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Image from page 301 of “The history of the nineteenth century in caricature” (1904)
Lion Tattoos

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Identifier: historyofninetee01maur
Title: The history of the nineteenth century in caricature
Year: 1904 (1900s)
Authors: Maurice, Arthur Bartlett, 1873-1946 Cooper, Frederic Taber, 1864-1937, joint author
Subjects: History, Modern Nineteenth century Caricature
Publisher: New York : Dodd, Mead

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Text Appearing Prior to Image:
A GERMAN Thought OF IRISH House RULE. principle, LEtat cest Moi or once more, just ahead of our warwith Spain, when it was so drawn as to present a capital like-ness of Uncle Sam, the Atlantic and Gulf States forminghis nose and mouth, the latter suggestively opened to takein Cuba, which is swimming dangerously near. Pucksfamous Tattooed Man was only a new application of anidea that had been used prior to even though the representation of agroup of top politicians as members of a freak show, acircus, or a minstrel troop, is as old as minstrels or dime

Text Appearing Following Image:
CENTURY IN CARICATURE 281 museums themselves. Couple of leading statesmen of the pasthalf century have not at some time in their profession been por-trayed as Hamlet, or Macbeth, or Richard III. even though asfor the traditional use of animals and symbolic figures torepresent the different nations, the British Lion and theRussian Bear, Uncle Sam and French Liberty, these belongto the raw components of caricature, dating back to its very in-ception as an art. And however, although the signifies utilized are essen-tially the same as in the days of Hogarth and Cruikshank,the final results are radically different. The explanation for this distinction might be summed up in asingle word—Journalism. The modern cartoon is essen-tially journalistic, both in spirit and in execution. The spas-modic single sheets of Gillrays period, massive lithographs that

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