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

qf C aricature 
a great variety of forms; on one occafion their chief appeared to him 
under the form of a man, with the lower members of an afs. 
The demons which tormented St. Anthony became the general type 
for fubfequent creations, in which thefe iirft pictures were gradually, and 
in the fequel, greatly improved upon. St. Anthony's perfecutors ufually 
alihmed the {hapes of bond. jide animals, but thofe of later ltories took 
montirous and grotefque forms, {trange mixtures of the parts of different 
animals, and of others which never exifted. Such were feen by 
St. Guthlac, the St. Anthony of the Anglo-Saxons, among the wild 
moraffes of Croyland. One night, which he was paliing at his devotions 
in his cell, they poured in upon him in great numbers; " and they tilled 
all the houfe with their coming, and they poured in on every fide, from 
above and from beneath, and everywhere. They were in countenance 
horrible, and they had great heads, and a long neck, and lean vifage; 
they were iilthy and fqualid in their beards, and they had rough ears, and 
diftorted face, and fierce eyes, and foul mouths ; and their teeth were 
like horfes' tuiks, and their throats were tilled with flame, and they were 
grating in their voice; they had crooked Ihanks, and knees big and great 
behind, and diftorted toes, and {hrieked hoarfely with their voices; and 
they came with fuch immoderate noifes and immenfe horror, that it 
feemed to him that all between heaven and earth refounded with their 
dreadful cries." On another fimilar occafion, "ithappened one night, 
when the holy man Guthlac fell to hi5 prayers, he heard the howling of 
cattle and various wild bealts. Not long after he faw the appearance 
of animals and wild beafls and creeping things coming in to him. Firft 
he faw the vifage of a lion that threatened him with his bloody tuiks, 
alfo the likenefis of a bull, and the vifage of a bear, as when they are 
enraged. Alfo he perceived the appearance of vipers, and a hog's 
grunting, and the howling of wolves, and croaking of ravens, and the 
various whiltlings of birds, that they might, with their fantaftic appear- 
ance, divert the mind of the holy man." 
Such were the fuggeftions on which the mediaeval fculptors and illumi- 
nators worked with {'0 much effect, as we have feen repeatedly in the courfe 
of our preceding chapters. After the revival of art in weftern Europe 


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