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

of C arz'caz'ur'e 
words of the old writer who has preferved this anecdote, " the women 
who, like fnails in a fright, had drawn in their horns, {hot them out again 
as foon as the danger was over." The caricaturift would hardly overlook 
fo extravagant a fafhion, and accordingly the manufcript in the Britifh 
Mufeum, juft mentioned, furniihes us with the fubject of our cut No. 69. 
In thofe times, when the pafiions were fubjeeted to no reftraint, the tine 
ladies indulged in fuch luxury and licentioufnefs, that the caricaturift has 
chofen as their fit reprefentative a fow, who wears the objectionable head- 
drefs in full fafhion. The original forms one of the illuftrations of a 
copy of the hiftorian Fr0iH'art, and was, therefore, executed in France, 
or, more probably, in Burgundy. 
The fermons and fatires againft extravagance in coftume began at an 
early period. The Anglo-Norman ladies, in the earlier part of the 
twelfth century, lirlt brought in vogue in our ifland this extravagance in 
fafhion, which quickly fell under the lafh of fatiriit and caricaturitt. It 
was firlt exhibited in the robes rather than in the head-drefs. The-fe 
Anglo-Norman ladies are underltood to have firft introduced ftays, in 
order to give an artificial appearance of flendernefs to their wailts; but 
the greatelt extravagance appeared in the forms of their fleeves. The 
robe, or gown, inftead of being loofe, as among the Anglo-Saxons, was 
laced clofe round the body, and the fleeves, which fitted the arm tightly 
till they reached the elbows, or fometimes nearly to the wrilt, then 
fuddenly became larger, and hung down to an extravagant length, often 
trailing on the ground, and fometimes {hortened by means of a knot. 
The gown, alfo, was itfelf worn very long. The clergy preached againlt 
thefe extravagances in falhion, and at times, it is faid, with effect 5 and 
they fell under the vigorous lafh of the fatirift. In a clats of fatires which 
became extremely popular in the twelfth century, and which produced 
in the thirteenth the immortal poem of Dante-the vifions of purgatory 
and of hell--thefe contemporary extravagances in fafhion are held up to 
public deteitation, and are made the fubjeet of fevere punilhment. 
They were looked upon as among the outward forms of pride. It arofe, 
no doubt, from this taite-from the darker fhade which fpread over men's 
minds in the twelfth century-that demons, inttead of animals, were 


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