Abstract
With little consensus or consistency, historians and art historians have applied a variety of terms to the eclectic genre that is labelled ‘cartoons’, ‘caricatures’, ‘political prints’, ‘satirical prints’ and more. Sometimes these labels are arbitrarily interchanged, while single terms such as ‘caricature’ are employed to refer to widely disparate visual forms. E.E.C. Nicholson has argued that both habits impede the establishment of a ‘sensitive and viable methodology’ for handling such sources, obscuring their ‘historical specificity’.1
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