Bauhaus-Universität Weimar

Titel:
A history of caricature and grotesque in literature and art
Person:
Wright, Thomas Fairholt, Frederick William
Persistente ID:
urn:nbn:de:gbv:wim2-g-1429385
PURL:
https://digitalesammlungen.uni-weimar.de/viewer/resolver?urn=urn:nbn:de:gbv:wim2-g-1431850
in 
and Art. 
Literature 
191 
When the minitrels could thus jokeupon themfelves, we need not be 
furprifed if they fatirifed one another. In a poem of the thirteenth 
century, entitled " Les deux Troveors Ribauz," two minttrels are introduced 
on the Rage abufmg and infulting one another, and while indulging in 
mutual accufations of ignorance in their art, they difplay their ignorance 
at the fame time by miiqnoting the titles of the poems which they profefs 
to be able to recite. One of them boafts of the variety of initruments on 
which he could perform  
jefuix jugleres de 4-uiele, 
Sifai dc mufe er defrejlele, 
E: dz lzarpes et dz clzifanie, 
De Ia gigue, de Parmonie, 
D: Iyizlzeire, er en Ia rote 
Sai-gs bier: clzanler une note. 
It appears, however, that among all thefe inltrurnents, the viol, or fiddle, 
was the one mofi generally in ufe. 
The mediaeval monuments of art abound with burlefques and fatires 
on the minflrels, Whofe inflruments of mufic are  
placed in the hands fometimes of monilers, and at 
others in thofe of animals of a not very refined cha-  J 
ra-Ster. Our cut No. 118 is taken from a manufcript Hy?! 
in the Britifh Mufeum (MS. Cotton, Domitian A.    
and reprefents a female minilrel playing on the X  Q Q 
fiddle; ihe has the upper part of a lady, and the  
lower parts of a mare, a combination which appears {IA " Iv" 
to have been rather familiar to the imagination of the  -7 
mediaeval artifts. In our cut No. 119, which is taken t 
from a copy made by Carter of one of the mifereres -   gt" 
in Ely Cathedral, it is not quite clear whether the M"  
performer on the fiddle be a monfter or merely a 
cripple; but perhaps the latter was intended. The inttrument, too, 
aflhtnes a rather [ingular form. Our cut No I20, alfo taken from Carter, 
was furnilhed by a fculpture in the church of St. John, at Cirencefler, 
and reprefents a man performing on an inflrunient rather clofely 
refembling the modern hurdy-gurdy, which is evidently played by 
turning
        

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