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

I 54. Hijiory of C aricature and Grotejque  
thofe which acknowledged the ecclefiaftical iilpremacy of the church of 
Rome; whatever peculiarity of fiyle it took in particular countries, the 
 fame forms were fpread through 
 , ,f'  all weliern Europe. Our next cut, 
-5545   I No. 106, gives another of thefe 
    curious groups, conlifting, in faft, of 
E1 " l  two individuals, one of which is 
K  Y!  evidently an ecclefiaftic. It will 
it C5     be feen that, as we follow this 
kg  round, we obtain, by means of the 
1   7 w" L." two heads, four different figures in fo 
N" 106' A   many totally  This 
group is taken from one of the very curious feats in the cathedral of 
Rouen in Normandy, which were engraved and publiihed in an 
Wm interefling volume by the late Moniieur E. H. 
  mm, Langlois. 
  I Among the moft intereiting of the mediaeval 
   llllluvr burlefque drawings are thofe which are found in 
 94 V ll" fuch abundance in the borders of the pages of 
':m1lll"' 33  mtiw illuminated rnanufcripts. During the earlier 
,0 H. 
,4" o periods of the mediaeval miniatures, the favourite 
_[l[lln, margin: L 1" objects for thefe borders were monftrous animals, 
  efpecially dragons, which could ealily be twined 
  P. into grotefque combinations. In courfe of time, the 
 J0 C fubjecls thus introduced became more numerous, 
R 1  K and in the fifteenth century they were very varied. 
 Strange animals (till continued to be favourites, but 
,1" they were more light and elegant in their forms, 
  Q9 and were more gracefully defigned. Our cut 
'  ' No. I07, taken from the beautifully-illuminated 
"X _ manufcript of the romanceofthe" Comte d'Artois," 
Na. ml Bgrgfr Ommmh of the fifteenth century, which has furnithed us 
 previoufly with feveral cuts, will illuflrate my 
meaning. The graceful lightnefs of the tracery of the foliage fhown in 


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