| CHAPTER I. |
| PAGE |
| ORIGIN OF CARICATURE AND GROTESQUE—SPIRIT OF CARICATURE IN EGYPT—MONSTERS: PYTHON AND GORGON—GREECE—THE DIONYSIAC CEREMONIES, AND ORIGIN OF THE DRAMA—THE OLD COMEDY—LOVE OF PARODY—PARODIES ON SUBJECTS TAKEN FROM GRECIAN MYTHOLOGY: THE VISIT TO THE LOVER; APOLLO AT DELPHI—THE PARTIALITY FOR PARODY CONTINUED AMONG THE ROMANS: THE FLIGHT OF ÆNEAS | 1 |
| CHAPTER II. |
| ORIGIN OF THE STAGE IN ROME—USES OF THE MASK AMONG THE ROMANS—SCENES FROM ROMAN COMEDY—THE SANNIO AND MIMUS—THE ROMAN DRAMA—THE ROMAN SATIRISTS—CARICATURE—ANIMALS INTRODUCED IN THE CHARACTERS OF MEN—THE PIGMIES, AND THEIR INTRODUCTION INTO CARICATURE; THE FARM-YARD; THE PAINTER’S STUDIO; THE PROCESSION—POLITICAL CARICATURE IN POMPEII; THE GRAFFITI | 23 |
| CHAPTER III. |
| THE PERIOD OF TRANSITION FROM ANTIQUITY TO THE MIDDLE AGES—THE ROMAN MIMI CONTINUED TO EXIST—THE TEUTONIC AFTER-DINNER ENTERTAINMENTS—CLERICAL SATIRES: ARCHBISHOP HERIGER AND THE DREAMER; THE SUPPER OF THE SAINTS—TRANSITION FROM ANCIENT TO MEDIÆVAL ART—TASTE FOR MONSTROUS ANIMALS, DRAGONS, ETC.; CHURCH OF SAN FEDELE, AT COMO—SPIRIT OF CARICATURE AND LOVE OF GROTESQUE AMONG THE ANGLO-SAXONS—GROTESQUE FIGURES OF DEMONS—NATURAL TENDENCY OF THE EARLY MEDIÆVAL ARTISTS TO DRAW IN CARICATURE—EXAMPLES FROM EARLY MANUSCRIPTS AND SCULPTURES | 40 |
| CHAPTER IV. |
| THE DIABOLICAL IN CARICATURE—MEDIÆVAL LOVE OF THE LUDICROUS—CAUSES WHICH MADE IT INFLUENCE THE NOTIONS OF DEMONS—STORIES OF THE PIOUS PAINTER AND THE ERRING MONK—DARKNESS AND UGLINESS CARICATURED—THE DEMONS IN THE MIRACLE PLAYS—THE DEMON OF NOTRE DAME | 61 |
| CHAPTER V. |
| EMPLOYMENT OF ANIMALS IN MEDIÆVAL SATIRE—POPULARITY OF FABLES; ODO DE CIRINGTON—REYNARD THE FOX—BURNELLUS AND FAUVEL—THE CHARIVARI—LE MONDE BESTORNÉ—ENCAUSTIC TILES—SHOEING THE GOOSE, AND FEEDING PIGS WITH ROSES—SATIRICAL SIGNS; THE MUSTARD MAKER | 75 |
| CHAPTER VI. |
| THE MONKEY IN BURLESQUE AND CARICATURE—TOURNAMENTS AND SINGLE COMBATS—MONSTROUS COMBINATIONS OF ANIMAL FORMS—CARICATURES ON COSTUME—THE HAT—THE HELMET—LADIES’ HEAD-DRESSES—THE GOWN, AND ITS LONG SLEEVES | 95 |
| CHAPTER VII. |
| PRESERVATION OF THE CHARACTER OF THE MIMUS AFTER THE FALL OF THE EMPIRE—THE MINSTREL AND JOGELOUR—HISTORY OF POPULAR STORIES—THE FABLIAUX—ACCOUNT OF THEM—THE CONTES DEVOTS | 106 |
| CHAPTER VIII. |
| CARICATURES OF DOMESTIC LIFE—STATE OF DOMESTIC LIFE IN THE MIDDLE AGES—EXAMPLES OF DOMESTIC CARICATURE FROM THE CARVINGS OF THE MISERERES—KITCHEN SCENES—DOMESTIC BRAWLS—THE FIGHT FOR THE BREECHES—THE JUDICIAL DUEL BETWEEN MAN AND WIFE AMONG THE GERMANS—ALLUSIONS TO WITCHCRAFT—SATIRES ON THE TRADES: THE BAKER, THE MILLER, THE WINE-PEDLAR AND TAVERN KEEPER, THE ALE-WIFE, ETC. | 118 |
| CHAPTER IX. |
| GROTESQUE FACES AND FIGURES—PREVALENCE OF THE TASTE FOR UGLY AND GROTESQUE FACES—SOME OF THE POPULAR FORMS DERIVED FROM ANTIQUITY: THE TONGUE LOLLING OUT, AND THE DISTORTED MOUTH—HORRIBLE SUBJECTS: THE MAN AND THE SERPENTS—ALLEGORICAL FIGURES: GLUTTONY AND LUXURY—OTHER REPRESENTATIONS OF CLERICAL GLUTTONY AND DRUNKENNESS—GROTESQUE FIGURES OF INDIVIDUALS, AND GROTESQUE GROUPS—ORNAMENTS OF THE BORDERS OF BOOKS—UNINTENTIONAL CARICATURE; THE MOTE AND THE BEAM | 144 |
| CHAPTER X. |
| SATIRICAL LITERATURE IN THE MIDDLE AGES—JOHN DE HAUTEVILLE AND ALAN DE LILLE—GOLIAS AND THE GOLIARDS—THE GOLIARDIC POETRY—TASTE FOR PARODY—PARODIES ON RELIGIOUS SUBJECTS—POLITICAL CARICATURE IN THE MIDDLE AGES—THE JEWS OF NORWICH—CARICATURE REPRESENTATIONS OF COUNTRIES—LOCAL SATIRE—POLITICAL SONGS AND POEMS | 159 |
| CHAPTER XI. |
| MINSTRELSY A SUBJECT OF BURLESQUE AND CARICATURE—CHARACTER OF THE MINSTRELS—THEIR JOKES UPON THEMSELVES AND UPON ONE ANOTHER—VARIOUS MUSICAL INSTRUMENTS REPRESENTED IN THE SCULPTURES OF THE MEDIÆVAL ARTISTS—SIR MATTHEW GOURNAY AND THE KING OF PORTUGAL—DISCREDIT OF THE TABOR AND BAGPIPES—MERMAIDS | 188 |
| CHAPTER XII. |
| THE COURT FOOL—THE NORMANS AND THEIR GABS—EARLY HISTORY OF COURT FOOLS—THEIR COSTUME—CARVINGS IN THE CORNISH CHURCHES—THE BURLESQUE SOCIETIES OF THE MIDDLE AGES—THE FEASTS OF ASSES, AND OF FOOLS—THEIR LICENCE—THE LEADEN MONEY OF THE FOOLS—THE BISHOP’S BLESSING | 200 |
| CHAPTER XIII. |
| THE DANCE OF DEATH—THE PAINTINGS IN THE CHURCH OF LA CHAISE DIEU—THE REIGN OF FOLLY—SEBASTIAN BRANDT; THE SHIP OF FOOLS—DISTURBERS OF CHURCH SERVICE—TROUBLESOME BEGGARS—GEILER’S SERMONS—BADIUS, AND HIS SHIP OF FOOLISH WOMEN—THE PLEASURES OF SMELL—ERASMUS; THE PRAISE OF FOLLY | 214 |
| CHAPTER XIV. |
| POPULAR LITERATURE AND ITS HEROES; BROTHER RUSH, TYLL EULENSPIEGEL, THE WISE MEN OF GOTHAM—STORIES AND JEST-BOOKS—SKELTON, SCOGIN, TARLTON, PEELE | 228 |
| CHAPTER XV. |
| THE AGE OF THE REFORMATION—THOMAS MURNER; HIS GENERAL SATIRES—FRUITFULNESS OF FOLLY—HANS SACHS—THE TRAP FOR FOOLS—ATTACKS ON LUTHER—THE POPE AS ANTICHRIST—THE POPE-ASS AND THE MONK-CALF—OTHER CARICATURES AGAINST THE POPE—THE GOOD AND BAD SHEPHERDS | A HISTORY
OF
CARICATURE AND GROTESQUE.
|
