CHAPTER II.✦

ORIGIN OF THE STAGE IN ROME--USES OF THE MASK AMONG THE ROMANS--SCENES FROM ROMAN COMEDY--THE SANNIO AND MIMUS--THE ROMAN DRAMA--THE ROMAN SATIRISTS--CARICATURE--ANIMALS INTRODUCED IN THE CHARACTERS OF MEN--THE PIGMIES, AND THEIR INTRODUCTION INTO CARICATURE; THE FARM-YARD; THE PAINTER'S STUDIO; THE PROCESSION--POLITICAL CARICATURE IN POMPEII; THE GRAFFITI 23

CHAPTER III.✦

THE PERIOD OF TRANSITION FROM ANTIQUITY TO THE MIDDLE AGES--THE ROMAN MIMI CONTINUED TO EXIST--THE TEUTONIC AFTER-DINNER ENTERTAINMENTS--CLERICAL SATIRES: ARCHBISHOP HERIGER AND THE DREAMER; THE SUPPER OF THE SAINTS--TRANSITION FROM ANCIENT TO MEDIÆVAL ART--TASTE FOR MONSTROUS ANIMALS, DRAGONS, ETC.; CHURCH OF SAN FEDELE, AT COMO--SPIRIT OF CARICATURE AND LOVE OF GROTESQUE AMONG THE ANGLO-SAXONS--GROTESQUE FIGURES OF DEMONS--NATURAL TENDENCY OF THE EARLY MEDIÆVAL ARTISTS TO DRAW IN CARICATURE--EXAMPLES FROM EARLY MANUSCRIPTS AND SCULPTURES 40

CHAPTER IV.✦

THE DIABOLICAL IN CARICATURE--MEDIÆVAL LOVE OF THE LUDICROUS--CAUSES WHICH MADE IT INFLUENCE THE NOTIONS OF DEMONS--STORIES OF THE PIOUS PAINTER AND THE ERRING MONK--DARKNESS AND UGLINESS CARICATURED--THE DEMONS IN THE MIRACLE PLAYS--THE DEMON OF NOTRE DAME 61

CHAPTER V.✦

EMPLOYMENT OF ANIMALS IN MEDIÆVAL SATIRE--POPULARITY OF FABLES; ODO DE CIRINGTON--REYNARD THE FOX--BURNELLUS AND FAUVEL--THE CHARIVARI--LE MONDE BESTORNÉ--ENCAUSTIC TILES--SHOEING THE GOOSE, AND FEEDING PIGS WITH ROSES--SATIRICAL SIGNS; THE MUSTARD MAKER 75