The Mask.
—
Satyr, Italian Renascence, by Sta. Maria del Popolo, Rome.
9.
Dying warrior, by
10.
95
The Grottesque Mask.
over a Festoon in
Sansovino,
Schluter, Berlin arsenal, 1697.
The Grottesque Mask.
(Plates 62—64.")
Masks and Caricatures pass into each other, so that it is diffidraw a strict line between them. The French language expresses tViia connection, clearly, by using the related words "masque" and "mascaron." Under Masks are usually classed the delineations of beautiful cult to
countenances, either true tp nature or idealising it. Caricatures are faces gi inning, deformed, distorted by accessories, or terminating in foliage.
The Antique, which had no love whatever the ugly and bizarre,
only used Caricatures in
for the depicting of its
oldest periods,
the so-called Archaic style. The Middle Ages frequently employed Caricatures. The Renascence and Barocco styles, as well as our most
in
Modem,
often apply Caricatures to keystones, to consoles, as spouts and handles, on shields and cartouches, in capitals and panels, on the art,
backs of chairs, and in general on carved furniture, on stove-tiles, &c. We possess a number of excellent Caricatures from the hand of the youthful Michelangelo, who treated this form with predilection, and with the breadth characteristic of his genius.
Plate
The Grottesque Mask.
62.
Etruscan,
1.
terracotta,
Campana
collection,
(P. A. M.,
Cours
d'omement). 3.
Grottesque, Italian Renascence, Venice. Grottesque, tomb of the cardinal Sforza, Sta. Maria del Popolo,
4.
Rome, Italian Renascence, by Sansovino. Single Grottesque, from frieze, Italian Renascence,
2.
by MichelSan Lorenzo, Florence. Part of capital of pilaster, French Renascence, tomb of Louis XII, angelo,
6.
St.
Denis.
6—7. Modern French Plate 1.
2
—
4. $.
3.
63.
Grottesques.
The Grottesque Mask.
Carved bench, Italian Renascence, Bargello, Florence. Female, metal shields, German Renascence. Akroter, Tribunal de Commerce, Paris. Grottesque, Louvre, Paris, (Bald us).