LATER AMERICAN CARICATURE.
[Illustration: Thomas Nast, 1875.]
[Illustration: WHOLESALE. RETAIL. (_Harper's Weekly_, September 16th,
1871.)]
The era of good feeling which followed the war of 1812, and which
exhausted the high, benign spirit infused into public affairs by Mr.
Jefferson, could not be expected to call forth satirical pictures of
remarkable quality. The irruption of the positive and uncontrollable
Jackson into politics made amends. Once more the mind of the country was
astir, and again nearly the whole of the educated class was arrayed
against the masses of the people. The two political parties in every
country, call them by whatever disguising names we may, are the Rich and
the Poor. The rich are naturally inclined to use their power to give
their own class an advantage; the poor naturally object; and this is the
underlying, ever-operating cause of political strife in all countries
that enjoy a degree of freedom; and this is the reason why, in times of
political crisis, the instructed class is frequently in the wrong.
Interest and pride blind its judgment. In Jackson's day the distinction
between the right and the wrong politics was not so clear as in
Jefferson's time; but it was, upon the whole, the same struggle
disguised and degraded by personal ambitions and antipathies. It
certainly called forth as many parodies, burlesques, caricatures, and
lampoons as any similar strife since the invention of politics. The
coffin handbills repeated the device employed after the Boston massacre
of 1774 in order to keep it in memory that General Jackson had ordered
six militiamen to be shot for desertion. The hickory poles that pierced
the sky at so many cross-roads were a retort to these, admitting but
eulogizing the hardness of the man. The sudden breakup of the cabinet in
1831 called forth a caricature which dear Mrs. Trollope described as
"the only tolerable one she ever saw in the country." It represented the
President seated in his room trying hard to detain one of four escaping
rats by putting his foot on its tail. The rat thus held wore the
familiar countenance of the Secretary of State, Martin Van Buren, who
had been requested to remain till his successor had arrived. It was this
picture that gave occasion for one of John Van Buren's noted sayings
that were once a circulating medium in the lawyers' offices of New York.
"When will your father be in New York?" asked some one. The reply was,
"When the President takes off his foot."
[Illustration: The Brains of the Tammany Ring. (_Harper's Weekly_,
October 21st, 1871.)]
Then we have Van Buren as a baby in the arms of General Jackson,
receiving pap from a spoon in the general's hand; Jackson and Clay as
jockeys riding a race toward the Presidential house, Clay ahead; Jackson
receiving a crown from Van Buren and a sceptre from the devil; Jackson,
Benton, Blair, Kendall, and others, in the guise of robbers, directing a
great battering-ram at the front door of the United States Bank;
Jackson, as Don Quixote, breaking a very slender lance against one of
the marble pillars of the same edifice; Jackson and Louis Philippe as
pugilists in a ring, the king having just received a blow that makes his
crown topple over his face.
[Illustration: "What are the Wild Waves saying?" (_Harper's Weekly_,
July 9th, 1870.)]
Burlesque processions were also much in vogue in 1832 during the weeks
preceding the Presidential election. To the oratory of Webster, Preston,
Hoffman, and Everett, the Democracy replied by massive hickory poles,
fifty feet long, drawn by eight, twelve, or sixteen horses, and ridden
by as many young Democrats as could get astride of the emblematic log,
waving flags and shouting, "Hurra for Jackson!" Live eagles were borne
aloft upon poles, banners were carried exhibiting Nicholas Biddle as Old
Nick, and endless ranks of Democrats marched past, each Democrat wearing
in his hat a sprig of the sacred tree. And again the cultured orators
were wrong, and the untutored Democrats were substantially in the right.
Ambition and interest prevented those brilliant men from seeing that in
putting down the bank, as in other measures of his stormy
administration, the worst that could be truly said of General Jackson
was that he did right things in a wrong way. The "shin-plaster"
caricature given on the following page is itself a record of the bad
consequences that followed his violent method in the matter of the bank.
The inflation of 1835 produced the wild land speculation of 1836, which
ended in the woful collapse of 1837, the year of bankruptcy and
"shin-plaster."
To this period belongs the picture, given on a previous page, which
caricatures the old militia system by presenting at one view many of the
possible mishaps of training-day. The receipt which John Adams gave for
making a free commonwealth enumerated four ingredients--town meetings,
training-days, town schools, and ministers. But in the time of Jackson
the old militia system had been outgrown, and it was laughed out of
existence. Most of the faces in this picture were intended to be
portraits.
[Illustration: Shin-plaster Caricature of General Jackson's War on the
United States Bank, and its Consequences, 1837.]
Mr. Hudson, in his valuable "History of Journalism," speaks of a
lithographer named Robinson, who used to line the fences and even the
curb-stones of New York with rude caricatures of the persons prominent
in public life during the administrations of Jackson and Van Buren.
Several of these have been preserved, with others of the same period;
but few of them are tolerable, now that the feeling which suggested them
no longer exists; and as to the greater number, we can only agree with
the New York _Mirror_, then in the height of its celebrity and
influence, in pronouncing them "so dull and so pointless that it were a
waste of powder to blow them up."
[Illustration: City People in a Country Church.]
The publication of Mrs. Trollope's work upon the "Domestic Manners of
the Americans" called forth many inanities, to say nothing of a volume
of two hundred and sixteen pages, entitled "Travels in America, by
George Fibbleton, Esq., ex-Barber to His Majesty the King of Great
Britain." In this work Mrs. Trollope's burlesque was burlesqued
sufficiently well, perhaps, to amuse people at the moment, though it
reads flatly enough now. The rise and progress of phrenology was
caricatured as badly as Spurzheim himself could have desired, and the
agitation in behalf of the rights of women evoked all that the pencil
can achieve of the crude and the silly. On the other hand, the burning
of the Ursuline convent in Boston was effectively rebuked by a pair of
sketches, one exhibiting the destruction of the convent by an infuriate
mob, and the other a room in which Sisters of Charity are waiting upon
the sick. Over the whole was written, "Look on this picture, and on
this."
[Illustration: Why don't you take it?]
The thirty years' word war that preceded the four years' conflict in
arms between North and South produced nothing in the way of burlesque
art that is likely to be revived or remembered. If the war itself was
not prolific of caricature, it was because drawing, as a part of school
training, was still neglected among us. That the propensity to
caricature existed is shown by the pictures on envelopes used during the
first weeks of the war. The practice of illustrating envelopes in this
way began on both sides in April, 1861, at the time when all eyes were
directed upon Charleston. The flag of the Union, printed in colors, was
the first device. This was instantly imitated by the Confederates, who
filled their mails with envelope-flags showing seven stars and three
broad stripes, the middle (white) one serving as a place for the
direction of the letter. Very soon the flags began to exhibit mottoes
and patriotic lines, such as, "Liberty and Union," "The Flag of the
Free," and "Forever float that Standard Sheet!" The national arms
speedily appeared, with various mottoes annexed. General Dix's
inspiration, "If any one attempts to haul down the American flag, shoot
him on the spot," was the most popular of all for several weeks.
Portraits of favorite generals and other public men were soon
added--Scott, Fremont, Dix, Lincoln, Seward, and others. Before long the
satirical and burlesque spirit began to manifest itself in such devices
as a black flag and death's-head, with the words "Jeff Davis--his Mark;"
a gallows, with a man hanging; a large pig, with "Whole Hog or None;" a
bull-dog with his foot on a great piece of beef, marked Washington, with
the words "Why don't you take it?" The portrait of General Butler
figured on thousands of letters during the months of April and May, with
his patriotic sentence, "Whatever our politics, the Government must be
sustained;" and, a little later, his happy application of the words
"contraband of war" to the case of the fugitive negroes was repeated
upon letters without number. "Come back here, you old black rascal!"
cries a master to his escaping slave. "Can't come back nohow," replies
the colored brother; "dis chile contraban'." On many envelopes printed
as early as May, 1861, we may still read a prophecy under the flag of
the Union that has been fulfilled, "I shall wave again over Sumter."
[Illustration: Popular Caricature of the Secession War.
(From Envelopes, 1861. Collected by William B. Taylor, Postmaster of New
York, and presented by him to the New York Historical Society.)]
Such things as these usually perish with the feeling that called them
forth. Mr. William B. Taylor, then the postmaster of New York, struck
with the peculiar appearance of the post-office, all gay and brilliant
with heaps of colored pictures, conceived the fancy of saving one or two
envelopes of each kind, selected from the letters addressed to himself.
These he hastily pasted in a scrap-book, which he afterward gave to
swell the invaluable collection of curiosities belonging to the New York
Historical Society.
[Illustration: Virginia Pausing.]
We should not naturally have looked for caricature in Richmond in April,
1861, while the convention was sitting that passed the ordinance of
secession. But the reader will perceive on this page that the pencil
lent its aid to those who were putting the native state of Washington
and Jefferson on the wrong side of the great controversy. This specimen
appeared on the morning of the decisive day, and was brought away by a
lady who then left Richmond for her home in New York. The rats are
arranged so as to show the order in which the States seceded: South
Carolina first, Mississippi second, Alabama and Florida on the same day,
and Virginia still held by the negotiations with Mr. Lincoln. This
picture may stand as the contribution of the Confederacy to the satiric
art of the world.
Few readers need to be informed that it was the war which developed and
brought to light the caricaturist of the United States, Thomas Nast.
When the war began he was a boyish-looking youth of eighteen, who had
already been employed as a draughtsman upon the illustrated press of New
York and London for two years. He had ridden in Garibaldi's train during
the campaign of 1860 which freed Sicily and Naples, and sent sketches of
the leading events home to New York and to the London _Illustrated
News_. But it was the secession war that changed him from a roving lad,
with a swift pencil for sale, into a patriot artist, burning with the
enthusiasm of the time. _Harper's Weekly_, circulating in every town,
army, camp, fort, and ship, placed the whole country within his reach,
and he gave forth from time to time those powerful emblematic pictures
that roused the citizen and cheered the soldier. In these early works,
produced amidst the harrowing anxieties of the war, the serious element
was of necessity dominant, and it was this quality that gave them so
much influence. They were as much the expression of heart-felt
conviction as Mr. Curtis's most impassioned editorials, or Mr. Lincoln's
Gettysburg speech. This I know, because I sat by his side many a time
while he was drawing them, and was with him often at those electric
moments when the idea of a picture was conceived. It was not till the
war was over, and President Andrew Johnson began to "swing round the
circle," that Mr. Nast's pictures became caricatures. But they were none
the less the utterance of conviction. Whether he is wrong or right in
the view presented of a subject, his pictures are always as much the
product of his mind as they are of his hand.
Concerning the justice of many of his political caricatures there must
be, of course, two opinions; but happily his greatest achievement is one
which the honest portion of the people all approve. Caricature, since
the earliest known period of its existence, far back in the dawn of
Egyptian history, has accomplished nothing else equal to the series of
about forty-five pictures contributed by Thomas Nast to _Harper's
Weekly_ for the explosion of the Tammany Ring. These are the utmost that
satiric art has done in that kind. The fertility of invention displayed
by the artist, week after week, for months at a time, was so
extraordinary that people concluded, as a matter of course, the ideas
were furnished him by others. On the contrary, he can not draw from the
suggestions of other minds. His more celebrated pictures have been drawn
in quiet country places, several miles from the city in which they were
published.
The presence in New York of seventy or eighty thousand voters, born and
reared in Europe, and left by European systems of government and
religion totally ignorant of all that the citizens of a free state are
most concerned to know, gave a chance here to the political thief such
as has seldom existed, except within the circle of a court and
aristocracy. The stealing, which was begun forty years before in the old
corporation tea-room, had at last become a system, which was worked by a
few coarse, cunning men with such effect as to endanger the solvency of
the city. They stole more like kings and emperors than like common
thieves, and the annual festival given by them at the Academy of Music
called to mind the reckless profusion of Louis XIV. when he entertained
the French nobles at Versailles at the expense of the laborious and
economical people of France. Their chief was almost as ignorant and
vulgar, though not as mean and pig-like, as George IV. of England. In
many particulars they resembled the gang of low conspirators who seized
the supreme power in France in 1851, and in the course of twenty years
brought that powerful and illustrious nation so near ruin that it is
even now a matter of doubt whether it exists by strength or by
sufferance.
[Illustration: TWEEDLEDEE AND SWEEDLEDUM.
(_A New Christmas Pantomime at Tammany Hall._)
_Clown (to Pantaloon)._ "Let's blind them with _this_, and then take
_some more_."
Tweed's Gift of Fifty Thousand Dollars to the Poor of his Native Ward.
(_Harper's Weekly_, January 14th, 1871.)]
What an escape we had! But, also, what immeasurable harm was done! From
being a city where every one wished to live, or, at least, often to
remain, they allowed New York to become a place from which all escaped
who could. Nothing saved its business predominance but certain facts of
geology and geography which Rings can not alter. Two generations of
wise and patriotic exertion will not undo the mischief done by that knot
of scoundrels in about six years. The press caught them at the full tide
of their success, when the Tammany Ring, in fell alliance with a
railroad ring, was confident of placing a puppet of its own in the
Presidential chair. The history of this melancholy lapse, from the hour
when an alderman first pocketed a quire of note-paper, or carried from
the tea-room a bundle of cigars, to the moment of Tweed's rescue from a
felon's cell through the imperfection of the law, were a subject
worthier far of a great American writer in independent circumstances
than any he could find in the records of the world beyond the sea. The
interests of human nature, not less than the special interests of this
country, demand that it should be written; for all the nations are now
in substantially the same moral and political condition. Old methods
have become everywhere inadequate before new ones are evolved; and
meanwhile the Scoundrel has all the new forces and implements at his
command. If ever this story should be written for the instruction of
mankind, the historian will probably tell us that two young men of the
New York press did more than any others to create the feeling that broke
the Ring. Both of them naturally loathed a public thief. One of these
young men in the columns of an important daily paper, and the other on
the broad pages of _Harper's Weekly_, waged brilliant and effective
warfare against the combination of spoilers. They made mad the guilty
and appalled the free. They gave, also, moral support to the able and
patriotic gentlemen who, in more quiet, unconspicuous ways, were
accumulating evidence that finally consigned some of the conspirators to
felons' cells, and made the rest harmless wanderers over the earth.
[Illustration: "Who Stole the People's Money?"
(Thomas Nast, in _Harper's Weekly_, August 19th, 1871.)]
Comic art is now well established among us. In the illustrated papers
there are continually appearing pictures which are highly amusing,
without having the incisive, aggressive force of Mr. Nast's caricatures.
The old favorites of the public, Bellew, Eytinge, Reinhart, Beard, are
known and admired, and the catalogue continually lengthens by the
addition of other names. Interesting sketches, more or less satirical,
bear the names of Brackmere, C. G. Parker, M. Woolf, G. Bull, S. Fox,
Paul Frenzeny, Thomas Worth, Hopkins, Frost, Wust, and others. Among
such names it is delightful to find those of two ladies, Mary M'Donald
and Jennie Browscombe. The old towns of New England abound in
undeveloped and half-developed female talent, for which there seems at
present no career. There will never be a career for talent undeveloped
or half developed. Give the schools in those fine old towns one lesson a
week in object-drawing from a teacher that knows his business, keep it
up for one generation, and New England girls will cheer all homes by
genial sketches and amusing glimpses of life, to say nothing of more
important and serious artistic work. The talent exists; the taste
exists. Nothing is wanting but for us all to cast away from us the
ridiculous notion that the only thing in human nature that requires
educating is the brain. We must awake to the vast absurdity of bringing
up girls upon algebra and Latin, and sending them out into a world which
they were born to cheer and decorate unable to walk, dance, sing, or
draw; their minds overwrought, but not well nourished, and their bodies
devoid of the rudiments of education.
[Illustration: "On to Richmond!"--The Peninsular Campaign. (1862.)
_M'Clellan._ "You must coax him along: conciliate him. Force won't do. I
don't believe in it; but don't let go. Keep his head to the rear. If he
should get away, he might go to Richmond, and then my plans for
conquering the Rebellion will never be developed."
_B-lm-t._ "Hold fast, B-rl-w, or he _will_ get to Richmond in spite of
us; and then my capital for the European market is all lost."
_B-rl-w._ "I've got him fast; there's no danger. He's only changing his
base to the Gun-boats."
_B-lm-t._ "Look out for that letter to the President which you wrote for
him. Don't lose that."
_B-rl-w._ "No; I have it safe here in my pocket. When his change of base
is effected, I will make him sign the letter, and send it to old Abe."]
There is no country on earth where the humorous aspects of human life
are more relished than in the United States, and none where there is
less power to exhibit them by the pencil. There are to-day a thousand
paragraphs afloat in the press which ought to have been pictures. Here
is one from a newspaper in the interior of Georgia: "A sorry sight it
is to see a spike team, consisting of a skeleton steer and a skinky
blind mule, with rope harness, and a squint-eyed driver, hauling a
barrel of new whisky over poor roads, on a hermaphrodite wagon, into a
farming district where the people are in debt, and the children are
forced to practice scant attire by day and hungry sleeping by night."
The man who penned those graphic lines needed, perhaps, but an educated
hand to reproduce the scene, and make it as vivid to all minds as it was
to his own. The country contains many such possible artists.
A novel kind of living caricature has been presented occasionally, of
late, by Mr. William E. Baker, of the famous firm of sewing-machine
manufacturers, Grover & Baker. At his farm in Natick, Massachusetts, Mr.
Baker is fond of burlesquing the national propensity to convert every
trifling celebration into a banner-and-brass-band pageant. A great
company was once invited to his place to "assist" at the naming of a
calf. At another time, the birthday of a favorite heifer was celebrated
with pomp and circumstance. In the summer of 1875, several hundreds of
people were summoned to witness the laying of the corner-stone of a new
pig-pen, and among the guests were a governor, military companies,
singing clubs, members of foreign legations, and other persons of note
and importance. The enormous card of invitation, besides being adorned
with pictures of high-bred pigs in the happiest condition, contained a
story showing how pigs had brought on a war between two powerful
nations. This was the tale:
[Illustration: Christmas-time--Won at a Turkey Raffle. (Sol Eytinge,
Jun., _Harper's Weekly_, January 3d, 1874.)
"De breed am small, but de flavor am delicious."]
"By the carelessness of a boy in 1811, a garden-gate in Rhode Island was
left open; two pigs entered and destroyed a few plants. The day was
hot, the pigs fat, and when attempts were made to drive them out, the
characteristic obstinacy of the animals occasioned such violent exercise
as to cause their death. A quarrel ensued between the owner of the pigs
and the owner of the garden, which, spreading among their friends,
resulted in the election of the opposition candidate--Howell--by one
majority to the United States Senate, by whose vote the motion to
postpone until the next session further consideration on the question of
declaring war was defeated by one majority; and by the vote following it
war was declared with Great Britain in 1812, although Howell was opposed
to and voted against it."
[Illustration: "He cometh not, she said." (M. Woolf, in _Harper's
Bazar_, July 31st, 1875.)]
This story was illustrated by excellent wood-cuts. The account of the
festival, given in the _Boston Advertiser_, is worth preserving as a
narrative of the most costly, extensive, and elaborate joke ever
performed in the United States. Since kings and emperors ceased to amuse
their guests with similar burlesques, I know not if the world has
witnessed "fooling" on so large a scale.
"On Saturday" (June 19th, 1875, two days after the Bunker Hill
Centennial) "the invited guests repaired to the Albany Railroad Depot.
The nine-o'clock train took out the Fifth Maryland Regiment, which had
been invited, and the Marine Band of Washington, also a delegation of
the Washington Light Infantry of Charleston, South Carolina.
"The next train took out their escort, the Charlestown Cadets, Company
A, Fifth Massachusetts Regiment, Captain J. E. Phipps, the corps missing
the train; a large number of invited guests, including Governor Gaston,
his aid, Colonel Wyman, Colonels Kingsbury and Treadwell, and other
representatives of the State House, General I. S. Burrell, First
Brigade, and a great many officers of rank of the different military
organizations of the State in uniform.
"Upon arriving at the depot in Wellesley, the carriage of Governor
Eustis, in which Lafayette rode into Boston in 1824, with large
iron-gray horses and rich gold-mounted harness, as old-fashioned as the
vehicle, was placed at the service of the governor and his party. The
line, consisting of some fifty vehicles, each capable of transporting
twenty or thirty persons, headed by Edmands's Band, was then formed
under the direction of Lieutenant Francis L. Hills, of the United States
Artillery, who, by-the-way, was a most useful marshal.
"The procession was welcomed to the Farms by George O. Sanford, Chief
Marshal, who was attired in a rich dark-velvet suit of the style of
1775, trimmed with gold-lace, and a bag-wig.
"About two or three thousand persons were upon the ground. Among them
were General Banks, General Underwood, Colonel Andrews, of Charleston,
South Carolina, and many other citizens of note, in addition to those
previously mentioned. The marshals were distinguished by wearing a
miniature silver hog upon the lapels of their coats, upon which were the
letters 'W. E. B., June 19th, 1875,' and underneath the metal a ribbon
badge with 'Marshal' in gold letters, intended to read 'We B Marshal.'
They also carried a silver baton with red, white, and blue ribbons. Of
those upon the ground perhaps five hundred were ladies.
"Teams from all the surrounding country were in the roads about the
place, with their occupants gazing upon the spectacle. The military, who
had marched from the depot, were drawn up on the lawn. The Marine Band
was discoursing its delightful music here, Edmands's Band at another
point, and the Natick Cornet at a third.
"Old Father Time was circulating about in gray hair, long gray beard, a
dark-purple velvet robe, and carrying the conventional scythe. Cheers
upon cheers were going up for the host from the military and the other
guests. Many hundreds of chairs were provided at different points for
the use of the weary. The young son of Mr. Baker was dressed in full
Revolutionary Minute-man costume.
"About twelve o'clock the military stacked their arms, and all repaired
to an immense pavilion, where substantial refreshments, including iced
tea for a beverage, were provided for the thousands. In the 'Minnehaha
Sweet-water Wigwam' were two immense tubs holding about two barrels
each, one filled with lemonade and the other with claret-punch.
"In a large pen or 'corral' built of railroad-ties, in a manner
partaking of a Virginia fence, a log-cabin, and a block fortress, were a
cage of youthful bears and cages of other animals. The place was
surrounded with pictures of hogs and men, both indulging in a grand
carouse. There was no roof, and the top was surmounted by stuffed birds
and animals. In this place two of Satan's respectable representatives, a
blue devil and a red devil, were dealing out whisky-punch.
"At about two o'clock a procession marched about a quarter of a mile to
the vicinity of the Buffalo yards, where the corner-stone of the new
piggery was to be laid. A platform some thirty feet square had been
erected, and, after music from Edmands's Band, Mr. Baker made a brief
address of welcome.
"Brief and pertinent remarks were made by Governor Gaston, Curtis Guild,
Esq., of the _Commercial Bulletin_, Colonel Andrews, of South Carolina,
and C. B. Farnsworth, of Rhode Island.
"Colonel Jenkins, commander of the Fifth, was called upon, and commenced
a patriotic speech, when he was interrupted by Mr. Baker, who took from
a box a live white pig, some six weeks old, and presented it to the
colonel for a 'Child of the Regiment.'
"Amidst shouts of laughter, the gallant colonel, in his rich dress, went
on, dealing out patriotism with one arm and holding the pig in the
other, where it quietly reposed, looking for all the world like a quiet
babe just from the bath. The effect was irrepressibly ludicrous.
"Soon afterward Mr. Baker produced a black pig, some three months old;
but the officer, having his arms already full, handed it to one of his
men, who threw it upon his back, and only its head and fore paws were
visible over the shoulders of the soldier.
"The rueful look of Piggy as he contemplated society from this novel
position, and his squeals of wonder and fright, sent off the whole
audience again into laughter, and the Maryland boys cheered for their
adopted twins.
"The corner-stone was then lowered into position, the rope being held by
Governor Gaston, Colonel Andrews, Colonel Jenkins, and Mr. Farnsworth,
Mr. Baker first remarking that, as the Jews considered the pig unclean,
it might be well to put a scent under the stone, which Mr. Guild thought
was a centimental idea. Many cents were thrown, after which there was a
slight shower, and many persons entered the big stable where were the
wonderful cows which gave milk-punch.
"After the ceremony there was another collation, and then the soldiers
had a game of foot-ball. As they were about to be loaded into
carriages--for they rode back to the depot--several hundred red, white,
and blue toy balloons were cut loose, and the air was filled with flocks
of them. The troops took the train and arrived in town at six o'clock,
and left almost immediately for home."
With this remarkable specimen of Comic Art in America, I take leave of
the subject.
INDEX.
A.
Abbott, Dr., interprets an Egyptian caricature, 32.
Adams, John, quoted, upon a free commonwealth, 321.
AEneas, burlesque picture of, 20.
Alcmena, Princess, burlesqued, 29.
Alexaminos, Roman caricature of, 26.
Alexander I., his advice to Louis XVIII., 213.
American caricature, chapters upon, 300, 318.
Amsterdam, caricatures published in, 129.
Anchises burlesqued, 20.
Ancients, the, their modes of ridicule, 15.
Antiphanes, quoted, upon women, 176.
Antiquaries puzzled, picture of, 146.
Apollo burlesqued, 29, 30.
Arbuthnot, John, his epitaph upon Charteris, 136.
Aristophanes, his power to provoke mirth, 30;
satire of women, 176.
Armstrong, John, quoted, 309.
Ascanius burlesqued, 20.
Ass, the, catechism upon, 49.
Avegay, Madame, in a caricature, 63.
B.
Bacchus, legend of, 23.
Baker, William E., his burlesque celebration, 331.
Ballou, M. M., his quotation-book, 184.
Bastwick, Dr., loses his ears, 99;
his triumphal return to London, 99.
Beaumarchais, Caron de, quoted, 161, 162.
Beaumont, G. de, a caricature by, 184.
Beer known to the ancient Egyptians, 34.
Beranger, Pierre-Jean de, his songs during the Restoration, 214, 215.
Bernard, St., quoted, upon grotesque decoration, 47.
Biddle, Nicholas, burlesqued, 321.
Bohemians, the, described, 172.
Bomba caricatured, 262, 263.
Bonaparte, Eugenie, caricatured, 234, 238.
Bonaparte, Louis, burlesqued, 235, 238.
Bonaparte, L. N., caricatured, 233, 238, 250, 252, 255.
Bonaparte, Napoleon, developed through George III., 153;
suppressed caricature, 208;
caricatures of, 210, 268, 269.
Boston described, 301.
Box, Dame, anecdote of, 117.
Bradlaugh, Charles, in a caricature, 297.
Brandt, Sebastian, his "Ship of Fools," 60, 180.
Brougham, Lord, caricatured in _Punch_, 287, 289.
Browne, Hablot K., criticised by Thackeray, 223.
Burke, Edmund, in Gillray's caricatures, 154;
quoted, upon the French Revolution, 163;
caricature, 164.
Burnet, Bishop, describes an altar-piece, 48.
Bute, Lord, a favorite of George III., 150;
caricatured, 152, 153.
Butler, B. F., upon war envelopes, 324.
Button, Daniel, his coffee-house, 135.
C.
Cairo never swept, 22.
Calvin, Jean, his origin, 82;
caricatures of, 83-85.
Cambaceres, Jean-Jacques Regis de, a portrait of, 213.
Canning, Mr., not offended by caricature, 289.
Carlyle, Thomas, quoted, upon the French, 162, 163.
Cathedrals, decorations of, 40-43;
explained, 48.
_Centinel_, the, a parody from, 314.
Chambers, William, quoted, upon his early time, 272.
Cham, caricatures by, 185, 228, 232.
Champfleury, Jules, quoted, on pigmies, 18;
on cathedral decoration, 43, 46, 53;
gives a burlesque Paternoster, 61;
upon midnight masses, 61;
upon burlesque decoration of manuscripts, 67;
caricature from, 161, 162, 211;
quoted, 212, 220.
_Charivari, Le_, its course, 218, 220.
Charles II., caricature of, 103, 106.
Charles X. dethroned, 216.
Charlotte, Queen, caricatured, 154.
Charteris, Colonel Francis, epitaph upon, 136.
Chatham, Lord, caricatured, 156; disliked by George III., 157.
Chatto, W. A., quoted, upon an old caricature, 64, 97.
Chesterfield, Lord, quoted, upon women, 185.
China, caricatures of, 191.
Chiron burlesqued, 29.
Christians, Roman caricature of, 25;
Roman opinion of, 26.
Cicero divorces his wife, 178.
Clement VII. ridiculed by Luther, 76;
pasquinade upon, 258.
Clergy, the, dissolute in the early ages, 68;
anecdotes of, 68;
rob and plunder, 69.
Coalition, the, caricatured, 157, 158.
Collier, Payne, writes out Punch, 266.
Commune, the, caricatures of, 235.
Cranach, Lucas, caricaturist of the Reformation, 77.
Cranmer, Bishop, his martyrdom, 87.
Cris-cross rhymes, specimen of, 105.
Cromwell, Elizabeth, caricatured, 107.
Cromwell, Oliver, caricatured, 104;
his funeral and disinterment, 106.
Cromwell, Richard, in caricature, 107.
Crozat, Antoine, sells Louisiana trade, 125.
Cruikshank, George, his caricature of crinoline, 181;
of school-girls, 189;
draws Punch, 265;
his career, 268;
pictures by, 270, 271, 273;
his family, 269.
Cruikshank, Isaac, his career, 273.
Cuba, comic art in, 256.
D.
Dance of Death, in Art of Middle Ages, 57-59.
Dangeau, Marquis de, quoted, upon Louis XV., 159.
Daumier, M., his caricatures, 180, 219, 235.
Davus satirizes Horace, 25.
Death-crier, picture of, 56.
"Decameron," the, its effect upon contemporaries, 70.
Devil, the, traditional character of, 51; caricatured, 52-55;
modified by time, 65.
Devonshire, Duchess of, caricatured, 153.
Dickens, Charles, his "Pickwick," 23;
origin of his "Bill Stumps," 146;
Pickwick suggested by Seymour, 280;
described by Willis, 282.
Disraeli, Benjamin, caricatured, 289.
D'Israeli, Isaac, quoted, upon _Punch_, 265.
Dodington, Bubb, quoted, upon early life of George III., 148, 149.
"Don Quixote," one secret of its charm, 23;
quoted, 56.
Dore, Gustave, caricature by, 231, 232.
Doyle, John, his caricatures, 275.
Doyle, Richard, his Wedding Breakfast, 281;
leaves _Punch_ for conscience' sake, 299.
Du Maurier, Mr., his pictures of children, 294, 297.
Durand, M., his interpretation of a cathedral, 48.
Duerer, Albert, describes a procession, 92.
E.
Egyptians, art among, 32, 33;
their habits, 34, 56.
Elizabeth, Queen, celebration of her birthday, 110.
England, caricature in, 267.
Erasmus, quoted, upon the monks, 66, 71;
detested by Luther, 75;
satirizes women, 181, 182.
Evelyn, John, quoted, upon law, 124.
Extinguishers, family of the, 214.
Eytinge, Sol, picture by, 331.
F.
Fairholt, F. W., upon Gog and Magog, 50.
Fanning the Grave--a Chinese poem, 193.
Feuillet, Octave, misrepresents, 172.
"Figaro, Marriage of," quoted, 161, 162.
Fleury, Cardinal, tutor of Louis XV., 159.
Fox, Charles James, in Gillray's caricatures, 153, 154, 157;
disliked by George III., 157;
caricatured by Isaac Cruikshank, 274.
France, caricature of, 208.
Franklin, Benjamin, his caricature of the Colonies Reduced, 147;
quoted, upon George III., 151;
burlesques English policy, 155;
quoted, 185;
his early use of pictures, 300, 304;
his early lampoons, 302;
his love of humor, 301, 303;
his Scalp Hoax, 306.
Frederic II. snubs Pompadour, 160.
French Revolution, caricatures of, 161-170.
Fry, William H., his use of Juvenal, 23.
G.
Galas, General, caricature of, 115.
Gallatin, Albert, good financier, 124.
Ganesa, his character in Hindoo theology, 36.
Gardiner, Bishop, his martyrdom, 86, 87.
Gautier, Theophile, quoted, upon Gavarni, 224.
Gavarni, his caricatures of women, 171, 176, 187, 188;
his only political caricatures, 216;
social caricatures by, 223, 224, 226;
portrait of, 236.
Gegeef, his caricatures, 297.
Geiler, Jacob, satirizes the monks, 71.
George III., his early life, 148;
compared with Louis XV., 159;
caricature of, 209, 269.
George IV., anecdote of, 151;
in Gillray's caricatures, 154.
Germany, comic art in, 242.
Gerry, Elbridge, in the affair of the Gerry-mander, 317.
Gerry-mander, the picture of, 316.
Gibbon, Edward, quoted, upon rise of Christianity, 47, 54.
"Gil Blas," secret of its charm, 23.
Gillray, James, his works described, 153, 154;
caricatures Napoleon, 209;
his portrait, 267.
Gin, law to diminish use of, 143.
Girin, a caricature from, 179.
Godfrey, Sir Edmundsbury, assassinated, 109-111.
Godiva, remark upon, 183.
Goethe, J. W., quoted, upon housekeeping, 177.
Gog and Magog, pictures of, 50.
Gondomar, Count, complains of a caricature, 96, 97.
Greeks, art among, 28.
Griswold, Roger, assaulted by Lyon, 312.
H.
Hamilton, Alexander, talked well on finance, 124.
_Harper's Weekly_, during war, 326;
pictures from, 318-332.
Herculaneum, how discovered, 21.
Hindoos, the, art among, 36;
their domestic code, 175.
Hogarth, William, his career, 120, 133;
caricatures by, 134, 137, 138;
his five days' peregrination, 137;
anecdote by, 138;
his burlesque dedication, 140;
procures act of Parliament, 141;
his last letter, 304.
Holbein, Hans, caricatures indulgences, 72, 73;
illustrates Erasmus and Brandt, 76;
his triumph of riches, 81.
Homer upon pigmies, 17.
Horace, quoted, upon slavery, 23;
upon a miser, 24;
upon the Saturnalia, 25.
Howard, Cardinal, personated, 111.
Howells, William D., upon San Carlo, 42, 47.
Huc, M., quoted, upon the Chinese, 191.
Huguenots, caricatures by, 118.
Humbert, Aime, his work upon Japan, 198;
a caricature from, 206.
Humpty Dumpty, antiquity of, 23.
I.
Ipswich noted in Puritan period, 97.
Isaac the Jew, caricatured, 63.
Italy, caricature in, 257.
J.
Jackson, Andrew, in caricature, 320, 322.
"Jade Chaplet," the, a poem from, 193.
Japan, comic art in, 198, 206.
Jefferson, Thomas, quoted, upon the hereditary principle, 147;
upon Scott's novels, 184;
upon the freedom of the press, 218;
caricatured, 313.
Jerome, St., his portrait, 47.
Jews, the, position and character of, in Middle Ages, 62.
Jupiter, caricature of, 29, 30.
Juvenal, quoted, upon slavery, 23;
upon the toilette, 24;
upon the Greeks, 31;
upon learned women, 179.
K.
Kenrick, J., quoted, upon Theban remains, 33.
Krishna, in Hindoo theology, 36-38.
L.
Langlois, E. H., quoted, upon the Death-crier, 56.
Laud, Archbishop, caricatured, 98, 100-102.
Law, John, his career, 120, 123-132.
Leech, John, his comic pictures, 284-286;
his portrait, 285.
Leighton, Dr. Alexander, persecuted, 98.
Lent and Shrovetide, tilt of, 107, 108.
Leo X., pasquinade upon, 258.
Lincoln, Abraham, in _Punch_, 290, 291.
London, its antiquity, 22.
Longfellow, H. W., quoted, upon Dance of Death, 59.
Louisiana, scheme for settling, 125;
old map of, 126.
Louis Philippe, his reign, 216, 217;
caricatured, 218, 321.
Louis XIV., caricatured, 115, 116, 118;
his finances, 121.
Louis XV., his education, 159;
anecdote of, 161.
Louis XVI. caricatured, 166, 167.
Louis XVIII., his character and reign, 212, 213.
Lucian, quoted, upon Jupiter, 30.
Luther, Martin, his aversion to Jews, 63;
caricature of, 64;
upon the devil, 65;
disliked Erasmus, 75;
used caricature in the Reformation, 76;
his marriage, 78;
his credulity, 93.
Luxembourg, Duc de, anecdote of, 116.
Lyon, Matthew, his assault upon Griswold, 312;
fined and imprisoned, 313.
M.
Macaire, Robert, burlesques so called, 221.
Malcolm, J. P., quoted, upon grotesque decoration, 44-46;
picture from, 90, 95, 196, 197.
Marcelin, M., dedicates loose pictures to his mother, 231.
Marcus Aurelius, quoted, upon Christians, 26.
Maria Theresa civil to Pompadour, 160.
Marie Antoinette caricatured, 169, 170.
Mary, Queen, her prayer-book, 46, 53, 54.
Masks worn by ancient actors, 22.
Mather, Cotton, quoted, upon the Franklins, 301, 302.
Mather, Increase, quoted, upon the press, 302.
Matrimony, caricature of, 173, 177;
in China, 192.
Melanchthon, Philip, upon Luther's marriage, 79.
Menius, Dr., anecdote of, 63.
Mercury burlesqued, 29, 30.
Merimee, M., quoted, on the devil, 53.
Middle Ages, caricature of, 40, 50.
Midnight masses, gayety of, in France, 61.
Mingotti, Signora, caricature of, 143.
Mirabeau, Gabriel, Comte de, caricature of, 162.
Mitford, A. W., quoted, upon Japanese preaching, 198.
Mokke, Mosse, caricatured, 63.
Moor, Major Edward, quoted, upon Hindoo art, 36.
Morellet, Abbe, quoted, upon Franklin, 306.
Morgan, Matt, a caricature by, 299.
Morris, Robert, caricatured, 309.
N.
Nareda, in Hindoo mythology, 38.
Nast, Thomas, portrait of, 318;
caricatures by, 319, 320, 328, 329;
his career, 326.
Nilus, St., quoted, upon grotesque decoration, 46.
Nonius Maximus caricatured at Pompeii, 16.
North, Lord, caricatured, 157;
disapproves policy of George III., 158.
Norton, Charles Eliot, quoted, upon art in Italy, 260, 262.
Norwich, great dragon of, 51.
Notables, the, caricatured, 161.
Nucerians, the, their contest with the people of Pompeii, 17.
O.
Oates, Titus, denounces Popish plot, 109.
Old masters, Hogarth upon, 138;
burlesque of, 139.
Olympiodorus, St. Nilus to, on decoration, 46.
Opimius burlesqued by Horace, 24.
Orange, Prince of, anecdote of, 116.
Orleans, Duc de, Regent of France, 122.
Osiris, in Egyptian art, 33.
Oudinot, General, caricatured, 260, 261.
P.
Paine, Thomas, caricatured by Gillray, 154;
in a caricature, 297.
Palladas, his epigram upon marriage, 177.
Palmerston, Lord, in _Punch_, 289, 290.
Parrhasius, anecdote of, 28.
Pasquino, account of, 257, 259.
Pergamus, unswept hall of, 28.
Petre, Father, caricature of, 109.
Philipon, Charles, portrait of, 218;
his _Charivari_, 220;
his trial, 220.
Pigmies, Pompeian pictures of, 15, 17-19;
described by Pliny, 17;
uses of, 18.
Pike, Luke Owen, a caricature from, 63;
quoted, upon clerical robbers, 69.
_Pirlone, Il Don_, caricatures from, 259-263.
Pitt, William, antagonist of Napoleon, 158;
caricatured by Isaac Cruikshank, 274.
Pius VI., pasquinade upon, 258.
Pius IX. caricatured, 263.
Pliny the Elder describes pigmies, 17;
upon Greek art, 28.
Pliny the Younger, quoted, upon Christians, 26.
Pocahontas, anecdote of, 175.
Pole, Cardinal, caricatured, 86.
"Politician Outwitted," quoted, 307.
Pompadour, Madame de, anecdotes of, 159-161.
Pompeii, chalk caricatures from, 15, 17;
pigmy pugilists from, 15;
described, 16;
its amphitheatre closed, 17;
how discovered, 21.
"Poor Richard," the comic almanac of its day, 303.
Pope, Alexander, speculates in shares, 128;
in a caricature, 136;
quoted, upon Walpole, 142;
women, 184.
Popish plot, terror of, 109.
Processions, remarks upon, 91;
in honor of Virgin Mary, 92;
upon birthday of Queen Elizabeth, 110.
Proverbs satirizing women, 185.
Prynne, Lawyer, loses his ears, 99;
his triumphal return to London, 99.
_Puck_, a burlesque from, 197.
Punch, antiquity of the legend, 31;
in Calcutta, 39;
in China, 191;
at Cairo, 264;
origin of, 265.
_Punch_, 284.
Puritan period, caricatures of, 90;
terror of, 93, 94, 98, 105, 106.
Q.
Quaker meeting, caricature of, 116.
Queen of James II., caricature of, 109.
Quincampoix, scenes in the street so named, 127, 129.
R.
Rabelais, Francois, his influence, 85, 86.
Randon, M., his caricatures, 227, 230.
Rationalism, caricature of, 298.
Reformation, the, caricatures of, 76;
abolished processions, 93.
"Reynard the Fox," its effect, 70.
Rheims, its cathedral, 40.
Richard II., his psalter, 45.
Richter, Ludwig, caricature by, 248.
Rochefoucauld, Duc de, quoted, upon women, 184.
Roman Catholic Church, remark upon, 46.
Rome, actors of, 22.
Roundhead, the nickname, retorted, 104.
Rupert, Prince, caricature of, 102.
Russell, Benjamin, his allegory, 310.
Russell, Earl, quoted, upon George III., 157;
upon a caricature of himself, 284.
S.
Sacheverell, Dr., caricatured, 116, 117.
Sachs, Hans, his picture described, 78.
Saint-Simon, Duc de, quoted, upon the French Government, 125.
Satan, traditional character of, 51.
Saturnalia, the, at Rome, 24.
Saxe-Weimar, Duke of, quoted, upon American manners, 277.
Scalp Hoax, the, described, 305.
Scott, Sir Walter, Jefferson upon his novels, 184.
Secession War, caricatures of, 324-326.
Servetus, Michael, burned, 83, 84.
Seymour, Robert, suggests "Pickwick," 280.
Shakspeare, William, his death, 95.
Sheridan, R. B., in Gillray's caricatures, 154;
anecdote of, 165.
Sherman, Roger, upon title of the President, 309.
"Ship of Fools" described and quoted, 60, 180.
Shrovetide and Lent, caricatures of, 107, 108.
Silenus, the legend of, 23.
Sleeping Congregation, the, Hogarth's picture of, 134.
Smart, Rev. Peter, persecuted, 98.
Smith, William, burlesqued, 316.
Socrates burlesqued by Aristophanes, 31.
South Sea Scheme described, 128;
caricatures of, 135.
Spain, proverbs of, 185;
comic art in, 249.
Spayne and Rome defeated, picture of, 95.
Stael, Madame de, Napoleon afraid of, 208.
Stent, G. C., quoted, upon the Chinese, 192.
Stone, S. J., caricature by, 298.
Story, W. W., quoted, upon Pasquino, 258, 259.
Strafford, Earl of, caricatured, 99, 100.
Strasburg, its cathedral, 41.
T.
Talleyrand, Prince de, caricatures of, 209, 211;
quoted, upon Napoleon, 212;
caricatured, 268.
Tammany Ring, spoliations of, 328.
Taylor, W. B., collects war envelopes, 324, 325.
Temptation, the, picture of, 55.
Tench, drum-maker, his fete, 106.
Tenniel, John, his pictures in _Punch_, 286, 289, 290;
portrait of, 295.
Terence, quoted, upon women, 179.
Tertullian, quoted, upon Last Judgment, 54.
Thackeray, W. M., his caricature of Louis XIV., 119;
quoted, upon Hogarth, 137;
upon Louis Philippe, 219, 220;
commends Daumier, 223.
Thebes, antiquities of, 33, 35.
Titian burlesques the Laocooen, 89.
Tomes, Robert, quoted, upon Rheims Cathedral, 40.
Training Day, burlesque of, 308.
Trajan to Pliny, upon the Christians, 27.
Trollope, Mrs., her burlesques of American women, 183, 186, 276, 277,
279;
burlesqued, 323.
Tweed, William, caricatured, 319, 320, 328.
Tyrolese, the, scandalize their priests, 69.
V.
Van Buren, John, anecdote of, 320.
Van Buren, Martin, in caricature, 320, 322.
Velocipede IV. See _Bonaparte, Louis_.
Viollet-le-duc, M., quoted, upon burlesque decoration, 64.
Virgil, quoted, upon AEneas, 20.
Virginia Pausing, caricature, 326.
Virgin Mary, her festival, 92.
Voltaire, quoted, upon Massacre of St. Bartholomew, 94.
W.
Wade, Mr., burlesque of, 196, 197.
Waldegrave, Lord, quoted, upon George III., 150, 157.
Wales, Prince of, caricatured, 299.
Wales, Princess of, quoted, upon George III., 148;
caricatured, 152.
Wall Street, scenes in, during inflation, 121.
Walpole, Horace, quoted, upon a caricature, 144;
upon mother of George III., 148.
Walpole, Sir Robert, in South Sea speculations, 128;
bribes, 141, 142;
caricatured, 144, 145;
downfall, 145.
Ward, Samuel, his caricature, 96, 97.
Washington, George, the picture of his crossing the Delaware, 21;
caricatured, 309.
Weather-cock, order of the, 214.
Wilkes, John, Franklin upon, 151.
Wilkinson, Sir Gardner, quoted, upon Egyptian remains, 34, 35.
William and Mary, caricatures during their reign, 115.
William IV. caricatured by Doyle, 276.
Williams, S. W., a Chinese caricature from, 191.
Willis, N. P., his interview with Dickens, 282.
Winchester, its cathedral, 43.
Wine among the Egyptians, 33, 34;
among the monks, 68.
Women and matrimony, caricatures of, 171-190.
Worms, altar-piece at, 49.
Wright, Thomas, gives caricature of Irish warrior, 61;
quoted, 70.
X.
Xenophon, quoted, upon marriage, 177.
Z.
Zeuxis, anecdote of, 28.
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Half Morocco, $8.50.
BENJAMIN'S CONTEMPORARY ART. Contemporary Art in Europe. By S. G. W.
BENJAMIN. Handsomely Illustrated. 8vo. (_In Press._)
TROWBRIDGE'S POEMS. The Book of Gold, and Other Poems. By J. T.
TROWBRIDGE. Handsomely Illustrated. 8vo. (_In Press._)
THE DESERT OF THE EXODUS. Journeys on Foot in the Wilderness of the
Forty Years' Wanderings; undertaken in connection with the Ordnance
Survey of Sinai and the Palestine Exploration Fund. By E. H. PALMER,
M.A., Lord Almoner's Professor of Arabic, and Fellow of St. John's
College, Cambridge. With Maps and numerous Illustrations from
Photographs and Drawings taken on the spot by the Sinai Survey
Expedition and C. F. Tyrwhitt Drake. Crown 8vo, Cloth, $3.00.
THOMSON'S MALACCA, INDO-CHINA, AND CHINA. The Straits of Malacca,
Indo-China, and China; or, Ten Years' Travels, Adventures, and Residence
Abroad. By J. THOMSON, F.R.G.S. With over 60 Illustrations from the
Author's own Photographs and Sketches. 8vo, Cloth, $4.00.
TREVELYAN'S SELECTIONS FROM MACAULAY. Selections from the Writings of
Lord Macaulay. By his Nephew, G. OTTO TREVELYAN, M.P. for Hawick
District of Burghs. 8vo, Cloth, $2.50.
JEFFERSON'S DOMESTIC LIFE. The Domestic Life of Thomas Jefferson:
compiled from Family Letters and Reminiscences, by his Great-granddaughter,
SARAH N. RANDOLPH. Illustrated. Crown 8vo, Cloth, $2.50.
JOHNSON'S COMPLETE WORKS. The Works of Samuel Johnson, LL.D. With an
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KINGLAKE'S CRIMEAN WAR. The Invasion of the Crimea: its Origin, and an
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Published by HARPER & BROTHERS, New York.
[Transcriber's notes: Obvious printer's errors have been corrected, all
other inconsistencies are as in the original. The author's spelling has
been maintained.
Superscripts are enclosed in {}.
Page 112: "With Bluddy hands that ware his Cruell foes", the "u" in
bluddy should have a macron over it.
Page 275 and following: The "HB" present in this file are in the
original book a symbol looking like H3, without the space between both
caracters.
Page 4 of the adverts: "Imperial University of T[=o]ki[=o]", the "o" in
Tokio should have a macron over them.]
End of Project Gutenberg's Caricature and Other Comic Art, by James Parton