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

54 Hz]z'0ry qf Caricature and Gronjgue 
tenth century, illuftrated with rather grotefque initial letters, furnifhes us 
with the figure of a jolly Anglo-Saxon monk, given in our cut No. 28, 
and which it is hardly neceffary to Rate reprefents the letter Q. As we 
proceed, we {hall fee the clergy continuing to furnilh a butt for the fhafts 
of fatire through all the middle ages. 
The inclination to give to the demons (the middle ages always looked 
upon them as innumerable) monftrous forms, which eafily ran into the 
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No. 28. A y'all] Monk. 
grotefque, was natural, and the painter, indeed, prided himfelf on drawing 
them ugly ; but he was no doubt. influenced in fo generally caricaturing 
them, by mixing up this idea with thofe furniihed by the popular fuper- 
fiitions of the Teutonic race, who believed in multitudes of fpirits, repre- 
fentatives of the ancient fatyrs, who were of a playfully malicious 
defcription, and went about plaguing mankind in a very droll manner, 
and fometimes appeared to them in equally droll forms. They were the 
Pucks and Robin Goodfellows of later times ; but the Chriflian milhonaries 
to the weft taught their converts to believe, and probably believed them- 
felves, that all thefe imaginary beings were real demons, who wandered 
over the earth for people's ruin and deftruetion. Thus the grotefque 
imagination of the converted people was introduced into the Chriilian 
iyfiem of demonology. It is a part of the fubjeit to which we ihall 
return 11] our next chapter; but Iwill here introduce two examples of 


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