Caricature and Other Comic Art in All Times and Many Lands. James Parton

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       James Parton

      Caricature and Other Comic Art in All Times and Many Lands

      Published by Good Press, 2019

       [email protected]

      EAN 4064066120665

Table of Contents

       CARICATURE AND COMIC ART.

       CHAPTER I. AMONG THE ROMANS.

       CHAPTER II. AMONG THE GREEKS.

       CHAPTER III. AMONG THE ANCIENT EGYPTIANS.

       CHAPTER IV. AMONG THE HINDOOS.

       CHAPTER V. RELIGIOUS CARICATURE IN THE MIDDLE AGES.

       CHAPTER VI. SECULAR CARICATURE IN THE MIDDLE AGES.

       CHAPTER VII. CARICATURES PRECEDING THE REFORMATION.

       CHAPTER VIII. COMIC ART AND THE REFORMATION.

       CHAPTER IX. IN THE PURITAN PERIOD.

       CHAPTER X. LATER PURITAN CARICATURE.

       CHAPTER XI. PRECEDING HOGARTH.

       CHAPTER XII. HOGARTH AND HIS TIME.

       CHAPTER XIII. ENGLISH CARICATURE IN THE REVOLUTIONARY PERIOD.

       CHAPTER XIV. DURING THE FRENCH REVOLUTION.

       CHAPTER XV. CARICATURES OF WOMEN AND MATRIMONY.

       CHAPTER XVI. AMONG THE CHINESE.

       CHAPTER XVII. COMIC ART IN JAPAN.

       CHAPTER XVIII. FRENCH CARICATURE.

       CHAPTER XIX. LATER FRENCH CARICATURE.

       "SUPPLEMENTARY NOTICE.

       CHAPTER XX. COMIC ART IN GERMANY.

       CHAPTER XXI. COMIC ART IN SPAIN.

       CHAPTER XXII. ITALIAN CARICATURE.

       CHAPTER XXIII. ENGLISH CARICATURE OF THE PRESENT CENTURY.

       CHAPTER XXIV. COMIC ART IN "PUNCH."

       CHAPTER XXV. EARLY AMERICAN CARICATURE.

       CHAPTER XXVI. LATER AMERICAN CARICATURE.

       INDEX.

       VALUABLE & INTERESTING WORKS FOR PUBLIC AND PRIVATE LIBRARIES, Published by HARPER & BROTHERS, New York.

       Notes

       Notes

      Pigmy Pugilists—from Pompeii.

CARICATURE AND COMIC ART.

       Table of Contents

CHAPTER I.

       AMONG THE ROMANS.

       Table of Contents

      Much as the ancients differed from ourselves in other particulars, they certainly laughed at one another just as we do, for precisely the same reasons, and employed every art, device, and implement of ridicule which is known to us.

      Observe this rude and childish attempt at a drawing. Go into any boys' school to-day, and turn over the slates and copy-books, or visit an inclosure where men are obliged to pass idle days, and you will be likely to find pictures conceived in this taste, and executed with this degree of artistic skill. But the drawing dates back nearly eighteen centuries. It was done on one of the hot, languid days of August, A.D. 79, by a Roman soldier with a piece of red chalk on a wall of his barracks in the city of Pompeii.[1] On the 23d of August, in the year 79, occurred the eruption of Vesuvius, which buried not Italian cities only, but Antiquity itself, and, by burying, preserved it for the instruction of after-times. In disinterred Pompeii, the Past stands revealed to us, and we remark with a kind of infantile surprise the great number of particulars in which the people of that day were even such as we are. There was found the familiar apothecary's shop, with a box of pills on the counter, and a roll of material that was about to be made up when the apothecary heard the warning thunder and fled. The baker's shop remained, with a loaf of bread stamped with the maker's name. A sculptor's studio was strewed with blocks of marble, unfinished statues, mallets, compasses, chisels, and saws. A thousand objects attest that when the fatal eruption burst upon these cities, life and its activities were going forward in all essential particulars as they are at this moment in any rich and luxurious town of Southern Europe.

      In the building supposed to have been the quarters of the Roman garrison, many of the