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

of Caricature 
mezzotinto, and highly coloured for fale; while thofe publifhed by Sayers 
were ufually line engravings, and fometimes remarkably Well executed. 
Collet chofe for his field of labour that to which Hogarth had given the 
title of comedy in art, but he did not poifeis Hogartlfs power of delineat- 
ing whole acts and fcenes in one picture, and he contented himfelf with 
bits of detail and groups of characters only. His caricatures are rarely poli- 
tical-they are aimed at focial manners and focial vanities and weakneffes, 
and altogether they form a Iingularly curious picture of fociety during 
an important period of the latt century. The firtt example I give (N0. 
213) is taken from a line engraving, publithed by Sayers in I776. At this 
time the natural adornments of the perfon in both lexes had fo far yielded 
to artificial ornament, that even women cut oiftheir own hair in order to 
replace it by an ornamental peruque, fupporting a head-drefs, which varied 
from time to time in form and in extravagance. Collet has here intro- 
duced to us a lady who, encountering a fudden and violent wind, has loit 
all her upper coverings, and wig, cap, and hat are caught by her footman 
behind. The lady is evidently fufiering under the feeling of Ihame; and 
hard by, a cottager and his wife, at their door, are laughing at her dif- 
comfiture. A bill fixed againtt a neighbouring wall announces " A 
Lecture upon Heads." 
At this time the " no-popery" feelingran very high. Four years 
afterwards it broke out violently in the celebrated lord Gordon riots. It 
was this feeling which contributed greatly to the fuccefs of Sheridan's 
comedy of " The Duenna," brought out in I775. Collet drew feveral 
pictures founded upon fcenes in this play, one of which is given in our cut 
N0. 214.. It forms one of Carington Bowles's rather numerous feries of 
prints from defigns by Collet, and reprefents the well-known drinking 
fcene in the convent, in the fifth fcene ofthe third act of " The Duenna." 
The fcene, it will be remembered, is "a room in the priory," and the 
excited monks are toaiting, among other objects of devotion, the abbefs 
of St. Urfuline and the blue-eyed nun of St. Catherine's. The " blue- 
eyed nun " is, perhaps, the lady feen through the window, and the patron 
faint of her convent is reprefented in one of the pictures on the wall. 
There is great fpirit in this picture, which is entitled " Father Paul in his 


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