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

C aricature 
away people of different ages, which he executed in 1648. The fourth 
of this fet is copied in our cut N0. 170, and reprefents Death carrying 
06; on his fhoulder, a young woman, in fpite of her fcruggles to efcape 
from him. 
if Caprices 
No. 169. 
mafquerade fcenes began to be no longer in vogue, and caricature and 
burlefque affumed new forms; but Callot and Della Bella had many 
followers, and their examples had a lalling influence upon art. 
We mutt not forget that a celebrated artifl, in another country, at the 
end of the fame century, the well-known Romain de Hooghe, was pro- 
duced from the fchool of Callot, in which he had learnt, not the arts of 
burlefque and caricature, but that of skilfully grouping multitudes of 
figures, efpecially in fubjeits reprefenting epifodes of War, tumults, 
maffacres, and public procellions. 
Of Romain de Hooghe we {hall have to fpeak again in a fubfequent 
chapter. In his time the art of engraving had made great advance on the 
Continent, and efpecially in France, where it met with more encourage- 
ment than elfewhere. In England this art had, on the Whole, made much 
lefs progrefs, and was in rather a low condition, one branch only excepted, 
that of portraits. Of the two diltinguilhed engravers in England during 
the feventeenth century, Hollar was a Bohemian, and Faithorne, though


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