Rowlandson the Caricaturist; a Selection from His Works. Vol. 1
VOLUME II.
An Austrian Foot Soldier. (Back figure.) How to throw an army into confusion. Perils by Sea.
1797.
_January 1, 1797._ _Spiritual Lovers._ Published by Hooper and Wigstead, 12 High Holborn.
1797. _A Theatrical Candidate._ (_Vide Kelley's Memoirs._)--Sheridan, in his managerial chair, is seated before his business table, on which is spread a long and discouraging statement, setting forth those bugbears of 'Sherry's' tranquillity--a list of 'unpaid salaries,' 'proprietor's demands,' 'Chancery proceedings,' and other applications for money. Letters from authors: _Sir, do you ever mean to pay me for my Tragedy? &c._ Beneath the sly manager's seat is perceived, 'pit money,' 'renter's shares,' and his own particular _Art of Humbug_. A most unpresentable candidate for dramatic honours is standing confronting the great man; according to a placard on the wall, this quotation from _Hamlet_ is applied to the ungainly applicant, 'Oh, there be players that I have seen play, and heard others praise--and that highly (not to speak it profanely)--that neither having the accent of Christian, nor the gait of Christian, Pagan, nor man, have so strutted and bellowed, that I have thought some of nature's journeymen had made men, and not made them well: they imitated humanity so abominably.'
"A candidate for the stage lately applied to the manager of Drury Lane Theatre for an engagement. After he had exhibited specimens of his various talents, the following dialogue took place:--'Sir, you stutter;' 'So did Mrs. Inchbald.' 'You are lame of a leg;' 'So was Toote.' 'You are knock-kneed;' 'So is Wroughton.' 'You have a d----d ugly face;' 'So had Weston.' 'You are very short;' 'So was Garrick.' 'You squint abominably;' 'So does Lewis.' 'You are a mere monotonous mannerist;' 'So is Kemble.' 'You are but a miserable copy of Kemble;' 'So is Barrymore.' 'You have a perpetual whine;' 'So has Pope.' 'In comedy you are quite a buffoon;' 'So is Bannister.' 'You sing as ill as you act;' 'So does Kelly.' 'But you have all those defects combined;' 'So much the more singular.'"
_August 1, 1797._ _Feyge Dam, with part of the Fish Market at Amsterdam._ Rowlandson del., Wright and Schultz sculp. Published by R. Ackermann, Strand.--A large and important plate presenting boats, canals, and the quaint buildings; the appearance of these edifices, a hundred years ago, differed but slightly from their present aspects; the view is enlivened with crowds of Dutchmen, Jews, vrows, &c., variously occupied; all the humours and activities of the scene have been seized and improved on by the artist with his characteristic vigour and animation. The architectural portions of Rowlandson's Dutch and Flemish views are worked out with care and attention, and with an easy skill, strongly suggesting Prout's studies from similar picturesque materials.
_Stadthouse, Amsterdam._ Rowlandson del., Wright and Schultz sculp. Published by R. Ackermann.
_Place de Mer. Antwerp._ Rowlandson del., Wright and Schultz sculp. Published by R. Ackermann.
'From the Lion d'Or at Antwerp,' writes Angelo in his _Reminiscences_, 'I rambled about the town; the next day I saw the grand church, where the curious representation of Purgatory is exhibited, and the Place de Mer, which, as well as the view of the Stadthouse at Amsterdam, has been so accurately designed by Rowlandson (published by Ackermann) when on a tour in Holland with Mr. Mitchell, late partner in Hodsoll's (the banker's) house.'
1797. _Dutch Merchants, sketched at Amsterdam._
_August 1797._ _Tiens bien ton Bonnet, et toi, defends ta Queue. Rollandson inv._ P. W. Tomkins sculp.--The plate which bears this title is somewhat of an enigma, especially as regards the orthography of the artist's name, which must have been generally familiar in 1797. The style of engraving, more pretty than powerful, a combination of delicate line and stipple, removes it still further from the recognised characteristics of Rowlandson's works; and the extreme finish and smallness of the method employed have produced a somewhat hard and laboured result, such as one does not expect to find in engravings by or after this artist.
The subject is revolutionary; an aristocrat, one of the _jeunesse dorée_ order, and one of the mob, a _bonnet rouge_, are in active conflict. The two estates have come into collision; the representative of social refinement is tall, elegant, well-favoured, and scrupulously attired, in the advanced fashion of the hour; his opponent is shambling, misshapen, uncombed, wretchedly clad, and with his ragged shirt open at the front and exposing his chest. The hero of the curled and scented locks has had the temerity to seize the red bonnet of Liberty, which is the only pretension to finery indulged in by the ruffian; in return, the strong hand of the latter is entwined in the clubbed tail of the dandy, and a significant warning is given him to take off that cherished appendage--shaving a _queue_ and cutting off a head by Mère Guillotine, the barber of the aristocrats, being sometimes synonymous terms during the reign of the Jacobins.
It was in the spring of this year (1797) that a duty was proposed in England on hats, an impost the people avoided by wearing caps: the satirists intimated the danger that similar taxes would end in driving John Bull to adopt the republican habits of our neighbours, and, among other allusions, Gillray published a plate (April 5th, 1797) under the title of _Le Bonnet Rouge, or John Bull evading the Hat Tax_, in which the national prototype is shown trying on the famous red bonnet of the Jacobin section.
1797. _Cupid's Magic Lanthorn._--Rowlandson, engraved after Woodward.
_Waggon and Horses_ outside 'The Feathers,' published by Laurie and Whittle (see 1787), republished 1803.
1798.
_January 12, 1798._ _The Dinner._ Published by J. Harris, Sweeting's Alley, Cornhill, and 8 Broad Street.--This plate forms one of a series of important size (21 × 17) executed by Rowlandson in a bold and spirited manner; the plate is dated 1787, and was issued in 1798.
The set, it is certain, was deservedly popular in those famous fox-hunting days, and doubtless the five best known subjects have graced the walls of many fine mansions, the owners of which inclined to the sports of the chase; indeed, this hunting series may be found in grand old country houses, much prized, and preserved to the present day, although too frequently the prints are found discoloured by time from the effects of having been varnished.
The _Hunt Dinner_ pictures the wind-up of a successful day's sport. The table has been cleared, punch bowls are introduced, the run has been recorded and canvassed, and the venerable ancestral hall, hung with the armour of an earlier generation of the occupant's progenitors, is ringing with the sounds of hilarity. The young squire, a man of mettle, has mounted a chair in front of the portrait of his sire, who it seems was a Nimrod in his day: field sports are obviously the family taste; the owner of the estate, standing at the head of the table to pledge a toast, and holding a huge prize cup, in which Reynard's brush is dipped, is waving his cap, and giving a 'View Halloo!' which is inspiring his guests, the bold hunters gathered round his mahogany, who are acknowledging his lead with an enthusiasm and _entraînement_ which correspond to the ardour of their host; the bumpers are lifted on high with reckless hands, and numerous pairs of stentorian lungs are echoing the challenge with boundless goodwill; in some instances the good cheer is a trifle overwhelming, and one hero, though capsized in his chair, is still doing honour, with undiminished rapture, to the toast of the evening: even the privileged hounds are adding their voices to the general hilarity.
_January 6, 1798._ _Comforts of Bath._ Published by S. W. Fores, Piccadilly.
THE NEW BATH GUIDE;
_OR MEMOIRS OF THE BLUNDERHEAD FAMILY_.
IN A SERIES OF POETICAL EPISTLES
BY CHRISTOPHER ANSTEY, ESQ.
I'll hasten, O Bath, to thy springs, Thy seats of the wealthy and gay,
Where the hungry are fed with good things, And the rich are sent empty away.
I'm certain none of Hogarth's sketches E'er formed a set of stranger wretches.
_Plate I._
We all are a wonderful distance from home! Two hundred and sixty long miles are we come! 'Tis a plaguy long way! but I ne'er can repine, As my stomach is weak and my spirits decline: For the people cry here, be whatever your case, You are sure to get well if you come to this place. As we all came for health (as a body may say), I sent for the doctor the very next day; And the doctor was pleased, though so short was the warning, To come to our lodging betimes in the morning: He looked very thoughtful and grave, to be sure, And I said to myself, There's no hopes of a cure! But I thought I should faint when I saw him, dear Mother, Feel my pulse with one hand, and a watch in the other: No token of death that is heard in the night Could ever have put me so much in a fright: Thinks I, 'tis all over, my sentence is past, And now he is counting how long I may last.
* * * * *
And so, as I grew every day worse and worse, The doctor advised me to send for a nurse. And the nurse was so willing my health to restore, She begged me to send for a few doctors more; For when any difficult work's to be done, Many heads can despatch it much sooner than one; And I find there are doctors enough at this place, If you want to consult in a dangerous case!
_Plate II._
Why, Peter's a critic--with true Attic salt Can damn the performers, can hiss, and find fault, And tell when we ought to express approbation, By thumping, and clapping, and vociferation; But Jack Dilettante despises the play'rs-- To concerts and musical parties repairs, With benefit-tickets his pockets he fills, Like a mountebank doctor distributes his bills; And thus his importance and interest shows, By conferring his favours wherever he goes; He's extremely polite both to me and my cousin, For he often desires us to take off a dozen; He has taste, without doubt, and a delicate ear, No vile _oratorios_ ever could bear; But talks of the _op'ras_ and his _signora_, Cries _Bravo, benissimo, bravo, encora!_ And oft is so kind as to thrust in a note While old Lady Cuckow is straining her throat, Or little Miss Wren, who's an excellent singer; Then he points to the notes with a ring on his finger, And shows her the crotchet, the quaver, and bar, All the time that she warbles and plays the guitar; Yet I think, though she's at it from morning till noon, The queer little thingumbob's never in tune.
_Plate III._
* * * * *
One thing, though I wonder at much, I confess, is The appearance they make in their different dresses; For, indeed, they look very much like apparitions When they come in the morning to hear the musicians; And some I am apt to mistake, at first sight, For the mothers of those I have seen over night. It shocks me to see them look paler than ashes, And as dead in the eye as the busto of Nash is, Who the evening before were so blooming and plump. I'm grieved to the heart when I go to the pump; For I take every morning a sup of the water, Just to hear what is passing and see what they're a'ter; For I'm told the discov'ries of persons refined Are better than books for improving the mind. But a great deal of judgment's required in the skimming The polite conversation of sensible women, For they come to the pump, as before I was saying, And talk all at once while the music is playing! 'Your servant, Miss Fitchet.' 'Good morning, Miss Stote.' 'My dear Lady Riggledum, how is your throat? Your ladyship knows that I sent you a scrawl But I hear that your ladyship went to the ball.' 'Oh, Fitchet, don't ask me--good heavens, preserve---- I wish there were no such a thing as a nerve; Half dead all the night, I protest and declare---- My dear little Fitchet, who dresses your hair? You'll come to the rooms--all the world will be there. Sir Toby Mac Negus is going to settle His tea-drinking night with Sir Philip O'Kettle: I hear that they both have appointed the same; The majority think that Sir Philip's to blame; I hope they won't quarrel, they're both in a flame: Sir Toby Mac Negus much spirit has got, And Sir Philip O'Kettle is apt to be hot.' 'Have you read the "Bath Guide," that ridiculous poem? What a scurrilous author! Does nobody know him?' 'You know I'm engaged, my dear creature, with you And Mrs. Pantickle this morning at loo; Poor thing! tho' she hobbled last night to the ball, To-day she's so lame that she hardly can crawl-- Major Lignum has trod on the first joint of her toe;-- That thing they played last was a charming concerto, I don't recollect I have heard it before; The minuet's good, but the jig I adore; Pray speak to Sir Toby to cry out _encore_.'
_Plate IV._
Jen declar'd she was shocked that so many should come To be doctored to death such a distance from home, At a place where they tell you that water alone Can cure all distempers that ever were known. But, what is the pleasantest part of the story, Jen has ordered for dinner a piper and dory; For to-day Captain Cormorant's coming to dine, That worthy acquaintance of Jenny's and mine. 'Tis a shame to the army that men of such spirit Should never obtain the reward of their merit; And after so many hardships and dangers incurred, He himself thinks he ought to be better preferred. And Roger, or, what is his name? Nicodemus, Appears full as kind, and as much to esteem us; Our Prudence declares he's an excellent preacher, And by night and by day he is so good to teach her; I told you before that he's often so kind To go out a riding with Prudence behind, So frequently dines here without any pressing-- And now to the fish he is giving his blessing; And as that is the case, though I've taken a griper, I'll venture to peck at the dory and piper.
_Plate V._
But my cousin Jenny's as fresh as a rose, And the Captain attends her wherever she goes. The Captain's a worthy good sort of a man, For he calls in upon us whenever he can, And often a dinner or supper he takes here, And Jenny and he talk of Milton and Shakspeare; For the life of me now I can't think of his name, But we all got acquainted as soon as we came.
_Plate VI._
But come, Calliope, and say How pleasure wastes the various day: Wheresoever be thy path, Tell, O tell, the joys of Bath. Every morning, every night, Gayest scenes of fresh delight. O ye guardian spirits fair, All who make true love your care, May I oft my Romeo meet, Oft enjoy his converse sweet; Lo! where all the jocund throng From the pump-room hastes along, See with joy my Romeo comes! He conducts me to the Rooms; There he whispers, not unseen, Tender tales behind the screen; While his eyes are fixed on mine, See each nymph with envy pine. O the charming parties made! Some to walk the South Parade, Some to Lincomb's shady groves, Or to Simpson's proud alcoves; Some to chapel trip away, Then take places for the play; Or to the painter's we repair, Meet Sir Peregrine Hatchet there, Pleased the artist's skill to trace In his dear Miss Gorgon's face. Happy pair! who fixed as fate For the sweet connubial state, Smile in canvas _tête-à-tête_!
_Plate VII._
'And if you've a mind for a frolic, i' faith, I'll just step and see you jump into the bath.' Thinks I to myself, they are after some fun, And I'll see what they're doing, as sure as a gun: Oh! 'twas pretty to see them all put on their flannels, And then take the water like so many spaniels; And though all the while it grew hotter and hotter, They swam just as if they were hunting an otter. 'Twas a glorious sight to behold the fair sex All wading with gentlemen up to their necks, And view them so prettily tumble and sprawl In a great smoking kettle as big as our hall; And to-day many persons of rank and condition Were boil'd by command of an able physician.
* * * * *
You cannot conceive what a number of ladies Were stewed in the water the same as our maid is: So Tabby, you see, had the honour of washing With folks of distinction and very high fashion; But in spite of good company, poor little soul, She shook both her ears like a mouse in a bowl. But what is surprising, no mortal e'er view'd Any one of the physical gentlemen stew'd; Since the day that King Bladud first found out these bogs, And thought them so good for himself and his hogs, Not one of the faculty ever has try'd These excellent waters to cure his own hide; Tho' many a skilful and learned physician, With candour, good sense, and profound erudition, Obliges the world with the fruits of his brain, Their nature and hidden effects to explain.
_Plate VIII._
Our trade is encouraged as much, if not more, By the tender soft sex I shall ever adore; But their husbands, those brutes, have been known to complain, And swear they will never set foot here again. Ye wretches ingrate! To find fault with your wives, The comfort, the solace, and joy of your lives; Oh! that women, whose price is so far above rubies, Should fall to the lot of such ignorant boobies! Doesn't Solomon speak of such women with rapture, In verse the eleventh and thirty-first chapter? And surely that wise King of Israel knew What belonged to a woman much better than you! He says, 'If you find out a virtuous wife, She will do a man good all the days of her life; She deals like a merchant, she sitteth up late.' And you'll find it is written in verse twenty-eight, Her husband is sure to be known at the gate: He never hath need or occasion for spoil, When his wife is much better employ'd all the while; She seeketh fine wool, and fine linen she buys, And is clothed in purple and scarlet likewise. Now, pray, don't your wives do the very same thing, And follow th' advice of that worthy old king? Do they spare for expenses themselves in adorning? Don't they go about buying fine things all the morning? And at cards all the night take the trouble to play, To get back the money they spent in the day? But these to their husbands more profit can yield, And are much like a lily that grows in the field; They toil not, indeed, nor, indeed, do they spin, Yet they never are idle when once they begin, But are very intent on increasing their store, And always keep shuffling and cutting for more. Industrious creatures! that make it a rule To secure half the fish, while they _manage_ the pool; Methinks I should like to excel in a trade By which such a number their fortunes have made. I've heard of a wise, philosophical Jew, That shuffles the cards in a manner that's new; One Jonas, I think; and could wish for the future To have that illustrious sage for my tutor; And the Captain, whose kindness I ne'er can forget, Will teach me a game that he calls _lansquenet_.
_Plate IX._
SONG, WRITTEN AT MR. GILL'S, AN EMINENT COOK AT BATH.
Of all the cooks the world can boast, However great their skill, To bake or fry, to boil or roast, There's none like Master Gill.
Sweet rhyming troop, no longer stoop To drink Castalia's rill; Whene'er ye droop O taste the soup That's made by Master Gill.
'Tis this that makes my Chloe's lips Ambrosial sweets distil; For leeks and cabbage oft she sips In soup that's made by Gill.
Immortal bards, view here your wit, The labours of your quill, To singe the fowl upon the spit Condemned by Master Gill.
My humble verse that fate shall meet, Nor shall I take it ill; But grant, ye gods! that I may eat That fowl, when drest by Gill.
These are your true poetic fires That drest this savoury grill; Even while I eat the Muse inspires, And tunes my voice to Gill.
When Chloe strikes the vocal lyre, Sweet Lydian measures thrill; But I the gridiron more admire, When tuned by Master Gill.
'Come, take my sage of ancient use,' Cries learned Doctor Hill; 'But what's the sage without the goose?' Replies my Master Gill.
He who would fortify his mind, His belly first should fill; Roast beef 'gainst terrors best you'll find; 'The Greeks knew this,' says Gill.
Your spirits and your blood to stir, Old Galen gives a pill; But I the forced-meat ball prefer, Prepared by Master Gill.
_Plate X._
What joy at the ball, what delight have I found, By all the bright circle encompassed around! Each moment with transport my bosom felt warm, For what, my dear mother, like beauty can charm! E'en the Goddess of Love, and the Graces, and all Must yield to the beauties I've seen at the ball; For Jove never felt such a joy at his heart, Such a heat as these charming sweet creatures impart. In short, there is something in very fine women, When they meet all together, that's quite overcoming.
* * * * *
But hark! now they strike the melodious string, The vaulted roof echoes, the mansions all ring; At the sound of the hautboy, the bass, and the fiddle, Sir Boreas Blubber steps forth in the middle. Now why should I mention a hundred or more, Who went the same circle as others before, To a tune that they play'd us a hundred times o'er? And who at the ball on that night did appear, Who danc'd in the van and who limp'd in the rear, What dukes and what drapers, what barbers and peers, What marquises, earls, and what knights of the _shears_, What cook and what countess, what nymphs of the brooms, What mop-sceptred queens came that night to the Rooms. But at what time they heard the horn's echoing bellow, The hautboy's shrill twang, the brisk fiddle, the mellow Bassoon, and the sweet grumbling violoncello. At what time they heard the men puff and belabour With mouth, stick, and fist the gay pipe and the tabour, At once they did scuttle, did flutter and run, And take wing like wild-geese alarm'd with a gun, In a moment came bustling and rustling between one; Some coupled like rabbits, a fat and a lean one, Some pranc'd up before, some did backward rebound, While some more in earnest, with looks more profound, And sweat-bedew'd foretops, did lard the lean ground; But others more neat on the pastern arose, Like the figure of Pan, whom you've seen, I suppose, Just saluting the turf with the tips of his toes; And as nothing, I think, can more please and engage Than a contrast of stature, complexion, and age, Miss CURD with a partner as black as Omiah, KITTY TIT shook her heels with old Doctor GOLIAH, And little JOHN CROP, like a pony just nick't, With long DOLLY LOADERHEAD scamper'd and kick't. As for MADGE, tho' young SQUIRT had been promised the honour, BILLY DASHER stept forth and at once seized upon her; While with flames that keen jealousy's rage did improve, Poor SQUIRT felt the heart rending passion of love.
_Plate XI._
For persons of taste and true spirit, I find, Are fond of attracting the eyes of mankind: What numbers one sees, who, for that very reason, Come to make such a figure at Bath ev'ry season! 'Tis this that provokes Mrs. Shenkin Ap-Leek To dine at the ord'nary twice in a week, Though at home she might eat a good dinner in comfort, Nor pay such a cursed extravagant sum for't; But then her acquaintance would never have known Mrs. Shenkin Ap-Leek had acquired the _bon ton_; Ne'er show how in taste the Ap-Leeks can excel The Duchess of Truffles and Lady Morell; Had ne'er been ador'd by Sir Pye Macaroni, And Count Vermicelli, his intimate crony; Both men of such _taste_, their opinions are taken From an ortolan down to a rasher of bacon.
* * * * *
The company made a most brilliant appearance, And ate bread and butter with great perseverance All the chocalate, too, that my lord set before 'em, The ladies despatched with the utmost decorum. The peer was quite ravished, while close to his side Sat Lady Bunbutter, in beautiful pride! Oft turning his eyes, he with rapture surveyed All the powerful charms she so nobly displayed. Oh had I a voice that was stronger than steel, With twice fifty tongues to express what I feel, And as many good mouths, yet I never could utter All the speeches my Lord made to Lady Bunbutter! So polite all the time that he ne'er touched a bit, While she ate up his rolls and applauded his wit: For they tell me that men of _true taste_, when they treat, Should talk a great deal, but they never should eat; I freely will own, I the muffins preferred To all the genteel conversation I heard.
_Plate XII._
I never as yet could the reason explain, Why we all sallied forth in the wind and the rain; For sure such confusion was never yet known; Here a cap and a hat, there a cardinal blown!
* * * * *
How the Misses did huddle, and scuddle, and run! One would think to be wet must be very good fun; For by waggling their tails, they all seemed to take pains To moisten their pinions, like ducks when it rains. I saw, all at once, a prodigious great throng Come bustling, and rustling, and jostling along; As home we came--'tis with sorrow you'll hear What a dreadful disaster attended the peer.
_April 1, 1798._ _Views of London._ No. 3.--Entrance of Tottenham Court Road Turnpike, with a view of St. James's Chapel. Rowlandson delin., Schultz sculp. Published April 1, 1798, Ackermann's Gallery, Strand.
_April 1, 1798._ _Views of London._ No. 4.--Entrance of Oxford Street or Tyburn Turnpike, with a view of Park Lane. Rowlandson delin., Schultz sculp. Published April 1, 1798, Ackermann's Gallery, Strand.
_June 1, 1798._ _Views of London._ No. 5.--Entrance from Mile End or Whitechapel Turnpike. Rowlandson delin., Schultz sculp. Published June 1, 1798. Ackermann's Gallery, Strand.
_June 1, 1798._ _Views of London._ No. 6.--Entrance from Hackney or Cambridge Heath Turnpike, with a distant view of St. Paul's. Rowlandson delin., Schultz sculp. Published June 1, 1798. Ackermann's Gallery, Strand.
_May 1, 1798._ _He won't be a Soldier._ Schultz sculp. Published by R. Ackermann.
_May 1, 1798._ _She will be a Soldier._ Schultz sculp. Published by R. Ackermann.
1798. _An extraordinary scene on the road from London to Portsmouth, or an instance of unexampled speed used by a body of Guards, consisting of 1,920 rank and file, besides officers; who on June 10, 1798, left London in the morning, and actually began to embark for Ireland at Portsmouth at 4 o'clock in the afternoon, having travelled seventy-four miles in ten hours._ Rowlandson del., Schultz sculpt.
_July 18, 1798._ _Light Horse Volunteers of London and Westminster, Reviewed by His Majesty on Wimbledon Common._ July 5, 1798.
_August 1, 1798._ _Soldiers Recruiting, 1._ Rowlandson del., Schultz sculp. Published by R. Ackermann.
_August 1, 1798._ _The Cottage Door._ Rowlandson del., Schultz sculp. Published by R. Ackermann.
_August 1, 1798._ _Private Drilling, 5._ Rowlandson del., Schultz sculpt. Published by R. Ackermann.
_September 1, 1798._ _The Consequence of not Shifting the Leg._ Published by H. Angelo, Curzon Street, Mayfair.
_September 1, 1798._ _The Advantage of Shifting the Leg._ Published by H. Angelo, Curzon Street, Mayfair.
_October 15, 1798._ _The glorious victory obtained over the French fleet off the Nile on August 1, 1798, by the gallant Admiral Lord Nelson of the Nile._--Showing the distressed situation of the French frigate _La Serieuse_, of 36 guns and 250 men, which, after having been dismasted, sank. _L'Orient_ of 120 guns, and 1,010 men, commanded by the French Admiral Brueys, is seen in the background blowing up, by which she considerably damaged _The Majestic_, of 74 guns, 590 men, commanded by Captain Westcott, who fell early in the action. _The Majestic was_, after his death, fought with the utmost bravery by her first lieutenant, Mr. Cuthbert, during the remainder of the action. London: published October 15, 1798, at Ackermann's Gallery, 101 Strand. Rowlandson del.
_October 20, 1798._ _Admiral Nelson recruiting with his brave tars after the glorious Battle of the Nile._ Rowlandson del. and sculp. Published at Ackermann's Gallery, Strand.--The gallant admiral and his chosen captains are raised above the crowd on deck; they are, like true British tars of the old school, encouraging the _esprit de corps_ which the hero perfectly understood, since he was able, so far as the sea-lions who served under him were concerned, to cultivate it to such unmeasurable advantage for the honour of his country.
The brave tars, of all denominations, are thoroughly enjoying themselves after their own hearts, while commemorating the immortal victory of Aboukir Bay, and with each successive bumper are toasting their idol, who is set in their midst, and drinking success and glory to the navy of Old England, and confusion to her enemies--patriotic sentiments to which one and all were prepared to give practical effect in the hour of action.
Dammy Jack, what a gig, what a true British whim, Let the fiddles strike up on the main: What seaman would care for an eye or a limb To fight o'er the battle again? Put the bumpers about and be gay, To hear how our doxies will smile. Here's to Nelson for ever, huzza, And King George on the banks of the Nile. See their tricolor'd rags how they're doft, To show that we're lords of the sea, While the standard of England is flying aloft, Come, my lads, let us cheer it with three!
1798. _A Mahomedan Paradise._--A Turk embracing an elegantly dressed and highly presentable female.
_November 12, 1798._ _High Fun for John Bull, or the Republicans put to their last shift._ Published by R. Ackermann, 101 Strand.--The victory gained by Nelson at Aboukir Bay, over the combined fleets, disconcerted the French enthusiasts and restored confidence at home; it was recognised that while English admirals could sweep their enemies from the seas, neither the dangers of invasion, nor the difficulties of contending with France, need be ranked of much consequence. In the print, John Bull is enjoying the _High Fun_ of setting his opponents to equip fresh fleets, in order that his sailors may carry them off captive as trophies. A _Dutch Oven_ is serving as the bakery, Mynheer is pushing in a fresh batch of war frigates; 'Donder and Blaxan to dis fraternisation, instead of smoking mine pipes, and sacking de gold, dis French broders make me build ships, dat Mynheer Jan Bull may have the fun to take dem.' The Spaniard, with a tray of big guns, is faring no better under fraternisation. 'How! that Nelson wit one arm and eye can take our ships by dozens, then vat shall we do against the autres, wid two arms and eyes? day will have two dozen at a time.' The Frenchmen are excited over their prospects; the head baker has a fine batch ready for the oven: 'Sacredieu, Citoyens, make a haste wit one autre fleet, den we will show you how to make one grande Invasion;' the journeyman is working at his kneading tub, which contains such ingredients for fresh fleets as, _Ruination, Botheration, Confiscation, Requisition, Plunderation, Limitation, Execution, Constitution, Fraternisation, Naturalisation, Expedition, Abolition, Cut-throatation, and Damnation_. The assistant is not hopeful: 'By Gat, well you may talk, make haste, when that English Nelson take our ships by the douzaine!' John Bull, whip in hand, is laughing with satisfaction: 'What! you could not find that out before, you stupid dupes, but since you began the fun you shall keep on--so work away, dam ye, else Jack Tar will soon be idle.' Jack Tar is seen hopping off with a full load of ships; his spirits are excellent: 'Push on, keep moving, I'll soon come for another cargo; Old England for ever, huzza!'
1798. _The Discovery._ Republished 1800, 1808-9, &c.--A bed-chamber is the scene of the discovery; a young couple have been surprised by a corpulent old gentleman, who is threatening a kneeling and simple-looking youth with a red-hot poker; the detected swain, who has been disclosed in a cupboard, is entreating forgiveness with clasped hands, and the lady is dissolved in tears.
Published 1798. Lately published by William Wigstead, 40 Charing Cross. Printed September, 1799.
Published 1798. _Annals of Horsemanship.--Containing accounts of accidental experiments, and experimental accidents, both successful and unsuccessful, communicated by various correspondents to Geoffrey Gambado, Esq._ Illustrated with seventeen copper plates. Printed on a super-royal paper. Price in boards, 15_s._ 3_d._
Published 1798. _The Academy of Grown Horsemen.--Containing complete instructions for walking, trotting, cantering, galloping, stumbling, and tumbling._ Printed on a super-royal paper, and illustrated with twelve copper plates. Price in boards, 15_s._ 3_d._
Published 1798. _Love in Caricature._ On eleven plates, etched by Rowlandson; with a humorous frontispiece. The plates consist of--Spiritual Lovers, Aged Lovers, Sympathetic Lovers, Quarrelsome Lovers, Duke's Place Lovers, Avaricious Lovers, Country Lovers, Forgiving Lovers, Bashful Lovers, Platonic Lovers, and Drunken Lovers. Published in two numbers, 5_s._ each.
1799.
_January 1, 1799._ _Cries of London. No. 1. Buy a Trap, a Rat-Trap, buy my Trap._ Published by R. Ackermann, 101 Strand.--The vendor of rat-traps is pausing before a shop decorated with such live stock as a rabbit in a hutch, and a jackdaw in a cage; he is offering his traps to a spectacled old gentleman, who is considering his ware with curiosity. The rats in a trap, carried on the trap-seller's arm, are exciting the interest of a dog.
_January 1, 1799._ _Cries of London. No. 2. Buy my Goose, my Fat Goose._ Published by R. Ackermann, 101 Strand.--A fat countrified-looking dealer is offering some fine fat geese for sale at the door of an apothecary, who, with his wife, is examining the birds with unnecessary closeness.
_February 20, 1799._ _Cries of London. No. 3. Last Dying Speech and Confession._ Published by R. Ackermann, 101 Strand.--A street ballad singer, of the St. Giles' order, is crying the last speech of 'the unfortunate malefactors who were executed this morning:' a common enough announcement when the extreme punishment of hanging visited small offences, and executions were of more frequent occurrence. That the fear of capital punishment did not act as a corrective to theft is illustrated in the background of the print, where a mere infant is drawn in the act of picking the pocket of a passing pedestrian.
_February 20, 1799._ _Cries of London. No. 4. Do you want any brick-dust?_ Published by R. Ackermann, 101 Strand.--From this plate it seems that brick-dust, in the artist's days, was sold like sand. A patient donkey is saddled with an enormous pannier of brick-dust, and the vendor is pouring the contents of a measure into a bowl, held at the door of a highly respectable residence, by a pretty maid, to whose personal captivations the attentions of the brick-dust dealer are most particularly addressed.
_March 1, 1799._ _Cries of London. No. 5. Water-cresses, come buy my Water-cresses._ An old shylock-like person is knocking at a door in Portland Street (Mrs. Burke's), and is solicited to buy water-cresses by a neat maiden with a pretty face and a tall shapely form; the old reprobate is leering at the water-cress girl, and is disregarding a further offer of cresses from a more ragged and juvenile seller. A pair of highly-coloured damsels, redundant in charms and florid finery, are peering out of an upper window at the aged visitor.
1799. _Cries of London. No. 6. All a-growing, a-growing; here's flowers for your gardens._--A smart young gardener, with a substantial cart, drawn by a donkey, has a handsome selection of various evergreens and flowers for sale; he is standing at the door of a mansion, where a lady and little girl are choosing from his stock of geraniums in pots.
_May 4, 1799._ _Cries of London. No. 8. Hot cross buns, two a penny buns._--A decent woman, wearing a white apron, and with a cloth over her basket, is supplying a patroness with a plateful of hot cross buns. A pretty woman, in a neat morning dress, is buying buns, and her children by her side are tasting the same without any loss of time. Outside a church, in the background, is a stout dignitary, with flowing gown, sleeves, and full wig, who is sweeping away from an appeal for charity addressed to him by a beggar woman and her offspring.
_February 1, 1799._ _A Charm for a Democracy, Reviewed, Analysed, and Destroyed, January 1, 1799, to the confusion of its Affiliated Friends._ Published for the _Anti-Jacobin Review_, by T. Whittle, Peterborough Court, Fleet Street.--The Tory party at the beginning of 1799 (the parliamentary session had opened at the end of November 1788) endeavoured to stifle the Opposition by raising outcries against sedition, and by denouncing publications of a revolutionary tendency, with which they pretended to implicate the Whigs. On the strength of certain alarmist tracts, extraordinary measures were taken to restrain the liberty of the press, and a few months later, in July, the Ministry went so far as to put into effect the extreme measure of subjecting printing presses to a licence. The organs of the Tories, exulting in the discomfiture of their opponents, were continually urging increased and severer political persecutions, while they pretended that the members of the Opposition were, in despair of succeeding in preserving their party by fair means, identifying themselves with the more treasonable writers, and were laying secret trains for the destruction of the Constitution. The King's Bench, Newgate, and Coldbath Fields began to be crowded with political prisoners, the last-mentioned receiving the popular nickname of _the Bastille_. The _Anti-Jacobin Review_ was, as usual, peculiarly smart at the expense of the malcontents, and Rowlandson's assistance was enlisted to prepare a cartoon which, it was supposed, would expose the Whigs in their true colours, and hold up the abettors of sedition to the execration of all loyal subjects.
There are four elements displayed in this general view of the fancied emergency: the supernatural department, headed by the arch-fiend in person; the Radical pamphleteers and so-called workers of treason; the prominent members of the disconcerted Opposition and their followers; and the King and his ministers displayed, as Olympians, in the clouds. The Infernal Influence is superintending the preparation of the charm, which Horne Tooke and his friends, as the witches in Macbeth, are working at a boiling cauldron; the nature of the component parts of the conjuration are thus set forth:--
Eye of STRAW and toe of CADE, TYLER'S bow, KOSCIUSKO'S blade, RUSSELL'S liver, tongue of cur, NORFOLK'S boldness, FOX'S fur; Add thereto a tiger's cauldron, For the ingredients of our cauldron!
One of Horne Tooke's colleagues is working the incantation from a breviary of his own, 'Lying, False Swearing, &c.,' and is flourishing a witch's besom, 'Thrice the Gallic wolves have bayed!' Another of the weird sisterhood is stirring the unholy mixture, crying: 'Thrice! and twice King's Heads have fallen!' Horne Tooke is attending to the fuel department; he is muttering: ''Tis time, 'tis time, 'tis time!' The witches' familiars are whirling above their heads, and in the midst of the flames from the cauldron, in the shape of wild cats, with wings; a flying monkey, with 'Voltaire' on his collar; a tiger with vulture wings, marked Robespierre; and Dr. Price's little dog, which is even more remarkable than the animal associated with the early magicians, are the ministering imps. The fiend, with his pitch-fork, and attended by dragons, serpents, Cerberus, and other terrific monsters of an imaginative construction, suggestive of Callot's grotesques, is directing as head cook the Democratic philter-workers to
Pour in streams of Regal Blood, Then the charm is firm and good.
The inflammable materials, which are piled up to make the pot boil, and fanned into flames by a diabolical news-boy, from the _Courier_, consist of such combustibles as _O'Connor's Manifesto_; _Oakley's Pyrology_; _Belsham's History_; _Rights of Nature_; _Quigley's Dying Speech_; _Freud's Atheism_; _Whig Club_; _Universal Equality_; _Darwin's topsey-turvey Plants and Animals' Destruction_; _Sedition_; _French Freedom_; _Political Liberty_; _Duty of Insurrection_; _Equality_; _Fraud_; _Sophisms_; _Blasphemy_; _Heresy_; _Deism_, together with such fiery sentiments as _Kings can do no good_; _Joel Barlow_; _Resistance is Prudence_; _The Vipers of Monarchy and Aristocracy will soon be strangled by the infant Democracy_; _Kings are Servants_, _&c._; with the _Analytical Review_, a rival publication, thrown in as _Fallen never to rise again_.
The Duke of Bedford is at the head of the Opposition; the members seem to fare badly between the two extremes of Pittites and Radicals, the leader is demanding: 'Where are they! Gone. Pocketed the Church and Poorlands! The Tythes next!' The Duke of Norfolk is deploring the 'Fallen Sovereignty (of the People). Degraded Counsellor!' having been deprived of some of his offices as a punishment for the famous toast. Lord Derby is equally hopeless: 'Poor Joe is done. No Test, no Corporation Acts.' Fox, who had kept his word and absented himself from the debates, is reduced to a tattered state, and enquires: 'Where can I hide my secluded head?' Erskine, in legal trim, as 'Counsellor Ego,' is deploring: 'Ah, woe is me--poor I!' Tierney is regretting his past activity: 'Would I had never spoke of the licentiousness of the press!' Sir Francis Burdett, who had brought an investigation into the abuses practised on the unfortunates in the New State prison, before the House, a motion founded on his own observations, is enquiring: 'What can I report to my friends at the _Bastille_?' Thelwall, with his lectures under his arm, is 'Off to Monmouthshire;' and the followers of the dispirited 'party' are wandering blindly, lost in the 'Cave of Despair.'
Above the clouds is the King as Jupiter, with his supporters; light is being poured down in streams, upon the machinations of the disaffected patriots, from a symbolical source: _Afflavit Deus et Dissipantur_. 'Your Destruction cometh as a whirlwind!' 'Vengeance is ripe!' The monarch is strangling a brace of serpents, and asserting, 'Our enemies are confounded!' One minister is offering congratulations on a 'Great Victory!' while Pitt, behind the Crown, is insinuating an expeditious method of disposing of his adversaries: 'Suspend their bodies.' The Lord Chancellor, careful of the forms of law, is suggesting a more formal mode of procedure: 'Take them to the King's Bench and Coldbath Fields!'
_February 10, 1799._ _An Artist Travelling in Wales._ Rowlandson delin., Mercke sculp. Published by R. Ackermann, 101 Strand.--The caricaturist--in company with his friend, Henry Wigstead, himself a bit of an artist, further given to sportive flirtation with the Muses--visited North and South Wales in August 1797, for the purpose of carrying out a picturesque tour, to which the two travellers furnished the accompaniments of descriptive sketches and sketchy descriptions. The journey was undertaken solely as a pleasure trip, and not carried out with the intention of 'making a book.' It seems, however, that the interest which partial friends took in the notes of scenery, as found in Rowlandson's sketch-books, and in the minutes of travel, as jotted down in Wigstead's journal, finally prevailed over the travellers' reluctance to make much of a little; and accordingly, some two years later, the _Remarks on a Tour to North and South Wales_ were submitted to the public, in the form of an octavo book, with some additional views by the hands of Pugh, Howitt, &c. (See 1800.)
Rowlandson appears both to have enjoyed this excursion, and to have been able to turn his opportunities to good account. He made several characteristic landscape sketches, and the present writer possesses a few drawings, in various stages of progress, which were evidently commenced on the spot.
A more Rowlandsonian relic of the tour is preserved in the plate, _An Artist Travelling in Wales_, first published soon after the traveller's return to town. Who the artist so represented may be the writer is not prepared to assert; but, as caricaturists have a well-recognised habit of turning not only the figures of their friends, but their own persons, to satiric usages on occasions, it is suggested that the large and gaunt limner, with his strongly-outlined features, and with his long legs slung across a Welch pony, may offer some points of resemblance to the designer; it is evident that more than once (See _The Chamber of Genius_, April 2, 1812) Rowlandson has burlesqued his own figure, or made himself the hero of equivocal situations, much as artists who have lived in our times have, now and again, delighted to introduce their own features amidst the fictitious personages they have thought proper or have been called upon to introduce. Notably in the cases of Thackeray and Cruickshank, this whimsical _penchant_ is of such frequent occurrence, that the student, curious in tracing out such eccentricities of genius, will be able to discover at least a dozen characteristic and intentional resemblances of those admirable masters scattered over their illustrations, and relating to various periods of their careers.
It may be that remembrances of his old master at the Academy, Richard Wilson, who held the office of Librarian when the waggish youth, Rowlandson, was a student at the Academy, floated through the artist's mind in the course of his Welsh peregrinations, and tempted him to combine points of personality peculiar to both. It was not the first time Rowley's pencil had taken liberties with the marked traits of 'Red-nosed Dick,' who died, it must be conceded, some fifteen years before the tour in question. At all events, Peter Pindar, the witty and vituperative, was one of Rowlandson's intimates, and his advice to landscape-painters in general and to his friend and chum, Richard Wilson, in particular, whose talents he had the daring to lavishly acknowledge in the face of a generation which treated the artist with cold neglect because, forsooth, his works were 'not fashionable,' should appropriately be engraved below Rowlandson's unflattering presentation:--
Claude painted in the open air. Therefore to Wales at once repair, Where scenes of true magnificence you'll find; Besides this great advantage--if in debt, You'll have with creditors no _tête-à-tête_; So leave the bull-dog bailiffs all behind, Who hunt you with what noise they may, Must hunt for needles in a stack of hay.
A view in Wales is faithfully pictured; the unsophisticated natives are struck with astonishment at the figure of the travelling artist, whose profession they are far from comprehending, and whose paraphernalia excite their wonder. Rain, which is not unknown in the Principality, is wrapping landscape and figures in a moist embrace. The artist's very remarkable umbrella is a poor protection; his hat is limp; for safety his long clay pipe, a luxury difficult to replace, is thrust through a slit in the flap; his lank locks are dripping; the moisture is concentrating, and dropping down his well-defined proboscis. Of course it was necessary, in such an expedition, to bear the baggage and incidental impedimenta. A box contains the artist's larder and wardrobe; his saddle-bags hold the provisions of the hour; beside him swing his tea-kettle and coffee-pot; his goodly sketch-book is slung across his back, much as the observant traveller may have seen canvasses strapped across the shoulders of pedestrian artists during the season, and in the vicinity of Bettews, Conway and the Lluwy in our day. The easel is folded up--and a vastly unwieldy affair it is--on the back of the stumpy pony; brushes, a palette, knife, flasks of oil of goodly proportions, and a palette of extensive dimensions, are attached to the animal's neck; and thus equipped, the man of paint and his rough steed are picking a devious way through the saturating moisture, up and down the steep mountains of the country: a pleasant souvenir of past hardships and discomforts by the way.
_February 18, 1799._ _Nautical Characters._
1. Cabin boy. 2. Sailor. 3. Marine. 4. Cook. 5. Midshipman. 6. Purser. 7. Lieutenant. 8. Captain. 9. Admiral. 10. Captain of Marines.
_March 1, 1799._ _An Irish Howl._ Published for the _Anti-Jacobin Review_ by T. Whittle, Peterborough Court, Fleet Street.--The month following, the Irish patriots, and rebels alike, were favoured with a view of their position, which was hardly more encouraging than the pictorial prospect held out for the enlightenment of the Democrats at home. A National Convention is supposed to have been assembled; the members are thrown into consternation; and the table, round which they have been deliberating over the concoction of their organ the _United Irishmen_, is upset. A diabolical visitation is sufficient to account for this confusion. A monstrous representative of the Fiend of Evil, with formidable horns and claws, bearing a pitchfork over his shoulder, and with the French cap of Liberty, labelled _Anarchy_, on his brow, is intruding on the scene, with a masterpiece of his own preparation, setting forth the tender fate which the Irish patriots were likely to meet at the hands of their allies the Jacobins. _Le Tableau Parlant_ affects to portray an 'Irish Stew, a favourite dish for French Palates.' The sons of Erin are, according to the canvas, thrust into a 'Revolutionary Pot,' which is boiling over a fierce fire; certain Jacobin French cooks, wearing the caps of Liberty, are thrusting their betrayed disciples into the seething cauldron, '_Equality_, all to be stewed _en masse_,' while another apostle of Freedom is clapping on the lid: 'Liberty of being stewed!' The Arch-Deceiver, thrusting out a forked tongue, is imparting his instructions: 'Stew it well; it cannot be overdone for you and me!'
The United Irishmen are variously affected with despair at the probable end of their plottings. One patriot, intended for Grattan, or O'Connor, is exclaiming, 'My merits with the Republic should have saved me; but I find we must all stew together!' A ragged Reformer is thrown on his back; a bundle of pikes are at his feet; a case of _Radical Reform_. A papist friar is crying: 'By St. Patrick, a complete Catholic emancipation.' Others of the party are crushed. A legal gentleman is moaning in despair: 'So much for Republicanism and glorious independence! No money! No lawyer!' His neighbour cries: 'I now howl in vain; we are all gone to pot!' Another patriot is thinking regretfully of Ireland's proper and natural ally: 'Brother John would not have treated us so! What your own O'Connor, too!' The Map of Ireland is dragged to pieces, and dismantled by flying devils and imps of mischief christened 'Tallien, Barras, Lepaux,' &c. One of the united brethren is turning his eyes on the pitiful end of the Green Isle: 'Poor Erin, how thou'rt torn to pieces by these five harpies!'
1799. _An Etching after Raphael Urbinas._ An example of Rowlandson's powerful renderings of studies after the old masters, executed in a bold and flowing manner.--The nude figure of a man, who has probably been sleeping at the foot of a tree, has suddenly unfolded his cloak and found himself confronted by a hissing serpent, which has raised itself on its tail in readiness to attack the unprepared victim, whose face is made to wear an expression of statuesque horror. A club is on the ground at the feet of the man.
_Apollo, Lyra and Daphne._ Frontispiece probably to a book of music.--Apollo, with his crook and shepherd's dog by his side, and with sheep at his feet, is seated at the entrance to a wood. Several musical instruments, bound together with ribands, are hung on the branch of a tree over his head. On the other side of the picture is a nymph in classic guise, evidently captivated with his harmonies; she is resting her hand on the shoulder of a second listening maiden, dressed as a shepherdess.
_April 10, 1799._ _St. Giles's Courtship._ Published by R. Ackermann, 101 Strand.
Here vulgar Nature plays her coarser part, And eyes speak out the language of the heart, While health and vigour swell the youthful vein, To die with rapture, but to live again.
_April 10, 1799._ _St. James's Courtship._ Published by R. Ackermann, 101 Strand.
1799. _View of a Cathedral Town on Market Day_ (_Great Yarmouth_), Rowlandson del. and sculp.
_May 10, 1799._ _Borders for Rooms and Screens._ Published by R. Ackermann, 101 Strand. Woodward delin. Etched by Rowlandson. In twenty-four sheets. Republished May 20 and August 1.
_June 20, 1799._ _Connoisseurs._ Published by T. Rowlandson, 1 James Street, Adelphi.--The interior of a cabinet of choice works of art. On an easel is displayed a florid and somewhat suggestive picture of Venus and Cupid richly framed. An old connoisseur, with a glass to his eye, and his three-cornered hat under his arm, is seated in an easy elbow chair, critically examining the work in question. Three other distinguished _dilettanti_ are peering over his back, and stretching their noses as near as contrivable to the object of their gloating admiration. All these amateurs have evidently called in to view the collection, which includes an example after 'Susanna and the Elders,' and kindred subjects.
_August 1, 1799._ _Horse Accomplishments._ Sketch 1. _A Paviour._ Woodward del., Rowlandson sculp. Published by R. Ackermann.
_August 1, 1799._ _Horse Accomplishments._ Sketch 2. _An Astronomer._ Woodward del., Rowlandson sculp. Published by R. Ackermann.
_August 1, 1799._ _Horse Accomplishments._ Sketch 3. _A Civilian._ Woodward del., Rowlandson sculp. Published by R. Ackermann.
_August 1, 1799._ _Horse Accomplishments._ Sketch 4. _A Devotee._ Woodward del., Rowlandson sculp. Published by R. Ackermann.--The rider is somewhat inconvenienced by the eccentricities of his steed. The horse is travelling in a somnolent condition, of which the equestrian seems unconscious, as he is thus soliloquising over the unusual proclivities of his _Rosinante_:--'This is certainly a very devout animal; always on his knees; five times in a mile; constantly worshipping something or other. What is he at now?'
_August 1, 1799._ _Waddling Out._ Woodward del., Rowlandson sculp. Published by R. Ackermann.
_August 10, 1799._ _Comforts of the City: A Good Speculation._ No. 5. Woodward del., Rowlandson sculp. Published by R. Ackermann, August 10, 1799.--A stout citizen is rejoicing over a fortunate investment.
_August 10, 1799._ _Comforts of the City: A Bad Speculation._ No. 6. Woodward del., Rowlandson sculp. Published by R. Ackermann, August 10, 1799.--In this case the dabbler in novel ventures is looking very blank and disconcerted, on the receipt of the information that his very latest and most ingenious 'spec' does not promise to turn out favourably, according to a communication he holds in his hand:--'I am sorry to inform you that your scheme for manuring London with old wigs will not do.'
_August 12, 1799._ _Procession of a Country Corporation._ H. Bunbury del. Etched by Rowlandson. Published August 12, 1799, by T. Rowlandson, James's Street, Adelphi.--Bunbury's pencil was never more happily employed than when engaged in perpetuating the comicalities which he noticed in the country; rustic simplicity, the pretensions of inflated noodles, bumptious nobodies, and kindred absurdities, such as are displayed in 'The procession of a Country Corporation,' wherein the Aldermen and Mace-bearers, his worship the Mayor, with his chain, and his dignified deportment, and his following of puffed-up provincial big-wigs are shown filing in solemn state past the pump, the Town-hall, and the stocks, to the Church vestry; the country clodhoppers and honest children of the soil are gazing open-mouthed, over-awed by the impressive nature of the ceremony, and the solemn airs of the performers. Bathos is arrived at in a notice on the wall, past which these 'hogs in harness' are strutting--'Ordered by the Mayor and Corporation that no pigs be suffered to walk the streets. For every offence the penalty of five shillings!'
_August 1799._ _A Game of Put in a Country Ale House._ G. M. Woodward invt. Etched by T. Rowlandson. Published by R. Ackermann.
1799. _Bay of Biscay._ (See 1789.)
_September 3, 1799._ _Forget and Forgive, or Honest Jack shaking hands with an old acquaintance._ Published September 3, 1799, by R. Ackermann, 101 Strand.--The troops forming the British Expedition which restored the Prince of Orange to his states are represented landing in the Texel, and delivering the Dutch from the hands of their friends the Sansculottes. Mynheer has become wretched and ragged under the French régime; he is shaking a British tar by the hand, heartily delighted to see a chance of recovering his freedom:--'Ah, Mynheer Bull, these cursed French rats have gnawed us to the backbone; they have barely left us a pipe, a drop of Hollands, or a red herring; oh, what a pretty pickle have we brought ourselves into!' 'Well, Mynheer,' responds Jack Tar, 'you seem heartily sick of fraternity: had you stuck to your old friends instead of embracing your ragged relations, you might have kept your gilders, saved your breeches, and preserved both states and stadtholder.' A Dutch vrow is trampling her foot upon an order of the French Convention:--'If any Dutch woman be detected in concealing any part of her husband's private property, she shall be guillotined.' She has secured a trifling comfort, a bottle of 'Hollands gin.' 'I have had great trouble, Mynheer, to smuggle this bottle for you, those French ragamuffins search me so close!' The troops forming the English contingent are landing from their ships, and driving the French legions before them at the point of the bayonet; the apostles of Liberty are losing their requisitions, 'Ducats and gilders for the use of the municipality;' they despair of converting their invaders: 'Here be dese English Bull dog, dey be such stupid brute dat we cannot make them comprehend the joys of Fraternisation!'
_September 20, 1799._ _The Irish Baronet and his Nurse._ ('Changed at his Birth.') Woodward del. Etched by Rowlandson.
_October 1, 1799._ _The Gull and the Rook._ Published by Hixon, 155 Strand.
_October 1, 1799._ _The Crow and the Pigeon._ Published by Hixon, 155 Strand.
_October, 1799._ _Twopenny Whist._ Designed by G. M. Woodward. Etched by T. Rowlandson. Published by R. Ackermann, 101 Strand.
_October 28, 1799._ _A Note of Hand._ Designed by G. M. Woodward. Etched by Rowlandson. Published by R. Ackermann.--From Bunbury to Woodward the change is easy. In all these renderings of the designs of less skilful amateurs it must be remembered that Rowlandson's part was not limited to that of a mere copyist of their ideas; he had to put crude conceptions into a presentable shape, and in most instances he has added points which originated in his own invention, and, as far as execution is concerned, he has made the works mainly his own.
In the present caricature there is actually no indication of Woodward's handiwork; a smart sailor of the period, returning to shore with prize money galore, and a watch, chain, and seals in either fob, neat silver shoe-buckles, and a spic-span rig-out, is calling to cash a twenty-pound note on a banker, who is negligently looking at the ceiling. The honest tar, who probably thinks the amount of the draft he has to draw a veritable fortune, is evincing his consideration for the man of finance--'I say, my tight little fellow, I've brought you a Tickler! A draught for twenty pounds, that's all! But don't be downhearted, you shan't stop on my account! I'll give you two days to consider of it.'
1799 (?). _Legerdemain._--The subject owes its invention to the observant humour of Henry Bunbury, the caricaturist of gentle birth, who was ever a friendly ally of Rowlandson; while the latter has lent his more trained skill to work out the conceptions of the flattered amateur, further regarded, according to the views of his contemporaries, as his distinguished patron. We are introduced in 'Legerdemain,' to the consulting room and operating surgery of certain rustic practitioners, who combine the twin professions of dentists and pedicures; teeth and corns being extracted promiscuously, as the requirements of their patients might necessitate. Strength, rather than skill, is the chief requisition, if we may trust the whimsicalities of 'Legerdemain,' where main force directs the operations of the performers. One sturdy tooth drawer is bringing his knee and all the brute power at his command to bear in the way of leverage on the refractory grinder of an unfortunate and distracted client; a hammer and a pair of coarse pincers do not argue well for the painless dentistry of the establishment. A squire, judging from the liveried servant in attendance, is submitting his foot to another professor, for the removal of an obstinate corn; the victim is thrown into paroxysms of agony by the forcible mode of procedure adopted: the rude chiropedist has seized the sufferer's foot securely under his arm, and is dragging away with such vigour that, if the corn will not be persuaded to come off decently, the toe will be dragged out by the roots--the latter a most undeniable method of permanent cure so far as corns are concerned.
_November 1, 1799._ _March to the Camp._ Published by T. Rowlandson, 1 James Street, Adelphi.
_November 1, 1799._ _Good Night._ Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.--A gentleman in the last stage of sleepiness with his nightcap on his head, and his chamber-candlestick flaring away--he is yawning like a cavern, and stretching his arms as if heavy with slumber. The expression is realistically conveyed.
_November 5, 1799._ _A Bankrupt Cart, or the Road to Ruin in the East._ Woodward del. Etched by Rowlandson. Published by R. Ackermann, 101 Strand.--The fortunate possessor of that dubious vehicle, 'a Bankrupt cart,' is proceeding in state past his own premises with his chin in the air; the showy wife of his bosom in feathers and finery is riding by his side, and their children are packed in sandwich fashion. A follower, who is probably a drayman, put into livery for the occasion, and mounted on one of the horses used in the business, is grinning at the high and mighty dignity assumed by his employers. A news boy is blowing his horn in the averted faces of the party, offering the _London Gazette_, which contains the objectionable black list of bankruptcies, wherein, it is hinted, the name of 'Mash, Brewer,' figures conspicuously. Puddle Dock is the scene of this exposure, and the brewery is posted with advertisements, which indicate the sudden downfall of fashionable ambition: 'A house to be let in Grosvenor Square, suitable for a genteel family,' and 'Theatre Royal, Covent Garden, _The Comedy of the Bankrupt_, with _High Life Below Stairs_.'
_November 5, 1799._ _A Dasher, or the Road to Ruin in the West._ G. M. Woodward del. Etched by T. Rowlandson. Published by R. Ackermann.
1799 (?). _Loose Thoughts._--A reclining female figure, lightly attired, and gracefully posed, buried in romantic creations of the imagination.
_The Bookbinder's Wife._--Somewhat similar to the taste of the preceding. The nude figure of a lady toying with her infant: these subjects, which are avowedly of a slightly suggestive character, are handled with a grace and refinement which goes a long way to redeem the free nature of the subjects.
1799 (?). _The Nursery._--A domestic subject; a gracefully posed female figure and two infants.
1799 (?). _A Freshwater Salute._--The occupants of two waterside crafts are exchanging courtesies on the river, a more frequent occurrence at the beginning of the century, when figures of speech, especially among 'waterside loafers,' were more forcible than refined. The boatmen in the respective wherries are bawling at one another, and a stout damsel is extending, in expressive pantomime, an invitation which has shocked the proprieties of the occupants of the other craft, a lady of _ton_ in a gay hat and feathers, and a very prim old gentleman, who is looking perfectly rigid with horror and indignation.
1799 (?). _Ride to Rumford._--'Let the gall'd jade wince.' A stout equestrienne has put up her steed at the shop of an apothecary, who combines the profession of veterinary surgeon: the venerable practitioner, with spectacles on nose, is preparing a diaculum plaister for the scarified horsewoman.
1799 (?). _City Fowlers--mark._ H. Bunbury del., Rowlandson sculp.
Against the wind he takes his prudent way, Whilst the strong gale directs him to the prey; Now the warm scent assures the covey near, He treads with caution and he points with fear.--GAY.
1799 (?). _The City Hunt._ H. Bunbury del., Rowlandson sculp.--This scene of cockney horsemanship is suggestive of the learned lectures of Geoffrey Gambado, Esq., Riding Master to that authority on equestrianism, the Doge of Venice. It is a question which are the more extraordinary animals, the mounted citizens or their horses; all is grotesque and burlesque. Of course fat men are shown tumbling off and over their steeds; and with equal propriety, a brook is introduced, in which to deposit the unfortunate leapers. Various curs have come out to share the run, and among the most spirited riders may be distinguished a brace of black chimney-sweeps, fraternally perched astride the single donkey possessed by the firm.
1799 (?). _Une Bonne Bouche._--A stout gourmand impaling an entire sucking-pig on a fork.
1799 (?). _Cits airing themselves on Sunday._ H. Bunbury del., Rowlandson sculp.--A lady and gentleman are enjoying an equestrian promenade, too busily engaged in flirting to notice that their horses are riding over some wandering pigs. A Jew is in a chaise, taking his pleasure in the air; the fair Jewess, his wife, is driving, the rest of their family are by their side. A stout elderly volunteer in his uniform is out for exercise and relaxation, mounted on a heavy horse from the cart, ridden with blinkers.
1799 (?). _A Militia Meeting._--The original suggestion for this subject, which bears Rowlandson's name, is, with several other small etchings, belonging to the same series, due to Henry Bunbury; it represents a 'justice's parlour,' filled with local magnates, who are seated in council on the momentous militia question. The characteristics of the various personages are individualised with the sense of humour and that power of hitting off quaint expressions with which both Bunbury and Rowlandson were gifted in the highest degree.
1799 (?). _A Grinning Match._--The companion print to _A Militia Meeting_, executed under the same auspices. A party of rustics, whose rude features are more rudely burlesqued, are grouped around a barrel to assist at a competitive exhibition of 'face-making.' The challenge runs thus: 'A gold ring to be grinned for; the frightfullest grinner to be the winner.' Mounted on a tub is one of the champions, round his head is the traditional setting of a horse collar, and he is succeeding in making the most fearful grimaces, to the consequent delight of the spectators.
1799 (?). _Distress_, (18 inches by 12-5/8,) _from an Original Drawing by Thomas Rowlandson_.--Published by Thomas Palser, Surrey side, Westminster Bridge.--That Rowlandson possessed a remarkable power of grasping the humorous side of life was generally acknowledged in his own day, and is now well established, time having confirmed the justness of his title to a lasting reputation; indeed, his works in this order have long received a recognition which is more assured than has been accorded to those of his contemporaries. It may, however, be pointed out, with equal sincerity, that his conception of the terrible is even more remarkable than his facility for expressing the whimsical frivolities of society. It would be difficult to find a more realistic representation of the horrors of shipwreck than the appalling scene pictured under the title of 'Distress.' The fearful sufferings of the survivors, exposed without sustenance to the dangers of the deep, and the hopelessness of any chance of rescue, are all simply set forth with intense feeling, and a faithful perception of the horrors of the situation which is harrowing to examine, although it is evident that the terrors of the subject must have exercised a certain fascination over the mind of the delineator. It seems clear that portions of a crew have escaped the loss of their vessel only to become the powerless victims of more insupportable sufferings. A solitary officer and several of the crew are crowded into a boat, which they have no means of properly navigating. Provisions and water are evidently wanting; the horizon is a blank, the sea is still running high, and the sky threatens further tempests. Hunger, thirst, and exposure, are reducing the ocean waifs to madmen; while some are in paroxysms, others are stiffening corpses, and the body of one sufferer is about to be cast into the waters to lighten the freight; some are sunk in blank indifference or imbecile despair; others are furious, one or two are looking for help from above, and a few, among them the young officer and the boatswain, are doing their best to steer the open and over-laden boat towards a likely course. The cabin boy's distress is rendered with peculiar pathos.
1799. _Hungarian and Highland Broadsword Exercise._ Twenty-four plates, designed and etched by Thomas Rowlandson, under the direction of Messrs. H. Angelo and Son, Fencing-masters to the Light Horse Volunteers of London and Westminster. Dedicated to Colonel Herries. Oblong folio. London. Published, as the Act directs, February 12, 1799, by H. Angelo, Curzon Street, Mayfair.--Engraved Title and Frontispiece. A tablet topped by the figure of Fame and supported by a relievo representing Guards on the march; below it a trophy, and the escutcheon of the corps. On either side an archway or portico, with relievo tablets above, representing military scenes. On guard and saluting, on the left, is a Light Horse Volunteer of London and Westminster; on the right is one of the same corps dismounted, presenting arms. The etchings are dated September 1, 1798. The subjects are executed with considerable dash and spirit. The major part of the plates represent movements of cavalry, depicted with knowledge and power; instead of being, as the titles of the illustrations would indicate, mere definitions of the positions assumed in the exercises, the artist has, with superior ingenuity and ability, managed to produce a lively series of military tableaux filled with appropriate actions, in which bodies of troops, reviews, incidents of war, engagements of large parties, assaults, repulses, and other military demonstrations, make up the backgrounds, and convert a set of plates of mere broadsword exercises into an animated and interesting collection of warlike pictures. Judging from the lengthy subscription list appended to the folio, these plates must have enjoyed a wide popularity, secured under the auspices of the Angelos, whose acquaintances amongst the fashionable world enabled them to obtain a satisfactory array of patrons and subscribers.
The subjects are as follows:--
Prepare to guard. Guard. Horse's head, near side, protect. Offside protect, new guard. Left protect. Right protect. Bridle arm protect. Sword arm protect. St. George's guard. Thigh protect, new guard. Give point, and left parry. Cut one, and bridle arm protect. Cut two, and right protect. Cut one, and horse's head, near side, protect. Cut six, and sword arm protect. Cut two, and horse's off side protect, new guard. Cut one, and thigh protect, new guard. On the right to the front, parry against infantry.
_Infantry._
Outside guard; St. George's guard. Inside guard. Outside half hanger. Hanging guard. Inside half hanger. Half-circle guard. Medium guard. The consequence of not shifting the leg. The advantage of shifting the leg.
1799. _Loyal Volunteers of London and Environs._--Infantry and cavalry in their respective uniforms. Representing the whole of the Manual, Platoon, and Funeral exercises in eighty-seven plates. Designed and etched by Thomas Rowlandson. Dedicated by permission to His Royal Highness the Duke of Gloucester. Engraved title-page; inscription in a lozenge; head of Mars above; Mercury's caduceus and branches of laurel; Cupid-warrior, and Cupid-justice with scales and sword, supported by a trophy of arms, accoutrements, &c. Dedicatory title.--This illuminated School of Mars, or review of the Light Volunteer corps of London and its vicinity, is dedicated by permission to His Royal Highness the Duke of Gloucester by his most obliged and very humble servant, R. Ackermann, 101 Strand. August 12, 1799.
LIST OF SUBJECTS.
_Infantry._
PLATE. POSITION.
1. St. James's Volunteers _Stand at ease._ 2. The Royal Westminster Volunteers _Attention._ 3. Broad Street Ward Volunteers _Fix bayonets, 1st motion._ 4. St. Mary, Islington, Volunteers " _2nd_ " 5. St. Mary-le-Strand and Somerset House Volunteers _Fix bayonets, 3rd motion._ 6. London and Westminster Light Horse Volunteers (Dismounted) _Shoulder arms, 1st motion._ 7. St. Clement Danes Volunteers " _2nd_ " 8. Bloomsbury and Inns of Court _Recover arms._ Volunteers 9. St. George's, Hanover Square, _Shoulder arms (from recover), Light Infantry 1st motion._ 10. St. George's, Hanover Square, Volunteers _Charge bayonet, 2nd motion._ 11. St. Martin's in the Fields Volunteers " _1st_ " 12. Temple Bar and St. Paul's Volunteers (Loyal London Volunteers) _Present arms, 1st motion._ 13. Cornhill Association Volunteers " _2nd_ " 14. Temple Association Volunteers " _3rd_ " 15. Bethnal Green Volunteers, Light Infantry (Mile End Volunteers) _Support arms, 1st motion._ 16. Bethnal Green Battalion Volunteers " _2nd_ " 17. Hans Town Association Volunteers _Stand at ease, supporting arms._ 18. Deptford Volunteer Infantry _Slope arms._ 19. Loyal Westminster Light Infantry _Order arms, 1st motion._ 20. The Hon. Artillery Company of London " _2nd_ " 21. Pimlico Volunteer Association _Unfix bayonets, 1st motion._ 22. Richmond Volunteers " _2nd_ " 23. Covent Garden Volunteers " _3rd_ " 24. Three Regiments of Royal East India Volunteers _An officer saluting._ 25. Bishopsgate Volunteers _Handle arms._ 26. Brentford Association _Ground arms, 1st motion._ 27. Fulham Association " _2nd_ " 28. St. Andrew, Holborn, and St. George the Martyr Military Association " _3rd_ " 29. Castle Baynard Ward Association Volunteers _Secure arms, 1st motion._ 30. Finsbury Volunteers " _2nd_ " 31. Newington, Surrey, Volunteer Association " _3rd_ " 32. Knight Marshal's Volunteers _Prime and load, 1st priming motion, front rank._ 33. Guildhall Volunteer Association, " _2nd_ " " 34. Cheap Ward Association " _3rd_ " " 35. Armed Association of St. Luke, Chelsea " _4th_ " " 36. Marylebone Volunteers " _5th_ " " 37. Coleman Street Ward Military _Prime and load, 6th priming motion, front rank._ 38. St. Pancras Volunteers " _7th_ " " 39. Cordwainers' Ward Volunteers " _1st loading motion._ 40. St. Margaret and St. John, Westminster, Volunteer Associations " _2nd_ " 41. Lambeth Loyal Volunteers " _3rd_ " 42. St. George's, Southwark, Loyal Volunteers " _4th_ " 43. St. Saviour's, Southwark, Association " _5th_ " 44. St. Olave's, Southwark, Volunteers " _6th_ " 45. Poplar and Blackwall Volunteers " last motion. 46. Sadler's Sharpshooters _A Light Infantry Man defending himself with Sadler's patent gun and long,cutting bayonet._ 47. Radcliff Volunteers _Make ready, front rank._ 48. Union, Wapping, Volunteers _Present_ " 49. Loyal Hackney Volunteers _Fire_ " 50. Bermondsey Volunteers _Front rank kneeling, make ready._ 51. Loyal Volunteers, St. John's, Southwark _Present (as front rank kneeling)._ 52. Langbourn Ward Volunteers _Prime and load (as a centre rank)._ 53. St. George's, Hanover Square, Armed Association _Make ready (as a centre rank)._ 54. St. Sepulchre (Middlesex) Volunteers _Present_ " 55. Farringdon Ward Within Volunteers _Prime and load (as a rear rank)._ 56. Aldgate Ward Association _Make ready_ " 57. Walbrook Ward Association _Present_ " 58. Clerkenwell Association _Advance arms._ 59. Royal Westminster Grenadiers " _4th motion._ 60. Bread Street Ward Volunteers _Shoulder arms, from advance 1st motion._ 61. Vintry Ward Volunteers _Club arms, 1st motion._ 62. Portsoken Ward Volunteers " _2nd_ " 63. St. Catherine's Association " _3rd_ " 64. Farringdon Ward (Without) Volunteers " _4th_ " 65. Bridge Ward Association _Mourn arms, 1st motion._ 66. Tower Ward Association " _2nd_ " 67. Christ Church (Surrey) Association " _3rd_ " 68. Loyal Bermondsey Volunteers _Present arms, 1st motion from mourn arms._ 69. Billingsgate Association " _2nd_ " " 70. Highland Armed Association _An officer._ 71. The Armed Association of St. Mary, Whitechapel _Present arms, 2nd flugel motion._ 72. Bank of England Volunteers, Light Infantry _Order_ " " 73. Candlewick Ward Association _Support arms, 1st_ " 74. Queenhythe Ward Volunteers _A sergeant with arms advanced._ 75. Ward of Cripplegate (Without) Volunteers. _Order arms._ 76. Dowgate Ward Volunteers " 77. Mile End Volunteers _Pile arms._ 78. St. Leonard, Shoreditch, Volunteers " 79. Trinity, Minories, Association "
_Cavalry._
1. London and Westminster Light Horse Volunteers. 2. Surrey Yeomanry. 3. Deptford Cavalry. 4. Westminster Cavalry. 5. Middlesex Cavalry. 6. Southwark Cavalry. 7. Clerkenwell Cavalry. 8. Lambeth Loyal Cavalry. 9. Loyal Islington Volunteer Cavalry.
END OF THE FIRST VOLUME.
LONDON: PRINTED BY SPOTTISWOODE AND CO., NEW-STREET SQUARE AND PARLIAMENT STREET
* * * * *
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,'