in the compositions of Jacques Callot
(1593-1635), and, in a less degree, in those of his followers, Stefano
della Bella (1610-1664) and Salvator Rosa (1615-1673). On the other
hand, however, Callot, one of the greatest masters of the grotesque that
ever lived, in certain of his _Caprices_, and in his two famous sets of
prints, the _Miseres de la guerre_, may be said to anticipate certain
productions of Hogarth and Goya, and so to have founded the modern
school of ironic _genre_.

In England one of the earliest caricatures extant is that in the margin
of the Forest Roll of Essex, 5, ed. 1, now at the Record Office; it is a
grotesque portrait of "Aaron fil Diabole" (Aaron, son of the devil),
probably representing Cok, son of Aaron. It is dated 1277. Another
caricature, undated, appears on a Roll containing an account of the
tallages and fines paid by Jews, 17. Henry III., belonging to 1233
(Exch. of Receipt, Jews' Roll, No. 8). It is an elaborate satirical
design of Jews and devils, arranged in a pediment. During the 16th
century, caricature can hardly be said to have existed at all,--a
grotesque of Mary Stuart as a mermaid, a pen and ink sketch of which is
yet to be seen in the Rolls Office, being the only example of it known.
The Great Rebellion, however, acted as the Reformation had done in
Germany, and Cavaliers and Roundheads caricatured each other freely. At
this period satirical pictures usually did duty as the title-pages of
scurrilous pamphlets; but one instance is known of the employment during
the war of a grotesque allegory as a banner, while the end of the
Commonwealth produced a satirical pack of playing cards, probably of
Dutch origin. The Dutch, indeed, as already has been stated, were the
great purveyors of pictorial satire at this time and during the early
part of the next century. In England the wit of the victorious party was
rather vocal than pictorial; in France the spirit of caricature was
sternly repressed; and it was from Holland, bold in its republican
freedom, and rich in painters and etchers, that issued the flood of
prints and medals which illustrate, through cumbrous allegories and
elaborate symbolization, the principal political passages of both the
former countries, from the Restoration (1660) to the South Sea Bubble
(1720). The most distinguished of the Dutch artists was Romain de Hooghe
(1638-1720), a follower of Callot, who, without any of the weird power
of his master, possessed a cert