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

and Art. 
this deiign is found in none of the earlier works of art of this clafs. 
This, of courfe, is chieiiy to be afcribed to the great advance which had 
been made in the art of detign fince the thirteenth century. But, though 
fo greatly improved in the Iiyle of art, the fame clafs of fubjecls con- 
tinued to be introduced in this border ornamentation long after the art 
of printing, and that of engraving, which accompanied it, had been 
introduced. The revolution in the ornamentation of the borders of the 
pages of books was eifeeted by the artiits of the fixteenth century, at 
which time people had become better acquainted with, and had learnt to 
appreciate, ancient art and Roman antiquities, and they drew their 
infpiration from a corred knowledge of what the middle ages had copied 
blindly, but had not underiiood. Among the fubjects of burlefque which 
the monuments of Roman art prefented to them, the Ptumpy figures of 
the pigmies appear to have gained fpecial favour, and they are employed 
in a manner which reminds us of the pietures found in Pompeii. Jott 
Amman, the well-known artifc, who exercifed his profefiion at Nurem- 
berg in the latter half of the iixteenth century, engraved a fet of 
 illuiirations to Ovid's Metamorphofes, which were printed at Lyons in 
 I574, and each cut and page of which is enclofed in a border of very 
 fanciful and neatly-executed burlefque. The pigmies are introduced in 
 thefe borders very freely, and are grouped with great fpirit. I feleft as an 


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