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

and Art. 
from the interetiing drawings at the foot of the pages in " Queen Mary's 
Pfalter," is given in our cut No. 40. It reprefents that molt popular 
Of rnediaeval pietures, and, at the fame time, molt remarkable of 
literal interpretations, hell mouth. The entrance to the infernal regions 
was always reprefented pietorially as the mouth of a monftrous animal, 
where the demons appeared leaving and returning. Here they are feen 
bringing the finful fouls to their laft deitinaticn, and it cannot be denied 
that they are doing the work right merrily and jovially. In our cut 
N0. 4.1, from the manufcript in the library of Trinity College, Cambridge, 
which furnilhed a former fubjerit, three demons, who appear to be the 
guardians of the entrance to the regions below-for it is upon the brow 
above the monftrous mouth that they are Handing-prefent varieties of 
the diabolical form. The one in the middle is the mofc remarkable, for 
he has wings not only on his lhoulders, but alfo on his knees and heels. 
All three have horns 5 in fact, the three fpecial charaeteriltics of mediaeval 
demons were horns, hoofs-or, at leafi, the feet of beafls,-and tails, 
which fuHiciently indicate the fource from which the popular notions of 
thele beings were derived. In the cathedral of T reves, there is a mural 
painting by William of Cologne, a painter of the fifteenth century, which 


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