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

and Art. 
fide Hands a tigure which is Confidered as reprefenting the BPOPWS, the 
infpeetor or overfeer of the performance, who alone Wears no 'ma1k- 
Even a pun is employed to heighten the drollery Of the R6116, for 11156-"ad 
of HYSIAE, the Pythian, placed over the head of the burlefque Ap0110, 
it feems evident that the artifi had written HEIGIAE, the Confolfr: in 
allufion, perhaps, to the coniblation which the quack-doetor is admin11ier- 
ing to his blind and aged vifitor.  
The Greek fpirit of parody, applied even to the mofc facred fubjeeis, 
W vvvvv Q -w  
 x I  
Ir"  X .   H"; 
 "'i1muA {R  
 1- I ii] 
No.10. P0110," Delpki. 
however it may have declined in Greece, was revived at Rome, and we {ind 
examples of it on the walls of Pompeii and Herculaneum. They {how 
tl1e fame readinefs to turn into burlefque the molt facred and popular 
legends of the Roman mythology. The example given (cut No. II), 
from one of the wall-paintings, is peculiarly intereiiing, both from 
circumitances in the drawing itfelf, and becaufe it is a parody on one of 
the favourite national legends of the Roman people, who prided them- 


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