File:The history of the nineteenth century in caricature (1904) (14596764880).jpg

Identifier: historyofninetee01maur (find matches)
Title: The history of the nineteenth century in caricature
Year: 1904 (1900s)
Authors: Maurice, Arthur Bartlett, 1873-1946 Cooper, Frederic Taber, 1864-1937, joint author
Subjects: History, Modern Nineteenth century Caricature
Publisher: New York : Dodd, Mead
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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gland for a full generation after the battle ofWaterloo, and that is the question of expense. A publicwhich freely gave shillings and even pounds to see its hatredof Little Boney interpreted with Gillrays vindictivemalice hesitated to expend even pennies for a cartoon on thecorn laws or the latest ministerial changes. In England, aswell as on the Continent, caricature as an effective factor inpolitics remained in abeyance until the advent of an essentiallymodern type of periodical, the comic weekly, of which LaCaricature, the London Punch, the Fliegende Blatter, and inthis country Puck and Judge, are the most famous examples.The progress of lithography made such a periodical possiblein France as early as 1830, when La Caricature was foundedby the famous Philipon; but the oppressive laws of censor-ship throughout Europe prevented any wide development ofthis class of journalism until after the general political up-heaval of 1848. It would be idle, however, to deny that Gillray exerted a
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CENTURY IN CARICATURE 61 lasting influence upon all future caricature. His license, hisvulgarity, his repulsive perversion of the human face andform, have found no disciples in later generations; but hiseffective assemblage of many figures, the crowded significanceof minor details, the dramatic unity of the whole conceptionwhich he inherited from Hogarth, have been passed on downthe line and still continue to influence the leading cartoonistsof to-day in England, Germany, and the United States,although to a much less degree in France. Even at the timeof Napoleons downfall the few cartoons which appeared inParis were far less extreme than their English models, whilethe German caricaturists, on the contrary, were extremelyvirulent, notably the Berliner, Schadow, who openly acknowl-edged his indebtedness to the Englishman by signing himselfthe Parisian Gillray; and Volz, author of the famous trueportrait of Napoleon —a portrait in which Napoleons face,upon closer inspection, is seen ma

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