The Mask.

The Grottesque Mask, 95

9. Satyr, Italian Renascence, by Sansovino, over a Festoon in
Sta. Maria del Popolo, Rome.
10. Dying warrior, by Schliiter, Berlin arsenal, 1697.
The Grottesque Mask. (Plates 6264.)
Masks and Caricatures pass into each other, so that it is diffi-
cult to draw a strict line between them. The French language ex-
presses this connection clearly, by using the related words "masque"
and "mascaron."
Under Masks are usually classed the delineations of beautiful
countenances, either true to nature or idealising it. Caricatures are
faces gunning, deformed, distorted by accessories, or terminating in
foliage.
Tho Antique, which had no love whatever for the depicting of
the ugly and bizarre, only used Caricatures in its oldest periods, in
the so-called Archaic style.
The Middle Ages frequently employed Caricatures.
The Renascence and Barocco styles, as well as our most Modem,
art, often apply Caricatures to keystones, to consoles, as spouts and
handles, on shields and cartouches, in capitals and panels, on the
backs of chairs, and in general on carved furniture,
_
on stove-tiles, &c.
We possess a number of excellent Caricatures from the hand of the
youthful Michelangelo, who treated this form with predilection, and
with the breadth characteristic of his genius.
Plate 62. The Grottesque Mask.
1. Etruscan, terracotta, Campana collection, (F. A. M., Cours
d'ornement).
2. Grottesque, Italian Renascence, Venice.
3. Grottesque, tomb of the cardinal Sforza, Sta. Maria del Popolo,
Rome, Italian Renascence, by Sansovino.
4. Single Grottesque, from frieze, Italian Renascence, by Michel-
angelo, San Lorenzo, Florence.
5. Part of capital of pilaster, French Renascence, tomb of Louis XII,
St. Denis.
6
7. Modern French Grottesques.
Plate 63. The Grottesque Mask.
1. Carved bench, Italian Renascence, Bargello, Florence,
2
3. Female, metal shields, German Renascence.
4. Akroter, Tribunal de Commerce, Paris.
6. Grottesque, Louvre, Paris, (Baldus).