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

diablerie. The demon in this cafe is riding very uneafily, and, in fact, 
feems in danger of being thrown. The {teeds of both are of an anomalous 
characler; the iirtt is a fort of dragon-horfe; the fecond a mixture of a 
lobfter, a fpider, and a craw-fifh. Mariette, the art-collector and art- 
writer of the reign of Louis XV. as well as artift, confiders this grotefque, 
or, as he calls it, " fantaitic and comic character," as almolt neceffary to 
the pietures of the Temptation of St. Anthony, which he treats as 
one of Callot's efpeciallyjisrious fubjects. " It was allowable," he fays, 
" to Callot, to give a flight to his imagination. The more his fictions 
were of the nature of dreams, the more they were titted to what he had 
to exprefs. For the demon intending to torment St. Anthony, it is to be 
fuppofed that he mutt have thought of all the forms molt hideous, and 
molt likely to {trike terror." 
Callot's firft and larger print of the Temptation of St Anthony 
is rare. It is tilled with a vaft number of figures. Above is a fantaftic 
being who vomits thoufands of demons. The faint is feen at the entrance 
of a cavern, tormented b_v fome of thefe. Others are fcattered about 
in different occupations. On one Iide, a demoniacal party are drinking 
together, and pledging each other in their glaffes; here, a devil is playing 
on the guitar; there, others are occupied in a dance ; all fuch grotefque 
figures as our two examples would lead the reader to expect. In the fecond 
of Callot's "Temptations," which is dated in 1635, and muft therefore 
have been one of his latelt works, the fame figure vomiting the demons 
occupies the upper part of the plate, and the field is covered with a 
prodigious number of imps, more hideous in their forms, and more varied 
in their extraordinary attitudes, than in the fame artiilis firlt detign. 
Below, a hott of demons are dragging the faint to a place where new 
torments are prepared for him. Callot's prints of the Temptation of 
St. Anthony gained fo great a reputation, that imitations of them were 
fubfequently publilhed, fome ot which fo far approached his Ftyle, that 
they were long fuppofed to be genuine. 
Callot, though a Frenchman, Iludied and flourifhed in Italy, and his 
Ityle is founded upon Italian art. The laft great artift whofe treatment 
of the Temptation I fhall quote, is Salvator Rofa, an Italian by birth, 


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