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

0f Caricature 
to Lyons, and croffed Mont Cenis, and he had reached Turin when he 
met in the Pcreet of that city his elder brother Jean, who again carried 
him home to Nancy. Nothing could now reprefs young Callot's arclour, 
and foon after this fecond efcapade, he engraved a copy of a portrait of 
Charles III., duke of Lorraine, to which he put his name and the date 
I607, and which, though it clifplays little {kill in engraving, excited 
confiderable interelt at the time. His parents were now perfuaded that 
it was ufelefs to thwart any longer his natural inclinations, and they not 
only allowed him to follow them, but they yielded to his with to return 
to Italy. The circumftances of the moment were efpecially favourable. 
Charles III., duke of Lorraine, was dead, and his fucceH'or, Henry II., 
was preparing to fend an embalfy to Rome to announce his acceliion. 
Jean Callot, by his polition of herald, had fuflicient interell: to obtain for 
his fon an appointment in the ambaITador's retinue, and Jacques Callot 
ltarted for Rome on the tit of December, 1608, under more favourable 
aufpices than thofe which had attended his former vifits to Italy.  
Callot reached Rome at the beginning of the year I609, and now at 
length he joined the friend of his childhood, Ifrael Henriet, and began 
to throw all his energy into his art-labours. It is more than probable 
that he {tudied under Tempe-Ila, with Henriet, who was a pupil of that 
painter, and another Lorrainer, Claude Dervet.  After a time, Callot 
began to feel the want of money, and obtained employment of a French 
engraver, then rcfiding in Rome, named Philippe Thomallin, with whom 
he worked nearly three years, and became perfect in handling the graver. 
Towards the end of the year 1611, Callot went to Florence, to place 
himfelf under Julio Parigi, who then flouriihed there as a painter and 
engraver. Tufcany was at this time ruled by its duke Cofmo de' Medicis, 
a great lover of the arts, who took Callot under his patronage, giving him 
the means to advance himfelf. Hitherto his occupation had been prin- 
cipally copying the works of others, but under Parigi he began to practife 
more in original defign, and his talle for the grotefque came upon him 
ftronger than ever. Although Parigi blamed it, he could not help 
admiring the talent it betrayed. In 16x5, the grand duke gave a great 
entertainment to the prince of Urbino, and Callot was employed to make 


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