A History of Caricature and Grotesque in Literature and ArtWright, Thomas
History
A History of Caricature and Grotesque in Literature and Art
Wright, Thomas
Caricature -- History
Caricatures in France began to be tolerably abundant during the middle
of the seventeenth century, but under the crushing tyranny of Louis
XIV., the freedom of the press, in all its forms, ceased to exist, and
caricatures relating to France, unless they came from the court party,
had to be published in other countries, especially in Holland. It will
be sufficient to give two examples from the reign of Louis XIV. In the
year 1661, a dispute arose in London between the ambassador of France,
M. D'Estrades, and the Spanish ambassador, the baron de Batteville,
on the question of precedence, which was carried so far as to give
rise to a tumult in the streets of the English capital. At this very
moment, a new Spanish ambassador, the marquis de Fuentes, was on his
way to Paris, but Louis, indignant at Batteville's behaviour in London,
sent orders to stop Fuentes on the frontier, and forbid his further
advance into his kingdom. The king of Spain disavowed the act of his
ambassador in England, who was recalled, and Fuentes received orders
to make an apology to king Louis. This event was made the subject of
a rather boasting caricature, the greater portion of which is given in
our cut No. 176. It is entitled "Batteville vient adorer le Soliel"
(Batteville comes to worship the sun). In the original the sun is seen
shining in the upper corner of the picture to the right, and presenting
the juvenile face of Louis XIV., but the caricaturist appears to have
substituted Batteville in the place of Fuentes. Beneath the whole are
the following boastful lines:--
_On ne va plus à Rome, on vient de Rome en France,
Mériter le pardon de quelque grande offence.
L'Italie tout entière est soumise à ces loix;
Un Espagnol s'oppose à ce droit de nos rois.
Mais un Français puissant joua des bastonnades,
Et punit l'insolent de ses rodomontades._
Public-domain text, read in full here on John Shaqi.
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