Worldwide Spread of Caricature

WORLDWIDE SPREAD OF CARICATURE Doyle and Seymour.—In England, as in France, modern caricature may be fairly dated from 183o, when McLean, the printseller, commenced the issue of his Monthly Caricature Sheets, a series which outlasted Philipon's first venture by a year. These sheets were entirely covered with lithographs, mostly by Robert Seymour, but also by John Doyle who in the previous year had begun the famous series of political cartoons, also in lithograph, over the mysterious signature "H. B." These, too, were published by McLean, and although it would be paying him too high a com pliment to style him the English Philipon, he is certainly to be congratulated on having brought out two such notable caricatur ists as Doyle and Seymour, and also on having realized the prac tical and artistic possibilities of lithography for the purpose. Doyle was an Irishman who came to London to paint portraits, but turning his attention to lithography, like Philipon, found it an equally efficient and delightful means of improving and re fining the artistic qualities of political caricature. George Cruik shank, not content to follow in his father's footsteps, but still using the needle, was also a great, and certainly a wider, influence in the general refinement upon the monstrous and extravagant fancies of the older school which is apparent in the work of John Leech, Richard Doyle, Hablot Browne and the rest. But there is a softness and a gentle spirit of raillery in the elder Doyle's polit ical sheets—numbering in all over goo—and at least equally dis cernible in the work of his son, that inclines one to place Doyle as high as Cruikshank among those to whom the spirit of modern caricature is most indebted for its high tone and gentle demeanour, no less than for its artistic excellence.

Robert Seymour, whose name and work are now entirely for gotten, was really one of the older school. Like Woodward and Bunbury, he was a born caricaturist. It was his suggestion of Cockney Sporting Plates to be issued monthly that was altered by Charles Dickens, whom he asked to supply the letterpress, into The Pickwick Papers, and he was their first illustrator. His art was not of the highest order, or he might not have achieved such a wide popularity in his inartistic period. It was in Figaro in London, edited by Gilbert a Beckett, that Seymour was described, in 1833, as the Shakespeare of caricature, and in the same year was announced The Terrific Penny Magazine with cuts by Sey mour and other artists of celebrity, and later, The Wag, and a new supply of Figaro's caricature gallery. In this sort of company one might observe, like Dr. Primrose, that if there was not more wit than usual, there was certainly more laughter. But the dom inating figure of this period was, undoubtedly, George Cruik shank, who, if we allow for the difference in time and circum stances, occupied very much the same place in the 19th century as Hogarth did in the 18th.

The untimely death of Seymour, by his own hand, in 1836, and a diminishing output of H. B.'s lithographs, may possibly have accelerated the foundation in 184o of Punch or the London Charivari. Certainly the time was ripe for such an event, thanks to the efforts of the preceding decade, and although neither the elder Doyle nor George Cruikshank had any hand in it, and its origins were of the humblest, it soon established itself, and only needed Richard Doyle and John Leech to make its success the more sure and more glorious.

But the success of Philipon's papers in Paris was bound to be attempted, sooner or later, in other countries than England, and for even a glance at the history of caricature during the second half of the 19th century we must look all over Europe—to say nothing of America, north and south—where in every capital the press was being requisitioned to provide a regular weekly service of vehicles for comical and satirical expression of feeling, which had hitherto had to go on foot or hire a conveyance for any particular occasion.

Bismarck in Caricature.

Such a consummation was, per haps, dimly foreshadowed by the publication, in 189o, in Paris, of a little volume entitled Bismarck en Caricatures, illustrated by 14o cartoons, etc. from the more important periodicals since 1862. Its author, J. Grand-Carteret, was already well known for his work on caricatures in earlier periods, and he followed it some years later with volumes dealing similarly with Leopold II., Nicholas II., Alphonse XIII. and Edward VII., which bring us nearer to present days. But the first volume, in itself marking a distinct advance in the importance of caricature as an aid to history, and also emphasizing, as it happened, the beginning of a new epoch with the dismissal of the great Chancellor, is for many reasons the most valuable. Allowing for Bismarck being its only subject, with the stage all to himself, one cannot fail to see how clearly the mirror of caricature reflects the events, and the sub tleties with which they are developed, throughout the whole quar ter of a century in which Bismarck was violently, yet always re spectfully attacked, both in his own country and in many other States. A French author might be pardoned for a little bias in dealing with such a subject, but throughout the volume there is hardly a cartoon which Bismarck himself could not have regarded with pleasure or pride. All are tributes to his incessant activity and efficiency, even those of the little Munich Punsch, which never ceased to sting him till it ceased to appear in 187o. The occasional issue of single caricatures to a very limited clientele was now su perseded by the regular publication of illustrated periodicals which were read by thousands, and the foundations of a perma nent and world-wide alliance between caricature and journalism were firmly laid. On its social side this alliance was no less fruit ful in its developments than in politics, and the gain to both parties to it became more and more apparent as the century ad vanced to its close. To posterity the gain is immeasurably greater, in having a live record of manners and customs in place of the haphazard fragments from which its knowledge of earlier periods is alone derivable. Astronomers contemplate the heavens in a pool of mercury, and the reflections of human action in the mer curial element, though the gaiety of nations may ripple the sur face, are not so distorted as to impair their interest or their value. Rather do the ripples add that relish to matter of fact which, as we presently shall see, is at the root of the derivation of the word caricature, and, we may almost say, of a really spir itual understanding of anything human.

Eastern Europe.—Beginning with the remotest and least pro lific of the nations, we find in Russia Strekoza and Palimet, in Cracow Djabel and in Warsaw Mucha. None of these is available for perusal in England, but the Buda-Pest Borsszem Janko, by some strange chance, though not mentioned by Grand-Carteret, is in the British Museum library. It began with the New Year in 1868, and had an excellent artist in Karl Klic. It is amusing to find scraps of English here and there ; there is "Lord Jockeymor land" in Janko's Museum, remarking on a bottled specimen "in deed very curious," while outside Queen Victoria is sitting at tended by a Scotch piper. In 1887 the paper was still well illus trated, by Klosz and others unnamed, a really fine cartoon being a grim rendering of "Cholera," and a more amusing one showing Bismarck in the prompter's box dismissing the old year down a stage trap, and tailing on the new, armed to the teeth. More surprising is a group of politicians in the disguise of Gilbert and Sullivan's Mikado and the "Three Little Maids from School." Caviar, another Hungarian paper, had a good caricaturist in C. Sieben.

Vienna, as might be expected, was far more prolific. Kikeriki, founded in 1861, is still crowing ; Figaro, a name adopted by nu merous papers and in all lands—there was even a Sheffield Figaro —was most famous in Vienna; and there were also Der Floh, Lucifer, Die Bombe, Die Auste, Wiener Caricaturen and Die Muskete. At Innsbruck, too, was Der Scherer, and at Prague Huinoristiche Listy.

Spain and Portugal.

In Lisbon, Os Puntos nos ii (the dots on the i's) had a notable cartoonist in Raphael Pinheiro. In Madrid the only considerable illustrated paper in the last century was El Motin, and the work of Spanish caricaturists must be looked for in North and South America. But there is now quite a long list including El Liberal, Espana, Gil Blas, Gedeconcito, Blanca e Nera, La Espera, Gedeon, El Mundo Humoristico. In Barcelona two excellent caricaturists, Bracons ("Apa") and Ing lada, work for Iberia, and Picarol for La Campana de Gracia.

Switzerland, Belgium, Holland.—Switzerland was fortu nate in having two caricaturists at a much earlier date, Rudolf Topffer and Martin Bisteli. Both were dead before 185o; but their influence may have contributed to the success of the Geneva Carillon and the Zurich Postheiri and Nebelspalter, the last of which attained first rate importance in political caricature and is still flourishing.

In Belgium, the grotesque and somewhat fearful expressions of Breughel, Bosch, Wierz and Jan van Beers found a remarkable exponent in Felicien Rops, whose contributions to the Brussels Uylenspiegel in the '5os and '6os are among the rariora of mod ern prints. On one occasion, in 1863, he paid Grandville the com pliment of a new version of that artist's famous cartoon of 1831, "Order is established in Warsaw." In the '8os, the eccentricities of "Popold" had begun to afford opportunity for the caricaturists which were not neglected. At Liege, there were Lemaitre in Le Rasoir and Lapierre in Le Frondeur; and in Brussels, Boum-Kel kou in Le Clairon, Sebranc in the Moniteur du Congo, Levy in Le Gourdin, and Zarib in Clair de Lune. With the new century ap peared G. Julio in Le Cri du Peuple and La Re f orme, C. de Buss chera in Le Flirt, Sicambre in Le Zwanzeur, besides others in Le Sifet, La Trique and Les Corbeaux.

From the colder genius of Holland, where Romeyn de Hooghe established pictorial satire as a serious contribution to politics, we need not expect very much on the lighter side of caricature, but can appreciate all the better the extraordinary manifestation of the old spirit in Louis Raemaekers' War cartoons ; and even forgive the Amsterdam Weekblad von Nederland and De Kroniek for their sharpest hits at the British Government in the Boer War. The magnificent conception of Cecil Rhodes in his coach, in 1897, needs no forgiveness. De Notenkraker, Amsterdam, and De Nederlandische Spectator at The Hague are also to be re membered.

Scandinavia, Greece, Italy.—Scandinavia, in an atmosphere comparatively free from the political smoke or social scents of its neighbouring countries, has produced numerous caricaturists whose delightfully fresh and simple touch proclaims their kinship with Grieg and Ibsen. With the exception of Olaf Gulbranson and "Blix" who became famous on Simplizissimus, their names and their works are little known abroad. Among the earliest were Wilhelm Marstrand, Constantin Harrisen and Fritz Jorgensen in Copenhagen and Wilhelm Petersen, the illustrator of Hans An dersen. In the Danish Punch we find excellent work of Hans Tegner and Knud Gamborg, in Blaeksprutten and Klods-Hans of Alfred Schmidt, and in V ort Land of Axel Thiess.

In Norway and Sweden the principal artists were Th. Kittlesen in Tyrilhaus, E. Schwart in Sondags Nisse, Knud Stangenberg in Strix, and Albert Engelstrom.

At the present time Copenhagen maintains a good display but of no special merit. "Blix" contributes on Sundays to the ven erable Berlingske Tidende (no connection with Berlin), now in its i8oth year. Politiken, approaching its jubilee, is wonderfully vivid and varied, as are the morning Dagens Nyheder, the noonday B.T. and the weekly Hjemmet.

If Greece was somewhat outside the European circle in the last century, and if her language and written character are still beyond the casual intelligence, her recent contributions to our subject are fuller and more certain than in the days of Pauson. Romeos, the most famous of all Greek comic papers, which first appeared in 1883 and was read by every Greek from Marseille to Trebizond, was the work of one man, Soures, the Aristophanes of modern Greece, who wrote the whole of it (including the ad vertisements) in verse. It ceased, with his death, in 1918. Asty was more remarkable for its caricatures (a volume of which has been published) by its editor Themistocles Anninos (d. 1906). Eleutheron Bema, the present leading morning paper, exhibits a daily cartoon (r€Xocoypackia) by Ph. Demetriades; and Proia, an other daily, rivals it in the productions of El. Koumetakes and N. Kastanakes. Gatos (the Cat), a weekly paper, supplies the only coloured caricatures in this country.

In Italy, modern caricature began with the establishment of Il Fischietto in 1848, at Turin, as a very small paper with one or two crude woodcuts. But it soon enlarged itself, and early in the '6os it was admirably, one is almost tempted to say superbly, illustrated by three artists, Virginio, Teja and Redenti. If Vir ginio's lithographs lacked the genius of Daumier, as any but Daumier's must, they lacked little else to recommend them both to the collector and to the historian. Had Grand-Carteret in cluded Napoleon III. in his series, the Italian artists would have had a preponderating share of the illustrations, for as he points out in his Bismarck, French influence was predominant in Italy right up to 187o, and it seemed that the caricaturists were vio lently protesting against it. After 187o, he adds, there is a com plete change ; the kingdom of Italy, having now attained her unity and territorial integrity, began to look abroad, and the press ad mirably reflected the new state of affairs. Italian comic papers might be those of a neutral country with cosmopolitan ideas, and Papagallo, soon afterwards established in Bologna, was a veritable European picture gallery, unfolding week by week in a succession of coloured cartoons the broadest outlines and most important questions of European politics. So great was the success of Papa gallo that it was soon imitated by Il Trottola and 11 Rana. II Pasquino was already established at Turin and Il Pulchinella in Naples. Il Fischietto was later managed and illustrated by Cam illo Marietti, who signalized the retirement of Bismarck in 1890 by a cartoon which may take rank with Tenniel's "Dropping the Pilot." ft was entitled "L'Armoire aux retraites," and showed Tisza and Bismarck each occupying a cupboard, and the hand of history pointing out a third to Crispi. Il Travaso in Rome, Il 42o in Florence, L'Uomo di Pietra and Guerin Meschino in Milan, are lively younger brothers of the still flourishing Pasquino. Among the modern caricaturists none is finer than Musacchio, and none more effective than Sacchetti.

Germany, France.—The extent and diversity of modern Ger many, apart from her great place in Europe, precludes more than a very scanty tribute in our space to the very large and accom plished family descended from Luther and Cranach as also from Gutenberg and the early block printers. Between the homeliness of Adolf Oberlander and the mordancy of Th. H. Heine there is a wide gulf, but it is by no means a void; and from Fliegende Blotter of 1845 to Des Junggeselle of 1928 one cannot step as through a desert. Berlin and Munich were naturally the two most prolific centres, and they were not long in following England in Philipon's train with Kladderadatsch (1848) and Fliegende Blotter (1845). Munich was first in point of time, and has certainly never been eclipsed by Berlin in point of quality. The miniature car toons of E. Schleich from 1862 to 187o in the Munich Punsch are a most valuable commentary on the story of the rise of Prus sia under the influence of Bismarck. Jugend and Simplizissimus in later times have developed the artistic possibilities of carica ture, and if with more vigour than charm, it may be added that even their most cruel and brutal satire has something about it which compels laughter. In Berlin, besides Kladderadatsch, there were soon Der Ulk in 1868, Wespen in 187o, Lustige Blotter, and Humoristiche Blotter. The Frankfurt Latern, the Stuttgart Wahre Jacob, the Dusseldorf Monatschaf te, the Danzig Bunte Blotter are all of them to be reckoned with the Berlin and Munich papers.

In France, the school of Philipon continued to flourish, and also to expand. Daumier lived on to 1879, and his cartoon after Sedan was one of his most impressive. Dore had abandoned cari cature, or "Cham" would not have been Daumier's next of kin. The foremost names or pseudonyms of the next generation were Nadar, Andre Gill, Draner, Sahib, Stop, Luque, Felix Regamey, Alfred le Petit, Moloch and Pilotell. Of the many new papers before 1890 were L'Eclipse, Le Trombinoscope, La Chronique Parisienne and La Chronique Amusante (all containing cartoons by Moloch), Le Journal Amusant, Le Cri de Paris, La Lune, La Charge, Triboulet, La Journee, Le Figaro Illustre, La Silhouette, Le Carillon and Le Si, flet. The last named, which began in 1872, was peculiarly vivacious, and its large coloured cartoons by Le Mare and others, though of little artistic merit, and vulgar in their extravagant outlines, were still very amusing and informing. It was thoroughly radical, and the ex-emperor, the royalists and the church cut very sorry figures in it. Certainly there was a decline in artistic illustration, not in France alone, towards and during the '8os ; and though we can hardly drag in Bismarck here, it is noticeable that after 1890 there were signs of a very potent re vival. The appearance of Gil Blas in the kiosques in 1891, and of Le Courrier Francais, if not a challenge to the inanities of "Mars" in La Vie Parisienne, was truly a relief. Though Steinlen was even less a caricaturist than Gavarni, and Forain little more, both were great artists, and it was a pity that so much of their sub ject matter being "the unmentionable," their really fine qualities, like those of Rowlandson and Gillray, had to wait to be dis covered.

The first appearance of Le Rire on Nov. i o, 1894, may fairly be regarded as an event of some importance in the history of caricature, at any rate as to its lighter side, and its opening num ber, with a coloured plate by J. L. Forain, is a document of con siderable interest. In the first place, there is its list of artists, which, even without the further promise "d'autres noms, aimes du public, et d'autres encore qui seront des surprises," is surpris ing enough :—J. L. Forain, Willette, Caran d'Ache, Fernand Frau, Depaquit, Paule Crampel, Courboin, Jossot, Georges Delaw, G. Darbour, D'Espagnet, Gyp, Heidbruck, Jean Veber, Leandre, Louis Anquetin, Ch. Maurin, H. de Toulouse-Lautrec, P. Bonnard, Hermann-Paul, Marc Mouclier, Vallotton, Rupert-Carabin, Roe del, Louis Morin, A. Schlaich, Alphonse Levy ("Said"); Grellet, Gumery, Verbeck, Vavasseur, Guydo, Charly, Lebegue. Even without Steinlen, Guillaume, Gerbault, Abel Faivre and many more, there are names in this list to which none of the previous generation, with the great Cham, Moloch, Sahib, Bac, etc., can deny at least equal places in the niches of fame. Of no less inter est, and of considerable historical significance, is the introduction of two features, "Le Rire d'Autrefois" and "Le Rire a l'Etranger," the latter still continuing. The former was distinctly homage to Philipon, the first item being a double page reproduction of Daumier's famous "Le Ventre Legislatif," with the mischievous parenthesis added "ca n'a pas beaucoup change depuis Later numbers reproduced still older caricatures, by Isabey and others. The foreign section had a distinctly English flavour, being introduced by a note signed "Globe-Trotter," and two out of its three items (nowadays it contains a dozen) were English—one by Sambourne from Punch, and the other by Phil May from The Sketch. The third was from the Vienna Floh, but still with a Gladstonian allusion—Bismarck as "The Grand Old Man" trying to fell Capriva personified as a tree. Of more recent date were L'Assiette au Beurre, Le Canard sauvage (subsequently Le Can ard enchaine), L'Intransigeant, L'Indiscret, Mon Dimanche, D'Artagnan, Fantasio and many others.

Great Britain.

Returning at last to England, it is in teresting to observe that Punch, though dominating the realm of caricature from its very inception, and for over a quarter of a century almost alone in its glory, was always equal to the oc casion, sustaining with dignity and charm the whole responsibility of an ancient and most honourable inheritance. Victorian condi tions inflated the popular love of monarchy, and the public at large came more and more to regard established institutions like the Royal Academy, Covent Garden theatre or the Langham hotel as all-sufficient, and to look askance at any attempt to supplement them with new ones. So that when Judy, Fun, Moonshine and Ally Sloper's Half Holiday were successfully established, they were never in any sense rivals to the legitimate monarch. It is rather surprising that half-a-dozen artists in a single journal, of so small a size, and with no coloured illustrations, should for half a century more or less have been the only representatives of the great family with its ramifications that flourished in former days. But autres temps, autres moeurs and the extraordinary vulgar ities with which the domestic life of the young queen and her con sort was made fun of soon gave place to the refinement introduced by the Doyles and established by their successors, Leech, Tenniel, Keene, Du Maurier and Sambourne. P'or Victorian England this must be allowed to have sufficed, and Dr. Primrose might now have observed that if there was not more laughter than of yore there was certainly as much wit. At the same time it must be admitted that the Victorian climate was not suitable for the development of rude health in caricature. Heavy academical foliage absorbed the sun, and the pungent undergrowth of Pre Raphaelitism only succeeded in forcing its way up by virtue of its deadly earnestness. Punch alone enjoyed the free air.

One plant, however, appeared in 1869, which by its fruits we know must have been from a seed of the original tree, namely Vanity Fair. Here, at last, was a revival, and in its pleasantest form, of personal caricature. Though "Ape" and "Spy" (Carlo Pellegrini and Leslie Ward) were the only two of its artists whose names are familiar to the general public, it is significant that many of the finest portraits in the earliest numbers were by J. J. Tissot, so that the success of the paper was really estab lished by Italian and French artists. Historically this is quite as it should be, just as "Punch" is named after the mythical "Pol chinello" whose characteristics were illustrated by Ghezzi, and one of its most successful artists, Du Maurier, was of French ex traction. Not until the last decade—la fin du siecle—did the Vic torian glaciation give any sign of loosening. Among the first, in 189o, and of itself insignificant, was a little paper called The Whirlwind edited by Herbert Vivian and Stewart Erskine and illustrated by some of the founders of the New English Art club —another sign. A little later Pick mye up made a gallant bid for popular favour, but was before its time. In 1894 there was a more decided crack, and The Yellow Book, published by Mat thews & Lane, threw up two volcanoes in the shape of Aubrey Beardsley and Max Beerbohm, whose molten streams combined to flow with ever increasing effect on the artistic and literary climate. Widely different as they were, both these young men achieved the same result in bursting the shackles that were cramp ing the arts of illustration and caricature. Reed's caricature in Punch, "Britannia a la Beardsley," was far too witty and too clever to have been designed in derision of so fine an artist ; but there was something so entirely new to the Victorian in Beardsley's uncanny grotesque, that he was for long looked at askance. His influence on "black and white" in general was enor mous, and in caricature it is traceable everywhere. Max, on his part, being a caricaturist in the strict Carraccian tradition, loos ened the buttons, shook out the folds and generally disorganized the growing trimness of personal caricature as exemplified in the Vanity Fair cartoons, which in the '8os were becoming more and more suitable for The Tailor and Cutter. The most baffling thing about his marvellous gift of spiritual portraiture seems to be that the farther he gets from actuality the nearer he gets to truth.

Recent Developments.

With the most recent developments of caricature it is impossible for the staid historian to keep pace. He can only shout after the caricaturists, not to stop, but to wish them still more activity in still wider fields. As it is they have rushed in at the studio doors opened to them by the cubists, vor ticists, post-impressionists and their imitators, and rushed out again with their arms full of fancies which they have twisted up and thrown, like confetti, into the most unexpected places. Some have stuck to the hoardings, others have got into the circulars of the most respectable and stately commercial firms, and the least humorous of the weekly papers. This great and surprising expansion is due, in no small measure, to the World War, when they were employed with Lutheran vigour and insistence, both as propaganda and as a relief to the feelings. Posterity may perhaps decide which were the most successful (for either pur pose) among such as King George reviewing the British fleet in a diving suit (German), the Bolsheviks at the telephone (Musac chio), or "What did you do in the Great War, Daddy?" (English) but there is no doubt that all of them contributed something to the very general extension of the employment of caricature for artistic and commercial, no less than for satirical purposes, in these present days. Instead of being destroyed, or reserved for private circulation, as in the old times, the careless rapture of the modern artist now finds a place on the hoardings. These mod ern artists are a determined lot of fellows, a large and exceedingly fierce tribe, and they are doing much more for caricature than any one before them. Adopting the most advanced and highly ar tistic tenets, they have imposed significant form alike on the commonest objects of the ideal home and the rarest flowers in the garden of public affairs. They know to a hair's breadth how far a statesman's face can be stretched without snapping, they have the bursting strain of every bulge in his figure calculated to a decimal point. With a few strokes of the pen they can visualize an international situation or a social tendency in a manner that saves us reading whole columns of print. Finally, notwithstanding every excess, they have shown themselves equal to the delicate task of sustaining the traditions of the very oldest of the comic papers under the double disadvantage of the devastations of the World War and the complete change of outlook on many subjects resulting therefrom. Charivari, now in its 87th year, has in Soupault, Bib and Cyl, cartoonists as lively as ever, and if an artistic comparison with their earliest predecessors is impossible now, it is probably only because it is too soon to make it. Punch, the next oldest, having enjoyed uninterrupted prosperity with a sound constitution and no incitement to change, is still an old friend with a young face. Kladderadatsch and Fliegende Blditter are oftener quoted by De Rire than any others, and side by side with them we find Nebelspalter, Simplizissimus, Mucha, Ulk, Jugend, Pasquino, Lustige Blotter and Wahre Jacob, most of them past their jubilee and all well up to date. If the tight-lacing of the '8os was finally abolished by the War, and if the reaction seems a little too startling just at the moment, it must be ac cepted nevertheless as a very healthy symptom in an art which to be an art at all, must always be allowed its own way.

BIBLIOGRAPHY.-J.

P. Malcolm, Historical Sketch of the Art of Bibliography.-J. P. Malcolm, Historical Sketch of the Art of Caricaturing (1813) ; T. Wright, History of Caricature and Grotesque in Literature and Art (1865) ; Champfleury (Jules Fleury), Histoire de la Caricature (antique et modern), and other volumes by the same author (1865, etc.) ; J. Paxton, Caricature and other Comic Art (1878) ; J. Grand-Carteret, Les Moeurs et la Caricature en Allemagne, etc. (1885) ; Bismarck en Caricatures, and numerous other volumes by the same author (1890) etc. ; G. Everitt, English Caricaturists and Graphic Humorists of the Nineteenth Century (i886) ; Armand Dayot, Les Maitres de la Caricature f rancaise en X IX a siecle (1888) ; Arsene Alexandre, L'Art du rire et de la Caricature (1893) ; M. H. Spielmann, The History of Punch (1895) ; Georges Veyrat, La Carica ture a travers les siecles (1895) ; A. Brisson, Nos Humoristes (1900) ; E. Bayard, La Caricature et les Caricaturistes (1901) ; E. Fuchs, Die Karikatur der europdischen Volker (19o1) ; A. Filon, La Caricature en Angleterre (1902) ; R. de la Sizeraine, Le Miroir de la Vie, la Caricature (1902) ; A. B. Maurice and F. T. Cooper, The History of the Nineteenth Century in Caricature (19o4) ; C. E. Jensen, Karika tur-Album etc. (Copenhagen, 1904-08) ; P. Gaultier, Le Rire et la Caricature (1906) ; E. Rasi, La Caricatura e i Comici Italians (Florence, 1907) ; J. Frances, La Caricatura Espanola Contemporanea (1915) ; C. R. Ashbee, Caricature (1928). (R. D.) United States.—Political caricature in the United States be gan with William Charles, a Scotsman who, forced to leave Great Britain, emigrated to America, and, in the War of 1812, used his pencil and invention with great bitterness against his renounced country. Pencil and invention were both crude. Charles was an imitator of James Gillray, and his most widely-circulated cartoon, "John Bull Making a New Batch of Ships to Send to the Lakes," bore a close resemblance, in conception and detail, to Gillray's "Tiddy-Doll (Napoleon) Making a New Batch of Kings." Gillray, influencing Charles, also influenced the work of Charles's suc cessors for several decades. The basis of the early American cartoon was the Gillray group of many figures. A school of dis tinctively American caricature came in with the first administra tion of President Jackson. These lithographs told their stories by means of legends enclosed in balloon-like loops issuing from the lips of the various members of the groups. The anonymous artists were most productive in the heat of political campaigns, during the Mexican War, and with the rising slavery agitation. The Civil War naturally let loose a flood of cartoons ; among them the early work of Nast.

Thomas Nast (184o-19o2) remains the dominant figure in the history of American caricature. Lincoln called Nast's cartoons the best recruiting sergeants on the Union side. His picture "Peace," originally called "Compromise with the South," first made his reputation. It appeared just after the election of 1862, and was circulated by the million as a campaign document. Nast's later influence was both national and local. He was the inventor of the "donkey" used as the symbol of the Democratic Party, the Tammany "Tiger," the "rag-baby" of inflation, and the cap and dinner pail emblematic of labour. More than any other man he was responsible for the overthrow of the notorious Tweed Ring that long held New York city in its clutches. Such cartoons as "The Brains of Tammany" and "The Tammany Tiger in the Arena" proved the siege guns in the battle for civic reform. Finally it was a Nast picture that led to the capture, in Spain, of the fugitive Tweed. The traditions of Nast were carried on in the late '7os, '8os and '9os by Keppler and Gillam. The series of "Tattooed Man" cartoons, depicting James G. Blaine in the title role, contributed to Cleveland's victory in 1884. They were the work of Bernard Gillam, who, upon leaving Puck, drew equally vindictive caricatures of Cleveland and the Democratic Party on the rival pages of Judge. A cartoon with a story was Gillam's "Where Am I At?" of 1892. It was originally drawn to commemorate an expected smashing Republican vic tory. When the election returns showed that Cleveland had won it was too late to prepare another cartoon, so Gillam set to work making the necessary changes in the plate, capping his labour with a likeness of himself in the form of a monkey turning an uncomfortable somersault. Two outstanding cartoons of the later '9os, "Don Quixote Bryan Meets Disaster in his Encounter with the Full Dinner Pail," and "Be Careful : It's Loaded!" a warning to Spain just before the outbreak of the Spanish-American War, were the work of Victor Gillam.

American caricature of the present century is abundant and of a high order. Syndicate service has brought the work of the most efficient and highly paid cartoonists to the readers of the most rural communities. There is a Pulitzer prize annually awarded for the cartoon deemed the most effective. Conspicuous among these awards for recent years have been (1921) to Rollin Kirby for "On the Road to Mandalay," in the New York World; (1924) to J. N. Darling for "In the Good Old U.S.A.," in New York Tribune; and (1926) to Nelson Harding for "Toppling the Idol,> in the Brooklyn Daily Eagle. (A. B. M.) See the articles on related subjects, as CARTOON ; COMIC STRIP;