hanoverian
new Play, lately a6led in
Ad
applaufe.
" The
it again! I love
to ride
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
He difplays the fame boldnefs in attacking the king

and his minifters which was difplayed by Gillray a boldnefs that prothe Whig
party.

bably did much towards preferving the liberties of the country from what
was no doubt
refolute
caricature formed
Rowlandfon's
attempt to trample upon
time when
pencil had become pra6tifed in thofe burlefque pidures of
fecial life for which
he
became
afterwards fo celebrated.
under fiditious
feems to have publifhed his defigns

before me, entitled
the name
Before this time, however,
very powerful weapon.
them, at
"The Tythe Pig,"
of " Wigftead,"
It
bears the early date
reprefents
one now
names, and
of 1786, with
no doub: an affi-imed one, which
fome others of his early prints.
At firft he
is
found on
in his
the country parfon,
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
clever
to a ver)'
before me, entitled
humorous etching which
is
now alfo
" Cold Broth and Calamity," and reprefenting
of fkaters, who have fallen

uq^der
and
their weight.
It
in a heap
bears the
upon
name
the ice, which
is
of Fores aspubliflier.
party
breaking
From
484
Grotefque
this time, and efpecially toward the clofe of the century, Rowlandfon's
focial life became very numerous,
on
caricatures
known that it becomes unnecelTary,

a
and they are fo well
nor indeed would it be eafy, to ieleft
few examples which would illuftrate all his charafteriftic excellencies.
In prints publifhed
publillier
is
by Fores at the beginning
followed by the words,
" where
of 1794, the addrefs of the
may be had all Rowlandfon's
works," which fhows how great was his reputation

time.
It may
as a
caricaturift
be ftated briefly that he was difliinguiflied by
verfatility of talent, by
that
remarkable
fecundity of imagination, and by
a great
at
Ikill in
of Gillray, and with a Angular eafe in

Among thofe of his
forming his groups of a great number of figures.
contemporaries who fpoke of him with the higheft praife were fir Jofhua
grouping
quite equal
to that
It
Reynolds and Benjamin Wefi:.

ever pofTeflTed the power
of Rowlandfon
of expreffing fo much with fo
little eflfort.
great difference
in ftyle between Rowlandfon's
We trace
earlier and his later works;

has been remarked, too, that no artift
although there
No. 230.
is a
general identity of cha-
Opera Beauties.
rafter which cannot be miftaken.
The figures in the former ftiow
tafle
for grace and elegance that
in his later works, and we find
deli-
is rare
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 furcacy
niflied by the pretty farmer's wife, in the print of

alluded to
; and
may quote
as
"The Tythe Pig," jnft
another example, an etching publifhed on
i?i
LitcrcJturc ivui Art.
485
or, the
ift of January, 1794, under the title of " Englilh Curiofity
loreigner Ilared out of countenance." An individual, in foreign colhime,
feated
in the front row
of the boxes'of
is
the
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
are given in our cut
No. 230, pollefs
but thofe of the ladies, two of which
men are rather coarfely grotefque,
conliderable degree of refinement.

a
He appears, however, to liave been naturally

man of no real refinement, who eafily gave himfelf up to low and vulgar taftes, and, as his
caricature became more exaggerated
by
fomething
like
taken from
A'o. 231.
lefs
of female beauty appears to have been

Our cut No. 231,
fat oyfler-woman.
'I'he Trumpet
print in the poirdhon
and BaJJoon.
of Mr. Fairholt,
entitled,
" The
good example of Rowlandfon's oroaa

Trumpet and Balloon," prefenls
We can almolt
liuraour, and of his favourite models of the huinan fice.
fancy we hear the different tones of this brace of fnorers.

reprefented
became
and lets graceful, until his model
and coarfe, his females
good
example of Rowlandfon's
grotelijues of the human figure
is
486
given
in our cut No. 232, taken from
January,
I'/gd, under the title of
and Grotefque
ift of
print publiflied on the
"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.
than by merit
which informs
A Model
Officer.
and this caricature is explained by an infcription beneath,

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
fliall we do with
'
"
him?'
alked one.
why make an officer of him.'
"
if
put into the ranks.
*Do with
This plate
is
him?*
fays
'
What
another,
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
In
thefe,
indeed,
he was
continually
involved by his
difficulties.
diffipatlon
and
in Literature and
Ackermann
thoughtlefliiels.
not
Art.
487
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.
the older ftandard
In transferring
novels, fuch
the works
was in the habit
in

"Tom Jones,"
are remarkably clever.
of other caricaturifts to the copper, Rowlandfon
that
were not attached
me, entitled
if
to them.
"Anglers of
Bunbury del.," but which
No. 233.
is
a degree,
that
name
of the
have given one example
of this
they were not his own,
former chapter, and another very curious one
now before
" H.
as
illuftrations to editions of
of giving his own ftyle to them to fuch
nobody would fufped

defigner
Rowlandfon's
181 1,"
is
furnilhed by
print
which bears only the name
in every particular
Antlquar'tei
the
pcrfc6t example
of
at Work.
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
the ftyle
of Rowlandfon.
Thcfe are generally

Our
better finiftied than his etchings, and are all more or lefs burkfque.
ut No. 233 is taken from one of thcfe drawings, in the pufllJlion of
found fcatlercd tlirough the portfolios of collc6tors.
488
Hi/lory of Caricature
Mr. Fairholt
it reprefents
No doubt
excavations.
party
of antiquaries
in important
engaged
well-known
the fissures were intended for
archae-
of the day.
ologifts
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
muft not overlook Ifaac Cruikfhank, even
century we
the name has become fo celebrated
becaufe
fon.
and Grotefque
if
it were only
of his more talented
in that
Ifaac's caricatures, too, were equal to thofe of any of his contem-
poraries,
after Gillray and Rowlandfon.
which
have feen bearing the
One of the earliefl: examples
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
entitled
In another,
Republican
Belle," and
It
young man.
is
evident imitation of Gillray.

"
1795, Pitt is reprefented as The
is an
ift of November,
dated the
of"
Royal Extinguilher," putting out the flame
Sedition."
Ifaac Cruik-
fliank publiflied many prints anonymoufly, and among the numerous caricatures
of the latter end of the laft century we meet with many which
fo exa6tly his known
It will
flyle, that we can hardly hefitate in afcribing them to him.
be
remarked that in his acknowledged works he caricatures the oppofition

but perhaps, like other caricaturifts
of his time, he worked privately for
who would pay him, and was

as
for
as
willing to work
againft;
the
for molt of the prints which betray their author only
by their ftyle are caricatures
on
Pitt and his meafures.
Such
is
government
it,
anybody
the group
given in our cut No. 234, which was publiflied on the 15th of Auguft,
time when there were loud complaints againft the burthen of
1797, at
and reprefents
entitled
" Billy's Raree-Show
Pitt, in the character of
John Bull -lighten'd,"

fliowman, exhibiting to John
It
taxation.
is
or,
is
Bull, and picking his pocket while his attention

occupied with the
Pitt, in
fhow.
true Ihowman's ftyle, fays to his vidim, " Now, pray
lend your attention to the enchanting profpeft before you, this
the
profpe6t of peace only obferve what
bufy fcene prefents itfelf the
a
is

have no name attached to them, but which referable
ports are filled with ihipping, the quays loaded with
merchandife, riches
in Literature and
Art.
in from every quarter
this prolped
money you have got about you."
Accordingly,
are riowing
trie fame
alope
4^9
is
worth all the
the lhu\vn)3n abitra6ts
money from his pocket, while John Bull, unconfcious of the
" Mayhap it
theft, exclaims with furprife,
may, mafter
fhowman, but

canna zee ony thing like what you mentions, I zees nothing
No.
J 4.
but
I
a
Tht Rarce-Shoiu,
as fure as a gun,
woide plain, with fome mountains and molehills upon't
The flag of the Ihow is infcribed,
it muft be all behoind one of thofe!"
" Licenfed
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,"
by
authority,
ironically, of ajurfe, for he
is
betraying the trull wliicli he had oftcnia
tifjiUly alfumed, and abfenting himfelf at the moment when his agents
ae putting the match to the train they have laid to blow up tiie conllitu-
490
Grotefque
Yet Cruiktliank's caricatures on the Irifli union were rather oppofed

One of thefe, publifhed on the 20th of June, 1800, is full
to minifters.
tion.
It
of humour.
is
entitled
" A Flight
Herring Pond."
Engcrowd of
acrofs the
land and Ireland are feparated by a rough fea, over which a

"
Irift " patriots
are flying, allured by the profpel of honours and rewards.
On the Irilh fhore,

an attitude
few wretched natives, with
of prayer, expollulating with the
not leave us confider your old houfe, it
without
kernel."
" Imperial Pouch,"
baby and
dog, are in
"
fugitives, Och,
will look like
On the Englitti Ihore, Pitt
is
och
do
big wallnut-fliell
holding
open
the

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.
" pouch "
Flight acrofs
the
Herring Pond.
of men covered with honours and dignities,

one of whom fays to the foremoft of the Irifti candidates for favour,
the
"Very fnug
feated
on
immigrants,
ye
a'."
No. 235.
appears a hoft
and convenient, brother,
alfure you."
Behind Pitt, Dundas,
pile of public otfices united in his perfon, calls out to the
" If you've ony
confciences
at a', here's
portion of this clever caricature
is
enugh to fatisfy
reprefented in our cut
Literature and Art.
/;/
There is
rare caricature
on the
fubje<5t
491
of the Irifli union, which
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
exhibits
It is a long print, dated on the

group which forms our cut No. 236.
lit of January, 1800, and is entitled "The Triumphal entry of the Uuiou

No. 136.
London."
into
Pitt, with
of AbduBion.
Cdjc
paper
entitled
" Irilli Freedom "
in
his
carrying off the young lady (Ireland) by force, with her natural
accompaniment, a keg of whilky. The lord chancellor of Ireland (lord
pocket,
is
In advance of
Clare) fits on the horfe and performs the part of fiddler.
this group are a long rabble of radicals, Irilhmen, &c., while clofe behind
comes
Grattan, carried in
" lerne, lerne

lady,
tile
Irilli
to him he's
not
falfe,
Still farther in the rear follows St. Patrick,
fack
long life to your holy reverence's
memory, why will you lave your own
natc little kingdom, and go to another where they

you then
appealing to the
of potatoes for his faddle, and playing on

An Irilhman expoftulates in the following words " Ah,
bull, with
harp.
fedan-chair, and earneftly
my fweet maid, liften
riatiering, gay deceiver."

riding on
they would of an old biogue
will tink no more of
Shure, of all the faints in the
rccklelter calendar, we give you the preference
och hone
och hone
I"
492
Another Irifhman
pulls the bull by the tail, with the lament,
mallher, honey, why will you be after leaving
us
poor Shelagh. and all of us, when you are gone

cafe
'"
" Ah,
What will become of
It
is a
regular IrilTi
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.
fay, is a parody
on the fubjedt
The Farthing Rujhlight.
of
the poor old king, George, whom

affociates.
the
The ruflilight
is
prince of Wales and his Whig
Fox, Sheridan, and others, are labouring in vain to blow out.
The lateft caricature
polfefs, bearing the initials
was publilhed by Fores, on the 19th
Laft
well-known fong.
of Ifaac Cruikfliank,
of April, 1810, and
is
entitled,
" The
Minifterial Expedition (on the Street, Piccadilly).'

The
the riot on the arrelt of fir Francis Burdeit, and it fhows that
Grand
fubjet
is
this time caricaturing on the radical fide in politics.

Ifaac Cruikfliank left two fons who became diflinguiflied as caricaturifls,
Cruikfliank was
George, already
at
mentioned, and Robert.
George Cruikfliank, who
is
Hill amongfl. us, has raifed caricature in art to perhaps the highell degree
He began as a political caricaturift, in
of excellence it has yet reached.
imitation of his father Ifaac in fa6t the two brothers are underllood to
in Literature and
Art.
493
jointly with their father before they engraved on their own

I have in my own poirellion two of his earlieft works of this
have worked
account.
of Piccadilly, and dated refpedively the 3rd and

George was then under twentyTone years of
15.
clals, publidied by Fores,

the
19th
of March,
18
The firll of thefe prints
age.
is a caricature
"The
the trade in corn, and is entitled
Bill."
Corn
the
laid upon
on the reftridlions
Bleflings of Peace, or, the Curfe ot
foreign boat has arrived, laden with corn at
low
" Here is
price one of the foreign traders holds out a fample and fays,
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
to 80^.. and
have it at any price
if
we
are determined to keep up our own
can't buy at that price, why they muft ftarve.
the poor
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
A third
all."
at
adds,
"Ay,
ay, let
ftarve,
'em
Upon this another of the foreign merchants cries,

not
have it at all, we muft throw it overboard!"
this alternative into execution by emptying

group ftands near the clofed ftorehoufe
The father
girl.
" By
and
gar,
if
failor
fack into the fea.
it confilb of
is
they
will
carrying
Another
poor Englilliman,
in the arms, and two ragged children, a boy and
his wife with an infant

a
and be d to 'em."
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
rich do not
retire to one more hufpitable, and where the arts of the
interpofe to defeat the providence
was palfcd in the fpring

and
agitation
fubjeft,
is
rioting.
entitled,
of God."
The corn bill
of 1815, and was the caufe of much popular

The fecond of thefe caricatures, on the fame
"The
Scale
of Juftice reverfed," and reprefents the

of the tax on property, while the
rich exulting over the difappearance
of taxes which bore only upon them.

unmiftakable traces of the peculiarities ot
poor are crulhed under the weight
Thefe
Ityle
two caricatures
prefent
of George Cruiklhank, but not

George
Cruikftiank
rofe
as
yet fully developed.
into great
celebrity
and
popularity
as
pohlical caricaturift by his illuftrations to the pamphlets of William Houe,
Hijiory of Caricature and Grotefque.
494
" The
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,
fuch
as
Political
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 ;
which lay in another direftion.
and
it muft be confeffed that he has, through
long career, fucceeded
He poffeffes more of the true fpirit of Hogarth than any

other artift fince Hogarth's time, with greater ikill in drawing.
He
admirably.
pofleffes, even to a greater degree than
talent of filling
himfelf, that admirable
Hogarth
pifture with an immenfe number of figures, every one
of the ftory, without which, however minute, the whole

The pidlure of the " Camp at
pitiure would feem to us incomplete.
" Hiftory
Vinegar Hill," and one or two other illuftrations to Maxwell's
Telling
a part
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

He is the laft reprefentative of
Hiftory of Caricature and Grotefque."

the great
fchool of caricaturifts formed during the reign of George
Though there can hardly be faid to be
HI.
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
influence, and to his example, to
a great
that we
degree,
branch of art from the objettionable charadleriftics

more than one occafion
been
obliged to fpeak.
owe to
the cleanfing
and
none
May he ftill live long

but love
among them love and
admire him more fincerely than the author of the prefent volume.
FINIS.
of this
of which I have on
among the friends who not only admire him for his talents,
him for his kindly and genial fpirit
that


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A history of caricature and grotesque in literature and art / By Thomas

Wright ; The illustrations drawn and engraved by F.W. Fairholt.

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Public Domain in the United States

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Generated on 2015-08-08 00:29 GMT / http://hdl.handle.net/2027/uc2.ark:/13960/t5t72cg70

CARICATURE AND GROTESQUE.

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ARISTOTLE AND PYTHAIS.

CARICATURE AND GROTESQUE

THOiMAS WRIGHT, M.A., F.S.A.

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CHATTO AND VVINDUS. PICCADILLY.

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felt fome difficulty in felecfling

the contents of the following pages, in which it

was, in fad:, my defign to give,

within luch moderate limits,

and in as popular a manner

fuch information can eafily be imparted,

view of the Hiftory of Comic Literature and Art.

the word comic feems to me hardly to exprefs all the

of the fubjed: which I

Moreover, the field of this

is very large, and,

my theme one part of

which have contributed

have only taken as

fcribe even that, in fome degree

and my plan, there-

through thofe branches

moil towards the formation

and fatiric literature and art

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the comic literature of the middle ages to

a very great extent, and

degree alfo, were founded upon, or rather arofe out of,

of the Romans which had preceded them, it

feemed defirable to give a comprehenfive

among the peoples

Literature and art in

ages prefented a certain unity

character, ariling, probably, from the uniformity

of the Roman element of fociety, modified

only by its lower degree of intenlity at

from the centre, and by fecondary caufes attendant upon

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in Weftern Europe, efpecially during what we may

term the feudal period and the remark applies to art

Europe during that time.

The peculiarities in dif-

ferent countries naturally became

more marked in the

progrefs of fociety, and more ftrongly individualifed

of the feudal period

more entirely its own.

have formed reflrid:s

itfelf, according to the