Description
This paper examines the satirical tradition encapsulated by the motto ridendo castigat mores (“by laughing we may condemn our habits”), a hallmark of Portuguese heritage that traces back to the medieval canção de escárnio e maldizer (satirical songs) performed by jesters and minstrels. These echoes are embodied in the peculiar macacaria (or monkey scenes), a visual convention explored in 17th and 18th centuries Portuguese musical iconography, in which monkeys engaging in human activities replace human figures, which includes musical practice. Through an analysis of works from the Palácio Fronteira (Lisbon), the Museu Nacional do Azulejo (Lisbon), and the Berardo Collection (Funchal, Madeira), this paper explores how such imagery functions within the broader satirical and social critique of Baroque period.
