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CHAULIEU, GUILLAUME AMFRYE DE (1639-1720), French poet and wit, was born at Fontenay, Normandy, in 1639. His father, _maître des comptes_ of Rouen, sent him to study at the Collège de Navarre. Guillaume early showed the wit that was to distinguish him, and gained the favour of the duke of Vendôme, who procured for him the abbey of Aumale and other benefices. Louis Joseph, duke of Vendôme, and his brother Philippe, grand prior of the Knights of Malta in France, at that time had a joint establishment at the Temple, where they gathered round them a very gay and reckless circle. Chaulieu became the constant companion and adviser of the two princes. He made an expedition to Poland in the suite of the marquis de Béthune, hoping to make a career for himself in the court of John Sobieski; he saw one of the Polish king's campaigns in Ukraine, but returned to Paris without securing any advancement. Saint-Simon says that the abbé helped his patron the grand prior to rob the duke of Vendôme, and that the king sent orders that the princes should take the management of their affairs from him. This account has been questioned by Sainte-Beuve, who regards Saint-Simon as a prejudiced witness. In his later years Chaulieu spent much time at the little court of the duchesse du Maine at Sceaux. There he became the trusted and devoted friend of Mdlle Delaunay, with whom he carried on an interesting correspondence. Among his poems the best known are "Fontenay" and "La Retraite." Chaulieu died on the 27th of June 1720. Entry: CHAULIEU

Encyclopaedia Britannica, 11th Edition, Volume 6, Slice 1 "Châtelet" to "Chicago"     1910-1911

_Great Britain_.--During the later 19th century the term caricature, somewhat loosely used at all times, came gradually to cover almost every form of humorous art, from the pictorial wit and wisdom of Sir John Tenniel to the weird grotesques of Mr S.H. Sime, from the gay pleasantries of Randolph Caldecott to the graceful but sedate fancies of Mr Walter Crane. It is made to embrace alike the social studies, satirical and sympathetic, of Du Maurier and Keene, the political cartoons of Mr Harry Furniss and Sir F.C. Gould, the unextenuating likenesses of "Ape," and "Spy," and "Max," the subtle conceits of Mr Linley Sambourne, the whimsicalities of Mr E.T. Reed, the exuberant burlesques of Mr J.F. Sullivan, the frank buffooneries of W.G. Baxter, Of these diverse forms of graphic humour, some have no other object than to amuse, and therefore do not call for serious notice. The work of Mr Max Beerbohm ("Max") has the note of originality and extravagance too; while that of "Spy" (Mr Leslie Ward) in _Vanity Fair_, if it does not rival the occasional brilliancy of his predecessor "Ape" (Carlo Pellegrini, 1839-1889), maintains a higher average of merit. The pupil, too, is much more genial than the master, and he is content if his pencil evokes the comment, "How ridiculously like!" Caricature of this kind is merely an entertainment. Here we are concerned rather with those branches of caricature which, merrily or mordantly, reflect and comment upon the actual life we live. In treating of recent caricature of this kind, we must give the first place to _Punch_. Mr Punch's outlook upon life has not changed much since the 'seventies of the last century. His influence upon the tone of caricature made itself felt most appreciably in the days of John Leech and Richard Doyle. Their successors but follow in their steps. In their work, says a clever German critic, is to be found no vestige of the "sour bilious temper of John Bull" that pervaded the pictures of Hogarth and Rowlandson. Charles Keene (1823-1891) and Du Maurier (1834-1896), he declares, are not caricaturists or satirists, but amiable and tenderly grave observers of life, friendly optimists. The characterization is truer of Keene, perhaps, than of Du Maurier. Charles Keene's sketches are almost always cheerful; almost without exception they make you smile or laugh. In many of Du Maurier's, on the other hand, there is an underlying seriousness. While Keene looks on at life with easy tolerance, an amused spectator, Du Maurier shows himself sensitive, emotional, sympathetic, taking infinite delight in what is pretty and gay and charming, but hurt and offended by the sordid and the ugly. Thus while Keene takes things dispassionately as they come, seeing only the humorous side of them, we find Du Maurier ever and anon attacking some new phase of snobbishness or philistinism or cant. For all his kindliness in depicting congenial scenes, he is at times as unrelenting a satirist as Rowlandson. The other _Punch_ artists, whose work is in the same field, resemble Keene in this respect rather than Du Maurier. Mr Leonard Raven-Hill recalls Charles Keene not merely in temperament but in technique; like Keene, too, he finds his subjects principally in _bourgeois_ life. Mr J. Bernard Partridge, though, like Du Maurier, he has an eye for physical beauty, is a spectator rather than a critic of life, yet he has made his mark as a "cartoonist." Phil May (d. 1903), a modern Touchstone, is less easily classified. Though he wears the cap and bells, he is alive to the pity of things; he sees the pathos no less than the humour of his street-boys and "gutter-snipes." He is, however, a jester primarily: an artist, too, of high achievement. Two others stand out as masters of the art of social caricature--Frederick Barnard and Mr J.F. Sullivan. Barnard's illustrations to Dickens, like his original sketches, have a lively humour--the humour of irrepressible high spirits--and endless invention. High spirits and invention are characteristics also of Mr Sullivan. It is at the British artisan and petty tradesman--at the grocer given to adulteration and the plumber who outstays his welcome--that he aims his most boisterous fun. He rebels, too, delightfully, against red tape and all the petty tyrannies of officialdom. In political caricature Sir John Tenniel (_q.v._) remained the leading artist of his day. The death of Abraham Lincoln, Bismarck's fall from power, the tragedy of Khartum--to subjects such as these, worthy of a great painter, Tenniel has brought a classic simplicity and a sense of dignity unknown previously to caricature. It is hard to say in which field Tenniel most excels--whether in those ingenious parables in which the British Lion and the Russian Bear, John Chinaman, Jacques Bonhomme and Uncle Sam play their part--or in the ever-changing scenes of the great parliamentary Comedy--or in sombre dramas of Anarchy, Famine or Crime--or in those London extravaganzas in which the symbolic personalities of Gog and Magog, Father Thames and the Fog Fiend, the duke of Mudford and Mr Punch himself, have become familiar. Subjects similar to these have been treated also for many years by Mr Linley Sambourne in his fanciful and often beautiful designs. In the field of humorous portraiture also, as in cartoon-designing, Mr Sambourne has made his mark, and he may be said almost to have originated, in a small way, that practice of illustrating the doings of parliament with comic sketches in which Mr Furniss, Mr E.T. Reed and Sir F.C. Gould were his most notable successors. Mr Furniss satirized the Royal Academy as effectively as the Houses of Parliament, but he has been above all the illustrator of parliament--the creator of Mr Gladstone's collars, the thief of Lord Randolph Churchill's inches, the immortalizer of so many otherwise obscure politicians who has worked the House of Commons and its doings into so many hundreds of eccentric designs. But Mr Furniss was never, like Sir F.C. Gould (of the _Westminster Gazette_), a politician first and a caricaturist afterwards. Gould is an avowed partisan, and his caricatures became the most formidable weapons of the Radical party. Caustic, witty and telling, not specially well drawn, but drawn well enough--the likenesses unfailingly caught and recognizable at a glance--his "Picture Politics" won him a place unique in the ranks of caricaturists. There is no evidence of such strenuousness in the work of Mr E.T. Read (of _Punch_). In his parliamentary sketches, as in his "Animal Land" and "Prehistoric Peeps," Mr Reed is a wholly irresponsible humorist and parodist. One finds keen satire, however, in those "Ready-made Coats of Arms," in which he turned at once his heraldic lore and his insight into character to excellent account. In his more serious picture in which he has drawn a parallel between the _tricoteuses_ awaiting with grim enjoyment the fall of the guillotine and those modern English gentlewomen who flock to the Old Bailey as to the play, we have the true Hogarthian touch. Mr Gunning King, Mr F.H. Townshend, Mr C.E. Brock, Mr Tom Browne, are among the younger humorists who have advanced to the front rank. Though there have been some notable competitors with _Punch_, there has never been a really "good second." In Matt Morgan the _Tomahawk_ (1865-1867) could boast an original cartoonist after Tenniel's style, but without Tenniel's power and humour. Morgan's _Tomahawk_ cartoons gained in effect from an ingenious method of printing in two colours. In Fred Barnard, W.G. Baxter, and Mr J.F. Sullivan, _Judy_ (founded in 1867) possessed a trio of pictorial humorists of the first rank, and in W. Bowcher a political cartoonist thoroughly to the taste of those hot and strong Conservatives to whom _Punch's_ faint Whiggery was but Radicalism in disguise. His successor, Mr William Parkinson, was not less loyal to Tory ideas, though more urbane in his methods. _Fun_ has had cartoonists of high merit in Mr Gordon Thomson and in Mr John Proctor, who worked also for _Moonshine_ (founded in 1879, now extinct). _Moonshine_ afterwards enlisted the services of Alfred Bryan, to whose clever pencil the Christmas number of the _World_ was indebted for many years. _Ally Sloper_, founded in 1884, is notable only as the widely circulated medium for W.G. Baxter's wild humours, kept up in the same spirit by Mr W.F. Thomas, his successor. _Pick-me-up_ could once count a staff which rivalled at least the social side of _Punch_; Mr Raven-Hill, Phil May, Mr Maurice Greiffenhagen and Mr Dudley Hardy all contributed in their time to its sprightly pages, while Mr S.H. Sime made it the vehicle for his "squint-brained" imaginings. The _Will o' the Wisp_, the _Butterfly_ and the _Unicorn_, kindred ventures, though on different lines, all met with an early death. _Lika Joko_, founded in 1894 by Mr Harry Furniss, who in that year abandoned _Punch_, and afterwards _Fair Game_, were also short-lived. To this brief list of purely comic or satirical journals should be added the names of several daily and weekly publications--and among monthlies the _Idler_, with its caricatures by Mr Scott Rankin, Mr Sime and Mr Beerbohm--which have made a special feature of humorous art. Among these are the _Graphic_, whose Christmas numbers were first brightened by Randolph Caldecott; the _Daily Graphic_, enlivened sometimes by Phil May and Mr A.S. Boyd; _Vanity Fair_, with its grotesque portraits; _Truth_, to whose Christmas numbers Sir F.C. Gould contributed some of his best and most ambitious work, printed in colours; the _Sketch_, with Phil May and others; _Black and White_, with Mr Henry Meyer; the _Pall Mall Gazette_, first with Sir F.C. Gould, and later with Mr G.R. Halkett. The _St Stephen's Review_, whose crudely powerful cartoons, the work of Tom Merry, were so popular, ceased publication in 1892. A tribute should be paid in conclusion to the coloured cartoons of the _Weekly Freeman_ and other Irish papers, often remarkable for their humour and talent. (See also CARTOON and ILLUSTRATION.) Entry: CARICATURE

Encyclopaedia Britannica, 11th Edition, Volume 5, Slice 3 "Capefigue" to "Carneades"     1910-1911

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