File:The history of the nineteenth century in caricature (1904) (14596849428).jpg

Identifier: historyofninetee01maur (find matches)
Title: The history of the nineteenth century in caricature
Year: 1904 (1900s)
Authors: Maurice, Arthur Bartlett, 1873-1946 Cooper, Frederic Taber, 1864-1937, joint author
Subjects: History, Modern Nineteenth century Caricature
Publisher: New York : Dodd, Mead
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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ind fearlessly to his Henriquet, while the ordi-nary courtier cringed obsequiously, Mayeux shared theproverbial privilege of children and buffoons, to speak thetruth. And oftentimes it was not even necessary for hiscreator, Travies, to manifest any overt political significance;the public were always more than ready to look for it belowthe surface. In such a picture as that of Mayeux, in Napo-leonic garb striking an attitude before a portrait of the LittleCorporal and exclaiming, Comme je lui ressemble! theyinevitably discovered a hint that there were other hypocritesmore august than Mayeux who fancied themselves worthy offilling Napoleons shoes. Even more famous than Mayeux are the Macaire andBertrand series, the joint invention of Philipon, who suppliedthe ideas and the text, and of Daumier, who executed thedesigns. According to Thackeray, whose analysis of thesemasterpieces of French caricature has become classic, they hadtheir origin in an old play, the Auberge des Adrets, in which
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ieurs Macaire and Bertrand have found it expedient to make a hurried departure form for the purpose of evading French justice. The eloquent Macaire, on reachingntier,declaims as follows ; Hail to thee, O land of hospitality ! Hail, fatherland ofvho havent got any ! Sacred refuge of all unfortunates proscribed by human justice,To all drooping hearts Belgium is dear. 94 CENTURY IN CARICATURE two thieves escaped from the galleys were introduced, RobertMacaire, the clever rogue, and Bertrand, his friend, the butt and scapegoat on all occasions of danger. The playhad been half-forgotten when it was revived by a popular andclever actor, Frederick Lemaitre, who used it as a vehicle forpolitical burlesque. The play was suppressed, but he Chari-vari eagerly seized upon the idea and continued it from day to

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