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

in Literature and Art. 
the Ihoulder, with an air of approval and encouragement, while a fecond, 
with wings, is urging on Adam, and apparently laughing at his aPPFe' 
henfions; and a third, in a very ludicrous manner, is preventing him fmm 
drawing back from the trial.  
In all the delineations of demons We have yet feen, the ludicrous 15 
the fpirit which chiefly predominates, and in no one infla-I106 have We 
had a figure which is really demoniacal. The devils are dwll but not 
frightful; they provoke laughter, or at leafi excite a fmile, but they 
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create no horror. Indeed, they torment their viotims ('0 good-humouredly, 
that we hardly feel for them. There is, however, one well-known 
inftance in which the mediaeval artift has Ihown himfelf fully fuccefsful 
in reprefenting the features of the fpirit of evil. On the parapet of the 
external gallery of the cathedral church of Notre Dame in Paris, there is 
a figure in ttone, of the ordinary Iiature of a man, reprefenting the demon, 
apparently looking with fatisfaction upon the inhabitants of the city as 
they were everywhere indulging in {in and wickednefb. VVe give a 
iketch of this figure in our cur N 0. 44. The unmixed evil-horrible in 
its t


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