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

qf Caricature 
fcenes paffed into France and Italy, in which countries it afiiamed a much 
more rehned character, though at the fame time one equally grotefque 
and imaginative. Thefe artifts, too, returned to the original legend, and 
gave it forms of their own conception. Daniel Rabel, a French artili, 
who lived at the end of tl1e fixteenth century, publifhecl a rather remark- 
able engraving of the "Temptation of St. Anthony," in which the faint 
appears on the right of the picture, kneeling before a mound on which 
three demons are dancing. On the right hand of the faint Hands a naked 
woman, fheltering herfelf with a parafol, and tempting the faint with her 
charms. The reit of the piece is tilled with demons in a great variety of 
forms and poitures. Another French artiil, Nicholas Cochin, has left us 
two "Temptations of St. Anthony," in rather fpirited etching, of the 
earlier part of the feventeenth century. In the tirft, the faint is repre- 
fented kneeling before a crucifix, furrounded by demons. The youthful 
and charming temptrefs is here dretfed in the richeft garments, and the 
higheft ftyle of fafhion, and difplays all her powers of feduction. The 
body of the picture 1s, as ufual, occupied by multitudes of diabolical 
figures, in grotefque forms. In C0chin's other picture of the Temp- 
tation of St. Anthony, the faint is reprefented as a hermit engaged 
in his prayers; the female Hgnre of voluptuoufnefs (voluptas) occupies 
the middle of the pititure, and behind the faint is feen a witch with her 
But the artift who excelled in this fubject at the period at which we 
now arrive, was the celebrated Jacques Callot, who was born at Nancy, 
in Brittany, in I593, and died at Florence on the 24th of March, 1635, 
which, according to the old fcyle of calculating, may mean March, 1636. 
Of Callot we {hall have to fpeak in another chapter. He treated the 
fubject of the Temptation of St. Anthony II] two different plates, which 
are confidered as ranking among the molt remarkable of his works, and 
to which, in ea, he appears to have given much thought and attention. 
He is known, indeed, to have worked diligently at it. They refemble 
thofe of the older artifis in the number of diabolical figures introduced 
into the picture, but they difplay an extraordinary vivid imagination in 
the forms, poftures, phyfiognomies, and even the equipments, of the 


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