Volltext: A history of caricature and grotesque in literature and art

and Art. 
proverbs and popular fayings are fometimes met with on the carved 
mifereres. For example, in one of thofe at Rouen, in Normandy, 
reprefented in our cut N0. 58, the carver has intended to reprefent 
the idea of the old faying, in allufion to mifplaced bounty, of throwing 
pearls to fwine, and has given it a much more picturefque and pi6torially 
intelligible form, by introducing a rather dafhing female feeding her 
fwine with rofes, or rather offering them rofes for food, for the fwine 
difplay no eagernefs to feed upon them. 
We meet with fuch fubje6ts as thefe fcattered over all mediaeval 
works of art, and at a fomewhat later period they were transferred to 
other objecits, fuch as the figns of houfes. The cuftom of placing {igns 
over the doors of {hops and taverns, was well known to the ancients, as is 
abundantly manifefted by their frequent occurrence in the ruins of 
Pompeii; but in the middle ages, the ufe of Iigns and badges was 
univerfal, and as-contrary to the apparent practice in Pompeii, where 
certain badges were appropriated to certain trades and profeilions-every 
individual was free to choofe hlS own Iign, the variety was unlimited. 
Many {till had reference, no doubt, to the particular calling of thofe to 
whom they belonged, while others were of a religious charatiter, and 
indicated the faint under whofe protection the houfeholder had placed 
himfelf. Some people took animals for their figns, others monftrous 
or burlefque figures; and, in fact, there were hardly any of the fubjeets of 


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