A specimen of these is given in our cut No. 168--a naked witch seated upon a skeleton of an animal that might have been borrowed from some far distant geological period. In 1642, Della Bella executed a set of small "Caprices," consisting of thirteen plates, from the eighth of which we take our cut No. 169. It represents a beggar-woman, carrying one child on her back, while another is stretched on the ground. In this class of subjects Della Bella imitated Callot, but the copyist never succeeded in equalling the original. His best style, as an original artist of burlesque and caricature, is shown in a set of five plates of Death carrying away people of different ages, which he executed in 1648. The fourth of this set is copied in our cut No. 170, and represents Death carrying off, on his shoulder, a young woman, in spite of her struggles to escape from him. [Illustration: _No. 169. Beggary._] With the close of the seventeenth century these "Caprices" and masquerade scenes began to be no longer in vogue, and caricature and burlesque assumed new forms; but Callot and Della Bella had many followers, and their examples had a lasting influence upon art. We must not forget that a celebrated artist, in another country, at the end of the same century, the well-known Romain de Hooghe, was produced from the school of Callot, in which he had learnt, not the arts of burlesque and caricature, but that of skilfully grouping multitudes of figures, especially in subjects representing episodes of war, tumults, massacres, and public processions. Of Romain de Hooghe we shall have to speak again in a subsequent chapter. In his time the art of engraving had made great advance on the Continent, and especially in France, where it met with more encouragement than elsewhere. In England this art had, on the whole, made much less progress, and was in rather a low condition, one branch only excepted, that of portraits. Of the two distinguished engravers in England during the seventeenth century, Hollar was a Bohemian, and Faithorne, though an Englishman, learnt his art in France. We only began to have an English school when Dutch and French engravers came in with King William to lay the groundwork. [Illustration: _No. 170. Death carrying off his Prey._] CHAPTER XIX. THE SATIRICAL LITERATURE OF THE SIXTEENTH CENTURY.--PASQUIL.-- MACARONIC POETRY.--THE EPISTOLÆ OBSURORUM VIRORUM.--RABELAIS.-- COURT OF THE QUEEN OF NAVARRE, AND ITS LITERARY CIRCLE; BONAVENTURE DES PERIERS.--HENRI ETIENNE.--THE LIGUE, AND ITS SATIRE: THE "SATYRE MÉNIPPÉE."