The pottery manufacturers were always clever at the construction of grotesques. We have noted their past ability, and our readers may note their present talent in many London shops. The French fabricants furnish us with the most remarkable modern works, and very many of the smaller articles for the toilette, or for children’s use, are designed with a strong feeling for the grotesque. Little figures of Chinese, rich in colour, twist about in quaint attitudes, to do duty as tray-holders or match-boxes. Lizards make good paper-weights, and wide-mouthed frogs are converted into small jugs with perfect ease. There is evidently a peculiar charm possessed by the grotesque, which appeals to, and is gladly accepted by, our volatile neighbours. We are ashamed to laugh at a child-like absurdity, and take it to our hearts with the thorough delight which they do not scruple to display. In this we more resemble the Germans, and, like them, we have a sombre element even in our amusements.
This subject, though entering so largely into the decorative designs of all countries and every age, has never been treated with any attention as a branch of fine art. It is by no means intended here to direct study to the reproduction of anything so false as the grotesque; but as it has existed, and does still exist, its presence cannot be ignored, and will be recognised constantly by all who study art.
[49-*] “History of Ancient Egyptians.”
[59-*] “Ars Memorandi notabilis per Figuras Evangelistarum,” etc.