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Title: Rowlandson the Caricaturist. Second Volume - A Selection from his Works
Author: Grego, Joseph
Language: English
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                      ROWLANDSON THE CARICATURIST

                            _SECOND VOLUME_


                          LONDON: PRINTED BY
                SPOTTISWOODE AND CO, NEW-STREET SQUARE
                         AND PARLIAMENT STREET



                      ROWLANDSON THE CARICATURIST

                     _A SELECTION FROM HIS WORKS_

                  WITH ANECDOTAL DESCRIPTIONS OF HIS
                          FAMOUS CARICATURES

                                  AND

            A Sketch of his Life, Times, and Contemporaries

                                  BY

                             JOSEPH GREGO

AUTHOR OF 'JAMES GILLRAY, THE CARICATURIST; HIS LIFE, WORKS, AND TIMES'

[Illustration]

                _WITH ABOUT FOUR HUNDRED ILLUSTRATIONS_

                       IN TWO VOLUMES--VOL. II.

                                London
                     CHATTO AND WINDUS, PICCADILLY
                                 1880

               [_The right of translation is reserved_]



CONTENTS

OF

THE SECOND VOLUME.

(1800-1825.)


                                 1800.

                                                                    PAGE

  'Le Brun Travestied, or Caricatures of the Passions'--Dr.
  Botherum the Mountebank--Humbugging--Hocus-pocus, or Searching
  for the Philosopher's Stone--Hogarthian Novelist--Britannia's
  Protection, or Loyalty Triumphant--A Silly--A Sulky--Beef à la
  Mode--Collar'd Pork--The Pleasures of Margate--Summer Amusements,
  or a Game at Bowls--Cockney Outings--Beauties of Sterne:
  'The Sentimental Journey'--Series of 'Attributes'--'Country
  Characters'--'Matrimonial Comforts'--Preparations for the
  Academy; Old Nollekens and his Venus--'Remarks on a Tour to North
  and South Wales in the year 1797'                                    1

                                 1801.

  A Money Scrivener--A Counsellor--The Union--A Jew Broker--The
  Brilliants--Undertakers Regaling--Symptoms of Sanctity--Single
  Combat in Moorfields, or Magnanimous Paul O! Challenging All
  O!--The Emperor Paul of Russia, a Mad Autocrat--Series of
  'Prayers' and 'Journals'--The Union Head-dress--An Old Member on
  his Way to the House of Commons--Minor works--Subjects after the
  designs of G. M. Woodward                                           22

                                 1802.

  Series of 'Journals'--Special Pleaders--La Fille mal
  Gardé, or Jack in the Box--A Lady in Limbo, or Jew Bail
  Rejected--Slyboots--A Snip in a Rage--The Corporal in Good
  Quarters--Sorrow's Dry, or a Cure for the Heart-ache--Hunt
  the Slipper; Picnic Revels--Who's Mistress Now?--'Compendious
  Treatise on Modern Education'--'Bardic Museum'                      35

                                 1803.

  A Catamaran--Billiards--A Diver--John Bull Listening to the
  Quarrels of State Affairs--Flags of Truth and Lies--Minor
  subjects                                                            42

                                 1804.

  A French Ordinary--Volunteering--The Imperial
  Coronation--Theatrical Leapfrog--Melpomene in the Dumps--Death of
  Madame République--A New French Phantasmagoria--The Eight Stages
  of Man's Schooling--Letter from the Caricaturist to Heath, the
  engraver                                                            44

                                 1805.

  Quarterly Duns, or Clamorous Tax-gatherers--The famous
  Coalheaver, Black Charley--The Modern Hercules Cleansing the
  Augean Stable--A Scotch Sarcophagus--John Bull's Turnpike
  Gate--The Scotch Ostrich Seeking Cover--Recovery of a Dormant
  Title--Antiquarians à la Grecque--John Bull at the Italian
  Opera--Napoleon Buonaparte in a Fever on Receiving the
  Extraordinary Gazette of Nelson's Victory over the Combined
  Fleets--A Boarding School--Illustrations to Fielding's 'Tom
  Jones'--Illustrations to Smollett's 'Peregrine Pickle'--Views in
  Cornwall, Devon, Dorset, &c.                                        49

                                 1806.

  'The Sorrows of Werter'--A Cake in Danger--Falstaff and his
  Followers Vindicating the Property Tax--A Maiden Aunt Smelling
  Fire--Recruiting on a Broad-Bottom'd Principle--Daniel Lambert,
  the Wonderful Great Pumpkin of Little Britain--A Diving Machine
  on a New Construction--The Acquittal--Experiments at Dover, or
  Master Charley's Magic Lantern--Butterfly-Hunting--Anything will
  do for an Officer--Interior of St. Brewer's Church--A Prize Fight   57

                                 1807.

  Miseries of London: A Street Blockade--The Captain's
  Account-current of Charge and Discharge--At Home and
  Abroad--Abroad and at Home--Mrs. Showell and Gen. Guise's
  Collection of Pictures at Oxford--The Enraged Vicar--All the
  Talents--A Henpeck'd Husband--John Rosedale, Mariner, Exhibitor
  at the Hall of Greenwich Hospital--The Pilgrims and the
  Peas--Song Headings--Monastic Fare--The Holy Friar--'I Smell a
  Rat,' or a Rogue in Grain--The Old Man of the Sea and Sindbad the
  Sailor--A White Sergeant giving the Word of Command--Miseries
  Personal--More Scotchmen, or Johnny Maccree Opening his New
  Budget--A View on the Banks of the Thames--The Double Disaster,
  or the New Cure for Love--Miseries of the Country--A Mistake at
  Newmarket, or Sport and Piety--Englishman at Paris--Symptoms
  of Restiveness--A Calf's Pluck--Rusty Bacon--A Tour to the
  Lakes--Thomas Simmons, the Murderer--Directions to Footmen--John
  Bull Making Observations on the Coast--The Dog and the
  Devil--More Miseries--Illustrations to 'The Pleasures of Human
  Life'                                                               64

                                 1808.

  Scenes at Brighton--Miseries of High Life--The Green
  Dragon--Soldiers on a March--The Consultation, or Last
  Hope--Volunteer Wit--The Anatomy of Melancholy--The Mother's
  Hope--The Sweet Little Girl that I Love--Odd Fellows from
  Downing Street Complaining to John Bull--A Snug Cabin, or Port
  Admiral--Accommodation--The Welsh Sailor's Mistake--Wonderfully
  Mended--Breaking Cover--Get Money--Doctor Gallipot Placing
  his Fortune at the Feet of his Mistress--Rum Characters in a
  Shrubbery--ROWLANDSON'S CARICATURES AGAINST BUONAPARTE: The
  Corsican Tiger; Billingsgate at Bayonne; The Corsican Spider
  in his Web; The Corsican Nurse Soothing the Infants of Spain;
  The Beast as Described in Revelations; From the Desk to the
  Throne; King Joe's Retreat from Madrid; King Joe on his Spanish
  Donkey; A Spanish Passport to France; The Political Butcher;
  The Fox and the Grapes; Prophecy Explained; Napoleon the Little
  in a Rage with his Great French Eagle; A Hard Passage, or
  Boney Playing Base on the Continent; King Joe and Co. making
  the most of their time previous to quitting Madrid; Nap and
  his Partner Joe; Nap and his Friends in their Glory; John Bull
  arming the Spaniards; Junot disgorging his Booty; The Progress
  of the Emperor Napoleon--Illustrations to 'An Academy for
  Grown Horsemen' and 'Annals of Horsemanship,' communicated by
  Geoffrey Gambado, Esq.--'The Caricature Magazine, or Hudibrastic
  Mirror'--'Chesterfield Travestie, or School for Modern
  Manners'--Behaviour at Table--'A Lecture on Heads,' by G. A.
  Stevens--Plates to 'The Miseries of Human Life'--'The Microcosm
  of London, or London in Miniature'--'An Essay on the Art of
  Ingeniously Tormenting'                                             84

                                 1809.

  The Head of the Family in Good Humour--The Old Woman's Complaint,
  or the Greek Alphabet--Launching a Frigate--A Mad Dog in a Coffee
  House--Disappointed Epicures--A Mad Dog in a Dining Room--The
  Comforts of Matrimony--The Miseries of Wedlock--'Oh! you're
  a Devil. Get along, do!' ROWLANDSON'S CARICATURES UPON THE
  DELICATE INVESTIGATION, OR THE CLARKE SCANDAL: Particulars of the
  Case; The Parliamentary Examination; The Principal Personages
  Concerned; Mrs. Clarke's _Memoirs_; 'The Rival Princes'; 'Tegg's
  Complete Collection of Caricatures relative to Mrs. Clarke, and
  the Circumstances arising from the Investigation of the Conduct
  of His Royal Highness the Duke of York before the House of
  Commons, 1809'; Dissolution of Parliament, or the Industrious
  Mrs. Clarke Winding up her Accounts; Mrs. Clarke's Levee; Days
  of Prosperity in Gloucester Place; All for Love: a Scene at
  Weymouth; An Unexpected Meeting; The Bishop and his Clarke; A
  Pilgrimage from Surrey to Gloucester Place; The York Magician; A
  Parliamentary Toast; Chelsea Parade; The Road to Preferment; The
  York March; The Triumvirate of Gloucester Place; A Scene from the
  Tragedy of 'Cato'; Yorkshire Hieroglyphics, pl. 182; The Burning
  Shame; The Statue to be Disposed of; A General Discharge; The
  Champion of Oakhampton; The Parson and the Clarke; Samson Asleep
  on the Lap of Delilah; The Resignation; The Prodigal Son; Mrs.
  Clarke's Last Effort; The York Dilly; Doctor O'Meara's Return to
  his Family; Mrs. Clarke's Farewell to her Audience; Original Plan
  for a Popular Monument to be Erected in Gloucester Place; A York
  Address to the Whale; The Flower of the City; The Modern Babel;
  The Sick Lion and the Asses; Burning the Books; A Piece-Offering;
  The Quaker and the Clarke; John Bull and the Genius of
  Corruption--Boney's Broken Bridge--Hell Broke Loose--The Tables
  are Turned--More of the Clarke--The Plot Thickens--Amusement
  for the Recess--The Bill of Wright's--Wonders, Wonders,
  Wonders!--The Rising Sun, or a View of the Continent--The Pope's
  Excommunication of Buonaparte--The Walcheren Expedition--Song
  by Commodore Curtis--A Design for a Monument to be Erected
  in Commemoration of the Glorious and Never-to-be-forgotten
  Grand Expedition, so ably planned and executed in the year
  1809--General Cheathem's Marvellous Return from his Exhibition of
  Fireworks--Plan for a General Reform--This is the House that Jack
  Built--A Lump of Impertinence--A Lump of Innocence--Preparations
  for the Jubilee, or Theatricals Extraordinary--A Bill of Fare
  for Bond Street Epicures--The Boxes--A Peep at the Gas Lights
  in Pall Mall--Joint Stock Street--The 'Bull and Mouth'--A
  Glee--Rowlandson's 'Sketches from Nature'--Sterne's 'Sentimental
  Journey'--Butler's 'Hudibras'--'Surprising Adventures of the
  Renowned Baron Munchausen'--'The Beauties of Sterne'--'Poetical
  Magazine'--'The Schoolmaster's Tour' (Dr. Syntax)--The Mansion
  House Monitor--'Annals of Sporting,' by Calib Quizzem--'Trial
  of the Duke of York'--'Advice to Sportsmen' from the notes of
  Marmaduke Markwell--'The Pleasures of Human Life,' by Hilari
  Benevolus & Co.--Illustrations to Smollett's Miscellaneous
  Works--'Beauties of Tom Brown'--Views in Cornwall, &c.--'Scandal;
  Investigation of the Charges brought against H.R.H. the Duke of
  York, by G. L. Wardle, Esq., M.P. for Devon, with the evidence
  and remarks of the Members'                                        130

                                 1810.

  Winding up the Medical Report of the Walcheren
  Expedition--Libel-Hunters on the Look-out, or Daily Examiners of
  the Liberty of the Press--A New Tap Wanted--The Boroughmongers
  Strangled in the Tower--Views of the Colleges of Oxford and
  Cambridge--A Bait for Kiddies on the North Road--Kissing for
  Love--Easterly Winds--Three Weeks after Marriage, or the Great
  Little Emperor Playing at Bo-peep--A Bonnet Shop--Peter Plumb's
  Diary--A Table d'Hôte, or French Ordinary in Paris--Paris
  Diligence--Boxing Match between Dutch Sam and Medley--Smuggling
  Out, or Starting for Gretna Green--Smuggling In, or a College
  Trick--Procession of the Cod Company from St. Giles's to
  Billingsgate--Rigging out a Smuggler--Dramatic Demireps at their
  Morning Rehearsal--Sports of a Country Fair--Spitfires--An Old
  Ewe Dressed Lamb Fashion--Dropsy Courting Consumption--Kitchen
  Stuff--A Hit at Backgammon--Medical Despatch--Bath Races--Doctor
  Drainbarrel--After Sweet Meat comes Sour Sauce--The Harmonic
  Society--Sign of the Four Alls--Signs--The Rabbit Merchant--A
  Sale of English Beauties in the East Indies--A Parody on
  Milton--Cries of London                                            182

                                 1811.

  College Pranks--A Sleepy Congregation--The Gig
  Shop--Pigeon-Hole--A French Dentist--Bacon-faced Fellows
  of Brazenose Broke Loose--She Stoops to Conquer--The
  Anatomist--Sailors on Horseback--Pastime in Portugal--The Last
  Drop--Boney the Second, or the Little Baboon Created to Devour
  French Monkeys--A Picture of Misery--Puss in Boots, or General
  Junot taken by Surprise--Nursing the Spawn of a Tyrant--The
  Enraged Son of Mars and the Timid Tonsor--Rural Sports: A Cat
  in a Bowl--A Dog Fight--Touch for Touch--The Bassoon, with a
  French Horn Accompaniment--Easter Monday--Rural Sports--The
  Huntsman Rising--The Gamester Going to Bed--Love Laughs at
  Locksmiths--Masquerading--Accommodation Ladder--Looking at the
  Comet--Life and Death of the Racehorse--A Milling Match between
  Cribb and Molineaux--Smock-Racing--A Game at Quoits--How to
  Show off a well-shaped Leg--Twelfth Night Characters--Cricket
  Match Extraordinary--Minor Subjects--Six Classes of the
  Horse--Distillers--Dinners Dressed in the Neatest Manner--A
  Trip to Gretna Green--Balloon-Hunting--A Belvoir Leap--A Man of
  Feeling--Bel and the Dragon--A Milk-sop--Royal Academy, Somerset
  House--Travelling in France--Exhibition Starecase, Somerset
  House--The Manager's Last Kick--Preparing to Start--Awkward
  Squads Studying the Graces--Hiring a Servant--Anglers of
  1811--Preparing for the Race--Patience in a Punt--A Templar at
  His Studies--A Barber's Shop--Modern Antiques--'Munchausen at
  Walcheren'--'Chesterfield Burlesqued'                              199

                                 1812.

  Duke of Cumberland--Lord Petersham--Lord Pomfret--Wet under
  Foot--Plucking a Spooney--Catching an Elephant--Description of
  a Boxing Match between Ward and Quirk--A Spanish Cloak--Fast
  Day--Sea Stores--Land Stores--The Chamber of Genius--Italian
  Picture-Dealers Humbugging my Lord Anglaise--The Dog Days--A
  Brace of Blackguards--Racing--Broad Grins--Watermen--A Seaman's
  Wife's Reckoning--Setting out for Margate--Refinement of
  Language--Bitter Fare--Raising the Wind--Christmas Gambols--The
  Successful Fortune-Hunter--Hackney Assembly--The Learned
  Scotchman--Preaching to some Purpose--A Visit to the Doctor--Puff
  Paste--Mock Turtle--Off She Goes--A Cat in Pattens--'Petticoat
  Loose; a Fragmentary Tale of the Castle'--Series of 'Views
  in Cornwall'--'Tour of Doctor Syntax, in Search of the
  Picturesque'--'Second Tour of Doctor Syntax, in Search of
  Consolation'--'Third Tour of Doctor Syntax, in Search of a Wife'   225

                                 1813.

  Bachelor's Fare, or Bread and Cheese and Kisses--The Last Gasp,
  or Toadstools Mistaken for Mushrooms--Summer Amusements at
  Margate--Humours of Houndsditch--Unloading a Waggon--None but
  the Brave Deserve the Fair--A Doleful Disaster, or Miss Tubby
  Tatarmin's Wig Caught Fire--The Norwich Bull Feast--A Long
  Pull, a Strong Pull, and a Pull all together--The Corsican Toad
  under a Harrow--The Execution of two celebrated Enemies of Old
  England, and their Dying Speeches, November 5, 1813--A Dutch
  Nightmare--Plump to the Devil we boldly Kicked both Nap and his
  Partner Joe--The Corsican Munchausen--Funking the Corsican--The
  Mock Phoenix--Friends and Foes, up he Goes!--Political Chemists
  and German Retorts--Napoléon le Grand--Mock Auction, or Boney
  Selling Stolen Goods--How to Vault into the Saddle--Witches in
  a Hayloft--The Quakers and the Commissioners of Excise--Doctor
  Syntax in the Middle of a Political Squabble--A-going!
  A-going!--Giving up the Ghost--Ghost of my Departed
  Husband--'Letters from Italy,' by Lewis Engelbach--'Poetical
  Sketches of Scarborough,' illustrated by Rowlandson from designs
  by J. Green--'Dr. Syntax's Tour,' republished                      253

                                 1814.

  The Double Humbug--Death and Buonaparte--Transparency
  exhibited at Ackermann's on the victory of Leipzig--Madame
  Véry, Restaurateur, Palais Royal, Paris--La Belle Limonadière
  au Café des Milles Colonnes--Quarter Day, or Clearing the
  Premises--Kicking up a Breeze, or Barrow-women Basting a
  Beadle--The Progress of Gallantry--A Tailor's Wedding--Head
  Runner of Runaways from Leipzig Fair--Crimping a Quaker--The
  Devil's Darling--Blucher the Brave Extorting the Groan of
  Abdication from the Corsican Bloodhound--Coming in at the Death
  of the Corsican Fox--Bloody Boney, the Carcase Butcher, left off
  Trade and Retiring to Scarecrow Island--The Rogue's March--The
  Affectionate Farewell, or Kick for Kick--A Delicate Finish to a
  French Usurper--Nap Dreading his Doleful Doom, or his Grand Entry
  into the Isle of Elba--The Tyrant of the Continent is Fallen;
  Europe is Free; England Rejoices--Boney Turned Moralist--What I
  was! what I am! what I ought to be!--Peace and Plenty--Macassar
  Oil--A Pleasant Way of Making Hay--Portsmouth Point--The Four
  Seasons of Love--Joanna Southcott, the Prophetess--Buck-Hunting    271

                                 1815.

  Female Politicians--Breaking up the Blue Stocking
  Club--Defrauding the Customs--Hodge's Explanation of a Hundred
  Magistrates--Tailors Drinking the Tunbridge Waters--Flight
  of Buonaparte from Hell Bay--Hell Hounds Rallying round
  the Idol of France--Vive le Roi! Vive l'Empereur! Vive le
  Diable!--Scene in a New Pantomime to be Performed at the
  Theatre Royal, Paris--The Corsican and his Blood Hounds at
  the Window of the Tuileries--Ackermann's Transparency on the
  Victory of Waterloo--Boney's Trial, Sentence, and Dying Speech,
  or Europe's Injuries Avenged--Ackermann's Transparency on the
  General Peace, Nov. 27, 1815--The Cockney Hunt--Measuring
  Substitutes for the Army of Reserve--A Journeyman Tailor--An
  Eating House--Neighbours--Banditti--Virtue in Danger--Slap
  Bang Shop--Accidents will Happen--Sympathy--Despatch, or
  Jack Preparing for Sea--Deadly-Lively--Illustrations to 'The
  Military Adventures of Johnny Newcome'--Illustrations to 'The
  Grand Master, or Adventures of Qui Hi in Hindostan'--Hindoo
  Incantations--Illustrations to 'Naples and the Campagna Felice,'
  in a series of letters by Lewis Engelbach--The Letter-Writer--Don
  Lugi's Ball                                                        289

                                 1816.

  Exhibition at Bullock's Museum of Buonaparte's Carriage
  taken at Waterloo--The Attempt to Wash the Blackamoor
  White--Lady Hamilton--'Relics of a Saint,' by Ferdinand
  Farquhar--Rowlandson's 'World in Miniature'--Illustrations to
  'The English Dance of Death'                                       309

                                 1817.

  Illustrations to Goldsmith's 'Vicar of Wakefield'--Illustrations
  to 'The Dance of Life'--'Grotesque Drawing Book,' &c.              356

                                 1818.

  Wild Irish, or Paddy from Cork, with his Coat Buttoned
  Behind--Doncaster Fair, or the Industrious Yorkshire
  Bites--Illustrations to 'The Adventures of Johnny Newcome in the
  Navy'                                                              363

                                 1819.

  A Rough Sketch of the Times, as delineated by Sir Francis
  Burdett--'Who Killed Cock Robin?' (chap-book on the Manchester
  Massacre)--Female Intrepidity (chap-book)                          365

                                 1820.

  Chemical Lectures (Sir Humphrey Davy)--Rowlandson's
  'Characteristic Sketches of the Lower Classes'--'The Second Tour
  of Doctor Syntax'                                                  366

                                 1821.

  A Smoky House and a Scolding Wife--Tricks of the Turf, or
  Settling how to Lose a Race--Illustrations to 'Journal of
  Sentimental Travels in the Southern Provinces of France'--'Le Don
  Quichotte Romantique, ou voyage du Docteur Syntaxe'                368

                                 1822.

  Illustrations to 'The History of Johnny Quæ Genus'--Rowlandson's
  'Sketches from Nature'--'Third Tour of Doctor Syntax, in Search
  of a Wife'--'Die Reise des Doktor Syntax'--Crimes of the Clergy    371

                                 1823.

  Not at Home, or the Disappointed Dinner-hunter--An Old Poacher
  Caught in a Snare--The Chance-seller of the Exchequer putting an
  Extinguisher on Lotteries--Westmacott's 'Spirit of the Public
  Journals for 1823'--The Toothache, or Torment and Torture          374

                                 1825.

  'Bernard Blackmantle' (C. M. Westmacott), 'Spirit of the Public
  Journals for the year 1824'--'The English Spy,' by Bernard
  Blackmantle                                                        377

                                 1831.

  Posthumous Publication--'The Humourist, a Companion for the
  Christmas Fireside,' by W. H. Harrison, 'with fifty engravings
  and numerous vignettes from designs by the late Thomas
  Rowlandson'                                                        380


                             _SUMMARIES._

  Chronological summary of subjects, social and political,
  published caricatures, plates, and book illustrations, engraved
  by or after Thomas Rowlandson, 1774 to 1831                        387

  Addendum to the chronological summary of Rowlandson's published
  caricatures 406


                              _APPENDIX._

  ADDITIONAL SOURCES OF REFERENCE UPON ROWLANDSON'S CARICATURES:

  Catalogue of pictorial satires in the Print Department of the
  British Museum, from the notes of Edward Hawkins, prepared by
  Frederic George Stephens                                           411

  'Centuria Librorum Absconditorum (Pisanus Fraxi)'                  412

  Original drawings by Thomas Rowlandson in the Department of
  Prints and Drawings, British Museum                                412

  In the Royal Collection, Windsor Castle                            413

  In the collection of water-colour drawings of the English school,
  Science and Art Department, South Kensington Museum                413

  Dyce collection of water-colour drawings of the English school,
  Science and Art Department, South Kensington Museum                413

  Private collections of original drawings by Thomas Rowlandson      415


                              _INDICES._

  Index of names, persons, &c. 435

  Index of titles, subjects, published caricatures, illustrations,
  &c.                                                                440



_ROWLANDSON THE CARICATURIST._



1800.


_January 1, 1800._ _A French Ordinary._ Published by S. W. Fores. (See
January 2, 1804.)

_January 20-3, 1800._ _Washing Trotters._ Published by Hixon, 355
Exeter Change, Strand.--As the title indicates, an etching of a curious
couple engaged in the domestic operation of tubbing.

_January 20, 1800._ _Desire_, No. 1. Woodward del., Rowlandson sculp.
Published by R. Ackermann.--'Various are the ways this passion might be
depicted: in this delineation the subjects chosen are simple--a hungry
boy and a plum-pudding.'

_January 20, 1800._ _Attention_, No. 2. Woodward del., Rowlandson
sculp. Published by R. Ackermann.

_January 20, 1800._ _Hatred or Jealousy_, No. 3. Woodward del.,
Rowlandson sculp. Published by R. Ackermann.

_January 20, 1800._ _Admiration with Astonishment_, No. 4. Woodward
del., Rowlandson sculp. Published by R. Ackermann.

_January 20, 1800._ _Veneration_, No. 5. Woodward del., Rowlandson
sculp. Published by R. Ackermann.

_January 21, 1800._ _Rapture_, No. 6. Woodward del. Etched by
Rowlandson.--'What's life without passion, sweet passion of love?'
'Melody produces rapture, as exemplified in the Jew clothesman's
rapturous attention to the vocal strains of the ballad-singer and her
family.' A street ballad-singer, with a basket of ballads in slips, and
surrounded by her family of children, has thrown a wandering Hebrew
into a fit of pious ecstasy by the strains of her squalling voice,
helped out by the shrill accompaniments supplied by those of her
children.

_1800._ _Desire_, No. 7. Woodward del. Etched by Rowlandson.--'Female
attraction is frequently the cause of this passion, as represented
in the delineation of the Old Beau and the Sleeping Lady.' A fair
young female, fashionably attired, has dropped asleep in an inviting
attitude, leaning on a cushion, an old buck, spyglass in hand, is
ogling the unconscious beauty.

_January 21, 1800._ _Joy with Tranquillity_, No. 8. G. M. Woodward
del., Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Laughter_, No. 9. G. M. Woodward del., Rowlandson
fec. Published by R. Ackermann.

_January 21, 1800._ _Acute Pain_, No. 10. Woodward del., Rowlandson
sculp.--'The curious observer of the passions has only to get a
careless servant to pour some hot water on his foot, in a case of the
gout, and he will soon know the nature of Acute Pain.'

_January 21, 1800._ _Acute Pain_ (2nd plate), No. 19. G. M. Woodward
del., Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Simple Bodily Pain_, No. 11. G. M. Woodward del.,
Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Sadness_, No. 12. G. M. Woodward del., Rowlandson
fec. Published by R. Ackermann.--'This passion is represented by an
old maid, who is rendered completely miserable by the death of her
favourite lapdog.' A 'serious footman' is gravely contemplating the
body of a deceased puppy, extended on a velvet cushion, while an
antiquated spinster, his mistress, who is smartened up with bows and
ribbons, is in the depths of despair.

_January 21, 1800._ _Weeping_, No. 13. G. M. Woodward del., Rowlandson
fec. Published by R. Ackermann.

_January 21, 1800._ _Compassion_, No. 14. G. M. Woodward del.,
Rowlandson fec. Published by R. Ackermann.

_January 21, 1800._ _Scorn_, No. 15. G. M. Woodward del., Rowlandson
fec. Published by R. Ackermann.--'This passion is frequently brought
forward when a rich old dowager meets a poor relation.' A stout
citizeness is pouting her nether lip, and closing her eyes to the
pathetic appeals of a miserable-looking female, whose poverty and
leanness offer a striking contrast to the portly city dame, with
comfortable muff, resplendent in jewellery and brave apparel.

_January 21, 1800._ _Horror_, No. 16. G. M. Woodward del., Rowlandson
fec. Published by R. Ackermann.

_January 21, 1800._ _Terror_, No. 17. G. M. Woodward del., Rowlandson
fec. Published by R. Ackermann.

_January 21, 1800._ _Anger_, No. 18. G. M. Woodward del., Rowlandson
fec. Published by R. Ackermann.

_January 21, 1800._ _Despair_, No. 20. G. M. Woodward del., Rowlandson
fec. Published by R. Ackermann--'A disappointed old maid and a bachelor
are selected as proper subjects to represent the passion of despair.'
The old maid, who is far from an attractive example of her tribe, is
looking venom and acerbity personified. The old bachelor is also of a
flinty aspect, his hands are clasped, thumbs pressed together, and head
and eyes uplifted in pious abstraction and contemplation.

_February 14, 1800._ _Beef à la Mode._ Published by R. Ackermann,
101 Strand. Etched by Rowlandson (companion to _Collar'd Pork_).--A
veritable bovine specimen, a fine Alderney, dressed out in the reigning
mode. The fore part in female guise, on the head a gigantic hat of
the cart-wheel order, straw trimmed and garnished, huge ear-rings,
the extensive muslin 'choker,' a miniature of a bull round the cow's
neck, ladies' buckled shoes, and ribboned sandles on the fore legs,
and maccaroni's hessians and tassels on the hind ones; a lady's shawl
thrown over the shoulders, according to the fashionable costume worn at
the end of the eighteenth century.

_March 6, 1800._ _Dr. Botherum, the Mountebank._--From the bustle and
life visible on all sides it would seem that the period is fair-time,
when the rustics and agricultural population of the vicinity in
general flock into the town, holiday-making. A travelling mountebank
has established his theatre in the market place; the person of the
ingenious charlatan is decked out in a fine court dress, with bag
wig, powder, sword, and laced hat complete, the better to excite
the respect of his audience; he is holding forth on the marvellous
properties ascribed to the nostrums which he is seeking to palm off on
the simple villagers as wonder-working elixirs; while his attendants,
Merry Andrew and Jack Pudding, are going through their share of the
performance. One branch of the mountebank physician's profession was
the drawing of teeth; an unfortunate sufferer is submitting himself to
the hands of the empiric's assistant. The rural audience is stolidly
contemplating the antics of the party, without being particularly
moved by Dr. Botherum's imposing eloquence, these vagabond scamps
being frequently clever rogues, blessed with an inexhaustible fund
of bewildering oratory, and witty repartee at glib command. Leaving
the quack, we find plentiful and suggestive materials to employ the
humourist's skilful graver scattered around. In the centre, a scene
of jealousy is displayed; the beguilements of a portly butcher are
prevailing against the assumed privileges of a slip-shod tailor, who is
seemingly tempted to have recourse to his sheers, to cut the amorous
entanglement summarily asunder. On the left, the promiscuous and greedy
feeding associated with 'fairings,' is going busily forward, and on the
opposite side are exhibited all the drolleries which can be got out
of a Jew pedlar, his pack, the diversified actions of customers he is
trying to tempt with his wares, and the bargains for finery into which
the fair and softer sex are vainly trying to beguile the cunning Hebrew
on their own accounts.

[Illustration: DR. BOTHERUM, THE MOUNTEBANK.]

It seems probable that Rowlandson in his print of _Doctor Botherum_
may have had a certain Doctor Bossy in his eye, a German practitioner
of considerable skill, who enjoyed a comfortable private practice,
said to have been the last of the respectable charlatans who exhibited
in the British metropolis. This benevolent empiric, as Angelo informs
us, dispensed medicines and practised the healing art, publicly and
gratuitously on a stage, his booth being erected weekly in the midst
of Covent-Garden Market, where the mountebank, handsomely dressed and
wearing a gold-laced cocked hat, arrived in his chariot with a liveried
servant behind.

According to the old custom, the itinerant quack doctor, with his
attendant gang, was as constant a visitor at every market-place as the
pedlar with his pack.

_March 12, 1800._ _Humbugging, or Raising the Devil._ Published by
R. Ackermann, 101 Strand.--A credulous personage, who, judging from
his costume, is in a fair position in life, has called to consult a
necromancer. The enchanter has a venerable beard, and a divining rod;
according to usage, he has made a circle of skulls, toads, and other
inviting objects, in the centre of which, through a stage trap, he
is raising the 'very deil,' and has conjured up a pantomimic demon,
horned, winged, and grotesquely arranged, holding in one hand a
gore-stained dagger, and a goblet of suppositious blood in the other.
The knees of the befooled spectator are trembling beneath him; his
back is turned to a curtain which conceals a fair enchantress, who is
assisting the invocation, and giving a practical turn to the delusion
by removing a well-filled pocket-book from the coat-tail of the simple
victim. In the background is the traditional whiskered cat, and the
folio of cabalistic signs; a stuffed crocodile is suspended from the
roof.

_March 12, 1800._ _Hocus Pocus, or Searching for the Philosopher's
Stone._ Rowlandson del. and sculp. Published by R. Ackermann, 101
Strand.--Companion plate to 'Humbugging, or raising the Devil.' The
artist introduces us to the laboratory of a so-called alchemist. A
roguish Jew and his familiar are busily engaged in the transmutation of
metals; the servant, with a pair of long-nozzled bellows, is engaged
in kindling the furnace, in which is a crucible; various retorts,
alembics, and other paraphernalia of the 'black arts,' are scattered
about, as well as a formula for 'changing lead into gold;' although
the alchemists at best could only contrive to accomplish the reverse
transmutation. Suggestive prints are hung on the walls of this chamber
of mystery, such as the portrait of the notorious 'Count Cagliostro,
discoverer of the Philosopher's Stone,' and the figure of the spurious
'Bottle Conjurer.'

A military officer, in the next apartment, is turning his opportunities
to more practical advantage by embracing, with a certain display of
ardour, a pretty maiden--who is nothing loth,--the daughter, it
appears, of the philosophically minded investigator.

_April 1, 1800._ _A Ghost in the Wine Cellar._ Published by T.
Rowlandson, 1 James's Street, Adelphi.

_April, 1800._ _Caricature Medallions for Screens._ Published by R.
Ackermann, Strand.

_April 20, 1800._ _Hearts for the year 1800._ Woodward inv., Rowlandson
sculp. Published by R. Ackermann, Strand.

_May 1, 1800._ _Cash_. Published by R. Ackermann.

_May 1, 1800._ _Bills of Exchange._ Published by R. Ackermann.

_May 12, 1800._ _Melopoyn haranguing the prisoners in the Fleet.
Hogarthian Novelist._ Plate 5.

_May 12, 1800._ _Captain Bowling introduced to Narcissa. Hogarthian
Novelist._ Plate 6.

_May 20, 1800._ _A Skipping Academy._ G. M. Woodward inv., Rowlandson
sculp. Published by R. Ackermann, Strand.

_June, 1800._ _Sketches at the Oratorio._ G. M. Woodward inv.,
Rowlandson sculp.

_June 4, 1800._ _Pictures of Prejudice._ Designed by Woodward. Etched
by Rowlandson. Published by R. Ackermann.

_June 4, 1800._ _Britannia's Protection, or Loyalty
Triumphant._--George the Third, his face shown in profile, is standing
upright and firm; his left arm is resting on the pillar of Fortitude,
Britannia's shield is outstretched for his protection, and her spear is
striking at the would-be assassin Hadfield, who, wearing a repellant
expression, is slinking down before her: his pistol has fallen from his
hand; round his neck is a halter, with the end of which a miniature
edition of the Evil One is flying off, crying: 'Hadfield, for thy
diabolical attempt thou shalt meet with thy reward!'

_June 26, 1800._ _A Silly._ Published by R. Ackermann, 101 Strand.--An
ill-favoured old maid, who is evidently a person of fortune, is
seated on her sofa between two admirers, a clergyman and a military
officer, who are respectively ambitious of the honour of her hand. Her
old-maidish tastes are indicated by the nature of her pets; a monkey,
seated in the embrasure of the window, is scratching his ear; he is
supported on the opposite side by a parrot, which is screaming with the
full force of its lungs.

_June 26, 1800._ _A Sulky._ Companion Print to _A Silly_. Published by
R. Ackermann, 101 Strand.--A fat old curmudgeon, a very porpoise in
face, expression, and figure, is tippling and dozing in a semi-maudlin
state, in front of the fire-place. His fair companion, an elegant
young damsel, is dressed in readiness to make her escape into more
agreeable society; she is fuming with impatience, but dares not
venture to move for fear of arousing the attention of her besotted
jailer. Her situation is more tantalising from the circumstance that
the maid-servant has brought in a billet-doux from a handsome youth,
her admirer, who, all impatience, is looking over the shoulders of his
messenger.

_July 25, 1800._ _Collar'd Pork._ Companion to _Beef à la Mode_ (see
p. 3). Published by Ackermann.--A long-snouted black pig is decked
out in the height of fashion, with ample neck-cloth, frill, wig,
eye-glass, white ducks, blue coat with roll collar, brass buttons, his
tail twisted up with bows, &c., _à la queue_. He wears Hessian boots,
tassels, and spurs on his front legs; pumps with bows, and black silk
stockings on his hind legs.

_July 25, 1800._ _The Pleasures of Margate_, in four compartments.
Published by R. Ackermann.

    _Morning._--Breakfasting at _Michiner's Grand Hotel_.
    _Noon._--Dining at _Michiner's Grand Hotel_.
    _Evening._--A drive on the sands.
    _Night._--At the bazaars. Raffling for prizes, flirtation, &c.

_August 20, 1800._ _Sailors Regaling._ Published by T. Rowlandson, 1
James's Street, Adelphi.

1800. _The Tuileries in Paris._--_Original Drawing._

[Illustration: SUMMER AMUSEMENT, OR A GAME AT BOWLS.]

_August 20, 1800._ _Summer Amusement; or, a Game at Bowls._ Published
by T. Rowlandson, 1 James's Street, Adelphi.--It has been a custom
immemorial to laugh at the exertions which were made by our ancestors
to obtain rational open-air recreation. The fashionable part of society
have, for once, found congenial allies in the wits. The papers which
doubtless obtained the most popular reception in their day, since
they laughed at the simple citizens 'on pleasure bent,' and held up
their relaxations to a ridicule which was often neither subtle nor
polished, were the essays in the _Spectator_, _Tatler_, _Guardian_,
_Humourist_, _&c._, which made fun of the countrified loungings of
the Londoners. The squibs, in the shape of poetical broadsheets
and songs of the Stuart era, against sylvan aspirations, were but
re-echoed by the bright and cultivated humourists who flourished when
'Anna ruled the realm.' Sturdy Hogarth, with his pictures, brought
the commonplace pleasures--although he was addicted to them with no
half-spirit himself--of his neighbours into ludicrous prominence. The
_Connoisseur_, _World_, _Mirror_, _Adventurer_, _Observer_, _Lounger_,
_Looker-on_, and even Johnson's _Rambler_, are particularly caustic on
the comic side of humanity, as seen in their out-of-door pastimes. As
to the days of transition, when the early Georgian generation was being
rapidly submerged and effaced by the tide of progression, both writers
and caricaturists combined to satirise cockney jauntings unmercifully.
Gillray, Rowlandson, Collings, Boyle, Bunbury, Deighton, Woodward,
Nixon, Newton, and a swarm of amateur followers, were always ready
to make fun of suburban excursions; such productions were certain to
obtain fame for the designers, and a ready patronage at the hands of a
public which encouraged similar everyday irony.

It seems, however, now the suburbs have disappeared, where tea-gardens
were once abundant--to which, armed with lanterns and in groups, for
better security against the knights of the road, footpads, and similar
dangers which were then rife, our forefathers repaired with light
hearts, released from the culture of Mammon and money-grubbing--that
we have lost a great deal which modern improvements are powerless to
restore.

A little generation back there were still relics of past pleasure
haunts, a Sluice House, a Hornsey Wood House, and numberless similar
resorts for the dwellers in Babylon, who sighed to turn, for a brief
afternoon of diversion, their respectable backs on groves of brick,
and to regale their pastoral-longing eyes with a semblance of the
country. Now the monster metropolis, with unsparing strides, has
finally absorbed such patches of verdure, as made homely retreats on
red-letter holidays; and life is considerably restricted, as regards
the variety which an hour's jaunt could introduce into the prosaic
current of yearly existence, as far as the boundaries of the giant city
are concerned.

A great deal could be written on the defunct pleasure-gardens which
once enlivened the outskirts; but their glories are departed, or
at best preserved in the satires, literary and artistic, which
contemporary humourists levelled at the Georgic-loving citizens who
frequented them. Such a suburban retreat, with the motley crowds
who disported themselves thereat, is graphically reproduced in
Rowlandson's plate of _Summer Amusement_. Much of the delight was
prosaic and toilsome; but, seemingly, good fun was to be had, and
people could lay aside their conventional rigidity for once and
awhile, when fine weather and the pleasant season tempted them to
stray, and leave the everlasting counting-house at home, for a game
at bowls and a little wholesome relaxation. The various groups found
in the picture are well conceived. Two games are proceeding, into
which cits, of various degrees, are throwing their entire energies.
The whimsical accompaniments connected with 'taking tea in the arbour'
are faithfully seized. The soberer elders are crowding the hospitable
'house of call.' Round the foremost table is gathered a convivial
party; the worthy souls are draining a parting bowl, before commencing
their return journey, for which the lantern is set on the ground in
prudent preparation. A little toasting is going on at the next table,
and beyond that an arcadian flirtation is in progress, with various
incidents transpiring around, such as the observant philosopher might
have noted in 1800, without travelling very far out of his way.

_August 30, 1800._ _Gratification of the Senses à la mode
Française._--(Seeing, Tasting, Hearing, Smelling, Feeling.)

_October 1._ _The Newspaper._ G. M. Woodward invt., Rowlandson sculp.
Published by R. Ackermann.

_October 29, 1800._ _Grotesque borders for Rooms and Halls._--Published
October 25 and 29, 1800, by R. Ackermann, 101 Strand. Woodward del.,
Rowlandson sculp.

1800 (?). _Sterne, L. The Beauties of Sterne._ With one plate by T.
Rowlandson. 12mo.

1800. _Sterne, L. The Sentimental Journey._ With plates by Thomas
Rowlandson. 12mo.

1800. _Yorick feeling the Grisette's Pulse._ 8vo.--The interior of
the Grisette's _Magasin des Modes_. The plate is delicately etched.
Yorick is seated beside the pretty milliner; the complaisant husband
is bowing, grimacing, and attitudinising. A poodle is on a settee. Two
blocks, hat and cap moulds, are, with bandboxes, robes, &c., scattered
around. Outside is seen a glimpse of the quaint antiquated French
street life, such as might be encountered by the sentimental traveller
before the Revolution:--priests, monks, portresses, &c., with images of
saints at the street corners.

On August 15, 1800, Mr. Ackermann issued at his Repository of
Arts, 101 Strand, a series of six plates designed and etched in
Rowlandson's boldest and most spirited style; and finished and
coloured in almost exact imitation of the original drawings. Each
plate contains three large distinct heads, festooned with attributes
peculiar to the respective designs. It is not very clear whether
these symbolical groupings, which are superior in execution to the
average of Rowlandson's published works, were devised to be cut up
for scrap-books, screens, or wall borderings; but they have become
remarkably scarce since the date of publication, and sets of these
typical heads (eighteen in all) are rarely met with at the present date.

_Philosophorum._--The head of the philosopher closely resembles the
conventional portrait accorded to Father Time, horn spectacles,
forelock, grey beard and all. The globe, a sextant, mariner's compass,
chart, telescope, dividers, bells, squares, thermometers, &c., make up
the symbolical garland which depends from the ears of this emblem of
knowledge.

_Fancynina._--This figure is borne out by one of the artist's
favourite types of female beauty, a well-featured, handsomely made and
languishing-looking young lady, wearing a modish hat, all feathered,
beaded, and flowered. The portrait of _Fancynina_ is festooned
with such emblems of feminine frivolity as French rouge, Court
sticking-plaister (for patches), ottar of roses, watches and trinkets,
miniatures of admirers, an opera glass, a black domino or half-mask, a
huge muff, parasol, fan, &c.

_Epicurum._--An old gourmand in a red nightcap, whose flushed and
blossoming countenance appears through a goodly string of sausages;
a gridiron, a basting ladle, a cucumber, and other indications of
creature comforts complete the emblems of this figure.

_Penserosa._--The head of a tragic performer, modelled on that of
one of the Gorgones is used to illustrate this figure. The Medusa
head is entwined with serpents, and wreathed below with a festoon of
bays, beneath which hang the dagger and bowl, and the manuscript of
_Penserosa's_ tragic part.

_Tally ho! rum!_--The head of a Nimrod, backed with a huntsman's cap,
is the sign-piece of this figure; a _corne de chasse_ is hung round
the sportsman's neck, and on it are spurs, horseshoes, whips, a gun,
powder-flask, and game bag; a fox's head completes the group of emblems
distinctive of _Tally ho! rum!_

_Allegoria._--The head of a rubicund, but young and well-featured,
Bacchus does duty for _Allegoria_; heavy clusters of vine-leaves, and
bunches of purple grapes and tendrils crown and surround the bucolic
divinity; below is a Silenus mask; bacchanalian flutes, and pipes of
Pan, complete the insignia.

_Physicorum._--The face of a lean, high-dried, and sharp-featured
doctor, with a high, white wig, and a profusion of horsehair curls,
figures forth _Physicorum_ with proper character; festoons of bottles
of medicine, soporific, strengthening, emollient, purging and
sleeping draughts in all varieties, boxes of pills, ointments, drops,
prescriptive puffs, quackeries, and the inevitable syringe and clyster
pipe, make up the attributes of the physician.

_Nunina._--The head of a rosy-cheeked and buxom Nun, her eyes devoutly
raised to realms above. Beneath the portrait the crowned and ghastly
skull of King Death, a book of devotions, a _flagellum_ for discipline,
a crucifix, hour-glass and rosary, and other pious symbols are
displayed.

_Publicorum._--The face of a fat and rubicund-visaged landlord does
duty as the emblem of _Publicorum_; as may be supposed, the symbols of
this personage consist mainly of convivial attributes--tobacco-boxes,
pipes, bottles of rum, brandy, and rack; a tankard, limes, lemons, a
punchbowl, ladle, &c.

_Funeralorum._--The head of a professional mourner, with long
crape streamers round his hat, and a mourning cloak. _Funeralorum_
is surrounded by such cheerful attributes as funeral sermons,
advertisements of interments, and invitations to the same, burial fees,
titles, last wills and testaments, hatchments, Yorick's skull, an
hour-glass, and a sexton's pick and spade.

_Virginia._--The head of a soured and malignant-looking old maid,
whose favourite parrot is screaming in her ear. The vixenish face is
festooned with suppositious attributes of old spinsterhood--a group
of boxes of snuff, corn-plaisters, padlocks, pincushions, cats-meat,
anonymous letters, drops for the colic; while a bag for 'winnings at
_quadrille_' is displayed on the _Scandalous Magazine_, beside which
are perched two spitting and caterwauling old tom-cats.

_Hazardorum._--The head given as representative of _Hazardorum_ wears
a very disconsolate and downcast look; fortune has not favoured the
gambler, as is figuratively evinced by a purse turned upside down, from
which the contents are escaping, mortgage-deeds, annuity bonds, _Hoyle
on Chances_, a betting book, a game cock, rackets, dice and a dice-box.
_The Racing Calendar_, playing cards, billiard cues, a loaded pistol,
and other suggestive emblems supply the features of _Hazardorum_.

_Battlcorum._--The head of a fierce-looking warrior, with plumed hat,
sets forth _Battlcorum_; warlike attributes surround the stern hero,
whose face is grim as war itself. Chain-shot, pistols, shot-belts, a
cartouche box, bayonet, sword, gun, drum. &c., help out the martial
figure and assist its due signification.

_Billingsgatina_ displays the face of a buxom young fish-girl,
topped with a sailor's straw hat, and surrounded by evidences
of her fishy profession: strings of eels, lobsters, crabs, cod,
oysters, and fish-baskets are introduced to support the character of
_Billingsgatina_.

_Trafficorum_ is represented by a long-haired, hook-nosed, shrewd-eyed
Jew pedlar, wearing an unkempt beard; round his neck hangs the
suggestive hawker's box, with the multifarious contents of the pack
displayed; scissors, tape, ribands, spectacles, purses, razors, combs,
knives, forks and spoons, watches, trinkets, necklaces, ear-rings,
buckles, and an infinity of similar articles, disclose the identity of
_Trafficorum_.

_Barberorum._--The head of a French hair-dresser does duty for this
figure; a comb is stuck in the lengthy locks, and a white apron is
pinned under the shaven chin. Implements properly pertaining to the
barber's calling are introduced to form a trophy; a string of wigs of
all colours and shapes, a block, powder-bags, curling-irons, tongs,
combs, scissors, tooth brushes, razors and Packwood's strops, flasks
of scent, eau de Luce, lotions, boxes of pommades, rouge, &c., furnish
forth emblemata of the hair-dressing _Barberorum_.

_Flora_ is represented by a sweetly innocent flower-seller, whose soft
and winning face appears above clusters of roses, lilies, tulips,
bluebells, and other flowers, while beneath the attributes of _Flora_
are completed by a basket of fruits and vegetables.

_Lawyerorum_ very significantly closes the series of emblematical
heads. The counsel is a hard-featured, sharp, close, shrewd, and
long-headed looking individual, attired in his horsehair wig, and
festooned around with the sweets of his profession--_Affidavits_,
_Subpoenæ_, _Perjuries_, _Bankrupts enlarged_, '_Wills made on the
shortest notice_,' _Writs of Error_, _Clausum Friget_, _Bills of
Costs_, _Declarations_, _Actions between John Doe and Richard Roe_,
_Warrants for assaults_, _Habeas Corpus_, _Suits in Chancery_, _Lists
of Informations_, _Quirks_, _Quibbles_, _Briefs_, _Title-deeds_,
_Statutes at large_, bags of _causes_, ponderous legal volumes; the
emblemata are significantly supported by a well-filled brief bag,
plethoric with 'cash received on clients' accounts, not paid over.'

1800. _A Peep into Bethlehem._

    Ah! then dismounted from his spavin'd hack,
    To Bethlehem's walls, with Burke, I saw him borne,
    There the straight waistcoat close embrac'd his back:
    While Peggy's wreath of straw did either brow adorn,
    And there they sit, two grinners, _vis-a-vis_;
    He writing Grub Street verse, Burke ranting rhapsody.
        _Vide Melancholy Catastrophe_, _by_ PETER FIG, Esq.

The bard Peter Pindar is leaning his elbows on a sheet of verses lately
commenced, 'An Ode to Paine,' his poems the 'Lousiad,' 'Pension,' 'Ode
upon Ode,' &c., are scattered on the ground. Burke, with a shaven
head, and wearing a rosary round his neck, is declaiming impassioned
eloquence, while his foot is trampling upon two volumes, the 'Rights of
Man,' and 'Common Sense,' with Peter Pindar's 'Ode upon Ode.'

1800 (?). _Country Characters. No. 1, A Publican._ Woodward del. Etched
by Rowlandson. Published by R. Ackermann, 101 Strand.--The parlour of a
country public-house, hung round with pictures on equestrian subjects,
after the manner of the inimitable gallery of Professor Gambado: _Horse
Accomplishments_, introducing such peculiarities as _An Astronomer, or
Star-gazing Steed_; _An Arithmetician_, where the animal is working out
problems with his nose on the ground; _A Loiterer_, where the horse
pauses to ruminate, &c. The publican is drinking in true old-fashioned
landlordlike style with the squire, a Tony Lumkin of a landed
proprietor; mine host wears a red nightcap, and clean white sleeves,
apron, and stockings. Tony Lumkin has been trying to palm off an old
story on his friend, but the landlord's experience is too much for him.
'Come, squire,' he cries, 'that won't do; that's Joe Miller, I'm sure,
page 490.'

_Country Characters. No. 2, A Justice._ Woodward del. Etched by
Rowlandson. Published by R. Ackermann, 101 Strand.

_Country Characters. No. 3, A Barber._ Woodward del., Rowlandson
sculp. Published by R. Ackermann, 101 Strand.--A stout gentleman,
divested of his wig, has sat down for the tonsorial process, holding
in his lap the _London Gazette Newspaper_; the village Figaro, a
highly-dried and austere personage, of marked political proclivities,
has fixed his melancholy eyes on the latest intelligence, while, not
to waste time, he is pursuing the operation of shaving his unhappy
victim; simultaneously the edge of his razor-blade is taking an upward
tendency, and his right hand is sawing away at the sitter's olfactory
organ, while his left holds that important member immoveable. 'They
write from Amsterdam,' reads the preoccupied barber; while the
gentleman in the seat of torture, writhing with pain and apprehension,
vehemently shouts: 'Halloh! you sir,--what, are you going to cut my
nose off?'

The remainder of the series does not require a more particular
description.

1800 (?). _Country Characters. No. 4, Footman._ Woodward del. Etched by
Rowlandson. Published by R. Ackermann, 101 Strand.

1800 (?). _Country Characters. No. 5, Tax-gatherer._ Woodward del.
Etched by Rowlandson. Published by R. Ackermann, 101 Strand.

1800 (?). _Country Characters. No. 6, Squire._ Woodward del. Etched by
Rowlandson. Published by R. Ackermann, 101 Strand.

1800 (?). _Country Characters. No. 7, Vicar._ Woodward del. Etched by
Rowlandson. Published by R. Ackermann, 101 Strand.

1800 (?). _Country Characters. No. 8, Doctor._ Woodward del. Etched by
Rowlandson. Published by R. Ackermann, 101 Strand.

1800 (?). _Country Characters. No. 9, Exciseman._ Woodward del. Etched
by Rowlandson. Published by R. Ackermann, 101 Strand.

1800 (?). _Country Characters. No. 10, Steward._ Woodward del. Etched
by Rowlandson. Published by R. Ackermann, 101 Strand.

1800 (?). _Country Characters. No. 11, Attorney._ Woodward del. Etched
by Rowlandson. Published by R. Ackermann, 101 Strand.

1800 (?). _Country Characters. No. 12, London Outrider, or Brother
Saddle-bag._ Woodward del. Etched by Rowlandson. Published by R.
Ackermann, 101 Strand.

1800. _Matrimonial Comforts._ No. 1, _The Dinner Spoil'd._ G. M.
Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101
Strand.--A family party sitting down to the diurnal repast. The head
of the house is an ill-favoured person, of advanced age and wearing
a tremendous wig. Before him is a leg of mutton, and, knife and fork
in hand, he is considering the joint with the eye of disfavour. 'It's
red!' he grumbles, 'not fit to eat!--these are the blessed effects
of boiling mutton in a cloth!' His wife is regarding the dinner with
consternation; one son is opening his eyes, and 'making a mouth'
apprehensive of losing his dinner; another youth bears a look of
absolute dejection; the family circle is completed by the addition of a
queer poodle, seated on his hind legs, and wearing a disappointed look,
like the rest of the diners. An appropriate pair of figures, _Peace_
and _Concord_, are hung on the wall by way of pictures.

1800. _Matrimonial Comforts._ No. 2, _Late Hours_. Woodward del. Etched
by Rowlandson. Published by R. Ackermann, 101 Strand.

1800. _Matrimonial Comforts._ No. 3, _An Anonymous Letter_. Woodward
del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.

1800. _Matrimonial Comforts._ No. 4, _A Return from a Walk_. Woodward
del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.--A
venerable and somewhat decrepit spouse has been for a 'constitutional.'
On his return he is gratified with the discovery of a very interesting
domestic tableau: his young and pretty wife is fast asleep on the
knee of a dashing officer, who, seated on the family sofa, is also
slumbering blissfully, with one arm round the waist of the faithless
wife, while his hand is clasping that of the lady, one of whose arms
tenderly encircles the neck of her martial admirer. The rash intruder
on this scene, with good reason, is much shocked at the situation, and
is exclaiming in dismay, 'My wife! as sure as I am a haberdasher.'

1800. _Matrimonial Comforts._ No. 5, _Killing with Kindness_. Woodward
del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.--The
victim to ill-directed matrimonial attentions is a stout countrified
old gentleman; he is seated in his arm-chair, very much at the mercy
of two fair and youthful tormentors, whose exertions on his behalf
are probably _not_ disinterested. The wife, a very stylish damsel,
seemingly young enough to be the daughter of her embarrassed spouse, is
leaning on his chair and pressing him to partake of a dish of fruit,
and insisting, 'You must have some apricots, my love!' while her
sister, patting the husband affectionately on the shoulder, is forcing
a bunch of grapes into his mouth, which he has incautiously opened, to
express his dissent: 'Just take these grapes, brother-in-law, you never
eat finer!' The old gentleman, who shrewdly values this devotion at its
worth, is crying: 'I wo'nt eat anything more, I tell you--I shall be
choked--got an eye to the estate, I suppose!'

1800. _Matrimonial Comforts._ No. 6, _A Fashionable Suit_. Woodward
del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.--The
tailor, with measuring-tape on shoulder and shears in pocket, has
brought home a new suit, into which an ill-made and clumsy-looking
personage has, with some difficulty, managed to thrust his limbs.
The coat is that very unbecoming garment, fashionable at the date
of the etching, and known as a _Jean de Brie_--a close-fitting,
swallow-tailed garment, with a hump-like high collar, and sleeves
tight to the shoulders, which were distended by a gouty puff, giving a
generally distorted appearance to the back of the wearer. The victim
is contemplating his uncomfortable suit in a looking-glass held by
the tailor, who is dismayed at the indignant protest of his client:
'Why, you have put me a hump upon each shoulder, and here's a pair of
Dutchman's breeches that would hold provision for a marching regiment;
well, I tell you what, Master Tailor, d---- me if I would go to our
club such a figure for fifty pounds!' The snip is assuring him in
reply: 'Made entirely to your lady's orders, your Honour, I assure
you she said now you was married you should look like the rest of the
world.'

1800. _Matrimonial Comforts._ No. 7, _Washing Day_. Woodward del.
Etched by Rowlandson. Published by R. Ackermann, 101 Strand.--A stout
and comfortable-looking gentleman, whose features wear a very sulky and
discontented expression, is giving one hand to a cheerful old 'chum'
from the country, and pointing with the disengaged hand to two stout
wenches deep in the washing-tubs: 'Ah! my old friend,' cries the host
to the traveller, 'I wish you had called at some more convenient time,
but this is washing day--I have nothing to give you but cold fish, cold
tripe, and cold potatoes, you may smell soapsuds a mile! Ah Jack! Jack!
you don't know these Comforts! You are a bachelor!'

1800. _Matrimonial Comforts._ No. 8, _A Curtain Lecture_. Woodward
del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.--The
bedchamber of a couple who seem to disagree. The clock points to 'five
o'clock in the morning,' and the husband, night-cap on head, and his
face bearing an expression of injured martyrdom, has clasped his hands
in despair of obtaining rest from the energetic denunciations of his
wife, who, leaning over him in a commanding attitude, is pouring forth
her 'Caudle-like' remonstrances over the prostrate sufferer: 'Yes, you
base man, you; don't you eat, drink, and sleep comfortably at home? and
still you must be jaunting abroad every night. I'll find out all your
intrigues, you may depend on it.'

1800 (?). _Preparation for the Academy, Old Joseph Nollekens and
his Venus._--John Thomas Smith, many years Keeper of the prints and
drawings in the British Museum, and better known by his works on
metropolitan antiquities, to which he furnished etchings, as well as
archæological researches, has left us one of the chattiest and most
eccentric biographies to be found in the annals of literature--the
_Life of the Sculptor Nollekens_, whose pupil he was. Much as we are
indebted to 'Antiquity Smith' for the whimsical anecdotes he has
imported into his unequivocally entertaining pair of volumes, which
touch freely upon contemporary men and things under their most familiar
and every-day aspect, we cannot fail to feel a passing regret that
the versatile keeper has forgotten to make any anecdotal mention of
his friend Rowlandson, with whom he was on terms of cordiality. The
caricaturist had presented, at times, some of his most interesting
drawings to 'his old friend John Thomas Smith,' as he has taken care
to inscribe on the margins, with his autograph; the best of these
is possibly, _Drawing from the Life-School at the Royal Academy_--a
subject upon which both the humourists were well informed, since they
had worked there as students, and were more or less acquainted with
all the artists of the day, and, moreover, it being impossible to
overlook such points, with their keen sense of the eccentric; they had
noted--the one with his pencil, and the other with his pen--all the
striking peculiarities, personal or professional, of their numerous
associates. The latest portrait the present writer has seen of our
artist is one drawn with a pen in outline and tinted with Indian ink
by the worthy keeper, one day when the caricaturist was visiting the
Print Room of the British Museum, Rowlandson being, at that time, well
advanced in years. The sketch is that of a large and decisive-looking
elderly gentleman, with a bald head, firmly-cut features, and wearing
big old-fashioned spectacles; this portrait was taken while the subject
was stooping to examine a drawing. Beneath it John Thomas Smith has
inscribed the particulars under which he came to draw the portrait of
'his old friend.'

The grave omission with which we have to charge Nollekens' biographer,
usually so amazingly fertile in individualistic traits of everyone he
knew--and he seems to have been fairly acquainted with, or to have
something amusing to impart about, nearly everybody of any note--in
respect to the caricaturist, of whom his writings make no sort of
mention, is the more to be regretted, since it was probably a sly hint
imparted by 'Antiquity Smith' which produced the picture of the gifted
old miser at work on one of his cherished subjects--a whimsical study,
doubtless founded on a special visit of observation, instituted, with
Nollekens' old pupil, for the very purpose. As regards the sculptor's
portrait, which is seemingly caricatured, John Thomas Smith comes in
as aptly with his description[1] as if the two sittings had taken
place simultaneously, and the biographer and artist had worked _en
collaboration_:--'His figure was short, his head big, and it appeared
much increased by a large-crowned hat, of which he was very fond. His
neck was short, his shoulders narrow, his body too large, particularly
in the front lower part; he was bow-legged and hook-nosed; indeed,
his leg was somewhat like his nose, which resembled the rudder of an
Antwerp packet-boat; his lips were rather thin, but between his brows
there was great evidence of study.'

[Illustration: PREPARATIONS FOR THE ACADEMY. OLD JOSEPH NOLLEKENS AND
HIS VENUS.]

As to 'his Venuses' Mrs. Nollekens invariably continued to express
the most derogatory opinions, since she regarded his fair models
as 'abandoned huzzies, with whom she had no patience,' regarding
her eccentric spouse as quite on their level, for she cherished the
extraordinary conviction that after his marriage he ought to have
'dispensed with such people.' While Mrs. Nollekens was unduly mindful
of her husband's favourite models, it seems these ladies, under altered
circumstances, occasionally amused themselves by reminding the sculptor
of their former acquaintance, on which pleasant fact his biographer
does not fail to enlarge, in more than one instance:--

'Our sculptor would sometimes amuse himself, on a summer's evening,
by standing with his arms behind him at the yard-gate, which opened
into Titchfield Street. During one of these indulgences, as a lady was
passing, most elegantly dressed, attended by a strapping footman in
silver-laced livery, with a tall gilt-headed cane, she nodded to him,
and, smiling, asked him if he did not know her. On his reply that he
did not recollect her, "What, sir!" exclaimed she, "do you forget Miss
Coleman, who brought a letter to you from Charles Townley, to compare
limbs with your Venus? Why, I have been with you twenty times in that
little room, to stand for your Venus." "Oh! _lawk-a-daisy_, so you
have!" answered Nollekens. "Why, what a fine woman you're grown! Come,
walk in, and I'll show you your figure--I have done it in marble."
After desiring the man to stop at the gate she went in with him; and
upon seeing Mrs. Nollekens at the parlour-window, who was pretending
to talk to and feed her sister's bullfinch, but who had been informed
by the vigilant Bronze (the eccentric maid-servant of this odd pair)
of what had been going on at the gate, she went up to her and said,
"Madam, I have to thank----." Mrs. Nollekens then elevated herself on
her toes, and, with a lisping palpitation, began to address the lady.
"Oh, dear," observed Miss Coleman, "and you don't know me! You have
given me many a basin of broth in the depth of winter, when I used
to stand for Venus." Mrs. Nollekens, not knowing what to think of
Joseph, shook her head at him as she slammed the window, at the same
time exclaiming, "Oh, fie! Mr. Nollekens! Fie! fie!" Bronze assured me
that when her master went into the front parlour he had a pretty warm
reception. "What!" said her mistress, "to know such wretches after you
have done with them in your studio!"'

In Rowlandson's picture the sculptor is actually at work on a Venus and
Cupid; one of his most successful models.[2]

1800. _Rainbow Tavern, in Fleet Street, in 1800._

1800. _Remarks on a Tour to North and South Wales in the year 1797_,
by Henry Wigstead, with plates from Rowlandson, Pugh, Howitt, &c.
(Aquatinted by J. Hill.) London: Published by W. Wigstead, 40 Charing
Cross. 8vo.--The particulars of the tour undertaken under these
auspices are thus briefly set forth by one of the travellers:--

'The romantic and picturesque scenery of North and South Wales,
having within these few years been considered highly noticeable and
attractive, I was induced to visit this Principality with my friend Mr.
Rowlandson, whose abilities as an artist need no eulogium from me. We
left London in August 1797, highly expectant of gratification: nor were
our highest hopes in the least frustrated.

'At the time of our excursion I had no idea of submitting to the public
any of our minutes or sketches; but, as several of the subjects amongst
our scenery have become topics of admiration, as well to the artist
as cursory traveller, I have in the following sheets endeavoured to
give a faint idea of their beauties; accompanied by some short remarks
on the road, merely intended as a sort of _vade mecum_ to stimulate
the readers to further and more important enquiries; and in order, if
possible, that they may, by being apprised of many inconveniences we
experienced, be enabled to avoid them.'

_Plates._

    Coventry, with a view of the effigy of Peeping Tom, and the King's
    Head. By T. Rowlandson.
    Wolverhampton. The Market, Bevan's Toy Shop, and the Church. By T.
    Rowlandson.
    Langollen.
    The King's Apartments, Conway Castle.
    Penmanmawr. H. Wigstead, _del._
    Caernarvon.
    Snowdon, from Llanberris Lake. H. Wigstead, _del._

Speaking of the natives of Llanberris, Wigstead describes them in such
picturesque terms that we are tempted to quote the paragraph:--

'The people here are really almost in a state of simple nature. The
value of money is scarcely known; they pay the rent of their premises
in cattle generally, which they breed on their land. Flesh is scarce
ever tasted by them; and, except when visitors leave behind remnants of
wine, ale, &c., milk is the principal beverage that passes their lips.
They are remarkably observant of any decorations worn by ladies, such
as beads, laces, and feathers, which strengthened my opinion of their
similitude with the Otaheiteans, &c. These they admire, and handle with
a sort of rudeness bordering on savage manners, likely to raise alarm
in the breast of the fair wearer.'

    Nantz Mill and Bethgellert. By T. Rowlandson.
    Pont Aberglasslyn. By H. Wigstead.
    Festiniog. By T. Rowlandson.
    A Welsh Landlady (fac-similed from the original drawing). By H.
    Wigstead.
    Waterfall near Dolghelly.
    Aberystwith.
    Cardigan. T. Rowlandson, _del._
    Inside of a Kitchen at Newcastle (near Carmarthen). By T.
    Rowlandson.

The latter subject pictures forth a capital interior, in Rowlandson's
own graphic manner. A turnspit is represented in his wheel, with the
chain attached to the spit, for roasting the joint before the fire. It
is reasonable that these poor creatures, tired of the squirrel-like
performance, should have welcomed the mechanical contrivance of the
roasting-jack.[3] The tourist describes one difficulty the epicure
encountered under the ancient state of things:--'_Newcastle_ is a
pleasant village; a decent inn here; a dog is employed as turnspit.
Great care is taken that the animal does not observe the cook approach
the larder; if he does he immediately hides himself for the remainder
of the day, and the guest must be satisfied with more humble fare than
intended.'

    Swansea. By T. Rowlandson.
    Cardiff Castle. By T. Rowlandson.
    Caerphilly Castle. By T. Rowlandson.
    The Hanging Tower at Caerphilly. By H. Wigstead.
    The Union of the Wye with the Severn, from Chepstow.
    Tintern Abbey.
    Raglan Castle. By T. Rowlandson.

FOOTNOTES:

[1] _Life of Nollekens_, vol. i. p. 79.

[2] _Venus Chiding Cupid_, executed for Lord Yarborough. 'Nollekens was
so provoked by an accident which happened to one of his figures during
the Exhibition at Somerset House, that he threatened F. M. Newton, the
Secretary, who made light of the affair, should this Venus be in any
way injured, to break every bone in his skin.'--_Nollekens and his
Times_, by John Thomas Smith.

[3] 'The mode of teaching turnspits their business was more summary
than humane. The dog was put in a wheel, and a burning coal with him;
he could not stop without burning his legs, and so was kept on the full
gallop. These dogs were by no means fond of their profession; it was
indeed hard work to them in a wheel for two or three hours, turning
a piece of meat which was twice their own weight. It is recorded of
the turnspit-dogs of Bath that one Sunday, when they had, as usual,
followed their mistresses to church, the lesson of the day happened
to be that chapter of Ezekiel wherein the self-moving chariots are
described. When the first word "wheel" was pronounced all the curs
pricked up their ears in alarm; at the second "wheel" they set up a
doleful howl; and when the dreaded word was uttered a third time every
one of them scampered out of church as fast as he could, with his tail
between his legs.'--John Foster, in Hone's _Everyday Book_, December
17, 1826.



1801.


_January 1, 1801._ _The Epicure._ Published by S. W. Fores. (_See_
1788.)

_January 1, 1801._ _A Money Scrivener._ (Companion to _A Counsellor_.)
S. W. Fores, 50 Piccadilly.--The scrivener inhabits a poor, squalid
office; his clerk is perched on a high stool by the window. The worthy
wears a nightcap, and has a quill behind his ear; he is poring over a
ledger at a tumbledown desk; one finger on his nose illustrates his
absorption in some weighty deliberation. Files of accounts and boxes of
deeds and papers form the rest of the scrivener's surroundings.

_January 1, 1801._ _A Counsellor._ Published by S. W. Fores, 50
Piccadilly.

[Illustration: A COUNSELLOR.]

_January 1801._ _The Union._ Published by Ackermann.--Pitt, a burlesque
St. George, clad in armour, is seated on the British bull, who is
horn-locked, nose to nose, snorting forth challenges in the face of the
furious Irish bull, on which is mounted St. Patrick, with mitre and
crozier. The national Irish saint, whose beard gives him the expression
of a Jew, is crying, ''Pon my conscience I don't know what you call it,
but the deuce of anything like a Union do I see, except their horns
being fastened together.' Pitt replies, 'Never fear, St. Patrick; all
will be yet very well; they are a little restive at first, but they
will take to it kindly enough by and by, I'll warrant you.'

_January 1, 1801._ _A Jew Broker._ Published by S. W. Fores, 50
Piccadilly.--Shylock, with his bond in the pocket of his gaberdine and
his crutch-stick under his arm, is abstractedly polishing his glasses,
although his watchful eyes are sharp enough without any artificial
assistance, as he stands at the corner of Duke's Place, then the
accepted rallying-point of his tribe. His face expresses a profoundly
baffled emotion, which is portrayed with a masterly hand. He is musing,
in abject despair, over a chance lost, a bargain missed, a gain which
has slipped through his prehensile fingers. Some Antonio of our modern
Venice founded on the shores of the Thames has escaped his toils; some
point of law, a flaw in the indentures, mayhap, has been turned to
account by a later 'Daniel come to judgment--a wise young judge,' to
whom the disconcerted Hebrew is finally loth to offer his gratitude. He
seemingly mumbles, with the pertinacity of Shylock:--

    My deeds upon my head! I crave the law,
    The penalty and forfeit of my bond.

[Illustration: A JEW BROKER.]

_January 15, 1801._ _The Brilliants_, (21-1/4 × 16.) Published by
R. Ackermann, 101 Strand.--We are not prepared with any special
particulars as to the foundation of this convivial club; but we
may record a solitary gratuitous observation, that in spite of the
melancholy and frequent carpings, on puritanical grounds, which are
now in fashion, over the growing degeneracy of the times in which we
live--the sanctimonious being given to assert that each succeeding
generation inveterately surpasses the excesses of its predecessors--in
the instances of drinking and gaming our ancestors went to extremes
beside which our modern dissipations, in their wildest excesses, fall
into paltry insignificance. The clubs of the past, in the item of
iniquity, although the institution was in its infancy, surpassed those
of the present day in such a degree that our 'fastest' haunts appear
prudish by comparison.

[Illustration: THE BRILLIANTS.]

As to _The Brilliants_, we do not accept the scene, in its literal
sense, as a faithful transcript of current amusements as practised at
the commencement of the century; but, allowing for the exaggeration
of burlesque, we are far from denying that it is founded on actual
observation, in an age notoriously given to conviviality, which was
carried, in all phases of society, beyond the bounds of discretion,
and, in some instances, to a decree incredible in our times. Their
Royal Highnesses the Princes of the Blood, their Graces the Dukes,
the proverbially drunken Lords, the Right Honourable Ministers of
State, Honourable Members of every political shade, and gallant and
learned gentlemen of the various services and professions, were, with
the rest of the community, without mentioning notorious and personal
instances, under no restraint of decorum in regard to inebriety; and,
if we may trust their own chroniclers, exhibited themselves without
reserve as frequently drunk as sober. If, in our charitable concessions
to the failings of our ancestors, we assume that our artist has
exercised undue licence in the representation of their failings, from
the president of _The Brilliants_ downwards, we must further take 'a
grain of salt' to qualify our belief in the fidelity with which he has
transmitted us the 'club rules.' It is impossible that any convivialist
could continue to be 'brilliant' after his senses were diluted by the
amount of fluid prescribed as a qualification for membership; the light
that was in him must be effectally extinguished by the vinous drenching
that was _de rigueur_:--

                'RULES TO BE OBSERVED IN THIS SOCIETY.

    '1st. That each member shall fill a half-pint bumper to the first
    toast.
    '2nd. That after twenty-four bumper toasts are gone round every
    member may fill as he pleases.
    '3rd. That any member refusing to comply with the above regulations
    to be fined, _i.e._ compelled to swallow a bumper of salt and
    water.'

_January 15, 1801._ _Undertakers Regaling._ John Nixon, Esq., del.,
Rowlandson sculp. Published by R. Ackermann, 101 Strand.--This large
plate, which is designed with a due appreciation of grim humour and
tipsy jocularity, introduces the traditional relaxations of the funeral
furnishers, whose jollifications are supposed to offer the most ghastly
contrast to their sober professional duties. On a convenient plot of
grass mutes, wandsmen, hearse-drivers, and all the other melancholy
functionaries of the last rites of unconscious humanity, are picnicking
with a true zest and appreciation of rural freedom. A substantial
pie, and other suggestive 'funeral baked meats,' are being disposed
of to the best advantage; but, excellent trenchermen though the
undertakers may prove themselves, their main distinction must rest on
their bibulous qualities; the members of the fraternity are applying
themselves with hearty goodwill to the fluids, far on the road to
becoming 'glorious,' while some of the party have already reached their
congenial stage 'of half seas over.' These festivities, of course, take
place in the vicinity of a 'house of call for funerals,' at the sign
of 'The Owl,' in the neighbourhood of a burial-ground, the hospitable
hostelry being kept by 'Robert Death,' whose inn is a resting-place
for all returning hearses on that particular road. Groups of gentlemen
engaged in the 'black business' are seated at tables, enjoying their
long clay pipes, or otherwise diverting themselves with romping and
horse-play; the members of another party, preparing to resume their
route back to the metropolis, are on the roof of their hearse, their
legs hanging over the side with pastoral-like simplicity, smoking their
'church-wardens' and hobnobbing their pewter quart pots with true
bacchanalian appreciation of the enjoyments of the hour. The results
of too indiscriminate indulgence are noticeable in the dangerous
situation of those coaches which are attempting to 'homeward wend their
melancholy way,' and are being overturned in the process by their tipsy
drivers.

[Illustration: SYMPTOMS OF SANCTITY.]

_January 20, 1801._ _Symptoms of Sanctity._ Published by S. W. Fores,
50 Piccadilly.--This subject--which, to say the least of it, is
suggestively bold, though by no means, in our opinion, coming under the
enumeration of 'risky _equivoque_'--might be fittingly described as
Superstition and Sensuality; the pious belief, amounting to fanaticism,
of the conventual 'Sister' contrasting strongly with the licentious
impiety of the gross priest.

_January 30, 1801._ _Single Combat, in Moorfields, or Magnanimous Paul
O! Challenging All O!_ Published by R. Ackermann, 101 Strand.--The ring
is formed in Moorfields, crowds of spectators are gathered around,
the curious have climbed up every available point of sight, and
observers are scrambling over the roofs. 'Magnanimous Paul O!' the mad
Emperor, is represented as a Russian bear; his sword is tempered 'à la
Suwarrow,' and his shield is inscribed 'Swallow all O!' The British
champion, Pitt, encased in a demi-suit of mail, is jauntily meeting
his adversery; the Minister's sword is tempered 'à la Nelson,' and
the names of his redoubtable admirals, Howe, Duncan, Nelson, Jervis,
and Parker, are the safeguards of his buckler. A Russian general, who
is acting as his master's squire, is reading Paul's extraordinary
cartel: 'Be it known to all men, that my master, the most magnanimous,
most puissant, most powerful, and most wonderful Great Bear of the
North, being in his sound and sober senses, challenges the whole world
to single combat, and commences his first trial of skill here, in
Moorfields, after which it is his intention to pursue his travels, and
visit every Court in Europe, Asia, Africa, and America.'

The Emperor Paul, who had acquired almost universal popularity at the
commencement of his reign by putting himself at the head of the allied
armies which were opposing the victorious career of Napoleon, now
astonished his admirers in England by a complete change of policy. He
proclaimed himself Grand Master of Malta, which had been conquered by
us in 1800. The British Government refused to recognise his authority;
the Emperor in revenge laid an embargo upon all British ships in
Russian ports, and succeeded in inducing the Danish, Swedish, and
Prussian Courts to enter into a convention to protect their commerce
against the encroachments of the English. Gillray has drawn the
ill-favoured and mad sovereign, under the title '_Mens turpe, corpore
turpi_,' trampling on the treaty of alliance into which he had entered
in concert with Austria and England.

Some two months after the issue of this caricature the wayward tyranny
of the Emperor, who gave unmistakable evidence of mental aberration,
became insupportable, and he was requested to abdicate. Paul
obstinately clung to absolute power, but in spite of his precautions
a conspiracy was organised by his disgusted nobles, his palace was
entered, and he was strangled with his own military scarf, which, by
the way, the satirists always drew of extravagant dimencions well
suited for such a purpose.

It will be remembered that Paul's career was an unfortunate one, and
the vicissitudes of his youth may have disordered his faculties. On
his birth his father, Peter the Third, issued a ukase denying the
legitimacy of his son's paternity: on the publication of this statement
the Empress put her husband to death. Paul's earlier years were
harassed by trouble, and the last act of his mother was a fruitless
effort to exclude him from the succession. His reign commenced
auspiciously; acts of clemency and munificence distinguished his
government; as the head of the alliance against France he was looked
upon as the legitimate champion of monarchy. After sharing the defeats
sustained by the allied armies his views underwent a remarkable change.
Buonaparte, with his matchless discrimination, contrived to flatter the
Emperor's vanity, and, among other strokes of policy, returned all the
Russian prisoners, well-armed and newly-clad. Paul now entered into
a defensive alliance with France to drive the English out of India;
and, to destroy our maritime supremacy, he established the Northern
Confederation for the suppression of British commerce.

The caricature _Single Combat in Moorfields_ is founded on an
extraordinary proceeding, which filled Europe with astonishment at
its unequalled eccentricity. The Emperor published an advertisement
in the _Court Gazette_ of St. Petersburg, stating, to the amazement
of the world, that, as 'the Powers could not agree among themselves,
he intended to point out a spot, to which all the other sovereigns
were invited to repair, TO FIGHT IN SINGLE COMBAT, bringing with
them, as seconds and esquires, their most enlightened ministers and
ablest generals.' His subjects were continually annoyed by acts of
minor and fantastic oppression--such as an edict against 'round hats
and pantaloons,' which he forbade any person to wear in his empire.
He enforced the revival of hair-powder and pigtails, and issued a
proclamation to compel all persons whom he encountered in the street to
leave their carriages and prostrate themselves before him. No one was
safe from his paroxysms. The carriage of the British Ambassador passed
the Imperial Palace at a pace which the Emperor chose to consider
disrespectful; he immediately ordered the coachman to be beaten, the
horses to be beaten, and the carriage to be beaten. The Ambassador in
return resented these indignities by discharging his servants, ordering
his horses to be shot, and his carriage to be thrown into the Neva. An
insane autocrat was found to be a formidable calamity.

The favourable reception accorded to _Country Characters_, _Matrimonial
Comforts_, &c., induced Woodward to design further successions of
subjects, enlisting the assistance of Rowlandson to carry out his
ideas. In 1801, the year following, appeared a series of broadsides,
_Prayers_ and _Journals_; each sheet contained a coloured illustration,
designed by Woodward and etched by Rowlandson; the space below the
design was filled up with descriptive matter from Woodward's pen, that
worthy being given to the cultivation of the various Muses in turn.
The letterpress, which occupied the larger half of these broadsides,
was printed by E. Spragg, 27 Bow Street, Covent Garden; and the series
was published by R. Ackermann, 101 Strand. Our readers will be able to
form an impression of these compositions from the occasional extracts
we offer; these _Prayers_, _Journals_, &c., are not of sufficient
consequence to warrant us in offering repetitions at length.

_February 10, 1801._ _The Old Maid's Prayer._ (Addressed to Diana.)
Designed by Woodward. Published by T. Rowlandson.

_February 10, 1801._ _The Epicure's Prayer._ Designed by Woodward.
Published by T. Rowlandson.

1801. _The Maiden's Prayer._ Woodward del., Rowlandson sculp. Published
by R. Ackermann.--This petition is addressed to 'O thou divine
little Cupid,' while the fair votary, who is still a susceptible and
romantic boarding-school miss, is recounting her various love affairs,
and praying the rosy deity to bless and make fortunate her several
concealed (and imaginary) passions for such male creatures as she
has chanced to encounter in the daily routine of school-life, the
music-master, a drill-sergeant, Parson Pert, and similar characters,
who are probably regarded with similar emotion by the remainder of the
pupils.

1801. _The Miser's Prayer._ Woodward del., Rowlandson sculp. Published
by R. Ackermann.--The devotions of Old Avarice, which are necessarily
very profound and earnest, are offered appropriately at the feet of
his divinity, 'Plutus, God of Riches'; the temple of wealth is not
exteriorly sumptuous; the carpet is a rag; a strong-box, a broken
chair, and a rushlight make up the sordid furniture. The miser is
confessing that he possesses nine houses, estates in Essex, mortgages
in Hertford, large landed speculations in Russell Square and the
neighbourhood, reversions of estates, trading ventures, 'Mermaid'
sloop, funded property, Government securities, &c., &c.; he is
beseeching an increase of his means, success to his investments, and a
rise in the 'Stocks.'

_June 4, 1801._ _The Widow's Prayer._--A widow, still young and
blooming, is shown kneeling before the empty chair of the late
lamented partner of her joys; the bereaved lady is looking forward
to consolation; her supplications are offered to Hymen for a fourth
spouse, and she is praying, that should the new husband who is to
follow be as unfortunate as his predecessors, the number of happy men
may be extended to seven; or more if need be.

_June 25, 1801._ _The Maid of Allwork's Prayer._--The picture at the
head of this invocation represents a neat and pretty young housemaid;
she is offering up her petitions to the household gods who preside over
cleanliness and good management. The desires of her heart are that a
handsome fellow-servant may gain the humble worshipper and lead her
into the _frying-pan_ of matrimony. Let these but be her _wages_ and
she will submit cheerfully to her labours, nor ever breathe a sigh for
greater liberty than to _make her bed_ in peace and sleep contented.

_July 30, 1801._ _The Apothecary's Prayer_ is appropriately offered to
Esculapius, and is truly professional in spirit, since the aspirations
of the little knight of the pestle are turned to the increase of
fevers, catarrhs, gout, cramp, agues, and infirmities in general, for
the special advantage of his slack professional prospects and the good
of his generous ally the undertaker, who is in need of the apothecary's
friendly co-operation, the demand for funerals having fallen off of
late.

_July 30, 1801._ _The Quack Doctor's Prayer_ is addressed, over a chest
of patent quack medicines, to the illustrious shade of the renowned
Doctor Rock. The empiric candidly confesses that his miraculous
_Cure-all-able Vegetable Drops_, _Never Infailibus Infallibus_,
supposed to issue from the laboratory of Esculapius himself, are
nothing more than a decoction of beetroot, lump-sugar, spring-water,
cognac brandy, and Hollands gin. The Quack Doctor prays that his
carriages and equipages, his town and country residences, and all
other good things of life, may be continued to reward his impudent
charlatanism.

_August 1, 1801._ _The Stockjobber's Prayer_ is prayed by the pious
speculator, bank-book in hand, and is offered to the adorable and
ancient Lady of Threadneedle Street. The wishes of the stockjobber
refer to 'rises in the Funds' and 'undertakings in the _Alley_,' and
conclude with a pious hope that he may never have the misfortune to
'_waddle out_ a poor and neglected lame duck.'

_August 1, 1801._ _The Female Gambler's Prayer_ commences with an
invocation: 'Enchanting Pharaoh, thee I address with a heart teeming
with gratitude for all the favours showered on thy ardent worshipper.
Thy name, O mighty Pharaoh, is derived from the Hebrew, literally
to _make bare_, and well thou knowest I delight to make bare, even
to the last feather, the pigeon that flies to my midnight orgies.'
The petition concludes with an entreaty that the Right Honourable
Fraternity of Gamblers may be protected from the strictures of Lord
Kenyon (who had commenced a crusade against fashionable gamblers, and
had especially made attacks on those ladies of rank who encouraged
tables in their houses), and their persons preserved from all the dire
horrors of the stocks and pillory, with which this inflexible judge had
threatened the incorrigible, if any person could be found to bring them
within his jurisdiction.

_August 10, 1801._ _The Actress's Prayer._--'Hear me, Dramatic Sisters,
gay Thalia and sublime Melpomene; be guardians to your supplicant and
aid her in her profession.... I pray thee, should I ever reach the
boards of a London theatre, may my terms be as enormous as my abilities
are conspicuous, and finally my labours be crowned with the _coronet_
of honour, and that I may become a convert to domestic happiness.'

_August 10, 1801._ _The Jockey's Prayer_ is put up to Nimrod. The
aspirations of the hero of the turf tend to a wife--'a pretty well-bred
filly, one that would come easily to collar, prance to the Circus of
Hymen, and run with her owner the generous race of mutual affection.'

_September 5, 1801._ _The Cook's Prayer._--The fat mistress of the
spit has gone down on her knees before the roaring fire, beside which
are the preparations for dinner. Her prayer is addressed to all the
gods and goddesses whose celestial appetites are not too refined to
relish the good things of this world. She beseeches their influence to
continue her a twelvemonth longer in the service of Alderman Gobble,
and then, with the little perquisites she has hashed together, she may
be able to enter on a certain eating-house in Pye Corner, which she
has longed for these three years. She concludes by entreating that the
bosom of John the Coachman may be moved to become her partner in the
concern.

_September 12, 1801._ _The Sailor's Prayer._--'O mighty Neptune! hear
an honest British Tar; thou knowest I trouble not thy godship every
day, and I therefore pray thee to grant my prayer, for I love not long
palavering and that there, d'ye see ... Worthy Master Neptune! send us
a good prize, I beseech thee, and be not sparing in brandy and tobacco.
Give us also a few chests of the Don's dollars, for Mounseer hasn't got
none--no more than there is in your three-pronged boat-hook.'

_September 20, 1801._ _The Publican's Prayer._--'Holy Silenus, father
of all-inspiring Bacchus, continue, I beseech you, the custom of the
original Golden Lion, and inspire me, its landlord, with becoming
gratitude for all thy favours. Grant me success, I pray thee, with the
rich widow of the adjoining street, whom thou knowest I adore; send
that she may frequently look into the bar, till in time she becomes
its fixed ornament. Grant but this addition to my stock in trade, and
I have nothing to ask thee for but plenty of smuggled spirits and
protection from the exciseman.'

_September 20, 1801._ _Poll of Portsmouth's Prayer_ is addressed
to Thetis. The supplications of this damsel, who is gaily attired
in bright colours, and ornamented with numerous coral necklaces,
bracelets, watches, seals, lockets, and trinkets, gifts from tars at
sea, are directed to prayers for the safe and speedy return of her
numerous generous admirers, then on board their ships.

1801. _The Lottery Office Keeper's Prayer._--This invocation is offered
by a prosperous-looking individual to Dame Fortune, whose portrait
forms the signboard of his establishment, 'Peter Puff's Lucky Lottery
Office.' He prays the blindfold goddess to grant insurance to his
schemes, so that they may turn up prizes, and prevent his looking
blank when bowing at the altar of his divinity. 'And lastly, I pray
thee, with the indulgent aid of mighty superiferous Somnus, to cause
all old women and children to dream incessantly on the advantages
gained by venturing in the lottery; so shall the nocturnal visions of
old chairs and tables be converted into lucky numbers, and thy humble
petitioner benefited thereby.'

_March 18, 1801._ _The Union Head-dress._ Published by R.
Ackermann, 101 Strand.--A pair of busts, the fancy portraits of two
highly-caricatured individuals, whose faces wear a most dejected
expression, from whose respective foreheads branch a pair of
well-defined horns.--'This style of decoration represents "The Union
Head-dress," successively worn by many respectable citizens since the
days of Noah; for its simplicity and elegance it cannot be too much
admired. Respectfully dedicated to the fashion-mongers of 1801.' The
satire of this print, which appears somewhat coarse and uncalled-for,
is levelled at the fashion, which raged contemporaneously with its
publication, for embodying in the reigning mode any event which
happened to be stirring, no matter its frivolity or gravity, as the
case might be. The accomplishment of the union between England and
Ireland was seized by the milliners and fashion-mongers as the excuse
for a thousand extravagances in head-dresses, combining supposititious
emblems of the twin kingdoms with allusions to their happy conjunction.

_April 2, 1801._ No. 1, _Taste_. Woodward del., Rowlandson sculp.
Published by R. Ackermann.

_April 2, 1801._ No. 2, _Fashion_. Woodward del., Rowlandson sculp.
Published by R. Ackermann.

_April 2, 1801._ No. 3, _Elegance_. Woodward del., Rowlandson sculp.
Published by R. Ackermann.

_April 2, 1801._ No. 4, _Fancy_. Woodward del., Rowlandson sculp.
Published by R. Ackermann.

_May 1, 1801._ _Boot-Polishing._ G. M. Woodward del., Rowlandson sculp.
Published by R. Ackermann.

_July 12, 1801._ _Light Summer Hat and Fashionable Walking-stick._
Published by R. Ackermann.

_July 20, 1801._ _The Toper's Mistake._ G. M. Woodward inv. Published
by R. Ackermann.

1801. _Rag Fair._ Published by R. Ackermann.

_September, 1801._ _An Old Member on his way to the House of Commons._
T. Rowlandson del. Published by R. Ackermann.--The old Member and his
dog are passing, on their way to the Houses of Parliament, through
Lisle Street, evidently a spot of some temptation to the personage who
forms the subject of the caricature, an eccentric celebrity, without
doubt, at the time of the publication. The establishment of Mrs. Woods
is evidently the rock a-head which threatens the venerable senator;
Mrs. Woods, the lady abbess, is, with one of her decoying nymphs,
standing at the door of her mansion; two more syrens are beckoning the
passer-by from a window, and various houris appear above, all issuing
their invitations to the M.P., an individual of consideration. The
amorous character of the vicinity is indicated by the circumstances
surrounding a coach, which is driving by. The coachman has a pretty
girl on his box, and while he is publicly saluting her cheek, his fare,
an officer, is kissing a fair companion in the vehicle, and two street
Arabs, a boy and a girl, are stealing a ride on the back, and they too
are indulging in a loving embrace, disregarding the insecurity of their
situation.

1801. Four subjects on a sheet.--_Here's your potatoes, four full
pounds for two pence!_ _Light, your Honour, Coach unhired._ _Buy my
roses, dainty sweet briar!_ _Pray remember the blind._ Designed and
executed by T. Rowlandson. Republished 1811.

_September 12, 1801._ _A Sailor Mistaken._ G. M. Woodward. Published by
R. Ackermann.

_December 20, 1801._ _Gig-hauling, or Gentlemanly Amusement for the
Nineteenth Century._ G. M. Woodward inv. Published by R. Ackermann.



1802.


_February 25, 1802._ _Friendly Accommodation._ Woodward inv.,
Rowlandson sculp. Published by R. Ackermann.

_March 1, 1802._ _The Monstrous Craws, or a New-Discovered Animal._
Published by R. Ackermann.

_May 1, 1802._ _A Man of Fashion's Journal._--Woodward del., Rowlandson
sculp. 'Queer dreams, owing to Sir Richard's claret, always drink
too much of it--rose at one--dressed by half-past three--took an
hour's ride--a good horse, my last purchase, remember to sell him
again--nothing like variety--dined at six with Sir Richard--said
several good things--forgot 'em all--in high spirits--quizzed a
parson--drank three bottles and loung'd to the theatre--not quite
clear about the play--comedy or tragedy--forget which--saw the last
act--Kemble toll-loll--not quite certain whether it was Kemble or
not--Mrs. Siddons monstrous fine--got into a hack--set down in St.
James's Street--dipp'd a little with the boys at hazard--confounded bad
luck--lost all my money.'

_May 1, 1802._ _A Woman of Fashion's Journal._--Woodward del.,
Rowlandson sculp. 'Dreamt of the Captain--certainly a fine
man--counted my card money--lost considerably--never play again
with the Dowager--breakfasted at _two_ ... dined at seven at Lady
Rackett's--the Captain there--more than usually agreeable--went to
the Opera--the Captain in the party--house prodigiously crowded--my
_ci-devant_ husband in the opposite box--rather _mal à propos_--but
no matter--_telles choses sont_--looked into Lady Squander's
_roût_--positively a mob--sat down to cards--in great luck--won a cool
hundred of my Lord Lackwit, and fifty of the Baron--returned home at
five in the morning--indulged in half-an-hour's reflection--resolved on
reformation, and erased my name from the Pic-Nic Society.'

_May 20, 1802._ _The Sailor's Journal._--Two members of the fleet, in
the famous days of prize-money, are seated at table with a punch-bowl
between them. One of them is smoking old Virginia, while his friend
is favouring him with certain extracts from his diary, of which
the following must serve as a sample: 'Entered the port of London.
Steered to Nan's lodgings and unshipped my cargo; Nan admired the
shiners--so did the landlord--gave 'em a handful a-piece--emptied a
bottle of the right sort with the landlord to the health of his honour
Lord Nelson--All three set sail for the play--got a berth in a cabin
on the larboard side--wanted to smoke a pipe, but the boatswain
wouldn't let me--remember to rig out Nan like the fine folks in the
cabins right a-head. Saw Tom Junk aloft in the corner of the upper
deck--hailed him--the signal returned. Some of the land-lubbers in the
cockpit began to laugh--tipped 'em a little foremast lingo till they
sheered off--emptied the grog bottle--fell fast asleep--dreamt of the
battle off Camperdown--my landlord told me the play was over--glad
of it--crowded sail for a hackney coach--got on board--squally
weather--rather inclined to be sea-sick--gave the pilot a two-pound
note, and told him not to mind the change. In the morning looked over
my rhino--a great deal of it, to be sure--but I hope, with the help of
a few friends, to spend every shilling in a little time, to the honour
and glory of old England.'

_May 28, 1802._ _Special Pleaders in the Court of Requests, a
Litigation between Snip, a tailor, and Galen Glauber, a quack._
Published by T. Williamson, 20 Strand.--A justice, with his
legal library at hand (_Game Laws_, _Penal Laws_, _Vagrant Act_,
_Blackstone_, &c.) for ready reference, is sitting to investigate a
delicate case. A working tailor, who is snapping his shears at his
adversary, in the excitement of the cause, and dressed as he has left
his shop-board, is the plaintiff; the defendant has brought a pair of
nether garments into court as evidence; he is resolutely endeavouring
to support his case, while the small clothes in question are held out
at the end of his cane for the investigation of the obviously reluctant
judge, who does not appear to relish the too familiar vicinity of such
unusual testimony.

_June 15, 1802._ _A Parish Officer's Journal._ Woodward del.,
Rowlandson sculp. Published by R. Ackermann.--'Rose early and reflected
on the dignity of my office--put on my wig to create awe and reverence
in my family. Betty, my wife's new maid, not sufficiently struck by my
appearance--a great deal too free--remember to give her warning--dined
with the gentlemen at the _Cat and Bagpipes_--returned home soon in
order to prepare for the evening's entertainment--had half-an-hour's
bickering with my wife to keep up my consequence--and set out to meet
my parish friends at the _George_, where we made a most excellent
supper, on the profits of a _child_, and adjusted several weighty
parochial concerns while partaking of the good things the landlord
prepared for us--which consisted of rumps of beef, legs of mutton, suet
puddings, fat geese, onions, and other light delicate articles--spent
the evening very convivially, and made up another party for the day
ensuing.'

_June 10, 1802._ _How to Pluck a Goose._ Etched by T. Rowlandson.
Published by T. Williamson, 20 Strand.

_June 25, 1802._ _La Fille mal gardé, or Jack in the Box._ Published
by T. Williamson, 20 Strand.--An old miser, with a portentous bunch
of keys, has, in imagination only, secured his treasure, and he is
further prepared to insure the safety of a fair charge by the same
precaution of locking her in a well-defended chamber; the windows are
heavily cross-barred, a blunderbuss and a rattle hang ready to hand, as
precautions against intruders; but no danger threatens from without,
the risk is nearer within; the miser's strong box has evidently changed
its contents, since the rising lid discloses a smart young officer, who
only requires the door to be fastened before he appears on the scene.
The intriguing damsel, with averted head and her finger on her lips, is
inculcating caution to the impatient captive.

_July 1, 1802._ _Comfort in the Gout._ (See 1785.) Republished by S. W.
Fores, 50 Piccadilly.

[Illustration: A LADY IN LIMBO, OR JEW BAIL REJECTED.]

_July 1, 1802._ _A Lady in Limbo, or Jew Bail Rejected._ Published by
S. W. Fores, 50 Piccadilly.--A 'fine lady,' presumably an _Anonyma_
of the period, finds herself in the fastness of a spunging house;
she is made as welcome as circumstances will permit; a bottle of
wine, the refreshment customary, is ordered, and the stern hearts of
the sheriff's men are appealed to, while bail is sent for. It was a
well-known practice at the beginning of the century, and earlier,
to pay some obscure individual a trifling fee to become security on
emergencies. Similar fictitious householders were always in attendance,
and producible from the bar-rooms in the neighbourhood. In the present
case a professional limb, of the Hebrew persuasion, is presented,
decently made up for the occasion, to tender himself as bondsman for
the lady's due appearance. It is evident, however, that a suspicious
recognition is taking place; 'Harry Holdfast, Officer to the Four
Counties,' or his deputy, does not, judging from his expression, seem
to approve of the surety, and the Jew looks somewhat disconcerted
under his inspection. The tears of the unfortunate captive, and
the plausible reassurances--as to the respectability of the bail
offered--of her chaperone, or duenna, are powerless to move the stoic
breast of the experienced catchpole.

[Illustration: SLYBOOTS.]

_July 1, 1802._ _Slyboots._ Published by S. W. Fores.--Slyboots and
her cat are snuggled up by the fire, full of fun and friskiness; it is
difficult to determine which looks the more mischievous of the pair.
The exhortations of the preacher against the vanities of life, seem a
trifle out of place here, or, at all events, his denunciations are not
likely to produce any lasting impressions on such mercurial souls.

_July 1, 1802._ _Intrusion on Study, or the Painter Disturbed._ (See
November 1785.) Republished by S. W. Fores.

_July 1, 1802._ _Jockeyship._ Published by S. W. Fores.

_July 1, 1802._ _A Snip in a Rage._ Published by Howitt, Panton Street,
Haymarket.--An infuriated tailor has intruded his head and shoulders
through the window of a frail fair's bedchamber, which he has reached
by means of a ladder resting against the sill. The tailor, with his
measure round his neck, is snipping his shears viciously above the head
of a blushing maiden, who is covered with becoming confusion at her
detection. The figure of a sturdy apprentice, seen disappearing in the
rear, is sufficient to account for the _contre-temps_.

_July 18, 1802._ _The Corporal in Good Quarters._ Published by S.
Howitt, Panton Street, Haymarket.--The marvellous influence of a red
coat is the subject of the present sketch. Who can resist a dashing
young soldier? The rustic beauty seems unequivocally smitten, and does
not disguise the compromising fact that 'she dotes on the military.'
The gallant son of Mars has been quartered on a prosperous farmer, who
loves good cheer and brave company; the corporal is made welcome at bed
and board, and the best in the house is prepared for his delectation.
The venerable Hawbuck does not, however, seem pleased with the way his
guest is carrying on with his buxom daughter, who is but too clearly
smitten with the soldier's charming freedoms and his fine feathers;
it is more than the parent bargained for, and even his dog is looking
on with astonishment. But the scandalised parent and the young rustic
lounging in the doorway, possibly an acknowledged sweetheart, are at
a discount; their authority is likely to be set at defiance. As for
the disconcerted swain whose dejected air and attitude express the
profundity of his despair, he will probably do something desperate;
in dudgeon at his blighted hopes he may very likely fall under the
beguiling corporal's spell, offer himself as a recruit, be 'listed,
and thenceforth forsake the plough-tail to follow the drum; a lasting
text against one of the many evils consequent upon the maintenance of a
standing army.

[Illustration: THE CORPORAL IN GOOD QUARTERS.]

_August 30, 1802._ _A Musical Family._ Published by R. Ackermann.

_September 12, 1802._ _Sorrow's Dry, or a Cure for the Heart-ache._
Designed and published by Thomas Rowlandson. Republished 1811.

    Were I not resolv'd against the yoke
    Of hapless marriage, never to be curst
    With second Love, so fatal was the first,
    To this one error I might yield again.--DRYDEN.

'Deborah Crossstich departed this life September 5, 1802, aged 62.'
The body of the departed wife is laid out in her coffin, propped on
trestles; on the plate let into the lid is engraved the above affecting
inscription.

The lamenting spouse is far gone in a mixed state of grief,
intoxication, and maudlin affection; he is making laudable efforts to
resign himself to his recent bereavement, and is endeavouring to allay
his sorrow, between the combined consolations of drink and the tender
solicitudes of a favourite maid, who is exerting herself to administer
comfort to her afflicted master, with her arm round his neck. The
personal belongings of the deceased--her watch, little articles
of jewellery, and plate--have evidently been ransacked by this
affectionate pair of unaffected and disinterested mourners. An open
book displays this familiar quotation, bearing somewhat disrespectful
application to the case of the departed:--

    A smoky house and a scolding wife
    Are the plagues of man's life.
    Oh, what pleasure will abound
    When my wife is laid in ground!

_November 20, 1802._ _Doctor Convex and Lady Concave._ Published by R.
Ackermann.

1802. _Hunt the Slipper, Pic-Nic Revels._ Rowlandson del. and publisher.

Men are but children of a larger growth.--SHAKESPEARE.

The chairs have been cleared out of a large apartment, and a party of
full-grown men and women, some of whom have long passed maturity, are
seated on the floor for a game at 'high jinks.' Bowls of punch, bottles
of wine, and abundant refreshments of a strong nature, are put on the
ground behind, within easy reach of the revellers, who are in the full
enjoyment of a boisterous game of 'hunt the slipper.' The party is made
up of an abundance of pretty rosy damsels, blooming, blushing, and
smiling, such as Rowlandson with his etching needle or his reed pen
could produce at will, and in every degree of perfection; corpulent
matrons, dowagers, and gothic old maids are likewise plentiful. There
is a gentleman to every lady, and the whole scene is a very animated
one; while the fun is apparently appreciated by the performers, who are
entering into the spirit of the diversion. The rules of the Society are
framed on the wall:--

    Ici on boit, on danse, on rit!
    Et quelquefois on joue aussi.

Two pictures, hung over the doors, are supposed to be indicative of
the subject. _Vive la Bagatelle!_ a party in pursuit of a balloon; and
_Sans Souci, sans six sous_, a bacchanalian revel.

1802. _Salt Water._ Published at 24 Lower Sackville Street.--A bathing
scene.

_July 1, 1802._ _Who's Mistress now?_ Published by S. Howitt, Panton
Street, Haymarket.--The scene is a kitchen; a servant is disporting
herself before a large glass, in borrowed plumage, in the hat,
feathers, and train of her mistress, and flourishing a fan; meanwhile
a group of amused spectators are peeping in at the pantry door; while
the cat, more practically inclined, has knocked over a dish, and is
availing herself of the opportunity of making off with a fine fish
prepared for dinner.

1802. _Compendious Treatise on Modern Education._ By J. B. Willyams,
from Notes by the late Joel M'Cringer, D.D., 8 plates by T. Rowlandson,
oblong 4to.

1802. _Bardic Museum of Primitive British Literature, and other
admirable rarities._ Edward Jones, bard to the Prince of Wales.
Coloured frontispiece by T. Rowlandson.



1803.


_February 1, 1803._ _Signiora Squallina._

_February 1, 1803._ _Sweet Lullaby._

_February 1, 1803._ _Queer Fish._

_February 1, 1803._ _Recruits._ (See 1811.)

_March 1, 1803._ _A Catamaran, or an Old Maid's Nursery._ Published by
T. Rowlandson, 1 James Street.

_March 1, 1803._ _Richmond Hill_, after H. Bunbury. Published by R.
Ackermann.

_March 1, 1803._ _Billiards_, after H. Bunbury. Published by R.
Ackermann.

_April 1, 1803._ _The Road to Ruin._ Published by S. W. Fores.

_April 6, 1803._ _A Diver._ T. Rowlandson invt., 1803. Published
by R. Ackermann, 101 Strand.--The figure introduced under this
title is perhaps as droll as any which Rowlandson has drawn. The
scene represents the interior of _a Bagnio_, '_Hot and Cold Baths_,
_cupping_, _sweating_, &c., &c.' From the picture it would seem
that the bath-attendants of the period, who administered the rough
towellings and flesh brushings, which are indicated in the plate,
were not of the sex one generally expects to find discharging these
functions in our own day. In the case of _The Diver_ no very glaring
impropriety is suggested--the individual in question is like a ball of
flesh; the image, on an exaggerated scale, of the Chinese joss-figures,
and literally perfectly spherical; his quaint image is reflected in the
water as he plunges forward in a sort of cricket-ball bound; a print of
Narcissus gazing on his form in the fountain, suspended on the wall,
suggests a sufficiently striking contrast.

_April 12, 1803._ _Ducking a Scold._

_May 1, 1803._ _John Bull Listening to the Quarrels of State Affairs._
(Treaty of Amiens.) Published by R. Ackermann.--John Bull, with his
hair standing on end, is listening, stooping, with his hands on his
knees--'I declare my very wig stands on end with curiosity. What can
they be quarrelling about? Oh that I could be let into the secret! If
I ax our gentleman concerning it, 'tis ten to one if he tells me the
right story. Buonaparte, with his cocked hat on, and his great sword by
his side, is insisting on his arguments, 'And so--if you do so--I do
so!' 'Jurisprudist,' a gentleman of the black robe (possibly meant for
the Chancellor), appears very uncomfortable at the Corsican's decided
attitude; he is crying in consternation, 'Oh!'

_June 21, 1803._ _A Snug Cabin, or Port Admiral._ (See June 21, 1808.)

_July 1, 1803._ _A Stage Coach._

_July 10, 1803._ _Flags of Truth and Lies._ Published by R.
Ackermann.--John Bull, as an honest Jack Tar, is holding out the Union
Jack, and pointing to his inscription in reply to the message of
intimidation set forth on the tricolour, held out by a huge-booted,
long-queued Frenchman, a composite being between a soldier and
postilion:--'Citizen First Consul Buonaparte presents compliments and
thanks to the Ladies and Gentlemen of Great Britain, who have honoured
him with their visits at Paris, and intends himself the pleasure of
returning it in person as soon as his arrangements for that purpose can
be completed.' 'Mon grand Maître, bid a you read dat, Monsieur.' John
Bull replies: 'Um, let your Grand Master read that, Mounseer':--'John
Bull does not rightly understand the Chief Consul's lingo, but supposes
he means something about invasion; therefore the said John Bull deems
it necessary to observe that if his consular Highness dares attempt
to invade any ladies or gentlemen on his coast, he'll be damned if he
don't sink him!'



1804.


_January 1, 1804._ _Diana in the Straw, or a Treat for Quornites._
Published by S. W. Fores.

_January 2, 1804._ _A French Ordinary._ (Originally published in
1801.) S. W. Fores, 50 Piccadilly.--The attractions of a cheap French
table d'hôte are ludicrously set forth; while the ravenous diners are
represented making the best use of their opportunities within the
_salle à manger_, the delicate character of the attendance and the
culinary department are slyly hinted. We are admitted to the secrets
of _la cuisine Française_, as they have seemingly been revealed to
the caricaturist. The slovenly old cook is emptying the morsels left
from the plates of the customers, into the capacious _pot-au-feu_, to
reappear dished up for succeeding _convives_. A lean cat is seated in
the frying pan, probably in course of fattening for the spit; as to the
larder, the main provisions consist of dead cats and frogs; it was an
accepted axiom that all the _Jean Crapauds_, as our Gallic neighbours
were playfully christened by John Bull, lived more or less on frogs.
Rowlandson, as we have shown, had French relatives, and had studied
in Paris and spoke the language with fluency; while those travellers
who were familiar with native habits, from travelling abroad, stoutly
maintained that such were the staples of the national food, being
convinced of the truth of the formula, as asserted by the waggish Peter
Pindar--'I've liv'd among them and have eat their frogs!'

[Illustration: A FRENCH ORDINARY.]

_June 8, 1804._ _Light Volunteers on a March._ Published by R.
Ackermann.

_June 8, 1804._ _Light Infantry Volunteers on a March._ Published by
Ackermann.

_July 31, 1804._ _The Imperial Coronation._ Published by R.
Ackermann.--The platform which has been erected for this celebration is
more suggestive of an execution than a coronation; a body of the old
Guards, in their bear-skin caps, surround the raised space. The Pope
is present in full canonicals, to perform the ceremony in person. A
gallows has been considerately provided, in order to lower the imperial
crown on to the brows of the future wearer more conveniently. On
the gallows is painted, 'Patrick Death, Gibbet-maker to his Imperial
Majesty the Emperor of all the Gulls.' The Pope, who holds the string,
which works over a pulley, and suspends the Crown, is crying somewhat
irreverently: 'In a little while you shall see him, and in a little
while you shall not see him.' The weight of the diadem is too much for
the wearer and his new throne, the planks of the platform are broken
through, and the future emperor is sinking beneath, while calling to
his confederate Talleyrand, 'My dear Talleyrand, save me! my throne is
giving way. I am afraid the foundation is rotten, and wants a cursed
deal of mending!' His prime minister is much concerned, 'Ah, master,
the crown is too heavy for you!'

Another pillar of the Church is pointing out that the Corsican has
not acted with his usual cunning, 'You forgot your old Uncle, the
new bishop--if you had made me Pope I should have let the crown down
easier!' The ceremony is parodied in the background, monkeys taking the
place of the actual performers, only in this case the imperial ape is
seated in state, with sceptre and orb, in greater security.

1804. _Theatrical Leap-frog._ Published by Ackermann, Strand.--The
young Roscius, as an infant prodigy, is flying over the back of Kemble,
both the performers being dressed in the habit then customary for
Hamlet--'Alas!' cries Kemble, 'is it come to this? Ah, woe is me!
seeing what I have seen, seeing what I see! O Roscius!'

_December, 1804._ _Melpomene in the Dumps, or Child's Play defended by
Theatrical Monarchs._ Published by Ackermann, Strand.--Mrs. Siddons in
tragic swathings, one arm resting on a table, her other hand extended
in an interlocutory attitude, while her foot is resting on a stool; on
the table are books--_Salary Benefits_, _The Rights of Woman_, and _The
Duty of Man_. On the wall is hung Bunbury's _Propagation of a Lie_.
John Philip Kemble is resting his hand on her shoulder, and another
gentleman, hat in hand, is pointing with his finger to a shorter
figure, probably intended for the person of Colonel Topham, Editor of
_The World_, '_More Soldier than Scholar!_'

                        THE DEBATE OR ARGUMENT.

     _Melpomene._ And pray, Mr. Monarch, how long am I to be confined
     to this _box fever_, or nervous rheumatism in my loins? A pretty
     business you have made of this season; what between your _Blind
     Bargain_ and _Infant Roscius_, you think to send me to the ground;
     but let me caution you, that 'if once I do but stir or lift this
     arm, the best of you shall sink in my rebuke. Give me to know how
     this foul rout began, who set it on, and he that is approved in
     the offence, though he hath twinned with me, _both at a birth_
     shall lose me.'

     _First Monarch._ [Probably intended to designate Sheridan.] Why
     really, Madam, all I can say in my defence or that of my _Infant_
     is this, that if John Bull chooses to feed on slink calf, instead
     of substantial roast beef, _yet consents to pay for the roast_,
     it is not for me to complain; but, Madam, should there be a fault
     laid at my charge, let me tell you it is not entirely mine; your
     brother here, beside me, has had _his share_ in it, and between
     friends, I must observe, that you have had your day; and if a
     good salary during this _Infant fever_ and frigid weather cannot
     encourage you to wear flannel, gird up your loins, and rest
     contented on your arm (I mean arms). I will be bound to say, you
     are not the woman I took you for; and rather than _be subject_ to
     such complaints while I _reign_ 'King of shreds and patches,' I
     would forego the advantages of government, and 'live on scraps at
     proud men's surly doors.'

     _Second Monarch._ [John Philip Kemble, otherwise familiarly
     designated _Black Jack_.] Sister, be of comfort, our friend speaks
     home; you may relish him more in the soldier than the scholar, but
     though his oratory is bad, his _argumentum argentum_ is good; his
     voice like mine is husky; but his _silver_ tones are delightful.
     It is true we have both had our day; 'our May of life is gone;
     'tis fallen into the sear, the yellow leaf, and that which should
     accompany old age' _we have got_. 'The world's a stage, and all
     the men and women merely players.' Public taste is similar, it
     is now in second childishness; and when mere oblivion takes
     place, then you shall make a sally, and should the Town require a
     _filip_,[4] I will be at your elbow.

_December 14, 1804._ _The Death of Madame République._--The moribund
République is stretched on her death-bed, the tricolour cockade is
worn on the side of her nightcap; by the side are bottles of _Purging
Mixture_ and _Laudanum_. _Vive la Liberté_ and _Vive la République_
are put out of sight; the Abbé Sièyes, as doctor, is holding the new
Emperor, an infant in long clothes, the crown is on his head, a sceptre
and orb are in either hand. John Bull, spectacles on nose, and with his
hand in his waistcoat pocket, has stepped in; he is much astonished at
the change of affairs: 'Pray Mr. Abbé Sièyes, what was the cause of the
poor Lady's death? She seemed at one time in a tolerable thriving way.'
'She died in childbed, Mr. Bull, after giving birth to this little
Emperor!'

1804. _A New French Phantasmagoria._ (The date 1805 in one
corner.)--Napoleon Buonaparte, with the Imperial crown, sceptre,
orb, and robes of state, is holding out his hand, with impertinent
condescension, crying, 'What! my old friend, Mr. Bull, don't you know
me?' John Bull is dressed in sailor fashion, as the 'champion of the
seas;' there is an air of satirical quizzing about his features,
and, in order that he may be able to distinguish his transmogrified
acquaintance, he has mounted a pair of huge magnifiers, 'Bless me,
what comes here, it's time to put on my large spectacles, and tuck up
my trousers! Why, surely, it can't be?--it is Boney too, for all that;
why, what game be'est thee at now? Acting a play mayhap? What hast thee
got on thy head there? Always at some new freak or other.'

1804. _A Compendious Treatise of Modern Education_, in which the
following interesting subjects are liberally discussed: The Nursery,
Private Schools, Public Schools, Universities, Gallantry, Duelling,
Gaming, and Suicide; to which are added coloured designs, both
characteristic and illustrative. By Joel M'Cringer, D.D., F.R.S., folio.

Letters from the hand of the caricaturist are scarce, and however
familiar collectors may be with Rowlandson's touch, and even his
caligraphy, on his numberless drawings in Indian ink, the productions
of his famous reed-pen, it is very seldom that samples of his familiar
correspondence are to be met with. We print one example, not as an
instance of his brilliancy in composition, or as representing any
valuable literary disclosure, but simply as illustrating that the
artist's circumstances were not too flourishing at the period under
consideration.

The original also contains a sketch, and is exhibited to the public in
one of the cases of the British Museum (Manuscript Department), among a
collection of interesting autographs of eminent men.

    29,300 G. Ad^{1}. MSS.                 Purchased 6 June, 1871.

    Letter to James Heath. Engraver.
        Upper Charlotte Street Fitzroy Square.

    This note is written in Indian ink, of the consistency mixed by
    the Caricaturist for his outlines.

                                           No. 1 James Street, Adelphi.
                                                   March 1st, 1804.

     Friend Heath.

     'Tis with sorrow I relate that my own finances and the little sway
     I have with the long-pursed gentry--obliges me to retire before
     the plays are ended. I hope you will not say, as they do at Drury
     (No money returned after the curtain is drawn up).

     The Bill sent in says Nine Numbers, Eight only have been received,
     the Ninth mentioned in your letter as being delivered November the
     First, since my return to Town, has, through some mistake, never
     come to hand. I also possess a receipt from you for £2. 2. 0, and
     as I hope you call me a tradesman and poor, you will make out a
     fresh Bill, and that we shall verify the old proverb of Short
     Reckonings make Long Friends.

                                             I remain sincerely yours,

                                                     THO^S ROWLANDSON.

FOOTNOTE:

[4] 'My Lord Loggerhead spells physician with an F, hem! hem!'--Doctor
Pangloss, _Heir at Law_.



1805.


_February 3, 1805._ _Quarterly Duns, or Clamorous Tax-gatherers._
Published by Howitt, 73 Wardour Street, Soho.--Taxation in 1805 raised
a great deal of bad feeling; the satirists treated the increased
imposts, and the methods of collecting them, from their point of view,
and made the public smile at ills to which perforce they were compelled
to submit. The house of a quack practitioner in 'Rotten Row,' one Dr.
Humbug, at the sign of the Golden Pestle of Hippocrates, who advertises
'advice gratis' on his front door, is the scene of a general muster
of the inquisitors and collectors of taxes. _Window Tax_, _Income_,
_Property_, _House_, _Servants_, _Horses_, _Dogs_, _&c._, are among the
requisitions to be levied. _The Budget opened, or how to raise the wind
for the year 1805_ explains these visitations. The quack and his wife
are declining to admit their duns; they are surveying the besieging
party from an upper window, and the _goodwill_ of their house is,
according to a placard, _to be disposed of_. The prospect of 'Houses to
Let' and of windows 'Blocked up' shows that taxation was pressing with
over-severity, and had, in reality, been carried beyond a joke.

_February 25, 1805._ _The Famous Coal Heaver, Black Charley, looking
into the Mouth of the Wonderful Coal Pit._ Published by Ackermann.
Described by an English Yeoman. (Here follows a long description
turning on 'the fundamental deficiency.')--Fox, in blue and buff, on
his hands and knees, is staring with a look of astonishment into the
mouth of a large head of Pitt, beside which flourishes a Scotch thistle
(for Dundas), and around is a thicket of _scrubs_, which are interlaced
over a bench, with T.B. (Treasury Bench) cut on it.

_April 23, 1805._ _The Modern Hercules cleansing the Augean
Stable._--'Augeas, a king of Elis, had a stable which was not cleansed
for thirty years, yet Hercules cleansed it in one day.'--_Heathen
Mythology._ The modern Hercules, wrapped round with his lion's skin,
is making use of a monster measure, _Whitbread's Entire_, with the
contents of which he is freely deluging the St. Stephen's stables. The
abbot of St. Stephen's, with mitre and crozier, ensconced in his niche,
is in consternation at the work going on. The horses are all standing
with their heads turned to their stalls, and their hoofs to the
purifier. Dundas (Lord Melville) is kicking with energy, crying 'What
the Deel is the man aboot?' Wilberforce's 'Broom for the suppression
of Vice' is between his legs, and before him is a huge private chest
for stray provender, with money bags outside. Trotter stands next; he
cries, 'Attack the Gallopers! I am only a poor Trotter.' Pitt, a very
bony steed, is crying, 'I am afraid we shall all be drenched in turn;'
and a crowd of others are thrown into confusion at their prospects,
saying, 'Who could have expected this?' Against the wall are stalls
stored with money-bags from end to end: 'Navy Stall,' 'Army Stall,'
'Treasury Stall,' &c.

_April 23, 1805._ _The Fifth Clause, or Effect of Example._ Published
by T. Rowlandson.

_April 28, 1805._ _A Scotch Sarcophagus._ Published by T. Rowlandson,
Adelphi.--The Sarcophagus is of handsome design; two cherubims, in
Scotch bonnets, surmount the lid; two devils, evidently much shocked,
appear on the sides. Two Highlanders, in full kilt and tartan dresses,
are standing as mourners, one is leaning weeping with his elbow on the
urn, the other is seeking comfort in his snuff mull.

                     _Stop, Traveller, and read._

                              Within this
                             Sarcophagus,
                      composed of Scotch pebbles,
                are deposited the political remains of
                            JOHNNY MAC-CREE
                       and his faithful servant
                              JOHN TROTT.

              In respect to the former, suffice it to say
          that he was a strenuous friend to all Reports that
           reverberated to his advantage, whether proceeding
              from a first rate or a Catamaran Explosion.

           At length a Tenth Report, aided by an obstruction
           in the Thorax from the fifth clause, finished his
                           Political Career.

                        Mourn, Scotsmen, Mourn!
            For though he was a swift galloper on the high
             road of Peculation, yet his friend John, who
            lies beside him, was only his inferior in being
                but a simple Trotter, in the grand and
                    Sublime scale marked out by his
                           Worthy Preceptor.

          They took their departure on Monday, April 8, 1805.

                    Peace to their Political Manes!

_May 15, 1805._ _John Bull's Turnpike Gate._--On a hill is an abbey
church, lighted up with the glory of 'King, Church, and Constitution.'
John Bull, standing before his turnpike, is guarding the pathway; on a
ledge beside the post is placed a formidable work, the _Test Oath_. The
Pope, with mitre, crozier, and hood, is mounted on his pontifical ass.
'Mr. Bull,' he says, 'I have been to Paris and seen all the fine sights
there. I now want to have a peep at that little church on the hill,
therefore let me pass the turnpike.' J. B. replies: 'If you want to go
through pay the toll; what the devil do you think I keep a turnpike
gate for?'

A crowd of dissenters, quakers, &c., in the Pope's rear, are anxious
to enjoy the opportunity: 'Though I boast not gaudy trappings,' says a
quaker, 'nor am I mounted on ass-back, yet if he goeth through, verily
I should like to go through also!' 'Verily so should I!' 'We should all
like to go through!'

_May 25, 1805._ _A Sailor's Will._ Woodward inv., Rowlandson sculp.
Published by R. Ackermann.

_July 8, 1805._ _The Scotch Ostrich seeking Cover._--'In the natural
history of the ostrich it has been observed that when the bird is
closely pursued he runs his head and neck into a hole, leaving his
hinder parts exposed; concluding no doubt that, as he sees no one, no
one sees him!'

Dundas has thrust his head through a hole in the wall labelled
_Parliamentary Recess_, he cries, 'Ah! ah! nae one sees me now!'
John Bull with his blunderbuss, and his brother Pat by his side, are
watching the Scotchman's manoeuvre. 'Be asy, brother Pat, I see him
as plain as ever. I have plenty of ammunition left, but I shan't fire
just at present.' This print is founded on the inquiries into Lord
Melville's conduct when Treasurer of the Navy.

_July 14, 1805._ _Recovery of a Dormant Title, or a Breeches-Maker
become a Lord._ Published by T. Rowlandson, 1 James Street, Adelphi.
Republished July 14, 1812.--The features of a sudden rise in life form
humorous materials in the hands of the caricaturist. The lately created
nobleman, a coarse and common clothier, is swaggering in all his new
finery, to give his past associates a taste of his new-found honours.
His showy court dress is assumed with awkward pretension; he wears a
ribbon and star and a dress sword; none of these decorations harmonise
with the wearer, who is so evidently out of place in his fine feathers,
that the journeymen tailors and cobblers, his neighbours and recent
comrades, are jeering at his burlesque dignity; his lady dressed in
unbecoming finery, and carrying a large plume of feathers on her head,
looks no less 'out of character' than does her tailoring spouse. The
shop, over which appears, _Stitchall, Whitechapel, Breeches cleaned and
repaired_, once the pride of the pair, is now closed. A placard states:
'The goodwill of this shop to be sold, removed to Grosvenor Square;'
while an old Jewess, part of the establishment, probably the ancestress
of one of the pair, is trying her hardest, on the top of some steps, to
wipe out the offensive name of the ex-proprietor.

_July 14, 1805._ _Antiquarians à la Grecque._ Published by R.
Ackermann.

_October 1, 1805._ _The Departure from the Coast, or the end of
the Farce of Invasion._ Published by Ackermann.--On the heights of
the English coast stands the British Lion, contemptuously pouring
a broadside into the retreating invader; the British cruisers are
sweeping the seas. The Emperor, seated on a donkey, is limping off,
to the delight of some French monkeys. The national prototype's
contributions, in the shape of a shower of shot, have capsized the
iron crown of Milan. 'Bless me, what a shower! I shall be wet through
before I reach the Rhine.' The Emperor and his steed are overloaded
with sacks of _Excuses for non-performance_. _The Boulogne Encampment_
and _The Army of England_ fill his pockets, while files of soldiers are
indicated above.

_October 2, 1805._ _John Bull at the Opera._ Published by T.
Rowlandson.--It is a matter of no surprise to find Rowlandson, who,
in spite of his acquaintance with the Continent, was as thoroughly
confirmed a John Bull as his illustrious predecessor Hogarth,
ridiculing the tastes of the fashionable public, who patronised and
petted exotic artists, to the neglect of native talent. Like the rest
of the caricaturists, he traded on the national spirit, and held up
foreigners to contempt and ridicule; with a happy faculty for seizing
their grotesque points, their loose ways of life, and their love of
finery and display, which has not, we will venture to believe, been
excelled in any day. It is natural the school-fellow, fellow-student
at the Academy, and familiar intimate through life, of such a talented
English performer as Bannister, should have resented the artificial
taste which heaped wealth on comparatively obscure aliens, with whose
art plain John Bull could have slight sympathy, while the most rarely
gifted of his countrymen were left to struggle through life without a
due acknowledgment, in a pecuniary sense, proportioned to the extent of
their merits, as contrasted with the abilities of their foreign rivals,
and the fabulous salaries they received. The designer has accordingly
displayed the signor from a whimsical point of view; the face of the
performer is suggestive of that of the good-looking youth, the leading
figure in the eccentric humours of an _Italian Family_ (1792); it was
probably a portrait recognisable at the period. Certainly John Bull, in
the artist's view, does not appear much at home at the Italian Opera;
the spectators are divided between gigglers and gapers, and on the
whole it is doubtful if their imported entertainer affords his audience
the unequivocal enjoyment they would have been able to secure at the
hands of 'honest Jack Bannister,' and native performers of his stamp.

[Illustration: JOHN BULL AT THE ITALIAN OPERA.]

_October 30, 1805._ _Raising the Wind._

_November 13, 1805._ _Napoleon Buonaparte in a Fever, on Receiving the
extraordinary Gazette of Nelson's Victory over the Combined Fleets._
Published by Ackermann.--The Emperor, in his huge cocked hat, is
seriously indisposed, after reading the extraordinary gazette: '19
sail of the line taken by Lord Nelson.' Beside the Corsican is a group
of court physicians in consternation: 'My dear Doctors! those sacré
Anglois have played the devil with my constitution; pray tell me what
is the matter with me. I felt the first symptoms when I told General
Mack I wanted ships, colonies, and commerce. Oh dear! oh dear! I
shall want more ships now; this is a cursed sensation. Oh, I am very
qualmish!' 'Be-gar,' cries the first physician, 'I have found it out.
Your heart be in your breeches!' Another doctor is observing that 'the
case is desperate;' another recommends 'letting blood;' while others
have, after a consultation, arrived at the conclusion--'Irrevocable.'

[Illustration: A BOARDING SCHOOL.]

1805. _A Boarding School._--The droll scene our artist has
imagined,--for it is to be hoped, in the interests of educational
establishments and social decorum, that he was not in the situation
to draw the incidents from actual observation,--is transpiring on the
outside of a Young Ladies' Seminary, where maidens are 'boarded and
educated,' and their minds trained. According to the notice-board,
there seems no reason to question this being a 'finishing school'
in the fullest acceptation of the expression. 'The young ideas' are
shooting in a precocious fashion which is setting the restraint of the
governesses at defiance. Certain well-favoured young house painters
are inciting the mischievous hoydens to disregard the injunctions of
their preceptresses. A daring scamp is stealing a kiss from a buxom
belle, over the eaves of the adjoining house, and three terrible young
flirts are exchanging pleasantries with a youth on a ladder, who is
stopping the torrent of menace, poured forth by the mistress, by
bedaubing his whitewash brush in the learned features of the infuriated
old lady. It is evidently early morning, before the customary studies
have commenced.

1805. _Glowworms._ (See July, 1812.)

1805. _Muckworms._

1805. Illustrations to _Tom Jones, or the History of a Foundling_.
Book 7, chap. 14.--'The clock had now struck twelve, and every one in
the house were in their beds, except the sentinel who stood to guard
Northerton, when Jones softly opening his door, issued forth in pursuit
of his enemy, of whose place of confinement he had received a perfect
description from the drawer. It is not easy to conceive a much more
tremendous figure than he now exhibited. He had on, as we have said,
a light coloured coat, covered with streams of blood. His face, which
missed that very blood, as well as twenty ounces more drawn from him by
the surgeon, was pallid. Round his head was a quantity of bandages, not
unlike a turban. In the right hand he carried a sword, and in the left
a candle. So that the bloody Banquo was not worthy to be compared to
him. In fact, I believe a more dreadful apparition was never raised in
a churchyard, nor in the imagination of any good people met in a winter
evening over a Christmas fire in Somersetshire.

'When the sentinel first saw our hero approach, his hair began gently
to lift up his grenadier cap, and in the same instant his knees fell to
blows with each other. Presently his whole body was seized with worse
than an ague fit. He then fired his piece, and fell flat on his face.

'Whether fear or courage was the occasion of his firing, or whether he
took aim at the object of his terror, I cannot say. If he did, however,
he had the good fortune to miss his man.

'Jones seeing the fellow fall, guessed the cause of his fright, at
which he could not forbear smiling, not in the least reflecting on the
danger from which he had just escaped. He then passed by the fellow,
who still continued in the posture in which he fell.... The report of
the firelock alarmed the whole house....

'Before Jones could reach the door of his chamber, the hall where the
sentinel had been posted was half full of people, some in their shirts,
and others not half dressed, all very earnestly inquiring of each other
what was the matter.

'The soldier was now found lying in the same place and posture in which
we just now left him. Several immediately applied themselves to raise
him, and some concluded him dead; but they presently saw their mistake,
for he not only struggled with those who laid their hands on him, but
fell a roaring like a bull. In reality he imagined so many spirits or
devils were handling him; for his imagination, being possessed with the
horror of an apparition, converted every object he saw or felt into
nothing but ghosts and spectres.

'At length he was overpowered by numbers, and got upon his legs; when
candles being brought, and seeing two or three of his comrades present,
he came a little to himself; but when they asked him what was the
matter, he answered, "I am a dead man, that's all; I am a dead man; I
can't recover it; I have seen him."'

'"What hast thou seen, Jack?" says one of the soldiers. "Why, I have
seen the young volunteer that was killed yesterday."'

[Illustration: THE SENTINEL MISTAKES TOM JONES FOR AN APPARITION.]

Illustrations to Fielding's _Tom Jones_ (See 1791). 1791-93. Published
by J. Siebbald, Edinburgh. 1805. Republished by Longman & Co., London.

Illustrations to Smollett's _Peregrine Pickle_. 1791-93. Published by
J. Siebbald, Edinburgh. 1805. Republished by Longman & Co., London.
Etched by Rowlandson.

_Clearing a Wreck on the North Coast of Cornwall._ Sketched in 1805.
Rowlandson del.

_View on Sir John Moreshead's Estate at Blisland near Bodmin,
Cornwall._ Rowlandson del.

_View near Bridport, Dorsetshire._ 1805.

_Rouler Moor, Cornwall._

_Coast of Cornwall_, &c. (A series of views in Cornwall, Devon, Dorset,
&c.)



1806.


[Illustration: THE GERMAN WALTZ.]

'_The Sorrows of Werther._' _Letter X._ _The Waltz with
Charlotte._--'We began; and at first amused ourselves with making every
possible turn with our arms. How graceful and animated all her motions!
When the waltz commenced, all the couples which were turning round at
first jostled against each other. We very judiciously kept aloof till
the awkward and clumsy had withdrawn; when we joined in there were but
two couples left. I never in my life was so active; I was more than
mortal. To fly with her like the wind, and lose sight of every other
object! But I own to you I then determined, that the woman I loved,
and to whom I had pretensions, should never do the waltz with any other
man. You will understand this.'

_April 3, 1806._ _An Evergreen._--An extravagantly elongated figure,
treated so as to suggest a trimmed shrub, and coloured green. There
is much in the execution of this folio strip to suggest the hand of
Rowlandson. Published by Fores.

_April 20, 1806._ _A Cake in Danger._

    Careful observers, studious of the Town,
    Shun the misfortunes that disgrace the clown.--GAY'S _Trivia_.

It is night, or rather early morning, and the watchman, staff in hand,
leaning forward in his box, in a state of semi-consciousness, more
asleep than awake, does not observe that under the shelter of his house
a deed of spoliation is proceeding. A simple countryman has fallen into
the clutches of two fair members of the 'Hundreds of Drury,' and, while
they are tenderly embracing the yokel, the contents of his pockets are
being transferred to their own keeping.

1806 (?). _A Select Vestry._

1806 (?). _A Country Club._

_April 16, 1806._ _The Political Hydra._ (Wigstead.) Originally
published December 26, 1788. See description (1788). Reissued with
fresh date.

_April 18, 1806._ _Falstaff and his Followers Vindicating the Property
Tax._ Published by T. Rowlandson, 1 James Street, Adelphi. Fox is
travestied under the portly figure of Falstaff; Sheridan, Petty, and
other Ministers do duty as his followers. The unwieldy knight is
standing in the presence of John Bull, and pointing to a huge pack,
'Ten per cent, on John Bull's property,' which is to be fitted to the
national back. 'Mercy on us, how you must be all changed in your way of
thinking! When Billy proposed the same thing, one of you said it was
a most flagrant instance of injustice and inequality; another that it
was abominable in principle and in its operation, not only cruel but
intolerable; and another went so far as to say that if I sanctioned it
I was not a person for any honest man to be acquainted with. What have
you to say for yourselves?'

Falstaff has a plausible explanation at the service of his employer:
'You cannot blame us, Master Bull, we did not make it, or steal it; it
lay in our way, and we found it!'

_May 1, 1806._ _A Maiden Aunt smelling Fire._ Published by T.
Rowlandson, 1 James Street, Adelphi.

              Old Maids are doomed to lead Apes in Hell.

An old Tabitha, who is appropriately surrounded by her feline friends,
has been disturbed from her slumbers by various suspicious nocturnal
sounds, and has appeared, candle in hand, and in a very incomplete
toilette, to fathom the mystery, of the source of which she has
evidently some shrewd suspicion; since she is hastening to the first
floor to her niece's apartment. Above the balustrade stands the guilty
damsel, who has had sufficient warning, as her lover, carrying his
garments in his hand, for expedition, is making his way from the
niece's room under the cover of an ambuscade; while the lady is leaning
over the staircase railings, with an air of startled innocence assumed
to carry off the _contretemps_.

_May, 1806_. _Recruiting on a Broad-Bottom'd Principle._ Published by
T. Blacklock, 92 Royal Exchange.--Grenville, Fox, and their colleagues,
are out on a recruiting expedition, to enlist volunteers for their new
service. Lord Grenville, as the recruiting sergeant, is haranguing
the bystanders; his followers are rather of the tatterdemalion order:
they wear the red caps of Liberty, and the revolutionary cockades,
they are out-at-elbows and shoeless. Sheridan is waving the colours
inscribed 'God save the King! No Jacobins!' Fox is drummer, Lord
Derby is fifer; 'Now my brave fellows, now is the time to make your
fortunes and show your loyalty, all on a Broad-Bottom'd principle: we
don't value _candle-ends_ and _cheese-parings_, not we! All lives,
and fortune-soldiers to a man. We'll make our enemies tremble; we are
the boys to _wind_ 'em; now is your time, my lads; the bed of Honour
is a bed of Down.' A dog, the _Member for Barkshire_ according to his
collar, is bow-wowing the sergeant's address; one of the audience, with
a paper, _Bed of Roses_ (to which the ministerial condition had been
likened by Lord Castlereagh), in his pocket, is half decided to join
their standard: 'I don't like a bed of Down, I would rather it was a
_Bed of Roses_: however I have a great mind to enter notwithstanding,
there is nothing like having two strings to one's bow.'

George the Third is peeping through his spyglass; he is not very clear
as to the actual motives of the party: 'What, what! my sergeant and
drummer beating up for volunteers; that's right, that's right, get as
many as you can!'

_May 4, 1806._ _Daniel Lambert, the wonderful great Pumpkin of Little
Britain._ Published by R. Ackermann, 101 Strand.--The famous Leicester
giant, or rather fat man, Daniel Lambert, was the object of fashionable
curiosity at this date. The worthy and good-natured-looking monster's
figure is set forth at full, and justice is done to his corpulence. A
tailor and his journeyman are between them vainly trying to stretch
their measuring tape round the colossal girth; a fairly conditioned
man-cook has just brought in a noble rib of beef for the regalement of
the giant. Three modishly dressed persons of quality, who have come to
admire the huge proportions of Daniel Lambert, are contrasting their
own meagre condition of genteel slimness with his excessive plumpness.
A notice sets forth, 'Agricultural society for the improvement of fat
cattle. Leicestershire Ram'; and a placard advertises, 'The powers of
Roast Beef, or the Leicestershire Apollo, now in full bloom; no blemish
whatever on any part of his body. Thirty-six years of age. Weighs
upwards of 50 stone, 14 lbs. to the stone, or 700 lbs. Measures 3 yds.
4 inches round the body, and 1 yard 1 inch round the leg; is five feet
eleven inches in height. Admission only one shilling. Laugh and grow
fat.'[5]


_May 31, 1806._ _A Diving Machine on a New Construction._ Published
by T. Rowlandson, 1 James Street, Adelphi.--The unpopular increase
of Taxation, levied under the Broad-bottom'd auspices, was severely
dealt with by the satirists. In the present version, the Ministers
are represented as the crew of a diving-barge, _The Experiment_. Fox
is the diver, and a noble wreck, the 'Constitution cutter, John Bull
commander,' has gone down to the bottom of the 'Ocean of Taxation.' Her
commander is done for; amidst the spoils of the shipwreck, the Diver
(Fox) is securing certain weighty additions to his treasury: pig-iron,
Beer Tax, and heavy chests, '10 per cent.' are among the spoils. A rope
is secured to the ponderous Property Tax; Fox is giving the word to
'Haul up;' Petty, Sheridan and others are hauling away at the ropes;
their lighter is nearly filled with the precious wreckage they have
been able to secure.

_June 20, 1806._ _The Acquittal, or upsetting the Porter Pot._
Published by T. Rowlandson, 1 James Street, Adelphi.--Lord Melville and
his counsel are exulting over the results of his acquittal by his peers
of the charge of investing the public funds for his personal advantage,
as far as the interest was concerned, a perquisite previously allowed
to the Treasurer of the Navy. When Lord Melville, then Henry Dundas,
filled the post of Treasurer to the Navy, he brought in an act for
the better regulation of that office, making such employment of the
funds in hand a misdemeanour; Whitbread, (at the head of the advanced
Liberals, or 'Radical Reformers,' who began to make his party dreaded
as formidable opponents of the old-fashioned Whig section, from which
his supporters had receded), and Wilberforce, as the enemy of all
corruptions, were the principal movers of Melville's impeachment, for
the alleged breach of his own act.

The two Scots, Melville and Trotter, who are dressed in Highland
garb, are embracing fraternally; at the same time, Melville is giving
a sly backward kick to a huge pewter pot, bearing the face of the
disconcerted mover of the charges. _Whitbread's Entire Butt_ is knocked
over, its contents _Impeachments_, _High Crimes_, _Misdemeanours_,
and _Peculation_, are flowing away unheeded; 'What is life without a
friend?' cries the ex-Minister on his acquittal; his counsel, Trotter,
is assuring his relieved patron, 'I'll _trot_ for you! I'll gallop for
you all over the globe. O happy day for Scotland! and see how pleased
John Bull looks--ah Johnny, Johnny, this is indeed a glorious triumph.'
But Mr. Bull declines to be soft-sawdered: his face is wearing anything
but a satisfied expression; he significantly keeps his hands in his
pockets, and is grumbling, 'I say nothing,' as if he could say a great
deal if he were disposed to express his honest opinion of the entire
transaction.

_July 21, 1806._ _Experiments at Dover, or Master Charleys Magic
Lantern._ Published by T. Rowlandson, 1 James Street, Adelphi.--The
repeated delays to the preliminaries for peace, and the various
manoeuvres of Buonaparte's government, which protracted the issue of
Fox's policy, led to a feeling out-of-doors that the Minister was not
dealing straightforwardly with the public; that dissimulation was
thrown into their eyes like dust; and that the Whig chief was deluding
his followers for some reasons of his own; meanwhile the Corsican
Emperor was carrying forward plans for fresh aggressions unchecked.

Fox, in the print, has settled himself comfortably at Dover; with a
magic lantern to work his delusions, he is throwing painted images
across the Channel, which are reflected on the cliffs of Calais.
The figure of Napoleon is seen sounding a news-horn, announcing
'Preliminaries of Peace'; Fox's slide contains other views, which have
to follow, for the further perplexity of the honest spectator: 'More
despatches,' 'Messenger to Paris,' 'Messenger from Boulogne,' &c. The
Showman is trying to reassure his friend, 'There, Master Bull, what
do you think of that? I told you I would surprise you--"Preliminaries
of Peace," 'Huzza!' John Bull, who is standing unconvinced behind
Fox's chair, replies: 'Yes, yes, it be all very foine, if it be true.
But I can't forget that d----d Omnium last week; they be always one
way or other in contradictions! I will tell thee what, Charley, since
thee hast become a great man, I think in my heart thee beest always
conjuring.'

_June, 1806._ _Butterfly Hunting._ Published by Wm. Holland, 11
Cockspur Street.--A collision between the pursuits of rival enthusiasts
is pictured under the title of 'Butterfly Hunting.' Nothing can
stop the fervour of the butterfly collectors in their chase of the
sportive prey, wantonly flitting all over the flower-beds, and leading
the excited entomologists a pretty dance, carrying destruction to
the parterres, and ruination to the tulips, of which the proprietor
of the house and grounds is, it appears, a passionate fancier. The
havoc, which is spreading over the beds of his favourites, is reducing
him to frenzy; as he is awakened from his rest, and surveys from his
bedroom-window the field of action, the only wonder is, if he has a
loaded gun ready at hand, that he is not tempted to salute the reckless
spoilers with a volley.

[Illustration: BUTTERFLY-HUNTING.]

1806. _A Prize Fight._

1806 (?). _Anything will do for an Officer._--The caricature of a
pigmy and misshapen sample of humanity, dressed as an officer, with an
enormous cocked hat, worn on one side of his battered and lined old
face; a long pigtail projects over his high shoulders; he swaggers with
one hand on his hip, and the other on the head of a tasseled cane,
which is nearly as tall as the hero himself; his shrunken spindle
legs are thrust into huge boots, and his tremendous sword, which is
longer than the wearer, is trailing on the ground. The argument is not
complimentary to commanders in general: 'Some school-boys, who were
playing at soldiers, found one of their number so ill-made and so
undersized that he would have disfigured the whole body if put into
the ranks. "What shall we do with him?" asked one, "Do with him?" says
another, "why make an officer of him!"'

[Illustration: A PRIZE FIGHT.]

1806. _View of the Interior of Simon Ward, alias St. Brewer's Church,
Cornwall._--A quaint delineation of a church-interior during service;
the pastor, who is somewhat of the Dr. Syntax type, is holding forth.
There is a squire's pew, a rosy, sleepy clerk, a large leavening
of fat slumberers (among the rest the sexton and pew-opener), a
crowded gallery, worshippers both devout and careless, gazers through
curiosity, and the usual elements which made up a grotesque-looking
country congregation at the end of the last century.

1806. _A Monkey Merchant._

FOOTNOTE:

[5] The advice offered in the concluding line of Daniel Lambert's
advertisement must, however, be followed with certain reserve. The
Leicester giant's premature end is hardly an encouragement to would-be
imitators. After his first visit to London, in 1806, Daniel Lambert
returned to his native place; the year following he repeated his visit,
but feeling oppressed by the atmosphere of the metropolis, he made
a tour through the principal provincial cities and towns, where he
proved a great source of attraction. We are told 'his diet was plain,
and the quantity moderate, and for many years he never drank anything
stronger than water. His countenance was manly and intelligent; he
possessed great information, much ready politeness, and conversed with
ease and facility. He had a powerful and melodious tenor voice, and his
articulation was perfectly clear and unembarrassed.... Lambert had,
however, for some time shown dropsical symptoms. In June, 1809, he was
weighed at Huntingdon, and, by the Caledonian balance, was found to
be 52 stone 11 lb.; 10 stone 4 lb. heavier than Bright, the miller of
Maiden, who only lived to the age of thirty.'

A few days after this last weight was taken, on June 20, Lambert
arrived from Huntingdon at the Wagon and Horses Inn, St. Martin's,
Stamford, where preparations were made to receive company the next day
and during the Stamford races. He was announced for exhibition; he
gave his orders cheerfully, without any presentiment that they were
to be his last. He was then in bed, only fatigued from his journey,
but anxious to see company early in the morning. Before nine o'clock,
however, the day following, he was a corpse! He died in his apartment
on the ground-floor of the inn, for he had long been incapable of
walking up stairs. As may be supposed from his immense bulk and weight,
his interment was an arduous labour. His age was thirty-nine. At the
Wagon and Horses Inn were preserved two suits of Lambert's clothes;
seven ordinary-sized men were repeatedly enclosed within his waistcoat,
without breaking a stitch or straining a button.



1807.


_February 1, 1807._ _Miseries of London. Going out to dinner (already
too late) your carriage delayed by a jam of coaches, which choke up the
whole street, and allow you an hour or more than you require to sharpen
your wits for table talk._ Published by Ackermann, 101 Strand.

    Breast against breast, with ruinous assault
    And deafening shock they come.

_February 3, 1807._ _The Captain's Account-current of Charge and
Discharge._ Published by Giles Grinagain, 7 Artillery Street,
London.--A pair of plates connected with some militia or yeomanry
satire of the period: the scene of the captain's misadventure is
evidently a cathedral town, but the interest of the print is not
sufficiently strong to make any elucidation of the facts of the case of
much importance. The captain is mounted on a spirited charger; he is
losing his seat; several whips and his sabre have fallen, and the rider
is holding on precariously by his horse's mane. Professor Gambado's
famous tract, _Hints to Bad Horsemen_, is thrown on the ground. The
members of the troop, galloping in the rear, are enjoying their
leader's mishap, and saying, 'Our young whip is not an old jockey.' The
captain cries, 'March! trot! canter! charge! halt, halt, halt! I mean;'
while candid confessions burst forth spontaneously from the trumpet at
his side. 'Avarice, vanity! oh what a ninny I was to throw myself off!
they're laughing at me!' while hypocrisy, ingratitude, double-dealing,
false friendship, malice, &c., are trumpeted forth.

In the second plate the rider has come to grief; the horse is prancing
gaily, relieved of his rider; the animal is addressing a parting remark
to the discharged captain: 'You seem more frightened than hurt. You
have been taught the value of whips more than the use of them.'

A hussar has recovered the trumpet; he stoops over to the fallen
captain, who is rubbing the seat of his injuries: 'I hope your honour
is not hurt,' to which the fallen leader replies, 'I am not hurt, upon
my honour!' The troopers are riding gaily on, exclaiming, 'Why, our
captain needn't a fallen!'

[Illustration: MISERIES OF LONDON.]

_February 15, 1807._ _Miseries of Travelling; an Overloaded Coach._
Published by R. Ackermann.

_February 18, 1807._ _At Home and Abroad._--A domestic interior; the
servant is leaving the room with a warming-pan, and a lady, of the
developed 'fat, fair, and forty' order, is preparing to go to bed; the
partner of her joys, who is more youthful, has dropped his pipe and
is sipping a bumper of wine; but, although evidently sleepy, he seems
disinclined to follow the lady's example of retiring to rest.

_February 18, 1807._ _Abroad and at Home_ is a complete contrast to
the previous subject.--A handsome-looking man is reclining on a couch
before the fire; on the table by his side are fruit and wine, on his
knee there dallies an elegant creature; the lady's maid is figured in
the background, regaling herself with drops on the sly.

_February 26, 1807._ _Mrs. Showwell, the Woman who shows General
Guise's Collection of Pictures at Oxford._ Etched and published by T.
Rowlandson, 1 James Street, Adelphi.--This, like the companion print,
bears the initials J. N. Esq. (John Nixon), 1807, but the style of
execution is in Rowlandson's marked manner. Mrs. Showwell is a dwarfed,
quaint old woman, of good-natured appearance, wearing a cap and hood;
she is pointing out the excellences of a collection of old masters with
a wand, and in her other hand is held the key of the gallery.[6]

_March 1, 1807._ _The Enraged Vicar._ Published by T. Rowlandson, 1
James Street, Adelphi.--

    To see them rattle, howl, and tear,
    By Jove, 'twould make a parson swear,

A subject of wanton destruction, which forms a fitting companion to
the invasion of the tulip-fancier's flower-beds by irrepressible
butterfly-collectors, was published the year following, as _The Enraged
Vicar_. In this case the horticultural tastes of the reverend gentleman
have led him to turn the grounds of the vicarage into a picture of
the most unvarying precision: clipped hedges, chopped borders of box,
with yew-trees and evergreens, carved into wonderful imitations of
impossible objects, form the passion of his heart. A hunted fox is
darting through these wonderful works of art; the hounds are breaking
over everything, and the whole field of fox-hunters are riding through
the Vicar's boundaries, and pounding their horses over his cherished
monstrosities. Judging from the frantic state of the dignitary, the
reverse of benedictions seem likely to be invoked upon the heads of the
intruders, who are wrecking the results of any amount of misdirected
patience 'in less than no time.'

[Illustration: THE ENRAGED VICAR.]

_April 18, 1807._ _All the Talents._ Published by Stockdale, Pall Mall.

[Illustration: ALL THE TALENTS.]

       Monstrum horrendum, informe, ingens, cui lumen ademptum.

The complex nature of the famous Broad-Bottom Administration, known
as 'All the Talents,' is set forth in an allegorical representation,
which is supposed to include the several qualifications of the vaunted
_illuminés_. It may be remembered that this Ministry, which came into
power under Liberal and popular auspices, retired on the rejection of
their favourite measure, Catholic Emancipation, which they were pledged
to introduce. The King, and his friends, the remnant of the Pittites,
made a desperate stand against this measure, and the consequence of its
defeat was the immediate withdrawal of 'All the Talents' from office.
As embodied by Rowlandson's pencil, the combination of heterogeneous
elements produced a curious monster: the wig of a learned judge is worn
on the head of a spectacled ape, with an episcopal mitre and a Catholic
crosier; a lawyer's bands, a laced coat, and ragged breeches; wearing
one shoe, and a French jackboot; and dancing upon a funeral pyre of
papers, the results of the Administration, its endless negotiations
with France, and its sinecures and patronages, which are blazing away.
The creature's right foot is discharging a musket, to represent the
'Army,' which is producing certain mischief in the rear, and bringing
two heavy folios, _Magna Charta_ and the _Coronation Oath_ upon the
head of the dangerous animal. The left hand, holding a pen upside-down,
is supposed to be compounding new financial projects, in a ledger laid
over a music book, 'Country dances,' an allusion to the alleged dancing
proclivities of Lord Henry Petty, the Broad-Bottomite Chancellor of the
Exchequer.

The smoke, from the pipe of this _lusus Naturæ_, is obscuring the
portrait of William Pitt. The end of 'All the Talents,' who sacrificed
their influence from conscientious motives, and whose upright
principles were beyond suspicion, was a great source of triumph to
their opponents, who signalised their retirement with a volley of
satirical effusions. The 'Interment of the Broad-Bottomite Ministry'
produced a shower of political squibs and caricatures; and among the
best verses on the occasion, appeared the following mocking epitaph,
which has been attributed to the gifted pen of Canning, who came into
office on the dismissal of 'All the Talents.'

    When the Broad-Bottomed junto, all nonsense and strife,
    Resigned, with a groan, its political life;
    When converted to Rome, and of honesty tired,
    It to Satan gave back what himself had inspired;

    The Demon of Faction, that over them hung,
    In accents of anguish their epitaph sung;
    While Pride and Venality joined in the stave,
    And canting Democracy wept on the grave.

    Here lies, in the tomb that we hollowed for Pitt,
    The conscience of Grenville, of Temple the wit;
    Of Sidmouth the firmness, the temper of Grey,
    And Treasurer Sheridan's promise to pay.

    Here Petty's finance, from the evils to come,
    With Fitzpatrick's sobriety creeps to the tomb;
    And Chancellor Ego, now left in the lurch,
    Neither laughs at the law nor cuts jokes at the Church.

    Then huzza for the party that here's laid to rest--
    'All the Talents,' but self-praising blockheads at best:
    Though they sleep in oblivion, they've died with the hope,
    At the last day of freedom, to rise with the Pope.

[Illustration: A NINCOMPOOP, OR HEN-PECKED HUSBAND.]

_April 24, 1807._ _A Nincompoop, or Hen-peck'd Husband._ Published by
T. Tegg, Cheapside (147).--It is supposed to be the day of rest and
ease, and comfortable cits are taking their summer outings to suburban
resorts. A buxom city wife is sailing along with an air like a tragedy
queen, fanning herself as she walks. Her better half, a miserable
being reduced to abject servitude, is bearing a bundle, a shawl, a
pair of pattens, and an umbrella, objects to serve in the train of his
mistress's grandeur; the poor 'nincompoop' is vainly turning his eyes
up Heavenwards: no miracle is vouchsafed to free him from his bondage.
Other stout promenaders are bursting with indignation at the weakness
of this lord of creation, while they walk in the other extreme, and
leave their better halves to drag along both children and baggage in
their wake. Certain tired pedestrians are enjoying the reward of their
exertions, while partaking of cool pipes and tankards, at the '_Old
Swan Inn, Ordinary on Sundays_,' whither the parties have evidently
proceeded to dine.

_April 26, 1807._ _John Rosedale, Mariner._ _Exhibitor at the Hall of
Greenwich Hospital._ Etched and published by T. Rowlandson.--Like the
companion print, _Mrs. Showwell_ (Feb. 26), the sketch is signed with
the initials J. N. Esq. The old sailor Cicerone, who has a pigtail,
and wears a long square-cut coat of naval blue, with gold buttons and
lace, is pointing out with a cane the mysteries of certain allegorical
compositions to the gaping spectators:--

'Here is George, Prince of Denmark, and in the perspective a view of
St. Paul's, London, Sir James Thornhill in the wig, &c. &c.'

_May 1, 1807._ _The Pilgrims and the Peas._ Woodward del., Rowlandson
sc. Published by T. Tegg, 111 Cheapside. One of a series of headings
to songs, ballads, &c., published by T. Tegg.--In the illustration
to Peter Pindar's Apologue of _The Pilgrims and the Peas_, the
disconsolate sinner, with hard peas in his shoes, is crawling along,
doubled up with agony, to the shrine at Loretto, meeting halfway the
joyful pilgrim, who has accomplished his penance, 'whitewashed his
soul,' and returned from his journey without personal inconvenience, by
the exercise of the simplest precaution, as he confesses:--

    To walk a little more at ease,
    I took the liberty to boil my peas!

_May 3, 1807._ _Scenes at Brighton, or the Miseries of Human Life._
Published by A. Berigo, 38 Maiden Lane, Covent Garden.

_Plate 1._ Beauty, Music, a few thousands, and opportunity given
by card tables, often feather the adventurer and prove an easy
introduction to the Miseries of Human Life.

_Plate 2._ Jealousy, rage, disappointment, intrigue, and laughter are
here pretty much exemplified, and afford an old Lover a high-seasoned
taste of the Miseries of Human Life.

_May 6, 1807._ _Monastic Fare._

    And why I'm so plump, the reason I'll tell,
    Who leads a good life is sure to live well,
    What Baron, or Squire, or Knight of the Shire
    Lives half so well as a Holy Friar?

[Illustration: MONASTIC FARE.]

_May 6, 1807._ _Black, Brown, and Fair._ Designed by Sir E. Bunbury.
Rowlandson sculp. Published by T. Tegg, 111 Cheapside.--An illustration
to the lines:--

    With Black, Brown, and Fair, I have frolic'd 'tis true,
    But I never lov'd any, dear Mary, but you.

At the window of a tavern, at Wapping 'Dock Head,' is a bevy of
beauties, representing the variations of complexion described by
the song-writer. The redundant charms of this collection of beauties
are arresting an equally diversified circle of admirers, numbering
mulattos, a Chinaman, a Holland skipper, a foreign Jew, and a Virginia
nigger.

_May 6, 1807._ _The Holy Friar._ Designed by Sir E. Bunbury.
Rowlandson, sculp.

    I am a Friar of orders Grey,
    And down the valleys I take my way.
    I pull not Blackberry, Haw, or Hip;
    Good store of ven'son does fill my scrip.
    My long Bead-roll I merrily chaunt,
    Wherever I walk no money I want;
    And why I'm so plump, the reason I'll tell,
    Who leads a good life is sure to live well;
    What Baron, or Squire, or Knight of the Shire
    Lives half so well as a Holy Friar?

    After supper of Heav'n I dream,
    But that is fat pullets and clouted cream;
    Myself by denial I mortify,
    With a dainty bit of a Warden pie.
    I'm cloth'd in sackcloth for my sin,
    With old Sack wine I'm lin'd within,
    A chirping cup is my Matin song,
    And the vesper's bell is my bowl--ding dong!
    What Baron, or Squire, or Knight of the Shire
    Lives half so well as a Holy Friar?

[Illustration: THE HOLY FRIAR.]

_May 16, 1807._ _I Smell a Rat, or a Rogue in Grain._ Published
by R. Ackermann, 101 Strand. An exuberant rustic charmer has been
entertaining a fashionable visitor in a granary; a party of rustics,
mounting the ladder, have disturbed the interview. A powdered,
pig-tailed, and lace-ruffled dandy has sought concealment amidst the
sacks of grain; his head appears over the barrier in sheer dismay,
for a determined farm help, probably the legitimate swain of the
indignant damsel, armed with a formidable pitchfork, is making reckless
efforts to impale the trespasser; his fury is slightly restrained by
the stalwart exertions of the lady, who has buried her fingers in the
village Othello's shock head of hair; at his feet is a scroll with the
quotation 'I smell a rat, dead for a ducat.' A bill, pinned on the
wall, sets forth 'Rats, pole cats, and all sorts of vermin effectively
destroyed.'

_May 17, 1807._ _The Old Man of the Sea, sticking to the Shoulders
of Sindbad the Sailor._ Vide _The Arabian Nights Entertainments_.
Published by T. Tegg, 111 Cheapside.--The dandified Sir Francis Burdett
is figured as a discontented Sindbad the Sailor; his preceptor John
Horne Tooke, in his clerical garments, is perched on his pupil's
shoulders, and he is driving him through _The Mire of Politics_, in
which he is wading knee-deep. In the distance is shown the baronet's
mansion, _Independence and a comfortable home_. From an upper window a
lady is waving back the traveller, who does not relish turning his back
on this prospect to encounter the _Ministerial Shoals_ and _Treasury
Rocks_ which are opposed to his progress on the other side. Horne Tooke
is urging on the career of his _protégé_: 'Persevere! persevere! you
are the only man to get through.' Burdett's confidence is wavering:
'This old man will be the end of me at last; what a miry place he has
brought me into!'

_May 25, 1807._ _A White Sergeant giving the Word of Command: 'Why
don't you come to bed, you drunken sot?'_ Published by R. Ackermann,
101 Strand.--A man, past the meridian of life, is calmly enjoying his
pipe before his fire, with an agreeable book in his hand, '_Rule a wife
and have a wife_.' The young wife is indignantly rating the easy-going
husband on his inclination to prefer the fireside to his conjugal couch.

_May 29, 1807._ _Comedy in the Country, Tragedy in London._ Published
by T. Tegg, 111 Cheapside.--_Comedy in the Country_ is played in a
barnlike building to an audience of rustics, whose faces express the
most intense appreciation. _Tragedy in London_, as performed in a
fashionable theatre, has plunged a very select audience into the depths
of grief and misery: tears bedew every cheek, and even the members of
the orchestra are weeping profusely.

_May 30, 1807._ _Platonic Love._ '_None but the Brave deserve the
Fair._' Sir E. Bunbury del., Rowlandson sculp.--An illustration to
the lines in Othello wherein Desdemona's wooing is described. A
veteran commander, who has lost an arm and both legs, is acting on
the advice of his fair, who is tenderly embracing his wooden leg.
Although the name of Rowlandson is appended to this plate, the method
of its execution bears a closer resemblance to the handling of C. W.
(Williams).

_June 12, 1807._ _Miseries Personal._ Published by Ackermann, 101
Strand. 'After dinner, when the ladies retire with you from a party
of very pleasant men, having to entertain as you can half a score of
empty or formal females; then after a decent time has elapsed, and your
patience and topics are equally exhausted, ringing for the tea, &c.,
which you sit making in despair for above two hours, having three or
four times sent word to the gentlemen that it is ready, and overheard
your husband, at the last message, answer, "Very well, another bottle
of wine." By the time the tea and coffee are quite cold, they arrive,
continuing as they enter, and for an hour afterwards, their political
disputes, occasionally suspended by the master of the house by a
reasonable complaint to his lady at the coldness of the coffee; soon
after the carriages are announced and the company disperse.'

[Illustration: MISERIES PERSONAL.]

_June 15, 1807._ _Murphy Delaney._ Woodward del., Rowlandson
sculp. Published by T. Tegg, 111 Cheapside.--This caricature is an
illustration to the song which is printed below it. It happened to the
hero, Murphy Delaney, to find himself, when 'fresh as a shamrock and
blind as a bull' from the effects of imbibing a 'skinful of whiskey,'
by the side of the quay, which he mistook for the floor of his shed,
'And the keel of a coal-barge he just tumbled over, and thought all
the while he was going to bed.' When his body was recovered from the
river an inquest was duly held to determine the cause of his end,
during which the subject of the deliberation revived, and appeared as a
witness; but his testimony being declined, on the ground of his recent
decease, the jury appealed to the doctor, who swore that, as Delaney
was 'something alive,' it 'must be his ghost. So they sent out of hand
for the clergy to lay him, but Pat laid the clergy, and then ran away.'

_June 18, 1807._ _A View on the Banks of the Thames._ (No. 177.)
Published by T. Tegg. (See illustration, p. 77.)

[Illustration: A VIEW ON THE BANKS OF THE THAMES.]

_July 1, 1807._ _More Scotchmen, or Johnny Maccree Opening his New
Budget._--Lord Melville, on the strength of his re-instalment, has
extended his patronage to a swarm of his countrymen; he is dressed in
Highland garb, and is opening the mouth of his sack, from whence is
issuing an interminable stream of Scotchmen, who are trooping steadily
on the road to fortune, through the portals of St. Stephens. 'There
ye are, my bonny lads, mak the best o' your way, the door is open,
and leave a Scotsman alaine to stick in a place gin he once gains an
entrance.' John Bull, who is standing aside, quite overpowered by the
spectacle of this Caledonian incursion, is exclaiming: 'Dang it, what
a swarm of them there be--enough to cause a famine in any Christian
country!'

_July 9, 1807._ _A Cure for Lying and a Bad Memory._ Woodward del.,
Rowlandson sculp. Published by T. Tegg, 111 Cheapside.--A wag at one
of the universities has applied to an empiric, on a visit to the
neighbourhood, for a cure, as a proof of his skill, for a propensity
to tell lies, and a memory which retained no recollection of what
its possessor had stated last. In the picture the quack has just
administered his _Pillula Memoria_ and _Anti Fibbibus_; the incautious
would-be waggish student is very uncomfortable, and declares he has
taken _Asafoetida_. 'You speak the truth,' says the doctor, 'you are
perfectly cured; and as to your memory, that cure follows of course,
for I am sure you will never forget the medicine!'

_July 10, 1807._ _The Double Disaster, or New Cure for Love._
Rowlandson del. et sculp. Published by T. Tegg, 111 Cheapside.--This
sketch, which is characterised by the artist's usual spirit when
dealing with kindred subjects, represents the situation of a rustic
swain, whose philanderings have landed him in the midst of the
perplexities of a double dilemma. It is seemingly 'washing day,' and
the gallant intruder has effected his admission to court the graces
of a pretty maiden, who is thrown into consternation at the risk to
which her suitor, by an awkward _contretemps_, is suddenly exposed. The
pair have evidently been disturbed at the moment the lady was engaged
in drawing a mug of ale for the refreshment of her admirer; in the
confusion, the tap of the beer barrel is still left running, and all
the maid's solicitude is centred in the position of her swain, who has
incautiously taken refuge in the copper. A very disagreeable-looking
old beldame is kindling a blazing fire in the stove, while a buxom
wench is working away at the pump, which is pouring gallons of water
into the unlucky Lothario's place of concealment. The youth is
hesitating midway between the ordeals of fire or water, and he is
struggling to effect his escape from both, at the risk of exposure and
its consequences.

_July 14, 1807._ _Easter Hunt._ _Clearing a Fence._ (_Easter Monday, or
the Cockney Hunt._)

1807. _Miseries of the Country._ 'While on a visit to the hundreds of
Essex, being under the necessity of getting dead drunk every day to
save your life.'

              Et propter vitam vivendi perdere causas....

The hundreds of Essex, it appears from the print, which represents a
bacchanalian sporting revel, were doubtless attractive to fox-hunters;
but the hospitalities exercised therein were rather excessive. The
usual accompaniments of a drunken bout of the period are set forth
with Rowlandson's graphic skill; an old toper is draining a punch-bowl
and capsizing himself simultaneously; an ambitious young reveller is
tipsily trying to mount the table, and over-balancing himself in the
attempt; a stout divine is indisposed in a corner; heavy drinkers laid
low are on the floor, whence they are dragged off by their heels, and
carried to bed in an incapable and collapsed condition. Furniture is
knocked over, and chimney ornaments sent to grief. It is an anniversary
meeting of choice spirits.

_October 5, 1807._ _A Mistake at Newmarket, or Sport and Piety._
Woodward del., Rowlandson sculp. Published by T. Tegg, 111
Cheapside.--A good pious old soul, wearing a hood, red cloak, clean
apron, and pattens, and carrying Wesley's hymns in her hand, is
interrogating certain sporting characters, who are lounging at the door
of the _Ram Inn_. 'Pray, young man,' she enquires of a smart young
jockey, 'are there any _meetings_ in this town?' To which the jockey
replies, 'Yes, ma'am, two a year--Spring and October!'

1807(?) _Englishman at Paris._ H. Bunbury invt., Rowlandson sculp.--Our
old friend John Bull is shown, with his travelling accompaniments,
philosophically pursuing his quiet way in the land of the 'Monsieurs.'
He is the centre of curiosity, though, according to the artist's
picture, he is the least remarkable object in the group. A corpulent
friar is observing the well-rounded person of the stranger with an
appreciative eye; while a lean cook, in wooden shoes, is staring with
astonishment at the goodly proportions of the Englishman. A French
_petit-maître_ is driving a ramshackle contrivance, and his queerly
clad servant is perched on the springs behind. A female luggage porter
is plodding along, and an adventitious shower, directed from a balcony
above, is descending on the umbrella of a dandified pedestrian,
daintily mincing along on tiptoe, who, at first glance, might be taken
for a live Marquis, if, on inspection, his apron and the professional
implements peeping out of his coat-tail, did not proclaim him a barber.
John Bull's substantially built dog is eyeing a sniffing French hound
with threatening suspicion.

[Illustration: ENGLISHMAN AT PARIS.]

1807(?) _Symptoms of Restiveness._ H. Bunbury del., Rowlandson
sculp.--Henry Bunbury, it will be observed, was remarkably fond of
drawing disasters in the saddle; his brother, the respected Sir Charles
Bunbury, was, for many years, president of the Jockey Club, in which
difficult position he rigorously upheld the integrity of the turf; and
there is no doubt that the originator of 'Geoffrey Gambado, Esq.,' and
of those invaluable precepts on equitation published and illustrated as
alleged by the eminent _Riding Master of the Horse and Grand Equerry
to the Doge of Venice_ (about the only potentate who could not find
a turnpike-road within his capital), must have had 'a good eye for a
horse.'

The Symptoms of Restiveness are of a somewhat marked and unmistakable
character: while one sportsman's steed is kneeling down on his
forelegs, and turning the huntsman heels over head, another cavalier's
animal is standing rigidly on his forelegs, and perseveringly
attempting to dislodge his mount by kicking out wildly behind. A
third rider is no less fortunate in his hack, which has 'no mouth,'
and is moreover a 'bolter'; the animal is steadily plunging through
everything in its way, apparently unconscious of the desperate efforts
his master is making to hold him in. An old woman, with her barrow
and its contents, are tumbled over, without attracting the attention
of the wrong-headed brute, whose mind is absorbed in his own private
speculations.

[Illustration: SYMPTOMS OF RESTIVENESS.]

1807 (?) _A Calf's Pluck._ Designed by H. Bunbury. Etched by T.
Rowlandson.

[Illustration: A CALF'S PLUCK.]

1807 (?) _Rusty Bacon._ Designed by H. Bunbury. Etched by T. Rowlandson.

[Illustration: RUSTY BACON.]

1807 (?) _A Tour to the Lakes._--

    Whoe'er has travell'd life's dull round,
    Through all its various paths hath been,
    Must oft have wondered to have found
    His warmest welcome at an Inn.

A clerical traveller has arrived, late at night, at an hostel; a
pretty chamber-maid is showing the reverend visitor to his room,
bearing a lighted candle, a warming-pan, and the saddle-bags of the
guest, who appears well pleased with his conductress, and is imparting
his admiration. As it appears that this gentleman is inclined to be
less respectable than his venerated calling should suggest, it is
less scandalising to observe that various practical jokes of a rough
character are besetting his path; consequently, it is highly probable
that he will receive an active moral lesson before he reaches his
chamber.

_November 9, 1807._ _Thomas Simmons, drawn from Life by Mr. Angelo._
Published by T. Rowlandson, 1 James Street, Adelphi. 'The horrid and
inhuman murderer of Mrs. Hammerstone and Mrs. Warner at the house of
Mr. Boreham, a Quaker at Hoddesdon, in Herts, on Tuesday evening,
October 20, 1807.'--The barbarous murderer does not rejoice in a
very formidable exterior. His weakly person has been sketched by the
hand of Henry Angelo, the well-known fencing-master, a firm friend
of Rowlandson through life. His amusing _Memoirs_ have supplied us
with many circumstances relating to the caricaturist. It appears that
Angelo, Bannister, and Rowlandson were schoolfellows at an early period
of life, and they were all as youths excessively fond of their pencils;
although it was reserved for Rowlandson alone to attain proficiency in
the fine arts. Angelo, like George Selwyn, Colonel Hanger, and some
few notorieties, was fond of attending executions, visiting jails,
and similar lugubrious exhibitions. Among his visits to prisons he
encountered some curious characters. Thomas Simmons, the subject of
the present plate, was one of the unfortunates with whom he became
acquainted on one of these eccentric excursions.

From the sketch, Thomas Simmons appears a mere dwarf of a man, a
harmless-looking and apparently half-witted individual, realising the
traditional idea of _Simple Simon_. This murderer has heavy manacles
round his puny limbs. Groups of miserable prisoners, and hard-featured
jailors are in the rear, and the heavy iron doors of Newgate afford an
appropriate background.

_November 10, 1807._ _Directions to Footmen._ Rowlandson del. Published
by T. Tegg, 111 Cheapside (273).--'Take off the largest dishes, and
set them on with one hand, to show the ladies your vigour and strength
of back, but always do it between two ladies, that if the dish happens
to slip, the soup or sauce may fall on their clothes, and not daub the
floor; by this practice, two of our brethren, my worthy friends, got
considerable fortunes.'--A stalwart awkward-looking yokel, in a showy
livery, is carrying out these useful directions to the letter. While
grinning at his horrified mistress, he is upsetting a tureen held
loosely in his right hand, over a handsome damsel, and is flooding the
table-cloth, to the horror of the company, and the delight of a poodle,
which is revelling in the stream. In the clumsy footman's left hand is
held a dish, from which he is calmly allowing the joint, gravy, &c.,
to glide over the back of another dog who is less pleased than his
companion.

_November 10, 1807._ _John Bull making Observations on the Coast._
Woodward del., Rowlandson sculp. Published by T. Tegg, 111
Cheapside.--The head of George the Third, as the sun, is throwing its
brilliant rays across the Channel, and shining on the British Fleet
which lines the waters. The head of Napoleon Buonaparte, with his
cocked hat and feather, is represented as a comet with a fiery train,
which is making vicious exertions to dash itself across the orb of day.
John Bull has planted his telescope on the shores of the Channel, and
his eye is following the course of the erratic meteor: 'Ay, ay, Master
Comet, you may attempt your peri-heliums, or your devil-heliums for
what I care, but take the word of an old man, you'll never reach the
sun, depend upon it.'

_November 20, 1807._ _A Couple of Antiquities._ Published by R.
Ackermann.

_November 20, 1807._ _My Aunt and My Uncle._ Published by R. Ackermann.

_November 21, 1807._ _The Dog and the Devil._ Woodward del., Rowlandson
sculp. Published by T. Tegg, 111 Cheapside.--The interior of a
conjurer's chamber, decorated with the usual paraphernalia of bats,
stuffed crocodiles, &c. The empiric wears his learned robes and fur
cap; in the centre of a magic circle stands the pretended enchanter's
assistant, dressed in a bullock's hide, with the horns and tail left
on, to personate the Father of Evil; a butcher, in his working dress,
has called to consult the oracle concerning a missing sheep; he has
brought his bull-dog with him, unobserved by the demonstrator, and
the animal, true to his instincts, has pinned the mock demon-bull by
the nose; 'the pretended devil roar'd most tremendously; but the dog
kept a firm hold. The conjurer, rising in a passion, exclaimed, "You
scoundrel, take off your dog!" The butcher, however, perceiving the
cheat, cried out, "Not I, doctor, I know he is of as good a breed as
ever bolted, so let 'em fight fair; if you are not afraid of your
devil, I am not afraid of my dog; so dog against devil for what sum you
please!"' The fictitious demon is in bad case.

1807 (?). _More Miseries, or the Bottom of Mr. Figg's Old Whiskey
broke through._--A serio-comic scene that befel the 'grocer's wife at
Norwich, owing to the bottom of Mr. Figg's whiskey breaking through.'
The flooring of a vehicle something like a phaeton has proved too
slight for a ponderous occupant: the lady's ample proportions are
framed in the chaise, to the alarm of her husband, who is seizing the
prancing horse. Certain gazers, hugely delighted, are hastening up not
to lose the spectacle of the lady's awkward situation.

1807 (?). _The Man of Feeling._--The scene takes place in a
sky-parlour, and the principal performer is a son of the Church.

1807 (?). _Miseries of Bathing._ 'After bathing in the river, on
returning to the bank for your clothes, finding that a passing thief
has taken a sudden fancy to the cut of every article of your dress.'

1807 (?). _The Pleasures of Human Life._ By Hilari Benevolus & Co.
Published by Longmans, 1807. Crown 8vo. _Pleasures of Human Life_, in
a dozen dissertations, interspersed with various anecdotes, _Pleasures
of Fashion_, _Fashionable People_, _Market of Love_, _Greeks_,
_Literature_, _Hints to Print Collectors_, _Puffing_, etc., coloured by
Rowlandson.

FOOTNOTE:

[6] Francisco Caracci, and General Guise's collection (_Somerset-House
Gazette_), from a note to Mr. Ephraim Hardcastle (Editor):--'Francisco
Caracci was the younger brother of Augustino and Annibale; and
Antonio, called from his deformity Il Gobbo, was the natural son of
Augustino. These were the individuals who formed that celebrated
family of painters. The father of Ludovico Caracci was a butcher
(_era macelago_), and the father of Annibale and Augustino a tailor.
Annibale resolved to mortify the pride of Ludovico, who despised him
on account of his frequently reminding him of their low origin. He
therefore privately painted the portraits of the Caracci, as large as
life, in a butcher's shop, and showed his picture for the first time to
Ludovico, when in company with Cardinal Farnese. It is now in the Guise
collection, at Christ Church College, Oxford. Annibale is the butcher
weighing the meat, which a soldier (Ludovico) is purchasing. Augustino
stands near them. Antonio is lifting down a carcase, which conceals his
deformity; and the old woman represents their mother. General Guise is
said to have given 1,100_l._ for this picture, which was purchased for
him at Venice. Talking of Oxford, did you ever see this collection? If
the old General Guise had no more taste for fighting than for painting,
I would have met him and his legions with wooden cannon. Yet I have
heard certain _bigwigs_ of the University crack up the Guise Gallery!
They are nice social fellows at Christ Church for all this, and men of
taste; a conversation on painting is brought to table in hall there,
like the wine--devilishly well iced.'



1808.

SOCIAL AND GENERAL CARICATURES.


_January, 1808._ _The Discovery._

_January, 1808._ _Wild Irish, or Paddy from Cork with his Coat Buttoned
Behind._

_February 16, 1808._ _Scenes at Brighton, or the Miseries of Human
Life._

_Plate 3._ 'A Blackleg detected secreting cards &c., after drawing upon
your purse on former occasions, is the properest of men to run the
gauntlet, as he but too often produces substantial Miseries for Human
Life.'

_Plate 4._ 'Suffering under the last symptoms of a dangerous malady,
you naturally hope relief from medical skill and practice; but flying
periwigs, brandished canes, and clysters, the fear of random cuffs,
&c., intrude and produce a climax in the Miseries of Human Life.'

_March 1, 1808._ _Miseries of High Life._--'Briskly stooping to pick
up a lady's fan, at the same moment when two other gentlemen are doing
the same thing, and so making a cannon with your head against both of
theirs, and this without being the happy man after all.'

[Illustration: MISERIES OF HIGH LIFE.]

_March 1, 1808._ _The Green Dragon._ Rowlandson del. Published by R.
Ackermann, 101 Strand.--A clerical-looking and corpulent reprobate is
receiving the upbraidings of his infuriated spouse, to whom the artist
has playfully given some resemblance to a veritable dragon, with teeth,
claws, and venom. The position of affairs is further explained by a
spirited representation of 'Socrates and Zantippe,' which hangs on
the wall. A pretty servant-maid, who is making a somewhat hasty exit,
is supposed to have aroused the jealousy of the virago, whose vials
of wrath have brought her stout helpmate to a state of stupefaction
and terror. The picture is accompanied by the lines of Gay, from the
_Beggars' Opera_:--

    With rage I redden like scarlet, that my dear inconstant varlet,
    Stark blind to my charms, is lost in the arms of that jilt,
        that inveigling harlot!

_March 1, 1808._ _Description of a Boxing Match._ June 9, 1806.
Published by T. Rowlandson, 1 James Street, Adelphi.

_April 1, 1808._ _Soldiers on a March._ 'To pack up her tatters and
follow the drum.' Designed and published by T. Rowlandson, 1 James
Street, Adelphi.--The progress of the regiment is much impeded by
camp-followers. A stream happening to cross the route, the marching
party are wading through; the soldiers bearing in addition to their
knapsack the fairer burden of a wife, and in some cases two infants,
with kettles, gridirons, and other culinary appliances, the latter
swinging on the end of their muskets. The officer commanding the party
has the advantage of securing a mount on the plump shoulders of a
pretty damsel, whose skirts are tucked up as a preparation towards
wading across the water, with the feathered hero on her back.

_May 12, 1808._ _The Consultation, or Last Hope._ Published by R.
Ackermann, 101 Strand.--'So when the Doctors shake their heads, and bid
their patient think of Heaven--all's over, good night!'

From the picture, which rejoices in this comforting quotation, we judge
the unfortunate invalid, introduced by the artist as the principal
figure in this humorous plate, is in a bad case; his suffering face
expresses all the forlorn terrors of his extreme situation, which seems
tolerably hopeless, since he is attended by no less than ten learned
practitioners, and a sick-nurse; it is hard if among them they cannot
settle their patient's condition. The ten are by no means troubling
themselves about their client all at once: it is sufficient that a
brace of the brethren are feeling each a pulse, which operation does
not seem to afford them much enlightenment, since one is consulting
his chronometer, and the other is seeking inspiration from the head
of his gold-topped stick. Their colleagues are more agreeably engaged
in fortifying themselves for their arduous professional duties by
attending manfully to the refreshment department. The gouty patient
has evidently been a man of substance; over his mantel hangs a map of
'Rotten Boroughs,--Camelford, Devon, &c.'

_May 21, 1808._ _Volunteer Wit, or not Enough for a Prime._ Woodward
del., Rowlandson sculp. Published by T. Tegg (227).--A party
of Volunteer officers are gathered round the mahogany of their
entertainer, who, it seems, is a notorious screw; the host is offering
to fill the wine-glasses of the mess, but the dimensions of the glasses
are somewhat miniature for bumper toasts. A challenge is given from the
chair: 'Come, gentlemen-volunteers, to the right and left--Charge if
you please to the King!' The vice-chair is winning the sympathies of
the rest, and extracting a grin all round, by standing up, spectacles
on nose, and responding: 'I should be very happy to obey your orders,
Colonel, but really your glasses are so small, that, dash me if there's
enough for a prime!' The Colonel's miserly disposition is hinted by the
various papers thrown about, on the 'Current prices of Port wine,' and
such maxims as 'A penny saved is twopence got'; with a statement pinned
to the wall, 'How to get rich,' 'Pinch, squeeze, gripe, snatch, &c.'

1808 (?). _The Anatomy of Melancholy._ ''Tis a misery to be born,
a pain to live, a trouble to die.'--A mixed scene of suffering and
indifference. Propped up in a pillowed arm-chair, before the fire, is
a melancholy invalid, old, decrepit, and ill-favoured. By his side is
a list of 'Remedies against discontents,' 'Cure of jealousy,' &c.; on
the mantel is an array of doctor's bottles, and a hatchment,--_groans,
griefs, sadness_,--forms a cheerful adornment for the chimneypiece.

Behind the sufferer, whose last hour, it seems, is approaching--since
Death has thrust his head, arm, and hour-glass through a window above
his head--is seated a blooming young damsel, decked out in all the
attractiveness of an evening toilette; planted at a table by her
side is a dandified admirer; before them a dessert is arranged, and
decanters of wine are ready to hand. The nonchalant pair are pledging
one another amorously in bumpers, while the spirit of the founder of
the feast is departing. A painting of Democritus, his face wearing an
expression of grief on one side, and laughter on the other, explains
the transitory nature of sorrow, and the key of the situation is
further offered by certain lines inscribed on a paper under the lady's
hand: 'Come what may, the cat will mew, the dog will have his day.'

_May 21, 1808._ _The Mother's Hope._ Woodward del., Rowlandson sculp.
Published by T. Tegg, 111 Cheapside. (No. 228.)--The Mothers Hope is a
pretty juvenile termagant, a Turk of the most irreclaimable order. The
young rebel is dancing about in a fine rage, scattering his playthings,
and 'making a bobbery' which is setting the entire house by the ears.
The screams of the intractable elder are imitated by an infant in arms,
and a canary is adding its shrill pipings to the general squall, after
the nature of little warblers.

[Illustration: THE MOTHER'S HOPE.]

The wilful child is making a general statement of refractory
resolutions:--'I don't like dolls--I don't like canary birds--I hate
battledore and shuttlecock--I like drums and trumpets--I won't go to
school--I will stay at home--I will have my own way in everything!'
The horrified grandmother is growing prophetic on the strength of this
irreconcilable prodigy: 'Bless the Baby--what an aspiring spirit--if he
goes on in this way he will be a second Buonaparte!'

_June 4, 1808._ _The Sweet Little Girl that I Love._ Woodward del.,
Rowlandson sculp. Published by T. Tegg. (167.)--A long military
gentleman, wearing spectacles, a pigtail, and a powdered wig and
whiskers, in the course of his perambulations has come across a quaint
round little body, as broad as she is long, and perched on pattens:
the hero is stooping low to salute the lips of the dwarfed lady. The
picture is designed as a parody upon the lines:--

    My friends all declare that my time is misspent,
      While in rural contentment I rove:
    I ask no more wealth than Dame Fortune has sent,
      And the sweet little girl that I love.
    The rose on her cheek's my delight:
    She's soft as the down--the down of the dove.
      No lily was ever so fair
    As the sweet little girl that I love.

_June 4, 1808._ _Odd Fellows from Downing Street, complaining to John
Bull._ Woodward del., Rowlandson sculp. Published by T. Tegg, 111
Cheapside (168).--John Bull, in his best clothes, and standing in
the vicinity of the Treasury, is receiving a deputation, the members
of which, as far as appearance goes, are singularly fitted for the
order of Odd-fellows. The object of their interview is simply an
appeal to the sympathies of the National Prototype: 'You must know,
Mr. Bull, we are a society of Odd Fellows who had a Lodge in Downing
Street, and were robb'd of our cash and accounts, notwithstanding we
met at the King's Head, and so near the Treasury too! Is not it very
hard? However, we have left Downing Street entirely.' John Bull, who,
with his hand beneath his coat-tails, is ruminating over other more
weighty matters applying to his own case, and peering through his huge
spectacles, returns in reply: 'All I have to say, my good friends, is
this--I am very sorry for you, but I must own I am of opinion if some
more _Odd Fellows_ in Downing Street were to quit their situations it
would be very much to my advantage!'

_June 20, 1808._ _A Snug Cabin, or Port Admiral._ Published by R.
Ackermann, 101 Strand.--Very different cheer to the _Volunteer Prime_,
is found on board the ship of the port-admiral. That worthy personage
is drawn entertaining his naval colleagues, admirals, commodores,
and captains, in his state cabin, with the best of cheer; baskets of
prime vintage from the Isles of the Madeira, are ready to the nimble
steward's hand, and the goodly flasks are uncorked in a twinkling.
The jorums on the mahogany are capacious, and the glasses, which are
freely emptied, would serve as goblets for more than half-pint bumpers;
however, in spite of the hilarity, and the liberal circulation of
the decanters, decorum is preserved, and the naval commanders are
comporting themselves like 'fine old English gentlemen,' while the
toast goes round:--

    Come Hurricane,
    Drink your Wine.
    Here's to the wind that blows,
    The ship that goes,
    And the lass that loves a sailor.

[Illustration: A SNUG CABIN, OR PORT ADMIRAL.]

_June 30, 1808._ _Accommodation, or Lodgings to Let at Portsmouth._
Published by T. Tegg. (219.)--Certain smartly-rigged tars have
just come on shore, evidently after a handsome haul in the way of
prize-money, as the spruceness of their turn-out evinces. A highly
presentable 'salt' has his wife in tow; the lady has evidently taken a
share of his good fortune, being dressed in the height of the fashion,
with ear-rings, necklets, and chains, heavy enough for cables, to
which are suspended miniatures, seals, and watches. The happy pair are
evidently about to set up housekeeping, and an advertisement-board has
just arrested their attention, conveying the information, 'Lodgings for
Single Men and their Wives,' with an invitation to ring the bell. 'Why,
Nan,' exclaims the tar to his partner, 'this is the very berth we have
been so long looking after!'

_June 30, 1808._ _The Welsh Sailor's Mistake, or Tars in Conversation._
Woodward del., Rowlandson sculp. Published by T. Tegg, 111 Cheapside.
(220.)--The artist has assumed a little poetic licence to perpetrate
a jokelet of a very harmless order. Groups of sailors are seated on
the forecastle, some perched on coils of rope, others on sea chests;
a British tar, on a barrel, with a canister of 'real Oronooko' by
his side, is spinning a yarn to his messmates; he has arrived at the
exciting incident of his narrative:--'and so then, do you see, David,
we sprung a leak!' when his Welsh messmate, who cannot resist this
allusion to a reputed national delicacy, rather irrationally interrupts
him: 'Cot pless us--and save us--did you? and a ferry coot fetchitable
it is; I should have liked to have had a pit with you.'

_October 25, 1808._ _A Bill of Fare for Bond Street Epicures._ Woodward
del., engraved by T. Rowlandson. Published by T. Tegg.

_November 1, 1808._ _Wonderfully Mended; shouldn't have known you
again._ One of the series bearing Rowlandson's name, and published by
Reeve and Jones, 7 Vere Street.--The scene represents the consulting
room of some eminent quack of the day, who, dressed in his morning-gown
and slippers, with glasses on nose, is receiving his decrepit and
melancholy patients. The comforting assurance given by the practitioner
to his patients is, it appears, totally without foundation; all
his clients, judging from their condition, being in a fair way to
supplement the Bills of Mortality.

_November 1, 1808._ _The Last Shift._ Published by Reeve and Jones, 7
Vere Street.--Interior of a pawnbroker's shop; two St. Giles's demireps
are shown in the act of raising a loan to replenish their gin bottle,
at the expense of their wardrobe.

_November 1, 1808._ _Breaking Cover._ Published by Reeve and Jones, 7
Vere Street.--A fox-hunting party is passing through a village; one of
the Nimrods has seemingly formed an attachment for a fair neighbour:
standing on the back and saddle of his horse, he has contrived to raise
himself to the level of the lady's casement, and she is leaning out of
window, and rewarding his gallantry with a tender embrace; meanwhile
her husband in his nightcap, opening the shutter below, is securing a
prospect of the proceeding, which has thrown an expression of idiotic
consternation over his simple features.

_November 1, 1808._ _Get Money._--One of a series engraved in rough
facsimile of Rowlandson's original drawings, and bearing an imitation
of his autograph in the corner; published by Reeve and Jones, 7 Vere
Street.

Below the print appear the following lines:--

    Get Money, Money still,
    And then let Virtue follow if she will.

Three conventional types of Israelites are indicated standing in Duke's
Place, the resort of Jewish clothesmen, eagerly canvassing the above
doctrine, and carrying out its first injunction.

[Illustration: DOCTOR GALLIPOT.]

_November 1, 1808._ _Doctor Gallipot placing his Fortune at the feet of
his Mistress._ Published by Reeve and Jones, 7 Vere Street.

                       Throw physic to the dogs.

Doctor Gallipot, a brandy-faced empiric, who is dressed in the height
of the 'Frenchified' fashion, the better to support his quackeries, is
laying the implements of his profession, as his fortune, at the feet
of a slightly theatrical looking lady, whose figure is delineated with
Rowlandson's accustomed grace and spirit.

_November 1, 1808._ _Rum Characters in a Shrubbery._ Published by Reeve
and Jones, 7 Vere Street.--Four demireps, of dissipated appearance and
varied characteristics, are regaling themselves on Booth's gin at a
public bar or _Rum Shrubbery_.

_About 1808._ _Bartholomew's Fair._ Nixon del., Rowlandson sculp.--The
fun of the Fair is represented in full swing, and the humours of the
scenes displayed on all sides are seized and hit off with the usual
felicity of both artists. Judging from the caricature, the abolition of
fairs in the City must have been a boon to public order and morality.
The noise, disorder, and misrule of the festivity are taking place
outside the hospital. Boat-swings are revolving, a few of the swings
are getting into difficulties, upsetting, or the bottoms coming out,
while some of the swingers find themselves indisposed from the motion.
There are wandering sellers of sweets, pastry, and such things as were
devoured at _fairings_, boys with links, for it is late, and dusk;
booths for refreshments, where customers are eating hot cakes cooked
on the spot. There are drinking stalls where tipplers are taking too
much; as is illustrated in the person of a reveller who, finding
himself overcome with liquor, has laid down in the gutter to take a
little rest, an opportunity not lost sight of by the light-fingered
gentry who have come for business; the toper's watch, purse, hat, and
other portable property are swiftly transferred. There are booths for
dancing, and there are merrymakers who are managing to dance outside;
there are revolving wheel-swings and merry-go-rounds; there is a crowd
of very miscellaneous merry-making company, and parties of jolly
sailors arriving outside coaches. The harmony of the proceedings is
varied by several rows; and, in more than one spot, rings are formed
for fair fighting, and both men and women are exhibiting their prowess
in the boxing line, or exchanging buffets and scratches. The signs
and booths of famous showmen, once the splendours of by-gone fairs,
are disposed around; among the spectacles which invited those of our
forefathers who 'went to see the shows,' we may notice that Rowlandson
has introduced Miles' Menagerie, Saunder's Tragic Theatre, Gingle's
Grand Medley, Miss Biffin, Polito's Grand Collection, Punch, &c.


ROWLANDSON'S CARICATURES AGAINST BUONAPARTE.

As we have already seen, Rowlandson's pencil and graver were enlisted
against the Corsican; it would seem that the artist's anti-Napoleonic
proclivities ran strongly from this period until the downfall of the
Emperor; or else--which is the more reasonable solution--English
prejudices against the man whose almost frantic antagonism to this
country is now forgiven, if not well-nigh forgotten, demanded an
unlimited supply of pictorial satires to stimulate the national hatred,
a state of things which pleased both the publishers and the public,
and kept the caricaturist occupied, although it is to be regretted that
these somewhat imaginative scenes of horror employed his ready skill
to the exclusion of those representations of social manners, and the
observances of the world around him, whose eccentricities he might have
sketched from the life--scenes drawn from a quaint and picturesque
generation of which his earlier career has left us such lively
pictures, works which alone render his name worthy of his reputation,
and which form in themselves an inexhaustible and valuable legacy to
his followers.

_July 8, 1808._ _The Corsican Tiger at Bay._ Published by R. Ackermann,
101 Strand.--The mighty disturber of the peace of Europe is figured
under the form of a savage tiger, with his natural head, and on which
he wears the enormous military cocked hat with its long plume--most
indispensable accessories in all the caricaturist's portraits of the
great 'little Corsican.' The tiger's claws are rending four 'Royal
Greyhounds,' which are quite at the mercy of the ferocious conqueror;
but a larger and stronger pack of 'Patriotic Greyhounds' are giving
tongue, and a fierce charge is being made by some very determined
and mischievous-looking hounds who are rushing up to the attack. The
_Dutch Frog_, isolated on his own little mudheap, is promising to
join the fray: 'It will be my turn to have a slap at him next.' The
_Russian Bear_ and the _Austrian Eagle_, are kept in secure bondage by
heavy fetters, but the triple-headed bird of prey is looking forward
to a fresh onslaught, and prompting his fellow-captive: 'Now _Brother
Bruin_, is the time to break our chains.'

John Bull, on his own island shores, has come out in the character of a
sportsman; he is pointing his piece at the tiger brought to bay, and is
singing nursery rhymes for the general encouragement:--

                        There was a little man,
                       And he had a little gun,
                  And his bullets were made of lead:
               D--- me, but we'll manage him amongst us!

_July 10, 1808._ _Billingsgate at Bayonne, or the Imperial Dinner._
Published by R. Ackermann, 101 Strand.--The members of the Royal
family of Spain, decoyed to Bayonne, are sitting down to a very
unruly repast, the entire company being at loggerheads. The Queen
has risen from table, and in true fishfag style she is raving at her
son Ferdinand, who is confronting her: 'Now, you villain, I'll tell
you to your face--and before my dear friend Boney--you are no child
of the King's--so you may shut up.' At this famous interview the
Oueen of Spain, it may be remembered, after upbraiding Ferdinand for
his usurpation, actually declared him illegitimate. This argument,
according to the print, does not demolish her opponent, who is
replying: 'Madam, I know all your tricks, and all the tricks of your
Prince of Peace.' The Infants of Spain are encouraging the last
speaker: 'Brother, don't mind her, we, the Infants, acknowledge you;'
a terrific personage, with the emblem of a Royal crown on the back
of his seat, is banging down his fist and demanding: 'Am not I the
great Zavallos? will you be silent?' Those on the opposite side are
more tranquilly disposed; Charles, who had abdicated by Buonaparte's
compulsion in favour of his son Ferdinand, is crying: 'I wish they
would let a poor old King play quietly on his fiddle!' while one of
the diners is actually paying attention to his meal, and wishing
'they would leave him at peace.' Little Buonaparte in the uniform of
a general, as he is usually represented, has risen from a high-raised
throne, erected in accordance with his imperial state, at the head of
the table; he is affecting to be in a passion at the general discord
which he had ingeniously contrived to foster and bring about: 'I'll
tell you what, if you make such a riot at my table, I'll be d----d if I
don't send you to the Round House!'

_July 12, 1808._ _The Corsican Spider in his Web._ Woodward del.,
Rowlandson sculp. Published by T. Tegg, 111 Cheapside.--The formidable
Emperor is represented in a highly successful character as an overgrown
spider; his body is formed of 'unbounded Ambition,' which is topped
with his own head, he enjoys an amazing capacity for swallowing the
surrounding insects, which seem unable to resist being drawn into his
toils. The voracious Corsican Spider in the centre of his wide-spread
web, is swallowing down a brace of _Spanish Flies_. 'Small Flies
Innumerable' are entrapped in strings, and even the largest specimens
seem powerless to disentangle themselves; the Austrian, Dutch,
Portuguese, Hanoverian, Etrurian, Prussian, Hamburg, Italian, and
Venetian Flies are all more or less effectually secured; the 'Pope Fly'
is half entrapped, and is expressing a fear of being dragged in. The
'Russian Fly,' of more hostile disposition, has caught his feet in the
snare: 'I declare I was half in the web before I made the discovery.'
The 'Turkish Fly' is at present free, but its security is uncertain;
'I am afraid it will be my turn next.' Stout John Bull is figured as
the 'British Fly'; he is observing the wiles of the 'Corsican Spider'
without any anxiety on his own account: 'Ay, you may look, master
Spider, but I am not to be caught in your web!'

_July 12, 1808._ _The Corsican Nurse soothing the Infants of Spain._
Woodward del., Rowlandson sculp. Published by T. Tegg, 111 Cheapside.
(245.)--Buonaparte is acting as nurse to the rival Spanish claimants,
still clad in his uniform and boots, with the indispensable cocked hat
of Brobdingnagian proportions; the Emperor is lulling the entire royal
family to sleep: with one foot he is rocking the 'Imperial Cradle,'
which contains 'The good old King and his amiable Consort,' while
Don Carlos, in swaddling clothes, with a padlock round his neck, is
slumbering upon one of the Corsican's knees; upon the fellow is held
Antonio under similar conditions, while the arch-deceiver is rocking
a duplicate Imperial Cradle containing the unconscious 'Prince of
Asturias,' with his other foot.

_July 22, 1808._ _The Beast as described in the Revelations (Chap.
13), resembling Napoleon Buonaparte._ Designed by G. Sauler Farnham.
Published by R. Ackermann, 101 Strand.--The Beast, which has sprung
from Corsica, is drawn with seven heads; the names of Austria, Naples,
Holland, Denmark, Prussia, and Russia are on the respective crowns; the
seventh head, which is of course that of Napoleon, is severed from the
trunk, while vomiting forth flames. The distance shows cities on fire,
where the beast has wrought destruction; on his body are the figures
666, the total of the numerals found in the name of Napoleon Buonaparte
added together, taking _a_ as one, _i_ as ten, _t_ as a hundred, and so
on.

Spain is represented as the champion who has had the courage to make a
stand against the monster. The patriot has crippled the destroyer; the
hero is armed with a sabre of _True Spanish Toledo_, and is crying,
'True patriotism shall thus subdue the monstrous beast, and quell
the rage of war.' His shield is _Catalonia_, a mitre, _St. Peter's,
Rome_, is his helmet; _Spanish Patriotism_ has struck the decisive blow
from his right arm, _Asturias_; his sword-belt is _Madrid_; his legs
_Cordova_; and with his foot, _Cadiz_, he is strangling a serpent. The
fleet of Admiral Purvis is seen on the seas; Hope, with her anchor, is
stooping to catch the crowns of France, Spain, and Portugal, which have
been shaken from the brow of the smitten beast.

_August 18, 1808._ _From the Desk to the Throne._ _A New Quick Step by
Joseph Buonaparte._ _The Bass by Messrs. Nappy and Tally._ Designed
by G. Sauler Farnham. Published by R. Ackermann, 101 Strand.--This
caricature was issued to burlesque the astonishing elevation of Joseph
Buonaparte to the throne of Spain, of which, through his brother's
ingenuity, he secured a brief and by no means tranquil possession.

On Napoleon's coronation, his brothers had been created princes, and
Joseph had been made King of Naples before the Spanish intrigue.
The caricaturist's version, though striking, is not literally true.
According to the print Joseph Buonaparte has one foot resting on the
rail of the desk at which he lately occupied a seat, with the other
he is endeavouring to touch Madrid on the map of Spain and Portugal.
His pen has fallen from his ear, and he is straining to clutch the
royal regalia of Spain which is above his head. From a paper pinned
to the wall we are informed this remarkable promotion is taking its
rise from the office of a 'public notary, Bayonne.' His fellow-clerks,
pausing with their quills uplifted, to marvel at this sudden flight of
ambition, are making various pertinent observations: 'What a prodigious
step for a notary's clerk!' One clerk is exclaiming, 'Why, Joseph,
whither art thou going?'--'Whither?' replies the elevated clerk,
'Whither, but to fill my high destiny, and, like my noble brother, sway
the sceptre of another!' His colleagues are adding as riders, 'He must
needs go whom the devil drives, and should it cost his neck!'

    But proverbs tell of many slips
    Between the tankard and the lips,
    And really I am apt to give
    The proverb credit as I live!

_August 21, 1808._ _King Joe's Retreat from Madrid._ Woodward del.,
Rowlandson sculp. Published by T. Tegg, 111 Cheapside.--The occupancy
of the Spanish throne has not proved, if we may trust the print, a
profitable sinecure of long duration. King Joseph is rushing away from
his new dignity as fast as his legs will carry him; the crown has
slipped off in the flight; the fugitive's invincible standards and the
'Legions of Honour' are in tatters, but the hands of the Frenchmen are
not empty; king, officers, and troops are all loaded with bags of plate
and bullion. The Spanish soldiers are up in arms; their priests are
encouraging the pursuers, who are firing a volley into the midst of the
scared invaders, while crying 'Stop thieves! stop thieves! they have
stolen the plate from the palace.' Joseph's fears are too much for his
self-command; he is appealing to his great little brother, 'Why don't
you stop? the Philistines are pursuing us.' Napoleon is replying from
his carriage, which is tearing away up hill as fast as his coachman can
urge the horses, 'I can't, brother Joe, I am in a great hurry myself.'

_August 27, 1808._ _King Joe on his Spanish Donkey._ Woodward del.,
Rowlandson sculp. Published by T. Tegg, 111 Cheapside.--King Joe,
the new sovereign, is finding his seat anything but easy, and even
his military saddle has proved a failure; the animal he has had the
temerity to mount has become ungovernable; the usurper is losing
his seat; the crown is flying one way, the sceptre another: 'Bless
me, what a restive animal this is! I thought he would have been as
gentle as a French pony, and was as easily managed as an Italian
greyhound!' The Spanish donkey is neighing at a pack of 'Saddle-bags
for the Spaniards,' and his heels are kicking to the winds the various
proclamations, 'All found with arms to be shot!' 'No liberty to a
Spaniard!' 'The road to fortune!' 'Joseph, King of Spain!' 'French
news!' 'No quarter!' Thumbscrews for the rebels!'

_September 12, 1808._ _A Spanish Passport to France._ Woodward del.,
Rowlandson sculp. Published by R. Ackermann, 101 Strand.--A Spanish
don, dressed in all his ancient splendour, with a huge sombrero hat
and feathers, a long Toledo rapier, and wearing his fierce moustachios
turned up to his eyes, is kicking the French invader to France:
'_Va-t'en, Coquin_.' The usurper, whose courage has disappeared, is
sneaking off in undissembled terror; he is receiving the indignities
inflicted by the don with abject servility: '_Votre très humble
serviteur, monsieur_.'

_September 12, 1808._ _The Political Butcher, or Spain cutting up
Buonaparte, for the benefit of her neighbours._ Published by R.
Ackermann, 101 Strand.--The Spanish don has put on a butcher's apron
and sleeves; the body of the late 'disturber of the peace of Europe' is
extended on his dissecting board, and the operator is cutting up the
Corsican with professional zeal. The Spaniard is holding up his enemy's
head, and encouraging the other powers, who have come to take a share
in the dismemberment of the Corsican, 'Now, my little fellows, here are
bones for you all to pick. The meat, being just killed, may be somewhat
toughish, but I'll warrant it fresh and high-flavoured. True Corsican
veal, I assure you, you see the head!' The Imperial double-headed eagle
of Austria, is swooping over this morsel: 'I have long wished to strike
my talons into that diabolical headpiece, and now I hope to do it
effectually!' The Prussian eagle is crippled: 'Oh! the delicious morsel
for an eagle to pick, but my clipt wings cannot bear me so high. Cruel
Boney! why cut them so short?'

The Italian greyhound is practising a new concerto called, 'If you
will not when you may, when you will it shall be nay.--The harmony by
Spain and Portugal.' The Danish dog is picking all the flesh left on
the arm: 'The nearer the bone the sweeter the meat; but,' alluding to
the presence of England, 'the nearer that Bull, the less I can eat.'
The British bull-dog, who has been enjoying portions of the joints, has
started up: 'I should like to have the picking of that head, for I dare
say it is hare-brained!' The Russian bear is indulging in the luxury of
licking the Napoleonic boots, and he is beginning to long for a taste:
'This licking gives me a mortal inclination to pick a bone, as well as
the rest. But Turkey's a fine garden, and would be a vast acquisition.'
Sweden, a white-coated dog, is giving good counsel to her neighbour:
'Yes, but a bird in the hand is worth two in the bush!'

The Dutch frog is seated on a cask of Hollands, beside a barrel of
'somniferous cordial' for King Louis; he is smoking a reflective pipe
over his prospects. 'If I were sure matters are as they appear I should
like to pick a bone, it is true; but wisdom bids us doubt, and prudence
condemns precipitation, so I'll e'en take another whiff!'

In the slaughter-house at the rear are shown the carcases of Murat,
Dupont, Junot, and others, suspended by the heels.

_September 15, 1808._ _The Fox and the Grapes._ Woodward del.,
Rowlandson sculp. Published by R. Ackermann, 101 Strand.--The Corsican
fox, who is still at large, has turned his tail on certain rich
vines heavy with ripe Spanish grapes, which are growing beside fine
prolific Portuguese plum-trees. The fox, who bears Napoleon's head,
with his inevitable huge cocked hat, is speciously trying to convince
the Gallic cock that the fruit, which he cannot reach, is not worth
gathering, 'Believe me, my dear doodle-do, you would not like them. I
found them so sour that I absolutely could not touch them!' This excuse
is not satisfactory to the hearer, 'But, my good friend, you promised
to bring me home some Spanish grapes and Portugal plums; where are
they?'

_September 17, 1808._ _Prophecy Explained._ '_And there are seven
kings, five are fallen, and one is, and the other is not yet come, and
when he cometh he must continue but a short space._ Revelation, chap.
17, v. 10.'--The fulfilment of prophecy is pictorially set forth with
a completeness which must have been felt eminently satisfactory: the
five kings that have fallen, the crowned monarchs of Prussia, Bavaria,
Holland, Saxony, and Wurtemberg, are all tumbling about in the 'Slough
of Disgrace and Ridicule.' The one that is, is of course 'King Nap.'
The little Emperor, in all his imperial state, robes, crown, orb and
sceptre, is still left standing, but his face wears an apprehensive
expression, as he is gazing on the fate of the one that 'continued but
a short space'--'King Joe,' to wit, who is driven beyond the Pyrenean
Mountains in a state of consternation, while a fair goddess, the figure
of Spanish liberty, floating on the clouds, is depriving the usurper of
the Spanish crown.

_September 20, 1808._ _Napoleon the Little in a Rage with his Great
French Eagle._ Published by R. Ackermann, 101 Strand.--Napoleon, in
his general's uniform, with his sword drawn, and bristling with rage
up to the tip of his preposterous feather, is menacing his huge French
eagle, which is much larger than himself; the Imperial crown is on the
bird's head, and one of his legs is tied up--the results of damages
sustained in the recent flight from Spain. It will be remembered that
Joseph Buonaparte evacuated Spain August 1808. Napoleon is furiously
rating his fugitive slave, 'Confusion and destruction! what is this I
see? Did I not command you not to return till you had spread your wing
of victory over the whole Spanish nation?'--'Ay, it's fine talking,
Nap, but if you had been there, you would not much have liked it; the
Spanish cormorants pursued me in such a manner that they not only
disabled one of my legs, but set me a moulting in such a terrible way
that I wonder I had not lost every feather; besides it got so hot I
could not bear it any longer!'

_September 24, 1808._ _A Hard Passage, or Boney Playing Base on the
Continent._ The design suggested by G. Sauler Farnham. Published by
R. Ackermann, 101 Strand.--Buonaparte, with a drum for a seat, and
standing on the map of the Continent, with his foot placed on Spain
and Portugal, is trying to scrape through a difficult piece of music,
_Conquest of Spain and Portugal_; the music book is open on a desk
before him. 'Plague take it, I never met with so difficult a _passage_
before. But if I can once get over the _flats_ we shall do pretty well,
for you see the key will then change to B sharp.' The Russian bear,
with a muzzle on his jaws, is trying to accompany his leader: 'Why,
that is natural enough, brother Boney, though this French horn of yours
seems rather out of order, I think!'

_September 25, 1808._ _King Joe & Co., Making the Most of their Time
previous to Quitting Madrid._ Published by T. Tegg, 111 Cheapside.

    A cut-purse of the Empire and the rule,
    Who from the shelf the precious Diadem stole
    And put it in his pocket.--SHAKESPEARE.

Before taking their hurried departure, the 'Intrusive King' and the
French invaders are helping themselves to the spoils of the Spaniards;
'Joe' is assisting himself to the regalia; the generals are packing
the royal and ecclesiastical plate of Spain into chests for transport;
strong boxes are being filled with bags of ducats and medals; the
troopers are making off with sacks of treasure; the curtains are
torn down; pictures are wrenched from the walls, and such objects
as statues, which cannot be carried away, are ruthlessly destroyed.
The French, it appears, wantonly damaged or burnt all the property
which came in their way when they were unable to carry it off. The
wardrobe, carriages, and plunder from Madrid were retaken by the
British army. The numerous carriages, of all descriptions, and tumbrils
so completely blocked the road, and filled the contiguous fields,
it was difficult to pass. The carriages were completely loaded with
baggage, and the miserable animals pushed into deep and wet ditches.
The four-wheeled tumbrils were loaded with ammunition and money; the
soldiers got thousands of dollars and doubloons; it is said that one
man alone secured doubloons to the value of 8,000_l._ The entire
plunder, baggage, money, artillery, and the supplies of the French army
were taken, carriages, animals, and a great many ladies. Joe always
travelled with a suite of the latter, generally beautiful women. It is
said there were ten ladies of his private family with him; those were
all taken; it is said he only escaped with the clothes on his back,
having lost his hat. By way of replenishing his goods and chattels
he actually stole the linen, plate, and clothes from every place he
stopped at, until he reached the French frontier.'

_September 29, 1808._ _Nap and his Partner Joe._ Published by T. Tegg,
111 Cheapside.--The Dons of Spain and Portugal, reunited in a body, are
heartily kicking the two Buonapartes into the mouth of a mysterious
monster, opened for the reception of the pair and vomiting forth flames
from a cavern supposed to represent the entrance to the infernal region.

    So seeing we were fairly nick'd,
    Plump to the Devil we boldly kick'd
    Both Nap and his Partner Joe!

_October 1, 1808._ _Nap and his Friends in their Glory._ Published
by R. Ackermann, 101 Strand.--A remarkably well assorted quartet,
according to English views at the period, consisting of Napoleon,
seated beside his friends Death, the Devil, and Joseph, ex-king of
Spain. Napoleon, at whose back is a view of Malmaison, has risen to
propose a toast: 'Come, gentlemen, here is success to plunder and
massacre!' Two of the guests are receiving this sentiment with rapture,
but 'Joe, the intruder,' is sitting in sulkiness, discomfited by the
late experience which had been forced on him.

    A NEW SONG--NAP AND HIS FRIENDS IN THEIR GLORY.

    _To the Tune of 'Drops of Brandy.'_

    NAP.

    These Spaniards are terrible rogues,
      They will not submit to my fetters,
    With patience so gracefully worn--
      Nay, sought for--by nations their betters.
    But let us return to the charge,
      And no longer with levity treat them,
    Once get them to lay down their arms,
      And I'll warrant, brave boys, we shall beat them.
                    Rum ti iddidy-iddidy,
                    Rum ti iddidy I do!

    DEATH.

    Brother Boney, we'll never despair,
      A trusty good friend I have found you,
    Kill, plunder, and burn, and destroy,
      And deal desolation around you.
    Then gaily let's push round the glass,
      We'll sing and run riot and revel,
    And I'm sure we shall have on our side,
      Our very good friend here, the Devil!
                    Rum ti iddidy-iddidy,
                    Rum ti iddidy I do!

    THE DEVIL.

    Believe me, friend Death, you are right,
      Although I'm an ugly old fellow,
    When mischief is getting afloat,
      O then I am jolly and mellow.
    As soon as these Spaniards are crush'd
      Again we'll be merry and sing, Sirs,
    And that we will quickly 'complish,
      And Joey here, he shall be king, Sirs.
                    Rum ti iddidy-iddidy,
                    Rum ti iddidy I do!

    DON JOEY.

    Excuse me from lending my aid,
      You may jointly pursue them, and spike them,
    But lately I've seen them, and own,
      If I speak the plain truth, I don't like them.
    They Liberty cherish so dear,
      That they certainly make her their guide, O,
    Who pleases may make themselves King,
      But may I be devilled if I do!
                    Rum ti iddidy-iddidy,
                    Rum ti iddidy I do!

_October 3, 1808._ _John Bull arming the Spaniards._ Published by R.
Ackermann, 101 Strand.--John Bull has arrived to assist the Spaniards.
The national prototype, grasping his cudgel of oak, and surrounded by
an array of stores of his own liberal providing, is addressing friendly
encouragements to the Don: 'My good friend, you see I have brought you
clothing for ten thousand men, _viz._, cheese, shoes, stockings, belts,
and small clothes, besides arms and ammunition, and if that won't do
I'll bring you Gully and Gregson, and the Devil is in it if _they_
won't do!'

His new ally is grateful, and especially looks forward to the
assistance of the prize-fighters: 'We thank thee, Johnny, for all thou
hast brought, and if thou canst bring the other two we shall be more
obliged to thee!'

John Bull has furnished his friend with a tolerably liberal outfit,
piles of guns, bayonets, and swords, barrels of powder, shot galore,
bales of stockings, shirts, coats, belts, shoes, with (for what reason
is not shown) a marvellous selection of cheeses--Stilton, Cheshire,
Gloucester, Cambridge, Yorkshire, Leicestershire, Cottenham, Bath,
Wiltshire, Cream, Derbyshire, &c.; a sack of gold pieces is also
included amongst the supplies: we learn that at one time, on the
Peninsula, 'English guineas had no attraction, the dollar or moidore
was the medium; but since guineas have been introduced in payment of
the army the natives seem to appreciate their value.'

_October 17, 1808._ _Junot disgorging his Booty._ Published by R.
Ackermann, 101 Strand.--General Junot has been seized by a British tar,
who is making the invader disgorge his plunder, consisting of utensils
of gold, jewels, and specie; the Spanish Don is holding a receptacle
for this costly booty in course of restitution. The French officers are
stamping in despair over the disasters of their chief: '_Morbleu! comme
il a mal au coeur, notre pauvre général._' Jack Tar, evidently thinking
of 'the yellow boys,' is replying, 'More blue? why, ye lubber, what do
ye mean by that? don't ye see it's as yellow as gold?'

_November 19, 1808._ _The Progress of the Emperor Napoleon._ Published
by T. Tegg, 111 Cheapside.--The career of the Corsican is set forth
pictorially in a progressive series of eight pictures. 'First, A
ragged-headed Corsican peasant; second, Studying mischief at the
Royal Military Academy at Paris; third, An humble ensign, in a
Republican corps, requesting a situation in the British army; fourth,
A determined atheistical Republican general ordering his men to fire
on the Parisians volleys of grape-shot; fifth, A Turk at Grand Cairo;
sixth, A runaway from Egypt; seventh, A devout Catholic; eighth, An
Emperor on a "throne of iniquities," _O tempora, O mores!_' On the back
of the imperial seat, on which the last step of Napoleon's progress
leaves him, is posted a list of murders set down to the Corsican's
account:--'Duke d'Enghien, prisoners at Jaffa, Palm, Captain Williams,
Pichegru, Caton, Toussant, &c., &c.'

             AN ACADEMY FOR GROWN HORSEMEN, AND ANNALS OF
                             HORSEMANSHIP.

                COMMUNICATED BY GEOFFREY GAMBADO, ESQ.

_Riding Master of the Horse, and Grand Equerry to the Doge of Venice._

           ILLUSTRATED WITH PLATES, DESIGNED BY H. BUNBURY,
                       ETCHED BY T. ROWLANDSON.

    To turn and wind a fiery Pegasus,
    And witch the world with noble horsemanship.--SHAKESPEARE.

[Illustration]

                        GEOFFREY GAMBADO, ESQ.

'As I shall be as concise and explicit as possible in the valuable
instructions and discoveries I am now about to communicate to the
world, it will be the reader's own fault if he does not profitably
benefit by them. When I have told him how to choose a horse, how to
tackle him properly, in what sort of dress to ride him, how to ride
him out, and, above all, how to ride him home again, if he is not a
complete horseman in the course of ten or a dozen summers, I will
be bold to foretell that neither the skill of Mr. Astley, nor the
experience of Mr. John Gilpin, will ever make him one.

                   'Nil desperandum, me duce Teucro.


                       'DIRECTIONS FOR THE ROAD.

'In riding the road, observe in passing a whisky, a phaeton, or a
stage-coach, in short, any carriage where the driver sits on the right
hand, to pass it on that side, he may not see you on the other, and
though you may meet with a lash in the eye, what is the loss of an eye
to a leg, or perhaps a neck.

'Take care never to throw your horse down, it is an unlucky trick, and
fit only for boys. Many gentlemen of my acquaintance, and I too, have
been thrown down by our horses; yet I scarce know an instance upon
record of a gentleman throwing his horse down, but many have complained
to me of their servants doing it for them.

[Illustration: HOW TO PASS A CARRIAGE.]

'In passing a waggon or any tremendous equipage, should it run pretty
near a bank, and there be a ditch and an open country on the other
side, if you are on business and in a hurry, dash up the bank without
hesitation, for should you take the other side, and your horse shy at
the carriage, you may be carried many hundred yards out of your road,
whereas by a little effort of courage you need only graze the wheel,
fly up the bank, and by slipping or tumbling down into the road again
go little or nothing out of your way.

   'ACCIDENTAL EXPERIMENTS AND EXPERIMENTAL ACCIDENTS, COMMUNICATED
                      BY VARIOUS CORRESPONDENTS.

                     _'Letter to Mr. G. Gambado._

'"Sir--I want your advice, and hope you will give it me concerning a
horse I have lately bought, and which does not carry me at all in the
same way he did the man I bought him of. Being recommended to a dealer
in Moorfields (who, I think, is no honester than he ought to be), I
went to him and desired to look into his stable, and so he took me in,
with a long whip in his hand, which, he said, was to wake the horses
that might perhaps be asleep, as they were but just arrived from a long
journey, coming fresh from the breeders in the North. There were some
fine-looking geldings, I thought, and I pitched upon one that I thought
would suit me, and so he was saddled, and I desired the dealer to mount
him, and he did, and a very fine figure the gelding cut; and so the
people in the street said, and a decent man in a scratch-wig said the
man who rode him knew how to make the most of him, and so I bought him.
But he goes in a different manner with me, for instead of his capering
like a trooper he hangs down his head and tail, and neither whip nor
spur can get him out of a snail's gallop. And I want to know whether by
law I must keep him, as he is certainly not the horse I took him for,
and therefore I ought to have my money again.

[Illustration: HOW TO MAKE THE MOST OF A HORSE.]

'"The limner in our lane was with me when I bought him, and has taken a
picture of him as he was with the dealer on his back, and another as he
now goes with me upon his back, by which you will see the difference,
and judge how better to advise me upon it.

                                      '"I am, Sir, your humble servant,
                                                      '"TOBIAS HIGGINS.
                                           '"Lavender Row, Shoreditch."

                        '_Mr. Gambado's Reply._

'"Sir--Upon a strict examination of the two pictures by the limner in
your lane, I am clear you are in possession of the identical horse
you intended to purchase, although he does not exhibit quite so much
agility under you, or make so tearing a figure as when mounted by Mr.
----, who I am well acquainted with, and who, you may depend, is as
honest a man as any that deals in horseflesh.

'"You could have no right to return the horse if he went no better than
one with his legs tied. You stand in the predicament of Lord ----, who
gave twenty guineas for Punch, and when he found he could not make him
speak prosecuted the showman; but my Lord Chief Justice adjudged the
man to keep his money, and my Lord his Punch, although he could not get
a word out of him.

'"My opinion is, sir, as you ask it, that the decent man in the
scratch-wig made a very sensible remark when he observed that my friend
Mr. ---- knew how to make the most of a horse, and I am satisfied that
you, sir, know with equal facility how to make the least of one.

                                      '"I am, Sir, your humble servant,
                                                          '"G. GAMBADO.

'"P.S.--I am sorry to add my maid tells me that two shillings out of
your five were very bad ones."

[Illustration: HOW TO MAKE THE LEAST OF HIM.]

                     '_Letter to G. Gambado, Esq._

'"Sir--Being informed that you are now at home, and desirous of giving
every information in your power to those who may stand in need of
it respecting their horses, I beg leave to submit my case to you,
which, considering how fond I am of the chase, you must admit to be a
lamentable one. Relying, however, sir, as I do, on your philanthropy
(I should more properly say Phillipigy) and that zeal in the cause
which has so long characterised you, I make no doubt but the small
difficulties I now labour under will be soon surmounted.

'"You must know, sir, I am very fond of hunting, and live in as fine a
scenting country as any in the kingdom. The soil is pretty stiff, the
leaps large and frequent, and a great deal of timber to get over. Now,
sir, my brown horse is a very capital hunter, and though he is slow,
and I cannot absolutely ride over the hounds (indeed the country is so
enclosed that I do not see so much of them as I could wish), yet in
the end he generally brings me in before the huntsman goes home with
the dogs. So thus far I have no reason to complain. Now, sir, my brown
horse is a noble leaper, and never gave me a fall in his life that way,
but he has got an awkward trick (though he clears everything with his
fore-legs in capital style) of leaving the other two on the wrong side
of the fence, and if the gate or stile happens to be in a sound state,
it is a work of time and trouble to get his hind-legs over. He clears a
ditch finely indeed with two feet, but the others constantly fall in;
that gives me a strange pain in my back like what is commonly called
lumbago, and unless you kindly stand my friend, and instruct me how I
am to bring these hind-legs after me, I fear I shall never get rid of
it. If you please, sir, you may ride him a-hunting yourself any day you
will please to appoint, and you shall be heartily welcome. You will
then be better enabled to give me your advice; you can't have a proper
conception of the jerks he will give you without trying him.

[Illustration: HOW TO DO THINGS BY HALVES.]

                                         '"I am, Sir, with due respect,
                                            '"Your very humble servant,
                                                 '"NIC. NUTMEG, Clerk."

                            '_The Answer._

'"REVEREND SIR,--Your brown horse being so good a hunter, and, as you
observe, having so fine a notion of leaping, I should be happy if I
could be of any service in assisting you to make his two hind-legs
follow the others, but, as you observe, they seem so very perverse and
obstinate that I cherish but small hopes of prevailing upon them.

'"I have looked and found many such cases, but no cure.

'"However, in examining my papers I have found out something that may
prove of service to you in your very lamentable case.

[Illustration: TRICKS UPON TRAVELLERS.]

'"An hostler has informed me that it is a common trick played upon
bagsters or London riders, when they are not generous to the servants
at the inn, for a wicked boy or two to watch one of them as he turns
out of the gateway, and to pop a bush or stick under his horse's tail,
which he instantly brings down upon the stick, and holds it fast,
kicking at the same time at such a rate as to dislodge the bagman
that bestrides him. Here, sir, is a horse that lifts up his hind-legs
without moving his fore ones, and just the reverse, as I may say, of
yours, and perhaps the hint may be acceptable. Suppose, then, when
your horse has flown over a gate or a stile in his old way, with his
fore-legs only, you were to dismount and clap your whip or stick
properly under his tail and then mount again, the putting him in a
little motion will set him on his kicking principles in a hurry, and
it's ten to one but, by this means, you get his hind-legs to follow the
others. You will be able, perhaps, to extricate your stick from its
place of confinement when you are up and over (if you are not down),
but should you not it is but sixpence gone. I send you this as a mere
surmise; perhaps it may answer, perhaps not.

'"I beg to thank you for your offer, which is a very kind one, but I
beg to be excused accepting it; all my ambition being to add to the
theory with as little practice as possible.

                            '"I am, Rev. Sir, your most humble servant,
                                                         '"G. GAMBADO."

                     '_Letter to G. Gambado, Esq._

'"GOOD SIR,--I am in great haste, having a great quickness of pulse,
and my bed being now warming, but cannot get into it without first
informing you how fast I came home from market to-night, and upon my
old mare, too, who was always unkind before as to going. But so it
happened. The old mare, that I could never get to go above three miles
an hour, as soon as ever I was up, set off, and the devil couldn't stop
her till she got home--ten miles in about fifty-eight minutes. I'm in a
heat yet. But I have found out her motive, and now the public may make
use of it. I had bought a couple of lobsters to carry home, had their
claws tied up, and put one into each of my great-coat pockets. Well,
the old gentleman in my right pocket (a cunning one, I warrant him)
somehow or other contrived to disengage his hands, and no doubt soon
applied them to the old mare's side, and, I imagine, had got fast hold
of a rib by the time I reached the first mile-stone, for she was mad, I
thought, and my hat and wig were gone in a twinkle. However, when I got
off, and had taken a little breath, I went into the kitchen to unload,
but missed one of my lobsters; so I ran back into the stable, and there
was the hero hanging at the old mare's side; she'd had enough of it,
and so stood quiet.

[Illustration: HOW TO MAKE THE MARE TO GO.]

[Illustration: HOW TO PREVENT A HORSE SLIPPING HIS GIRTHS.]

'"I thought myself bound to inform you of this, hoping it would prove a
great national discovery. I mean to keep lobsters on purpose, for it's
cheaper than buying a horse instead of my old mare; and I can go faster
with one of them in my pocket than I could post. When my boys come home
from school, to hunt in the forest, I mean to treat each of them with a
cray-fish for his pony, and then, I think, we shall head the field.

                                     '"I am, sir, yours, ever in haste,
                                                       '"PETER PUFFIN."

[Illustration: THE APOTHEOSIS OF GEOFFREY GAMBADO, ESQ.]

'_Letter to_ MR. G. GAMBADO, _editor of various learned performances_.

'"SIR,--You have no doubt heard of a description of Natural
Philosophers, called Pigeon Fanciers, who breed the bird of that name,
and all its varieties. I was once, sir, a member of this community,
till growing tired of punters, tumblers, nuns, croppers, runts, &c.,
&c., I was resolved to enlarge my ideas, by extending my researches
and abandoning the biped, to obtain a closer acquaintance with the
quadruped. I became a horse-fancier. Being fond of riding, and daily
observing, in my airings to Brentford, a great variety of horses, and a
still greater variety in their motions, I, some years since, set about
making a collection of such as were singular and eccentric in their
shapes and actions, and I flatter myself no private museum can boast
of a more admirable variety than I have possessed.

       *       *       *       *       *

'"As amongst pigeons, so amongst horses, there are tumblers. The feat
is, however, performed differently, and varies considerably in its
effect on the performers. As the pigeon executes this without anything
on its back, so the horse seldom achieves it without somebody upon his.
To the latter, therefore, we must give the greatest share of merit,
who ventures to perform upon a hard road what the other does only in
the air, without even a cloud to brush against. The one preferring, it
seems, the Milky, and the other the Highway.

'"Among horses, I have never discovered a pouter; but I have had a
fine puffer. The noise he made, however, and particularly when at his
business, was not pleasant; and I let a neighbour have him cheap,
who had a good three-stall museum, and a very heavy vehicle to draw;
so that in all weathers he might enjoy the entertainment of his very
extraordinary qualifications.

[Illustration: THE TUMBLER, OR ITS AFFINITIES.]

'"It is well known that there is a horse that is called a carrier, so
there is a pigeon likewise. But as it may not be known to every one, I
must inform you that from very long observation, I find the pigeon is
the most expeditious of the two.

                                 '"I am, sir, your very humble servant,
                                                       '"BENJ. BUFFON."

                     'ADVICE TO WOULD-BE HORSEMEN.

'I have given you the hints contained in my previous letters supposing
you are at home enough on horseback to ride out alone, and may possibly
be tempted to travel the road, as either the lucre of gain, or the
_universal passion_, as a celebrated author calls the love of fame, may
send you forth.

'Let me entreat you to examine your tackling well at setting out,
particularly from an inn and after dinner. See that your girths are
tight; many a good fall have I got by not attending to this. Ostlers
are too apt to be careless, and ought never to be paid till we see
them the next time.[7] An instance of a singular nature occurred at
Huntingdon a few years since to the Rev. D. B., of Jesus College,
in Cambridge, which has given a discovery to the world (productive,
indeed, of a paper war), but which may turn out beneficial to mankind,
as it proves 3 to be equal to 4.

[Illustration: HOW TO RIDE A HORSE UPON THREE LEGS.]

'The Doctor dined at the "Crown"; it was dusk when he set out
northwards. I myself saw 3_s._ charged in his bill for wine; this
accounts for his want of observation. As for the ostler's, I must
attribute it to his having been paid beforehand. The Doctor went off
at a spurt pretty much in the manner I have recommended, and having
got clear of the pavement he wished to (what is called) mend his pace;
but his horse was obdurate, and all his influence could not prevail.
The Doctor fancied at times he went oddly, and therefore brought to at
Alconbury, five miles from Huntingdon, and alighted for an examination,
when he discovered that the ostler, through inattention, had buckled up
one of the horse's hind-legs in the surcingle; and to this alone he had
to attribute his hobbling way of going.

'There was an ostler[8] at Barnet who was a moralist, possibly this at
Huntingdon was an experimental philosopher, and thought an old member
of the University the most proper subject to put his experiment in
execution. It certainly answered as far as five miles; but how it would
succeed in bringing horses of different forms together over Newmarket,
I am not competent to determine. It seems as if one might work a lame
horse thus and keep his unsound leg quiet. If this experiment has been
repeated it has been in private, for I have not heard of it; and I much
question if it would ever be generally adopted. When I say _generally_,
no reflection upon general officers. A timid major, however, might keep
his horse in due subjection on a review day by this method.

                                                     'GEOFFREY GAMBADO.

[Illustration: DR. CASSOCK, F.R.S., INVENTOR OF THE PUZZLE FOR
TUMBLE-DOWN HORSES.]

                       '_Letter to_ MR. GAMBADO.

'"I return you my most hearty thanks for the very salutary advice
you have been good enough to give me, from which I have derived much
improvement, and should have acknowledged sooner had I made sufficient
trial of the fine machine you recommended in such warm terms. My hobby,
as I told you before, is an admirable animal, and finely calculated for
a pensive man like myself to take the air upon. It was a pity he was
prone to tumble, and that, too, in stony roads the most, for he was
otherwise bordering on perfection. So I sent for a carpenter on the
receipt of your recipe, and had a large puzzle of oak made for him,
after the pattern of those worn by the Squire's pointers, and I have
found it answer prodigiously.

'"I have had nothing like a bad fall lately, except one day in
cantering over a ploughed field, where, upon a blunder, the machine
entered the ground with such force as to introduce a portion of the
hobby's head along with it. We came clean over, and for some time I
thought my hobby's neck was broken. I did not mind it myself; but I
shall take care in future always to gallop on the hard road, and then
such another catastrophe cannot ensue.

                                                           '"I am, sir,
                                 '"Your very obsequious humble servant,
                                                       '"CALEB CASSOCK.

'" P.S.--I forgot to tell you my parishioners stare at me a good
deal. The machine has an odd appearance, I own, but not altogether
unpicturesque. I got the drawing master of Mr. Birch's school to send
you a sketch of us. It is esteemed a likeness. That of the hobby is
rather flattering."

                            '_My Remarks._

'"I am happy to find the puzzle has answered so well; and I doubt not
now it has been tried and approved by such a right-headed reverend
gentleman, one who is also so good a horseman, and understands all the
matter so well, that, by producing his name, I shall be able to get a
patent for it, which cannot but prove very lucrative, for who has the
horse that he will swear will never tumble down?

'"This I believe would be a question that would pose (upon oath) every
man on horseback in Hyde Park on a Sunday.

'"Though Dr. Shaw, who is a great traveller indeed, has the modesty to
assure us that the Barbary horses never lie down; yet even he has not
the effrontery to say that they never tumble down!

                                                               '"G. G."

                        '_To_ G. GAMBADO, ESQ.

'"SIR,--Hearing much of your knowledge in horses, I beg leave to ask
your advice in a business where my delicacy, as a gentleman, is deeply
concerned, and flatter myself that you will sensibly feel for my
situation, my future fortune in life depending on your decision. I have
the happiness to be well received by a young lady of fortune in this
town, who rides out every morning, and has had the goodness to permit
me to join her for some days past. I flatter myself I am beloved, but,
sir, the horse I ride is my father's, and he will not allow me to part
with him: and this horse, sir, has an infirmity of such an embarrassing
nature, that our interviews are unpleasantly interrupted at frequent
intervals, and my dear Miss S---- will perhaps ride away with some
other gownsman who is more decently mounted.

'"Be pleased, sir, to send me a recipe for this complaint, or I may
lose my dear girl for ever. I have tried several experiments, but all
in vain, and unless you stand my friend I shall go distracted.

                   '"I am, dear Sir, in a great fuss, yours most truly,
                                                  '"GEORGE GILLYFLOWER.
                                               '"St. John's Coll. Cam."

[Illustration: 'JUVENUM PULCHERRIMUS ALTER, ALTERA QUAS ORIENS HABUIT
PRÆLATA PUELLIS.'--OVID.]

                 '_Note from my Farrier to the above._

[Illustration: HOW TO TRAVEL UPON TWO LEGS IN A FROST.]

'"HONOURED SIR,--By advice from Mr. Gambado of your horse's complaint,
I have sent you a powder so strong, that, if administered night and
morning in his corn, I will be bold to say, no horse in England shall
ever suffer from the like again after Thursday next. Shall be very
thankful for your Honour's custom in the same way in future, and your
lady's too, if agreeable; being, Honoured Sir,

                                             '"Your servant to command,
                                                           '"JO. WOOD".

                     '_To_ GEOFFREY GAMBADO, ESQ.

'"KIND SIR,--I have an extraordinary story to tell you, that happened
to me t'other day, as I was bringing two pair of stays to Miss
Philpot's, at Kentishtown. I lives, sir, at Finchley; and a-top of
Highgate Hill, my horse makes a kind of slip with his hind feet, do you
see, for it was for all the world like a bit of ice the whole road. I'd
nothing for't but to hold fast round his neck, and to squeeze me elbows
in to keep the stays safe; and egad, off we set, and never stopt till
I got to the bottom. He never moved a leg didn't my horse, but slided
promiscuously, as I may say, till he oversate somebody on the road; I
was too flurrisome to see who: and the first body I see'd it was a poor
man axing charity in a hat. My horse must have had a rare bit of bone
in his back, and I sit him as stiff as buckram.

                                       '"Your honor's obedient servant,
                                                       '"JAMES JUMPS."'

_The Art of ingeniously tormenting_, with five plates by Woodward and
Rowlandson (Tegg).

_The Caricature Magazine, or Hudibrastic Mirror_, in numbers.

                                  THE

                          CARICATURE MAGAZINE

                                  OR

                            MIRROR OF MIRTH

                    BEING A COLLECTION OF HUMOROUS
                       AND SATIRICAL CARICATURES

                         DESIGNED AND ENGRAVED

                      BY THOMAS ROWLANDSON, ESQ.

                                LONDON

                       PUBLISHED BY THOMAS TEGG

                             111 CHEAPSIDE

[Illustration: TITLE TO 'CARICATURE MAGAZINE.']

_The Beauties of Tom Brown_, embellished with engravings by Rowlandson,
one vol.

1808. _Chesterfield Travestie, or School for Modern Manners_,
embellished with ten caricatures. Engraved by Rowlandson from original
drawings by Woodward. Published by Thomas Tegg, 111 Cheapside, 1808.
Republished under the title of _Chesterfield Burlesque_, 1811.

    _Mottoes._

    The better sort should have before 'em
    A grace, a manner, a decorum.--BUTLER.

    O tempora! O mores!--JUVENAL.

    The times are out of joint, O cursed spite,
    That ever I was born to set them right.-SHAKESPEARE.

    Folding plate to face the title.
    Votaries of Fashion in the Temple of Folly.
    How to walk the Streets.
    The Art of Quizzing.
    How to keep up a conversation with yourself in the Public Streets.
    How to break a shop window with an umbrella.
    Behaviour at table.
    Notoriety, Singularity, Whimsical.
    Gentleman and Mad Author.

'I will allow you twelve shillings a week to be my amanuensis!--What do
 you think of that?'

How to look over your husband's hand while at cards, and find fault
with him for losing.

The Nobleman and the little Shopkeeper.

_Chesterfield Travestie, or School for Modern Manners._

1. _How to keep up a conversation with yourself in the public
streets._--An absent-minded orator (passing the Forum Debating
Society), is rehearsing, with lavish declamatory action, his peroration
to the amazement and alarm of the passers-by.

2. _Notoriety._--A buck in a _Jean-de-Brie_. _Singularity._--An
antiquarian oddity in the costume of three-quarters of a century
earlier than the fashion prevailing at the date of the drawing.
_Whimsical._--A dwarf of a woman wearing a cloak down to her toes, and
peaked poke head-dress.

3. _The Art of Quizzing._--Three dandies are promenading arm-in-arm,
and unceremoniously criticising aloud a fine and pretty woman, who is
walking with a 'squab-old-put': 'D----d fine woman, pon honour, but
what a quiz of a fellow she has taken in tow there!'

_August 25, 1808._ _Behaviour at Table._ Woodward del., Rowlandson sc.
Published by T. Tegg, 111 Cheapside.--The author offers four excellent
directions touching the genteel 'behaviour expected at table,' and if
his injunctions were strictly carried out, there is no question that
his pupils would be accepted in every society as remarkably polished
and well-bred young gentlemen, who had studied Lord Chesterfield's
'advice' to some purpose; perfect ornaments, indeed, to any company
amongst which they might find themselves, and desirable patterns for
imitation.

1. Place your elbows on the table like a Church Warden at a parish
vestry.

2. Stretch your arms across the table to get at what best suits your
appetite.

3. Cough and yawn over the dishes.

4. Loll on two chairs while making use of your toothpick.

[Illustration: BEHAVIOUR AT TABLE.]

1808. _A Lecture on Heads_, by G. A. Stevens,[9] with additions as
delivered by Mr. Charles Lee Lewis, embellished with twenty-five
humorous characteristic prints, from drawings by George Moutard
Woodward Esq. Engraved by Thomas Rowlandson. Published by T. Tegg.

Frontispiece: Interior of Covent Garden Theatre. C. Lee Lewis
delivering 'A Lecture on Heads' to a crowded audience.

    Sir Whisky Whiffle.
    Jockey.
    Half Foolish Face.
    Drunken Head.
    A Freeholder.
    Female Moderator.
    Master Jacky.
    London Blood.
    A Lady of the Town.
    A Connoisseur.
    A worldly-wise man; or a man wise in his own conceit.
    Male Moderator.
    Italian Singer.
    An Old Maid.
    An Old Bachelor.
    The Crying Philosopher.
    Counsellor.
    Frenchman.
    British Sailor.
    Spaniard.
    Dutchman.
    Politician.
    Methodist Preacher.

1808. _British Sailor._ _Frenchman._ _Spaniard._ _Dutchman._ Four
characters on a sheet, published by T. Tegg.--The same etchings are
given, under similar descriptions, in the 'Lecture on Heads,' by G.
A. Stevens, with illustrations by G. M. Woodward, engraved by T.
Rowlandson.

_December 1, 1808._ _Miseries of Human Life_ (Plates issued in previous
years and collected in 1808). Designed and etched by T. Rowlandson, and
published by R. Ackermann, 101 Strand.--Frontispiece: The title in a
frame; below it a gouty old miser, wrapped in flannel, is being dragged
off in his chair by Death, in spite of his crutch and his struggles to
get back to his riches, spread in the strong box, over which he has
lost all control; his heirs in the meantime are helping themselves,
making light of his hoarded savings, and taunting the impotent
money-grubber, who has accumulated riches for them to fling away.

_Miseries of Human Life._--Introductory dialogue: 'Sickness befriends
temperance by the simplicity of diet which it introduces; it wards off
the varied injuries of the open air by requiring the party to inhale
a thousand times over, the cherishing, equable, and safely treasured
atmosphere of a chamber.'

The picture treats all these fanciful advantages from a burlesque
point of view: a sufferer is on his pallet surrounded by all the
inconveniences of washing, cooking, and other domestic arrangements,
limited to _one apartment_, to serve him as 'kitchen, parlour, and
bed-room, and all.'

_Miseries of the Country._--Following on horseback a slow cart, through
an endless narrow lane, at sunset, when you are already too late, and
want all the help of your own eyes, as well as your horse's feet to
carry you safe through the rest of your unknown way.

_More Miseries._--'Being overpersuaded to stand up in a country dance,
when you know, or, what is equally bad, conceive that a bear would
eclipse you in grace and agility.' (_April 1, 1807._)

_Fabricious's Description of the Poets._ Vide 'Gil Blas.'--'People
think that we often dine with Democritus, and there they are mistaken.
There is not one of my fraternity, not even excepting the makers of
Almanacs, who is not welcome to some good table. As for my own part,
there are two families where I am received with pleasure. I have two
covers laid for me every day, one at the house of a fat director of the
farms, to whom I have dedicated a romance, and the other at the house
of a rich citizen, who has the disease of being thought to entertain
wits every day at his table; luckily he is not very delicate in his
choice, and the city furnishes him with great plenty.' (1807.)

_Miseries of Human Life._--Struggling through the curse of trying to
disentangle your hair, when by poking curiously about on board of ship
it has become clammed and matted with pitch or tar, far beyond all the
powers of the comb. (1807.)

_More Miseries._--Having so flaccid a cheek that the parish barber, who
shaves you, is obliged to introduce his thumb into your mouth to give
it a proper projection, cutting his thumb in this position with the
razor. (1807.)

_Miseries of Social Life._--Escorting four or five country cousins,
on their first importation into London from the _Terra Incognita_ of
England, to the lions, the waxworks, the monuments, &c. &c.

_Miseries Miscellaneous._--Stepping out of a boat at low water on a
slippery causeway, upon a stone which slides under you, and you descend
in the mud up to the chin. (1807.)

_A Stag at Bay, or Conjugal Felicity._ _A Romance._--A matrimonial
dispute; the wife is attacking her spouse incontinently, and he is
protecting himself, and keeping the aggressor at arm's length with a
dirty mop.

_The Shaver and the Shavee._ H. Bunbury del., Rowlandson sc.

_Showing off._--A pair of horsemen are endeavouring to put on
a sportsmanlike appearance, which is somewhat disturbed by the
restiveness of their steeds; one rider is slipping off, and the other,
while his horse is going down on his knees in a reverential posture, is
flung over the animal's head.

_The Production of a Post-House._--The stable-door of a post-house is
opened, and a sorry broken-kneed ramshackle horse is trotted out, to
the amusement of the people standing about, and to the horror of a
gentleman who has evidently come for a mount.

_Symptoms of Choking._--A corpulent individual has suddenly left the
dinner-table, under an impulse to choke; the rest of the company are
thrown into such alarm at his critical situation, that the table-cloth,
soup-turreens, wine, decanters, plates, glasses, and all the service
are dragged on to the floor in universal destruction. (1806.)

_The Enraged Vicar._--A smaller version of this subject (see March 1,
1807).

    To see them rattle, howl, and tear,
    By Jove, 'twould make a parson swear.

_Symptoms of Restiveness._--The restiveness referred to appears to be
nothing more than a tendency to rest in one spot; a sailor, probably
at Portsmouth, from the view of the sea and shipping, is mounted on
a steed which he is vainly belabouring with a cudgel, while an old
hag is banging away at the poor brute with a long and heavy broom,
to the delight of a convivial party, assembled to drink outside a
public-house, within view of the dilemma. (1808.)

_Pall Mall._

    O bear me to the paths of fair Pall Mall,
    Safe are thy pavements, grateful is thy smell;
    At distance rolls along the gilded coach,
    Nor sturdy carmen on thy walks encroach. (1807.)

_Miseries of Public Places._--After the play, on a raw, wet night, with
a party of ladies, fretting and freezing in the outer lobbies and at
the street-doors of the theatre, among chairmen, barrow-women, yelling
linkboys, and other human refuse, in endless attempts to find out your
servant or carriage, which, when found out at last, cannot be drawn up
nearer than a furlong from the door. (_January 1, 1807._)

_Miseries Miscellaneous._--The necessity of sending a verbal message
of the utmost consequence by an ass, who, you plainly perceive, will
forget (or rather has already forgotten) every word you have been
saying. (_January 1, 1807._)

_Miseries of Reading and Writing._--As you are writing drowsily by
the fire, on rousing and recollecting yourself, find your guardian in
possession of your secret thoughts, which he never ceases to upbraid
you with. (_January 1, 1807._)

_Miseries Personal._--When in the gout receiving the ruinous salutation
of a muscular friend (a sea captain), who, seizing your hand in the
first transports of a sudden meeting, affectionately crumbles your
chalky knuckles with the gripe of a grasping-iron, and then further
confirms his regard for you by greeting your tenderest toe with the
stamp of a charger. (_January 1, 1807._)

_Miseries of the Country._--While you are out with a walking party,
after heavy rains, one shoe suddenly sucked off by the boggy clay,
and then, in making a long and desperate stretch (which fails), with
the hope of recovering it, the other is left in the same predicament.
The second stage of ruin is that of standing, or rather tottering in
blank despair, with both bare feet planted ankle-deep in the quagmire.
(_January 1, 1806._)

_Miseries of London._--Chasing your hat (just blown off in a high wind)
through a muddy street--a fresh gust always whisking it away at the
moment of seizing it; when you have at last caught it deliberately
putting it on, with all its sins upon your head, amidst the jeers of
the populace. (_January 1, 1807._)

_Miseries of Travelling._ '_O Miserabile mihi._' Published by T.
Rowlandson, Adelphi.--A restive horse in a gig backing into the
windows of a potter's shop; alarmed at the terrific crash, you become
panic-struck, with the perspiration starting from every pore. (_April
12, 1807._)

_Miseries of Travelling._--Being mounted on a beast who, as soon as you
have watered him on the road, proceeds very coolly to repose himself in
the middle of the pond, without taking you at all into his counsel or
paying the slightest attention to your remonstrances. (1807.)

_Miseries of Social Life._--Sitting for hours before a smoky chimney,
like a Hottentot in a kraal; then, just as your sufferings seem at last
to be at an end, puff, puff, whiff, whiff, again, far more furious than
ever. Add to this a scolding wife. (_January 1, 1807._)

_Miseries of Social Life._--Walking in a wind that cuts to the bone,
with a narrating companion, whose mind and body cannot move at the
same time; or, in other words, who, as he gets on with his stories,
thinks it necessary, at every other sentence, to stand stock-still,
face about, and make you do the same; then, totally regardless of your
shivering impatience to push on, refuses to stir an inch till the whole
of his endless thread is fairly wound out. 'Dixit et adversi stetit
ora.' (1807.)

_Miseries of the Country._--Losing your way on foot at night in a storm
of wind and rain, and this immediately after leaving a merry fireside.
(1806.)

_More Miseries._--Being nervous and cross-examined by Mr. Garrow (in a
Law Court). (_April 1, 1807._)

_More Miseries._--Endeavouring to make violent love under the table and
pressing the wrong foot. (_April 1, 1807._)

_More Miseries._--Sitting on a chair which a servant has fractured and
put together the preceding morning, and upon attempting to lean back
falling to the ground before a large party; a country servant bursting
into a roar of laughter. (_April 1, 1807._)

_More Miseries._--Being obliged to kiss a remarkably plain woman at
forfeits, when you engaged in the pastime only with the hope of being
able to salute a lovely young lady, to whom you are particularly
attached. (_April 1, 1807._)

_Miseries of Travelling._--Starting for a long ride, on a dinner
engagement, without a great-coat, in a mist, a mizzle, a drizzle, a
rain, a torrent. On arriving at the house at last, completely drenched,
you have to beg the favour of making yourself look like a full or empty
sack, by wearing your host's clothes, he being either a dwarf or a
giant, and you the contrary. (_January 1, 1807._)

_Miseries of Games, Sports, &c._--In skating, slipping in such a manner
that your legs start off in this unaccommodating posture; from which,
however, you are soon relieved by tumbling forwards on your nose, or
backwards on your skull. Also learning to cut the outside edge on
skates that have no edge to cut with--ice very rugged. (_January 1,
1807._)

_More Miseries._--In the country, going to a party to dinner, getting
very tipsy, quitting the house in a dark night, and getting upon your
horse with your face towards the tail, and wondering during the few
minutes that you are able to keep your seat, amidst the jeers of your
companions, what freak can have entered the brain of the beast to go
backwards. (_April 1, 1807._)

_Miseries of the Table._--Inviting a friend, whom you know to be
particularly fond of the dish, to partake of a fine hare, haunch, &c.,
which you have endeavoured to keep exactly to the critical moment, but
which is no sooner brought in than the whole party, with one nose,
order it to be taken out. (1807.)

_More Miseries._--At an inn, going into a bed too short, with a wooden
leg, which you were too fatigued to unstrap, drawing up the living one,
going to sleep with the other sticking out at the bottom, which, when
the chambermaid comes in for the candle, she conceives to be the handle
of the warming-pan, which she has carelessly left in the bed. (_April
1, 1807._)

_More Miseries._--Sending a challenge, requesting a timid friend to
attend you to the field, who, you think, will not fail to acquaint the
magistrate of it; going with honour to the appointed spot, anxiously
looking back at every step to see if the Bow Street officers are
coming, without seeing a soul but your antagonist and the seconds.
(_April 1, 1807._)

_Miseries Domestic._--Squatting plump on an unsuspected cat in your
chair. (_January 1, 1807._)

_More Miseries._--Being persuaded to put your finger into the cage
of a parrot and to rub its poll, upon an assurance, from its doating
mistress, that it is the most gentle bird in the universe, suddenly
feeling the sanguinary effects of its beak. (_April 1, 1807._)

_More Miseries._--Having a newly-rolled gravel walk, finding some
friends whom you had asked to dine with you amusing themselves before
dinner by drawing each other in your child's chaise, which disastrously
stood at the bottom of the garden, within sight; seeing the narrow
wheels cut up the walk most unmercifully, and being deterred by a false
notion of politeness from giving them a hint to desist. (_April 1,
1807._)

_Cold Broth and Calamity._--A smaller edition of this subject, the
disasters of various parties on the ice, but treated with perfect
originality as regards the various incidents.

_Miseries Domestic._--Waking in the middle of the night in a state
of raging thirst, eagerly blundering to the washing-stand, and there
finding the broad-mouthed pitcher, which you lift to your lips, so
full that, besides amply satisfying your thirst, it keeps cooling your
heated body, and purifying your linen with the overplus. (_1806._)

_Miseries of the Country._ Published by T. Rowlandson,
Adelphi.--Passing the worst part of a rainy winter in a country so
inveterately miry as to imprison you within your own premises; so that
by way of exercise, and to keep yourself alive, you take to rolling
your gravel walks (though already quite smooth), cutting wood (though
you have more logs than enough), working the dumb-bells, or such other
irrational exercise. (_April 12, 1807._)

_Miseries of the Country._--While deeply, delightfully, and, as you
hope, safely engaged at home in the morning, after peremptory orders
of denial to all comers whomsoever, to be suddenly surprised, through
the treachery or folly of your servant, by an inroad from a party of
the starched, stupid, cold, idle natives of a country town, who lay a
formal siege (by sap) to your leisure. (_1807._)

_Miseries of London._--Being a compulsory spectator and auditor of a
brawling and scratching match between two drunken drabs, in consequence
of the sudden influx of company, by whom you are hemmed in a hundred
yards deep in every direction, leaving you no chance of escape till the
difference of sentiment between the ladies is adjusted. Where you stand
you are (that is, I was) closely bounded in front by a barrow of cat's
meat, the unutterable contents of which employ your eyes and nose,
while your ear is no less fully engaged by the Tartarean yell of its
driver. (_1807._)

_Miseries of Travelling._--On packing up your clothes for a journey,
because your servant is a fool, the burning fever into which you are
thrown when, after all your standing, stamping, kneeling, tugging, and
kicking, the lid of your trunk refuses to approach within a yard of the
lock. (_1807._)

_More Miseries._ Published by R. Ackermann.--Being pinned up to a door,
round the neck, by the horns of an enraged overdriven ox. (_April 1,
1807._)

_Miseries of the Country._--While on a visit in the Hundred of Essex
being under the necessity of getting dead-drunk every day to save your
life. (See 1807, p. 78.)

              Et propter vitam vivendi perdere causas....

_Miseries of Social Life._--Dining and passing the whole evening with
a party of fox-hunters, after they have had what they call 'glorious
sport;' and, while you execrate the very name of a hound, being gorged
with the _crambe recocta_ of one chase after another, till you wish the
country was underground. (_January 1, 1807._)

                       THE MICROCOSM OF LONDON,

                                  OR

                         LONDON IN MINIATURE.

             _With Illustrations by Pugin and Rowlandson._

      PUBLISHED BY R. ACKERMANN, REPOSITORY OF ARTS, 101 STRAND.

With reference to the illustrations, which form the principal feature
of this work, we borrow a paragraph from the 'Introduction':--

'The great objection that men fond of the fine arts have hitherto made
to engravings on architectural subjects has been that the buildings and
figures have almost invariably been designed by the same artists. In
consequence of this the figures have been generally neglected, or are
of a very inferior cast, and totally unconnected with the other part
of the print; so that we may sometimes see men and women in English
dresses delineated in an English view of an Italian palace, and Spanish
grandees in long cloaks and ladies in veils seated in one of our own
cathedrals.

    The dress, we know, is neither new nor rare;
    But how the powers came it there?

'To remove these glaring incongruities from the publication, a strict
attention has been paid, not only to the country of the figures
introduced in the different buildings, but to the general air and
peculiar carriage, habits, &c., of such characters as are likely to
make up the majority in particular places.

'The architectural part of the subjects that are contained in this work
will be delineated, with the utmost precision and care, by Mr. Pugin,
whose uncommon accuracy and elegant taste have been displayed in former
productions. With respect to the figures, they are from the pencil of
Mr. Rowlandson, with whose professional talents the public are already
so well acquainted that it is not necessary to expatiate on them here.
As the following list comprises almost every variety of character that
is found in this great metropolis, there will be ample scope for the
exertion of his abilities; and it will be found that his powers are not
confined to the ludicrous, but that he can vary with his subject, and,
wherever it is necessary, descend

    From grave to gay, from lively to severe.'

Rowlandson and Pugin del. et sc.

  1. Drawing from Life at the Royal Academy, Somerset House.

  2. Exhibition Room, Somerset House. Great Room at the Royal Academy,
  at the time of the annual picture Exhibition.

  3. Board Room of the Admiralty, Parliament Street.

  4. A View of Astley's Amphitheatre, Westminster Bridge.

  5. The Asylum, or House of Refuge for Friendless and Deserted Girls,
  Lambeth.

  6. Christie's Auction Room.

  7. The Great Hall, Bank of England.

  8. Bartholomew Fair, Smithfield.

  9. Billingsgate Market.

  10. The Hall, Blue Coat School, during the orations on the grand
  anniversary, St. Matthew's Day, September 21.

  11. Bow Street Office. An Examination before the Magistrates.

  12. Pass Room, Bridewell.

  13. British Institution, Pall Mall (late Alderman Boydell's
  'Shakespeare Gallery').

  14. The Hall and Staircase, British Museum, Montague House.

  15. The Great Hall, Carlton House, Pall Mall.

  16. The Roman Catholic Chapel, Lincoln's Inn Fields.

  17. Coal Exchange.

  18. The Royal Cockpit, Bird Cage Walk, St. James's Park.

  19. Water Engine, Coldbath Fields Prison.

  20. The College of Physicians, Warwick Lane.

  21. House of Commons. (During a Debate.)

  22. Court of Chancery, Lincoln's Inn Hall.

  23. Court of Common Pleas, Westminster Hall.

  24. Court of King's Bench, Westminster Hall.

  25. Court of Exchequer, Westminster Hall.

  26. Covent Garden Market. Westminster Election. Hustings in front of
  St. Paul's Church.

  27. Covent Garden Theatre. (During the performance of an Oratorio.)

  28. The Custom House, from the Thames.

  29. The Long Room, Custom House.

  30. The Debating Society (the Athenian Lyceum), Piccadilly.

  31. Doctors' Commons (Great Rider Street, St. Paul's.)

  32. Drury Lane Theatre.

  33. The Corn Exchange, Mark Lane.

  34. Exhibition of the Society of Painters in Water Colours, Old Bond
  Street.

  35. Fire in London. (Albion Mills, Surrey side of Blackfriars Bridge;
  burnt March 3, 1791.)

  36. Fleet Prison (the Debtors' Prison, as rebuilt after the riots in
  1780), Ludgate Hill.

  37. Foundling Hospital. (The Chapel.)

  38. Freemasons' Hall (Freemasons' Tavern), Great Queen Street.

  39. Great Subscription Room at Brooks', St. James's Street.

  40. Guildhall.

  41. Guildhall, Court of King's Bench. Examination of a Bankrupt
  before his Creditors.

  42. Common Council Chamber, Guildhall.

  43. The Hall, Heralds' Office, or the College of Arms, St. Benet's
  Hill, Doctors' Commons.

  44. Middlesex Hospital, Charles Street (Ward Room).

  45. East India Company. The Sale Room.

  46. King's Bench Prison (Debtors, &c.), St. George's Fields.

  47. King's Mews, Charing Cross.

  48. Lambeth Palace, 1809.

  49. Lloyd's Subscription Room. (Underwriters' Room.)

  50. Leadenhall Market.

  51. Egyptian Hall, Mansion House.

  52. House of Lords.

  53. Lottery Drawing, Coopers' Hall.

  54. Magdalen Chapel, Magdalen House.

  55. The Mint. Stamping the Impression (Tower).

  56. Mounting Guard at St. James's Park (Horse Guards).

  57. Newgate Chapel. ('The Condemned Sermon.')

  58. Old Bailey. (Examination of a Witness.)

  59. Opera House, Haymarket. (A Ballet Scene.)

  60. The Pantheon. (A Masquerade.)

  61. The Philanthropic Society's Chapel (St. George's Fields).

  62. The Pillory, Charing Cross.

  63. The Post Office, Lombard Street. (Sorting Office.)

  64. Quakers' Meeting (Bishopsgate Street).

  65. The Queen's Palace, St. James's Park. (Buckingham House.)

  66. The Royal Circus, St. George's Fields.

  67. The Royal Exchange.

  68. Library of the Royal Institution, Albemarle Street.

  69. Sadler's Well Theatre. (An Aquatic Representation.)

  70. Sessions' House, Clerkenwell.

  71. Society for the Encouragement of the Arts, &c., Adelphi.

  72. Society of Agriculture, Sackville Street, Piccadilly. (An
  assembly of members in the Great Room.)

  73. Somerset House, Strand.

  74. Stamp Office, Somerset House.

  75. Stock Exchange, Capel Court, Bartholomew Lane.

  76. Drawing Room, St. James's Street.

  77. St. Luke's Hospital, Old Street.

  78. St. Margaret's Church, Westminster.

  79. The Church of St. Martin's-in-the-Fields.

  80. St. Paul's Cathedral.

  81. Surrey Institution. Lecture Theatre.

  82. Synagogue, Duke's Place, Houndsditch.

  83. Tattersall's Horse Repository, Hyde Park Corner.

  84. The Temple Church.

  85. View of the Tower of London.

  86. Horse Armoury, Tower.

  87. The Board of Trade, Treasury, Whitehall.

  88. Trinity House, Great Tower Hill.

  89. Vauxhall Gardens. (The Orchestra.)

  90. Church of St. Stephen, Walbrook.

  91. The Watch House, St. Mary-le-Bone.

  92. West India Docks.

  93. Westminster Abbey.

  94. Westminster Hall.

  95. Chapel Royal, Whitehall.

  96. The Workhouse, St. James's Parish.

  97. Greenwich Hospital. The Painted Hall.

  98. The Hall, Chelsea Hospital.

  99. Military College, Chelsea.

  100. Covent Garden Theatre.

  101. South Sea House. Dividend Day.

  102. Excise Office, Broad Street.

  103. View of Westminster Hall and Bridge.

  104. A View of London and the Thames. Taken opposite the Adelphi.

1808 and 1809. _An Essay on the Art of Ingeniously Tormenting._
Illustrated with five prints. From designs by G. M. Woodward, Esq.
(author of 'Eccentric Excursions'). Rowlandson, sc. 12mo. London.
Printed for Thomas Tegg.

    I will be more jealous of thee than a Barbary cock-pigeon over his
      hen;
              More clamorous than a parrot against rain;
              More new-fangled than an ape;
    And more giddy in my desires than a monkey.--SHAKESPEARE.

Folding frontispiece.--A Savoyard with a barrel-organ and a troupe
of dancing dogs; a Frenchman with a dancing bear; a showman dragging
about a dromedary, with a monkey perched on its hump, and pulling
the animal's ears. A bird made to fire off a gun, in the rear of a
half-starved individual who is lost in hungry longing outside the
window of an eating-house; while the proprietor is taunting the
famished gazer with a huge round of beef. A cat is torturing a mouse.
A woman is eavesdropping. Another cat is getting a bird out of a cage.
A woman is emptying a vessel over the heads of a crowd gathered round
a tussle. A cat is launched in the air on bladders. A pair of ruffians
are racing on donkeys, and flogging the beasts unmercifully. All these
episodes set forth various phases of the fine art of Tormenting.

1. A old vixen is tormenting a pretty maid, who is in tears: 'Don't
cry, child. You cannot help being handsome; but I assure you I have
often wept from my dreadful apprehensions for you, lest you should come
to walk London streets!'

2. A family scene.

  Train up a child in the way it should go,
  and when he is old he will not depart from it.
                                        SOLOMON.

Two children have strung up a pair of kittens by their tails; the
tabbies are clawing one another in the air. Two boys have tied a
saucepan to the tail of a frightened dog, and a little girl is singeing
a cat's whiskers with a brand from the fire. The father is smoking his
pipe and declaring, 'Dear little innocents, how prettily they amuse
themselves!' while the mother is made to say, 'I love to see children
employed!'

3. A husband, with literary tastes, is vainly trying to interest his
lady in his reading: 'Now, my dear, now for the passage; I am sure
it will delight you. Shakespeare, "Tempest," act the fifth. "The
cloud-capt towers, the gorgeous palaces----"' The wife is bouncing up
to the bell, although there is a blazing fire, interrupting the reading
with, 'I wonder the girl don't bring the coals, one might as well sit
in an ice house, but I was born to be tormented!'

4. An old curmudgeon is seated in his armchair, a decanter of wine
before him, with a chart of the gold mines of Peru and Mexico at his
back; a young gentleman, who has been unfortunate, is standing before
him in an attitude of despondency, little encouraged by the friendly
advice of the hunks whose assistance he has vainly implored: 'Ah,
my young friend, I told you what it would all come to, but you have
brought it all on yourself. I'll not ask you to sit down, because you
seem in a hurry; however, I'll give you my advice: as you say you are
not worth a guinea, I'd advise you to quit London, and purchase a small
estate in the country!'

FOOTNOTES:

[7] A learned dancing-master in the University of Oxford, who taught
politeness also, and published a book upon that subject, fixed the
same period for passing a stile in some cases that is here judiciously
recommended for the payment of an ostler. His precept was that a
well-bred man meeting another on the opposite side of a stile ought on
no account to be persuaded to go over first. The name of this ingenious
author was Towle. Had two zealous pupils of his school met each other
at a stile, it is supposed they must have concluded their lives on the
premises.

[8] James Ripley, many years ostler at the "Red Lion," who published a
volume of letters.

[9] George Stevens, the originator of the 'Lecture on Heads,' was a
very indifferent actor, but a man of humorous parts, and in himself
was considered, by his contemporaries, most entertaining company. The
idea of the lecture was given him by a country carpenter, who made the
character-blocks which formed the subjects of illustration. It proved
an extraordinary success in the hands of the originator. He carried
it about England, through the States of America, and, on his return,
to Ireland; and managed to net some ten thousand pounds by this lucky
venture. After he retired more than one actor attempted it, with poor
results. Lewis was the most successful of Stevens's imitators, and he
had made such arrangements with the author as entitled the latter to a
royalty for the use of his 'Lecture on Heads.' It probably derived its
principal charm from the style of its delivery. Read in cold blood, its
brilliancy and point are by no means startling.



1809.


_The Discovery._ Etched by Rowlandson, 1798. Republished, Jan. 1808-9.

_January 15, 1809._ _The Head of the Family in Good Humour._ Published
by Tegg, Woodward del., Rowlandson sc.--John Bull, a very giant among
a race of pigmies, is surrounded by the heads of the different states,
who are all hurling out threats against his chances of peace. Napoleon
is thundering for _Ships, Colonies, and Commerce_. The Muscovite
is denouncing: 'Russian vengeance attend John Bull.' Holland is
blustering: 'I'll eternally smoke him.' Tom Paine is offering this
warning: 'Let him tremble at the name of America.' The other potentates
are following up these threats with valedictions of their own:
'Beware of Prussia;' 'Austria will never pardon him;' 'Spanish fury
overtake him;' and 'Let him beware of Denmark.' John Bull is smiling
good-naturedly at all these empty vapourings: 'Don't make such a riot,
you little noisy brats, all your bustle to me is no more than a storm
in a teacup!'

_January 15, 1809._ _The Old Woman's Complaint, or the Greek Alphabet._
Published by T. Tegg, 111 Cheapside.--An old country dame has called
upon a pedagogue, with a fanciful grievance, to make respectful
complaints against the dominie's scholars, who, cap in hand, and
satchel on back, are making their entrance into the learned presence,
behind their accuser. The schoolmaster, who wears a red night-cap, and
slippers, is made to say: 'Good woman, you are always making complaints
against my scholars; what have they done to offend you now?' 'Please
your honour's worship, they followed me up and down, and said one to
another, _at her, beat her, damn her, pelt her!_ and a great deal more
that I do not recollect.' The young pupils are explaining the old
lady's misconception: 'Indeed, sir, we were only repeating our Greek
alphabet, in order to get it quite perfect; what the old woman heard
was only _Alpha, Beta, Gamma, Delta_, and so on to the conclusion!'

_February 1, 1809._ _A Traveller refreshed in a Stagnant Pool, after
the Fatigues of a Dusty Day's Journey._ Published by R. Ackermann,
Strand.

_February 1, 1809._ _Mrs. Bundle in a Rage; or too late for the Stage._
Published by R. Ackermann, Strand.

_February 1, 1809._ _Launching a Frigate._ Newton del., Rowlandson
fecit. Published by T. Tegg, 67 Cheapside.--A trim nymph, very
fashionably dressed, is starting on her travels from an hotel,
situated, as we recognise, from the notice on the wall, near Portsmouth
Dock. The figure of the promenader is drawn with care, and is perfectly
in Rowlandson's most telling manner; behind the curled, feathered,
and blooming damsel, is an ancient and colossal harridan, bedizened
with showy finery, who is supposed to have launched the fair charmer.
Characteristic glimpses of Portsmouth are given in the background of
the picture.

_March 20, 1809._ _A Mad Dog in a Coffee House._ Published by T.
Rowlandson, 1 James Street, Adelphi.--The advent of a nondescript
animal, supposititiously assumed to be a ferocious mad dog, has
produced the utmost terror and confusion amongst the grave frequenters
of a mercantile coffee-house, somewhat after the model of _Garraway's_.
All the city brokers, and pillars of 'change found therein, are scared
out of their sober senses; some, like the little Jew in the corner, are
paralysed with fear; others are trying to creep under the tables; a few
are seeking escape by the door, which they are effectually blocking;
and groups of affrighted fugitives are endeavouring to gain the refuge
of the staircase. A select knot have made for the bar, and are flinging
themselves _pell-mell_ over the counter; the chimney, and similar
places of refuge, are eagerly sought; tables are mounted; comfortable
citizens are thrown on their backs, like turtles, and trodden on, while
the pressure of viler bodies above is expressing a stream of specie
from the well-filled pockets of the overthrown. A cat, her tail swollen
to abnormal proportions, is making a frantic rush into the midst of
the cowering poltroons under the table. Rowlandson generally manages
to introduce certain advertisements appropriate to his subjects, and
a notice stuck on the wall of the coffee-house conveys the following
piece of shipping intelligence: _For the Brazils, 'The Cerberus,'
Captain Pointer. Burden 300 tons. Laying off Barking Creek. Enquire of
Benjamin Bell, Barge Yard, Broker_.

[Illustration: A MAD DOG IN A COFFEE HOUSE.]

1809. _Disappointed Epicures._ Another version of _A Mad Dog in a
Dining-room_.--In this case the dog has run between the legs of a
man bringing in a dish of cutlets, which bestrew the carpet; his
downfall has in turn overset another retainer, whose soup tureen has
come to grief; the butler, more engaged in watching the calamities
of his fellows, has allowed the 'spruce beer' to escape in a shower
of froth all over the place. The scene is well worked out; over the
door of the dining-room is a picture representing a party of corpulent
friars seated round a refectory board. The faces of the party--it is a
bachelor-dinner in this instance--express more annoyance than alarm;
they are dejected at the prospect of a curtailed repast.

1809. _A Mad Dog in a Dining-room, or Disappointed Epicures._--This
print, which has never before been engraved in its present form, is a
literal reproduction of the original study; one of the collection of
drawings by Rowlandson in the possession of the present writer. The
picture tells its own story so graphically, that it is unnecessary to
attempt any fuller elucidation of the subject.

[Illustration: A MAD DOG IN A DINING-ROOM.]

_April 21, 1809._ _The Comforts of Matrimony. A Good Toast._ Published
by Reeve and Jones.--The picture represents a scene of domestic
felicity of the most touching completeness. The husband is browning
a muffin for tea; his wife's arm is wound round his neck during this
delicate operation; his children are enjoying their peaceful meal; an
infant is tranquilly slumbering in the cradle; and a cat, surrounded by
her family of kittens, carries out the unity of the subject. Another of
the series partly published in 1808, in which a rude facsimile of the
original drawings has been attempted, without much success.

_The Tables Turned. Miseries of Wedlock._ A pendant to the
preceding.--The domestic horizon is clouded by storms. The late happy
pair are only kept from demolishing each other by the table placed
between them, which is being wrecked in the struggle. The wife, in a
fury, is holding on to her husband's hair with all her force, while
he has a firm grasp of his unfortunate spouse's head, at which he is
aiming a pewter-pot; children, chairs, crockery, cutlery, and food,
are alike devoted to destruction; the infants are frantic, and general
misery prevails. The execution of these subjects is commonplace, and
the engraver has not done justice to the originals.

_April 29, 1809._ _Oh! you're a Devil. Get along, do!_ Published by
Reeve and Jones, 7 Vere Street, New Bond Street.--A dashing young
officer, a gallant adventurer, probably crippled with debts, and with
nothing but his commission to support his extravagances, is laying
ardent siege to the ordinary person of a rich dowager, fat, _not_ fair,
and decidedly forty; indeed, the lady is more than old enough to be the
mother of her insidious admirer, who is probably looking forward to
the possession of the foolish inamorata's fortune to 'whitewash' his
liabilities, and exchange him from one slavery to another; preferring
the fetters of Hymen to the captivity of a debtor's prison. The lady,
a vain piece of antiquated and frivolous vulgarity, is loaded with
massive jewellery, which her hopeful lover no doubt looks forward
to melting for his own purposes, after he has staked the relict's
money-bags on the gambling-table; her feathers are profuse, and she
wears a boa of an extinct kind, famous in the annals of contemporary
fashions, known as a _rattle-snake_.[10]

_June 20, 1809._ _A Tit-bit for a Strong Stomach._

_July 31, 1809._ _The Huntsman Rising. The Gamester going to bed._
Published by T. Rowlandson, 1 James Street, Adelphi. (See 1811.)

1809. _Rowlandson's Caricatures upon the Delicate Investigation, or the
Clarke Scandal_ (Mrs. Mary Anne Clarke and the Duke of York).--In order
to make the caricatures, published by Rowlandson, on the Clarke scandal
intelligible, it is desirable to recapitulate the circumstances, which
are given in condensed form from the writer's 'Life of James Gillray
the Caricaturist.'[11]

[Illustration: OH! YOU'RE A DEVIL. GET ALONG, DO!]

George the Third's darling son, the favourite Frederick, on whom he
doted, and who was so popular out of doors that he was hailed as 'the
soldier's friend'--a compliment which no soldier would be likely to
utter concerning a commander who had not taken the right method to
render himself the object of general affection--began to attract
unenviable notoriety at the beginning of 1809. On January 27 Colonel
Wardle charged the Duke with corrupt administration of the Half-Pay
Fund, the sole control of this provision having been vested in the
Commander-in-Chief.

The produce of the fund arose from the sale of commissions fallen in
by the death or dismissal of officers in the army, and amounts thus
realised were applied to the purchase of commissions for meritorious
officers, and other beneficial purposes.

Colonel Wardle stated he should prove that the Duke of York had a
mistress, Mrs. Clarke, living in great splendour in Gloucester Place,
from 1803 to 1806. This lady had a scale of prices for the sale of
commissions, and he would lay before the House Mrs. Clarke's prices and
the Regulation prices.

                 Mrs. Clarke's    Regulation
                    Prices.         Prices.

    A Majority      £900            £2,600
    A Company        700             1,500
    A Lieutenancy    400               550
    An Ensigncy      200               400

Every sale effected by Mrs. Clarke was a loss to the Half-Pay Fund of
the difference between her price and the Regulation price. He then made
a statement of a list of sales effected by her, the sums paid, the
names and ranks of the officers, a list of exchanges, &c.

Her patronage, it was stated, extended also to ecclesiastics. He moved
for a Committee of the whole House to investigate the subject. The
motion was agreed to, and the witnesses were ordered to be summoned.

On February 1, Mrs. Clarke stood at the bar of the House--a lovely
Thaïs, eminently self-possessed, armed with ready wit, and with charms
of person and address which dazzled the gravest members. She contrived
to turn all questions put to her with the object of giving annoyance,
or for her degradation, into the means of exposing the Duke of York,
who, it appears, had withdrawn his 'protection,' stipulating to pay her
an annuity of 400_l._ per annum, which had been suffered to fall into
arrears, and her applications for payment had been met with threats of
the 'pillory' and the 'Bastille.'

Wilberforce, who, as we have seen, had been active in bringing
forward the impeachment of Lord Melville, for corruption in his
office, when at the Admiralty, as far as misappropriation of the Navy
Fund was concerned; and Whitbread, who, as a leader of the Radical
Reformers, was foremost in exposing state intrigues and corruptions at
Court--were active in bringing forward and proving the case against the
Commander-in-Chief.

Wilberforce has made the following entry in his diary, touching the
investigation before the Parliamentary Committee: 'This melancholy
business will do irreparable mischief to public morals, by accustoming
the public to hear without emotion shameless violations of decency. The
House examining Mrs. Clarke for two hours, cross-examining her in the
Old Bailey way, she, elegantly dressed, consummately impudent and very
clever, got clearly the better of the tussle.'

Two officers who endeavoured to shield their chief during the
investigation by giving evidence contrary to the truth, were committed
to Newgate for equivocation.

After an examination which lasted some while, during which facts
damaging to both sides were elicited, while Mrs. Clarke's allegations
remained unshaken in the main, Colonel Wardle summed up the evidence,
and concluded by moving 'that the Duke of York had been guilty of
corrupt practices and connivance. He accordingly prayed for his
dismissal from the command of the army.'

Mr. Banks moved an amendment acquitting the Duke of York of personal
corruption, but petitioning the King to remove him for gross
irregularities and negligence.

Mr. Percival moved and carried a resolution absolving the Duke of all
personal corruption or criminal connivance.

It was evident that the resignation of the Commander-in-Chief would
alone stop further proceedings. Wilberforce and his party succeeded in
forcing him to retire from the command of the army, and the inquiry was
dropped.

Sir David Dundas succeeded the Duke of York, and after holding the
appointment for two years, resigned, and the Duke was reinstated.

Mrs. Clarke was not appeased by the results of the parliamentary
investigation, which had, in fact, effected nothing for her, and
all for others. These disgraceful exposures would have been escaped
if the Duke had paid her annuity. Her motives in the matter were of
course entirely personal; the public were on her side, and she made
the notoriety serve her purpose. She announced a _Memoir of her Life_,
and of her transactions with the Duke of York, accompanied by a series
of his letters; these latter would have been eagerly read, the fervid
specimens which came out in the course of the investigation were
republished, versified, and circulated in various forms, to the delight
of the public. The consequences, and the ridicule apprehended from
this exposure, effected the purpose which a mere regard for good faith
could not accomplish: negotiations were opened for the suppression
and destruction of these memoirs, which were said to be actually in
print. An indemnity of 7,000_l._ is believed to have secured Mrs.
Clarke's silence, and the annuity of 400_l._ was guaranteed her for
life. This outline of the facts will be found substantially followed
by the caricaturist's series, although the details differ in certain
respects from over-colouring inseparable from satirical versions. Mrs.
Clarke[12] stated that she had been under the protection of the Duke of
York since the years 1802 or 1803, but her establishment in Gloucester
Place did not commence till 1804; it consisted of two carriages, eight
horses, nine men servants, &c., to defray the expenses of which the
Duke allowed her 2,000_l._ per annum, to be paid monthly. That she
had also a small establishment at Weybridge; the house belonged to
His Royal Highness. That the sums she received from the Duke were
barely adequate to pay the servants their wages and liveries; and
when she informed him of it, he replied that 'if she were clever, she
would not ask him for money.' That the applications for her interest
in military promotions were very numerous; she mentioned them to His
Royal Highness, who told her which were likely to be successful. At one
period she had a long list of applicants, procured either by Captain
Sandon or Mr. Donovan, which she gave his Royal Highness, who said
he would procure the appointments by degrees; she stated to him at
the same time the sums which she should receive for her interest in
procuring them; that the appointment of Mr. Dowler to the Commissariat
was through the influence of the Duke of York, who knew that she was to
receive 1,000_l._ for it. That two applications were made through the
medium of Mr. Donovan, for promotions in the Church, one for a deanery,
the other a bishopric; and Dr. O'Meara, who expected one of them,
applied to her for a letter of introduction to His Royal Highness. That
the Duke was fully acquainted with the extent of her establishment as
he visited her every day; paid some incidental debts which she had
incurred; but, at the time of separation, had not made any advances of
cash for three months, and, in consequence, left her involved more than
2,000_l._ in debt. She resided in Gloucester Place about three years.

Mrs. Clarke also stated that she obtained for Major Shaw the
appointment of Deputy Barrack-Master-General of the Cape of Good Hope,
for which he was to pay her 1,000_l._; she, however, only received
500_l._, and, on complaining to His Royal Highness, he warned her to
be more careful, and not to suffer herself to be duped again, adding
that he would put Major Shaw on half-pay. Major Shaw sent her several
letters in consequence, complaining of being put upon half-pay, but she
paid no attention to them.

Mrs. Clarke also stated that she had in her service as footman, a young
man, named Samuel Carter; he lived with her about twelve months, and
was in the habit of attending upon her when in company with the Duke of
York. She at length obtained for him a commission in the 16th Foot, by
applying to the Duke, who conversed with him on the occasion. At the
time of the investigation he was a staff officer in the West Indies.
Carter was recommended to her by Captain Sutton, and was indebted to
her alone for his commission.

It appeared from later disclosures that this Carter, who was by
no means a person without education, was the natural son of the
deceased Captain Sutton, a most meritorious officer, and a personal
friend of the Prince's, and that his son's appointment was an act of
well-deserved benevolence. Carter's age at the date of his appointment
was, according to Mrs. Clarke's account, about eighteen, but on account
of his short stature he looked a mere boy.

Mrs. Clarke was asked whether she intended to abide by the statement
of her having pinned up at the head of the bed a list of the friends
whom she wished to be promoted, and which list the Duke of York took
away? She answered affirmatively, and said that His Royal Highness
took it down the second morning, drew up the curtain, and read it. She
afterwards saw it in His Royal Highness's pocket-book, with scratches
through several of the names of those who had been promoted.

Miss Mary Ann Taylor, who was in the habit of visiting Mrs. Clarke,
when she was under the Duke's protection, very frequently, stated that
she heard the Duke of York speak to Mrs. Clarke about Colonel French's
levy, and that what passed, as nearly as she could recollect, was as
follows. 'I am continually worried by Colonel French. He worries me
continually about the levy business, and is always wanting something
more in his own favour.' Turning then to Mrs. Clarke (Miss T. thinks),
he said, 'How does he behave to you, darling?' or some such kind words
as he was wont to use. Mrs. Clarke replied, 'Middling; not very well;'
on which the Duke said, 'Master French must mind what he is about, or I
shall cut him up and his levy too!'[13]

Large sums, it is certain, had been supplied by the Duke to his
mistress--upwards of 5,000_l._ in notes, and in payments to tradesmen
for wine, furniture, and a variety of articles, to the amount, in the
whole, of between 16,000_l._ and 17,000_l._, and all within the space
of little more than two years. The extent of Mrs. Clarke's debts was
likewise to be considered.[14]

_Mrs. Clarke's Memoirs._--Mrs. Clarke called on Sir Richard Phillips
for the purpose of making some arrangement respecting the publication
of her _Memoirs_; this offer was declined for several reasons of a
private and political nature: the unqualified reproaches to which
Sir Richard Phillips had lately been exposed had probably taught him
some lessons of reserve, or at least he did not choose to expose
himself to public notice as the publisher of a work which was likely
to create much political interest, at least while the novelty of the
thing lasted. Though this gentleman declined to become the purchaser
of Mrs. Clarke's MS., he promised to recommend her to a publisher, who
would treat her justly and liberally. At the same time, Sir Richard
told Mrs. Clarke he conceived if she could obtain the arrears of her
annuity from the Duke, and a legal settlement for the payment of it
in future, together with the payment of all debts contracted during
her late connection with His Royal Highness, it would better answer
her purpose to suppress the publication altogether. To this reasonable
proposition Mrs. Clarke consented; negotiations were opened with the
Commander-in-Chief's advisers, and a projected plan of accommodation
made known. This was followed by a string of propositions on the other
side, which were drawn up, and assented to by Mrs. Clarke, and the
famous threatened _Memoirs_ of this lady, 'written by herself,' were
consigned to the flames on the premises of Mr. Gillet, the printer, of
Salisbury Square.

Eighteen thousand copies, with the perusal of which the country was to
have been indulged, were actually destroyed, and the entire publication
was effectually suppressed. Besides destroying the _Memoirs_ Mrs.
Clarke gave up ninety private letters, containing, it is said,
anecdotes of illustrious and noble personages, of the most curious
description.

_April 29._--'Mrs. Clarke's _Memoirs_ are said to have been suppressed,
in consequence of her receiving 7,000_l._ down, and an annuity of
400_l._ for her own life, and an annuity of 200_l._ each for her
respective daughters, with a promise that her son shall be provided
for. The printer of the work has also received 500_l._ of the
indemnification money.'[15]

It is difficult to discriminate between the alleged motives of Colonel
Wardle's action and his real object; public spirit was the mainspring
which directed the mover of the investigation, if we may trust his own
account, and for awhile the populace seems to have been of the same
opinion, as addresses of thanks from various corporations acknowledged
his patriotism. Somewhat later his disinterestedness began to be
questioned; then the ugly evidence of the house at Westbourne Place
was found difficult to argue away.[16] The absence of Major Dodd and
Mr. Glennie at the action--where their presence was of the utmost
importance--brought against the Colonel by one Wright, an upholsterer,
to recover the expenses of furnishing this house, looked suspicious;
the evidence was against the plaintiff, and Wardle was cast in the
suit, and had to pay 2,000_l._ and costs.

In the course of the trial it began to be hinted that the chief
instigator of these proceedings was no less than a royal Duke, the
brother of the Commander-in-Chief.

It seems tolerably clear, on sifting the motives of the several actors
and puppets in this matter, who had personally nothing to gain by the
Duke's dismissal, and who were obviously, with one or two exceptions,
corrupt agents in the first instance by their own confessions, and
therefore likely to be actuated by no higher principles in the
proceedings at issue, that they were (involuntarily in some cases)
exposing their own misdeeds to forward the purpose of a greater
personage, who did not appear, but to whose influence and purse they
looked for their reward.

Mrs. Clarke was, as everyone recognised, acting from the common
impulse of personal aggrandisement, and she frankly acknowledged her
principles. The year following the investigation, and the destruction
of her _Memoirs_, she thought proper to revenge the want of faith
which, according to her account, had characterised the proceedings of
the 'conspirators' in her own case, by exposing the true intentions
of the Duke's assailants; her motives, as she admitted, were in this
second exposure prompted by the same interested spirit which had
actuated the previous prosecution of her late friend and protector.

According to her account Colonel Wardle was simply a tool in the hands
of the Duke of Kent; his allies were Major Dodd and Mr. Glennie, the
former being the Duke of Kent's secretary--who engaged himself without
scruple to forward the projects of his employer. According to all
accounts Colonel Wardle had bribed the assistance of an ambitious
woman who fancied herself aggrieved, and who was, above all, amenable
to sordid incentives: the Duke had left her in debt, had broken his
word in more than one instance, and had used threats of the pillory
and the Bastille in reply to her applications; she was tired of living
in obscure retirement, and was irritated by the menaces of creditors,
whose demands she had no means of satisfying. The chief temptation held
out to her was, however, a promise that she should once more enjoy
that command of ease, and power of shining in the world of fashion,
which had been Mrs. Clarke's weakness through life. The arrears she
claimed were to be made up, her debts were to be paid, the allowance
she sought from the Duke of York (400_l_. per annum), was to be
doubled by his brother; she was to have a carriage and four, with a
residence and state in proportion; and she was to exercise her own
taste in furnishing a house with the elegance and splendour which had
marked her late establishment at Gloucester Place. To do the lady
justice, she hesitated before inflicting the grave injuries which
must attend the public exposure of her whilom benefactor, although
she was by no means habitually given to sentimentality. She wrote to
the Commander-in-Chief, asked for the allowance which, as she avowed,
she had done nothing to forfeit, and at the same time mentioned the
overtures which two factions were making her: one party for political
purposes--the Radical Reformers to wit, headed by Sir Francis Burdett
(who she declared had proposed to treat for the papers and letters in
her possession, some sixty of which, as she informed the Duke, were
in his own handwriting); the other influence brought to bear on her
was of a more subtle and covert description, and she went so far as to
indicate the disastrous consequences to himself which would inevitably
follow if she lent herself to the schemes of his personal antagonists.

The Duke of York remained obdurate, and thus played into the hands
of his personal and political enemies. Colonel Wardle seized the
opportunity. He gave Mrs. Clarke 100_l_. for present necessities, to
induce reliance in those liberal promises which were later repudiated.
The lady's natural sagacity, and her experience of life, furnished
her with strategic abilities almost equal to the combined talents of
the respective factions between which she found herself; and on the
strength of the assistance which she finally consented to afford to
Colonel Wardle and his supporters through Major Dodd--who, though
less seen, was the more active agent in organising the attack on the
Commander-in-Chief--she secured the house in Westbourne Place as an
earnest of the benefits she was to receive hereafter, and succeeded
in making Colonel Wardle become security for the furniture. In her
disappointment it must have proved at least somewhat of a consolation
to have out-manoeuvred the Colonel; who, for his reward, reaped in
the end the obloquy attending exposure and ridicule instead of the
glorification which at first appeared likely to crown his exertions.
Thus the combination was successfully set in motion, and, in spite of
all its discordant elements, compelled to work with something like
consistent unison, or its individual members were left to take the
consequences of any attempted retrogression, as in the instances of
Captain Sandon (Mrs. Clarke's ally), on the one hand, and General
Clavering,[17] whose sympathies were with his chief, on the other. The
opponents of the Duke of York were thus prepared to open the campaign
in the manner we have seen.

In 1810 Mrs. Clarke took up her pen to endeavour to prove that the Duke
of York's fall was actually brought about by the successful ingenuity
and masterly tactics of his brother the Duke of Kent. In a pamphlet
entitled _The Rival Princes_ she argued there was feud between the two
Dukes, a fact which was sufficiently accepted out of doors, before
the appearance of her publication, and that of the refutation which
followed it under the title of _The Rival Dukes_. It will be remembered
that early in 1802 the Duke of Kent obtained the governorship of
Gibraltar, and that when possessed of the supreme command he determined
to introduce all the rigour of German discipline, in accordance with
the school in which he had received his military education. His efforts
to remodel the existing regulations, and to substitute a system of
severer subordination and rigid restraint, were not attended with
auspicious results; on the contrary, a mutiny took place, December 24,
1803, in which, it is said, the Governor's life was actually aimed
at. On this occasion several officers distinguished themselves by
their zeal and activity; while the timely arrival of a detachment of
artillery under Captain Dodd, not only endeared that officer to his
royal highness through the remainder of his life, but contributed not
a little to restore order in the garrison. The Duke of Kent was soon
after recalled, and although he requested that the Commander-in-Chief
should hold a court-martial on his conduct, the Duke of York declined
to sanction the proceedings--Mrs. Clarke alleged out of fraternal
kindness, as he declared to her, that if he had acceded to his
brother's wishes, the Duke of Kent would certainly have been dismissed,
which would have resulted in the loss of his emoluments, and this would
have occasioned a reduction of some 2,000_l._ per annum in his income,
at a time too when he was in sufficiently straitened circumstances.

From the date of his return his royal highness remained unemployed, and
all efforts to obtain a restoration to his governorship, or attain any
command in the army, proved unavailing, although he had received the
baton of a field-marshal in 1805.

Between the Commander-in-Chief and his brother a jealousy had for
some time subsisted, and Mrs. Clarke did not hesitate to state that
the intrigue to which she had been induced to lend herself as the
most conspicuous figure, was prompted by a desire on the part of the
principal agitator--who remained discreetly in the background--to
humiliate the Duke of York, in the expectation that the office of
Commander-in-Chief, vacated by his brother's dismissal, would descend
on himself in the natural order of things: an expectation which was
not realised. One wild surmise attributed to 'the party' the belief
that the Duke of York, smarting under his disgrace, would commit
suicide, and thus afford the Duke of Kent a chance of being appointed
his successor, as in the event of his brother's decease, there seems
little doubt that the Duke of Kent, in spite of certain prejudices
against which he struggled through his prematurely closed life, would
have filled the office, almost by family right. The character of the
Duke of Kent has been dispassionately reviewed since that date, and
the calumnies of his detractors disallowed; beyond a natural leaning
to discipline pushed to severity, through the fruits of his training,
it is clear that his disposition was remarkably free from the guilty
personal weaknesses which marked his age, and from those unrestrained
self-indulgences which disfigured many of the brightest luminaries of
the last century in nearly every phase of society.

It will perhaps be interesting, after having thus attempted to trace
the involutions of this complicated and scandalous intrigue, which,
however, belongs to history, to add a word on the ultimate careers of
the principal actors. Mrs. Clarke chiefly spent her later years in
Paris, where it is understood she died, leaving a fortune amounting to
some thousands of pounds. It is a redeeming point in her character,
that when a certain nobleman (best known by the fictitious title of
the 'Marquis of Steyne,' under which he figures in a famous novel,
perhaps the finest in the world), presuming on the reputation of
the mother, made princely overtures, with the object of converting
one of her daughters--who, we are informed, were unusually handsome
young ladies--into his mistress, the proposal was treated with the
indignation its nature merited.

Mr. Clarke, who was by no means the sinner, according to another
account which has reached us, that his detractors have painted, became
for a time, as we learn, a Brother of the Charter House. He lived to a
very venerable age; and he, too, from the circumstances of his family,
was able to leave some property at his decease.

The majority of caricatures published by Rowlandson in 1809 relate,
as we have already said, to the Clarke Scandal. The exposures which
attended this connection, and the action taken by the members of the
Opposition in consequence of the disclosures of abuses of influence
which came out in course of the investigation, occasioned the Duke
of York to resign his office as head of the army, a temporary
concession rendered unavoidable, it appeared, under the circumstances.
The satirical prints put forth to hold up to ridicule the various
compromising revelations which marked the progress of the Parliamentary
examination of witnesses formed a series by themselves. Thomas Tegg who
issued the greater part of these plates, thought proper to bring out a
frontispiece or title-page to the collection, which our artist etched,
for the purpose, on March 27, 1809. The design of this introductory
print is arranged as a screen, on which is the lettering: '_Tegg's
complete Collection of Caricatures relative to Mrs. Clarke, and the
circumstances arising from the Investigation of the Conduct of His
Royal Highness the Duke of York before the House of Commons,_ 1809--'

    OUT OF EVIL COMETH GOOD--
    Learn to be wise from others' harm,
    And thou shalt do full well.

On the ground is a book open at the Commandment, 'Thou shalt not
commit adultery,' and beside lie the Duke's letters to his lady-love,
beginning, 'My darling, dearest dear,' &c. Mrs. Clarke and Colonel
Wardle, the pair made most conspicuous during the enquiry, are
standing on pedestals, placed at either extremity, and drawing back
the curtains. The mitre and crozier of the Duke, as Prince Bishop
of Osnaburgh, crossed by his long sword and the military cocked-hat
appertaining to his official position, as Commander-in-Chief of the
army, form an appropriate trophy, arranged above the proscenium.

_February 15, 1809._ _Dissolution of Partnership, or the Industrious
Mrs. Clarke Winding up her Accounts._ Published by T. Tegg,
Cheapside.--Above the heads of the principal performers in this scene
is engraved the well-known quotation from Gay's 'Beggar's Opera':--

    'Tis woman that seduces all mankind;
      By her we first are taught the wheedling arts;
    Her very eyes can cheat when most she's kind.
      She tricks us of our money with our hearts:
    For her, like wolves, by night we rove for prey,
      And practise every fraud to bribe her charms;
    For suits of love, like law, are won by pay,
      And beauty must be fee'd into our arms.

Mrs. Clarke is seated on a 'rickety chair,' with a 'Morocco bottom;' at
her feet are the tender epistles of her admirer: 'My love, my life, I
cannot exist without you;' 'My admirable angel;' 'My dear pretty little
darling,' &c.; the lady is holding her lap for a bag of gold (800_l._)
which a stout old party is handing her in exchange for her good
offices, relative to the promotion of a scarecrow in military uniform,
probably his son, seated in an 'easy chair,' with a paper at his feet
inscribed likewise from Gay's 'Newgate Pastoral':--

    'Tis so pat to all the tribe,
    Each cries, 'That was levelled at me!'

Mrs. Clarke's boudoir is indicated behind; the portrait of 'Frederick'
is hanging therein, and below it is pinned a 'list of candidates
for promotion. Sums offered. Clavering 2,000_l._; Dowling, 800_l._;
O'Meara, 300_l._' &c. Everything is apparently conducted on a
business-like footing. 'Mrs. Clarke's Ledger' is placed ready to hand,
and upon it is a long file of receipts, 'commissions paid for.'

_February 20, 1809._ _Mrs. Clarke's Levee._ A pair of subjects on one
plate. Published by T. Tegg, Cheapside.--The interest of this frail
dispenser of patronage was not confined to the army, it was extended
to the Church. In the course of the disclosures it was shown that a
certain Doctor O'Meara had secured, through her offices, and for a
consideration, the privilege of preaching before Royalty--an equivocal
road to preferment, on the nature of which the caricaturists were
especially playful, as succeeding prints will elucidate. Mrs. Clarke is
seen, standing in semi-royal state, under a canopy, and holding a levee
of interested applicants: military officers, of various grades, are
bowing before the fair patroness; a Church dignitary, openly provided
with the needful (800_l._ in a money-bag), and 'cits' who are willing
to treat for the advantage of having their sons converted into officers
and gentlemen. Mrs. Clarke is candidly rehearsing the terms on which
business may be transacted at her establishment; the conditions are
sufficiently plausible:--

    Ye Captains and ye Colonels--ye Parsons wanting place,
    Advice I'll give you gratis, and think upon your case.
    If there is possibility for you I'll raise the dust;
    But then you must excuse me--if I serve myself the first.

_February 20, 1809._ _The Ambassador of Morocco on a Special
Embassy._--In such delicate transactions as Mrs. Clarke carried on at
Gloucester Place, where the Duke had set up an elegant establishment
for her use, the intermediary of third parties was essential. Among the
accommodating persons whose names were brought to light in the course
of the proceedings, as acting in the capacity of 'go-betweens,' was a
certain 'Emperor of Morocco,' as he was styled in the correspondence,
but who, in sober reality, was a ladies' shoemaker, one Taylor, of Bond
Street.

The print represents this mysterious plenipotentiary, with private
correspondence in his hand, hurrying up to Mrs. Clarke's handsomely
furnished mansion; the lady, who is at the open window on the look-out
for her envoy, is crying, 'Open the door, John; here comes the
Ambassador. Now for the dear delightful answer.' John Bull, with his
dog by his side, who has apparently formed a suspicion of the Emperor's
errand, is enquiring, 'I say, Master Shoemaker, where be you going in
such a woundy hurry?' To which the bustling confidential agent replies,
'Don't speak to me, fellow; you should never pry into State affairs.'

_February 24, 1809._ _Days of Prosperity in Gloucester Place, or a
Kept Mistress in High Feather._ Published by T. Tegg.--'Money was
expended upon her footmen, chariots, musicians, singers, players,
dancers, parasites, pimps, and bawds. But in the end the money of the
people.'--_Vide_ Cobbett, _Annual Register_. A scene of coarse and
indiscriminate revelry is represented proceeding in Mrs. Clarke's
drawing-room; a round table is covered with wines, spirits, punchbowls,
and, among the rich dessert dishes, is a gigantic golden bowl, the
thankoffering of a Bishop. The diversions of the company assembled have
passed the bounds of innocent recreation; fiddlers and singers are
rolling on the floor, wine and punch are recklessly thrown about the
place, and altogether the spectacle is not of an improving character. A
troop of flunkeys, in expensive liveries, are helping themselves from
the decanters and laughing at the tipsy antics of the company.

_February 26, 1809._ _All for Love. A Scene at Weymouth._--The
Duke's most affectionate epistles were dated from Weymouth, and the
caricaturist has drawn the stout commander seated at table there,
pen in hand, filled with rapture at the prospect of returning to his
Delilah: 'To-morrow I inspect my regiment, and then for my dearest,
dearest, dearest love!' Unfinished love-letters are scattered around:
'Oh, love is the cause of my folly!' 'My amiable girl!' 'My dearest
dear, I hope to be in your arms,' &c. The Duke's black footboy, who is
standing staring in amazement at the rhapsodising hero his master, is
inclined to moralise over the Duke's follies: 'Bless my massa! what be
the matter with him? Him in love, I fear. Sambo once be in love with
bad woman, but him repent!' On the same plate is a second subject,
entitled--

_February 26, 1809._ _An Unexpected Meeting._--An elderly officer is
amazed at running across the figure of Mrs. Clarke's footboy, strutting
in his uniform as bold as the best. 'Can I believe my eyes? Why, this
is the little footboy who waited on us at the house of a lady of a
certain description!' The promoted favourite is highly indignant at
this allusion to the past: 'I beg, sir, you will not come for to go to
affront a gemman!'

_February 26, 1809._ _The Bishop and his Clarke._ Published by T. Tegg,
111 Cheapside.--The reverend Bishop of Osnabrück has laid aside his
crozier and mitre and assumed the nightcap of domestic retirement. By
his side is the notorious Clarke, who is reminding her companion of
certain promises: 'Only remember the promotions I mentioned; I have
pinned up the _list_ at the head of the bed.' To which the Duke of York
is tenderly responding, 'Ask anything in reason, and you shall have it,
my dearest love!' The list of promotions includes 'A Bishopric for Dr.
O'Leary,' 'A Commissariat for Dicky Dowlas,' and other items, down to a
post for the lady's footboy. It was stated by Mrs. Clarke, during the
proceedings, that the Duke had assured her 'that as his favourite she
had far more influence than the Oueen.'

_February 27, 1809._ _A Pilgrimage from Surrey to Gloucester Place, or
the Bishop in an Ecstasy._ Published by T. Tegg.--The Duke of York,
arrayed in his canonicals as Prince Bishop of Osnabrück, has turned his
back on his mansion and on his wife; he has travelled a long stride
upon the 'road to destruction' and passed the 'stumbling-block' on his
path. He is trampling under foot 'Thoughts on Connubial Happiness' and
the Commandments, and is just turning the corner of Gloucester Place,
saying, 'Now for a meeting with my dearest dear.' Mrs. Clarke and a
female friend are looking out of window, and signalling the Duke's
arrival. Various placards are pasted on the house of his mistress: 'To
all.--Journeymen Taylors wanted,' 'Man traps are placed every night on
these premises,' 'Diamonds by Mrs. Clarke, Lapidary to His Highness;'
'Agency Office; business transacted on moderate terms;' 'This evening
will be performed "Duke and no Duke," by His Majesty's servants,' &c.

_February 29, 1809._ _The York_[18] _Magician Transforming a Footboy
into a Captain._ Published by T. Tegg.--The Commander-in-Chief has
assumed the white beard, fur cap, and robes of a magician; he is waving
a magic wand, 'Petticoat Influence,' over Mrs. Clarke's late footboy,
who is rising transformed into a captain, and filled with astonishment
at the rapidity of the performance. The Duke is made to say, 'By the
mystery of my art, no more be a footboy, but rise a captain!'

_March 2, 1809._ _A Parliamentary Toast._ Published by T. Tegg.--A
company, consisting principally of army officers, have been dining; the
wine is on the table. 'Come, Jack, favour with a toast.' The chairman
is standing on his legs to do honour to his toast: 'Here is the lady
that can raise five hundred!' Another gallant gentleman is anxiously
enquiring of his neighbour, 'How much did you give to be gazetted?' The
answer, given with a disconsolate air, is, 'Five hundred hard cash!' A
listener is remarking, 'I did not think it would have been done up so
soon. I had promised at least a dozen promotions!'

_March 4, 1809._ _Chelsea Parade, or a Croaking Member Surveying the
Inside, Outside, and Backside of Mrs. Clarke's Premises._ Published
by T. Tegg.--The front door of Mrs. Clarke's establishment, 'Warren
Street.' The door is inscribed, 'Knock, and you shall enter.' A
notice-board, hung out sign-fashion, bears the quotation: 'All the
world's a stage, and men and women merely players. Some play the
upper, some the under part, but chief play that most foreign to their
heart.' Colonel Wardle, wrapped in his military cloak, and indicating
discretion, with his finger on his lips, is handing a bag of money to
a waiting-maid and saying, 'You understand me,' to which the favourite
is replying with an assurance 'that the Colonel's business shall be
attended to.' Mrs. Clarke, leaning out of window, is overlooking her
visitor and crying, 'Though not in love, enter quick, my guardian
angel, my sweet Widdle-Waddle.' Mr. Croker, ensconced in 'Prospect
Place,' opposite, as the 'croaking member,' spyglass in hand, is
surveying the position of affairs from an attic marked, 'Peeping Tom's
Observatory;' he is exclaiming, 'Oh, the devil choke her! he's Waddling
in, as I'm a prying Croaker.' A discomfited group of ex-favourites
are hurrying off as quickly as possible. The Duke of York, with mitre
and crozier, a cope worn over his uniform, and bearing a label on his
stole: 'Men have their entrances and their exits,' cries, 'To part
with my dear, and not allow four hundred a year.' His lawyer, Adam,
by his side, cries, 'Alas, alas! all flesh is grass--so said Adam,
my forefather;' and Doctor O'Meara, bringing up the rear, in great
tribulation, is moaning, 'O me, Leary! O me, Leary! who once made
Royalty melt into tears--am now become a sniveller.'

_March 5, 1809._ _The Road to Preferment--through Clarke's Passage._
Published by T. Tegg.--Mrs. Clarke, wearing a general's uniform above
her skirts, is standing at the entrance to a wide thoroughfare, marked
'Clarke's Passage.' There is a stampede to gain admission--officers,
dandies, old fogeys, parsons with money-bags, fathers and sons--the
halt and the lame, the gouty and disabled, are all flocking in crowds,
ready to pay for the accommodation,--but in vain. The arbitress of
promotions and easy advancements is declaring, 'Gentlemen, it is no
use to rush on in this manner; the principal places have been disposed
of these three weeks; and I assure you at present there is not even
standing room.'

_March 5, 1809._ _The York March._ Published by T. Tegg.--The stout
Duke of York has turned his sturdy back on his fair enslaver,
declaring, 'If I must march, I must; however, I shall leave my
Baggage behind me!' The principal cause of the exposure may be laid
to the Duke's account. He declined, as has been mentioned, to keep
his word in respect to an allowance of four hundred a year, which,
there appears no doubt, he had promised to make the lady, if her
conduct, after his desertion, was such as to merit his approval. Mrs.
Clarke, who is dressed precisely as she appeared at the bar of the
House of Commons,[19] is thus reproaching the York deserter: 'O you
gay deceiver, to leave a poor woman without _protection_!' The storm
which was raised during the enquiry into the abuses of privilege in
the administration of the army and Half-Pay Fund, and threatened to
deprive the Duke of his office as Commander-in-Chief, only hardened
his resolution to do nothing for this Ariadne, who, however, to do her
justice, showed herself well able to defend her own interests, and to
pay back her defamers in their own coin.

[Illustration: THE YORK MARCH.]

_March 7, 1809._ _The Triumvirate of Gloucester Place, or the Clarke,
the Soldier, and the Taylor._ Published by T. Tegg.

    John Gilpin said, 'Of womankind
      I only love but one,
    And thou art she, my dearest dear;
      Therefore it shall be done.'--_Vide_ 'John Gilpin.'

--The Duke of York is seated at table, on which is wine and dessert,
placed between Mrs. Mary Ann Clarke and her friend and _confidante_,
Miss Taylor. The Duke's favourite is holding out her 'List of
Promotions,' entered upon a tremendous roll of papers, which seems
to be endless. 'I have a small list of promotions which I wish to
be filled up immediately, my dearest!' To which modest request this
weak-minded Samson is readily giving his assent: 'It shall be done, my
darling!'

_March 8, 1809._ _A Scene from the Tragedy of 'Cato.'_ Published by
T. Tegg.--Two Britons are meeting, wearing the most solemn aspect,
indicating occurrences of portentous gravity. One of the pair is a
cobbler, above whose stall is the figure of an anchor and the words,
'Hope--Insurance Office.' His friend is reciting with terrific
intensity these lines:--

    The dawn is overcast--the morning lours,
    And heavily in clouds brings in the day--
    Big with the fate of York and Mrs. Clarke.

_March 8, 1809._ _Yorkshire Hieroglyphics._ Plate 1. Published by T.
Tegg.--The hieroglyphics are not very difficult to decipher, and when
transcribed prove nothing more than a compromising letter, which was
produced in the House of Commons, incautiously sent by the amorous
Commander-in-Chief to his lady-love five years previously:--

           _The Duke of York's first letter to Mrs. Clarke._

                                             'Weymouth, August 4, 1804.

'My dear little Angel,--How can I sufficiently express to my sweetest,
my darling love, the delight which her dear, her pretty letter gave
me, or how do justice to the emotion it excited? Millions and millions
of thanks for it, my angel, and be assured that my heart is wholly
sensible of your affection, and that upon it alone its whole happiness
depends.

'I am, however, quite hurt that my love did not go to the Lewes Races;
how kind of her to think of me on that occasion! but I trust she knows
me too well not to be convinced that I cannot bear the idea of adding
to those sacrifices which I am but too sensible that she has made to me.

'News my angel cannot expect from me from hence; though the life led
here, at least in the family I am in, is very hurrying, there is a
sameness in it which affords little subject for a letter; except Lord
Chesterfield's family, there is not a single person besides ourselves
I know. Last night we were at the play, which went off better than the
first night.

'Dr. O'Meara called upon me yesterday morning, and delivered me your
letter; he wishes much to preach before Royalty, and if I can put him
in the way of it I will.

'What a time it appears to me already, my darling, since we parted; how
impatiently I look forward to next Wednesday se'night!

'God bless you, my own dear, dear love! I shall miss the post if I add
more! Oh, believe me ever, to my last hour, yours and yours alone.'

[Addressed 'Mrs. Clarke, to be left at the Post Office, Worthing.'
Endorsed 'Dr. O'Meara.']

_March 9, 1809._ _The Burning Shame._--The residence of Mrs. Clarke,
at the corner of Gloucester Place, is made conspicuous to the public
by a notification at one time practised in respect to disreputable
vicinities. A man is planted before the door holding a notice-board,
warning the passers-by to 'beware of bad houses and naughty women;'
a couple of watchmen, with their lanterns slung on the ends of long
poles, are throwing a good light on the nature of the case. A clergyman
and an officer, who were evidently coming direct to the establishment
on private ends, are, by this publicity, warned out of danger before
their intention is disclosed to the public.

_March 11, 1809._ _Yorkshire Hieroglyphics._ Plate 2. Published by T.
Tegg.

                                            'Sandgate, August 24, 1804.

'How can I sufficiently express to my darling love my thanks for her
dear, dear letter, or the delight which the assurances of her love give
me!

'Oh! my angel! do me justice, and be convinced that there never was
a woman adored as you are. Every day, every hour convinces me, more
and more, that my whole happiness depends upon you alone. What a time
it appears to be since we parted, and with what impatience do I look
forward to the day after to-morrow; there are still, however, two whole
nights before I clasp my darling in my arms.

'How happy am I to learn that you are better; I still, however, will
not give up my hopes of the cause of your feeling uncomfortable.

'Clavering is mistaken, my angel, in thinking that any new regiments
are to be raised; it is not intended, only second battalions to the
existing corps; you had better, therefore, tell him so, and that you
were sure that there would be no use in applying for him.

'Ten thousand thanks, my love, for the handkerchiefs, which are
delightful; and I need not, I trust, assure you of the pleasure I feel
in wearing them, and thinking of the dear hands which made them for me.

'Nothing could be more satisfactory than the tour I have made, and the
state in which I have found everything. The whole of the day before
yesterday was employed in visiting the works at Dover, reviewing the
troops there, and examining the coast as far as this place. From
Folkestone I had a very good view of those of the French Camp.

'Yesterday I first reviewed the Camp here, and afterwards the 14th
Light Dragoons, who are certainly in very fine order; and from thence
proceeded to Brabourne Lees, to see four regiments of Militia; which
altogether took me up near thirteen hours.

'I am now setting off immediately to ride along the coast to Hastings,
reviewing the different corps as I pass, which will take me at least as
long.

'Adieu, therefore, my sweetest and dearest love, till the day after
to-morrow, and be assured that to my last hour I shall ever remain
your's and your's alone.'

[Addressed 'George Farquhar, Esq., 18 Gloucester Place, Portman
Square.' Folkestone, endorsed 'Gen. Clavering,' &c.]

_March 12, 1809._ _The Statue to be Disposed of._ Published by T. Tegg,
Cheapside.--Mrs. Clarke's house at the corner of Gloucester Place
is again the subject of caricature. The figure of the Duke of York,
in his uniform, with his back to the spectator, and his face to the
wall, is placed on a pedestal for disposal. A placard, posted on the
house, announces: 'The statue on the outside having been thoroughly
repaired and whitewashed, is to be sold by private contract. For
further particulars enquire within.' A bill-poster is sticking up the
following notice on behalf of the publisher: 'Caricature Warehouse, 111
Cheapside. A new caricature on Mrs. Clarke every day.'

_March 13, 1809._ _A General Discharge, or the Darling Angel's
Finishing Stroke._ Published by T. Tegg.--Mrs. Clarke has been making
pretty havoc among the branches of the service. She has drummed out
a number of officers to the tune of the 'Rogue's March;' discomfited
generals and prelates, who, since their intrigues are unmasked, are
doing their best to get out of range. As to the 'Darling Angel's'
redoubtable opponent, the Commander-in-Chief, he has laid down his
cocked-hat and sword, and, on his knees, is trying to mitigate the
excess of mischief which his discarded lady-love is in a position
to wreak; he is crying in despair: 'Alas, alas! for ever ruined and
undone; see, see, she has spiked my Great Gun!' Mrs. Clarke, who is
putting the finishing stroke to this destructive operation, is offering
a parting word of gratuitous advice to the now repentant Commander: 'A
wise general should make good his retreat.'

_March 15, 1809._ _The Champion of Oakhampton Attacking the Hydra of
Gloucester Place._ '_Bellua Multorum es Capitum._' Vide _Horace_. The
Champion is clad in a complete suit of mail, and he is valorously
rushing up to the mouth of the cavern, whence the Hydra is breaking
forth; it must be confessed that the Champion seems a little staggered
at the front displayed by the many-headed monster; the foremost and
most overgrown head is that of the Commander-in-Chief, begirt with the
_Collar of Corruption_. The other heads are described by their collars:
Dowler, Sandon, Dr. O'Meara, Dr. Donovan, Mrs. Clarke, and Master
Carter.

_March 17, 1809._ _The Parson and the Clarke._ Published by T.
Tegg.--Dr. O'Meara is favoured with a private interview, of a strictly
business-like character, by Mrs. Clarke. The ambitious divine is
throwing up his head in such raptures that he has jerked off his
learned wig: 'Oh how I should like to preach before Royalty!' The fair
dispenser of patronage, with a long roll of 'Army preferments' and a
shorter list of 'Church preferments' before her, is putting the case in
a matter-of-fact way: 'Only pay the Clarke's fees, and the business is
done.'

    So great on the Church were O'Meara's designs
      That he prov'd too ambitious a spark;
    But where is the wonder, ye learned divines,
      That the _parson_ should follow the _Clarke_?

_March 19, 1809._ _Samson Asleep on the Lap of Delilah._ Published
by T. Tegg.--The Duke of York is following the example of the famous
slayer of Philistines. He is sunk in slumber, with his head on the
lap of his treacherous Delilah; a pile of love-letters, addressed to
his 'dearest dear,' are sufficiently indicative of his infatuation.
Mrs. Clarke, who is represented in the print as a by no means
repulsive-looking temptress, has taken advantage of the hero's
unconsciousness to chop off his full pigtail, and she is holding up the
severed caudal appendage, as an encouragement to the enemies of the
helpless Commander-in-Chief to take advantage of their opportunity:
'Gentlemen, you may now take him with safety, his strength is gone; I
have cut off his regulation tail, and there is no danger!'

_March 24, 1809._ _The Resignation, or John Bull overwhelmed with
Grief._ Published by T. Tegg.--The departing Commander-in-Chief, in
his regimentals, as he is invariably represented, is trying to harrow
John Bull's sympathies before he deprives him of his valuable services:
'Good bye, Johnny; I am going to resign; but don't take it so much to
heart; perhaps I may very soon come back again!'[20]

The good-natured national prototype is keeping up a show of affliction
under the approaching bereavement; but, although he is concealing his
face with his handkerchief, a smile lurks round the corner of his
mouth as he sobs out somewhat equivocally in reply: 'O dunna, dunna go!
it will break my heart to part with you--you be such a desperate moral
character!'

_March 24, 1809._ _The Prodigal Son's Resignation._--The stout sinner
is humbling himself before the throne. A portion of the King's
figure is concealed; the Duke of York has laid his _Resignation_,
together with his coat, sword, and cocked-hat, at the paternal feet,
and, kneeling in his denuded state, he is quoting the words of the
parable of the Prodigal Son: 'Father, I have sinned before thee, and
I am no longer worthy to be called thy son.' The monarch, who seems
deeply affected by the spectacle of his favourite son's abasement,
is returning: 'Very naughty boy! very naughty boy indeed! However, I
forgive you; but don't do so any more.'

_March 29, 1809._ _Mrs. Clarke's Last Effort._ Published by T.
Tegg.--The delicate investigation being concluded, the fair mover,
Mrs. Clarke, was, as the satirists suggested, left without occupation;
and Rowlandson has accordingly represented that she might employ her
talents to advantage in opening an inn a little way out of town; she
is pictured as the landlady of _Clarke & Co's Original Tavern, from
the York Hotel, London_. Members of the Army, the Church, a Quaker,
and others are hurrying up to extend their patronage to the new
establishment. Mrs. Clarke, bent on hospitable intents, is encouraging
her old friends to return and rally round: 'Come forward, gentlemen;
you'll all be welcome. Every little helps':--

    Your rhino rattle--come--
    Men and cattle--come--
        All to Mrs. Clarke O
    Of trouble and monies
    I'll ease you, my Honies,
        And leave you in the dark O.

_March 30, 1809._ _The York Dilly, or the Triumph of Innocence._
Published by T. Tegg.--A coach full of learned gentlemen, driven by a
Counsel in his robes, is passing through an enthusiastic crowd; the
charioteer is declaring: 'I thought we should bring him through.' The
Duke of York is in the boot, apparently, 'blowing his own trumpet;'
a placard, wreathed in laurel, is on the roof of the carriage,
announcing, _Acquitted_. _Glorious majority of 82._

The people are uproariously demonstrative; they are shouting: 'Huzza!
glorious news for Old England!' females are encouraging their husbands
to cheer; the figure of Mrs. Clarke is represented bursting through the
multitude and shaking her fists at her late 'protector,' while a stout
Churchman by her side is loyally protesting, 'I always said he was
innocent!'

_April 1, 1809._ _Doctor O'Meara's Return to his Family, after
Preaching before Royalty_. Published by T. Tegg.--The reverend divine
has returned home to his comely spouse and family in such an elated
frame of mind--skipping about, to the derangement of his ecclesiastic
dignity, and losing his wig and hat--that his wife is enquiring:
'Why, my dear, you are quite frantic; what is the matter with you?'
The Doctor is replying, in ecstasy, jumping higher than ever:
'Frantic?--I believe I am--I have been preaching before Royalty--our
fortunes are made--such a sermon--neat text--quarter of an hour's
discourse--appropriate prayer at the conclusion--Oh! to see them cry it
would have melted a heart of stone--Oh bless that Mrs. Clarke; I shall
never forget her!'

_April 1, 1809._ _Mrs. Clarke's Farewell to her Audience. Tailpiece._
Published by T. Tegg.--All the principal performers--generals,
colonels, captains, reverend doctors, Master Carter, &c.--who have
figured in the 'Clarke Scandal,' and throughout the series of satirical
prints which Rowlandson designed on the _Delicate Enquiry_, are drawn
up on the stage, in proper theatrical fashion, to acknowledge the
gratifying reception accorded their exertions at the hands of an
appreciative public. The national prototype, as the paying patron
of the performance, is in the stage box, clapping his hands with
enthusiasm, and shouting, 'Bravo, bravo!' Mrs. Clarke, as the leading
actress, is standing in front of the line of players, dressed in
semi-martial fashion, with a military hat on her head, epaulettes, a
gorget, a laced coat, and a crimson sash. She is speaking the farewell
address, which is as follows:--'Ladies and Gentlemen,--Having done our
duty as far as we were called upon, we most humbly take our leave of a
generous audience; not, like the generality of actors, wishing for a
repetition of the performance, but, on the contrary, that it may never
again be repeated. As to our friend Mr. Tegg, we hope that the graphic
illustrations of this drama, which he and his performers have brought
forward, may meet with that encouragement which is never denied to the
effusions of whim and humour by a loyal and liberal British public; but
I particularly request that, while you acquit the Bishop, you will be
merciful to his Clarke.'

_April 4, 1809._ _Original Plan for a Popular Monument, to be erected
in Gloucester Place._ Published by T. Tegg.--The contributaries to this
monument of turpitude are grouped together to form a memorial suited
to the occasion. The foundation-stone is a huge block, labelled 'York
Folly,' supported on one side by the Episcopal mitre and crozier of the
Right Rev. Bishop of Osnabrück, with a scroll of 'The New Morality.'
The accessories on the other side are the cocked-hat, sword, and tender
love-letters of the ex-Commander-in-Chief. A block of 'Cracked Portland
Stone,' and a third slab of 'Folkestone of the first quality,' refer
to the agitations raised by the Duke of Portland and Lord Folkestone;
the more spirited elements are ranged above this foundation, in the
form of a barrel of 'Whitbread's Entire,' 'Burdett's Stingo,' and
'Wardle's British Spirit,' these gentlemen having been the most active
in enforcing the Duke's resignation. 'Romilly Freestone' supports a
pair of medallions representing the two officers consigned to Newgate
for prevarication--'Sandon' and 'Clavering's Dumps.' _Mrs. Clarke's
Pyramid_, a golden cone, caps the edifice reared on corruption.

_April 5, 1809._ _A York Address to the Whale Caught lately off
Gravesend._ Published by T. Tegg.--The Duke of York, in his
regimentals, has gone down on his knees to the latest wonder of the
hour, and is beseeching the popular arrival to divert the minds of
an excitement-loving public from his own particular case: 'O mighty
monster of the deep, continue to attract the attention of John Bull,
bend his mind solely towards thee, for in that is my only hope;
fascinated by thy powerful attractions, he may perhaps forget the
honour of a Prince.'

_April 10, 1809._ _The Flower of the City._--The figure of Alderman
Flower is represented in the centre of a huge sunflower blowing on a
stem, 'Weak Stock,' planted in a pot of 'Rank Butter,' and elevated
on two cheeses, marked 'Mouldy and Rotten.' A sinister blast from a
diabolical agent is withering the plant, and the leaves are falling;
they are labelled with various uncomplimentary sentences, suggesting
all kinds of vices, belonging to the parent shoot. Below this
unflattering tribute to the Alderman is inscribed the following parody
of verses:--

    The Flow'r of the City, so gaudy and fine,
    'Midst proud ones the proudest, was erst known to shine.
    It spread its gay leaves and it show'd its rich clothes,
    And to all (less in consequence) turn'd up its nose!
    Till a blight, a sad blight, from a Democrat wind
    Struck the sensitive plant, both before and behind.
    It felt the keen blast! All its arrogance fled,
    And the Flow'r of the City hung, hung down its head.

    The Flow'r of the City, thus doom'd to despair,
    Droops, pines, and with wailing impregnates the air!
    Tells its pride and its folly (the cause of its grief),
    While the tears of repentance encumber each leaf!
    But vain are its tears, or the fate it bemoans,
    The world, the base world, gives but hisses and groans!
    For ever! for ever! its proud hopes are fled,
    And the Flow'r of the City hangs, hangs down its head.

_April 10, 1809._ _The Modern Babel, or Giants Crushed by a Weight
of Evidence._ Published by T. Tegg.--The unfortunate Duke of York,
with his Counsel and learned supporters, are crushed down under the
weight of a compound structure which has been imposed upon their heads
and shoulders. The bulkiest mass is the _Evidence of Mrs. Clarke_;
_Miss Taylor's Evidence_ is next in consequence, and the pyramidal
slabs decrease upwards: _Sly hits from Sandon and Clavering_; _Home
Strokes from Dowling_; _Mrs. Hovendon's Evidence_; _Mrs. Tavery, Doctor
O'Meara, Master Carter_, &c. The person of Mrs. Clarke, posed in a
triumphant attitude, is the figure which completes this superstructure
of folly.

_April 18, 1809._ _The Sick Lion and the Asses._ Published by T.
Tegg.--The Duke of York's head is placed on the shoulders of the
disabled forest king, a pair of asses are showing their heels to the
royal beast. 'What a _Cur it is_!' and 'Every man has his _Price_,'
written on their collars, proclaim the identity of these animals.
Another ass, of deeper cunning, forbears to take advantage of the
prostrate lion, from far-seeing motives: 'Pshaw, pshaw! don't be
afraid, I shall not kick, you may depend upon me--you may be of service
to me hereafter!'

The apologue is said to be 'taken from Mr. Waithman's speech at the
Common Hall:' 'When the royal beast was sick to death, and unable to
defend himself, the minor beasts he had injured came to revile him with
their wrongs; but when the dull asses came to fling their heels at
him the royal animal exclaimed: "Injuries from others I can bear with
resignation, but to bear insult from such vile animals as asses is to
die a hundred deaths!"'

_April 21, 1809._ _Burning the Books._ Published by T. Tegg.--As we
have traced in the summary of the diversified proceedings in the Clarke
Scandal, the friends of the Duke of York were glad, as a last resource,
to make terms with the enemy; and the conditions under which Mrs.
Clarke's silence was purchased being published abroad (considering the
publicity of the circumstances attending the _Investigation_, the terms
of surrender could not be disguised), the satirists made merry over
this fresh instance of tergiversation.

The edition of Mrs. Clarke's memoirs, the bombshell which threatened
the aristocratic peace of mind, was purchased for a certain sum. In
the print of 'Burning the Books' the heroine of the scandal is holding
up the terms of surrender: '10,000_l._, debts paid, 600_l._ per annum,
&c. &c.' The heroine of the memoirs is directing the destruction of
her eagerly-expected volumes, containing hundreds of letters from
persons of quality, including the correspondence (supposed to have
been destroyed) of the Duke of York. The lady is zealous enough in the
interests of her profitable clients: 'Burn away! I would burn half
the universe for the money. You may preserve a copy or two for Doctor
O'Meara and a few private friends. Now for my Brimstone carriage!' The
printer's men are carrying piles of the offending work, and committing
the edition to the flames. An acknowledgment from the publisher is
on the writing-table: 'Received for paper and printing, and also for
destroying this,' &c. The figure of the Duke of York is shown, slily
peeping from behind a curtain; the Commander, lately resigned, is
evidently delighted at the course things are taking, and is crying,
'This will do!' Many of the letters, as Mrs. Clarke declared,
reflected in disrespectful terms on the heir to the throne and others
of his royal brothers.

_April 22, 1809._ _A Piece-Offering._ Published by T. Tegg.--Mrs.
Clarke, in all her extensive finery, is sacrificing her memoirs,
_Life of Mrs. Clarke_, the Duke's ardent love-letters, and all the
disagreeable evidences supposed to have remained in her possession, at
the _Altar of Repentance_. The figure of the Commander is rising in
effigy above the flames, in the centre of a brilliant sun; his face
is turned to the authoress of the pyre with a satisfied smile. The
high-priestess of the sacrifice is gratefully addressing the mollified
divinity: 'Thus perish all that gives my darling pain!'

_May 24, 1809._ _The Quaker and the Clarke._ Published by T. Tegg.--A
sedate Quaker, in a suit of modest brown, has turned his back on
the beguiling enchantress, fair authoress of so much mischief, and
is hurrying away from her entreaties 'to tarry a while,' declaring:
'Woman, avaunt! I am not to be tempted; and be it known also I am a
married man,' &c.

_May 28, 1809._ _John Bull and the Genius of Corruption._ Published
by T. Tegg (94).--The national prototype has been haranguing on the
extinction of abuses with a compound symbolical monster, who is
standing in the way of progress and healthy legislation. Mr. Bull's
corrupt opponent is making the Jesuitical concession: 'What you say
about Reform, Johnny, is very true, but this is not the time for it!'
John Bull, who has no opinion of the obstructive party, is retorting,
'No, nor it never will be while such a monster as you remains in
existence!'

The monster, who is evidently a difficult customer to deal with, wears
a defensive cap of _Professions and Promises_; he has 'an eye to
_Interest_,' a _Mouth of Guile_, and a nose to _Scent for Interest_; he
wears the _Collar of Corruption_, has _Wings of Speculation_, _Arms of
Power_, and _Hands of Extortion_, and is further provided with bags of
gold for the purpose of bribery, _Deep Pockets of Perquisites_, _Legs
of Luxury_, and he is propped on _Feet of Connivance_.

_June 12, 1809._ _Boney's Broken Bridge._--The Austrian army is drawn
up in security on one side of the river Danube; Buonaparte, in a fine
rage with his discomfited generals, and his disappointed legions,
are arrayed on the other bank, powerless to disturb their exulting
adversaries. The Emperor is pointing to the remains of his famous
bridge, and furiously demanding, in reply to the Austrian taunts: 'Ah,
who is it that dares contradict me? I say it was some floating timber
and the high swell of the river that caused the shocking accident!' An
impolitic old general, bowing low, and in consternation at the news
he is obliged to impart, is replying: 'With all due deference to your
little Majesty, it was the Austrian fire-boats that destroyed the
bridge.' The Archduke's troops are chanting a new edition of an old
nursery rhyme:--

    Boney's bridge is broken down,
      Dance over the Lady Lee;
    Boney's bridge is broken down
      By an Archduke--ee.

_July 9, 1809._ _Hell Broke Loose, or the Devil to Pay among the
'Darling Angels.'_ Published by T. Tegg.--The dark fiend is standing at
the gates of the infernal regions, scourge in hand; he is dressed in
the wig and robes of a judge, and poised on a slab, setting forth the
well-recognised axiom: _Two of a trade can never agree_. The diabolical
personage is holding the balance between the two principal actors in
the late proceedings. It will be remembered that a misunderstanding
occurred between the chief conspirators. Soon after the conclusion of
the investigation in the House of Commons, Colonel Wardle and Mrs.
Clarke began to exchange mutual recriminations, and the public were
gratified with fresh scandalous revelations; the champion of impartial
justice began to lose his strangely-earned popularity. Colonel
Wardle is plunged into the scale of _Patriotism_, with an infernal
imp to weigh him down; the gold box, in which the freedoms of more
than one town were offered to the enemy of corruption, and the York
_impeachment papers_ are thrown into the scale to make weight. Mrs.
Clarke is balanced against her late coadjutor in the scale of _Virtue_.
'Love-letters, Mr. Wright's bill, Doctor Donovan's bill,' &c., are
added to weigh against the Colonel's testimonials.

_July, 1809._ _The Tables are Turned. How are the Mighty Fallen!_--The
public were treated with the spectacle of the patriotic champion sued
in a law court for the furniture of Mrs. Clarke's house at Westbourne
Place, which had been taken on his guarantee and recommendation. The
Court gave judgment against the crestfallen Colonel, who had denied
his liability, and he was adjudged to pay the heavy expenses incurred
in the new establishment and the incidental costs of the process. In
Rowlandson's view of the situation Mrs. Clarke is seen mounted on her
asinine ex-supporter; the head of the steed bears a face suggestively
resembling the countenance of the patriot; a 'Turkey carpet' furnishes
a saddle; the motto _England expects every man to do his duty_ is
written on the bridle; 'Wright, the upholsterer's bill' is tied to
the animal's tail; the lady is whipping up her reluctant supporter
with a birch labelled 'Private promises.' The ass is scattering the
chairs, tables, mirrors, fenders, and other objects particularised on
'the bill' which gave the Colonel so much irritation; the flattering
presentations, addresses, gold boxes, 'Thanks to my ass,' 'Lies against
the Duke of York,' 'Thanks to a Welch Billy Goat,' 'From the City of
London,' 'Thanks and freedom in a gold box,' and other complimentary
testimonials, are scattered on the ground. The dashing rider is making
an exhibition of her skilful management of the donkey tribe:--

    I've a fine stud of Asses as ever was seen;
    This is one of the number from Westbourne Green.
      Gee up, Neddy, come up, Neddy, &c.,
      What do you think of my Neddy and me?

_July 14, 1809._ _More of the Clarke, or Fresh Accusations._ Published
by T. Tegg.--Colonel Wardle is exposed to the public in a humiliating
position; his former mob-popularity is reversed, and their admiration
is changed to ridicule. The scene is supposed to take place in front
of the mansion in Westbourne Place, before which is assembled a crowd
of jeering spectators. Mrs. Clarke, unabashed, as in the previous
disclosures, is frankly denouncing her ex-colleague, and pointing to
the luxurious fittings of her bedroom. She is unmasking the scandalised
champion to his late friends the mob: 'And Clarke said unto Felix, Thou
art the man;--behold the furniture! and Felix trembled.' The Colonel,
whose reputation did not improve as the innuendoes of his new opponents
became more daring, with clasped hands and his knees knocking together,
is servilely trying to reinstate his lost reputation: 'Good people of
the United Kingdom, suspend your judgment for the present, till I get
this woman placed in the pillory. I never did anything naughty no more
than the child unborn. It was all for the good of my country, I assure
you. I am as firm a patriot as ever purchased a convex mirror or a red
Turkey carpet.'

_July 16, 1809._ _The Plot Thickens, or Diamond Cut Diamond._ Published
by T. Tegg.--Mrs. Clarke is still in the thick of her complications.
She is standing, unmoved, in the centre of the picture. Colonel Wardle,
who soon fell out with his ally when pushed to fulfil her conditions,
is declaring for vengeance: 'I intend to commence an action against
her for obtaining money under false pretences in the case of French's
levy. I'll teach her to send gentlemen to Newgate.' Another individual,
dressed as a civilian, recommends: 'Leave her to me; I'll touch her
up in the furniture business!' Mrs. Clarke, with her hands on her
lips, is replying: 'I don't care a fig for any of you; and as to you,
Mr. Furnituremonger, I'll be beforehand with you.' A stout gentleman
behind the fair _intriguante_ cries, 'That's a good girl, follow him
up; I'll back you; I'll let him know whose _Wright_ and whose _Wrong_.
If I don't enter an action against him I'm no upholsterer.' A young
barrister, holding a voluminous brief, is smiling with satisfaction at
the prospect of litigation, and encouraging both sides: 'That's right,
my good friends; it's all for the _Best_!'

_July 18, 1809._ _Amusement for the Recess, or the Devil to Pay amongst
the Furniture._ Published by T. Tegg.--Colonel Wardle is represented,
in an infuriated state, wreaking vengeance on the offensive furniture,
which had caused the destruction of his popularity and his reputation;
the lately immaculate champion is armed with a bludgeon; he is
trampling under foot 'An Essay on Keeping Bad Company,' and breaking
up the elegant belongings of the establishment, for the privilege of
supplying which he had been compelled to pay a sufficiently heavy
penalty; he is made to exclaim: 'D---- the furniture, d---- the convex
mirrors and red Turkey carpets; d---- Westbourne Place and everything
that belongs to it.' Mrs. Clarke is rather entertained than dismayed
at this spirit of wanton destructiveness: 'Deary, those little gusts
of Welsh passion become you extremely; the exercise will do you good;
besides, it will increase your popularity!'

_July 30, 1809._ _The Bill of Wright's, or the Patriot Alarmed._
Published by T. Tegg.--The upholsterer has waited on Colonel Wardle
and unrolled his long bill: 'Gullem Waddle, Esq., to Wright. Red
Turkey carpet, convex mirror, chandeliers, sideboards, bed furniture,
chairs and tables, vases and cellarets, Egyptian furniture, _sofa à la
Clarke_,' and other weighty items. 'Mr. Gullem Waddle, I have brought
you in a small bill for goods delivered for the Cleopatra of Westbourne
Place; and, as you are a true patriot, you can have no possible
objection to the Bill of Wright's.' The dismayed Colonel, keeping his
hands in his pockets, is making a counter-proposal: 'What do you talk
about patriotism? I tell you I have left off practice. D---- the Bill
of Wright's! It is all a mistake about Westbourne Place; you should
have taken it to Gloucester Place--there you would be sure to have had
your money!'

_August 1, 1809._ _The Mistake._ Published by T. Tegg.

_August 1, 1809._ _Wonders, Wonders, Wonders._ Published by T. Tegg.
(101).--Ten figures of 'Natural Curiosities,' designed and etched by
Rowlandson. A certain amount of care is bestowed on the execution
of this plate. The marvels of the age in which the caricature was
published have not, in most cases, become monotonously plentiful in
our own day. As set down by the satirist the ten wonders were the
discoveries of 'A modest woman of quality; a primitive Bishop; a real
maid of five-and-thirty; an exciseman with a conscience; an author with
a second suit of clothes (this fictitious person has been represented
in a most jubilant fashion); a great man of common sense; a woman who
has continued three months a widow; a theatrical hero of modesty and
economy; a complete honest attorney;' and, lastly, 'a man of talents,
wit, and learning possessed of a thousand a year.'

On the close of the Clarke Scandal, which had fitly served the purpose
of the satirist, our caricaturist resumed his series of attacks upon
the more memorable 'disturber of the peace of Europe.'

_August 28, 1809._ _The Rising Sun, or a View of the Continent._
Published by R. Ackermann.--Buonaparte is surrounded by the Continental
Powers; his present occupation is to lull and rock to slumber, in a
cradle, the Russian Bear, muzzled with French promises, and tempted
with 'Turkey wheat.' The Corsican is figuratively and literally sitting
on thorns; the sun of Spain and Portugal is arising on the meridian
with threatening import. Sweden has taken the part of watchguard of
Freedom, and is raising the cap of liberty; a Swedish huzzar is making
a desperate sabre-cut at the too successful general, and sounding a
warning note to the betrayed Muscovite: 'Awake, thou sluggard, ere the
fatal blow is struck, and thou and thine execrable ally sunk to eternal
oblivion.' The Emperor is disturbed by the new light: 'This rising sun
has set me upon thorns.' The Dutchman, with a broken sceptre, is sunk
in a besotted sleep on a cask of 'genuine hollands,' and leaning the
weight of his fat person on his ally, who finds the weight a trifle
crushing. Poland is represented as a shadow; the Prussian eagle is
trussed; and the King, with straw in his hair, and confined in a
strait-waistcoat, is singing mad ditties. Denmark is snuffed out under
an extinguisher; but the Austrian Emperor is once more taking heart
and advancing to the attack, sabre in hand, with dangerous intentions:
'Tyrant, I defy thee and thy cursed crew!'

_September 3, 1809._ _The Pope's Excommunication of Buonaparte, or
Napoleon brought to his last stool._ Published by T. Tegg.--The Pope
and his legates have called on the Emperor, with candle and bell, to
produce an effect. The head of the Church is propped up on 'French
crutches,' and his triple crown is split asunder; he is declaring: 'He
has cracked my crown, overturned my temporal dignities; but I am so
trammelled in these crutches that I cannot follow him as I would wish;
however, my good Lord Cardinals, read him the excommunication--it will
make him tremble on his throne.' The Cardinals proceed to rehearse
the contents of the comminatory scroll; the Emperor, who is holding
an 'Essay on the Church of Rome,' amongst other waste papers, is
returning, unmoved: 'Mercy on me! I never heard anything half so
dreadful. When you have done with that paper, gentlemen, I will thank
you for it!'

_September 4, 1809._ _Song by Commodore Curtis._ _Tune, 'Cease, rude
Boreas.'_ Published by T. Tegg.--The artist has furnished the heading
for a parody setting forth the adventures of the gallant Curtis,
Alderman and Commodore, with the expedition which was sent to assist
our allies the Dutch against the French. Curtis is seated in his
armchair in the cabin of his yacht, a great gold challenge cup, _Speedy
and Soon_, in his grasp, with a turtle laid on its back by his side.
A party of English officers belonging to the expedition have come
on board, and they are making free with his good things; wine and
punch are flowing lavishly. According to the song-writer's version
these gallant warriors, having boarded the Commodore's yacht and made
sad havoc with all his provisions, succeeded, after a three days'
devastation, in eating and drinking all the plentiful supplies laid in
by poor Curtis, until at last he began to dread that they might take
it into their heads to eat him too. Although the worthy cit set out
enthusiastically and filled with valour, his return was somewhat less
heroic:--

    From Ramsgate we set sail for Flushing,
      To aid our friends the Mynheers;
    And for the Scheld our fleet was pushing,
      Resolved to trounce the d----d Monsieurs!

Slightly discomfited, the Commodore sounds a retreat:--

    Now farewell all my hopes of glory,
      Scheld's muddy flood and isles adieu;
    I'll lead the van with the first story,
      And tell the Cockneys something new.
    I'll talk of batteries, bloody sieges,
      Of fizzing bombshells, towns on fire,
    Till my tale the whole town obliges
      My deeds and courage to admire.

_September 14, 1809._ _A Design for a Monument to be erected in
commemoration of the glorious and never-to-be-forgotten Grand
Expedition, so ably planned and executed in the year 1809._ Published
by T. Tegg (107).--The bust of General Chatham, crowned with bulrushes,
is at the head of this satirical memorial; monkeys and frogs are
grouped on either side, 'French monkeys in attitudes of derision,' and
'Dutch frogs smoking their pipes in safety.' The shield represents 'the
immortal William Pitt, Earl of Chatham,' obscured in the clouds. The
supporters of the escutcheon are a 'British seaman in the dumps,' and
'John Bull, somewhat gloomy--but for what it is difficult to guess,
after so glorious an achievement.'

    _The Motto._

    Great Chatham, with one hundred thousand men,
    To Flushing sailed, and then sailed back again.

The fleet is represented sailing homeward under the 'Sun of Glory.' 'A
flying view of the return of the expedition. _O tempora! O mores!_'

_September 24, 1809._ _General Cheathem's marvellous Return from his
Exhibition of Fireworks._ Published by T. Tegg (108).--The General
is returning from the abortive Walcheren Expedition, mounted on a
flying wooden horse, which, like Don Quixote's and other enchanted
steeds, is performing wonders in the way of discharging rockets; on one
side of the General swings a fleet of ships, 'Wooden castles in the
air,' balanced by such empty bladders as the 'Walcheren Expedition,'
'Bereland, plan and fortifications of Flushing,' &c. The glorious
General has taken a pair of Dutch dolls captive, and these are the
chief trophies of his adventure. 'Here I am, my dear Johnny, escaped
from fire, water, plague, pestilence, and famine; my fireworks have
given general satisfaction abroad. I must now couch on a "bed of
roses," and hope when I awake to be rewarded with a pension and dukedom
for brilliant services.' Mr. Bull and his lady are standing on their
own shores, deeply impressed with the General's manoeuvres. Cries
Mrs. Bull, 'Lord, what a man of mettle he is!' John Bull is grasping
his thick stick in a way that looks menacing: 'General Cheathem flying
back, as I foretold, garnished out with drops and Dutch metal. Where
is the ten million of British bullion, you scarecrow? The Sinking Fund
suits your talents better than sinking of ships.' Commodore Curtis,
in his yacht, is sailing away from the 'mortality at Flushing,'
and shouting in great glee: 'A new contract for mouldy biscuits.
Expeditions for ever. Huzza!'

1809. _A Plan for a General Reform._ Published by T. Tegg.

_September 27, 1809._ _This is the House that Jack Built._ (_Old
Price Row at Drury Lane._) Published by T. Tegg.--This cartoon, in
six compartments, is aimed at Kemble's new house, which, from certain
arrangements of the boxes, and other innovations, became the cause of
considerable turbulence--

    These are the Boxes let to the great
    That visit the House that Jack built.

The curtain of the theatre bears the advertisement: 'Grand theatrical
Bagnio, fitted up in the Italian style;' 'Lodgings to let for
the season, or a single night;' 'Roomy pit for parsons, poets,
Presbyterians, Quakers, grumblers,' &c.; 'Boxes for the Cyprian corps,
with snug lobby to ditto;' 'Private accommodations for the Members of
both Houses of Parliament;' '_Boudoirs pour la Noblesse_;' 'Rabbit
hutches, seven shillings each;' 'Humbug gallery, _two shillings_;'
and, chief cause of dissatisfaction, 'Pigeon-holes for the swinish
multitude':--

    These are the pigeon-holes over the Boxes,
    Let to the great that visit the House that Jack built.
    This is the Cat engaged to squall to the poor in the
        pidgeon-holes over the Boxes, let to the great
        that visit the House that Jack built.

Madame Catalini is endeavouring to sing; but the audience, armed with
rattles, post-horns, and other noisy instruments, are raising a regular
uproar:--

    This is John Bull with a bugle-horn,
    That hissed the Cat engaged to squall to the poor, &c.
    This is the Thief-taker,[21] shaven and shorn,
    That took up John Bull, with his bugle-horn, &c.--

The rioters are having a regular stand-up fight outside the theatre, as
well as within. The last verse--

    This is the Manager, full of scorn,
    Who rais'd the price to the people forlorn, &c.,
    And directed the Thief-taker, shaven and shorn, &c.--

introduces the great John Kemble at the foot-lights, haranguing
his unruly audience; the house is represented much as it actually
appeared; the rioters, provided with squirts, bellows, marrow-bones,
cleavers, rattles, cow-horns, and all sorts of rough music, in
short, every instrument of noise that ingenuity could suggest, with
huge streamers, banners, and placards, held out on long poles, &c.,
containing such announcements as 'No theatrical taxation,' 'No
intriguing shop,' 'No annual boxes,' 'No Italian singers,' 'None of
your Jesuitical tricks, you black monk,' 'Be silent, Mr. Kemble's head
_aitches_,' 'Kemble, remember the Dublin tin-man,' 'Dickons for ever,
no Catalini.'

_September 30, 1809._ _A Lump of Impertinence._ Woodward del.,
Rowlandson sc. Published by T. Tegg.--'Who the devil do you stare at?
Get along about your business.'

1809(?). _A Lump of Innocence._ Woodward del., Rowlandson sc.--A florid
beauty, of the fat, fair, forty, and full-blown type, is 'affecting a
modesty, though she has it not;' her eyes are downcast, and a blush
suffuses all over, her cheeks being about the colour of a bumper of
rubicund cognac brandy which she is imbibing, probably with a view to
hide her sensibility: 'Really, gentlemen, if you gaze at me in this
manner you will put me quite to the blush!'

_October 9, 1809._ _Miseries of Human Life._ Published by T. Tegg (257).

1809. _Business and Pleasure._ Published by T. Tegg (292).

_October 24, 1809._ _Preparations for the Jubilee, or Theatricals
Extraordinary._ Published by T. Tegg.--A range of booths occupies the
background of the view; a pole is erected before each of the tents,
displaying a flag and an advertising poster, indicating the nature
of the show provided within. The preparations are being completed,
the workmen are putting the finishing strokes in readiness for
opening. Under the union-jack is _Perceval, Eldon & Co.'s Pic Nic
Entertainments; any port in a storm_. Under 'false colours' is Don
John's booth, announcing, _Set a beggar on horseback, he'll ride to the
devil_, with the _Row, or a fig for John Bull_. Mr. Canning's Booth
advertises _The Double Dealer_, with _The Duellist_. Lord Mulgrave
offers _A Chapter of Accidents_, with _'Tis well 'tis no Worse_. Lord
Castlereagh promises _The Revenge_, with _Who would have thought
it?_ Lord Wellington's booth has _The Wild Goose Chase_, with _The
Wanderer_. Under a huge cocked-hat, as a sign, is General Chatham's
booth, 'Just arrived from Flushing.' A comedy called _Delays and
Blunders_, to which will be added _He will be a Soldier_, is the bill
offered from Holland. Mrs. Clarke's booth presents _A new melodrama_,
called _More Secrets than One_, with _Various Deceptions_; and her
neighbour, Colonel Wardle, promises _Plot and Counter Plot_, with the
farce of the _Upholsterer_.

_October 25, 1809._ _A Bill of Fare for Bond Street Epicures._ Woodward
del., Rowlandson sc. Published by T. Tegg (188).--Six subjects,
representing fair and fashionably-dressed female loungers of the
period, parodied under the several descriptions of _À la Mode Beef_,
_Rump of Beef_, _Breast of Veal_, _Veal Cutlets_, _Baron of Beef_, and
_Pork Sausage_. The figures of these various personages are marked
with spirit, and the respective attributes are conveyed with a certain
humorous appropriateness.

1809. _A Bill of Fare for Bond Street Epicures._ Published by T.
Tegg.--A variation of the subjects published under a similar title, in
which the charms of numerous females are set forth under figurative
titles; the persons of six ladies are displayed in this print, their
personal attractions being grotesquely set off as _Pigs Pettitoes_,
_Scrag of Mutton_, _Leg of Lamb_, _Polony_, _Cod's Head and Shoulders_,
and _Lamb Chop, with Mint Sauce_. (Republished from 1808. Companion to
No. 188. Published October 25, 1809.)

_December 1, 1809._ _Cattle not Insurable._

_Hopes of the Family, or Miss Marrowfat Home for the Holidays._
Published by T. Tegg (No. 293).

_December 12, 1809._ _The Boxes._ Published by T. Rowlandson, 1 James
Street, Adelphi:--

    O woe is me, 't have seen what I have seen;
    Seeing what I see!--SHAKESPEARE.

The artist has given a view of the 'pigeon-holes' at Drury Lane, as the
new gallery in 'the house that Jack built' was derisively christened;
the present plate offers a burlesque representation of the refined
parts of the house, taken possession of by a company more miscellaneous
than select. The 'rabbit-hutches,' at seven shillings, are given up
to owls and deaf people; a narrow row below, in which the space is so
confined that it is impossible for the spectators to stand upright, is
held by Irish cabmen, roughs smoking long clay pipes, &c.; below these,
in the _boudoirs pour la noblesse_, we find the servants of the great,
dramdrinking, hobanobbing, and flirting. The occupants of the rest of
the private boxes are of a ruffianly type; big sticks and publican's
pewter measures are noticeable, besides gentlemen with damaged optics,
and without coats; a great dog, ladies from St. Giles's, and similarly
distinguished members of society. A scene of quarrelling, practical
joking, and general uproar is proceeding below.

_December 23, 1809._ _A Peep at the Gas Lights in Pall Mall._
Woodward del., Rowlandson sc.--The sketch represents a view of the
first thoroughfare where gas was employed to illuminate the streets.
Mr. Ackermann, the publisher, was one of the earliest to light his
Repository with gas, which he manufactured for the purpose, and was at
considerable expense in providing apparatus and making experiments in
improving the process. The sightseers are lost in wonder and admiration
at the novelty of finding gas burning in the streets; the lamps are
arranged in branches of three. A gentleman of fashion is endeavouring
to explain the science of gas-making to an elegant creature on his arm:
'The coals being steamed, produce tar or paint for the outside of
houses; the smoke passing through water is deprived of substance, and
burns as you see.' An Irish visitor, who has, uninvited, been attending
to this lucid explanation, is bursting out with 'Arrah, honey, if this
man brings fire through water we shall soon have the Thames and the
Liffey burnt down, and all the pretty little herrings and whales burnt
to cinders!' Amongst other wondergazers is a country farmer, who is
exclaiming, 'Wauns, what a main pretty light it be! we have nothing
like it in our country.' A Quaker, his companion, is responding, 'Ay,
friend, but it is all vanity; what is this to the inward light?' The
more disreputable members of the community are reflecting that the new
light will expose their depravities and put a stop to their commerce.

_December, 1809._ _Joint Stock Street._ Woodward del., Rowlandson
fecit. Published by T. Tegg (174).--From this satire it seems that a
company-mania must have raged in 1809, suggestive, in its extravagance,
of the days of the South Sea Bubble. In front of the _Hospital for
Incurables_ is a blank wall, covered with advertisements of various
joint-stock enterprises, which are attracting the attention of the
speculative. There is a _Doctors' Company_, offering incalculable
advantages: 'No charge for emetics, &c.; patent coffins provided on the
shortest notice; no surgeons admitted.' '_A Company of Menders_, open
to both sexes; wives to mend their husbands, husbands to mend their
wives, and most particularly, everybody to mend themselves.' _Company
of White-washers. N.B. No lawyers admitted. More advantages; a new
Cabbage and Potatoe Company, warranted genuine; no cooking required,
saves time and trouble._ At the corner of Bubble Alley is the following
tempting notice: _Peter Puff, manufacturer of deal boards without
knots, from genuine sawdust, &c._ And outside a miserable hovel is the
advertisement of _Tim Slashem, barber, and perriwig maker, who has a
company in formation of mowers of beards by a new machine, to shave
sixty men in a minute, to comb, oil, and powder their wigs in the
bargain_.

_December 24, 1809._ _The Bull and Mouth._ Woodward del., Rowlandson
sc. Published by T. Tegg (290).--A corpulent gentleman, wearing a
dressing-gown and nightcap, is yawning and stretching in his armchair.
His huge head and gaping jaws would furnish forth excellently well a
sign for the _Bull and Mouth_. By his side stands a handsome and highly
developed lady, who is taking advantage of the sleepiness of her rude
monster to slip a _billet-doux_ into the hand of a military officer,
who is waiting in the rear.

1809. _A Glee. How shall we Mortals Spend our Hours? In Love! in War!
in Drinking!_ Published by T. Tegg.--Three figures, represented as
seated at table, with all the appointments and accessories incidental
to the brewing of punch, carry out the spirit of the quotation. The
lover, a smart young buck, in top-boots, is rapturously clasping his
hands, after a toast, in inward contemplation of the perfections of
his mistress. An old Commodore illustrates the idea of a life spent in
warfare--although minus an eye and a leg, he is tough and hearty, and
is seemingly content with his pipe and bowl. The brutalising results of
hours devoted to mere bestial intoxication are realised in the person
of a slovenly and imbecile sot.

1809. _Rowlandson's Sketches from Nature._ Drawn and etched by
Rowlandson. Stadler, aquatinta. Published by T. Tegg.

    A View in Camelford, Cornwall                    Sept.  1, 1809.
    The Seat of M. Mitchell, Esq., Hengar, Cornwall  Sept.  1   "
    A Cottage in the Duchy of Cornwall               Sept.  1   "
    Village of St. Udy, Cornwall                     Sept.  1   "
    Fowey, Cornwall                                  Sept. 30   "
    A View near Richmond                              Oct.  4   "
    A View in Devonshire                              Oct.  4   "
    Taunton Vale, Somersetshire                       Nov. 25   "
    View near Newport, Isle of Wight                  Nov. 25   "
    Temple at Strawberry Hill                         Nov. 25   "
    White Lion Inn, Ponders End, Middlesex            Nov. 25   "

STERNE'S 'SENTIMENTAL JOURNEY.'

CALAIS.

_The Coach-yard of Monsieur Dessein's Inn._--'This certainly, fair
lady,' said I, raising her hand up a little lightly as I began, 'must
be one of Fortune's whimsical doings: to take two utter strangers by
their hands--of different sexes, and perhaps from different corners
of the globe--and in one moment place them together in such a cordial
situation as Friendship herself could scarce have achieved for them,
had she projected it for a month.'

'And your reflection upon it shews how much, monsieur, she has
embarrassed you by the adventure.' In saying this she disengaged her
hand with a look which I thought a sufficient commentary upon the text.

The triumphs of a true feminine heart are short upon these
discomfitures. In a very few seconds she laid her hand upon the cuff of
my coat, in order to finish her reply.

       *       *       *       *       *

I fear, in this interval, I must have made some slight efforts towards
a closer compression of her hand, from a subtle sensation I felt in the
palm of my own--not as if she was going to withdraw hers, but as if she
thought about it--and I had infallibly lost it a second time, had not
instinct more than reason directed me to the last resource in these
dangers--to hold it loosely, and in a manner as if I was every moment
going to release it of myself; so she let it continue, till Monsieur
Dessein returned with the key; and in the meantime I set myself to
consider how I should undo the ill impressions which the poor monk's
story, in case he had told it her, must have planted in her breast
against me.

[Illustration: YORICK AND FATHER LORENZO.]

_The Snuffbox._--The good old monk was within six paces of us, as the
idea of them crossed my mind, and was advancing towards us a little
out of the line, as if uncertain whether he should break in upon us or
no. He stopped, however, as soon as he came up to us, with a world of
frankness; and having a horn snuffbox in his hand, he presented it,
open, to me. 'You shall taste mine,' said I, pulling out my box (which
was a small tortoiseshell one), and putting it into his hand. ''Tis
most excellent,' said the monk. 'Then do me the favour,' I replied,
'to accept of the box and all; and, when you take a pinch out of it,
sometimes recollect it was the peace offering of a man who once used
you unkindly, but not from his heart.'

The poor monk blushed as red as scarlet. '_Mon Dieu!_' said he,
pressing his hands together, 'you never used me unkindly.' 'I should
think,' said the lady, 'he is not likely.' I blushed in my turn, but
from what movements I leave to the few who feel to analyse. 'Excuse
me, madame,' replied I, 'I treated him most unkindly, and from no
provocations.' ''Tis impossible,' said the lady. 'My God!' cried the
monk, with a warmth of asseveration which seemed not to belong to him,
'the fault was in me, and in the indiscretion of my zeal.' The lady
opposed it, and I joined with her in maintaining it was impossible that
a spirit so regulated as his could give offence to any.

I knew not that contention could be rendered so sweet and pleasurable a
thing to the nerves as I then felt it. We remained silent, without any
sensations of that foolish pain which takes place when in such a circle
you look for ten minutes in one another's faces without saying a word.
Whilst this lasted, the monk rubbed his horn box upon the sleeve of his
tunic; and as soon as it had acquired a little air of brightness by
the friction, he made a low bow and said 'twas too late to say whether
it was the weakness or goodness of our tempers which had involved us
in this contest; but be it as it would, he begged we might exchange
boxes. In saying this he presented his to me with one hand as he took
mine from me in the other, and having kissed it, with a stream of good
nature in his eyes, he put it into his bosom--and took his leave.

I guard this box, as I would the instrumental parts of my religion,
to help my mind on to something better: in truth, I seldom go abroad
without it; and oft and many a time have I called up by it the
courteous spirit of its owner to regulate my own, in the jostlings of
the world: they had found full employment for his, as I learnt from
his story, till about the forty-fifth year of his age, when, upon
some military services ill requited, and meeting at the same time a
disappointment in the tenderest of passions, he abandoned the sword and
the sex together, and took sanctuary, not so much in his convent as in
himself.

I feel a damp upon my spirits as I am going to add, that in my last
return through Calais, upon enquiring after Father Lorenzo, I heard he
had been dead near three months, and was buried, not in his convent,
but, according to his desire, in a little cemetery belonging to it,
about two leagues off. I had a strong desire to see where they had
laid him--when, upon pulling out his little horn box, as I sat by his
grave, and plucking up a nettle or two at the head of it, which had no
business to grow there, they all struck together so forcibly upon my
affections, that I burst into a flood of tears. But I am as weak as a
woman; and I beg the world not to smile, but pity me.

MONTRIUL.

_The Bidet._--When all is ready, and every article is disputed and paid
for in the inn, unless you are a little soured by the adventure, there
is always a matter to compound at the door, before you can get into
your chaise; and that is with the sons and daughters of poverty, who
surround you. Let no man say, 'Let them go to the devil'--'tis a cruel
journey to send a few miserables, and they have had sufferings enow
without it. I always find it better to take a few sous out in my hand;
and I would counsel every gentle traveller to do so likewise: he need
not be so exact in setting down his motives for giving them--they will
be registered elsewhere.

       *       *       *       *       *

Having settled all these small matters, I got into my postchaise with
more ease than ever I got into a postchaise in my life; and La Fleur
having got one large jack-boot on the far side of a little _bidet_
(post-horse), and another on this (for I count nothing of his legs), he
cantered away before me, as happy and as perpendicular as a prince.

But what is happiness! What is grandeur in this painted scene of life!
A dead ass, before we had got a league, put a stop to La Fleur's
career--his _bidet_ would not pass it; a contention arose betwixt them,
and the poor fellow was kicked out of his jack-boots the very first
kick.

La Fleur bore his fall like a French Christian, saying neither more or
less upon it than _Diable!_ so presently got up and came to the charge
again--then this way--then that way: and, in short, every way but by
the dead ass. La Fleur insisted upon the thing--and the _bidet_ threw
him.

'What's the matter, La Fleur,' said I, 'with this _bidet_ of thine?'
'_Monsieur_,' said he, '_c'est un cheval le plus opiniatre du monde_.'
'Nay, if he is a conceited beast, he must go his own way,' replied I.
So La Fleur got off him, and giving him a good sound lash, the _bidet_
took me at my word, and away he scampered back to Montriul. '_Peste!_'
said La Fleur.

       *       *       *       *       *

_Le Diable!_ which is the first and positive degree, is generally used
for ordinary emotions of the mind, where small things only fall out
contrary to your expectation, such as--the throwing one's doublets--La
Fleur's being kicked off his horse, and so forth--cuckoldom, for the
same reason, is always--_Le Diable!_

But in cases where the cast has something provoking in it, as in that
of the _bidet's_ running away after--and leaving La Fleur aground in
jack-boots--'tis the second degree. 'Tis then _Peste!_

As there was no hunting down a frightened horse in jack-boots, there
remained no alternative but taking La Fleur either behind the chaise or
into it.

I preferred the latter, and in half an hour we got to the post-house at
Namport.

NAMPORT.

_The Dead Ass._--'And this,' said he, putting the remains of a crust
into his wallet, 'and this should have been thy portion,' said he,
'had'st thou been alive to have shared it with me.' I thought by the
accent it had been an apostrophe to his child; but it was to his ass,
and to the very ass we had seen dead in the road, which had occasioned
La Fleur's misadventure. The man seemed to lament it much; and it
instantly brought into my mind Sancho's lamentation for his; but he did
it with more true touches of nature.

The mourner was sitting upon a stone bench at the door, with the
ass's pannel and its bridle on one side, which he took up from time
to time--then laid them down--looked at them, and shook his head. He
then took his crust of bread out of his wallet again, as if to eat it;
held it some time in his hand, then laid it upon the bit of his ass's
bridle--looked wistfully at the little arrangement he had made, and
then gave a sigh.

The simplicity of his grief drew numbers about him, and La Fleur among
the rest, whilst the horses were getting ready; as I continued sitting
in the postchaise, I could see and hear over their heads.

[Illustration: LA FLEUR AND THE DEAD ASS.]

He said he had come last from Spain, where he had been from the
farthest borders of Franconia, and had got so far on his return home,
when his ass died. Everyone seemed desirous to know what business could
have taken so old and poor a man so far a journey from his own home.

It had pleased heaven, he said, to bless him with three sons, the
finest lads in Germany; but having, in one week, lost two of them by
the smallpox, and the youngest falling ill of the distemper, he was
afraid of being bereft of them all; and made a vow, if heaven would
not take him from him also, he would go, in gratitude, to St. Jago, in
Spain.

When the mourner got thus far in his story he stopped to pay Nature her
tribute, and wept bitterly.

He said heaven had accepted the conditions, and that he had set out
from his cottage with this poor creature, who had been a patient
partner of his journey--that it had eat the same bread with him all
the way and was unto him as a friend. Everybody who stood about heard
the poor fellow with concern. La Fleur offered him money. The mourner
said he did not want it--it was not the value of the ass, but the loss
of him. The ass, he said, he was assured loved him--and upon this told
them a long story of mischance upon their passage over the Pyrenean
mountains, which had separated them from each other three days: during
which time the ass had sought him as much as he had sought the ass, and
that they had neither scarce eat or drank till they met.

'Thou hast one comfort, friend,' said I, 'at least in the loss of thy
poor beast: I am sure thou hast been a merciful master to him.' 'Alas!'
said the mourner, 'I thought so when he was alive, but now he is dead
I think otherwise. I fear the weight of myself and my afflictions
together have been too much for him--they have shortened the poor
creature's days, and I fear I have them to answer for.' 'Shame on the
world!' said I to myself, 'did we love each other as this poor soul but
loved his ass, 'twould be something.'

1809. _Butler's Hudibras_, in three parts, written in the time of the
late wars, corrected and amended, with large annotations and preface,
by Zachary Grey, LL.D. Embellished with engravings by T. Rowlandson,
Esq. London: Printed for T. Tegg, 111 Cheapside. W. Hogarth, inv.;
Rowlandson, sc.

    1. Frontispiece. Hudibras and Ralpho in the Stocks.

    2. Setting out.

        Then did Sir Knight abandon dwelling,
        And out he rode a-colonelling.

    3. The Battle.

        The scatter'd rout return and rally,
        Surround the place; the Knight does sally,
        And is made pris'ner.

    4. The Knight and Ralpho consult the Gymnosophist.

        The Knight with various doubt posses't
        To win the lady goes in quest
        Of Sidrophel, the Rosy-Crucian,
        To know the Dest'nies' resolution;
        With whom b'ing met, they both chop logic
        About the science astrologic;
        'Till falling from dispute to fight,
        The conj'rer's worsted by the Knight.

    5. Sidrophel and Whacum consulting the firmament.

        This said, he to his engine flew,
        Plac'd near at hand in open view,
        And rais'd it 'till it levell'd right
        Against the glowworm tail of Kite,
        Then peeping thro', Bless us (quoth he)
        It is a planet, now I see,
        And, if I err not, by his proper
        Figure, that's like tobacco stopper,
        It should be Saturn.

1809. _Surprising Adventures Of the Renowned Baron Munchausen._
Containing singular travels, campaigns, voyages, and adventures.
Embellished with numerous engravings by T. Rowlandson. London: Printed
for T. Tegg, 111 Cheapside.

Frontispiece.--Baron Munchausen's extraordinary flight on the back
of an eagle, and supported by a second eagle, from Margate over the
continents of Europe, South and North America, the Polar regions, and
back to Margate, within thirty-six hours.

The Baron arrives at Ceylon, combats and conquers two extraordinary
opponents (a lion and a crocodile).

The snow having melted, the Baron discovers his horse in the air,
secured by the bridle to the church steeple; the Baron proves himself a
good shot, cuts the bridle in two, and resumes his journey.

Is presented with a famous horse by Count Przolossky, with which he
performs many extraordinary feats; the horse is cut in two by the
portcullis of Oczakow, which the Baron only discovers when he leads his
spirited steed to drink at the fountain, and the water flows out at the
rear of the severed half.

Bathes in the Mediterranean, is swallowed by a fish, from which he is
extricated by dancing a hornpipe.

The Baron jumps into the sea with a Turkish piece of ordnance on his
shoulders (which fires a marble ball of three hundred pounds weight)
and swims across the Simois.

The ship, driven by a whirlwind, a thousand leagues above the surface
of the waters; the Baron discovers the inhabitants of the moon, with
some traders from the Dog Star.

Travelling in the South Sea they lose their compass; their ship slips
between the teeth of a fish unknown in this part of the world.

The Baron crosses the Thames without the assistance of a bridge,
ship, boat, balloon, or even his own will; being blown out of one
of the Tower guns in which he had fallen asleep, and the cannon is
unexpectedly fired to celebrate an anniversary.

1809. _The Beauties of Sterne_; comprising his humorous and descriptive
_Tales, Letters, &c._ Embellished by caricatures by Rowlandson, from
original drawings by Newton. Published by T. Tegg, Cheapside.

Frontispiece. The Dance at Amiens, &c.

1809. _Poetical Magazine._ Dedicated to the lovers of the Muse by the
Agent of the goddess, R. Ackermann. Published November 1, 1809, at R.
Ackermann's Repository of Arts, 101 Strand.

Introduction to _The Schoolmasters Tour_. Vol. 1.--'In the Tour, with
the first part of which we here present our readers, the author carries
his hero through a great variety of whimsical adventures, to the Lakes
and back again. As tours are a fashionable article in the literature of
the present day, we trust that the poetical peregrinations of Doctor
Syntax will come in for some share, at least, of the public applause,
to which we conceive it to be entitled. The lovers of humour will
not be displeased to be informed that it will be accompanied with a
considerable number of illustrative engravings.'

[Illustration: THE MANSION HOUSE MONITOR.]


               CARICATURES SUPPLIED BY ROWLANDSON TO THE
                         _POETICAL MAGAZINE_.

                               VOLUME I.

1. Doctor Syntax setting out on his Tour to the Lakes     May 1, 1809.

2. The Mansion House Monitor                              June 1   "

3. Doctor Syntax losing his way                           June 1   "

4. Doctor Syntax stopped by Highwaymen                    June 1   "

6. Doctor Syntax bound to a Tree by Highwaymen            July 1   "

8. Doctor Syntax disputing his Bill with the Landlady     Aug. 1   "

   The Last Drop. A Woodcut. (Death striking the Drinker).
     (See _April 5, 1811_)                                Aug. 1   "

10. Doctor Syntax copying the wit on the Window           Sept. 1  "

12. Doctor Syntax entertained at College                  Oct. 1   "

13. Doctor Syntax pursued by a Bull                       Oct. 1   "

                              VOLUME II.

2. Doctor Syntax mistakes a gentleman's house for an Inn  Nov. 1   "

4. Doctor Syntax meditating on the Tombstone              Dec. 1   "

5. An illustration to 'Edwin and Matilda, or the Beach King.'
   A legendary tale, in four cantos                       Dec. 1   "

The Baron addressing the Harpists at the banquet to Earl Edwin:--

    'Cease, caitiffs! nor further insult with your noise
      The ears of our noble young guest.
  Hence, away! and bear with you those coarse thrumming toys!'
      The minstrels departed,--when, raising his voice,
      The Baron Earl Edwin address'd.

6. Doctor Syntax tumbling into the Water                  Jan. 1, 1810.

7. Illustration to 'Edwin and Matilda'                    Jan. 1   "
   The Beach King discovering himself to Matilda:--

    A truncheon of coral he grasp'd in his hand,
    Which, tho' pond'rous, with ease he could swing:
    Thus array'd was the monster so fear'd thro' the land;
    Thus horribly form'd, by Matilda did stand
    The mighty, enormous Beach King.

8. Doctor Syntax losing his money on the Raceground at
   York                                                   Feb. 1, 1810.

10. Doctor Syntax at a Review                             March 1   "

12. Doctor Syntax with my Lord                            April 1   "

13. Doctor Syntax made free of the Cellar                 April 1   "


                              VOLUME III.

1. Doctor Syntax sketching the Lake                       May 1    "

3. Doctor Syntax sketching after Nature                   June 1   "

5. Doctor Syntax robbed of his Property                   July 1   "

7. Doctor Syntax sells Grizzle                            Aug. 1   "

9. Doctor Syntax and Rural Sports                         Sept. 1  "

11. Doctor Syntax and the Dairymaid                       Oct. 1   "

                              VOLUME IV.

1. Doctor Syntax at Liverpool                             Nov. 1   "

3. Doctor Syntax reading his Tour                         Dec. 1   "

5. Doctor Syntax Preaching                                Jan. 1, 1811.

7. Doctor Syntax and the Bookseller                       Feb. 1   "

9. Doctor Syntax at Covent Garden                         March 1  "

11. Doctor Syntax returned from his Tour                  April 1  "

13. Doctor Syntax taking possession of his Living         May 1    "

The intermediate plates are landscapes, after anonymous artists,
engraved in aquatint by Hassell and others.

1809. Beresford (James). _An Antidote to the Miseries of Human Life._
8vo.

1809. _Rowlandson's Sketches from Nature._ Twelve views, drawn and
etched by T. Rowlandson. Aquatinted by Stadler.

1809. _The Art of Ingeniously Tormenting._ Republished by Tegg. Plates
by Woodward. 12mo.

1809. _Annals of Sporting._ By Caleb Quizem, Esq., and his various
Correspondents. Published by T. Tegg.

    The Courtier is thrown in pursuit of his game,
      The Poet's too often laid low,
    Who, mounted on Pegasus, rides after Fame,
      With 'Hark forward! Huzza! Tally-ho!'

1809. _The Trial of the Duke of York._ In 2 volumes. Published by T.
Tegg.

1809. _Annals of Sporting._ By Caleb Quizem. Republished by Tegg.
Plates by Woodward. 12mo.

Frontispiece. _The Bucephalus Riding Academy for Grown Gentlemen._ H.
Bunbury del., Rowlandson sc.

Titlepage. Vignette; the Author thrown from his Pegasus. Designed and
etched by T. Rowlandson.

Introduction. _Caleb Quizem, Esq._ Woodward del., Rowlandson sc.

_The Maid of Mim._

_Hounds._--1. Rugged and Tough. The Lion Hound. 2. The Black Straddler.
The Short-legg'd Stag Hound. Woodward del., Rowlandson sc.

_Game Wigs._--1. A Long Bob. A Short Bob. A Black Scratch. A Physical
Tie. A Sir Cloudesley Shovel. A Three Tier. 2. A Cauliflower. A Full
Bottom. A Short Queue. A Long Queue. A Rose Bag. A Full Bag.

Costume of Hog's Norton.--1. A back-front view of Miss Dickinson's New
Dress. 2. The Morning Dress of a Lady and Gentleman of Hog's Norton.

Fashionable Furniture at Hog's Norton.--1. Chimney Ornaments. Improved
Trencher. Hogs Norton Recess. Fashionable Looking-glass. Fashionable
Clock. 2. The Stocking Sweep. Colonnade of Streets. Fashionable Table.
Cobweb Frieze. Sarcophagus, Cellaret, Coal-scuttle. Fashionable Chair.

How a Man may Shoot his own Wig.

The Bailiff's Hunt:--

    1. Going out in the Morning.
    2. In Full Scent.
    3. Breaking Cover.
    4. The Pursuit.
    5. At Fault.
    6. The Second Escape.
    7. Double and Squat.
    8. The Seizure.

_The True Method of Sitting a Horse, Mathematically Delineated._

1. Mathematical Horsemanship.--Mr. Ralph Marrowbone, forming an obtuse
angle. 2. Tom Timorous, forming an acute angle. 3. Dickey Diaper,
forming a right angle. 4. Mr. Robert Rasp, letting fall a perpendicular
from his saddle. 5. Mr. Benjamin Buckskin and his horse performing
their evolutions within the circumference of a circle.

How to Vault from the Saddle.

1809. _Advice to Sportsmen_, selected from the notes of Marmaduke
Markwell. Republished by Tegg. Plates by Woodward, 12mo.

1809. _Advice to Sportsmen_, rural or metropolitan, noviciates or
grown persons; with anecdotes of the most renowned shots of the day,
exemplified from life, including recommendatory hints on the choice of
guns, dogs, and sporting paraphernalia. Also characters, costume, and
correspondence. Selected from the original notes of Marmaduke Markwell,
Esq., with sixteen illustrations by Thomas Rowlandson:--

    But a bold pheasantry, their country's pride,
    When once destroyed, can never be supplied.

'_Dedication._--To the most enlightened Sportsman in the metropolis of
the British Empire; equally keen in pursuit of the hare, the haunch,
the partridge, pheasant, woodcock, wild fowl, black or red game;
devourer of the amphibious turtle, and terror of the Dutch; dead shot
at a patriot; a marksman whose brilliant and sporting elocution can
start a _Jubilee_ in the worst of times, whose merry jokes can create
sport, and are the cause of sport to others: To Sir William Curtis,
Bart., M.P. &c., &c., &c., these effusions of a City Sportsman are with
all respect inscribed by his most devoted and obedient servant,

                                                   'MARMADUKE MARKWELL.
                                  'Turn-again Lane, September 1, 1809.'

  _Frontispiece._ The Cockney's first attempt at shooting flying.

  _Illustrations._ Rat-hunting.
  How to twist your neck.
  Night.
  Noon.
  Morning.
  The dangerous consequences of sporting.
  Miss Spitfire's encounter.
  Advantage of coupling sporting dogs.
  Finishing a gamekeeper.
  How to come in at the death.
  How to cool your courage.
  A duck hunt in Bartholomew Lane.
  Neck or nothing.
  A shooting parson or pot-hunter.
  Evening.

1809. _The Pleasures of Human Life._ By Hilari Benevolus & Co., with
five plates by Rowlandson, &c. Published by Longmans.

1809. _The Pleasures of Human Life._ Investigated cheerfully,
elucidated satirically, promulgated explicitly, and discussed
philosophically, in a dozen dissertations on male, female, and neuter
pleasures. Interspersed with various anecdotes and expounded by
numerous annotations by Hilari Benevolus & Co. (Fellow of the London
Literary Society of Lusorits). (Mottoes from Milton, Dibdin, and Peter
Pindar.) Embellished with five illustrations and two headpieces.
London: Longmans & Co. Crown 8vo.

Front engraved by W. Bond, after W. Satchwell. Physiognomical vignette
on title-page engraved by W. Bond, from _Bell's Anatomy of Expression_.

Of Rowlandson's illustrations the author observes, in his preface:
'The five illustrative commendatory etchings do not require any verbal
explanation.'

Five prints by Rowlandson:--

    1. Christopher Crabtree in the Suds. 2. Mr. Ego's marvellous
       Story.
    3. Connoisseurs, or Portrait Collectors!

(The 'collector' in question is slily pocketing a print while the
shopman's attention is diverted.)

    4. A Brace of Full-grown Puppies, or my Dog and me.
    5. Pleasures of Bond Street, or Fashionable Driving.

1809. T. Smollett: _Miscellaneous Works_. Twenty-six illustrations by
Rowlandson. 5 vols. 8vo. Edinburgh.

1809. _Gambado. An Academy for Grown Horsemen, &c._ 8vo. Published by
T. Tegg. (See 1808.)

1809. _Beauties of Tom Brown._ Frontispiece and illustrations by T.
Rowlandson. Published by T. Tegg. 12 mo.

1809. _Views in Cornwall, Devon, Somerset, Isle of Wight, &c._

1809. _Scandal: Investigation of the Charges brought against H.R.H. the
Duke of York by G. L. Wardle, Esq., M.P. for Devon, with the Evidence
and Remarks of the Members._ Containing fourteen scarce portraits by
Rowlandson, amongst which are Mrs. M. A. Clarke, Sir F. Burdett, Duke
of York, Colonel Wardle, &c. 2 vols., 12mo.

FOOTNOTES:

[10] Mary Moser, the lively lady Royal Academician, and famous
flower-painter, writing to Mrs. Lloyd, the first wife of the gentleman
she subsequently honoured with her hand, conveys the following account
of the reigning mode in town, to her friend in the country: 'Come to
London and admire our plumes; we sweep the sky! a duchess wears six
feathers, a lady four, and every milk-maid one at each corner of her
cap! Your mamma desired me to inquire the name of something she had
seen in the windows in Tavistock Street; it seems _she_ was afraid to
ask; but _I_ took courage, and they told me they were _rattle-snake
tippets_; however, notwithstanding their frightful name, they are not
unlike a _beaufong_, only the quills are made stiff, and springy in the
starching. Fashion is grown a monster! pray tell your operator that
your hair must measure just three quarters of a yard from the extremity
of one wing to the other.'

[11] 'Eighteen years before the date of the investigation (February
1809), Mrs. Clarke, then being about fourteen years of age, resided
with her mother and step-father in Black Raven Passage, Cursitor
Street. She was a very pretty, sprightly, gaily-disposed girl, being
very fond of showing herself, and attracting attention. At this time
Mr. Joseph Clarke, son of a respectable builder on Snow Hill (his
father was the "great contractor" of his day, and a _man reputed to
be enormously rich_) became enamoured of Miss Thompson, who readily
received his addresses. She eloped with him, and they lived together
about three years, when he married her. She conducted herself with
propriety, and they lived together decently several years; in the
course of which she bore him several children, four of whom are
alive.'--_Gentleman's Magazine_, February, 1809.

[12] The name of Mrs. Clarke's father was Thompson, and he, it appears,
was a master printer of some respectability, residing in Bowl and
Pin Alley, near White's Alley, Chancery Lane, where Miss Thompson
was ushered into the world, as Sterne has it, with 'squalls of
disapprobation at the journey she was compelled to perform.'

Upon the death of Mr. Thompson, his widow married a Mr. Farquhar,
who was engaged as a compositor in the printing house of Mr. Hughes.
Miss Thompson was occasionally employed in reading copy to the person
engaged as corrector of the press, in which situation she soon
attracted the notice of the son of the overseer, who, recognising
her abilities, had her placed at a boarding school at Ham, where the
young lady, whose 'capacity for elegant improvements' was, if we
trust her biographers, of an advanced order, soon acquired ornamental
accomplishments; and, from the natural quickness of her parts, she
returned, after an absence of two years, so completely altered in her
ideas that she thought proper to despise and treat with coldness the
attentions of Mr. Day, the well-meaning young gentleman who had been at
the charge of finishing her education, it is said, with the view to a
future union with this sprightly and promising female prodigy.

Her biographers have hinted at least one flirtation, possibly of a
harmless description, before she arrived at the age of seventeen, when
she threw in her future with Mr. Joseph Clarke, the hopeful son of a
wealthy builder and contractor in Snow Hill. After a union of many
years, during which she had experienced various vicissitudes, we find
that the misconduct of her husband, who seems, on the whole--from
the accounts of some of his contemporaries--to have done his best to
deserve the treatment he received, although there are two sides to
this story, determined the fascinating Mary Ann to trust to her own
resources for support.

During her tenure of the 'neutral territory,' the name of more than one
gentleman of gallant reputation and of rank was coupled with her own;
but passing over the list of her admirers, we must mention a certain
Mr. Dowler (whose name occurred frequently during the investigation),
who seems to have had more faithful regard for the lady than her
other doubtful lights of love. Mrs. Clarke further became ambitious
of shining on a larger scale, and she had the honour of appearing on
the boards of the Haymarket Theatre in the character of Portia. Great
praise was awarded her performance; her natural abilities, with a
certain vivacity, added to a well modulated voice and graceful action,
were sufficient to qualify her for a successful actress; but she
felt that her proper stage was the world, and she merely secured her
introduction to the histrionic profession as an experiment towards
promoting the foundation of her future fortunes, and her object in
this regard seems to have been secured and her plans were successfully
realised.

[13] _Minutes of Evidence_; and _Annual Register_, 1809.

[14] Mr. Burton's defence. _Minutes of Evidence._

[15] _Gentleman's Magazine._

[16] Colonel Wardle had promised, or clearly given it to be understood
by Mrs. Clarke, that he would furnish a house for her at Westbourne
Place, in part payment for her services in the prosecution of the Duke
of York. Colonel Wardle, afterwards finding it convenient to deny
that he had come under any such obligation, was sued at law by an
upholsterer who had furnished the house; and, on the evidence of Mrs.
Clarke and the upholsterer's brother, obliged to pay about 2000_l._,
with costs. The day after judgment was given in this cause, Colonel
Wardle published, in several newspapers, a note addressed to the people
of the three kingdoms, declaring before God and his country that a
verdict had been obtained against him only through perjury. During the
progress of the trial, the colonel had written to his men of law again
and again, desiring that Major Dodd, Mr. James Glennie, heretofore of
the corps of engineers, and other respectable witnesses, should be
examined; but the lawyers thought this unnecessary. The evidence of
Mrs. Clarke, and of the brother of the upholsterer, on oath, would be
overthrown by that of the respectable witnesses whom he had to bring
forward on a second trial for which he had made application. But if so,
what is to be thought of the evidence of Mrs. Clarke against the Duke
of York?--_Annual Register_, 1809.

[17] March 23, 1809.--The Speaker put the question: 'That it is the
opinion of this House that General Clavering in the said evidence is
guilty of prevarication,' which was agreed to without a division; and
General Clavering was ordered to be forthwith taken into the custody of
the Serjeant-at-Arms.

March 24.--The Serjeant-at-Arms, having reported that General Clavering
was in custody, Mr. W. Wynne moved, 'That, for his prevarication before
the Committee of the whole House, General Clavering be now committed to
Newgate, and the speaker do issue his warrant accordingly;' which was
agreed to.

March 27.--Mr. Fane presented a petition from Captain Sandon, which,
after stating his services in the army for upwards of thirty years in
various parts of the globe, concludes with apologising for his conduct
at the Bar of that House, by attributing it to the hardships he had
recently undergone in Spain, combined with an injury sustained on the
brain some time since, and the novelty of his situation when called on
to give evidence.

March 28.--On the motion of Mr. Fane, Captain Huxley Sandon was called
to the Bar; and, after a very impressive reprimand from Mr. Speaker,
was ordered to be discharged out of custody on paying the fees.

[18] Sometimes the word 'York' is erased from the plate 'Transforming a
Footboy into a Captain.'

[19] During the Parliamentary enquiry Mrs. Clarke appeared at the Bar
of the House dressed in a pelisse and skirt of light blue silk, trimmed
with white fur, with a white muff, and wearing a hat and veil of white,
the latter turned up to show her face. Her features are described as
more pleasing than handsome, according to recognised standards of
regular types of countenance. Her complexion was remarkably clear and
animated; and her eyes, which were blue, were large and full of light
and vivacity. She was somewhat small in stature, her figure was well
turned; and as her arms were much admired for their shapely form, she
was partial to attitudes which showed them off to advantage.

[20] The Duke of York was reinstated in the office of
Commander-in-Chief, May 26, 1811.

[21] Townshend, the Bow Street Runner.



1810.


_March 30, 1810._ _The Winding up of the Medical Report of the
Walcheren Expedition._--The members of the Medical Board are standing
in the stocks; on the green, in front of the sign of _The Goose_,
which is surrounded with stores for the Walcheren Expedition, are
laid the bodies of various sufferers, 'sent home for inspection.' The
nature of the stores is somewhat exceptional. A case of champagne,
marked 'Chelsea Hospital,' innumerable barrels of port and claret,
marked 'T.K., for the hospital and for home consumption.' Barrels of
porter, bales of cobwebs, and oak bark, 'charms for the cure of agues,'
tincture of arsenic, and bottles of gin.

_April 12, 1810._ _Libel Hunters on the Look-out, or Daily Examiners
of the Liberty of the Press._ Published by T. Tegg (4).--A committee
of the _Rotten Borough Society, established in 1810_ (Gibery Vixe,
president; Leatherbreech, vice), is met to consider the licence of
the press, to bring all their faculties to bear for the detection of
any lurking evidences of libel or treason. The President is reading
aloud, with the assistance of a magnifying glass to enlarge any
suspicious paragraphs; the members of the committee are all on the
_qui vive_ to note any libellous allusions. Cobbett's _Register_ is
under examination, _Magna Charta_ is trodden under foot, and the _Bill
of Rights_ is thrown on one side. From the papers pasted as memoranda
on the wall we are informed that 'Sir Francis Burdett is committed to
the Tower;' that '_The Morning Chronicle_ knows no bounds and must be
checked;' that 'Enquiries into the expedition to Walcheren be voted
treasonable;' 'That the _Statesman_ must beware,' and 'A watchful eye
be kept on the _Examiner_;' A 'Black list of those who vote in the
minority,' &c.; 'A view of the Tower,' and 'Instructions to the Keeper
of Newgate,' are among the notices put up for attention.

_April 20, 1810._ _A New Tap Wanted._ Published by T. Tegg.

[Illustration: A NEW TAP WANTED.]

_April 26, 1810._ _The Boroughmongers Strangled in the Tower._ Tegg's
caricatures (8).--Sir Francis Burdett, while confined within the
Tower, is signalising his prowess by the slaughter of a brace of the
'Caterpillars of the State;' like the infant Hercules, he is taking
the dealers in corruption by the neck and throttling them. One of
the beefeaters is enjoying the spectacle, crying, 'Bless him, I say;
he's a rum un.' Over the portcullis of the Tower gate is an escutcheon
representing the 'British Lion roused.' On one side of the postern is
an apposite quotation from Shakespeare:--

                            This dear, dear land--
    Dear for her reputation through the world--
    Is now leas'd out ...
    Like to a tenement, or pelting farm;
    England, bound in with the triumphant sea,
    Whose rocky shore beats back the envious siege
    Of watery Neptune, is now bound in with shame,
    With inky blots, and rotten parchment bonds.'--_Richard II._

An extract from the Liberal Baronet's own speech is posted on the other
side:--

  From this foul and traitorous traffic our Boroughmonger Sovereigns
  derive an immense revenue, cruelly wrung from the hard hand of
  honest labour. I do, however, now entertain an ardent hope that
  this degraded and degrading system, to which all our difficulties,
  grievances, and dangers are owing, will at length give way to the
  moderate but determined perseverance of a whole united people.--SIR
  FRANCIS BURDETT.

One of the boroughmongering crew is already demolished; by his side,
on the ground, are two money-bags, 'Rapine,' and 'Drainings from the
hard hand of the industrious poor.' Of the twin wretches who are being
strangled without mercy at the hands of Sir Francis Burdett one has
in his pocket 'Barrow (borough?), in Cornwall, bought and sold; apply
to----;' two money-bags, 'Extortion money,' and 'Bribery and Corruption
bag,' are dropping from his hands; while in the pocket of the other
nefarious agent may be seen 'Rotten borough to be disposed of.'

_May 1, 1810._ _Views of the Colleges. Front View of Christ Church,
Oxford._

_May, 1810._ _Emmanuel College Garden, Cambridge._

_May, 1810._ _Emmanuel College, Cambridge._ (A nobleman presenting
busts.) Published by R. Ackermann.

_May, 1810._ _St. Mary's Church. Radcliffe Library._ Published by R.
Ackermann.

_May, 1810._ _Inside of the Public Library, Cambridge._ Published by R.
Ackermann.

'Rowlandson's views in Oxford and Cambridge, 1810, deserve notice for
the slight and pleasing manner with which he has characterised the
architecture of the places mentioned; but it is impossible to surpass
the originality of his figures. The dance of students and _filles de
joie_ before Christ Church College is highly humorous, and the enraged
tutors grin with anger peculiar to this artist's pencil. The professors
in the view of the Observatory at Oxford are made as ugly as baboons,
and yet the profundity of knowledge they possess is conspicuous at the
first glance, and we should know them to be Masters of Arts without the
aid of a background. The scene in Emmanuel College garden, Cambridge,
exhibits the learned in a state of relaxation; several handsome lasses
remove apples from a tree, and the indolent curiosity with which they
are viewed by these sons of ease is very characteristic.'--_Malcolm's
'History of Caricature.'_

[Illustration: FRONT VIEW OF CHRIST CHURCH, OXFORD.]

_May 5, 1810._ _A Bait for Kiddies on the North Road, or that's your
sort--prime, bang up to the mark._ Tegg's caricatures (12).--The
widow Casey's hotel offers 'genteel accommodation' on the road to 'York
Races.' The prudent widow has supplemented the attractions of her house
by engaging a handsome and buxom maid, who is attached to the inn as a
decoy for the 'sprigs of fashion' who may happen to be driving on the
North Road. The charioteer of a four-in-hand, a 'dashing blade,' made
up in correct coaching style--voluminous necktie, coat down to his
heels, and capes innumerable--has called for a bowl of punch, and is
standing in the doorway, stroking the redundantly developed waitress
under the chin.

[Illustration: KISSING FOR LOVE.]

_May 10, 1810._ _Kissing for Love, or Captain Careless shot flying by a
girl of fifteen, who unexpectedly put her head out of a casement._

_May 10, 1810._ _Easterly Winds, or Scudding under Bare Poles._
Published by T. Tegg (2).--One of the landing stairs on the river. A
gale is blowing, and the boats are dancing about. The watermen are
pulling a skiff to the stairs; at the same moment a breeze is blowing
off a parson's wig and hat, and carrying away his fair companion's
parasol, bonnet, &c. The landing steps show a succession of disasters,
an ascending flight of hats, caps, and wigs, of which the astonished
wearers are suddenly denuded.

_May 15, 1810._ _Three Weeks after Marriage, or the Great Little
Emperor Playing at Bo-peep._ Tegg's caricatures (16).--The new Empress
is in a fierce passion, wreaking her vengeance on all around;
Talleyrand is levelled with the floor by a blow from the sceptre;
he is crying, 'Be Gar, she will give us all de finishing stroke.' A
marshal is seeking refuge behind the curtains and declaring: 'Marbleu,
vat a crown-cracker she be!' The little Emperor is dodging behind an
armchair, beseeching his stricken prime minister, 'Tally, Tally,' to
'rise and rally.' The Empress is threatening to hurl the Imperial
crown at her intimidated lord and master, protesting, 'By the Head
of Jove, I hate him worse than famine or disease. Perish his family!
let inveterate hate commence between our houses from this moment, and
meeting, never let them bloodless part.' The coronation throne has the
crown knocked off; and, kicked on the floor by this untamable Austrian,
are all the conquered diadems of Europe, including the Pope's tiara and
the iron crown of Italy.

_May 15. 1810._ _A Bonnet Shop._ Rowlandson del. Tegg's collection
(17).--This plate is best described from the advertisement of the
proprietress, displayed on her premises, for the manufacture of the
straw bonnets and hats which were the _mode_ at the beginning of the
century: 'Miss Flimsey's fashionable warehouse; the greatest variety of
straw hats and bonnets made up in the most elegant taste. A large stock
of Spanish, Flemish, Provincial, Gipsy, Cottage, Woodland, &c., &c.,
adapted to show every feature to advantage.'

An old fright is trying on an unbecoming straw-bonnet at a mirror,
while a handsome saleswoman is puffing her wares. A number of pretty
apprentices are trimming hats, and an antiquated quiz, with his
spyglass, is poking his head through the window, and saluting the bevy
of beauties with a satyr-like grin.

'_Miseries à la Mode._--The being over-persuaded by a canting
shopwoman, in endeavouring to puff off a stale article, that it is the
most becoming and suitable to your style of features; but on consulting
your friends and acquaintance they pronounce it the most frightful,
hideous, and unfashionably formed thing--that would disgrace Cranbourne
Alley.'

_May 20, 1810._ _Peter Plumb's Diary._ Published by T. Tegg (18).--The
picture represents the drawing-room of a 'warm citizen,' evidently
'worth a plum.' The corpulent master of the house and the no less
well-favoured partner of his bosom are seated before a capital fire;
the comfortable couple have drunk their port and supped their punch,
of which a capacious bowl is ready to hand on a table between them;
the host has smoked a whiff of 'Turkey' and then dropped off to sleep
in his armchair; his wife has followed his example; and a fat poodle,
snugly laid on a soft cushion before the fender, is dozing luxuriously;
the motto of the house is written over the mantel: 'Eating, drinking,
and sleeping, with the generality of people, form the three important
articles of life.' The blooming daughter, a melting young damsel,
has her own creed on the subject. An opportunity is offered for a
little flirtation; a gallant and good-looking young buck is saluting
her with a tender embrace; the pair have sat down to perform _duetto
prestissimo_, but the swain's flute is discarded, and the fair pianist
is negligently touching the keyboard to a lively air, _Lucy's Delight_,
while the flirtation is proceeding undisturbed by the presence of the
slumbering parents.

Peter Plumb is a desirable father-in-law, and his commercial interests
are set forth in 'a view of Wapping Docks,' and a plan, suspended on
rollers, for the 'new improvement of the Cattle Market in Smithfield.'

The existence of the sleeper would appear an easy one; witness the
extract from _Peter Plumb's Diary_. This honest man being of greater
consequence in his own thoughts than 'in the eye of the world,' had for
some years past kept a journal of his life. _Videlicet_, the following
exciting example:--

'_Monday._--Eight o'clock: I put on my clothes, washed hands and face.
Nine o'clock: Tied my knee-strings, put on my double-soled shoes,
took a walk to Islington. One o'clock: Took a luncheon. Between two
and three returned. Dined on a knuckle of veal and bacon. Three: Nap
as usual. Four to six: Walked in the fields. Wind S.S.E. From six to
ten: Went to the club; was half-an-hour before anybody else came. Ten
at night: Went to bed. Slept without waking till nine next morning.
Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday: Little or no
variation.'

_May 30, 1810._ _A Table d'Hôte, or French Ordinary in Paris._
(20).--The _Table d'Hôte_ is an appropriate companion to the _Paris
Diligence_. The travellers have duly reached the capital, and a scene
of Parisian life is shown on their arrival in the French metropolis.
The _salle à manger_, where the ordinary is held, is a handsome
apartment, decorated in showy taste with enrichments in plaster,
canopies, curtains, mirrors, &c. The repast is in active course, and
its humours are improved on with an observant eye. The company is
diversified; there are _bourgeois_ and their wives, _petits-maîtres_,
marquises, fat friars, and ladies of various degrees, all complaisance
and graciousness. A Savoyard, with a hurdy-gurdy, and her daughter,
with a triangle, are 'discoursing sweet sounds' to enliven the repast.
A dog is taught to beg for food. The manners of the feeders are of
different shades. Pledging toasts, flirtations, and small gallantries
animate the severer business of the hour. Several whimsical accidents
are introduced, results of awkward or inattentive service on the part
of waiters; one grave citizen is receiving a scalding _bouillon_ in his
eye, while a _bouilli_ is simultaneously poured over a bowing dandy; a
glass of wine is capsized into a lady's plate while her attention is
diverted; and a piggish priest, whose soup is suffered to stream down
the corners of his fat jowl, has his shaven pate saluted by a cascade
from a bottle tilted up by a heedless fair _domestique_, whose regards
are engaged by the pleasantries of an amorous old fogey by her side,
with whom she is exchanging jocularities.

1810 (?). _Paris Diligence._ Rowlandson del. et sculp. Published by T.
Tegg.--This print is one of a class somewhat superior to the average
series published in Cheapside. The scene is a favourite one with the
artist, and his early experiences in France here serve him in valuable
stead. It is in pictures of Continental life, before the aspects of the
quaint and picturesque surroundings were entirely transmogrified by the
French Revolution, that we recognise Rowlandson at his best. The value
of these sketches is perhaps greater than of any other works his facile
hand has bequeathed us, and the interest of these subjects is found to
appeal to a larger circle of admirers.

The _diligence_ is starting from a massively built and handsome
innyard, the sign of the _Coq en Pâte_. The 'machine' is a cumbersome
vehicle, clumsy and heavy to an incredible degree. It is drawn--at no
rapid pace, it is certain--by four strong, long, ill-favoured steeds,
harnessed with ropes to the Noah's Ark-like contrivance, and ridden
by two postilions, who are cracking their long thonged whips without
producing much acceleration of speed in the toiling team. The timber of
the diligence would be heavy for a gun-carriage, and the construction
of the entire concern is perfectly primitive. A huge basket in front,
about the size of a porter's lodge, is presumably the 'luggage boot;'
below this are two small and heavy wheels, while at the other end
of the machine are two enormous hind-wheels. The elongated body of
the vehicle seems also to be made of rough basket-work. Through the
unglazed spaces for windows are seen the occupants, who are travelling
Pariswards: an assortment of corpulent and shaven monks, peasant
women, and an old veteran with a formidable pigtail; a fashionable
lady in feathers is ogling a beau wearing a powdered wig and enormous
_solitaire_. The roof itself is also loaded; another fat friar, with
shaven poll, is reading his book, over which is peeping a _débonnaire_
damsel of redundant charms, who is flirting a gigantic fan; an officer,
with an enormous cocked-hat and a massive club, has his hands in a muff
of pantomimic magnitude; by his side is a lively _grisette_, with a
parasol; another officer is reclining behind.

The _diligence_ is attended by the usual mendicants, vociferously
appealing for alms. The background is a quaint French town of some
importance; a jack-booted rider is clattering along in the rear of
a travelling-carriage, which is posting to the capital, driven by a
postilion. Down the street is shown a procession of well-fed friars;
and a party of devout nuns are striking attitudes at the foot of a
carved figure. The whole picture recalls the precise aspect France wore
at the time Sterne made his famous 'Sentimental Journey,' and the scene
might well be a chapter from that picturesque pilgrimage.

_June 4, 1810._ _Love and Dust._ Published by T. Tegg. Republished.
(See 1799.)

_June 5, 1810._ _Boxing Match for Two Hundred Guineas betwixt Dutch
Sam and Medley, fought May 31, 1810, on Moulsey Hurst, near Hampton._
Published by T. Tegg. Tegg's caricatures (22).--The artist has drawn
the fight, judging from the appearance offered by the opponents, during
the first round, while all was cool and scientific. The champions,
stripped to the waist, are sparring round one another on guard; their
seconds are eagerly following up the principals; the two bottle-holders
are seated on the grass. The spectators, a very orderly company,
according to the picture, are arranged on the grass in a wide circle,
while beyond the amateurs on foot is a ring of vehicles, on the roofs
of which are perched the more fashionable portion of the patrons of the
Ring, amongst whom are seen some of the softer sex.

'The concourse of people exceeded anything we have ever witnessed. The
spectators were computed at ten thousand. At one o'clock the champions
entered the ring, and Sam had for his second Harry Lee, whilst Joe Ward
officiated for Medley. After a severe and bloody contest of forty-nine
rounds victory was decided in favour of Sam.'

_August 8, 1810._ _Smuggling Out, or Starting from Gretna Green._
Rowlandson del. Schultz scul. Published by R. Ackermann, 101 Strand.--A
gallant officer is assisting a pretty and precocious boarding-school
miss to elope from a balcony window; a post-chaise is waiting in
readiness to carry the fugitives 'across the Border,' and a servant
in attendance has secured the damsel's personal belongings in a
portmanteau on his shoulders.

_August 8, 1810._ _Smuggling In, or a College Trick._--The picture
represents the corner of a college quadrangle. Three festive and
mischievously disposed collegians appear at the window of their rooms;
with the contrivance of a sling and a stout rope they are managing to
draw up, clandestinely, as they fondly imagine, a pretty, modish, and,
we fear, wanton maiden, who is not in the least terrified or abashed
at her situation, but is entering into the spirit of the adventure.
A frowning proctor, who is scandalised at these reprehensible
irregularities, is standing in an angle, half-concealed in the shadow,
scowling at the party, and waiting to dart out and surprise the
violators of the academical proprieties at the critical moment for
their detection.

_September 8, 1810._ _Procession of the Cod Company from St. Giles's to
Billingsgate._ Published by T. Tegg (11).--A view of old Billingsgate,
overlooking the river, with the fish being landed from the crowds of
smacks at the old covered jetty, since swept away. The pilgrimage
of the sturdy members of _The Cod Company_, we presume, is made to
the craft on the river to take in cargoes of fish. The procession
is composed of corpulent old Irish women, of colossal breadth and
strength, all balancing their fish-baskets on their heads, some smoking
their cherished clay pipes, and carrying their stoutly developed arms
crossed, akimbo, or on their hips, after their individual proclivities.

_September 25, 1810._ _Rigging out a Smuggler._ Published by T. Tegg
(8).--A party of sailors in a cabin are fitting out a handsome young
creature to 'run the gauntlet' of the Custom-house officers, or rather
to go on shore, with as full a cargo of excisable articles as they
can secure round her person. Huge pockets of 'old Japan china, tea,
gum,' &c. are disposed round her waist, together with a small keg of
'coniac,' and a flagon of otto of roses. Chests of Congou and Souchon
and flasks of arrack are standings about.

_September 30, 1810._ _Dramatic Demireps at their Morning Rehearsal._
Published by T. Tegg (10).--The intention of this burlesque is a
pun on _dram-atic_; the theatrical demireps being very ungallantly
displayed in the Hundreds of Drury, inhabiting an attic, and indulging
in matutinal potations of gin. The surroundings do not give a very
cultivated idea of the actresses or their belongings. _The Chapter of
Accidents_ seems to be the piece in rehearsal. The toilettes of the
fair performers are shockingly neglected. Over the mantelpiece are
various professional announcements 'for the benefit of the Theatrical
Fund,' &c. By the side of an '_À la mode_ beef jug' is a melon marked
'Ripe--rotten,' and other ironical allusions to current scandals and
personages then well recognised are posted on the walls, as sketches
for portraits: _Peg and the Duke_, _Bald as a Coote_, _Little Darby O!
Ever Craving_, and _Old Q._, and various innuendoes hardly flattering
to the originals indicated.

_October 5, 1810._ _Sports of a Country Fair._ Part the First.
Published by T. Tegg.--The bustling picture of a country fair in full
operation. In the rear are swings, booths, and theatrical shows. In the
foreground is shown a cart overset; a man is holding on to the head of
the horse, which in rearing has snapped his girths and tilted the cart
on end, while the late occupants are thrown down in motley confusion,
sprawling on the turf, pommelling, kicking, shrieking, and throwing up
their limbs, while eager groups of spectators are hurrying up to enjoy
the disaster.

_October 5, 1810._ _Sports of a Country Fair._ Part the Second.--A
nearer view of the same fair: the thick of the crowd; stick-throwing
for snuffboxes, oyster-opening, pocket-picking, and a round-about
swing; one of the boats is giving way, and a fair swinger and her swain
are falling through. There is an inn where cordials are supplied,
through the windows of which various scenes of love-making are visible.
In the distance may be seen Polito's stage-booths, horse-racing, and
other diversions.

_October, 1810._ _Sports of a Country Fair._ Part the Third.
Published by T. Tegg.--The interior of another booth-theatre; the
play is interrupted; the only performer on the stage is thrown into
consternation, and the whole of the audience are dispersing in terror
at an unexpected intruder. A royal Bengal tiger has made his escape
from an adjoining show, and is bounding through the canvas walls of
the theatrical booth, threatening to descend plump into the auditorium.
The effect on the frightened playgoers may be well imagined. Some are
prostrate with terror; one man is down on his knees and cannot move
for fright; ladies are fainting; husbands are manfully endeavouring
to carry off their wives out of the way of the terrible visitor, and
everything is turned topsy-turvy.

1810. _Sports of a Country Fair._--The sport in this case is
accidental, and the amusement verges on peril of a terrible character.
A temporary theatre, _Cockburn's Company_, is on fire, and the
spectators are escaping as best they may. The entrance is from a
balcony reached by a flight of steps, and the frightened spectators are
pouring out of the building, which is burning furiously, and throwing
themselves pellmell down the steps, at the bottom of which they are
sprawling, kicking, and plunging in fright and confusion. Certain buxom
damsels are climbing over the balustrade and dropping from the balcony,
with the musicians, into the arms of those below. A bill on the booth
announces the _Last Night, Pizarro_ and _Don Juan, A Shower of Real
Fire_, and _A View of the Infernal Regions_. Crowds are scudding
away in the distance, and the other attractions of the fair are at a
standstill.

_October 25, 1810._ _An Old Ewe Drest Lamb Fashion._ Published by T.
Tegg. A deceptive old tabby, clad in a juvenile style, is dashing
along in a high poke-bonnet; three or four Don Juans of eccentric
exterior are hurrying after her to tender their attentions, an act of
gallantry they are likely to regret on closer inspection. The quotation
offered as _A Misery of Human Life_ runs thus: 'Walking fast and far to
overtake a woman from whose shape and air as viewed _en derrière_ you
have decided that her face is angelic, till, on eagerly turning round
as you pass her, you are petrified by a Gorgon.'

[Illustration: SPITFIRES.]

_October 25, 1810._ _Spitfires._ Published by T. Tegg (44).

_October 25, 1810._ _Dropsy Courting Consumption._ Published by T. Tegg
(45).--Outside a building marked _Mausoleum_--a dwarf rotunda beside a
slender column--kneels a round ball of a suitor, who, it would seem, is
destined never to recover his perpendicular; he is suing at the feet of
an attenuated nymph, of straight and bony proportions, who it appears
is in the last stage of wasting away. In the grounds a corpulent lady
and a declining-looking gentleman of the Laurence Sterne type are
contemplating a statue of Hercules.

_November 1, 1810._ _Doctor Gallipot placing his Fortune at the feet of
his Mistress._ 'Throw physic to the dogs.' Republished. (See 1808.)

_November 1, 1810._ _Kitchen Stuff._ Published by T. Tegg (43).--A
scene of low life below stairs. A fire is roaring up the kitchen
grate, and a fat old cook, slumbering in an armchair drawn up to the
kitchen table, has her feet resting on the chimneypiece, and a glass
of 'cherry bounce' held in her chubby hand, to refresh her after
the exertions of the day. A younger and proportionately comely and
comfortable-looking kitchen-maid is also stealing 'forty winks,' with
her head resting against the chimneypiece; while a fat black footman,
who completes this evidently easy-going household, is indulging in the
luxury of repose and pillowing his slumbering woolly pate on the ample
shoulders of his shapely neighbour.

[Illustration: A HIT AT BACKGAMMON.]

_November 19, 1810._ _A Hit at Backgammon._ Published by T. Tegg (No.
46).

_November 20, 1810._ _Medical Despatch, or Doctor Doubledose Killing
Two Birds with One Stone._ Published by T. Tegg (47).--Reclining back
in an armchair is an old invalid lady, evidently at the last gasp; her
end is made still more certain by opium and composing draughts placed
ready to her hand. On the armchair of the ghastly sufferer leans a
pretty buxom girl in the flush of womanhood, who is wavering between
grief and rapture--tears for her departing relative and regard for
the caresses of the practitioner, who is dismissing his patient and
courting a bride at the same moment. While one hand of the perfidious
Doctor is carelessly holding the pulse of the sinking woman his arm
is thrown round the neck of the blooming maiden, his fat features are
expressive of maudlin tenderness, and his eyes are turned upwards in
awkward admiration.

_November 20, 1810._ _Bath Races._ Published by T. Tegg (49).--The race
appropriately starts from 'Cripple's Corner;' the halt, the maimed, and
the lame are the competitors; it is, in fact, a race of Bath chairs and
crutches, all tearing and tumbling down hill and blowing in the wind;
the gouty hangers behind being urged forward, pushed, whipped, and
cheered on by the delighted spectators. The city of Bath is slightly
indicated in the rear.

_November 30, 1810._ _Doctor Drainbarrel conveyed Home in a
Wheelbarrow, in order to take his Trial for Neglect of Family Duty._
Published by T. Tegg (23).

[Illustration: DR. DRAINBARREL CONVEYED HOME IN A WHEELBARROW.]

_November 30, 1810._ _After Sweet Meat comes Sour Sauce, or Corporal
Cazey got into the Wrong Box._ Rowlandson del. Published by T. Tegg
(24).--The Corporal has incautiously been paying a secret visit to a
fine, plump and well-favoured damsel, on whose affections, it would
seem, the man of war has no legitimate claim. The lady is snugly
disposing her lover in a strong-box, with iron clamps, probably the
sea-chest of the lawful proprietor of the chamber. Before closing
the lid on the captive swain the buxom maid, at whose waist hangs
the key of the chest, is favouring the suitor with a parting kiss.
An old 'salt,' his few remaining hairs bristling with indignation
and resentment, is looking in at the window and surveying the entire
transaction before making his entrance on the scene. That the Corporal
has fairly got into the 'wrong box' is further hinted by a trap at his
side, in which an unfortunate rat is securely imprisoned.

1810. _The Harmonic Society. 'The Assemblies of women are too
frequently marked by malice to each other, and slander of the absent;
the meetings of men by noise, inebriety, and wrangling.'_--A companion
scene to _The Breaking up of a Blue Stocking Club_ (March 1, 1815).
The direst disorder, according to the plate, is proceeding around on
all sides: the conflict of fists, aided by such aggressive articles
as bottles, the fireirons, and any offensive weapon that may come to
hand, is raging free and furious. The president of this _harmonic
meeting_ is very naturally employing his hammer to bring the turbulent
to order, by using it as an instrument to knock down his opponents.
Wigs are sent flying 'through space,' chairs are wrecked; decanters,
spirit-bottles, punchbowls, and such frail objects as tumblers,
rummers, and wine-glasses, are involved in universal destruction.
One elated youthful hero has jumped on the table in a tipsy frolic;
he is promoting the further confusion which darkness will entail by
deliberately smashing up the candles, and battering the sconces of the
chandelier with the assistance of a punch-ladle.

1810. _The Sign of the Four Alls._--The four personages who constitute
this famous view of the relative estates of the realm stand under
niches; the head of the State is the first represented; and next, of
course, is the Church; then the powers militant; and lastly, as a sort
of necessary evil, the commonalty--perhaps better kept out of sight
altogether, since the presence of the representative of this portion
of the empire is not acknowledged by the other three, his pastors
and masters. Number one, George the Third; the King in this case is
represented strutting in awful but somewhat awkward majesty. To quote a
national but lowly authority, Giles Grinagain:--

    What! he the King? Why, that chap there?
    Why, I saw a king at Bartholomew Fair
    More like a king than that chap there!

The Bishop, a snug ecclesiastic, a remnant possibly of the bad old
school of the Clarke preferments, all wig, lawn sleeves, mitre, and
crozier, is raising his fat hands with sanctimonious import--'I pray
for all.' As to the soldier, the military officer drawn by Rowlandson
rather reminds one of Colonel Wardle, whose person the caricaturist had
made a little too familiar--'I fight for all;' and lastly comes John
Bull, under his agricultural aspect, a simple farmer, with his smock,
hay-fork, and dog, and, what is more to the purpose, his bag of 'hard
earnings' in his hand, on the strength of which he is admitted to join
the quartette--on sufferance, it is palpable--'I pay for all!'[22]

1810 (?). _The Rabbit Merchant._ Published by T. Tegg (25).--The view
of a country street; a rabbit seller, with a selection of his stock
on his pole, is offering a choice to an old dame, who is somewhat
hypercritical, and is employing a test which the rabbit merchant
considers excessive and uncalled for; he is represented as offering
'the retort courteous' in justification of his goods.

1810 (?). _A Sale of English Beauties in the East Indies._--Although,
as we have noticed, Rowlandson's work was stamped by the strongest
originality, he, like other etchers of caricatures, often executed
the ideas or worked out the first impressions of less experienced
draughtsmen; however, unlike most engravers, he has left, in his
numerous plates after Wigstead, Woodward, Bunbury, Nixon, Newton,
&c. (in all cases the name of the originator is given), but slight
traces of the defects and shortcomings of the amateur artists whose
sketches he has put into circulation, the major part of the engravings
bearing unmistakable and easily recognised evidence of Rowlandson's
individuality. In the case of the present caricature he has, in some
degree, departed from this practice, probably at the desire of the
publisher of the print, and has gone to Gillray's large and spirited
plate entitled _A Sale of English Beauties in the East Indies_ for
the materials of his version of the same subject. It is noticeable,
however, that while he has, in a free-handed manner, preserved the
chief points and indeed most of the figures of the original (published
March 16, 1786), he has forborne to put his own name to the copy.
It is probable that the original version was, at the date of the
smaller copy, in demand and difficult to purchase, and, to satisfy the
requirements of both publishers and public, Rowlandson has etched this
second edition of his friend's plate, Gillray having unhappily lost his
reason at the date of the republication.

The scene is supposed to be drawn from one of the landing-places in the
East Indies. A merchantman has arrived with a cargo which has proved
a source of excitement and attraction to residents of all classes.
The fair sex being in great apparent request, a shipload of English
beauties on arriving in the East would naturally produce commotion and
competition among natives and foreigners alike. A dapper auctioneer
is mounted on a bale of books lately arrived, a similar package forms
his desk, and he is knocking down a very attractive article, which
seems likely to bring a handsome figure. A fine tall beauty is under
the scrutiny of a rich Nabob; a young officer is trying to win her
ear, and an envoy from the Government, with instructions in his pocket
from the Governor-General, is calculating the lady's height with his
walking-stick held as a measure. Similar incidents are represented
around; the Rajahs are inspecting the latest importations with true
merchant-like caution; sundry bargains have already been secured,
and in the scales is shown a method of approximating valuations; a
well-favoured arrival of the florid and fully developed type is set
against a corresponding weight of 'lacs of rupees.' In the background
is pictured a large warehouse for 'unsaleable goods from Europe--to be
returned by the next ship'--and several damsels are in great distress
at being forced to take refuge within this unpopular establishment.

1810. _A Parody on Milton._ Published by T. Tegg.

    On she came--such as I saw her in my dream.
    Grace was in all her steps--heaven in her eye;
    In every gesture dignity and love.--MILTON.

A slipshod and tailorlike-looking old scarecrow, with spectacles on
nose, and wearing a scarlet nightcap, is viewing with idiotic rapture
the advent of a fat, inebriated, and dishevelled bacchante of mature
charms, who, with a decanter in one hand and a glass in the other, is
staggering into the chamber, to the amusement of a pretty servant-maid
outside. The ancient dotard is making a parody on the quotation: 'On
she came--such as I saw her in my dream. _Grease_ was in all her
steps--Geneva in her hand; and every gesture reeling ripe for fun!'

_Circa 1810._ _Cries of London._ Thirty plates.

1810. S. Butler. _Hudibras._ With illustrations after W. Hogarth,
engraved by Thomas Rowlandson. Republished. T. Tegg. (See 1809.)

FOOTNOTE:

[22] The satirical humours of this sign, which dates back from a
recondite period, find a place in Larwood's valuable _History of
Signboards_, who gives us further particulars from his own exhaustive
researches. 'In Holland, in the seventeenth century, it was used, but
the king was left out, and a lawyer added. Each person said exactly the
same as our signboards, but the farmer answered:--

    You may fight, you may pray, you may plead,
    But I am the farmer who lays the eggs--

_i.e._ finds the money.

'This enumeration of the various performances coupled with the word
_all_ has been used in numerous different epigrams; an address to James
the First, in the Ashmolean MSS., No. 1730, has:-

    _The Lords_ craveth all,
    _The Queene_ granteth all,
    _The Ladies_ of honour ruleth all,
    _The Lord-Keeper_ sealed all,
    _The Intelligencer_ marred all,
    _The Parliament_ pass'd all,
    _He that is gone_ opposed himself to all,
    _The Bishops_ soothed all,
    _The Judges_ pardoned all,
    _The Lords_ buy, Rome spoil'd all,
    Now, _Good King_, mend all,
    Or else _The Devil_ will have all.

'This again seems to have been imitated from a similar description of
the state of Spain in Greene's _Spanish Masquerade_, 1589:--

    _The Cardinals_ solicit all,
    _The King_ grauntes all,
    _The Nobles_ confirm all,
    _The Pope_ determines all,
    _The Clergie_ disposeth all,
    _The Duke of Medina_ hopes for all,
    _Alonzo_ receives all,
    _The Indians_ minister all,
    _The Soldiers_ eat all,
    _The People_ paie all,
    _The Monks and Friars_ consume all,
    And _the Devil_ at length will carry away all.'



1811.


_January 18, 1811._ _College Pranks, or Crabbed Fellows Taught to
Caper on the Slack Rope._ Published by T. Tegg (53).--Two portly,
and highly respectable Fellows of the University, proceeding along
their quadrangle, are assailed with a rough practical joke by a party
of unruly young undergraduates; a rope is being suddenly lifted up
with a hearty good-will by a riotous mob at either end, and the
astonished 'dons' are tripped up and turned over like turtles on a
memorial-stone--'Here lies the body of _Bishop Bleareyes_.' Squibs,
squirts, and whips, in the hands of these disorderly students, are
further contributing to the annoyance of the capsized magnates.

_February, 1811._ _A Sleepy Congregation._ Rowlandson fecit. Published
by T. Tegg (54).--The interior of a parish church. Of the occupants of
a family-pew in the foreground the elders are sleeping, while a fair
young worshipper's thoughts are evidently wandering; the attentions of
one or two buckish youths, seated in the vicinity, seem to be centred
on the lady; the clerk is snoring at his desk, regardless of the podgy
and somewhat excited preacher over his head, who is quite absorbed in
his sermon, which does not seem to interest anyone but the deliverer.

_February 12, 1811._ _A Midwife going to a Labour._ Tegg's Caricatures
(55).--The stout old nurse, a body of balloon-like expansiveness, is
hurrying off, summoned to her duties, at an unearthly hour of the
morning. Her head-gear is flowing about in the wind, her hood and cape
are caught by the gale; a lantern is held in one hand, a brandy-bottle
and a bundle, containing her luggage, are cuddled up in the other, and
she is mounted on pattens. The night-watchman is dozing in his box, and
a shivering chimney-sweeping lad is crouching along to his early toil,
with brushes and bags.

_February 16, 1811._ _The Gig-Shop, or Kicking up a Breeze at Nell
Hamilton's Hop._ Published by T. Tegg.--According to the picture of
this place of 'fast' resort, dancing has given way to much rougher
diversions, and, although the musicians are in their gallery,
playing away as if the scene below was the regular thing, the place
appropriated for the dance is given up to a _mill_ conducted on
strikingly professional principles; one of the combatants has 'peeled'
in recognised style, and his opponent has stripped to his shirt;
the backers and seconders of the fisticuffing bucks (who are freely
besprinkled with the ruby fluid) are members of the fair sex; in fact,
ladies seem in the ascendant at this entertainment. A ring of delighted
spectators are enjoying the fight and the fun from the benches, while
other gentlemen are prudently engaged in restraining their fair
partners from getting mixed up in the squabble which is raging fast
and furious, thick and general, behind the two 'milling' gentlemen;
ladies using their fists manfully, kicking, tearing hair, and throwing
themselves into desperate warfare with terrific confusion and effect.
In the foreground a fair nymph of interesting but dishevelled
appearance, probably the _friend_ of one of the combatants, is falling
into a fainting fit, from which the attentions of those who surround
her seem inadequate to restore her to consciousness.

[Illustration: PIGEON-HOLE.]

_February 20, 1811._ _Pigeon Hole, a Covent Garden Contrivance to Coop
the Gods._ Published by T. Tegg (57).--The miseries consequent on heat
and crowding in a restricted space, as displayed in the Pigeon Hole
Galleries of John Kemble's newly-constructed Drury Lane Theatre, gave
rise to the present caricature, which is further explained under the
head of _This is the House that Jack Built_ (Sept. 27, 1809), and _The
Boxes_ (Dec. 12, 1809). General dissatisfaction was expressed by all
but the privileged subscribers; the lessee's treatment of the humble
supporters of the drama, the frequenters of the gallery, gave special
offence; and the illiberality of the management which provided such
disgraceful accommodation for its patrons was resented by the unruly
proceedings known as the _O. P. Riots_, which marked the public sense
of the transaction.

_February 26, 1811._ _A French Dentist Showing a Specimen of his
Artificial Teeth and False Palates._ Published by T. Tegg (58).--It
is not easy to determine whether this caricature was intended solely
as a satire or as an advertisement for some dental professor who was
established here at the time. In Rowlandson's day, however, false
teeth were sufficient novelties to be welcome subjects for ridicule.
An overgrown and exuberantly corpulent female is serving as a sample
of the Frenchman's skill; her widely distended mouth is liberally
displaying a wonderful set of masticators. The professor is the typical
foreigner of the period, wearing hair-powder, a bag-wig, and earrings.
An old beau, looking through a quizzing-glass, is admiring the prospect
of securing a decent set of teeth, his own gums exhibiting a very
ragged and defective regiment. An advertisement in the rear sets forth:
'_Mineral Teeth._--Monsieur De Charmant, from Paris, engages to affix
from one tooth to a whole set, without pain. Monsieur D. can also affix
an artificial palate or a glass eye in a manner peculiar to himself; he
also distils, &c., &c.'

_March, 1811._ _Bacon-faced Fellows of Brazen-Nose Broke Loose._
Published by T. Tegg (59).--The persons of learned members of the
Universities were not treated with a sparing hand by the satirist.
Rowlandson has introduced various incidents of college life into his
caricatures; but, throughout the series, the waggishly-inclined artist
does not, we are afraid, exhibit any particular respect for _Alma
Mater_. The Fellows of Brasenose are drawn, with unusual unction,
issuing from their Hall and through the archways of the Colleges,
dressed in their academic guise, and pouring forth like a sable stream
of erudition. The various expressions and attitudes of the 'big-wigs'
are vastly well hit off; their diversified peculiarities of face or
motion are full of comicality. These grave sons of the Church are
not free from gallant considerations--a buxom wench, with a basket
of fruit slung round her shapely neck, is the centre of attraction;
the 'Bacon-faced Fellows' are crowded around, bargaining for her ware
and leering at the seller with undisguised and clumsy admiration. A
reflection is cast on the _Vice_-Chancellor, who is vainly endeavouring
to steal into his apartments without being detected by the rest of the
sly grinning Fellows, with a weighty folio under his arm, and followed
by an engaging young fruiteress, a lump of rustic innocence, bearing
her baskets, for better selection from the contents, to the seclusion
of the Vice's study.

_March 10, 1811._ _She Stoops to Conquer._ Published by T. Tegg
(61).--The central room of a prison. Various strong doors and
iron-grated windows open on the chamber. Bolts, padlocks, and strings
of fetters indicate the nature of the security. Behind a grating is
seen a prisoner, on whose behalf a buxom damsel is supposed to 'stoop
to conquer,' since by dint of a plentiful repast, renewed strong
potations, and those tender cajoleries which are believed to be the
special weapons of the fair, the lady is evidently endeavouring to
gain possession of the precious keys which will enable her to set her
imprisoned swain at liberty.

_March 12, 1811._ _The Anatomist._ Published by T. Tegg (60).--The
meaning of this print is not very obvious. It may be assumed that
Dr. Sawbones has secured a new subject; but whether an admirer of
the anatomist's lady has had himself conveyed into her presence by
simulating death, or changing places with the 'subject,' does not
appear. However, the critical situation of the lively gentleman on
trestles does not seem conducive to a tranquil frame of mind; the
operator is deliberately getting out his saws, knives, scissors, and
other repellent anatomical instruments in a business-like spirit,
for he has, according to an announcement, to deliver _A Course of
Anatomical Lectures, accompanied with Dissections_, and he is in want
of a subject for demonstration. The lady, filled with the direst
apprehensions, is trying to impress on the anatomist the remarkable and
unusual fact that the dead man has returned to life.

_March 16, 1811._ _Sailors on Horseback._ Published by T. Tegg
(62).--This print is one of the numerous instances of subjects designed
by amateurs and given to Rowlandson to engrave, and, in most respects,
to put into shape. According to the humours of this print four sailors,
mounted on horseback, are going off on an equestrian cruise by the
seashore. The British Tar most at his ease has been lashed with strong
cables to the back of his steed beyond a chance of drifting loose:
'Here I come, my hearties, right and tight--smart sailing; but never
mind that--I can't be cast away, for my commander, Heavens bless him,
has lashed me to the deck with some tough old cables!' His neighbour,
who has a restive horse, requests, 'Keep more to the starboard, and be
d---- to you; don't you see how you make my vessel run ahead!' A third,
riding behind, is mounted on an animal who is taking into his head to
launch out in the rear: 'D---- me, how she heaves; why, this is worse
than a jolly-boat in the Bay of Biscay!' A comrade, having had a spill,
has been left on the road, and is in danger of being run over: 'Mind
what you are at, messmates, for I am upset, and the frigate I came on
board of has been under way without me this half-hour.'

_March 28, 1811._ _Kitty Careless in Quod, or Waiting for Jew Bail._
Published by T. Tegg (65).--A dashing young lady of fashion, who has
evidently been running ahead of the constable, is 'laid by the heels'
in a spunging-house; the apartment in which she is lodged belongs,
it appears from a printed notice on the wall, to _MacNab, Sheriff's
Officer for the County of Middlesex--genteel accommodation for ladies
and gentlemen_. Heavy locks and bolts to the door, and massive bars
to the window, indicate the security of Kitty's keeping. The fair
captive does not seem depressed by her confinement: seated before a
glowing fire, her legs crossed in easy indifference, the prisoner is
drinking bumpers of port wine with her captors; a spectacle by no means
unusual in the days of this publication, when the extravagances of
people of fashion were constantly leading them to the confinement of a
spunging-house.

_April 1, 1811._ _Pastime in Portugal, or a Visit to the Nunneries._
Published by T. Tegg (64).--The principal figure in this picture is
that of a young officer belonging to the British army opposed to the
French legions on the Peninsula; in company with a Portuguese don he
has come to visit one of the nunneries which were sufficiently abundant
in the country; three well-favoured members of the sisterhood and a
sour-looking old harridan, by way of duenna, have come to the 'grill,'
or large grated window, which was employed to cut off the 'cloistered
ones' from the rest of the world. We are able to gather from the
illustrations of the period that travellers were accustomed to make
visits to nunneries, where they purchased objects manufactured by the
inmates, who were regarded by our countrymen as a kind of show; the
visitors, however, were always restricted to the outside of the grating
which separated the sisterhood from more intimate association with
a wicked world. In Rowlandson's sketch the pretty nuns are offering
silk purses, of their own knitting, to their dashing visitor, whose
attention is more exclusively occupied by the very decided personal
attractions of the fair recluses.

_April 5, 1811._ _The Last Drop._ Published by T. Rowlandson, 1 James
Street, Adelphi.--A short and corpulent _bon-vivant_, not unlike a
balloon in figure, whose waistband has been abnormally distended by
the bibulous propensities of the owner, is standing on tiptoe tilting
up to his eager lips a huge punchbowl, too well filled to be lifted
bodily; he is transferring the contents to his own inside with much
gusto. While the veteran and inordinate toper is greedily engulfing
his last bumping measure he is too busily engaged in the important
work in hand to notice that _Death_, in his bony personality as a
ghastly skeleton, is helping to raise the finishing bowl, while the
fatal dart is poised over his head, ready for the stroke which will
follow this last potation before the tippler has time to recover his
breath. The stout gentleman has evidently enjoyed a lengthy innings,
and, from the instances scattered about him, he has made the most of
his opportunities; he is surrounded by the remnants of the good and bad
things with which he has made away--barrels of stout, bottles of port,
puncheons of _usquebaugh_, and spirits of all sorts; in fact, a very
cellar of the strong drinks which in his day have fallen to the share
of the departing toper.

_April 9, 1811._ _Boney the Second, or the Little Baboon Created to
Devour French Monkeys._ Published by T. Tegg.--'Boneyparte,' in his
general's uniform, is seated before the fire, making caudle--of French
blood--for the infant prince; a row of sovereign-crowns, wrested from
the wearers, are ranged on the mantelpiece. Napoleon's heir, the
miniature of his sire, with the addition of a monkey's tail, is tearing
and clawing at his parent, and is held on a cushion placed outside the
Imperial cradle, which is inscribed _Devil's Darling_. Napoleon is
haranguing in his usual grandiose style: 'Rejoice, ye Frenchmen; the
fruits of my labour has produced a little image of myself. I shall,
for the love I owe your country, instil in my noble offspring the same
principles of lying, thieving, treachery, letchery, murder, and all
other foul deeds, for which I am now worshipped and adored!' The Pope
is kneeling by his side, and pronouncing by way of a benediction over
the infant:--

    The owl shriek'd at thy birth, an evil sight;
    The night-crow cry'd, foreboding luckless time;
    Dogs howl'd, and hideous tempests shook down trees;
    The raven rock'd her on the chimney-top,
    And chattering pies in dismal discord sung.

_April 10, 1811._ _A Picture of Misery._ Published by T. Tegg
(70).--The bare and chilling chamber is occupied by a leaden-hued and
sordid-looking miser, opposite to whom is seated an individual of
starved aspect; a pinched and shrivelled old beldame is seen at the
door. A table of interest is the only literature the room can boast.
The miser is crouching before the grate, and snuffing out the single
candle for economy. Above the usurer hangs his own portrait; he is
painted congenially occupied in weighing guineas; a list of securities,
'Stock Ex., Bank Stock, 3 per Cents., Imperial, Omnium, South Sea,
Exchequer, Lottery,' &c., recalls sweet reflections. Below are the
lines:--

    Iron was his chest, iron was his door;
    His hand was iron, and his heart was more.

_April 12, 1811._ _Puss in Boots, or General Junot taken by Surprise._
Rowlandson del. Published by T. Tegg (71).--A dashing young damsel has
secured the jack-boots, cocked-hat, and long sword of General Junot,
and is assuming valiant airs, dressed in these borrowed plumes, and
threatening the French commander--who is helpless and in bed--with his
own weapons.

_April 14, 1811._ _Nursing the Spawn of a Tyrant, or Frenchmen Sick
of the Breed._ Published by T. Tegg.--The Empress of the French is
in consternation at the precocious fury of her progeny, who, with an
orb in one hand and a dagger in the other, is threatening destruction
around; while the Emperor is listening behind a curtain; the pope and
other Roman-Catholic hierarchs are offering 'composing draughts,' and
suggesting to send the infantine monster to his supposed diabolical
'grandpapa' as quickly as possible. The Empress is thus proclaiming the
terrors of her situation: 'There's no condition sure so curst as mine!
Day and night to dandle such a dragon--the little angry cur snarls
while it feeds; see how the blood is settled in his scarecrow face;
what brutal mischief sits upon his brow. Rage and vengeance sparkle in
his cheeks; the very spawn and spit of its tyrant father. Nay, now I
look again, he is the very picture of his grandfather, _the Devil_!'

_April 20, 1811._ _The Enraged Son of Mars and the Timid Tonsor._
Published by T. Tegg (67).--The picture represents the interior of a
barber's shop, a favourite subject with the caricaturists. A stout
customer is expressing slaughterous intentions; a choleric old boy,
probably an officer of the Militia, with the shaving-cloth round
his short neck, is vowing vengeance on the head of the frightened
barber, who has been so _maladroit_ as to carve a tolerable gash in
the veteran's round cheek. The tonsor's wife, who is also engaged
in the business, is, while holding the soap-bowl and lather, thrown
into consternation at the uproar raised by the damaged client. An
assistant, who is employed in cutting the hair of another customer,
is equally distracted, and, in his trepidation, is threatening the
ears of his unconscious subject. The barber's monkey--for barbers have
in all time enjoyed the credit of being fanciers of live stock--is
lathering his head at a toilette-table, in imitation of the actions
of a venerable personage who has just had his head shaved. Various
blocks, with their attendant wigs, are ranged round the shelves of the
shop, telling of the day when a gentleman's head of hair was sent out
to be dressed, while he kept a change of wigs for convenience-sake;
here we find parsons' blocks, clerks' blocks, doctors' blocks, lawyers'
blocks, and other professional 'caxons,' the heads of the learned
being distinguished by their respective wigs. Various sketches appear
on the walls, the subjects being selected with a view to their trade
appositeness. One picture represents the fate of Absalom, delivered to
destruction by his luxuriant locks: 'O Absalom, my son, my son! hadst
thou wore a wig this ne'er had happened,' &c., &c.

_April 24, 1811._ _Rural Sports. Cat in a Bowl._ No. 1.--The pastimes
of our forefathers, before the establishment of Humane Societies
for the Prevention of Cruelty to Animals, were too frequently of a
barbarous description, and the cruelties then tolerated for mere sport
were undoubtedly most reprehensible. The caricaturist has contrived
to surround these wanton displays with an air of hilarity, and the
spectacle of a 'cat in a bowl,' apart from the brutality of the fun, is
not without its whimsical attractions. A favourite cat, the property
of a distracted spinster, has been launched upon the water in a bowl,
which is shown spinning round with the current, to the terror of
the involuntary voyager, whose dread of immersion combined with her
exertions to escape from this embarrassing situation, which threatens
to capsize the treacherous craft at every turn, seem to afford the
frivolous audience unqualified amusement. A lad is seated on the bank,
with a girl by his side--probably the authors of the mischief--holding
a barking dog, ready to attack the frightened creature if she comes too
near the shore. Parties taking the air in chaises, and promenaders, the
loiterers from the alehouse, pipe in hand, and various rustic groups
gathered round the brink, are intensely diverted at the scene. Not so
the owner of the cat; the horrified old maid, rendered desperate by the
precarious situation of her pet, is pulling up her skirts and plunging
forward in a vain endeavour to reach the slippery bowl, which is out
of her reach; while a second old lady is doing her best to assist
her friend. A little further down the bank the artist has introduced
another reckless episode; a pair of horses are running away with a
tandem, which is being overturned, and the driver and a stout female by
his side are just on the point of being tumbled out without ceremony.

_May 1, 1811._ _A Dog Fight._--There is a note on the proof impression
of this plate in the writer's collection, to the effect that the
print was never published. The spectacle represented is remarkably
animated; the various incidents of the brutal exhibition are seized
with a masterly hand; the enthusiasm and excitement of the audience
are done full justice to. Drinking, betting, squabbling, an irregular
scrimmage, picking of pockets, and similar humours are treated with due
appreciation. The backers of the losing dog are thrown into dismay, as
their faces sufficiently indicate; while the satisfaction which fills
the supporters of the winning side is well expressed. The spirit of
the picture is much increased by the introduction of numerous dogs,
ferocious-looking 'varmints,' struggling to join the fray, and only
held back from the stage of conflict by the most desperate exertions
on the part of their owners; these combatively-minded animals are
probably the heroes of coming tournays. The scene of this cruel sport,
since made unlawful, is probably the 'Westminster pit,'[23] where
such spectacles were constantly held, and attended by persons of rank
and fashion, as well as by the dregs of the sporting and dog-fancying
fraternities, whose presence, as shown in the study, is tolerably
marked.

[Illustration: A DOG FIGHT.]

_May 1, 1811._ _Touch for Touch, or a Female Physician in Full
Practice._--The figure of the fair practitioner is highly spirited,--a
handsome young female, whose person is set off with all the allurements
of fine clothes, well-dressed hair, and waving plumes. A decrepit and
toothless patient is evidently grateful to the doctress; he is filling
the hand of the distinguished physician with gold-pieces before she
leaves the apartment, or more properly consulting-room, which is
further set off with a picture of Danae collecting a shower of gold.

_May 4, 1811._ _Who's Mistress Now?_ Republished. (See 1802.)

_May 16, 1811._ _The Bassoon--with a French Horn Accompaniment._
Published by T. Tegg (75).--A couple of slumberers, with their noses
elevated above the bedclothes, are evidently executing variations in a
snoring fashion more powerful than pleasing:--

    Hush ev'ry breeze; let nothing move:
    My Celia sleeps and dreams of love!

_June 4, 1811._ _Summer Amusement. Bug Hunting._

_July. 1811._ _A Ghost in the Wine Cellar._ Published by T. Rowlandson,
1 James Street, Adelphi.

_July 14, 1811._ _Easter Monday, or the Cockney Hunt._ Designed,
etched, and published by T. Rowlandson, 1 James Street, Adelphi.--The
old Cockney hunt is in full swing; the hounds are streaming over some
palings in the way of their run; a poor little huntsman, perched upon a
white mare, in attempting the jump has lost his whip, missed his seat,
and is being thrown over the neck of his horse; while a spirited belle
is leaping her horse in true sportsmanlike style.

[Illustration: RURAL SPORTS.]

1811 (?). _Rural Sports._

1811. _The Huntsman Rising._ Republished. (See 1809.) Published by T.
Rowlandson, 1 James Street, Adelphi.

[Illustration: THE HUNTSMAN RISING.]

1811. _The Gamester Going to Bed._ Republished. (See 1809.) Published
by T. Rowlandson, 1 James Street, Adelphi. According to the original
drawing (see Appendix, collection of John West, Esq.) it appears, from
a paper spread before the desperate gambler, that he has been tempted
to give the _coup de grâce_ to his reckless career by committing a
forgery.

[Illustration: THE GAMESTER GOING TO BED.]

_August 20, 1811._ _Love Laughs at Locksmiths._ Designed and published
by T. Rowlandson, 1 James Street, Adelphi.--The stronghold in which an
old Israelite has confined his treasure has enormous padlocks on the
area gate and the door studded with nails. The proprietor has returned
with provisions for a merry-making; a porter bearing on his head a
basket containing geese, fowls, fish, and fruit, with a flask of wine
in his hand. The old curmudgeon's crutch is leaning against the door,
and he is fumbling over the immense padlock, quite unconscious that a
smart young officer, who has placed a ladder against the window of his
lovely inamorata's apartment, is helping the captive bird to freedom
from the clutches of her jealous jailer.

_August 30, 1811._ _Masquerading._ Published by T. Tegg.--The
comicalities of a masquerade at the beginning of the century, when
this class of entertainment, although declining since the palmy days
of the Pantheon and Madame Cornely's extravagances in Soho Square, was
more prevalent than at present, are set forth with due observation
of the leading characteristics. Prominent among the maskers is a
lady-magician, with her divining-wand and a book of the 'black art,'
confronting a nondescript necromancer and his zany. There is a
nobleman wearing horns as a becoming decoration for his head; and our
old friend Punchinello, with a guitar, putting himself into grotesque
contortions. There is a composite personage, a kind of _Janus_, an
established feature in old _bal masqués_, one side male and the other
female. There is a Folly, a councillor, and the usual attendance of
dominos, masquers, and characters, whose disguises are of a speculative
description.

[Illustration: MASQUERADING.]

_September, 1811._ _Accommodation Ladder._ Published by T. Tegg
(85).--At the feet of a gigantic and finely-built wench is a rotund
yet diminutive Admiral, with cocked-hat, telescope, sword, and all
complete; his broad riband is marked _Death or Victory_. For his
accommodation, that he may be able to reach her countenance within
hailing distance, the lady, who is more than twice the height of her
admirer, is holding a ladder ready for his ascent. The belle wears a
gallant plume, and a streamer with the motto _England expects every man
to do his duty_.

_September 12, 1811._ _Sorrow's Dry, or a Cure for the Heartache._

_September 20, 1811._ _Looking at the Comet till you get a crick in
the neck._ Published by T. Tegg (91).--A slipshod, lean old anatomy,
in dressing-gown and slippers, is straining his ancient crooked neck
staring at a comet through a spyglass. A comely young female, seated
in an armchair at the window, is pointing out the phenomenon to the
gazer; meanwhile a youthful gallant, on his knees beside the lady, is
squeezing her hand, tenderly pressing her foot, and otherwise striving
to enlist her interest by a demonstrative display of affection.

_September 25, 1811._ _Life and Death of the Race Horse._ Published
by T. Tegg (90).--This print is divided into six stages. The first
represents the foal by the side of his dam; in the second he is
pictured as a racer on the course in all the pride of strength and
beauty, blood and limb. In the third stage he has come down to a
hunter; from thence, with old age fast approaching, he is used to run
in a postchaise. In the fifth plate we find the whilom racehorse grown
aged and broken down, and condemned to end his wretched days belaboured
as a pack-horse. In the last stage the racehorse's career is brought
down to his death, and a huntsman has purchased his carcass to feed his
pack.

_September 29, 1811._ _Rural Sports. A Milling Match which took place
at Thisselton Gap, in the county of Rutland, September 28, 1811,
betwixt Cribb and Molineaux, on a twenty-five foot stage, and was
the second public contest between these two pugilists. It lasted
nineteen minutes and ten seconds, and was decisive in favour of Cribb._
Rowlandson del. Published by T. Tegg.--The point from which the picture
is taken affords a good view of the combat, which is about concluded.
Cribb, a massively-built boxer, is dealing the black champion such a
felling blow as, judging from the dismay expressed in the faces of
the two supporters of Molineaux, one of whom is also a man of colour,
will leave the victory in the hands of the striker, whose backer
and bottle-holder are in raptures. Round the raised platform which
constitutes the ring is gathered a very animated throng, amidst which
the artist has depicted the various popular incidents of pushing,
struggling, climbing on shoulders, quarrelling, picking pockets,
cheering, and resenting the encroachments of men on horseback. A
prize-fight would seem to have been an institution in fashion at the
beginning of the century; the streams of vehicles, coaches, tandems,
curricles, and every contrivance 'on wheels' which surround the stage
and line the background give the scene the appearance of a Derby
course. The presence of the fair sex, who seem to appreciate the
performance, keeps up the animation of the picture.

_October 1, 1811._ _Rural Sports. Smock Racing._ Published by T. Tegg.

[Illustration: RURAL SPORTS. SMOCK RACING.]

_October 2, 1811._ _John Bull at the Italian Opera._ Republished. (See
Oct. 2, 1805.) Designed and published by T. Rowlandson, 1 James Street,
Adelphi.

_October, 1811._ _Rural Sports, or a Game at Quoits._--A village green,
with an alehouse in the rear, is the scene of this diversion. Various
loving couples are disporting themselves on benches and at round-tables
by the alehouse door. The village cobblers, blacksmiths, tailors,
butchers, &c., are neglecting their trades to follow the game; their
injured wives have come to reduce the careless husbands to a proper
sense of their duties. One shrewish spouse, leaning over the paling, is
flourishing a broom with a force of arms that threatens to astonish her
good man, whose attention is occupied in the game. Over the head of the
victim is a board, _Washing and mangling done here_. Various convivial
groups are scattered around.

_October, 1811._ _Rural Sports, or how to show off a well-shaped Leg_,
introduces a rustic pleasure-ground. A rope thrown between two tall
trees furnishes a swing for a well-developed and gaily apparelled
hoyden; another maiden is working the rope which swings her friend;
the attractions of the second lady have absorbed a young gentleman,
whose attentions to the fair rope-puller are 'particular.' A group of
wicked old roysterers are delighted with the prospect of the swinging
hoyden--their pipes and bowls are neglected in their rapturous
attention to the evolutions of the fair occupant of the swing, and
their indignant wives are vainly endeavouring to recall them to a sense
of propriety.

1811. _Twelfth Night Characters_, in twenty-four figures, by T.
Rowlandson.

_October, 1811._ _Rural Sports, or a Cricket Match Extraordinary._
Published by T. Tegg (96).--On Wednesday, Oct. 3, 1811, a cricket
match took place at Balls Pond, Newington. The players on both sides
were women--11 Hampshire against 11 Surrey. The match was made between
two noblemen amateurs of the respective counties for 500 guineas
a side. The performers in the contest were of all ages and sizes.
Such a subject in the hands of Rowlandson afforded almost unbounded
opportunities for the exercise of his grotesque talents and his command
of figure-drawing. The scene is a busy one, as may be conceived; a
certain artistic freedom has been assumed, and there is a liberal
display of limbs in all directions, the skirts of the cricketers being
tucked up for convenience of motion; the performers, however, seem
to enter into the contest with spirit, if not skill. Balls Pond, as
seen in the engraving, is a fair open country, without a trace of a
solitary habitation. A spacious tent, in the background, is erected
for the _Jolly Cricketers_, wherein the noble patrons of the sport are
fortifying the players with huge bowls of punch, restoratives which do
not appear to promote the most orderly proceedings.

  1811 (?). _The Jockey Club, or Newmarket Meeting_ (111)
           (Betting Room).

  1811 (?). _The Sagacious Buck, or Effects of Waterproof._

  1811 (?). _Richmond Hill._ After H. Bunbury. (See 1803.)

  1811 (?). _French Inn._          ditto.

  1811 (?). _Quaix de Paris._      ditto.

  1811 (?). _A Country Club._

  1811 (?). _Recruits._ (See 1803.)

  1811 (?). _Morning, or the Man of Taste._ After H. Bunbury.

  1811 (?). _Evening, or the Man of Feeling._   ditto.

  1811 (?). _Conversazione._

_October 11, 1811._ _Six Classes of that Noble and Intelligent
Animal--a Horse._

    The Race Horse.
    The Shooting Pony.
    The Gig Horse.
    The War Horse.
    The Hunter.
    The Draught Horse.

_October 10, 1811._ _Distillers looking into their own business._
Published by T. Tegg.--The principal objects in the print are a still
and a cask of double-rectified spirits, into which three members of the
firm are involuntarily infusing foreign elements.

_October, 1811._ _Dinners Dressed in the neatest manner._ Published
by T. Tegg (112).--The preparations of the cook in question are not
calculated to increase the appetite of the observant epicure; the
_chef_ is hideous, old, rheumy, slovenly, and diseased; he is kneading
the paste with his objectionable hands, his snuffbox is on the board
by his side; while a blowsy and uncombed slattern is reaching down a
pie-dish, in which the rats have been revelling; the bold depredators
are scampering off no farther than the next dish. (Companion to
_Distillers looking into their own business_.)

_October 25, 1811._ _A Trip to Gretna Green._ Designed and published
by T. Rowlandson, 1 James Street, Adelphi.--The scene of the situation
is the green at Gretna, before the shed of _Tim Tag, 'Blacksmith and
Rector.'_ The worthy is in his clerical character, decently clad in
professional sables; and, with spectacles on nose, he is reading the
service, in a somewhat extemporary fashion, over a fugitive couple, in
the open air. A dashing captain, dressed in his regimentals, as was
then the everyday fashion in the King's service, is placing a ring
on the finger of a comely maiden of tender years, who is smiling and
blushing. The postilion who has driven the runaway pair to this stolen
match is standing, cap in hand, grinning at the ceremonial. While the
blacksmith is rivetting the fetters of Hymen in his clerical character,
his professional helpers are looking to the shoes of the horses which
are to bear the newly-married couple across the Border.

_October 25, 1811._ _Rural Sports. Balloon Hunting._ Published by
T. Tegg (157).--The balloon is drifting before the wind beyond the
control of the aeronaut; a fair voyager is making a terrific descent
with a parachute in the midst of a flock of birds; from the top of a
tall tower a gentleman is taking deliberate aim at the flying machine,
probably with a view to bring it down by blowing a hole through the
body of the balloon. In the foreground is shown the mishap of the
balloon-hunters; a stout old gentleman is endeavouring to drag his
vehicle up hill; his horse is shying and kicking; a dog is barking at
the animal's head, the shafts are snapped, and the trap is kicked over;
three fair riders are thrown out in picturesque confusion on the turf,
and scattered with bottles and a bundle.

_November 25, 1811._ _English Manner and French Prudence; or French
Dragoons brought to a check by a Belvoir Leap. A Scene after Nature
near Cuidad Rodrigo. September 1811._ Published by H. Humphrey, St.
James's Street.--'Lord Charles Manners was a famous horseman, and
unexpectedly one day came upon a French cavalry picket, who gave chase
until a brook was reached, which Lord Charles immediately cleared,
making a salute, and bidding the Frenchmen (who were so surprised as
not to fire until too late), '_Adieu, messieurs!_' A paragraph from
one of the London papers of the day makes the foregoing record of
the exciting incident. This gallant exploit is treated pictorially by
Rowlandson. Lord Charles Manners is taking the brook in an easy stride,
his horse bearing him over 'like a bird,' while his ferocious-looking
pursuers are brought to a full stop at the brink, and as the daring
horseman is bidding farewell to the enemy they are nonplussed with
astonishment at the reckless feat, which they have no ambition to
follow. There is a disappointed knot of French officers, dragoons,
huzzars, &c.; they are all uttering ejaculations of surprise and
cursing the fugitive: _'Sacrebleu!' 'Mais comment, &c.'; 'Quel diable
d'Anglois!' 'Est-il possible?'_

_December 2, 1811._ _A Man of Feeling for the Human Race._ Published by
T. Tegg (126).--Represents the college rooms of a Master of Arts and a
Fellow of decidedly convivial tendencies, whose predilections appear to
be the reverse of ascetic.

_December 9, 1811._ _Bel and the Dragon._ Published by
Stockdale.--Doctor Bell, in wig, gown, cassock, and bands, is standing
calmly before a very terrific pantomimic representation of a dragon.
Before the Doctor--over whose head shines the glorious midday sun,
figuratively set forth--is extended the buckler of _Religion_ held by
the stalwart arm of the _Marsh Clergy of Monarchists_. Dr. Bell is
pointing triumphantly to his school, a dignified pile, founded on a
commanding eminence, marked _Church and State_. Behind 'the Dragon'
is the rival establishment, _Lancaster's School under the Broad-brim
System_, raised on _Deceit and Misrepresentation_. The Dragon's tongue,
labelled _Falsehood_, is pouring forth smoke and flames, and his claws,
_Hypocrisy_, _Vanity_, _Misrepresentation_, and _Calumny_, are extended
to maul the reputation of the opposition champion.

_December 15, 1811._ _A Milk-sop._ Published by T. Tegg (125).--A
pretty milkmaid, with her yoke and cans, is passing the chambers
of a gallant collegian at one of the Universities; the shameless
undergraduate, in cap and gown, has waited his opportunity, and as the
buxom wench is passing his open casement he is leaning out of window,
throwing his arm round her buxom waist, and is indulging in a chaste
salute, which is cordially received. A tutor, or proctor, dodging round
'the quad,' is horrified at the scandalous licence; a sturdy infant is
carried in one of the pails, the other is filled with cream, and offers
a rare opportunity for plunder, of which a passing dog is not slow to
avail himself--raised on his hind legs he is lapping up the welcome
fluid at his leisure.

1811. _Royal Academy, Somerset House, London._ Rowlandson fecit.--The
members, who are studying from the nude, are all well advanced in
years. The seats and drawing-stands of the old Life Academy are
arranged in a horseshoe; the first or inner row of students being
seated, while those who form the outer semicircle are standing at
their easels. An agreeable and graceful-looking female model is posed
beneath the reflectors in an easy attitude which she is preserving with
the assistance of a looped rope slung from the roof.

1811. _The Harmonic Society._ (See October 2, 1810.) Republished.

1811. _Miseries of Travelling. A Hailstorm._ Designed by H. Bunbury,
etched by T. Rowlandson.

1811. _A Tutor and his Pupil, travelling in France, arriving at a
Posting-house._

1811. _The Departure of La Fleur._ Vide _Sterne's 'Sentimental
Journey.'_ Designed by H. Bunbury, etched by T. Rowlandson.

1811 (?). _Exhibition 'Stare' Case, Somerset House._--The staircase
of the handsome buildings erected for Somerset House originally set
apart for the Exhibition of the Royal Academy, is ridiculed as a scene
of unequivocal confusion. Whether the dangers of the somewhat steep
ascent were actually as hazardous as the artist has depicted is open
to question. It will be remembered that Sir William Chambers, the
architect, whose masterpiece was decidedly Somerset House, was a member
of the Royal Academy, and held the office of Treasurer to that body.
It was somewhat the fashion of the wits to laugh at the architect,
who, as a foreigner, had received an amount of royal patronage which
created certain jealousies in the minds of his English rivals, who
were less favoured with the smiles of princes. Chambers' extravagant
conceptions, the various novel designs he published, and particularly
his marked taste for so-called Oriental gardening and the introduction
of buildings after the Chinese fashion, exposed the project to an
ordeal of the severest criticism and sarcasm. George the Third employed
Sir William Chambers to lay out and adorn the Royal gardens at Kew,
when the eminent Swede took advantage of the occasion to carry out the
taste he had acquired in China[24]--an indulgence which subjected the
architect to numerous well-merited satires. The famous 'Heroic Epistle
to Sir William Chambers' was provoked on this occasion.

Peter Pindar, according to his custom, found various faults with the
new pile of buildings in the Strand, and their shortcomings were
pointed out with his habitual archness.

The scene of disaster and tumultuous medley which Rowlandson has
ventured to introduce as attendant incidents of the Royal Academy
staircase must have assisted, in some degree, to make this portion of
the building a laughing-stock with the more frivolous portion of the
frequenters.

[Illustration: EXHIBITION 'STARE' CASE.]

The Editor acknowledges the situation is treated with a licence
which, perhaps, may be held to verge on the inadmissible. It has been
sufficiently difficult, in selecting these illustrations, to keep
within the restrictions marked out by modern decorum, too chaste
to endorse the broad jocularity which passed current half a century
back. The mirth imported into _Somerset House_ is not, however, of a
licentious description; if the subject is treated with more freedom
than is desirable, according to the juster ideas of our generation, at
least its humours are innoxious and, we trust, guiltless of offence.

[Illustration: THE MANAGER'S LAST KICK.]

It is obvious that, in an instance like the present, the task becomes
one of extreme delicacy; it is impossible to translate the caprices
of the artist by any method short of the etching-needle; the mixed
description of the spectacle and the spirit of the _contretemps_ defy
a mere verbal rendering; and the caricature is too excellent in other
respects to be passed over in the present collection, which professes
to give a general view of the artist's cleverest and most familiarly
known examples. While avoiding instances the morality of which is
absolutely questionable, it is evident that it would be impossible
to treat of the actual history, let alone the novels and caricatures
of our forefathers, or to venture on the merest enquiry into their
familiar life, abroad or at home, unless we put prudery a little on one
side.

1811. _The Manager's Last Kick, or a New Way to Pay Old Debts._
Published by T. Tegg (117).--An episode in theatrical management is
made the subject of the present caricature. As is well known, pecuniary
complications were occasionally attendant evils of carrying on
theatrical enterprises, especially some half a century ago. Sheridan's
monetary difficulties were notorious, and although the holders of
writs had recourse to expedients without end to serve the slippery
manager of Drury Lane, it is just to add that 'Sherry's' ingenuity was
frequently equal to the emergency. During a rehearsal at Drury Lane a
Sheriff's officer by some subterfuge gained admittance to the stage,
and presented the manager with his objectionable scrip of parchment.
Sheridan was by no means disconcerted, but made the process-server at
home, asking his advice on various points; and finally, as the story
goes, having thrown the man off his guard, he induced him to mount to
the front of the house to give his opinion on the sounding properties
of the building. 'Can you hear me?' asked Sheridan. 'Perfectly,'
replied the man. 'Then,' said Sheridan, 'you had better lose no time in
coming down again, and catch me if you can, for I'm off!' And before
the disconcerted bailiff could find his way back to the stage his
charge had succeeded in making good his retreat.

In _The Manager's Last Kick, or a New Way to Pay Old Debts_, the same
principle is involved; in this case, however, just as the _red tail_
writ is being served on the manager, a stage trap-door is suddenly let
down, and the objectionable visitor is whisked off the scene. The wily
lessee is bowing his fallen enemy out of sight with mock respect: 'Good
morning, Mr. Catchpole; you'll find more of your tribe when you get to
the bottom!'

_No Date._ (1811?). _Preparing to Start._ Published by T. Tegg
(118).--There are jockeys within the ropes; the course is being
cleared. The view is taken from the paddock opposite the grand stand.
There are booths and tents for the sale of _real Stingo_, and horses
are picketed on a hillside in the distance.

[Illustration: PREPARING TO START.]

_No Date._ (1811?). _Preparing for the Race._ Published by T. Tegg.

[Illustration: PREPARING FOR THE RACE.]

1811 (?). _Awkward Squads Studying the Graces._ Published by T. Tegg
(87). Woodward del., Rowlandson sculp.--Six stages, displaying the
difficulties encountered by a French dancing master in labouring to
instruct unconquerably clumsy and elderly pupils, who obviously possess
no sort of aptitude for movement or grace.

1811. _Hiring a Servant._ Published by T. Tegg (124).--An elderly
couple in a genteel station of life are seated at the breakfast-table;
to them enters a simple country maiden, with a pretty and innocent
face, her arms modestly folded, as an applicant for a place. 'What
situation in my family would you wish to undertake, young woman?'
enquires the lady of the house. 'Ma'am,' replies the unsophisticated
maiden, 'I should like to be under your man-cook by way of
improvement.' This _naïf_ remark is misconstrued, to the manifest
delight of the fat _chef_, who is rolling about and rubbing his round
sides with amusement.

1811 (?). _Anglers of 1611._ Designed by H. Bunbury, and etched by
T. Rowlandson.--A pretty group, founded on the piscatorial pastoral
of Izaak Walton. Venator is seated with his arm round the waist of the
pretty milkmaid. Maudlin, her mother, a quaint old dame, is discoursing
wisdom. Piscator is, with folded arms, leaning on his fishing-rod; at
his feet are two fine trout. Peter is whipping a stream in the rear.
The scenery is pretty, and the figures are neatly and expressively
filled in. The design, which is by Bunbury, it is easy to recognise has
gained considerable force from the spirited execution his contemporary
has brought to bear on the etching. Companion to _Anglers of 1811_.

1811. _Anglers of 1811._ Designed by H. Bunbury, etched by T.
Rowlandson.

1811. _Patience in a Punt._ Designed by H. Bunbury, etched by T.
Rowlandson.

1811 (?). _A Templar at his Studies._ Published by T. Tegg.--The
chambers of a fast member of the Bar; breakfast is on the table, and
the apartment is in a litter of bottles, hunting-boots, guns, whips,
law-books, briefs, papers, and general disorder. The student has
evidently been to a masquerade overnight; portions of the dress of a
Grand Turk are scattered about; moreover a lady is in his chambers,
who is performing her toilette at a gilt mirror standing on his
breakfast-table. The Templar, semi-clad, is sleepily trying to look
through a bundle of briefs and law papers.

1811. _A Family Piece. (The Portrait Painter.)_ Designed by H. Bunbury,
engraved by T. Rowlandson.

1811. _A Barber's Shop._ H. Bunbury del., Rowlandson sculp.--Two
customers, already polished off, are putting on their cravats at the
glass, and a stout old gentleman is in a shaving-chair having his
hair dressed. A brace of dogs are quarrelling over a wig, which they
are worrying like a rat and pulling different ways. A client is being
lathered and is under operation, while a gentleman, who has been
shaved, is wiping off the remains of the soapsuds. This design, one of
the latest due to the hand of the gifted Henry Bunbury,[25] was also
engraved on a larger scale by James Gillray: it was the last plate upon
which he was able to work, and it proceeded but slowly, being touched
in rare lucid intervals as his increasing madness permitted.

The etching, as executed by Gillray, bears the date 1811 in one corner,
and to this is added the date of its deferred publication, May 15,
1818. The title given on the folio engraving is _Interior of a Barber's
Shop in Assize Time_. The great caricaturist carried this plate, _the
last work on copper by the hand of Gillray_, as notified upon the
print, so far as his intermittent returns of reason would allow him.
As Gillray died June 1, 1815, when the plate was evidently unfinished,
this is probably one of the caricaturist's coppers which, as we have
already related, were handed to George Cruikshank, another departed
worthy, to complete. The unexpected death of the veteran has prevented
the writer verifying this circumstance, although it is probably one of
the plates--probably the most important as to size--which Cruikshank
held in recollection when he informed the writer he considered that
the most flattering testimonial which had been paid him in his long
life was being selected, while a young man, to complete the engravings
Gillray had left unfinished under the painful circumstances of his
mental aberration, as already detailed. (See _The Works of James
Gillray, the Caricaturist, with the Story of his Life and Times_, page
19, Introduction; and, further, the reduced engraving, from this plate
(1811), page 370, the _Works_).

1811 (?). _Modern Antiques._--The cabinet of an antiquarian, richly
filled with supposititious relics of the past. On a shelf is a row
of Etruscan vases; bacchic masks and terminal gods are ranged on the
walls; the chief features of the collection are a gathering of Egyptian
deities and some magnificent sarcophagi. The satire, in some degree,
seems to hint at Sir William Hamilton (then deceased) and the fair Emma.

An old antiquary, decrepit and bent, is peering at the shapely
proportions of an Egyptian figure bearing a close resemblance to life.
The chief incident of the picture is centred in a mummy's coffin,
tenanted for the time, like a sentry-box, by a gallant young officer,
who is embraced, behind the lid of his temporary resting-place, by a
lady, who, like all the beauties designed by the artist, is represented
of fine proportions and somewhat free graces. The _inamorata_ has
thrown down a work which she has evidently studied to some purpose,
_Loves of the Gods--embellished with cuts_, and she is taking the
opportunity to make a practical application of her readings.

1811. _Munchausen at Walcheren._ Plates by Rowlandson.

1811. _Chesterfield Burlesqued._ Published by T. Tegg. 12mo. (See
_Chesterfield Travestie_, 1808.)

FOOTNOTES:

[23] It was here, in this same Westminster pit, that the celebrated
dog _Billy_ distinguished himself, and carried off the laurels of
vermin-killing, by despatching a hundred rats at a time.

[24] In his early career Chambers had visited China. He performed the
voyage as supercargo of some Swedish ships trading there.

[25] Bunbury died at Keswick, May 7, 1811, aged 61.



1812.


_January 10, 1812._ _A Portrait: Duke of Cumberland._ Published by H.
Humphrey, 27 St. James's Street.--The Duke, with his spyglass, dressed
in a blue coat with red facings (Windsor uniform); in the background is
shown Kew Gardens, with the Pagoda House. The drawing from which this
print was etched is entitled _Blood Royal_.

_January 10, 1812._ _A Portrait: Lord Petersham._ Published by H.
Humphrey, 27 St James's Street.--St. James's Palace at the back of the
subject.

_January 10, 1812._ _Wet under Foot._ Designed by an amateur. Published
by H. Humphrey, 27 St. James's Street.--This small sketch represents a
pouring wet day; a lady on pattens, holding an umbrella over her head,
is endeavouring to pass the gutter without injury to her stockings. The
point of view is supposed to be taken from the junction of Petticoat
Lane with Smock Alley. Scavengers are shovelling mud into their carts;
and the general downpour is further aggravated by denizens of the
upper floors, who are discharging vessels over the soaked and dripping
passengers below.

_February 26, 1812._ _A Portrait: Lord Pomfret._ Published by H.
Humphrey, 27 St. James's Street.

_February 28, 1812._ _Plucking a Spooney._--A promising young
'spooney,' according to the artist's view, is entering on life's
dangers--represented pictorially in three subjects which are hanging
over the head of the victim: 'the fair sex--drinking--and gaming,'
being the evils set down to avoid. The novice is evidently well
advanced on the downward route, and has fallen among experienced
professors of the plucking process. A gaily-dressed lady by his side,
a 'decoy duck,' of captivating exterior, is beguiling the senses of
the self-satisfied dupe with various familiarities; while a smug stout
person, dressed like a parson, is discreetly keeping up the spirit of
the affair by filling the glasses and manufacturing fresh supplies of
punch, which the 'spooney' is imbibing freely and without regard to
the consequences. A pile of gold and notes has been laid on the table
by this very innocent pigeon, and opposite to him sits the crafty and
accomplished 'rook'--a captain, from his 'keeping'--who, by a skilful
manipulation of the cards, assisted by the carelessness of the simple
young _roué_, bids fair to succeed in leaving the pigeon 'without a
feather to fly with;' the plunder to be apportioned amongst the hopeful
triumvirate in whose company the youth has the misfortune to find
himself.

_March 1, 1812._ _Catching an Elephant._ Published by T. Tegg
(146).--Two attractive and winsome damsels, standing outside a portal
labelled 'Warm Baths,' have just succeeded in capturing an elderly
colossus of a man, whose bulk should fairly entitle him to take his
place amongst elephantine monsters; the expression of his senile
features is designed to carry out the resemblance.

_March, 1812._ _Description of a Boxing Match between Ward and Quirk
for 100 Guineas a side._ Published by T. Rowlandson, 1 James Street,
Adelphi.

_March 2, 1812._ _Spanish Cloak._ Rowlandson del. Published by T. Tegg
(39).--A superior officer, going his midnight rounds of the sentries
posted on a line of fortifications, is amused at discovering the
phenomenon of two pairs of legs below one cloak. A trooper has taken
advantage of his ample garment to smuggle in a fair companion to share
his vigils. The lady seems to enjoy her situation.

_March 20, 1812._ _Fast Day._ Published by T. Rowlandson, 1 James
Street, Adelphi.--Four learned Doctors, dressed in their clerical
vestments, are keeping in their own fashion a day set apart by the
Church for general mortification. The portly four are seated at a
well-furnished board, and trains of servants are, with respectful
attention, bringing in fresh supplies--poultry, dainty meats, and other
delicacies. The well-stocked collegiate cellars have been laid under
contribution; bottles of choice vintage are standing in wine-coolers
and in promising rows on the floor, beside a liberal jorum of punch in
a _Bowl for a Bishop_. The nature of the private meditations of these
epicurean worthies is thus made manifest, while the order of the repast
is further set forth in a lengthy _bill of fare_ irreverently written
on a _New Form of Prayer for the Fast Day_, by way of _menu_. The
walls are suggestively hung with _Lists of the Great Tithes_ and such
congenial paintings as _A Bench of Bishops_, represented regaling at a
roystering banquet, _Susannah and the Elders_, _Brasenose College_, &c.

_March 25, 1812._ _Sea Stores._--A bevy of females consisting of a
negress and other beauties from the purlieus of the port, 'waiting for
Jack,' are sportively accosted by a dapper young midshipman who has
been sent on shore to procure supplies for his ship, which is lying
off. (Companion print to _Land Stores_.)

_March, 1812._ _Land Stores._--A dark beauty, of colossal proportions,
is embraced by an officer whose figure is dwarfed by comparison
with the monster negress. A placard posted on the walls of the
fortification, where these extraordinary _Land Stores_ are supposed to
be lodged, announces 'Voluntary subscription for a soldier's widow; the
smallest donations will be gratefully received,' &c.

_April 2, 1812._ _The Chamber of Genius._ Published by T. Rowlandson, 1
James Street.

    Want is the scorn of every wealthy fool,
    And genius in rags is turned to ridicule.--_Vide 'Satirist.'_

The apartment of an enthusiastic genius, whose ambitions seem to
have taken various forms of expression. Music, painting, sculpture,
literature, chemistry, and other arts and sciences seem to have
occupied his attention by turns, and instruments suggestive of the
respective pursuits are muddled up with domestic details incidental to
the confinement of a wife and family to one solitary chamber, together
with the utensils of cookery, besides the food itself. The genius
has left his rest under the impulse of an inspiration; he has an old
nightcap worn over his wig, and is still in his night-shirt, with
down-at-heel slipper on one foot, and a ragged stocking on the other.
He is seated, in an attitude expressive of sudden exaltation before
an easel which bears the canvas he is filling out with rapid energy;
his left hand grasps a pen, and a black cat in demanding attention has
fixed her claws in his unclad limbs; but the artist is so absorbed in
his subject as to be unconscious of pain; miscellaneous litter, a bust,
a palette, and a sheaf of brushes, paint-pots, a still and furnace,
books, scales, syringes, a fiddle, and a post horn are scattered
behind the easel. The female companion of this genius is tranquilly
sleeping in an easy attitude through all the confusion; on the table
by the bedstead (on which her husband's garments are displayed) is
a coffee-pot and some suggestions of breakfast; an unclad infant is
leaning over the table, and pouring gin into a wineglass. Another
semiclad child is seated on a tub before a blazing fire, amusing
herself with the bellows, and is in danger from a steaming kettle and
a red-hot poker. Food, knives, forks, plates, and a pewter quart-pot
are at the artist's feet; he has just kicked over a large porringer of
milk, and is heedless of the mischief. Lamps, caudle-boats, strings of
candles, and bunches of onions are the decorations of the chimneypiece;
ragged clothes and unmended stockings are hanging over a rope stretched
across the chamber; on the wall is hung a smart three-cornered hat and
a sword by the side of pictures of 'Aerostation' and the portraits of a
ballet-dancer and 'Peter Tester.'

Rowlandson has put his own name to the print as the 'inventor;' the
satire is very unsparing, and the squalor he has attributed to his
professional brother is of the direst and most ludicrous description,
but the figure of the painter is marked with vigorous characteristics,
and the outline of the face which he has bestowed on his erratic
genius, designedly or not, bears a suggestive resemblance to his own
strongly-defined features.

_April 4, 1812._ _In the Dog Days._ Published by T. Rowlandson, 1 James
Street, Adelphi.

    Now the weather's sultry grown,
      Sweating late and early.
    Better far to lay alone--
      Oh! we swelter rarely!

The representation of an extravagantly corpulent couple, whose rest
is apparently fitful; the lines attached to the plate, which is not
remarkable for refinement, form its best description.

_April 12, 1812._ _The Ducking Stool._ Republished. (See April 12,
1803.)

[Illustration: ITALIAN PICTURE-DEALERS HUMBUGGING MY LORD ANGLAISE.]

_May 30, 1812._ _Italian Picture Dealers Humbugging my Lord Anglaise._
Published by T. Rowlandson, 1 James Street, Adelphi.--'Milord'
is a very dandified young sprig of nobility, who is an evident
_macaroni_, with the ambition to shine as a man of taste. A 'foreign
nobleman'--that is to say, according to English views at the period--a
'speculative Count,' who is very splendid in exterior, is evidently
a confederate of his countryman, the _Italian picture dealer_, and
has accompanied the noble incipient collector as a decoy to puff
the wares, and if need be to offer fictitious sums in opposition
to 'Milord' and spur his enthusiasm for the fine arts, which are
respectably represented around, as far as good names go. A sensuous
Magdalen, attributed to Guido, is exciting the admiration of the party
and employing the wily dealer's eloquence. Around are supposititious
examples of Rubens, Carracci, Titian, Teniers, Salvator Rosa, and other
'undoubted originals,' the major part of which in all probability owe
their well-disguised paternity to the versatile 'Van Daub.'

[Illustration: A BRACE OF BLACKGUARDS.]

_May 30, 1812._ _A Brace of Blackguards._ Published by T. Rowlandson,
St. James Street, Adelphi.--It has been mentioned in respect to this
eccentric production that the figures of the two gentlemen to whom
this dubious compliment is rendered are intended to represent those of
Rowlandson, the caricaturist, in the boxing attitude, and his friend
George Morland, the painter, seated in the chair.

[Illustration: RACING.]

_June 4, 1812._ _Broad Grins, or a Black Joke._ Published by T.
Tegg.--A clerical-looking gentleman is thrown into consternation at
the interesting condition of a rustic female, who is standing beneath
a board announcing 'Man-traps laid in these grounds.' The head of a
black footman peering through a hole in the garden-wall indicates the
true source of the 'Black Joke.'

_July 14, 1812._ _Miseries of London. Watermen. Oars? Sculls?_
Published by T. Rowlandson, 1 James Street, Adelphi.--Entering upon any
of the bridges of London or any of the passages leading to the Thames,
being assailed by a group of watermen, holding up their hands and
bawling out 'Oars? Sculls, sculls? Oars, oars?'

[Illustration: MISERIES OF LONDON. 'Oars? Sculls, sculls? Oars, oars?']

1812 (?). _Racing._ Published by T. Tegg (158).

_July 14, 1812_ (?). _Glow Worms._ (See 1805.) Published by T.
Rowlandson, 1 St. James Street, Adelphi.

_July 14, 1812_ (?). _Muck Worms._ (See 1800.)

_July 14, 1812_ (?). _The Rivals._

_July 15, 1812._ _A Seaman's Wife's Reckoning._ Published by T. Tegg
(275), Woodward delin., Rowlandson sculp.--An old salt, with his dog
at his elbow, is seated beside his blooming daughter-in-law, a pretty
young mother, dandling a fine infant; the lady is using her eloquence
and trying to flatter this obdurate relative into confidence in her
story. The experienced mariner is declaring, 'Why, d'ye see, I am
an old seaman, and not easily imposed upon. I say that can't be my
son Jack's child. Why, he has not been married but three months, and
during that time he has been at sea--the thing is impossible! You may
as well tell me that my ship Nancy goes nine knots an hour in a dead
calm. And now I look again it's the very picture of Peter Wilkins, the
soap-boiler.'

The fair object of suspicion is by no means confounded at this logical
deduction. 'My dear father-in-law, I'll make it out very easily--Jack
has been married to me three months,--very well,--I have been with
child three months,--which makes _six_,--then he has been at sea three
months, has not he?--and that just makes up the _nine_!'

The fortunate husband, who sports a new rig-out--with a bright bandanna
round his neck, and his pipe stuck in the band of his hat--is lurching
into the apartment with a sea-roll. He is quite satisfied with his
wife's arithmetic, and is arguing on the side of his tender partner:
'Father, father, don't be too hard upon Poll; I know something about
the logbook myself, and dash me but she has kept her reckoning like a
true seaman's wife!'

_July 15, 1812._ _The Secret History of Crim Con._ Plate 1. Published
by T. Tegg (161).

_July 15, 1812._ _The Secret History of Crim Con._ Plate 2. Published
by T. Tegg (161).

_August 29, 1812._ _Setting out for Margate._ Woodward del., Rowlandson
sculp. Published by T. Tegg (166).--A stout citizen, smartly clad,
with his wife, whose apparel is still more festive, are setting out
upon a holiday excursion. The heads of two geese are hanging over the
coat-tails of the cockney traveller: 'Why, my dove, I am loaded with
provisions, like a tilt-cart on a fair-day, and my pockets stick out
just as if I was just returned from a City feast.' The correct partner
of his joys is responding, 'Don't be so _wulgar_, Mr. Dripping; you
are now going among genteel folks, and must behave yourself. We shall
want all the _wickalls_ on the _woyage_, depend upon it. Bless me, how
_varm_ it is! I am all over in a muck!' To them enters their foreman:
'An' please you, master and missis, the sailor-man has sent word as how
the _wessel_ is ready to swim!'

_August 30, 1812._ _The Sweet Pea._ Published by H. Humphrey, 27 St.
James's Street.

_October 1, 1812._ _Refinement of Language._ Woodward del., Rowlandson
sculp. Published by T. Tegg (171).--Six subjects, illustrating the
results of the advance of genteel ideas and the introduction of a
new-fashioned system of refining on everything. A ragged match-seller
is elevated into a 'timber merchant.' A postman becomes a 'man of
letters.' A gardener is raised to a 'Master of the Mint.' A Jew hawker,
who cries, 'Any old clothes to shell?' is changed to a 'merchant
tailor.' A sexton, pressing down the mould on a grave, is translated
into 'a banker;' and a poulterer easily becomes a 'Turkey merchant.'

1812. _Bitter Fare, or Sweeps Regaling._--As in the preceding
caricature the date of this plate has been altered; it was probably
published in 1802, and re-issued later, a common occurrence with
Rowlandson's prints. _Bitter Fare, or Sweeps Regaling_, was, it seems
likely, designed as a companion to _Love and Dust_ (1792, &c.), and
it partakes of the same ragged inspiration. In the hovel tenanted
by the somewhat undesirable 'Chummey family' smoke is the prevalent
element; the sooty company, sufficiently black and begrimed in
their own persons, seem perfectly in their element before a smoking
fireplace--as they are reposing luxuriously on sacks of soot. The heads
of the family are amiably sharing their enjoyments, drinking beer
from a pewter measure, and smoking long clay pipes; the sweeper lads,
but for a coat of soot comparatively unclad, are revelling amidst the
cinders on the hearth, divided between the congenial relaxations of
eating porridge and tormenting an unfortunate cat. Brushes, shovels,
and the professional belongings of chimney-sweeping are scattered
about; the only article of fancy admitted into the establishment is a
blackbird, which is possibly present on the ground that its hue offers
a resemblance to the general complexion.

_October 12, 1812._ _Raising the Wind._ Published by T. Rowlandson, 1
James Street, Adelphi.

    When noblemen have lost racehorse, and all their rhino spent,
    Then little Isaac draws the bond and lends for cent. per cent.

[Illustration: RAISING THE WIND.]

Rowlandson's print introduces the nobleman at the precise moment his
affairs need 'patching up,' for 'mended' he never can be after he
has put himself into the spider-like clutches of plausible Isaac and
his 'friend in the City.' The 'little Jew broker' has brought a rich
usurer of his tribe, and between them his lordship's career of folly
will be swiftly run. All the ready-money is gone, and the racing stud
has followed it; but the 'road to ruin' is only just opening up. The
spendthrift is a comparative beginner; the next step is raising money
on his _title deeds_, which are undergoing inspection under the
vulture-like eye of the scrivener, who, it appears, lends money on good
security and traffics in annuities and jointures.

The borrower is evidently accustomed to take life easily, he is putting
himself into the claws of the Israelites, and is otherwise 'going to
the bad' with perfect good humour and in a sociable frame of mind, not
unlike the way of proceeding practised by the heroes of Sheridan's
comedies; indeed, there is a great deal of the _Charles Surface_
element in the composition.

The pictures which fill young Hopeful's walls tell his story after the
Hogarthian method. There are portraits of the relatives who have left
their savings and estates to the present careless holder: Sir Matthew
Mite, a miser; Lady Crane; and Sir Peter Plumb--all persons of a 'warm'
disposition as to wealth. There is a 'view of the Yorkshire estate;'
then there is 'The Prodigal Son,' which may be held to apply to the
heir, whose ways of making the money fly are further illustrated by
such pictures as a 'Hazard Table,' 'A game fighting-cock,' a racehorse,
'Sancho,' on the course; and a blood mare, 'Diana,' and foal; the
breeding and running of racehorses being considered then, as now, among
the most expeditious routes to insolvency.

_November 30, 1812._ _Christmas Gambols._ Published by T. Rowlandson, 1
James Street, Adelphi.--The festivities represented, which partake of
the free and frolicsome description, are taking place in the servants'
hall. Full drinking has been the order of the evening; the master's
cellar and the servants' heads have both been lightened simultaneously,
and the results are displaying themselves under the mistletoe and in
horseplay. A footman and a parlour-maid are rolling over one another
indiscriminately on the hearthrug amidst the fragments of crockery
demolished in their downfall. A sturdy black footman is lifting a fat
wench in his arms for a chaste salute. Practical joking is the order of
the evening; the fat cook has been toppled back in her armchair, and is
vainly flourishing her basting-ladle to drive off her assailant, while
her feet are in the air; and the butler, as author of the mischief,
is making the best use of his opportunities, while another couple are
exchanging kisses with evident goodwill.

1812. _The Successful Fortune-hunter (Bath Crescent), or Captain
Shelalee leading Miss Marrowfat to the Temple of Hymen._--In the
distance are indicated the regular frequenters of Bath, sufferers from
gout on crutches, and invalids in wheeled-chairs. A dashing Irish
adventurer, one of the bold fortune-hunters--notorieties from the
Sister Isle in Rowlandson's day--is leading captive the wealth and
person of a somewhat vulgar and stumpy heiress, whose figure is loaded
with jewellery fashioned on a scale of oppressive magnitude.

1812. _Hackney Assembly. 'The Graces, the Graces, remember the
Graces!'_ From erasures in the date of this plate it seems probable
that it was originally issued ten years earlier. As the title
indicates, this sketch is a broad burlesque of the deportment displayed
by the frequenters of a suburban ball-room. The awkward and ungainly
carriage of all the figures is amusingly exaggerated. A master of
the ceremonies, the expression of whose features is complicated by
a decided squint, is briskly performing the rites of his office and
introducing a cobby little gentleman as a partner to an angular and
misshapen spinster, who, in consulting _the graces_, has thrown her
Gothic frame into an absurdly constrained and affected posture.

1812. _The Learned Scotchman, or Magistrate's Mistake._ Woodward del.,
Rowlandson sculp. Published by T. Tegg (150).--A Scotchman is led
before a country justice, charged with drunkenness; the magistrate's
wife is seated by the side of her lord, and is much shocked at the
learned Caledonian's defence; bowing low, bonnet in hand, the Scot is
throwing himself on the clemency of the court: 'I own, your honour, I
was a little inebriated, but your worship knows _Nemo mortalium omnibus
hooris saupit_.' 'What's that you say, fellow,' retorts the magistrate,
'about a sawpit?--a very improper place to go with such company. I
wonder you are not ashamed to mention such a thing, and before my wife
too. But, however, as it is your first offence, I will discharge you
this time; but never come here with such a story again!'

1812 (?). _Preaching to some Purpose._--An open-air meeting of rustic
worshippers. Great astonishment is pictured on the upturned faces of
the expectant congregation. The preacher is raised on an extemporised
pulpit; he is clad in black, but in the rear of his nether garment
appears a formidable rent, which his hand is not sufficiently broad
to conceal. He is earnestly addressing his perplexed hearers to the
following purpose: 'Dearly beloved, before I begin my discourse, I
have three things to inform you of. The first thing I know, and you do
not know. The next thing you know, and I do not know,--and the third
thing none of us know, viz., in my way here to preach, crossing Farmer
Hobson's stile, I tore my breeches,--the extent of the rent I know, and
you do not know. Secondly, what you are willing to subscribe to get
them repaired you know, and I do not know. And lastly, what Tim Snip,
the tailor, will charge for the job, _that none of us know_!'

1812 (?). _New Invented Elastic Breeches._ H. Nixon invt., T.
Rowlandson sculp.--Two tailors are using considerable manual force
trying to pull a customer into a pair of close-spring breeches. The
scene is taking place on the premises of the inventor and manufacturer
of the patent articles in question.

_No date._ 1812 (?). _A Visit to the Doctor._ Woodward del., Rowlandson
fecit. Published by T. Tegg.--The consulting-room of a learned
physician; an imposing bookcase fills the background. The doctor's
man has just shown up a comfortable-looking couple, who have called
for the benefit of the physician's advice--the practitioner is one of
the old school--full-bottomed wig, powder, and pigtail, a learnedly
long-skirted square-cut suit, lace frill and ruffles, huge spectacles,
and a professional gold-headed cane held up to the nose; he is standing
on the hearthrug, warming his learned back at the fireplace; above the
mantelpiece is a bust of Galen. The patients, who are evidently robust
country folks, thus set forth their case:--'Do you see, Doctor, my dame
and I be come to ax your advice--we both of us eat well, and drink
well, and sleep well,--yet still we be somehow queerish!' The Doctor is
equal to the emergency and prepared to alter all this promptly. 'You
eat well, you drink well, and you sleep well,--very good. You were
perfectly right in coming to me, for depend upon it I will give you
something that shall do away with all these things!'

1812 (?). _Puff Paste._--A fat cook is rolling out pudding paste;
around her board are spread _codling tarts, apple dumplings, and batter
puddings_; a footman is embracing her ample shoulders, and familiarly
patting her under the chin.

1812. _Mock Turtle_ pictures a pair of elderly suitors cooing over a
bowl of mock turtle soup; a pair of real turtledoves, perched on a
branch, are introduced to carry out the allusion.

1812. _Off She Goes._ Rowlandson fecit. Published by T. Tegg.--An
elopement unexpectedly accelerated. A rope-ladder has enabled
a stout abductor to assist the flight of a somewhat mature and
remarkably corpulent lady from the window of her chamber. A rung of
the rope-ladder has given way with the weight; at the moment a male
relation, nightcap on head, is discovering the flight and throwing a
light on the subject with a chamber candle which he is holding out of
the bedroom window. The partner of the elopement is an officer; he is
precipitated on to his back, and forms a convenient cushion to receive
the lady's fall, which is complete and overwhelming. A postchaise,
prepared for the flight, is seen in the distance; the postilion is
enjoying the spectacle of his employer's downfall; and the moon,
peeping over a cloud, is represented with a broad grin on its face at
the expense of these disconcerted 'fly-by-nights.'

1812. _English Exhibitions in Paris, or French People astonished at our
improvements in the Breed of Fat Cattle._

1812. _A Cat in Pattens._ Rowlandson invt.--Though thoroughly in
Rowlandson's characteristic manner the scene is somewhat suggestive
of Hogarth's plate of 'Morning,' 'Times of the Day,' in which the
portrait of Miss Bridget Allworthy is exhibited, the introduction of
whose burlesqued resemblance is said to have cost the painter the
loss of a legacy. An old maid whose countenance certainly bears a
close resemblance to that of a cat, is shuffling along in the breeze
on pattens; she has a boa and an enormous muff; before her trots a
French poodle, clipped fantastically to resemble a parody of a lion;
behind her shivers a black page, in a tight gaudy uniform; under his
arm is his mistress's umbrella, and he holds before him a bundle of
cat's meat. A half-naked and ruffianly beggar is trying to excite the
benevolence of this shrewish _Cat in Pattens_.

       *       *       *       *       *

                           PETTICOAT LOOSE.

                  _A FRAGMENTARY TALE OF THE CASTLE._

                WITH FOUR PLATES ETCHED BY ROWLANDSON.

      London: J. J. Stockdale, 41 Pall Mall, Feb. 12, 1812. 4to.


The argument upon which the story is founded is set forth in the
following 'advertisement':--

_'Dublin Castle. The Adventure of the Under Petticoat at the Castle
Drawing Room. "Honi soit qui mal y pense."_ All the world has been
amused with the singular disaster that befel a lady on Thursday night
last at the _Viceregal Palace_, by the loss of her under petticoat,
which, from the pressure of the crowd, unfortunately slipped down
through the capacious encumbrance of her hoop, and was soon trampled on
the floor--though likely to become as renowned as Penelope's web: for
the lady to whom it belonged lost by night the comfort and protection
that was her security by day. One of the young pages (who are always
peeping and bustling on such occasions) first made the discovery. The
trophy was soon displayed in order to find out the fair owner; which,
however, still remains a secret, except to the person immediately
concerned. But, like the shield of Achilles, the little petticoat soon
became the subject of admiration and contention.

'At the first impression the master of the ceremonies claimed the
prize, as his official perquisite, alleging it was dropped in the
_Presence Chamber_. But the Chamberlain insisted the drawing-room was
his _champ d'or_, and every windfall on such occasions his exclusive
property. That as a true knight he must take up the gauntlet thus
thrown down by a lady.

'The household troops, particularly the young _aides-de-camp_,
struggled through the crowd to see the cause of such bustle; and having
satisfied their curiosity, whispered one another, and, in their usual
way, set up a great titter. The chaplain in waiting had his eye upon
the petticoat, and said he thought in decorum it ought to be deposited
among the _new antiquities_ in Bedford Chapel.

'The Duke, with his usual good humour, liberality, and regard for
the fair creation, decided the contest by saying that it should be
suspended as a banner round the temple of love and beauty; and that as
Edward the Third constituted the Order of the Garter from a similar
accident at the British Court, he would solicit the Prince Regent, in
the true spirit of chivalry, to establish and become _Sovereign of the
Order of the Petticoat_ in Ireland, in commemoration of the pleasant
adventure,' &c.

Plate 1. _Capture of the Petticoat._ February 12, 1812.

Plate 2. _Breakfast Room at an Inn._ February 12, 1812.

Plate 3. _College Green before the Union._ February 12, 1812.--A scene
of state, bustle, and prosperity.

Plate 4. _College Green after the Union._ February 12,
1812.--Shabbiness, poverty, and beggary have sole possession of the
scene.

       *       *       *       *       *

VIEWS IN CORNWALL.

_April 10, 1812._ _View of a Farm House at Hengar, Cornwall._ Published
by T. Rowlandson.

_April 12, 1812._ _Cottage at the Foot of Router Mountain, Cornwall._
Published by T. Rowlandson.

[Illustration: COTTAGE AT THE FOOT OF ROUTER MOUNTAIN, CORNWALL.]

1812. _Cornwall. An Overlooker._

[Illustration: CORNWALL. AN OVERLOOKER.]

1812. _A Cornish Waterfall._

[Illustration: A CORNISH WATERFALL.]

1812. _A Watercourse._

[Illustration: A WATERCOURSE.]

_April 12, 1812._ _View of the River Camel, Cornwall._ Published by T.
Rowlandson.

[Illustration: A VIEW OF THE RIVER CAMEL, CORNWALL.]

[Illustration: VIEW OF A FARM-HOUSE, HENGAR, CORNWALL.]

1812. _Near Helston, Cornwall._

[Illustration: NEAR HELSTON, CORNWALL.]

_April 12, 1812._ _Cottage near the Devil's Jump, in the Duchy of
Cornwall._ Published by T. Rowlandson.

[Illustration: COTTAGE NEAR THE DEVIL'S JUMP, DUCHY OF CORNWALL.]

1812. _View of the Church and Village of St. Cue, Cornwall._ Published
by Ackermann.

[Illustration: VIEW OF THE CHURCH AND VILLAGE OF ST. CUE, CORNWALL.]

_April 12, 1812._ _View of Liskeard, Cornwall._ Published by T.
Rowlandson.

[Illustration: VIEW OF LISKEARD, CORNWALL.]

1812. _The Lion Rock, Cornwall._

[Illustration: THE LION ROCK, CORNWALL.]

1812. _A Cornish Road._

[Illustration: A CORNISH ROAD.]

1812. _A Hill Side, Cornwall._

[Illustration: A HILL SIDE, CORNWALL.]

1812. _A Cornish View._

[Illustration: A CORNISH VIEW.]


TOUR OF DOCTOR SYNTAX IN SEARCH OF THE PICTURESQUE.

In 1812 the poem and illustrations of _The Tour of Doctor Syntax in
Search of the Picturesque_ were issued as an independent volume, when
the success with which it was received was more decidedly marked than
when it first appeared in the _Poetical Magazine_ under the title of
_The Schoolmaster's Tour_. Five editions were issued between 1812 and
1813.

The work was described as _The Tour of Doctor Syntax in Search of the
Picturesque_. A Poem. With new plates.

The old subjects, it appears, were re-engraved by Rowlandson's hand,
with but slight variations from the originals. The outlines are
somewhat less bold, and three new subjects are added; one being the
frontispiece, which represents the worthy Doctor at his desk, seated
in his armchair, in deep cogitation, touching his forehead as the idea
of his famous _Picturesque Tour_ suggests itself to his brain. The
window of his study is opened, that he may contemplate the exterior
prospect at his ease, while a sketch, by his own hand, in India-ink,
is displayed before him. Various papers and books are scattered about,
with sundry objects which indicate his versatile accomplishments--a
fiddle hung on the wall, books of travel, sheets of the Doctor's
original treatise--_Every Man his own Farrier_--with a goodly jar of
_cherry bounce_ to rejoice the learned man's spirits.

On the titlepage is engraved a quaint vignette of architectural relics,
ruins, a castle, &c., the detached monuments being disposed so as to
form the word _Picturesque_.

The third addition is plate 27, in the body of the Tour, introducing
_The Doctor's Dream_ (in his patron's library) _of the Battle of the
Books_, which was not included in the work on its original publication.

This edition is preceded by an Introduction, which in some degree
explains the relative positions--as far as the preparation of the
work was concerned--of the artist and William Combe, the author, who
thus sets the matter before his public: 'The following poem, if it
may be allowed to deserve the name, was written under circumstances
whose peculiarity may be thought to justify a communication of them. I
undertook to give metrical illustrations of the prints with which Mr.
Ackermann decorated the _Poetical Magazine_, a work published by him
in monthly numbers, for the reception of original compositions. Many
of these engravings were miscellaneous, and those (which were, indeed,
the far greater part of them) whose description was submitted to such
a muse as mine represented views of interesting objects and beautiful
scenery, or were occasional decorations appropriate to the work. Those
designs, to which this volume is so greatly indebted, I was informed,
would follow in a _series_, and it was proposed to me to shape out a
story from them. An etching, or a drawing, was accordingly sent to me
every month, and I composed a certain proportion of verse, in which,
of course, the subject of the design was included; the rest depended
on what my imagination could furnish. When the first print was sent
to me I did not know what would be the subject of the second; and in
this manner, in a great measure, the artist continued designing, and I
continued writing, every month for two years, till a work containing
near ten thousand lines was produced; the artist and the writer having
no personal communication with or knowledge of each other....

'Mr. Ackermann has his reasons for risking a republication of it in
its present form; and I now feel more than common solicitude that it
should answer his expectations.... _The Battle of the Books_ was an
after-thought, and forms the novelty of this volume.

                          Liberius si
    Dixero quid, si forte jocosius; hoc mihi juris,
    Cum veniâ dabis.--HOR. _S._ lib. i. v. 103.

'I have only to add, that though, on a first view of some of the
prints, it may appear as if the clerical character were treated with
levity, I am confident in announcing a very opposite impression from a
perusal of the work.'

The origin of _Doctor Syntax_ is ascribed, with characteristic
partiality, to John Bannister, the comedian, by his biographer, John
Adolphus.

'Of another graphic series, which owed its existence almost entirely
to the invention of Bannister, I have the following account:--Dining
at a tavern, with him and a third person, Rowlandson was asked, "What
are you about, Rolly?" "Why, nothing in particular," he said. "I think
my inventive faculty has been very sluggish of late; I wish one of you
would give me a hint." Being asked of what kind, he answered, "I feel
in a humour to sketch a series where the object may be made ridiculous
without much thinking. I have been making a tour in Cornwall and
Devonshire with a friend, who, as I have made sketches on the coast
for him, wishes me to introduce adventures at inns, and other comic
incidents, in which he was the principal party. But what can I do for
such a hero?--a walking turtle--a gentleman weighing four-and-twenty
stone--for such scenes he is quite out of the question. I want one of a
totally different description." And he named a celebrated tourist, who
by a recent publication had given much celebrity to the Lakes.

'"I have it!" said Bannister. "You must fancy a skin-and-bone hero, a
pedantic old prig, in a shovel-hat, with a pony, sketching-stools, and
rattletraps, and place him in such scrapes as travellers frequently
meet with--hedge alehouses, second and third rate inns, thieves,
gibbets, mad bulls, and the like. Come!" he proceeded, warming with
the subject, "give us a sheet of paper, and we'll strike out a few
hints." The paper was produced, Bannister gave his ideas, Rowlandson
adopted them, Combe explained them in a well-written poem; and to
this conversation and to the lively invention of Bannister the public
is indebted for a highly favoured publication, _The Tour of Doctor
Syntax_.'

It is by no means improbable that Bannister's suggestion had something
to do with the eccentric personality of the hero of the _Picturesque
Tours_; but the author of the _Memoir of John Bannister_ assumes too
much when he records that the ideas for the adventures of Doctor Syntax
were struck out at a sitting and in the easy fashion he has described;
it is known that the original designs were furnished at the rate of
three a month, and that their invention was spread over the entire
period of the publication.

The popularity enjoyed by this Tour was manifested in the number
of editions sold; it was further pirated and imitated in various
forms. A German edition was published in Berlin in 1822; the poem
was translated under the title of _Die Reise des Doktor Syntax um
das Malerische aufzusuchen. Ein Gedicht frei aus dem Englischen ins
Deutsche übertragen. Lithogr. v. F. E. Rademacher._ The illustrations
were copied in outline on stone, either with a fine point or a pen; the
lines are wire-like and give neither fullness nor effect; the pictures
are also coloured in a feeble and powerless style, and the whole is a
very poor rendering, as far as the artist's work is concerned.

A French edition, freely translated by M. Gandais, appeared in Paris,
with twenty-six engravings--rendered with considerable ability by
Malapeau (lith. de G. Engelmann)--drawn on stone with care and spirit
in lithographic chalk; these illustrations, printed in a warm tint, and
coloured by hand, will compare fairly with even Rowlandson's original
etchings. We give the title of this edition:--_Le Don Quichotte
Romantique, ou Voyage du Docteur Syntaxe à la recherche du Pittoresque
et du Romantique; Poême en XX chants, traduit librement de l'Anglais
par M. Gandais, et orné de 26 gravures par Malapeau. À Paris chez
l'auteur, rue du Faubourg Saint Denis 45, et Pélicier libraire, cour du
Palais Royal._ 1821. The author's advertisement, as written by Combe,
is carefully and literally rendered, and the translator has added a
slight _avertissement_ of his own, briefly alluding to the reputation
enjoyed in England by the original engravings and the descriptive
verses which accompany them, and setting forth the circumstances of his
own version, &c.

Numerous imitations, less legitimate than the foreign translations
alluded to, also appeared in this country, such as _The Tour of Doctor
Syntax through London_; _Doctor Syntax in Paris, in Search of the
Grotesque_; _Doctor Prosody_; _Sentimental Tour through Margate and
Hastings by Doctor Comparative, Junr._; and _Doctor Syntax's Life of
Napoleon_, which is possibly due to Combe's pen, and derives a strong
additional interest from the illustrations, which are fair examples
of George Cruikshank's handiwork. A parody, in verse, entitled _The
Adventures of Doctor Comicus, by a modern Syntax_, was also issued,
with coloured imitations of Rowlandson's designs.

The success which had attended the first _Tour of Doctor Syntax_
was so flattering and remunerative that the publisher and his able
collaborateurs, the artist and author, projected a second series,
entitled _Doctor Syntax in Search of Consolation_--for the loss of that
termagant spouse who figures in the original _Tour_, and is decently
buried, in the first cantos of the new adventures, to give the hero a
fitting cause for pursuing his eccentric travels. The renewal of Dr.
Syntax's journeys, which appeared in monthly parts, was completed in
1820, when it was republished by Mr. Ackermann, uniform with the first
volume; it was less successful than its predecessor, but it ran through
several editions.

The plates, which were contributed by Rowlandson, much on his old
principle, were as follows:--

    Frontispiece.--Doctor Syntax and his Counterpart.
    Doctor Syntax lamenting the loss of his Wife.
      "       "   at the Funeral of his Wife.
      "       "   setting out on his Second Tour.
      "       "   and the Gypsies.
      "       "   loses his Wig.
    The visit of Doctor Syntax to Widow Hopeful, at York.
    Doctor Syntax amused with Pat in the Pond.
      "       "   in the Glass House.
      "       "   visits Eaton Hall, Cheshire.
      "       "   making his Will.
      "       "   in a Court of Justice.
      "       "   present at a Coffee-house Quarrel at Bath.
      "       "   and the superannuated Fox-hunter.
      "       "   with the Skimmington Riders.
      "       "   and the Bees.
      "       "   visits a Boarding School for Young Ladies.
      "       "   making a Discovery.
      "       "   Painting a Portrait.
      "       "   Marriage of Doctor Dicky Bend.
      "       "   at an Auction.
      "       "   and the Bookseller.
      "       "   at Freemasons' Hall.
    Miss Worthy's Marriage--Doctor Syntax in the chair.

A third and final Tour, ending with the hero's funeral, concludes the
poem. The last volume, which had appeared, like its predecessors,
in monthly parts, was put forth in its collected form in 1821; and,
similar to the first and second series, with which it was afterwards
re-issued, it received sufficient patronage to carry it through several
editions, although neither the Second nor Third Tours were reckoned so
successful as the original series.

The _Third Tour of Doctor Syntax--in Search of a Wife_ appeared with
the following 'Preface,' from the pen of the veteran Combe, who, for
his private reasons, preferred to continue anonymous throughout.

'This prolonged work is, at length, brought to a close. It has grown to
this size under rare and continuing marks of public favour; while the
same mode of composition has been employed in the last as in the former
volumes. They are all equally indebted to Mr. Rowlandson's talents.

'It may, perhaps, be considered as presumptuous in me, and at my age,
to sport even with my own dowdy Muse, but, from the extensive patronage
which Doctor Syntax has received, it may be presumed that, more or
less, he has continued to amuse: And I, surely, have no reason to be
dissatisfied, when Time points at my eightieth year, that I can still
afford some pleasure to those who are disposed to be pleased.

                                                          'THE AUTHOR.'

The illustrations to the third volume, which are quite equal both in
spirit, invention, and execution to those designs which suggested the
framework of the first and second Tours, are as follows:--

    Frontispiece.--Doctor Syntax setting out in search of a Wife.
    Vignette, on Titlepage.--Doctor Syntax assisting at an Instrumental
      Trio.
    Doctor Syntax Soliloquising.
      "       "   turned Nurse.
    The Banns forbidden.
    Doctor Syntax with a Blue Stocking Beauty.
    The Cellar Quartetto.
    Doctor Syntax Presenting a Floral Offering.
    The Billiard Table.
    Misfortune at Tulip Hall.
    The Harvest Home.
    The Garden Trio.
    Doctor Syntax at a Card Party.
      "      "    Star-gazing.
      "      "    in the wrong Lodging-House.
      "      "    received by the Maid instead of the Mistress.
    The Artist's Room.
    Death of Punch.
    The Advertisement for a Wife.
    Doctor Syntax and the Foundling.
    The result of Purchasing a Blind Horse.
    A Noble Hunting Party.
    Introduction to Courtship.
    Doctor Syntax in Danger.
    The Funeral of Doctor Syntax.

The popularity which attended the three Tours in the form of their
original publication induced Mr. Ackermann to issue a fresh edition
in 1823. The three volumes were printed in 16mo, instead of royal
8vo, and the plates were re-engraved, one-third of the original size.
This pocket edition, containing all the illustrations, in a reduced
form, was published at the moderate price, considering the plates were
coloured by hand, of seven shillings a volume; the former series having
been produced at one guinea per volume.



1813.


[Illustration: BACHELOR'S FARE--BREAD AND CHEESE AND KISSES.]

_February 10, 1813._ _Bachelor's Fare--Bread and Cheese and Kisses._
Published by T. Tegg (285).

_September 1, 1813._ _Summer Amusements at Margate, or a Peep at the
Mermaids._ Published by T. Tegg.

[Illustration: SUMMER AMUSEMENTS AT MARGATE, OR A PEEP AT THE MERMAIDS.]

_September 1, 1813._ _The Last Gasp, or Toadstools Mistaken for
Mushrooms._ Published by T. Tegg (210).--A physician has been called
in, and, with his gold stick in hand, is examining the condition
of certain patients who are suffering from the effects of too
indiscriminate feeding. A gouty old gentleman, his wife, and their
footman are all putting out their tongues--which are white and swollen
to an inordinate length; their features express the greatest alarm,
and the look of consternation which is thrown into the doctor's face
conveys the reverse of comforting reassurance to the unfortunate
gourmands.

_September 20, 1813._ _Humours of Houndsditch, or Mrs. Shevi in a
longing condition._ Published by T. Tegg (213).--A member of the
Hebrew tribe, who carries a bag slung on his arm, is bearing forbidden
luxuries to two fair representatives of his race. A couple of Jewesses,
whose persons are resplendent in jewellery, are leaning over the
wicket-gate of their premises, lost in admiration at the spectacle of
a little stranger--a sucking-pig--which the tempter, who has led the
maternal sow and entire porcine family astray, is holding out for Mrs.
Shevi--a sufficiently motherly-looking lady--to salute with a kiss.
Another Hebrew gentleman, who is overlooking this transaction, has his
face thrown into horrified contortions and his hair standing on end at
making the discovery of this incredible depravity.

The secret of how the interdicted quadrupeds have come into the
possession of the Jew clothesman is explained by a handbill
advertising: 'Lost, supposed to have been stolen, a sow and seven pigs.
A reward of five pounds is promised for information of the whereabouts
of the wanderers.'

1813. _Unloading a Waggon._ Published by T. Tegg (214).

[Illustration: UNLOADING A WAGGON.]

1813. _None but the Brave deserve the Fair._ Published by T. Tegg
(231).--A gallant huzzar has ridden his charger through a pond which is
supposed to isolate the walls of a park and mansion, from the security
of which a damsel, 'all in white,' of redundant personal charms, is
being helped to elope over the ivy-grown wall by the dashing horseman,
to whose custody the lady is unreservedly entrusting the keeping of her
fair person.

_September 20, 1813._ _A Doleful Disaster, or Miss Fubby Tatarmin's
Wig caught Fire._ (Vide _Bath Guide_.)--A stout lady is in all the
consternation of a blazing head of hair; the enormous superstructure
piled on her head has caught fire at the top from the sconces on the
mantel; her armchair is kicked over, and the whole of her household
are making a desperate rush on to the scene of the conflagration; the
footman has dragged the tablecloth from beneath the tea equipage,
which has fallen to destruction, and is endeavouring to envelope the
headdress of his mistress in the folds; a black page is discharging a
flowerpot of water in the face of the distressed lady; female servants
are flinging up their arms and screaming; and, in the rear, the elder
servants are hurrying up in great distress.

        But Madge at the Rooms
        Must beware of her plumes;
    For if Vulcan her feather embraces,
        Like poor Lady Laycock,
        She'll burn like a haycock,
    And roast all the Loves and the Graces.
                                                ANSTEY'S _Bath Guide_.

_November 5, 1813._ _The Two Kings of Terror. Copy of the transparency
exhibited at Ackermann's Repository of Arts during the Illuminations
of the 5th and 6th November, 1813, in honour of the splendid victories
obtained by the Allies over the armies of France, at Leipzic and
its environs._--'This subject, representing the two tyrants--viz.,
the tyrant Buonaparte and the tyrant Death--sitting together on the
field of battle, in a manner which promises a more perfect intimacy
immediately to ensue, is very entertaining. It is also instructive
to observe that the former is now placed in a situation in which
all Europe _may see through him_. The emblem, too, of the circle of
dazzling light from mere _vapour_, which is so _soon extinguished_, has
a good moral effect; and as the gas represents the dying flame, so does
the drum, on which he is seated, typify the hollow and noisy nature of
the falling usurper.'

The above description of the subject appeared in the _Sun_ of Saturday,
November 6, 1813. These printed comments arose from the picture itself
having been transparent, and from a circle which surmounted the same,
indicative of the strength and brotherly union of the Allies, composed
of gas of brilliant brightness. (See January 1, 1814.)

_November 22, 1813._ _The Norwich Bull Feast, or Glory and Gluttony._
Published by T. Tegg (232).--The success gained by the allied armies
over Napoleon and his forces, and the series of French disasters
which had culminated at Leipzig, gave rise to rejoicings all over the
country, in celebration of the supposed final downfall of the Corsican
Emperor, the traditional enemy of England, as the people had been
taught to consider him. Norwich, according to the print, is the scene
of disorderly revelry. A huge bullock has been roasted whole in the
market-place, and the carcase is being cut up and distributed in the
streets; the unruly mob fighting over the morsels and wrenching the
bones from those who are ravenously picking them; scuffles, struggles,
scrimmages, and savage onslaughts are the order of the day. At the
same time a puncheon of beer or spirits is broached for gratuitous
distribution, and a pretty spectacle of misrule is the consequence.
The fair sex are represented as the chief competitors for the drink;
pails, cans, and jugs are eagerly filled, and as greedily emptied;
the contents being poured down the throats of the holders or down
those of their friends, who are opening their mouths to receive the
liquor, which is gushing forth in streams. The incidents surrounding
the liquor-cart are, if possible, more disreputable and degrading than
those transpiring on all sides of the trestles on which the ox is being
dismembered by a pair of butcher's men, armed with a chopper and a
huge carver. Some of the female patriots are reduced to insensibility,
and efforts are being made to revive one poor creature, who is lying
unconscious in the midst of the struggling mass, either overpowered
by the potency of the drink or smothered by the pressure; buckets
of the fluid are being emptied over the prostrate sufferer by tipsy
Samaritans, without alleviating her condition.

The town of Norwich is given up to the gala; flags are flying,
and illuminations and fireworks render the sight more animated. A
tumultuous procession is struggling along, bearing guns, pikes, &c.,
and carrying the effigy of Buonaparte to be gibbeted or burnt at a
bonfire. Flags head the mob, inscribed _Downfall of the Tyrant_; _Peace
and Plenty_, &c.

[Illustration: A LONG PULL, A STRONG PULL, AND A PULL ALL TOGETHER.]

_November 25, 1813._ _A Long Pull, a Strong Pull, and a Pull All
together._ Published by T. Tegg (233).--The end of 1813 promised to
witness the downfall of the great 'little Boney;' one misfortune
followed another; ally after ally abandoned the conqueror, who in the
hour of victory had behaved magnanimously to the subjugated States,
and they in return deserted their new friend when disasters were
pressing on him--a sure proof of the danger of confiding in alliances
extracted at the point of the sword or made in bad faith on grounds
of desperate expediency. As we have seen, the blow came from the
North: the treachery of Bernadotte, King of Sweden, a man who owed
his elevation to the Emperor, pointed the way to prostrate Europe to
free herself from the ambitious thraldom of Napoleon; the Russian Bear
broke his false slumbers, the Austrian and Prussian Eagles escaped
from their chains, Spain was cleared of the invaders, and lastly the
Kingdom of Holland revolted in the rear of the disabled Corsican. The
king, Napoleon's brother, Louis, whom he had imposed on this kingdom,
had voluntarily abdicated the crown in favour of his son, a minor, in
1810. The subject is treated allegorically by Rowlandson. _The Sun of
Tyranny_ is setting on the deep; the fleets of the allies are riding on
the seas, which are once more free, and the Dutch are helping to push
off the Texel fleet to join the common cause. As the Allies marched
against France after Napoleon's defeat at Leipzig, a combined force
was sent against Holland, which had been incorporated with the French
Empire in 1810, and placed under the constitution of Jan. 1, 1811, the
seventeen provinces of the Netherlands being united under the dominion
of France. The Prussian and Russian forces, under General Bülow, were
joined by a detachment from England under General Graham; the old
Orange party once more came into activity, and on November 30, 1813,
the hereditary Stadtholder arrived at the Hague. The caricaturist has
simplified his view of the situation by ignoring the change of affairs
that had intervened since 1810, when the Duke of Piacenza became the
Emperor's representative in Amsterdam until 1811, when the State was
merged into the French Empire. The artist has assumed that the kingdom
had remained as administered at the resignation of Louis, July 1, 1810;
and accordingly the abdicated monarch, without his crown, is pictured
dancing about in a distracted state on the soil of Holland, deploring:
'Oh! Brother Nap, Brother Nap, we shan't be left with half a crown
a-piece!' Napoleon is represented, according to the usual fashion of
the satirists, flying about in an ungovernable frenzy as he views the
receding fleet and recognises the revolt of the Netherlanders: 'Oh!
Brother Joe, I'm all fire; my passion eats me up! Such unlooked-for
storms of ills fall on me! It beats down all my cunning; I cannot
bear it! My ears are filled with noise, my eyes grow dim, and feeble
shakings seize every limb!'

The _Long Pull, Strong Pull, and a Pull all together_ is taking place
on the mainland. The weight and persevering force of John Bull is
telling on the towing-line; the Don Spaniard is hand-over-hand with the
national prototype, a condition of things marvellously altered since
the days of the caricature. A Russian, in furs, is the next in energy;
an Austrian huzzar has the rope well over his shoulder; a Prussian and
others are throwing their exertions into the haul; and all is moving as
merrily as could be desired.

_November 27, 1813._ _The Corsican Toad under a Harrow._ Published by
R. Ackermann, 101 Strand.--The Corsican, who is represented as both
prematurely aged and haggard, is sprawled, spread-eaglewise, on the
ground; upon him is a formidable harrow, which is kept in its place by
the obese figure of a traditional Hollander, who is leisurely smoking,
with his hands in his pockets and an Orange favour in his hat, in
philosophic indifference to the situation and sufferings of the victim,
who is exclaiming, 'Oh! this heavy Dutchman! Oh! had I not enough to
bear before!!!'

A Cossack is goading on the prostrate leader of the French with his
lance; and a bird of prey is swooping down, attracted by the smell of
carrion. The harrow is in vigorous hands, representatives of Austria,
Prussia, and other German Powers; Spaniards, Portuguese, and a British
tar are tugging away with hearty good-will.

_November 27, 1813._ _The Execution of two celebrated Enemies of Old
England, and their Dying Speeches, November 5th, 1813._ Published by
R. Ackermann, 101 Strand.--The effigy of Guy Faux, with his lantern,
is suspended by a rope round his neck to a gallows, and facing him, on
another gallows, is the figure of the Emperor Napoleon, in his uniform
as general of the French army. A bonfire is blazing up bravely, and a
party of schoolboys and villagers are the delighted spectators. A note
informs us that the scene is not an imaginary one, but is a faithful
representation of a 'bonfire at Thorpe Hall, near Louth, Lincolnshire,
on 5th November, 1813, given by the Rev. W. C---- to the boys belonging
to the seminary at Louth, in consequence of the arrival of news of the
decisive defeat of Napoleon Buonaparte by the Allies, at 11 o'clock
P.M. on the 4th, and Louth bells ringing all night.'

    _Guy Faux's Dying Speech._

    I, Guy Faux, meditating
    my country's ruin by the
    clandestine and diabolical
    means of Gunpowder Plot, was
    most fortunately discovered
    and brought to condign
    punishment by Old England,
    and here I bewail my fate.

    _Napoleon Buonaparte's Dying Speech._

    I, Napoleon Buonaparte, flattered by all the French
    nation that I was invincible, have most cruelly and most
    childishly attempted the subjugation of the world. I have
    lost my fleets, I have lost the largest and finest armies ever
    heard of, and I am now become the indignation of the
    world and the scorn and sport of boys. Had I not spurned
    the firm wisdom of the Right Hon. William Pitt, I might
    have secured an honourable peace, I might have governed
    the greatest nation; but, alas! my ambition has deceived
    me, and Pitt's plans have ruined me.

_November 29, 1813._ _Dutch Nightmare, or the Fraternal Hug Returned
with a Dutch Squeeze._ Published by R. Ackermann.--The great Emperor is
stretched, sleepless, on his imperial state bed, with the diadem above
and a row of captive crowns embroidered round the canopy, the fasces
of Roman lictors at the feet, and the furniture powdered with golden
eagles and fleur-de-lis. This luxurious couch is not to be coveted,
since tranquil rest is out of the question. The Emperor is writhing
in agony, saddled with a nightmare which is not to be dislodged.
The Hollanders at this time contrived to shake themselves free from
their fraternal friends the French, who had laid their country under
contributions until the disciples of freedom prayed to be delivered
from their tutors. The example of Holland and the victories ending
with the triumph at Leipzig gained by the Allies, and especially the
successes secured under Wellington, re-encouraged the subjugated and
prostrate Powers to look forward to the recovery of their freedom,
and to take their revenge on the little conqueror. A stout Dutchman,
dressed in his national costume, and wearing the Orange cockade, is,
according to the picture, returning the lesson in fraternity which had
cost him dear at the hands of the French, by showing his instructor the
vigour of a hearty Dutch squeeze. This heavy incubus, with his hands
in his pockets, is smoking his pipe, and puffing the distasteful fumes
full into the face of the powerless and disgusted Corsican, and crying,
'Orange Boven!'

_November 30, 1813._ _Plump to the Devil we boldly Kicked both Nap and
his Partner Joe._ Published by T. Tegg (234).--The heavy Hollander,
still sporting his Orange colours, is finally roused to dispose of the
intruders by the most summary and quickest method possible; with his
pipe in one hand and a squab bottle of Schiedam, or Dutch courage, held
like a mallet in the other, Mynheer is giving Nap a taste of Dutch
weight; one vigorous kick has propelled the little Corsican high into
the air and plump into the arms of the Father of Evil, who is emerging
from his 'Brimstone Lake' to make sure of his friend. In the distance
another Dutchman, provided with a pitchfork, is prodding Napoleon's
brother Louis--who had been created King of Holland--towards the same
refuge for the destitute; the usurper's crown being left behind in the
flight.

_December 4, 1813._ _The Corsican Munchausen--humming the Lads
of Paris._ Published by R. Ackermann, 101 Strand.--The Emperor,
with all the bombast, bravado, and speciousness of which he had an
excellent command, has summoned a meeting of his faithful subjects and
supporters--who, judging from the expression of their faces, appear
but an unwilling and disaffected audience--in order to present his
infant son to the people. The scion of the great captain is dressed
in a miniature uniform, with a long sabre trailing on the ground,
and a gold stick, which he is trying to fancy is a riding-horse. The
Imperial throne, the back of which bears a Medusa's head and a globe of
the world, is capsized by Munchausen's manoeuvrings. The Corsican is
vapouring on a grand scale, trying ineffectually to raise the ardour of
his dupes: 'Did I not swear I would destroy Austria? Did I not swear
I would destroy Prussia? Did I not leave the Russians 1,200 pieces of
cannon to build a monument of the victory of Moscow? Did I not lead
498,000 men to gather fresh laurels in Russia? Did I not burn Moscow,
and leave 400,000 brave soldiers to perish in the snow, for the good
of the French nation? Did I not swear I would destroy Sweden? Did I
not swear I would have colonies and commerce? Did I not build more
ships than you could find sailors for? Did I not burn all the British
produce, bought and paid for by my faithful merchants, before their
faces, for the good of them and of my good people of Paris? Have I not
called my troops from Holland, that they might not winter in that foggy
climate? Have I not called my troops from Spain and Portugal, to the
ruin of the English? Did I not change my religion and turn Turk, for
the good of the French nation? Have I not blown up the corporal for
blowing up the bridge? Have I not robbed the churches of twenty flags
to send to my Empress, for the loss of my own flags and eagles? And
now, for the good of my Empire, behold, O ye Lads of Paris! I have put
the King of Rome in breeches!!!'

_December 6, 1813._ _Funking the Corsican._ Published by R.
Ackermann.--The situation of the Emperor, as pictured by Rowlandson, is
becoming critical; he is elevated on a cask of 'real Hollands Geneva,'
on the top of which he is dancing about in exasperation, unable to
assist himself, and surrounded by his enemies, who are all putting the
great conqueror to his wits' end and revenging themselves by smoking
out the Corsican; each of the representatives of the rebellious States
and Powers being armed with a pipe, and pouring volumes of the fumes
round the person of the tortured general; Spain, Portugal, Hanover; the
Cossack, the Pole, Austria, Sweden, Bavaria, and Prussia, seated on a
cannon, are all assisting; the King of Würtemburg is provided with a
flask of 'Würtemburg drops;' John Bull has his foaming jug of 'brown
stout;' while the Dutch Mynheer, seated on a cask of Dutch herrings,
with his tobacco-pouch and twists of pigtail, is drawing a flagon of
Geneva to drink success to his Serene Highness, sending out a volume
of tobacco-fumes, which are completing the irritation of the badgered
Corsican, who is kicking off the head of the Hollands cask, into which
he will evidently plump head over ears--

           The fly that sips treacle is lost in the sweets.

Before disappearing condign vengeance is threatened on the heads of his
enemies: 'Oh! you base traitors and deserters! Eleven hundred thousand
Lads of Paris shall roast every one of you alive, as soon as they can
catch you!'

_December 10, 1813._ _The Mock Phoenix!!! or a vain attempt to rise
again._ Published by R. Ackermann.--Holland, in the person of a Dutch
skipper, and Russia, in that of a Cossack, are blowing and stirring
a fire which is to consume the Corsican. Flames are issuing from the
furnace, and, in spite of the exertions of the stokers, the figure of
the Emperor is seen dwarfed, but still intact, in the thick of the
fire, but whether he will rise seems doubtful; his diadem is in full
blaze, while the orb and sceptre are snatched away by certain diabolic
claws, and the phoenix process threatens to prove a signal failure.
Serpents are crawling out of the mouth of the furnace; showers of
snakes, dragons, devils, and all kinds of monsters, kin of the phoenix,
are hovering amidst the smoke, and making hostile demonstrations
against the declining conqueror.

_December 12, 1813._ _Friends and Foes--up he Goes--Sending the
Corsican Munchausen to St. Cloud._ Published by R. Ackermann.--The
Emperor is left, unsupported, in the hands of his enemies, now turned
into tormentors: he is thrown into a blanket and tossed up into the
air, and is suffering worse discomforts than did Sancho Panza under
a similar infliction; crown, sceptre, and sword are shaken off. '_O
misericorde!_' cries the flying Munchausen as he is sent up to the
clouds. John Bull (whose wig and hat have been thrown aside), the
Dutch Mynheer, and Spanish Don are performing wonders with their side
of the blanket; then come the Cossack, the Pope, the Pole, the Prince
Imperial of Austria, the Emperors of Russia and Austria, and the Kings
of Prussia, Hanover, and Würtemburg, who are all lending a hand to
torment the Corsican.

_December 14, 1813._ _Political Chemists and German Retorts, or
Dissolving the Rhenish Confederacy._ Published by R. Ackermann.--A
delicate operation, which has engaged the attention of all the leading
Powers of Europe, is supposed to be proceeding. The colossal power
of the Corsican is undergoing transmutation, and the conqueror is
gradually being resolved into his original elements. A _German Stove_
supplies the furnace, and the fuel is recruited from John Bull's _Coal
Tub_; that patriotic person is assisting the process as one of the
leading experimental chemists; _Dutch bellows_ are furnishing various
powerful blasts; the _Spanish Don_ is pounding some effectually
irresistible chemicals in his famous mortar, _Saragossa_. The Corsican
has been forced into a receiver; Bernadotte is pouring in a portion of
_sulphate of Swedish iron_ before the cover is fixed on; the Emperor,
who has been reduced to mere pigmy proportions, is praying for time:
'Oh, spare me till the King of Rome is ripe for mischief yet to come!'
In various retorts are seen the several elements which entered into
the Imperial analysis, now resolved apart--_Intrigue and Villany_,
_Ambition and Folly_, _Gasconade and Lies_, _Arrogance and Atrocity_,
_Fire and Sword_, _Murder and Plunder_. All the leading States of
Europe are engaged in the operation; the King of Würtemburg is giving
his instructions; Prussia, Austria, Hesse, &c., are all interested
in the success of the operation. The Pope has contributed two potent
agents, _Fulminating powder_, and _Drops from the vial of wrath_.
Russia, Poland, the Emperor of Austria, &c., are seated, as chemists,
at a table dividing out the agents selected to dissolve the structure
raised by Napoleon. From certain tracts at the Cossack's feet we learn
that the 'liberty of Germany' and the 'downfall of Boney' are settled
projects; while the name of Napoleon, as protector of the Rhenish
confederacy, is crossed out, and that of 'Francis, Emperor of Austria,
restored 1813,' is substituted in its old ascendency.

_Napoléon le Grand. Inventée par Dubois; Alex. Tardieu effigiem del.
Deposée à la Bibliothèque Impériale._--A parody of the French plate of
Napoleon's apotheosis--

    Astre brillant, immense, il éclaire, il féconde,
    Et seul fait, à son gré, tous les destins du monde.-VIGÉE.

The head of Napoleon appears as the centre of the constellation, _Polar
Star_, elevated, in this case, like that of a traitor, on a pole, and
surrounded by entwined and hissing serpents. Above is the face of
Satan, wearing a crown of _Damnation_, supported by two escutcheons,
marked _Heart of Tyrant_, and _Vulture_, with scourges and pronged
forks. The pole is elevated on the great globe; in either corner
is a French eagle; above the Imperial ensigns are pikes, axes, and
standards, 'flags manufactured for the Empress,' &c.

The lustre of the constellation, Napoleon, is likely to suffer an
eclipse from the sudden descent of a Dutch comet--a philosophic
Hollander, seated astride on a barrel of Hollands Schiedam, the
contents of which he is ignominiously discharging over the head of
the solitary star of the firmament. The golden rays with which the
_astre brillant_ is illuminating the universe owe their source to the
following luminous achievements:--

    Assisting in the assassination of Louis the Sixteenth, my
      Benefactor.
    Murdering the citizens of Paris under Robespierre.
    Murdering the citizens of Toulon.
    Insulting the Pope, robbing and plundering the churches, &c., &c.
    Poisoning my own sick soldiers at the hospital at Jaffa.
    Murdering the Duke d'Angouléme.
    Treacherously betraying the King of Spain and his family.
    Murdering the inhabitants of Madrid in cold blood.
    Murdering Captain Wright in the Temple, at Paris.
    Marrying two wives and intriguing with the daughter of one of them.
    The murder of Palm, of Hofer, &c., &c.
    Leading 500,000 Frenchmen to perish in Russia by the severity of
      the season 1812.
    Losing another similar army the following year in Germany, 1813.
    Writing lying bulletins.
    Losing all the colonies, commerce, and shipping.
    And for all these brilliant exploits I am now to be sent headlong to
      the Devil.

_December 25, 1813._ _Mock Auction, or Boney Selling Stolen Goods._
Published by R. Ackermann, 101 Strand.--Napoleon is pictured, before
his reverses became of a decided character, contemplating realising
the conquests he had in hand, with a possible view of retiring from
the trade. The Emperor has a sale-pulpit, and is himself officiating
as auctioneer; the lot which is being offered is the crown of Spain;
an old general is holding up the diadem, and the auctioneer, impatient
at the indifference of the purchasers, is crying, 'What! no bidding
for the crown of Spain? Then take the other crowns and lump them
into one lot'--referring to a pile of diadems, the crowns of Russia,
Austria, Prussia, the Papal tiara, &c., thrown into a corner, with
bundles of standards, 'lots of useless eagles,' &c. Lot 2, 'Twenty
flags, the property of the Empress,' 'Kingdom of Prussia,' 'Kingdom of
Westphalia,' 'Saxony,' 'United Provinces,' &c. The Empress is standing
behind her husband, with the infant prince in her arms. Napoleon's
heir is dressed in a uniform like his father's; his face is that of a
monkey. 'I suppose daddy will put us up for sale?' he is represented as
saying to the Empress.

The Mock Auction has drawn plenty of company together. The Dutchman
is smoking his pipe with his accustomed philosophy; a British tar is
patting him on the back, as his very cordial ally, and ridiculing
the Corsican's failure. The King of Würtemburg, Russia pictured as a
Cossack, Austria as a huzzar, Prussia, Bavaria, and other Powers are
present. The Spanish Don is making light of Buonaparte's pretence of
offering his crown for sale; 'That a crown!' he is shouting. 'It's not
worth half a crown!'

_December 30, 1813._ _How to Vault in the Saddle, or a new-invented
Patent Crane for the Accommodation of Rheumatic Rectors._ Rowlandson
delin. and publisher.--The incident depicted is taking place at the
door of the rectory, beside the church porch, where a crane has been
erected for the accommodation of the gouty and unwieldy divine. Two
frisky and solidly-built damsels are hauling away at a rope, to
which a sling is attached. The corpulent rector is swinging in mid
air, preparatory to being lowered into the saddle; in his pocket is
shown a discourse on the apposite text--'_He that humbleth himself
shall be exalted_.' A grinning groom is holding the head of a
high-cruppered horse; the minister's steed is a curiously constructed
instance of equine anatomy, fondly reviving the image of the faithful
_Grizzle_, rendered memorable as the _Rosinante_ of Doctor Syntax,
the long-enduring companion of his famous _Tour in Search of the
Picturesque_.

1813 (?). _Witches in a Hayloft._ Woodward delin., Rowlandson
sculp. Published by T. Tegg (226).--Two witches of orthodox type,
with broomsticks, red cloaks, and steeple-crowned hats, are seated
at a cauldron, working incantations, to assist at which serpents,
hobgoblins, and various weird monsters are conjured up. A rustic clown,
with a lantern and hayfork, who has thrown back the trapdoor, and is
ascending to the hayloft for some purpose, is paralysed with horror and
affright at the unholy spectacle suddenly revealed to his sight.

1813. _Business and Pleasure._ Published by T. Tegg. (272).

1813. _The Glutton._ Published by T. Tegg (274).

1813. _The Quaker and the Commissioners of Excise._ Woodward del.,
Rowlandson sculp. Published by T. Tegg (276).--Four well-fed
Commissioners, the members of a board, seated at the green baize, are
cross-questioning a Quaker, represented in a suit of conventional
sad-coloured apparel, and wearing the typical broad-brimmed hat. The
humility of the sectarian has proved too deep for the inquisitors,
whose exactions he is evading. The chairman is indignantly remarking,
'What an impertinent fellow to keep on his hat before such a dignified
assembly!' Cries one of the examiners, 'None of your _thees_ and
_thous_ here, sir--come to the point--we know you have evaded certain
duties.' 'Pray, sir, do you know what we sit here for?' pertinently
demands another commissioner; to which the Quaker, with clasped hands,
and rocking himself, like _Mawworm_, on his toes, responds, 'Verily I
do--some sit here for five hundred, others for a thousand; and moreover
I have heard it reported that some sit here for two thousand pounds per
annum!'

[Illustration: DR. SYNTAX, IN THE MIDDLE OF A SMOKING HOT POLITICAL
SQUABBLE, WISHES TO WET HIS WHISTLE.]

1813. _Doctor Syntax, in the Middle of a Smoking Hot Political
Squabble, wishes to Wet his Whistle._ Published by Thomas Tegg,
Cheapside (209).

1813 (?). _A-going! A-going!_ Newton del., Rowlandson sculp., Published
by T. Tegg.--A wretched invalid--propped up in an armchair, without the
power to assist himself--has evidently done with the 'prescriptions,
boluses, and blisters' at his side, since the ranges of physic-bottles
which ornament his apartment have, to all appearance, finished
the patient's business effectually; he is visited by a corpulent
self-satisfied practitioner, whose hat is under one arm and his cane
under the other; the doctor is addressing his unconscious patient: 'My
dear sir, you look this morning the picture of health; I have no doubt
at my next visit I shall find you utterly cured of all your earthly
infirmities.'

1813 (?). _Giving up the Ghost, or one too many._ Newton del.,
Rowlandson sculp. Published by T. Tegg (292).--Stretched on a poor
pallet, in a bare chamber, lies a wretched sufferer; by his side,
sleeping in an armchair, is a lace-ruffled and powdered doctor, in
whose pocket appears a dose labelled _Final_. An undertaker, in
professional weeds, is coming in at the door, with his crape-bound
mute's wand in his hand, and a coffin strapped on his shoulder. The
ghostly personification of Death, as a skeleton, holding up his
hour-glass, is pointing his dart through the latticed window. Below the
chair of the smug slumbering practitioner appears a paper bearing the
well-known lines:--

    I purge, I bleeds, I sweats 'em;
    Then, if they die, I lets 'em!

1813. _The Cobbler's Cure for a Scolding Wife._ Published by T. Tegg
(294).

[Illustration: THE COBBLER'S CURE FOR A SCOLDING WIFE.]

1813 (?). _Cracking a Joke._ Woodward del., Rowlandson sculp. Published
by T. Tegg (296).

1813 (?). _The Ghost of my Departed Husband, or whither, my Love, ah!
whither art thou gone?_ Rowlandson sculp.--A grotesque scene in a
churchyard. An old lady is rolling over in consternation amongst the
graves, and with apparently some substantial motive for her alarm; a
fantastic monster, in a red nightcap, has tripped her up, while an
old gentleman, cautiously proceeding with staff and lantern, is very
considerably shocked at the lady's sudden upset.

1813. _Hopes of the Family, or Miss Marrowfat at Home for the
Holidays._ Published by T. Tegg (296).

1813. Engelbach (Lewis). _Letters from Italy_, (_Repository of Arts_,
1809-13). Republished as _Naples and the Campana Felice_. Seventeen
plates by T. Rowlandson. (See 1815.)

1813. _Poetical Sketches of Scarborough._ Text signed 'J. P.' (J. B.
Papworth), text initialled 'W.' (Rev. Francis Wrangham), and anonymous
text written by William Combe. The titlepage runs thus:--'_Poetical
Sketches of Scarborough. Illustrated by twenty-one engravings of
humorous subjects. Coloured from original designs made upon the spot
by J. Green, and etched by T. Rowlandson._ London: Printed for R.
Ackermann, 101 Strand. 1813.'

'Advertisement.--The originals of the plates introduced in this
volume were sketches made as _souvenirs_ of the place during a visit
to Scarborough in the season of 1812. They were not intended for
publication; but being found to interest many persons of taste, several
of whom expressed a desire to possess engravings of them, and some
gentlemen having offered to add metrical illustrations to each, the
present form of publication has been adopted.

'The several authors were not personally acquainted with each other. If
this circumstance, and that of every design having been made previously
to the composition of a single couplet, be considered fair ground of
extenuation for faults, they claim its advantages.'

_Illustrations._

    Frontispiece.--Widow Ducker, and her Nymphs.
    A Trip to Scarbro'. (The Coach upset in a Duckpond.) (York.)
    The Breakfast. (Parlour of the 'Old Bell Inn.')
    The Spa. (Spa Well Stairs.)
    Spa Terrace.
    Boot and Shoe Shop.
    The Castle (and North Shore).
    The Warm Bath.
    Cornelian Bay.
    Sea Bathing.
    A Drive on the Sands (Newby and Scalby).
    The Church and Churchyard.
    The Shower Bath.
    The Library.
    The Promenade.
    The Theatre.
    The Ball-room.
    The Terrace Steps.
    The Water Party.--Wet Quakers.
    The Post Office.
    The Departure.

_August 16, 1813._ _The Tour of Doctor Syntax in Search of the
Picturesque. A Poem._ Illustrations drawn and etched by T. Rowlandson.

[Dr. Syntax originally appeared, in parts, in the _Poetical Magazine_.]

    Frontispiece.--The Rev. Dr. Syntax.
    The Rev. Dr. Syntax Setting out on his Tour to the Lakes.
       "         "      Losing his way.
       "         "      Stopped by Highwaymen.
       "         "      Bound to a Tree by Highwaymen.
    The Rev. Dr. Syntax Disputing his Bill with the Landlady.
        "        "      Copying the Wit of the Window.
        "        "      Entertained at College.
        "        "      Pursued by a Bull.
        "        "      Mistakes a Gentleman's House for an Inn.
        "        "      among the Tombstones.
        "        "      Tumbling into the Water.
        "        "      Loses his Money on the Raceground at York.
        "        "      at a Review.
        "        "      with my Lord.
        "        "      made Free of the Cellar.
        "        "      Sketching the Lakes.
        "        "      Drawing after Nature.
        "        "      Robbed of his property.
        "        "      Sells his horse 'Grizzle.'
        "        "      Rural Sports.
        "        "      with the Dairymaid.
        "        "      at Liverpool.
        "        "      Reading his Tour.
        "        "      Preaching.
        "        "      with the Bookseller.
        "        "      at Covent Garden Theatre.
    The Doctor's Dream: 'The Battle of the Books.'
    The Rev. Dr. Syntax returned from his Tour.
        "        "      taking Possession of his Living.



1814.


_January 1, 1814._ _The Double Humbug, or the Devil's Imp Praying for
Peace._ Published by R. Ackermann.--In two compartments: _Napoleon
before his Slaves_, and _Napoleon before his Conquerors_. The first
view represents the Senate; the Emperor is standing on his throne,
which is propped upon the crowns of conquered kingdoms; his dark
friend, the Devil, is leaning over the back of the Imperial chair and
prompting the specious harangue which Napoleon is addressing to the
senators, who do not seem to be much interested in the proclamation,
and, on the whole, according to the artist's showing, look very like
a body of imbeciles. _Extracts from Buonaparte's Speech. Sunday,
December 19, 1813._--'Senators, Councillors of State, Deputies from the
Departments to the Legislative Body,--Splendid victories have raised
the glory of the French arms during this campaign. In these weighty
circumstances it was my first thought to call you all around me. I have
never been seduced by prosperity; I have conceived and executed great
designs for the prosperity and the happiness of the world. As a monarch
and a father, I feel that peace adds to the security of thrones and
that of families. I have accepted proposals and the preliminaries. It
is necessary to recruit my armies by numerous levies, and an increase
of taxes becomes indispensable. I am satisfied with the sentiments of
my people of Italy, Denmark, Naples, America, and the nineteen Swiss
Cantons, and have acknowledged the laws which England has in vain
sought, during four centuries, to impose on France. I have ordered
discharges of artillery on my coming and leaving you.'

The other side of the picture displays the fallen Emperor under an
entirely opposite aspect; this time he has to confront his enemies,
and a totally changed demeanour is adopted. The Corsican is on his
knees; before him is his sword, a pile of standards, and the diadems
he had abstracted from numerous crowned heads; the crown of France he
has tucked under his arm; all the rest he is offering to restore to
his enemies, the rightful owners, who have mustered in force and are
completely masters of the situation. The attitudes of the Allies are
expressive of their indignation at 'Boney's' shameful avowals; while
Talleyrand, on his lame leg, in the greatest trepidation at the dangers
which face him, is offering to swear to the truth of the damaging
admissions which his master has found it expedient to make, since
falsehood will not serve him in this quarter.

'Gentlemen, Emperors, Rhenish Confederations, &c., &c., &c.,--Behold
before you a fallen impostor, who has for many years been drunk and
intoxicated with ambition, arrogance, and insolence; who has deceived,
cheated, and tricked you on many occasions; who has foolishly and
wickedly lost, within a twelvemonth, a million of brave but deluded
Frenchmen; who has conceived the great and diabolical design of
enslaving the world, and has lost all his friends except Yankee
Maddison. Now, gentlemen, to make amends for my sins, I solicit your
pardon and ask for peace on your own terms, gentlemen, and I will
strictly adhere to it till.... You may take all those crowns back
again, except the one belonging to the Bourbons. My Empress sends you
also back the twenty flags I found in some of the churches, in the
course of my flight from Leipzig. As for the story, gentlemen, of the
corporal and the blowing up of the bridge, you must know 'twas mere
humbug to gull the lads of Paris.'

_January 1, 1814._ _Death and Buonaparte._ Published at Ackermann's
Repository.--The Corsican, who had faced and conquered Fate on so
many fields of battle, is at length confronted with the grim foe
under circumstances which lend additional terrors to his proximity.
The reverses which overtook the conqueror at Leipzig are already
threatening the downfall of that intrepid will and shaking a
self-possession hitherto imperturbable.

Rowlandson has taken advantage of the thickening disasters, which
had then commenced to check the prowess of the Emperor's armies, to
represent the Corsican in a fit of despondency, forlorn and abstracted,
seated on a drum in an attitude of dejection, with his head between
his hands, staring in the face of the King of Terrors, of whose close
company he is seemingly too self-occupied to take much heed. The grim
destroyer, as the skeleton Death, is watching the baffled general
face to face, assuming a parody of his attitude, and seated on a gun,
with a broken eagle standard at his bony feet. The Russian, Austrian,
Prussian, Bavarian, and other allied armies are streaming along in
unbroken hosts, scattering the dismayed legions of France, and making
havoc amidst the ranks of the discouraged Grand Army, which is melting
away before the combined forces.

_The transparency exhibited at Ackermann's Repository_ (See Nov. 5,
1813) _on the occasion of the illuminations for the victory of Leipzig_.

_January, 1814._ _Madame Véry, Restaurateur, Palais Royal, Paris._ T.
N. del., Rowlandson sculp. (348).

_January, 1814._ _La Belle Limonadière au Café des Mille Colonnes.
Palais Royal, Paris._ T. N. del., Rowlandson sculp.

    _Café des Mille Colonnes--'Dance of Life.'_

    This sober verse, this tranquil strain,
    Were it to strive, would strive in vain
    That in its couplets should be shown
    The Café of the Mille Colonnes.
    The pencil gives a better ken
    Of its fair Queen--for, ah, no pen
    Can paint her glory's grand design,
    At least an earth-made pen like mine;
    I therefore leave it as 'tis done,
    To the rare skill of ROWLANDSON;
    By whose enliv'ning, vivid touch,
    To which this volume owes so much,
    The lady's splendour will survive
    When all her graces cease to live,
    And the proud mirrors shall no more
    Reflect her beauties ten times o'er;
    Or when another takes her chair,
    Not half so fat, if half as fair.

[Illustration: MADAME VÉRY.]

An extract from Planta's 'New Picture of Paris' is added by way of
footnote: 'The Café des Mille Colonnes is in the Palais Royal, and
receives its title from the beautiful gilt columns which are reflected
by enormous mirrors, disposed with such skill that they appear to
be at least a thousand. The room presents an overwhelming glare of
decoration. The priestess, or rather the divinity, of this luxurious
temple is unrivalled among these places of public entertainment for the
charms of her person, the splendour of her dress, and the elegance of
her manners. The elevated seat which she occupies was once the throne
of the Viceroy of Italy, and was purchased by the proprietor of the
coffee-house for the exorbitant sum of twelve thousand livres.'

[Illustration: LA BELLE LIMONADIÈRE.]

_January 30, 1814._ _Quarter Day, or Clearing the Premises,
without consulting your Landlord._ Published by T. Tegg (318).--A
cart has been driven to the door of a certain residence, and
the ladies of the establishment are hastily heaping all the
contents of the house--furniture, bedding, culinary, and other
utensils--indiscriminately into the conveyance.

_February 10, 1814._ _Kicking up a Breeze, or Barrow-women Basting a
Beadle._ Published by T. Tegg (310).--The beadle of a provision market,
who has laid hands on the barrow of a seller of black puddings, has
been seized by the nose, in a fashion to blind both eyes at once, by a
muscular female, to whom the overturned barrow belongs; her stalwart
right arm and massive fist at the same time are making energetic play
on the person of the discomfited functionary, who has become, from
some act of interference on his part, the centre of a general attack; a
dog is threatening his legs, and a hag is belabouring his rear with her
basket. Butchers and poulterers' men are enjoying the diversion.

[Illustration: THE PROGRESS OF GALLANTRY.]

_February 14, 1814._ _Progress of Gallantry, or Stolen Kisses
Sweetest._ Published by T. Tegg (313).

[Illustration: A TAILOR'S WEDDING.]

_February 20, 1814._ _A Tailor's Wedding._ Published by T. Tegg (315).

_March 1, 1814._ _Crimping a Quaker._ Published by T. Tegg (317,
originally published as 261).

[Illustration: CRIMPING A QUAKER.]

_March 2, 1814._ _Head Runner of Runaways from Leipzig Fair._ Published
by R. Ackermann, Strand.--The Emperor Napoleon, dressed in the simple
and familiar habit by which his figure is best recognised, the little
cocked hat, the green coat, buttoned across the chest, the white
waistcoat and breeches, is tearing his hardest towards 'Maynz' and
the Rhine; a frightened hare, suggestive of the Imperial courage,
is scampering before him and marking the way. The 'little Corporal'
carries, instead of a walking-stick, the effigy of the great Emperor
of Germany, _Carolus Magnus_, at the head of a pole. On his back is a
pack, from which the various collections he had previously gathered are
suffered to escape: Italy, Holland, Switzerland, Rheinland, Hanstat
Département, Poland; paper prints of soldiers, _Alte Garde_ and _Junge
Garde_--are blowing away and being left behind in the flight.

_March 12, 1814._ _The Devil's Darling._ Published by R.
Ackermann.--The Dark Fiend in person, drawn on a tremendous scale, with
his claws, horns, hoofs, tail, and terror-striking accessories, is
seated on his sulphurous floor, cradling and dandling his pet progeny,
'_Little Boney_;' the figure of the Corsican is wrapped up like a
mummy in swaddling-clothes, bound round with tricolor ribands; the
face is alone exposed; and his Infernal Majesty is contemplating the
calm, thoughtful, wax mask-like countenance of his reputed vicegerent
on earth with earnest attention; his own features are wearing an
expression which is at least threatening; the Legion of Honour,
instituted by the Emperor, is held out by the apocryphal fiend as a
bauble to tempt the spoiled child in his lap.

_April 9, 1814._ _Blucher the Brave extracting the Groan of Abdication
from the Corsican Bloodhound._ Published by T. Tegg (322).--The
Corsican has been run down; the sturdy figure of the indomitable
General Blucher is shown acting as his executioner. Having come up
with the enemy and beaten him, the general is shaking the bloodhound
out of his trappings; sword, diadem, and habit are cast aside, and the
creature is swinging in the Prussian's iron grasp, a mere frightened
cur, with nothing of the dreaded 'Boney' left but his head. A boat
is on the shore, and the fugitive, _Brother Joe_, the rejected
'intrusive King' of Spain, in mortal terror is running his hardest to
embark for the Island of Elba; the boatman is loading in the future
provision, £20,000 a year, the income decreed the Corsican for his new
state. Besides the deportation of the Buonapartes another scene is
transpiring: Louis the Eighteenth, a portly and good-natured-looking
sovereign, is received with acclamations from all sides, while his
friends the Allies discreetly remain in the rear; the white flag of
the Bourbons, with its _fleur de lis_, is waving over the restored
descendant of St. Louis; the monarch's legitimate crown is restored,
and the figure of Peace personified is adding a laurel wreath;
Churchmen and some of 'Nap's' old servants are offering their homage,
and the wily Talleyrand has apparently 'ratted' judiciously at the
critical moment, as the change of masters has not displaced the
veteran diplomatist, and he is waiting on the King with a new 'list of
ministers for your Majesty's approval.'

_April 12, 1814._ _Coming in at the Death of the Corsican Fox. Scene
the Last._ Published by R. Ackermann.--Neither the subject nor
its title are altogether original, as, some six years previously,
Rowlandson's contemporary, James Gillray, had chosen to illustrate
the reverses which had attended the French arms in Spain by a similar
cartoon, in which George the Third appeared as the huntsman, holding
out the carcass of the Corsican fox. Both conceptions, in these
instances, as subsequent events proved, were somewhat premature as far
as the conclusiveness of the performance was concerned.

Prince Blucher, the valiant old trooper, has taken the lead of the
field; he has dismounted from his horse, whose bridle he is holding
in his left hand, while his right is locked round the throat of the
Fox, who is struggling and clawing vainly to get free; 'Boney's' face
is turning the pallid hue of deadly fear in sight of the eager pack
of hounds, which are showing their teeth and leaping forward to rend
the vermin to fragments; the dogs are of good strain; on their collars
may be read the names of those generals who finally outwitted the
Corsican--Wellington, Swartzenberg, Kutusoff, Platoff, Crown Prince,
York, &c., &c. The allied Emperors and Kings are riding down to be 'in
at the death,' and in the distance are seen burning towns, which have
been recently devastated by the ravages of the Corsican in his career
of ambition.

_April 12, 1814._ _Bloody Boney, the Carcass Butcher, left off Trade
and Retiring to Scarecrow Island._ Published by T. Tegg (323).--The
exiled general is reduced from his state; he is meanly travelling
Elbawards, and has reached the seashore, whence he is to embark for
his island residence. A gibbet by the way, with a rope in readiness,
is serving as a fingerpost to point the road; vultures, which fly
round this suggestive object, express a desire to pick the bones
of the retiring 'carcass butcher.' All the splendours of 'Boney's'
surroundings are stripped bare; he is riding on a rough-coated donkey,
and wearing a 'fool's cap' in place of a crown; his only provision is
a bag of brown bread; his consort, loose and ragged, is seated at the
crupper on the same beast, which is being unmercifully flogged with
a stick labelled '_Bâton Marcéchal_;' 'Boney' is lost in terror; his
juvenile heir, lately made King of Rome, is preceding the _cortége_,
mounted on a 'Corsican dog.'

A French postilion, of the old school, is jumping about for joy, in
his huge bucket-like jack-boots, flourishing his whip, and rejoicing
to see the backs of the usurping Corsican and his party: 'Be gar, you
_coquin_, now I shall drive my old friends and _bonnes_ customers _de_
English. _Vive le Roi et la Poste Royale!_'

_April 15, 1814._ _The Rogue's March._ Published by T. Tegg (321).

    From fickle Fortune's gamesome lap
      What various titles flow!
    The Emperor of Conj'rors, Nap,
      The King of Beggars, Joe!

General Prince Blucher is leading off the two convicts; a halter is
round 'Boney's' neck; he has donkey's ears, and is made to wear a
fool's cap, inscribed, 'Transported for life;' his face bears a look
of terror and degradation as he is dragged forward by his merciless
conductor, handcuffed to his brother Joe, 'ex-King of the Beggars,'
who is branded 'Coward and Thief.' A scorpion, 'Execration,' is
fastening on to 'Boney's' person; and another reptile, 'Detestation,'
is spitting venom at his less conspicuous relative. The exiled
convicts are being conducted past a file of Prussian Guards, and the
drums are beating the 'Rogue's March.' Their leader, Blucher, bears
a long quarter-master's staff, with a proclamation setting forth:
'Napoleon, late Emperor of the French, King of Italy, Protector of the
Confederation of the Rhine; Grand Arbiter of the Fate of Nations, &c.,
&c., &c., but now, by the permission of the Allied Sovereigns, exile in
the Isle of Elba, an outcast from society, a fugitive, a vagabond. Yet
this is the conceited mortal who said, "I have never been seduced by
prosperity; adversity will not be able to overcome me!"'

A contrast to the crestfallen Bonapartes is offered in the restored
Bourbons. A flagpole is set up, and the old royal standards are
unfurled: 'Rejoice, O ye Kings! _Vive le Roi!_' The sovereigns of
Europe once more enjoy the opportunity of wearing their crowns in
peace; and the allied monarchs are shown, in their royal robes, with
all their splendours restored, dancing hand-in-hand in a ring round
their combined escutcheons: 'Now we are met, a jolly set, in spite of
wind or weather!'

_April 17, 1814._ _The Affectionate Farewell, or Kick for Kick._
Published by R. Ackermann.--Buonaparte is being driven from France;
it is clear that his presence there, after the settlement of his
abdication, was a source of embarrassment while waiting for an
opportunity to sail for his new island kingdom. The late Imperial
Chancellor is the most eager to be rid of his disgraced master; the
'minister of expediency' is menacing the flying enemy; in one hand he
holds the deed of expatriation, 'Abdication, or the last dying speech
of a murderer--who is to be delivered into the hands of the Devil
the first fair wind.' 'Tally' is attacking his ancient confederate
'Boney' with his club-foot and his crutch simultaneously: '_Va t'en
coquin._ I'll crack your crown, you pitiful vagabond;' to which the
flying exile, with his hat held in hand as a mark of respect to his new
master, is responding with humility: '_Votre très humble serviteur,
Monsieur Tally_.' A gibbet, with its noose ready, is pointing to the
'Isle of Elba.' Seen in the distance is the 'Boney' family, there
receiving the elevation which they have merited, all the members being
collectively exalted on a gallows. The victims of 'Boney's' successive
campaigns and actions without cessation, invalids whose limbs have been
lost in his wars, are rushing up as fast as their maimed condition
will permit, flourishing their crutches and unstrapping their wooden
legs, as offensive weapons wherewith to avenge their injuries, crying:
'Bone him, my tight little Tally;' while an invalid with one arm is
waiting for the flying general at the place of embarkation: 'What! let
him sneak off without a mark or a scratch? No, no, I'll darken his
daylights for him!'

_April 20, 1814._ _A Delicate Finish to a French Usurper._ Published by
J. Asperne, 60 Cornhill.

    Boney, canker of our joys, now thy tyrant reign is o'er.
    Fill the merry bowl, my boys, join in bacchanalian roar.
    Seize the villain, plunge him in--see, the hated miscreant dies.
    Mirth, and all thy train, come in; banish sorrow, tears, and sighs!

The events which followed Leipzig are bearing their fruit; the heads of
the Coalition have been called in, and 'Boney' is being subjected to
rigorous treatment; he is seated on a throne constructed of skeletons
and skulls, wrapped round with the Imperial purple, powdered with his
emblems; but the bees are taking flight and forsaking their _protégé_;
Field Marshal Prince Blucher is offering the sufferer, who is sick in
extremity, a huge goblet to be quaffed to the dregs--'Blucher's black
draught.' The crown and sceptre of tyranny and all the 'Corsican's'
conquests, Portugal, Vienna, Poland, Milan, Spain, Rome, Moscow,
Holland, Switzerland, Vienna, Saxony, Florence, Dantzig, &c., have
been disgorged. The figure of Father Time has winged his way to reckon
with the usurper; his hourglass is held aloft, and with a golden
extinguisher Time is about to snuff Boney out. Wellington, the Emperor
Alexander of Russia, the Emperor of Austria, and the Crown Prince are
in attendance to see the last of their troublesome enemy. France is
once more freed, joyful and smiling; the labours of agriculture are
resumed, and three symbolical nymphs are executing a joyful dance
appropriate for the occasion, and supporting the arms of the restored
Bourbons.

_April 25, 1814._ _Nap Dreading his doleful Doom, or his grand entry
into the Isle of Elba._ Published by T. Tegg (328).--The general
has arrived in his island kingdom, according to the satirist; the
ship which conveyed the abdicated monarch is riding in the bay;
Boney's luggage has just been set on the shore by a smaller craft; a
single guard, one of the Mamelukes, is sitting disconsolately by the
diminished effects of his master. The somewhat squalid inhabitants,
Nap's future subjects, are crowding down the rocks with vulgar
curiosity, pressing onwards through a narrow pass leading to the
shore; they seem inclined to ridicule the deserted state of their
distinguished guest, who is plunged into dejection at his prospects.

    Woe is me, seeing what I have seen,
    And seeing what I see!

A coarse stout female is patting the exile familiarly on the back and
offering him her pipe by way of hospitality: 'Come, cheer up, my little
Nicky; I'll be your Empress!'

_May 1, 1814._ _The Tyrant of the Continent is Fallen; Europe is
Free; England Rejoices._ Published by R. Ackermann, 101 Strand.--The
'Corsican' is exposed to a worse fate than fell to Belshazzar; his
conquests are taken from him, the throne of state is overset, the
Imperial purple is stripped from his shoulders, the diadem and sceptre
have fallen; the sovereignties, crowns, and dignities which were his
playthings are swept away; the once almost master of the world is now
in a desperate strait; his person is seized by the Father of Evil,
who is claiming his due; the presence of the Foul Fiend has disturbed
Napoleon less than the hand of Fate: 'Empire and victory be all
forsaken to plagues, poverty, disgrace, and shame. Strip me of all my
dignities and crowns. Take oh take your sceptres back. Spare me but
life!' An arm of vengeance, appearing from the clouds, has effectually
paralysed the faculties of the conscience-smitten conqueror; a flaming
sword is hanging over his devoted head, and a voice of terror is
proclaiming retribution:--

    Thou'rt doom'd to pains at which the damn'd will tremble,
    And take their own for joys.

_May 1, 1814._ _Boney turned Moralist._ Published by R. Ackermann.--1.
_What I was--a cruel tyrant._ The Emperor is shown in all his glory
of empire and conquest, his back to the Palace of the Tuileries, and
dressed in the robes of state, the purple mantle on his shoulders, the
diadem on his head, the orb and sceptre in his hands; his feet raised
on crowns of vanquished kings, and potentates enslaved to prop his
state.

2. _What I am--a snivelling wretch._--The general is seen in solitary
abandonment on the island rock which constituted his miniature kingdom
of Elba, shedding tears over 'the brief history of my life, which
I intend to publish.' This view is, like most of the deductions of
satirists, rather beyond the strict veracity of the case. Bonaparte
showed himself during his stay in Elba, as it will be remembered, both
active and cheerful-minded; and it is recorded that he would discuss
with the visitors--who flocked to his miniature kingdom from motives
of curiosity--his present condition and his past state with pleasant
humour and even jocularity.

3. _What I ought to be--hung for a fool._--The figure of Napoleon, with
an ass's ears added, is suspended on a gallows.

_May 1, 1814._ _Irish Jaunting Car._--Hull, Esq., del. Etched by T.
Rowlandson. Published by T. Rowlandson, 1 James Street, Adelphi.

_May 8, 1814._ _Peace and Plenty._ Published by T. Tegg (324).--The
artist's view of the situation, with the smiling prospect of peace
as set forth in 1814, was somewhat premature, as the more desperate
events of the year following amply confirmed; but, with a general
concord prevailing amongst the Allies, with the restless 'disturber of
the peace of Europe' safely dismissed to the Island of Elba, there
to amuse his giant ambition by administering affairs in his miniature
kingdom, the old monarchy being comfortably restored to France for an
interval, it was generally concluded that the world would once more be
suffered to move along pacifically, and that a new era of plenty and
commercial prosperity was reopening.

[Illustration: PEACE AND PLENTY.]

_Peace and Plenty_ are represented much as such things look on the
eve of a congress of military powers, _Peace_ meaning the forces held
in readiness, and _Plenty_, in this case, referring principally to
the war-chest, a plentiful supply of artillery, powder, shell and
shot, and other offensive materials. The scene is fixed on one of the
fortifications which had been set up to protect the security of our
coasts; the cliffs of 'old England' bristle with Martello towers and
island defences. A drummer is sleeping tranquilly, with his arm and
head resting on his instrument, and a pile of cannon balls by his side;
there are great guns of brass and iron, with a mortar and shells, ready
for use, while sentries are on the look-out, and the soldiers are fully
equipped. The British standard is flying, and an air of gallantry is
introduced by the presence of certain buxom females, who are exciting
the admiration of the soldiers of the garrison gathered around the
Dulcineas and ogling and flirting with the skittish fair, whose ample
proportions are such as to win the hearts and turn the heads of these
'sons of Mars,' released for a while from 'war's alarms,' of which the
warriors were becoming reasonably tired after so many years of hard and
comparatively profitless campaigning.

_May 15, 1814._ _Macassar Oil: an oily puff for soft heads._--It is
rather a question whether subjects similar to the present, in which
some popular nostrum was held up to ridicule, were wholly playful or in
part executed to order--a skilful method of indirect puffing much and
ingeniously practised in the magazines and other channels of the day.
The wondrous fluid Macassar is seen in application. A stout old party
has laid off his fool's cap and is seated in an armchair, undergoing
a trial of the efficacy of the oil: the perfectly bald head of the
subject is a good field for its employment, and the operator--who, by
some inconsistency characteristic of vendors of hair restoratives, is
quite bereft of hair himself--is sleepily pouring oil from a flask
over the broad surface beneath him. A lady has apparently been making
a trial of the process, and on consulting the looking-glass she seems
amazed to find a bushy head of hair pushing itself straight upwards
with amazing vigour. Round the apartment are files of bottles, 'wig
oil, one guinea per bottle,' and notices, 'Wonderful discovery: carroty
or grey whiskers changed to black, brown, or blue, &c.'

_June 14, 1814._ _Miseries of London, or a Surly Hackney Coachman._

_June 20, 1814._ _Rural Sports, or a Pleasant Way of Making Hay._
Published by T. Tegg (16).--In the rear are lasses raking the hay
together, and lads are tossing the loads on to the well-filled wains.
In the front of the picture is a group of boisterous haymakers of both
sexes, who, throwing aside their rakes and forks, are tumbling the hay
about by armfuls, rolling one over another in the grass, and sprawling
about in picturesque confusion.

_July 14, 1814._ _The Rivals._ Published by T. Rowlandson, James
Street. (See 1812.)

[Illustration: PORTSMOUTH POINT.]

1814. _Portsmouth Point._ Published by T. Tegg (255).--The varied
humours of Portsmouth are displayed with the caricaturist's native
vigour. Nothing could be more animated than the picture, which has an
air of truth, nor could the scene be represented with fuller character,
all its grotesque features being brought forward with ready fun. The
landing-place is bustling with business; small craft of all sorts are
pulling off to the ships; luggage, spirit-casks, and packages are
being wheeled or shouldered off for debarkation. A couple of sailors,
with hands across to form a sedan, are carrying a stout lady of fashion
down to a lighter. Jack on shore and Jack taking his chest seawards are
elbowing busy stevadores. A commander, his lady, and a porter bearing
his sea-trunk, are in the centre of the crowd; a wooden-legged fiddler
is tipping a stave for 'Poll and her partner Joe,' and a frolicsome
tar is giving a parting salute with more ardour than propriety. On one
side is the respectable element--the admirals, captains, and other
naval officers, and their families, who are parting from wife and
children with a tender embrace at the door of the Ship Tavern; and
many a gallant naval hero is draining his last bowl of punch on shore.
On the opposite side such rougher contrasts are exhibited as common
sailors, lodging houses, outfitting emporiums, cast clothes marts,
and ship-store shops, _Moses Levy--Money Lent_, and similar tempting
emporiums, where customers are inspecting second-hand apparel. Such a
spectacle would not be complete, according to the taste of the times or
the actualities of the case, without some sort of uproariousness, and
so we are treated to the sight of a young lady carted off helplessly
inebriated, a friendly companion supporting her shoulders, and an
honest blue-jacket bearing her legs unceremoniously slung over his
back. Another bacchanalian incident is rendered on the left, where a
grinning sailor, half-seas over, who is at least better-tempered in
his cups than George Cruikshank would have condescended to draw him
in his teetotal days, is sprawling on the road by his broken pipe and
overbalancing a florid and equally tipsy Venus, his lady-love, who is
in some degree the reason of the Jack Tar's degradation.

_September 15, 1814._ _The Three Principal Requisites to form a Man of
Fashion: Dress like a coachman; study boxing and bull-baiting; speak
the slang language fluently._

_September 15, 1814._ _The Four Seasons of Love._ Rowlandson del.
Published by T. Tegg.

_Spring._--A suitor, _Jerry Thimble, Tailor_, is kneeling at the feet
of a blooming fair one; both of the turtle-doves are in the prime of
life. 'Oh, you bewitching angel,' sues the tailor, 'behold at your feet
a swain as tender as a veal cutlet. You are the very broadcloth of
perfection; have pity on me, adorable Mrs. Griskin!' To which appeal
the melting and buxom widow responds: 'You enchanting devil, I do not
know what to say to you; however, Mr. Thimble, that mole between your
eyebrows puts me so much in mind of my poor dear departed husband that
I think I can't refuse you.'

_Summer._--The wedded pair are enjoying a suburban excursion. The
smartened tailor is smiling on his wife and declaring: 'O thou wert
born to please me, my life, my only dear!' The lady, who is advancing
in life, replies: 'Ay, now you look a little stylish; you are a
charming man. Who would not be married!'

_Autumn_ sets in more stormily; the lady, developing into a virago,
is accusing her husband of receiving letters of a tender nature; the
tailor, in reply, is making a counter-charge, relative to 'Mr. Dip, the
dyer, and gallivanting to White Conduit House.'

_Winter_ sees the late couple seated at either side of a lawyer's
table; the man of law is reading the articles of separation, to the
delight of the Thimbles. Mrs. Tabitha declares she never felt so
comfortable in all her life; and Jerry Thimble is exclaiming: 'O
blessed day! I hope to pass the next year in peace and quietness!'

_September 20, 1814._ _Joanna Southcott, the Prophetess,
Excommunicating the Bishops. 'Know I told thee I should begin at the
Sanctuary. I will cut them all off,' having already cut off four
Bishops for refusing to hear of my Visitation._ Published by T. Tegg
(341).--Rowlandson availed himself of the novel religious fever which
had its rise in the fictitious revelations of the so-called Prophetess,
Joanna Southcott, to ridicule both the believers in latter day miracles
and the members of the Establishment conjointly. One specimen of the
caricatures produced on this occasion will suffice. Joanna Southcott
and one of her champions are making a terrific charge on the flying
pillars of the Episcopacy. The Bishops are endeavouring to kick against
the onslaught, and, with mitre, wig, and crozier, are defying their
chastisers; but their courage is feeble, their ranks are breaking, and
they are running off discomfited to save themselves from the coming
wrath, without taking any heed of the overthrown. The Prophetess,
wearing her famous seal round her neck, and clad in _Elijah's mantle_,
is lustily wielding a birch rod; she has caught a fugitive Archbishop
by the foot, and he is vainly struggling to escape corporal correction.
The 'Third Book of Wonders' is open at her feet. Her exertions are
supported by a certain Rev. Roger Towzer, who is chastising the
disorganised heads of the Established Church with his _Flail_; certain
supernatural creatures, with flaming torches and stings and claws, are
harassing the runaways. The Prophetess is very earnest in the work:
'Lay it on, hip and thigh, brave Towzer; smite the unbelievers. I
put no more trust in Bishops as men than I do in their chariots and
horses, but my trust is in the Lord of Hosts.' Her reverend follower
is bruising away vigorously: 'I'll well dust their woolsacks and make
them drunk in my fury. I will bring down their strength to the earth!'
A strong-chest, in the rear, is labelled _Contents of the Sealing; the
Sealed, the Elect, to inherit the Tree of Life_, &c.

1814 (?). _Rural Sports. Buck Hunting._ Rowlandson del. Published by T.
Tegg.--Buck-hunting, as a figurative sport, seems, if we may believe
the print, to be attended with certain difficulties. An antiquated
gentleman, who in the present case seems to be the hunter, is brought
up abruptly, in full view of the quarry, by a river, which he has no
apparent means of crossing. The game in view, a military buck, is 'run
to ground' in a summer-house, on the opposite side of the water, where,
in spite of a warning-board about _Man-traps_, he is visibly poaching
on the hunter's preserves.



1815.


_January 1, 1815._ _Female Politicians._ Published by T. Tegg. Woodward
del., Rowlandson sculp.--The fair members of a well-to-do family are
seated at table. The elder is reading the news of the Corsican's last
outrages: 'They write from Hanover that when Boneyparte took possession
of that country he ravished all the women.' 'Oh, the wretch!' cries
an old maid. A less antiquated lady is giving her fair neighbour the
comforting assurance, 'It's very true, ma'am: it's only a word and a
blow with him; your honour or your property.' 'Well, ma'am,' declares
a buxom creature, 'if he should come here, at all events I'll take
care of my property.' To which a budding maiden is adding, 'So will I,
mamma.'

_March 1, 1815._ _Breaking up of the Blue Stocking Club._ Published
by T. Tegg (343).--The dissolution of this assembly is marked by a
certain amount of animosity and fury. The learned ladies are engaging
in pairs, and the subject under discussion is handled with more zeal
than discretion, the arguments employed being chiefly forcible. The
_Blue Stockings_ are sadly mauled; garments and hair are alike torn
and dishevelled. The table, the tea equipage, and the president's
armchair have all come to grief; one fair and fierce debater is trying
to impress her opponent with the kettle-stand, another has floored her
adversary, and is pouring forth the boiling contents of the urn over a
prostrate foe. Nails, fists, and feet are alike set to work; but the
favourite method of attack seems to be a firm purchase of the enemy's
tresses. Cats are leaping about in dismay, and the whole tableau is one
of unrestrained ferocity and recklessness.

_March 1, 1815._ _Defrauding the Customs, or Shipping Goods not
Fairly Entered._ Rowlandson del. Published by T. Tegg (344).--A scene
of violence, since a pair of strapping damsels, the pride of their
friends, are being carried off bodily, whether they will or no, by two
naval officers, whose sailors are waiting by the shore, with a boat
put to sea in readiness to bear them, and their abducted charges, off
to a ship which is seen at a distance. These unprincipled marauders
have made an attack, in broad daylight, on the two biggest and most
handsome scholars of _Mrs. Crostich's boarding-school for young
ladies_, while the remainder of the tender flock are taking their walks
abroad, with the dame at their head. But neither the vigorous efforts
of the schoolmistress, nor the exertions of an old gentleman, who has
been knocked over in the escape, and is sprawling powerless like a
turtle, nor the efforts of a dog which is worrying the retreat of the
fugitives, seem likely to hinder the accomplishment of their flight or
to prevent the successful completion of their lawless designs.

_March 1, 1815._ _Hodge's Explanation of a Hundred Magistrates._
Published by T. Tegg (347).--Hodge, 'a poor honest country lout, not
overstocked with learning,' has been brought before the bench on some
charge or another. The smock-frocked rustic, cap in hand, is scratching
his tow-like locks and questioning the fairness of the tribunal. 'How,'
cries the chairman, energetically thumping away at the table in his
indignation, 'how dare you, fellow, say it is unfair to bring you
before one hundred magistrates, when you see there are but three of
us?' In reply to which Hodge is posing his interrogator: 'Why, please
your worship, you mun know when I went to school they taught I that a
one and two noughts stood for a hundred; so, do you see, your worship
be one, and the other two be cyphers!'

_March 1, 1815._ _Sailors Drinking the Tunbridge Waters._ Published
by T. Tegg (242).--The artist has sketched the old drinking-well at
Tunbridge; a body of sailors, true British tars, find themselves, by
some queer chance, which is totally unexplained, at the well-known
watering-place, and, what is more mysterious, these sons of Neptune are
in close proximity to the Springs. A comely, well-favoured, and smartly
attired young damsel, the ministering nymph of the fountain--which,
in this instance, it must be confessed, closely resembles a pump--is
presenting a tumbler of the fluid, drawn by her own fair hands, to a
sturdy ancient coxswain, impressing on the weather-beaten salt, 'Be
assured it is an excellent beverage for gentlemen who have been a long
time at sea.' The ancient mariner, in recalling the effects which the
waters had on 'our Poll,' and remembering his own personal interior
sufferings in the Mediterranean, is reluctant to rush into unknown
dangers: 'Why, lookee, ma'am, I don't wish to be unpolite, but, if your
ladyship's honour pleases, I'd rather hang fire a bit.' Another hardy
tar is grappling with the distasteful difficulty and making frightful
attempts to swallow the contents of his tumbler; but a good proportion
of the water is spilt on the ground, while he is pronouncing the stuff
'Dashed queer tipple, to be sure!' Another smart sailor has his tumbler
all safe in his keeping; but he is bribing a diminutive native, who
is complacently staring at the prospective drinker, to run and fetch
something to qualify the cup. 'Hark'ee, young two-shoes, go and get me
a pint of half-and-half and a squeeze of lemon, for darn me if I could
drink it neat if I was never to weigh anchor again.'

_March 13, 1815._ _A Lamentable Case of a Juryman._ Published by T.
Tegg (Nos. 220 and 347).

_April 7, 1815._ _The Flight of Buonaparte from Hell-Bay._ Published
by R. Ackermann.--We find the anticipations offered in the caricatures
of the previous year completely upset by Napoleon's unexpected return.
The method of the Corsican's evasion is treated figuratively; in place
of the Isle of Elba he is supposed to have escaped from the clutches of
the evil one and out of the depths of the infernal regions. The foul
fiend, _Old Scratch_, is represented in person, amusing himself by
letting his captive loose to work fresh mischief in the world above.
A diabolic armchair of serpents is planted beside the fiery lake, and
for pastime Satan is toying with a pipe and blowing air-bubbles, while
an attendant imp is holding a saucer of suds. The Corsican has been
mounted on a bubble blown by the tempter, and then sent careering back
to earth; hissing dragons, and serpents of supernatural species, are
hissing forth flames and blasts of fury, which are serving as winds to
waft the bubble upwards, while the sulphurous fumes are inspiring the
rider with a frantic thirst for vengeance.

_April 8, 1815._ _Hell Hounds Rallying round the Idol of France._
Published by R. Ackermann.--The enthusiasm with which the return of
'Boney' was hailed, from his landing in France till his arrival in
the capital, and the devoted reception he encountered from his old
followers, are made the subjects of more than one travesty. In the
present case the head and bust of the Emperor, on a colossal scale--his
throat encircled by a hangman's noose--is elevated on an immense
pyramid of human heads, his decapitated victims; a brace of demons are
flying through the air to encircle the brow of this apostle of freedom
with a crown of blazing pitch. A ring of excited demons, with horns,
claws, hoofs, and tails, but bearing the heads and faces of Napoleon's
supporters, are dancing in triumph round the idol they have replaced.
From labels attached to the ropes which surround the throttles of these
enthusiastic Bonapartists we discover the so-called 'Hell Hounds' to
be Marshals Ney, Lefebre, Davoust, Vandamme, Savery, Caulincourt, with
Fouché, and others. The old slaughters have recommenced; towns are
committed to the flames, English goods are once more destroyed, and
heaped around are soldiers, some dead and others wounded, to serve the
cause of a rapacious ambition which had drained the blood of France for
years.

1815. _Vive le Roi! Vive l'Empereur! Vive le Diable! French Constancy
and French Integrity._--As might have been foreseen, Napoleon's old
ascendency over the French army asserted itself more strongly than
ever; the intermediate state of things and the humiliations to which
the country was unavoidably forced to submit during the process of
restoring the stolen property and possessions to the rightful owners
had increased the national animosity with which the troops and the
people continued to regard the foreign invaders, friends, allies, and
upholders of _Louis le Desiré_. The more martial spirits, wearied of a
restoration with which France felt no sympathy, began to languish for
the presence of their great captain, under whose military empire their
laurels had been won. The fickleness and instability of the Gallic
race are set forth in the present caricature. A trooper has abjured
his allegiance to the Bourbons, and is hailing his Corporal with a
pinch from his snuffbox; his hat is still garnished with the white
cockade, _Vive le Roi!_ above it is a red one, _Vive le Diable!_ and,
on the other side, the famous tricolor, and _Vive l'Empereur!_ _French
Constancy_ is illustrated in these interchanged emblems. _French
Stability_ appears figuratively likened to the sails of a windmill; as
to _French Integrity_, the emblems of a monkey and cat, kissing and
fondling, pictorially sets forth the 'union between the National Guard
and the troops of the line.'

_April 12, 1815._ _Scene in a New Pantomime, to be performed at the
Theatre Royal, Paris. With entire new music, dances, dresses, scenery,
machinery, &c., &c. The principal characters to be supported by most of
the great potentates in Europe. Harlequin by Monsieur Napoleon; Clown
by King of Wirtemberg; Pantaloon, Emperor of Austria. To conclude with
a comic song, to be sung by the Pope, and a grand chorus by the Crowned
Heads. Vivant Rex et Regina._ Published by R. Ackermann.--The wonderful
exhibition is taking place in the state rooms of the Tuileries. The
great throne is empty, and the sceptre and crown are temporarily laid
on the steps waiting for their owner. _Presto!_ and in flies Harlequin
Bonaparte, pursued at once by all the Powers of Europe, tumbling over
one another in confusion, but all armed and aiming at the nimble
sprite, who had given them so much trouble to capture and secure, and
who is once more to be chased, caught, and bound down again. Clown
Wirtemberg is letting off a brace of pistols; Dutch Mynheer and a
Prussian grenadier are discharging their blunderbusses; Austria, as
Pantaloon, is too startled to be effective; the Cossack is giving
the fugitive a prod with his long lance; the King of Spain has drawn
the sword and aimed such a blow that it has capsized the swordsman
and shaken off his crown; the Pope is armed with an axe; and all the
other potentates are crowding in, an irregular mob. The portrait of
the Empress, as Columbine, is being taken off the walls. As to the
Harlequin, his eye looks dangerous; a dagger is held in either hand-he
evidently means mischief; one tiger-like spring, and he has eluded
all his pursuers, and the blows they are intending for him recoil on
themselves. The portrait of Louis the Eighteenth is in the pathway
for which he is making, and the nimble Corsican, in his character of
Harlequin, is jumping clean through the huge paunch of the tranquil
Bourbon and regaining the security of his old strongholds.

_April 16, 1815._ _The Corsican and his Blood Hounds at the Window of
the Tuileries, looking over Paris._ Published by R. Ackermann.--Boney,
on his arrival in Paris, proceeded to his old quarters in the
Tuileries, whence Louis the Eighteenth had but just departed.
Napoleon, in spite of his fatigue--for he had barely rested since
his landing--sat up all night, concerting fresh measures with his
supporters; and in the morning he held a grand review in the Champ de
Mars, where his presence excited the most frantic demonstrations of
fidelity. France showed herself intoxicated with joy at the chance
of receiving back a leader with whom she had, inconsistently enough,
parted without expressing much emotion or regret, except so far as
the Emperor's more immediate personal adherents were concerned. In
the picture we have the streets of Paris represented as being filled
with a surging multitude of enthusiasts, while standards, eagles, and
heads of enemies are held up on pikes, by the wilder fanatics, as signs
of encouragement. _Death_ and the _Devil_ are tempting the Corsican
from the balcony of the Tuileries; in 'return for more horrors,' and
in exchange for 'death and destruction,' all that he sees is offered
the conqueror. The bony skeleton is pointing out the bargain with his
dart; but Time's hourglass is standing unperceived at Napoleon's side
and the sand is running forth. The figure of the Devil is resting his
arms fraternally on the shoulders of Boney and Marshal Ney and drawing
them into an ill-starred embrace. The other marshals and adherents are
in the rear; but a marked expression of apprehension is shown on the
faces of the entire party, with the exception of the two supernatural
visitors, who are grinning at the anticipation of fresh iniquities
and increasing deadly horrors, with which they entertain the certain
prospect of being gratified by their pet _protégé_.

_May 10, 1815._ _The Carter and the Gipsies._ Published by T. Tegg.

1815. _R. Ackermann's Transparency on the Victory of Waterloo._--The
loyal supporters of the Government and that indomitable British nation
which had declared '_no surrender_ to the Corsican,' and, either in
victory or defeat, had persevered, while their allies were conquered
and their subsidies wasted, were rewarded for the 'outpouring of
blood and treasure abroad' and the hard times and anxieties at home
by finding that at last, after Waterloo, their enemy was at their
mercy. Rejoicings, fireworks, and illuminations became the order of the
day; and our artist, who had traced the varying career of the dreaded
bugbear Boney, now lent his assistance to commemorate his downfall. In
Rowlandson's simple allegory Buonaparte, on his white Arab charger,
is riding his hardest away from the British pursuit; he has lost his
sword, and his crown is shaken off. Wellington, with his sword ready to
smite, is rapidly coming up with the fugitive, whose flight, however,
is unexpectedly brought to an end by finding old Blucher, on his sturdy
charger, drawn up across the very path he is taking. The redoubtable
veteran is discharging a huge blunderbuss full in the face of the
common enemy. Incidents in the pursuit of the routed French legions are
slightly indicated in the background, and a flight of certain gilded
birds are scurrying out of the dangerous vicinity.

_July 28, 1815._ _Boney's Trial, Sentence, and Dying Speech, or
Europe's Injuries Revenged._--Napoleon is arraigned, as a criminal at
the bar, before the Court of Europe and a crowded tribunal; the seat of
chief judge is occupied by Prince Blucher, and the assembled potentates
are seated on the bench, wearing their recovered crowns, which the
prisoner, in his various triumphs, had so often caused to tremble and,
in some cases, had carried off completely. The kings, it is true, do
not make an imposing spectacle; with the exception of the Emperor
Alexander, who is seated beside the Prince Regent, they still seem to
look upon the lately dreaded foe with trepidation. The occupants of the
court and the lawyers are regarding the criminal under sentence with
abhorrence; a _posse_ of tipstaves are drawn up below the prisoner's
bar; and Napoleon, who is trying to move the compassion of his hearers
by hypocritical humility, has a friend at his back, who is ready to
seize his bond--the Black Fiend is his unseen attendant prompter in
person. Old Blucher, clad in his field-marshal's uniform, with the
addition of a judge's wig, is standing up, and, with emphatic gestures,
is pointing to the act of accusation set forth at length on a screen
in the court: 'Napoleon Bonaparte, the first and last by the wrath
of Heaven, ex-Emperor of the Jacobins, and Head-Runner of Runaways,
stands indicted: 1. For the murder of Captain Wright in the Temple, at
Paris. 2. For the murder of the Duke D'Enghien, Pichegru, and Georges.
3. For the murder of Palm, Hofer, &c., &c. 4. For the murder of the
twelve inhabitants of Moscow. 5. For innumerable robberies committed
on all nations in Christendom and elsewhere. 6. For bigamy; and lastly
for returning from transportation and setting the world in an uproar.'
The inflexible judge is hurling forth his condemnation: 'You, Nap
Bonaparte, being found guilty of all these crimes, it is fallen to my
lot to pronounce sentence of death on you. You are to be hung by the
neck for one hour till you are _dead, dead, dead_, and your body to
be chained to a millstone and sunk in the sea at Torbay.' The fallen
Emperor is naturally much moved at this final judgment, and he is
interceding for a respite: 'Oh, cruel Blucher! oh, cruel Wellington!
it is you that have brought me to this end. Oh, magnanimous Emperors,
Kings, and Princes, intercede for me and spare my life, and give me
time to atone for all my sins. My son, Napoleon the Second, will reward
you for mercy shown me!'

_November, 1815._ _Transparency Exhibited at R. Ackermann's, in the
Strand, on November 27, 1815, the day on which the General Peace was
celebrated in London._--As all England was exerting itself to display
its loyalty and the universal delight occasioned by the conclusion
of the Continental wars, Rowlandson contributed a characteristic
cartoon, which appeared, like its predecessors, outside the Repository
of Arts, allegorically commemorating the downfall of 'Boney' and the
second restoration of the legitimate reigning house. The design of
this transparency was arranged in the form of a monument, capped by a
throne; at the base is a trophy; the Prince of Wales's plume is waving
above two gilt tablets, inscribed with the names of the two victorious
generals, Wellington and Blucher, and surrounded by pieces of
dismounted artillery and groups of standards, with the Union Jack and
the Russian and Prussian flags in front. Above this group is a base,
inscribed, 'Peace throughout Europe,' with a tablet, '_Charlemagne,
Nassau, Capet, Bourbon_,' and two wreaths, dedicated to '_Humanity_'
and '_Justice_.' Upon this platform a canopy is raised aloft, festooned
above the throne of St. Louis, with the restored crown; a serpent,
emblematic of eternity, and the three doves; the front of the seat is
supported by bundles of fasces, with double axes, and classic wreaths
and lyres. A flight of steps mounts up to the throne on either side.
On the right is Wellington, supporting Louis XVIII., restored to his
rights; his train are following the ascent of their sovereign, and the
figure of _Justice_ is floating on the clouds above the monarch's head.
_Fame_ is blowing her trumpet on the other side; while Bonaparte and
his baffled supporters are effecting a rapid descent by the left-hand
staircase; Blucher, standing on the top step, is making their defeat
secure by a discharge from his huge blunderbuss. Bodies of the Allied
troops are drawn up at the base; on the right a group of Cossacks, with
Prussian and English cavalry; on the left is a gathering of the various
foot-soldiers. A sturdy Highlander is putting the finishing stroke to
a discomfited plotting Bonapartist with his bayonet, and summarily
stamping out Imperialist intriguers.

_July 14, 1815._ _Easter Monday, or the Cockney Hunt._--Designed,
etched, and published by T. Rowlandson, 1 James Street, Adelphi. In
clearing a gate, after the hounds, a little antiquated sportsman has
missed his seat and is going over his horse's ears; behind him is a
dashing Diana, who is spurring her horse over the palings of a park in
gallant style.

_November 16, 1815._ _My Ass._ Designed and etched by T. Rowlandson.
Written by Mr. J. Tedir. Published by I. Sidebotham, 96 Strand.--The
adventures of a hawker of vegetables and her faithful donkey, depicted
in a series of six cuts, illustrating the invaluable qualities of the
quadruped. The composition commences thus:--

    Who followed me through street and lane,
    In spite of hurricane and rain;
    While I my daily bread did gain?
                                  My Ass.

The other verses being in the same strain.

1815. _Measuring Substitutes for the Army of Reserve._--In 1815, owing
to the French wars, soldiers were necessarily at a premium; and, from
an advertisement in the justices' room, where the substitutes are being
measured, we learn that the bounty was fixed at 30_l._ per man. Those
great functionaries, a country justice and his clerk, appear seated
in state, to warrant the proceedings. A commanding officer and his
sergeant are labouring prodigiously, for the needs of the service, to
force certain stunted and misshapen rustics, who have been enlisted to
serve their country, up to the military standard. Further relays of
ungainly 'chawbacons' are waiting their turn without.

1815. _A Journeyman Tailor._--A half-clad slave of the thimble is shown
squatting on his board in a squalid hovel; his half-starved 'helper'
is seated by his side; both are pressing garments with hot irons, and
a rough and ragged urchin is heating a further supply of the article
known as 'a tailor's goose' at the grate; while a street hawker, a
blowsy Hibernian, is screaming her wares (cucumbers and cabbages) in
at the doorway. This picture bears some resemblance to a caricature
published by Rowlandson in 1823, under the title _Hot Goose, Cabbage,
and Cucumbers_.

1815. _Neighbours._ Published by T. Tegg (235).--The wooden casements
of two windows, which turn on one post connecting the houses, are
thrown back, and simultaneously a neat-looking young farmer and
a well-favoured young damsel are stooping forward and their lips
meeting in a cheerful salute, to the horror and scandal of two elderly
witnesses, who are expressing their reprobation at the openness of the
proceeding. The young swain at the same moment is trying to hang up a
cage, which appropriately contains a pair of cooing doves.

[Illustration: AN EATING-HOUSE.]

1815 (?). _An Eating-house._

1815 (_about_). _Banditti._--The occupants of the house attacked,
confined to the female members, are sleeping, without suspicion of
the danger which is to surprise them. A band of ill-favoured and
repulsive-featured freebooters, provided with a miscellaneous armoury
of slaughterous-looking weapons, are stealing in on deadly mischief
bent. The scene is dramatic.

1815. _Virtue in Danger._

    Careful observers, studious of the town,
    Shun the misfortunes that disgrace the clown.--GAY'S _Trivia_.

An old boy who has ventured unprotected--beyond the guardianship of
an umbrella which bears a family resemblance to the holder--amidst
the dangers of the wicked town, is forcibly taken possession of by
two shameless nymphs; one is stealing his money, while the other is
helping herself to his watch. The elderly and corpulent stranger is too
astonished at this barefaced iniquity to offer the feeblest resistance.
The night watchman is going his rounds, and enjoying a laugh at the
expense of the victim; this trustworthy guardian of the streets is
too evidently a confederate of the predative fair, and is personally
interested in the plunder.

1815 (?). _An Unexpected Return, or a Snip in Danger._

1815 (?). _A Musical Doctor and his Scholars._

1815 (?). _Slap-bang Shop._--The interior of an eating-house in the
city. A tall, well-formed, and comely waitress is bringing in the
dinner of a wicked old reprobate, who is leering his admiration of her
personal attractions. All the venerable sinners, amateurs of female
loveliness, shown taking their meals in the various boxes, are turning
their heads to gloat over the charms of this favoured handmaiden, who
is followed by a 'help' carrying pots of beer for the various customers.

1815. _Jack Tar admiring the Female Sex._

1815. _Accidents will Happen._--This, and the following subjects, to
the number of half-a-dozen, are selected from prints in some degree
pirated from Rowlandson, and, although bearing his name in the corner,
in many instances the incidents of well-known caricatures have been
altered, and prints have been issued, engraved in an inferior style, as
new caricatures. The principal of these adaptations, or poor renderings
of drawings, were published by Marks. _Accidents will Happen_
introduces a cellar incident. A maid has begun to descend the stairs to
draw some beer, and has come to grief, probably from fright, as files
of scared rats are scampering away, and a cat is tearing up the wall,
while a mischievous monkey has broken loose from his chain. The shock
has caused the damsel to lose her balance, her pitcher is broken, and
she is sprawling in an attitude which has astonished her master, who,
candle in hand, is coming down the winding stairs of the cellar to
survey the scene of the disaster.

1815. _Sympathy._--This emotion is rendered in the feelings of a stern
functionary, evoked in favour of a lady in Bridewell, who is being led
out of the cells by the warder to be flogged, a punishment which, it
would seem, had not been abolished in Rowlandson's day. The eye of the
coarse and elephantine jailer is gloating over the fair back of the
unfortunate criminal, laid bare for the application of the cat.

1815. _Despatch, or Jack preparing for Sea._--Jack Tar is making the
most of his opportunities on shore; he is surrounded by the delights
which constitute the sailor's elysium; punch and grog galore, a brace
of fiddlers, and a bevy of beauties, florid Pollies of Portsmouth,
towards whom he is making tipsy demonstrations of affection. In those
days, when prize-money fell in golden showers, the valiant sea-dogs
who defended our shores, and made John Bull's name redoubtable on
the ocean, were able to command, in their short intervals on shore,
luxuries after their own hearts, for which, after the dangers and
hardships of active service, they threw away their 'yellow boys' with
the recklessness which characterised their habits, and proved a rich
harvest to the plunderers who were on the watch for seamen just 'paid
off.'

1815. _Deadly Lively._--The coarse humours of a spirit-cellar are
served up with a tragic accompaniment. A young female is stretched
incapable and asleep, sunk in all the degradation of dead drunkenness.
A man who is no longer master of himself is raising his tumbler,
with a tipsy desire to have it replenished. The apparition of King
Death, bony, frightful, and sinister, is grinning over the back of
the soddened tippler's chair, recruiting his legions from a fruitful
source; he is supplying the rummer of the drunken wretch from his own
vial, little more fatal than the fluid which is debasing and deadening
its victims around. A stout woman, also sinking into tipsy apathy,
is roused by the shock of finding the king of terrors added to the
company; she is thrown off her balance with a start, and, falling
backwards on the stone floor of the vault, she will probably break her
neck--as the artist's intention seems to hint--and furnish Death with
another customer.

1815. _The Fort._

1815. (Officer.) _The Military Adventures of Johnny Newcome, with an
account of his Campaigns in the Peninsula, and in Pall Mall, with
sketches by Rowlandson and notes by an Officer._ London: Printed for
Patrick Martin, 198 Oxford Street. 8vo.

He jests at scars who never felt a wound.--SHAKESPEARE.

    Frontispiece.--Johnny Newcome starting to join his Regiment.
    Johnny Newcome going to lay in stock.
    A Bad Billet.
    Taking his Breakfast.
    Introduced to his Colonel.
    Smells Powder for the first time.
    Johnny writes an Account of the action to his mother, which
      afterwards appears in the _Star_.
    Half Rations.
    Learning to Smoke and drink Grog.
    Poor Johnny on the sick list.
    Going sick to the rear.
    Johnny safe returned to his Mamma.
    Made an A.D.C. 'Dash'd with his suite for Santarem that night.'
    Johnny on duty with his chief.
    Presenting the Trophies (taken from Joseph Buonaparte) to the
      Prince Regent.

1815. _The Grand Master, or Adventures of Qui Hi in Hindostan. A
Hudibrastic Poem in eight Cantos by Quiz. Illustrated with twenty-eight
engravings by Rowlandson._ Plates dated October 1, 1815. (Quiz fecit,
Rowlandson sc.) London: Printed by T. Tegg. The intention of this
work seems an attempt to hold up the Governor-General (the Marquis of
Hastings) to opprobrium, but whether deserved or not, Europeans have
small chance of judging.

    Frontispiece.--A new Map of India from the latest authority.
        The Governor-General (Marquis of Hastings) and his
        Council (Imbecility) mounted on an Elephant. Tusks
        (marked Monopoly and Ambition) fettered by Restrictions
        (Board of Control and House of Commons) &c.
    Titlepage.--The End of the Pagoda Tree, and the ultimate fate of
      the Viceroy and his Council, &c. &c.
    A Scene in the Channel.
    The Modern Idol Juggernaut.
    Miseries of the First of the Month.
    The Burning System Illustrated.
    Missionary Influence, or how to make Converts.
    An Extraordinary Eclipse.
    Labour in vain, or his Reverence Confounded.
    Hindoo Prejudices.
    John Bull Converting the Indians.
    More Incantations, or a Journey to the Interior. (Nepaul War).
    Miseries in India. (Insects.)
    The Bear and Ragged Staff. (Viceroy and Council as Idols.)
    Hindoo Incantations. A View in Elephanta.

[Illustration: HINDOO INCANTATIONS--A VIEW IN ELEPHANTA.]

    The Guide declar'd that often here,
    Things supernatural appear;
    To prove it he produc'd a book,
    From which Qui Hi a drawing took,
    Of which the modern true translation,
    Is simply 'Hindoo Incantation.'
    It states that _some one_, years ago,
    Had tried futurity to know,
    And he employed an old Hindoo,
    To get him but a single view
    Of future things--and lo! an hour
    Was fixed to show the Brahmin's pow'r,
    The place appointed was the spot
    Where Qui Hi and his friends had got,
    Under Great _Brahma's triple head_,
    That then struck unbelievers dead.
    The Brahmin, when the Ghurry's sound
    Told _one_, was with the idol found,
    Soliciting he would assert
    His power, and infidels convert.
    The stranger now approach'd the place,
    With terror pictur'd in his face.
    'Infidel!' said the Brahmin, 'now
    I shall observe my sacred vow.
    Come hither, and you'll shortly see
    And tremble at _futurity_!'
    Seating the man, he now applies
    A magic glass before his eyes;
    When, lo! the Elephanta shook,
    And Brahma thus in thunder spoke--
    'Mark, reptile! the decrees of Fate,
    Which, _Brahma says_, he will complete:
    Till then your destiny await!'
    He said, and, with a stroke of thunder,
    The sacred temple bursts asunder;
    Seizes the caitiff by the hair,
    And hurls him headlong thro' the air.
    He tumbled down to whence he came,
    _Somewhere_ about the Hooghly stream.

    Phantasmagoria. A View in Elephanta.
    The Modern Phaeton, or the Hooghly in danger.
    Qui Hi arrives at the Bunder Head.
    Qui Hi in the Bombay Tavern.
    Pays a Nocturnal Visit to Dungaree.
    Attends General Koir Wig's Levee.
    Qui Hi's Introduction and cool Reception.
    Qui Hi shows off at the Bobbery Hunt.
    Qui Hi at Bobbery Hall.
    All alive in the Chokee.
    Last Visit from the Doctor's Assistant.
    Qui Hi's last March to Padree Burrows's Go Down.
    Strange Figures _near_ the Cave of Elephanta, 1814.
      _Auspicio Regis, et Senatus Angliæ._

_June 1, 1815._ _Naples and the Campagna Felice, in a series of letters
(by Lewis Engelbach). With Illustrations by Rowlandson, &c._ 8vo.
Published by R. Ackermann, 101 Strand. (Reprinted from Repository of
Arts, 1810-13.)

    Frontispiece.--The Colonel (Don Luigi) awakened from a sleeping
    _tête-à-tête_ by a serenade from his fair, and lately unconscious,
    companion.

    Se tanto a me piace
      Si rara beltà;
    Io perdero la pace,
      Quando si sveglerà.

    If, while entranced in balmy rest,
      His charms can give such pain;
    When he awakes, my wounded breast
      Will ne'er know peace again.

    Don Luigi's baggage seized by four Lazzaroni.
    Ancient Greek Paintings from Herculaneum: Ariadne, Bacchante and
      Satyr, &c.
    Don Luigi meets Donna Anna in the Museum.
    Ancient Greek Paintings from Herculaneum: Centaurs, Chiron
      teaching Achilles to play the lyre, &c.
    Sleeping _tête-à-tête_ at a first visit of Don Luigi.
    Don Michele getting up the ship's side.
    Don Luigi's Ball.
    A Bacchanalian Scene at Don Luigi's Ball.
    Don Michele preparing for his Triumphal Expedition.
    The Letter Writer, Naples.

_The Letter Writer._--'On our way to the mole we had some difficulty
in passing through a crowd of people, who, with great eagerness, and
with Neapolitan clamour, had assembled round a man, sitting with pen
and ink before a frail table, busily employed in committing to paper
the crude thoughts of a country clown in the attitude of dictating to
him; for the noise was too loud to hear what was going forward. A board
above the head of the engrosser proclaimed his calling: '_Qui si fanno
memoriali, lettere, ed altre scritture, nel ottimo stilo moderno._'
(Here are drawn up memorials, letters, and other writings, in the best
modern style.) Ever eager to seize any opportunity of observing the
manners and national character of a people whom I have every reason to
think better of than some of our superficial magpie-tourists, I pressed
forward to obtain a nearer view of the transactions of this universal
secretary, when my companion, Don Michele, pulling me back by the skirt
of my coat, begged I would not demean myself by thus mixing with the
vulgar.

       *       *       *       *       *

'The composer of letters was just receiving from an elderly woman
the sum of six _grani_ (about threepence) for an epistle he had
indited to her son at _Bari_; after which a farmer, next in rotation,
was admitted into presence. His business appeared to be on secret
service, for the corresponding oracle politely requested some of the
more curious auditors to step a little aside. At first, indeed, the
farmer's instructions were conveyed in a whisper; but as a Neapolitan
loves dearly to talk as loud as his lungs will let him, and to
accompany his sermocinations with the most expressive gestures, it
soon became less difficult to discover that the subject under present
consideration was a horse which had been sold to a cavalry officer,
and for which a balance was still owing; the prompt payment whereof
was to be peremptorily insisted on by a respectful dun. As soon as a
period was happily brought to paper, it was read over to the listening
clodhopper, who, in a manner, beat time to the emphatic and rhythmical
reading of the professor by periodical nods of the head, and at
the end of the sentence expressed his astonishment at the sagacity
with which his obscure ideas had been caught up and classified.
This literary production, owing probably to the importance of the
subject, was disposed of for the valuable consideration of eight
_grani_ (fourpence), paper included; and its possessor, with inward
satisfaction, left the oracular tripod, in order to make room for a
Turkish captain of a _polacca_, whose literary necessities consisted in
a memorial claiming the restitution of some goods illegally seized....
When the document was ready for signature, _Ibrahim Reis_, who could
neither read nor write, was desired to make his _cross_ at foot, which
he refused with religious abhorrence; but, dipping his little finger
into the inkstand, imprinted on the paper a correct facsimile of the
tortuous furrows of his cuticle by way of signet. To my great surprise,
this state paper was valued at no more than one carlin (fivepence),
although engrossed on a folio page and decorated with some fancifully
flourished initials.

[Illustration: THE LETTER-WRITER.]

'The Turk no sooner discharged his literary debt than a well-dressed
young lass gained his place. (This interview is pictured forth in the
artist's illustration.) The despatch, however, which was to be written
for her, must have been on secret and confidential service, for the
instructions she gave to the engrosser were communicated in so low a
whisper that, from my observatory, the scene appeared one of purely
pantomimical action. When I relate that the time employed by this
universal author in the production of the farmer's dun and the Turk's
memorial did not exceed half an hour, and that the contents, although
somewhat fustian, were very much to the purpose, you will agree with me
that Signor Bucatelli possessed talents far above his station. Indeed,
Don Matteo assured me that he was as good a poet as an epistolary
writer, and that his sonnets on any particular occasion, such as for a
wedding, a birthday, &c., may be obtained on the shortest notice, and
at equally reasonable rates; in short, that he could wield his pen on
any subject whatsoever.

'To a publisher in England a man like Signor Bucatelli would be an
invaluable treasure, a host within himself, by the versatility of
his genius and the despatch of his literary labours: his charges of
_authorship_, as you have seen, are consonant with the modesty of
true genius. His elevated style of writing (truly _nel ottimo stilo
moderno_) would soon render him a most popular author with us. I
was just going to step down to give him the substance of a poetical
epistle as a specimen of his abilities, when a little girl brought
him a small dish of stewed Windsor beans, a large raw cucumber, and a
crust of bread. This frugal fare, and a glass of iced water from the
neighbouring stall, well calculated to preserve his intellectual powers
unclogged, Don Matteo informed me, was the whole of his dinner; which,
together with a cigar by way of dessert, interrupted his official
duties for about half an hour, after which, if matters of pressing
service remained to be despatched, he would resume his quill, and
suspend his _siesta_, or afternoon nap, to a late hour of the day.'

_Don Luigi's Ball._--Before leaving his apartments on the _Infrescata_
the writer was anxious, as a slight return for the kindness of his host
and the hospitalities he had received in Naples, to give a dance to a
few friends of his own and of his entertainer, his host and friend Don
Michele undertaking the entire responsibilities of inviting the guests,
ordering refreshments, decorating the chambers, and other preliminaries.

'"First, as to the company," reports the Don, "there will be ten
couples, besides our family and odd ones, if they all come, of which
there is little doubt; and what is more, _gente di garbo_ (people of
quality), such as you might suppose my friends to be. Three or four
will come in their own carriages; and some of the lasses will show you
what is called dancing at Naples. Care, too, has been taken that they
should not want for good music; you will have, Signor Don Luigi, the
first oboe of St. Carlo, two excellent violins, a flute, tenor, and
violoncel; my son will play the tambarine."

'"Six musicians, Don Michele, for this little dance! Why, that's out of
all reason. Half the number----"

'"Are _hired_; and the others, gentlemen high in the profession, who
for _my_ sake have promised to assist as friends at your party. Money,
of course, is out of the question. You see, good sir, Don Michele
can command a thing or two. As many more would have come if I had
asked them, but these will be sufficient to begin the evening with a
little concert; my friend will give you a concerto on the oboe; one
of the ladies will sing a _scena_ from an opera, to which we may add
a duet or two; and at ten o'clock the dance shall begin. As to the
refreshments, I have almost run my legs off to get you the rum (the
ladies were to be treated with ice punch, as a rarity). Seventy ices
are ordered, cakes and sweetmeats as you desired, and a friend of mine
will lend us a dozen of wall chandeliers." These lights, connected
with festoons of artificial flowers, and a number of pots of flowers
exhaling their fragrance over the rooms, gave the place an elegant
appearance.

[Illustration: DON LUIGI'S BALL.]

'The musicians arrived in good time, and the company dropped in
fast after eight o'clock. To receive such a number of strange faces
appropriately was a most irksome task,' continues the writer; 'but it
was alleviated by the sight of many a good-looking young lass, and two
or three real beauties, and one especially, Donna Carlina. My English
friends from the city, and the lieutenant and doctor from the frigate,
likewise made their appearance in due time; and healthily as their
countenances shone forth, and well-dressed as they were, they greatly
eclipsed my Neapolitan bucks, and found much grace among the ladies. I
could not help remarking the contrast of manners between two Christian
countries. In a more northern latitude, persons coming to the party of
a perfect stranger would have conducted themselves with that cautious,
anti-social reserve which some people call good manners; some of the
ladies would have sat down on their chairs as prim and as stiff as
so many hop-poles, cast down their modest looks until spoken to by
charity, and then rebuffed a second attempt by a monosyllabic reply,
a "Yes, sir," an "Indeed, sir?" a "You are very good, sir," &c. Now I
will just tell you how matters went on in the _Infrescata_. Monstrous
bows and introductory compliments: this over, all these people seemed
as though they had been twenty times in my company.' The Don describes
the improvised introductory concert, at which nearly all the company
assisted, the Neapolitans having a natural taste for melody, and most
of them being fair musicians; the entertainer next gave orders to
prepare for the dance, and to hand refreshments in the interval.

'My punch,' he continues, 'found much favour with all present, the
ladies not excepted, who emptied their glasses as rapidly as if it had
been lemonade. Although not dancing, I was fully employed in another
way. With all our windows open, the strains of my numerous orchestra
propagated their sound over the whole neighbourhood, some of whose
inhabitants, impelled by the attraction of sweet sounds, could not
resist favouring me with their company. The circumstance of their not
being invited to the feast appeared to them a mere trifle not worthy
of their attention; and an extraordinary celerity in decorating their
exterior (which is all the essential part of a Neapolitan's full
dress), would soon enable them to appear in company with Neapolitan
decency. To my great surprise, therefore, Don Michele and I had to
receive, from time to time, an influx of these unbidden guests, who in
most submissive language begged a thousand pardons for their freedom
and intrusion. As Don Michele, my master of the ceremonies, seemed to
know them all, and, moreover, as I could neither help their coming,
nor, when once arrived, turn them out, I thought it best to put a good
face on the matter, and receive every one, especially the ladies, with
a hearty welcome (as pictured forth in the plate), assigning them
places in the adjoining room, where I contrived to form another set of
dances; for the number of these parasitical guests soon grew nearly
equal to that of my standard company. As my company were now capering
away in two of my apartments, I blush to confess that my resolution
to keep my toes in a state of quiet quiescence was shaken at last. I
could have withstood the pressing solicitations of half-a-dozen of
these exhilarated damsels, but for the irresistible temptation of their
animated example, and of the excellent music. Fancy the loving smiles,
the glistening eyes, the seducing attitudes of these pretty Neapolitan
bacchantes, and then ask your conscience how long any Christian, were
he even a Quaker or Moravian, could have stood proof against such
attraction? The worst of the thing was, that having once broken my
vow by dancing with Miss Carlina, a kind of rivalry ensued among the
other ladies, most of whom now laid a successive claim to be led down a
country dance by _il Signor Colonello_.

'In the course of these pedestrian evolutions I thought I observed
in several of my fair partners, cheerful as they had been before,
an unusual and extraordinary access of spirits and gaiety; which,
with every allowance for the southern latitude and the ice punch (now
administered to them the more frugally by reason of the unlooked-for
increase in my numbers), I was at a loss to account for, till I saw
my man Benedetto whisper something into Don Michele's ear, which the
latter telegraphed into mine.

'But before I let you into this secret it is proper that, like a
skilful general, I should in my report give a correct description of
the localities of the field of battle. The kitchen belonging to my
apartments is on the same floor with them, and in this particular the
Neapolitan system of domestic architecture is not different from what
you may have observed in a set of chambers, or in many old-fashioned
mansions in England. Right opposite to the entrance of this kitchen
of mine there is an elevated shelf, on which stand (I had better
say _stood_) my three wine-bottles, of immense calibre; the first
(having been emptied since my stay in the _Infrescata_) then, and now,
containing from six to eight gallons of excellent atmospheric air (such
as you breathe at this altitude); the second, of similar dimensions,
about half full of delicious old _Pozzuoli_ wine; and the third,
not less in size, brim-full of the like grape-juice, with its fluid
oil-bung floating at the top.

'No sooner did one of the damsels espy the forbidden shelf than the
assault thereon was a settled matter: _veni, vidi, bibi_, was the
word; and my delicious _Pozzuoli_ wine fell an easy prey to their
sacrilegious hands and palate. _Implentur veteris Bacchi_, or, in plain
English, mesdames tippled till they had their fill, and what they left
was very nearly finished by four or five half-starved footmen and
other hall rabble in attendance on their worthy masters; for when Don
Michele went into the kitchen he found but a small remnant in one of
the bottles, which he secured in his own room.

'Inspired with the juice and further excited by the agitation of
dancing, most of my fair guests became still more exhilarated; some
grew ecstatically merry, and a few scarcely manageable. Surrounded
by these voluptuous "bacchæ," I feared the fate of Orpheus. Their
frolics, however, I must say to their credit, were chiefly levelled
at Don Michele, probably because he had spoiled the continuation of
their sport. The poor man had now to suffer all sorts of mischief for
refusing to join in their revels, till at last, for the sake of peace,
he consented to dance _one_ minuet, and no more. All was hushed in
an instant, when he placed himself with his fortunate partner in the
middle of the room, as stiff as buckram and as serious as if he were
occupied with the solution of an algebraic problem. But no sooner had
he performed the first step or two, than, in turning his body with
grave elegance on the pivot of his toe, a pair of white silk garters
were seen gracefully dangling down his back, and describing, at every
turn of his automaton body, a variety of flowing irregular curves
in the circumambient air. The merriment which this unusual sight
occasioned, was in vain attempted to be stifled in a muttered titter;
it soon burst out with increased violence, his wife not excepted,
who heartily joined the general laugh, but informed her better half
of the cause of the satisfaction he gave the company. When I learned
the extent of the spoliation committed upon my bin, I did not so
much regret the actual loss I thereby sustained, as apprehend some
unpleasant scenes of interruption to our festivity and mirth from the
excessive indulgence in the forbidden juice. However, whether it was
owing to the excellence of the vintage, or to strength of constitution
in the fair partakers, only one casualty occurred.

'The dawn of morn was the signal for the gradual separation of the
company, from all of whom, whether of the establishment or extra
guests, I had received in the course of the evening the most pressing
requests to make their house my own; and to their credit I must say
that, as far as I have yet had time or inclination to try the sincerity
of their invitations, I have had no cause to regret my complaisance.

'When I relate that five leaden ice-moulds and eight of the
confectioner's pewter spoons were missing, you will scarcely suppose
that any of the good things, such as cakes, sweetmeats, &c., were
suffered to remain on the sideboard at the departure of my guests.
Whether this practice not to "leave a wreck behind" is as general
here as in Malta, I am unable to decide. At the latter place, let the
provision be ever so abundant, what the stomach cannot compass the
pockets are sure to hold, and in stuffing those no great nicety is
observed; so the article is portable at all, it finds its way into one
or the other of the pedestrian saddle-bags as by instinct. I have been
assured by one of our officers that, at a great fête which General Fox
recently gave at Malta, one of the inhabitants (of sufficient rank to
be of the party) very dexterously, and, as he fancied, unobserved,
slipped a small pullet, wrapt in his pocket-handkerchief, into one of
his side receptacles. Unfortunately, an officer near him, seeing the
sleight-of-hand transaction, poured a dose of parsley and butter after
it, saying very coolly, "Allow me, sir, to help you to a little sauce
at the same time."'

1815. _The Dance of Death._ With illustrations, 2 vols., royal 8vo.
Published by R. Ackermann. (See 1816.)



1816.


_January 10, 1816._ _Exhibition at Bullock's Museum of Bonaparte's
Carriage taken at Waterloo._ Published by R. Ackermann, 101
Strand.--Bullock's museum of natural curiosities was the receptacle for
most of the novelties introduced to the British public at the close
of the eighteenth and the beginning of the nineteenth centuries. It
was here that the sight-seer might view the Laplanders with their deer
and sledges, the Hottentot Venus, the Polish dwarf, the Irish giant,
and other marvels for the curious which happened to hit the capricious
taste of the hour. It seems that the relics of the first Napoleon, made
familiar enough to our generation at Madame Tussaud's Baker Street
Museum, were the chief attractions held out by the earlier Bullock in
1816. The central point of the collection is the Emperor's travelling
carriage; ladies are swarming and climbing over the vehicle, being
pushed, dragged, and lifted into the inside, on to the driving-box,
over the roof, into the boot behind, on the wheels, and, in fact,
wherever a foothold can be secured. There is an animated attendance
of visitors; the fair sex are particularly distinguishing themselves.
Other personal relics of the Corsican are spread about, much as we
see them in our day; the bust of the exile is placed by the side of a
monkey, an illustration of the prejudice in which Napoleon was held
at that period, which, by the way, is not unnatural, considering the
exertions which the European bugbear had employed to ruin English
commerce and to alienate our possessions abroad.

1816. _Bullock's London Museum, Piccadilly._[26]--'Mr. Bullock, having
purchased Bonaparte's carriage of Major von Keller, has here exhibited
it. It was taken by him at the entrance of the small town of Jenappe,
at eleven o'clock on the night of June 18, 1815. A full account of the
carriage and its ingenious contents is to be found in the _Repository
of Arts_ for February 1816.'

_March 31, 1816._ _The Attempt to Wash the Blackamoor White. In the
Whitehall, City of Laputa._--There is no publisher's name on this
plate, and the explanation of the subject, a military scandal, is not
so clear as could be desired. An officer, dressed as a hussar, is
standing in the centre, while being submitted to the whitewashing
process; he wears no sword, and is holding a written defence in one
hand. Above his head appears an arm, also belonging to an officer,
which is menacing the hussar, who is appealing to his friends: 'O save
my honour. Rub away, my friend, rub it _home_. O, 'tis the phantom of
a horrid dream.' Another officer, from his uniform apparently in the
Guards, is treading on a written 'oath,' and, with a pail of whitewash,
is doing his best for the so-called 'Blackamoor,' declaring, 'We'll
say nothing about your honour!' Another friend, in a Highland uniform,
evidently a person of rank, since he wears a red riband, and has a star
on his breast, is trying to obliterate the mark of a kick, which has
left an ugly outline of a foot on the white pantaloons of the injured
individual, but the impression is ineradicable: 'Deel o' me saul, mon,
but the stain of the foot will ne'er come oot.'

1816 (?) _Bostonian Electors of Lancashire._ Published by W. Holland.

1816. _Lady Hamilton at Home, or a Neapolitan Ambassador._--The outline
of this subject, which is not without its interest as a contemporary
sketch of a celebrated trio, is from an original drawing in the
collection of the present writer. There seems some discrepancy about
the date, since Sir William Hamilton died in 1803, and the sketch
evidently belongs to the latter period of the ambassador's life. Sir
William Hamilton, whose collection of antiques formed a valuable
addition to the national collection in the British Museum, was, it
will be remembered, successful in rendering such services to Admiral
Nelson, by his influence with the court of Naples, where he resided
as British ambassador, that our naval hero was enabled to refit and
victual his fleet entirely, without losing the time which would have
been sacrificed in returning to England, and thus contributed in a
marked degree to assist Nelson in surprising the French fleet in
Aboukir Bay, resulting in the famous victory of the Nile, which first
checked the tide of Napoleon's career, crippled the power of France,
and finally compelled the armies of the Republic to withdraw from
Egypt. Lady Hamilton's exertions with the Queen of Naples, over whom
she had gained considerable ascendency, were not without their national
importance, although her services were entirely ignored in the lady's
last days, at a time when the Government left her without that future
provision which Nelson, in falling fighting in his country's cause,
and bequeathing her claims as a legacy to the nation, imagined he was
securing for the support of his friend, who, it is reported, died in
abject poverty, if she did not perish of actual want, as it has been
hinted. In Rowlandson's drawing, Lady Hamilton, in classic garb, is
watering a plant placed in a classic vase; ancient busts, candelabra,
and urns are standing about; the furniture, implements, and accessories
are all fashioned after the antique. The caricaturist has taken certain
freedoms with the person of the Neapolitan ambassador, and Sir William
is travestied as a stout personage, suffering from the gout. Another
female figure, also draped after the antique, is touching a lyre, and
chanting certain ditties of her own composition; this lady represents
Miss Cornelia Knight (an authoress of some repute in her day, whose
small notoriety rests on her _Continuation of Rasselas_, and her
_Private Life of the Romans_)[27] who travelled in the suite of the
ambassador with his lady.

[Illustration: LADY HAMILTON AT HOME.]

A familiar description of Lady Hamilton and her party occurs in a diary
by Mrs. Colonel St. George, written during her sojourn among the German
courts, 1799 and 1800, and privately printed. The traveller happened to
be stopping in Dresden in October 1800, when Lord Nelson, Sir William
Hamilton, Lady Hamilton, her mother Mrs. Cadogan, and the poetess
arrived, and were received by Mr. Elliot, the English ambassador.

The portrait of Lady Hamilton is firmly drawn. Mrs. St. George thus
describes the famous 'Emma,' of whose features so many admirable
paintings exist limned by the hand of Romney. 'Her figure is colossal,
but, excepting her feet, well shaped. Her bones are large, and she
is exceedingly _embonpoint_. She resembles the bust of Ariadne: the
shape of all her features is fine, as is the form of her head, and
particularly her ears; her teeth are a little irregular, but tolerably
white; her eyes light blue, with a brown spot in one, which, though
a defect, takes nothing away from their beauty and expression. Her
eyebrows and hair are dark, and her complexion coarse. Her expression
is strongly marked, variable, and interesting; her movements in common
life ungraceful; her voice loud yet not disagreeable. Sir William is
old, infirm, all admiration of his wife, and never spoke to-day but to
applaud her. Miss Cornelia Knight seems the decided flatterer of the
two, and never opens her mouth but to show forth their praise; and Mrs.
Cadogan, Lady Hamilton's mother, is what one might expect. After dinner
we had several songs in honour of Lord Nelson, written by Miss Knight,
and sung by Lady Hamilton. She puffs the incense full in his face, but
he receives it with pleasure, and sniffs it up very cordially.

'_October 7._--Breakfasted with Lady Hamilton, and saw her represent
in succession the best statues and paintings extant. She assumes their
attitude, expression, and drapery, with great facility, swiftness, and
accuracy. Several Indian shawls, a chair, some antique vases, a wreath
of roses, a tamborine, and a few children are her whole apparatus. She
stands at one end of the room with a strong light on her left, and
every other window closed. Her hair is short, dressed like an antique,
and her gown a simple calico chemise, very easy, with loose sleeves to
the wrists. She disposes of the shawls so as to form Grecian, Turkish,
and other drapery, as well as a variety of turbans. Her arrangement
of the turbans is absolutely sleight-of-hand, she does it so quickly,
so easily, and so well. It is a beautiful performance, amusing to the
most ignorant, and highly interesting to the lovers of art. The chief
of her imitations are from the antique. Each representation lasts about
ten minutes. It is remarkable that, coarse and ungraceful in common
life, she becomes highly graceful, and even beautiful, during this
performance. After showing her attitudes, she sang, and I accompanied.
Her voice is good and very strong, but she is frequently out of tune;
her expression strongly marked and various; but she has no flexibility,
and no sweetness. She acts her songs.'

1816. _Adventures of Johnny Newcome._ Republished. (See 1815.)

1816. _Relics of a Saint, by Ferdinand._ Frontispiece by Rowlandson,
12mo.

1816. _Rowlandson's World in Miniature, consisting of groups of
figures, for the illustration of landscape scenery, drawn and etched
by T. Rowlandson. To be completed in eight monthly numbers, price 2s.
6d. each._ London: Published by R. Ackermann, Repository of Arts, 101
Strand.

_Richardson's Show._

[Illustration: RICHARDSON'S SHOW.]

_March 1, 1816._ _A Lying-in Visit._

[Illustration: A LYING-IN VISIT.]

_March 1, 1816._ _A Round Dance._

[Illustration: A ROUND DANCE.]

_March 1, 1816._ _Recruiting._

[Illustration: RECRUITING.]

_April 1, 1816._ _The Ale-house Door._

[Illustration: THE ALE-HOUSE DOOR.]

_July 1, 1816._ _A Landing Place._

[Illustration: A LANDING PLACE.]

_August 1, 1816._ _A Flying Waggon._

[Illustration: A FLYING WAGGON.]

_August 1, 1816._ _The Social Day._

[Illustration: THE SOCIAL DAY.]

_September 1, 1816._ _Rustic Recreations._

[Illustration: RUSTIC RECREATIONS.]

1816. _The Relics of a Saint. A Right Merry Tale, by Ferdinand
Farquhar._ Frontispiece by T. Rowlandson. London: Printed for T. Tegg,
Cheapside.

    'Relics!' roar'd Jaconetta, holding both her sides
                    To give her ease,
                    'Sir, if you please
    They're only what you gentlemen would call
    A pair of _Galligaskins_, and that's all.'

1814-1816. _The English Dance of Death._ Published at R. Ackermann's,
101 Strand.--A selection from Rowlandson's famous illustrations to
the _Dance of Death_; an ingenious series, quite suited, in spite
of the grimness of the performance, to the artist's humour. The
publication secured great praise during the designer's lifetime; in
point of execution the set leaves nothing to be desired; in regard
to picturesque action and easy grouping, the illustrations will bear
comparison with any of the artist's works. As in the well-known series
by Holbein, Della Bella, &c., Death appears at the most unexpected
and inopportune moments, with that stern and ghastly reminder of the
futility of human pleasures, successes, and pursuits, of which the most
playful satirists have never been able to lose sight.

Death, in Rowlandson's series, displays his acknowledged ubiquity;
he knocks without ceremony at everyone's portal, and none can deny
him admission. Both artist and author seem to have appreciated the
resources of their subject so thoroughly, and have worked out its
grotesque spirit with such appropriateness, that the _Dance of Death_
must remain a fitting monument of their genius. A large circulation
could hardly be anticipated for a work conceived in this realistically
fearful vein. Rowlandson has drawn the various episodes which his
invention suggested with a completeness of detail rarely found in
his later designs, and the plates are executed with the fulness and
attention of finished drawings; the figures are delineated with power
and spirit, and the backgrounds are most delicate and suggestive.
The impressions are also coloured by hand with a judicious eye to
effect and harmony. Combe has worked with a vigour worthy of the
occasion; and for wit, point, and felicity we are inclined to believe
the versification to the _Dance of Death_ surpasses all his other
contributions to literature in this branch. The entire series may be
accepted as a work of higher character, in all respects, than its
popular predecessors, the better recognised _Tours of Doctor Syntax_;
and it is superior, beyond comparison, to the works which followed it.

    THE ENGLISH DANCE OF DEATH.

    FROM THE DESIGNS OF THOMAS ROWLANDSON.

    _With Metrical Illustrations by the Author of 'Doctor Syntax.'_

    LONDON: PUBLISHED AT R. ACKERMANN'S REPOSITORY OF ARTS.

    Pallida Mors æquo pulsat pede pauperum tabernas
      Regúmque turres.--Hor. lib. i. od. 4.

      With equal pace, impartial Fate
    Knocks at the palace, as the Cottage Gate.

This series was begun in 1814, and finished in 1816; being issued from
the Repository of Arts in monthly parts, like the _Tour of Doctor
Syntax_ and successive works.

The circumstances of its publication are set forth by 'the anonymous
author' (William Combe) in one of his brief explanatory 'introductions.'

'_The Dance of Death_ is a subject so well known to have employed the
talents of distinguished painters in the age of superstition, that
little is required to recall it to the recollection of the antiquary,
the lover of the arts, and the artist.

'Holbein is more particularly recorded as having employed his pencil
upon a work of this kind; but, without entering into a detail of those
masters who have treated the subject of the _Dance of Death_, the
present object is merely to attract the public attention to the subject
itself. Few remains are now visible of the original paintings which
represented it, but they have been perpetuated by the more durable
skill of the engraver, and the volumes which contain them in the
latter form are to be found on the shelves of the learned and curious
collector. The subject is the same in them all, but varied according to
the fancy of the painters, or perhaps from local circumstances attached
to the places which they were respectively intended to decorate. The
predominant feature is, without exception, the representation of one
or more skeletons, sometimes indeed in grotesque attitudes, and with
rather a comic effect, conducting persons of all ranks, conditions, and
ages to the tomb.

'Mr. Rowlandson had contemplated the subject with the view of applying
it exclusively to the manners, customs, and character of this country.
His pencil has accordingly produced the designs, which, in the
order they were delivered to me, I have accompanied with metrical
illustrations, a mode of proceeding which has been sanctioned by the
success of our joint labours in the _Tour of Doctor Syntax_. The
first volume, therefore, of the English _Dance of Death_, which has
appeared in twelve successive numbers, is now presented to the public
in a collected form. The second volume will follow in the same mode
of publication. Though the name and tenour of the work is borrowed,
it may, perhaps, be allowed some claim to local and characteristic
originality. The most serious subject attached to our nature is,
indeed, presented with a degree of familiar pleasantry which is not
common to it. But in this particular the example of the painters who
first suggested and propagated the idea has been followed, and no other
vivacity has been displayed in these pages than has been found on the
walls of edifices dedicated to religion, and was thus represented
in the cloisters of St. Paul's, before the sacrilegious pride of
the Protector Somerset caused the dilapidation of that appendage
to the metropolitan church of the kingdom. But I am not afraid of
being accused by reflecting minds of having introduced an unbecoming
levity into the following pages, for that writer may surely claim the
approbation of the grave and the good who familiarises the mind with
Death by connecting it in any way with the various situations and
circumstances of life.

                                                          'THE AUTHOR.'

The _Frontispiece_ represents the grim form of the spectral foe, his
skeleton frame calmly seated on the globe, his grim jaw resting on his
arm, and his elbow on his knees; at his feet is the hourglass he has
borrowed from Time; he wears the crown, which indicates his universal
sovereignty, and in his grasp is the dart which must touch all humanity
in turn, and speed them hence. A pipe and tabor are suspended overhead,
and bats are flitting above. Round the effigy of destruction are
strewn the means wherewith his ends are wrought. A portly register,
'_Death's Dance_,' is open; beside it are the symbolical instruments
of his decrees--pistols, bullets, daggers, guns, dice, cards, the
executioner's axe, a barrel of gunpowder, compounds, drugs, opium,
arsenic, mercury, and the various fatal agencies arrayed against the
natural preservation of life.

A vignette on the engraved _Title-page_ further elucidates the uses of
Death's pipe and tabor. The grim King is enjoying himself in his own
fashion, dancing his rattling bones right merrily to his own music,
which he is congenially piping forth in a cemetery; while the fatal
hourglass and dart are laid aside upon the slab of a grave. Death's
grim legions, the skeleton messengers of his decrees, are dancing
fantastic figures with fiendish gaiety among the tombstones, performing
ghastly quadrilles sufficient to scare an involuntary beholder out of
his senses.

Plate 1. _Time and Death._

    Time and Death their thoughts impart,
    On works of Learning and of Art.

The first scene, which we presume is simply introductory, and that
Death and his comrade, old Time, have dropped in unprofessionally or as
critics, represents two youthful students of the past. The apartment
is surrounded with shelves, loaded with piles of busts and figures
of the illustrious dead, the effigies of renowned poets, generals,
philosophers, statesmen, and all classes of the community, from the
earliest times, being presented indiscriminately. From these memorials
the artist is sketching the portrait of a departed worthy. A literary
gentleman, of a somewhat conventional type, with an open collar, a
flowing dressing-gown, slippers, and general easy looseness of attire,
having papers before him, and various manuscripts and ponderous volumes
scattered around, is about, with a flourish of his quill, to record his
impressions of the past; old Father Time, with his bald crown, and grey
beard and spectacles on nose, is leaning on his scythe; while the grim
King of Terrors is grinning by his side, curiously peering over the
shoulders of the unconscious workers, and suggesting--

    The time-worn burden of the song
    That Life is short--but Art is long.

Plate 2. _The Antiquarian and Death._

    Fungus, at length, contrives to get
    Death's Dart into his Cabinet.

The second plate introduces us to the apartment of an elderly
antiquary, who, nightcap on head, is propped up on his couch, with
learned tomes littered around him, trying to peer into the pages,
with the light of a candle held in a gilt sconce. The chamber of the
invalid is surrounded by trophies and relics, and apparatus implying a
diversity of tastes, and the means of humouring them. Suits of armour,
suits of costume, weapons, busts, ancient plate, musical instruments,
vases, urns, idols, &c., are mixed up with sketches, folios of
prints, palettes, books, architectural instruments, mortars, retorts,
chemicals, and other appliances. A bull-dog is chasing rats, which
are invading these richly lumbered domains. Wine, and a flask of vain
'elixir,' are at the antiquary's elbow; but his candle is flickering,
and he is already sinking into stupefaction, while the grim King of
Terrors,--to the horrent affright of a cat perched on the invalid's
bed,--has stealthily stolen into the chamber; and the last unique
curiosity, '_Death's dart_,' is about to become the property of the
semi-conscious collector.

Plate 3. _The Last Chase._

    Such mortal sport the chase attends.
    At Break-neck Hill the hunting ends.

The chase is a stag, the dogs have just run the noble beast down; the
hunters are making alarming efforts to come in 'at the death,' and
accordingly they are piloted by the grim hunter in person, mounted on a
skeleton steed, over the edge of a cliff which they perceive too late.
The frightened horses rear and plunge, and dash themselves and their
riders headlong to destruction.

    DEATH follow'd on his courser pale,
    Up the steep hill, or through the dale:
    But, 'till the fatal hour drew nigh,
    He veil'd himself from ev'ry eye.
    'Twas then his horrid shape appear'd,
    And his shrill voice the hunters heard:
    With his fell dart he points the way,
    Til' astonish'd hunters all obey;
    Nor can they stop the courser's speed,
    Nor can they shun the deadly deed;
    But follow with impetuous force,
    The potent phantom's mortal course,
    Down the steep cliff--the Chase is o'er--
    The hunters fall--to rise no more!

           *       *       *       *       *

    Still fate pursues--still mortals fly,
    The chase continues till they die.
    Howe'er they live, where'er they fall,
    DEATH--MIGHTY HUNTER--earths them all!

Plate 4. _The Statesman._

    Not all the statesman's power, or art,
    Can turn aside Death's certain dart.

Death, according to another picture, has asserted his supremacy in the
presence of that very exalted personage, a statesman--whose table,
covered with deeds and bags of money, and whose office, attended by
numerous suitors, bearing heavy contributions, seem to indicate that
the owner has not failed to provide for himself. The portrait of Midas
tops the book-case. A footman is pouring out a glass of wine for
the great man's refreshment, when the Universal Ruler, the 'King of
Terrors,' who in this instance, out of respect possibly to the object
of his call, has assumed his crown--is peering forth on the pair from
behind a screen; the ghastly summons has driven the colour from the
cheeks of his victim, and drawn the power from his limbs.

Plate 5. _Tom Higgins._

    His blood is stopp'd in ev'ry vein,
    He ne'er will eat or drink again.

The story of Tom Higgins is instructive. He began life as a
bricklayer's lad, rose gradually, by care and industry, to a position
of influence, and then turned his means to account.

    A more important line he sought;
    Houses he jointly built, and bought;
    Nay, he had somehow learn'd to waste
    The gay man's wealth in works of taste.

After a life devoted to various building schemes and other
speculations, whereby Tom Higgins has grown into a man of great estate,
he is persuaded to become a squire, and to retire to the country,
where his new position and state of being fail to afford him the
gratification he had anticipated, and he sighs for the simple joys
of his early days. Coombe's easy verses best describe the artist's
picture, in which the end of wealth and consequence is graphically set
forth, when Death finally drops in and discovers a passive and not
unwilling victim in Tom Higgins.

    At length, wheel'd forth in easy chair,
    His sole delight was to repair
    To a small, shaded inn, that stood
    Contiguous to the turnpike-road:
    There he could eat, and drink, and smoke,
    And with the merry curate joke:
    For though so chang'd in form and feature,
    He still retain'd his pleasant nature:
    And, as he took his brimming glass,
    Was pleas'd to see the coaches pass:
    Nor did he hesitate to own
    He envied those who went to town,
    And long'd to be at Islington.
    'Nay, there I'll go once more,' he said,
    'But that won't be till I am dead:
    For wheresoe'er fat Tom shall die,
    At Islington his bones shall lie.
    There, where, when I was young and poor,
    I smok'd my pipe at ale-house door;
    And now, nor can I Fortune blame,
    When old and rich, I do the same;
    And all the good that pass'd between,
    Will be as if it ne'er had been.
    But still, I trust, whene'er it ends,
    Death and Tom Higgins will be friends.'
    He spoke, and straight a gentle sleep
    Did o'er his yielding senses creep.
    The pipe's last ling'ring whiff was o'er,
    The hand could hold the tube no more;
    It fell, unheeded, on the floor.
    Death then appear'd, with gentle tread;
    Just show'd his dart, and whisp'ring said,
    'Spirits, to your protection take him:
    For nothing in this world can wake him.'

Plate 6. _The Shipwreck._

    The dangers of the ocean o'er
    Death wrecks the sailors on the shore.

The good ship is sunk in the deep; all is lost; a few fragments
of a longboat are thrown upon the beach; the coast is rocky and
inaccessible; two exhausted and starving mariners, the remnant of the
crew, are the sole survivors, and they have only escaped the dangers
of the deep to face a more lingering fate from exposure and want. They
are cast down without strength to assist themselves, or encouragement
to prolong their miserable existence. Seated on a rock before them,
confronting their blank, hopeless, starved faces, sits the grim foe,
from whose clutches by sea they have barely escaped. Death in this case
is merciful, for he is welcomed as the deliverer. Cries Joe:

    'Come, Death, and ease me of my pain,
    Oh plunge me in the stormy main:
    Hear my last prayer, and be my friend:
    Thus let my life and suff'rings end!'
        He spoke; and lo! before him sat
    The summon'd messenger of fate.
    'Ah! thou art there (the seaman said),
    I know thee well--but who's afraid?
    I fear'd thee not, when, at my gun,
    I've seen the mischief thou hast done!
    Upon the deck, from helm to prow,
    Nor, old one, do I fear thee now;
    But yield me in thy friendly power,
    And welcome this my final hour.'
        Death wav'd his arm:--with furious shock,
    The billows dash'd against the rock!
    Then, with returning force, they bore
    The helpless victims from the shore:
    There sinking, 'neath the foaming wave--
    The sailors found--the SAILOR'S GRAVE.

Plate 7. _The Virago._

    Her tongue and temper to subdue
    Can only be performed by you.

Death is shown, in another plate, as the advocate of peace. It is
night, and roysterers are staggering home, assisted by friends, or
plundered by the harpies of darkness, according to their fortune. The
watch is calling the hour, when good souls should sleep in peace. A
fury of an old wife, kicking, fuming, and tearing, is considerately
taken in hand by Death, the most effective tranquillising agent; her
husband is bowing and lighting his reviling spouse, and her trusty
keeper, to the door, while she is vainly screaming for the assistance
of the watch. Her departure is viewed with rejoicing.

    Her husband follow'd to the gate
    Submissive to the will of fate.
    'Farewell (he cried), my dearest dear!
    As I no more shall see you here,
    To my fond wish it may be given
    That we may meet again in Heaven;
    And since your daily clamours cease,
    On earth I hope to live in peace.
    Death, far away, my cares has carried.
    _Molly,--to-morrow we'll be married!_'

Plate 8. _The Glutton._

    What, do these sav'ry meats delight you?
    Begone, and stay till I invite you.

A well-to-do gourmand has taken his place at a plentifully supplied
table, whereon is spread all kinds of fare; attendants are ministering
to his wants, and a handsome and elegantly dressed female is at his
side; the arch-jester, Death, has suddenly dropped into a vacant
arm-chair at the festive board; joints are scattered, plates are thrown
down, the founder of the feast is starting forward in consternation;
a male cook, and serving maids, bringing in fresh dishes, are losing
their grasp of delicacies which will never, as it now appears, regale
the gluttony of their master. The foot of the ghastly skeleton has
touched an over-fed spaniel, and the dog lies stiff. Death is politely
handing forth his hourglass like a goblet, wherein to pledge his host,
and enjoying a cruel pleasantry at the expense of the master of the
house.

    When the knight thought 'twere best be civil,
    And hold a candle to the devil,
    'Do lay that ugly dart aside;
    A knife and fork shall be supplied;
    Come, change your glass for one of mine,
    That shall appear brimfull of wine;
    Perhaps you're hungry, and may feel
    A hankering to make a meal,
    So without compliment or words,
    Partake of what the house affords.'
    'Avaunt,' cried Death, 'no more ado;
    I'm come to make a _meal_ of _you_!'

Plate 9. _The Recruit._

    I list you, and you'll soon be found
    One of my regiment under ground.

A party of farm labourers, wearing bunches of ribands in their caps,
are being recruited for the wars; they are led by a drummer, with
whose steps they are clumsily attempting to keep time. One fine, tall,
healthy-looking young fellow is taking leave of his sweetheart;
his father, mother, and the rest of his family and friends, grouped
around--down to a grotesque-looking dog--are plunged into grief at his
departure. Death, who is wearing a plumed hat, a jaunty cloak, and
who carries his dart like a halbert, is clutching the shoulder of the
recruit, and hurrying forward his legions; the universal captain is
reminding his followers of the everlasting burden--_Death_ and _Glory_.

Plate 10. _The Maiden Ladies._

    Be not alarm'd, I'm only come
    To choose a wife, and light her home.

Death, with an air of awful gallantry, wearing a gay cap, rakishly set
on one side of his grim bare skull, with his dart put up guitar-wise,
and laying a bony hand on the part of his structure where his heart
should be, has arrived, unannounced, with a lantern to offer the
courtesies of his escort to a large gathering of elderly spinsters--a
'tabby party' of weird and wizened-looking ancient anatomies--who are
met for the joint distractions of scandal and gambling. The cards,
the stakes, and the play-table are capsized; a fat footman is gazing
with wonder at the guest last arrived, but the old maids are sensible
of the nature of his attentions, and they are fluttering about in
consternation and terror, as to whose turn has come. Death, it seems,
is making a jest of offering what these frozen old maids have lacked
through life--a husband.

    'Tis Fate commands, and I with pride,
    Embrace Miss _Mustard_ as my bride.
    A well-appointed hearse-and-four,
    Attends her pleasure at the door.
    The marriage ceremonies wait
    Her presence at the churchyard gate:
    My lantern shines with nuptial light;
    The bells in muffled peal invite;
    And she shall be--_A bride to-night_.

Plate 11. _The Quack Doctor._

    I have a secret art to cure
    Each malady which men endure.

Apothecaries' Hall, it might reasonably be hinted by the satirists,
was a likely spot for Death's visitations. In Rowlandson's print we
find the grim foe in the full exercise of his privileges, pounding away
with fatal energy. An apothecary is dispensing various noxious drugs
to a considerable crowd of patients, who are disfigured by various
sufferings. They will not be kept waiting long apparently, for behind a
curtain, Death, grinning at himself with a satisfied air in a mirror,
and surrounded by the seeds of mortality, is grinding slow poisons with
a will; the motive power of the situation; as an able assistant to the
quacks, whose master he knows himself to be.

Plate 12. _The Sot._

    Drunk and alive, the man was thine,
    But dead and drunk, why--he is mine.

Veteran topers are soaking at the sign of _The Goat_ on the village
green; they are bloated and gouty, but convivial and careless. The
landlord is looking somewhat horrified to find one of his best and most
unwieldy customers carried off by his enraged and scolding wife, for
whose assistance Death has himself brought a wheelbarrow in which to
cart away her incapable spouse, and in reply to the railings of the
vixen the grim death's-head is comically wagging his nether jaw, and
logically stating his just claim to this burden of well-saturated clay.

Plate 13. _The Honeymoon._

    When the old fool has drunk his wine
    And gone to rest,--I will be thine.

A wealthy old dotard, already half in the grave, has committed the
last supreme folly of decrepitude, and married a young, beautiful,
and blooming maid, whose troth and affections are plighted in advance
to a more suitable but less prosperous suitor. The artist has drawn
the enjoyments of the honeymoon; the imbecile and antiquated 'happy
man,' nightcap on head, is plunged in an invalid chair; a well-stuffed
cushion gives ease to his gouty extremities; a table at his side
is spread with a costly dessert service. The palsied hands of the
venerable idiot are vainly striving to steady a goblet for a bumper;
the eager toper does not distinguish the hand which is filling his last
glass. The grim skeleton, Death, stooping over a screen, is supplying
the final dose from his own fatal decanter. The blushing fair, who has
been trying to soothe the gouty torments of her superannuated spouse
with music and poetry, is awakened to the sound of a window opening at
her back, her name is pronounced; 'tis the gallant and dashing young
officer, the man of her choice. Nothing abashed, and without disturbing
her attitude beside the invalid, or turning her head, her rounded arm
and taper hand are leant over the casement by way of encouragement to
her lover, who is availing himself of the opportunity and is embracing
her fingers.

    Think me not false, for I am true:
    Nay, frown not--yes,--to Love and you.
    Reason and int'rest told me both,
    To this old man to plight my troth.
    I had but little--you had less;
    No brilliant view of happiness:
    And though, within the lowest cot,
    I would have shar'd your humble lot,
    Yet, when the means I could possess
    Which would our future union bless,
    I gave my hand, th' allotted price,
    And made myself the sacrifice.
    When I was to the altar led,
    Age and decrepitude to wed,
    The old man's wealth seduc'd me there,
    Which gen'rous Hymen bid me share;
    And all, within a month or two,
    I hope, brave boy, to give to you.
    Behold, and see the stroke of Fate
    Suspended o'er my palsied mate:
    For Death, who fills his goblet high,
    Tells him to drink it, and to die.
    And now, my Henry dear, depart
    With this assurance from my heart.
    I married him, by Heaven, 'tis true,
    With all his riches in my view,
    TO SEE HIM DIE--AND MARRY YOU.

Plate 14. _The Fox Hunter Unkennelled._

    Yes, Nimrod, you may look aghast.
    I have unkennel'd you at last.

A party of fox-hunters, getting ready to start for the chase, are
refreshing themselves from substantial joints, and potent stirrup-cups.
Death, the grim hunter, uninvited and unannounced, has joined the
party, to the consternation of both men and dogs; one disconcerted
Nimrod, in palsied affright, has vainly sought concealment under the
table; Death, with true sportsman's instinct, is raising the cloth, and
simultaneously striking the refugee, 'run to cover,' with his weapon.

    While Jack, as quick as he was able,
    Sunk, slyly, underneath the table.
    The phantom drew the drap'ry back,
    And, in a trice, unkennell'd Jack:
    When, after crying Tally-ho!--
    He pois'd his dart and gave the blow:
    Then told his friends to shove Jack Rover
    Into the hearse which he leap'd over.

One or two prints of the series are not treated from a grotesquely
horrible point of view.

Plate 15. _The Good Man, Death, and the Doctor._

    No scene so blest in virtue's eyes,
    As when the man of virtue dies.

In this picture the artist has been at the pains to illustrate,
without travesty, the end of a good man, stretched stiff on his last
couch. By the side of his bed kneel various members of his family,
plunged into the deepest affliction; at the head of the bed stands
a benevolent-visaged pastor of the church, who has evidently just
administered the last consolations of religion to the departed. The
burlesque element, which does not interfere with the main group of the
sketch, is settled on the action of Death, who, emblematic as usual, is
thrusting before him an evil-looking and overfed quackish practitioner,
the extortionate physician, who has boldly declared 'he has no time
for praying, but demands his honorarium.' The arch foe has fixed his
unrelaxing grip upon the shoulder of Doctor Bolus, who it may be
presumed has received his last fee.

Plate 16. _Death and the Portrait._

    Nature and Truth are not at strife,
    Death draws his pictures after life.

A gouty and decrepit corpulent sitter is propped up by cushions and
pillows in an arm-chair placed on a raised stage in a painter's studio.
From the canvas it appears that the original of this last act of vanity
is a judge. The sitter has evidently reached a state of dotage, and
the artist has left his slumbering subject to enjoy a more congenial
occupation; he is showing a blushing young damsel, who has accompanied
the gout-ridden old judge, certain designs, groups of cupids, and the
young couple have seemingly established a very agreeable understanding.
Death has fantastically perched himself in the artist's seat, and
having assumed his brush and palette, is putting the finishing touches
both to portrait and sitter.

    The painter brings the promis'd aid,
    And views the change that has been made.
    He sees the picture's altered state,
    And owns the master-hand of Fate.
    'But, why,' he cries, 'should artists grieve
    When models die,--if _pictures_ live?'

Plate 17. _The Genealogist._

    On that illumin'd roll of fame
    Death waits to write your lordship's name.

In the escutcheon-panelled ancestral hall of the peer, surrounded by
the evidences of antiquity and wealthy ease, the sepulchral visitor,
unbidden, lays down his hourglass, and is shown displaying to the
affrighted gaze of a fashionably apparelled old couple, the family
genealogical table which he has taken the liberty of unrolling for an
unexpected addition he is about to make.

    On that illumined roll of fame
    Death waits to write your lordship's name.
    Whether from Priam you descend,
    Or your dad cried--_Old chairs to mend_,
    When you are summon'd to your end,
    You will not shun the fatal blow;
    And sure you're old enough to know,
    That though each varying pedigree
    Begins with _Time_, it ends with _me_!

Plate 18. _The Catchpole._

    The catchpole need not fear a jail,
    The undertaker is his bail.

A bailiff is serving a writ outside the Debtors' Prison, the barred
windows of which are filled with the faces of persons captured by one
_Catchpole, Sheriff's Officer_. The unfortunate prisoners, crowded
behind the bars of their jail, are enjoying a grim instance of
retributive justice. While the bailiff is startling his victim with
his unexpected capture-bespeaking tap, Death, dart in hand, is lightly
performing the same ceremony for the stalwart sheriffs officer, who is
summoned in his turn, and conclusively.

    Thus, as he told his stern command,
    A grisly spectre's fleshless hand
    His shoulder touch'd. It chill'd his blood,
    And at the sight he trembling stood.
    'You long have ow'd,' the Phantom said,
    'What now must instantly be paid.'
    'O give me time!' 'Thou caitiff dun,
    You know full well you gave _him_ none.
    Your life's the debt that I am suing;
    'Tis the last process, Master Bruin.'
    'I'll put in bail above.' 'No, no:
    OLD NICK shall be your BAIL BELOW.'

Plate 19. _The Insurance Office._

    Insure his life, but to your sorrow
    You'll pay a good round sum to-morrow.

A country squire, in the prime of life, has married a young bride; he
is persuaded by his frugal spouse to insure his life as a provision for
her maintenance, from prudential reasons. As the young wife sensibly
states the case:--

    Nature, in all her freaks and fun,
    Has never given us a son;
    And there's no jointure, sir, for me
    Without that same contingency.
    For your estate's so bound and tied,
    So settled and transmogrified,
    (A thing one scarcely can believe)
    You've not a thousand pounds to leave.

The artist has represented the couple arrived in town, and visiting
the insurance office, the 'Globe,' or 'Pelican;' the actuary, the
secretary, and the doctor are there to pass the customer's life, and
Death--spectacles on nose and dart in hand--is also one of the party;
unperceived, he is stooping down behind the seemingly robust applicant,
and gloating over the mischievous prank he has in contemplation.

    To this the doctor sage agreed,
    The office then was duly fee'd,
    And sign'd and seal'd each formal deed.
    Now Death, who sometimes loves to wait
    At an insurance office gate,
    To baffle the accountant's skill
    And mock the calculating quill,
    Had just prepar'd his cunning dart
    To pierce _Ned Freeman's_ tranquil heart:
    But lest the stroke should cause dispute,
    And lawyers conjure up a suit,
    Death was determined to delay
    _Ned's_ exit to a future day;
    And the dull moment to amuse,
    He turn'd and kill'd a pair of Jews.
    Thus was the husband's life insur'd,
    And the wife's future wealth secur'd.
    But _Death_ had not forgot his fiat,
    So bid a fever set him quiet;
    And ere, alas, ten days were past,
    Honest Ned Freeman breath'd his last.
    The doctor call'd to certify
    His glowing health now saw him die.
    Thus she who lately came to town
    With not a doit that was her own,
    Weeping attends her husband's hearse,
    With many a thousand in her purse,
    And proves that she's of wives the best
    Who knows her _real interest_.

Plate 20. _The Schoolmaster._

    Death with his dart proceeds to flog
    Th' astonished, flogging pedagogue.

The learned schoolmaster, whose years have reached a respectable
longevity, is surprised in the midst of his tasks, while training
the minds of the youths around him, to discover the grim skeleton
Death, _mors pulsat_, concerning whose approach he is well stored
with classic instances, seated astride of the terrestrial globe, to
the consternation of the scared and flying scholars. The well-read
pedagogue is inclined to give his visitor a lesson from Horace in good
manners.

    That he at least should knock, and wait
    Till some one opes th' unwilling gate.

To which Death retorts in reply:--

    Doctor, this dart will neither speak
    In Hebrew, Latin, or in Greek,
    But has a certain language known
    In ev'ry age as in our own.

The pale spectre proceeds to remind his charge of the prolonged
allowance of life which has been allotted to the pedagogue, although
he finds his years have proved too short to allow him to complete the
legacy of learning it was his fond ambition to leave behind him.

The doctor, who seems a kindly preceptor, and one whose self-composure
it is difficult to disturb, while resigning his mind to his own fate,
is interceding for his pupils.

    'But you'll at least these urchins spare,
    They are my last, my only care.'
    'I'll hurt them not, I'll only scare 'em:
    So die, and _Mors est finis rerum_,
    Which, for your scholars, I'll translate,
    Death strikes the learn'd, the little, and the great!'

Plate 21. _The Coquette._

    I'll lead you to the splendid crowd:
    But your next dress will be a shroud.

A dashing belle, of majestic presence--according to Rowlandson's
design--is standing before a toilette table which is elegantly fitted;
her costume is just completed, and her tire-woman is holding a light
wrapper, when, in spite of the exertions made by a duenna to restrain
his brusque invasion, an unexpected intruder is gliding into the
handsome chamber. Bowing with the extreme of mock politeness, Death
has come as cavalier to escort the lady, who was preparing for a
masquerade; his hourglass and dart are slung by his side, he sports a
fashionable powdered wig, with a solitaire, a red coat, a cocked hat,
dandified pumps, and a frill, which he is fingering with the air of a
_petit maître_. According to Coombe's verses, we learn that Flavia, a
young lady of _ton_, whose sister is but recently dead, cannot resist
the temptation to cast off her mourning for one evening, and apparel
herself as the 'Queen of Beauty,' to appear at midnight at Lady Mary's
ball.

    But, as her lovely form receiv'd
    The robe which Fashion's hand had weav'd,
    A shape appear'd of such a mien
    As Flavia's eyes had never seen.
    'How dare you enter here,' she said,
    'And what's this saucy masquerade?
    Who are you? Betty, ring the bell.'
    The Shape replied--''Twill be your knell.
    I'll save you from the swelt'ring crowd,
    Form'd by the vain, the gay, the proud,
    For which your tawdry mind prepares
    Its fruitless, its coquettish airs.
    Lady, you now must quit your home
    For the cool grotto of a tomb.
    Be not dismay'd; my gallant dart
    Will ease the flutt'rings of your heart.'
    He grinn'd a smile; the jav'lin flies,
    When Betty screams--and Flavia dies!

Plate 22. _Time, Death, and Goody Barton. A Causette._

    On with your dead, and I'll contrive
    To bury this old fool alive.

Old Time, armed with his scythe, is driving his mortuary cart through
a village; the horse is a mere skeleton, but the vehicle is heavily
loaded, humanity is heaped up like carcases of no account, in fact
the melancholy receptacle is as full as it will hold, and the wheel
is passing over the neck of a frightened cur. Death is acting as
collector, and has picked up one of the plagues of the village, a
troublesome old man, who is kicking, fighting, and protesting against
the violent illegality of Death's treatment in throwing his lot amongst
the defunct. Stern Time, on the box, is turning round to remonstrate
with his assistant.

    _Time._

    While he shows that living face,
    With me he cannot have a place.

    _Death._

    'Tis true the fellow makes a riot:
    There's one jerk more--and now he's quiet.

A young wife, who has a soldier-lad in attendance waiting for the shoes
of her old husband, is dragging forth an ancient cripple, and pushing
him on against his will:--

    _Death._

    My goody, 'tis too late to-day,
    Time's moving on, and will not stay;
    But be at rest and save your sorrow,
    The cart will call again to-morrow.

Plate 23. _The Undertaker and the Quack._

    The doctor's sick'ning toil to close,
    'Recipe coffin' is the dose.

A prosperous quack practitioner, meditating over his specific
_sovereign pill to cure all ills_, is riding gravely through the
streets of a picturesque country town. As his hack is passing
Screwtight the undertaker's window, that worthy is thrown into
consternation, for he recognises, immovably perched behind the
cogitating empiric, the figure of a grim rider with whose presence he
is too professionally familiar to be deceived.

    And leaping on the doctor's hack,
    Sat close and snugly at his back;
    And as they reach'd Ned Screwtight's door,
    Death sneez'd--and Nostrum was no more.

The undertaker is plunged into sincere mourning for the loss of his
great patron; his less far-seeing wife declares he ought to rejoice at
his good fortune, since there's the job of burying the deceased doctor.

    Screwtight hung down his head and sigh'd:
    'You foolish woman,' he replied,
    'Old Nostrum there stretch'd on the ground
    Was the best friend I ever found.
    The good man lies upon his back,
    And trade will now be very slack.
    How shall we undertakers thrive,
    With doctors who keep folks alive?
    You talk of jobs; I swear 'tis true,
    I'd sooner do the job for you.
    We've cause to grieve, say what you will,
    For when quacks die, they cease to kill.'

Plate 24. _The Masquerade._

    Such is the power and such the strife
    That ends the masquerade of life.

A masked ball is represented at its height, gaily attended, and held in
the Pantheon or some similar building. A dance is proceeding; the most
diversified scenes meet the eye on all sides, and Rowlandson has given
full play to his humorous inventive faculties. In the front of the
picture the crowd of merrymakers, all unthinking and unprepared, are
horrified to discover a new turn abruptly given to the travesty; the
tall figure of Death has suddenly cast away his disguising domino, and
holding aside a demoniac mask, is revealing to the terrified spectators
the actual figure of the skeleton-destroyer, armed with his dart, and
in grim earnest to strike. Harlequins, nuns, monks, devils, Turks,
toxopholites, bacchantes, jockeys, Punch, Falstaff, Jupiter, Ophelia,
Friar Tuck, watchmen, magicians, fair enchantresses and Circassians,
archbishops, Roman heroes, and Grand Signiors--characters in vogue in
Rowlandson's day--are thrown down pell-mell and trampling one over
the other in their eagerness to get as far away as possible from this
unwelcome and awful addition to the excitement of the revelry; this
ghastly joker who with unequivocal reality is threatening to extinguish
their gaieties for ever.

Plate 25. _The Deathblow_.

    How vain are all your triumphs past,
    For this set-to will be your last.

Two prize-fighters have met on Epsom Downs to decide the championship
of the 'Ring,' with umpires, bottle-holders, and all the paraphernalia
of the 'fancy.' In the artist's picture one of the combatants has
received a fatal blow, and he is stretched lifeless on the turf. The
grim figure of Death, the bony personification which permeates the
series, has suddenly joined the sport, and he is squaring up to the
scared victor in a scientific and confident attitude; the horrified
champion is unconsciously raising his strong arms to guard himself
against this new opponent, though justly disinclined to continue such
an unequal contest. Impressed by the fatal ending of the man he has
beaten the winner has conscientiously registered a vow, on the spur of
the moment, 'to never fight again.'

    But Death appear'd! Once more, my friend,
    Yes, one round more, and all will end.

The crowds of fashionable and sporting spectators are all dispersing at
the top of their speed, running and driving away from this unexpected
opponent, and turning their backs on this involuntary renewal of their
favourite diversion.

    Confusion reign'd throughout the scene,
    And the crowds hurried from the Green.
    The roads were quickly covered o'er
    With chaise and pair and chaise and four,
    While curricles and gigs display
    The rapid fury of their way,
    And many a downfall grac'd the day.
    As _Playgame_ claim'd a flying bet,
    His new-built tilb'ry was o'erset:
    Lord Gammon's barouche met its fate
    In contact with a turnpike-gate;
    And _Ned Fly's_ gig, that hurried after,
    Was plung'd into a pond of water.
    But, would it not be vain to tell
    The various chances that befel
    Horsemen and footmen who that day
    From _Death's_ dread challenge ran away?
    For when th' affrighted crowd was gone,
    And DEATH and HARRY were alone,
    The spectre hasten'd to propose
    That they should forthwith come to blows;
    But Harry thought it right to say,
    'As no one's here to see fair play,
    I'll try your strength another day.
    Besides, I know not how you're made,
    I look for substance, you're a Shade,
    A bag of bones; for aught I know,
    Old _Broughton_, from the shades below:
    And though alive I should not dread
    His power, I war not with the dead.'
    Thus keeping well his guard he spoke,
    When grinning Death put in a stroke
    Which did the short-liv'd round decide,
    And _Sheffield Harry_, in his pride,
    Was laid by _Tom from London's_ side.

Plate 26. _The Vision of Skulls. (In the Catacombs.)_

    As it appears, though dead so long,
    Each skull is found to have a tongue.

A party of the fashionably curious are carrying their taste for
sight-seeing down into the catacombs, and the fragments of decaying
humanity are lighted up for their ghastly entertainment. In the
instance designed by Rowlandson the visitors are lost in horror at
the spectacle of the grinning human skulls arranged in trim arcades;
they do not notice the person of their conductor, who is more fearful
to look upon than the relics around. Death himself, dart in hand, is
condescending to act as showman to the gallery of his own furnishing;
the torch he holds is whirled aloft in his grisly left arm, in an
instant it will be flung into a well of water, which the holiday-makers
have not distinguished; darkness must succeed, and many of the
spectators may follow the flambeau or lose their way in terror-striking
and fearful labyrinths which extend for leagues under the city.

Plate 27. _The Porter's Chair._

    What watchful care the portal keeps!
    A porter he who never sleeps.

Seated snugly in the hall-porter's easy-chair before the handsome
mantel and cheerful fire in the marble-paved hall of a nobleman's
mansion, with its statues and embellishments telling of ease, taste,
and profusion, is our old friend the grim hero of the series. He is
waiting quite tranquilly, impatience is foreign to his impassive
temperament; his hourglass is on the ground at his side; his
dart is held negligently, but in readiness; a nocturnal bird is
hovering suggestively over his fleshless head; he has supplanted the
night-porter, and is probably sitting there attending the return of the
unprepared owner of these rich surroundings. Some sound has alarmed the
servants; the butler has stolen down in his nightcap, armed with sword
and pistol; he is collapsed with terror, and his defences are dropping
from his hand on making the discovery that Death has established
himself in the hall; and the fat cook, who is also paralysed with
horror, has taken a false step, and is falling giddily down the
staircase, whence her head will come in violent contact with the marble
floor; and Death without turning in his seat may confidently count upon
one victim in advance.

    For at the time Death's pleas'd to come,
    We all of us must be at home.

Plate 28. _The Pantomime._

    Behold the signal of Old Time,
    That bids you close your pantomime.

A pantomimic scene is transpiring; according to the artist's picture,
it is the very last place where Death's ghastly impersonation could
be considered a diverting addition to the company. The background
represents the sea-shore; Columbine, supported on the arm of Harlequin,
is pirouetting and posturing in amorous poses; the other personages
of the mimic theatre are thrown into actions which are entirely
unpremeditated, while their countenances wear expressions which supply
ghastly contrasts to their motley. Death once more has intruded his
bony person on the stage, the inevitable dart is held slily behind him,
and in the painted and terror-stricken faces of Pierrot and Pantaloon
the tale-telling hourglass is held up, the sand has run through, and
the mummers must away hence. The stage wizard is stretched at length on
his back, and his wonder-working magic sword is mere lath and tinsel
before the weapon of this grim supernatural actor, who has come,
unengaged, to give a new turn to the show.

    Thus may Death's image aid delight,
    'Mid the gay scen'ry of the night:
    But in the pantomime of years,
    'Tis serious all when Death appears.
    For then no grin can Pierrot save;
    He finds the trap a real grave;
    Old Pantaloon, with all his care,
    Will cease to be an actor there;
    _Lun's_ magic sword, with all its art,
    Must yield to Fate's resistless dart,
    And when life's closing scene is o'er,
    The curtain falls to rise no more.

Plate 29. _The Horse Race._

    This is a very break-neck heat;
    And, squire jockey, you are beat.

The artist has pictured a race-course; in the distance the grand stand,
a group of tents, and crowds of equestrians and equipages may be
distinguished. A file of race-horses, with their jockeys and trainers,
are being walked up to the starting point. A crowd of mounted 'sporting
gents,' the _élite_ of the patrons of the turf, are assembled round the
'betting post,' shouting the odds and eagerly making their engagements
before the approaching start. Nearer the spectator is displayed some
of the fun of the course, which never failed to strike Rowlandson's
eye. An old dame has a table and an arrow, at which sundry juvenile
rustics are gambling for cakes, and a Jew pedlar is tossing with two
sportive urchins for nuts. The _Dead Heat_ referred to in Coombe's
lines is shown in the person of an anxious country squire, who, afraid
of arriving at the betting post too late to speculate, is pushing his
horse along madly to arrive in time, without noticing a skeleton steed,
neck and neck with his own, whose jockey is the inevitable skeleton,
_Mors_, wearing a gay cap and feather, and turning his dart to account
as a riding-whip.

    Now Jack was making to the post,
    The busy scene of won and lost,
    When to all those he saw around,
    He cried, 'I offer fifty pound,
    That to yon gambling place I get
    Before you all.' Death took the bet.
    The squire's mare was _Merry Joan_,
    And Death rode _Scrambling Skeleton_.
    They started, nor much time was lost
    Before they reach'd the gambling host:
    But ere they reach'd the betting pole,
    Which was the terminating goal,
    O'er a blind fiddler _Joan_ came down,
    With fatal force poor Jack was thrown,
    When a stone on the verdure laid
    Prov'd harder than the rider's head.
    Death way'd aloft his dart and fled.

Plate 30. _The Dram-Shop._

    Some find their death by sword and bullet,
    And some by fluids down the gullet.

Death is discovered nefariously at work adulterating the spirit-casks
with vitriol and aquafortis.

Plate 31. _The Gaming-Table._

    Whene'er Death plays, he's sure to win!
    He'll take each knowing gamester in.

Death, the successful player, is shown stripping the table of the
stakes and breaking the bank by force.

    But Death, who, as he roams about,
    May find the _Gaming Table_ out;

           *       *       *       *       *

    He enters; when the fearful shout
    Echoes around of 'turn him out.'
    'No,' he replies, 'that gold is mine:
    Gamester, that gold you must resign.
    Now life's the main,' the spectre cries:
    He throws, and lo! the gamester dies.

Plate 32. _The Battle._

    Such is, alas, the common story
    Of blood and wounds, of death and glory.

Death is engaged in serving a battery which is sweeping all before it.

Plate 33. _The Wedding._

    Plutus commands, and to the arms
    Of doting age she yields her charms.

Death, with a wig, bands, and gown, is within the altar railings
performing the marriage service with an air of mocking reverence; the
actors in the marriage ceremony do not appear to have recognised the
dread personage who is tying the nuptial knot, to be instantly cut
asunder by the end of the effete bridegroom.

Plate 34. _The Skaters._

    On the frail ice, the whirring skate
    Becomes an instrument of fate.

The scene represents one of the parks, the waters are frozen over and
crowded with pleasure-seekers of both sexes indulging their amusement
in the teeth of danger--nay, as it appears in the picture, in the very
jaws of death. The skeleton foe is taking his pastime amongst the
crowd, and combining relaxation with business. The ice is suddenly
giving way in all directions, and the skaters are tripped up by the
grim evolutionist. They are falling headlong into the water, fatal
casualties are occurring on all sides, and the distant crowds, who are
scrambling away incontinently since the arch-enemy has volunteered to
share their pastime, are coming into violent collision, and falling on
the ice, breaking their limbs or suffering fatal concussions.

Plate 35. _The Duel._

    Here honour, as it is the mode,
    To Death consigns the weighty load.

Nowhere could Death's presence be more suitably manifested than on the
field of honour; and, as the artist has pictured the situation, the
parties are met to settle some trifling dispute; seconds and surgeons
are naturally in attendance. Death is promptly dashing in and dragging
off a stout combatant in the prime of life, who, having just received
his quietus, is caught in the arms of the omniscient and universal
antagonist before his falling body can touch his mother earth.

Plate 36. _The Bishop and Death._

    Though I may yield my forfeit breath,
    The Word of Life defies thee, Death.

The artist, with that talent which distinguished him above his
contemporaries, has concluded the first volume of the _Dance of Death_
with a nobler design; an occasion is presented with deeper purpose
wherein Death is shorn of the majesty of terror. A venerable bishop,
seated in a handsome Gothic apartment of the episcopal palace, with
the Book of Life open before him, and his chaplain in attendance, is
receiving an abrupt visitation from the ghastly spectre. The difficulty
of frightening the reverend victim, whose mind seems well prepared for
the end, however premature, has made Death put himself somewhat out
of the way to appear sensationally startling; his grim humour seems
to have been laid aside for once, and he is weakly seeking effect in
a theatrical pose, striking a stagey attitude, poising his weapon,
and holding on high his warning hourglass. The whole impression is
admirably conveyed. The Destroyer's posture is pretentious without
being imposing; he has missed his point; this bombastical terrorism
has nothing of the terrific left in it, and Death looks somewhat
disappointed on failing to produce more consternation. The bishop is
calmly receiving his turbulent visitor, with an air which seems to
demand, without perturbation: 'O Death, where is thy sting? O grave,
where is thy victory?'


    THE ENGLISH DANCE OF DEATH.

    SECOND VOLUME.

Plate 1. _The Suicide._

    Death smiles, and seems his dart to hide,
    When he beholds the suicide.

Upon a rock-bound shore, whose jagged boulders come down to the deep,
dashes a troubled sea, the waters of which are settling down after a
tempest. Upon the foam floats the form of a drowned man; above is seen
the figure of a female, forlorn and reckless, who has come to meet her
future husband, and finds only his corpse--his life lost in a valiant
effort to succour a sinking fellow-creature from a wreck.

    The tidings to the bride were brought,
    In frantic haste the spot she sought,
    And viewing from the heights above
    All that remain'd for her to love,
    She darted headlong to the tide,
    And on her Henry's bosom died.

Death is present at this moving scene, lolling at his ease on the rock
from whence the maiden is plunging; his dart is affectedly put aside,
and he is pretending to wipe away a sentimental tear.

Plate 2. _Champagne, Sherry, and Water-Gruel._

    Have patience, Death, nor be so cruel
    To spoil the sick man's water-gruel.

The verses intended to illustrate this picture of Death's visitations
contain an argument between three friends on the best means of
regulating their lives; the artist has worked out this theory in his
plate. One member of the party assembled, a stout florid old gentleman,
declares his golden rule in life has been to please himself, so he
and his daughter are illustrating his text by drinking full bumpers
of champagne; beside him, sipping his thimblefuls of sherry, is
another theorist, who has passed his days in moderate indulgences.
In an invalid chair beside the fire sits their host, a vaporous
hypochondriac, who has passed his existence in humouring imaginary
ills on a diet of sago and doctor's stuff. His nurse is preparing a
saucepan of gruel, which the _Mortis Imago_, as his convivial friend
has christened him, is preferring to more exhilarating beverages.
Death has stepped in and settled the question as to which of these old
schoolfellows shall last the longest; he has placed his bony hand on
the shoulder of the great patron of doctors, and before departing with
his 'meagre meal' he is giving the friends, who are allowed to survive
for the time being, this piece of gratuitous advice if they would put
off his visits as long as possible:--

    Extremes endeavour to forego,
    Nor feed too high, nor feed too low.

Plate 3. _The Nursery._

    Death rocks the cradle: life is o'er:
    The infant sleeps, to wake no more.

This picture may be designated a warning to fashionable mothers. A
fine infant has been 'put out to nurse;' it is evident that the child
would have been better at home. The 'foster mother' is a coarse sloven,
and has neglected her charge for her self-indulgence. The natural
parent, a handsome young woman, dressed in the height of the mode, and
accompanied by friends of quality, has yielded to a sudden impulse to
pay a visit to her offspring. The door of the cottage is opened, and
this is what meets the horrified eyes of the party. The nurse sunk in
a drunken sleep, her head on a cushion, another cushion at her feet, a
flagon of spirits at her elbow and a glass in her hand, and a starved
cat on her chair; the infant's food upset on the floor, the apartment
neglected, a clothes-line and damp linen stretched over the infant's
head, and Death sitting by, grotesquely rocking the cradle, and singing
his mortal lullaby.

    No shrieks, no cries will now its slumbers break,
    The infant sleeps,--ah, never to awake!

Plate 4. _The Astronomer._

    Why, I was looking at the Bear:
    But what strange planet see I there!

The astronomer, who from his surroundings would also seem a student
of miscellaneous sciences, is seated in his observatory, deep in the
contemplation of the planets. Grim Death has called to summon the
'learned Senex' hence, and he is playing his victim a final prank.

    One evening, as he view'd the sky
    Through his best tube with curious eye,
    And 'mid the azure wilds of air
    Pursu'd the progress of a star,
    A figure seem'd to intervene,
    Which in the sky he ne'er had seen,
    But thought it some new planet given,
    To dignify his views of heaven.
    'Oh, this will be a precious boon!
    Herschel's volcanoes in the Moon
    Are nought to this,' old Senex said;
    'My fortune is for ever made.'
    'It is, indeed,' a voice replied:
    The old man heard it, terrified;
    And as Fear threw him to the ground,
    Through the long tube Death gave the wound.

Plate 5. _The Father of the Family._

    The doctors say that you're my booty;
    Come, sir, for I must do my duty.

Death, in this picture, has rather a hard tussle for it. His friends,
the learned physicians, who are pocketing their fees, and turning their
backs on their late patient, are hurrying away. Death, with a great
show of force, has seized his victim, still in the pride of manhood,
by the dressing-gown, and is seeking to drag him from the frantic
embraces of those to whom his life is dear. The father and mother are
remonstrating with this merciless abductor; the blooming wife and
infants of the unfortunate are cast down in despair; his sisters have
seized him boldly round the waist, and, one behind the other, are
making a sturdy stand against the fatal messenger; the servants and all
the inmates of the noble mansion have rushed out, and are endeavouring
by their entreaties, or by a show of resistance, to stay the steps of
the tyrant.

Plate 6. _The Fall of Four-in-Hand._

    Death can contrive to strike his blows
    By overturns and overthrows.

Death has come again, in his irresistible shape, and he has found the
occasion ready to his hand. A dashing charioteer, a man of wealth and
fashion, with a gaily attired female by his side, is tearing along,
eager

              to leave behind
    The common coursers of the wind,
    In more than phaetonic state,
    For every horse had won a plate.

But on arriving at a low bridge, which spans a torrent, the blood
horses become unmanageable; the driver sighs for a 'tight postilion,'
and behold on the 'leader' is seated one who will spur the whole team
to destruction; the horses are sent over the narrow bridge, the tall
curricle is capsized, and eternity is instantly opened to the careless
pleasure-seekers.

Plate 7. _Gaffer Goodman._

    Another whiff, and all is o'er,
    And Gaffer Goodman is no more.

Gaffer Goodman is a selfish sybarite, who has secured a charming
rustic maiden for his wife, as being a proceeding more economical than
engaging a nurse. The gaffer, whose existence is centred on creature
comforts, is seated in his huge easy-chair, under a row of goodly
hams, a provision for the future, before his Brobdingnagian fireplace,
with a cosy nightcap, dressing-gown, and slippers for ease, meditating
over the good things preparing for dinner, his beer jug ready to hand
and warming, sunk in the tranquil enjoyment of his pipe. Another
smoker has, unperceived by the gaffer, planted himself by his side,
burlesquing his enjoyment, and timing his whiffs to the final puff.
The neat and pretty wife, sacrificed to the selfishness of the old
yeoman, is cheerfully spinning her flax at the open window, leaning
through which the artist has introduced a well-favoured youth, her late
sweetheart, discarded by necessity, but soon to be consoled, as the
lady is assuring the lad of her heart.

    'When I declare that I'll be true
    To Gaffer Goodman, and to you:
    And when he does his breath resign,
    Be wise--and Strephon, I'll be thine.'
    'Then take her, Strephon,' Death replied,
    Who smoking sat by Goodman's side:
    'Her husband's gone, as you may see,
    For his last pipe he smok'd with me.'

Plate 8. _The Urchin Robbers._

    O the unconscionable brute!
    To murder for a little fruit!

The plate represents a pretty, trimly kept garden, belonging to a
mansion of some pretensions. A group of young marauders have been
stripping the orchard. They are suddenly scared by the apparition
of the gardener, whose person is disclosed over a bush beside his
greenhouses, where, gun in hand, he has been lying in ambush, to teach
his troublesome tormentors a lesson. Some of the marauders have gained
the wall, and are dragging up their comrades. Others are following,
loaded with well-filled bags of plunder; a bigger lad is seized in the
rear by the gardener's dog. The man has no deadly intentions, he merely
wishes to frighten the urchins as a warning; but the grim figure is
lurking undiscovered by his side; the musket is discharged, and to the
affright of the custodian of the fruit, a youth falls lifeless to the
ground. 'Twas not his aim which had wrought this mischief; the whole
affair was pre-arranged by his unperceived companion, with the most
plausible motives, as Death himself confesses.

    I drove the boy to scale the wall,
    I made th' affrighted robber fall,
    I plac'd beneath the pointed stone
    That he had crack'd his skull upon.
    I've been his best and guardian friend,
    And sav'd him from a felon's end:
    Scourging and lectures had been vain!
    The rascal was a rogue in grain,
    And, had I lengthen'd out his date,
    The gallows would have been his fate.
    You living people oft mistake me,
    I'm not so cruel as you make me.

Plate 9. _Death turned Pilot._

    The fatal pilot grasps the helm,
    And steers the crew to Pluto's realm.

The sea is in a tempest, and the wrecks of two good ships are battling
with the foaming waters. A number of unfortunate creatures are
endeavouring to escape in a longboat, pulled by the rowers with the
vigour of despair; but the struggle for life is cut short; grim Death
has taken his place in the stern, he is exultingly flourishing Time's
hourglass before the horrified survivors, and wilfully steering the
bark to destruction; the head of the boat is dipping beneath the waves,
and a watery grave completes Death's handiwork.

Plate 10. _The Winding-up of the Clock._

    No one but me shall set my clock:
    He set it, and behold the shock.

The picture represents a general scene of downfall. A stout clergyman
has obstinately insisted on his right to attend to his own timepiece
over the chimney-glass. His fat body has lost its balance, the steps
are overturned, the breakfast table and its equipage are brought to
ruin; the shock, aided by the sly hand of Death in ambush, has upset
his portly wife in her arm-chair, and a general destruction is hinted
of persons and property alike.

Plate 11. _The Family of Children._

    'Twere well to spare me two or three
    Out of your num'rous family.

In this plate we are introduced to a scene of extensive domestic
felicity; at a breakfast-table is seated the father of a numerous
family, surrounded by fourteen pledges of conjugal affection; another
child is in a nurse's arms, and in the apartment beyond may be
perceived the worthy and prolific partner of his joys, who has lately
presented her husband with their sixteenth infant. Death proposes
to take one or two of these children under his charge, but the good
father will not hear of it. 'Well then, let it be the infant,'
proposes the greedy fiend. 'No, 'twould break the mother's heart!'
'Whom shall I strike then?' Death demands. The benevolent parent can
only suggest 'the nurse.'

Plate 12. _Death's Door._

    In this world all our comfort's o'er,
    So let us find it at Death's door.

Death's bony person is half thrust through his portals--which lead to
the grave--as he has been disturbed by a boisterous summons thundered
at his gate. He seems quite shocked at the importunities of a crowd of
unfortunates who are clamorous in their demands for instant admittance
to the unknown realms. Madmen, the extremely aged, the gouty, the
bereaved, those afflicted with poverty, disease, scolding wives,
the hungering, cripples, forsaken ones, and a multitude of various
sufferers to whom the buffets of life have proved insupportable, are
supplicating refuge from an unkindly world.

Plate 13. _The Fire._

    Let him go on with all his rigs;
    We're safe; he'll only burn the pigs.

Death in this plate is represented as a reckless incendiary; he is
flourishing a brace of flaming torches, and is bent on doing all
the mischief within his power. A farmhouse is the object of his
destructiveness; the cattle are escaping, and the family, disturbed
from their slumbers by fire, are huddled together with such articles
as could be secured in a hurried flight when their own lives were
endangered. The unfortunate pigs may count on being roasted, as nothing
can save the farm from the flames.

Plate 14. _The Miser's End._

    Old dad at length is grown so kind,
    He dies, and leaves his wealth behind.

The miser is laid out prone, half-starved, his stiffening hands are
still grasping bonds, notes, and a bag of money; his body is propped up
by a 'book of interest,' and he has died, without the ease of a bed, on
a mattress placed on the floor of his strong room. His iron boxes and
money chests are opened by Death, who is leading the miser's delighted
heirs into the treasure-chamber, where the bags of wealth, heaps of
coin, and files of securities have banished all remembrance of the
miserable corpse, lately the self-denying hoarder of these superfluous
riches.

Plate 15. _Gretna Green._

    Love, spread your wings, I'll not outstrip 'em,
    Though Death's behind, he will not clip 'em.

A coach-and-four, driven by two postilions, is speeding off to
Scotland; it contains a fair ward, and a captain, her abductor. This
hopeful pair are eloping to Gretna Green; the ward is escaping from the
house of her old guardian, who had a desire to marry her himself for
her wealth; the baffled and avaricious tyrant is riding his hardest to
overtake the fugitives, who are threatening him with pistols held out
of either window. Death, mounted on a skeleton steed, is riding step
for step with the pursuer, whose horse will presently stumble, the
chase will be over, and the greedy guardian's schemes will be abruptly
brought to an end.

Plate 16. _The Waltz._

    By Gar, that horrid, strange buffoon
    Cannot keep time to any tune.

A French dancing-master, while playing on the fiddle, is exercising
a pretty and graceful maiden in the dance; the professor is out of
temper with the fair pupil's partner, although the lady seems absorbed
in the excitement of the motion. 'Tis Death waltzing his delicate
victim--entranced and unsuspicious--into a consumption, which will end
in the churchyard.

Plate 17. _Maternal Tenderness._

    Thus it appears a pond of water
    May prove an instrument of slaughter.

The picture in this instance represents a lake situated in a noble
park. Two youths have been tempted to bathe; one is lifted out of the
water apparently lifeless. His mother, who has been alarmed by the
intelligence of her son's danger, has just arrived, at the instant that
the seemingly dead body is borne to the bank. The sudden shock has
proved too much for nature to withstand. The tender parent falls back
overpowered and unconscious, and Death, with an air of solicitude, is
ready there to catch her falling form in his bony support, since she
has become his charge.

Plate 18. _The Kitchen._

    Thou slave to ev'ry gorging glutton,
    I'll spit thee like a leg of mutton.

While dinner is just prepared for my lord's table the stout _chef_ and
his attendant myrmidons are thrown into disorder by the appearance of
an unwelcome intruder. Dishes are dropped, everything is forgotten but
personal security. The fat first male cook is the object of Death's
attack, and the grim skeleton, armed with a long roasting spit, is
trampling over the fallen person of a frightened kitchen-maid, and is
proceeding to impale the great _chef_, who is the only person present
that is making a stand against the assassin.

Plate 19. _The Gig._

    Away they go, in chaise and one,
    Or to undo or be undone.

A sporting tradesman, driving a highly spirited horse, is taking
his lady out for exercise on an excursion. Frightened by a dog, the
mettlesome horse is dashing away distracted; another object, the figure
of Death seated on a milestone, has completed the scare; the steed is
tearing wildly towards the margin of a cliff which overhangs the sea;
the driver is trying to pull up, the reins snap, and he is dashed out
on his head, while his companion leaps off, to fall a corpse at the
feet of the grim figure perched on the milestone.

Plate 20. _The Mausoleum._

    Your crabbed dad is just gone home:
    And now we look for joys to come.

The heroine of this adventure is an heiress who is loved by a certain
lord, but in spite of the daughter's inclinations and the quality of
the suitor, the crabbed father will neither part with his child nor his
wealth while he retains his place in life. This impediment is removed
in the picture. While the unreasonable parent is hobbling on his
crutches into the entrance of a mausoleum, the door of which Death is
assiduous to open for the reception of his expected visitor, the happy
couple, overjoyed, are walking, locked in a tender embrace, to his
lordship's equipage, at the door of which two footmen are standing in
readiness, while the coachman is waiting to drive the delighted pair to
be married.

Plate 21. _The Courtship._

    It is in vain that you decide:
    Death claims you as his destin'd bride.

Another fair heiress forms the subject of this fresh whim of Death's
fancy. The lady is what the author terms a 'philosopher in love,' and
she cannot decide to quit her state of independence. A conclave of
her suitors are assembled to argue the marriage question, and, by the
maiden's wish, to allow her a chance of judging by comparison. The
array of aspirants is comprehensive; there is a colonel, a lawyer, a
parson, a doctor, a quaker, and a baronet. Each pretender to her hand
and fortune in turn argues the inducements he has to plead; this done,
it rests with the lady to reply to the respective arguments and examine
their motives. While logically disposing of all their fine persuasions,
the intractable fair is claimed by a suitor who will take no denial.
The reasoning of the arch-enemy is unanswerable:--

    She is not fit, strange maid, to wed
    With living wight, but with the dead:
    I therefore seize her as my bride.
    Belinda trembled, gasp'd, and died.

Plate 22. _The Toastmaster._

    'The end of life,' the chairman cries;
    'Tis drank--and many a toper dies.

A scene of gross intoxication is proceeding. A convivial company is
assembled; the effort of every individual's ambition is apparently the
downfall of his neighbour by successive toasts; bowl succeeds bowl, and
half the assembly are _hors de combat_. A new chairman has, uninvited,
installed himself at the head of the table, and he is making the liquor
circulate with such hearty goodwill that the topers have received him,
in spite of his repellant exterior, as one of themselves. Death has
ordered in fresh supplies of steaming punch, which he is ladling out
to the fascinated tipplers; it is the final toast, and no one dares
refuse to pledge it. 'One bumper more,' and the jovial meeting will be
dissolved for ever.

Plate 23. _The Careless and the Careful._

    The careful and the careless led
    To join the living and the dead.

The picture introduces us to the gate of Vauxhall Gardens; the
light-hearted visitors are quitting the entertainment. The wise virgins
are carefully wrapped up with cloaks, hoods, scarves, and muffs, and
duly lighted home by cautious guardians carrying lanterns. In the
foreground the foolish revellers are portrayed. They have left the
heated dancing room in their light attire; a couple of giddy maidens,
who are too careless to wait for their coach, are skipping off into
the damp and chilling atmosphere without a wrapper, their thin
dresses blowing in the wind, and running home under the escort of a
gallant major. Death, with a jaunty cap on his head, and muffled in
a cloak which disguises his ghostly frame, is dancing before, a very
'will-o'-the-wisp,' dangling about a flickering lantern, a dangerous
guide whom they fail to recognise.

    'Twas Death, alas, who lit them home,
    And the fools' frolic seal'd their doom.

Plate 24. _The Law Overthrown._

    The serjeant's tongue will cease to brawl
    In every court of yonder Hall.

A busy lawyer, hastening away from Westminster Hall, where he has
been exercising his lungs, has jumped into a chariot without noticing
the driver on the box-seat. In this case Death is officiating as
charioteer; he is whipping his horses with a vengeance. The serjeant's
coach is endangering the life of a brother counsel, a dog is running
between the frightened barrister's legs, and his end seems imminent.
Death has chosen to wreck the carriage over a pile of stones and a
heavily-loaded wheelbarrow which the paviours have left in the course
of road-mending. The serjeant, brief in hand, is thrusting his angry
face through the front of the capsizing vehicle, vehemently threatening
penalties and vowing to bring an action against his coachman.

    Fate to the stones his head applies;
    The action's brought--the serjeant dies.

Plate 25. _The Fortune-teller._

    All fates he vow'd to him were known,
    And yet he could not tell his own.

In this instance we are introduced to the 'chamber of mystery' of
a pretended fortune-teller. The empiric seer is surrounded by the
paraphernalia of his profession; a crocodile is suspended to the
ceiling, above a mystic string of orbs, and the globes have an uncanny
black cat perched thereon, a witch at the least. Two credulous ladies
of fashion have called to consult the pretentious impostor, who
rejoices in the fur cap, flowing robes, long beard, and divining rod of
a magician; a book of nativities is open before him:--'To me all fates,
all fortunes known;' to which Death retorts, in hollow voice: 'Vain
boaster, tell your own.' A greater conjuror is present concealed behind
Merlin's seat; a jerk, and the wizard is no longer above deception; he
is overturned, his neck is broken amidst the wreck of his mummeries
scattered around.

Plate 26. _The Lottery Office._

    To trust to fortune's smiles alone,
    Is the high road to be undone.

The evil of permitting lotteries, which were still in existence and
flourishing at the time this plate was projected, is set forth in
a graphic design. A crowd of needy adventurers have hurried to the
lottery office, eager to know if fortune has assigned them lucky
numbers. Jews, misers, and all sorts of gamblers, including a mob of
hardy rogues who have purloined their employers' property to tempt the
smiles of the fickle goddess, are darting from the office in dismay.
An unlucky female, who has ventured her all, and even risked the means
and belongings of others on the chance of winning a prize, has come to
inquire her fate. The grim foe has exultingly taken his place among the
clerks; he is holding out two blanks with an air of fiendish malice,
and the shock is proving a deathblow to the unfortunate fair gambler,
she is expiring in the office.

Plate 27. _The Prisoner Discharged._

    Death, without either bribe or fee,
    Can set the hopeless pris'ner free.

Death in this case is still shown interfering with the course of
others' business. The picture represents a debtors' prison; a wife and
two daughters have come to visit an unhappy captive, the head of the
family, who is detained by a relentless creditor. They just arrive in
time to see their relative released beyond the resistance of mortal
detainers. The deadly foe has called at the gate, the prisoner is
summoned forth, warders and turnkeys dare not refuse to let him free
in such company. A mortified Shylock and his disappointed lawyer are
furiously pointing to their bonds, and dancing with rage to find their
ends defeated by the grim joker, who is grinning at their manifest
discomfiture.


Plate 28. _The Gallants Downfall._

    Th' assailant does not feel a wound,
    But yet he dies--for he is drown'd.

A military Don Juan is the unfortunate hero of this adventure. He loves
the beauteous daughter of a fire-eating superannuated colonel, Full of
romantic gallantry, he has planted a ladder at his mistress's window,
and is mounting nimbly where Cupid invites him, without observing the
grim figure which has hold of his scaling-ladder. The sturdy colonel,
awakened by the unaccustomed and suspicious sounds in his grounds, has
fired his evening gun into the darkness, at most expecting to startle
the cats. Death capsizes the ladder, the youthful lieutenant loses his
balance and falls headlong into a pond on the lawn, whence his body is
fished out in the morning, to the surprise of the household.

Plate 29. _The Churchyard Debate._

    'Tis strange, but true, in this world's strife,
    That Death affords the means of life.

The picture in this instance gives a philosophic view of the end of
man, and represents a snug assembly of the fortunate individuals who
prosper professionally by the influence of the grim foe's assistance.
Seated convivially on tomb-slabs, awaiting the arrival of a hearse and
mourning _cortége_, is the author of the mischief hobnobbing with his
friends and allies. Death and the doctor are blowing a cloud together
in cheerful company, for the parson, the lawyer, and the sexton are
pleased with his society. The undertaker is no less grateful to his
useful patron, and even the distant bell-ringer acknowledges the value
of his acquaintanceship.

Plate 30. _The Good and Great._

    What heartfelt tears bedew the dust
    Of him whose ev'ry thought was just.

The funeral of a great and benevolent man is the subject of this
cartoon. The venerable lord of the manor is dead; the stately funeral
is setting out with its doleful attendants from the lordly hall. The
coffin, with its emblazoned pall, is followed by a long train of
mourners, whose sorrow is sincere; Death is congenially employing
himself as bearer of the funeral plumes; and in this capacity, bending
under the melancholy feathers, he is taking the lead of the procession.
The tenants and villagers are standing uncovered as the body of their
best friend is borne past; aged and young alike are giving way to
unaffected grief, and it is evident that they regret the loss of a
respected and kindly landlord, who has made himself loved by his
neighbours.

Plate 31. _The Next Heir._

    'Tis not the time to meet one's fate,
    Just ent'ring on a large estate.

The _Next Heir_ forms a pendant to the _Good and Great_, and exhibits
a picture the contrast of the foregoing. The nephew, a dashing London
blade, has succeeded to the title and the estates. He is supposed to
arrive post haste at the mansion, which is still plunged in mourning
for the late owner. The pastor and the tenants are drawn up to receive
their new master. The approach of the departed lord's successor is
filling their faces with dismay. The devil-may-care 'blood' is tearing
up to the hall in a tandem, his followers are clothed in deep black,
but beyond this he displays no regard for the dead; his servants are
clashing up on horseback, his huntsman is giving a blast of his horn,
his grooms are shouting 'Tally-ho!' and a pack of hounds are barking on
all sides. Death is acting as postilion, and as this unthinking heir
drives up to the entrance-court his head is caught by the hatchment
put up to the late lord, and his mad career is cut short at the very
threshold.

Plate 32. _The Chamber War._

    When doctors three the labour share,
    No wonder Death attends them there.

The case of the invalid who forms the principal figure in the present
subject must indeed be a desperate one, since the doctors, after a
wordy warfare disputing over the case of the patient and the proper
treatment, have come to blows in real earnest. Medicine bottles, and
all the accessories of a sick chamber, are thrown to the ground, the
table is overturned, wigs are sent flying, and a regular scrimmage with
fisticuffs is taking place. Four practitioners are cuffing one another
in the presence of their victim, with professional energy, and the sick
nurse is cutting in, attacking the shaven crowns indiscriminately with
the utensils which first come to hand. The sufferer is thrown into a
mortal fright, but Death has very considerately called in to attend
to his wants, and his disquietude will soon cease beyond the fear of a
relapse.

Plate 33. _Death and the Antiquaries._

    Death, jealous of his right, stands sentry
    Over the strange burglarious entry.

A party of ardent archæologists are holding a meeting in the abbey.
They have obtained permission to open a royal grave, and the sexton has
performed his part, and raised the slab of the vault in which the body
of a king has reposed undisturbed for centuries. The coffin is raised,
the lid removed, and the corpse, with its regal trappings, is laid open
to their inspection. Full of enthusiasm, the antiquaries are clustering
round the coffin in crowds, eager to get a sight of the decaying
monarch. Nor do they heed the risk they run, for Death, jealous of this
interference with his rights, is prepared to resent their intrusion;
and, mounted on an adjacent tomb, he is about to plunge his dart into
the thickest of the learned throng.

Plate 34. _The Dainty Dish._

    This fine hot feast's a preparation
    To some for Death's last cold collation.

A sumptuous feast is represented: the handsome dining-room is filled
with voracious guests; footmen are waiting on the diners, or attending
to side tables; butlers are drawing corks, course is following course,
the cook and his assistant train are hurrying in with fresh dishes.
Among the waiters, undetected, is our friend the grisly skeleton, who
is busying himself with a dish he is conveying to the table. It is
the favourite delicacy of the corpulent host, and he has expressed a
desire for 'just one slice more' of his esteemed dainty. The grim foe
is determined to take the entertainer at his word, and that 'one slice
more' will be his last indulgence.

Plate 35. _The Last Stage._

    From hour to hour, from youth to age,
    Life's traveller takes th' uncertain stage.

The sketch in this suggestive plate introduces us to the court-yard
of the _Dolphin Inn_, a famous posting-house. The life to be found
in these coach-yards was attractive material to our artist, and he
has delineated with rare skill all the bustle and preparation of a
departure. The coach is 'braced' up, the horses are put-to, the guard
and his 'helps' are busied in loading luggage on the roof, and stowing
parcels in the boot and under the box-seat. Bills are being settled,
and farewells said by the passengers, who are booked to travel by the
'stage.' Death is assiduously attending to the loading of the coach,
and he is courteously wedging a stout lady through the doorway. It
is likely that he will not quit the travellers yet, but will ride,
unobserved, a part of the journey, until, perhaps, in the night he will
contrive some fatal upset, and his evil whim will be accomplished.

Plate 36. _Time, Death, and Eternity._

    The song now bursts beyond the bounds of time,
    And Immortality concludes the rhyme.

After tracing Death's farcical pranks through seventy-one plates, in
nearly all of which the mischief projected by the arch-foe is crowned
with success, the artist has thought proper to abandon Death's triumphs
and to show the enemy at a disadvantage. The scene is allegorically
set forth in the despair and overthrow of Time, and the banishment of
Death before the Everlasting Angel. The Spirit of Eternity is blowing
the last trump. Time is vainly tearing out his forelock; his wings
are useless; he is cast on his back, the scythe and hourglass broken,
amidst the crumbling monuments around him; pyramids and temples are
melting away; the monuments raised by vain man are dissolving, and
Death has forfeited his fell sovereignty of destruction. The slayer
is slain in turn; his crown has fallen into the abyss, his fatal dart
is harmless and snapped asunder, and he, abashed and disconcerted, is
crouching from his doom, and falling through to the bottomless pit. So
much for the pictorial allegory.

We have specially dwelt on the illustration which Rowlandson designed
to finish the first part of the _Dance of Death_, wherein the spectral
tyrant is displayed shorn of his terrors. The artist on occasions could
sink the ludicrous and rise to the sublime.

The author, as we are inclined to believe, was elevated by the subject
brought under his treatment, and, finding the theme congenial to his
talents, he exerted himself to bring out its stronger points. In the
last picture which concludes the series we are still more impressed
with the sense of his fitness for the task. Coombe, when he wrote the
concluding verses to this diversified poem, was on the verge of four
score; he had fought the battle of life, and found little glory and
less profit in the struggle. Nature had endowed him with an agreeable
person and sound health, and he was by disposition studious. He had
been the idol of an hour, and (rare chance for a scholar) had found a
large sum of money at his command, and dissipated sufficient wealth
to realise to the full the emptiness of gratifications which depend
on mere monetary advantages; he had been taught the worthlessness of
fair-weather friends, the hollowness of flatterers, and knew the folly
of trusting in the great; he had learned other lessons of life, and
could, from his own heart, read many a homily on the deceptiveness of
beauty and the quickly withered flowers of passion. He had incessantly
pursued happiness through life; he had been rich, courted, cultivated,
temperate, and a discriminating judge of most things that are counted
desirable in the world; a ripe scholar and a perfect gentleman--if we
may believe contemporary accounts--and he found all this led him to
disappointment and the confinement of a debtor's prison.

    When evil tongues hiss forth the foul abuse,
    When Fortune turns away, and friends prove false,
    Man's peaceful refuge is the tomb.

From the depths of his rich experience he had realised that the harbour
of refuge 'from life's frequent storms' is found, _not_--

    In the flowery vales where Pleasure sports,
    Nor where Ambition rears the tottering seat;
    'Tis not within the miser's gloomy cave;
    'Tis not within the roseate bowers of Love,
    Nor where the pale lamp lights the studious sage
    To midnight toil: alas! it is not there.
    And while we seek in vain amid the great,
    Or on the gorgeous thrones where monarchs sit,
    It often may be found in humble cot
    Where Virtue with the honest peasant dwells.
    And what is virtue? 'Tis the conscious power
    Of acting right in spite of every foe
    That may oppose its base, malicious aim
    To check the pure designs which it inspires.
    It is to stem the tide Corruption rolls
    O'er half the world, to curb the impetuous will
    Of lawless passion, and, on life's vast stage,
    To act that noble part which will attain
    The good man's praise and the applause of Heaven.
    Yes, virtue, potent virtue, can secure
    'Gainst every peril; 'tis a triple shield
    To him who has it 'gainst the pointed darts
    Of ev'ry enemy; the hour of death,
    With all its gloom, gives not a fear to him
    Who triumphs o'er the grave; he stands secure
    Amid the ruins of a fallen world.
    Virtue will listen to the trumpet's sound
    With holy awe, yet hear it unappall'd,
    And feels ETERNITY its destin'd sphere:
    When all the works of man shake to their base,
    And the world melts away whereon they stood;
    When TIME'S last agonising hour is come,
    And DEATH, who from Creation's pregnant hour
    Has made the world a grave, himself shall die;
    When man from his long slumber shall awake,
    And the day breaks that never more shall close;
    Then Virtue shall its promis'd glory claim,
    And find it, too, at the o'erflowing source
    Of Heaven's stupendous and eternal joys.

FOOTNOTES:

[26] Now known as the Egyptian Hall.

[27] _Marcus Flaminius; or, the Life of the Romans_, 1795.



1817.


[Illustration: THE VICAR OF WAKEFIELD.]

1817-1823. _The Vicar of Wakefield, a Tale, by Doctor Goldsmith._
Illustrated with twenty-four designs by Thomas Rowlandson. Etchings
dated May 1, 1817. London, published by R. Ackermann, at the Repository
of Arts. Republished 1823.

                    Sperate Miseri, Cavete Felices.

    Frontispiece.--The Vicar of Wakefield, a character eminently
      calculated to inculcate benevolence, humanity, patience in
      sufferings, and reliance on Providence.
    2. The Social Evening.
    3. The Departure for Wakefield.
    4. Sophia Rescued from the Water.
    5. The Welcome.
    6. The Squire's Intrusion.
    7. Mr. Burchell's First Visit.
    8. The Dance.
    9. Fortune-telling.
    10. The Vicar's Family on their Road to Church.
    11. Hunting the Slipper.
    12. The Gross of Green Spectacles.
    13. The Vicar Selling his Horse.
    14. The Family Picture.
    15. The Vicar in company with Strolling Players.
    16. The Surprise.
    17. The Stage. George Primrose as 'Horatio.'
    18. Attendance on a Nobleman.
    19. A Connoisseur Mellowing the Tone of a Picture.
    20. The Scold, with News of Olivia.
    21. The Fair Penitent.
    22. Domestic Arrangements in Prison.
    23. The Vicar Preaching to the Prisoners.
    24. The Wedding.

[Illustration: THE FAMILY PICTURE.]

_The Family Picture._--'My wife and daughters, happening to return a
visit to neighbour Flamborough's, found that family had lately got
their pictures drawn by a limner who travelled the country and took
likenesses for fifteen shillings a head. As this family and ours had
long a sort of rivalry in point of taste, our spirit took the alarm at
this stolen march upon us; and notwithstanding all I could say, and I
said much, it was resolved that we should have our pictures done too.
Having, therefore, engaged the limner--for what else could I do?--our
next deliberation was to show the superiority of our taste in the
attitudes. As for our neighbour's family, there were seven of them,
and they were drawn with seven oranges, a thing quite out of taste--no
variety in life, no composition in the world. We desired to have
something in a brighter style; and after many debates at length came to
a unanimous resolution of being drawn together in one large historical
family piece. This would be cheaper, since one frame would serve for
all, and it would be infinitely more genteel, for all families of any
taste were now drawn in the same manner. As we did not immediately
recollect an historical subject to hit us we were contented each with
being drawn as independent historical figures. My wife desired to
be represented as Venus, and the painter was desired not to be too
frugal of his diamonds in her stomacher and hair. Her two little ones
were to be as Cupids by her side; while I, in my gown and band, was
to present her with my books on the Whistonian controversy. Olivia
would be drawn as an Amazon, sitting on a bank of flowers, dressed
in a green joseph, richly laced with gold, and a whip in her hand.
Sophia was to be a shepherdess, with as many sheep as the painter could
put in for nothing; and Moses was to be dressed out with a hat and
white feather. Our taste so much pleased the Squire that he insisted
on being put in as one of the family, in the character of Alexander
the Great, at Olivia's feet. This was considered by us all as an
indication of his desire to be introduced into the family; nor could
we refuse his request. The painter was therefore set to work; and as
he wrought with assiduity and expedition, in less than four days the
whole was completed. The piece was large, and it must be owned he did
not spare his colours, for which my wife gave him great encomiums. We
were all perfectly satisfied with his performance; but an unfortunate
circumstance had not occurred till the picture was finished, which now
struck us with dismay. It was so very large that we had no place in
the house to fix it. How we all came to disregard so material a point
is inconceivable; but certain it is we had been all greatly remiss.
The picture, therefore, instead of gratifying our vanity, as we hoped,
leaned in a most mortifying manner against the kitchen wall, where the
canvas was stretched and painted, much too large to be got through any
of the doors, and the jest of all our neighbours. One compared it to
Robinson Crusoe's longboat, too large to be removed; another thought it
more resembled a reel in a bottle; some wondered how it could be got
out, but still more were amazed how it got in.'

       *       *       *       *       *

                      THE DANCE OF LIFE: A POEM.

         _By the Author of 'Doctor Syntax' (William Coombe)._

 ILLUSTRATED WITH TWENTY-SIX COLOURED ENGRAVINGS BY THOMAS ROWLANDSON.

LONDON: PUBLISHED BY R. ACKERMANN, REPOSITORY OF ARTS, 101 STRAND. 8vo.

'_Advertisement._--The eight monthly numbers to which this work
was limited being completed, it is presented to the public in an
accumulated volume. Though an acquaintance has taken place between
the artist and the writer, the same principle has in a great degree,
if not altogether, predominated in the originality of the designs and
attendant illustrations of them as produced the _Tour of Doctor Syntax_
and the _Dance of Death_.'

                            ILLUSTRATIONS.

Frontispiece.--_The Dance of Life_; a panoramic scroll, on which
Rowlandson's pictures which illustrate the series are represented in
miniature. Father Time, with his accessories of scythe, hourglass, and
globe, is acting as showman and pointing out the subjects of the work
to a group of spectators, whose faces and attitudes are expressive of
the admiration and interest which the pictorial history is exciting.

Titlepage.--The vignette of a lightly touched and gracefully drawn
female dancing figure, with a scarf airily floating from her shoulders.
The nymph is encircled by a ring of pretty children, hand in hand, who
are dancing round her; while roses are scattered at the feet of the
group.

  1. _Infancy._--The hero is introduced to the world as an infant.

    The Dance of Life begins, with all its charms
    In the fond dandling of the nurse's arms.

  2. _Childhood._--The first tutor.

    The tender nurse's care is now resign'd
    To the first grave instructor of the mind.

  3. _Boyhood._--The public school.

    The stern preceptor, with his threat'ning nod,
    Calls in the wise correction of the rod.

  4. _Youth._--An undergraduate at Oxford.

    Wine makes the head to ache; but will the art
    Of the grave, solemn lecture reach the heart?

  5. _Foreign Tour._--Setting forth on his Continental travels. The
  parting from home.

    To part with thee, my boy, how great the pain!
    How great the joy to see thee once again!

  6. _Foreign Tour._--Posting in France.

    'Tis hop'd, midst foreign scenes some power he'll find
    To mend his manners and improve his mind.

  7. _Foreign Tour._--A scene in the Palais-Royal.

    He pays his lively court, as 'tis the _ton_,
    To the fat Princess of the Mille Colonnes.

  8. _The Return._--The traveller hurries home on the death of his
  father.

    The widow'd mother hastens forth to meet
    Her son, Sir Henry, at his ancient seat.

  9. _The Chase._--A fatal fall; his affianced bride is thrown and
  killed.

    The hounds the flying stag pursue;
    But Dian does the hunting rue.

  10. _Fashionable Life._--Plan for new buildings. The architect, &c.

    At the first step in folly's wanton waste
    He pulls his mansion down, to show his taste.

  11. Coaching on Hounslow Heath.

    Of four-in-hand he gains the vulgar rage:
    Wields his long whip, and overturns a stage.

  12. The Midnight Masquerade.

    The mask, that scene of wanton folly,
    May convert mirth to melancholy.

  13. The Billiard-table and its votaries.

    By gamblers link'd in Folly's noose,
    Play ill or well, he's sure to lose.

  14. The Ring, Newmarket Heath.

    The victim of the betting-post:
    His bets as soon as made are lost.

  15. A Mistress _à la mode._

    For such a wild and placid dear
    Me pays two thousand pounds a year.

  16. The Election: close of the poll: chairing the member.

    For my own good, and yours, I'm bent,
    My worthy friends, tow'rds Parliament.

  17. Imprisoned for debt, the hero resists the temptations held out by
  a Jew and a scrivener.

    In his oppress'd and adverse hour
    Virtue assumes its former power.

  18. A change of circumstances: coming into an unexpected fortune, left
  the hero by the father of his affianced bride, whose death is  shown
  (plate 9).

    The wild exuberance of joy
    May reason's sober power destroy.

  19. A social gathering in the new mansion. Ladies and a musical
  evening.

    Sweet is the voice whose powers can move
    And call the vagrant heart to love.

  20. The hero selects a wife. The nuptial ceremony.

    Blest Hymen, whose propitious hour
    Restores to Virtue all its power.

  21. Dragging the lake.

    Rural sports are better far
    Than all his former pleasures were.

  22. A case of poaching. Sir Henry is sitting as magistrate at Graceful
  Hall. His wife is pleading for the unfortunate prisoners (poachers).

    To soothe the rigours of the laws
    Let beauty plead the culprits' cause.

  23. Worshipping on the Sabbath. The Squire in his pew.

    By piety's due rights 'tis given
    To hold communion with Heaven.

  24. Sir Henry, surrounded by his children and his friends, is
  tranquilly passing his declining years.

    Here Virtue views, with smiling pride,
    The pleasures of her fireside.

1817. _Grotesque Drawing Book; the World in Miniature, consisting of
groups of figures for the illustration of landscape scenery._ Forty
plates, 8vo. London.

1817. _Journal of Sentimental Travels in the Southern Provinces of
France._ Illustrated with eighteen plates by T. Rowlandson. 8vo.
Published by R. Ackermann. (See 1821.)

1817. _World in Miniature._ Containing fifty-eight etchings. 4to. (See
1816.)

1817. _Pleasures of Human Life._



1818.


_January 20, 1818._ _The Last Jig, or Adieu to Old England._ Published
by T. Tegg.

1818. _Wild Irish, or Paddy from Cork, with his coat buttoned behind._
Designed, etched, and published by T. Rowlandson, 1 James Street,
Adelphi. Republished 1818.--One of the series published by the artist,
to the finish, execution, and colouring of which he devoted extra care.
The scene pictures a haymaking festivity. Paddy from Cork, hayfork in
hand, has literally turned his coat hind part before; he is dancing
in company with another swain, who is holding a whisky-jug, and a
fellow Patlander, fiddling and capering for very life, beside two buxom
lasses, who are flourishing hayrakes and throwing themselves into the
most attractive attitudes. Groups suggestive of both rural felicity and
a terrific combat in combination are figured in the distance, as the
true Patland ideal of finishing a day's pleasure.

1818(?). _Doncaster Fair, or the Industrious Yorkshire Bites._
Designed, etched, and published by T. Rowlandson, 1 James Street,
Adelphi.--The principal figure in the foreground group is a buxom but
hardly gentle keeperess of a _knock-'em-down_ stand. The lady, clad
in a soldier's old jacket, with ragged skirts and defective hose, is
holding in one arm an instalment of sticks--'three throws a penny'--and
is demanding her fee, a trifle boisterously, from a smock-clad yokel,
who is diving into his short-clothes pocket for the coppers which do
not appear to be forthcoming. Other rustics are taking their pastime
at the same amusement, and one, in perplexity, is scratching his head.
The bustle of a country fair is set forth in the distance; there is
the usual display of booths and mountebanks, countrymen on horseback,
love-making in carts, stalls, and struggling groups of sightseers.

1818. _The Adventures of Johnny Newcome in the Navy._ A Poem, in four
cantos, with Plates by Rowlandson, from the Author's designs. By Alfred
Burton. Published by W. Simpkin and R. Marshall, Stationers' Court,
Ludgate Street.

                       Dulce Bellum Inexpertis.

    Frontispiece.--Asleep on the Masthead.
    Leaving Home.
    'The Admiral has made it sunset, sir!'
    Turning in--and out again.
    Seasick.
    Sent to hear the dog fish bark.
    Seized up in the Rigging.
    Cobbed--Watch! Watch!
    Crossing the Line.
    Sheerness Boat.
    Plymouth Playhouse.
    Going to Ivy Bridge.
    In the Grocer's Shop.
    Johnny and Maria.
    Mast-headed.
    'The Captain's going out of the ship, gentlemen!'



1819.


_May 9, 1819._ _A Rough Sketch of the Times, as delineated by Sir
Francis Burdett._ Published by T. Tegg (15).--Sir Francis Burdett is
shown standing in the centre of the picture, a scarf thrown over his
shoulders is marked _Magna Charta_ and _Bills of Rights_; he holds
the Genius of _Honour_ and _Integrity_ firmly clasped by the hand,
and, pointing to _The Monster of Corruption_, observes: 'Look here
upon this picture, and on this, and then judge for yourselves.' The
persons of both patriot and monster are mapped out with inscriptions,
their several parts being typically labelled: '_The Genius of Honour_
rejoices in a sound mind;' 'An eye ever watchful to the welfare of
his fellow-citizens;' 'A tongue that never belied a good heart;'
'An upright breast and an honest heart;' 'A shoulder that never
shrinks in trouble;' 'A plain liver and a lover of peace and plenty;'
'Pockets ever open to the necessities of fellow-creatures;' 'A knee
to religion;' 'Legs ever steady in his country's cause;' and 'Feet
to crush tyranny;' while in his 'Hand of Justice' is displayed a
declaration of these principles: 'A staunch supporter of the Bill
of Rights; an advocate for a fair representation of the people, and
an enemy to bribery and corruption.' The attributes of the corrupt
candidate are less flattering. The head of the monster is marked
'Professions and promises;' his nose has 'a scent for Interest;' his
huge eye is devoted to Interest, and his mouth to Guile; he bears the
'Collar of Corruption;' 'a cringing soul,' 'a pampered appetite;'
'a rotten borough,' and 'secret service money' mark his trunk; his
'arms of power' end in 'hands of extortion,' which grasp 'pensions,
reversions, perquisites of office, and bags of bribery;' he is
supported on 'legs of luxury and feet of connivance.'

1819. _Who killed Cock Robin? A Satirical Tragedy, or Hieroglyphic
Prophecy on the Manchester Blot!!!_ (Pamphlet.) London: Printed and
published by John Cahnac, 8vo., p. 23. Plate of _Manchester Massacre_,
by T. Rowlandson.

1819. _Female Intrepidity, or the Heroic Maiden._ (Chap-book) With a
folding frontispiece by T. Rowlandson.



1820.


1820 (about). _Chemical Lectures._ Designed and published by T.
Rowlandson, 1 James Street, Adelphi.--Sir Humphrey Davy is exhibiting
experiments at the Royal Institution before a highly respectable
audience of visitors and members of both sexes. An antiquated fogey,
who has evidently no opinion of the brilliant young lecturer, is
snarling at the demonstrations. A treatise of the period, _Accum's
Lectures_, is shown in his coat-pocket.

1820. _Rowlandson's Characteristic Sketches of the Lower Orders,
intended as a companion to the New Picture of London. Consisting of
fifty-four plates, neatly coloured._ Printed for Samuel Leigh, 18
Strand, London.

'_Advertisement._--The British public must be already acquainted with
numerous productions from the inimitable pencil of Mr. Rowlandson, who
has particularly distinguished himself in this department.

'There is so much truth and genuine feeling in his delineations of
human character, that no one can inspect the present collection without
admiring his masterly style of drawing and admitting his just claim to
originality.

'The great variety of countenance, expression and situation, evince
an active and lively feeling, which he has so happily infused into
the drawings, as to divest them of that broad caricature which is too
conspicuous in the works of those artists who have followed his manner.
Indeed, we may venture to assert that, since the time of Hogarth,
no artist has appeared in this country who could be considered his
superior, or even his equal.'

Frontispiece.--Menagerie. A Beef-eater exhibiting the Royal Wild Beast
Show at the Tower.

    Drayman.
    Chairs to Mend.
    Cherries.
    Wine Cooper.
    Cucumbers.
    Singing Birds.
    A Peep at the Comet.
    Grinder.
    Bagpipes.
    Roasted Apples.
    Distressed Sailors.
    Sweeps.
    Matches.
    Coalheavers.
    Oysters.
    Cooper.
    Sweet Lavender.
    Last Dying Speech.
    Old Clothes.
    Curds and Whey.
    'Pray remember the poor Sweeper.'
    Butcher.
    Itinerant Musicians.
    Door Mats.
    Earthenware.
    Raree Show.
    Images.
    'All Hot.'
    Strawberries.
    Dog's Meat.
    Rhubarb.
    Baker.
    Tinker.
    Flounders.
    Baskets.
    Milk.
    Hot Cross Buns.
    Walnuts to Pickle.
    Hackney Coachman.
    'Buy my sweet Roses.'
    Poodles.
    Firemen.
    Ballad Singer.
    Shoeblack.
    Placard. (Lottery Prizes.)
    'Past One o'clock' (Watchman).
    Postman.
    _Billet-doux._
    Bandboxes.
    Great News.
    Saloop. (Stall of Saloop-tea seller.)

1820. _The Second Tour of Doctor Syntax, in Search of Consolation._
Illustrated with twenty-four plates by T. Rowlandson. Royal 8vo.
Published by R. Ackermann, Repository of Arts. (See description of
_Doctor Syntax's Three Tours_, 1812.)



1821.


_May, 1821._ _A Smoky House and a Scolding Wife._ Published at 22
Marylebone Street, Portland Chapel.--A suffering mortal is seated at
an unfurnished dinner-table; the man's hands are clasped, his brows
are knit, and his lips tightly closed, in an effort to maintain
his patience and his temper under two exasperating provocatives to
violence. Placed before the bent-down martyr to domestic infirmities is
a phantom bone of mutton; presumably the husband has taken exception
both to the insufficiency of the joint and the superabundance of smoke,
which is eddying round in volumes, and is filling the apartment with
dense blackness; while his better half, sailing like a fury out of the
gloom, is an object to inspire terror in the boldest heart, and the
stings of the sharp tongue are apparently even more intimidating than
her nails or her knuckles, all of which weapons of offence are enlisted
against her pitiable helpmate.

1821. _Tricks on the Turf, or Settling how to Lose a Race._ Published
by T. Rowlandson.--A scene on a racecourse; the race-horses, led round
to be saddled, are seen in the background. A smart young jockey, with
his saddle strapped across his own back, and whip in hand, in readiness
to begin the race, is receiving the parting instructions of a wily
old turfite, who wears a cocked hat, a pigtail, a triple-caped coat,
top-boots and spurs. This shrewd trickster is evidently giving his
rider certain secret instructions which he would probably not like to
hear published abroad on his own authority. The subject of this satire,
together with the scandals about the Prince of Wales's horse _Escape_
and his jockey, prove that even in the early days of the Turf its
reputation was not immaculate nor its patrons above suspicion.

1821. _Journal of Sentimental Travels in the Southern Provinces of
France shortly before the Revolution, embellished with seventeen
coloured engravings from designs by T. Rowlandson, Esq._ London:
Published by R. Ackermann, 101 Strand.

'We travellers are in very hard circumstances. If we say nothing
but what has been said before us, we are dull and have observed
nothing. If we tell anything new, we are laughed at as fabulous and
romantic.'--_Lady M. W. Montague's Letters._

    Frontispiece.--The Tribunal at Avignon.
    _Table d'hôte._
    Searched by Douaniers on the French Frontiers.
    Consulting the Prophet.
    The Prophet discovering himself and exposing the deception.
    The Arrival in Paris. Offers of services.
    Liberality to infirm Beggars on leaving Yvri.
    Rural Happiness at Caverac.
    Pleasures of a _poste aux Anes_.
    The Embrace.
    At Avignon. First Sight of Clara.
    At the Tomb of Laura.
    Auction of Relics at Avignon.
    A Prisoner at Avignon.
    Mistakes at Cavaillon.
    A Tragic Story at Avignon.
    The Sacred Page displayed.
    The Inn at Marseilles.

_The Douaniers._--'No native of the German side of the Rhine can pass
from the territory of Baden to that of France without carrying along
with him a certain respect for his country, which he will act wisely
to conceal, like any other contraband commodity. This precaution I
impressed upon myself as soon as the four horses, whose neighing seemed
to express the same feeling, were put to the carriage at the last
post-station at Kehl.

'This little place, situated partly on one, and partly on the other
side of the Rhine, possesses an equivocal sort of character, which,
like the modest, innocent look of a frail fair one, is of great
advantage in the way of its trade.

'The reflections on that extraordinary genius Voltaire, whom the
mercantile spirit of Beaumarchais contrived to banish to this
intermediate spot between Germany and France--excited as I passed
the extensive printing office established here for promoting the
circulation of his works--were too multifarious for the shortest of all
stages; for the life of this extraordinary mortal would afford abundant
matter for contemplation during a tour round the globe, without being
even then exhausted. My mind standing before him, like a dwarf before
a colossus, was about to measure his greatness, when I was under the
disagreeable necessity of turning the looks of my admiration another
way, in order to cast them with contempt upon the most miserable of all
the _employés_ of the King, who waited my arrival at the barriers of
Strasburg. The postilion seemed to be thinking no more about them than
myself, but the cry of "Stop, scoundrel!" from the throats of ten of
these varlets suddenly arrested the smart trot at which he was about to
pass them. I was instantly surrounded by the rascals, who enquired what
I would give to save my baggage from examination. "Nothing! nothing!"
cried I, in a tone that would have scared the nymphs of the Rhine.
"Nothing?" re-bellowed the incorruptible agents of the Custom House.
"Nothing!" I reiterated. "I never make bargains with such fellows."
With a profusion of curses and oaths they fell to work upon my baggage,
which they ransacked with all the avidity of rats that have got scent
of a savoury piece of bacon.

[Illustration: SEARCHED BY DOUANIERS ON THE FRENCH FRONTIERS.]

'Indeed, a small bribe would have prevented all this, but I was too
much out of temper to submit to give alms to these beggars who had so
rudely disturbed my meditations; for this reason my obstinacy--why
should I not call the child by its right name?--had received a severe
reproof.'

1821. _Le Don Quichotte Romantique, ou Voyage du Docteur Syntaxe à
la Recherche du Pittoresque et Romantique._ 28 Illustrations drawn
on stone (after the designs of Rowlandson) by Malapeau. Lith. de G.
Engelmann. Paris. (See description of _The Three Tours of Doctor
Syntax_, 1812.)



1822.


1822. _The History of Johnny Quæ Genus; the little Foundling of the
late Doctor Syntax. A poem by the author of the Three Tours_ (William
Combe). Embellished with twenty-four coloured engravings by T.
Rowlandson. 8vo. London: Published by R. Ackermann, at the Repository
of Arts.

    What various views of our uncertain state
    These playful, unassuming rhymes relate!--ANON.

Introduction to the history of _Quæ Genus_.--'The favour which has
been bestowed on the different tours of Doctor Syntax has encouraged
the writer of them to give a "History of the Foundling," who has been
thought an interesting object in the latter of those volumes, and it is
written in the same style and manner, with a view to connect it with
them.

'This child of chance, it is presumed, is led through a track of life
not unsuited to the peculiarity of his condition and character, while
its varieties, as in the former works, are represented by the pencil of
Mr. Rowlandson with its accustomed characteristic felicity.

'The idea of an English _Gil Blas_ predominated through the whole of
this volume, which must be considered as fortunate in no common degree,
if its readers, in the course of their perusal, should be disposed to
acknowledge even a remote similitude to the incomparable works of Le
Sage.

                                                           'THE AUTHOR.

    '_Johnny Quæ Genus!_ What a name
    To offer to the voice of Fame!

           *       *       *       *       *

    But howsoe'er the thing we view,
    Our little Johnny's title's new:
    Or for the child, or for the man,
    In an old phrase, 'tis _spick_ and _span_.
    Besides, as most folks do agree,
    To find a charm in novelty,
    'Tis the first time that grammar rule,
    Which makes boys tremble when at school,
    Did with the name an union crave
    Which at the font a sponsor gave.
    But whether 'twas in hum'rous mood
    Or by some classic whim pursued,
    Or as, in Eton's Grammar known,
    It bore relation to his own,
    Syntax, it was at Whitsuntide,
    And a short time before he died,
    In pleasant humour, after dinner,
    Surnam'd, in wine, the little sinner.
    And thus, amid the table's roar,
    Gave him, from good old Lilly's store,
    A name which none e'er had before.'

This quotation from the opening of Combe's Hudibrastic narrative will
account for the originality of the hero's eccentric title.

Rowlandson's illustrations are as follows:--

    _Quæ Genus_ on his Journey to London.
         "      in search of Service.
         "      relating his History to Sir Jeffery.
         "      at Oxford.
         "      Conflict with Lawyer Gripeall.
         "      with the Sheep-shearers.
         "      assisting a Traveller.
         "      in the Sports of the Kitchen.
         "      in the Service of Sir Jeffery Gourmand.
         "      with a Quack Doctor.
         "      with a Spendthrift.
         "      attending on a Sporting Finale.
         "      in the Service of a Miser.
         "      and the Money Lenders.
         "      officiating at a Gaming-table.
         "      with a Portrait Painter.
         "      gives a grand party.
         "      interrupts a _tête-à-tête_.
         "      committed, with a riotous dancing party, to the
                Watchhouse.
         "      engaged with jovial friends, or who Sings best.
    The party breaking up, and _Quæ Genus_ breaking down.
    _Quæ Genus_ turned out of a House which he mistakes for his own.
         "      and Creditors.
         "      discovers his Father.

1822. _Rowlandson's Sketches from Nature._

     A View near Richmond. Drawn and etched by Rowlandson. Stradler
     aquatinta.

     A View near Newport, Isle of Wight. Drawn and etched by
     Rowlandson. Stradler aquatinta.

     Temple at Strawberry Hill. Rowlandson del., 1822. Stradler
     aquatinta.

     Stamford, Lincolnshire. Drawn and etched by Rowlandson. Stradler
     aquatinta.

     Taunton Vale, Somersetshire. Drawn and etched by Rowlandson.
     Stradler aquatinta.

     The Seat of M. Mitchell Esq., Hengar, Cornwall. Drawn and etched
     by Rowlandson. Stradler aquatinta.

     West Loo, Cornwall. Drawn and etched by Rowlandson.

     Village of St. Udy, Cornwall. Drawn and etched by Rowlandson.
     Stradler aquatinta.

     A view in Devonshire. Drawn and etched by Rowlandson. Stradler
     aquatinta.

     View near Bridport, Dorsetshire. Drawn and etched by Rowlandson.

     Fowey, Cornwall. Drawn and etched by Rowlandson. Stradler
     aquatinta.

     View on the River Camel, Cornwall. Drawn and etched by Rowlandson.

     A View in Camelford, Cornwall. Drawn and etched by Rowlandson.
     Stradler aquatinta.

     A Cottage in the Duchy of Cornwall. Drawn and etched by
     Rowlandson. Stradler aquatinta.

     View at Blisland, near Bodmin, Cornwall. Drawn and etched by
     Rowlandson.

     Clearing a Wreck on the north coast of Cornwall. Drawn and etched
     by Rowlandson.

     Rouler Moor, Cornwall. Drawn and etched by Rowlandson.

1822. _The Third Tour of Doctor Syntax. In Search of a Wife._ Royal
8vo., with 25 Illustrations by Thomas Rowlandson. Published by R.
Ackermann. (See description of _Doctor Syntax's Three Tours_, 1812.)

1822. _Die Reise des Doktor Syntax, um das Malerische aufzusuchen. Ein
Gedicht frei aus dem Englischen ins Deutsche übertragen._ Lith. v. F.
E. Rademacher, Berlin. (See description of _The Three Tours of Doctor
Syntax_, 1812.)

1822. _Crimes of the Clergy._ 8vo. Two plates by Thomas Rowlandson.



1823.


_June 13, 1823._ _Not at Home, or a Disappointed Dinner-hunter._
Published by John Fairburn. Broadway, Ludgate Hill.--The dinner-hunter,
evidently a well-to-do but miserly person, to whom avarice dictates
the pursuit of the victuals of his acquaintances, has called at the
well-appointed house of a friend at the exact dinner-hour, since a boy
from an adjacent public-house is handing in the beer; but the footman,
who recognises the visitor's object, is prepared with the chilling
information, 'Not at home.' On the opposite side of the street is
represented an _à la mode_ beef shop, to which sundry stout diners
are resorting. The execution of this plate is above the average, the
etching being worked out with both care and spirit. A companion print,
executed with similar finish, was issued by the same publisher.

_June 19, 1823._ _An Old Poacher Caught in a Snare._--The old poacher
has evidently come on a dangerous quest, and is fairly trapped.
The object of his snares, a handsome and elegantly-drawn lady, is
thrusting the old sinner, suddenly disturbed by the unexpected return
of the husband, into the embrasure of the fireplace, and endeavouring
to conceal the marauder with the board which was used to close the
chimneypiece. The injured spouse has evidently been out hunting, and
has purposely returned on a more particular quest; whip in hand, he
is bursting into the room. The hat and stick of the hoary poacher are
thrown to the ground, and the hunter's hounds are tearing in on a good
scent which promises fitting retribution to be dealt on the head of the
detected evil-doer.

1823. _Hot Goose, Cabbage, and Cucumbers._

_September 18, 1823._ _The Chance-seller of the Exchequer Putting
an Extinguisher on Lotteries._ Published by Tom Brown, Peter
Street, Westminster.--The Chancellor of the Exchequer is literally
extinguishing Fortune, who is represented as a comely and youthful
winged female holding a well-filled purse in one hand and a lottery
prize for 2,000_l._ in the other. At her feet are caskets of gems and
jewels; she is seated on well-filled sacks; behind her is the wheel
of fortune. A crowd of Bluecoat Boys are urging their entreaties.
'Come, madam,' cries the Chancellor, 'put on your nightcap.' A chorus
of cries of disappointment proceeds from a mob of persons in front.
One agonised lady of elegant exterior is praying: 'Stop; let me get a
prize first.' A laundress, pointing to the washing-tub, cries, 'Let
her alone; take off the soap tax.' 'Shut up the subscription houses,'
urges another. A cobbler shouts, 'Give us a lottery, and no leather
tax;' another cries out, 'No tax on tallow,' and a parson denounces
horse-racing. On the column behind Madame Fortune suggestive placards
are pasted: 'Races, King's Cup,' 'Reform Parliament, Public Morals,'
and '_Fudge: a Farce_.' Various Ministerial and Parliamentary critics
are discussing the new measure. One is saying, 'Little Van [Vansittart]
knew better than to abolish a voluntary tax;' another is pointing out,
'He's only a young Chancellor;' while a third, alluding to the popular
outcry in relation to existing imposts, remarks, 'Hear, hear! I knew
they'd grumble.' A less disinterested party is taking the opportunity
to secure prize bags, gold-dust 'pickings and fillings' from the upset
of Fortune's cornucopia; he cries, 'Persevere, and the saints shall
praise you.'

1823. _Third Tour of Doctor Syntax._ Royal 8vo.

1823. _The Three Tours of Doctor Syntax._ Pocket edition, 3 vols. 16mo.
(See description of _The Three Tours of Doctor Syntax_, 1812.)

1823. _Oliver Goldsmith. The Vicar of Wakefield._ 8vo. Illustrated with
24 plates by Thomas Rowlandson. (See 1817.)

1823. _C. M. Westmacott. The Spirit of the Public Journals for the
years 1823-4-5._ 3 vols. 8vo. (See 1825.)

1823. _The Toothache, or Torment and Torture._--The village
Jack-of-all-trades, a very imposing, grave, and learned professor in
appearance, is drawn in the exercise of one branch of his multifarious
vocations. A stout wench has called in to have an obstinate grinder
dragged out of her head; '_torment and torture_' are mild terms for
the operation. The patient is seated in the chair of agony. Factotum's
assistant, a lad whose offices seem as diversified as those of his
master, has brought an elegant pair of horse-pliers for the delicate
process of extraction. A dog is setting up a sympathetic howl;
this animal is one of the grotesque nondescripts which Rowlandson
delighted to depict after his own theories, careless whether literal
critics, unfamiliar with his admirable studies after nature, took upon
themselves to assert that he could not master the drawing of animals.
From the agonised expression which the artist has succeeded in throwing
into the canine features it would appear as if Toby was also a patient
attending the dentist's tender offices in his turn. An old country
dame who is also distracted with a raging molar is waiting without.
One branch of our friend's business is obviously flourishing. Although
the rustic practitioner does not display his diploma from the College
of Surgeons, or his licence to kill by authority, he has nailed up
a certificate with which, it is probable, he is equally satisfied:
'_Barnaby Factotum; Draws Teeth, Bleeds and Shaves; Wigs made here;
also Sausages. Wash Balls, Black Puddings, Scotch Pills, Powder for
the Itch, Red Herrings, Breeches Balls, and Small Beer by the Maker.
'In Utrumque Paratus.'_ There is an air of verisimilitude about this
advertisement which reads like an actual transcript.

[Illustration: THE TOOTHACHE, OR TORMENT AND TORTURE.]



1825.


1825. _Bernard Blackmantle. The Spirit of the Public Journals for
the Year 1824. With Explanatory Notes by C. M. Westmacott._ With
illustrations on wood by T. Rowlandson, R. and G. Cruikshank, Lane, and
Findlay. London: Published by Sherwood, Jones, & Co., Paternoster Row.

_Advertisement._--In the preliminary notice the editor, Mr. Westmacott,
specially alludes to the assistance given by our artist: 'It is with
some degree of pride the editor requests his reader's examination of
the illustrations to this volume, combining as they do specimens of
the first graphic humour of the time; not the least admirable of which
are eleven original designs by the veteran Rowlandson, whose facetious
pencil appears to acquire additional richness with his lengthened
years. For these the editor is more indebted to _personal friendship_
than _motives of interest_, and they are therefore in his estimation
doubly valuable.'

_Designs by T. Rowlandson._

Vignette to title.--A group of little Cupids, harnessed, and drawing a
car of classic shape, loaded with contributions from the newspapers--

    The choicest fancies, grave and gay,
    They register'd from day to day.

     Mrs. Ramsbottom in the Packet. ('Mrs. Ramsbottom's Tour,' _John
     Bull_.)

     Ill-requited Love, or Miss Hannah Maria Juliana Shum. ('Sketches
     at Bow Street,' _Herald_.)

     Two at a Time, or Irish Accidents. ('Sketches at Bow Street,'
     _Bell's Life in London_.)

     The Petticoat Whip, or a Lift for Love. ('Sketches at Bow Street,'
     _Bell's Life in London_.)

     The Charley's Mistake, or Royalty Doubly Endangered. (_Bell's Life
     in London._)

     Teddy the Tailor, or a Troublesome Customer. ('Sketches at Bow
     Street,' _Bell's Life in London_.)

     The Man-of-War's Man, or Sketches of Society. ('Greenwich
     Hospital,' _Literary Gazette_.)

     The Mayor of Portsmouth and the Horse Witness.

     The Bold Dragoon, or the Adventure of my Grandfather. ('Tales of a
     Traveller,' _News of Literature and Fashion_.)

     Sporting Extraordinary, or Cockney Comicalities. By Charley
     Eastup. (_Annals of Sporting and Fashion._)

[Illustration: R.--A.--YS OF GENIUS REFLECTING ON THE TRUE LINE OF
BEAUTY]

1825. _Bernard Blackmantle_ (Charles Molloy Westmacott). _The English
Spy._ The illustrations designed by Robert Cruikshank. In two volumes.
London, 8vo. Plate 32. _R.--A.--ys of Genius Reflecting on the True
Line of Beauty at the Life Academy, Somerset House._ By Thomas
Rowlandson.--This plate, which is dated June 1, 1824 (published by
Sherwood & Jones), was not, we fancy, designed expressly for the
_English Spy_, as we cannot fail to recognise it as an adaptation of
a very spirited caricature by the artist belonging to a considerably
earlier period, and described as _Drawing from the Nude_. In the
original the students are dressed in the costume of some forty years
anterior to 1824; their quainter persons are delineated with more
grotesque spirit and boldness of treatment. Be this as it may, whether
Rowlandson has obliged his friend Westmacott by adding new figures,
or whether the original design has been otherwise supplemented with
later portraits, the female model remains much as she is found in the
larger drawing. The artists, who are working from the life in this
more modern version, are chiefly Royal Academicians, as far as the
privileged circle is concerned, and the portraits are studied with
care. M. A. Shee is seated on the ground; one of the Landseers is
above him; the person of Benjamin West, arrayed in decorous black,
with his knee-breeches, silk stockings, and laced frill, bears a
resemblance to a Court physician; Westmacott, Jones, Chantrey, and
half a dozen other artists, evident likenesses, are portrayed with a
certain attention to securing resemblance. In the right-hand corner,
standing at an easel, is the figure of B. R. Haydon; and seated between
this unfortunate artist and the fair model is another student, on
whose drawing-board are the initials 'C. W.,' which may be intended
as a complimentary introduction of the person of Charles Westmacott,
the author of the publication in question. This plate, which is a
highly interesting addition to Blackmantle's _English Spy_, is the
only full-page illustration due to the caricaturist; and Mr. William
Bates, B.A., commenting on this contribution in an interesting sketch
of Rowlandson's works, pronounces it decisively 'the best plate in the
work.' The first volume contains numerous vignettes on wood, which
the index describes as being 'from original designs by Cruikshank,
Rowlandson, Gillray, and Finlay, engraved by Bonner and Hughes.' These
engravings are neither signed nor ascribed to the respective designers
mentioned in the index; but, as far as we can trace, very little is
offered of Rowlandson's beyond the advertisement of his name.



1831.


                            THE HUMOURIST.

      A COMPANION FOR THE CHRISTMAS FIRESIDE. BY W. H. HARRISON.

                  _Embellished by Fifty Engravings,
           exclusive of numerous Vignettes from Designs by_

                      THE LATE THOMAS ROWLANDSON.

            LONDON: PUBLISHED BY R. ACKERMANN, 96 STRAND;
                    AND SOLD BY R. ACKERMANN, JUN.,
                       191 REGENT STREET, 1831.

The author, in his preface, thus refers to the circumstances under
which these illustrations by a deceased artist have been imported into
an annual:--

'Of the embellishments to which, after the manner of annuals in
general, the matter has been adapted, it will be a sufficient
recommendation to state that the designs have been carefully selected
from a great variety of original drawings by the late Mr. Rowlandson,
the humour of whose pencil has been long universally acknowledged,
and no expense has been spared to render the engravings worthy of the
subjects.'

The principal illustrations are as follows:--

    Frontispiece. _The Humourist and her Crew._--The model of a ship,
    drawn by a donkey, followed by an escort of seamen, who have
    severally lost a leg in the service of their country; they are
    singing lustily, and appealing to the charitably inclined.

    Vignette. _The Doctors Puzzled._--A circle of grave practitioners.

      "    "    " A learned consultation.

      "    Death pounding a mortar, as the apothecary's assistant.
    ('Great allowance to dealers in quack medicines.') This subject
    occurs in the _Dance of Death_ (1814).

    I have a secret art to cure
    Each malady which men endure.

_Uncle Timothy._--A fat equestrian trying to mount a restive steed.

Vignette. Umbrella flirtations on horseback.

_The March of Intellect._--A bibliophilist doctor rummaging a bookstall.

_The Man of Business._--A grave curmudgeon turning his back on the
beguilements of certain pretty oyster-wenches at their stall.

_The Rivals._--A scene outside the premises of Dorothy Dump,
clear-starcher, and the box of a tailor. The knight of the thimble
has thrust his head out of his narrow window, while he listens in
consternation to the railings of the elderly clear-starcher, who is
jealously disputing the right of a young and buxomly-developed fair to
the attentions of the 'snip' their neighbour.

_An Enemy bearing down: Hope in the distance._--An enraged bull is
throwing various rural pedestrians into commotion. A stout lady is
endeavouring to escape over a stile; a one-legged veteran is hurrying
her movements, as his own position is becoming precarious; and a young
damsel is left sprawling on the grass; meanwhile the infuriated brute
is receiving a check from a dog, which he is endeavouring to toss.

_Too Hot and too Late._--Several stout Sunday excursionists, at various
distances apart, are toiling up a hill in the broiling midday sun to
reach a suburban tavern, where is held, as was the custom at that
period, an ordinary on holidays for the benefit of Cockney travellers.
A stout pedestrian, mopping his forehead, and followed by his panting
dog, who takes after his master in obesity, is at the bottom of the
hill; the pair are evidently epicures, and the prospect of the ascent
with the probability of arriving only to find the viands swept away
by the eager appetites of earlier arrivals is evidently filling their
minds with dread.

_Fire and Water._--A riverside alehouse; customers on benches,
indulging in pots and pipes. A waterman, who is probably indebted
to the alewife, is receiving a warm reception on the ground of
unliquidated scores of long standing which he has attempted to increase.

_Steering._--An old admiral, driving his wife in a curricle, has some
difficulty in restraining the skittishness of a pair of badly-trained
steeds, whose eccentric career is threatening the whole concern with
annihilation.

_Bar Practice._--Interior of a tavern, guests at tables; in the front
of the picture is the saloon; a showy counter-maid is compounding a
bowl of punch for a brace of customers, a military and a sporting buck,
who are leaning over the bar and exchanging pleasantries with the
landlady.

_Getting Cash for Notes._--A blind Scotch bagpiper, going his rounds
of the country, is passing a cottage; certain charitable damsels, who
are clustered about the portal are acknowledging the piper's notes with
coppers.

_A Timekeeper._--A Doctor of Music, in his robes, is beating time
with a roll of music, and conducting a mixed choir of girls and lads;
all the members of the party are evidently bawling their utmost and
straining their tuneful throats.

_The Italian Scribe. An out-of-doors Amanuensis._--A similar subject to
that represented in the _Letters from Italy_, republished as _Naples
and the Campagna Felice_ (1809-13). (See _The Letter Writer_, 1815.)

_Love in a Box._--A Hebrew gentleman, evidently a Shylock, is
gravely trudging along the ways of some Continental city--it may
be Venice--with a bunch of keys in his hand; three picturesque and
Masaniello-like looking porters are in his train, one is bearing a
trunk, and two are carrying, suspended on a pole, a large square
receptacle, the contents of which are implied to be of a romantic
nature.

_The Pleasures of Solitude._--An old gourmand is solacing his solitary
state of dining by an excess of creature-comforts; his servants are
bringing in fresh courses to add to a selection of dishes already amply
sufficient for the needs of an individual, and his butler is supplying
him with wine on an excessive scale.

_Rich and Poor._--A pensioner, minus a leg, and otherwise under the
'slings of adverse fortune,' has called to solicit some trifling
assistance from a wealthy sybarite; the poor man's exertions in the
representation of his case seem thrown away, as the person solicited is
so deaf to his eloquence that, even with the assistance of a trumpet,
he fails to hear the appeal of the suitor.

_Village Politicians._--The wiseheads of the hamlet are portentously
discussing the contents of a news sheet in the vicinity of the sign of
the 'Bugle Horn.'

_A Disciplinarian._--A Zantippe of a wife, with a flood of invective,
is driving her cowed husband before her, whose advance is further
accelerated by the liberal exercise of a stout cudgel, which is raining
strokes on the bent back of the unmanned and overawed victim.

_An Admirer._--A comely maiden, standing with her pitcher beside a
pump, is asking assistance to raise her load of an idiotic rustic
dandy, who is staring and grinning his imbecile admiration with a face
marvellously well fitted to fill a horse-collar, but who does not
otherwise respond to the girl's request.

_The Cow Doctor._--A consultation over the condition of a suffering cow.

_Taking a Horse to Water._--In this case, it rather seems, the steeds
are taking their riders there and leaving them--soused in the brook.

_Lost and Won._--A gaily-apparelled nymph is leaning over the palings
of a waterside landing-stage. A waterman is looking on in dudgeon;
he is evidently the 'loser;' whilst the fickle fair is making tender
demonstrations in favour of a dashing young soldier, whose uniform and
martial trim have evidently won the changeable lady's heart.

_A Man of Colour._--At the portico of a villa stands the black butler,
who is emptying a plateful of victuals into the apron of a comely
female tramp, with a child slung on her back; the _darkie_ is evidently
moved by the attractions of the gipsy, since his face expresses the
most unqualified admiration for her personal allurements.

_Civic Enjoyments._--A dinner party assembled in a Guildhall. The
health of the entertainer is being uproariously received as a 'standing
toast' with full-charged bumpers.

_A Siege._--A highly genteel, youthful, and elegantly clad
lady--whether maid or widow it is difficult to determine--is
surrounded by a crowd of suitors, recruited from pretty nearly all the
professions, and of all ages and sizes. The object of this profuse
idolatry, perfectly unmoved, is waving off her too presumptuous
assailants, whose assiduities interfere with her comfort.

_Recruiting._--A party of soldiers on ''listing' service in a country
town have secured certain volunteers. One of the new recruits, a
sprightly damsel, is creating no little consternation in the breasts of
the villagers by joining the troopers' march; a cobbler and a tailor,
armed with the implements of their trade, are offering some show of
resistance to the abduction of this Helen by a smart young Paris 'in
the line;' but these deserted swains are kept at a respectful distance
by the bayonet of the gay Lothario's comrade.

_Knowledge of the World._--A village pedagogue is instructing his
pupils in that elaborate branch of fashionable education (according
to school prospectuses at the beginning of the century), 'the use of
the globes.' Certain mischievous urchins are taking advantage of the
preceptor's preoccupation to insert quill pens into the 'Busby' wig of
the learned Doctor.

_Modern Antiquities._--A variation of the larger engraving on this
subject published (by Tegg) under the same title.

_A Man of Taste._--A fat old voluptuary, in a 'nautical rig,' in
person not unlike (and probably expressly designed for) the convivial
and yachting alderman, Sir William Curtis, is critically inspecting
through his eyeglass a small selection of shellfish held out for his
gratification by a pretty shrimper-maid of pronounced personal graces.

_Looking a Broadside._--A stout party of the old school, of great
breadth and solidity, is looking daggers at a dandified fop of the
period, a mere scarecrow of a figure, who is 'quizzing' the substantial
piece of antiquity through a spyglass. The indignation of the old boy
is barely appeased by the soothing caresses of a tender and pretty
maiden who is clinging to the incensed veteran.

_Credulity._--A fashionable, elegant, and good-looking lady is seated
at her breakfast-table, while her maid is arranging the apartment. A
messenger or letter-carrier has just brought a _billet-doux_, which the
confiding beauty is eagerly perusing.

_Indecision._--An obese prebendary, his gouty limb supported on
cushions, is in all the perplexities of _embarras de choix_; one maiden
is bringing in poultry, as appropriate to the day's dinner, shortly to
follow in due course; and a fish-girl has offered an equally attractive
choice of fish. The arrival of these luxuries and the necessity of
selecting between them is vexing the soul of the good man.

_Spoiling a Cloak and Making a Fortune._--Another version of the
traditional episode of the gallant Raleigh laying down his mantle
at the feet of his sovereign lady Queen Elizabeth to bridge over an
undesirable crossing.

_A Military Salute._--A gallant officer engaged in amorous dalliance
with a tender-hearted fair, who is leaning out of a cottage window
to receive the courtesies of the dashing warrior. Another version
of _Kissing for Love, or Captain Careless Shot Flying by a Girl of
Fifteen, who unexpectedly popped her Head out of a Casement_ (May 1810).

_A Bagman._--A tired commercial traveller, cloaked, booted, and
spurred, is alighting at the 'Woolpack;' his horse is taken to
the stable; his saddle-bag is under his arm; and the buxom and
broadly-expanded hostess of the inn is standing at the portal to bid
the weary pilgrim welcome.

_Obtaining the Countenance of the Minister._--An Italian itinerant
vendor of 'images' is offering a citizen the chance of purchasing the
head of the Government on easy terms, as far as his plaster bust is
concerned.

_Training._--A jockey, with his saddle strapped on his back, ready to
mount for the race, is receiving the final and special instructions of
his patron, a venerable and evidently deep file, well versed in the
iniquities of the turf, whose face wears an expression of experienced
and long-trained cunning. Another version of _Tricks of the Turf, or
Settling how to Lose a Race_ (1821).

_An Exhibition._--The fashionable attendants at a gallery of pictures.
All the spectators are lost in wonder and admiration at the collection
of paintings. The figure of the Duke of Gloucester is 'taken off,' with
that of other visitors. A partial transcript of the _Portrait Painters
Gallery.--Adventures of Johnnie Quæ Genus_.

_A Banquet._--Three _convives_ are enjoying their soup, seated in a
sort of supper-box; the French _chef_ is prominently shown before his
cooking-range, busied in the compounding of some extensive _pot au feu_.

_The Ratcatcher._--As the title expresses, the figure of a professional
ratcatcher, with a cage full of prisoners, which he is exhibiting to
a venerable couple--probably his employers; his dogs are excited at
the prospect of the sport. Another version of Rowlandson's _London
Characters_.

_A Court Day._--A small rendering of _A Levée at St. James's Palace_.
The Beef-eaters are on duty, and crowds of courtiers and distinguished
representatives, clerical, military, diplomatic, civil, foreign, &c.,
are proceeding through the reception-room for the privilege of making
their bow to royalty.

_A Dark Prospect._--A master-sweeper and his lad are seated, on their
soot-bags, by the can of a pretty and picturesquely-attired dairymaid,
who has supplied the dark customers with cups of 'clean milk from the
cow.'

_Symptoms of a Dinner._--A meeting of dignified prelates of the Church;
amongst the company are certain bigwigs, bishops, who are received with
flattering deference by the lower clergy. Two eager members of the
cloth, more set on the serious gratifications of a Convocation festival
than the empty ceremonial courtesies of the hour, are examining a
sun-dial in the foreground and comparing it with their watches, in
expectation of dinner-time.

_The Studio._--A painter, in Court costume, is daubing away boldly
at his picture, surrounded at a respectful distance by a circle of
_dilettanti_ connoisseurs, all of whom sport spectacles or eyeglasses;
these critical spectators are engaged in cold contemplation of the work
before them.

_Vignette._--A second group of _cognoscenti_, whose faces in this case
express more interest and admiration, and justly so, since the work
before them appeals to their tenderest susceptibilities; it is one they
can all appreciate--a lively turtle, ready to be converted into real
soup. A number of clergymen are following the lead of their bishop,
who, excellent man, is evidently longing to bless the good things which
beneficent Nature has here provided for the faithful.

_Hydrophobia: the Church in Danger._--A pastor is running his hardest,
pursued by a dog, which we are to suppose is suffering from _rabies_;
the venerable prelate is doing his best to keep in advance of his
pursuer, who in turn is followed by a _possé_ of eager philanthropists,
armed with pitchforks, flails, spits, pokers, choppers, shovels, and
even pistols and guns, which are being discharged ineffectually, as the
dog is managing to keep ahead of his would-be executioners.

_The Way to Fill a Wherry._--A party, including the fair, have secured
their places in a wherry at the riverside; the waterman is taking
in one more customer before starting, an elephantine and venerable
gentleman, whose advent has filled the occupants of the bark with
alarm, the aquatic party evidently anticipating that they will be
swamped at the very least by the ponderous weight of the last comer,
who is vainly trying to find a seat in the boat without capsizing it.

_A View of the Coast._--A village inn, with a blind fiddler and his
daughter stationed upon the green outside; almost identical with the
subject published by Ackermann in Rowlandson's _World in Miniature_
(see April 1, 1816).

_Operatives._--The title of this plate goes by contraries.
_Inoperatives_ should be the description. A pair of soakers are sunk
in heavy slumber over the table of the taproom; a brace of industrious
working-men, whose ambitions in the direction of exertion are limited
to 'raising their elbows,' 'tilting measures,' 'reducing the liquid
contents of receptacles for intoxicants,' and similar performances of
an anti-temperance order.

_Home, Sweet Home._--A drunken convivialist is, pipe in hand,
unconsciously approaching the spot whose praises he is tipsily
chaunting, quite unprepared for the reception that is awaiting his
roystering at the hands of his outraged and furiously indignant wife,
who is anticipating his arrival with a cane prudently provided in
advance for further arguments upon the _douceurs_ of his rooftree.

The last print in Volume I. of _The Humourist_ is a vignette
representing a bench of fox-hunting justices, who have gone fast asleep
in their respective armchairs, their legs on the table; bottles and
bowls strewing the floor, and their dogs, scattered around, sunk in
sleep as heavy as that indulged in by their masters. A transcript of
the plate _Johnny Quæ Genus Attending on a Sporting Finale--Adventures
of Johnny Quæ Genus_ (1832).

The illustrations to Volume II. of _The Humourist_ are supplied by
another hand. It does not contain any further rendering of subjects
after Rowlandson.



CHRONOLOGICAL SUMMARY OF SUBJECTS

SOCIAL AND POLITICAL CARICATURES,

ENGRAVED BY OR AFTER

THOMAS ROWLANDSON.

_WITH HIS CONTRIBUTIONS TO BOOK ILLUSTRATION

IN THE ORDER OF PUBLICATION._



SUMMARY OF ROWLANDSON'S CARICATURES.


1774.

  June 8.  A Rotation Office. Pub. by H. Humphrey, Bond St.

     "     The Village Doctor. Do.


1780.

  Mar.     Special Pleading. Pub. by A. McKenzie, 101 Berwick
           Street, Soho.

  July 18. The School of Eloquence. Probably designed by
           Rowlandson, and badly etched by some one unknown.
           Pub. by Archibald Robertson, Savile
           Passage.

           Scene at Streatham. Bozzi and Piozzi.

  Sept. 1. Italian Affectation. (Real characters.) Pub. by T.
           Rowlandson and J. Jones, at 103 Wardour Street,
           Soho.

              How happy could I be with either
              Were t'other dear charmer away.--_Brookes._

       18. Sir Samuel House. Do.

                 Do.         Do.

  Nov. 13. Naval Triumph, or Favours Conferred.


1781.

  June 30. The Power of Reflection. I. Harris, Sweeting's
           Alley, Cornhill.

  Oct. 28. E O, or the Fashionable Vowels.

  Nov. 27. Brothers of the Whip. A. Grant del.

       27. Charity Covereth a Multitude of Sins. H. Humphrey,
           18 New Bond Street.

  Dec.     The State Watchman Discovered by the Genius
           of Britain Studying Plans for the Reduction of
           America.

  (N.D.)   Luxury.

  (N.D.)   Bob Derry of Newmarket.


1783.

  Feb. 11. Long Sermons and Long Stories are apt to Lull the
           Senses. Pub. by W. Humphrey.

  Oct. 17. Amputation. Republished. (See 1793.)

  (N.D.)   The Rhedarium. (1783?)

  (N.D.)   Interior of a Clockmaker's Shop. (1783?)

           The Discovery. (Political.)

  Dec. 22. Great Cry and Little Wool.

           The Times. Regency of the Prince.

           Scene in a farce called the Quaker.

           Two New Slides for the State Magic Lantern.


1784.

  Jan. 1.  The Pit of Acheron, or the Birth of the Plagues
           of England.

       4.  The Fall of Dagon, or Rare News for Leadenhall
           Street.

       7.  The Loves of the Fox and the Badger, or the
           Coalition Wedding.

      19.  His Highness the Protector.

      23.  The Times, or a View of the Old House in Little
           Britain.

      24.  A Sketch from Nature.

  Feb.     Long Sermons and Long Sieges are apt to lull the
           senses.

  Feb. 3.  The Infant Hercules.

       "   Britannia Roused, or the Coalition Monsters
           Destroyed.

       7.  Billy Lackbeard and Charley Blackbeard Playing
           at Football.

  Mar. 1.  The Apostate Jack Robinson, Political Ratcatcher.

       3.  A Peep into Friar Bacon's Study.

       8.  Master Billy's Procession to Grocers' Hall.

      11.  The Champion of the People.

      26.  The State Auction.

      29.  The Drum-Major of Sedition.

      30.  Sir Cecil's Budget for Paying the National Debt.

      31.  The Hanoverian Horse and the British Lion.

  April 1. The Duenna and Little Isaac.

        3. The Two Patriotic Duchesses on their Canvass.
           (Duchesses of Portland and Devonshire.)

        4. The Incurable. 'My Lodging is on the Cold Ground.'

        8. The Rival Candidates.

       10. The Parody, or Mother Cole and Loader. (Vide
           Foote's 'Minor,' p. 29.)

       12. The Poll.

       12. The Devonshire, or most Approved Method of
           Securing Votes.

       12. The Westminster Watchman.

       14. Lords of the Bedchamber.

       20. The Covent Garden Nightmare.

       22. King's Place, or a View of Mr. Fox's Best Friends.

       22. The Wit's Last Stake, or Cobbling Voters and
           Abject Canvassers.

       22. Madame Blubber on her Canvass. (See verses.)

       22. Political Affection.

       23. Reynard put to his Shifts.

       29. Madame Blubber's Last Shift, or the Aerostatic
           Dilly.

       29. The Case is Altered.

       30. Procession to the Hustings.

  May 1.   Every Man has his Hobbyhorse.

      4.   _La Politesse Française_, or the English Ladies' Petition
           to his Excellency the Mushroom Ambassador.

      4.   Wisdom Led by Virtue and Prudence to the
           Temple of Fame.

     11.   The Westminster Mendicant.

     11.   A Coat of Arms. Dedicated to the newly-created
           Earl of Lonsdale.

     12.   A New Insect. A Buck. (It is not certain the
           print is by Rowlandson.)

     18.   The Westminster Deserter Drummed out of the
           Regiment.

     18.   Preceptor and Pupil--

              Not Satan to the ear of Eve
              Did e'er such pious counsel give.

     18.   The Departure.

     18.   Secret Influence Directing the New Parliament.

     20.   For the Benefit of the Champion.

     25.   Liberty and Fame Introducing Female Patriotism
           (Duchess of Devonshire) to Britannia.

     28.   The Petitioning Candidate for Westminster--

              From the heath-covered mountains of Scotia I come.

  July 24. 1784, or the Fashions of the Day.

  Aug.  8. The Vicar and Moses. (Song heading.)

  Sept. 5. Manager (Garrick) and Spouter. T. R. Smith, 83
           Oxford Street.

       25. Bookseller and Author. H. Wigstead del., S. Alken
           fec. Pub. by S. W. Fores. (Repub. July 1,
           1802.)

       25. The Historian Animating the Mind of a Young
           Painter.

  (N.D.)   English Curiosity, or the Foreigner Stared out of
           Countenance. (Republished. See 1794.)

  (N.D.)   Counsellor and Client.

  Nov. 1.  New-invented Elastic Breeches. Nixon inv. Pub.
           by W. Humphrey.

       8.  Money Lenders.

       8.  Apollo and Daphne. (Broderip and Wilkinson.)

      25.  The Minister's A---- (_Vide_ 'Gazetteer,' Nov. 11.)

      25.  A Peasant Playing the Flute. After J. Mortimer.

           Opening a Vein.

           Lunardi. (See 1785.)

  Dec. 10. Anticipation. (Chr. Atkinson, Contractor, in the
           Pillory.)

       10. The Rhedarium. (See 1783.)

       10. Colonel Topham Endeavouring with his Squirt to
           Extinguish the Genius of Holman. (See 1785.)

       10. Billingsgate.

  (N.D.)   John Stockdale, the Bookselling Blacksmith, one
           of the King's New Friends. (_Vide_ 'Intrepid
           Magazine.')

           Rest from Labour. Sunny Days.

           Miller's Waggon. Pub. by E. Jackson.

           A Timber Waggon. Do.

           Country Cart-horses. Do.

           Dray-horses, Draymen, and Maltsters. Do.

           Higglers' Carts. Do.

           A Postchaise. Do.

           A Cabriolet. Do.

           The Dead-alive. H. W. pl. 1; do. pl. 2.


      ROWLANDSON'S IMITATIONS OF MODERN DRAWINGS. (Folio) 1784-8.

  F. Wheatley.           A Coast Scene.   Fishermen and Fisherwomen.
      Do.                     Do.         The companion.
  Gainsborough.          A Sketch.    Trees, Cottages, &c.
     Do.                 Cattle.  Riverside.
  F. Wheatley.           A Fair.
  Bartolozzi.            A pair of Cupids.
  Barret and Gilpin.     Mares and Foals, &c., in landscape.
     Do.                 Cattle, in landscape.
  Gainsborough.          Landscape sketch.
  Mortimer.              A Storm at Sea.
  Gainsborough.          Cows.
  Zucchi.                Harmony. Two nymphs singing, another playing a
                         lyre.
  Mortimer.              The Philosopher.
  Barret.                Ruins; and a Park.
  Mortimer.              A Study.
  Barret.                Ruins, &c.
  Gainsborough.          A Cottage, &c.
     Do.                 An open landscape.
  Mortimer.              Scene in 'The Tempest,' from Shakspeare. Repub.
                         1801, by J. P. Thompson.
  G. Barret.             Lake Scene.
  Sawrey Gilpin, R.A.    Horses.
  Geo. Holmes.           The Sage and his Pupil.
  Michael Angelo.        Leda and the Swan.
  G. B. Cipriani.        Sleeping Venus and Love.


1785.

           The Times (George III. on throne, &c.).

           A-going--a-going.

           Gone.

  Jan. 7.  The Fall of Achilles.

      24.  Mock Turtle. Pub. by S. W. Fores.

  Mar. 2.  The Golden Apple, or the Modern Paris. Prince
           of Wales, Duchesses of Rutland, Devonshire, and
           Gordon. Pub. by J. Phillips, 164 Piccadilly.

       3.  The Admiring Jew. Etched 1784.

       7.  Defeat of the High and Mighty Balissimo and his
           Cecilian Forces on the Plains of St. Martin's.

  Mar. 27. The Surprising Irish Giant of St. James's Street.

  Apr. 12. The Wonderful Pig.

  May 27.  The Waterfall, or an Error in Judgment. Originally
           pub. May 27, 1784.

  June 28. Vauxhall Gardens. Aquatinta by F. Jukes; eng.
           by R. Pollard. Pub. by J. R. Smith.

  July 1.  Comfort in the Gout. Repub. by T. R., July 1, 1802.

      24.  The Slang Society.

  Aug. 11. Introduction.

       11. Colonel Topham Endeavouring with his Squirt to
           Extinguish the Genius of Holman. (See Dec.
           1784.)

  Sept. 5. Aerostation out at Elbows. Vincent Lunardi.

       30. Too Many for a Jew. S. Alken, Soho.

           The Consultation.

           The Convocation.

  Oct. 1.  An Essay on the Sublime and Beautiful.

       1.  The Maiden Speech. (Companion.)

       1.  A Cully pillaged.

       1.  Copperplate Printers at Work.

       1.  A Bed-warmer. H. Wigstead del.

       1.  Temptation. Do.

       1.  Grog on Board. (See Jan. 1794.)

       1.  Tea on Shore.

       5.  Captain Epilogue (Cap. Topham) to the Wells
           (Mrs. Wells).

  Nov. 24. Persons and Property Protected by Authority.

       28. Doctors Differ. Pub. by S. W. Fores.

       30. The Sad Discovery, or the Graceless Apprentice.
           Pub. by J. R. Smith, 83 Oxford Street.

       30. Intrusion on Study, or the Painter Disturbed.

       31. Jockeyship. Pub. by J. R. Smith.

       31. An Italian Family. (Repub. 1792.)

       31. A French Family. (Rep. 1790.)

  Dec. 15. Courtship in High Life. H. Wigstead del.

       15. Rustic Courtship. Do.

       15. City Courtship.

       15. Filial Affection, or a Trip to Gretna Green.

       17. Reconciliation, or the Return from Scotland.

       21. Botheration. T. R. Alken. Dedicated to the
           Gentlemen of the Bar. Pub. by W. Hunter.

       21. The Loss of Eden, and Eden Lost. Gen. Arnold,
           and Eden, Lord Auckland.

           Sympathy, or a Family on a Journey.

           John Gilpin's Return to London. Designed and
           executed by H. Wigstead; aqua., F. Jukes.

           Harmony. Effects of Harmony.

  (N.D.)   Discord (?)

           Tastes Differ.

           Nap in the Country.

           Nap in Town. (Companion.)

           Sea Amusement, or Commander-in-Chief of 'Cup
           and Ball' on a Cruize.

  Dec. 26. French Travelling, or the First Stage from Calais.

       26. English Travelling, or the First Stage from Dover.

  (N.D.)   Toying and Trifling.

  1785 (?) Opera Boxes. (Four plates.)


1786.

  Jan. 1.  'The Supplemental Magazine.' S. W. Fores.

       1.  Private Amusement. (Repeat.) Do.

       5.  Box-Lobby Loungers. Desig. H. Wigstead. Pub.
           by J. R. Smith, 83 Oxford Street.

      13.  Love and Learning, or the Oxford Scholar.

  Feb. 10. Sketch of Politics in Europe. Birthday of the
           King of Prussia. Toasts on the occasion.

  Mar.  6. La Négligé. Desig. by 'Simplex Mundities.' Executed
           by T. R. Pub. by S. W. Fores.

        7. Captain Epilogue. (Repeated, with the addition of
           a notice-board, 'A Prospectus for the World and
           Fashionable Advertiser.')

        7. An Ordnance Dream, or Planning Fortifications.

        7. Luxury. Misery.

        8. The Morning Dram.

           The Polish Dwarf (Borowlowski), Performing
           before the Grand Seigneur.

       29. The Sorrows of Werter.

           The Last Interview.

  April 1. The Vicar and Moses.

        1. The Dying Patient, or the Doctor's Last Fee. Pub.
           by H. Brookes, Coventry Street.

  (N.D.)   Brewers' Drays.

  (N.D.)   Youth and Age (?)--Contrasts.

  (N.D.)   Sailors Carousing (?)

           Return from Sport.

  May 1.   The panting Lover. Pub. by J. Phillips.

      6.   A Theatrical Chymist. (Holman _versus_ Topham.)

           More of Werter. The Separation: Charlotte preserved
           from Destruction by Albert and Hymen,
           whilst Werter in an access of frenzy puts an
           end to his existence. Designed by Collings.

      6.   A Box-Lobby Hero: the Branded Bully, or the Ass
           Stripped of the Lion's Skin.

  June 5.  College Jockies: The Landlord sweating for his
           cattle.

       5.  Slyboots.

  July 20. Covent Garden Theatre.

  Sept. 1. _Outré_ Compliments.

       25. The Tythe Pig.

  Oct.  1. The Jovial Crew. S. W. Fores.

       20. A Visit to the Uncle. E. Jackson, Marylebone
           Street. (See 1794.)

       20. A Visit to the Aunt. Do. (See 1794.)

       20. The pretty Barmaid.

       20. The Putney Disaster, or Symptoms of Ducking.

  Nov. 20. Music hath charms to soothe the savage breast.

  Dec. 30. The Word-eater. (Fox.) (See 1788.)

           Scottifying the Palate.

           Boswell, J., the Elder. Twenty Caricatures by
           T. R., in illustration of Boswell's Journal of a
           Tour in the Hebrides. Sm. folio. Pub. by E.
           Jackson, Marylebone Street.

           Illustrations to Poems of Peter Pindar (Dr. Wolcot).
           4to., ed., 1786-92. Printed for G. Kearsley.

  Dec. 28. The Bachelor.

           The Married Man. H. Wigstead: S. Alken fecit.


1787.

  Jan. 1.  London Refinement.

       1.  Country Simplicity.

           Going out in the morning. Scene, Windsor Forest.

           The Dinner. Drawing signed 'T. R.,' 1787. Repub.
           1798. (See 1798.)

      11.  Uncle George and Black Dick at their New Game
           of Naval Shuttlecock.--

              Cooks, scullions, hear me, every mother's son.--_Peter
              Pindar._

           Is this your Louse?

              And now his lifted eyes the ceiling sought.--_Peter
              Pindar._

           Peter's Pension. ('Peter Pindar.')

           Odes for the New Year. do.

           The Triumph of Sentiment. } Pub. by Jackson.
           The Triumph of Hypocrisy. }

           Transplanting of Teeth. Pub. by J. Harris, 37 Dean
           Street, Soho. (Baron Ron.)

           Post Inn.

           Country Inn.

           A Blacksmith's Shop.

           A Country Inn. Pub. by J. Harris.

           The Fisherman's Family. Do.

           Shoeing--The Village Forge.

           A Stage Coach. Repub. 1803.

           A Postchaise. Aquatint.

           A Rural Halt.

           Haymakers.

           Brewer's Dray; Country Inn.

  May 9.   The Brain-sucker, or the Miseries of Authorship.

  Aug. 1.  A College Scene, or a Fruitless Attempt on the
           Purse of Old Square-Toes. Eng. by E. Williams.

           Polygamy, ditto.

  Oct. 15. Stage Coach Setting out from a Posting-house.

           Cribbage Players.

       18. Tragedy Spectators. Pub. by T. R. as the Act
           directs, 50 Poland Street. (Repub. Oct. 8, 1789.)

           Comedy Spectators. Do.

           Love in the East.

       26. A Cribbage Party in St. Giles's disturbed by a press gang.

  Nov. 5.  Reformation, or the Wonderful Effects of a
           Proclamation.

  1787 (?) Art of Scaling.

           Embarking from Brighthelmstone to Dieppe.

           A Coast Scene. Rising Gale.

           Deer Hunting. A landscape scene.

           Fox Hunting. Companion.

  Dec. 15. Post Boys and Post Horses at the 'White Hart
  1787 (?) Inn.' Pub. by J. Harris.

  Dec. 15. Modish. Pub. by S. W. Fores.

           Prudent. Do.

       18. A Travelling Knife-Grinder at a Cottage Door.

           View on the French Coast.

           A Peep at St. James's.

           Civility.

           Mad Bull on Westminster Bridge.

           Going out in the Morning.

           Returned from a Fox Chase.

           The Welcome Home.


1788.

           The Meet. Hunting Morning. (One of series.)

           The Run.

           In at the Death.

           The Dinner.

  Feb. 20. The Humours of St. Giles's. Pub. by Harmer,
           engraver, 161 Piccadilly.

  Mar. 1.  The Hypochondriac. Desig. by James Dunthorne.
           Pub. by T. Rowlandson, 50 Poland Street.

       6.  The Q. A. Loaded with the Spoils of India.

      29.  Ague and Fever. Designed by James Dunthorne.
           Pub. by T. Rowlandson, Poland Street.

           'Ah! let me, Sire, refuse it, I implore.' ('Peter
           Pindar.')

  Apr. 16. The Political Hydra. (Fox.)

  July 9.  Going to Ride St. George. A Pantomime lately
           performed at Kensington before their Majesties.

      22.  Old Cantwell Canvassing for Lord Janus (Hood).

  July 27. Effects of the Ninth Day's Express from Covent
           Garden just Arrived at Cheltenham. (Lord John
           Townshend.)

           Housebreakers. Repub. Aug. 1, 1791, by S. W.
           Fores, 3 Piccadilly.

  (N.D.)   Love and Dust.

           Scavenger's Cart.

  Aug. 1.  The School for Scandal. Pub. by V. M. Picot.

  Nov. 22. False Courage (a duel). S. W. Fores.

       25. Filial Piety. (P. W. and George III.)

           Englishmen in November.--Frenchmen in November.
           Pub. by S. W. Fores.

       29. Lust and Avarice. Pub. by Wm. Rowlandson,
           49 Broad Street, Bloomsbury.

           Luxury and Desire. Do.

  Dec. 20. The Prospect before us. (Half-a-Crown Regency.)

       29. A Touch at the Times.

           The English Address. Wigstead. (T. R.)

           Stage Coach Setting Down at the Dolphin Inn.

           An Epicure. (A Nice Fish?) Repub. 1801.

           A Comfortable Nap in a Postchaise.

           A Fencing Match.

       30. The Word-eater. (Fox.) (See 1786.)

           Sir Jeffery Dunstan Presenting an address from
           the Corporation of Garratt.

           Dressing for a Birthday.

       31. Blue and Buff Loyalty. (Dr. Munro.)

           A Night Auction.

           A Print Sale. (Hutchins, auctioneer, and his wife.)

  1788 (?) The Pea-cart.

           Simon and Iphigenia.


1789.

  Jan. 1.  The Vice-Queen's Delivery at the Old Soldiers'
           Hospital in Dublin.

       8.  The Modern Egbert, or the King of Kings.

      16.  A Coronation in Pall Mall.

      21.  Loose Principles.

      28.  Suitable Restrictions. (Traces of Rowlandson's
           style.)

           The Pitt Fall.

           State Butchers.

           Neddy's Black Box.

      30.  The Propagation of a Truth. Long Slip. (13
           figures.)

           Grog on Board. Signed date 1789. (See 1785.)

           Tea on Shore. Pub. by S. W. Fores. Do.

  Feb. 1.  Hare Hunting. S. W. Fores.

           The Death.

           The Breakfast.

       1.  Careless Attention. Pub. by J. Griggs, 216 Holborn.

       7.  A New Speaker.

       7.  Britannia's Support, or the Conspirators Defeated.

           Chelsea Reach.

           Bay of Biscay.

           Hospital for Lunatics.

      15.  Going in State to the House of Peers, or a Piece
           of English Magnificence.

  Mar. 6.  A Sweating for Opposition. By Dr. Willis,
           Dominiswealy & Co.

       7.  The Irish Ambassadors Extraordinary: a Galantee
           Show.

      10.  Edward the Black Prince Receiving Homage.
           (Traces of T. R.'s style.)

  Mar. 13. Agreeable Companions in a Postchaise. (Comp.
           to Comfortable Nap in a Postchaise) 1788.

       15. Irish Ambassadors Extraordinary.

       16.       Do.             do.     Return, or Bulls
           without Horns.

  Apr. 1.  Interruption, or Inconveniences of a Lodging
           House. (1789?)

       4.  The Rochester Address, or the Corporation going
           to Eat Roast Pork and Oysters with the Regent.

      29.  The Grand Procession to St. Paul's on St. George's
           Day, 1789. Etched by T. R., aqua. by Aiken.
           Pub. 1790, by Messrs. Robinson.

           Don't he Deserve it? Pub. by W. Holland.

           She don't Deserve it. Do., 50 Oxford Street.

           Domestic Shaving.

           A Penny Barber.

           A Brace of Blackguards.

  June 20. A Sufferer for Decency.

  1789 (?) Racing Series. The Course.

    "      Racing Series. The Betting Post.

    "      Racing Series. The Mount.

    "      Racing Series. The Start.

  July 20. The High-mettled Racer. S. W. Fores.

  (N.D.)   Filial Affection, or a Trip to Gretna Green. (See
            1785.)

  Aug. 4.  A Fresh Breeze.

           A Cart Race. Plate dated 1788.

  Oct. 8.  Tragedy Spectators.}
                              } (See 1787.)
           Comedy Spectators. }

      23.  An Antiquarian. Pub. by Wm. Holland, 50 Oxford
           Street.

           A Visit to the Tombs in Westminster Abbey.

      24.  Sergeant Recruiter. (Duc d'Orleans.)

  Nov.     La Place des Victoires, à Paris. Aqua. by S. Alken.

           A Dull Husband.

      29.  Mercury and his Advocates Defeated, or Vegetable
           Intrenchment.


1790.

           Beatrice fishing for a Coronet.

  Jan. 1.  Tithe Pig.

       1.  A Butcher.

       1.  A Roadside Inn.

      10.  Frog Hunting.

  Feb. 20. Repeal of the Test Act. Fores' Museum.

           Toxophilites. Pub. by E. Harding, 132 Fleet
           Street. (See 1791.)

           Dressing for a Masquerade (Cyprians).

           Dressing for a Birthday (Ladies).

           A French Family. (See An Italian Family, 1792.)

  Mar.     A Kick-up at a Hazard Table. (Large plate.)

  May 29.  Who Kills First for a Crown.

           Philip Quarrel (Thicknesse), the English Hermit,
           &c.

           An Excursion to Brighthelmstone, made in the
           year 1782, by Henry Wigstead and Thomas Rowlandson,
           with eight engravings by T. R. Pub.
           by Geo. and J. Robinson.

  June 1.  Race Ground, Brighton. (Oblong folio, 1790).
           Alken fecit. Pub. by Robinsons, Paternoster Row.

       1.  Saloon at the Pavilion, Brighton.

  1790(?)  Waiting for Dinner.

    "      At Dinner.

    "      After Dinner.

    "      Preparing for Supper.

    "      Fox-Hunters Relaxing.

  1790 (?) Evening. (about 1790.)

           A Christening.

           The Duenna and Little Isaac. Engd. by W. P.
           Carey.

  Aug. 6.  Sheets of Picturesque Etchings.--Cattle at the
           River. The Horse Race. A View in Cornwall.
           The River, Towing Barges, &c. Rustic Refreshment.
           Winter Pastime: Skating on a frozen
           River.

  Sept. 1. A Dressing Room at Brighton.

  Oct. 20. Four o'clock in Town. Pub. by S. W. Fores.

       20. Four o'clock in the Country. Do.

           Vide 'Benevolent Epistle to Sylvanus Urban'--

              With anger foaming and of vengeance full,
              Why belloweth John Nichols like a Bull?

           A series of miniature groups and scenes; pub. by
           M. L., Brightelmstone, and H. Brookes, Coventry
           Street, London.

           Smollett (Tobias) Miscellaneous Works, &c. Six
           vols. 8vo. Plates by Rowlandson. Edinburgh.
           (First collected edition.)

           Rowlandson's Outlines, in 16 plates. Folio.
           Published at Fores' caricature warehouse, 'where
           may be seen the completest collection of caricatures
           in the kingdom, also the Head and Hand
           of Count Struenzee.--Admittance one shilling.'

              Plates   1-4, dated March 8, 1790.
              Plates   5-8,   "   June 18-20, 1790.
                                  June 27-30.
              Plates  9-12,   "   Jan.-Aug. 1791.
              Plates 13-14,   "   June 1, 1792.


1791.

  Jan. 13. The Prospect before us. (Pantheon.)

       13. The Prospect before us. (Companion.)

       30. Toxophilites (large plate). Pub. by E. Harding.
           (See 1790.)

       31. Sheets of picturesque etchings.--A Four in Hand.
           The Village Dance. The Woodman Returning.
           River Scene, Mill, Shipping, &c. Pub. by S. W.
           Fores.

       31. Sheets of picturesque etchings.--Huntsmen Visiting
           the Kennels. Haymakers Returning. Deer
           in a Park, Cattle, &c. Shepherds. Horses in a
           Paddock. Cattle Watering at a Pond. A Piggery.
           Pub. by S. W. Fores.

           Traffic ('Old Clo'men.') (See 1794.)

  Feb.  4. Chaos is come again. (Companion.)

  Mar.  1. The Attack.

       22. Bardolph Badgered, or the Portland Hunt. (? Row.)

  Apr. 12. An Imperial Stride. (? Rowlandson or West.)

       25. The Grand Battle between the famous English
           Cock and Russian Hen. (? Rowlandson.)

  May  16. The Volcano of Opposition.

       17. The Ghosts of Mirabeau and Dr. Price Appearing to
           Old Loyola.

       18. A Little Tighter. Pub. by S. W. Fores.

           A Little Bigger. Do.

           Cold Broth and Calamity.

  June 28. The Grand Monarque Discovered, or the Royal
           Fugitives Turning Tail. Pub. by S. W. Fores.

  Aug.  1. Housebreakers. (Etched, dated 1788.)

        1. Damp Sheets.

  Aug. 12. English Barracks. Pub. by S. W. Fores. Aqua. by
           T. Malton.

       12. French Barracks. S. W. Fores. Aqua. T. Malton.

  Oct. 28. Slugs in a Sawpit.

  Nov. 22. How to Escape Winning.

           How to Escape Losing.

  1791(?)  Angelo's Fencing Room. (See Memoirs.)

  (N.D.) 1791 (?) A Four in Hand.

  1791 (?) Inn Yard on Fire.

    "      A Squall in Hyde Park.

    "      Illustrations to Fielding's 'Tom Jones.' Pub. by
           J. Siebbald, Edinburgh. (Repub. 1805.)

           Délices de la Grand Bretagne. Two plates by
           Rowlandson. Pub. by Wm. Birch, Hampstead
           Heath.


1792.

  Jan.  1. St. James's and St. Giles's.

           Oddities. Wigstead.

        1.    Do.       do.

        1. The Bank. Pub. by T. Rowlandson, Strand.

  Feb.     Work for Doctors' Commons.

  Mar.     A Dutch Academy. T. R., 52 Strand.

  Apr.  1. A Lying-in Visit.

  May  29. Six Stages of Marring a Face. Dedicated to the
           Duke of Hamilton.

       29. Six Stages of Mending a face. S. W. F. Dedicated
           to the Rt. Hon. Lady Archer.

  June.    Ruins of the Pantheon after the Fire which
           happened Jan. 14, 1792. Rowlandson and Wigstead
           del., Strand.

  July 18. The Chairmen's Terror.

           Leaving a Levée, St. James's Palace. Pub. by
           T. Rowlandson, 52 Strand.

  Aug.  1. 'Roderick Random.' Lieut. Bowling Pleading
           the Cause of Young Roy to his Grandfather.

       11. Ditto. The Passengers from the Waggon Arriving
           at the Inn.

  Oct.  1. On her Last Legs.

  Nov.  5. English Travelling, or the First Stage from Dover.
           (See companion, Dec. 26, 1785.)

           French Travelling, or the First Stage from Calais.
           (See 1785.)

        5. Studious Gluttons.

        5. Convocation. S. W. F.

        5. Philosophy run Mad, or a Stupendous Monument
           to Human Wisdom.

  (N. D.)  Art of Scaling.

           Fielding, H. Adventures of Joseph Andrews and
           his Friend, Mr. A. Adams. 8vo.

  Nov.  5. An Italian Family. (Pub. 1785.) See A French
           Family (companion, 1790).

        5. The Grandpapa. Wigstead. (See 1794.)

        5. Cold Broth and Calamity.

        5. Botheration. Dedicated to the Gentlemen of the
           Bar. (See 1785.)

        5. The Hypochondriac. Desgd. by James Dunthorne.
           (See 1788. Ague and Fever.)

       25. Benevolence.

  Dec.  1. Beauties. Pub. by S. W. Fores.

           The Contrast, 1792. Which is Best? (British
           Liberty, French do.) Pub. Jan. 1, 1793. Desgd.
           by Lord Geo. Murray.


1793.

  Jan. 1.  The Old Angel, at Islington. Pub. by S. W. Fores,
           3 Piccadilly.

       8.  Reform Advised, Reform Begun, Reform Complete.

           New Shoes. Pub. by S. W. Fores.

           Major Topham (of the World) and the Rising Genius
           of Holman. (See 1785.)

           Three Illustrations to Smollett. Pub. by J. Siebbald.
           (See 1791.)

  May 25.  A Tit-bit for the Bugs. S. W. F.

      25.  Melopoyn (a distressed poet) and the Manager.
           Pub. by J. Siebbald.

  Oct.     A Council of War Interrupted. 'Narrative of the
           War,' p. 101. (See 1796.)

       17. Amputation. (1785.) Repub. S. W. F., 1793.

  1790, 1791, 1792 & 1793. Book plates, pub. by J. Siebbald.
           (See 1791.)

           Smollett, T. 'Expedition of Humphrey Clinker.'
           Ten plates by Rowlandson.


1794.

  Jan. 1.  The Grandpapa. H. Wigstead.

       1.  Grog on Board.}
                         } (See 1785.)
       1.  Tea on Shore. }

       1.  English Curiosity. (See 1784.)

       1.  A Ballooning Scene. Aquatint.

       1.  Series of small Landscapes. Do.

      17.  St. James's, St. Giles's. (See 1792.)

  July (?) New Shoes. S W. F. Date on etching, 1793.

  Sept. 25. An Old Maid in Search of a Flea. S. M. U. inv., R.
            fecit.

  Dec. 16. Traffic. S. W. F., 3 Piccadilly.

       16. Comforts of High Living. Pub. by S. W. Fores,
           3 Piccadilly.

       18. Village Cavalry Practising in a Farmyard. G. M.
           Woodward. Rowlandson fec.

       18. Jews at Luncheon.

       20. A Visit to the Uncle. S. W. F. Aqua. by F. Jukes.
           (See 1786.)

       20. A Visit to the Aunt. Do. (See 1786.)

       20. Luxury and Misery. (See 1786.) S. W. Fores.

       20. An Early Lesson of Marching. Woodward del.
           Pub. by S. W. F.

       28. Bad News on the Stock Exchange.


1795.

           Harmony (and Love, 1796).

           Effects of Harmony.

  Nov. 24. A Master of the Ceremonies Introducing a Partner.
           Pub. by S. W. F.


1796.

           S. Alan Gardiner.

           Drawing by Rowlandson. Lord Salisbury, King
           of Würtemburg, and Duke of Gloucester.

           Love.

           An Accurate and Impartial Narrative of the War.
           1793, 1794, 1795, &c. From drawings made on
           the spot by an Officer in the Guards.

  June 15. The Detection. H. Wigstead. Pub. by S. W.
           Fores.


1797.

  Jan. 1.  Spiritual Lovers. Pub. by Hooper & Wigstead, 12
           High Holborn.

           A Theatrical Candidate.

  Aug. 1.  Feyge Dam, with part of the Fish Market at Amsterdam.
           Rowlandson del., Wright and Schultz
           fecit. Pub. by Ackermann, Strand.

       1.  Stadthouse, Amsterdam.

       1.  Place de Mer, Antwerp.

       1.  Companion view: Amsterdam. Rowlandson del.,
           Wright and Schultz fecit. Pub. by Ackermann,
           Strand.

           Dutch Merchants. Sketched at Amsterdam.

           Tiens bien ton Bonnet, et toi, defends ta Queue.
           'Rollandson,' invt. P. W. Tomkins scul.

           Cupid's Magic Lantern. Desd. by Woodward,
           etched by T. Rowlandson. (12 plates.)

           Waggon and Horses. The Feathers. Pub. by
           Laurie & Whittle. (See 1787.) Repub. 1803.


1798.

  Jan. 12. The Dinner (Hunt). Etched 1787, repub. 1798.

       12. The Comforts of Bath. (12 plates.)

  Apr. 1.  Views of London, No. 3. Entrance of Tottenham
           Court Road Turnpike, with a view of St. James's
           Chapel, Rowlandson del., Schultz sculp. Pub.
           at Ackermann's Gallery.

       1.  Views of London, No. 4. Entrance of Oxford
           Street, or Tyburn Turnpike, with a view of Park
           Lane.

       1.  Views of London, No. 5. Entrance from Mile End,
           or Whitechapel Turnpike.

  May 1.   She will be a Soldier. Schultz sculp.

           He won't be a Soldier. Pub. by R. Ackermann.

  June 1.  Views of London, No. 6. Entrance from Hackney
           or Cambridge Heath Turnpike, with a distant
           view of St. Paul's.

      10.  An Extraordinary Scene on the Road from London
           to Portsmouth.

  July 18. Light Horse Volunteers of London and Westminster,
           Reviewed by His Majesty on Wimbledon
           Common, July 5, 1798.

  Aug.     Soldiers Recruiting. Ackermann's, 101, Strand.

           Privates Drilling. Do.

           Halt at a Cottage Door. Do.

  Sept. 1. The Advantage of Shifting the Leg.

        1. The Consequence of not Shifting the Leg. Pub.
           by H. Angelo.

  Oct. 15. The Glorious Victory obtained over the French
           Fleet off the Nile, August 1, 1798, by the gallant
           Admiral Lord Nelson of the Nile. Pub. by R.
           Ackermann.

       20. Admiral Nelson Recruiting with his Brave Tars
           after the Glorious Battle of the Nile. Ackermann's,
           Strand.

           An Amorous Turk.

  Nov. 12. High Fun for John Bull, or the Republicans put
           to their Last Shift. Pub. by Ackermann.

           Annals of Horsemanship; with 17 copperplates,
           by Bunbury. Engraved by Rowlandson, pub. by
           W. Wigstead.

  The Academy for Grown Horsemen; with 12 copperplates,
           by Bunbury. Engraved by Rowlandson,
           pub. by W. Wigstead.

           Love in Caricature; with 11 plates by Rowlandson.
           Pub. by W. Wigstead, Charing Cross.

           The Discovery.


1799.

  Jan.  1. Cries of London (a series):--
             1. 'Buy a Trap--a Rat-trap.'
             2. 'Buy my fat Goose.'
             3. Last Dying Speech and Confession.
             4. 'Do you want any Brickdust?'

  Feb.  1. A Charm for a Democracy. 'Anti-Jacobin.'

       10. An Artist Travelling in Wales.

           Delineations of Nautical Characters, in 10 plates.
           Pub. by Ackermann.

           An etching after Raphael Urbino.

           Apollo, Lyra, and Daphne.

  Mar.  1. Cries of London:--
             5. 'Watercresses.'
             6. 'All a-growing.'
             7. 'Flowers for your Garden.'
             8. 'Hot Cross Buns--Two a Penny--Buns.'

           An Irish Howl. 'Anti-Jacobin Review.'

  Apr. 10. St. Giles's Courtship.

           St. James's Courtship. Pub. by R. Ackermann.

  May   1. For the 'Anti-Jacobin Review.' A Peep into the
           Retreat at Tinnechurch (United Irish).

           View of a Cathedral Town on Market-day.

       10. Borders for Rooms and Screens, slips. Woodward
           del., Rowlandson sc. Pub. by Ackermann. 24
           sheets.

  June 20. Borders for Halls. Do.

       20. Connoisseurs. Pub. by S. W. Fores.

       20. The Loyal Volunteers of London. 87 plates by T.
           Rowlandson. Pub. R. Ackermann.

       20. Hungarian and Highland Broadsword Exercise.
           Etched under the direction of H. Angelo and
           Son. Oblong folio. 24 plates.

  Aug.  1. Two Upright Sheets of Borders for Halls. Do.

           Two Upright Sheets of Borders for Halls. Do.

           A Game at Put in the Country Alehouse. G. M.
           Woodward invt. Pub. by R. Ackermann.

        1. Waddling Out. Woodward invt. Pub. by R.
           Ackermann.

        1. Horse Accomplishments:--
             1. A Paviour.
             2. An Astronomer.
             3. A Civilian.

        1. A Devotee.

       10. Comforts of the City. A Good Speculation. Woodward
           del., Rowlandson sc.

       10. Do. A Bad Speculation. Do.

       12. Procession of a Country Corporation.

  Sept.    Bay of Biscay. Repub. from 1789.

        3. Forget and Forgive, or Honest Jack Shaking Hands
           with an Old Acquaintance.

       20. The Irish Baronet and his Nurse. Woodward del.,
           Rowlandson sc.

  Oct.  1. The Gull and the Rook. Pub. by Hixon, 355 Strand.

           The Crow and the Pigeon.   Do.

           Twopenny Cribbage. G. Woodward invt. Pub. by
           Ackermann.

       28. A Note of Hand?

  (N.D.)   Legerdemain. H. Bunbury del.

  Nov.  1. 'Good Night.' Woodward del., Rowlandson sc.,
           Pub. by Ackermann.

        1. March to the Camp. Pub. by T. Rowlandson, 1
           James Street, Adelphi.

           Bartholomew Fair.

           A Visit to the Camp.

        5. A Bankrupt Cart, or the Road to Ruin in the East.
           Woodward del.

           A Dasher, or the Road to Ruin in the West.
           Woodward del.

  1799 (?) Loose Thoughts.

    "      The Bookbinder's Wife.

    "      The Nursery.

    "      A Freshwater Salute.

    "      A Ride to Rumford.

    "      City Fowlers. Mark. H. Bunbury del., Row. sc.

    "      The City Hunt.  Do., do.

    "      Cits Airing themselves on Sunday. H. Bunbury
           del., Rowlandson sc.

    "      A Grinning Match. H. Bunbury del., Row. sc.

    "      A Militia Meeting. Do., do.

    "      Distress. Pub. by Palser.

    "      Une Bonne Bouche.


1800.

  Jan.  2. A French Ordinary. S. W. Fores. (See 1804.)

       20. Washing Trotters. Hixon, 355, near Exeter 'Change,
           Strand.

       21. Acute Pain.               Woodward del., Rowlandson fec.
            1. Desire. (No. 1.)      Woodward del., Rowlandson fec.
            2. Attention.            Woodward del., Rowlandson fec.
            3. Hatred or Jealousy.   Woodward del., Rowlandson fec.
            4. Admiration with Astonishment. Woodward del.,
                                                    Rowlandson fec.
            5. Veneration.           Woodward del., Rowlandson fec.
            6. Rapture.              Woodward del., Rowlandson fec.
            7. Desire. (No. 2.)      Woodward del., Rowlandson fec.
            8. Joy with Tranquillity.Woodward del., Rowlandson fec.
            9. Laughter.             Woodward del., Rowlandson fec.
           10. Acute pain.           Woodward del., Rowlandson fec.
           11. Simple Bodily Pain.   Woodward del., Rowlandson fec.
           12. Sadness.              Woodward del., Rowlandson fec.
           13. Weeping.              Woodward del., Rowlandson fec.
           14. Compassion.           Woodward del., Rowlandson fec.
           15. Scorn.                Woodward del., Rowlandson fec.
           16. Horror.               Woodward del., Rowlandson fec.
           17. Terror.               Woodward del., Rowlandson fec.
           18. Anger.                Woodward del., Rowlandson fec.
           20. Despair.              Woodward del., Rowlandson fec.

  Feb. 14. Beef à la Mode.

  Mar.  6. Doctor Botherum, the Mountebank.

       12. Humbugging, or Raising the Devil. Ackermann.

       12. Hocus Pocus, or Searching for the Philosopher's
           Stone. Ackermann.

  April 1. A Ghost in the Wine Cellar.

        1. Caricature Medallions for Screens. Pub. by R.
           Ackermann, Strand.

       20. Hearts for the Year 1800. Woodward inv., Rowlandson
           sculp. Pub. by R. Ackermann, Strand.

  May   1. Cash. Pub. by R. Ackermann.

        1. Bills of Exchange. Do.

       12. Melopoyn Haranguing the Prisoners in the Fleet.
           Hogarthian Novelist. Pl. 5.

  May  12. Captain Bowling Introduced to Narcissa. Do.
           Pl. 6.

       20. A Skipping Academy. G. M. Woodward inv.,
           Rowlandson sculp. Pub. by R. Ackermann,
           Strand.

  June.    Sketches at the Oratorio. G. M. Woodward inv.,
           Rowlandson sculp.

        4. Britannia's Protection, or Loyalty Triumphant.

        4. Pictures of Prejudice. Woodward del., Rowlandson
           sc. Pub. by R. Ackermann.

       20. A Silly. Pub. by R. Ackermann.

       26. A Sulky. Do.

  July 25. Collar'd Pork.

       25. The Pleasures of Margate:--

             _Morning._--Breakfast at Michiner's Grand Hotel.

             _Noon._--Dining. Do.

             _Evening._--A Drive on the Sands.

             _Night._--At the Bazaars, Raffling for Prizes,
             Flirtation, &c. Pub. by R. Ackermann.

  (O.D.)   The Tuileries in Paris.

  Aug. 20. Summer Amusement, a Game at Bowls. T. R.,
           1 James Street, Adelphi.

       20. Sailors Regaling. Pub. by T. Rowlandson, 1 James
           Street, Adelphi.

       30. Gratification of the Senses _à la mode Française_.
            (Seeing, Tasting, Hearing, Smelling, Feeling.)

  Oct.  1. The Newspaper. G. M. Woodward inv., Rowlandson
           sculp. Pub. by R. Ackermann.

       29. Grotesque Border for Rooms and Halls. Woodward
           del., Row. sc. Three strips. Ackermann.

  (N.D.)   Do. Two upright strips, Screens.

  Oct. 25. Do. Three long strips.

  (N.D.)   Two upright strips.

           Sterne. The Beauties of Sterne, with a plate by
           Rowlandson. 12mo.

           Henry Wigstead. Remarks on a Tour to North
           and South Wales in the year 1797, by Henry
           Wigstead. With plates by Rowlandson, Pugh,
           Howitt, &c. Pub. by Wigstead.

           Yorick Feeling the Grisette's Pulse.

           Series of Attributes:--
             Philosophorum.    Fancyana.          Epicurium.
             Penserosa.        Tally-ho-rum!      Allegoria.
             Physicorum.       Nunno.             Publicorum.
             Funeralorum.      Virginia.          Hazardorum.
             Battlerorum.      Billingsgatura.    Traflicorum.
             Barberorum.       Flor.              Lawyerorum.

           A Peep into Bethlehem.

           Matrimonial Comforts. A series. Woodward del., Rowlandson
           sc.:--
              1. The Dinner spoiled.
              2. Late Hours.
              3. Anonymous Letter.
              4. A Return from a Walk.
              5. Killing with Kindness.
              6. A Fashionable Suit.
              7. Washing Day.
              8. A Curtain Lecture.

           Country Characters. A series. Woodward del.,
           Rowlandson sc.:--
              1. A Publican.
              2. A Justice.
              3. A Barber.
              4. Footman.
              5. Tax-gatherer.
              6. Squire.
              7. Vicar.
              8. Doctor.
              9. Exciseman.
             10. Steward.
             11. Attorney.
             12. London Outrider, or Brother Saddlebag.
                 Pub. by R. Ackermann.


  1800?    Preparations for the Academy. Old Nollekens and
           his Venus.

           Rainbow Tavern, in Fleet Street, in 1800.


1801.

  Jan.  1. An Epicure. Pub. by S. W. Fores. Repub. (See 1788.)

              A nice piece of fish.

        1. A Councillor. Pub. by S. W. Fores.

           A Brace of Public Guardians:--
             Councillor in Court.
             Watchman in Street.

        1. The Union. Ackermann.

           A Money Scrivener. Pub. by S. W. Fores.

           A Jew Broker.

       15. The Brilliants.

       15. Undertakers Regaling. Nixon del. Pub. by R.
           Ackermann.

       20. Symptoms of Sanctity. (R. fecit, 1800.)

       30. Single Combat in Moorfields, or Magnanimous
           Paul O! Challenging All O!

  Feb. 10. The Miser's Prayer. Woodward del., Rowlandson
           sculp. Pub. by Ackermann.

       10. The Old Maid's Prayer.

  Mar. 18. The Union Head-dress. W. del., R. sc. Pub. by R.
           Ackermann.

  Apr.  2. 1. Taste.  2. Fashion. Woodward del., Row. sculp.
           3. Elegance.  4. Fancy.    Do.         do.

  May   1. Boot Polishing. G. M. Woodward. Pub. by R.
           Ackermann.

           The Epicure's Prayer.

           The Lottery Office Keeper's Prayer.

  (O.D.)   Rag Fair.

  June  4. The Maiden's Prayer.

        4. The Widow's Prayer.

           The Miser's Prayer.

  July 12. Light Summer Hat and Fashionable Walking
           Stick. Pub. by Ackermann.

       20. The Toper's Mistake. G. M. Woodward inv. Pub.
           by R. Ackermann.

       25. The Maid of All Work's Prayer.

       30. The Apothecary's Prayer.

           The Quack Doctor's Prayer.

  Aug.  1. The Female Gambler's Prayer.

       10. The Jockey's Prayer.

       10. The Actress's Prayer.

           Here's your Potatoes, Four full Pounds for Two-pence.

           Buy my Moss Roses, or Dainty Sweetbriar.

           Light, your Honour? Coach unhired.

           Pray Remember the Blind.

  Sept.    An Old Member on his way to the House of
           Commons.

        5. Summer Clothing. Pub. by R. Ackermann.

        5. The Cook's Prayer.

       12. The Sailor's Prayer.

  Sept.    A Sailor Mistaken. G. M. Woodward. Pub. by R.
           Ackermann.

       20. Poll of Portsmouth's Prayer.

       20. The Publican's Prayer.

  Dec. 20. Gig Hauling, or Gentlemanly Amusement for the
           Nineteenth Century. G. M. Woodward inv.
           Pub. by R. Ackermann.


1802.

  Feb. 25. Friendly Accommodation. Woodward inv., Rowlandson
           sculp. Pub. by R. Ackermann.

  Mar.  1. The Monstrous Craws, or a New Discovered Animal.
           Pub. by R. Ackermann.

  May   1. A Man of Fashion's Journal.

        1. A Woman of Fashion's Journal.

  May  10. Seven Stages of Man's Schooling:--
             The Nursery.
             Private School.
             Public School.
             University.
             School for Gallantry.
             School for Modern Romans.
             School for Modern Greeks.
           Des. by J. B. W., etd. and pub. by T. Rowlandson.

       20. The Sailor's Journal.

       28. Special Pleaders in the Court of Requests. (Roberts.)

  June 10. How to Pluck a Goose. Etched by T. R. Pub.
           by T. Williamson, 20 Strand.

       15. A Parish Officer's Journal.

       25. _La Fille mal Gardé_, or Jack in the Box. Williamson,
           20 Strand, London.

  July  1. Comfort in the Gout. Etching dated 1785.

        1. A Lady in Limbo, or Jew Bail Rejected.

        1. Sly boots.

        1. Intrusion on Study, or the Painter Disturbed.
           Fores. Pub. originally Nov. 1785.

        1. Jockeyship. Pub. by S. W. Fores.

        1. A Snip in a Rage. Pub. by S. Howitt, Panton St.

       18. The Corporal in Good Quarters.

  Aug. 30. A Musical Family. Pub. by R. Ackermann.

  Sept. 12. Sorrow's Dry, or a Cure for the Heartache. (Repub.
            1811.)

  Nov. 20. Doctor Convex and Lady Concave. Pub. by R.
           Ackermann.

  1802 (?) Hunt the Slipper. Picnic Revels.

           Salt Water.

           Who's Mistress Now? S. Howitt, Panton Street,
           Haymarket.

           Edward Jones (Bard). Bardic Museum of Primitive
           British Literature. Fol. 1802. Coloured frontispiece
           by Rowlandson.

           A Compendious Treatise on Modern Education,
           by T. B. Willyams. Eight plates by Rowlandson.
           Obl. 4to. From Notes by the late Joel M'Cringer,
           D.D.


1803.

  Feb.  1. Signiora Squallina.

           Sweet Lullaby.

           Queer Fish.

           Recruits. (See 1811.)

  Mar.  1. A Catamaran, or an Old Maid's Nursery. Pub. by
           T. Rowlandson, 1 James Street.

  Mar.     Richmond Hill, after H. Bunbury. Pub. by R.
           Ackermann.

           Billiards. Do.

  Apr.  1. Road to Ruin. Pub. by S. W. Fores.

        6. A Diver.

       12. Ducking a Scold.

  May   1. John Bull Listening to the Quarrels of State
           Affairs.

  June 21. A Snug Cabin, or Port Admiral. (See June, 1808.)

  July  1. A Stage Coach.

       10. Flags of Truth and Lies. Pub. by Ackermann.

           A Flat between Two Sharps.


1804.

  Jan.  1. Diana in the Straw, or a Treat for Quornites.
           Pub. by S. W. Fores.

        2. A French Ordinary. Fores.

  May.     A New French Phantasmagoria. (Etching dated
           1805.)

  June  8. Light Volunteers on a March.

        8. Light Infantry Volunteers on a March. Pub. by
           Ackermann.

  July 31. The Imperial Coronation.

  Nov. 31. Theatrical Leap-frog. (Ackermann.)

  Dec. 14. The Death of Madame République.

           Melpomene in the Dumps.

           Joel M'Cringer, D.D., F.R.S. A Compendious
           Treatise of Modern Education, &c. (See 1802.)
           Folio.


1805.

  Feb.  3. Quarterly Duns, or Clamorous Tax-Gatherers.
           Howitt, 3 Wardour Street, Soho.

       25. The Famous Coalheaver, Black Charley, Looking
           into the Mouth of the Wonderful Coal Pit.
           (Ackermann.)

  Apr. 23. The Modern Hercules Clearing the Augean Stables.
           Pub. by Rowlandson, Adelphi.

       23. The Fifth Clause, or Effect of Example. Pub. by
           T. R.

       28. A Scotch Sarcophagus. Do.

  May  15. John Bull's Turnpike Gate. Do.

       25. A Sailor's Will. Woodward inv., Rowlandson
           sculp. Pub. by R. Ackermann.

           A Finishing School.

  July  8. The Scotch Ostrich Seeking Cover. Pub. by Rowlandson,
           Adelphi.

       14. Recovery of a Dormant Title, or a Breeches Maker
           become a Lord. Repub. 1812.

           Antiquarians à la Grecque. Pub. by R. Ackermann.

  Oct.  1. The Departure from the Coast, or the End of the
           Farce of Invasion. (Ackermann.)

        2. John Bull at the Italian Opera.

       30. Raising the Wind.

  Nov. 13. Napoleon Buonaparte in a Fever on Receiving the
           Extraordinary Gazette of Nelson's Victory over
           the Combined Fleets. (Ackermann.)

           H. Fielding. The History of Tom Jones, a Foundling.
           8vo.

           The Sentinel Mistakes Tom Jones for an Apparition.

           Tobias Smollett.--The Adventures of Peregrine
           Pickle. 8vo.

           Views in Cornwall and Dorset. A Series.

  Nov.     Clearing a Wreck on the North Coast of Cornwall.

           A Finishing School.

           Glow Worms. (See July, 1812.)

           Muck Worms.


1806.

  Mar. 15. The Waltz. (See the 'Sorrows of Werter.')

  Apr.  3. An Evergreen.

       16. The Political Hydra. Wigstead. Orig. pub. Dec.
           26, 1788. Rep. new date.

       18. Falstaff and his Followers Vindicating the Property
           Tax. Pub. by T. R., Adelphi.

       20. A Cake in Danger.

           A Select Vestry.

  May.     Recruiting on a Broadbottom'd Principle.

        1. A Maiden Aunt Smelling Fire. Pub. by T. R.,
           repub. 1812.

        4. Daniel Lambert, the Wonderful Great Pumpkin of
           Little Britain. Ackermann.

       31. A Diving Machine on a New Construction. T. R.,
           1 James Street.

  June 20. The Acquittal, or Upsetting the Porter Pot. (Lord
           Melville.) T. R., 1 James Street.

  (O.D.)   A Prize Fight. (See March, 1808.)

  (O.D.)   Butterfly Catcher and the Bed of Tulips.

           Butterfly Hunting. Probably engd. by Williams.

  July 21. Experiments at Dover, or Master Charley's Magic
           Lantern. T. R.

           Anything will do for an Officer.

           View of the Interior of Simon Ward, _alias_ St.
           Brewer's Church, Cornwall.

           A Monkey Merchant.


1807.

  Feb.  1. Miseries of London: 'Going out to Dinner,' &c.
           Ackermann.

        1. Miseries of Travelling--The Overloaded Coach.

        3. The Captain's Account Current of Charge and
           Discharge. Giles Grinagain, 7 Artillery Street,
           London. T. R.

       26. Mrs. Showell. The Woman who shows General
           Guise's Collection of Pictures at Oxford. T. N.
           Esq. Pub. by T. R., 1 St. James Street, Adelphi.

       28. At Home and Abroad! Abroad and at Home! T.
           R., 1 James Street, Adelphi.

  Mar.  1. Enraged Vicar.

  Apr. 18. All the Talents.

       24. A Nincompoop, or Henpecked Husband. Tegg,
           141.

       26. John Rosedale, Mariner. Exhibitor at the Hall of
           Greenwich Hospital.

  May   1. The Pilgrims and the Peas. Des. by Woodward,
           Etd. by Rowlandson.

        3. Scenes at Brighton, or the Miseries of Human
           Life. Pub. by A. Berigo, 38 Maiden Lane,
           Covent Garden, May 3, 1807.

             Pl. 1. Beauty, Music, a few thousands, and
             opportunity given by card tables, often
             feather the adventurer and prove an easy
             introduction to the Miseries of Human Life.

             Pl. 2. Jealousy, rage, disappointment, intrigue,
             and laughter are here pretty much
             exemplified, and afford an old lover a high-seasoned
             taste of the Miseries of Human Life.

           Monastic Fare.--

              No baron or squire, or knight of the shire,
              Lives half so well as a Holy Friar.

  May   6. Song Headings, pub. by Tegg:--Black, Brown, and

           Fair. Des. by Bunbury, etd. by Rowlandson.

        6. The Holy Friar. Des. by Sir E. Bunbury, etd. by
           Rowlandson.

       16. I Smell Rat, or a Rogue in Grain. Ackermann.

       17. The Old Man of the Sea, Sticking to the Shoulders
           of Sindbad the Sailor. _Vide_ the 'Arabian Nights
           Entertainments.' (Burdett and Horne Tooke.)
           Pub. by Tegg.

       25. A White Sergeant Giving the Word of Command.

       29. Comedy in the Country. Tragedy in London.

       30. Song Headings, pub. by Tegg. Platonic Love.
           'None but the Brave Deserve the Fair.' Sir E.
           Bunbury. Etd. by Rowlandson.

  June 12. Miseries Personal: 'After Dinner, when the Ladies
           Retire,' &c. Ackermann.

       15. Song Headings, pub. by Tegg.--Murphy Delaney.
           Woodward del., Rowlandson fecit.

           Easter Hunt--Clearing a Fence.

       18. A View on the Banks of the Thames. Pub. by T.
           Tegg.

  July  1. More Scotchmen, or Johnny Macree Opening his
           New Budget. Pub. by Tegg.

        9. Song Heading, pub. by Tegg. A Cure for Lying
           and a Bad Memory. Woodward del., Row. fecit.

       10. The Double Disaster, or New Cure for Love.
           Row. del. et sculp. Tegg.

           Miseries of the Country.[28]

       14. Easter Monday, or Cockney Hunt.

  Oct.  5. A Mistake at Newmarket, or Sport and Piety.
           Englishman in Paris. H. Bunbury. (1807?)

  (N.D.)   Symptoms of Restiveness. (1807?)

     "     A Calf's Pluck. H. Bunbury. Do.

     "     Rusty Bacon. Do.

     "     A Tour to the Lakes. Do.

  Nov.  9. Thomas Simmons. Drawn from Life. Pub. by T.
           R., 1 James Street.

       10. Directions to Footmen. R. invt. Tegg, 273.

       10. John Bull making Observations on the Comet.
           Woodward del., Row. sculp. Pub. by Tegg.

       20. A Couple of Antiquities: My Aunt and My Uncle.
           Pub. by R. Ackermann.

       21. Song Headings, pub. by Tegg. The Dog and the
           Devil. Woodward del., Rowlandson scul.

  1807 (?) Miseries of Bathing.

           More Miseries, or the Bottom of Mr. Figg's Old
           Whiskey Broke through.

           The Man of Feeling.

           The Pleasures of Human Life. By Hilari Benevolus
           & Co. Pub. by Longmans, 1807. Cr. 8vo.

NOTE: While on a visit in the Hundreds of Essex being under the
necessity of getting dead drunk every day to save your life.


1808.

  Jan.     'The Discovery.' (See 1809.)

           Wild Irish, or Paddy from Cork, with his Coat
           Buttoned Behind. Qy. Acker. or R. pub.

        7. Tom Tack's Ghost. (Song and Heading.) Pub.
           by Tegg, No. 38.
  Jan. 16. Scenes at Brighton, or the Miseries of Human Life.

             Pl. 3. A Blackleg detected secreting cards
             &c., after drawing upon your purse on
             former occasions, is the properest of men to
             run the gauntlet; as he but too often produces
             substantial Miseries for Human Life.

       16.   Pl. 4. Suffering under the last symptoms of
             a dangerous malady, you naturally hope
             relief from medical skill and practice, but
             flying periwigs, brandished canes, and
             clysters, the fear of random cuffs, &c., intrude
             and produce a climax in the Miseries of
             Human Life.

  Mar.  1. Miseries of High Life (Tegg). Briskly stooping
           to Pick up a Lady's fan, &c.

        1. The Green Dragon. Ackermann.

        1. Description of a Boxing Match, June 9, 1806.

  Apr.  1. Soldiers on a March. Des. and pub. by T. R., 1
           James Street, Adelphi.

           Plates to Tegg's Gambado, May 1808. 8vo.

  May   6. The Head of the Poll, or the Wimbledon Showman
           and his Puppet. Pub. by Walker, Cornhill.

       12. The Consultation, or Last Hope.

       21. Volunteer Wit, or not Enough for a Prime. Tegg.

           The Anatomy of Melancholy. Ackermann.

       21. The Mother's Hope. Pub. by Tegg.

           The Microcosm of London, or London in Miniature.
           With 105 Illustrations by Rowlandson
           and Pugin. 3 vols. 4to. R. Ackermann.

  June  4. The Sweet Little Girl that I Love. Pub. by Tegg,
           No. 167. Woodward del., R. sculp.

        4. Odd Fellows from Downing Street Complaining to
           John Bull. Woodward del., R. sculp.

       21. A Snug Cabin, or Port Admiral.

       30. Accommodation, or Lodgings to Let at Portsmouth.
           Woodward del., Rowlandson sc. Tegg, 219.

       30. The Welsh Sailor's Mistake, or Tars in Conversation.
           Tegg, 220.

  July  8. The Corsican Tiger at Bay. Pub. by R. Ackermann.

       10. Billingsgate at Bayonne, or the Imperial Dinner.
           Ackermann.

       12. The Corsican Spider in his Web. Woodward del.
           Rowlandson sc. Pub. by Tegg.

       12. The Corsican Nurse Soothing the Infants of Spain.
           Woodward del., Rowlandson sc. Pub. by Tegg.

       22. The Beast as Described in the Revelations, chap.
           xiii. Resembling Napoleon Buonaparte. G.
           Sauler, Farnham. Pub. by Ackermann.

  Aug. 18. From the Desk to the Throne. A New Quick
           Step by Joseph Buonaparte. The Bass by Messrs.
           Happy and Talley. G. Sauler Farnham. Pub.
           by Ackermann.

       21. King Joe's Retreat from Madrid. Tegg, 53.
           Woodward del., Rowlandson sculp.

       25. Behaviour at Table. Woodward del. 4 subjects.

           Miseries of Human Life. 1 vol. 50 illustrations.
           Small folio.

       27. King Joe on his Spanish Donkey. Woodward del.,
           Row. sculp.

  Sept. 12. A Spanish Passport to France. Ackermann.

        12. The Political Butcher, or Spain Cutting up Buonaparte
            for the Benefit of his Neighbours. G. S.
            Farnham. Ackermann.

  Sept. 15. The Fox and the Grapes. Woodward del., Rowlandson
            sculp. Ackermann.

       17. Prophecy explained:--'And there are seven Kings,
           five are fallen, and one is, and the other is not
           yet come, and when he cometh he must continue
           but a short space.' Ackermann. Row. del.
           and sculp.

       20. Napoleon the Little in a Rage with his great
           French Eagle. Row. del. and sculp. Ackermann.

       24. A Hard Passage, or Boney Playing Bass on the
           Continent. Geo. Sauler Farnham. Ackermann.

       25. King Joe and Co. making the most of their Time
           previous to quitting Madrid.

      29. Nap and his Partner Joe. Row. Tegg, 60.

  Oct.  1. Nap and his Friends in their Glory. Ackermann.

        3. John Bull Arming the Spaniards. Do.

       17. Junot Disgorging his Booty. Do.

       25. A Bill of Fare for Bond Street Epicures. Woodward
           del., engd. by T. R. Tegg.

  Nov.  1.   Get money, money still,
             And then let Virtue follow if she will.

        1. Rum Characters in a Shrubbery.

        1. Doctor Gallipot. 'Throw Physic to the Dogs.'
           (See 1810.)

        1. Wonderfully Mended. Shouldn't have Known you
           again.

        1. The Last Shift.

        1. Breaking Cover.

        1. In Port and out of Port, or News from Portugal.
           Woodward del., Row. sculp. Pub. by Tegg.

       19. The Progress of the Emperor Napoleon. Woodward
           and Rowlandson.

           Votaries of Fashion in the Temple of Folly.

           How to Break a Shop Window with an Umbrella.

           More Miseries, or the Bottom of Mr. Figg's Old
           Whiskey Broke through. (See 1807.)

           How to Walk the Streets. 8vo. 3 illustrations by
           Woodward and Rowlandson.

           Chesterfield Travestie, or School for Modern Manners.
           Ten Cartoons. Engd. by Rowlandson from
           drawings by Woodward. Pub. by T. Tegg.
           1802. 12mo.

           The Art of Ingeniously Tormenting. Pub. by T.
           Tegg.

           The Caricature Magazine, or Hudibrastic Mirror.
           (Continued in 1810, &c.) Pub. by Tegg.

  1808 (?) Bartholomew Fair.

           A British Sailor. Frenchman. Spaniard. Dutchman.
           Pub. by Tegg.

           A Lecture on Heads, by Geo. Alex. Stevens. With
           25 illustrations by Woodward and Rowlandson.
           Pub. by Tegg.

           Beauties of Tom Brown. In one vol.


1809.

           The Discovery. Repub. from 1798.

  Jan. 15. The Head of the Family in Good Humour.
           Tegg, 131. Woodward del., Rowlandson sculp.

       15. The Old Woman's Complaint, or the Greek Alphabet.
           W. del., R. sc. Tegg.

  Feb. 1.  Launching a Frigate. Tegg. Newton del. R.
           sculp.
  Feb.  1. A Traveller Refreshed in a Stagnant Pool after the
           Fatigues of a Dusty Day's Journey. Ackermann.

        1. Mrs. Bundle in a Rage, or Too Late for the Stage.
           Ackermann.

       15. Dissolution of Partnership, or the Industrious
           Mrs. Clarke winding up her Accounts. Rowlandson
           des. and sculp.

       20. Mrs. Clarke's Levée.

       20. The Ambassador of Morocco on a Special Mission.
           Tegg.

       21. Days of Prosperity in Gloucester Place, or a Kept
           Mistress in High Feather. Tegg.

       25. The York Magician Transforming a Footboy into
           a Captain. Tegg. Also known as 'The Magician.'

       26. The Bishop and his Clarke, or a Peep into Paradise.
           Tegg, 93.

       26. All for Love. A Scene at Weymouth.

       26. An Unexpected Meeting. Tegg, 69.

       27. A Pilgrimage from Surrey to Gloucester Place, or
           the Bishop in an Ecstasy. Tegg.

  Mar.  2. A Parliamentary Toast. 'Here's to the Lady,' &c.
           Tegg.

        4. Chelsea Parade, or a Croaking Member Surveying
           the inside and outside of Mrs. Clarke's Premises.
           Tegg.

        5. The Road to Preferment, through Clarke's Passage.
           Tegg.

        5. The York March. Tegg.

        7. The Triumvirate of Gloucester Place, or the Clarke,
           the Soldier, and the Taylor. Tegg 69.

         John Gilpin said, 'Of womenkind I only love but one,
         And thou art she, my dearest dear, therefore it shall be done!'

        8. A Scene from the Tragedy of Cato. Tegg, 69.

        8. Yorkshire Hieroglyphics!! Plate 1. Tegg.

           The Duke's Letter to Mrs. Clarke.

        9. The Burning Shame. Tegg.

       11. Yorkshire Hieroglyphics. Plate Second. Tegg.
           The Duke's Second Letter, to Mrs. Clarke.

       12. The Statue to be Disposed of at Gloucester Place.
           (Tegg.)

       13. A General Discharge, or the Darling Angel's
           Finishing Stroke. Tegg.

           The Duke of York's _Chères Amies_, Mesdames
           Carey, Cook, Sutherland, Gifford, Clarke,
           Shaw, &c.

       15. The Champion of Oakhampton Attacking the Hydra
           of Gloucester Place. Tegg.

             Bellua Multorum es Capitum.--_Hor._

       17. The Parson and the Clarke. Tegg.

       19. Sampson Asleep on the Lap of Delilah. Tegg.

       20. A Mad Dog in a Coffee House.

       24. The Resignation, or John Bull Overwhelmed with
           Grief.

       24. The Prodigal Son's Resignation. Tegg.

       27. Frontispiece to Tegg's Complete Collection of Caricatures
           relative to Mrs. Clarke, and the Circumstances
           arising from the Investigation of the

           Conduct of H.R.H. the Duke of York before the
           House of Commons, 1809.--

             Out of Evil cometh Good.
             Learn to be wise from others' harm,
             And thou 'shalt do full well!'

  Mar. 29. Mrs. Clarke's Last Effort!

             Your rhino rattle, come--men and cattle--come,
               All to Mrs. Clarke O.
             Of trouble and monies I'll ease you, my honies,
               And leave you in the dark O.

       30. The York Dilly; or, the Triumph of Innocence.
           Tegg, 94.

  Apr.  1. Doctor O'Meara's Return to his Family, after
           Preaching before Royalty. Tegg.

        2. Mrs. Clarke's Farewell to her Audience. Tegg.
           Tailpiece to Tegg's Collection of the York and
           Clarke Caricatures.

        4. Original Plan for a Popular Monument to be Erected
           in Gloucester Place. Tegg.

        5. A York Address to the Whale. Caught lately off
           Gravesend. Tegg.

       10. The Flower of the City. Aldn. Flower. Tegg.

       11. The Modern Babel, or Giants Crushed by a Weight
           of Evidence. Tegg.

       18. The Sick Lion and the Asses. Tegg. Duke of
           York series.

       21. Comforts of Matrimony. A Good Toast. Reeve &
           Jones.

       21. Do. The Tables Turned. The Miseries of Wedlock.
           Reeve & Jones.

       21. Burning the Books. Memoirs of Mrs. Clarke.
           Tegg.

       22. A Piece-Offering. Memoirs, Life, Letters, &c., of
           M. A. Clarke. Tegg.

       24. The Quaker and the Clarke. Tegg, 83.

       25. John Bull and the Genius of Corruption. Tegg (94).

       29. O! you're a Devil, get along do!

           Sterne's Sentimental Journey. 12mo.
             Yorick and Father Lorenzo.
             La Fleur and the Dead Ass.

  June  1. Mansion House Monitor. Poetical Magazine.

       12. Boney's Broken Bridge. Tegg.

  July  9. Hell broke loose; or, the Devil to Pay among the
           Darling Angels.

           Two of a Trade can Never Agree. Mrs. Clarke and
           Col. Wardle. Tegg.

       14. More of the Clarke; or Fresh Accusations. Tegg,
           96.

       16. The Plot Thickens; or, Diamond Cut Diamond.

       18. Amusement for the Recess; or the Devil to Pay
           amongst the Furniture. (Col. Wardle.) Tegg, 98.

       20. A Tit-Bit for a Strong Stomach. Ackermann.

       24. The Tables are Turned; how are the Mighty Fallen.
           Tegg, 96.

       30. The Bill of Wrights; or, the Patriot Alarmed.
           Tegg, 101.

       31. The Huntsman Rising. The Gamester going to
           Bed. (See 1811.)

  Aug.  1. Wonders--Wonders--Wonders! 10 Figures. Tegg.

        1. The Mistake. Tegg.

       28. The Rising Sun; or a View of the Continent.
           Desd. by G. Sauler Farnham. Rowlandson. Pub.
           by R. Ackermann.

  Sept. 3. The Pope's Excommunication of Buonaparte, or
           Napoleon brought to his last Stool. Tegg, 106.

        4. Song by Commodore Curtis. Tune: 'Cease, Rude
           Boreas.' Tegg.

      14. A Design for a Monument to be Erected in Commemoration
          of the Great, Glorious, and Never-to-be-Forgotten
             Grand Expedition, so ably Planned
             and executed in the year 1809. (Gen. Chatham's
             Expedition.)

  Sept. 24. General Chatham's marvellous Return from his
            Expedition of Fireworks.

            A Plan for a General Reform. Pub. by T. Tegg.

        27. This is the House that Jack Built. O. P. Riots,
            Drury Lane. Tegg.

        30. A Lump of Impertinence. Woodward del., Rowlandson
            sculp. Pub. by Tegg, 143.

            Miseries of Human Life. Tegg, 257.

  Oct.  24. Preparations for the Jubilee; or Theatricals Extraordinary.
            Tegg, 110.

        25. A Bill of Fare for Bond Street Epicures. Pub. by
            Tegg, 188.

        25.    Do.             do           do.   189.

  Nov.   1. Inside View of Public Library, Cambridge. Pub.
            by R. Ackermann.

  Dec.   1. Cattle not Insurable.

        12. The Boxes!--

                O woe is me! To have seen what I have seen--
                Seeing what I see!

            Opie invt. Pub. by T. Rowlandson, 1 James St.,
            Adelphi.

        18. Joint Stock Street. Woodward del., Rowlandson
            sculp. Tegg, 174.

        23. A Peep at the Gas Lights in Pall Mall. Woodward
            del., Rowlandson sculp. Tegg, 173.

        24. The Bull and Mouth. Woodward and Rowlandson.
            Tegg, 290.

            Smollett (T.), Miscellaneous Works. 26 Illustrations
            by Rowlandson. 5 vols. 8vo. Edinburgh.

            Sterne (L.). The Beauties of Sterne. Embellished
            with Caricatures by T. Rowlandson.

            Poetical Magazine. Pub. Ackermann's. 1809. Continued
            1810-11. Royal 8vo. 4 vols.

            Beauties of Tom Brown. Frontispiece and illustrations
            by T. Rowlandson. Pub. by Tegg. 12mo.

            Gambado. An Academy for Grown Horsemen, &c.
            1809, 8vo. Pub. by Tegg. (See 1808.)

            Baron Munchausen's Surprising Adventures. 1809,
            12mo. Pub. by Tegg.

            Beresford (James). An Antidote to the Miseries
            of Human Life. 1809, 8vo.

            Butler (S.), 'Hudibras.' 5 Illus. by Wm. Hogarth.
            Engraved by T. Rowlandson. Pub. by Tegg.

            Advice to Sportsmen; selected from the notes of
            Marmaduke Markwell. 16 Illustrations by Rowlandson.
            Pub. by Thos. Tegg. 1809, 12mo.

            Rowlandson's Sketches from Nature. 12 views.
            Drawn and etched by T. Rowlandson, aquatinted
            by Stadler.

            Views in Cornwall, Devon, Somerset, Isle of
            Wight, &c.

            The Art of Ingeniously Tormenting. Woodward
            del., Rowlandson sculp. 1809. Pub. by Tegg.
            12mo.

            The Pleasures of Human Life. By Hilari Benevolus
            & Co. Pub. by Longmans. With 5 plates
            by Rowlandson, &c. (1807).

            Annals of Sporting by Caleb Quizem. Woodward
            del.; Rowlandson sculp. Pub. by T. Tegg.
            1809. 12mo.

  1809 (?)  A Lump of Innocence. Tegg.

            The Trial of the Duke of York. Pub. by T. Tegg.
            2 vols. 1809. (Collected Caricatures.)

            Scandal, Investigation of the Charges brought
            against H.R.H. the Duke of York, by G. L.
            Wardle, Esq., M.P. for Devon, with the Evidence
            and Remarks of the Members. Containing fourteen
            scarce portraits by Rowlandson, amongst
            which are Mrs. M. A. Clarke, Sir F. Burdett,
            Duke of York, Col. Wardle, &c. 2 vols, 12mo.
            1809.

  1809 (?)  A Glee. 'How shall we Mortals pass our Hours?
            In Love, in War, in Drinking?' Tegg.

            Disappointed Epicures.


1810.

  Jan.   1. Business and Pleasure.

  Mar.  30. Winding up the Medical Report of the Walcheren
            Expedition.

  April  7. The Dunghill Cock and Game Pullet, or Boney
            Beat out of the Pit.

        12. Libel Hunters on the Look-out, or Daily Examiners
            of the Liberty of the Press. Tegg, 4.

        20. A New Tap Wanted, or Work for the Plumber.

        26. The Boroughmongers Strangled in the Tower.

  May    1. Front View of Christ Church, Oxford.

            Emmanuel College Garden, Cambridge.

            Emmanuel College, Cambridge. A Nobleman Presenting
            a Collection of Busts.

            View of the Theatre, Printing House, &c., Oxford.

            St. Mary's Church--Radcliffe Library.

            Inside View of the Public Library, Cambridge.
            Pub. by Ackermann.

         5. A Bait for the Kiddies on the North Road, or that's
            your sort, prime bang up to the mark.

        10. Kissing for Love, or Captain Careless Shot Flying.
            Tegg, 52.

        10. Easterly Winds, or Scudding under Bare Poles.
            Tegg, 2.

        15. Three Weeks after Marriage, or the Great Little
            Emperor Playing at Bo-peep. Tegg, 16.

        15. A Bonnet Shop. Tegg, 17.

        20. Peter Plumb's Diary. Thos. Tegg, 18.

        30. A Table d'Hôte, or French Ordinary in Paris.
            Tegg, 20.

  1810 (?)  Paris Diligence. Pub. by Tegg.

  June   4. Love and Dust. (Tegg, 2.) Repub. (Appeared
            originally in 1799.)

         5. Boxing Match for 200 guineas between Dutch
            Sam and Medley, fought May 31, 1810, on
            Moulsey Hurst, near Hampton. No. 22.

  Aug.   8. Smuggling Out, or Starting for Gretna Green.
            Schultz sculp.

         8. Smuggling In, or a College Trick.

  Sept. 18. Procession of the Cod Company from St. Giles's
            to Billingsgate. Tegg, 11.

        25. Rigging out a Smuggler. Tegg, No. 8.

        30. Dramatic Demireps at their Morning Rehearsal.
            Tegg, 10.

  Oct.   5. Sports of a Country Fair. Part 1.

     "        Do.         do.         Part 2.

     "        Do.         do.         Part 3. A Bengal Tiger Loose.

            Cockburn's Theatre on Fire.

            Advice to a Publican, or a Secret worth knowing.

            The Glutton.

            Ladies trading on their own bottom.

  Oct.  25. An Old Ewe Dressed Lamb Fashion. Tegg, 42.

        25. Spit-Fires. Tegg, 44.

        25. Dropsy Courting Consumption. Rowlandson del.
            Pub. by Tegg, 45.

  Nov.   1. Doctor Gallipot Placing his Fortune at the Feet of
            his Mistress. (See 1808.)

         1. Kitchen-Stuff. Tegg, 43.

        19. A Hit at Backgammon. Tegg, 46.

        20. Medical Despatch, or Doctor Double-Dose Killing
            Two Birds with One Stone. Tegg, 47.

            Bath Races. Tegg, 49.

        30. Doctor Drainbarrel conveyed Home in a Wheelbarrow,
            in order to take his Trial for Neglect of
            Family Duty. Tegg, 23.

        30. After Sweet Meat comes Sour Sauce, or Corporal
            Casey got into the Wrong Box.

            Cries of London. 30 plates. 4to. _Circa_ 1810.

            The Harmonic Society. Row. del.

            Butler, S. 'Hudibras.' Illus. Rowdn. 1810. 8vo.
            (See 1809.) Pub. by T. Tegg.

  1810 (?)  The Sign of the Four Alls. Pub. by T. Tegg, No. 13.

            Rabbit Merchant. Tegg, 25.

  1810 (?)  A Sale of English Beauties in the East Indies.
            (After James Gillray.)

            A Parody on Milton.


1811.

  Jan.   1. A Bird's-eye View of Smithfield Market, taken
            from the Bear and Ragged Staff. Pugin and
            Rowlandson del. Pub. by R. Ackermann.

            A Bird's-eye View of Covent Garden Market.
              Do.        do.      do.

        28. College Pranks, or Crabbed Fellows Taught to
            Caper on the Slack Rope. Tegg, 53.

  Feb.      A Sleepy Congregation. Tegg, 54.

        12. A Midwife going to a Labour. Tegg, 55.

        16. The Gig Shop, or Kicking up a Breeze at Nell
            Hamilton's Hop. Tegg, 56.

        20. Pigeon-Hole, a Covent Garden Contrivance to
            Coop up the Gods. Tegg, 57.

        26. A French Dentist Showing a Specimen of his Artificial
            Teeth and False Palates. Tegg, 58.

  Mar.   1. A Catamaran, or Old Maid's Nursery.

         2. Bacon-faced Fellows of Brazen-Nose Broken loose.
            Pub. by Tegg, 59.

        10. She Stoops to Conquer. Tegg, 61.

        12. The Anatomist. Tegg, 60.

        16. Sailors on Horseback. Tegg, 62.

        28. Kitty Careless in Quod, or Waiting for Jew Bail.
            Tegg, 65.

  Apr.   1. Pastime in Portugal, or a Visit to the Nunneries.
            Tegg, 64.

         5. The Last Drop.

         9. Boney the Second, or the Little Baboon Created
            to Devour French Monkeys. Tegg, 66.

        10. A Picture of Misery. Tegg, 70.--

                Iron was his chest, iron was his door,
                His hand was iron, and his heart was more.

        12. Puss in Boots, or General Junot taken by surprise.
            Tegg, 71.

  Apr.  14. Nursing the Spawn of a Tyrant; or Frenchmen
            Sick of the Breed.

        20. The Enraged Son of Mars and the Timid Tonson.
            Tegg, 67.

        24. Rural Sports. A Cat in a Bowl. No. 1.

  May    1. A Dog Fight.

         1. Touch for Touch, or a Female Physician in full
            Practice. Tegg, 72.

         4. Who's Mistress Now? Reprint, 1820.

        16. The Bassoon, with a French Horn Accompaniment.
            Tegg, 75.

            A Two o'clock Ordinary.

  June   4. Summer Amusement, Bug Hunting.

  July  11. A Ghost in the Wine Cellar. Published by Rowlandson.

        14. Easter Monday, or the Cockney Hunt.

        14. Rural Sports, or an Old Mole Catcher. Tegg, 83.

        31. The Huntsman Rising. (See 1809.)

        31. The Gamester going to Bed. Pub. by T. R., 1
            James Street, Adelphi. (See also 1809.)

  Aug.  20. Love Laughs at Locksmiths.

        30. Masquerading. Tegg, 84.

  Sept.     Accommodation Ladder. Tegg, 85.

        12. Sorrow's Dry, or a Cure for the Heart Ache.

        20. Looking at the Comet till you get a Crick in the
            Neck. Tegg, 91.

        25. Life and Death of the Race Horse. Tegg, 90.

        29. Rural Sports. A Milling Match: Cribb and
            Molineaux. Tegg.

  Oct.   1. Rural Sports, Smock-Racing. T. Tegg.

         2. John Bull at the Italian Opera. Des. and pub.
            by T. R., &c. (See Oct. 2, 1805.)

            Rural Sports; or a Game at Quoits.

            Rural Sports; or how to show off a Well-shaped
            Leg.

            Twelfth Night Characters, in 24 figures, by T. R.

         3. Rural Sports; or a Cricket Match Extraordinary.
            Tegg, 96.

        10. Six Classes of that Noble and useful Animal, a
            Horse.--The Race Horse. The War Horse. The
            Shooting Pony. The Hunter. The Gig Horse.
            The Draught Horse.

        10. Distillers Looking into their own Business.

            Dinners Dressed in the Neatest Manner. Pub. by
            Tegg, 112.

            The Jockey Club, or Newmarket Meeting (111)
            (Betting Room).

            The Sagacious Buck, or Effects of Waterproof.

            Richmond Hill. After H. Bunbury. (See 1803.)

            French Inn. Do.

            Quaix de Paris. Do.

            A Country Club.

            Recruits. (See 1803.)

            Morning, or the Man of Taste. After H. Bunbury.

            Evening, or the Man of Feeling. Do.

            Conversazione.

        25. A Trip to Gretna Green. T. R., 1 James Street,
            Adelphi.

        25. Rural Sports: Balloon Hunting. Tegg, 157.

        31. Cloisters, Magdalen College, Oxford.

  Nov.  25. English Manner and French Prudence, or French
            Dragoons brought to a Check by a Belvoir Leap.
            A Scene after Nature near Ciudad Rodrigo. Sept.
            1811.

  Dec.   2. A Man of Feeling. Tegg, No. 126.

         9. Bel and the Dragon. Pub. Stockdale.

        15. A Milk Sop. Tegg, 125.

            Royal Academy. Somerset House.

            The Harmonic Society. (See 1810, Oct. 2.)

            Miseries of Travelling--A Hailstorm. Des. by H.
            Bunbury.

            A Tutor and his Pupil Travelling in France. Do.

            The Departure of La Fleur. Do.

            Exhibition 'Stare' Case, Somerset House.

            The Manager's Last Kick, or a New Way to Pay
            Old Debts. Tegg, 117.

            Preparing to Start. Pub. by Tegg, 118.

            Preparing for the Race.

            Awkward Squads Studying the Graces.

            Hiring a Servant. Tegg, 124.

            Anglers (1611). H. Bunbury. Rowlandson del.

            Anglers (1811).      Do.          do.

            Patience in a Punt.  Do.          do.

            A Templar at his Studies. Tegg, 76.

            A Family Piece. Des. by H. Bunbury.

            A Barber's Shop. Des. by H. Bunbury.

            Modern Antiquities.

            Chesterfield Burlesqued. Pub. by T. Tegg. 1811.
            12mo. (See 1808.)

            Munchausen at Walcheren.


1812.

  Jan.  10. A Portrait. Duke of Cumberland. Pub. by Humphrey.

        12. A Portrait. Lord Petersham. Humphrey.

  Feb.   6. Mr. Norman as the Sultan of Cashmere ('The
            Golden Fish'). Norman del., Rowlandson sculp.
            Pub. by R. Ackermann.

        10. Wet under Foot. Designed by an Amateur.
            Etched by Rowlandson. Humphrey.

        26. A Portrait. Lord Pomfret. Humphrey.

            A Cat in Pattens.

        28. Plucking a Spooney.

  Mar.   1. Catching an Elephant. Tegg, 146.

         1. Description of a Boxing Match for 100 guineas a
            side between Ward and Quirk. Pub. by T. Rowlandson.

         2. A Spanish Cloak. Tegg, 139.

        20. Fast Day. T. R., 1 James Street.

        25. Sea Stores. Tegg, 140.

        25. Land Stores.

  Apr.   2. The Chamber of Genius. R. invt. and pub.

              Want is the scorn of every wealthy fool,
              And genius in rags is turned to ridicule.--_Juv._, _Sat._

         4. Bug-breeders in the Dog Days.

        12. The Ducking Stool. (Republished.) (See April
            12, 1803.)

  May   30. Italian Picture-Dealers Humbugging Milord
            Anglaise. Pub. by T. R., 1 St. James Street.

        30. A Brace of Blackguards.

            Racing. Pub. by T. Tegg, 158.

  June   4. Broad Grins, or a Black Joke.

  July  14. Miseries of London: 'Watermen.' T. R., Adelphi.

        14. Glow Worms. (See 1805.) Pub. by T. Rowlandson,
            1 James Street, Adelphi.

        14. Muck Worms. Do.

            The Rivals.

  July  15. A Seaman's Wife's Reckoning. Woodward del.,
            Row. sculp. Pub. by Tegg, 275.

        15. The Secret History of Crim. Con. Plate I. T.
            Tegg, 161.

        15. Do. do. Plate II. Do.

  Aug.  29. Setting out for Margate. Tegg, 166. Woodward
            del., Row. sculp.

        30. The Sweet Pea. Pub. by H. Humphrey, 27 St.
            James's Street.

  Oct.   1. Refinement of Language. A Timber Merchant, &c.
            Tegg, 171.

         1. Bitter Fare, or Sweeps Regaling.

        30. Raising the Wind. Pub. by T. R., 1 James
            Street. 'When Noblemen,' &c.

  Nov.  30. Christmas Gambols.

            The Successful Fortune-Hunter, or Captain Shelalee
            leading Miss Marrowfat to the Temple of Hymen.

            Hackney Assembly. The Graces, the Graces,
            remember the Graces. Orig. pub. 1802.

  1812 (?)  The Learned Scotchman, or Magistrate's Mistake.
            Tegg, 150.

    "       Preaching to some Purpose.

    "       New-Invented Elastic Breeches.

    "       A Visit to the Doctor.

    "       Puff Paste.

    "       Mock Turtle.

    "       Off She Goes. Pub. by Tegg.

            The Tour of Doctor Syntax in Search of the
            Picturesque. First pub. in a separate form.
            With 31 illustrations by T. Rowlandson. Royal
            8vo. Ackermann.

    "       English Exhibitions in Paris; or, French People
            Astonished at our Improvement in the Breed of
            Fat Cattle.

            Petticoat Loose, a Fragmentary Poem. Stockdale.
            4to. 4 plates by T. Rowlandson.

            Set of Views of Cornwall.


1813.

  Feb.  10. Bachelor's Fare. Bread and Cheese and Kisses.
            Tegg, 285.

  Sept.  1. Summer Amusements at Margate, or a Peep at the
            Mermaids. Tegg.

         1. The Last Gasp, or Toadstools Mistaken for
            Mushrooms. Tegg, 210.

         1. Unloading a Waggon. Tegg, 214.

         1. None but the Brave deserve the Fair. Tegg, 231.

        20. Humours of Houndsditch, or Mrs. Shevi in a Longing
            Condition. Tegg, 213.

        20. A Doleful Disaster; or, Miss Tubby Tatarmin's
            Wig Caught Fire.

  Nov.   5. The Two Kings of Terror. A Transparency Exhibited
            at Ackermann's. The Allied Victory of
            Leipsic.

        22. The Norwich Bull Feast, or Glory and Gluttony.
            Tegg, 232.

        25. A Long Pull, a Strong Pull, and a Pull All together.
            Tegg, 233.

        27. The Corsican Toad under a Harrow. Ackermann.

        27. The Execution of Two Celebrated Enemies of Old
            England and their Dying Speeches. Pub. by R.
            Ackermann.

  Nov.  29. Dutch Nightmare, or the Fraternal Hug Returned
            with a Dutch Squeeze. Ackermann.

        30. Plump to the Devil we boldly Kicked both Nap
            and his Partner Joe. Tegg, 234.

  Dec.   4. The Corsican Munchausen Humming the Lads of
            Paris. Pub. by Ackermann.

         6. Funking the Corsican. Pub. by Ackermann.

        10. The Mock Phoenix, or a Vain Attempt to Rise
            again. Pub. by Ackermann.

        12. Friends and Foes, up he Goes! Sending the Corsican
            Munchausen to St. Cloud. Ackermann.

        14. Political Chemist and German Retorts, or Dissolving
            the Rhenish Confederacy. Ackermann.

        14. Napoleon le Grand.

                Astre brillant, immense, il éclaire, il féconde,
                Et seul fait, à son gré, tous les destins du monde.

            Mock Auction, or Boney Selling Stolen Goods.
            Ackermann.

        30. How to Vault into the Saddle, or a new-invented
            Patent Crane for the accommodation of Rheumatic
            Rectors.

  1813 (?)  Doctor Syntax, in the middle of a smoking hot
            political squabble, wishes to wet his whistle.
            Tegg, 209.

            Witches in a Hayloft. Tegg, 226.

            Business and Pleasure. Tegg, 272. (See 1810.)

            The Glutton. Pub. by T. Tegg, 274.

    "       The Quaker and the Commissioners of Excise.
            Tegg, 276.

    "       A-going! A-going! Newton del., Rowlandson sc.
            Pub. by Tegg, 291.

    "       Giving up the Ghost, or one too many. Tegg, 292.

            Hopes of the Family, or Miss Marrowfat at Home
            for the Holidays. Tegg, 293.

    "       The Cobbler's Cure for a Scolding Wife. Tegg, 294.

    "       Cracking a Joke. Woodward del., Rowlandson sc.
            Tegg, 296.

    "       Ghost of my Departed Husband, whither art thou
            gone?

            Tour of Doctor Syntax in Search of the Picturesque.
            Royal 8vo. Ackermann.

            Poetical Sketches of Scarborough. With 21 Illustrations
            by J. Green. Etched by Thomas Rowlandson.
            Pub. by R. Ackermann.

            Engelbach. Letters from Italy, 1809-13. Republished
            as 'Letters from Naples and the Campagna
            Felice.' 17 plates by Rowlandson. (See 1815.)


1814.

  Jan.   1. The Double Humbug, or the Devil's Imp Praying
            for Peace. Ackermann.

         1. Death and Bonaparte.

         1. Madame Véry, Restaurateur, Palais Royal, Paris.
            R. sc. T. N., 348.

         1. La Belle Limonadière au Café des Mille Colonnes.
            Palais Royal, Paris.

        30. Quarter-day, or Clearing the Premises without
            Consulting your Landlord. Tegg, 310.

  Feb.  10. Kicking up a Breeze, or Barrow Women Basting a
            Beadle. Tegg.

        14. Progress of Gallantry, or Stolen Kisses Sweetest.
            Rowlandson. Pub. by Tegg, 313.

        20. A Tailor's Wedding. Tegg, 315.

  Mar.   1. Crimping a Quaker. Tegg, 317. Originally published
            as 261.

         2. Head Runner of Runaways from Leipzic Fair. R.
            Ackermann.

        12. The Devil's Darling. R. Ackermann.

  April.    Arms of Napoleon Bonaparte, the Tyrant of France.
            Supported by Satan (French Devil) and Death.
            Pub. by R. Ackermann.

            The Hieroglyphic Portrait of Napoleon. Pub. by
            Ackermann.

            Do.    do.    Alexander.   Do.

         9. Blucher the Brave Extracting the Groan of Abdication
            from the Corsican Bloodhound. T., 322.

        12. Coming in at the Death of the Corsican Fox.
            Scene the Last. R. Ackermann.

        12. Bloody Boney, the Carcase Butcher, left off Trade
            by Retiring to Scarecrow Island. Tegg, 323.

        15. The Rogue's March. Tegg, 321.

        16. A Friendly Visit.

        17. The Affectionate Farewell, or Kick for Kick. Aker.

        20. A Delicate Finish to a French (Corsican) Usurper.
            J. N. del., R. sc. Pub. by Asperne, Cornhill.

        25. Nap. Dreading his Doleful Doom, or his Grand
            Entry into the Isle of Elba. Tegg, 328.

  May    1. The Tyrant of the Continent is Fallen, Europe is
            Free, England Rejoices. Ackermann.

         1. Boney Turned Moralist. What I was, what I am,
            what I ought to be. Ackermann.

         1. Irish Jaunting Car. Hull des., Rowlandson fec.

         8. Peace and Plenty. Tegg, 324.

        15. Macassar Oil, or an Oily Puff for Soft Heads.
            Rowlandson. Tegg, 316 (265).

  June  14. Miseries of London, or a Surly, Saucy Hackney
            Coachman.

        20. Rural Sports, or a Pleasant Way of Making Hay.
            Tegg, 16.

  July  14. The Rivals. Pub. by T. Rowlandson, James
            Street.

        14. Portsmouth Point, Tegg, 255.

        23. The Naumacia to commemorate a Peace. (Aquatic
            Spectacle on the Serpentine).

  Sept.  5. The three principal Requisites to form a Man of
            Fashion.

        15. The Four Seasons of Love--Spring, Summer,
            Autumn, Winter.

        20. Johanna Southcott the Prophetess Excommunicating
            the Bishops. Tegg, 341.

  1814 (?)  Rural Sports. Buck-Hunting. Pub. by T. Tegg.


1815.

  Jan.  1. Female Politicians. Woodward del., Rowlandson
           sc. Pub. by T. Tegg.

  Mar.  1. Breaking-up of the Blue Stocking Club. Tegg,
           343.

        1. Defrauding the Customs, or Shipping Goods not
           Fairly Entered. Tegg, 344.

        1. Hodge's Explanation of a Hundred Magistrates.
           W. del., R. sc. Tegg, 345.

        1. Sailors Drinking the Tunbridge Waters. Tegg,
           346. (Pub. as 242 originally.)

       13. A Lamentable Case of a Juryman. Tegg, 347.

  Apr.  7. The Flight of Buonaparte from Hell Bay. R.
           Ackermann.

  Apr.   8. Hell Hounds Rallying Round the Idol of France.
            Rowlandson. Ackermann.

  N. D.     Vive le Roi! Vive l'Empereur!! Vive le Diable!!!
            French Constancy. Rowlandson. Ackermann.

        12. Scene in a New Pantomime to be Performed at the
            Theatre Royal of Paris. Rowlandson. Ackermann.

        16. The Corsican and his Bloodhounds at the Window
            of the Tuileries looking over Paris. Rowlandson.
            Ackermann.

  May   10. The Carter and the Gipsies. Pub. by T. Tegg.

  June   1. Ackermann's Transparency on the Victory of Waterloo.
            Rowlandson. Ackermann, 101 Strand.

  July  14. Easter Monday, or the Cockney Hunt.

        16. My Ass. Pub. by I. Sidebotham, 96 Strand. Desd.
            and etd. by T. R., verses by J. Yedis. (6 compts).

            Measuring Substitutes for the Army of Reserve.

        27. Transparency Exhibited at Ackermann's, in the
            Strand, Nov. 27, 1815. Day of Celebration of
            General Peace in London.

            A Journeyman Tailor.

            Neighbours. Pub. by Tegg, 235.

        28. A Rare Acquisition to the Royal Menagerie. A
            Present from Waterloo by Marshals Wellington
            and Blucher. Pub. by R. Ackermann.

        28. Boney's Trial, Sentence, and Dying-Speech, or
            Europe's Injuries Avenged. Rowlandson. Ackermann.

  1815 (?)  An Eating House.

    "       Banditti.                            (See 1808.)

    "       Virtue in Danger.                          "

    "       An Unexpected Return, or a Snip in Danger. "

    "       A Musical Doctor and his Scholars.         "

            Slap Bang Shop.

            Jack Tar Admiring the Fair Sex.

            Accidents will Happen.

            Sympathy.

            Despatch, or Jack Preparing for Sea.

            Deadly-Lively.

            The Fort.

            Officer. The Military Adventures of Johnny Newcome.
            1815. 8vo.

            Lewis Engelbach. Naples and the Campagna
            Felice. 8vo. Reprinted from 'Repository of Arts.'
            Pub. by R. Ackermann.

            The Dance of Death. With Illustrations. 2 vols.
            royal 8vo. Ackermann. (See 1816.)

  Oct.      The Grand Master, or Adventures of Qui Hi in
            Hindostan, by Quiz. 8vo. Pub. by Tegg. 1816.


1816.

  Jan.  10. Exhibition at Bullock's Museum of Buonaparte's
            Carriage, taken at Waterloo. Ackermann.

  Mar.  31. The Attempt to Wash the Blackamoor White, in
            the White Hall, City of Laputa.

  1816 (?)  Bostonian Electors of Lancashire. Pub. by W.
            Holland.

            World in Miniature. 8vo.

            Military Adventures of Johnny Newcome. 1816.
            (See 1815.)

            Figure Subjects for Landscapes, &c., &c. Groups
            and Views. R. Ackermann, 8vo.

            The Dance of Death. 2 vols. 1814-16. R.
            Ackermann, Strand.

            Relics of a Saint, by Ferdinand Farquhar. 12mo.
            1816. Frontispiece by Rowlandson. Pub. by T.
            Tegg.


1817.

  May    1. 24 Plates to 'Vicar of Wakefield.' Repub. 1823.

            The Dance of Life. Illustrated with 28 coloured
            engravings by T. Rowlandson. Pub. by R. Ackermann.
            Royal 8vo. (See 1821.)

            The New Sentimental Journal.

            Grotesque Drawing Book. 40 illustrations, 8vo.

            World in Miniature. 58 etchings. 4to. 1817.

            Pleasures of Human Life. 1817.


1818.

  Jan.  20. The Last Jig, or Adieu to Old England. Pub. by
            T. Tegg.

            The Adventures of Johnny Newcome in the Navy.
            By Alfred Burton. 8vo.

            Wild Irish, or Paddy from Cork, with his Coat
            Buttoned Behind.

            Doncaster Fair, or the Industrious Yorkshire Bites.


1819.

  May    9. A Rough Sketch of the Times as delineated by Sir
            Francis Burdett.

            Who Killed Cock Robin? (Manchester Massacre.)
            John Cahnac. 8vo.

            Female Intrepidity, or the Heroic Maiden. (Chap
            book.)

            Egyptian Hall. Mansion House.

            Freemasons' Tavern.


1820.

  1820 (?)  Chemical Lectures (Sir H. Davy).

            The Second Tour of Doctor Syntax in Search of
            Consolation. With 24 Illustrations by Thomas
            Rowlandson. Royal 8vo. Pub. by R. Ackermann.

            Rowlandson's Characteristic Sketches of the Lower
            Orders. 54 coloured plates. Intended as a Companion
            to the 'New Picture of London.' 12mo.


1821.

  May.      A Smoky House and a Scolding Wife.

            Tricks on the Turf--Settling to Lose a Race.

            Le Don Quichotte Romantique, ou Voyage du Docteur
            Syntaxe à la Recherche du Pittoresque et
            du Romantique. 28 Illustrations drawn on stone
            (after the designs of Rowlandson) by Malapeau,
            Lith. de G. Engelmann. Paris.

            Journal of Sentimental Travels in the Southern
            Provinces of France. 18 plates after Rowlandson.
            8vo. Pub. by R. Ackermann.


1822.

            The History of Johnny Quæ Genus. The Little
            Foundling of the late Doctor Syntax. Royal 8vo.
            Pub. by R. Ackermann.

            Rowlandson's Sketches from Nature. 8vo. 17
            views, in one volume (collected).

            The Third Tour of Doctor Syntax. In Search of a
            Wife. Royal 8vo., with 25 Illustrations by Thos.
            Rowlandson. Pub. by R. Ackermann.

  May.      Die Reise des Doktor Syntax, um das Malerische
            aufzusuchen. Ein Gedicht frei aus dem Englischen
            ins Deutsche übertragen. Lith. v. F. E.
            Rademacher, Berlin.

            Crimes of the Clergy. 8vo. Two plates by T.
            Rowlandson.


1823.

  March.    The Guardian of the Night. Pub. by S. W. Fores.

  June  13. Not at Home, or a Disappointed Dinner Hunter.
            Pub. by John Fairburn, Broadway, Ludgate Hill.

        19. An Old Poacher Caught in a Snare. R. inv. et sculp.

  Aug.   1. Hot Goose, Cabbage, and Cucumbers.

            The Tooth Ache, or Torment and Torture.

  Sept. 18. The Chance-seller of the Exchequer Putting an
            Extinguisher on Lotteries. Ackermann; also
            Fairburn, Ludgate Hill.

            C. M. Westmacott. The Spirit of the Public Journals
            for the year 1823. 3 vols. 8vo.

            Third Tour of Doctor Syntax. 1823. Royal 8vo.

            The three Tours of Doctor Syntax. Pocket edition,
            3 vols. 16mo.

  Sept.     Oliver Goldsmith.--'The Vicar of Wakefield.' 8vo.
            24 illustrations by Rowlandson. Pub. by R.
            Ackermann.


1824.

  Apr.   1. Interruption, or Inconvenience of a Lodging House.
            Reprint. (See 1789.)


1825.

  Nov.  19. Pie-us Ecstasy, or Godliness (the Itinerant
            Preacher's) Great Gain. Pub. by A. Bengo.

            Bernard Blackmantle. (Charles Molloy Westmacott.)
            English Spy. 2 vols. 8vo. Do.

            The Spirit of the Public Journals for the years
            1823-4-5. (See 1823.)


Posthumous.

  The Humourist, with 50 engravings, &c., after
  designs by the late Thomas Rowlandson. Published
  1831.



_ADDENDUM TO THE CHRONOLOGICAL SUMMARY OF ROWLANDSON'S CARICATURES._

The Editor has found it necessary to append a supplementary list of
subjects which have been brought under his notice too late either to
be arranged in the body of the present work, or even to be comprised
in the general chronological summary; his attention being directed to
these additional caricatures long after he had reluctantly arrived at
the conclusion that it was hopeless to expect to render the foregoing
classification more complete.

In the Introduction to this review of pictorial satires by Thomas
Rowlandson allusions will be found (vol. i. p. 4) to a noteworthy
collection of his productions, both social and political, in course of
formation by Mr. F. Harvey, of St. James's Street, the result of many
years' vigilant activity in securing everything of consequence by the
artist which happened to come into the print market, with comparative
indifference to cost.

The arrangement of this gathering, already amounting to twenty-three
volumes, consisting entirely of excellent examples of the
caricaturist's engraved works, has been proceeding coincidently with
the preparation of the present volumes, and both selections have been
brought as near to completion as is practicable at precisely the same
time.

The writer has the satisfaction of realising that the promise referred
to in his preface, made by Mr. Harvey many years ago, has been redeemed
before it is altogether worthless, as concerns his desire to supply a
summary of the caricaturist's published productions as comprehensive
as circumstances are likely to permit, to which much importance is
attached from a collector's point of view.

It must be acknowledged that the extensive accumulation in the
possession of Mr. Harvey has contributed to this result, if at the
eleventh hour; in his collection numerous examples of interest are
found which have hitherto escaped the Editor's researches. Many of
the titles set down in the body of the foregoing Summary and in the
Addendum, drawn from the resources placed at his disposal by the
kindness of Mr. Harvey, are in all probability perfectly novel to the
majority of even experienced 'Rowlandson fanciers.'

No date.

  A Counsellor's Opinion after he had retired from
  Practice.


1790.

            Croesus and Thalia.

            All Fours. Designed by H. Bunbury. Rowlandson
            sculp.

  Nov.  20. Satan, Sin, and Death. W. Hogarth invt. Rowlandson
            del.

  Dec.   1. A series of single-figure subjects, designed by
            Woodward and engraved by Rowlandson.

                A Smart.               A Greenhorn.
                A Jessamy.             A Choice Spirit.
                A Jemmy.               A Buck.
                An Honest Fellow.      A Blood.


1791.

  Mar.   1. The Pursuit. (Chase of a Highwayman by a _possé_
            of horsemen.) A large and important subject.

            Companion to 'The Attack,' published contemporaneously,
            and described in vol. i. p. 289.

  Dec.   1. Returning from the Races.

         1. Selling a Horse.

         1. Modish--Prudent. (Another version of the pair
            of female figure subjects engraved 1787. See
            vol. i. pp. 220-1.)


1792.

  Jan.   1. A series of four large sporting subjects, figures in
            wooded backgrounds. Painted by George Morland,
            and engraved by Thomas Rowlandson.

                Partridge-Shooting.
                Pleasant-Shooting.
                Snipe-Shooting.
                Duck-Shooting. (Originally pub. in 1790.)

  July  18. The Paviour's Joy. Companion to 'The Chairman's
            Terror' (vol. i. p. 308).


1794.

  A Field Day in Hyde Park. Aquatinted by T. Malton. A large and
  important subject, evidently belonging to the same series as 'The
  English Barracks,' &c. (Aug. 12, 1791). See vol. i. pp. 294-5.


1795.

  Jan.   1. Billingsgate Brutes.


1797.

  Oct.  22. Glorious Defeat of the Dutch Navy, Oct. 10,
            1797, by Admirals Lord Duncan and Sir Richard
            Onslow; with a view, drawn on the spot, of the
            six Dutch line-of-battle ships captured and
            brought into Yarmouth. Pub. by T. Rowlandson,
            1 James Street, Adelphi.


1798.

  Mar.  16. England Invaded, or Frenchmen Naturalised
            (Loyal Volunteers). Pub. by I. Harris.

  Apr.   3. A Return from a Visit. (After H. Bunbury.)

  May   15. Military Fly. (See 'Loyal Volunteers of London,'
            June 20, 1799, vol. i. pp. 375-7.)

  May   18. Rehearsal of a French Invasion, as performed before
            the Invalids, at the Island of St. Marcou, on the
            morning of ye 7 of May, 1798. Pub. by R. Ackermann.

  June   1. Soldiers Attending Divine Service. (The Invasion
            Panic and Volunteer forces.)

  Aug.   8. Smuggling In--Smuggling Out. (See 1810.)

        18. The Miller's Love.

  Sept.  3. Sadler's Flying Artillery. (See 'Loyal Volunteers
            of London,' June 20, 1799, vol. i. pp. 375-7.)

  Oct.   9. Fraternization in Grand Cairo, or the Mad General
            and his Boney-party likely to become tame
            Mussulmen. Pub. by R. Ackermann.

        17. Erin-go-Bray. The Allied Republics of France
            and Ireland. Pub. by S. W. Fores.

  Nov.   1. Effects of British Valour on the French Directory.
            Pub. by R. Ackermann.


1799.

  Jan.  20. A Magic Lantern. Merke sculp.

  Mar.   1. Cries of London. Pl. 7. Old Clothes. (See 'Cries
            of London,' vol. i. pp. 354-6.)

        20. Fast Day. Pub. by T. Rowlandson, 1 James
            Street, Adelphi.

  Aug.   1. Change Alley. No. 1. Waddling In. (See 'Waddling
            Out,' vol. i. p. 366.)

            Horse Accomplishments.--A Vaulter. (See 'Horse
            Accomplishments,' vol. i. p. 366.)

        30. Country Characters. Republished 1800. (See
            vol. ii. pp. 13, 14.)

  Oct.   1. Matrimonial Comforts. Republished 1800. (See
            vol. ii. pp. 14-16.)

        28. Sailor and Banker, or the Firm in Danger. (See
            'A Note of Hand,' vol. i. p. 369.)

  Dec.  20. The Monkey Room in the Tower. Pub. by R.
            Ackermann.

            Connoisseurs of Art.

            Slaverers.

            O Tempora, O Mores! S. Alken fecit.


1800.

  Jan.   1. Preparing to Start. (See vol. ii. p. 222.)

            The Race and the Course. Companion.

            Buck's Beauty and Rowlandson's Connoisseur.
            Pub. by W. Holland.

        21. Titlepage to series of twenty subjects.

            LE BRUN TRAVESTIED, or Caricatures of the
            Passions. Designed by G. M. Woodward. Etched
            by T. Rowlandson. Pub. by R. Ackermann.

            No. 3. Admiration.

            ('Hatred or Jealousy' should be numbered 19. See
            vol. ii. pp. 1, 2.)

  Aug.  15. Shaving a Forestaller.

            The Tinker.

            Swinging.


1801.

  Jan.  15. A Mahomedan Mousetrap. Companion to 'Symptoms
            of Sanctity.' (See vol. ii. pp. 27-8.)

  April  1. Public Characters. A group of portraits arranged
            behind a lattice or window-frame. Woodward
            del. Rowlandson sculp.

  Oct.  12. John Bull in the year 1800.--War.

            John Bull in the year 1801.--Peace. Pub. by R.
            Ackermann.

  Nov.  15. A British Seaman.--A Heart of Oak.

            Market Place, Cambridge.


1802.

  May    1. Plate 6. School of Honours. 'A Compendious

            Treatise on Modern Education.' ('The Stages of
            Man's Schooling.' See vol. ii. p. 47.)

  July   1. Manager (Garrick) and Spouter. Republished.

            Bookseller and Author. Republished. (See 1784).

            One Tree Hill. Greenwich Park.


1803.

  May    1. The Easter Hunt. Designed by H. Bunbury.
            Pub. by R. Ackermann.

            The City Hunt. Ditto, ditto.

  Nov.      The Trumpet and the Bassoon. (See 1811.)

            A Trip to Gretna Green. (See 1785.)


1804.

  June  30. A Dismounted Light Horse Volunteer. Woodward
            del. Rowlandson sculp.


1805.

  Apr.  28. The Political Death and Last Will and Testament
            of Johnny Macree. Pub. by T. Rowlandson.
            (See series of satires upon the impeachment of
            Lord Melville, vol. ii. pp. 49, 50.)

  May   25. A Sailor's Marriage. Woodward inv. Rowlandson
            sculp. Pub. by R. Ackermann. (Companion
            to 'A Sailor's Will.' See vol. ii. p. 51.)

  July  28. The Blessings of Partnership. Designed by Woodward.
            Rowlandson fec.

  Nov.  25. A Sailor in a Stable.

  Dec.   3. A Sailor's Observations upon the lamented Death
            of Lord Nelson. Designed by Woodward. Rowlandson
            del. Pub. by R. Ackermann.

         9. The Brave Tars of the 'Victory,' and the Remains
            of the lamented Nelson. Designed by Woodward.
            Rowlandson del. Pub. by R. Ackermann.

        11. The French Admiral on board the 'Euryalus.'


1806.

  Apr.  16. The New Property Tax paying his Respects to
            John Bull.

        20. A Brace of Brimstones. (See 'A Cake in Danger,'
            vol. ii. p. 58.)

  May    1. The Poacher. (See 'A Maiden Aunt Smelling
            Fire,' vol. ii. pp. 58, 59.)

  June  23. Political Terriers Hunting the Property Tax. (See
            satires upon the Grenville and Fox Administration,
            vol. ii. pp. 58-61.)


1807.

  July  14. The Rivals.

  Oct.   9. The Honeymoon.

            Miseries of Human Life. House Cleaning.

            Pull'd Turkey.

            Collar'd Pig. Companions to 'A Calf's Pluck' and
            'Rusty Bacon.' (See vol. ii. pp. 80-2.)


1808.

  Aug.  23. Horrid Visions, or Nappy Napp'd at Last. Woodward
            del. Rowlandson sculp.

  Nov.   1. Notice to Quit, or a Will of their own. (See
            caricatures against Bonaparte, vol. ii. pp. 92-102.)
            Pub. by Tegg.

            A Musical Doctor and his Scholars. Pub. by
            Reeve & Jones. (See 1815.)

            The Unexpected Return, or the Snip in Danger.
            Ditto. (See series of plagiarisms from Rowlandson's
            drawings. Pub. by Reeve & Jones.
            Vol. ii. pp. 90, 91, 297.)


1809.

  Feb.  23. St. Valentine's Day, or John Bull Intercepting a
            Letter to his Wife. Pub. by Tegg.

            (Parody of the Duke of York's letters to Mrs. Clarke.
            'Yorkshire Hieroglyphics,' pl. 1, March 8, 1809.)

  Mar.   3. Farmer Blunt's Apology. (Satire on 'The Delicate
            Investigation.') (See Rowlandson's caricatures
            upon the 'Clarke Scandal,' vol. ii. pp. 135-162.)

  Apr.  17. Dr. Donovan. ('Investigation of the Charges
            brought against H.R.H. the Duke of York,' &c.
            See Chronological Summary, 1809.)

        21. Connoisseurs. (A plagiarism.) Pub. by Reeve &
            Jones. (See 1799.)

            Portsmouth Breeze.

        28. A Visit to the Synagogue.

  May   26. This is the House in Gloucester Place. Plate 1.

                  Do.         do.         do.        "   2.

            (The York and Clarke Scandal. See 'The Delicate
            Investigation,' vol. ii. pp. 135-162.)

  July  18. An Old Catch newly revived. 'York and Clarke
            Scandal.' (See 'The Delicate Investigation,'
            vol. ii. pp. 135-162.)



APPENDIX



APPENDIX.

ADDITIONAL SOURCES OF REFERENCE UPON ROWLANDSON'S CARICATURES.

CATALOGUE OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.


Further information is open to enquirers who are interested in
tracing the works of the caricaturist. The important catalogue of
the satirical prints and drawings in the British Museum, now in
course of publication, will include all the examples found in that
institution, if the Trustees decide to continue it beyond the limit
originally settled (about 1770). The preparation of the catalogue in
question, which has been placed in the hands of probably the very
ablest authority on the subject of satire who has ever lived, is of
necessity a work of time. The elucidation of the earlier graphic
satires has occupied years of patient industry, by which alone the
social and political pictorial 'skits' could be made intelligible--an
undertaking which the lapse of time annually makes more complicated as
regards the interpretation of those lighter trifles of bygone times,
which, in spite of their triviality, often possess an historical value,
unintelligible to the majority of students, because hidden away in the
obscurity of allusions beyond the vision of the present generation.

The task of tracing and explaining the intentions of the graphic
satirists, commenced by Mr. Edward Hawkins, original owner of an
immense collection of their works, is being continued and successfully
carried out for the Trustees of the British Museum by Mr. Frederic
George Stephens. The catalogue, an important contribution to the
history of the subject, has, as we have said, already been years in
hand, and is slowly but surely advancing through the comparatively lost
paths of the past. A new light has been thrown upon the satires of the
times of the Tudors, the Stuarts, the Commonwealth, the Restoration,
the accession of the Prince of Orange and of the House of Hanover.
The results of the editor's painstaking researches are completed and
open for consultation up to the conclusion of the Hogarth period; the
notices upon the works of the great luminary of the school, which are
included in the volume published in the present year, will be found
of so thoroughly exhaustive a character, that the interest generally
felt in Hogarth is likely to be increased, especially as a considerable
amount of entirely new and curious matter has been discovered by Mr.
Stephens in the course of his investigations.


CATALOGUE OF PRINTS AND DRAWINGS IN THE BRITISH MUSEUM.

Div. 1. Political and Personal Satires. Prepared for publication by
Frederic George Stephens, and containing many descriptions by Edward
Hawkins, late Keeper of the Antiquities, F.S.A. Printed by order of the
Trustees. With an introduction by George William Reid, Esq., Keeper of
the Prints and Drawings in the British Museum.

       *       *       *       *       *

A selection of subjects, treated by Rowlandson with more freedom than
is consonant with the taste of the latter half of the nineteenth
century, is also given by PISANUS FRAXI, in his elaborate and
exhaustive work CENTURIA LIBRORUM ABSCONDITORUM (1879). Pisanus Fraxi
has set down (pp. 346-398) descriptions of over one hundred and twenty
subjects of more or less erotic tendency. The major part of the
etchings included by this authority are of necessity inadmissible in
the present work, owing to their licentious suggestiveness; but a few
of the subjects described in the 'Centuria Librorum Absconditorum,'
restricted exclusively to social caricatures by Rowlandson, the
originals of which maybe consulted in the Print Room and Library of the
British Museum, are also instanced in the foregoing pages.

       *       *       *       *       *

ORIGINAL DRAWINGS BY T. ROWLANDSON IN THE PRINT ROOM OF THE BRITISH
MUSEUM.


  Blood Royal. Duke of Cumberland, with spyglass, followed by his
  footman. A back view of the Prince Regent, shown in the distance,
  talking to some officers.

  A Drunkard. An inebriated figure has fallen, in a state of partial
  insensibility, on his back, in a spirit-cellar, leaving the liquor
  running; a stout and by no means elegant female, of evidently Dutch
  construction, is trying to bring the toper to consciousness by the
  use of a birch-broom.

  The Trout Fisher Rising.

  Rowing for the Coat and Badge.

  A Prize Fight.

  Domestic Tranquillity.

  Portsmouth Harbour, 1816.

  Landscape (in Gainsborough's manner).

  A Market Town in Cornwall.

  A Continental Scene, 17th century. Lady in coach, running footman
  before; piazza in distance.

  Landscape in Cornwall.

  'Putting up Horses.' A country scene.

  Portrait of George Morland, full length, standing before a fireplace
  in a well-appointed apartment. (About 1787, when Morland was living
  in considerable style at a handsome new house, the corner of Warren's
  Place, Hampstead.) The person of the artist is carefully studied, and
  the items of his dress are most characteristically noted, this being
  the time of Morland's most marked foppishness.

  Guildhall Association.

  Portrait of a Lady.

  A Beau and his Chronometer.


ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE POSSESSION OF GEORGE
WILLIAM REID, ESQ., KEEPER OF THE PRINTS AND DRAWINGS IN THE BRITISH
MUSEUM.


    View of a Castle.
    View near Bridgport, Dorsetshire.
    View in Devonshire.

       *       *       *       *       *

WINDSOR CASTLE. THE ROYAL COLLECTION.

    An English Review. Purchased by George IV.
    A French Review.   Ditto.

       *       *       *       *       *

ORIGINAL WORKS BY THOMAS ROWLANDSON IN THE SOUTH KENSINGTON MUSEUM.
(COLLECTION OF WATER-COLOUR DRAWINGS OF THE ENGLISH SCHOOL.)

  The Parish Vestry, 1784. Bequeathed by William Smith, Esq.
  Brook Green Fair (about 1800). Bequeathed by William Smith, Esq.
  The Elephant and Castle Inn, Newington. The gift of G. W. Atkinson,
    Esq.

       *       *       *       *       *


DYCE COLLECTION, SOUTH KENSINGTON MUSEUM.

  Landscape. 11 × 8. A roadside inn, where three officers have stopped
  for refreshment; one is seated by his mistress and gives alms
  to a beggar woman; another, likewise seated, is absorbed by the
  bottle and wine; the third is standing at the door and using his
  eyeglass. Signed 'T. Rowlandson, 1784.' Engraved in this work. See
  _Benevolence_, vol. i. p. 316.

  View on the Thames off Deptford, with a large number of vessels near
  the Dockyard. 16 × 10. Men who have been bathing scramble into a boat
  on the left, very near the holiday parties which are passing to and
  fro.

  Hampton Bridge, on the left; boats on the river, two of which are
  pleasure ones; a stout old fellow is on the left, with his wife on
  his arm, and a long pipe in his mouth. 16 × 10.

  Hampton Court Palace. 16 × 10. View of the open space in front,
  with a carriage and four horses, and its military escort, leaving
  the gate; a carter with horses on the left, and, on the right, four
  idle fellows amusing themselves by teaching a dog to 'beg.' Signed
  'Rowlandson,' and dated 1820.

  Landscape. 16 × 10. Timber waggon drawn by eight horses crossing a
  bridge, which spans a rapid stream struggling between high rocks;
  cottages are on the left, one by the roadside, and another on the
  hill.

  Portsmouth Harbour.[29] 13 × 8. Lord Howe's victory: the French
  prizes brought into the harbour. The people assembled on the ramparts
  cheering, a group in front scrambling to get possession of the top
  of a wall. Signed 'Rowlandson.'

  Portsmouth Harbour. 17 × 11. A repetition of the last, with numerous
  additional figures introduced, and more highly finished than the
  other. Signed 'Rowlandson,' and dated 1780.

  Exterior of Strawberry Hill. 14 × 9. A gouty old gentleman, his
  wife and dog, promenade near the walls; another old fellow either
  enraptured by a glance of the building or making love to two
  servant-girls who look over the wall. A donkey braying across the
  fence to the left.

  Landscape, with a large flock of sheep browsing on downs, and guarded
  by a young shepherd, whose wife is working at his side; a dog is
  looking at him. 9 × 5.

  Bridge at Knaresborough, Yorkshire. 13 × 9. 'The World's End' inn on
  the left, and the landlord directing persons in a cart, who have
  probably stopped for refreshments. Signed 'Rowlandson,' and dated,
  1807.

  'Sir Henry Morshead felling his timber to settle his play debts.'
  9 × 5. Three men chop and fell trees, a fourth takes instructions from
  a soldier on guard; a parson stands near. Signed 'Rowlandson,' and
  dated 1816.

  St. Austell, Cornwall. 9 × 5. View, looking up the principal street,
  the church in the distance; groups of persons in the foreground are
  scrutinised by a hairdresser who stands at his door.

  Kew Palace. 16 × 11. Seen across the river; a boatman steadying
  his boat for three stout persons to enter it; two ladies already
  apparently occupy all the spare room; other pleasure boats are on the
  water, some with sails.

  Landscape. 15 × 11. An approach to a village across a bridge, a woman
  carrying a bundle; a horseman and other figures are in the foreground.

  Museum of Ancient Paintings in the Palace of Portici, near Naples.
  8 × 5. Three gallants, including two military officers, attend a young
  lady; her father is behind, accompanied by the custodian. _Vide_
  'Naples and the Campagna Felice,' 1815, _ante_, pp. 301-2.

  Glastonbury, Somersetshire. 9 × 5. View, up the principal street,
  with a church in the distance; a carriage, with post-horses at full
  gallop, frightening a woman riding on a donkey near; women gossiping
  while getting water at the conduit. The subject etched by the artist
  as plate 24 of 'Rowlandson's World in Miniature,' No. 2, 1816.

  'Betting Post.' 8 × 5. View on a racecourse. A crowd of ruffians on
  horseback surround a man who is about to read a list of the names
  of the favourite horses, but is interrupted by the impatience of
  his companions, whom he endeavours to prevent riding over him; a
  gouty old fellow, also on horseback, carries his crutches with him.
  Engraved in this work. See description, vol. i. p. 257.


ILLUSTRATIONS TO 'THE TOUR OF DR. SYNTAX IN SEARCH OF THE
PICTURESQUE.'[30]

  Dr. Syntax pursued by a bull. 7 × 4.

    Syntax, still trembling with affright,
    Clung to the tree with all his might.
                                      Vol. i. p. 40.

  Dr. Syntax drawing from Nature. 7 × 4.

    The Doctor now, with genius big,
    First drew a cow, and then a pig.
                                      Vol. i. p. 121.

  Dr. Syntax at a card party. 8 × 4.

    The comely pair by whom he sat,
    A lady cheerful in her chat.--Vol. iii. p. 163.

  The remainder of the series appear to have been designed for the
  work, but not etched nor used as suggestions to Mr. Combe, excepting
  those noted. It may not be generally known at the present time that
  the Tours were written to elucidate the designs, which the following
  introduction fully explains: 'This second tour is, like the former
  one, a work of suggestions from the plates by Mr. Rowlandson, though
  not with such entire reserve as the first. Some few of the subjects
  may have been influenced by hints from me; and I am willing to
  suppose that such are the least amusing of them.'--_Introduction to
  the second volume_, 1820.

  Dr. Syntax--unable to pull up at the Land's End--is fearful of being
  carried to the World's End. 10 × 7. View on the coast during a storm,
  with the vivid flashes of lightning frightening the people, and the
  heavy waves dashing on the shore.

  Dr. Syntax taking wine with a lady in a drawing-room, while the
  daughter of his hostess and her lover exchange caresses on a rustic
  seat under the verandah.

  Dr. Syntax thrown off his horse while hunting. 7 × 8.

    Your sport, my lord, I cannot take,
    For I must go and hunt a lake.--Vol. i. p. 108.

  Mr. Combe no doubt thought it as well, although availing himself
  of the hint that hunting was not suited to the Doctor's taste, to
  mention the fact of the Doctor being asked to join the sport, and his
  declining the invitation, as he was about to make some drawings on
  the lake.

  Dr. Syntax leading a lady to the entrance of a grand mansion: most
  probably giving the idea of the Doctor escorting Lady Bounty from the
  garden to her mansion on their first interview. 9 × 5.

    For while he sojourns he will be
    The object of all courtesy.--Vol. ii. p. 217.

  Dr. Syntax gazing at some ruins; a man and boy in attendance. 8 × 4.
  One plate was probably thought sufficient to illustrate 'Sketching
  the Ruins, and Tumbling into the Water,' through his seat giving way,
  the latter one being used.

    But now, alas! no more remains
    Than will reward the painter's pains.
                                      Vol. i. p. 71.

  Dr. Syntax in the Jail; a young fellow and three dogs on the left.
  7 × 4.

  Boarding a Man-of-war. 8 × 5. A boatload of people awaiting their turn
  to ascend a rope ladder, on which a gentleman of the party is fixed
  in rather an uncomfortable position. _Vide_ 'Naples and the Campagna
  Felice,' 1815, _ante_, pp. 301-2.

  Dr. Syntax frightened by the appearance of a large fish having a form
  resembling that of a whale; his companion and some fishwives are also
  greatly alarmed, and a few of them lie sprawling on the ground. 8 × 4.

  Dr. Syntax drawing the waterfall at Ambleside, while his man Patrick
  is eating voraciously. 8 × 5.

    Bold sketches from the very scene
    Where, with his neighbours, he had been.
                                  Vol. ii. p. 64.

  A Lady repulsing with the poker her guests, consisting of eight
  gentlemen, among whom is the Doctor; her dog by her side appears to
  be equally pugnacious. 8 × 5.

  Dr. Syntax riding and chatting with a lady, under an avenue of trees;
  a footman behind them. 8 × 5.

  Dr. Syntax playing at cards with a young lady; an old wooden-legged
  officer seated near, apparently not in the best of tempers; three
  other young ladies seated on the sofa take much interest in the game.
  8 × 5.

  Dr. Syntax gently opens the door of a garret, and is horrified to
  find a woman of the _pavé_ reclining back in her chair dead; a dog is
  seen on the left playing with her wig. 8 × 4.

  Dr. Syntax skating and saluting three ladies who stand on the bank of
  the frozen river. 8 × 5.

       *       *       *       *       *

  The following drawings by Thomas Rowlandson, with several engravings
  of his London views, already described under the accounts of his
  prints in this work, were exhibited (1879) in the western portion
  of the Exhibition Galleries, South Kensington, in the valuable and
  interesting series of


VIEWS OF LONDON AND WESTMINSTER. COLLECTED AND EXHIBITED BY JOHN
GREGORY CRACE, ESQ.

Entrance to Blackwall Docks, 1801.[31]

Perry's Dock, Blackwall, 1801.

View of the Reservoir in the Green Park, looking south (towards
Westminster), 1810.

       *       *       *       *       *

Original drawing of Brooks's Subscription Room, in the possession of

HENRY BANDERET, ESQ. BROOKS'S CLUB.


ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN POSSESSION OF W. R. BAKER,
J.P., ESQ., OF BAYFORDBURY PARK, HERTFORD.

At Bayfordbury Park--where, it will be remembered, the celebrated
collection of the Kit Cat Club, a national gallery of portraits, by Sir
Godfrey Kneller, of the most interesting character, has its home--the
choice examples of Rowlandson's skill appear to have been secured by
the family at one time, and that at what may be considered the artist's
best period--a little before the production of _Vauxhall Gardens_, and
the series contributed to the exhibitions of the Royal Academy.

  The Bath Coffee House. A highly amusing interior, representing the
  various fashionable characters to be met with on the Great Bath and
  Bristol Road a century back.

  Rustic Scene. Carters' horses watering.

  Scene outside a Lodge in a London Park, crowded with animated groups
  of folks of _bon ton_, as they might be seen disporting themselves in
  the fashionable resorts, where the 'best company' of the day was to
  be encountered in 1785.

  The Waggoner's Halt.

  Sailors Soliciting Charity. A party of Rodney's 'old salts,'
  disabled, and reduced to appeal to charity; a model of a ship-of-war
  is dragged about on wheels to attract the attention and sympathies of
  the passers-by.

  French Barracks, 1786. A highly finished example of one of
  Rowlandson's most famous subjects (exhibited at the Royal Academy,
  1787). It probably preceded the exhibited drawing, since it is
  executed on a somewhat reduced scale to that of the engraving. A
  full description of this admirable design is given under the list of
  subjects belonging to 1791 (Aug. 12).

  Death and the Apothecary. This subject is drawn in Rowlandson's
  most careful method. In the writer's opinion it is one of the
  earliest examples of the artist's finished works which have come
  under his attention, and is probably of the same date as the _School
  of Eloquence_, mentioned under 1780, which, as he has noted, has
  suffered at the hands of the anonymous etcher. Death, as a grim
  skeleton, is intruding into the apartment of an invalid by the
  window; the patient has armed himself with a gruelspoon to ward off
  this sudden attack from the unassailable foe, while a corpulent
  apothecary, standing in ambush behind his client, has snatched up
  a gigantic syringe, which he is pointing, by way of a great gun,
  at the bony framework of the ghastly actor who has dropped in to
  complete the quack's handiwork and snatch away a profitable customer.
  The whole of the background is worked out like a fine etching, in a
  fainter line than the figures, much in the style which distinguishes
  the etchings of Mortimer.

  Hertford Market Place (market day). This view of the old county
  town of Hertford is one of the finest and most interesting of those
  drawings which Rowlandson has left of the quaint towns of his day.
  It is altogether of an important character, being nearly 30 inches
  in length. It represents the Town Hall, the market-place, and
  certain picturesque ancient houses, faced with carved scroll-work,
  which front the corner hard by. The traveller will find these
  buildings exactly as Rowlandson viewed them a century ago; and, on
  a market-day, he will see the dealers' stalls, the country people
  busying themselves about their purchases, and the gentry passing or
  riding by, called to the town on local affairs, in some respects
  the same as a century ago. This scene, animated in itself as it
  is presented in our day, falls very far short of the prospect the
  artist has preserved, for the antique costumes have disappeared; and,
  comfortable as may be those of the generation who occupy themselves
  on the spot, the attractions found in the caricaturist's picture
  are looked for in vain; for the light flowing robes, the hats and
  feathers which aided the winning graces of the fair, the nodding
  plumes, and the scarlet and gold of the military bucks, the rustling
  silk cassocks, shovel-hats, and full-bottom wigs of the Church
  dignitaries, and all such characteristic accessories of the scene,
  no longer display themselves to assist the observer's sense of the
  picturesque.


ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION OF W. T. B. ASHLEY,
ESQ., DECEASED.)

  The Faro Table at Devonshire House. 1797.

  Bricklayers' Arms on a Race Day.

  Rape of the Sabines.

  Nymphs of King's Place.

  Prize Fight between Cribb and Molyneux.

  Portrait of a Pugilist.

  Tilbury Fort. The Stile.

  Windy Weather.

  Female Portrait.

  'Thus, whatsoever course we bend, at every mess we find a friend.'

  Exhibition of Baboons at the Tower Menagerie.

  Going from Market.

  Rag Fair in 1802.

  The Punch Bowl, or the Loving Cup, with Commodore Regaling. (Grog on
  Board.)

  The Peasant Girl and Amorous Dignitary.

  Village, with old Inn and Church. Market Day.

  The Coal Hole. (Figures eating oysters, drinking punch, &c.)

  The Family Supper.

  The Sick Man, surrounded by his Family.

  Napoleon, on his return from Elba, Surveying Paris from the Window of
  the Tuileries.

  The Old English Drinking Club, with effects of alcohol after free
  libations to Bacchus. 1798.

  The Mischievous Urchin and the Blind Fiddler.

  Man Selling Images. Man Selling Fowls. Man Selling Cakes. (Cries of
  London.)

  An Enthusiastic Itinerant Preacher: the Adventures of Thomas
  Wildgoose.

  The Town Crier.

  Mutual Recriminations, and Plymouth Dock.

  The Oyster Wench.

  The Pic Nic.

  Anatomical Lecture.

  The Chelsea Stage Coach.

  The Squire's Kitchen.

  Barrow Women Basting the Beadle.

  Militia Meeting.

  Drawing from Life at the Academy. 'Given to my old friend, John
  Thomas Smith.'

  Nymphs Bathing. Satyr and Nymphs. Nymphs and Tritons.

  Scene at a Steeple Chase.

  Figures Carousing, Death in Waiting. (Deadly-lively.)

  Milk Seller. The Unsuspicious Husband.

  An Artist Painting a Portrait.

  Villagers Dancing to a Fiddle.

  Interior of a Church during a Sermon.

  William Hill, the Blind Sexton at Cambridge.

  The Burglars.

  Sale by Auction of Old Materials at Westminster; with view of the
  Abbey and old houses.

  Greenwich, with view of the Old Salutation Tavern.

  The Studio.

  Bathing.

  Sitting out a Long Sermon.

  The Milkmaid.

  The Old Commodore, Admiral Paisley.

  Harlow Bush Fair.

  Rooks Waiting for Pigeons.

  Posting in Scotland. Posting in Ireland.

  Saving the Old China from Fire.

  Hunting Party, with Hounds, at the door of an Inn.

  Funeral Ceremony.

  Group of Soldier and Sweetheart.

  An Auctioneer.

  Specimens of Comparative Anatomy, and Illustrations of the
  Pythagorean Doctrine. (A series.)

  Peace and Plenty.

  How to get rid of a troublesome Customer.

  A Catchpenny.

  Interior of an Eating House.

  The Vicar Removed.

  Delineations of the Passions and various phases of Character. (A
  series.)

  Teetotal Feast.

  Monkey Island.

  Scene by the River.

  The Magic Lantern.

  Village, with Procession of Dignitaries of the Church to the Tavern.

  Drunken Pensioner in a Critical Position.

  Mrs. Sturt and her Pupils.

  Stock Jobbers.

  Sepulchres.

  Domestic Jars.

  Cranbourn Alley.

  The Gourmand.

  Nobleman Cutting down his Timber to Pay his Debts of Honour.

  Tax Gatherers.

  The Reading Room.

  Evening Party.

  Leaving Home.

  Wayside Inn.

  Parties at an Inn-door.

  The Post Chaise.

  Apothecary's Shop.

  The Old Gentleman and his Young Wife.

  Groups of Human Heads. (A series.)

  The Broken Pitcher.

  Jupiter and Leda.

  Tender Appeal.

  Petition.

  Skating Scene.

  Wrestling Match.

  Balloon Hunting.

  'We three Cunning Dogs be.'

[Illustration: THE APPARITION.]

  Three Dignitaries of the Church.

  The Special Pleader.

  Scene in the Opera.

  Horns to Sell.

  Selling the Elixir of Life.

  The Meat Market Evacuated, or the Sans-Culottes in Possession.

  Flea-Catching.

  A Turk and a Tartar.

  Neapolitan Tricks.

  Interior of a Pawnbroker's Shop.

  A Scold.

  The Shipwreck.

  Robbing the Miser of his Gold.

  The Bachelor's Bitter Cup.

  The Vicar at Dinner.

  The Old Husband and Young Wife.

  The Apothecary's Shop. Death at the Mortar.

  Selling Signor Puffado's Sauce à la Russe.

  Portsmouth Point.

  A Woolcomber at Work.

  Elopement from School.

  The Hurdy-Gurdy Player.

  Connoisseurs Looking at a Picture.

  An Old Hag Looking out of Window, with a Cock and Breeches Below.

  An Elderly Lady at her Toilet, holding a Rose and viewing herself in
  a Mirror, &c.

  Good News--Bad News.

  A Pig's Whisper.

  A Waiting Maid's Insinuation.

  Scene with Highwaymen.

  Halfway House.

  Mishaps.

  One Tree Hill, Greenwich Park.

  Rural Recreation.

  Cottages near Buckingham.

  The Laboratory.

  Money-Changers.

  Nuns at Devotion.

  Nuns at a Window, Selling their Wares to Admiring Cavaliers.
  ('Pastime in Portugal.')

  Launceston, Cornwall, an Auction Proceeding.

  Sea Coast, with Fishermen.

  Eating Oysters, a First Course.

  Market Day.

  Landscape, with Figures Dancing before a Country Alehouse.
  Skittle-Playing, &c.

  Landscape, with Sportsmen and Cottage.

  View on the River, 1791.

  Sketches of Two Female Figures.

  Rural Courtship.

  The Old Debauchee Carried to Bed.

  The Unequal Match.

  Hulls of Men-of-War Ready to be Launched.

  'Sculls? Oars?'

  The Market-Mishap.

  Landscape, with Monks at Devotion.

  Farm-shed: Children at Play.

  The Sick Patient, the Doctor, and the Enraged Wife.

  Divinities and Divines.

  Surgeon and Apothecary.

  Mrs. Grant's Bagnio.

  Watchmen Taking an Unprotected Female to Prison.

  Country House. Figures at Table.

  Dr. Accum Lecturing at the Surrey Institution.

  Funeral Procession from a Country Mansion.

  The Old Bailey during a Trial.

  Departure of a Bride and Bridegroom in a Post-Chaise.

  Levée Day at St. James's--Going to Court.

  Hull of a Man-of-War.

  Interior of a Kitchen--Family at Dinner.

  The Apparition.

  Blacksmith's Shop.

  Old Alehouse Door.

  Clearing the Premises without Consulting your Landlord.

  'Be cautious upon what you fix your affections, and withdraw your
  neck from the yoke.'

  The Old Commodore.

  The Apothecary in Adoration.

  Heads of Doctor Gosset, Governor Wall, and Doctor Gall, 'drawn by T.
  Rowlandson, and given to his old friend, Mr. John Thomas Smith.'


ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE POSSESSION OF THE EDITOR
OF THE PRESENT VOLUMES.

  The Tuileries at Paris.

  A Celebration at the Great Room of the 'Crown and Anchor' Tavern.

  Love and Dust.

  Large Landscape--View in Wales: Fishing, Netting, &c.

  Summer Amusement, or a Game at Bowls.

  Large Classic Landscape--Water Nymphs, &c.

  A Press Gang.

  Dissolution of Partnership, or Striking a Balance.

  _Une Bonne Bouche!_ (A Titanic gourmand with an entire sucking-pig
  impaled on his fork.)

  A Turk and a Tartar (the Tartar in this instance being a
  high-spirited nymph, a flower-girl).

  A Cry for a Cat. (A beadle going round with his bell, &c.)

  A Travelling Princess, and an Indifferent Ambassador. (Caroline of
  Brunswick, &c.)

  Sortie from a Levée.

  New Flora.

  Awkward Attendant--'Hints to Footmen.' (On the reverse the sketch of
  'a Masquerade.')

  Private Amusement--Noble Science of Boxing. 'Nobility and Gentry
  taught.'

  Fashionable Beauties. (A pair of Nymphs of St. James's.)

  A Nincompoop, or Henpecked Husband.

  Ram Inn at Newmarket--Card-Sharpers and Countrymen.

[Illustration: SORTIE FROM A LEVÉE.]

  A Little Tighter.

  Sly Boots.

  The Apparition.

  How to Treat a Refractory Member.

  A Finishing School.

  Luxury and Avarice.

  Lust and Desire.

  'The Vicar of Wakefield.'

  'The Vicar of Wakefield': The Family Picture.

  The Old Bailey.

  Hunting Scene in a Park.

  A Park--Horses and Figures.

  View of Clifton.

  Garden Pastimes.

  Rocky Landscape:--Bathers at a Stream.

  Hussar taking Refreshment at a Cottage Door.

  John Thomas Serres. The Husband of the Princess (The 'Princess' Olive
  of Cumberland).

  Miseries of Reading and Writing:--'Losing the post when you would as
  willingly lose your life.'

  Syrens Catching a Porpoise.

  Rag Fair, 1801.

  Landscape Scene.

  A Mad Dog in a Dining Room. (See 1809, page 133.)

  Clifton from the Heights.

[Illustration: A TOAD-EATER.]

  The Quay.

  A Shipping Scene.

  Greenwich Geese.

  A Wild Landscape.

  A Toad-Eater.

  Incantations.

  The Dolphin Inn.

  Bob Derry of Newmarket.

  Buy my Strawberries.

  An Old Sinner.

  Stolen Kisses.

  The Highwayman betrayed.

  A Prize Fight.

  Contrasts: The Long and the Short of it.

  A Clockmaker's Shop.

  A Neapolitan Ambassador. (Lady Hamilton, &c.)

  Seeking among the Slain after the Fall of Troy.

  Forget and Forgive, or Honest Jack shaking hands with Mynheer.

  Playing Tricks upon Travellers; or, Disturbed by Sham Spectres.

  Veteran Topers.

  A Jew Family.

  Lethargy.

  A Nun of Winter's Sisterhood.

  The Butterfly Fancier on the Wing, or the Tulip Fancier's Flower Beds
  Sacrificed.

  Pair of Female Figures.

  Smoking a Customer.

  Preparing to Start.

  Landscape, Sea-Shore, Boat-Building.

  Monmouth.

  Entrance to the Town of Carnarvon, Wales. 1804.

  Poets' Corner, Westminster Abbey.

  Cottage in Devonshire.

  Lord Fitzwilliam's seat near Malton, Yorkshire. 1803.

  Oxford Jockeys, or the Landlord in Trouble for his Cattle.


[Illustration: SMOKING A CUSTOMER.]

  Dutch Market Women landing at the Brill.

  View on the Maeze, Holland.

  Dock Head.

  Yarmouth, in the Isle of Wight.

  Market Place at Yarmouth, Norfolk.

  Mode of Travelling in Holland.

  Travelling in Germany.

  Travelling in the Prussian Dominions.

  The Market Place, Dusseldorf.

  View of a Post House in the Emperor of Germany's Dominions.

  Inn Yard at Cologne.

  Brighton Downs.

  Blackheath.

  View of the Thames from Blackheath.

  Diana in the Straw, or the Squire, a treat for the Quornites.

  Trying on her Mistress's Clothes, or a peep into the Kitchen. 1801.

  The Castatrophe, or Crash to the Grandmother's old China.

  A Visit from Houndsditch to Pall Mall.

  Admiral Nelson recruiting with his brave Tars after the Battle of the
  Nile.

  Views of Oxford and Cambridge:--

    North View of Friar Bacon's Study at Oxford.
    View of Oxford Castle.
    View of Queen's College, Oxford.
    A View of the Theatre, Printing House, &c., Oxford.
    Inside View of the Cupola in the public Library.
    Merton College and Chapel, from the First Quadrangle.
    Merton College. Oxford.
    A Western View of All Souls' College. Oxford.
    The Libraries and Schools from Exeter College Gardens.
    A South View of the Observatory. Oxford.
    St. Peter's House. Cambridge.
    Trinity College. Cambridge.
    King's College and part of Clare Hall. Cambridge.
    View of Jesus College. Cambridge.
    Trinity College and Library, and part of St. John's College,
      Cambridge.

  Views in Cornwall, Devon, &c.

    View on Bodmin Downs. Cornwall.
    Hamethothey Mill. Cornwall.
    Hengar House, near Camelford, the seat of Matthew Mitchell, Esq.
    Cornish Cottages.
    Corn-mill in Cornwall.
    Cornish Scene.
    Collecting the Tythes.
    Liskeard Moors. Cornwall.
    St. Columb. Cornwall.
    St. Kew Church near Wade Bridge. Cornwall.
    View near Bodmin in Cornwall.
    Treelile House, North Cornwall.
    Cottage, near Landhearn. Cornwall.
    The Barrow Sands. North Coast. Cornwall.
    Stone Bridge. Cornwall.
    Hengar Woods, near Camelford. Cornwall.
    Hengar Woods. (Another view.)
    Cottage on the Router Moor, near Camelford. Cornwall.
    Vicarage of St. Udy, near Bodmin. Cornwall.
    Stone Bridge. Cornwall.
    Shipwreck. Cornwall.
    Monastery. Cornwall.
    Near Truro. Cornwall.
    View of the Convent at Landhearn, near St. Columb. Cornwall.
      The seat of Lord Arundale.
    Cottage in Cornwall.
    Old Buildings. Cornwall.
    Roadside and Bridge. Cornwall.
    Cottage near Launceston. Cornwall.
    The Disbanded Soldier.
    Camelford Cattle Fair. Cornwall.
    Cottage. Devonshire.
    Near Plymouth.
    A Travelling Tinker. View at Fair Point. Plymouth.
    View near Taunton. Somersetshire.
    Taunton Vale. Somersetshire.
    A Wheelwright. Devonshire.
    Country Carpenters. Devonshire.
    Near Conway. North Wales.
    Falls, Conway. North Wales.

  Wells.

  Bath.

  Bath Races.

  Pump Room. Bath.

  The Bath. Bath.

  City of Norwich.

  Ouse Bridge. York.

  York Cathedral.

  Entrance to the Town of York during the Races.

  Views on the Thames:--

     Richmond.
     Town Hall and Market Place at Kingston-upon-Thames.
     Mr. Zoffany's House at Chiswick.
     Greenwich.
     Near Pyrfleet.
     Fishing House at Chertsey.
     Hampton Bridge.
     Hampton Wick.
     Near Richmond.
     Near Datchett.
     Near Bray.

  The Waggoner's Rest. Moonlight.

  War time. Gun, Horses, and Ammunition.

  Embarkation of Troops for La Vendée.

  Troops on the March; convoying Stores.

  The Surrey Fencibles dispersing the Rioters in St. George's Fields.
  June 13, 1795.

  Embarkation of Cavalry.

  Troops on the March; Bag and Baggage.

  Waggoners.

  The Passage Boat.

  The Serenade.

  Hunting Morning.

  Market Day at Aberystwith.

  Camp-followers.

  Near Lewes. Sussex.

  Disasters of the Streets. Chairmen in a Dilemma.

  Coach in a Slough.

  A Coach Wrecked.

  Turks.

  Returning from a Country Party.

  The Smithy.

  A Showery Day.

  Fireside at an Inn.

  A Bar Parlour.

  Devotion.

  Rag Fair. Pair of Views.

  Concerto Spirituale.

  The Dog Barber. La Francia.

  The Village Barber.

  An Unwelcome Visitor.

  New Shoes.

  Shot at a Hawk. Scene at Newmarket.

  Sunday Morning at Cambridge.

  Visit to the Camp.

  Patience in a Punt.

  A Town-bred Brat. 1802.

  A Wayside Meeting.

  College Service.

  Stock Jobbers.

  Loan Contractors.

  The Propagation of a Lie (in three slips).

  The Pleasures of the Country, or returning from a Visit across a
  Muddy Road.

  A Snug Rubber, or Playing for the Odd Trick.

  Making a Bowl of Punch.

  Old Age, Condolence on Crutches.

  Saved.

  Drowned.

  Jerry Sneak and Mr. Sullen. A Henpecked Husband.

  Scene from 'King John.'

    _Arthur._ Let me not be bound.
    Nay, hear me, Hubert, drive those men away.

  A Flat between two Sharps. Outside a Billiard Room. 1803.

  A Journeyman Tailor.

  Green and Large Cucumbers.

  The Dancing Bear; or, the Graces, the Graces, remember the Graces!

  Counsellor Humbug, or Guardians of our Property, here and hereafter.

  Quaker Courtship. Waiting for the Movement of the Spirit.

  Methodists broke Loose.

  Market Place, Richmond, in Yorkshire.

  Green Man near Nottingham. 1803.

  View of Nottingham.

  The Meal in the Shade.

  Labourers at Rest.

  Near Canterbury.

  Officers Holding a Review.

  Fish Market at Brighton.

  The Rising Sun. Halt at an Inn.

  Putting off to Sea. A Breezy Day.

  Cabin of a Man-of-War. Drinking a Toast.

  A Cottage Scene. Washing Day. Pigs Feeding.

  Exeter Gaol.

  A Man-of-War.

  Devon.

  Lincoln.

  Market Day. The Golden Fleece.

  View of Stamford, Lincolnshire.

  Cattle at a Waterfall.

  The Royal Oak.

  Country Courtship.

  Near Honiton. Devonshire.

  Farm Yard near Honiton. Devonshire.

  Sunday Morning.

  Returning from Work.

  The Waggoner's Inn.

  Waterside Inn. 'The Boatman's Rest.'

  Resting beside a Barn.

  Carnarvon Castle Gate.

  The Windmill.

  The Sailor Saved.

  Near Beverley. 1803.

  Ships Unloading.

  Driving Home Cargo.

  View of the River Itchen, near Southampton.

  Southampton Waters.

  Carisbrook Church and Castle, Isle of Wight.

  Soldiers Drinking.

  Troops stopping to Refresh on their Road to Join the Camp on Barham
  Downs. Aug. 20, 1799.

  Returning from a Race.

  Cottages and Park.

  The Road to the River.

  Waggon and Horses Climbing a Hill.

  Saturday Night. Repose from Toil.

  The Wounded Soldier. 1804.

  Horsemen Drinking outside an Inn.

  Newgate. Morning of an Execution.


ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION OF THOMAS CAPRON,
ESQ., ARUNDEL HOUSE, RICHMOND.)

  Mr. Capron's selection contains numerous subjects from the
  collections of Lord Farnham and the late W. T. Ashley, Esq. Besides
  being the owner of a very fine selection of the best prints after
  Rowlandson, many of considerable size, value, and importance,
  (for the loan of several choice examples, which are both rare
  and difficult to obtain, the writer begs to record his grateful
  acknowledgments to the fortunate possessor;) Mr. Capron has also
  collected quite a gallery of original drawings; among the number
  are some truly capital examples. The titles of a selection from the
  numerous subjects are as follow. (See also the collection of the late
  Mr. Ashley.)

  French Barracks.

  Cries of London.

  Plymouth Dock.

  Street Musicians.

  Portsmouth Point.

  The Love Letter.

  Grog Aboard.

  The Female Volunteer.

  Relief from Hard Study.

  Hen and Chickens.

  Late Hours at Mrs. Sturt's.

  Temptation.

  A Snooking Kenn.

  _Fiez-vous à Filles_: Stripping a Cully.

  Illustrations from _Johnny Quæ Genus_. Waiting on a Lady of Fashion.

  Unpleasant Reflections.

  State Pledges.

  Matrimony. (_Dance of Life._)

  The Cobbler's Method.

  A Domestic Scrimmage.

  'The Long wished-for Day come at Last.'

  All Souls.

  Beyond a Joke.

  Nuns at Devotion.

  Snow-balling the Blackamoor.

  Concert à la Catalini.

  Money Bags. A Golden Shower.

  Westminster Abbey.

  A Levee, St. James's Palace.

  Presence Chamber, St. James's Palace.

  Stock Exchange.

  Brewers' Horses.

  Arrival of the Post Boy.

  Epsom Downs, or More Downs than One. 1816.

  John Bull stuck in a bog in France.

  Jean Crapaud run away with in England.

  The Laboratory.

  A Duck. 1823.

  Humours of a Rustic Inn.

  The Club.

  The Coal Hole.

  The Cock Tavern, Fleet Street.

  Mutual Recriminations.

  Dragging the Pond.

  A Pic-Nic. The Social Day. 1812.

  Dinner at the Fair.

  Althorpe Wells, Discovered by Queen Anne's Physician.

  Leaving Home.

  Clearing the Premises without Consulting your Landlord.

  A British Tar, and Charitable Feelings.

  Trying to Move a Jew.

  Jew and Gentile, or Old Clothes and Doll Tearsheet.

  A Superannuated Beau.

  Ballet Master at the Opera House.

  A French Noble in his Shooting Dress Sketched at Boulogne, 1778.
  First September, Trying the Sight.

  Introducing a Pigeon to a Hazard Table.

  William Cussons, Shaver. John Street, Adelphi.

  The Walking Stewart, an Eccentric Character.

  Dirty Work, Levee Day, or Court Ceremony.

  Katharine and the Tailor.

  A Banker's. (The Spider's Web). A Ready Money Customer.

  A Banker's. (The Wasp). A Discount.

  A Lowland Family.

  Putting a Husband to Bed.

  Old Cronies.

  Recruiting.

  The Ménage.

  Billiards.

  Lost and Won. Red Wins.

  Saving the Old China from Fire.

  Posting in Ireland.

  Posting in Scotland.

  French War. Interior of a French Prison. (An Abbey.)

  A Cooper. A Farrier.

  Travelling Savoyard. An Itinerant Showman. Bear, Monkey, and
  Performing Dogs.

  Innocent Cause.

  The Magic Lantern. A Galantee Show.

  Sham Fits. 1802.

  Deadly-Lively.

  Doctor Graham's Cold Earth and Warm Mud Bath.

  Volunteer Foot. Westminster Light Horse.

  Admiral Paisley--'The Tough Old Commodore.'

      Why, the bullets and the gout
      Have so knocked his hull about
    That he'll never like the sea any more!

  Rent Day. A Light Piece.

  An Apothecary.

  A Ridotto.

  A Pastoral Piper.

  A Fresh Graduate.

  Pomona, or Ripe Fruit.

  Life Academy, Somerset House. T. Rowlandson. With inscription by the
  Artist: 'Given to my old friend Smith.'[32]

  The Graces.

  Nicolas Poussin: Venus, Mars, and the Loves.

  Bellona.

  An Apotheosis. Prometheus.

  Nessus and Dejanira.

  Acis and Galatea pursued by Polyphemus.

  Etruscan Frescoes.

  Venus and Cupid.

  Neptune discovering Venus to the Tritons.

  Pan and Syrinx.

  Tritons and Nereids.

  Doctor Syntax and the Bees.

  'Doctor Primrose Preaching to the Prisoners,' and numerous
  illustrations to the 'Vicar of Wakefield.'

  The major part of the Illustrations to 'The Dance of Life,' and a few
  Examples of the Designs for 'The Dance of Death.'

  Pair of Large Hunting Scenes.

  Diving Belles.

  The Introduction. Mrs. Sturt's.

  Mrs. Sturt and her Pupils (from Mr. Ashley's Collection).

  Tuileries Gardens.

  Stowe Gardens.

  Richmond Hill.


THE FOLLOWING DRAWINGS HAVE ALSO COME UNDER THE EDITOR'S ATTENTION.

  A Tailor's Wedding.

  The Unwelcome Intruder. (1803.)

  The Rival Butchers.

  The Cobbler.

  The Fishmonger.

  Animal Magnetism: the Centre of Attraction.

  The Alchemist.

  The Pavior's Joy.

  The Clamorous Tax-gatherer calling on the Doctor.

  The Old Admiral.

  Apples! a Street Cry.

  Alms. An admiral (with a wooden leg) and his family relieving an
  invalided old sailor.

  Mrs. Shevi in a Longing Condition (for a Little Pig).

  Chevalier D'Eon at Angelo's Rooms. 'Angelo's Fencing Academy, also
  the Broadsword Exercise, Boxing, &c. Terms for Fencing, Lessons, &c.'

  Washing in the Highlands.

  A Butcher's Shop.


COLLECTION OF JOHN COLE STOGDON, M.A., ESQ., 18 CLIFFORD'S INN.

This gentleman, amongst a rich gathering of drawings, caricatures,
and social satires, has secured numerous good examples of prints
executed by Rowlandson, including the rare series of the 'Stages of
Man's Schooling' (1802). We have to instance a spirited drawing by the
caricaturist, which is in the possession of Mr. Stogdon: 'Forbidden
Fruit.'


FIGURE DRAWINGS AFTER THE OLD MASTERS BY THOMAS ROWLANDSON, IN THE
COLLECTION OF COLONEL GOULD WESTON, THURLOE SQUARE.

  Venus: Carlo Marratti.

  Venus: Bouchér.

  Nymph Surprised by Satyr: Gerard Lairesse.

  Diana and Hunter: Gerard Lairesse.

  Diana and Nymphs: Giulio Romano.

  Leda and Swan: Giulio Romano.

  Venus Arranging her Hair: Andrea del Sarto.

  Venus and Cupid: Andrea del Sarto.

  Venus and Cupid: Palma Vecchio.

  Lucretia: Andrea del Sarto.

  Venus and Mars: Pietro de Cortona.

  Rape of the Sabines: Polidore.

  Leda and Swan: Canache.

  Venus and Man Playing Guitar: Titian.

  Susanna and Elders: Guercino.

  Venus Sleeping--back exposed: Guercino.

  Zulieka and Joseph: Domenichino.

  Venus and Loves: Domenichino.


The drawings mentioned above, like most of the caricaturist's fluent
renderings of subjects after the Old Masters, are far removed from
mere copies or servile imitations, being, in actual fact, free
adaptations of the works in question, strongly characterised with the
individualities of Rowlandson's style.

Colonel Weston, in addition to this unique series, possesses a
collection of original drawings by the artist, which includes,
among numerous interesting examples of varying importance, one of
Rowlandson's most graceful and finished drawings, worked out with a
taste and delicacy altogether remarkable. The subject is a domestic
scene, introducing two charming figures (likenesses in all probability)
executed after the style of the portrait of Morland (mentioned in the
first part of this work, now in the Print Room, British Museum, see p.
412), and evidently executed at the same period.


ORIGINAL DRAWINGS BY THOMAS ROWLANDSON. (COLLECTION IN THE POSSESSION
OF JOHN WEST, ESQ., BAYSWATER.)

  R. Moser, R.A., Keeper of the Royal Academy. A serious portrait,
  boldly executed, both outline and shadows put in with a reed pen,
  in the manner of Mortimer. Evidently a sketch made from life when
  Rowlandson was an Academy student.

  Colonel O'Kelly taking a Private Trial previous to his Making a
  Match. (See Racing Series, 1789: The Betting Post, The Mount, &c.)

  Race-horses arriving for a Spring Meeting.

  The Gambler Going to Bed. (See pp. 208-210).

  Congregation Leaving a Chapel. 1820. A large drawing, crowded with
  figures. (See collection belonging to William Bates, Esq.)

  'As You Like It,' act ii. scene 7: Fifth Age. (Engraved.) The
  collection of Shakspearean subjects drawn by Rowlandson to illustrate
  the 'Seven Ages of Man' is in the possession of General Sir Henry de
  Bathe, Wood End, near Chichester.

  An Anatomical Lecture.

  The Morning Toilette. A fashionable beauty holding a _levée_ under
  the hands of her perruquier.

  The Morning Meal.--

    The cup that cheers but not inebriates.

  The Tuileries Gardens, Paris. A small sketch for the larger drawing.
  (See collection in the Editor's possession.)

  An Out-of-door Scene in Paris. (Companion.)

  A Squabble in St. Giles's.

  The Awkward Servant. (See collection in possession of the Editor.)

  Horse-Racing: Introducing a Novice to a spirited Mount.

  Mrs. Clarke and the York Shop. Mrs. C. receiving bribes as a
  commission agent.

    'Tis woman that seduces all mankind.

  Also in the collection of Thomas Capron, Esq.--

  Portrait of a Foreigner.

  Portrait of an Old Gentleman. The face of this figure may be a
  caricatured representation of the artist's appearance late in life.

  Portrait of an Old Lady.

  An Equestrian Military Portrait. (German officer.)

  Portrait of a Quaker.

  Looking at a Procession in the Park.

  An Allegorical Design.

  Carisbrooke Castle.

  Hunting Scene.

  The Thames at Twickenham.

  The Social Day.

  Interior of Exeter Cathedral (during sermon time).

  View in the Environs of London.

  Continental View, in Rowlandson's early manner (a cloister).

  Yeomanry Cavalry Refreshing at an Inn.

  Cattle Watering.

  Scene at a Seaport.

  Chatham: View of the Medway and Men-of-war; Troops and Military Train
  riding along the shore.

  Waterside Scene, near a port on the South coast; Passengers landing,
  &c.

  Views of Cornwall, Devonshire, Somerset, &c.


ORIGINAL DRAWINGS BY THOS. ROWLANDSON IN THE POSSESSION OF JOHN
CHESTER, ESQ., OF OLD SQUARE, LINCOLN'S INN.

  Toilette of an Antiquated Belle. A large and fine drawing, after the
  school of the old masters.

  The Village Festival. Figures dancing in a ring on the green,
  skittle-players, &c. Important subject, somewhat in the manner of
  Teniers the Younger.

  Interior of a Pawnbroker's Shop. 'The Last Shift' (engraved and
  published November 1, 1808).

  Taste, or Milord Anglais and Italian Picture-Dealers. (Engraved 1812.
  See p. 234.)

  A Scold.--

    A smoking chimney, and a scolding wife.

  A Breezy Day.

  Death at the Door. An upright subject, earlier than the series
  entitled the 'Dance of Death.'

  An Old Miser and a Young Wife.

  An Old Woman and her Cat at a Window.

  Original frontispiece to the collected series of 'Miseries of Human
  Life.'

  Designs for illustrations to the 'Dance of Death.'

     The Squire.
     The Shipwreck.--

    The dangers of the ocean o'er,
    Death wrecks the sailors on the shore.


ORIGINAL DRAWINGS BY THOS. ROWLANDSON IN THE POSSESSION OF A. H. BATES,
ESQ., EDGBASTON, BIRMINGHAM.

  An Old Soldier's Widow. 6 × 5-1/2 inches.

  A Fat Man and Death. 5 × 4.

  The Widower's Consolation. 6 × 4-1/2.--

    Two bores all at once have taken a trip:
    I've buried my rib, and got rid of the hip.

  Woman on a rock by a stormy sea, on which is an empty boat, &c.
  7 × 4-1/2.

  Doctor Syntax at a Bookstall. Folio. (Engraved on a reduced scale in
  the 'Humourist,' by W. H. Harrison.)

  A Nobleman Cutting Down his Timber to Pay his Debts. 10 inches in
  length.

  A sheet of grotesque heads formed of vegetables, &c.

  Death and the Glutton. Large 8vo.

  Exterior of a Public House. 8vo.

  Sepulchres. 8vo.

  Doctor Eady and his Patients. 8vo.

  Execution Dock. 5 × 6.

  The Old Blind Sexton. Folio.

  Three figures seated at table; one said to be the portrait of
  Hamilton, the artist. 8vo.

  The Milkmaid's Tempter. 5 × 4.

  Drawing-room scene. Milliner displaying a dress. Numerous figures,
  probably designed as frontispiece for a magazine of fashions.

  Domestic Jars. 9 × 4 in. Man and woman quarrelling; the former seated
  in a chair, with a large bass-viol beside him.


LIST OF ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE COLLECTION
OF WILLIAM BATES, ESQ., B.A., M.R.C.S, &c., BIRMINGHAM.[33]

  'Cornish Peasantry.' 10-1/4 × 6-1/2. Five peasants, admirably grouped,
  seated on a sort of timber-cart, drawn by two oxen. Woody background.
  Signed 'Rowlandson.'

  Acis and Galatea. 8-1/2 × 6.

  Apollo and Daphne. 8-1/2 × 6. Companion to the above. A
  vigorously-drawn recollection of the antique.

  The Cottage Door. 11-1/2 × 8-1/2. A group of rustics seated at the
  door of a cottage. On the right hand a man with a donkey laden with
  vegetables. In the manner of Morland.

  'The Road to Ruin.' 13-1/2 × 9-1/2. The young squire is seated at a
  round table, with his mistress on his knee. Opposite to him is a
  'led-captain,' dealing out cards and inciting the squire to bet. In
  the centre, standing at the table, is a plethoric chaplain, wholly
  intent upon the manufacture of a bowl of punch, the ingredients for
  which he is pouring simultaneously from two bottles into the bowl.
  The complete absorption of each of these personages in his own
  special object is admirably depicted.

  Brentford Market Place. 17-1/2 × 12. An admirable drawing, exhibiting
  hundreds of market-people disposed in groups, with the Town House in
  the central background and the 'Three Kings' inn on the right hand.
  The grouping is excellent, the scene full of animation and bustle,
  the sense of space and general keeping perfect, and the whole equal
  in power and effect to the works of the Dutch painters.

  Shepherd and Sheep. 17-1/4 × 4-1/2. A standing figure in the middle of
  a group of five sheep; something in the manner of Gainsborough.

  The Funeral. 7 × 4-1/2. The parson advances, reading the burial
  service. Next comes the clerk, carrying a child's coffin, and
  followed by a group of female mourners, wringing their hands, holding
  handkerchiefs to their eyes, and some carrying umbrellas. To the
  right a female gravedigger, holding a spade in one hand and tolling
  the bell with the other. To illustrate the old song of 'The Vicar and
  Moses':--

    When come to the grave the clerk humm'd a stave,
      Whilst the surplice was wrapped round the priest;
    When so droll was the figure of Moses and Vicar,
      That the parish still laugh at the jest.
                            Singing tol de rol, &c.

  An Oriental Scene. 8-1/2 × 5-1/2. In the foreground a gibbet, from
  which is hanging in chains the headless body of a woman. By the side
  an impaling-stake and wheel. Two men in foreign garb are looking on.
  In the distance a city, with towers and minarets.

  'The Industrious Wife and Idle Husband.' 5-1/2 × 4. The wife is busily
  engaged at the washtub; a cradle, with twins asleep, at her back;
  while the husband, with pipe, glass, and jug, sits over the fire with
  a boon companion. Full of Hogarthian humour.

  Burglars Alarmed. 11 × 9-1/2. A drawing of extraordinary vigour. A
  brutal-looking ruffian, in a frieze coat, holding a bloody knife in
  one hand and enjoining attention with the other, is striding over the
  corpses of two women, both with their throats cut. A second ruffian,
  with alarm depicted on his countenance, holds a candle in his right
  hand and grasps a bloodstained coal-hammer in his left. In the
  background a fate is seen peeping through a window. A piece that can
  hardly be looked at without a subsequent attack of nightmare.

  Landscape. Lake scene, hilly background. 9 × 7. Very broad in
  treatment.

  Commodore Trunnion and Lieut. Hatchway on their way to the Wedding.
  14-1/2 × 8. (See Smollett's 'Peregrine Pickle,' vol. i. chap. 8.)

  Jolly Companions. 11 × 8. A group of five, heads and shoulders. A man
  is apparently singing from a ballad-sheet. A woman at his right hand
  is blowing with the bellows, and the other faces are on the broad
  grin.

  The Pipe Dance. 4-1/2 × 3. Two Punch-and-Judy-like figures dancing,
  and holding a pipe over head. Small, but very spirited.

  The Forge. 9-1/2 × 6-1/2. A group of four horses outside a forge. The
  blacksmith holds up the hoof of one; the farmer stands by, and a
  woman advances holding a cup of ale. Signed 'Rowlandson, 1791.' As
  fine as Morland.

  Maternal Solicitude. 6-1/2 × 4-3/4. A mother bends over her child on a
  couch, both entirely nude.

  Nymph and Cupid. 7-1/4 × 5-1/2. A naked nymph recumbent; a winged
  cupid, bow in hand, descends towards her.

  Henpecked Husbands. 10 × 6-1/4. A woman has hold of the greatly
  elongated nose of her husband in one hand, and belabours him with a
  whip in the other. On the left a group of women toss a husband in
  a blanket, and on the right a wife is thrashing her husband on the
  ground, whom she also holds by the nose.

  Death in the Pot. 6 × 3-1/2. A plethoric figure drinks from a bowl,
  while a skeleton figure is about to strike him from above.

  Zion Chapel. 13-1/2 × 8-1/4. A congregation of over fifty persons,
  who have just emerged from the portal of 'Zion Chaple' (_sic_),
  are passing slowly along. The door is blocked up by the departing
  worshippers; a fish-woman standing by indulges in some ribald
  observations, and a pious old lady holds up her hands in horror.

  The Table d'Hôte. 13-3/4 × 9. A spirited and characteristic drawing,
  exhibiting a numerous company of both sexes seated at a dinner-table.
  French waiters, pig-tailed and nightcapped, are drawing corks,
  filling glasses, and flying to and fro with dishes, &c. One of the
  guests is teaching a dog to beg; a woman and girl, with tambourine
  and triangle, appear on the left to amuse the company.

  Interior of a Prison. 9-1/2 × 6. From the collection of the celebrated
  Henry Angelo, the professor of fencing, who in his 'Reminiscences'
  (vol. ii. p. 324) gives an account of its production. Rowlandson,
  it appears, had been robbed one night, and went next day in search
  of the thief. 'We first repaired,' says the reminiscent, 'to St.
  Giles's, Dyott Street, and Seven Dials. In one of the night-houses
  four ill-looking fellows, _des coupes-jarret_, so attracted our
  attention that, whilst we sat over our noggins of spirits, as he
  (Rowlandson) always carried his sketch-book with him, he made an
  excellent caricature group of them for me, introducing a prison in
  the background.... He afterwards finished it for me in his best
  style, superior to the greater part of his works. This is now (1830)
  about forty years ago. The coloured drawing was once included in
  my collection.' Here we have the four thieves sitting and lying in
  various positions. Prisoners in another group are playing cards.
  Another ruffian is stretched at full length asleep in the foreground.
  The drawing, grouping, and colouring are alike admirable, and would
  have done honour to Salvator Rosa.

  'The Miser Lying in State: the Prodigal Heir-Apparent.' 14 × 9-1/2.
  The 'heir-apparent,' with his profligate companions, male and female,
  is seated at a table, on which we see a punchbowl, &c. A coffin
  occupies an elevated position in the background, and from it appears
  to be struggling to emerge the supposed defunct miser, while an
  allegorical figure above seems to be nailing down the lid.

  The Fire. 9-1/2 × 6. On the right a house on fire, flames issuing from
  the windows, the doorway crowded with watermen, and persons carrying
  out bedding and other effects. On the left firemen manipulating
  the hose and directing the stream against the flaming windows,
  in ridiculously suggestive attitudes. The central figure is an
  enormously fat woman, whose night-dress, drawn up to support a mass
  of crockery, displays her _Rubensesque_ and redundant charms to the
  watermen, who turn their grinning faces to gaze upon the spectacle.

  'Leaving the Premises without Consulting the Landlord.' 11 × 8-1/2.
  A cart, seen at the back, heaped up with furniture, occupies the
  centre. A woman on the left laden with gridirons, warming-pans, &c.
  On the right a girl, graceful as one of Stothard's female figures,
  places in the cart a birdcage. In the foreground miscellaneous
  articles of minor furniture, and two children playing with the
  house-cat.

  Outside the Court-House. 14-1/2 × 10-1/2. The scene is apparently the
  Magistrate's Court and the Town Hall in some county town. The ground
  in front is crowded with various individuals waiting for the cases
  in which they are interested to be called on. We see the farmer, the
  parson, a jockey, a huntsman, a footman, a butcher, a soldier, an
  actor, and many others. The beadle is seated on a step, making love
  to an old woman, who holds a tankard in her hand. Dogs are scattered
  about, attendant on their masters.

  Interior of Eating-House. 7-1/4 × 5. A dining-table, at which are
  seated some seventeen people, male and female. One of the guests, a
  stout, portly man, has left the table, and is seizing his hat, as if
  offended. A neighbour attempts to restrain him, while the waiters
  appear amused.

  Bridewell. 9 × 6. A procession of fifteen female prisoners are
  escorted through the courtyard of Bridewell from one department
  of the prison to another, in pairs, in charge of turnkeys, female
  warders looking on. Penitence, grief, and hardened impudence are
  admirably depicted on the several faces.

  Returning from a Voyage. 9-1/2 × 6. A sea beach, with a schooner and
  sloops at anchor. A boat has just landed a group of passengers, among
  whom is a girl with a cockatoo on her wrist.

  Pickaback. 4-1/2 × 3-1/2. A man, carrying a woman on his back, is
  fording a brook.

  Picture Exhibition. 9 × 5-1/2. Connoisseurs at an exhibition of
  pictures.

  Gaming House. 9 × 5-1/2. A drawing similar to that which serves as
  frontispiece to the 'Beauties of Tom Brown.'

  Nymphs Bathing. 8-1/4 × 5-1/4. Eight female figures, entirely nude,
  sporting in a stream, or seated on its banks. Leafy background.

  Nymphs Attiring. 8-1/4 × 5-1/4. Five female figures, entirely nude,
  seated on the banks of a stream, dressing their hair.

  The Village Politicians. 15 × 9-3/4. Dated 1821.


FOOTNOTES:

[29] _Vide_ Biography, vol. i. p. 67.

[30] See account of the _Three Tours of Dr. Syntax_, _ante_, pp. 176,
247-252.

[31] Another version of the drawing, in the possession of the Editor,
reproduced (p. 20) as 'The Quay,' in the introductory biographical
sketch to this work.

[32] Antiquity Smith, Author of the 'Life of Nollekens;' once Keeper of
the Prints and Drawings, British Museum, &c.

[33] See _George Cruikshank: the Artist, the Humourist, and the Man,
with some account of his brother Robert. A Critico-Bibliographical
Essay_. By William Bates. B.A., M.R.C.S.E., &c., Professor of Classics
in Queen's College, Birmingham; Surgeon to the Borough Hospital, &c.,
with numerous illustrations by G. Cruikshank, including several from
original drawings in the possession of the author. Houlston and Sons,
1879. Also _The 'Fraser' Portraits. A Gallery of Illustrious Literary
Characters_ (1830-1838), drawn by the late Daniel Maclise, R.A., and
accompanied by Notices chiefly by the late William Maginn, LL.D. Edited
by William Bates, B.A., &c. Chatto and Windus, 1874, 4to.



INDICES.



INDEX OF NAMES, PERSONS, &c.


  Ackermann, Rudolph (Rowlandson's publisher), i. 85, 89-93

  Ackermann's _Poetical Magazine_, i. 33

  Addington, Hon. H., 'The Doctor,' i. 246

  Alexander, Emperor of Russia, ii. 281, 294

  Angelo, Henry, 'Reminiscences,' i. 55, 64-6, 68, 70-2, 78-9, 85, 87-8,
    287, 298-300, 374; ii. 5

  Angelo's Fencing Rooms, i. 241

  Angelo and Rowlandson at Vauxhall, i. 62-3, 156

  -- and Son, Hungarian and Highland Broadsword Exercise, i. 374

  -- Henry, his sketch of Simmons, the Murderer, ii. 81

  Anstey, Christopher, 'Comforts of Bath,' i. 333-49

  Arnold, General, i. 173

  Atkinson, Christopher, i. 143-4

  Auckland, Lord Eden, i. 173

  Austria, Emperor of, ii. 281

  Austria, Crown Prince of, ii. 281


  Banco to the Knave (Gillray), i. 106

  Banks, Sir Joseph, i. 192

  Bannister, the Comedian, a Collector, i. 70; ii. 248

  -- John, the Comedian, an Art Student, i. 53-4

  Barrymore, Lord, i. 58, 161-2, 303

  Bate, Dudley, of the _Morning Post_, i. 159

  Bates, William, B.A., 'Sketch of Rowlandson's Works,' 'Essay on George
    Cruikshank,' ii. 379

  Bedford, Duke of, i. 359

  Bell, Dr., ii. 216

  Beresford, James, ii. 178

  Billington, Mrs., i. 158

  'Black Dick' (Lord Howe), i. 199

  'Blackmantle,' Bernard (pseudo), i. 43; ii. 375, 378-9

  Blair, Doctor Hugh, i. 198

  Blucher, Prince von, ii. 278-9, 280-1, 293-5

  'Book for a Rainy Day,' J. T. Smith, i. 70

  Borowloski, Count, 'The Polish Dwarf,' i. 186

  Bossy, Doctor, ii. 5

  Boswell, James, i. 193-8

  Boswell's 'Tour to the Hebrides,' i. 84, 193-8

  Buonaparte, the Emperor Napoleon, ii. 42-3, 45, 47, 52, 54, 61, 82-3,
    93-102, 130, 159, 162-3, 187, 203-4, 255, 258-64, 271-2, 276-82,
    289, 291-3

  -- Joseph, King of Spain, ii. 95-6, 98-101

  -- Louis, King of Holland, ii. 97, 258-9

  Buonaparte's Generals, ii. 291

  Brightelmstone in 1789, i. 277

  Britannia, 117, 136, 141-2, 247; ii. 6

  Buckingham, Marquis of, i. 243

  Bullock, Proprietor of 'Bullock's London Museum,' ii. 309

  Bunbury, Henry, the Caricaturist, i. 61, 78-80, 369

  -- the Caricaturist (illustrated biographical sketch of his life by
    Joseph Grego), i. 3

  -- Henry, Caricaturist (Gambado's 'Annals of Horsemanship and Academy
    for Grown Horsemen'), i. 352-3; ii. 101-15, 217, 221-3

  Burdett, Sir Francis, i. 359; ii. 74, 181-2, 184, 365

  Burke, Hon. Edmund, i. 112, 118-19, 220, 245, 248, 274, 289; ii. 13

  Burton, Alfred, 'Adventures of Johnny Newcome in the Navy,' ii. 363-4

  Bute, Lord, i. 141

  Butler, S., ii. 174, 198


  Camden, Lord, i. 244

  Canning, George, verses on 'All the Talents,' ii. 69

  Canning, George, ii. 166

  Carmarthen, Marquis of, i. 244, 248

  Cartright, Major John, i. 121

  Castlereagh, Lord, ii. 166

  Catalini, Madame, ii. 165

  Catharine, Empress of Russia, i. 290

  Chambers, Sir William (architect of Somerset House), ii. 217

  Charles the Fourth, King of Spain, i. 290, 292; ii. 94

  Charlotte, Queen, i. 110, 199-210, 220, 228, 230, 252, 290

  Chatham, Lord, i. 244

  -- General, ii. 164, 166

  Chattelier, Miss (Rowlandson's aunt), i. 52, 63-4

  Chiffney (jockey to the Prince of Wales), i. 207

  Clarke, Mrs. Mary Anne, ii. 135-64, 166, 181

  -- Scandal, The, i. 28; ii. 135-64, 181

  Clavering, General, ii. 143

  Coleraine, Lord, i. 180, 220, 229. (_See_ Hanger)

  Collections of Rowlandson's drawings, i. 5. Appendix

  Collings, the Caricaturist, i. 82-4, 191, 193

  Combe, William, ii. 247, 268, 317-55, 359-62, 271-2

  -- -- (author):
    'The Three Tours of Doctor Syntax,' ii. 176, 247-52, 266-7, 269-70,
      367, 373, 375
    'The Dance of Death,' ii. 317-15
    'The Dance of Life,' ii. 359-62
    'The History of Johnny Quæ Genus,' ii. 371-2

  Corbett, Thomas, High Bailiff for Westminster, ii. 140, 153-4

  Cornwall, Views in, ii. 56

  Cross Reading (Whiteford's), i. 84

  Cruikshank, George, caricaturist, i. 16-19

  Cumberland, Duke of, ii. 225

  Curtis, Commodore, ii. 163-4


  Davy, Sir Humphrey, ii. 366

  Derby, Lord, i. 359

  Devonshire, Duchess of, i. 124, 126-9, 131-2, 135, 141-2, 152, 158;
    ii. 59

  Didelot, dancer, i. 283

  Don Carlos, ii. 94

  Duncannon, Lady, i. 135, 141, 158

  Dundas (Lord Melville), i. 121, 134, 243-4, 246; ii. 49-51, 60, 136

  Dundas, Sir David, ii. 137

  Dunthorne, James, i. 226-7, 314


  Elliot, Right Hon. Hugh, English Minister at Dresden, ii. 311

  Engelbach, Lewis, 'Letters from Italy, or Naples and the Campagna
    Felice,' ii. 267, 301-8

  English Caricaturists, i. 2

  'English Spy, The,' by 'Bernard Blackmantle,' i. 43

  Erskine, Lord, i. 112, 359


  'Farquhar,' Ferdinand (pseudo), 'Relics of a Saint,' ii. 317

  Ferdinand of Spain, ii. 93

  Fielding's 'Tom Jones,' ii. 55-6

  Fitzgerald, Mr., i. 161

  Fitzherbert, Mrs., i. 170, 220, 226, 248, 276

  Fox, Hon. Charles James, ii. 49, 58-61, 109, 112-13, 116-17, 119,
    123-7, 129, 131-5, 138-43, 154, 221, 231-2, 245, 248, 270, 359

  Fox, General, i. 117

  Frederick the Great, i. 182-3

  French Ambassador, The, i. 147


  Gambado, Geoffrey (pseudo Henry Bunbury), 'Academy for Grown
    Horsemen,' i. 352-3

  -- -- 'Annals of Horsemanship,' i. 352; ii. 102-15

  George the Third, i. 115, 119, 140-1, 182-3, 199-210, 220, 228-9, 248,
    251-2, 290, 360; ii. 6, 59, 82, 196

  Gillray, the Caricaturist (his life, works, and times, by Joseph
    Grego), i. 3-4, 54, 106, 143, 229, 242, 328; ii. 197, 223

  Gloucester, Duke of, i. 328

  Goldsmith, Oliver, 'The Vicar of Wakefield,' ii. 356-9, 375

  Gordon, Duchess of, i. 126, 152

  Grafton, Duke of, i. 244, 246-8

  Grattan, i. 250, 362

  Grego, Joseph:
    'An Illustrated Biographical Sketch of Bunbury, the Caricaturist,'
      i. 3
    'The Works of James Gillray, with the Story of his Life and Times,'
      i. 3-4
    'A Collection of Drawings by Rowlandson.' Appendix

  Grenville, i. 244

  -- Lord, ii. 59

  Guise, General, his collection of pictures at Oxford, ii. 66


  Hadfield. Attempted the life of the King, ii. 6

  Hamilton, Sir William, Ambassador at Naples, ii. 311-13

  -- Lady, ii. 311-13

  Hanger, George, i. 180, 220, 229. (_See_ Coleraine.)

  Harrison, W. H., 'The Humourist,' ii. 380-6

  Hartley, Mrs. (actress), i. 160

  Hastings, Warren, i. 226, 230

  -- Marquis of, ii. 299

  Haydon, B. R., ii. 378-9

  Heath, James, i. 85

  -- -- letter to, written by the Caricaturist, ii. 48

  Hebrides, Boswell's Journal of a Tour in the, i. 193-8

  Heywood ('Old Iron Wig'), i. 70

  'Historical Sketch of the Art of Caricaturing,' by J. P. Malcolm,
    F.S.A., i. 73-6

  'History of Caricature and the Grotesque in Literature and Art,'
    i. 3, 76

  Hobart, Hon. Mrs. (Lady Buckinghamshire), i. 127, 129-30, 134

  Holland, Lord, i. 289

  Holman, the actor, i. 165, 190

  Hood, Admiral Lord, i. 121, 124, 127, 133, 228

  Hook, Theodore, 'Chacun à son Goût,' i. 67

  Hooper, the boxer, i. 162

  Horne-Tooke, John, i. 327, 359; ii. 74

  House, Sam, i. 98-9, 108, 129, 131, 138-9

  Howe, Lord, i. 67-8, 199

  Howitt, the artist, Rowlandson's brother-in-law, i. 50


  John Bull, ii. 42, 43, 47, 50-1, 58, 60-1, 75, 82-3, 93, 101, 130, 159

  Johnson, Samuel, LL.D., i. 193-8

  Junot, General, ii. 101, 204


  Kemble, John Philip, ii. 46, 165

  Kent, Duke of, ii. 141-4

  King of Prussia, The, i. 182-3

  Kingsbury, Caricaturist, i. 242, 290

  Knight (Miss Cornelia), authoress, ii. 311-12


  Lambert, Daniel, ii. 59-60

  Leicestershire Giant, ii. 59-60

  Leinster, Duke of, i. 249, 251

  Life of Henry Bunbury, the Caricaturist, i. 4, 75-9

  Lonsdale (Earl of), i. 136-7

  Lord Howe's Action, i. 67-8

  Lothian, Marquis of, i. 249, 251

  Louis XVI. of France, i. 274, 290

  -- XVIII. of France, ii. 292, 295

  Lowther, Sir James, i. 136

  Loyal Volunteers of London and Environs, i. 375

  Lunardi, Vincent, i. 163-4


  Malcolm, J. P., F.S.A., 'Historical Sketch of the Art of
    Caricaturing,' i. 75-6; ii. 184

  Manners, Lord Charles, ii. 215-16

  Melville, Lord (_see_ Henry Dundas), ii. 49-51, 60-1, 75

  Memoirs of John Bannister, Comedian, i. 47

  Mitchell, the Banker, i. 68, 71, 85

  Moira, Lord, embarkation for _La Vendée_, i. 68

  Morland, George, the Artist, i. 86-7, 239

  -- -- Portrait of, by Rowlandson, i. 86; ii. 229, 330

  Moser, Michael, Keeper at Somerset House, i. 53

  Mulgrave, Lord, ii. 166

  Munro, Doctor, i. 124


  National Collections of Caricatures, i. 5; ii. Appendix.

  Nelson, Admiral Lord, i. 350; ii. 52, 54, 311-13

  'Newcome, Johnny' (pseudo), Military Adventures of, ii. 298

  Ney, Marshal, ii. 291, 293

  Nicols, John, Editor of the _Gentleman's Magazine_, i. 282

  Night Auctions, i. 70

  Nixon, Henry, the Facetious, i. 82-3; ii. 26, 66

  Nollekens, J., Artist, ii. 16, 19

  Norfolk, Duke of, i. 359

  North, Lord, i. 105-6, 108, 112-13, 116, 119, 124-5, 142, 220


  O'Connor, i. 364

  O'Kelly, Colonel, i. 259-60

  O'Meara, Dr., 146, 155

  Orleans, Duke of, i. 252-3, 248, 274


  Pacchierolti, i. 98

  Paoli, General, i. 193

  Papworth, J. B., ii. 268

  Parsons, the Comedian, i. 70

  Paul, Emperor of Russia, ii. 28-9

  Perdita, i. 159

  Perry, James, of the _Morning Chronicle_, i. 159

  Petersham, Lord, ii. 225

  Petty, Lord Henry, ii. 58-60

  Picturesque Beauties of Boswell, i. 193-8

  'Pindar, Peter,' Trick played off on, i. 71-2

  -- -- i. 97, 143, 187-8, 192, 200, 210, 361; ii. 13, 217

  Pitt, Hon. William, i. 115, 117, 119, 121, 123, 221, 226, 230, 231-2,
    243-8, 360; ii. 22, 28, 49, 50

  Pomfret, Lord, ii. 225

  Pope Pius the Sixth, i. 290

  -- -- the (Pius VII.), ii. 44, 51, 163, 204

  Portland, Duchess of, i. 124

  -- Duke of, i. 289

  Potemkin, i. 292

  Priestly, Dr., i. 272

  Prince of Wales, i. 110, 132, 140, 152, 159, 170, 220, 226, 229-31,
    243, 246-7, 248, 251, 274, 290, 298, 303

  -- Regent, ii. 294

  Prussia, King of, i. 292

  Pugin's 'Microcosm, or London in Miniature,' ii. 125-8

  Pyne, W. H. (_Ephraim Hardcastle_), 'Wine and Walnuts,' i. 55-6

  -- -- -- _Somerset House Gazette_, i. 55, 57-8, 69


  Queen Charlotte, i. 110, 199-200, 220, 228

  Queen of Spain, ii. 93

  Quirk (Boxer), ii. 226

  'Quiz' (pseudo), 'The Grand Master, or Qui Hi in Hindostan,'
    ii. 299-301


  Ramberg, Caricaturist, i. 223, 225

  'Remarks on a Tour to North and South Wales in the Year 1797,'
    ii. 19-21

  Richmond, Duke of, i. 183, 231, 243-4, 246-8

  Robinson, Jack, i. 117-18

  -- Mrs., i. 159

  Romney (the Painter), ii. 311

  Ron, Baron (Quack Dentist), i. 211

  Roscius, the Infant, ii. 46

  Rosedale, John (Mariner), exhibitor of the pictures at Greenwich
    Hospital, ii. 71

  Rowlandson, Thomas (the Caricaturist), i. 239, 360

  -- a student at the Royal Academy, i. 53

  -- Academy drawings, i. 22-3

  -- and Napoleon, i. 27-8

  -- as a landscape artist, i. 14

  -- as a marine artist, i. 18

  -- as a portrait painter, i. 13

  -- at Portsmouth, i. 67

  -- biographical references to, i. 54-5

  -- book illustrations, i. 35-45

  -- chronological summary of his caricatures, ii. 389. (_See_ 4)

  -- Continental tours, i. 59, 68-9; ii. 330-1

  -- contributions to the Royal Academy, i. 50-65

  -- collections of drawings by, ii. Appendix

  -- Department of Prints and Drawings, British Museum, ii. Appendix

  -- South Kensington Museum, ii. Appendix

  Rowlandson, Dyce Collection, South Kensington Museum, ii. Appendix

  -- -- at Windsor Castle, ii. Appendix

  -- early caricatures, i. 22

  -- engraved works, i. 23-30

  -- family, the, i. 49-51

  -- fortune bequeathed the Caricaturist, A, i. 64

  -- gambling proclivities, i. 64

  -- _Gentleman's Magazine_, the, obituary notice, i. 55, 94-5

  -- George Cruikshank on Rowlandson, i. 16-19

  -- his first visit to Paris, i. 52

  -- his friends, i. 60-2

  -- his publishers, i. 6

  -- his schoolfellows, i. 51

  -- Illustrations to 'The Tour of Dr. Syntax in Search of the
    Picturesque,' ii. 176, 247-52, 266-7, 269-70, 367, 373, 375

  -- -- 'The World in Miniature,' ii. 312-17, 362

  -- -- 'The English Dance of Death,' ii. 317-55

  -- imitations of the drawings of contemporary artists, i. 151

  -- in France, Flanders, and Holland, i. 58, 68-9; ii. 330-1

  -- in Paris, i. 58-9

  -- journeys in England, i. 75, 276-9, 360; ii. 6, 19-21, 56, 169, 181,
    239-246, 373

  -- letter from, 1804, ii. 48

  -- lists of public and private collections. Appendix

  -- mode of working at Ackermann's 'Repository of Arts,' i. 31

  -- on the Westminster Election, i. 22, 121-43, 153-4

  -- portraits of the artist, i. 45-8, 360; ii. 228-30

  -- portraits exhibited by, i. 59

  -- robbed, i. 65-6

  -- successive exhibits at the Royal Academy. Figure subjects, i. 59,
    64-5

  -- views of the Colleges, Oxford and Cambridge, ii. 186

  Rowlandson's 'Sketches from Nature,' ii. 373

  -- illustrations to 'The Vicar of Wakefield,' ii. 356-9

  -- -- 'The Dance of Life,' ii. 359, 362

  -- -- 'An Excursion made to Brighthelmstone in the Year 1782,'
    i. 276-9

  -- illustrations to Smollett's works, i. 320; ii. 56, 181

  -- -- 'A Narrative of the War, 1793-5,' i. 328-9

  -- -- 'Academy for Grown Horsemen,' i. 353; ii. 102-15, 181

  -- -- Fielding's 'Tom Jones,' i. 304; ii. 55-6

  -- illustrations to 'The Annals of Horsemanship,' i. 352-3;
    ii. 102-15, 181

  -- -- 'Les Délices de la Grande-Bretagne,' i. 305

  -- -- 'The Comforts of Bath,' i. 333-49

  -- Views of London, i. 349

  -- 'Sheets of Picturesque Etchings,' i. 280, 289

  -- -- 'Cupid's Magic Lantern,' i. 332

  -- -- 'Love in Caricature,' i. 353

  -- -- 'Cries of London,' i. 354-6

  -- -- _Anti-Jacobin Review_, i. 357-60

  Rowlandson, 'Loyal Volunteers of London,' i. 375-7

  -- 'Hungarian and Highland Broadside Exercise,' i. 374

  -- 'Nautical Characters,' i. 362

  -- 'Hogarthian Novelist,' ii. 6

  -- illustrations to Sterne's 'Sentimental Journey,' ii. 10, 169-74

  -- -- 'The Beauties of Sterne,' ii. 10, 169-75

  -- -- 'Remarks on a Tour to North and South Wales,' ii. 19-21

  -- -- 'Bardic Museum of Primitive British Literature,' ii. 41

  -- -- 'A Compendious Treatise on Modern Education,' ii. 41

  -- -- 'Views in Cornwall, &c.,' ii. 56, 169, 181, 239-46

  -- -- 'The Sorrows of Werter,' i. 190; ii. 57

  -- -- Boswell's 'Journal of a Tour to the Hebrides,' i. 193-8

  -- -- 'The Poems of "Peter Pindar,"' i. 192, 201-9

  -- -- 'The Pleasures of Human Life,' ii. 83, 180, 362

  -- -- 'The Microcosm of London, or London in Miniature,' ii. 125-8

  -- -- 'The Miseries of Human Life,' ii. 119-24

  -- -- 'Chesterfield Travestie,' ii. 115-17, 224

  -- -- 'The Art of Ingeniously Tormenting,' ii. 115, 129, 178

  -- -- _The Caricature Magazine_, ii. 115-16

  -- -- G. A. Stevens' 'Lecture on Heads,' ii. 117-18

  -- -- 'Beauties of Tom Brown,' ii. 115, 181

  -- -- 'The Clarke Scandal,' ii. 135-62

  -- -- _The Poetical Magazine_, ii. 175-78

  -- -- 'The Surprising Adventures of Baron Munchausen,' ii. 176

  -- -- J. Beresford's 'Antidote to the Miseries of Human Life,' ii. 178

  -- -- Butler's 'Hudibras,' ii. 174, 198

  -- 'Sketches from Nature,' ii. 169

  -- illustrations to 'Annals of Sporting,' by Caleb Quizzem, ii. 178-9

  -- -- 'Petticoat Loose: a Fragmentary Poem,' ii. 238

  -- -- 'Poetical Beauties of Scarborough,' ii. 268-9

  -- -- Engelbach's 'Letters from Italy and the Campagna Felice,'
    ii. 267, 301-8

  -- -- 'The Military Adventures of Johnny Newcome,' ii. 298-9, 312

  -- -- 'Qui Hi, the Grand Master in Hindostan,' ii. 299-301

  -- -- Ferdinand Farquhar's 'Relics of a Saint,' ii. 312, 317

  -- -- 'New Sentimental Journal, or Travels in the Southern Provinces
    of France,' ii. 362, 368-70

  -- -- 'The Adventures of Johnny Newcome in the Navy' (Burton), ii. 363

  -- -- 'Characteristic Sketches of the Lower Orders,' ii. 366-7

  -- -- 'The History of Johnny Quæ Genus,' ii. 371-3

  -- -- 'Crimes of the Clergy,' ii. 373

  -- -- Chap Books, ii. 363

  Rowlandson, 'The Spirit of the Public Journals for the Years
    1823-4-5,' ii. 375

  -- -- 'The English Spy,' by Bernard Blackmantle, ii. 378-9

  -- -- 'The Humourist' (posthumous), ii. 380-6

  -- -- 'Grotesque Drawing Book,' ii. 362

  Rutland, Duchess of, i. 152


  Salisbury (Lord Chamberlain), i. 327

  Sandon, Captain, ii. 143

  Sheridan, R. B., i. 229, 245, 248, 274, 289, 330; ii. 46, 58-60, 220.

  Sherwin, J. K., engraver, i. 45

  Showell, Mrs., ii. 66

  Siddons, Mrs., ii. 46

  Sièyes, Abbé, ii. 47

  Simmons, Thomas (_murderer_), ii. 81

  Skeffington, Sir Lumley, i. 180

  Smith, John Raffaelle, engraver, i. 47

  Smith, John Thomas, portrait of Rowlandson, i. 48; ii. 17
    'Nollekens and his Times,' ii. 55; ii. 16-19
    'Book for a Rainy Day,' i. 70

  Smollett's 'Peregrine Pickle,' ii. 56
    Miscellaneous Works, ii. 181

  _Somerset House Gazette_, i. 54, 88

  Sorrows of Werter, ii. 57

  Southcott, Joanna (the 'Prophetess'), ii. 287

  Spain, Queen of, ii. 93

  Spain, Infants of, ii. 94

  Stanislaus the Second, King of Poland, i. 290

  Sterne, Laurence, ii. 10, 169-75.

  Stevens, G. A., 'A Lecture on Heads,' ii. 117

  Sydney, Lord, i. 246


  Talleyrand, Prince, ii. 45, 187, 280

  Tegg's Caricatures, i. 34

  Temple, Lord, i. 119, 140, 141

  Thelwall (political lecturer), i. 327, 359

  Thicknesse, Philip, i. 275-6

  Thurlow, Lord, i. 121-2, 140-1, 220, 243-4, 248, 290

  Tierney, Mr., i. 359

  Topham, Major (_World_ newspaper), at Vauxhall, i. 63

  Topham, Captain, i. 158, 165-7, 183, 190

  Townshend, Lord John, i. 228

  Towzer, Rev. Roger, ii. 287

  Trotter, 51, 61


  Vauxhall Gardens, Characters at, i. 156-62
    Rowlandson at, i. 62-3

  -- Singers at, 63

  -- Mrs. Weichsel, i. 63


  Wales, Prince of (afterwards George IV.), i. 110, 132, 140, 152, 159,
    170, 220, 226, 229-31, 243, 246-8, 251, 274, 290, 298, 303

  Walpole, Horace, i. 128

  Ward (Boxer), ii. 226

  Wardle, Colonel, ii. 135-64, 166, 181

  Watson, Brook, i. 244

  Weichsel, Mrs., i. 158

  _Well-bred Man_, The (H. Nixon), i. 83

  Wellington, Duke of, ii. 281, 293-5

  Wells, Mrs., 166-7

  Weltjé, Cook to the Prince of Wales, i. 71, 248, 251
    His house at Hammersmith, i. 73-4

  'Werter, Sorrows of,' i. 191; ii. 57

  Westmacott, Charles Molloy, i. 43
    'The Spirit of the Public Journals for the Years 1823-5,'
    ii. 375, 378
    'The English Spy,' ii. 378-9

  W