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

and Art. 
A private houfe in Pompeii furniihed another example of this Hyie of 
caricature, which is given in our cut N0. 21. It reprefents the interior of 
a painte-r's fcudio, and is extremely curious on account of the numerous 
details of his method of operation with which it furniihes us. The 
A Painter": Studio. 
painter, who is, like molt of the Hgures in thefe pigmy caricatures, very 
fcantily clothed, is occupied with the portrait of another, who, by the 
rather exaggerated fulnefs of the gathering of his toga, is evidently 
intended for a dathing and fafhionable patrician, though he is feated as 
bare-legged and bare-breeched as the artilt himfelf. Both are diitinguilhed 
by a large allowance of nofe. The eafel here employed refembles greatly 
the fame article now in ufe, and might belong to the iludio of a 
modern painter. Before it is a fmall table, probably formed of a flab 
of (tone, which Ierves for a palette, on which the painter fpreads and 
ruixes his colours. To the right a fervant, who Blls the office of colour- 
grinder, is feated by the ftde of a velfel placed over hot coals, and appears 
to be preparing colours, mixed, according to the directions given in old 
Writers, with punic wax and oil. In the background is feated a Itudent, 
whofe attention is taken from his drawing by what is going on at the 
other {ide of the room, where two frnall perfonages are entering, who 
look as if they were amateurs, and who appear to be talking about the 
portrait. Behind them itauds a bird, and when the painting was iirtt 


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