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-1431918
in 
and Art. 
Literature 
197 
The artifi who carved the curious Italls in Henry VII.'s Chapel at 
Wefiminfier, feems to have entered fully into the fpirit difplayed by this 
fatirifc, for in one of them, reprefented in our cut No. 124, he has 
introduced a mafked demon playing on the tabor, with an exprefiion 
apparently of derifion. This tabor prefents much the form of a bufhel 
meafure, or rather, perhaps, of a modern drum. It may be remarked 
that the drum is, in fact, the fame infirument as the tabor, or, at leafi", is 
derived from it, and they were called by the fame names, labor or 
taml-our. The Englifh name drum, which has equivalents in the later 
forms of the Teutonic dialeets, perhaps means iimply fomething which 
makes a noife, and is not, as far as I know, met with before the iixteenth 
century. Another carving of the fame feries of Halls at Weftminfler, 
copied in our cut No. 125, reprefents a tame bear playing on the 
bagpipes. This is perhaps intended to be at the fame time a fatire on 
the iniirument itfelf, and upon the Grange exhibitions of animals 
domefiicated and taught various fingular performances, which were then 
fo popular.
        

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