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sleeves. Then the sleeves became long, requiring to be tied at 
the wrist. The Church denounced first the short and then the 
floating sleeves, the long train and the short, and the penalties 
of purgatory were reserved first for one and then the other. 
The caricature of this period often took the form of allegory 
in animal types—being frequently carved on the backs of chair- 
stalls, panels of pulpits, &c. Foxes dressed as pilgrims, as 
preachers to a congregation of geese, and other fables, were not 
uncommon. These superstitions the Church found difficult to 
suppress ; and soon those beings, which were popularly supposed 
to inhabit the country, the bottom of wells, &c., such as the elves 
and fauns, goblins and vampires, became so many enemies of 
God, seeking man’s destruction; while ‘‘ the good people’”’ and 
other sprites were regarded as under the sway of the fallen 
Archangel. This antethesis of good and evil was very acceptable 
to the popular mind. Here the lecturer exhibited a hideous 
example of a print showing a dying man surrounded by demons. 

With the discovery of the art of engraving in the Fifteenth 
Century, caricature made progress, and caricature portraits of 
public men were often published. Political caricature was 
brought to England by William of Orange, aided by the Dutch 
artists in his employ; and party prejudice was promoted and 
fostered by the means of caricature and engravings on 
medallions, &c. 
William Hogarth, the father of English caricature, was born 
in 1697, and at the age of fifteen was apprenticed to a goldsmith 
and engraver on metals in London, whose premises were in an 
ideal position for observing all sorts and conditions of men. 
With Dickens the streets of London were his education ; and 
like Jacques Callot, the study of armorial bearings preceded his 
work as a historical satirist. 
On completing his apprenticeship, Hogarth started a small 
goldsmith’s shop, and continued his studies in painting under 
Sir James Thornhill, with whose daughter he eventually eloped. 
Hogarth’s works may be roughly classified into dramas, 
political sketches, and illustrations of the English society of his 
day. Several of Hogarth’s best known works were then shown 
on the screen—including ‘“ Marriage 4 la Modé,” ‘‘ The Cockpit 
Royal,” ‘*The Midnight Conversation,” ‘‘ Gin Lane,” ‘“ Beer 
Street,” ‘The Sleeping Congregation,” ‘The Laughing 
Audience,’’ and the inimitable series of sketches in the drama of 
‘The Two Apprentices ’’ (Industry and Idleness), &c. 
