The history of the nineteenth century in caricature . retense of grief, but the face behind distorted into a hide-ous leer of gratification. M. Arsene Alexandre, in his re-markable work on Daumier, describes this splendid drawingin the following terms: Under a grey sky, against thesomber and broken background of a cemetery, rises on a littlehillock the fat and black figure of an undertakers man. Be-low him on a winding road is proceeding a long funeral pro-cession. It is the crowd that has thronged to the obsequies ofthe illustrious patriot. Through the leafage of the weepingwillows may be see
The history of the nineteenth century in caricature . retense of grief, but the face behind distorted into a hide-ous leer of gratification. M. Arsene Alexandre, in his re-markable work on Daumier, describes this splendid drawingin the following terms: Under a grey sky, against thesomber and broken background of a cemetery, rises on a littlehillock the fat and black figure of an undertakers man. Be-low him on a winding road is proceeding a long funeral pro-cession. It is the crowd that has thronged to the obsequies ofthe illustrious patriot. Through the leafage of the weepingwillows may be seen the white tombstones. The whole scenebears the mark of a profound sadness, in which the principalfigure seems to join, if one is to judge by his sorrowful atti-tude and his clasped hands. But look closer. If this under-takers man, with the features of Louis Philippe, is claspinghis hands, it is simply to rub them together with joy; andthrough his fingers, half hiding his countenance, one maydetect a sly grin. The obsequious attitude of the members. 8o CENTURY IN CARICATURE of Parliament came in for its share of satirical abuse. Thisis not a Chamber, it is a Kennel, is the title of a spiritedlithograph by Grandville, representing the French statesmenas a pack of hounds fawning beneath the lash of their im-perious keeper, Casimir-Perier. Another characteristic car-toon of Grandvilles represents the legislature as an Infernallaboratory for extracting the quintessence of politics—acomposition which, in its crowded detail, its grim and uncannysuggestiveness, and above all its bizarre distortions of thehuman face and form, shows more plainly than the work ofany other French caricaturist the influence of Gillray. Acollection of grinning skulls are labeled Analysis of HumanThought ; state documents of Louis Philippe are being cutand weighed and triturated, while in the foreground a legis-lator with distended cheeks is wasting an infinite lot of breathupon a blowpipe in his effort t
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