Book XV. c. 5. Lord Fellamar rudely dismissed by Squire Western.

1791-93, 1795-96. _The Adventures of Peregrine Pickle; in which are included Memoirs of a Lady of Quality. By T. Smollett, M.D. With plates by Rowlandson._ Edinburgh and London (Longman): 1805.

Chap. xxvii. _Fire at the Inn. Peregrine Rescues Emilia, &c._

Chap. xliv. _Feast after the Manner of the Ancients._

1791. _Délices de la Grande-Bretagne._ Engraved and published by William Birch, enamel painter, Hampstead Heath. Two illustrations by Rowlandson.

_Dover Castle_; with the setting off of the Balloon to Calais, in January 1785.

_Market Day at Blandford, Dorsetshire._

1792.

_January 1792._ _St. James's--St. Giles's._ H. Wigstead, invt. Published by T. Rowlandson, Strand; and republished (1794) by S. W. Fores, 3 Piccadilly.--The parish of _St. James's_ is represented by two modish frail nymphs, elegantly decked out in the Frenchified fashion of the period; their profuse locks spread forth, frizzed and powdered, in the style imported from Paris by Mrs. Fitzherbert; the refinement of their appearance ill accords with a bowl of punch which they are convivially sharing. The ruder precincts of _St. Giles's_ are pictured in the persons of two coarse, overgrown females of the 'fishfag' and 'street ballad singing' order, swaggering with sufficient impudence to set the universe at defiance.

_January 1792._ _Oddities._ Henry Wigstead, invt., January 1792. Published by T. Rowlandson, Strand. Republished 1794, by S. W. Fores, 3 Piccadilly.--A group of caricatured heads, types of expression and burlesqued peculiarities, in two prints, designed by Henry Wigstead, and engraved and published by Thomas Rowlandson.

_February 22, 1792._ _The Bank._ Published by T. Rowlandson, Strand.

_February 22, 1792._ _Work for Doctors' Commons._ Published by T. Rowlandson, Strand.--There is no evidence to prove this print directly proceeds from the pencil of Rowlandson, but there are indications of his style, both in the subject and in the execution; it is also in points suggestive of the early style of Morland. A lady and a captain--a pretty pair--are dallying on a sofa, while the superannuated lawful spouse of the frivolous fair one is ensconced behind a screen, standing on a chair, and surveying the situation over the top of this ambuscade; his footman is watching by his side, impressed as a witness, and is struck with horror at the spectacle of domestic faithlessness, of which he is taking observations through a peephole made through the screen for the purpose of spying.

From a MS. note to an impression which has come under the Editor's notice it appears that the contemporary scandal relates to a certain Mrs. Walsh and General Upton.

_March 1792._ _A Dutch Academy._ Published by T. Rowlandson, 52 Strand, 1792.--The caricature represents, as the title describes, the interior of a drawing school in Holland; just such a one as may be found there to this day. A corpulent _vrow_ is sitting as a model to the painters, in an attitude more easy than graceful. The Mynheers are clustered around, some of the students, most of whom are advanced in life, and of clumsy, corpulently developed figures, are seated on tubs, others are squatting on the floor, and nearly all are smoking. The Dutchmen, who are of the conventional type--much as we find them pictured in the veracious Knickerbocker's famous _History of New York_, closely encased in buttoned-up jackets, and roomy nether garments--are plodding away at their studies; some few are too interested to do anything beyond indulging in a stolid contemplation of the charms of their material Venus.

_April 1, 1792._ _A Lying-in Visit, or a Short-sighted Mistake._ Published by S. W. Fores.--There are various versions of this subject, which it seems was originally suggested by Newton. Several of his contemporaries have tried their hand on it. A small version of the print is due to Rowlandson, and it evidently found favour in its day. A purblind and antiquated spinster, decked out in the very height of the fashion of the day--recalling the artist's suggestive _Old Ewe dressed Lamb Fashion_--is supposed to have called on a visit of congratulation to a young wife who has recently been deserving well of her country, by increasing its population. An old footman, with a powdered head, is bringing in a scuttle of coals; the gushing visitor, who was prepared to go into promiscuous raptures in anticipation, is advancing to embrace the scuttle, which she imperfectly distinguishes, fulsomely exclaiming to the consternation of John Thomas, who is lost in confusion:--'O you pretty creature! Bless the dear baby, how it smiles! Give it to me, Nurse! It has exactly its Papa's nose and Mama's eyes! Oh, it is a delightful little creature!'

_May 29, 1791-2._ _Six Stages of Marring a Face--dedicated with respect to the Duke of Hamilton._ A companion to the _Six Stages of mending a Face_.--Stage the first represents the prize fighter (in the days when pugilistic exhibitions were specially given under the patronage of noblemen such as the Duke of Hamilton), in all his muscular force, stripped for the contest, his face undisfigured and manly, as left by nature; in stage the second, one eye is closed; in stage the third he is much disfigured; in the latter stages the shape is entirely beaten out of his features, until the champion is left, in stage the sixth, a hideous mass of bruises, cuts, and bleeding wounds, hammered out of all resemblance to his former self--a spectacle sufficiently revolting to act as an antidote to the morbid excitement and attractiveness of the prize ring. It is worthy of remark that the artist must have drawn this print, exposing the barbarity of the ring, from sheer conviction founded on his own observations, and not from any squeamish distaste for the sport; Rowlandson had enjoyed a wide experience of athletic exercises, in which he was understood to excel, and attended numerous pugilistic encounters, amateur and professional, in his time; his pleasure in drawing well-built figures, with the play of muscle which would be exhibited in the course of 'bouts at fisticuffs' such as he had both the power and skill to delineate, proves that he had a decided predilection for the science, apart from its reprehensible brutalities. It further appears that the artist was somewhat of a boxer.

_May 29, 1791-2._ _Six Stages of Mending a Face. Dedicated with respect to the Right Honorable Lady Archer._ Published by S. W. Fores, 3 Piccadilly.--This plate traces the progress of manufacturing a beauty _à la mode_. The first stage introduces the fair one in a very dilapidated condition, and the materials from which the lady is to be reconstructed do not seem promising. A handkerchief is tied over her head to remedy the scarcity of hair; one eye is absent, and the gums are toothless. A handsome glass eye is being adjusted in _stage the second_. _Stage the third_ represents the crowning of the shaven pate with a luxuriant and fashionably dressed head of hair. An artificial set of teeth are being placed in the lady's mouth in the next stage. The lady now approaches an appearance of youth and beauty. In _stage five_ she supplies the roses, hitherto absent from her cheeks, with a hare's foot and rouge. _Stage six_ pictures the completed work, a dashing and captivating belle, with fine eyes (not necessarily a perfect pair it is true), flowing, profuse, and becoming locks of hair, perfect teeth, blooming complexion, and a carriage of conscious grace and coquetry.

_June, 1792._ _Ruins of the Pantheon--after the Fire which happened January 14, 1792._ Sketched by Rowlandson and Wigstead. Published by T. Rowlandson, Strand. _Pantheon._--'Persons who witnessed the progress of this tremendous fire declare that the appearances exhibited through the windows, the lofty scagliola pillars enveloped in flames and smoke, the costly damask curtains waving from the rarefaction of the air, and the superb chandeliers turning round from the same circumstance, together with the successive crashing and falling in of different portions of the building, furnished to their minds a more lively representation of Pandemonium than the imagination alone can possibly supply. The effects too of the intense frost which then prevailed, on the water poured from the engines upon the blazing pile, are described as equally singular and magnificent.' J. B. Papworth.

1792. _The Chairman's Terror: Leaving a Levée_, St. James's Palace. Published by T. Rowlandson, 52 Strand.

_The Adventures of Roderick Random. Roderick Random is conducted by his uncle Tom Bowling on a visit to his grandfather, the judge._--'After a few minutes' pause we were admitted, and conducted to my grandfather's chamber through a lane of my relations, who honoured me with very significant looks as I passed along. When we came into the judge's presence, my uncle, after two or three sea-bows, expressed himself in this manner. "Your servant--your servant. What cheer father? what cheer? I suppose you don't know me--mayhap you don't. My name is Tom Bowling; and this here boy--you look as if you did not know him neither--'tis like you mayn't. He's new rigged, i' faith; his cloth don't shake in the wind so much as it wont to do. 'Tis my nephew, d'ye see, Roderick Random--your own flesh and blood, old gentleman. Don't lay astarn, you dog" (pulling me forward). My grandfather, who was laid up with the gout, received his relation after his long absence with a coldness of civility which was peculiar to him; told him he was glad to see him, and desired him to sit down. "Thank ye, thank ye, sir, I had as lief stand," said my uncle. "For my own part I desire nothing of you; but if you have any conscience at all, do something for this poor boy, who has been used at a very unchristian rate. Unchristian, do you call it? I am sure the Moors in Barbary have more humanity than to leave their little ones to want. I would fain know why my sister's son is more neglected than that there fair-weather Jack" (pointing to the young squire, who, with the rest of my cousins, had followed us into the room). "Is not he as near akin to you as the other? Is not he much handsomer, and better built than that great chucklehead? Come, come--consider, old gentleman, you are going in a short time to give an account of your evil actions. Remember the wrongs you did his father, and make all the satisfaction in your power before it is too late. The least thing you can do is to settle his father's portion on him." The young ladies who thought themselves too much concerned to contain themselves any longer, set up their throats altogether against my protector, "Scurvy companion--saucy tarpaulin--rude, impertinent fellow--did he think he was going to prescribe to grandpapa? His sister's brat had been too well taken care of; grandpapa was too just not to make a difference between an unnatural, rebellious son and his dutiful loving children, who took his advice in all things"--and such expressions were vented against him with great violence, until the judge at length commanded silence.

_The Adventures of Roderick Random. Chap. XI._--Roderick Random, and his companion Strap, having alighted from the waggon, are standing a little back in the best room of the Inn, where the landlord, candle in hand, is receiving the rest of the guests, who are entering from the conveyance; Joey, the honest driver of the waggon, is standing behind the obsequious Boniface. Roderick Random thus pursues his narrative:--

'Here I had an opportunity of viewing the passengers in order as they entered. The first who appeared was a brisk airy girl about twenty years old, with a silver laced hat on her head instead of a cap, a blue stuff riding-suit trimmed with silver, very much tarnished, and a whip in her hand. After her came limping an old man, with a worsted nightcap buttoned under his chin, and a broad brimmed hat slouched over it, and an old rusty blue cloak tied about his neck, under which appeared a brown surtout that covered a threadbare coat and waistcoat, and, as we afterwards discerned, a dirty flannel jacket. His eyes were hollow and bleared, his face was shrivelled into a thousand wrinkles, his gums were destitute of teeth, his nose sharp and drooping, his chin peaked and prominent, so that when he mumped or spoke, they approached one another like a pair of nutcrackers; he supported himself on an ivory headed cane, and his whole figure was a just emblem of winter, famine, and avarice. But how was I surprised when I beheld the formidable captain in the shape of a little thin creature, about the age of forty, with a long withered visage very much resembling that of a baboon, through the upper part of which two little grey eyes peeped: he wore his own hair in a queue that reached to his rump, which immoderate length I suppose was the occasion of a baldness that appeared on the crown of his head, when he deigned to take off his hat, which was very much of the size and cock of Pistol's. Having laid aside his great coat, I could not help admiring the extraordinary make of this man of war: he was about five feet and three inches high, sixteen inches of which went to his face and long scraggy neck; his thighs were about six inches in length, his legs resembling spindles or drumsticks, two feet and a half, and his body, which put me in mind of extension without substance, engrossed the remainder, so that on the whole he appeared like a spider or grasshopper erect, and was almost a _vox et præterea nihil_. His dress consisted of a frock of what is called bear-skin, the skirts of which were about half a foot long, an hussar waistcoat, scarlet breeches reaching halfway down his thighs, worsted stockings rolled up almost to his groin, and shoes with wooden heels at least two inches high; he carried a sword very near as long as himself in one hand, and with the other conducted his lady, who seemed to be a woman of his own age, and still retained some remains of a handsome person; but so ridiculously affected that, had I not been a novice in the world, I might have easily perceived in her the deplorable vanity and second-hand airs of a lady's woman.'

_October 1, 1792._ _On Her Last Legs._ Published by S. W. Fores, 3 Piccadilly.

_November 5, 1792._ _English Travelling, or the First Stage from Dover._ (See December, 1785.)

_November 5, 1792._ _French Travelling, or the First Stage from London._ (See December, 1785.)

_November 5, 1792._ _Studious Gluttons._ Published by S. W. Fores, 3 Piccadilly.

_Adventures of Joseph Andrews and his friend, Mr. A. Adams._ By Henry Fielding. Illustrated by Rowlandson, 8vo.

_November 5, 1792._ _The Convocation._ (See 1785.) Published by S. W. Fores, Piccadilly.

1792. _Philosophy run Mad, or a stupendous Monument of Human Wisdom._ _Signed G. L. S._--As this print exhibits various indications of Rowlandson's handiwork, it has been thought advisable to include it amongst the present selection. The plate represents the general upset of affairs in France. On the wreck of a number of columns marked _Humanity_, _Social Happiness_, _Security_, _Tranquillity_, _Domestic Peace_, _Laws_, _Order_, _Religion_, _Urbanity_, &c., is balanced the seat of the republic of France, or rather that of Paris. A Fury yelling _ça ira_ represents _La République_; in her hand is a picture of _Religious Indifference_ graphically set forth as an _auto da fè_ of Papish Bishops and Cardinals. _Plenty_ is represented by a Fury extending her cornucopia of 'Assignats' to a group of hungry-looking half-starved Frenchmen. _Peace_ is displayed firing a bomb marked _Abolition of Offensive War_; the gun carriage is inscribed _Universal Benevolence_; the Goddess of Order is blowing through a trumpet the tidings, _Peace of Europe established_.

_Equality_ is travestied as an aristocrat kneeling in the dust, while a half-naked sansculotte is treading on his neck and beating his head with a club. _Liberty_ is shown as a Jacobin, trampling on the Law, and holding the head of a Conventionalist on a dagger, to which the rulers of the state are compelled to bow their obeisance. _Humanity_ is parodied by a female monster holding up the heart of a martyr to the new religion.

1792. _The Grandpapa._ Designed by H. Wigstead. (See January 1, 1784.)

1792. _Cold Broth and Calamity._--This print has the reputation of being an unusually successful example of the artist's humorous powers of delineation, and the writer has seen several original designs on the same subject by Rowlandson's hand; in some cases the drawings are larger and more important in character than the etching of _Cold Broth and Calamity_; the subject seems to have been a favourite one.

The scene represents the waters of one of the parks, or of a frozen river; in the foreground is a scene of grotesque confusion, the ice has given way, and a party of skaters have fallen through; heads, arms, and skate-bound feet are waving over the hole, through which a group of unfortunates are engulphed. A little distance off the face of another unfortunate is thrust through a hole in the ice, wigless, and wearing the sort of alarm one could conceive under the circumstances; while further on half a face, with a wig and pig-tail attached, is visible, the owner of which is evidently shouting for assistance. Other skaters are disporting themselves in the distance; they, too, are getting themselves into difficulties. A stout parsonic-looking personage, in a full-bottomed wig, is falling forward, with the certainty of his body breaking through the ice: the upset of this capacious individual will involve a skater who is following him closely, whose hat and wig have already flown away from him. A party of snug old gentlemen in top-boots and ample great-coats are enjoying the sufferings of their fellow-creatures, comfortably on the banks, and in the distance is seen a large tent for the accommodation of visitors.

1792. _An Italian Family._ (See _A French Family_, 1790.) Drawing exhibited at the Royal Academy, 1784.

_November 5, 1792._ _The Hypochondriac._ Designed by James Dunthorne; etched by T. Rowlandson; published by S. W. Fores, 3 Piccadilly.

The Mind distemper'd--say, what potent charm, Can Fancy's spectre--brooding rage disarm? Physic's prescriptive art assails in vain The dreadful phantoms floating 'cross the brain! Until, with Esculapian skill, the sage M.D. Finds out at length by self-taught palmistry The hopeless case, in the reluctant fee: Then, not in torture such a wretch to keep, One pitying bolus lays him sound asleep.

The _Hypochondriac_, forming a companion to _Ague and Fever_ (See March 29, 1788), is another instance of the difficulty of attempting to express mental and physical maladies by pictorial embodiments, the designer being one of the ingenious amateurs of the period, who had recourse to more experienced professional hands to work their conceptions into presentable shape, with, at least, some regard for the accepted ideas of form, and a certain respect for the technicalities of execution. The _Hypochondriac_ is seated in his arm-chair, in night-cap and slippers, and wrapped in a flannel dressing-gown, his arms are folded, and his head droops, in melancholy meditation, on his chest; the expression of his features is moody in the extreme. By his side is an iron-clamped chest, to hint that the sufferer is somewhat tenacious of his wealth, although his life has otherwise become insupportably burdensome. Phantoms, and figurative horrors of various descriptions, are haunting the invalid's diseased mind. There is a dagger, like the sword of Damocles, trembling above his head. A grim skeleton of Death is, with grotesque energy, threatening to hurl his dart, as a release from life's fretful calamities. A corpse, with grave-clothes clinging to its ghastly frame, is proffering the means of making an untimely exit, by a rope or a pistol at choice; another phantom figure is setting the example of plunging headlong down to destruction; a goblin is offering a cup of poison; while a spectre, wearing the sufferer's own image, is suggesting on his fictitious person the ease of cutting his throat. A hand with a drawn sword, a ghostly hearse, and heads of Medusa-like description, with furies, fates, &c., appear for the purpose of daunting the unsettled brain of the haunted _Hypochondriac_. A table is covered with _Doctor's Stuff_, and a well-fed and prosperous charlatan, in attendance on the distempered patient, is in consultation with a pretty waiting-maid, whose face and person give indications of the most flourishing health--a palpable contrast to the sufferer on whom she is retained to attend.

_November 25, 1792._ _Benevolence._ Published by S. W. Fores.

1792. _Botheration; dedicated to the Gentlemen of the Bar._ (See 1785.)

_December, 1792._ _The Contrast, 1792. Which is best? British Liberty, Religion, Morality, Loyalty, Obedience to the Laws, Independence, Personal Security, Justice, Inheritance, Protection, Property, Industry, National Prosperity, Happiness; or French Liberty, Atheism, Perjury, Rebellion, Treason, Anarchy, Murder, Equality, Madness, Cruelty, Injustice, Treachery, Ingratitude, Idleness, Famine, National and Private Ruin, Misery?_

A pair of medallions, designed by Lord George Murray, and sent by him to the _Crown and Anchor_, from whence they were freely distributed; the style of the execution bears the strongest resemblance to Rowlandson's handiwork.

_British Liberty_ is peaceful and flourishing; Britannia is seated under an oak, her arm resting on her shield; in one hand is the cap of _Liberty_, and _Magna Charta_, in the other the scales of Justice evenly balanced. The British Lion is at her feet; seen in the rear is the wide ocean, with British ships riding triumphant. The contrast to this prospect is _French Liberty_; the genius of France is a fury, serpents are twined round her head and waist, she is carrying flames and destruction in her progress; she is holding a dagger in one hand; in the other is a pike, on which two human hearts and a head are impaled; her foot is trampling on the decapitated trunk of one of the victims to revolutionary frenzy. An aristocrat is shown in the background, hanging by the neck to a street lamp.

Sold by S. W. Fores (January 1, 1793), twenty-one shillings per hundred plain, two guineas coloured.

_December 1, 1792._ _Beauties._ Published by S. W. Fores, 3 Piccadilly.

FOOTNOTE:

[38] 'Lord Barrymore's phaeton was a very high one; and after our midnight revels in town I have often travelled in it with him to Wargrave. One very dark night, going through Colnbrook, in the long street called Featherbed Lane, he kept whipping right and left, breaking the windows, delighted with the noise as he heard them crack--this he called _fanning the daylights_.'--_Angelo's Memoirs._

1793.

_January 1, 1793._ _The Old Angel Inn at Islington._ Published by S. W. Fores, 3 Piccadilly.

_January 8, 1793._ _Reform Advised: Reform Begun: Reform Complete._ Published by J. Brown, 2 Adelphi.--_Reform Advised_: John Bull, in his comfortable easy chair, and wearing the homely and decent clothes of a well-to-do citizen, is seated beside his substantial fare of good roast beef and plum pudding, with his mug of 'home-brewed.' Three of the French reformers are taking compassion upon his peaceful ignorance; they have come over from Paris expressly to convert him to the advantages of the new order of things. These tatterdemalions are hungry, ragged, and by no means prepossessing as regards their exteriors; and, while John Bull is attributing his comforts to 'the blessed effects of a good constitution,' the sansculottes are taking considerable pains to bring him to a contrary conviction. The leader is offering him the cap of liberty and tricolor, and asserting: 'I am your friend, John Bull: you want a reform;' his followers declare, 'My honourable friend speaks my sentiments;' and 'John Bull, you are too fat!'

_Reform Begun_ discovers John Bull under altered circumstances; his broadcloth is all in tatters, he has a wooden leg, and is shoeless; in his hand is a frog, which he despairs of relishing: 'A pretty Reform, indeed; you have deprived me of my leg, and given me nothing but frogs to eat; I shall be starved; I am no Frenchman!' His three philosopher friends now wear a more threatening aspect, and are menacing John Bull with bludgeons and daggers; one is crying: 'Eat it, you dog, and hold your tongue: you are very happy.' The others are adding: 'That's right, my friend, we will make him happier still!' and 'He is a little leaner now!'

_Reform Complete_ shows the national prototype thrown to the ground, and quite powerless under the results of the new _régime_: 'Oh, oh! French fraternity!' he is groaning, while the Reformers, flourishing their flaming incendiary torches, are dancing on his prostrate body: 'Oh, delightful! you may thank me, you dog, for sparing your life--thank me, I say!' 'Now he is quite happy--I will have a jump!'

1793. _New Shoes._ Published by S. W. Fores, Piccadilly. (Republished 1804.)--The interior of a cottage, a pretty buxom country maiden is artlessly exhibiting a pair of new shoes to a smart young collegian, who is stooping, cap in hand, to admire the effect. The father, looking in at the window, has taken in the situation at a glance, and his face does not express approval. A cat is taking advantage of the general attention being fully engaged, to help herself liberally from a pan of milk.

1793. _Major Topham_ (of the 'World,') _endeavouring with his squirt to extinguish the Rising Genius of Holman_. Republished (see 1785, &c.).

1793. _Illustrations to Smollett's Novels._ Published by J. Siebbald, Edinbrough. Republished 1805, Longman and Co. (See 1791.)

_May 25, 1793._ _A Tit Bit for the Bugs._ Published by S. W. Fores, 3 Piccadilly.--A stout victim disturbed in the night, by the plague of insects, is sleepily trying to free himself from his tormentors.

Alas! what avails all thy scrubbings and shrugs: Thou hadst better return to thy sheets; Heap mountains of clothes over thee and thy bugs, And smother the hive in the streets.

_September 25, 1794._ _An Old Maid in Search of a Flea._ Published by S. W. Fores. G. M. Woodward invt., Rowlandson sculp. Companion to the above.

1792-93. Two illustrations, published by J. Siebbald, 1792. One illustration, _Soldiers on March, making a feast with Filles de Joie_, 1793, vol. ii. p. 44.

1793. _Narrative of the War._

_October 17, 1793._ _Amputation._ Published by S. W. Fores. (See 1783.)

Illustrations to Fielding, _Tom Jones_, &c. (see 1791); T. Smollett. _Expedition of Humphrey Clinker_, ten plates by T. Rowlandson, republished 1805, Longman & Co.

1794.

_January 1, 1794._ _The Grandpapa._ Published by S. W. Fores, 3 Piccadilly. This print appeared originally in 1792.--The conception of the plate is due to Henry Wigstead, the Bow Street magistrate, to whom as a friend and travelling companion of Rowlandson, a merry wit, and one of the congenial spirits of his day, several references have been made in the course of this work. The grandpapa is evidently enraptured with his infantine descendant, for whose diversion he is going through certain ludicrous antics; the venerable gentleman's tongue is not, as at first glance it would appear, lolling out in idiotic contortions: it is a lump of sugar which he is holding between his teeth to divert the infant; and his performances are so far crowned with success, that his little favourite seems delighted with his exertions.

1794. _Grog on Board._ (See 1785.)

1794. _Tea on Shore._ (See 1784.)

_January 1, 1794._ _English Curiosity, or the Foreigner stared out of Countenance._ (See 1784.)--This print, republished by S. W. Fores, and bearing the date of 1794, seems to have made its appearance as appropriate to the time, the caricatures of this year making capital out of the arrival of a distinguished stranger in this country, the great _Plenipo_, whose title appears in numerous satires and ballads:--

When he came to the Court, oh, what giggle and sport, Such squinting and squeezing to view him! What envy and spleen in the women were seen, All happy and pleased to get to him. They vow'd in their hearts if men of such parts Were found on the coast of Barbary, 'Twas a shame not to bring a whole guard for the king, Like the great plenipotentiary.

_January 1, 1794._ _Arrival of a Balloon._ Aquatinted.

_January 1, 1794._ _A Series of small Landscapes._ Aquatinted.

_January 17, 1794._ _St. James's and St. Giles's._ (See 1792.)

_September 25, 1794._ _An Old Maid in Search of a Flea._ S. M. U. invt., Rowlandson fecit.

_New Shoes._ Published by S. W. Fores. (See 1793.)

_December 16, 1794._ _Traffic._ Republished by S. W. Fores. (See 1791.)--Two Jew clothesmen are securing a parcel of cast-off garments at the door of a highly respectable mansion, whereat a buxom housemaid is disposing of her master's old apparel. In the street beyond is shown the milkman adding up his score--a mode of calculation prevalent in the artist's day, although it has become obsolete long enough ago in the metropolis.

_December 16, 1794._ _The Comforts of High Living._ Published by S. W. Fores.

_December 18, 1794._ _Village Cavalry practising in a Farm Yard._ G. M. Woodward invt. Rowlandson sculp. Published by S. W. Fores, 3 Piccadilly.--The volunteer and militia movements were pushed forward with enthusiasm in 1794, it being generally believed that the French might attempt a descent on our shores at any moment, and the loyally disposed were determined that they would not be taken either unawares or unprepared. Abundant materials were offered for the sallies of the satirists: the training and equipment of this new army of defence presented a sufficiency of comic incidents; we find Bunbury, Gillray, Woodward, and Rowlandson, burlesquing the rustic cavalry; in the present plate a number of farmers and helpers, mounted on cart horses and armed with blunderbusses, flails, pitchforks, &c., are horrifying their officer by executing an impromptu charge upon a peaceful farmyard, knocking down old ladies, scattering the poultry, shooting the pigeons, capsizing labourers into wells, and producing an effect of universal confusion and dismay.

_December 20, 1794._ _A Visit to the Uncle._ Published by S. W. Fores.--The Uncle, who is a sufferer from gout, is evidently a well-to-do personage; and the attentions of his relatives, who are favouring the sufferer with a visit of condolence, are, it appears, suggested by self-interest. One of the highly considerate relations seems good-naturedly assisting the invalid by making his will, while a pretty young damsel is embarrassing their interesting connection with a tender embrace, and altogether the members of the party are evidently set upon promoting their own prospects with a view to a division of the estate.

This print, which is aquatinted by F. Jukes, has been described as Hogarthian in type; it was issued with a companion plate executed under similar auspices, and entitled _A Visit to the Aunt_.

1794 (?). _Jews at a Luncheon, or a peep into Duke's Place._--Three long-bearded Jews seated at table, on the eve of a feast. The joint is a sucking pig, into which the carver has put knife and fork; the faces of the epicures express the most greedy avidity. The appearance of white wigs above their black locks and goat-like beards gives an unusually grotesque effect to Rowlandson's delineation of the Hebrew race, always marked by the exaggerations of his fantastic humour.

1794. _Luxury and Misery._ Published by S. W. Fores. (See 1786.)

_December 25, 1794._ _An Early Lesson of Marching._ Woodward del. Etched by T. Rowlandson. Published by S. W. Fores, 3 Piccadilly.

_December 28, 1794._ _Bad Nexus upon the Stock Exchange._ Published by S. W. Fores, 3 Piccadilly. Woodward del., Rowlandson sculp.--A meeting of the various merchants and brokers upon the old Exchange. Sinister information is supposed to have upset the market; the countenances and actions of the various representative pillars of commerce present are expressive of profound depression and distress. The individual oddities of such an assemblage are characteristically dealt with; the grouping is good, and the faces, costumes, and movements of the figures are hit off with the felicity which more particularly belonged to Rowlandson's graver.

1795.

1795. _Harmony--Love._ Republished. (See 1785.)

1795. _Effects of Harmony--Discord._ (See 1785.)

_November 24, 1795._ _A Master of the Ceremonies introducing a Partner._--Bath, 1785. 'Mr. Tynson was unanimously elected for the New Rooms, and Mr. King for the Lower Rooms; they reigned till 1805, when Tynson resigned. Gainsborough painted King; the portrait is now in the Assembly Rooms at Bath.'

1796.

1796. _Sir Alan Gardiner, Covent Garden._--'_Weeds carefully Eradicated and Venomous Reptiles destroyed--By Royal patent. God save the King!_'--This print bears the name of Kingsbury, and it may be considered out of place in a work treating of Rowlandson's productions; as, however, the traces of the latter artist's handiwork are easily distinguishable, while the resemblance the plate offers to the known etchings after Kingsbury are less distinctive, it is probable that the execution, at least, is due to the skill of our caricaturist.

Sir Alan Gardiner was elected Member of Parliament for Westminster, June 1796. The naval hero, as represented in the engraving, is dressed in his uniform, supplemented with a gardener's apron; he is reaping the Republican crop with his 'Sickle of Loyalty,' while protesting his patriotism: 'My life and services are ever devoted to my King and country.' Britannia with her buckler is encouraging the admiral, and crowning her gallant son with a laurel wreath--'Go on, Britannia approves, and will protect you!' In the distance is shown Gardiner's ship _The Queen_ with the words, _First of June_, inscribed on her flag. The admiral is slicing off the head of the Whigs; Fox is declaring: 'I was always a staunch friend to the crops and _sansculottes_, but this damned crop is quite unexpected.'

John Horne Tooke, represented as a reptile, is being swept up by the rake of the Fiend in person; he is crying, 'Now will no prospering virtue gall my jaundiced eye, nor people fostered by a beloved sovereign and defended by the wisdom of his counsellors. To anarchy and confusion I will blow my _Horne_, and wallow in everything that's damnable!'

The Evil One has already secured the head of Thelwall in his clutches--'This will not _Tell well_.' Hardy is groaning, 'I was always Fool-_Hardy_.' The Devil is congratulating the captured Horne Tooke--'Long looked for come at last, and welcome, thou staunch friend and faithful servant, enter thou into the hot bed prepared for thee!'

We find a drawing by Rowlandson dated November, 1796, caricaturing the figures of three very eminent personages in conference, the Lord Chamberlain (Lord Salisbury), the King of Würtemburg--who had come over to this country on a high matrimonial mission, to marry the Princess Royal--and the Duke of Gloucester, playfully described by the satirists, on account of his slimness, as a 'slice of single Gloucester.' These portraits, which are very spirited, and full of character, are drawn on the back of another sketch, the first suggestions, in Rowlandson's clear and effective outline, for the cartoons of 'John Bull going to the wars' and 'John Bull's victorious return,' the best known version of which was issued by Gillray. (_John Bull's Progress._ Published June 3, 1793.)

_May 5, 1796._ _General Complaint._ Published by S. W. Fores.--The credit of this invention is due to Isaac Cruikshank, the father of the great caricaturist, but Rowlandson certainly had a hand in the execution of one version. The print represents a dissatisfied hero, whose dolorous portrait is described by the title; his head occupies the major part of his trunk, and he is not in that respect unlike the figurative impersonations of the potent and universally familiar _Nobody_. In one hand he is holding out his empty purse; in the other is the _London Gazette_; one sheet is filled with _Bankruptcies_, and the rest is devoted to fresh unpopular exactions to meet the requirements of the Budget. The people were generally weary of the war, and dissatisfied with the high prices and the decline of commerce brought in its wake. The ministers in power were not liked, and the generals, officers, and those who had the conduct of military affairs, were regarded with undisguised distrust; suspicions and grumblings against the administration were rife and outspoken, and in short the conduct of affairs was pretty unanimously voted disastrous for England, and discouraging as to her future. There was, according to the critics and satirists, but one popular headpiece, and he was easily to be recognised as _General Complaint_.

Don't tell me of Generals rais'd from mere boys, Though, believe me, I mean not their laurels to taint; But the General sure that will make the most noise-- If the war still goes on--will be GENERAL COMPLAINT!

1796. _Love._

_June 15, 1796._ _A Brace of Public Guardians--A Court of Justice--A Watchman._

_June 15, 1796._ _The Detection._ Designed by H. Wigstead. Executed by T. Rowlandson. Published by S. W. Fores.

The credit of having executed the following engravings from the designs of an amateur has been assigned to Rowlandson; we are not satisfied that the plates are entirely due to his hand, but it seems likely that he has had some share in the work, at least as far as the frontispieces are concerned.

_An accurate and impartial Narrative of the War._--By an officer in the Guards. In two volumes, containing a Poetical Sketch of the Campaign of 1793. Also a similar sketch of the Campaign of 1794. To which is added a Narrative of the Retreat of 1795, memorable for its miseries, with copious notes throughout. Embellished with engravings taken from drawings made on the spot, descriptive of the different scenes introduced in the poem.

'Per varias casûs, per tot discrimina rerum.'--VIRG.

London: Published by Cadell and Davies, Strand.

_Illustrations._