Significance of this form of illustration. Very little or no distinction is made between the two words, caricature and cartoon, as we use them at the present day. Yet the word caricature instantly suggests something made ridiculous or absurd in a spirit of attack or burlesque, while a cartoon may be merely a suggestive representation of any person or idea of present interest. A caricature always makes ridiculous, but a cartoon may either ridicule or praise, and although usually humorous, it is more serious in its aims and subjects.
To cartoon a public man once meant to insult him. If by any chance he had some prominent physical defect it was hailed with delight, and made the butt of the cartoonists’ characterizations. Now our best cartoonists would not stoop to secure recognition by such means; they are more considerate, and we are allowed to appreciate their clever representations without feeling the sting of resentment, even though our sympathies are on the other side. But our cartoonists of to-day do not spend all their time representing the political issues; they also deal with the affairs of everyday life.
We are told that the word cartoon originally meant a design or model for a large picture in fresco, oil, tapestry, statuary, glass, or mosaic. The most famous of these are the cartoons of Raphael, Leonardo da Vinci, and Michelangelo. But in 1843 a great exhibit of cartoons was held at Westminster Hall, London, from which the fresco decorations for the new houses of Parliament were to be chosen. At that time Punch declared itself a competitor, and presented its claims in its most humorous manner. The most absurd caricatures were dignified by the name cartoon, and the reasons why they should be accepted were set forth in a most laughable manner. For some time after this Punch continued to use the name cartoon for its representations, and when it would have gone back to the term caricature the public would not permit it. Perhaps the fact that the word cartoon is so much easier to pronounce had something to do with it.
To the Teacher: Pupils should be encouraged to bring good cartoons to school. These may be collected, and the best put up where all can see and be ready to discuss as to size, composition, variety, number, and color of lines used in expressing the idea.
History of caricature and cartoon. It is hard for us to realize that caricature is as old as man’s ability to express himself with chisel, pen, or ink. Away back in the time of the Assyrians and Egyptians we find certain caricatures representing grotesque figures drawn on papyrus. The Greeks caricatured their gods and heroes, although their sense of the beautiful made it impossible for them to distort the human figure. In Rome they were not so particular, and one caricature representing a dwarf philosopher preaching to a fox has been handed down to us in many different forms. During the Middle Ages caricatures were made of such unpopular ideas and experiences as Satan, death, pride, hatred, and so forth.
By permission of Mr. John T. McCutcheon
Baseball, Golf, Election Returns, and Swatting the Fly
The invention of the printing press greatly increased the power and influence of the caricature, in spite of the many regulations and hindrances that had to be complied with. During the Revolution, Napoleon I tried to repress caricature in France, and on this account the English made him a special victim of their ridicule. The kings and aristocracy that held sway after the Restoration next became the subject of satire. Then in 1830 came the invention of lithography and, with the increasing freedom of the press, caricature, of course, reached its height. Poor Louis Philippe, of France, was the most caricatured of all the kings, because of his pear-shaped head, which was so easy to draw. In London, caricature became more and more popular with the founding of Punch in 1841. The best-known contributor to Punch was Du Maurier, whose burlesques of aristocratic society in England were taken in good part. In Germany, Wilhelm Scholz’s caricatures of Bismarck are famous. And so on through all the countries, we find traces of the art of caricature.
In America we find Benjamin Franklin first on the list. We are told that the talent came naturally to him, as his grandfather and father before him had shown considerable ingenuity in that direction but had not ventured to express it except in the signs and printed handbills advertising their trade. It was the custom at that time to advertise by means of pictures or representations—a gilt Bible in front of a store meant a book store; an anchor, naval supplies; the figure of a mermaid, an ale house; a gilt sheaf, a paper store, and so on. The figure of an East Indian queen gayly dressed in a many-colored gown advertised the store belonging to Franklin’s grandfather, where he offered “to dye into colors” all cloth, silk, and calico. The handbills which he sent out were more elaborate, representing the same queen but with two servants, one holding up her train, the other holding a parasol over her. All public buildings were easily recognized by the carved royal lion and unicorn.
Benjamin’s brother James started the first sensational newspaper in Boston, Massachusetts, in 1721. This paper was called the Courant, and to it Benjamin Franklin first contributed his articles and caricatures. Their wit was not appreciated by the sober people of Boston, and it was not long before the brother was put in prison on account of his editorials. Benjamin continued the paper, fearlessly ridiculing in writing and pictures not only Harvard College but the ministers and well-known church members. The people were now thoroughly aroused, and soon both brothers were forbidden to print their paper.