JE DÉPLORE
MARCO GANDOLFO
In art, grotesques are a decorative form of arabesques with interlaced garlands and strange animal figures. Such designs were fashionable in ancient Rome, as frescoed wall decoration, floor mosaics, etc., and were decried by Vitruvius (ca. 30 BCE), who in dismissing them as meaningless and illogical, offered quite a good description: "reeds are substituted for columns fluted appendages with curly leaves and volutes take the place of pediments, candelabra support representations of shrines, and on top of their roofs grow slender stalks and volutes with human figures senselessly seated upon them." When Nero's Domus Aurea was inadvertently rediscovered in the late fifteenth century, buried in fifteen hundred years of fill, so that the rooms had the aspect of underground grottoes, the Roman wall decorations in fresco and delicate stucco were a revelation; they were introduced by Raphael Sanzio and his team of decorative painters, who developed grottesche into a complete system of ornament in the Loggias that are part of the series of Raphael's Rooms in the Vatican Palace, Rome. "The decorations astonished and charmed a generation of artists that was familiar with the grammar of the classical orders but had not guessed till then that in their private houses the Romans had often disregarded those rules and had adopted instead a more fanciful and informal style that was all lightness, elegance and grace."[1] In these grotesque decorations a tablet or candelabrum might provide a focus; frames were extended into scrolls that formed part of the surrounding designs as a kind of scaffold, as Peter Ward-Jackson noted. Light scrolling grotesques could be ordered by confining them within the framing of a pilaster to give them more structure. Giovanni da Udine took up the theme of grotesques in decorating the Villa Madama, the most influential of the new Roman villas.
Through engravings the grotesque mode of surface ornament passed into the European artistic repertory of the sixteenth century, from Spain to Poland. Soon grottesche appeared in marquetry (fine woodwork), in maiolica produced above all at Urbino from the late 1520s, then in book illustration and in other decorative uses. At Fontainebleau Rosso Fiorentino and his team enriched the vocabulary of grotesques by combining them with the decorative form of strapwork, the portrayal of leather straps in plaster or wood moldings, which forms an element in grotesques. By extension backwards in time, in modern terminology for medieval illuminated manuscripts, drolleries, half-human thumbnail vignettes drawn in the margins, are also called "grotesques".
In contemporary illustration art, the "grotesque" figures, in the ordinary conversational sense, commonly appear in the genre grotesque art, also known as fantastic art.
A Grotto (Italian grotta) is any type of natural or artificial cave that is associated with modern, historic or prehistoric use by humans. When it is not an artificial garden feature, a grotto is often a small cave near water and often flooded or liable to flood at high tide. The picturesque Grotta Azzura at Capri and the grotto of the villa of Tiberius in the Bay of Naples are outstanding natural seashore grottoes. Whether in tidal water or high up in hills, they are very often in limestone geology where the acidity dissolved in percolating water has dissolved the carbonates of the rock matrix as it has passed through what were originally small fissures. See karst topography, cavern.
At the great Roman sanctuary of Praeneste south of Rome, the oldest portion of the primitive sanctuary was situated on the next-to-lowest terrace, in a grotto in the natural rock where there was a spring that developed into a well. Such a sacred spring had its native nymph, who might be honored in a grotto-like nymphaeum, where the watery element was never far to seek.
Tiberius filled his grotto with sculptures to recreate a mythological setting, perhaps Polyphemus' cave in the Odyssey. The numinous quality of the grotto is still more ancient, of course: in a grotto near Knossos in Crete, Eileithyia had been venerated even before Minoan palace-building, and farther back in time the immanence of the divine in a grotto is an aspect of the sacred caves of Lascaux.
The word comes from Italian grotta, Vulgar Latin grupta, Latin crypta, (a crypt). It is related by a historical accident to the word grotesque: in the late 15th century, Romans unearthed by accident Nero's Domus Aurea on the Palatine Hill, a series of rooms underground (as they had become over time), that were decorated in designs of garlands and animals. The Romans found them thought them very strange, a sentiment enhanced by their 'underworld' source. Because of the situation in which they were discovered, this form of decoration was given the name grotesque. http://en.wikipedia.org/wiki/Grotesque
