See also:

• CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge; Fr. charge)  , a See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• TERM

term for the See also:

• ART

art of applying the See also:

• GROTESQUE

grotesque to the purposes of See also:

• SATIRE (Lat. satira, satura; see below)

satire, and for pictorial and plastic ridicule and See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque . The word; " caricatura" was first used as See also:

• ENGLISH

English by See also:

• SIR

Sir See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne (1605-1682), in his See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian Morals, a See also:

• POSTHUMOUS

posthumous See also:

• WORK

work; it is next found, still in its See also:

• ITALIAN

Italian See also:

• FORM (Lat. forma)

form, in No . S37 of the Spectator; it was adopted by See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson in his See also:

• DICTIONARY

dictionary (1757), but does not appear in See also:

• BAILEY (said to be a corruption of Ballium by some, and derived by others from the Fr. baille, a corruption of bataille, because there the soldiers were drilled in battle array)
• BAILEY, NATHAN
• BAILEY, PHILIP JAMES (1816-1902)
• BAILEY, SAMUEL (1791-1870)

Bailey's dictionary, for example, as See also:

• LATE

late as 1773; and it only assumed its See also:

• MODERN

modern See also:

• GUISE
• GUISE, HOUSE OF

guise towards the end of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, when its use and comprehension became general . Little that is not conjectural can be written concerning See also:

• CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature among the ancients . Few traces of the comic are discoverable in See also:

• EGYPTIAN

Egyptian art—such papyri of a satirical tendency as are known to exist appearing to belong rather to the class of ithyphallic drolleries than to that of the ironical grotesque . Among the Greeks, though but few and dubious data are extant, it seems possible that caricature may not have been altogether unknown . Their See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste for pictorial See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

parody, indeed, has been sufficiently proved by plentiful discoveries of pottery painted with burlesque subjects . See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle, moreover, who disapproved of grotesque art, condemns in strong terms the pictures of a certain Pauson, who, alluded to by See also:

• ARISTOPHANES
• ARISTOPHANES (c. 448–385 B.e.1)

Aristophanes, and the subject of one of See also:

• LUCIAN (d. 312)
• LUCIAN [Aowaavos] (c. A.D. 120-180)

Lucian's anecdotes, is hailed by Champfleury as the See also:

• DOYEN, GABRIEL FRANCOIS (1726-1806)

doyen of caricaturists . That the grotesque in graphic art conceived in the true spirit of intentional caricature was practised by the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans is evident from the curious frescoes uncovered at See also:

• POMPEII

Pompeii and See also:

• HERCULANEUM

Herculaneum; from the mention in See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny of certain painters celebrated for burlesque pictures; from the curious fantasies graven in gems and called Grylli; and from the number of ithyphallic caprices that have descended to modern times . But in spite of these evidences of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek and See also:

• ROMAN

Roman See also:

• HUMOUR (Latin humor)

humour, in spite of the famous comic statuette of Cara-calla, and of the more famous See also:

• GRAFFITO

graffito of the Crucifixion, the caricaturists of the old See also:

• WORLD

world must be sought for, not among its painters and sculptors, but among its poets and dramatists . The comedies of Aristophanes and the epigrams of See also:

• MARTIAL (MARCUS VALERIUS MARTIALIS)

Martial were, to the See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens of See also:

• PERICLES (49o-429 B.C.)

Pericles and the See also:

• ROME
• ROME (Roma)

Rome of See also:

• DOMITIAN (Thus FLAVIUS DOMITIANUS)

Domitian, what the etchings of See also:

• GILLRAY, JAMES (1757-1815)

Gillray and the lithographs of D aumier were to the See also:

• LONDON

London of See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George III. and the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris of the See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

Citizen See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King . During the See also:

• MIDDLE

middle ages a vast See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of grotesque material was accumulated, but selection becomes even more difficult than with the scarce See also:

• RELICS (Lat, reliquiae, the equivalent of the English " remains " in the sense of a dead body)

relics of antiquity .

With the See also:

• BUILDING

building of the cathedrals originated a new See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of art; a See also:

• STRANGE, SIR ROBERT (1721-1792)

strange mixture of memories of paganism and Christian imaginings was called into being for the adornment of those See also:

• GREAT

great strongholds of See also:

• URBAN
• URBAN (Urbanus)

urban Catholicism, and in this the coarse and brutal See also:

• MATERIALISM (from Lat. materia, matter)

materialism of the popular humour found its largest and freest expression . On See also:

• MISSAL

missal-marge and sign-See also:

• BOARD (O. Eng. bord)

board, on See also:

• STALL (0. Eng. steall, stael, cf. Du. stal, Ger. and Swed. Stall, a common Teutonic word for a place, station, place for standing in; the root is the Indo-European std–, to stand, seen also in Latin stabulum, Greek vraO bs, and in stallion, an entire hors

stall and See also:

• ENTABLATURE (Lat. in, and tabula, a tablet)

entablature, ingargoyle and initial, the grotesque displayed itself in an See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite variety of forms . The import of this inextricable tangle of imagery, often obscene and horrible, often See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint and fantastic, is difficult, if not impossible, to determine . We recognize the prevalence of three great popular types or figures, each of which may be credited with a satirical intention—of Reynard the See also:

• FOX
• FOX, C
• FOX, CHARLES JAMES (1749-1806)
• FOX, EDWARD (c. 1496-1538)
• FOX, GEORGE (1624-1691)
• FOX, RICHARD (c. 1448-1528)
• FOX, ROBERT WERE (1789—1877)
• FOX, SIR STEPHEN (1627–1716)
• FOX, SIR WILLIAM (1812-1893)

Fox, the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero of the famous See also:

• MEDIEVAL

medieval See also:

• ROMANCE

romance; of the See also:

• DEVIL (Gr. &a,3oXos, " slanderer," from &ctflisXX sty, to slander)

Devil, that peculiarly medieval See also:

• ANTITHESIS (the Greek for " setting opposite ")

antithesis of See also:

• GOD

God; and of See also:

• DEATH

Death, the sarcastic and irreverent See also:

• SKELETON

skeleton . The popularity of the last is evidenced by the fact that no fewer than See also:

• FORTY

forty-three towns in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany are enumerated as possessing sets of the See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

Dance of Death, that grandiose all-levelling See also:

• SERIES (a Latin word from serere, to join)

series of caprices in the contemplation of which the middle ages found so much See also:

• CONSOLATION (Fr. consolation, Lat. consolatio, from consolari, to assuage, comfort, console)

consolation . It was reserved for See also:

• HOLBEIN, HANS

Holbein (1498-154), seizing the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea and resuming all that his contemporaries thought and See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt on the subject, to produce, in his fifty-three magnificent designs of the Danse See also:

• MACABRE

Macabre, the first and perhaps the greatest set of satirical moralities known to the modern world . It is in the tumult of the See also:

• RENAISSANCE, THE

Renaissance, indeed, that caricature in its modern sense may be said to have been See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born . The great popular movements required some such vehicle of comment or censure; the perfection to which the arts of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design were attaining supplied the means; the invention of See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing ensured its dissemination . The earliest genuine piece of graphic See also:

• IRONY (Gr. dipaweLa, from eipwv, one who says less than he means, eiepees, to speak)

irony that has been discovered is a caricature (1499) See also:

• RELATING

relating to See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XII. and his Italian See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war . But it was the See also:

• REFORMATION
• REFORMATION, THE

Reformation that produced the first full See also:

• CROP (a word common. in various forms, such as Germ. Kropf, to many Teutonic languages for a swelling, excrescence, round head or top of anything; it appears also in Romanic languages derived from Teutonic, in Fr. as troupe, whence the English " crupper "

crop of satirical ephemerae, and the heads of See also:

• LUTHER, MARTIN (1483-1546)

Luther and See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander VI. are therefore the See also:

• DIRECT

direct ancestors of the masks that smirk and frown from the " cartoons" of See also:

• PUNCH

Punch and the See also:

• CHARIVARI

Charivari . Fairly started by See also:

• LUCAS, CHARLES (1713–1771)
• LUCAS, JOHN SEYMOUR (1849– )
• LUCAS, SIR CHARLES (d. 1648)

Lucas See also:

• CRANACH, LUCAS (1472-1553)

Cranach, a friend of Luther, in his Passionate of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ and See also:

• ANTICHRIST (avrixpu ros)

Antichrist (1521), caricature was naturalized in France under the See also:

• LEAGUE

League, but only to pass into the hands of the Dutch, who supplied the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of See also:

• EUROPE

Europe with satirical prints during the whole of the next century . A curious reaction is visible in the work of Pieter See also:

• BREUGHEL (or BRUEGIHEL), PIETER

Breughel (1510-1570) towards the grotesque diablerie and macaberesque morality of medieval art, the last See also:

• ORIGINAL

original and striking See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of which is caught in the compositions of Jacques See also:

• CALLOT, JACQUES (1592-1635)

Callot (1593-1635), and, in a less degree, in those of his followers, Stefano della Bella (1610-a664) and Salvator See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa (1615-1673) .

On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, however, Callot, one of the greatest masters of the grotesque that ever lived, in certain of his Caprices, and in his two famous sets of prints, the Miseres de la guerre, may be said to anticipate certain productions of See also:

• HOGARTH, WILLIAM (1697–1764)

Hogarth and See also:

• GOYA

Goya, and so to have founded the modern school of ironic genre . In England one of the earliest caricatures extant is that in the margin of the See also:

• FOREST

Forest See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

Roll of See also:

• ESSEX
• ESSEX, ARTHUR CAPEL
• ESSEX, EARLS OF
• ESSEX, KINGDOM OF
• ESSEX, ROBERT DEVEREUX
• ESSEX, ROBERT DEVEREUX, 2ND2 EARL OF (1566-1601)
• ESSEX, WALTER DEVEREUX, IST2 EARL OF (1541–1576)

Essex, 5, ed . 1, now at the See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

Record See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

Office; it is a grotesque portrait of "See also:

• AARON

Aaron fil Diabole" (Aaron, son of the devil), probably representing Cok, son of Aaron . It is dated 1277 . Another caricature, undated, appears on a Roll containing an See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the tallages and fines paid by See also:

• JEWS
• JEWS (Heb. Y8hudi, man of Judah; Gr. 'Iovbaiot; Lat. Judaei)

Jews, 17 . See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry III., belonging to 1233 (Exch. of See also:

• RECEIPT (M.E. receite, derived through Fr. from Lat. recepta, participle of recipere, to receive)

Receipt, Jews' Roll, No . 8) . It is an elaborate satirical design of Jews and devils, arranged in a See also:

• PEDIMENT (equivalents, Gr. &ros, Lat. fastigium, Fr. ponton)

pediment . During the 16th century, caricature can hardly be said to have existed at all,—a grotesque of See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary See also:

• STUART, ARABELLA (1575-1615)
• STUART, GILBERT (1755-x828)
• STUART, JAMES EWELL BROWN (1833-1864)
• STUART, JOHN
• STUART, MOSES (1780-1852)
• STUART, SIR JOHN, COUNT

Stuart as a mermaid, a See also:

• PEN (Lat. penna, a feather, pen)

pen and See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch of which is yet to be seen in the Rolls Office, being the only example of it known . The Great See also:

• REBELLION

Rebellion, however, acted as the Reformation had done in Germany, and Cavaliers and Roundheads caricatured each other freely . At this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period satirical pictures usually did See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty as the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title-pages of scurrilous See also:

• PAMPHLETS

pamphlets; but one instance is known of the employment during the war of a grotesque See also:

• ALLEGORY (iXXos, other, and ayopeuav, to speak)

allegory as a banner, while the end of the See also:

• COMMONWEALTH

Commonwealth produced a satirical See also:

• PACK (apparently from the root pak-, paq-, seen in Lat. pangere, to fasten; cf. " compact ")
• PACK, OTTO VON (c. 1480-1537)

pack of playing See also:

• CARDS, PLAYING

cards, probably of Dutch origin . The Dutch, indeed, as already has been stated, were the great purveyors of pictorial satire at this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time and during the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• PART

part of the next century .

In England the wit of the victorious party was rather vocal than pictorial;,in France the spirit of caricature was sternly repressed; and it was from See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland, bold in its republican freedom, and See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich in painters and etchers, that issued the See also:

• FLOOD (in O. Eng. flod, a word common to Teutonic languages, cf. Ger. Flut, Dutch vloed, from the same root as is seen in " flow," " float ")
• FLOOD, HENRY (1732-1791)

flood of prints and medals which illustrate, through cumbrous allegories and elaborate symbolization, the See also:

• PRINCIPAL

principal See also:

• POLITICAL

political passages of both the former countries, from the Restoration (166o) to the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea Bubble (1720) . The most distinguished of the Dutch artists was Romain de Hooghe (1638-1720), a follower of Callot, who, without any of the weird See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, possessed a certain skill in grouping and See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty of grotesque suggestiveness that made his point a most useful weapon to See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William of See also:

• ORANGE
• ORANGE (Citrus Aurantium)
• ORANGE, HOUSE OF

Orange during the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long struggle with Louis XIV . The 18th century, however, may be called emphatically the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of caricature . The spirit is evident in letters as in art; in the fierce grotesques of See also:

• SWIFT
• SWIFT, JONATHAN (1667—1745)

Swift, in the coarser charges of See also:

• SMOLLETT, TOBIAS GEORGE (1721-1771)

Smollett, in the keen ironies of Henry See also:

• FIELDING, ANTHONY VANDYKE COPLEY (1787-1855)
• FIELDING, HENRY (1707-1754)
• FIELDING, WILLIAM STEVENS (1848– )

Fielding, in the Aristophanic tendency of See also:

• FOOTE
• FOOTE, ANDREW HULL (1806-1863)
• FOOTE, SAMUEL (1720-1777)

Foote's farces, no less than in the masterly moralities of Hogarth and the truculent satires of Gillray . The first event that called forth caricatures in any number was the See also:

• PROSECUTION

prosecution (1710) of Dr See also:

• SACHEVERELL, HENRY (1674-1724)
• SACHEVERELL, W
• SACHEVERELL, WILLIAM (1638-1691)

Sacheverell; most of these, however, were importations from Holland, and only in the excitement attendant on the South Sea Bubble, some ten years later, can the English school be said to have begun . Starting into active being with the See also:

• MINISTRY

ministry of See also:

• WALPOLE, HORATIO
• WALPOLE, SIR SPENCER (1839-1907)

Walpole (1721), it flourished under that statesman for some twenty years,—the " See also:

• HIEROGLYPHICS (Gr. iepos, sacred, and'yXv ni, carving)

hieroglyphics," as its prints were named, graphically enough, often circulating on fans . It continued to increase in importance and audacity till the reign of See also:

• PITT, THOMAS (1653-1726)
• PITT, WILLIAM (1759-1806)

Pitt (1757-1761), when its activity was somewhat See also:

• ABATED

abated . It See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose, however, to a greater height than ever during the See also:

• RULE

rule of See also:

• BUTE
• BUTE, JOHN STUART, 3RD EARL OF (1713-1792)

Bute (1761-1763), and since that time its See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence has extended without a check . The artists whose combinations amused the ' public during this earlier period are, with few exceptions, but little known and not greatly esteemed . Among them were two amateurs, Dorothy, wife of See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• BOYLE
• BOYLE, JOHN J
• BOYLE, ROBERT (1627-1691)

Boyle, 3rd See also:

• EARL

earl of See also:

• BURLINGTON

Burlington, and General George See also:

• TOWNSHEND, CHARLES (1725-1767)
• TOWNSHEND, CHARLES TOWNSHEND, 2ND VISCOUNT (1674-1738)
• TOWNSHEND, GEORGE TOWNSHEND, 1ST MARQUESS (1724-1807)

Townshend (after-wards 1st See also:

• MARQUESS (1760-1842)
• MARQUESS, or MARQUIS (Fr. marquis, Ital. marchese; from med. Lat. marchio, marchisus, i.e. comes marchiae, " count of the March ")

Marquess Townshend); Goupy, Boitard and See also:

• LIOTARD, JEAN ETIENNE (1702—1789)

Liotard were Frenchmen; Vandergucht and Vanderbank were Dutch-men . This period witnessed also the rise of William Hogarth (1697-1764) . As a political caricaturist Hogarth was not successful, See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save in a few isolated examples, as in the portraits of Wilkes and See also:

• CHURCHILL (MISSINNIPPI or ENGLISH)
• CHURCHILL, CHARLES (1731-1764)
• CHURCHILL, LORD RANDOLPH HENRY SPENCER (1849-1895)

Churchill; but as a moralist and social satirist he has not yet been equalled .

The publication, in 1732, of his Modern Midnight Conversation may be said to See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark an See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch in the See also:

• HISTORY

history of caricature . Mention must also be made of See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• SANDBY, PAUL (1725-1809)

Sandby (1725-1809), who was not a professional caricaturist, though he joined in the pictorial See also:

• HUE

hue-and-cry against Hogarth and See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord Bute, and who is best remembered as the founder of the English school of See also:

• WATER

water-See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour; and of See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Collet (1723-1788), said to have been a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Hogarth, a kindly and industrious humorist, rarely venturing into the See also:

• ARENA (Lat. for " sand ")

arena of politics . During the latter See also:

• HALF

half of the century, however, political caricature began to be somewhat more skilfully handled than of old by See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• SAYER (or SAYERS), JAMES (1748–1823)

Sayer, a satirist in the pay of the younger Pitt, while social grotesques were pleasantly treated by Henry William See also:

• BUNBURY
• BUNBURY, HENRY WILLIAM (1750-1811)

Bunbury (1750-1811) and George Moutard See also:

• WOODWARD, JOHN
• WOODWARD, SAMUEL (179o-1838)

Woodward . These personalities, however, interesting as they are, are dwarfed into insignificance by the great figure of James Gillray (1757-1815), in whose hands political caricature became almost epic for grandeur of conception and far-reaching suggestiveness . It is to the See also:

• WORKS

works of this See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of See also:

• GENIUS (from Lat. genere, gignere)

genius, indeed, and (in a less degree) to those of his contemporary, Thomas See also:

• ROWLANDSON, THOMAS (1756–1827)

Rowlandson (1756-1827), an artist of great and varied See also:

• POWERS, HIRAM (1805-1873)

powers, that historians must turn for the popular reflection of all the political notabilia of the end of the 18th and the beginning of the 19th centuries . England may be said to have been the chosen See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home of caricature during this period . In France, timid and futile under the See also:

• MONARCHY (Fr. monarchic, from Lat. monarchia, Gr. uovapXia, rule of one, µbvos, alone, apXi7, rule)

Monarchy, it had assumed an immense importance under the Revolution, and a See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

cloud of hideous pictorial libels was the result; but even the Revolution See also:

• LEFT

left no such notes through its own artists, though See also:

• FRAGONARD

Fragonard (1732-18o6) himself was of the number, as came from the gravers of Gillray and Rowlandson . In Germany caricature did not exist . Only in See also:

• SPAIN
• SPAIN (Espana)

Spain was there to be found an artist capable of entering into competition with the masters of the satirical grotesque of whom England could boast . The works of See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Goya y Lucientes (1746-1828) are described by See also:

• THEOPHILE

Theophile See also:

• GAUTIER
• GAUTIER, EMILE THEODORE LEON (1832-1897)
• GAUTIER, THEOPHILE (1811-1872)

Gautier as " a mixture of those of See also:

• REMBRANDT (1606-1669)

Rembrandt, See also:

• WATTEAU, ANTOINE (1684-1721)

Watteau, and the comical dreams of See also:

• RABELAIS, FRANCOIS (c. 1490—1553)

Rabelais," and Champfleury discovers analogies between him and Honore See also:

• DAUMIER, HONORE (1808-1879)

Daumier, the greatest caricaturist of modern France . The satirical grotesque of the 18th century had been characterized by a sort of grandiose brutality, by a certain vigorous See also:

• OBSCENITY (from the adjective " obscene," Lat. obscenus, evil-looking, filthy)

obscenity, by a violence of expression and intention, that appear monstrous in these days of reserve and See also:

• RESTRAINT (from " to restrain," Lat. restringere, to hold back, prevent)

restraint, but that doubtless sorted well enough with the strong party feelings and fierce political passions of the age . After the downfall of See also:

• NAPOLEON

Napoleon (1815), however, when strife was over and men were weary and satisfied, a See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change in See also:

• MATTER

matter and manner came over the caricature of the period .

In connection with this change, the name of George See also:

• CRUIKSHANK, GEORGE (1792–1878)

Cruikshank (1792-1878), an artist who stretches hands on the one See also:

• SIDE
• SIDE (mod. Eski Adalia)

side towards Hogarth and Gillray, and on the other towards See also:

• LEECH
• LEECH, JOHN (1817-1864)

Leech and See also:

• TENNIEL, SIR JOHN (182o- )

Tenniel, deserves See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable mention . Those of Cruikshank's political caricatures which were designed for the squibs of William See also:

• HONE (in O. Eng. han, cognate with Swed. hen ; the root appears in Skt. gdna, co to sharpen)
• HONE, NATHANIEL (1718-1784)
• HONE, WILLIAM (1780-1842)

Hone (1779-1842) are, comparatively speaking, uninteresting; his ambition was that of Hogarththe See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of " moral comedies." Much of his work, there-fore, may be said to form a See also:

• LINK

link in the See also:

• CHAIN (through the O. Fr. citable, chcene, &c., from Lat. catena)

chain of development through which has passed that ironical genre to which reference has already been made . In 1829, however, began to appear the famous series of lithographs, signed H . B., the work of John See also:

• DOYLE, JOHN ANDREW (1844-1907)
• DOYLE, RICHARD (1824-1883)
• DOYLE, SIR ARTHUR CONAN (1859- )
• DOYLE, SIR FRANCIS HASTINGS CHARLES

Doyle (1798-1868) . These jocularities are interesting otherwise than politically; thin and weakly as they are, they inaugurated the style of later political caricature . In France, meanwhile, with the farcical designs of Edme See also:

• JEAN

Jean Pigal (b . 1794) and the realistic sketches of See also:

• HENRI

Henri See also:

• MONNIER, MARC (1827-1885)

Monnier (1805-1872), the admirable portrait-busts of Jean See also:

• PIERRE

Pierre Dantan the younger (1800-1869) and the See also:

• FINE

fine military and See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low-See also:

• LIFE

life drolleries of See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas See also:

• TOUSSAINT

Toussaint See also:

• CHARLET, NICOLAS TOUSSAINT (1792-1845)

Charlet (1792-1845) were appearing . Up to this date, though journalism and caricature had sometimes joined hands (as in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of the Craftsman and the See also:

• ANTI, or CAMPA

Anti-Jacobin, and particularly in See also:

• LES

Les Revolutions de France et de See also:

• BRABANT
• BRABANT, NORTH

Brabant and Les Actes See also:

• DES

des Apetres), the See also:

• ALLIANCE

alliance had been but brief; it was reserved for See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Philipon (1802-1862), who may be called the See also:

• FATHER

father of comic journalism, to make it lasting . The See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of La Caricature, by Philipon in 1831, suppressed in 1835 after a brief but glorious career, was followed by Le Charivari (See also:

• DECEMBER (Lat. decent, ten)

December 1832), which is perhaps the most Ienowned of the innumerable enterprises of this extraordinary man . Among the artists he assembled See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round him, the highest See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place is held by Honore Daumier (1808-1879), a draughtsman of great skill, and a caricaturist of immense vigour and audacity . Another of Philipon's See also:

• BAND

band was Sulpice Paul See also:

• CHEVALIER, ALBERT (1861– )
• CHEVALIER, MICHEL (1806-1879)
• CHEVALIER, ULYSSE (1841– )

Chevalier (1801-1866), better known as See also:

• GAVARNI

Gavarni, in whose hands modern social caricature, advanced by Cruikshank and Charlet, assumed its See also:

• PRESENT

present guise and became elegant . Mention must also be made of Grandville (J .

I . I . See also:

• GERARD (c. 1040-1120)
• GERARD (d. I1o8)
• GERARD, ETIENNE MAURICE, COUNT (1773–1852)
• GERARD, FRANCOIS, BARON (1770-1837)
• GERARD, JEAN IGNACE ISIDORE (1803-1847)
• GERARD, JOHN (1545-1612)
• GERARD, or GIRARD, AUDRAN

Gerard) (1803-1847), the illustrator of La See also:

• FONTAINE, PIERRE FRANCOIS LEONARD (1762-1853)

Fontaine, and a modern See also:

• PATRON

patron of the medieval skeleton; of Charles See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph Travies de Villers, the father of the famous hunchback " Mayeux "; and of Amedee de Noe, or " Cham," the wittiest and most ephemeral of pictorial satirists . In 1840 the pleasantries of " H . B." having come to an end, there was founded, in See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of this enterprise of Philipon, the comic See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

journal which, under the title of Punch, or the London Charivari, has since become famous all over the world . Among its early illustrators were John Leech (1817-1864) and Richard Doyle (1824-1883), whose drawings were full of the richest grotesque humour . In 1862 Carlo Pellegrini, in Vanity See also:

• FAIR

Fair, began a series of portraits of public men, which may be considered the most remarkable instances of See also:

• PERSONAL

personal caricature in England . For the later developments of caricature, it is convenient to take them by countries in the following sections: Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain.—During the later 19th century the term caricature, somewhat loosely used at all times, came gradually to See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover almost every form of humorous art, from the pictorial wit and See also:

• WISDOM, BOOK OF, or WISDOM OF SOLOMON (Sept. Io4ia IaXwµwvos; Lat. Vulg. Liber sapientiae)

wisdom of Sir John Tenniel to the weird grotesques of Mr S . H . Sime, from the See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay pleasantries of See also:

• RANDOLPH, EDMUND [JENNINGS] (1753–1813)
• RANDOLPH, JOHN (1773–1833)
• RANDOLPH, PEYTON (1721-1775)
• RANDOLPH, THOMAS (1523-1590)
• RANDOLPH, THOMAS (1605-1635)

Randolph See also:

• CALDECOTT, RANDOLPH (1846-1886)

Caldecott to the graceful but sedate fancies of Mr See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• CRANE (in Dutch, Kraan; O. Ger. Kraen; cognate, as also the Lat. grus, and consequently the Fr. grue and Span. grulla, with the Gr. dpavos)
• CRANE, STEPHEN (1870-1900)
• CRANE, WALTER (1845– )
• CRANE, WILLIAM HENRY (1845– )

Crane . It is made to embrace alike the social studies, satirical and sympathetic, of Du Maurier and See also:

• KEENE
• KEENE, CHARLES SAMUEL (1823–1891)
• KEENE, LAURA (c. 1820-1873)

Keene, the political cartoons of Mr Harry See also:

• FURNISS, HARRY (1854– )

Furniss and Sir F . C .

See also:

• GOULD, AUGUSTUS ADDISON (,8o5-1866)
• GOULD, BENJAMIN APTHORP (1824-1896)
• GOULD, JAY (1836-1892)
• GOULD, SIR FRANCIS CARRUTHERS (1844- )

Gould, the unextenuating likenesses of " See also:

• APE (Old Eng. ape; Dutch aap; Old Ger. a ffo; Welsh epa; Old Bohemian op; a word of uncertain origin, possibly an imitation of the animal's chatter)

Ape," and " See also:

• SPY
• SPY (from " to spy " or " espy"; 0. Fr. espie, espier, to spy, watch; cf. Ger. spdhen, Lat. specere, to look; the Fr. term " espionage "is of course from the same source)

Spy," and " Max," the subtle conceits of Mr See also:

• LINLEY, THOMAS (1732—1795)

Linley See also:

• SAMBOURNE, EDWARD LINLEY (1844-1910)

Sambourne, the whimsicalities of Mr E . T . See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

Reed, the exuberant burlesques of Mr J . F . See also:

• SULLIVAN, JOHN (1740–1795)
• SULLIVAN, SIR ARTHUR SEYMOUR (1842—1900)
• SULLIVAN, THOMAS BARRY (1824-1891)

Sullivan, the See also:

• FRANK, JAKOB (1726-1791)

frank buffooneries of W . G . See also:

• BAXTER, ANDREW (1686-1750)
• BAXTER, RICHARD (1615-1691)
• BAXTER, ROBERT DUDLEY (1827-1875)
• BAXTER, WILLIAM (1650-1723)

Baxter, Of these diverse forms of graphic humour, some have no other See also:

• OBJECT

object than to amuse, and therefore do not See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call for serious See also:

• NOTICE

notice . The work of Mr Max Beerbohm (" Max ") has the note of originality and extravagance too; while that of " Spy " (Mr See also:

• LESLIE
• LESLIE, CHARLES (1650-1722)
• LESLIE, CHARLES ROBERT (1794–1859)
• LESLIE, FRED [FREDERICK HOBSON] (1855–1892)
• LESLIE, SIR JOHN (1766-1832)
• LESLIE, THOMAS EDWARD CLIFFE (1827-1882)

Leslie See also:

• WARD
• WARD, ADOLPHUS WILLIAM (1837- )
• WARD, ARTEMUS
• WARD, EDWARD MATTHEW (1816-1879)
• WARD, ELIZABETH STUART PHELPS (1844-1911)
• WARD, JAMES (1769--1859)
• WARD, JAMES (1843– )
• WARD, JOHN QUINCY ADAMS (1830-1910)
• WARD, LESTER FRANK (1841– )
• WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
• WARD, WILLIAM (1766-1826)
• WARD, WILLIAM GEORGE (1812-1882)

Ward) in Vanity Fair, if it does not See also:

• RIVAL

rival the occasional brilliancy of his predecessor " Ape " (Carlo Pellegrini, 1839–1889), maintains a higher See also:

• AVERAGE

average of merit . The pupil, too, is much more genial than the master, and he is content if his See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil evokes the comment, " How ridiculously like!" Caricature of this See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind is merely an entertainment . Here we are concerned rather with those branches of caricature which, merrily or mordantly, reflect and comment upon the actual life we live . In treating of See also:

• RECENT

recent caricature of this kind, we must give the first place to Punch . Mr Punch's outlook upon life has not changed much since the 'seventies of the last century .

His influence upon the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of caricature made itself felt most appreciably in the days of John Leech and Richard Doyle . Their successors but follow in their steps . In their work, says a See also:

• CLEVER

clever See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German critic, is to be found no vestige of the " sour bilious See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper of John See also:

• BULL
• BULL, GEORGE (1634–1710)
• BULL, JOHN (c. 1562–1628)
• BULL, OLE BORNEMANN (18ro-188o)

Bull " that pervaded the pictures of Hogarth and Rowlandson . Charles Keene (1823–1891) and Du Maurier (1834–1896), he declares, are not caricaturists or satirists, but amiable and tenderly See also:

• GRAVE

grave observers of life, friendly optimists . The characterization is truer of Keene, perhaps, than of Du Maurier . Charles Keene's sketches are almost always cheerful; almost without exception they make you smile or laugh